 That takes care of (1)–(3), and (6) (a)–(c). What of (4)? It might be tempting to think of the words as the raw material, the poem as the finished product. But T. S. Eliot for example did not choose the words needed for The Wasteland and then proceed to arrange them into the poem. The poet can, however, be conceived as ‘converting emotions into poems’; but this is ‘a very different kind of thing’ from, say, the pasta maker’s conversion of flour into spaghetti. Collingwood simply leaves this point hanging, because it would require his own positive account of art as expression to explain it; that will come later. (He also neglects the possibility that the raw material of the poet is simply the language as a whole.)