Before we leave the question of literature and language, we may just glance at its development. This is comparatively an easy matter to understand. The warning, the expression of satisfaction, the mating-call are common among animals. The powers of communication and of speech develop with the development of self-consciousness. They are expressions of the relation between the self and its ‘others,’ and especially of the relation between the self and other selves. They carry the germs of understanding, and as they lead from the particular to the more general they bear in them the quality of the beautiful. The relations between the self and the other selves, and between the self and the environment, become more and more universalised. In speech they are communicated, but speech is transient. A more permanent record is required, and here again resort is had to symbolism, less generally intelligible, more esoteric, than the pictorial symbol, since there is no one universal language; the symbolism of written speech. Speech, however, is episodic and dramatic. It moves along with the march of events. So too with literature, for the most part. The Pictorial and Plastic arts represent beauty as static; yet they are not lifeless. Activity, movement, is implicit in them, while yet the beauty they express is restful, and has in it something of the quality of absoluteness and transcendence. Language, literature, drama are dynamic. In them beauty moves; immanent and unquiet at first sight; yet here too there is something that expresses the eternal meaning. Purpose moves to its fulfilment, and, while it moves, the end is in view. Nevertheless in pictorial art the static side is the most prominent, in linguistic the dynamic side. We may observe, however, that in order to counteract the transitoriness of purely episodic speech, recourse is had to visual symbolism as well. The graphic art aims at perpetuating the episode, and by doing so renders possible the development to which we shall immediately draw attention.