What we here have asserted of the relationship between language and music must be valid too, for equal reasons concerning the relationship of _Mime_ to _Music._ The Mime too, as the intensified symbolism of man's gestures, is, measured by the eternal significance of music, only a simile, which brings into expression the innermost secret of music but very superficially, namely on the substratum of the passionately moved human body. But if we include language also in the category of bodily symbolism, and compare the _drama,_ according to the canon advanced, with music, then I venture to think, a proposition of Schopenhauer will come into the clearest light, to which reference must be made again later on. "It might be admissible, although a purely musical mind does not demand it, to join and adapt words or even a clearly represented action to the pure language of tones, although the latter, being self-sufficient, needs no help; so that our perceiving and reflecting intellect, which does not like to be quite idle, may meanwhile have light and analogous occupation also. By this concession to the intellect man's attention adheres even more closely to music, by this at the same time, too, is placed underneath that which the tones indicate in their general metaphorless language of the heart, a visible picture, as it were a schema, as an example illustrating a general idea ... indeed such things will even heighten the effect of music." (Schopenhauer, Parerga, II., "On the Metaphysics of the Beautiful and Æsthetics," § 224.) If we disregard the naturalistic external motivation according to which our perceiving and reflecting intellect does not like to be quite idle when listening to music, and attention led by the hand of an obvious action follows better--then the drama in relation to music has been characterised by Schopenhauer for the best reasons as a schema, as an example illustrating a general idea: and when he adds "indeed such things will even heighten the effect of music" then the enormous universality and originality of vocal music, of the connection of tone with metaphor and idea guarantee the correctness of this utterance. The music of every people begins in closest connection with lyricism and long before absolute music can be thought of, the music of a people in that connection passes through the most important stages of development. If we understand this primal lyricism of a people, as indeed we must, to be an imitation of the artistic typifying Nature, then as the original prototype of that union of music and lyricism must be regarded: _the duality in the essence of language,_ already typified by Nature. Now, after discussing the relation of music to metaphor we will fathom deeper this essence of language.