Such a sound, however, if it is to secure an independent attention, must, in the _first_ place, be of a far more insistent kind than the interchange of different tones, such as we met with in the older verse metres; and its assertion must be of a far more overwhelming character than the stress of syllables can lay claim to in ordinary speech. What we now require has not only to compensate us for the loss of the articulate time-measure, but it further undertakes to reassert the sensuous medium in its opposition to that unqualified predominance of the accentuated significance. For when once the conceptive content has essentially attained the ideality and penetration of mind,[42] for which the sensuous aspect of speech is of no importance, the verbal sound must enforce itself still more positively and coarsely as distinct from this ideality in order to arrest our attention at all. In contrast, therefore, to the gentle movements of rhythmical euphony, rhyme is a crude expedient,[43] which requires an ear by no means either so trained or sensitive as that presupposed by Greek verse. _Secondly,_ though it is true that rhyme does not here assert itself so much as distinct from the meaning of the stem-syllables simply as it does from the entire ideal content, yet it does at the same time so far assist the natural verbal sound as to win for it a relatively secure stability. But this object can only be attained if the sound[44] of particular words affirms itself in exclusive distinction from the resonance of other words, and thus secures an independent existence, by virtue of which _isolation_ it satisfies the claims of the formative aspect of the verbal medium in forceful beats of sound. Rhyme is therefore, at least in its contrast to the evenly transfused movement of rhythmic euphony, a detached exhibition of exclusive tonal expression. _Thirdly,_ we found that it was the ideality of the conscious self which, by virtue of its effort of ideal synthesis, came into its own, and discovered its personal satisfaction in such recurrences of sound. If, then, the means used in the older type of versification, with its copious variety of structure, disappear, there only remains, if we look at poetry, under the aspect of its _medium,_ to support this principle of self-recovery, the more formal repetition of wholly identical or similar sounds, whereby again we are able to unite under an intelligible scheme[45] the assertion and relation of closely associated meanings in the rhyme-sounds of expressive words. The metre of rhythmical verse we may regard as a variously articulate interrelation of manifold syllabic quantities. Rhyme, on the contrary, is from one point of view more material;[46] yet, on the other hand, is itself more abstractly placed within this medium. In other words, it is the mere recollection of mind and the ear of the recurrence of identical or related sounds and significations--a recurrence in which