In the like degree, then, that mind (_Geist_) elaborates the more abstract universality in a concrete whole of idea, ends, actions, and events, and no less contributes to its conformation the particularizing perception, it not only forsakes the subjective life of mere emotion and builds up that life into an unfolded realm of objective reality in this case, too, within the ideal world of the imagination itself, it is compelled, by virtue of the nature of such transformation, to forsake the attempt to express the new realm thus secured solely and exclusively by means of tone relations. Precisely as the medium of sculpture is too poor to express the more ample content that it is the function of the art of painting to call into life, so too the conditions of musical tone and melodic expression are unable to realize fully the imaginative pictures of the poet. For these in part possess the ideas more accurately defined to consciousness and, in part, the form of external appearance impressed on the inner sense of perceptive reason. Spirit consequently withdraws its content from musical tone as such, and declares itself through words, which it is true do not entirely forsake the element of sound, but sink to the purely external sign of the communication. In other words, by means of this repletion with spiritual ideas, musical tone becomes the voice of articulate words; language, in its turn, is diverted from an end in itself to a means of ideal expression which has lost its independent self-subsistancy. This constitutes in fact what we have already established as the essential difference between music and poetry. The content of the art of speech is the collective art of the world of ideas elaborated by the imagination, the spiritual which remains at home in its vision, which remains in this ideal realm, and, even in its movement toward an objective world, is only conscious of the same as a symbol that differs from its own conscious content. In music art reproduces the penetration of Spirit in a sensuously apparent and present form. In poetry it even forsakes the element of _musical tone_ and articulation opposed to it, at least to the extent that this musical tone is no longer reclothed in fully adequate externality and the exclusive expression of that content. The ideal no doubt is expressed, but it fails to discover its real existence in the sensuous medium of tone, despite the fact that it is of a more ideal character; this it discovers exclusively in its own essential content, by virtue of which it expresses the content of mind as it is realized in the ideality of the imagination simply as such.