Moreover, as it is no objection to such lines of verse-writing that they are repeated over and over again in the same or practically under the same mode, we find in respect to the entire series, on the one hand, a lack of definition so far as the one final conclusion is concerned, and on the other a monotony, which creates perceptibly a sense of deficiency in the ideal aspect of their manifold composition. In order to mitigate such defects poetry makes a final advance in its creation of the strophe and its varied organization, more particularly with a view to lyric expression. As an illustration we have the elegiac measure of the Greeks; there is also the alcaic and sapphic strophe, not to mention the modes of lyric art elaborated by Pindar and the famous Greek dramatists in their choric effusions or interludes. However much, in their relation to time-measure, music and poetry partake of similar conditions, we ought not, therefore, to fail to draw attention to their dissimilarity. The most important feature of this is that of the _beat._ The question whether there is any real repetition measurable in time-beats of identical length in the metre of the ancients has been the subject of strenuous controversy. Generally speaking I think it may be affirmed that poetry, which uses language in its words as a mere means of communication, is unable, in respect to the time-length of its utterances, to subordinate the same to an absolutely fixed measure of its movement in the abstract form that is present in the time-beat of music. In music tone is simply sound, without pause as such, and it essentially requires a stability such as we find in the time-beat. Human speech does not require such security, for one reason because it already possesses something fixed and substantive in the idea, and for another because it is not thus wholly committed to the objective medium of sound or resonance; rather this very ideality of conscious life is the medium in which it consists as art. For this reason poetry in fact discovers the more substantive means of defining its arrest, continuance, pause or delay immediately in the ideas and emotions which it clearly enunciates in language. Music, too, in its recitatives, marks the beginning of a similar process of separation from the immutable equality of the time-beat. It follows from this that, if poetical metre were wholly subjugate to the regularity of the time-beat, the distinction between music and poetry, in this sphere at least, would vanish altogether, and the element of time would receive a more predominant significance than is compatible with the essential characteristics of poetry. Supported by such a conclusion we may therefore insist that, though a _time-measure_ is of imperative value in poetry, there is no such necessity for the abstract _time-beat_; meaning and signification[23] of the actual words must here remain the relatively speaking more controlling force. If we