To appreciate the beauty of rhythm in all the above aspects is for our modern ears a very difficult matter, because in modern languages the elements which combine to produce. this kind of metrical effect are no longer in some measure present in the sharp and secure insistence they possessed for the ancient world; rather we have other means substituted for them, in order to satisfy other demands of artistic taste. (_ββ_) But over and above all this, paramount over all valid claims of syllables and words within their metrical position, there is, secondly, the worth of that significance we gather from the line or verse as _poetical idea._ It is in relation to this, which the language implies, that its other metrical effects are either emphasized or, comparatively speaking, are restrained as void of significance; and it is by this means alone that the finest perfume of spiritual vitality is instilled through the poetry. But notwithstanding this fact, such poetical effect is not to be carried so far that it directly contradicts in this respect the rules of metrical rhythm. (_γγ_) Moreover, a _definite_ type of _content_ corresponds with the entire character of a particular verse measure, particularly from the point of view of rhythmical movement, and above all that particular kind implied in the movement of our feelings. Thus, for example, the hexameter, in the tranquil wave of its forward stream, is particularly adapted to the even flow of epic narration. Where, however, it is more in the nature of the strophe in its association with the pentameter and its symmetrically consistent caesura, it is, in its none the less generally simple regularity, fitted to express elegiac emotion. The iambic again moves forward with rapidity, and as such is peculiarly suitable to dramatic dialogue. The anapaest indicates the clear-slipping march of joyful exultation. Other characteristics may readily be associated with other modes of verse-measure. (_γ_) _Thirdly_, this province of rhythmical versification is not confined to the mere configuration and vivication of time-intervals; it embraces the actual musical sound of syllables and words. In respect to such sound, however, the classic languages, in which rhythm is retained, as above described, as an essential feature, offer a real contrast to other more recent ones more conspicuously adapted to rhyme.