(_γγ_) In such modern languages the element of rhythm has little room for its display, or at least the soul has little freedom left to expatiate within it, because, as observed, time and the equable stream of syllabic sound as emitted from its movement is superseded[28] by a more ideal relation--that is to say, by the sense and meaning of the words, and thereby the force of the more independent configuration of rhythm is suppressed. We may in this connection compare the principle of rhythmical versification with the plastic arts. We find in both that the ideal significance is not as yet asserted in its independence, nor does the former expressly define the length and accent of syllables, but rather the meaning of the words is wholly blended with the sensuous medium of the inherent time duration and sound, with a result that does complete justice to the claim of such externality, wholly absorbed in the ideal form and movement of the same. If, however, such a principle is renounced, and yet despite of this, but in accordance with the necessary demand of art, the sensuous medium is permitted to retain a certain force of resistance as against the exclusive assertion of ideal content,[29] in order to this end to divert the ear's attention,--in the case that is, where what we may call the plastic moment of that more ancient mode of syllabic quantity, as it is on its own account, and the tonal quality inseparable from the general rhythm rather than independently asserted --when this, as I say, has been destroyed, then we have no other means[30] at hand save the express and artistically configurated sound of articulate speech simply, and retained as such in its isolation. And this leads us to our second main type of versification--in other words, _rhyme._ (_b_) _Rhyme_