soul-life itself, and is, from this point of view, liberated from the, relatively speaking, gross material of human speech, in other words from what we have referred to as the natural measure of quantity. With regard to points of special interest in this subject, I will confine myself to the following general observations: _First_, upon the origin of rhyme. _Secondly_, upon a few more definite features by which we may distinguish the sphere of rhyme from that of rhythm in verse. _Thirdly_, upon the types under which we may classify rhyme generally. (_α_) We have already seen that rhyme belongs in its form to the art of romantic poetry, which requires such a more pronounced emphasis of its configurated syllabic sound posited thus on its own account. And it is thus effected to the extent that the ideal activity of volition[37] discovers its own presence by this means in the objective medium of tone. Where such a need is asserted we have a mode of speech in part meeting absolutely the conditions of form I outlined above when discussing the necessity of rhyme; and in addition it makes use of the old forms of language at hand, the Latin for example, which, though of other constitution and mainly applicable to rhythmical versification, it employs agreeably to the character of the new principle, or reconstructs the same so far into a new language that the element of rhythm disappears, and rhyme becomes, as in the Italian and French languages, the matter of all importance. (_αα_) In this respect we find throughout Christendom that rhyme is introduced into Latin versification at a very early date with much insistence, although, as observed, it rested on other principles. These principles, however, are rather adapted from the Greek language; and, so far from testifying to the fact that they originated from the Latin speech itself, rather prove, under the modified character they possess, a tendency which itself approaches the romantic type. In other words, the poetry of Rome, on the one hand and in its earliest days, discovered its source not in the natural length and shortness of syllables, but rather measured the value of syllables relatively to their accent; and in consequence of this it was only through a more accurate knowledge and imitation of Greek poetry that the prosodical principle of this was received and followed. And, moreover, the Romans rendered more obdurate the flexible, joyous sensuousness of Greek metres, more particularly by their use of more insistent pauses at the caesura, as we find such not only in the hexameter, but also in the alcaic and sapphic metres, hardening the effect thus to a structure of more stringent outline and more severe regularity. And indeed, apart from this, even in the full bloom of Latin literature, and from their poets of finest culture, we have already plenty of rhymes. Thus from Horace, in his _Ars poetica_ (verses 99-100), we get the following: