(_ββ_) It is, however, at the same time necessary in the interest of metre that an equally strong contrasting force should be set up to that of the rhyme sound. In so far, however, as it is _not_ the distinction of syllables in their natural quantity and _its variety_, which has to be co-ordinated and made predominant, we have, in respect, to this temporal relation, no other expedient left but the _identical repetition_ of the same time-measure; in this the element of accented _beat_ will tend to assert itself in a far more emphatic degree, than is compatible with the rhythmical system. As an illustration we have our German rhymed iambics and trochaics, in the recitation of which far more beat stress is admitted than is proper to the scansion of the unrhymed iambics of the ancients, although the caesura pause is capable of bringing into emphatic relief isolated words whose accent is mainly referable to their meaning, and is capable of further making all that remains dependent upon them a resisting effect to the abstract equality of the verse, and by so doing introduces a varied animation. And as in such a particular case, so we may assert generally, the time-beat cannot be of actual service in poetry with the force that is required of it in most musical compositions. (_γγ_) Although, however, we may affirm it as a general rule that rhyme should be associated merely with such verse metres, which, by virtue of their simple changes of the syllabic quantity and their continuous recurrence of similar verse feet, do not on their own independent account give sufficiently effective modality to the element of sensuous medium in modern languages which admit at all of rhythmical treatment, yet the application of rhyme to the more profuse syllabic metres imitated from classical models, as, for instance, to borrow one example only, the alcaic and sapphic strophe, will not merely appear superfluous, but even an unresolved contradiction. Both systems repose on opposed principles, and the attempt to unite them in the way suggested, can only involve us in a like opposition, which can produce nothing but a contradiction we are unable to mediate, and which is therefore untenable. It follows, therefore, that we ought only to make use of rhyme in cases where the principle of the older versification merely makes itself effective in more remote implication, and through a transitional process essentially deducible from the system of rhyme. The above, then, are the points which we have sought to establish as, in a broad sense, of most vital concern to poetical expression in its contradistinction from prose. [Footnote 1: _Bildlich,_ here not so much creative as simply plastic or constructive.] [Footnote 2: _Vorliebe._ His interest must be already centred in it.] [Footnote 3: _Bildlichkeit_, _i.e._, their claims as images of something else.] [Footnote 4: _Vertauscht._ I have translated "exchanged," but Hegel may mean "mistaken for."]