[Footnote 31: _Abstract unterworfen._ Hegel apparently means abstract as detached from the natural medium of language--becoming thereby the abstract symbol of idea exclusively.] [Footnote 32: As in musical art.] [Footnote 33: _Seelen-tonen_, _i.e.,_ the wave and flow of the emotional life itself.] [Footnote 34: _In das Spielen_. Hegel repeats his use of the expression above, _beiher Spielen_, lit., the playing with not as a toy but as something serious.] [Footnote 35: I suppose this is the meaning here of _Sharfsinn,_ but "subtlety" may be included.] [Footnote 36: Indifferent, that is, as asserting the creative freedom of the poet, he can select his own rhymes as he wills. Hegel, however, seems rather to miss the essential spontaneity of really good blank verse.] [Footnote 37: So I translate _die innere Subjectivität_, but it may refer perhaps to the entire creative personality.] [Footnote 38: That is, I presume, their relation to romantic art.] [Footnote 39: That is, the primary feature changed is that of the validity of natural quantity.] [Footnote 40: _Dem Äusseren Daseyn._ That is, of language.] [Footnote 41: _Entfaltung._ Such an explication of rhythmical euphony as the previous system discloses.] [Footnote 42: _Geistes._ All that pertains to conscious life.] [Footnote 43: Lit., a blunt or coarse sound, _ein plumpes Klingen._] [Footnote 44: _Tonen_ implies sound no less than accent. I have rendered it in various ways.] [Footnote 45: _Von Seiten des Geistes._ Perhaps rather "as aspects of the poet's intelligence"--that is, with reference to the self-assertion above explained.] [Footnote 46: More nearly related to the natural medium of language.] [Footnote 47: _Die Verslehre der Isländer v. Rask, verd. von Mohnike_, Berlin, 1830, pp. 14-17.] [Footnote 48:_Betonte_, see above note on _Tonen._] [Footnote 49: _Stämme_, the stem of verbs, rather than the root of substantives, which would be more correctly _stammwort._] [Footnote 50: "Do we moderns face broad reaches such as these, as did the ancients?" _Falten_, folds, expatiation of subject-matter. I presume, though I do not recall the context, that the allusion is mainly to elegiacs.] [Footnote 51: _I.e._, more related to active intelligence.] III THE SEVERAL GENERIC TYPES OF POETRY The two fundamental aspects, according to which we have hitherto examined the poetical art were, in the first instance, that of poetical significance or content _in the broadest sense_, the nature of the outlook of a poetical composition and the creative activity of the poet; secondly, poetical _expression,_ not merely respectively to the ideas which have to be embodied in _words,_ but also to the modes under which they are expressed and the character of _versification._