Metre and rhyme are a fetter, but also a veil which the poet throws round him, and under which he is permitted to speak as he otherwise dared not do; and that is what gives us pleasure. He is only half responsible for all that he says; metre and rhyme must answer for the other half. Metre, or measure, as mere rhythm, has its existence only in time, which is a pure perception a priori, thus, to use Kant's language, belongs merely to pure sensibility; rhyme, on the other hand, is an affair of sensation, in the organ of hearing, thus of empirical sensibility. Therefore rhythm is a much nobler and more worthy expedient than rhyme, which the ancients accordingly despised, and which found its origin in those imperfect languages which arose from the corruption of earlier ones and in barbarous times. The poorness of French poetry depends principally upon the fact that it is confined to rhyme alone without metre, and it is increased by the fact that in order to conceal its want of means it has increased the difficulty of rhyming by a number of pedantic laws, such as, for example, that only syllables which are written the same way rhyme, as if it were for the eye and not for the ear that the hiatus is forbidden; that a number of words must not occur; and many such, to all of which the new school of French poetry seeks to put an end. In no language, however, at least on me, does the rhyme make such a pleasing and powerful impression as in Latin; the rhymed Latin poems of the Middle Ages have a peculiar charm. This must be explained from the fact that the Latin language is incomparably more perfect, more beautiful and noble, than any modern language, and now moves so gracefully in the ornaments and spangles which really belong to the latter, and which it itself originally despised.
To serious consideration it might almost appear as high treason against our reason that even the slightest violence should be done to a thought or its correct and pure expression, with the childish intention that after some
