Adhering, however, to the Concrete Domain, and seeking our analogies there, oral speech, a Concrete Thing, does not directly correspond with Nature, an Abstract Conception, but with The World, a concrete thing; nor does Music, a Concrete Thing, correspond with Science, an Abstract Conception, but with Man (the Mind-being, Knowledge-being, the Science-being), a concrete thing; nor, again, does Song, a Concrete Thing, correspond with Art, an Abstract Conception, but with Human Product or Doing, a concrete thing. Song is again but the lowest and simple expression for that combination of Music and Oral Expression, aided by Action, to which the Italians, full of instinct for Art, have given the name Opera, The Work par excellence, the culmination of Art in Movement and Sound. This word, from the Latin, opus, operari, work, to work, connects in idea with the Greek [Greek: poiheô], and the whole with Action and Art. This last relationship accounts beautifully for the fact that the words poetry, poesy, and poet should be derived from the Greek word [Greek: poiheô], which signifies simply TO DO.

The first threefold division of Language and of The Universe, both brought into a parallelism in the Concrete—the three ascending Stories of each Edifice, so to speak, when compared with each other—appear then as shown in the table below:

Language.The Universe.
3. Song.3. Human Achievement.
2. Music.2. Man.
1. Oral Speech.1. The World.

Oral Speech is the agglomerism of Sound, conceived of as roundish or in the lump, as an undifferentiated Oneness or mass; and, when wholly unarticulated, it is the Bawl, a mere orthographical variation of Ball; that is to say, it is, to the imagination, Globe-shaped, or World-shaped. It is the concrete or massive world of Language or Speech.

Music is the Strain or the Abstractism of Sound. To strain means TO DRAW. Ab-stract is from the Latin ab, FROM, and strahere, TO DRAW. The idea is not here roundish, as in the other case, but elongate; sound made into a strain, a cord, or a string, equivalent to a line, which is the subject of measure-ment, by notes (or points) and intervals. The line, with its twoness of determination and extremity, has a relation to the number Two, like that which the ball or globe has to the number One. The line is at the same time the type of The Abstract, the Domain of Science, and hence of Science, and of Knowledge, and again, in the concrete, of Man, the Knowledge-being. The ball (bawl) is at the same time the type of The Concrete (con, with, crescere, TO GROW; THE GROWN TOGETHER, or AGGLOMERATE-world), and hence of Nature, and again in The Concrete, of The World, as contrasted with Man.

Song is the measure of the strain and the mingle of the bawl again commingled with each other, in a composite blending of The Measured and The Free. As the Composity of that which has for its numerical type Two, with that which has for its numerical type One, the proper numerical type of Song is Three; or thus:

Language.Number.
3. Song,Three.
2. Music,Two.
1. Oral Speech,One.

These numerical analogues can only be adverted to here, and their meaning may not be very distinctly perceived. Their full exposition and that of their immense importance as principles and guides in the domain of analogy must be treated of elsewhere.

Rhythm is the measure of the strain. Music is the mingled measure of many strains. Song is the higher mingling of music with the bawl (the phonos, or the material of Oral Speech).

Measure is the analogue of Science, and hence Music is another such analogue. Men-s, MIND, and men-sura, MEASURE, are etymologically cognate words; so the English words MEAN-ing, THE MIND that is in a thing, and MEAN, the average or measure, or the dia-meter, or through-measure of a thing. Again, the concrete analogue of Science (Knowledge, Mind, The Abstract, etc.) is, as we have seen, Man. Men-s, man, hu-man-us, are again, probably, etymologically cognate to homo, hominis, hoc men-s, as hodie is to hoc or hæc dies.