in the original, or aural, versions, and vice versa. To state 
     that both music and poetry are composed of sound, 
     without specifying the degree to which this is true, 
     therefore, becomes misleadingly inadequate. The 
     difficulties of such a reduction have resulted not only in 
     categorical aesthetic confusions, but in those which 
     produced the unnecessary conflicts among traditional 
     European prosodic theories since Hellenistic times. The 
     locus classicus  of these confusions for our literary history 
     occurred in the equation of what was actually a musical 
     system (Greek metre) to a more graphic prosodic one 
     (Latin quantitative scansion). It seems to be generally 
     true that borrowed foreign literary conventions, as well as 
     revivals and adaptations of past traditions, invade the 
     linguistic structure of poetry at the written level. Any 
     thorough formalistic analysis of the structure of poetry,