  But this is only the first step of Herder’s argument.  The second step argues that just as Lessing’s division of the arts into painting and poetry is incomplete, the distinction between space and time on which the former division is based is also incomplete. This is because Lessing’s distinction leaves out the essential category of force (Kraft), and precisely this last category is essential to the effect of poetry (“First Grove,” p. 194). Herder is not particularly clear about the difference between the energy (Energie) that is displayed in music and the force that is at work in poetry, but his idea seems to be that energy is the outward manifestation, in change or motion, of underlying forces. Poetry, precisely because it employs artificial rather than natural signs, can therefore bring us closer to the reality that underlies the superficial features of objects captured by artificial signs. Thus poetry may reach not only wider but also deeper than these other arts.