fulfilled, both in associative or discoursive, and in imitative or dramatic, elocution can be made to apply to music; and first to the elements entering into rhythm, namely, duration and force. Considering duration for a little without reference to force, it is evident that, from noticing the absolute or relative time of movements in what we hear and see in nature, we can learn that of which, both in words and deeds, a fast pace and a slow pace are indicative; and that we can infer from this that of which rapid sounds and slow sounds are indicative. Through the aid of this test, we find that rapidity is indicative, by way of association, of moods that are joyous or mirthful; or, as applied to special thoughts or feelings, of such as seem deserving of only brief consideration, because they are light and trifling; and, as applied to natural effects influencing such moods, that it is indicative, by way of comparison or imitation, of those actually exhibiting quick motion. Slowness, on the contrary, is indicative of grave and serious moods; of thoughts and feelings worthy of long consideration, therefore, of dignity and importance; and of natural effects that exhibit a retarded motion.

What has been said hardly needs illustration. Everyone can recall the general difference in rapidity between ordinary dance-music as it is termed, and church music; or between a hornpipe and a hymn; and he knows, too, that this difference is determined by the fact that the former represent by way of association, joyous, mirthful, light, trifling moods and that the latter represent the opposite. The same fact will be recognized almost as readily to be true of movements designed to be representative not so much of moods, i. e., of thoughts and feelings, as, by way of comparison or imitation, of outward material effects. To prove this, take some of the motives, as they

are termed, of the operas of Wagner, from whom, as not only the most modern but the most prominent of representative composers, it is appropriate that the most of our illustrations with reference to this subject should be drawn. Fortunately, too, these motives have been put into such forms of notation and given such titles that no one need hesitate in a treatise like this to point to them as authoritative. Without further acknowledgment, it is enough to say that those that are to be used in the pages following, are to be found, in the form in which they are presented and with the titles assigned to them, either in the "Guide through the Music of Richard Wagner's Ring of the Nibelung" of Hans Von Wolzogen, or else in the "Wagner's Tristan und Isolde" of Gustav Kobbé. Here, to begin with, is (1) the " Motive of Loge," the spirit of flame, taken from "The Rhinegold." Notice the appropriate

ness, not so much now of the alternating upward and downward directions of pitch, to which reference will be made hereafter, as of the rapid motion through which the flickering and fluttering of the flame is represented.

Notice the equal appropriateness of the slow time given to the "Motive of the Love of Death," in "Tristan und Isolde ": (2.).

8

No. 2.

Passing on now to force, there is no difficulty in finding what it too, represents, through observing the manifestations of it in nature. Great force, involving loudness of tone, indicates, of course, great energy, either of body or of mind; as in expressions of earnestness, strength, self-assertion, vehemence. Notice the music on page 272 in Chapter III., numbered 28 and 29. For an analogous reason, slight force involving softness of tone, indicates the opposite, i. e., little energy, as in expressions of indifference, weakness, gentleness, mildness. Notice the music. numbered 9 and 81. In addition to this, it follows, as a matter of course, that great force represents that which has a loud sound, or is so vast in size that its sound would be loud if it produced any; and that slight force represents that which has a soft sound, or is so small that it would have this if it produced any. Notice the music numbered 14 and 16.

The most important use of force in music, however, and the same is true of duration, is in cases in which both of these elements combine in order to produce effects of rhythm; in cases, that is, in which neither duration nor

force is general or absolute but special or relative, different notes that follow one another being distinguished by different degrees of length and loudness. It is in rhythm,, too, that the representative features of both elements become most apparent.

A full discussion of the different kinds of rhythm, or of the significance of each kind of it, is not needed here. The former subject is discussed in Chapters I. to VI. of

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Rhythm and Harmony in Poetry and Music," and the latter subject in Chapters IV. to VIII. of "Poetry as a Representative Art." In this place, it suffices to say that rhythm is produced by accenting-sometimes through duration alone, sometimes through force alone, but usually through both in combination-certain tones separated from one another by exactly the same intervals of time. In music these accented tones, as a rule, begin measures. They are the tones immediately following the perpendicular lines termed bars in the music below. In poetry, the accents are sometimes at the ends, and sometimes in the middles of the measures.

With reference to the significance of rhythm, it may be said that when it is regular and strongly accented, like the steady pace and tread of a vigorous man or of a file of soldiers, it indicates conceptions like those of buoyancy and exhilaration, as in the galop (3):

Ah! Ah! Ah!

No. 3.

-Tout a la Joie: Phil. Fahrbach.

Of confidence and triumph, as in the Marseillaise Hymn, (see music No. 28) or in the ordinary march (4):

f

No. 4.

-Among Comrades March: Carl Faust.

Also of self-poise and dignity, as in the minuet (5):

Andante.

f

No. 5.

-Minuet de la Cour: C. Coote.