that which is seen must be separated from other things by outlines. This is the same as to say—and here we may refer to the chart on page 3—that what we hear must have a certain limit of duration indicated by pauses in the sound; and that what we see must have a certain limit of extension indicated by lines. How shall the artist determine what these limits shall be? Fortunately, in the more important regards, nature herself has determined them. As for poetry and music, they are both developed, primarily, from methods of using the human voice, in the one case in speech, in the other in song; and, secondarily, from methods in which sounds external to man are produced. But whenever the human voice is used, pauses are used, both at comparatively short intervals, after separate words and notes, and also at longer intervals where it is necessary for the lungs to draw in air; and whenever sounds that are not produced by the human voice are heard, they too are separated by intervals of silence. Painting, sculpture, and architecture, again, are developed from the methods in which men use or perceive objects in the external world. All of these have outlines. not only separating them from other objects, but generally also separating their own constituent parts from one another. What more natural than that the artist should accept such arrangements of things heard or seen in nature, and should let them determine, according to methods of imitation, the relative duration or extension that shall be manifested in his works? As a fact, we know that this is exactly what he does do.

Duration and extension, however, are not the only conditions that the artist must consider. As shown in "Poetry as a Representative Art," Chapter III., sounds may differ not merely in duration or the quantity of time

that they fill; but also in force, or the stress with which they are produced, making them loud or soft, abrupt or smooth, etc.; in quality, making them sharp or round, full or thin, aspirate or pure, etc.; and in pitch, making them high or low, or rising or falling in the musical scale. Sights, too, may differ in analogous ways, i. e., not merely in extension or the quantity of space that they fill, which is the same thing as size; but also in contour, which is the same thing as shape, and is shown by the appearance of forcible or weak lines of light and shade; in quality of color, which has to do with their tints and shades and mixtures; and in pitch of color, which is determined by the hue.

In addition to merely stating these facts, it may be well to enlarge upon one or two of them. Notice, for instance, how true it is that force which gives emphasis to sounds, rendering them more distinct from one another than would be the case without it, corresponds to light and shade, which emphasize and render more distinct the contour through which one portion of space having a certain shape is clearly separated from another. Notice, also, that accented and unaccented syllables or notes, as they alternate in time, perform exactly analogous functions to those of light and shade, as they alternate in space. The impression of form, for instance, which, so far as it results from metre, is conveyed by varying force and lack of force in connection with divisions made in time, is the exact equivalent of that impression of form, which, so far as this results from shape, is conveyed by varying light and shade in connection with divisions made in space. Notice, again, that quality and pitch are terms almost as much used in painting as in music. They will be fully explained in another volume. At present it is

enough to say that the first depends, exactly as in music, on the proportions of the combinations entering into the general effect; and that the second depends on the properties of the elements that are combined. Undoubtedly, too, it is owing partly to a subtle recognition of the correspondences just indicated that to certain effects in the arts both of sound and of sight the more general terms, tone and color, have come to be applied interchangeably.

Later on, in connection with the various divisions and subdivisions under which will be treated the different phases of form to be considered, it will be shown in what way each is influenced by the different methods which, in the chart, are represented as factors from which it is developed. Here it is sufficient to say that duration, limited by pauses in connection with force, as applied to the accents of syllables or notes, gives rise to rhythm; that extension, limited by outlines in connection with light and shade, as applied to contour or shape, gives rise to proportion; that quality and pitch of tone taken together furnish the possibility of developing the laws of the harmony of sound; and that quality and pitch of color furnish the same possibility with reference to the laws of the harmony of color. It is important to notice, too, that force or accent, while having to do mainly with rhythm, has a certain influence also upon tune, especially in poetry upon the tunes of verse, and in music especially where it is necessary to make the tune expressive of sentiment; also that, in the same way, light and shade, while having to do mainly with proportion, have a certain influence also upon color, especially in order to interpret the meaning which a colored surface is intended to convey, as, for instance, whether it is to represent what is flat or round. Correspondingly also it is important to

notice that quality and pitch of sound are often necessary for the full effects of force as applied to rhythm; and that the same elements of color are often necessary for the full effects of light and shade as applied to proportion. In fact, when used in the same arts, the effects that are now to be considered are none of them produced exclusively according to one method or to one combination of methods, but more or less according to all of them when operating conjointly.

CHAPTER II.

RHYTHM IN NATURE, MIND, AND SPEECH: HOW DEVELOPED BY METHODS OF ART-COMPOSITION.

Rhythm as a Form of Human Expression-As Manifested in External Nature-In the Action of the Nervous System, and in that of the Mind -Results of Experiments Proving Mental Rhythmical Action; Groups Formed from Series of Uniform Sounds Of Sounds Regularly Differing in Accent or in Duration-Inferences from these Experiments-Speech as Necessitating Accent and Groups of Syllables-Larger Groups also→ Inhalation as Necessitating Pauses, and Causing Composite GroupsAdaptation of these Conditions to Secure Rhythmic Effects of Unity and Variety, through Order-Complexity, Confusion, Counteraction, Comparison, Contrast, and Complement-Principality and Subordination-Congruity, Incongruity, and Comprehensiveness-The Number of Syllables not the Basis of the Measure-Units-Nor Quantity-But Accent-Influence of Central-Point, Setting, Parallelism, Organic Form, Symmetry-Measures Constructed According to Accent-OthersPrimitive Method of Verse-Rhythm-Greek and Latin Verse-Rhythm -English and its Advantages.

ART did not originate rhythm nor the satisfaction de

rivable from it. Long before the time of the first artists, men had had practical experience of its pleasures. Long before the age of poetry, or music, or dancing, or even of fences or schoolboys, the primitive man had sat upon a log and kicked with his heels, producing a rhythm as perfect, in its way, as that of his posterity of the present who in Africa take delight in stamping their feet and clapping their hands, and in America in playing upon

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