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Light Endings-Forms of Broken Blank Verse-Shakespeare's Use
of Run-on Lines.
PAGE
V.
ART-METHODS AS DEVELOPING STANZAS AND TYPI-
CAL VERSE-FORMS
53-89
Rhythm as so far Explained-Necessity in Each Poem of a Stand-
ard Measure or Line-Illustrating the Art-Methods of Principality,
Massing, Interspersion, Complication-Examples-Tendency to
Make Long Lines just Double the Length of Short lines-The
Couplet, through Complication and Continuity, Passes into the
Stanza-Rhythm as Related to the Tunes of Verse, and Causing
Correspondences between Lines of Verse and Lines of Vision-
Rhythm as Involving Consonance, Dissonance, Interchange, and
Gradation-Abruptness, Transition, and Progress-Slow and Fast
Progress as Represented in Poetic Rhythm-Rhythmic Possibilities
of Stanzas of Different Forms-Stanzas of Three Lines-Four-
Five-Six-Seven-Shorter Chaucerian-Eight-Nine, the Spen-
serian-Longer Chaucerian-The Sonnet-First Type of-Second
-Third-French Forms of Verse-Triolet-Rondel-Rondeau-
Kyrielle-Rondeau Redouble-Ballade-Pantoum-Villanelle-
Chain Verse-Sestina-Sicilian Octave-Virelai-Chant Royal-
Ode-Comic Effects-Incongruity between Thought and Form-In
the Form only-In Endings of Lines-In Rhymes-In Pauses.
VI.
ART-METHODS AS DEVELOPING RHYTHM IN MUSIC. 90-106
Rhythm an End aside from its Connection with Words-Music
as Developed from Song-Point of Separation between Speech
and Song Poetry and Music-Musical Measures more Compli-
cated than Poetic-Ways of Indicating Musical Notes and Rests-
Measures-Longer Divisions Corresponding to Poetic Lines-De-
veloped as in Poetry from the Art-Methods, Parallelism, etc.-The
Motive-Its Expressional Importance-The Phrase, Section, and
Period-Changes in the Period-Unity of Effect as Developed from
these Rhythmic Arrangements-Why Higher Works Find Few to
Appreciate them-Musical Measures, Like Poetic, Double and
Triple-Accent in Musical Measures-Why Poetic Measures Need
to be Distinguished in Other Ways than as Double and Triple-
Three or Six Notes as Used in the Time usually Allotted to Two
or Four-Changes of the Places of Accent in the Measures-Possi-
bility of Representing Different Effects of Movement-Typical
Forms of Rhythm-General Effect of Musical Rhythm Depends
on that of Whole Phrases, Sections, and Periods-Effects of
Rhythm very Different from those of Harmony-But the Develop-
ment of the One has Accompanied that of the Other.
VII.
ART-METHODS OF UNITY, ORDER, COMPARISON, PRIN-
CIPALITY, ETC., AS DEVELOPING POETIC HAR-
MONY.
107-120
The Terms Tone and Color are Used in both the Arts of Sound and
of Sight-Harmony a Complex Effect but a Unity-The Mind Con-
scious of the Divisions of Time Represented in Rhythm; Not
Conscious of those of Vibrations Represented in Harmony-In the
Recognition of which, the Ear and Eye Act Similarly-The Scien-
tific Knowledge of the Origin of Tone and Color did not Precede
the Artistic Use of them-Analogies between Poetry and Paint-
ing or Sculpture-Also between Architecture and Music-Poetic
Effects Dependent on Laws of Sound-Examples of Verse Con-
taining too Much Variety of Tone-Necessity for Unity of Tone-
Effects-Dependent upon the Order of the Syllables-Euphony
-Vowel- and Consonant-Sounds Easy to Pronounce-Examples
of Euphonious Words and Poems-If Difficult to Pronounce, Illus-
trate Artistic Confusion-Euphony Leading to Use of Like Sounds
According to Art-Method of Comparison-Accent as Necessitating
Art-Methods of Counteraction, Contrast, Complement-Further
Exemplification-Consecutive Tones should not be as Different
as Possible-But should not be Alike on both Accented and Un-
accented Syllables-Accented Tones can be Repeated According
to Art-Methods of Principality, but, in such cases, Subordination and Balance Require Different Unaccented Tones.
VIII.
ALLITERATION, ASSONANCE, AND RHYME
121-135
Like Effects in the Sounds of Syllables-Alliteration-In Hebrew
Poetry-In Greek, Latin, French, Italian, Spanish, German-In
Anglo-Saxon-As Used by Milton, Shakespeare, and Modern Eng-
lish Poets-Assonance-Examples, Greek, Latin, French, Italian,
Spanish, German, Anglo-Saxon, English-Two Examples from
Tennyson-Assonance Used for Rhyme-Rhyme, Place of-Its
History-Greek, Latin, Early English-Reason for it-Rules of,
First, Second, Third, Fourth, Fifth-A Correlated Chinese Style
of Composition.
IX.
COMPARISON BY WAY OF CONGRUITY, CENTRAL-POINT,
PARALLELISM, ETC., as Determining the Use
OF LIKE POETIC SOUNDS
136-146
Inartistic Effects of an Excessive Use of Alliteration, Assonance,
and Rhyme-Objections urged against Rhyme-These Forms
should not be Discarded, but Used in Accordance with the Art-
Methods: Unity, Variety, Comparison, Contrast-Congruity in
Thought as Represented in Sound-Effects-Applied to Alliteration
and Assonance-Influence of these upon Association and Memory
-Illustration-Influence of Incongruity-Of the Art-Method of
Comprehensiveness-Methods of Principality, Central-Point, Sub-
ordination, Setting, as Exemplified in Sound-Arrangements-Cor-
respondence in this Regard between Effects of Poetic and Musical
Harmony-Similar Actions of the Mind in both Arts-Parallelism
as Emphasized by Rhyme.
X.
REPETITION, ALTERNATION, CONSONANCE, INTER-
CHANGE, ETC., AS DETERMINING THE USE OF
LIKE POETIC SOUNDS
147-161
Repetition and Alternation as Influencing the Use of Alliteration,
Assonance, and Rhyme-Of Alternation as Developed from Paral-
lelism and Balance-Balancing Series of Sounds-In Whole Words
that are Alike-How these Exemplify Alternation-Balancing
Series of Sounds Alike by Alliteration or Assonance-From the
Greek, Latin, Spanish, French, German, English-Excess in this
to be Avoided-Massing as a Corrective of Excessive Balance or
REESE LIBRARY"
Alternation And Interspersion as Corrective of Excessive Massing
-Also Complication and Continuity-Poetic Examples of these
Methods-Consonance as Applied to Sounds; Phonetic-Syzygy-
Examples of the Use of Allied Consonant-Sounds-Of Allied
Vowel-Sounds-Dissonance and Interchange in Music-In Poetic
Sounds-Illustrations.
XI.
162-167
GRADATION, ABRUPTNESS, CONTINUITY, AND PROGRESS
AS DETERMINING THE USE OF LIKE POETIC
SOUNDS
Importance, in All the Arts as an Element of Harmony, of Grada-
tion-Logical Connection between it and the Use of Allied Sounds:
All Possible Syllable-Sounds can be Graded and Arranged in a
Series-So can Words, though Containing both Consonants and
Vowels-Degrees of Phonetic Gradation Determined by the Manner
of Utterance and Kinds of their Gradation by the Direction of the
Changes in Utterance: Analogies between Gradation in Words and
in the Musical Scale-Illustrations of Gradation in Verse-Espe-
cially in the Accented Syllables-Analogy between One Effect of
it and the Discord of the Seventh in Music-Variety in Verse Har-
mony as Produced by the Combination of all the Methods here
Considered-Abruptness in Verse Harmony-Transition and Pro-
gress-Examples.
XII.
ANALOGIES BETWEEN THE USE OF QUALITY AND PITCH
IN POETRY AND MUSIC
168-177
Each of these Arts Developed Independently, yet Sounds as Used
in Both are Connected-Every Vowel Has a Quality of its Own—
Also a Pitch-Not Essential for our Purpose to Know what this
Pitch is-Only the Fact-In Passing from One Word to Another
we Pass to a Different Pitch, and in Using Different Vowel- and
Consonant-Sounds together in One Word we Produce Effects Allied
to Chords-These Effects Augmented by Upward and Downward
Inflections Used in Reading, Causing Analogies to Musical Melody
and Harmony-Different Kinds of Verse-Melody Produced by
Different Arrangements of Sounds and Accents-Tunes of Verse as
Determined by the Rhythm-Illustrations-Melody and Harmony,
though Existing in both Poetry and Music, are Different in Each
Art-Every Possible Pitch of the Voice can be Used in Poetry;
Only Notes of Some Selected Pitch in Music-The Cause of this
Difference to be Found in the Difference between the Expressional
Possibilities of Articulated and Inarticulated Sounds-Early Musi-
cians did not Know All their Reasons for Constructing Musical
Scales-But, Judging by Effects, were Led, as is now Known, in
All Cases to Put together Like Partial Effects of Unlike Complex
Wholes.
XIII.
MUSICAL MELODY AND HARMOny, as DeveloPED HIS-
TORICALLY ACCORDING TO THE METHODS OF
ART-COMPOSITION
178-191
The Best Results of Quality, as Exemplified in the Human Voice
and Instruments, Produced by a Blending of Like Effects-In
Pitch, the Same is True-But to Understand the Subject Thor-
oughly, we should Know the Causes of Quality and Pitch—The
Note and Half-Note-Written Music: the Staff-Treble Clef-
Bass Clef-C Clef-Sharps and Flats-Music among the Greeks
-How Developed by Effects of Comparison, First by Way of
Congruity-The Gregorian Chant an Endeavor to Imitate the
Speaking Voice-Intonation is Based on Comparison by Way of
Repetition-Melody, Developed from this, is Based on Compari-
son by Way of Consonance: Pythagoras and the Origin of Musical
Scales-Variety, Introducing Contrast, Incongruity, Alteration,
and Dissonance, Necessitates, for Unity of Effect, Complement,
Balance, Alternation, and Interchange-Octaves, as Sung together
by the Greeks, a Form of Parallelism-Polyphonic Music, as De-
veloped from this, and from Methods of Alternation, Complication,
and Interchange-Harmonic Music Developed by a Renewed
Application of the Methods of Order, Principality, etc.-Causes
of the Rise of Harmonic Music.
XIV.
MUSICAL SCALES AS DEVELOPED BY THE ART-METHOD
OF GROUPING LIKE PARTIAL EFFECTS OF UN-
LIKE COMPLEX WHOLES
192-206
As Harmony is Developed from Melody, to Understand Music,
we must First Learn why Certain Notes are Fitted to Follow One