ter IX.), can be represented in form as distinguished from thought, this also would be indicated by a series of congruous sounds, as in the first two lines of the following, accompanied by a series of incongruous sounds, as in the last lines.

And the muttering grew to a grumbling ;

And the grumbling grew to a mighty rumbling ;
And out of the house the rats came tumbling.
Great rats, small rats, lean rats, brawny rats,
Brown rats, black rats, gray rats, tawny rats,
Grave old plodders, gay young friskers,

Fathers, mothers, uncles, cousins,
Cocking tails and pricking whiskers;

Families by tens and dozens.

-The Pied Piper of Hamelin: R. Browning.

In "The Genesis of Art-Form" it was pointed out that the recognition of likeness in thought was greatly facilitated by the like arrangement of unlike forms about a central-point, itself occupied by the feature of principal interest. It was shown that the concentration of the lines or light upon this feature naturally concentrates upon it the attention of the mind. The central-point is thus a nucleus or focus of the grouping, and furnishes a clew or key to interpret that to which the other features of a composition are related, though only in thought. On page 170 of the same volume, the corespondence between this principle and the recurrence of the key-note in music was pointed out. Occasionally we find poets, unconsciously as it seems, producing a similar effect in the arrangement of poetic sounds. By emphasizing through arrangement one series of alliterations or assonances they make this the principal or central series, to which all other series in the passage are made subordinate, or are merely

3). In the following, for inin the principal words, is the ch only the majority of people .....hirteen times, five times at the and six times at its end, and nine ales. Notice also-though this observed hereafter-how the atdrawn away from the sounds, sands and u-sounds in the second

sounds in the third and fourth assonant e-sounds, in beams, sea, all these arrangements, the pasacral sound-effect of great unity, C a manner as not to give the he unnatural or artificial.

a men's good

, and #niversal peace

fight across the land,

of beams athwart the sea,

de curces of the Golden Year?

-The Golden Year: Tennyson.

her arrangement securing this unity ads used on particularly emphatic ced near the beginning, and also somehile and finally at the end of a sentence. tical with an arrangement recognized to in music, where often the key-note of a ded at these places. Each sentence in the Cructed on this principle. In the first, lowed by the our, powers, and how, and

In the second, notice repair, calamity, in the intervening clauses, the own, over,

force, and hope, which last sound, too, as arranged, might end a climax, with the re and we as the intervening

assonance.

And reassembling our afflicted powers

Consult how we may henceforth most offend
Our enemy. Our own loss how repair;
How overcome this dire calamity;

What reinforcement we may gain from hope;

If not, what resolution from despair.

-Paradise Lost, i.: Milton.

In this, notice the long a (including ei) with the intervening assonances of short a, and of or :

So were created, nor can justly accuse

Their maker or their making or their fate.

-Paradise Lost, iii.: Milton.

These connections between characteristics of harmony as produced in music and in poetry are mainly interesting as showing-what will be brought out more clearly hereafter-how analogously the mind works when securing, though unconscious of its method, either musical or poetic unity of effect. No one can fail to detect in both arts the operation of the same general principle. In both the emphatic sounds after starting at one point, circle off, as we may say, bringing in other emphatic sounds, and then after returning at intervals, at last return finally to the point from which they started. On page 105 a typical rhythm is shown to be representative of either a poetic or a musical movement; and here the same may be said to be shown of a typical series of tones.

The chief effect, in this connection, of rhyme or of assonance, when used, as indicated on page 131, instead of

rhyme, is to emphasize the parallelism (see page 3), which, as indicated on page 29 is exemplified in all versification. To perceive parallelism in unrhymed blank verses, it is often necessary to see them printed; but in successive lines ended with the same sounds, the ear recognizes it at once.

CHAPTER X.

REPETITION, ALTERNATION, CONSONANCE,

CHANGE, ETC., AS DETERMINING THE

USE OF LIKE POETIC SOUNDS.

INTER

Repetition and Alternation as Influencing the Use of Alliteration, Assonance, and Rhyme—Of Alternation as Developed from Parallelism 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 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 ConsonantSounds Of Allied Vowel-Sounds-Dissonance and Interchange in Music-In Poetic Sounds-Illustrations.

AS has been said before, and it may as well be recalled

here for the encouragement of those who may possibly have found what they consider an unnecessary amount of subtlety in the statements of the last chapter, likeness in thought by way of congruity is exemplified to only a limited extent by the use of alliteration, assonance, and rhyme. What is usually exemplified, is likeness in form by way of repetition (see page 3). What repetition is in itself needs no explanation. We need to consider only the ways in which it is modified by the natural tendencies always influencing it when nature is allowed to assert herself. These are in the direction of contrast as