If ever he have child, abortive may he be

Prodigious and untimely brought to light.

—Richard III., i., 2 : Idem.

These show a resemblance between / and r:

Have I not heard great ord'nance in the field
And heaven's artillery thunder in the skies?
Have I not in pitched battles heard

Loud 'larums, neighing steeds, and trumpets' clang?
-Taming of the Shrew, i., 2: Idem.

The following, between g, c, ch, and th:

With some fine color that may please the eye
Of fickle changelings and poor discontents
Which gape and rub the elbows at the news
Of hurly-burly innovation.

—Henry ĮV., pt. 1, v., 1 : Idem.

For in revenge of my contempt of love

Love hath chased sleep from my enthralléd eyes.
-Two Gentlemen of Verona, ii., 4: Idem.

The following, between m and ʼn :

O let me not be mad, not mad, sweet heaven,
Keep me in temper. I would not be mad.

—King Lear, i., 5 : Idem.

And these will illustrate sufficiently what was said of the remaining letters:

Assure yourself after our ship did split,

When you and that poor number saved with you,
Hung on our driving boat, I saw your brother.

-Twelfth Night, i., 2: Idem.

And slow and sure comes up the golden year.

-The Golden Year: Tennyson.

There are also allied vowel sounds, like those in quill and quell, not and what, fat and fair, fan and fine, their and there, hall and whole, but and put, full and fool, pull and pure, lawn and loin, pool and power, pair and peer, etc. Notice, besides the assonances in the following, the resemblances between the sounds of all and down, darling and life, and tomb and sounding.

And so all the night-tide I lie down by the side
Of my darling, my darling, my life and my bride,
In her sepulchre there by the sea,
In her tomb by the sounding sea.

-Annabel Lee: Poe.

Notice in this the allied sounds of o, ou, oo, and u, as well as how appropriate all of them are to represent the cloud from which the lightnings are shot:

With iron-worded proof, hating to hark

The humming of the drowsy pulpit-drone,

Half God's good Sabbath, while the worn-out clerk
Brow-beats his desk below. Those from a throne,
Mounted in heaven wilt shoot into the dark
Arrows of lightnings. I will stand and mark.

-Sonnet to J. M. K.: Tennyson.

The method opposed to consonance which is caused by the conditions of nature is dissonance—an effect that may be illustrated, so far as it is inartistic, by the passages on pages III and 112, and so far as it is artistic, because representative of the sense, by those on pages 142 and 143. Its artistic accommodation to consonance, viewed as a form of sound, is found—in analogy to what is true of all the methods occupying corresponding places in the columns above it in the chart on page 3-in that phase of counteraction, complement, and balance, which, in this case,

is termed interchange. The function of this method as interpreted by its use in music, an art in which the effects of consonance are particularly prominent, is pointed out in Chapter XV. of "The Genesis of Art-Form," as well as in Chapter XV. of the present essay. In these places it is shown that, in passing from one chord to another, the ear, in order to preserve the unity of effect, requires the presence in both chords of the same note; and that, when, through the second chord, the music enters a different key, it requires what sometimes is, in a sense, an arbitrary introduction into the first chord of a note legitimate only to the second chord.

With this understanding of the function of interchange in music, notice in the following how, in every case, before one series of like tones is ended, another series is begun. The effect resembles-indeed it often includes-that described as complication; but it differs because containing nothing necessarily to suggest a regularity of balance, there being no order of sounds in one series which is followed exactly by an order of sounds in a succeeding series. In this passage from Milton, notice how the like sounds of f, b, s, or w, and of the p as allied to the b are thus introduced into other series coming before or after them, and introduced in such a way as to separate them from the series to which, as like sounds, they belong. Notice, also, that, as a result, the sounds of the whole passage are so blended together as to produce a general effect of unity, in exact analogy with that which is done by methods of modulation, as the term is understood, in music.

The air

Floats as they pass, fanned with unnumbered plumes.
From branch to branch the smaller birds with song

Solaced the woods and spread their painted wings."

-Paradise Lost: Milton.

In the following, one principal series beginning with further ends at fluttered; another beginning at further ends with muttered; another beginning with the first then passes on through friends to the last then; and still another, starting with more ends at nevermore.

Nothing further then he uttered; nor a feather then he fluttered,
Till I scarcely more than muttered " Other friends have flown before."
Then the bird said "Nevermore."

-The Raven: Poe.

Notice the quotation from Tennyson on page 144, as well as the following. Indeed, were it necessary, illustrations of this method could be gathered in abundance from writers of every nation.

Zwei Blumen, rief er, hört es, Menschenkinder.
Zwei Blumen blühen für den weisen Finder,

Sie heissen Hoffnung und Genuss.

-Resignation: Schiller.

་་

s of securing verse-harmony considered. In the list of ser and after consonance, we shall ss, transition, and progress—all shown presently, fulfill very imcious not only in connection with Bay. There is a kind of harmony enance; but this would give no www the common chords for a gamut wy separated as the primary, or mplimentary, for a gamut of pigw allied alliterations, assonances, or of verse. But in all three arts,

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