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- ART-METHODS as Developing Measure and VERSE 25-37 The Art-Methods, especially Repetition, as Causing Groups of Syllables in Measures-Double and Triple Measures-Initial, Ter- minal, Median, Compound, and Double Initial and Terminal- Significance of Each Measure-Art-Methods as Causing Groups of Measures in Lines-Hebrew Parallelism, and Greek-The Couplet -The Casura-Lines of One, Two, Three, Four, Five, Six, and More Measures-Examples of them-The Iambic Tetrameter- The Iambic Pentameter, Heroic Measure, Blank Verse-The Classic Hexameter-English Hexameter-Children of the Lord's Natural Conditions Necessitating Variety-Two Ways of Intro- ducing this into Measures-By Changing the Number of Syllables in the Measures and Lines-Examples-By Omitting Syllables Necessary to a Complete Foot-Necessity of Reading Poetry in a Way Analogous to Rendering Words in Music-Unused Possi- bility in English Blank Verse-Suggestions of it—An Example of it and a Criticism-Omitting Syllables at the Ends of Lines—Add- ing them in Rhymed Lines-In Blank Verse-Feminine and Double Endings of Lines-Examples of Regularly Metrical Lines with Syllables Omitted and Added-Changing the Numbers or the Places of Accents in the Lines-In Rhyming Verses-In Blank Light Endings-Forms of Broken Blank Verse-Shakespeare's Use PAGE Rhythm as so far Explained-Necessity in Each Poem of a Standard 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 VisionRhythm 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-FourFive-Six-Seven-Shorter Chaucerian-Eight-Nine, the Spenserian-Longer Chaucerian-The Sonnet-First Type of-Second -Third-French Forms of Verse-Triolet-Rondel-RondeauKyrielle-Rondeau Redouble-Ballade-Pantoum-VillanelleChain 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 Complicated than Poetic—Ways of Indicating Musical Notes and Rests— Measures-Longer Divisions Corresponding to Poetic Lines-Developed 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 TripleThree or Six Notes as Used in the Time usually Allotted to Two or Four-Changes of the Places of Accent in the Measures-Possibility 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 Development of the One has Accompanied that of the Other. VII. ART-METHODS OF Unity, ORDER, COMPARISON, PRIN- MONY. PAGE 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 Conscious 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 Scientific Knowledge of the Origin of Tone and Color did not Precede the Artistic Use of them-Analogies between Poetry and Painting or Sculpture-Also between Architecture and Music-Poetic Effects Dependent on Laws of Sound-Examples of Verse Containing too Much Variety of Tone-Necessity for Unity of ToneEffects-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, Illustrate 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 Unaccented 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 Anglo-Saxon-As Used by Milton, Shakespeare, and Modern English 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. PAGE IX. COMPARISON BY WAY OF CONGRUITY, CENTRAL-POINT, 136-146 OF LIKE POEtic Sounds 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 ArtMethods: 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, Subordination, Setting, as Exemplified in Sound-Arrangements-Correspondence 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- LIKE POETIC SOUNDS 147-161 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 Consonant-Sounds-Of Allied GRADATION, ABRUPTNESS, CONTINUITY, AND PROGRESS AS DETERMINING THE USE OF LIKE POETIC Importance, in All the Arts as an Element of Harmony, of Grada- 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 |