est monosyllable, however many of them may follow one another. Accordingly in such cases the dilemma seems to be presented either one principle or the other must be given up; either, in accordance with the first, we must cease attempting to emphasize the unity of the word, or, in accordance with the second, we must forego rhythm. Nevertheless we see even here how the flexibility and elasticity of organic antithesis adjusts the conflict. This is done as follows. On the one hand, the rhythmical accents of polysyllabic words are subordinated to the verbal accent, and thus arises the antithesis of primary and secondary accent,1 which forms an intermediate step between accented syllables and those wholly unaccented. On the other hand, monosyllabic words, which, besides being weak in a phonetic and rhythmical point of view, are also in their logical relation not qualified to stand alone, i.e. which, as to their import, are always joined with other words (e.g. particles of all sorts, auxiliary verbs), or by chance are construed with another, and unite with it to form one common notion, give up their accent to this other, and in pronunciation lean upon it (enclisis, etc.). The remaining incongruities (in which, in general – at least in prose, -the logical principle precedes, and the rhythmical follows, while in poetry, on the contrary, the latter decidedly preponderates) may be to a great extent harmonized by an elastic pronunciation, and so the rhythmical law be satisfied; this depends on the character of the delivery and the mood or art of the speaker. Since, according to the foregoing, the rhythmical principle unites with the logical, or with the division according to the sense, there is presented, together with the logical gradation and division, a corresponding division of

1 In Hebrew, where under the name of Metheg it is very regularly written, since the verbal accent rests universally on the latter part of the word (the last two syllables), it is throughout a preliminary accent, which may appear not only once, but very frequently, according to the number and nature of the syllables; twice, nay even three times, e.g. 2, 72, 772222, Isa. xxii. 19; , Deut. viii. 16. Similarly in English, where the secondary accent is regularly two syllables distant from the primary, and in polysyllables may recur twice, e.g. indivisible, indivisibility.

the rhythm, which brings the rise and fall of each smaller or larger logical member into parallelism with one another, by which means the stream of the discourse is broken up, in accordance with the logical division, into larger or smaller waves, from whole sentences and periods down to the single parts of the sentence and to the words, of which the former very nearly correspond to the breaths drawn in and expelled, the latter to the beating of the pulse; which rhythmical division, however, is variously limited and modified by the amount of breath inhaled, by the expense of power in the use of the voice, and by the law of rhythm. At the same time all these divisions are separated from each other by proportionate suspensions of the voice, or pauses, which, in accordance with the static law, form a series corresponding to the length of the several divisions, and are therefore in a certain sense the exponents of these, as are on the other hand the force and elevation of the rising slide in them (accents). We will now more particularly consider this division, passing in order from the smaller to the larger parts of a discourse.

1. At the first or lowest stage, where the syllabic accent assumes the character of verbal accent, the syllabic rhythm also becomes verbal rhythm, i.e. a parallelism between the accented and unaccented part of the word; this becomes, in polysyllables, especially in compound words, an antithesis between the primary and secondary accent. Furthermore,

1 In Hebrew this parallellism-conformably to the rigorously rhythmical character of the ecclesiastical elocution marked by the accentuation - is developed into a decided equilibrium between the accented syllable and the foregoing unaccented part of the word, which determines the quantity of the vocalization. On the one hand, in forms which have before the accented syllable only one open syllable, the latter is prolonged, e.g. p, Dip. On the other hand, in forms which have several syllables before the accent, the open ones are as far as possible rejected, in order to preserve the dissyllabic character; this is done unconditionally with the third syllable from the accent, as ipipy, Dabur; conditionally with the syllable next preceding, as p (with), whereas

in forms like remains. Similarly in English, where the quantity, and accordingly the pronunciation, of the same open syllables changes according as they stand alone or in pairs before the accent, c.g. déprive, dilate, prépáre, rēstōre; but déprivátion, dílătátion, prépărátion, etc.

the different position of the accent occasions likewise various forms of rhythm. If it falls on the first syllable or, at least, on the fore part of the word, and one or more syllables follow, so that the elevation precedes and the depression follows, then the rhythm is trochaic or dactylic. If however it rests on the final syllable or on the latter part of the word, so that the depression begins the measure and the elevation succeeds, then the rhythm is iambic or anapestic.. Inasmuch as in every language the accent has a general tendency towards either the fore or the latter part of the words, in each language one or the other of these movements is the prevailing one.1

2. A second stage is presented when two words, or rather two notions, are united into one compound notion, either into a sentence (in its simplest form) or a part of a sentence. Then the elevations (accents), in accordance with the law of rhythm, assume the character of intensified elevations and depressions, i.e. of high and low tones, or rather of higher and lower tones, or of the preliminary tone and the principal tone, according as the first or second word is to be emphasized. Such cases are especially the following: The construction with the genitive, as, lord' of the land, or, on the contrary, with the emphasis on the genitive, as, kingdom of God", voice' of the peo"ple; logically identical with this is the case of compound words (the status constructus of the Semitic languages), only with the order reversed, as, Volks'stim`me. Further, when similar things are paired, or put into apposition with each other, as, heav'en and earth, God' and Lord; but on the other hand, come' and see", God' the Fa"ther (in

1 In languages which, like the Sanscrit, Arabic, and Ethiopic, for the most part have weakened the words with open and short syllables, or their terminations (the present German, and still more the English), and hence draw the accent back as far as possible, the movement is principally dactylic or trochaic, as kátälä, jáktólð, oúpărăs. In others, in which, through the apocope of the vowel of the final consonant, the compound or (for other reasons) long final syllable has the accent (as in Hebrew, Syriac, and, among modern languages, in Spanish and French), the movement is generally iambic (or anapestic), cf. kātól, jiktól, mügér, (from múliěr), ănimál, (from ánímăl), solvér (from sølvěrě), sabér, savoir (from sápère).

distinction from the Son). Again, substantives with adjectives or other modifiers; as, the almighty God, God' in heaven; or, on the other hand, great' God" (exclamation). Likewise verbs, with adverbs or objects and other modifiers; as, rule' just ly, fear' God, bring to nought; or, gov'ern wise ́ly, fear' God" (not men), etc. Finally, the union of subject and predicate in one sentence (when the predicate is complete in one word or notion); as, the sun' shines, the wind' blows', letus-break' our-bands'; or the boy' lies", love' is blind". The first rhythm, that of the high and low tone, as being the one adapted to the natural course and intonation of the voice, and as constituting in itself a small rhythmical period, is the most common and prevalent. The other, being occasioned by a special emphasis of the sense (especially by antithesis), produces a tension which requires to be relieved, in order that the sentence may have a rhythmical conclusion; hence admissible only in the protasis or in a member of a longer period, not at the end of a series.1

3. A third stage is presented, when more than two notions are united into one sentence or into an extended member of a sentence. From these compound, logical members of the sentence there result compound members of the rhythm, i.e. various stages of elevation and depression, which become here really (in the strict sense) high and low tones (in a narrower sense than that described in No. 2). If they form a complete sentence (completing the sense), so that the voice

after rising sinks again to rest, then by its rise and fall it

1 Corresponding to this stage of rhythm is in Hebrew the composition of a rhythmical member out of a so-called conjunctivus and a distinctivus, also of a subordinate distinctivus with a superior. Again, in classic prosody, the dipody, according to which the iambic and trochaic rhythms were measured (also in the Latin senarius, according to Terentianus Maur., six loci, but only three ictus were counted, hence called trimeter, "scandendo binos quod pedes conjungimus "), somewhat as the Roman passûs in measuring distances are double steps. This measurement rests on the same rhythmical principle and impulse, viz. to bring two members ("feet ") into the relation of rising and falling tone. Hence its scheme is to be constructed thus: =

or

=

(Why the iambic rhythms are measured as trochees, is from a rhythmical point of view unintelligible, and seems to rest only on a conceit of Bentley).

describes a complete bow or semicircle (periodus), consisting of two segments, and having its points or the boundaries of its segments where that part of the sentence comes which is most important in relation to the sense, i.e. where the strongest verbal accent (the high tone) falls. And the height to which it rises is determined partly by the number and importance (the emphasis) of the parts of the sentence, and accordingly of the intervals between the elevations and depressions, partly by the strength of the voice. Within this bow, however, and within each of its segments, this alternate rise and fall is repeated on a smaller scale (like ripples on waves), as often as pairs of closely related words or phrases occur in it (like those given in No. 2). These are accordingly only relative elevations and depressions, in contradis tinction to the proper high and low tones which form a sphere of absolute rise and fall. As an example of a rhythmical sentence in four parts, where the rise and fall are uniform, we may take the first sentence in the Bible:

In the begin'ning created God" | the heav'en and the earth". Here the boundary between the rising and the falling part is in the word "God," each part being composed of two rhythmical members or stages in the rise and fall of the voice, each of which, taken by itself, would consist of a relatively high and low tone according to the scheme; but united into a sentence the first consists of two stages of elevation, the latter of two stages of depression, somewhat as follows:

Nevertheless those smaller distinctions of relative rise and fall are faintly traceable in connection with the more prominent ones when one pays careful attention; and hence the figure of the rhythm, in order to be exact, must assume a form somewhat like the following:

In like manner the rhythmical member, "created-God," is, properly speaking, composed of two logical members which,