The Continental Monthly, Vol. 5, No. 1, January, 1864. Various
argue want of power or want of freedom in the poet, who should never suffer the clanking of his rhythmical chains to be heard. Such causeless breaks proceed from want of truth to the subject, and prove a lack of the careful rendering of love in the author. The poet must listen to the naive voice of nature as he moulds his rhythms, for the ingenious and elaborate constructions of the intellect alone will never touch the heart. Rhythm may proceed with regularity, yet that regularity be so relieved from monotony and so modified in its actual effects, that however regular may be the structure of parts, what is composed of them may be infinitely various. Milton's exquisite poem, 'Comus,' is an example of perfect rhythm with ceaseless intricacy and great variety. It would indeed be a fatal mistake to suppose that proportion cannot be susceptible of great variety, since the whole meaning of the term has reference to the adjustment and proportional correspondence of variable properties.
The appreciation of rhythm is universal, pertaining to no region, race, nor era, in especial. Even those who have never thought about it, feel order to be the law of life and happiness, and in the marking of the proportioned flow of time and the regular accentuation of its determinate portions find a perpetual source of healthful pleasure.
If we will but think of it, we will be astonished how many ideas already analyzed we may find exhibited through rhythm. We may have: similarity, variety, identity, repetition, adaptation, symmetry, proportion, fitness, melody, harmony, order, and unity; in addition to the varied feelings of which it becomes the symbolic utterance. The Greeks placed rhythms in the hands of a god, thus testifying to their knowledge of their range and power.
Wordsworth asserts that
'More pathetic situations and sentiments, that is, those which have a greater proportion of pain connected with them, may be endured in metrical compositions than in prose.'
The reason of this seems to be that the bright beams forever raying from the Divine Sun of unity and order, shine through the measured beat of the rhythm, and are always felt as life and peace, even when their golden light is broken by the wild and drifting clouds of human woe, or seen athwart the surging and blinding mists of mortal anguish.
Rhythm lurks in the inmost heart of language, accenting our words that their enunciation may be clear and distinct; lengthening and shortening the time of our syllables that they may be expressive, emotional, and musical. Let the orator as well as the poet study its capabilities; it has more power over the sympathies of the masses than the most labored thought.
Although through the quantitive arrangement and determinate accentuation of syllabic sound, rhythm may be exquisitely manifested through language, yet in music alone does it attain its full power and wonderful complexity. For the tones are not thoughts, but feelings, and yield themselves implicitly to the loving hand which would reunite them and form them into higher unities. These passionate tones, always seeking for and surging into each other, are plastic pearls on the string of rhythm, whose proportions may be indefinitely varied at the will of the fond hand which would wreathe them into strands of symmetrical beauty; while words, the vehicles of antagonistic thought, frequently refuse to conform to the requisitions of feeling, are often obstinate and wilful, will not be remodelled, and hard, in their self-sufficiency, refuse to bear any stamp save that of their known and fixed value. Like irregular beads of uncut coral, they protrude their individualities in jagged spikes and unsightly thorns, breaking often the unity of the whole, and painfully wounding the sense of order.
The true poet overcomes these difficulties. When, in the hands of a master, they are forced to bend under the onward and impetuous sweep of the passionate rhythm, compelled to sing the tune of the overpowering emotions—the chords of the spirit quiver in response. The heart recognizes the organic law of its own life: the constant recurrence of new effort sinking but to recover itself in accurately proportioned rest, rising again in ever-renewed exertion, to sink again in ever-new repose; feeling seems clothing itself with living form, while the divine attribute, Order, marks for the ear, as it links in mystic Unity, the flying footsteps of that forever invisible element by which all mortal being is conditioned and limited: Time!
'There is no architect
Can build as the Muse can;
She is skilful to select
Materials for her plan.
'She lays her beams in music,
In music every one,
To the cadence of the whirling world
Which dances round the sun.
'That so they shall not be displaced
By lapses or by wars,
But for the love of happy souls
Outlive the newest stars.'
'OUR ARTICLE.'
'John,' said I to my husband, as he came home from business, and settled into an armchair for half an hour's rest before dinner, 'I think of writing an article for The Continental Monthly.'
'Humph!' said my husband.
Now 'humph' bears different interpretations; it may argue assent, indifference, disgust, disapprobation—in all cases it is aggressive; but this 'humph' seemed to be a combination of at least three of the above-mentioned frames of mind.
Natural indignation was about taking full possession of me, but reflection stepped in, and I preserved a discreet silence. The truth is, no man should be assailed by a new idea before he has dined, and I, having had three years' opportunity of studying man nature, met my deserts when the above answer was given. So I still looked amiable, and behaved very prettily till dinner was over, and then John, having subsided into dressing gown, slippers, easy chair, and good nature, I remarked again:
'John, I think of writing an article for The Continental Monthly.'
'How shall you begin it?' said he.
'Well, I haven't exactly settled on a beginning yet, but—'
'Exactly! I supposed so!' remarked this barbarian.
Unfortunately, he knew my weak point, for hadn't he been allowed to see a desk full of magnificent middles, only wanting a beginning and an end, and a publisher, and some readers, to place me in the front ranks of our modern essayists, side by side with 'Spare Hours,' and the 'Country Parson,' and 'Gail Hamilton?'
The fact is, I have always been brimming over with brilliant ideas on all sorts of subjects, which never would arrange themselves or be arranged under any given head, but presented a series of remarkable literary fragments, jotted down on stray bits of paper, in old account books and diaries, and even, on one or two occasions, when seized by a sudden inspiration, on a smooth stone, taken from the brook, a fair sheet of birch bark, and the front of a pew in a white-painted country church. Having been subject to these inspirational attacks for many years, I had decided to take them in hand, and, if they must come, derive some benefit from them. An idea suggested itself. Claude Lorraine, it is said, never put the figures in his landscapes, but left that work for some brother artist. Now I could bring together material for an article; the inspiration, the picturing should be mine, but John should put in the figures. In other words, he should polish it, write the introduction and the finis, and send it out to the public, as the work of 'my wife and I.'
Then a question occurred: how should we divide the honors, supposing such an article should really find its way into print? Would there not be material for a standard quarrel in the fact that neither could claim sole proprietorship? What would be John's sensation, should any one say to him: 'Mr. –, I have just been reading your wife's last article; capital thing!' and, vice versa, imagine the same thing said of me. Could I preserve amiability under such circumstances, and would not the result be, a divorce in a year, and a furious lawsuit as to the ownership of the copyright? John certainly is magnanimous, I thought, but no one cares for divided honors, and there is that middle-aged relation of his, with a figure like a vinegar cruet, and a voice as acid as its contents, who never comes here for a day without doing her best to set us by the ears, and who, in the beginning of our married life, when we did not understand each other quite so well as now, sometimes succeeded,