58 On RYTHMICAL MEASURES. 



with accuracy, and to enjoy it with fenfibility. From this cir- 

 cumftance, too, we are led to conclude, that of thefe two- 

 powers, that by which we perceive and enjoy rythn\ is of 

 greatefl importance to our gratification. 



Tone is the province of the mufician alone. Rythm is 

 equally the province of the mufician and the poet. It is alfo, 

 in fome degree, an objedl of attention to the orator and profe 

 writer. Although the general principles and foundations of 

 rythm, as it takes place in the works of thefe different artifts, 

 may be nearly the fame, the particular application of thefe, and 

 the extent to which it is carried by each of them, are diflfe- 

 rent. It may accordingly be diftinguiflied into three kinds, viz. 

 mufical, poetical and profaic. 



It is propofed, in the following Eflliy, to endeavour to inve- 

 fhigate fome of the leading principles of the two firft kinds o£ 

 rythm, the mufical and the poetical, and afterwards to fubjoin 

 ibme additional remarks and illuftrations upon each of them. 



Amongst the ancients, mufic was feldom or never ufed but 

 as an auxiliary to poetry. Its rythm, therefore, was regulated, 

 in a great meafure, by that of the poetry to which it was 

 adapted. Amongft the moderns, too, mufic and poetry are 

 frequently united ; and by this union their greateft efFedls are 

 produced. As, however, mufic has been greatly cultivated and 

 improved by the moderns, it is enabled alfb to fubfill alone, 

 and in that fituation to prodvice very pleafing effedls. In this 

 feparate ftate it will be proper to confider it at prefent. And 

 here it will readily occur, that variety, within certain limits, is 

 neceflary to mufical rythm. In poetry, the proportion in du- 

 ration of fingle contiguous founds feldom exceeds that of two 

 to one. This proportion does not admit of great variety. 

 When a poem, however, is recited, the attention of the hearer 

 is chiefly engaged by the fentiments, the images and the didlion. 

 The rythm is frequently confidered only as an accidental 

 grace, which we are led by habit to expedl in every compofi- 



tioa 



