DKEAMS AND ILLUSIONS. 303 



a distinction between song and ordinary speech. The 

 first simple instruments which we have described only 

 made the song, shout, war-dance, or religious cere- 

 mony more effective. 



When chanted speech was formulated in a fixed 

 order by means of rhythm and the modulations of 

 the voice, it became verse, and the melody itself, as 

 the simple expression of the song which had been 

 cast into verse, or even into an inarticulate chant, 

 was naturally evolved from it. An artistic education 

 is not needed in order to experience the pleasure of 

 rli3 7 thmic order in the succession of sound, for a pre- 

 disposition of the nervous system will suffice. Savages, 

 children, and even animals are sensible of rhythm, 

 which is the order and symmetry of sensations. The 

 dance, as Beauquier justly observes, is the practical 

 form of rhythmic motion and the gesture of music. 

 The motion impressed by sound on the internal or- 

 ganism tends to manifest itself in external gesture, 

 and in fact, the rhythm of the music is repeated in 

 dancing in the limbs and in the whole body of the 

 dancer. The rhythm, regarded in its material cause, 

 need not be accompanied by any very musical sound. 

 The percussion instruments were at first only used to 

 mark and intensify the rhythm. 



Melody may be termed a fusion of rhythm and 

 sounds of different pitches, united in time, and 

 assuming a regular and symmetrical form; melody, 



as others also have observed, constitutes the whole 

 14 



