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 rythm is of 

 greateft 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 object 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 diffe- 

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

 mufical, poetical and profaic. 



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

 stigate fome of the leading principles of the two firft kinds ot 

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

 fome 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. Amongfl the moderns, too, mufic and poetry are 

 frequently united ; and by this union their greateft effects are 

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

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

 and in that fituation to produce very pleafing effects. 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 

 neceffary 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 diction. 

 The rythm is frequently confidered only as an accidental 

 grace, which we are led by habit to expect in every competi- 

 tion- 



