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The spiritual analysis of Balzac equals the triumphant imagination of Shakespeare; and by different roads they reach the same height of tragic awe, but when improbability, which in these days does duty for imagination, is mixed with the familiar aspects of life, the result is inchoate and rhythmless folly, I mean the regular and inevitable alternation and combination of pa and ma, and dear Annie who lives at Clapham, with the Mountains of the Moon, and the secret of eternal life; this violation of the first principles of art that is to say, of the rhythm of feeling and proportion, is not possible in France.
The shells were still twinkling brilliantly, and the guns were making a rhythmless baying in the distance, like a number of alert and indignant hounds. But the Zeppelin had gone. The firing diminished and stopped.
In some measure because I have turned into rhythmless prose a line of verse which, as mere sound, has unusual beauty. But much more because in doing so I have also changed the meaning of Virgil's line. What that meaning is I cannot say: Virgil has said it.
Soft, violet eyes in which tenderness dwelt, and the strangely tall and lithe figure was emphasized by the conventional pose that pose of arm and thigh which the Greeks never wearied of. Seeing him, the mind turned from the reserve of the Christian world towards the frank enjoyment of the Pagan; and John's solid, rhythmless form was as symbolic of dogma as Mike's of the grace of Athens.
The spiritual analysis of Balzac equals the triumphant imagination of Shakespeare, and by different roads they reach the same height of tragic awe, but when improbability, which in these days does duty for imagination, is mixed with the familiar aspects of life, the result is inchoate and rhythmless folly, I mean the regular and inevitable alternation and combination of pa and ma, and dear Annie who lives at Clapham, with the Mountains of the Moon, and the secret of eternal life; this violation of the first principles of art that is to say, of the rhythm of feeling and proportion, is not possible in France.
Wagner knew this; he knew also that ecstasy, as what can only be called a static emotion, could not be expressed through the medium that serves to express only flowing currents of emotion; he himself had pointed out, that for the communication of ecstatic feeling, only polyphonic, non-climatic, rhythmless music of the Palestrina kind served; and yet, by one of the hugest mistakes ever made in art, he sought to express precisely that emotion in Parsifal's declamatory phrases.
The severity and boldness of contour, so biting in the quartet, becomes almost without significance in them. If there is such a thing as rhythmless music, would not the stagnant orchestra of the "Five Orchestral Pieces" exemplify it? The alternately rich and acidulous color is faded; an icy green predominates.
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