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Updated: May 28, 2025
Such massive head-lines that soon sink into platitudinous prose; such robust swinging rhythms, Emerson told Walt that he must have had a "long foreground." It is true. Notwithstanding his catalogues of foreign countries, he was hardly a cosmopolitan.
He was never tired of organizing Beethoven, Mozart, or Schumann festivals: in conducting these works he had only to let himself be carried along by the purring of the familiar rhythms. On the other hand, contemporary music was intolerable to him.
The sunshine fell from them, too, in scales of light, danced around the spaces enveloping them along with the flecks of eagle-down that floated away from their bodies with the vigors of the dance, floating away from their dark warm bodies, and their jet-blue hair. It is the incomparable understanding of their own inventive rhythms that inspire and impress you as spectator.
There are rhythms and tunes, for example, that are felt to be vulgar and base, and others that are felt to be ennobling; some music, Wagner's, for instance, is frequently called immoral; Gounod is described as enervating, Beethoven as bracing, and the like; and however absurd such comments may often appear to be in detail, underlying them is the undoubtedly well-grounded sense that various kinds of music have various ethical qualities.
Here are examples of the "c" type i.e. predominant verse rhythms, with occasional emphasis upon metrical feet: "Would you hear of an old-time sea-fight? Would you learn who won by the light of the moon and stars? List to the yarn, as my grandmother's father the sailor told it to me. * "Our frigate takes fire, The other asks if we demand quarter? If our colors are struck and the fighting done?
It is the truth of the sneer, stamped out from the black iron of the Cosmos and interwoven with mighty rhythms of sound into a fabric of splendor and beauty. And now I won't say another word. I am overwhelmed, crushed. Yes, I will, too. Let me market it for you." Brissenden grinned. "There's not a magazine in Christendom that would dare to publish it you know that." "I know nothing of the sort.
On the other hand we may regard as characteristic of Plautus, the masterly handling of the language and of the varied rhythms, a rare skill in adjusting and working the situation for dramatic effect, the almost always clever and often excellent dialogue, and, above all, a broad and fresh humour, which produces an irresistible comic effect with its happy jokes, its rich vocabulary of nicknames, its whimsical coinage of words, its pungent, often mimic, descriptions and situations excellences, in which we seem to recognize the former actor.
The small note shown in the bottom line is given very faintly in the record and seems more like a muffled exclamation than an intentionally vocalized tone. The tempo throughout is quite regular, following the indicated pulse of 92 in both the 6/8 and 2/4 rhythms. In the latter part of the song there are a number of changes between duple and triple rhythm.
We find it once more, intermingling with a certain formal strain, in Drayton's Shepherds' Sirena containing the delightful song, with its subtle interchange of dactylic and iambic rhythms, so admirably characteristic of the author of the Agincourt ballad: In this pervading impulse of pure and spontaneous pastoral the soul of what is sweet and winning in things common and familiar as our household fairies blends with the fresh glamour of early love and the dainty delights of an ideal world, where despair is only less sweet than fruition, and love only less divine than chastity, where, as Drayton frankly tells us,
Try to picture the meshwork of contending rhythms which must have been before organic nature was built up, and then let us ask, Is it conceivable, is it credible, that all this can have been the work of blind fate? Must we not feel that had there not been intelligent agency at work somewhere, other and less terrifically intricate results would have ensued?
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