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Up to this point we have consistently abstracted from the element of rhythm in melody. Strictly speaking, however, it is impossible to do so. The individuality of a melody is absolutely dependent on its rhythm, that is, on the relative time-value of its tones.
Attention-value and time-value are subjectively equivalent. Words which weigh with us give us pause, and we reckon in the time of the pause to make up for a deficiency in the time required to read or utter the syllables. And so time-rhythm enters as still another factor in the complex rhythm of verse. The importance of this rhythm differs, however, with the different kinds of verse.
Hair-Face had now joined us, and the four of us plunged on, we knew not whither, deeper and deeper into the swamp. Of our wanderings in the great swamp I have no clear knowledge. When I strive to remember, I have a riot of unrelated impressions and a loss of time-value. I have no idea of how long we were in that vast everglade, but it must have been for weeks.
Rhythm enters into melody to differentiate and emphasize. By means of accent and time-value, the different tones are weighted and their relative value fixed. The heavy tones assert their will with a more insistent energy; the long tones upon which we linger make a deeper and more lasting impression; while the light and short tones in contrast become points of mere passing and transition.
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