I have mentioned that rhythm contributes in no small degree to dignified and impressive composition; and I will treat of this point also. Let no one suppose that rhythm and metre belong to the science of song only; that ordinary speech is neither rhythmical nor metrical; and that I am going astray in introducing those subjects here.
In point of fact, every noun, verb, or other part of speech, which does not consist of a single syllable only, is uttered in some sort of rhythm. (I am here using “rhythm” and “foot” as convertible terms.) A disyllabic word may take three different forms. It may have both syllables short, or both long, or one short and the other long. Of this third rhythm there are two forms: one beginning in a short and ending in a long, the other beginning in a long and ending in a short. The one which consists of two shorts is called hegemon or pyrrhich, and is neither impressive nor solemn. Its character is as follows: —
Pick up the limbs at thy feet newly-scattered.
That which has both its syllables long is called a spondee, and possesses great dignity and much stateliness. Here is an example of it: —
Ah, which way must I haste? — had I best flee
By this path? or by that path shall it be?
That which is composed of a short and a long is called iambus if it has the first syllable short; it is not ignoble. If it begins with the long syllable, it is called a trochee, and is less manly than the other and more ignoble. The following is an example of the former: —
My leisure serves me now, Menoetius’ son.
Of the other: —
Heart of mine, O heart in turmoil with a throng of crushing cares!
These are all the varieties, rhythms, and forms of disyllabic words. Those of the trisyllabic are distinct; they are more numerous than those mentioned, and the study of them is more complicated. First comes that which consists entirely of short syllables, and is called by some choree (or tribrach), of which the following is an example: —
Bromius, wielder of spears,
Lord of war and the onset-cheers.
This foot is mean and wanting in dignity and nobility, and nothing noble can be made out of it. But that which consists entirely of long syllables — molossus, as the metrists call it — is elevated and dignified, and has a mighty stride. The following is an example of it: —
O glorious saviours, Zeus’ and Leda’s sons.
That which consists of a long and two shorts, with the long in the middle, bears the name of amphibrachys, and has no strong claim to rank with the graceful rhythms, but is enervated and has about it much that is feminine and ignoble, e.g. —
Triumphant Iacchus that leadest this chorus.
That which commences with two shorts is called an anapaest, and possesses much dignity. Where it is necessary to invest a subject with grandeur or pathos, this foot may be appropriately used. Its form may be illustrated by —
Ah, the coif on mine head all too heavily weighs.
That which begins with the long and ends with the shorts is called a dactyl; it is decidedly impressive, and remarkable for its power to produce beauty of style. It is to this that the heroic line is mainly indebted for its grace. Here is an example: —
Sped me from Ilium the breeze, and anigh the Ciconians brought me.
The rhythmists, however, say that the long syllable in this foot is shorter than the perfect long. Not being able to say by how much, they call it “irrational.” There is another foot having a rhythm corresponding to this, which starts with the short syllables and ends with the “irrational” one. This they distinguish from the anapaest and call it “cyclic,” adducing the following line as an example of it: —
On the earth is the high-gated city laid low.
This question cannot be discussed here; but both rhythms are of the distinctly beautiful sort. One class of trisyllabic rhythms still remains, which is composed of two longs and a short. It takes three shapes. When the short is in the middle and the longs at the ends, it is called a cretic and has no lack of nobility. A sample of it is: —
On they sped, borne on sea-wains with prows brazen-beaked.
But if the two long syllables occupy the beginning, and the short one the end, as in the line
Phoebus, to thee and the Muses worshipped with thee, the structure is exceptionally virile, and is appropriate for solemn language. The effect will be the same if the short be placed before the longs; for this foot also has dignity and grandeur. Here is an example of it: —
To what shore, to what grove shall I flee for refuge?
To the former of these two feet the name of bacchius is assigned by the metrists, to the other that of hypobacchius. These are the twelve fundamental rhythms and feet which measure all language, metrical or unmetrical, and from them are formed lines and clauses. All other feet and rhythms are but combinations of these. A simple rhythm, or foot, will not be less than two syllables, nor will it exceed three. I do not know that more need be said on this subject.