The mirror., 1916-11-09
YER Sc STUDIE S: No. @
Constructive Lessons In Verse.
Rhythm:-Contnued
By Beau Esprita

Inc phenomena OF rhythm IN Cne speaking
voice is explained by Hudson Maxim the periodic
reaction of the sound producing muscles to the ten
sion produced by the emotion created by ones
thought the words in which that thought is utter
ed. That is if a thought or idea deeply,
if it stirs ones feelings to uncommon degree,
greater strain will be placed upon the muscles re-
quired to put the thought into words giving loud
tone, or higher or lower pitch to the voice.
But muscles held under strain tire and
lax and the volume of sound decreases and the voice
pitch returns to middle register neither high
low, until a change in the thought perhaps
repetition, again the emotions of the speaker,
when the sound producing muscles are tightened
again and the volume and tone of the voice change
accordingly. This is very we'll far it goes but
there is also rhythm to our speech even when the
thought to which give utterance has no particu-
lar emotional appeal and this rhythm depends upon
the volume and tone of voice required to pronounce
any given word or phrase correctly, that is, ac-
cent.
The emotional rhythm in speech of which Mr..
Maxim writes occurs on Y occasionally. whereas the
accent-rhythm is constant. To demonstrate this,
try to pronounce any simple sentence in absolute
ly fiat tone giving each letter and syllable equal
volume of sound and the pitch. You will find
that the words SO uttered are almost unintelligbe.
All verse is made up of spoken sound, of
written words which the symbols of spoken
sound; therefore verse will contain a two-fold
rhythm--the rhythm of accent, which is constant,
and emotional rhythm, which depends upon the
thought-meaning which the written spoken words
are intended to convey, and may vary greatly even
when Identical words used. TO illustrate again,
the sentence Have you a wart on the back of your
neck?' may be stressed to have half dozen
different meanings. If we say HAVE you wart
on the back of your neck?" the question is if you
really have such wart so placed. If we say Have
YOU the back of your neck?'' the question
is if is really you who has such wart If we
say Have you wART etc.," the question is if it is
really a If accent the word back" the ques-
ton is if it is really the back, and
side, of your neck that the wart is placed and if
neck is stressed the question is if is really your
neck and not your shoulder arm which the
wart is
So, in using this variant rhythm in verse, the
endeavor should be SO to group the words in
group of sentences that the falling of the
accents will clearly initiate, and reproduce, the
rhythm of the subject matter, thought
In order to be able to do this the writer
must famiiarize himself with the rhythm of his sub
jtct; and he must also be sufficiently familiar with
the characteristic rhythm of any incidental figures
objects to be able by his word grouping, to sug-
gest to the reader their differences.
very good practice in acquiring this familiar
ity with the characteristic rhythm Of different OBJ
jects movements etc., is first to count out the
rhythm of any common action, such walking, the
movements Of the hands, arms, shoulders, required
in any given task, etc.. and when you have the
rhythm definitely fixed by this counting, to fit words
to it.. Notice the difference of rhythm between
walking rapidly, to pace, and merely stroll
ing with particular destination in view. In the
instance the rhythm is very regular, and rather
rapid; in the other, the rhythm is slower and the
time varies you hesitate before crossing a
pause to give particular notice to interest
ing object Notice the difference in the rhythm of
movements between man driving nail and one
saving a board. The one is forceful, rather jerky,
and very definitely accented; the other is smoo.h
with added stress the down stroke of the saw
and a slight pause before the return. There is
ripping quality to the rhythm of wind passing
through trees caused by nnumerable reflections
from leaves and branches; while wind over field of