the different position of the accent occasions likewise various forms of rhythm. If it falls on the first syllable or, at least, on the fore part of the word, and one or more syllables follow, so that the elevation precedes and the depression follows, then the rhythm is trochaic or dactylic. If however it rests on the final syllable or on the latter part of the word, so that the depression begins the measure and the elevation succeeds, then the rhythm is iambic or anapestic. Inasmuch as in every language the accent has a general tendency towards either the fore or the latter part of the words, in each language one or the other of these movements is the prevailing one.1

2. A second stage is presented when two words, or rather two notions, are united into one compound notion, either into a sentence (in its simplest form) or a part of a sentence. Then the elevations (accents), in accordance with the law of rhythm, assume the character of intensified elevations and depressions, i.e. of high and low tones, or rather of higher and lower tones, or of the preliminary tone and the principal tone, according as the first or second word is to be emphasized. Such cases are especially the following: The construction with the genitive, as, lord' of the land, or, on the contrary, with the emphasis on the genitive, as, kingdom of God", voice' of the peo"ple; logically identical with this is the case of compound words (the status constructus of the Semitic languages), only with the order reversed, as, Volks'stim'me. Further, when similar things are paired, or put into apposition with each other, as, heav'en and earth, God' and Lord; but on the other hand, come' and see", God' the Fa"ther (in

1 In languages which, like the Sanscrit, Arabic, and Ethiopic, for the most part have weakened the words with open and short syllables, or their terminations (the present German, and still more the English), and hence draw the accent back as far as possible, the movement is principally dactylic or trochaic, as kátălă, jáktólō, σúμăros. In others, in which, through the apocope of the vowel of the final consonant, the compound or (for other reasons) long final syllable has the accent (as in Hebrew, Syriac, and, among modern languages, in Spanish and French), the movement is generally iambic (or anapestic), cf. kātál, jiktól, múgér, (from múlíěr), ănimál, (from ánímăl), solvér (from sølvěrě), sabér, savoir (from sápère).

distinction from the Son). Again, substantives with adjectives or other modifiers; as, the almighty God, God' in heaven; or, on the other hand, great' God" (exclamation). Likewise verbs, with adverbs or objects and other modifiers; as, rule' just ly, fear' God, bring to nought; or, gov'ern wise"ly, fear' God" (not men), etc. Finally, the union of subject and predicate in one sentence (when the predicate is complete in one word or notion); as, the sun shines, the wind' blows', letus-break' our-bands'; or the boy' lies", love' is blind". The first rhythm, that of the high and low tone, as being the one adapted to the natural course and intonation of the voice, and as constituting in itself a small rhythmical period, is the most common and prevalent. The other, being occasioned by a special emphasis of the sense (especially by antithesis), produces a tension which requires to be relieved, in order that the sentence may have a rhythmical conclusion; hence admissible only in the protasis or in a member of a longer period, not at the end of a series.1

3. A third stage is presented, when more than two notions are united into one sentence or into an extended member of a sentence. From these compound, logical members of the sentence there result compound members of the rhythm, i.e. various stages of elevation and depression, which become here really (in the strict sense) high and low tones (in a narrower sense than that described in No. 2). If they form a complete sentence (completing the sense), so that the voice after rising sinks again to rest, then by its rise and fall it

1 Corresponding to this stage of rhythm is in Hebrew the composition of a rhythmical member out of a so-called conjunctivus and a distinctivus, also of a subordinate distinctivus with a superior. Again, in classic prosody, the dipody, according to which the iambic and trochaic rhythms were measured (also in the Latin senarius, according to Terentianus Maur., six loci, but only three ictus were counted, hence called trimeter, “scandendo binos quod pedes conjungimus "), somewhat as the Roman passûs in measuring distances are double steps. This measurement rests on the same rhythmical principle and impulse, viz. to bring two members ("feet") into the relation of rising and falling tone. Hence its scheme is to be constructed thus: — (Why the iambic rhythms are measured as trochees, is from a rhythmical point of view unintelligible, and seems to rest only on a conceit of Bentley).

or

describes a complete bow or semicircle (periodus), consisting of two segments, and having its points or the boundaries of its segments where that part of the sentence comes which is most important in relation to the sense, i.e. where the strongest verbal accent (the high tone) falls. And the height to which it rises is determined partly by the number and importance (the emphasis) of the parts of the sentence, and accordingly of the intervals between the elevations and depressions, partly by the strength of the voice. Within this bow, however, and within each of its segments, this alternate rise and fall is repeated on a smaller scale (like ripples on waves), as often as pairs of closely related words or phrases occur in it (like those given in No. 2). These are accordingly only relative elevations and depressions, in contradis tinction to the proper high and low tones which form a sphere of absolute rise and fall. As an example of a rhythmical sentence in four parts, where the rise and fall are uniform, we may take the first sentence in the Bible:

In the beginning created God" | the heav`en and the earth". Here the boundary between the rising and the falling part is in the word “God," each part being composed of two rhythmical members or stages in the rise and fall of the voice, each of which, taken by itself, would consist of a relatively high and low tone according to the scheme; but united into a sentence the first consists of two stages of elevation, the latter of two stages of depression, somewhat as follows:

Nevertheless those smaller distinctions of relative rise and fall are faintly traceable in connection with the more prominent ones when one pays careful attention; and hence the figure of the rhythm, in order to be exact, must assume a form somewhat like the following:

T

In like manner the rhythmical member, "created-God," is, properly speaking, composed of two logical members which,

taken by themselves, would constitute a rising and a falling tone, but in this connection are united into one member with the rising inflection. By extending the members of the sentence this simple rhythm becomes complex, composed of several stages, in which case, of course, with the number of the stages their difference diminishes, and with the number of the members of the hemistich, or of one stage, their movement becomes more rapid; e.g. with three members in the part having the falling slide:

In the begin'ning created God" | the heaven and the earth' and its inhabitants.

Here the word "earth" stands in a double parallelism: "heav'en and earth," and "earth' and its inhabitants"; in the former it has the falling, in the latter, the rising slide, so that its accent would strictly be represented by (a figure which has already been used in treating of Latin and Greek accents, in cases of contraction, where an acute appears instead of a circumflex, e.g. éσTws, from ÉσTàws); its intonation is therefore intermediate between the rising slide of "heaven" and the falling slide of "inhabitants"; and so the following figure of a triple subdivision of the part affected with the falling slide is presented:

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Or, by resolving the antithesis into two parallelisms, with four members in the falling slide:

In the begin'ning created God' | the heav'en and its host', the earth' and all that is therein,

in the following scheme:

Or, as in Neh. ix. 6, three parallel sentences with six members: The heavens with all-their-host, the earth and all-things-that-are-therein, the seas and all-that-is-therein:

1 In the Hebrew original this sentence contains no genuine rising slide, because, as a single verse (period), it is, as usual, divided into two independent hemistiches, which are too small to take a rising slide.

where furthermore in each of the three parallelisms the falling part is composed of a smaller elevation and depression: "all-their-host," etc.; so that in that portion of the sentence which has the downward slide there is produced a compound rhythm having three gradations:

If, however, the expression "in the beginning" is to be emphasized, or, as in Neh. ix. 6 (where this expression does not precede), the subject, "Thou, Jehovah, alone | hast made heaven," etc., so that it alone has the rising inflection, and all the rest the downward, then the former part must rise all the higher, in order, as it were, to keep balance with the complex falling part, and to furnish the latter a sufficient height from which to fall. Thus :

In the beginning | crea'ted God the heav'en and the earth'.

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Thou alone' Jehovah | hast made' heav'en and its host`, etc. Sometimes the sentence is composed of two small ones (protasis and apodosis, etc.) with the same melody, as,

He speaks', and-it-is-done` = his command' is obeyed'.

When several notions belong logically together, as factors of a larger member of the sentence, and even when they are united in the same way (e.g. by the same grammatical construction) they separate again into pairs according to the strength of the attraction of each for the other, according to their affinities, e.g.

The voice of the blood of thy brother ||

where the words "voice of the blood" naturally belong together, but the genitive is drawn away from this connection by a second genitive still more closely connected with it. And thus, through the enlargement of a sentence, or of a part of a sentence, by the addition of new factors, there result constantly among them new groupings, and consequently modifications of the rhythm and melody; in regard to which