I was speaking of rhythmical overtones and undertones. That is to say, there is a metrical rhythm which belongs to the skilful use of metre – any good poet can manage that; but besides that there is a music which rises up into that of the rhythm or a music that underlies it, carries it as it were as the movement of the water carries the movement of a boat. They can both exist together in the same line, but it is more a matter of the inner than the outer ear and I am afraid I can't define further. To go into the subject would mean a long essay. But to give examples –
Journeys end in lovers' meeting
Every wise man's son doth know,
is excellent metrical rhythm, but there are no overtones and undertones. In
Golden lads and girls all must
As chimney-sweepers come to dust
there is a beginning of undertone, but no overtone, while the “Take, O take those lips away” (the whole lyric) is all overtones. Again
Friends, Romans, countrymen, lend me your ears;
I come to bury Caesar, not to praise him
has admirable rhythm, but there are no overtones or undertones. But
In maiden meditation fancy-free
has beautiful running undertones, while
In the dark backward and abysm of Time
is all overtones, and
Absent thee from felicity awhile
And in this harsh world draw thy breath in pain
is all overtones and undertones together. I don't suppose this will make you much wiser, but it is all I can do for you at present.
I was speaking of rhythmical overtones and undertones. That is to say, there is a metrical rhythm which belongs to the skilful use of metre – any good poet can manage that; but besides that there is a music which rises up into that of the rhythm or a music that underlies it, carries it as it were as the movement of the water carries the movement of a boat. They can both exist together in the same line, but it is more a matter of the inner than the outer ear and I am afraid I can't define further. To go into the subject would mean a long essay. But to give examples –
