delicate and difficult path; it lies too near the core of our
unconscious being to be susceptible of the trim regularity of rule--he
must trust his own intuitions while he studies with care what has
already been successfully done by our best poets. We may however remark
in passing that if the rhythm be abruptly broken without a corresponding
break in the flow of thought or feeling, the reader will be confused,
because the outward form has fallen into contradiction with its inner
soul, and he discerns the opposition, and knows not with which to
sympathize. Such contrarieties argue want of power or want of freedom in
the poet, who should never suffer the clanking of his rhythmical chains
to be heard. Such causeless breaks proceed from want of truth to the
subject, and prove a lack of the careful rendering of love in the
author. The poet must listen to the naive voice of nature as he moulds
his rhythms, for the ingenious and elaborate constructions of the
intellect alone will never touch the heart. Rhythm may proceed with
regularity, yet that regularity be so relieved from monotony and so
modified in its actual effects, that however regular may be the
structure of parts, what is composed of them may be infinitely various.
Milton's exquisite poem, 'Comus,' is an example of perfect rhythm with
ceaseless intricacy and great variety. It would indeed be a fatal
mistake to suppose that _proportion_ cannot be susceptible of great
variety, since the whole meaning of the term has reference to the
adjustment and proportional correspondence of _variable_ properties.

The appreciation of rhythm is universal, pertaining to no region, race,
nor era, in especial. Even those who have never _thought_ about it,
_feel_ order to be the law of life and happiness, and in the marking of
the _proportioned_ flow of time and the regular accentuation of its
_determinate_ portions find a perpetual source of healthful pleasure.