the return to the keynote must take place after a like number of bars, and also at an accented part of the bar, and thus complete satisfaction is then attained. So long as this required coincidence of the satisfaction of both elements is not attained, the rhythm, on the one hand, may follow its regular course, and, on the other hand, the required notes may occur often enough, but yet they will remain entirely without that effect through which melody arises. The following very simple example may serve to illustrate this: –
Here the harmonious sequence of notes finds the keynote just at the end of the first bar; but it does not receive any satisfaction from this, because the rhythm is caught at the least accented part of the bar. Immediately afterwards, in the second bar, the rhythm has the accented part of the bar, but the sequence of notes has arrived at the seventh. Thus here the two elements of melody are entirely disunited; and we feel disquieted. In the second half of the period everything is reversed, and in the last note they are reconciled. This kind of thing can be shown in every melody, although generally in a much more extended form. Now the constant disunion and reconciliation of its two elements which there takes place is, when metaphysically considered, the copy of the origination of new wishes, and then of their satisfaction. Thus, by flattery, music penetrates into our hearts, for it presents the image of the complete satisfaction of its wishes. More closely considered, we see in this procedure of melody a condition which, to a certain extent, is inward (the harmonious) meet with an outward condition (the rhythmical), as if by an accident, – which is certainly brought about by the composer, and which may, so far, be compared to rhyme in poetry. But this is just the copy of the meeting of our
