Amongst the legitimate reasons for suspecting the correctness of a text are patent contradictions in a passage or its immediate neighbourhood, proved and inexplicable deviations from the standards for forms, constructions and usages (mere rarity or singularity is not enough), weak and purposeless repetitions of a word (if there is no reason for attributing these to the writer), violations of the laws of metre and rhythm as observed by the author, obvious breaks in the thought (incoherence) or disorderly sequence in the same (double or multiple incoherence).
These phenomena have been explained as due to later expansion, but the poem has all the appearance of being a unity, and the language, style and rhythm all point to a later age.
"Oh, please read us the rest, even if we won't understand it," they pleaded, delighted with the rhythm, and the beauty which they felt, even though they could not have explained it.
173 sqq., he considers the element of rhythm or metre in prose, and in the Orator (174-226) he returns to the subject and discusses it at length.
Propertius is a less accomplished artist and a less equably pleasing writer than either Tibullus or Ovid, but he shows more power of dealing gravely with a great or tragic situation than either of them, and his diction and rhythm give frequent proof of a concentrated force of conception and a corresponding movement of imaginative feeling which remind us of Lucretius.
The large western belt buckle at his lean waist moved with the graceful rhythm of his stride.
As Virgil marks the point of maturest excellence in poetic diction and rhythm, Ovid marks that of the greatest facility.
The result of their endeavour was immediately apparent in the new force added to French rhythm, the new pomp, richness, colouring and polish conferred upon poetic diction.
The respiratory rhythm is less frequent and the breathing less deep; the heart-beat is less frequent; the secretions are less copious; the pupil is narrow; in the brain there exists arterial anaemia with venous congestion, so that the blood-flow there is less than in the waking state.
It is characteristic of early literature that the evolution of the thought - that is, the grammatical form of the sentence - is guided by the structure of the verse; and the correspondence which consequently obtains between the rhythm and the grammar - the thought being given out in lengths, as it were, and these again divided by tolerably uniform pauses - produces a swift flowing movement, such as is rarely found when the periods have been constructed without direct reference to the metre.
It is easy to realize how such a rhythm can be modified by the reception of stimuli, and can consequently serve as the basis for the movement of the stimulated organ.
He compiled a Russian grammar, which long enjoyed popularity, and did much to improve the rhythm of Russian verse.
The two latter pictures were marked by the rhythm of line and luxury of colour which are among the most constant attributes of his art, and may be regarded as his first dreams of Oriental beauty, with which he afterwards showed so great a sympathy.
He has plenty of legends to tell us, and writes altogether in a poetical style, so that his prose seems to fall into rhythm unconsciously.
Poetry is the art of producing representations; (I) in words, rhythm and harmony (apyovia, " harmony " in the original sense); (2) of men like ourselves, or better as in tragedy, or worse as in comedy; (3) by means of narrative as in epic, or by action as in the drama.
English classics; and his attention was especially turned to the formation of sentences and to the rhythm of prose.
In this last, as in his other poetic attempts, Wolfgang showed a considerable measure of inherited or acquired ability, in his wealth of language and his easy mastery of the difficulties of rhythm and rhyme.
The same rhythm should be found in the membra which compose the sentence.
With all the majesty and stately elaboration and musical rhythm of Milton's finest prose, Taylor's styleis relieved and brightened by an astonishing variety of felicitous illustrations, ranging from the most homely and terse to the most dignified and elaborate.
At some remote date a Japanese maker of songs seems to have discovered that a peculiar and very fascinating rhythm is produced by lines containing 5 syllables and 7 syllables alternately.
He substitutes an order of words which, in respect of syntax, metre or rhythm is more familiar to him.
These were without rhyme or rhythm, but had alliteration and a parallelism resembling Hebrew poetry.
Demosthenes was especially fond of the cretic. Rhythm pervades the whole sentence but is most important at the end or clausula, where the swell of the period sinks to rest.
Other investigators had shown that Cicero's clausulae are generally variations of some three or four forms in which the rhythm is trochaic. Dr Thaddaeus Zielinski of St Petersburg, after examining all the clausulae in Cicero's speeches, finds that they are governed by a law.
Fichte cannot be said to have developed a logic, but this rhythm of thesis, antithesis and synthesis, foreshadowed in part for Fichte in Spinoza's formula, " omnis determinatio est negatio," and significantly in Kant's triadic grouping of his categories, gave a cue to the thought of Hegel.
His graceful and captivating style was imitated by IIakIm Khabbaz of Nishkptfr, a great baker, poet and quack; Aba Shuaib ~klili of HerSt, who left a spirited little song in honor of a young Christian maiden; Raunaqi of Bokhgra; Abtil-Fat,l7 of Bust, who was also a good Arabic poet; the amIr Aba l-Ilasan All AlagatchI, who handled the pen as skilfully as the sword; Umara of Merv, a famous astronomer; and Kisf, a native of the sametown, a man of stern and ascetic manners, who sang in melodious rhythm the praise of Al!
"Twelve soldierly-looking white bears" is a stroke of genius, and there is beauty of rhythm throughout the child's narrative.
The history, indeed, of many a word lies hid in its equivocal uses; and it in no way derogates from the dignity of the highest poetry to gain strength and variety from the ingenious application of the same sounds to different senses, any more than from the contrivances of rhythm or the accompaniment of imitative sounds.
It is easy to raise difficulties not only in regard to the detail in Hegel's development of his categories, especially the higher ones, but also in regard to the essential rhythm of his method.