6. As figure is a conception solely appropriate to space, there is also a conception which peculiarly belongs to time, namely, the conception of recurrence of times similarly marked; or, as it may be termed, {136} _rhythm_, using this word in a general sense. The term rhythm is most commonly used to designate the recurrence of times marked by the syllables of a verse, or the notes of a melody: but it is easy to see that the general conception of such a recurrence does not depend on the mode in which it is impressed upon the sense. The forms of such recurrence are innumerable. Thus in such a line as Quádrupedánte putrém sonitú quatit úngula cámpum, we have alternately one long or forcible syllable, and two short or light ones, recurring over and over. In like manner in our own language, in the line At the clóse of the dáy when the hámlet is still, we have two light and one strong syllable repeated four times over. Such repetition is the essence of versification. The same kind of rhythm is one of the main elements of music, with this difference only, that in music the forcible syllables are made so for the purposes of rhythm by their length only or principally; for example, if either of the above lines were imitated by a melody in the most simple and obvious manner, each strong syllable would occupy exactly twice as much time as two of the weaker ones. Something very analogous to such rhythm may be traced in other parts of poetry and art, which we need not here dwell upon. But in reference to our present subject, we may remark that by the introduction of such rhythm, the flow of time, which appears otherwise so perfectly simple and homogeneous, admits of an infinite number of varied yet regular modes of progress. All the kinds of versification which occur in all languages, and the still more varied forms of recurrence of notes of different lengths, which are heard in all the varied strains of melodies, are only examples of such modifications, or configurations as we may call them, of time. They involve relations of various portions of time, as figures involve relations of various portions of space. But yet the analogy between rhythm and figure is by no means very close; for in rhythm we have relations of quantity alone in the parts of time, whereas in figure we have {137} relations not only of quantity, but of a kind altogether different,--namely, of position. On the other hand, a _repetition_ of similar elements, which does not necessarily occur in figures, is quite essential in order to impress upon us that measured progress of time of which we here speak. And thus the ideas of time and space have each its peculiar and exclusive relations; position and figure belonging only to space, while repetition and rhythm are appropriate to time.