Now Music has a control unrivalled among the arts over this element of rhythm. Other arts can suggest rhythm, Music actually _is_ rhythm—it is the very pulse of life. It can produce rhythm, moreover, in a great variety of ways. The mere succession of sounds is rhythm, but music also has at command the varying stresses or accents of notes, alternations in volume of sound, alternations in pitch and quality of sound. And since a sequence of notes will cling to the memory, Music can put into rhythmical relations, not only single notes, but groups of notes, _i.e._ musical phrases, and chords, which are musical phrases played all at once. Music can therefore not only thunder upon the brain with mighty shocks of sound, but can enchant it with the most delicate complexities. The range of its power over rhythm is incomparably greater and subtler than that of the only two other arts in which rhythm works directly on the senses—dancing and metrical verse. The element of beauty in a rhythmical phrase seems to depend mainly on the kind of mood it awakens. There are moods of meditation, moods of tenderness, moods of ardour, moods of yearning, moods of gaiety—all these and many more are under the control of rhythmic phrases. And there are common-place, self-assertive, bouncing rhythms which produce corresponding moods, and which may therefore be called ugly. The precise connexion of certain phrases with certain moods depending, as it does, on a world of dim associations stretching far beyond our personal, conscious life, is probably incapable of scientific statement. In the last result I think we should find that the characters of different rhythms are associated with bodily movements, attitudes, gestures, in short with dancing; but a host of other associations, branching out from this in many directions, have introduced a complexity of meaning which defies analysis.