eriod of a simple melody. He would divide it into four
motives: "Rebuke me not | in thy wrath | neither chasten me | in thy
hot displeasure," and point out as intimate a relationship between
them as exists in the Creole tune. The bond of union between the
motives of the melody as well as that in the poetry illustrates a
principle of beauty which is the most important element in musical
design after repetition, which is its necessary vehicle. It is because
this principle guides the repetition of the tone-groups that together
they form a melody that is perfect, satisfying, and reposeful. It is
the principle of key-relationship, to discuss which fully would carry
me farther into musical science than I am permitted to go. Let this
suffice: A harmony is latent in each group, and the sequence of groups
is such a sequence as the experience of ages has demonstrated to be
most agreeable to the ear.

[Sidenote: _The rhythmical stamp._]

[Sidenote: _The principle of Unity._]

In the case of the Creole melody the listener is helped to a quick
appreciation of its form by the distinct physiognomy which rhythm has
stamped upon it; and it is by noting such a characteristic that the
memory can best be aided in its work of identification. It is not
necessary for a listener to follow all the processes of a composer in
order to enjoy his music, but if he cultivates the habit of following
the principal themes through a work of the higher class he will not
only enjoy the pleasures of memory but will frequently get a glimpse
into the composer's purposes which will stimulate his imagination and
mightily increase his enjoyment. There is nothing can guide him more
surely to a recognition of the principle of unity, which makes a
symphony to be an organic whole instead of a group of pieces which are
only externally related. The greatest exemplar of this principle is
Beethoven; and his music is the best in which to study it for the
reason that he so frequently employs material signs for the spiritual
bond. So forcibly has this been impressed upon me at times that I am
almost willing to believe that a keen analytical student of his music
might arrange his greater works into groups of such as were in process
of composition at the same time without reference to his personal
history. Take the principal theme of the C minor Symphony for example:

[Music illustration]

[Sidenote: _A rhythmical motive pursued._]

This simple, but marvellously pregn