The more intently we labor17, the more intensely do we become absorbed in labor’s dumb song, until with body and mind engaged in the ecstacy of repetition, we resent an interruption of our work as we do a false note in music, and are mightily18 enamored of ourselves afterward19 for the power of application which was simply inability to desist. In this rhythm of toil20 is to be found the charm of industry. Toil has in itself no spell to conjure21 with, but its recurrences of molecular22 action, cerebral23 and muscular, are as delightful24 as rhyme.
Such of our pleasures as require movements equally rhythmic25 with those entailed26 by labor are almost equally agreeable, with the added advantage of being useless. Dancing, which is not only rhythmic movement, pure and simple, undebased with any element of utility, but is capable of performance under conditions positively27 baneful28, is for these reasons the most engaging of them all; and if it were but one-half as wicked as the prudes have endeavored by method of naughty suggestion to make it would lack of absolute bliss29 nothing but the other half.
This ever active and unabatable something within us which compels us always to be marking time we may call, for want of a better name, the instinct of rhythm. It is the ?sthetic principle of our nature. Translated into words it has given us poetry; into sound, music; into motion, dancing. Perhaps even painting may be referred to it, space being the correlative of time, and color the correlative of tone. We are fond of arranging our minute intervals of time into groups. We find certain of these groups highly agreeable, while others are no end unpleasant. In the former there is a singular regularity to be observed, which led hard-headed old Leibnitz to the theory that our delight in music arises from an inherent affection for mathematics. Yet musicians have hitherto obtained but indifferent recognition for feats30 of calculation, nor have the singing and playing of renowned31 mathematicians32 been unanimously commended by good judges.
Music so intensifies33 and excites the instinct of rhythm that a strong volition34 is required to repress its physical expression. The universality of this is well illustrated35 by the legend, found in some shape in many countries and languages, of the boy with the fiddle36 who compels king, cook, peasant, clown, and all that kind of people, to follow him through the land; and in the myth of the Pied Piper of Hamelin we discern abundant reason to think the instinct of rhythm an attribute of rats. Soldiers march so much livelier with music than without that it has been found a tolerably good substitute for the hope of plunder37. When the foot-falls are audible, as on the deck of a steamer, walking has an added pleasure, and even the pirate, with gentle consideration for the universal instinct, suffers his vanquished38 foeman to walk the plank39.
Dancing is simply marking time with the body, as an accompaniment to music, though the same — without the music — is done with only the head and forefinger40 in a New England meeting-house at psalm41 time. (The peculiar42 dance named in honor of St. Vitus is executed with or without music, at the option of the musician.) But the body is a clumsy piece of machinery43, requiring some attention and observation to keep it accurately44 in time to the fiddling45. The smallest diversion of the thought, the briefest relaxing of the mind, is fatal to the performance. ’Tis as easy to fix attention on a sonnet46 of Shakspeare while working at whist as gloat upon your partner while waltzing. It can not be intelligently, appreciatively, and adequately accomplished47 —crede expertum.
On the subject of poetry, Emerson says: “Metre begins with pulse-beat, and the length of lines in songs and poems is determined48 by the inhalation and exhalation of the lungs,” and this really goes near to the root of the matter; albeit49 we might derive50 therefrom the unsupported inference that a poet “fat and scant51 of breath” would write in lines of a foot each, while the more able-bodied bard52, with the capacious lungs of a pearl-diver, would deliver himself all across his page, with “the spacious53 volubility of a drumming decasyllabon.”
While the heart, working with alternate contraction54 and dilatation, sends the blood intermittently55 through the brain, and the outer world apprises56 us of its existence only by successive impulses, it must result that our sense of things will be rhythmic. The brain being alternately stimulated57 and relaxed we must think — as we feel — in waves, apprehending58 nothing continuously, and incapable59 of a consciousness that is not divisible into units of perception of which we make mental record and physical sign. That is why we dance. That is why we can, may, must, will, and shall dance, and the gates of Philistia shall not prevail against us.
La valse légère, la valse légère,
The free, the bright, the debonair60,
That stirs the strong, and fires the fair
With joy like wine of vintage rare —
That lends the swiftly circling pair
A short surcease of killing61 care,
With music in the dreaming air,
With elegance62 and grace to spare.
Vive! vive la valse, la valse légère!
George Jessop.
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ebb
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vi.衰退,减退;n.处于低潮,处于衰退状态 | |
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forth
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adv.向前;向外,往外 | |
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recurrences
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n.复发,反复,重现( recurrence的名词复数 ) | |
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recurrence
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n.复发,反复,重现 | |
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pendulum
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n.摆,钟摆 | |
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persistent
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adj.坚持不懈的,执意的;持续的 | |
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vibration
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n.颤动,振动;摆动 | |
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fealty
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n.忠贞,忠节 | |
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regularity
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n.规律性,规则性;匀称,整齐 | |
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intervals
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n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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notation
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n.记号法,表示法,注释;[计算机]记法 | |
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apprehend
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vt.理解,领悟,逮捕,拘捕,忧虑 | |
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baton
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n.乐队用指挥杖 | |
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perfectly
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adv.完美地,无可非议地,彻底地 | |
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impelling
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adj.迫使性的,强有力的v.推动、推进或敦促某人做某事( impel的现在分词 ) | |
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lout
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n.粗鄙的人;举止粗鲁的人 | |
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labor
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n.劳动,努力,工作,劳工;分娩;vi.劳动,努力,苦干;vt.详细分析;麻烦 | |
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mightily
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ad.强烈地;非常地 | |
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afterward
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adv.后来;以后 | |
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toil
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vi.辛劳工作,艰难地行动;n.苦工,难事 | |
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conjure
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v.恳求,祈求;变魔术,变戏法 | |
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molecular
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adj.分子的;克分子的 | |
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cerebral
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adj.脑的,大脑的;有智力的,理智型的 | |
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delightful
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adj.令人高兴的,使人快乐的 | |
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rhythmic
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adj.有节奏的,有韵律的 | |
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entailed
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使…成为必要( entail的过去式和过去分词 ); 需要; 限定继承; 使必需 | |
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positively
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adv.明确地,断然,坚决地;实在,确实 | |
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baneful
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adj.有害的 | |
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bliss
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n.狂喜,福佑,天赐的福 | |
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feats
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功绩,伟业,技艺( feat的名词复数 ) | |
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renowned
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adj.著名的,有名望的,声誉鹊起的 | |
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mathematicians
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数学家( mathematician的名词复数 ) | |
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intensifies
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n.(使)增强, (使)加剧( intensify的名词复数 )v.(使)增强, (使)加剧( intensify的第三人称单数 ) | |
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volition
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n.意志;决意 | |
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illustrated
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adj. 有插图的,列举的 动词illustrate的过去式和过去分词 | |
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fiddle
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n.小提琴;vi.拉提琴;不停拨弄,乱动 | |
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plunder
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vt.劫掠财物,掠夺;n.劫掠物,赃物;劫掠 | |
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vanquished
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v.征服( vanquish的过去式和过去分词 );战胜;克服;抑制 | |
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plank
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n.板条,木板,政策要点,政纲条目 | |
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forefinger
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n.食指 | |
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psalm
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n.赞美诗,圣诗 | |
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peculiar
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adj.古怪的,异常的;特殊的,特有的 | |
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machinery
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n.(总称)机械,机器;机构 | |
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accurately
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adv.准确地,精确地 | |
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fiddling
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微小的 | |
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sonnet
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n.十四行诗 | |
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accomplished
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adj.有才艺的;有造诣的;达到了的 | |
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determined
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adj.坚定的;有决心的 | |
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albeit
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conj.即使;纵使;虽然 | |
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derive
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v.取得;导出;引申;来自;源自;出自 | |
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scant
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adj.不充分的,不足的;v.减缩,限制,忽略 | |
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bard
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n.吟游诗人 | |
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spacious
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adj.广阔的,宽敞的 | |
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contraction
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n.缩略词,缩写式,害病 | |
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intermittently
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adv.间歇地;断断续续 | |
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apprises
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v.告知,通知( apprise的第三人称单数 );评价 | |
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stimulated
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a.刺激的 | |
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apprehending
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逮捕,拘押( apprehend的现在分词 ); 理解 | |
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incapable
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adj.无能力的,不能做某事的 | |
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debonair
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adj.殷勤的,快乐的 | |
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killing
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n.巨额利润;突然赚大钱,发大财 | |
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elegance
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n.优雅;优美,雅致;精致,巧妙 | |
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