tten is one rhythm only
and probably Sprung Rhythm, of which I now speak.

Sprung Rhythm, as used in this book, is measured
by feet of from one to four syllables, regularly, and for
(4) particular effects any number of weak or slack syllables
may be used. It has one stress, which falls on the
only syllable, if there is only one, or, if there are more,
then scanning as above, on the first, and so gives rise to
four sorts of feet, a monosyllable and the so-called
accentual Trochee, Dactyl, and the First Paeon. And
there will be four corresponding natural rhythms; but
nominally the feet are mixed and any one may follow
any other. And hence Sprung Rhythm differs from
Running Rhythm in having or being only one nominal
rhythm, a mixed or 'logaoedic' one, instead of three,
but on the other hand in having twice the flexibility of
foot, so that any two stresses may either follow one
another running or be divided by one, two, or three
slack syllables. But strict Sprung Rhythm cannot be
counterpointed. In Sprung Rhythm, as in logaoedic
rhythm generally, the feet are assumed to be equally
long or strong and their seeming inequality is made up
by pause or stressing.

Remark also that it is natural in Sprung Rhythm for
the lines to be _rove over_, that is for the scanning of
each line immediately to take up that of the one before,
so that if the first has one or more syllables at its end
the other must have so many the less at its beginning;
and in fact the scanning runs on without break from
the beginning, say, of a stanza to the end and all the
stanza is one long strain, though written in lines asunder.

Two licences are natural to Sprung Rhythm. The
one is rests, as in music; but of this an example is
scarcely to be found in this book, unless in the _Echos_,
(5) second line. The other is _hangers_ or _outrides_ that
is one, two, or three slack syllables added to a foot and
not counting in the nominal scanning. They are so
called because they seem to hang below the line or
ride forward or backward from it in another dimension
than the line itself, according to a principle needless to
explain here. These outriding half feet or hangers are
marked by a loop underneath them, and plenty of them
will be found.

The other marks are easily understood, namely
accents, where the reader might be in doubt which
syllable should have the stress; slurs, that is loops
_over_ syllables, to tie them together into the time of
one; littl