Page:Cyclopaedia, Chambers - Volume 2.djvu/635

 RHY

( 1018 )

RIB

To fucceed in fuch kind of Verfes there muft be a Liberty of Varying the Arrangement of the Words, or of changing their Situa- tion as may beft iuit the Occafions of the Poet; of making the Subftantive either go before, or follow after the Verb* astheVerfe requires, e^c. Nownoneof the modern Tongues admitof fuch an arbitrary Situation of the Words, equally with the Antient; yet none more than the Englifb, nor lefs than the French. See Construction.

Rhymes are either fmgle, ox double, or treble j but the two laft are now difufed.

Single Rhymes are divided into perfect or whole Rhymes ; and imperfect or half Rhymes.

A whole or perfetJ Rhyme is where there is a Similitude of Sound, without any Difference; or where a thorough Identity of Sound appears in the Pronunciation of the two Syllables, not- withftandmg that there may be fome Difference in the Ortho- graphy.

An imperfetl or half Rhyme is where there is a Similitude with a Difference, either in refpecT; of the Pronunciation or the Or- thography; but chiefly the former.

In the time of S. Louis, the French began to be more exact in their Verification ; and to diftinguifh their Rhymes into Maf- culine and Feminine ; and to obferve a regular Mixture of the two, in their Verfes.

The Invention of this Mixture is ufually attributed to Marot; however 'twas Ronfard who firft practiced it with Succefs. — The Feminine Rhyme is that where the laft Syllable of the Rhyme ends with an e MuteorQuiefcent: As in Dove, Belle, dcc.Mafiuline Rhymes arc thofe of all other Words. Menage obferves that Mafculine Rhymes clofe the Periods better : But that Ferainines, being the fofrer and more languifhing, end more agreeably, efpe- cially 'in mournful Subjects.

They alio diftinguifh further between rich Rhymes, which are thofe where the two Words terminate alike, through the whole two laft Syllables, zsyquabble and rabble, &cc. — Plain Rhymes are thofe where the two rhyming Verfes fucceed immediately to each other. — Crufs Rhymes, thofe where the Verfes are fo difpofed as that the firft rhymes with the third, and the fecond with the fourth, &c.

They alio diftinguifli Normand Rhymes, Parifian Rhymes, Equi- vocal Rhymes-, &c.

RHYPTICKS, or Rypticks 3 Rhyptica, in Medicine. See Rtpticks.

RHYTHM, Rhythmus, in Mufick, the Variety in the Movements, as to the quicknefs or flownefs, length and fhort- nefs of the Notes. See Note.

Or, the Rhythmus may be defined more generally, the Pro- portion which the Parts of a Motion have to each other. See Rhythmica.

Arifiides among the antient Muficians,applies the WordRhythmus three Ways ; viz. either to immoveable Bodies, when their Parts are rightly proportioned to each other j as a well-made Statue, <&-c. or to things that move regularly, as in handfome Walking, in Dancing, in the dumb Shews of the Phantomimes, &c. or third- ly, to the Motion of Sound, or the Voice ; in which, the Ryth- mus confifts of long and fhort Syllables or Notes, join'd together in Succeflion in fome kind of order, fo as their Cadence on the Ear may be agreeable.

This, in Oratory conftitutes what we call a numerous Style, and when the Tones of the Voice are well chofen, a harmonious Stile. See Style and Numbers.

In effect, Rythmus in the general is perceivM either by the Eye or E ir ; and may either be with or wichoutMetre : But the ftrict mufical Kythm is only perceiv'd by the Ear, and cannot exift without it. — The firft, exifts without Sound, as in Dancing; in which Cafe it may be either without any Difference of Acute and Grave, as in a Drum, or with a Variety of thefe as in a Song.

The Rytbnus of the Antients, Mr. Mal*>lm obferves, was ve- ry different from the Moderns.— The Tjrmer was only that of the long and fhort Syllables of the Words and Verfes; It depend- ed altogether on the Poetry, and Wa no other Forms or Varieties than what the metrical Art affcded. The Changes therein are .none but thofe made from j ne Kind of Metrum to another, as fromjambic to Choraic & c -

In the modern M«Kk, the Constitution of the Rythmus dif- fers from that of th- Verfe, fo far, that in fetting Mufick to Words, the thing chief/ regarded is to accommodate the long and fhort Notes to sb" Syllables in fuch manner, as that the Words be well iepr-' aceci 5 and the accented Syllable of each Word fo con- fpi CUf js, that what is fung may be diftinctly underftood. See

JyLXODY.

Vofjius in his Book de Pcematum Cantu <&> viribus Rythmi, ex- tols the antient Rythmus.— Though he owns 'twas confined to the metrical Feet } yet, fo well did they cultivate their Language, ef- pecially in what relates to the Rythmus; that the whole effect of the Mufick was afcribed to it, as appears, fays he, by that faying of theirs, to «w s^ ftamxwj ft&fqs. See Music, Panto- mime, <&c. See alto Ode, &c.

Rhythm* Rhymus, or Rhyme, in the antient Poetry, was the Meafure of the Feet, or the Number and Combination of long and fliort Syllables, - call'd alio Quantity, See Quantity.

VoJJms attributes the wholeForce of theantient Mufick to their

happy Rythmus. But this is fomewhat inconceivable -. Mr. Mai* com rather takes it that the Words and Senfe of what was fung had the chief effect : Hence it was that in all the antient Mufick the greateff. Care was taken that not a Syllable of the Words ihould be loft, left the Mufick mould be (poil'd.

Pancirollus feems of this Opinion ; and the Reafon he ^ives why the modern Mufick is lefs perfect than the Antient, is, mat we hear Sounds without Words. See Musics.

Vojjws fays, that Rhythm which does not exprefs the very Forms and Figures of things, can have no effect; and that the antient poetical Numbers alone are juftly contrived for this End.— He adds, that the modern Languages and Verfe is altogether unfit for Mufick ; and that we mail never have any right Vocal Mu- fick till our Poets learn to make Verfes capable to be fung, i. e. till we new model our Languages, rcflore the antient Quantities and Metrical-feet, and banifli our ba"rbarous Rhiraes.

Our Verfes, fays he, run all as it were on one Foot,- fb that we have not any real Rythmus at all in our Poetry : He adds, that we mind nothing further than to have fuch a Number of Syllables in a Verfe, of whatever Nature, and in whatever Or- der. But this is an unjuft Exaggeration See Verse.

RHYTHMICA, Rythmice, in the antient Mufick, that Branch of Mufick which regulated the Rhythmus. See Rhyth- mus.

The Rhythmica confider'd the Motions; regulated their Mea- fure, Order, Mixture, &c. fb as to excite the Paflions, keep them up, augment, diminiih, or allay them.

jSrifiides and other antient Mufical Writers, divided artificial Mufick into Harmonica, Rhythmica, and Meirica. See Musics.

But the Rhythmic with them likewife comprehends dumb Motions, and, in effect, all Rhythmical, i. e. regular, Motion.

Porphyry divides Mufick into Harmonica, Rythmha, Metrica, Organica, Foetica, and HypocrHica. See each under its proper Ar- ticle.

The Antients feem to have had no Rhythm in their Mufick befide the long and fhort Syllables of their Words and Verfes, which were fung, and always made a Part of their Mufick,- f Q that the Rhythmica with them was only the Application of the Metrical-Feet, and the various kinds of Verfes ufed by them. — The Modern goes much further. See Rhythm.

RYTHMOP^EIA one of the Muficial Faculties, as they ar» call'd ; which prefcribes Rules tor the Motions, or Rhythm.

The antient Rhythmopmia is very defective.— We find nothing of it in the Books of the Antients but fome general Hints ; which can fcarce be call'd Rules. In their Explications there appears nothing but what belongs to the Words and Verfes of their Songs, which is a ftrong Prefumption they had no other. See Rhythm.

RIAL, or Ryal, or Real, a Coin ftruck, and Current in Spain. See Real and Coin.

Rial is alio a piece of Gold, antiently Current amon°- us for ten Shillings.

In 1 Henry VI. by Indenture of the Mint, a Pound Weight of Gold of the old Standard was coined into 45 Rials, going for ten Shillings a-piece, or a proportionable Number of hAf Rials, going at five Shillings a-piece : Or Rial Farthings, which went at 2 j- and 6d.

In 1 Henry VIII. the Gold Rial was ordered to go at its, 3^. —In 2 Eliz. Golden Rials were coined at 15*. a-piece, when a Pound Weight of old Standard Gold was to be coined into 48 Rials.— In 3 Jac. I. the Rofe Rials of Gold were coined at 30 f. a-piece, and the Spurr-Rfcls at 15*. See Money.

RIBBAND, or Ribbond, a narrow fort of Silk, chiefly ufed for Head Ornaments, Badges of Chivalry, &c See Silk.

The Knights of the Garter wear a Blue Ribbond, thofe of the Thiftle, a Green Ribbond. See Collar, Garter, & c

RIBBON, in Heraldry, is the eighth Part of aBend. See Bend.

It is born a little cut off from the out-lines of Efcutcheon; thus; He beareth Or, a Ribbon Gula.

RIBS, Cost^, in Anatomy, long, arch'd Bones; fciTuig^o form, or fuftain the inner-fides of the Thorax, or Breaft. See Bone and Thorax.

The Ribs are in Number 24; twelve on e.ich Side.— Theitf Figure is an imperfect Segment of a Circle, harder, rounder, and more incurvated towards their Articulation with the Vertebra, than at the other Extremity towards the Sternum, which is thin- ner, broader, and more ipungy.

The Ribs are divided into true,, or genuine, and fpurious. The true are the feven upper Pair, which are thus diftinguifli* ed, as forming the moft perfect Arches, and as having a ftrong- Articulation with the Sternum. See Sternum.

The five lower are call'd Notha;, or Spurious* as being fmaller, fiiorter, and more cartilaginous than the reft, and not reaching fo far as the Sternum, which makes tl eir Angulation very laxj in regard they terminate in long, foft Cartilages, which bending upwards are join'd to the upper Ribs.

On the infide of the true Ribs, except the loweft, and fome- times the next to it, runs a pretcy deep Sinus, reaching from the end towards the Spine, almoft to its Juncture with the Can tilage.

AH

lend. [-".. .'"■= | irjfi the I ]