
“Rhythm includes metre, but metre is a relatively small part of rhythm.”
Anatomy of Poetry (1953)
The Saviors of God (1923)
Context: Our profound human duty is not to interpret or to cast light on the rhythm of God's arch, but to adjust, as much as we can, the rhythm of our small and fleeting life to his.
Only thus may we mortals succeed in achieving something immortal, because then we collaborate with One who is Deathless.
Only thus may we conquer mortal sin, the concentration on details, the narrowness of our brains; only thus may we transubstantiate into freedom the slavery of earthen matter given us to mold.
“Rhythm includes metre, but metre is a relatively small part of rhythm.”
Anatomy of Poetry (1953)
“Our bodies hold our minds hostage to their whims and rhythms.”
Source: The Consolations of Philosophy (2000), Chapter IV, Consolation For Inadequacy, p. 122.
Source: Henry and June: From "A Journal of Love"--The Unexpurgated Diary of Anaïs Nin
Page 3 https://books.google.com/books?id=pQARAAAAIAAJ&pg=PA3.
Music: An Art and a Language (1920), Preliminary Considerations (Ch. I)
Source: Younger by the Day: 365 Ways to Rejuvenate Your Body and Revitalize Your Spirit
“The coming together of rhythm and melody bridges our cerebellum and our cerebral cortex.”
This is Your Brain on Music (2006)
The Chinese Novel (1938)
Context: A good novelist, or so I have been taught in China, should be above all else tse ran, that is, natural, unaffected, and so flexible and variable as to be wholly at the command of the material that flows through him. His whole duty is only to sort life as it flows through him, and in the vast fragmentariness of time and space and event to discover essential and inherent order and rhythm and shape. We should never be able, merely by reading pages, to know who wrote them, for when the style of a novelist becomes fixed, that style becomes his prison. The Chinese novelists varied their writing to accompany like music their chosen themes.
“Individuality and Modernity,” Essays on Individuality (Philadelphia: 1958), p. 66.