I can explain the preceding, in part at least, as follows:
Verse is generally marked by the signs of long and short. While they denote time or metre in the first instance, they are also used to mark what is called "rhythm." Yet, while metre and rhythm are apparently of the same order, they are, as a matter of fact, invariably of an inverse order.
We cannot produce two distinctly different expressions while breathing in one and the same direction. While we breathe for metre in one direction, we breathe for rhythm in the opposite direction.
Regarding that mode of breathing expressive of the soul, and pertaining to words in conformity with their meaning, and which, in the absence of any more significant word, I have called the "accent," it is of an altogether different order and does not conflict with these other modes of breathing.
Having stated that rhythm and accent are involuntary productions, and that metre alone is subject to the will, we must look to the metre, measure, or time for our guide in our artistic vocal performances. To this, emphasis must be added, as being likewise subject to the will.
As every language has its own time, or tempo, and cannot be properly produced except in conformity therewith, it appears to me that it should be the first aim of vocal science to ascertain the exact nature of such tempo for every separate language. When the correct time is kept, all other component parts of speech fall into line correctly and involuntarily. Just what the proportionate tempo is for English as against German vocal utterance, I am unable to say, but it is much quicker for the latter than it is for the former.
There is a duality existing between metre and rhythm: the former is voluntary, the latter involuntary. Thus, also, is there a duality between emphasis and accent, of which the former is voluntary, the latter involuntary. Every voluntary factor, not only in vocal utterance, but every voluntary factor in any artistic performance of whatsoever nature, being sustained by an involuntary counter-factor; the same as voluntary and involuntary muscles complement and sustain each other.
Not only every artistic performance, but I dare say every act or action of any kind, is of a dual nature. Every separate duality, again, being sustained by a counter-duality, every performance is sustained by four different factors.
When an act is of a material nature and belongs to the hemisphere of the abdomen, it is sustained by four counter-factors belonging to the thorax. When it is of an immaterial nature and belongs to the hemisphere of the thorax, it is sustained by four counter-factors having their seat in the abdomen. Thus every act or action consists of eight movements, or an octave of movements.