[175]. Rudow, Verslehre und Stil der rumänischen Volkslieder, Halle, 1886, pp. 5, 28 f., 31.
[176]. Böckel, Deutsche Volkslieder aus Oberhessen ... mit kulturhistorisch-ethnographischer Einleitung (the latter a valuable collection of material), Marburg, 1885, pp. clxxxiii. f.
[177]. Mingled verse and prose has always a late, artificial manner; for example, the Satura Menippea, imitated in Latin by Varro and Petronius (Teuffel and Schwabe, Hist. Roman Literature, trans. Warr, I. 255), and claimed for the half-rhythmical portion of Swift’s Battle of the Books, by Feyerabend, Englische Studien, XI. 487 ff. Some of Feyerabend’s scanning, by the way, is highly adventurous.
[178]. Journal, 12 Mai, 1857.
[179]. De Arte Poet., I. 75.
[180]. In Grimm’s charming article on “Poetry in Law,” and in Kögel’s Geschichte der deutschen Litt. I.
[181]. Zeitschrift f. deutsche Philologie, XXIX. 405 ff.
[182]. See Norden’s Anhang on Rime, II. 810 ff. It may be noted here that the fact of which Norden makes so much, riming of inflectional endings, was pointed out by Masing, Ursprung des Reims, Dorpat, 1866, pp. 15 f.
[183]. In a review of Bücher’s Arbeit und Rhythmus; see Zeitschr. f. vergl. Litteraturgesch., N. F. II. (1897) 369 ff. This is another darling heresy,—to break up the old tradition of evolution, and to deny that dance, song, poetry, began as a single art. Yet ethnology, as it will be seen, supports this tradition; so does a study of popular poetry. Compare, too, Iliad, XVIII. 569 ff., and other commonplaces, for the classic traditions, and Aristotle’s famous passage on Origins, for older science in the case.
[184]. “Dass ... Musik aus dem Gefallen an selbst hervorgerufenen Lärm sich entwickelt hat....”