(2) Richness of effect was accomplished by those slight variations in decoration of alternates as well as the principal units. These by their vague suggestions of different combinations of similar elements, and minor differences felt but not attended to, gave a superfluity of experience which made up its peculiar richness.
(3) When the human form (or any other form of especial meaning in itself) makes the alternate unit, some variation is demanded as in keeping with its own significance, since in proportion as a thing has meaning in itself, it must not be exactly duplicated. But an invariable alternate is always supplied in the way of a frame, or background, which is felt as the real rest-phase of the rhythm, while the varying alternate forms have a place in a series of their own. Also, since such a complex attitude would be fatiguing, such series are always short, or circular, so that few units are in the field at once.
(4) Regular variations in size or content, in either major or minor which recur at fixed intervals, give a heightened rhythmical effect by making certain beats heavier than the rest. As has been stated before, the major unit holds within it the real significance of the content of the experience; the minor unit holds the secret of the rhythmic effect.
(5) Only 4 examples of the 125 were found to repeat themselves alternately with irregular variation of alternates and violation of the other principles laid down at the start. These can only be regarded as accidents, as faulty examples of art, whose virtue lies in some other part of the work as a whole, and not by any beauty they possess in themselves as repeated series.
SUMMARY
125 Illustrations.
- I. Variations in Principal Unit alone, 87
- 82 Content
- 5 Size 4 Symmetry
- 1 Rhythm
- II. Variations in Alternate Unit (and Principal Unit)
- 32 Content 11 Richness
- 9 Human figure
- 2 Rhythm
- 4 Symmetry
- 3 Different level
- 3 Disorder
- 5 Size 1 Symmetry
- 3 Rhythm
- 1 Disorder
- III. Variation in Distance
- 1 Disorder
Several questions have been raised in this discussion of variations, but one which seems directly leading from it will be considered next.
When is variation necessary in a repeated series? We have considered the numerous cases where variation is possible, and the different ways in which a series may vary according to the idea to be expressed. Moreover, what appeared to be exceptions to the rule were shown to be guided by a desire for some other effect than repetitions as such.
But when do we demand variation in a series? Is there any case where variation of the unit is not only allowable, but positively necessary to its æsthetic value?