The Physical Basis of Rime

Abstract

The history of rime reveals an interesting coincidence. Rime was practically unknown to the ancients. It probably originated in the early mediaeval Latin of the age of Tertullian (155-222) in connection with the choral singing in the Christian churches, and came to prominence in the poetry of troubadours, precisely at the time when the modern European music came into existence. It is well known that the troubadours produced the first learned musicians in Europe. In the thirteenth century Adam de la Halle wrote his celebrated play, “Jeu de Robin et Marion,” which is considered as the first example of pastoral play and comic opera in France, and is—according to Suchier—the oldest musical play in Europe. At the same time it is one of the first dramatic experiments in which rime is extensively used. It was not before the fifteenth century, however, that rime was universally accepted throughout Northern Europe as a powerful device of literary expression. And at the same time, i.e., in the first half of the fifteenth century, John Dunsdale, an Englishman, invented counterpoint, and through his musical compositions acquired an international reputation. Thus our European sense for rime appears to have been trained in the great school of music. The origin of rime coincides with the origin of modern harmony.