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How many Germans know, and consider it obligatory to know, that there is ART in every good sentence—art which must be divined, if the sentence is to be understood! If there is a misunderstanding about its TEMPO, for instance, the sentence itself is misunderstood! That one must not be doubtful about the rhythm-determining syllables, that one should feel the breaking of the too-rigid symmetry as intentional and as a charm, that one should lend a fine and patient ear to every STACCATO and every RUBATO, that one should divine the sense in the sequence of the vowels and diphthongs, and how delicately and richly they can be tinted and retinted in the order of their arrangement—who among book-reading Germans is complaisant enough to recognize such duties and requirements, and to listen to so much art and intention in language? After all, one just "has no ear for it";

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