Abstract

From the Greek culture of protohistory, the notion of ῥυϑμός survives until Plato as a special kind of 'form' through which poets and philosophers can indicate the sense of measure and transformation. This is not about a 'fixed form', ῥυϑμός maintains the sense of a way 'open to transformation,' an 'opening to otherness' that is very close to law and its essence. The first aim of this contribution will be to restore the original meaning of the term ῥυϑμός and show its juridical nuances. Since the notion of rhythm is, however, part of a more recent history - particularly thanks to Henry Maldiney, who elaborated a real «Aesthetics of rhythms» - the second aim here will consist in an analysis of the Maldinian thought, in an attempt to provide some useful submissions toward an Aesthetics of Law.