This paper's main goal is to show that rhythm can be defined and understood, in Peircean terminology, as iconic self-reference. This bears the immediate consequence that rhythm offers a way of –temporarily– escaping the process of unlimited semiosis (CP 2,303; 2,92). Within rhythm, iconic self-reference may create a recurrency of likenesses, suspending further reference to any third element external to rhythm. This paper will argue that some well known cognitive and emotional consequences of rhythm stem from this phenomenon, as semiotically defined here. In order to maintain consistency, I set a Peircean theoretical framework for this paper.