[68] Lubbock and Tylor have pointed out that reduplication is used much more in the speech of savages than in that of civilized peoples.
[69] Op. cit., p. 311. These citations are somewhat curtailed.—Tr.
[70] L. Beeq de Fouquières, Les jeus des anciens, Paris, 1869, p. 278.
[71] Croker’s Boswell’s Johnson, p. 215.
[72] See K. Bücher, Arbeit und Rhythmus, p. 75.
[73] In subjective rhythm, a scale which is properly without accent is, as a rule, conceived of as having some tones emphasized to mark time. See E. Meumann, Untersuchungen zur Psychologie und Aesthetik des Rhythmus (Philos. Studien, vol. x, p. 286).
[74] Loc. cit., p. 301.
[75] R. M. Meyer, Ueber den Refrain, Zeitschrift f. vgl. Litt-Gesch., i, 1887, p. 34. Marie G——, for example, sang in her seventh year, when first awakened, wólla, wólla, budscha, incessantly and melodiously.
[76] Loc. cit., p. 62.
[77] “Le rythme ... vant surtout par son effet d’entrainement,” Souriau, La suggestion dans l’art, p. 47.