In the dactylic form, as in the second trochaic series, ratios varying from unity in one direction only were employed. The results follow:
TABLE LV.
| Ratio of Duration of 1st Group to 2d. | 2d Group Judged to be | |||||
|---|---|---|---|---|---|---|
| + | = | - | ||||
| 1.000 : 1.000 | 100.0 | per cent. | ||||
| 1.000 : 0.946 | 62.5 | " | 37.5 | per cent. | ||
| 1.000 : 0.915 | 33.3 | " | 66.6 | " | ||
| 1.000 : 0.895 | 8.3 | " | 33.3 | " | 58.3 | per cent. |
| 1.000 : 0.800 | 40.0 | " | 60.0 | " | ||
As in the preceding case, when relations of equality obtained between the two subgroups, the secondary period in every instance appeared longer than the primary. This prolongation was uniformly reported as displeasing. The distribution of values which here support psychological uniformity lies between 1.000:0.915 and 1.000:0.895, that is to say, the difference of phases is less marked than in the case of the simpler trochaic composite. This is a structural principle which penetrates all rhythmical forms. The difference in the case of both of these composites is less than in the opposition of phases within the simple group, in which for identical intensities and (practically) the same group of observers these presented the ratio 1.000:0.714. It is evident that the relative differentiation of accented and unaccented intervals due to specific variations in intensity is greater than is that of successive groups characterized by similar differences of accentual stress; and if still more extensive groups were compared it would unquestionably be found that a further approximation to equality had taken place.
In the integration of rhythmical groups this subordination of the intensive accents which characterize them is not the sole mechanism of higher synthesis with which we are presented. Another mode is the antithesis of rhythmical quantities through verse catalepsis. Such variation of the rhythmical figure can take place in two directions and in two only: by an increase in the number of constituents, giving what may be called redundancy to the measure, and by a decrease in their number, or syncopation. Each of these forms of departure from the typical figure fulfils a specific rhythmic function which determines its temporal and intensive characters, and its local position in the rhythmical sequence.
(a) Redundant Measures.—The position of such a measure is uniformly initial. On rare occasions individual observers reported an inversion of this order in the earlier portion of the series,[8] but in no case were subjectively formulated series concluded in this way; and when the objective succession ended with the redundant measure the experience was rhythmically displeasing. In accentual stress the redundant measure is of secondary rank, the chief intensity falling upon the shorter, typical groups. Variation from the type does not, therefore, unconditionally indicate a point of accentual stress, though the two are commonly connected.
In regard to the relative duration of the redundant measure the subjective reports indicate a large variability. The dactylic form appears to be slightly longer than the trochaics among which it appears; but not infrequently it is shorter.[9] These variations are probably connected with differences in stress due to the relation which the measure bears to the accentual initiation of the whole series; for this accent apparently may fall either within the redundant measure itself or on the first element of the succeeding group, thus:
, or
