The reactors frequently repeated the full measure several times before introducing the syncopated measure, which thus brought a series to its close. It will probably be found that in the actual construction of poetic measures the syncopated or partially syncopated foot is systematically introduced coincidently with points of rhythmical or logical pause.
[12] In connection with this work some 48,000 individual measurements were made (for the transcription of which I am indebted to the patient assistance of my wife). Half of these were measurements of the intensity of the successive reactions; the other half, of the intervals which separated them. The former series has been employed in obtaining the averages which appear in the section on the distribution of intensities; the latter in that on the distribution of durations. The determination of mean variations was made in connection with the second series only (24,000). These quantities were combined in series of single groups, and in series of two, four, eight and ten groups, and for each of these groupings severally the mean variation of the series was computed.
[13] In the second line of figures has been added the series of values of the average mean variation for all four intervals of the group.
RHYTHM AND RHYME.
BY R.H. STETSON.
I. INTRODUCTION.
The psychological theory of rhythm has its beginnings in the work of Herbart,[1] who inaugurated the treatment of rhythm as a species of time perception and suggested an explanation of its emotional effects. While Herbart had simply pointed out the effect of a whole rhythmic series in giving rise to an emotion of expectation, delay, or haste, Lotze[2] applied the principle severally to each unit group (each foot) in the rhythm, and made the emotional effect of rhythm depend on these alternate feelings of strain, expectation, and satisfaction produced by every repetition of the unit group. Vierordt[3] did the first experimental work on rhythm, determining the period of greatest regularity in the tapping of rhythms. But the first important experiments were carried on by von Brücke.[4] By tapping out rhythms on a kymograph, he determined the well-known 'Taktgleichheit' of the feet in scanned verse, and noted a number of facts about the time relations of the different unit groups. Mach[5] added to the previous knowledge about rhythm certain observations on the subjective accentuation of an objectively uniform series, and specially he noted that the process is involuntary. With a much clearer understanding of the facts of rhythm than his predecessors had had, he really provided the foundation for the theories which follow. His most important contribution, for some time overlooked, was his emphasis of the essentially motor nature of the phenomena of rhythm, and his motor theory therefor.
Many of the recent theories of rhythm are based on Wundt's analysis. The work of Wundt and Dietze,[6] was concerned with rhythmic series; but it may be noted that the 'span of consciousness' and the 'synthetic activity of consciousness' were the subjects actually under investigation. Rhythm was considered as a special temporal form of this 'psychic synthesis.' There are three different elements in a sound series, declared these writers, which contribute to this synthesis: qualitative changes, intensive changes and melodic changes. Of these the intensive changes are the most important. Every increase in intensity, that is, every beat ('Hebung') is followed by a decrease, and the next increase which follows is recognized as a repetition of the preceding beat and as the forerunner of the beat which is to follow. From this comes the synthetic power of the rhythm. Just as the simple unit groups are built up by this synthesizing power, so they in turn are combined into larger phrases and periods. The motor factor has little place in Wundt's own discussion,[7] the 'mental activity' is the all-important thing. Bolton[8] also made a very important contribution to the experimental knowledge of rhythm. His work was based entirely on Wundt's theory. His method of experimentation was accurate and his observations copious. The arrangement of his apparatus, however, led him to emphasize objective uniformity as a condition of rhythmic grouping; so that Meumann's criticism of his application of this principle to poetry is quite just. Nevertheless Bolton established the essential facts of subjective accentuation and apparent temporal displacement. It is noteworthy that he laid great emphasis on the motor aspect of rhythm, and made many careful observations on the 'motor accompaniment.' While inclining strongly to a motor interpretation he did not attempt to cut loose from the Wundtian 'apperceptive process' as the primary factor.
The most elaborate consideration of rhythm yet published is that of Meumann.[9] He avowedly worked out and defended the theory of Wundt. The only important difference is the larger place which he gave to the 'motor accompaniment,' although he was always careful to emphasize its secondary and derived character. He insisted that the 'mental activity' is always primary, and that without it there can be no rhythmization; and he opposed vigorously the motor inclinations of Mach and Bolton. It is certainly unfortunate that rhythm has always fallen into the hands of the investigators of the 'attention,' or the 'span of consciousness,' or the 'perception of time.' It is but an incident that judgments of time are often based on rhythms; and everything that Meumann has said of a 'mental prius,' or a 'synthesizing activity' in the case of rhythms, may just as well be said in the case of any coördinated act.