The method of determining the maximal lags (as previously described) gave interesting evidence on the point at which the unity of the verse is actually felt. In the form

I.5 (34)
II.34 lag 34 34 34 34-34

as the lag increases, a point is reached at which the unity may be made to include the first foot or to ignore it. Which of these is done depends on the subject's attitude, or on the point at which the verse is brought to a close. In either case the unity, the 'pentameter feeling,' is not experienced until the end of the series unified is reached. This is the case with all the subjects.

This development of the feeling of the particular verse form only at the end of the verse, and the fact that the subject may be uncertain which form he will hear until the series has actually ceased, shows that the verse-form movement is not of such a character that the close of it may not be considerably modified. A form which may fit the pentameter can be broken off early, and become a satisfactory tetrameter. The feeling seems to depend on some total effect of the verse at the close. This effect is probably a blending of the mass-effect of the impressions received thus far, which have a definite character and feeling significance, and which form the motor disposition for the next verse. The essential thing in the determination of verse unity seems to be the dying out of the automatism, the cessation of the coördination of the cyclic movement. The rhyme, it would seem, emphasizes the close of the automatic cycle. But it is probable that satisfactory phrasing has other characteristics, and a definite form as a movement whole.

2. The Relation of the Rhyme to the Verse Pause.

Determinations of the minimal satisfactory verse pause were made with a view to comparing the minimum in unrhymed with that in rhymed verses.

The stanza used was of the following form:

I.343434p.
II.""""
III.""""

The minimal satisfactory verse pauses were:

Without Rhyme.With Rhyme.
Subject.L.64
"J.54
"Mc.64
"R.74
"B.6-73.5
"G.63.5
"Mi.6-73.25