142. 
J. E. Wallace Wallin. 
As bearing on the present question, these statements indicate that both 
types of language rhythm, varying more or less with different composers, 
are felt, and make a demand upon the mind that conceives poetical 
thoughts and embodies itself in metrical language. Witness the terms : 
“ wordless song,” “poetic accents,” “verbal music, without words,” 
“ measure paramount and “ poetic phrase,” “ sonnet form,” “verse 
form,” “verse line singing itself,” music of the lines, the line as the 
“unit of verse-composition,” as the “initial thought,” the “seed 
phrase,” feeling that the line must be “ true to its form,” and “ measure 
secondary. ’ ’ 
Deduction.—Three lines of evidence thus uniformly emphasize the im¬ 
portance of the verse interval type of meter in speech rhythm. These 
intervals may approximate better than the centroid intervals the larger 
fluctuations of attention in speaking, which alone may possess the power 
to genuinely attune and cadence the soul. May we therefore regard 
them as the primary or chief type of the rhythm of speech ? 
It is a pleasant duty to acknowledge my obligations to the subjects, to 
those answering the questionnaire, and to the editor of the Studies.