ELEMENTS OF SPEECH IN RELATION TO POETRY 107
cented or the unaccented, can be the cause of heightened motor
manifestation. To this effect, then, we ally the results of our
previous investigation in regard to the length of the “long”
vowels : in both cases it appears that the intentional prolonga¬
tion of a letter or syllable in consciousness is one thing, and
the reverberant effect o'f such prolongation is another. In such
cases one can at least catch a curious glimpse of the functional
nature of some phases of the introspective and motor con¬
sciousness in their overlapping parts in point of the qualitative
distinctions to be made between quantitative similars which only
an analysis from the twofold standpoint of psycho-motor
manifestations would break up out of a subtle fusion.
Mention must be made again of the form-quality of the graphs
for these first long experiments. Just as characteristic differences
had occurred in the graphs for the single lines of each of the
poets, so here the XIII experiment for any poet produced a
graph which had individuality as contrasted with the XIII of
any other poet. Likewise with the XIV experiments. Those
passages, whether XIII or XIV which had gone easily and
smoothly in the recitation also went smoothly in the motor con¬
sciousness and the dip of the graph line from first to fifth foot
was more marked than in those poets which produced other than
the above mentioned effects. In every case the motor display and
the introspectional flow showed what at least by analogy might
be called common parts. Not strange, of course, since by this
time the motor pattern of consciousness on the voluntary move¬
ment side was now paralleled by the appereeiving tendencies of
the reading and speaking consciousness.
In many cases by actual counting of the accented and un¬
accented vowels and consonants, it was not easy to see why
some off the introspective and motor effects were produced.
Frequently the very look of the page, before an attempt to
read it had been made, would suddenly “set” the motor ten¬
dencies in a very definite way, while the results of this “setting”
would conflict with the auditory side of consciousness at the
termination of the experiment. And so we had the conflict
of such things as the fusion of subliminal stimuli for the read-