Volltext: The psycho-physiological effect of the elements of speech in relation to poetry

one to one correspondence which we have sought for in connec¬ 
tion with our study of the motor energies and the introspective 
consciousness both singly and together. 
Allied to the characteristic form-quality in the graphs for 
each individual poet, especially in the more meaningful lines 
experimented upon, is the matter of the tapped strokes as they 
appeared upon the smoked paper ribbon. After they had become 
accustomed to the tapping, every one of the subjects tapped in 
what could be called a thoroughly individual manner. Some 
of them tapped slowly and with great deliberation, thereby mak¬ 
ing a visible record of very rounded loops; others would react 
by a very quick down-stroke, followed by a slow, hesitating 
up-stroke, while still others would tap strokes that appeared on 
the paper as very fine points, or even in some cases would move 
the finger so quickly that the pointer climbed the roller on 
the up-stroke and returned with sudden relaxation of the rubber 
band in such a way as to make a loop in the smoky surface 
of the ribbon. And here lies the interesting point: that in the 
variously individual records there appeared evidence of all felt 
and unfelt changes in the emotional character of the experiments 
presented; tenseness of the vocal apparatus as well as the op¬ 
posite state could be told by the experimenter as well as by 
the subject, together with subliminal effects of one sort or 
another which the subject did not feel either in summation or 
otherwise. Illusions, also, of various character were there 
evidenced, such as temporal and numerical ones. In general, 
the qualitative and quantitative aspects of the visible record 
amply supplemented the introspection in every way. 
We have made no special mention of the time element in con¬ 
nection with most of these experiments. This is because the 
graphs are so typical for each and all of the subjects, that indi¬ 
vidual mention is unnecessary; furthermore, the time element 
does not seem to play any very important rôle. It certainly is no 
special correlate of any of the affective elements in consciousness ; 
and it does not seem to be a manifest index either of difficulty 
in the material to be recited or of the number of sounds in the 
decasyllabic line. The subjects were all told to take their own


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