Bauhaus-Universität Weimar

Titel:
The psycho-physiological effect of the elements of speech in relation to poetry
Person:
Givler, Robert Ch.
PURL:
https://digitalesammlungen.uni-weimar.de/viewer/image/lit39729/133/
ELEMENTS OF SPEECH IN RELATION TO POETRY 131 
B. Visual-motor type; enjoyed the tragic and melancholy as 
much as the light romantic; acquainted with English poetry, 
favored Byron, Keats and rVrnold; he alone of all the subjects 
gave much introspection of the sensations of the speech appara¬ 
tus; gave much introspection; good sense of rhythm; steady 
and constant. 
C. Motor type; rarely got satisfying imagery of any sort; had 
great difficulty to count the five iambics in the “la-mo type of 
experiment ; sense of rhythm varied much with the type of experi¬ 
ment ; introspection meagre ; steady and constant. 
D. Very visual, with highly colored images; artistically gifted 
and fond of poetry; enjoyed the bizarre as well as the sombre; 
rather volatile, but rebounded instantly from depressed states ; 
strong sense of rhythm. 
F. Visual-motor; fond of poetry; good declaimer, and often 
varied from a steady recitation of the material experimented 
upon ; articulation sensations often seemed to determine the 
imagery ; German : had some slight difficulty in pronouncing the 
“th” and other sounds; strong sense of rhythm; constant. 
K. Visual-auditory-motor; musical performer; esthetic; liked 
the melancholy ; voice usually of medium pitch but very low 
intensity ; pitch constantly noticed ; féeling of hoarseness accom¬ 
panied low pitches ; tapped very short strokes, often no more than 
12 mm. in length; syncoped the tappings very frequently; good 
sense of rhythm; constant. 
L. Visual-motor; artistic, and fond of certain kinds of poetry, 
e.g. the sound of Shelley’s and the content of Arnold’s ; introspec¬ 
tion varied much, from bare feeling-tone to full auditory-visual- 
motor content; very apt in describing vague content by fitting 
analogy; good sense of rhythm; steady and constant. 
M. Motor type; practical, and impatient of most poetry ; often 
given to intentional changes of extent of finger movement; wanted 
objective finger control (the most inconsistent subject as far as 
any feeling-tone =motor-discharge correlation was concerned) ; 
said : “I have a good sense of rhythm,” which did not always 
appear.
        

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