- - - º º º º - º ºf º - º - - º º º - º º: - ºr º º - - - | º º º - --- - - - - - - - - - º º º º … - - - º º - - º º º º - - º º º º º º º º - - - º ºº: º º - - º - º | º º º - - º º º º º: º º º | º º - - º ºº º º º º º - º - º - - | º - º ºº: º º --- | º - º - º º º º º º - º º º º º º --> º - º º º T º º - - - - º º º º º º º º - | º º - º º º º º º º º º - - º - - º - º | - - - - - - º º - - - º º - º - -- - º º º ºf º - - - - - - º - º | º T º º º - --> º - | º - - … - |- º º º º º º º - º | º - - - - - - - - - - º º º º º - … - - - T - - º º --- º - - T º º º | | - º º F. º º -º º º º º º º º º - Tº º - º ſº º º º º -- º - … º º º º - - -: º º - º Tº º - |--|-- º º - º º- º - --- - º º - º º º - º --- º º: º - | º º º - --> -- T. - º º º - º - º: º º º º º - --- - º º | * -- - º º … - - - tº º: T - º º º º - -- º º º - - - as Laura Fonda sºlº - - … º º - - - º - º º º --- º - - - - - - - º º - º - º - º º - º º - º º ------ º º º º º - - -- - - - - - - - - - - º - º -º-º-º: º * - --- ºf | º º ----- º … . - - º - ſae ！ºrº ºººººº，） º º º | - - - º º º - - -- - - - -- - -* --- - - --- -º-º-º-º-º: -* 2: … º. * -- - - -- PAUSE AND THE FORMATION OF RHYTHMICAL UNITS A STUDY BASED ON A CONSIDERATION OF MILTON T S BLANK VERSE - ADA L. F. SNELL A DISSERATIONN SUBMITTED IN PARTIAL FULFILIMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE UNIVERSITY OF MICHIGAN MAY I, I916. Statement of problem and outline of dissertation • * * * * * * * * Introduction . . . . . contRNTs º º º º e © Pause : number of pauses and length . . . . . . . . . Table of pauses as made by different readers . . . Punctuation and Length of pause with reference to the sound-unit º Pause and sound-units . *Table . . . . . Sound-units and Relationship of silence Pause and rate . . . . Pause and the formation of logical units . . . . . . . . . Logical causes of pause . Relationship of pause to punctuation . . . . . . . Milton's punctuation and that of modern editions . length of pause . . rhythm . to sound . º º corv/2227° Pause and the formation of rhythmical units . . A study of prose records . Pause as cause d by rhythm . Character of Milton's enjambed compensating pause . . Summary of results • * Bibliography . . . . . Appendix General table A quantitative analysis of of the four chief forms of - º e - º º º º lines . º º - - e e e e º, i. º English metre . º º º PAGE I 2 32 ° 34 39 40 44 48 56 56 60 63. 83 92 94 tº º º º Statement of problem investigated º - - º k f The problem investigated deals with pause as it appears in Milton's blank verse, its length, variations in length, rhythmic significare, its relation to punctuation, and its function in marking off Sound-units. The investigation deals also with the cause of pause, logical and rhythmical; with certain phenomena associated with pause; and with language devices which reen- force the units created by pause. The problem of pause as a Gompensating element is also cºsidered. º Out, line of dissertation Chapter I I. Pause. A. The number and length of pauses in the selected material. l. Number and length of internal pauses. 3. Number and length of end pauses. 3. Relationship of the two to each other and to the number of lines. . . B. Variation of length and of number as among different readers. C. Variation in length in free and formal blank verse. D. The length of the pause with reference punctuation marks. E. The length of the pause with reference to the time and content of the sound-unit which it terminates. IL. Pause and sound-units. A. Number and length of sound-units. B. Variation in time as spoken by different re?aders. C. Sound-units with reference to syllabic content. 1. Sound-units composed of six, forur, and ten syllabies occur most freguently. 2. A comparison of Milton's blank verse in this respect, and other verse. 3. Sound-units and rhythm. º - * D. Short and long units with reference to rhythm. * * * -º-º: lll . The relationship of silence and sound . IV. Rate and pause. W. A comparison of the number and placing of pauses as made in the º- º º º º º * * * * -: - records and as indicated by the readers. º C} te, II º º ºn pººr hapter - - - The cause of pause t logical considerations. I. Pause may occur:/after: º º º II. Punctuation A. Inversions, B. Inserted particles which are emphatic, º º º º C. Inserted phrases, 47/7 D. CŞpound statements, sº F. Between subject and verb, and between verb and object. --- º --- - - - --- and pause. A. Comparison of the punctuation of the Masson edition of Milton and that of the reprint of Milton's MSS. and early editions. B. Influence of punctuation upon pause. C. Punctuation , pause, and rhythm. Milton's pſetuation determined largely by rhythmical considerations. Chapter III Pause as caused by rhythm I. Pause as it occurs in prose and in poetry. A. Pause occurs with no regularity in non-rhythmic º º prose. --- B. Since it occurs with a fair degree of regularity in poetry, and thus produces a rhythm, not only is it true that the pause produces the rhythm , but the rhythm, when established , produces pause . III. Pause as caused by the end of, the line. IV. Čeſkrtain substitutes for pause which serve to mark off sound- units. ºf A. These substitutes are often phenomena which are characteristic of pause. W. Language devices employed to reënforce sound-units. chapter IV Compensating pause I. Measurement of fetºt in varinasekinds of verse shows no such regularity in time as ther theory of compensating pause requires. II. Subjectively the metrical units may be appreciated as approx- imately equal in time ; objectively the units, or feet, are not cºsistently equal. º * ºf diº - Summary of results -*. º - 1, general ºl. . . . . . . . . . . . . . . . . . II. A quantitative analysis of the syllabic composition of selec- tions representing the four main types of English metres. A INTRODUCTION. It is my purpose in this investigation to make a study of pause and the formation of syllabic groups, together with certain related lang- uage phenomena, as these appear in Milton's blank verse. It is hoped that such a study will have some value for the understanding of rhythmic lang- uage in general and of the blank verse form in particular. The work which has been done on the subject by writers of prosody has been on the whole incidental; and the results have been based either upon punctuation marks as a guide, or upon personal preferences. These Aériters, such as Briages” alton's Prosody, and schiffer, Englisºs Metrik, ſix waxins an snessels of passe, are chiefly ::::::::::::::::3% fºss or presence at the end of the line, and with its position, with reference to the foot, within the line. The work of the psychologists has been concerned not so much With pause as a language phenomenon, or with the rhythmic grouping of syllables, but with the investigation of the rhythmic instinct in gen- eral. The results of these investigations, in the first place, vary con- siderably, and in the second, may or may not hold true for language. Ref- erences, for purposes of comparison, will be made to these investigations at different points in the discussion. The most detailed work known to me on the subject of pause and syllabic grouping is that of J. F. Wallace Wallin (Researches in the Rhythm of Speech, by J. E. Wallace Wallin. Stud- ies from the Yale Psychological Laboratory, Vol. IX, 1901. ). The mater- ial used for this investigation was, for the most part, poetry of a lyr- ical and formal character, poetry in which the line is a clear unit, and ſº which the syllabic grouping follows a fairly well defined pattern. %gº. conclusions agree with mine; others necessarily vary, since blank verse of the freely enjambed sort differs in many particulars from 2 ºf more formally organized verse. { My own results were classified before I had read Mr. Wallin's work, and I was therfore not influenced by his meth- ods. I shall refer to his results occasionally for the purposes of com— parison. ) The method employed for obtaining the data has been principally º the making of speech records (by means of an instrument thus described by º *- - Professor Meader of the University of Michigan: "In this instrument (or rather group of instruments) the prin- ciple of transmitting tissue movements by means of air vibrations through rubber tubes and variously constructed recording instruments, is so emi- º ployed as to transform the movements of the abdomen, chest, larnyx, and vocal lips into oscillations of metal, straw, or feather pointers, the tips of which move in vertical planes on the surface of a horizontally moving belt of smoked paper. As the tips of these pointers slide along the surface of the paper, they remove the soot and thus describe a curv- ing line which by its variations, shows the directions and rapidity of the motion of the pointers, leaving thereby an accurately measureable record of the movements of the organs mentioned, as also of the volumne and con- densation of the air emitted from the mouth and nose. Although these lines are in no sense reproductions of the lines of movement of the or— gans, they are all exactly proportional to these movements." / Although the method of obtaining pause by means of the record- ing instrument described, yields precise and accurate results, there are certain limitations involved which it is well to state. In the first, place the conditions under which one speaks in a recording instrument are not perfectly normal, and may tend to produce results somewhat dif- ferent from those of normal speech. But this is on the whole, probably, of slight inportance; most readers have declared that they quickly became accustomed to the instrument, and felt that they were reading as they naturally would, only in a somewhat louder tone. A second limitation arises from the fact that only a small amount of material can be investi- gated, and the reading of only a limited number of persons can be takem º into consideration, since the time consumed in the making and reading of records forbids any great extension of the material. But if the varia- tiºns in the results obtained from a few readers are not great, the prot- abilities are that & Il increased number of readers chosen from the same * general class with reference to education and experience with poetry, would not materially alter the results. In order to obtain 3. somewhat greater vaſiety in this particular the readers were changed at various - -- … -4…e4.cº. points, so that the reading of the fifty-five lines of the "Paradise Lost", although read but five times was done sº ersons. Another factor which necessarily affects the results lieg in the character of the readers selected. Undoubtedly a different set of persons reading the same passage Would give results somewhat different from those here recorded; in fact the investigation of the records of a few persons not included in my group tends to establish this statement. For example, the first eighteen or twenty lines cº the passage selected, the opening of the third book of "Paradise Lost", was read by a person who professed no sympathy with Milton's form or thought. The pausing was very different from that of the other seasº, º ºsºtis 2* / aer ea.’.…~&a 22-zeez, - effect, Astºrešiseiyºmajestiº, the adjective ordinarily employed to aracteri M º . In general, in the selection of readers, it did not seem necessary or profitable to include persons who have no sympathy with Milton's blank verse, or persons who do not read poetry well. On the other hand it did not seem wise to select only trained readers; but the attempt was made to select persons who in general are accustomed to read poetry and who take a certain amount of pleasure in it. A short account of the persons who read the selection on which most of the results of this study are based is given at a later point. ( ove.) The material selected for investigation was chosen after making an analysis of many passages with feference to enjambment, caesural pauge , zza-exº~ short and long phrases, and other pointe. The selected passages was taken * --- -- --- - - -- --- - * - - - - -- - --- ------- --- - - - ---- -------- --- - - - - - - - * - - - ----- º: º º -- - º - º - --- º º º º º º ſ ----- º - - º * --- - - --- - - - --------- º - --- - - º º º º º ſº º º º -** º º -º-º: as offering in a small compass the various aspects of the problem to be considered. Other passages of the same length may be found which are ſºlo re freely enjambed, contain fewer short sections, that is fewer pauses, and would therefore yield slightly different averages; but an analysis of a thousand lines would probably not yield very different results. In any case the results as here given represent with a fåir degree of ac- - 2. A.…e4.cz curacy what happened within the compass of £4fty-five lines as spoken by *:::: per Song, and, limited as is the field, the results throw light upon some interesting language phenomena. - One other difficulty which affects to some slight degree the accuracy of results must be mentioned. To make this y sixt clear *aeria- ition of pause in terms of muscular movement must be given at this point. In general pause may be defined as a cessation of sound; but this C & 833,- tion is of two distinct sorts: a cessation of sound with the muscles of the vocal organg in motion and a cessation with these muscle 3 at rest. The first sort of silence occurs when the vocal organs are in certain positions for the production of certain sounds, such as that for the let- ter #. The silence preceding the explosion characteristic of $ may be of longer or shorter duration depending upon the length of time that the tongue remains in contact with the roof of the mouth preparatory to ut- tering the sound of this letter. In this case, although there is a silence, the general flow of speech is uninterrupted, and the muscles of the vocal organs are in constant motion. The second sort of pause is characterized by the fact that the vocal organs are at rest. It is with pause as thus defined that this inquiry is concerned. This sort of pause is, in general, perceptible to the ear. In general, also, it is clearly marked in the speech records tº fle line representing the pressure of air in the mouth, drops and runs straight ; and the lines recording the nose and mouth tones, cease to vibrate for a space appre- (, º - º longer than that required for the formation of consonants such as ºf these are ºntº which characterize the largest number of rest pauses as they appear in the speech records. The shorter rest pauses, however, do not reveal these clearly visible marks of distinction. In the first place, the line which ree ords the pressure of air in the mouth, instead of falling, may behave as for the formation of any consonant ; but this may indicJate, not the formation of a consonant, but merely the expulsion of air from the mouth with the vocal organs (except the chest) at rest. If the next sound succeeding such a rest follows quickly, there will be no decided drop in the "mouth-pressure line", and it may not be easy to determine by the shape of this line, although this is not generally true, whether or not the succeeding consonant is in process of formation. This, however, may happen and still afford no difficulty in distinguish- ing the two sorts of pauses, provided the space on the lines recording th 3. tones A&f the nose and mouth is without vibrations for a time clearly longer than that required by the reader elsewhere for the formation of the same consonant, or combination of consonants. The difficulty arises When this blank space, occuring where a reader might make a rest pause, approaches in time the blank space which occurs at other points, and which clearly represents the time required for the formation of a consonant or combination of consonants. The general principle adopted in the deter- mination of these doubtful cases has been this: if the space appearing on the lines recording both nose and mouth tones was blank for a time appreciably longer than that taken for the pronunciation of the same con- sonant or consonants, this space was regarded as indicating a rest pause; but if the time approached that. Fºrea for the formation of consonants, and there was, furthermore, nothing in the lines recording the pressure of air in the nose and mouth" to indicate a rest pause, the space was not 22%z-A, i. so taken. The method of comparison used was, first to measure, the Śank º space appearing at the point where a pause seemed probable, and then to 44/ - - compare this with the measurement of the time reqired by the speaker to º pronounce the same letter or letters as these might occur elsewhere at points where obviously ºthere could normally be no rest pause. An attempt was made to select these letters at points where the rate of utterance seemed in general to approximate that which was being employed at the time of the supposed occurrance of the rest pause. The rate of utterance affects the time required for the formation of Aletters very materially, as the inspection of any record quickly reveals. Thus the time required to form a £ differs not only with different readers, but varies with the same reader from a fraction of a second as small as . O2 to . 3; the .2 represents the extreme case of a reader who spoke in an abnormally slow A/ker - 4% ºft.* manner. When such a comparison of the time wº, pronunciation of a letter or letters, as has been described ACW a) the pause was counted as a 2 rest pause, if the time required for the speaking of the letter was ap- - preciably longer than that required by the same reader, under similar conditions of rate, to pronounce the name isſºisºry, they ap- peared in continuous aiscourse. When no letter or combinations of let- ters could be found in the same general positions as those under con- sideration, such as b_at the end of a wordſ followed by a t at the begin- ning of a word, Phrases containing these letters were made, and the reader asked to speak them. Thus the time required for normal utterance could be measured, and some allowance could be made for difference in rate. Whenever, even after these tests, doubt remained as to whether or not the pause was a rest, this doubt has been indicated. The occur- rance of the non-rest pause of unusuall length, at points where one would expect a rest pause, will be considered later. A pause which occurs between two voiced letters is, of course, clearly a rest pause, however small may be the time of silence, and therefore presents no difficulties for the investigator. /o - 22-ce-a-2-2-2-4-7 The method used for measuring pauses was to subtyset fºrem the total emº, of ank space appearing on the lines recording nose and - 42-22e." zzº & 22e2Z2:... mouth tones, the amount of ºpsºce probably required for the pronunciation of any consonant or consonants which oéºss at the end and 6ºnning of the words between, the Paulº, is amount subtracted was obtained by the same method as that described for the determination of whether or not the pause is a rest pause. Usually the shape of the line recording the pressure of the air in the nose and mouth, is sufficiently character- i etic to make the point of the beginning of vocal movement, clearly evi- dent. The error at doubtful points would be from .02 to . 05 of a second. The airfiewishers suggested obviously would not be overcome by measur- ing phonographic records; for although a record made by the phonograph- ic method would indicate clearly the end of one sound and the beginning of the following, it would be no easier to determine whether or not this silence was due to an unusually slow formation of a consonant, or to a. rest pause. The word pause, unless an indication is given to the contrary, will hereafter be used as referring to that particular sort which occurs when the vocal organs are at rest. - zº # * * * * * * * * *k 4: # 4: # * * * * * * * SLINſl-CINſ|CS CINW HSſlWol * * * * *k sk. K. k + k # * I （ILGWHO PAUSE The material selected for investigation, as has been said, was the first fifty-five lines of the third book of Paradise Lost. The group of readers were M, professor of General Linguistics in the University of Michigan; P, a teacher of Literature in an eastern academy for girls; H, a resident of Ann Arbor, a person with a wide knowledge of poetry; A, a teacher of English in an eastern college; K represents the composite reading of two undergraduate students ana a professor in the University of Michigan; I, an instructor in the department of oratory; B, an instructor in English and the author of attractive verse; T, the head of the department of oratory in Michigan University, º ºf . . . . . . . . . . . . . . The material with the pauses as made in the five different readings is as follows: (The numbers indicate the points at which the pauses were made, and the number of times as made by the different f - a zºº..… a zºº 22, readers. The edition used is Masson's. ) *-...… -ºn- Hail, holy Light, (5) offspring of heaven first-born! § or of the Eternal (§ coeternal beam (5) /4) May I express thee unblamed? (5) since God is light, (5) And never but in unapproached light (ś //) Dwelt from eternity - (5) dwelt then in thee, (5) Bright effluence (§ of bright essence (l) increate; (5) Žº) or hear'st thou rather (3) pure Ethereal Stream, (5) Whose fountain who shall tell? (5) Before the Sun, (4) Before the Hévens, (2) thou wº (5) and at the voice º (4 Of God, (3) as with a mantle, (5) didst invest (2) º 1O The rising World of waters (3) dark and deep, (5) - ll Won from the void and formless Infinite! (5) Thee I revisit now (2) with bolder wing, (5) Escaped the Stygian Pool, (§ though long detained (1) In that obscure sojourn, (5) while in my flight, (5) Through utter (l) and through middle Darkness borne, (5) With other notes than to the Orphean lyre, (5) I sung of Chaos {} and eternal Night, (5) Taught by the Heavenly Muse (4) to venture down The dark descent, (5) and up to reascend, (SX't) Though hard and rare. (5) Thee I revisit safe, (5) And feel thy sovran vital lamp; (5) but thou Revisit at not these eyeſ's) that rowl in vain (3) To find thy piercing ray, (5) and find no dawn; (5) So thick a drop serene (3) hath quenched their orbs, (5) or dim suffusion veiled. (5) yet not the more (1) cease I to wander (2) where the Muses haunt (3) Clear spring, (4) or shady grove, (4) or sunny hill, (5) smit with the love of sacred song; (5) but chief (2) Thee, (3) Sion, (4) and the flowery brooks beneath, (5) That wash thy hallowed feet, (5) and warbling flow, (5) Nightly I visit: (5) nor sometimes forget (1) - Those other two (5) equalled with me in fate, (5) (So were I (i) equalled with them in renown: ) (5) Blind Thamyris (3) and blind Maeonides, (5) And Tiresias (4) and Phineus, (5) propheta'ºla: (5) tº sea on thoughts (1) that voluntary move (2) Harmonious numbers; (5) as the wakeful bird sings dazzling, (5) and, in shadiest covert hid, (5) Tunes her nocturnal note. (5) Thus with the year (2) Seasons return; (5) but not to me returns 12 13 l4 15 16 17 18 19 2O 21 22 23 24 25 26 27 28 29 3O 31 32 33 34 35 36 37 38 39 40 4l /...? 3 Day, (5) or the sweet approach of even or morn, (5) 42 Or sight of vernal bloom, (3) or summer's rose, (5) 43 Or flocks, (5) or herds, (5) or human face divine; (5) 44 But cloud instead (4) and ever during dark (2) 45 Surrounds me, (5) from the cheerful ways of men (1) 46 Cut off, (5) and, for the book of knowledge fair, (5) 47 Presented with a universal blank (1) 48 Of Nature's works, (5) to me (2) expunged and rased, (5) 49 And wisdom at one entrance (2) quite shut out. (5) 50 So much the rather thou, (3) celestial Light, (5) 51 Shine inward, (4) and the mind through all her powers 52 Irradiate; (5) there plant eyes; (5) all mist from thence (3) 53 Purge and disperse, (5) that I may see and tell (3) 54 Of things invisible to mortal sight. - 55 The total number of pauses is 436. The following table gives, the results for the five readings. All times are given in seconds. TABLE I 26, ºf * { Read- Total Inter- End- Total Aver. Total Aver. Total Aver. e ‘3. Number nal pauses. Time of Time of Time of Time Time Time of Pauses Inter- Inter- End of end of of Pauses nal nal Pauses Pauses Both Both Pauses Pauses M 83 45 38 - 19, 36 . 43 17. 99 . 47 37, 35 - 45 P 96 52 44. 22.84 . 44 23. 79 . 54 46, 63 , 49 A #; B 81 43 38 17, 59 . 42 18.29 .45 36, 51 .. 44 A; T 89 50 - 39 23, O6 . 46 21. 53 . 55 44. 58 . 51 P; K; I 87 51 36 17.91 • 35 16, 77 . 48 34. 68 . 4.1 Aver. 87 48. 3 39 20. 13 . 43 19, 80 • 50 39.92 - 46 /% Note. In order to determine ir in general among a group of ten persons there was any preference for more or less pauses, copies of the selection from Milton were sent out with pauses indicated & 8 they were in general made in the reading containing the few- est, and the largest number. Seven persons felt that the reading with the fewer pauses was the more rhythmical and attractive. The other three felt that more pauses made the selection more rhythmical. Both gropps used the same adjectives to describe the form not preferred, as jerky, unrhythmical, follows the sense, full of jolts. /37 On the basis of the average number of pauses made, 54% of all the pauses made are internal, and 46% are end-pauses. The total amount–of–the time cºnternal pause is .33 sec. longer than for the Zºº end-pauses; the amount of silence, therefore, is about evenly dis- tributed within the line and at the end. The average length of the end-pause, however, exceeds the average length of the º pause by .08 of a second. This result differs from Wallin's. (J. E. Wallace Wallin: Researches in the Rhythm of Speech. Studies from the Yale Psych. Lab. vol. ix. 1900–1902. ) Wallin gives his results as if they would probably hold true for all poetry, but he based his conclusions upon a study of lyric rather than upon blank verse. He finds the end- pause to be about twice as long as the internal, or in the ratio of l ; 3. For blank verse, as here investigated, the ratio is about 4: 5. Wallin's average length for the pause is .45 sec. whereas mine is .46, a result approximately the same. The pause of the last line not being counted, \ there are fifty-four lines. The average number of end pauses made is 39. The percentage of end-pauses therefore to the number of lines is 74. 24, 2a22. º ºgº. 24, 24 × 5.2 °2. Cé. 2222– 4-2-2222222 a.c.e, ºw $º gºes 28% of enjambed lines, a percentage far below that gºven by * *†—º, +, ×2. -- 2-222 eaz-ez Schizºpper (Englische Metrick, Schiºpper). Schäºpper says that the en- iambed lines in the Paradise Lost are about 50% of the whole. The per- centage of internal pauses as compared with the number of the lines, 55, is 84%. The range of deviation in the number of pauses made is from 81 to 96. In fifty-five lines, therefore, there is a considerable differ- ence in the number of pauses made. Counting all pauses made ky ºx& kºſº 2– - / Dº? ******, the total is 109, of thess/48 are end-pauses and 61 are inter-, - &ºca-2-8-2 / º - º a.i.5%: were made in commonSby fle five readers, 76 by four readers, Of-the-ge) 35 internal pauses were 86 by three readers, and 99 by two. made by all alike, and 33 end-pauses were made alike in the five read- ings. The deviation from the average for the end-pause is 6; for the /6 internal l. 3; the greatest amount of diversity exists then, as we should 2…~4** - - expect, in the s?acing of the internal pauses’. The average time for the different readings is, for the internal pause , , 43 sec, ; and for the end-pause .50 sec. The deviation from these averages for the different readings is for the internal pause . 07 sec, ; for the end-pause . 05 sec, »ee. & 22-2^ 2^ ~~~~ 222222222 & %22222.3% &#ſe, a...exº~ &ZZe- 22ca2…” /~~ .4% 25, 3T3 42e caſ. - Pauses as made by the different readers varied in length from .07 sec. to 1.25 seconds in time, or a span of 1.18 sec. Pauses very rarely are 1 sec. ‘.... length of the time of a pause as among individuals varies greatly ſit any given point.) The greatest variation with my readers was from . 2 to 1.3, a span of l. l. The least variation is . 15 to . 25, or a span of . 1 sec. At times four readers will ass, very 2, Zºº Internal pause .45 . 44 , 53 .45 -36 - 47 • 30 , 53 2-tex - .32 #xternal pause • 44 , 56 . 66 . 50 -45 . 58 . 30 • 30 For both . 45 . 50 • 59 , 47 • 46 - 53 . 30 . 41 º- (b) General table for different readers. - ſ - Number Total Average Number Total Aver. Total fºº of Time Time of Time Time Number Time rºle Inter- - End Of End of for all For nal Pauses Pauses Pauses Pauses All pauses Pauses Division I to "Yet not the more" line 264 M 19 8, 58 . 45 19 8.22 . 43 38 16.80 .44 P 23 10.11 .44 30 11, 37 .56 43 21, 68 . 50 H 22 ll. 66 . 53 2O 13. 75 . 65 42 24, 41 .. 59 A 24 10, 93 , 45 21 11. O5: .. 52 45 22.38 .48 - m Y - 7, 5 # .3% // 3, 7% , 342 a.23 4/s )? .42 x 0. 30(1) #.45 -37 –48. -8+5.3. .4% –38 +5+99 Division II to end of selection M 26 1O. 78 . 41 19 9, 77 .50 45 20, 55 , 45 P. 29 12. 73 . 44 24 13. 43 . 51 53 25. 15 - 47 B 21 - 5.93 • 30 18 5. 54 • 30 39 11. 57 • 30 T 26 12. 31 , 47 18 10.47 . 58 44 23, 32 .53 I 31 10, 46 , 33 18 8. 24 . 46 49 18.70 .38 y', An examination of this table shows that the total amount of silence within the line and at the end varies a good deal with different readers. . In Division II, B's amount of silence's tº #Max, half that of the other readers, for the internal pause) and almost half that of the other readers - tº the end of the line. He also makes the fewest pauses. He has a good voice, is poetic by temperament, but gives the impression of restlessness and impatience, qualities which show in his reading. H who has the larg— est total amount of silence and has not the largest number of pauses, gives the impression of speaking too slowly”. most rhythmical and essentially beautiful readings of these lines from Milton, was, fºr tº: **k, that of T in Division II. It will be seen that his pauses are com- paratively not numerous, that the total amount of silence is not greatly above the average, and that the average time of the pause is the longest for the group. With the exception of B there is no radical difference among the various averages for the different readers. Variations of in- dividual readers at the same point have been spoken of . Of great significance for the organization of free blank verse, is the variety in the length of pauses at different points in the verse. The length varies in my results from . O7 sec. to l, 35 secs. This varia- tion is undoubtedly one of the elements which contributes to the flexibil- ity of the verse, and which makes it possible for Milton to organize his verses into large and ever-varying sound-waves.”he longest pauges are found at the conclusion of a logical group of lines, as after increate 1. 6 and Infinite 1. 12. The pause after Light in line l is shorter than the one after *\, , and the pause ** *;. is shorter than after eternity. Thus by a skillful manipulation of the length of pause the relative importance of phrase and line is preserved, the rhythm is not lost, and the whole is given a pleasing flexibility and freedom which is not characteristic of the early form of this verse, nor of much /f that appeared later. To test this point the following extract from Shake- Q *a*/ speare's early blank verse was given to I, whose reading, shows great di- 7/~~ ZCC c- versity in length and, placing of the pause. The extract is as follows: Is it mine eye, / or Valentinus' praise, / Her true perfection, / or my false transgression, / That makes me, reasonless, / to reason thus?/ She's fair, / and so is Júlia that I love, -/ That I did love, / for now my love is thawed, / Which, like a waxen image 'gainst a fire, / Bears no impression/ of the thing it was. A. . . . If I can check my erring love I will; / If not, / to compass her I'll use my skill. Two Gentlemen of Werona, II. IV. 196-202; 213,214. The pauses were placed as indicated. The end-pauses vary in time from . 5 of a second,after fire, to .85, after was. The average length is , 66. The end-pause here is then much longer than for Milton. The inter- nal pause varies from . 2 of a second to , 5, with an average of , 32. These internal pauses are also very little ºvaried in length. The ratio of the length of internal to end pauses is as 1:2. The line-bound char- acter iºnºse-ºuen & to the act that a pause occurs at the end of every lane, as to the fact that the pauses are all long, and * relatively %he same length. &nd $hese pause: placed at fairly equal time-inter- vals. Untilſ the sixth line is reached, the intervals between pauses measure about 1.4 secs. with only slight variations from this time. Each ten-syllabled line measures 2.6 secs. This slight test is not offered as proof, only as an indication of what in all probability does happen in formal blank verse, and as verifying what seems true to the ear. question mark from *"... . . º - /… 2 e is—easily within-the–range for the perception of rhythmic N. --~~~~~~