grows more forcible and dominating as the rate increases.  The sensitiveness to form and dynamic value in the successive groups also increases up to a certain point in the process of acceleration.  As expressed in the capacity to discriminate departures from formal equivalence among the groups, this function reached its maximum, for those concerned in this investigation, at rates varying individually from 0.3 sec. to 0.6 sec. in the value of their intervals.

It is in virtue of its nature as an impression, as opposed to a construction, that every structural unit, and every rhythmical sequence into which it enters, possesses a distinct individual quality, by which it is immediately apprehended and discriminated from other forms, as the face of an acquaintance is remembered and identified without detailed knowledge of the character of any feature it possesses.  For what persists from the reception of a rhythm impression and becomes the basis of future recognition and reproduction of it, is not the number of beats in a unit or sequence, nor the absolute or relative intensity of the components of the group; it is the quality of the groups as individuals, and the form of the sequence as a whole.  The phrase and verse are as vividly conceived as the unit group; the stanza or the passage is apprehended as immediately and simply as the bar or the measure.  Of the number and relation of the individual beats constituting a rhythmical sequence there is no awareness whatever on the part of the aesthetic subject.  I say this without qualification.  So long as the rhythmical impression endures the analytic unit is lost sight of, the synthetic unit, or group, is apprehended as a simple experience.  When the rhythm function is thoroughly established, when the structural form is well integrated or familiar, it becomes well-nigh impossible to return to the analytic attitude and discern the actual temporal and intensive relations which enter into the rhythm.  Even the quality of the organic units may lapse from distinct consciousness, and only a feeling of the form of the whole sequence remain.  The Gestaltsqualitaet of the passage or the stanza is thus frequently appreciated and reproduced without an awareness of its sequential relations, though with the keenest sense of what is necessary to, or inconsistent with, its structure; so that the slightest deviation from its form is remarked and the whole sequence accurately reproduced.

In order to isolate and exhibit the tendency toward rhythmization in regularly repeated motor reactions, one should examine series of similar movements made at different rates both as an accompaniment to a recurrent auditory stimulus and as free expressions of the motor impulse independent of such objective control.  In the former of these cases the series of stimuli should be undifferentiated in quality as well as uniform in time.  The rhythm which appears in such a case will contradict the phases of an objective series which prescribes its form, and the evidence of its existence, presented under such adverse conditions, should be indubitable.