L. Max. pos. lags in f. p. of iamb. pent. in order  8    13    9     6
G.                                                 10    11    9     8
Mi.                                                15    18   17    14
Me.                                                 7.5  13    9.5   6
R.                                                  9     9   11     7
B.                                                 12     8   15     7
H.                                                  7.5   8   10     7

B. Max pos. lags in dac. let., cat., in order   12  16   8
S.                                              10  11   7
Mc.                                              7  10   6
G.                                              11  11   7
L.                                              19  16   7
H.                                               7   6   4

This shows that an irregularity in the time intervals may be greater in the earlier than in the later part of the verse.  This last table is further evidence of the increased exactness of the rhythmic perception at the close of the verse.  As far as nodes are concerned, they show clearly two types:  (1) A node after the second foot (L., G., Mi., Mc.) and (2) a node after the third foot (R., B., H.).  For the tetrameter there is some indication in the cases of B., S. and Mc., but the other cases are negative and further evidence is needed.

With three of the subjects, Mi., J. and K., it was not always possible to get records of the maximum lag, since it was impossible to define the verse unity.  When this was unbroken it was the unanimous testimony of the subjects, corroborated by their unconscious movements, that there was a feeling of tension during the lag.  But the subjects just referred to got a type of unity, and there was no tension.  The lags were indefinite and very long (35-90).  This unity must be of the same kind as the unity of the stanza, which includes long expressional pauses, as well as rhythmic verse pauses.

If a subject is asked to fall in at the beginning of a rhythmic series his first attempts are decidedly incooerdinated.  His earliest reactions follow the clicks which they are intended to represent, but presently the series of motor impulses generated by the sounds and the voluntary movements which the subject makes fuse into a voluntary type of reaction in which the cycle has become automatic and definite, and the clicks take their proper places as cooeperating and controlling factors along with the motor cues of the process itself.  The accuracy of the judgments of time, if such judgments be made, or the estimation of the likeness of the groups, depends on the definiteness with which movement sensations follow each other in a regular series.

The following experiments (Table I.) concern the perception of a lag in different parts not of a verse but of a stanza.  It was a question, namely, whether a lag in the first rhythmic series (first verse) which establishes the motor cycle in the subject would be detected in the later rhythmic series (later verses of the stanza) after the motor cycle in the subject has been inaugurated.  This responsive motor cycle should itself, of course, contain the lag given with the first rhythmic series.