’
\/   —­   \/   —­   \/   —­   \/   —­
Mc.  Couplets.    4    6    6    7    4    6    4    4
5    8    5    6    2   12    8    5
4    6    5   10    4   11    5    3
4    6    5   10    4   10    4    4
7   11    5    9    9   15    5    5
5   19   20   22   21   24    6    6
12   22   16   22   20   22    8    7
12   22   14   31   10   26    6    7
Ha.  Couplets.    4    7    4    8    8    9    5    7
5    7    4    6    6    8    2    7
2    6    2    6    5    6    3    6
2    7    3    6    2   10    3    4
3    7    3    7    4    6    4    6
4    5    3    6    4    7    2    6
5    7    1    6    4    8    2    5
2    7    3    5    3    7    2    6

UNRHYMED IAMBIC TETRAMETERS:  PRESCRIBED ACCENT ON THE SECOND FOOT.

’
\/   —­   \/   —­   \/   —­   \/   —­
Mc.  Couplets.  13   22   22   30   22   18   15   18
11   20   22   26   15   19   15   10
10   25   20   26   20   24   12   23
10   19   17   26   19   11    9   10
12   23   18   26   22   17   10   15
8   23   20   27   16   22   15   16
12   23   26   30   22   21   10   17
14   28   26   34   11   28   11   21

Ha.  Couplets.   6    9    4   12    4    5    3
4    5    4   12    1    5    2    5
3    5    3   12    2    5    2    6
1    6    4   15    1    6    2    7
—   15    3   12    —    8    —    5
—    6    4   12    —    7    —    5
—    7    —    7    4   13    —    4
—    6    3   13    —    5    —    4

G. Couplets.    9   19   11   20    4   12    3   10
5   13    6   16    5   10    6   11
8   16   10   18    5   10    6   11
6   12    6   16    6   10    6   10
8   16   13   19    5   13    8   12
9   17   11   19    3   10    6   12
9   16    9   18    6   10    7    9
7   15    7   15    5   10    5   10

Frequently the special accent seems to be made by a contrast between the accented foot and the feet which follow.  In most cases the influence of the special accent is to be seen, not merely within the accented foot itself, but both before and after the accented foot.  Often the appearance under the microscope is very striking; the sonants of the feet, both accented and unaccented, increase to the special accent and then decrease in a regular crescendo—­diminuendo form.  Much of this is not shown by the mere measurements.

[Illustration:  FIG. 7]

[Illustration:  FIG. 8 Iambic Tetrameter Verse
               (with the accent on the second foot)]

In general the special accent may he said to be the climax of the verse movement.  It is the crest of the wave, and, as noted above, the dynamic shading is not always made by an increase up to the accent, nor by a stress on a special accent, but by a sharp diminuendo immediately following the accent.  A study of the phonograph record brings out these forms of shading, especially when the record is repeated slowly, exaggerating the dynamic variations and giving an opportunity for more careful observation.

Within the verse the general form of the syllable as it appears in the mass of closely written vibrations, often varies, but nearly always shows a square end.  Several very common shapes are noticed and appear in the record as (1) ‘truncated cones,’ (2) ‘boxes,’ and (3) ‘truncated spindles.’ (See Fig. 7.)