Note 11 — THE STRUCTURE OF SIMPLE RHYTHM FORMS. (continued 2)

The subjective notes of the observers frequently refer to this as an explicitly conscious process, the nature of the rhythmical sequence requiring a greater stress at that point than elsewhere. Extracts are appended:

Trochaic Syncopation.—"There is almost a necessity for an accent on th last beat." " ... an almost imperative tendency to emphasize the final syllable beyond the rest." "The two taps were followed by a pause and then a tap with increased pressure." "This was not satisfactory with any adjustment of time relations so long as the stress of all three beats was the same. In attempting to make them all equal I almost involuntarily fell into the habit of emphasizing the final one."

Dactylic Syncopation.—"In this series it was easy to lay stress on the last (beat) ... this is the natural grouping; I unconsciously make such." "... of these the heavy one (accented syncopation) was much more satisfactory." "It was constantly my tendency to increase the strength of the last tap." "In this it is natural for me to make the final stroke heavy. To make the second group balance the first by equalizing the time alone is less satisfactory than by introducing elements of both time and force." "I felt that the latter part of the rhythm (unaccented syncopation) was lacking in force. Something seemed continually to be dropped at the end of each group."

The reactors frequently repeated the full measure several times before introducing the syncopated measure, which thus brought a series to its close. It will probably be found that in the actual construction of poetic measures the syncopated or partially syncopated foot is systematically introduced coincidently with points of rhythmical or logical pause.