Harvard Psychological Studies, Volume 1 eBook

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TABLE V.

  RHYMES UNDER GIVEN PITCH CONDITIONS.

Iambic tetrameters:  two-verse stanzas.

The body of the verse is omitted; the closing intervals alone are
indicated. ‘1’ is read ‘good rhyme;’ ‘2’ is ‘poor rhyme’; and ‘0’ is ’no
rhyme.’

Couplets: 
—­do   5/}  5/}   .}  .}  5/}
—­go    .}  4/}  5/}  .}  5/}
G.    2    2    0
S.    0         0   2    1
R.    2    2    1   2    2
Mc.   0    0    0   1    1
Hu.   0    0    ?   1
Ha.   1         2   1    2

Iambic tetrameters; four-verse stanzas.

Rhymes are indicated by ‘a’ and ‘a,’ ‘b’ and ‘b.’  Capital* letters are
read ‘poor rhyme;’ ‘o’ is read ‘no rhyme.’

I. II.  III.  IV.  I.  II.  III.  IV.   I.  II.  III.  IV.   I.  II.  III.  IV.
do, no, go, so.  do, no, go,  so.  do, no, go,  so.  do, no, go,  so.
5/  .   5/  .    .   5/  .    5/   5/  5/  .    .    5/  5/  .   5/
G.  a   b   a   b    a   b   a    b    a   a   b    b    a   a   a   o
R.                   a   b   a    b    a   a   b    b
Mc. a   b   a   b    a   o   a    o
Hu. a   b   a   b    a   b   a    b    a   a   b    b    a   a   o   a
Ha. a   b   a   b    o   o   o    o    a   a   B    B    a   a   o   a
5/ 5/ 5/ . . . . 5/ . . . . . 5/ . .  G. a a a a a a a o a a a a o o a a Hu. a a a o a a a o a a a a a o a a Ha. a a a o a a A o a a a a a o a a Mc. a a a o a a a o A A A A A o A A R. a a a o a a a o a a a a A o A A
5/  5/  4/   5/  .   .   5/   5/   5/  .   4/   .    5/  .   .    5/
G.  a   a   o    o  a   a   b    b   o   a   o    a    o   o   o    o
\a   b   a    b   \A   A   B    B
R.  A   A   A    A  o   o   a    a\   a   a   b    b
\a   a   o    o
Hu. a   a   o    a
Mc. a   a   o    a   A   A   B    B
Ha.  A   A   B    B   a   a   b    b     o   a   o    a
4/  4/  4/   .   5/  5/  5/   5/    5/  4/  5/   4/
G.  a   a   a    a                      o   a   o    a
Mc. a   a   a    o
R.  a   a   a    o   a   a   b    b
Ha.                   A   A   A    A

 Transcriber’s Note:  Original used italic lower case letters.

The table shows that there is a decided tendency to prefer rhymes in which the members of the rhyme have the same interval.  The only exception is in the case of couplets, where two contrasting slides 5/ and . rhyme, whenever the finality interval occurs last.  Perhaps the similarity of pitch of the rhyming syllables is a part of the ‘Gestaltqualitaet’ whose recognition brings about the release and satisfaction of the state which we know as the ’feeling of expecting a rhyme.’  Definite pitch relations in music seem to make rhyme of little significance.  We seldom notice the rhymes in a hymn or in a song

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