Feminine Rhymes. 
Hu.          18              21a           37a          19b
19             20a          22a          16b
19             21a         21a         16b
Mc.          36              72a           64           51a
36             x32            41a          40
22             22a          x18          29a
Ha.          27              31a           44b         28a
36              79           x30           40
30              36            79a         30b
31              38            50a          36
32              39a           42           40a
Am.          34              70            95a          85
35              73a           94           89a
30              45            47a          86
28              54            53a          70
G.          19              64a           64           79a
19              73a           83b          76a
21              81            67a          —­
19              61            83a          79

The rhymes are marked ‘a’ and ‘b’; e.g., couplets a, a, b, b,
etc.  Verse pauses in italics are equal to the foot pause; those
marked ‘x’ are less than the foot pause.

3. Modification of the Normal Form of Verse due to Rhyme.

Verse Pause in Rhymed Material.

There are as wide, isolated variations as in the case of unrhymed material.  As compared with unrhymed verse, the pause is in general decidedly shorter.  The verse pauses of the feminine rhymes are generally much like those of the end rhymed material.  But there are very few cases of the verse pause being as short as the foot pause—­only four cases in sixty (6.6 per cent.).  See Table IX.

This wide variation of the verse pause and its occasional equivalence to the foot pause in rhymed verses is in accord with the notion that the rhyme in some way brings the verse to a close by a process more rapid than that in unrhymed material.

The introduction of rhyme seems to be favorable to the division of a stanza into two parts by producing an unusually long verse pause after the second verse.  Of 43 unrhymed stanzas there are 19 which show a decidedly long pause at the close of some one of the verses.  But of these 19 cases, only 8 (18 per cent.) have the break at the close of the second verse.  Of 64 rhymed stanzas, 29 show the division, and of this 29, 22 (34 per cent.) have the break at the close of the second verse.

Influence of the Rhymes on Intensities.

The intensities at the close of the verse, without rhyme, may be slightly greater than within the verse.  The dynamic shading of the verse is elastic, and a variety of forms is possible, a decrescendo at the close of the verse is not unusual (cf.  Table VIII.).  But when the rhyme is introduced the general dynamic form of the verse is fixed, and in the material measured this is true not only of the verses in a stanza which contain the rhyme but of other verses in the same stanza.