312 LINUS WARD KLINE 



setting and combination with other movements. A movement 

 disliked for its length in one stage of practice became agreeable 

 at another and vice versa. But here, too, certain movements 

 produced the same feeling tone, despite the synthesis formed 

 with other movements, e.g., the movement from 4 of D to 3 of H 

 was continually reported as foreshortened and unpleasant by A, 

 B, C, and G. A reports that it prevented the formation of a 

 balanced movement. It was one of two consecutive movements 

 made in one and the same straight line to the left of the median 

 plane of the body, and also it frustrated the formation of a habit 

 of a right and left movement. There were four of these fore- 

 shortened movements. Two of them were finally fused into a 

 one-two-three rhythm, and thereby became pleasant. 



Fourth. The rapidity with which long individual movements 

 and synthesized movements were made had a direct influence on 

 the feeling tone of the movement. Broad sweeps at moderate 

 rates were pleasant, but at high speed they were unpleasant. 

 The reasons assigned were (1) the difficulty of control, or " pos- 

 terior correction," according to Woodworth, in the interest of 

 precision, and (2) the sudden angular lurching of the body. 

 Woodworth (43) observes "Slow movements are, for the most 

 part, depressing, just as rapid movements are distinctly stimu- 

 lating. Thus a slow movement, by its emotional tone, tends to 

 make the second movement still slower and a rapid movement 

 acts as a stimulant, so a slow soft music is apt to be rendered 

 still slower by a performer, and a rapid movement unduly ac- 

 celerated." The subjects reported tingling sensations, feelings of 

 lightness and exhilaration, after a distribution of free, fluent, 

 moderately rapid movements. Here, as in length, the optimal 

 or moderate speed could not well be determined, and it doubt- 

 less shifted with the stages of practice. Direction, length, rate 

 and setting of a movement are determinants of its feeling 

 quality, each requiring special investigation. 



Fifth. Several of the subjects, G, J, D and F reported that 

 the feeling quality of a movement depended on the nature of 

 its result and the service it rendered, e.g., G says, 13P., "Some of 

 the long movements are pleasurable because they were easy to 



