This article uses the term “psychological reality” in this sense: the extent to which the constructs of linguistic theory can be taken to have a basis in the human mind, i.e., to somehow be reflected in human cognitive structures. This article explores the human cognitive structures in which the constructs of phonetic theory may be reflected. The last section is a critique of the psychological reality of sound patterns in Baudelaire’s “Les Chats”, as discussed in three earlier articles. In physical terms, it defines “resonant” as “tending to reinforce or prolong sounds, especially by synchronous vibration”. In phonetic terms it defines “resonant” as “where intense precategorical auditory information lingers in short-term memory”. The effect of rhyme in poetry is carried by similar overtones vibrating in the rhyme fellows, resonating like similar overtones on the piano. In either case, we do not compare overtones item by item, just hear their synchronous vibration. I contrast this conception to three approaches: one that points out similar sounds of “internal rhymes”, irrespective of whether they may be contained within the span of short-term memory (i.e., whether they may have psychological relit); one that claims that syntactic complexity may cancel the psychological reality of “internal rhymes” (whereas I claim that it merely backgrounds rhyme); and one that found through an eye-tracking experiment that readers fixate longer on verse-final rhymes than on other words, assuming regressive eye-movement (I claim that rhyme is an acoustic not visual phenomenon; and that there is a tendency to indicate discontinuation by prolonging the last sounds in ordinary speech and blank verse too, as well as in music — where no rhyme is involved).

中文翻译：

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诗歌中的声学与共鸣：波德莱尔《聊天》中押韵的心理现实

本文在这个意义上使用术语“心理现实”：语言理论的建构在多大程度上可以被视为在人类思想中具有基础，即以某种方式反映在人类认知结构中。本文探讨了可能反映语音理论结构的人类认知结构。最后一部分是对波德莱尔的“聊天”中声音模式的心理现实的批判，正如之前的三篇文章所讨论的那样。在物理术语中，它将“共振”定义为“倾向于加强或延长声音，特别是通过同步振动”。在语音方面，它将“共振”定义为“强烈的分类前听觉信息在短期记忆中徘徊”。韵律在诗歌中的影响是由韵律伙伴中振动的类似泛音所承载的，像钢琴上类似的泛音一样产生共鸣。无论哪种情况，我们都不会逐项比较泛音，只听它们的同步振动。我将此概念与三种方法进行对比：一种指出“内韵”的相似声音，而不管它们是否包含在短期记忆的范围内（即它们是否可能具有心理重燃）；一种声称句法复杂性可能会抵消“内在韵律”的心理现实（而我声称它只是背景韵律）；还有一个通过眼球追踪实验发现，假设眼球运动退化（我声称押韵是一种声学而非视觉现象；