In this sense, the combination of a feminine and a masculine ending of two unrhymed lines renders them less similar, and therefore even more tightly grouped together and more dependent on the whole.
Their endings are contrasted in two significant respects: "Meandrins" has a masculine ending with a continuous, reverberating nasal vowel; whereas the ending of "fantasques" is feminine, and its last consonant is an abrupt, voiceless stop.
But the psychological atmosphere of patent purpose and definite direction inherent in the masculine ending may bring out of the last line a dormant punchline quality, as text written in lemon juice may be made visible by heating.
Note this too: when we confront "Meandrins" with "choisi" or "charite," for instance, all three have masculine endings, but the nasal vowel in the former is much more reverberant than the oral [i] or [e] in the latter two, even though they too are continuous, periodic speech sounds.
First, where perceptual dynamics require two consecutive lines with unlike endings to be grouped together, feminine and masculine endings increase their dissimilarity, and render their grouping more solid.
However, the children did not consistently use the genitive masculine ending with nonce words.
095), which suggests that respondents were not sensitive to the relationship between the meaning of the noun and the choice of genitive masculine ending.
4) It should be noted in this connection that there is no one "correct" generalization about the genitive masculine ending.
Eighty Polish children and adolescents aged from 6 to 18 participated in a nonce word inflection experiment testing their productivity with the two genitive masculine endings, -a and -u, and their sensitivity to the distributional and semantic factors determining the choice of ending.
The distribution of the two masculine endings, -a and -u, is determined partly by semantic factors, in that nearly all animate masculines take -a.