But the thought-movement is the more immediate influence upon the structure of a poem. The pre-eminently characteristic movement of the Indian lyric is recessional.[1] It perceptibly intensifies the haunting, melancholy effect in which the lyric usually finds voice. The _motif_ appears at the opening of the song, with the emotional intensity or emphasis gradually dying away toward the close. This movement commonly occurs in the shorter songs which are entirely repeated several times. This recessional movement is effective with its musical accompaniment, repeating the melody in a descending scale, and ending on a low note. Thus _pitch_ and _accent_, as well as varying _quantity_, mark the repetitions and lessen their monotony. As a modification of the recessional movement, there is the poem which opens with the _motif_ and repeats it at regularly recurring points throughout, concluding abruptly without the refrain. There are some stanzaic units in this group. Whatever may be the gain in emphasis and in organization, there is a distinct loss in atmosphere. This type is interesting as a transitional stage. The second type of thought-movement has influenced a third group of songs which shows wide divergence from the first. In this last group the major emphasis always opens and closes the song, though it recurs at intervals, as at the opening or close of each stanza. This is the most finished lyric in design, the most completely thought out, with stanzaic units distinct. Mood and idea join to create a beautiful form. To a less extent, the processional, or forward, thought-movement appears in lyric form. It may progress toward an emotional climax at the end of a song or a sequence. In the songs before sunrise, as the _Daylight Song_ in _The Hako_, the intensity increases toward the close as dawn appears. The forward movement finds its most natural place in the ballads and in those ritualistic poems which anticipate dramatic gesture or action. This dramatic relationship, whether in formal ceremony or in vocational songs, shapes the thought-movement in direct contrast to the characteristic order. There are other poems which carry the thought forward to the close, rounding with an effective summary, sustaining the heightened interest, yet showing the fine intellectual perception of form in relation to thought which appears in _Mount Koonak: A Song of Arsut_. In characteristics, this type approaches the lyric which Doctor Moulton has classified as the _free sonnet_. Whatever variations appear in the sequence of thought, it must be remembered that the use of the recessional movement is a primary law of Indian lyric art.