How reverend is the face of this tall pile, Still it cried, 'Sleep no more!' to all the house : Table of Inflections. 19. Of Inflections, properly so called, there are, as already stated, three kinds. As a general rule, the rising inflection is used at that part of a sentence where the sense is incomplete, and the falling inflection where the sense is completed. The circumflex or compound inflection both ascends and descends in what may be described as a wave of the voice, and is generally used in vehement interrogation, or in the expression of contempt, irony, sarcasm, derision, contrast, or reproach. The Exercises which follow afford examples of each of these kinds of inflection. Anyone who understands the distinction between the principal and the secondary clauses of a sentence, will readily recognise the situations where a rising or a falling inflection should take place. For the assistance of the reader the rising inflection is indicated in the following Exercises by the acute accent ('); the falling by the grave ('); and the compound by the circumflex accent (^) when it commences with a rising and ends with a falling slide of the voice, and by the circumflex reversed (,) when it commences with a falling and ends with a rising slide. Ex. 14. RISING AND FALLING INFLECTIONS. The Rising followed by the Falling. We should not say holy' but wholly'? The Falling followed by the Rising. He means gesture' not jester'. CIRCUMFLEX INFLECTIONS. Rising and Falling. Hear him, my lords; he is wondrous condescending. And it shall go hard but I will use the information. If you do that, we will do this. He never attempted that. Oh, no. No doubt ye are the people, and wisdom will die with you. Falling and Rising. He is your friend not your enemy. He? what! he? Ôh, but he paused upon the brink. You could not surely mean this. Why not? All our other calamities were tolerable; but no one could bear the death of Clodius. 20. Writers on Elocution lay down a variety of rules to guide the pupil in the use of inflections, but it may be doubted whether they are of much practical value. Besides the fact that all voices are not of the same compass, and cannot be inflected with the same ease, variety, or effect, such rules can only in a very few cases be regarded as absolute. Individual taste and judgment, based on a thorough understanding of the subject-matter, must decide in general when the voice must rise and fall. Some of the leading canons given in works on Elocution may be noticed. Use the Rising Inflection. 1. Between the subject and predicate. 2. Between the principal subordinate clauses of a complex sentence. 3. Between the parts of a compound sentence signifying concession, comparison, or contrast. 4. After exclamations of surprise in the echo of words. 5. After questions introduced by verbs. Use the Falling Inflection. 1. At the end of a sentence. 2. At the end of clauses completing the sense. 3. After exclamations of solemnity, awe, or strong admiration. 4. After questions introduced by pronouns and adverbs. MODULATION. 21. The key or scale of the inflections may frequently be varied to express more forcibly the emotions inspired by the subject. Sometimes the feeling embodied in the passage to be read or spoken may be most appropriately expressed by pitching the voice in a high key, at other times in a low key. The changes or shifts of the voice in passing from one key to another constitute the special subject of Modulation, which teaches the proper adaptation of the tones of the voice to the character of the matter to be delivered. Every change of modulation is usually accompanied by changes of Tone and Time. The change of voice is sometimes made to a proximate key; at other times a bold and abrupt transition to a remote key is necessary to produce the desired effect. These abrupt transitions constitute the distinction between Modulation and Inflection, which proceeds in a continuous and unbroken movement from one note of the vocal scale to another.* Tone. 22. Every person in reading and speaking assumes a certain pitch or key, which may be either high or low, according to the nature of the subject, and which exercises a governing influence on the variations of the voice above and below it. The voice has been considered capable of assuming three such keys-the low, the high, and the middle. From these the inflections may proceed upwards or downwards, ranging through the various degrees of intonation necessary to express the different shades of passion and emotion. A distinction should be observed between the terms high and low, and loud and soft, which are often but erroneously regarded as synonymous. The latter, like the forte and piano in music to which they precisely correspond, denote merely the degree of force or volume of sound it may be deemed necessary to use in the same key, while the former intimate a change of key altogether. A sound may be high and soft, as well as high and loud. Pitch is thus independent of force, though force adds frequently much to the effect of pitch. Low Tone. 23. The Low Tone falls below the usual speaking key, and is employed in expressing emotions of fear, caution, secresy, solemnity, and tender emotions generally. Ex. 15. O coward conscience, how dost thou affright me! In reverent silence bow. 'Speak low,' he cries, and gives his little hand; In the language of music, from which the term has been borrowed, modulation means the change of the key or mode in conducting the melody; and in a narrower sense the transition from one key to another. Middle Tone. 24. This is the tone of common discourse, and is used in ordinary conversation, narrative, reflection, &c. Ex. 16. I have seen A curions child who dwelt upon a tract Even such a shell the universe itself Is to the ear of Faith; and there are times, High Tone. 25. The High Tone is that which rises above the usual speaking key, and is used in expressing elevated and joyous feelings and strong emotions. Ex. 17. Fight, gentlemen of England! fight, bold yeomen! Strike-till the last armed foe expires; Time. 26. Time is an important element in modulation, as much of the sentiment and effect of a passage depends on the slow or rapid utterance with which it is pronounced. Like Tone, with which it is closely connected in Expression, it may be considered under three heads; as Quick, Moderate, and Slow. 27. Between these limits there may of course be many varieties in the rate or movement of words in speaking. Some writers on Elocution have attempted to apply a definite notation, borrowed from the language of music, to the principal varieties, e. g. Adagio, very slow. Andante, middle degree. Allegro, quick. Presto, very quick. Staccato, successive, sharp, distinct tones. Quick Time. 28. Quick Rate is used to express joy, mirth, raillery, violent anger, and excited states generally. Ex. 18. Now strike the golden lyre again! A louder yet, and yet a louder strain! Break his bands of sleep asunder, And rouse him like a rattling peal of thunder! Has raised up his head As awaked from the dead, And, amazed, he stares around. 'Revenge! revenge!' Timotheus cries 'See the Furies arise, See the snakes that they rear, How they hiss in their hair, And the sparkles that flash from their eyes! Each a torch in his hand; These are Grecian ghosts, that in battle were slain, Inglorious on the plain! To the valiant crew. Behold how they toss their torches on high, How they point to the Persian abodes, And glitt'ring temples of the hostile gods.' The princes applaud with a furious joy; And the king seized a flambeau with zeal to destroy; To light them to their prey, And, like another Helen, fired another Troy. Moderate Time. 29. Moderate Rate is used in narrative, description, argu ment, and unimpassioned speech. |