The FALLING INFLECTION is a downward turn, or slide of the voice, used in reading or speaking; as,
\d\ò\i\nWhat are you \g?
In the falling inflection, the voice should not sink below thegeneral pitch; but in the rising inflection, it is raised above it.
The two inflections may be illustrated by the following diagrams:
1.
\ì\my, \p \pl/ \r \rt/ \u \ún/ \d \de/ \e \ed/ \n \nú/ \t \tr/ \l \lDid he act p/ or \y? He acted \y.
2.
\ù\ny, \w \wl/ \i \ig/ \l \ln/ \l \li/ \i \íl/ \n \nl/ \g \gí/ \l \lDid they go w/ or \y? They went \y.
3.
r,e/h/g/í/If the flight of Dryden is h/ Pope continues longer on ther,e/t/h/\w g/\ì í/\n r/\g. If the blaze of Dryden's fire is b/ the heat of Pope's is\c\ò\n\s\t\a\nmore regular and \t.
4.
Is honor's lofty soul forever fled′?Is virtue lost′? Is martial ardor dead′?Is there no heart where worth and valor dwell′?No patriot WALLACE′? No undaunted TELL′?Yes`, Freedom, yes`! thy sons, a noble band,Around thy banner, firm, exulting stand`.
REMARK.—The samedegreeof inflection is not, at all times, used, or indicated by the notation. The due degree to be employed, depends on thenatureof what is to be expressed. For example; if a person, under great excitement, asks another:
t?senraAre you in e the degree of inflection would be much greater,t?senrathan if he playfully asks: Are you in e The formerinflection may be calledintensive, the latter,common.
RULE I.
Direct questions, or those which may be answered byyesorno, usually take the rising inflection; but their answers, generally, the falling.
EXAMPLES.
NOTE I.—When the direct question becomes an appeal, and the reply to it is anticipated, it takes the intensefallinginflection.
EXAMPLES.
RULE II.
Indirect questions, or those which can not be answered byyesorno, usually take thefallinginflection, and their answers the same.
NOTE I.—When the indirect question is one asking a repetition of what was not, at first, understood, it takes therisinginflection.
EXAMPLES.
NOTE II.—Answers to questions, whether direct or indirect, when expressive of indifference, take therisinginflection, or the circumflex.
EXAMPLES.
NOTE III.—In some instances, direct questions become indirect by a change of the inflection from the rising to the falling.
EXAMPLES.
REMARK.—The first question asks if the person addressed willcomewithin the two days, and may be answered byyesorno; but the second asks onwhichof the two days he will come, and it can not be thus answered.
When questions are connected by the conjunctionor, the first requires therising, and the second, thefallinginflection.
EXAMPLES.
1. Does he study for amusement′, or improvement`?
2. Was he esteemed for his wealth′, or for his wisdom`?
3. Sink′ or swim`, live′ or die`, survive′ or perish`, I give my hand and heart to this vote.
WEBSTER.
4. Is it lawful to do good on the Sabbath-days′, or to do evil`? to save life′, or to kill`?
5. Was it an act of moral courage′, or cowardice`, for Cato to fall on his sword`?
RULE IV. Antithetic terms or clauses usually take opposite inflections; generally, the former has therising, and the latter thefallinginflection.
EXAMPLES.
1. If you seek to make one rich, study not to increase his stores′ but to diminish his desires`.
2.They have mouths′,—but they speak not`:Eyes have they′,—but they see not`:They have ears′,—but they hear not`:Noses have they′,—but they smell not`:They have hands′,—but they handle not`:Feet have they′,—but they walk not`.
BIBLE.
NOTE I.—When one of the antithetic clauses is anegative, and the other anaffirmative, generally the negative has therising, and the affirmative thefallinginflection.
EXAMPLES.
1. I said an elder soldier` not a better′.
2. His acts deserve punishment` rather than commiseration′.
3. This is no time for a tribunal of justice′, but for showing mercy`; not for accusation′, but for philanthropy`; not for trial′, but for pardon`; not for sentence and execution′, but for compassion and kindness`.
RULE V. The Pause of Suspension, denoting that the sense is incomplete, usually has therisinginflection.
EXAMPLES.
1. Although the fig tree shall not blossom′, neither shall fruit be in the vine′; the labor of the olive shall fail′, and the fields shall yield no meat′; the flocks shall be cut off from the fold′, and there shall be no herd in the stalls′; yet will I rejoice in the Lord`, I will joy in the God of my salvation`.
BIBLE.
NOTE I.—The ordinary direct address, not accompanied with strong emphasis, takes therisinginflection, on the principle of the pause of suspension.
EXAMPLES.
1. Men′, brethren′, and fathers′, hear ye my defense which I make now unto you.
BIBLE.
2.Ye living flowers′, that skirt the eternal frost′!Ye wild goats′, sporting round the eagle's nest′!Ye eagles′, playmates of the mountain storm′!Ye lightnings′, the dread arrows of the clouds′!Ye signs′ and wonders′ of the elements′!Utter forth GOD`, and fill the hills with praise`!
COLERIDGE.
NOTE II.—In some instances of a pause of suspension, the sense requires an intensefallinginflection.
EXAMPLE.
1. The prodigal, if he does not become apauper`, will, at least, have but little to bestow on others.
REMARK.—If therisinginflection is given onpauper, the sense would be perverted, and the passage made to mean, that, in order to be able to bestow on others, it is necessary that he should become a pauper.
RULE VI. Expressions of tenderness, as of grief, or kindness, commonly incline the voice to therisinginflection.
EXAMPLES.
1.
Mother′,—I leave thy dwelling′;Oh! shall it be forever′?With grief my heart is swelling′,From thee′,—from thee′,—to sever′.
2. O my son Absalom′! my son′, my son Absalom'! Would God I had died for thee′, Absalom′, my son′, my son′!
BIBLE.
RULE VII. The Penultimate Pause, or the last but one, of a passage, is usually preceded by therisinginflection.
EXAMPLES.
1. Diligence`, industry`, and proper improvement of time′, are material duties of the young`.
2. These through faith subdued kingdoms`, wrought righteous-ness`, obtained promises`, stopped the mouths of lions`, quenched the violence of fire`, escaped the edge of the sword`, out of weakness were made strong`, waxed valiant in fight′, turned to flight the armies of the aliens`.
REMARK.—The rising inflection is employed at the penultimate pause in order to promote variety, since the voice generally falls at the end of a sentence.
RULE VIII. Expressions of strong emotion, as of anger or surprise, and also the language of authority and reproach, are expressed with thefallinginflection.
EXAMPLES.
1. On YOU`, and on your CHILDREN`, be the peril of the innocent blood which shall be shed this day`.
2. What a piece of workmanship is MAN`! How noble in REASON`! How infinite in FACULTIES`!
3. O FOOLS`! andslow of heartto believe all that the prophets have written concerning me`!
BIBLE.
4. HENCE`, HOME`,you idle creatures`, GET YOU HOME`, YOU BLOCKS`, YOU STONES`, YOU WORSE THAN USELESS THINGS`!
5. Avaunt`! and quit my sight`! let the earth hide thee`! Thy bones are marrowless`; thou hast no speculation in thine eyes which thou dost glare` with.
SHAKSPEARE.
6.
Slave, do thy office`! Strike`, as I struck the foe`!Strike`, as I would have struck the tyrants`!Strike deep as my curse`! Strike`, and but once`!
ID.
RULE IX. An emphatic succession of particulars, and emphatic repetition, require thefallinginflection.
EXAMPLES.
1.
Beware` what earth calls happiness; BEWARE`All joys but joys that never can expire`.
2. A great mind`, a great heart`, a great orator`, a great career`, have been consigned to history`.
BUTLER.
REMARK.—The stress of voice on each successive particular, or repetition, should gradually be increased as the subject advances.
The CIRCUMFLEX is a union of the two inflections on the same word, beginning either with thefallingand ending with therising, or with therisingand ending with thefalling; as, If he goes to ____ I shall go to ____.
The circumflex is mainly employed in the language of irony, and in expressing ideas implying some condition, either expressed or understood.
EXAMPLES.
1. Yoû, a beardless yoûth, pretend to teach a British gêneral.
2. What! shear a wôlf? a prowling wôlf?
3.
My father's trâde? ah, really, that's too bad!My father's trâde? Why, blockhead, are you mâd?My father, sir, did never stoop so low,—Hê was a gentleman, I'd have you know.
4. What! confer a crôwn on the author of the public calâmities?
5. But yoû are very wise men, and deeply learned in the truth; wê are wêak, contêmptible, mêan persons.
6. They pretend they come to imprôve our stâte, enlârge our thôughts, and freê us from êrror.
7. But yoûth, it seems, is not my ônly crime; I have been accused of acting a theatrical part.
8. And this man has become a gôd and Cassius a wrêtched creature.
MODULATION implies those variations of the voice, heard in reading or speaking, which are prompted by the feelings and emotions that the subject inspires.
EXAMPLES.
EXPRESSIVE OF COURAGE AND CHIVALROUS EXCITEMENT.
FULL .- Once more unto the breach, dear friends,once more,TONE '- Or close the wall up with our English dead!MIDDLE .- In peace, there's nothing so becomes a man,TONE '- As modest stillness and humility;.- But when the blast of war blows in our ears,SHORT | Then imitate the action of the tiger;AND + Stiffen the sinews, summon up the blood,QUICK '- Disguise fair nature with hard-favored rage..-On, ON, you noblest English,HIGH | Whose blood is fetched from fathers of war-proof!AND +Fathers, that, like so many Alexanders,LOUD | Have, in these parts, from morn till even fought,'- And sheathed their swords for lack of argument.QUICK .- I see you stand like greyhounds in the slips,AND | Straining upon the start. The game's afoot;VERY + Follow your spirits, and, upon this charge,LOUD '- CRY—HEAVEN FOR HARRY! ENGLAND! AND ST. GEORGE!SHAKSPEARE.
REMARK.—To read the foregoing example in one dull, monotonous tone of voice, without regard to the sentiment expressed, would render the passage extremely insipid and lifeless. But by a proper modulation of the voice, it infuses into the mind of the reader or hearer the most animating and exciting emotions.
The voice is modulated inthreedifferent ways.First, it is varied in PITCH; that is, fromhightolowtones, and the reverse.Secondly, it is varied in QUANTITY, or inloudnessorvolumeof sound.Thirdly, it is varied in QUALITY, or in thekindof sound expressed.
Pitch of voice has reference to its degree of elevation.
Every person, in reading or speaking, assumes a certain pitch, which may be eitherhighorlow, according to circumstances, and which has a governing influence on the variations of the voice, above and below it. This degree of elevation is usually called the KEY NOTE.
As an exercise in varying the voice in pitch, the practice of uttering a sentence on the several degrees of elevation, as represented in the following scale, will be found beneficial. First, utter the musical syllables, then the vowel sound, and lastly, the proposed sentence,—ascending and descending.
---------8.--do--#--e-in-me.---Virtue alone survives.----7. si #iin die. Virtue alone survives.-------6.--la--#--o-in-do.---Virtue alone survives.------5. sol #oin no. Virtue alone survives.-----4.--fa--#--a-in-at.---Virtue alone survives.--------3. mi #a-inate. Virtue alone survives.---2.--re--#--a-in-far.--Virtue alone survives.----------1. do #ainall. Virtue alone survives
Although the voice is capable of as many variations in speaking, as are marked on the musical scale, yet for all the purposes of ordinary elocution, it will be sufficiently exact if we make butthreedegrees of variation, viz., theLow, theMiddle, and theHigh.
1. THE LOW PITCH is that which falls below the usual speaking key, and is employed in expressing emotions ofsublimity,awe, andreverence.
EXAMPLE.
Silence, how dead! darkness, how profound!Nor eye, nor list'ning ear, an object finds;Creation sleeps. 'Tis as the general pulseOf life stood still, and Nature made a pause.—An awful pause! prophetic of her end.
YOUNG.
2. THE MIDDLE PITCH is that usually employed in common conversation, and in expressingunimpassioned thoughtandmoderate emotion.
EXAMPLES.
1. It was early in a summer morning, when the air was cool, the earth moist, the whole face of the creation fresh and gay, that I lately walked in a beautiful flower garden, and, at once, regaled the senses and indulged the fancy.
HERVEY.
2.
"I love to live," said a prattling boy,As he gayly played with his new-bought toy,And a merry laugh went echoing forth,From a bosom filled with joyous mirth.
3. THE HIGH PITCH is that which rises above the usual speaking key, and is used in expressingjoyousandelevated feelings.
EXAMPLE.
Higher,higher, EVER HIGHER,—Let the watchword be "ASPIRE!"Noble Christian youth;Whatsoe'er be God's behest,Try to do that duty best,In the strength of Truth.
M.F. TUPPER.
QUANTITY is two-fold;—consisting in FULLNESS or VOLUME of sound, assoftorloud; and in TIME, assloworquick. The former has reference to STRESS; the latter, to MOVEMENT.
The degrees of variation in quantity are numerous, varying from a slight, soft whisper to a vehement shout. But for all practical purposes, they may be considered asthree, the same as in pitch;—thesoft, themiddle, and theloud.
For exercise in quantity, let the pupil read any sentence, as,
"Beauty is a fading flower,"
first in a slight, soft tone, and then repeat it, gradually increasing in quantity to the full extent of the voice. Also, let him read it first very slowly, and then repeat it, gradually increasing the movement. In doing this, he should be careful not to vary the pitch.
In like manner, let him repeat any vowel sound, or all of them, and also inversely. Thus:
[Illustration][Transcriber's Note: The illustration is a row of the letter "O," increasing in size across the page, followed by a row of the letter "O" decreasing in size. The presumed intent is to convey loudness.]
REMARK.—Quantity is often mistaken for Pitch. But it should be borne in mind that quantity has reference toloudnessorvolumeof sound, and pitch to theelevationordepressionof a tone. The difference may be distinguished by the slight and heavy strokes on a bell;—both of which produce sounds alike inpitch; but they differ inquantityorloudness, in proportion as the strokes are light or heavy.
1. SOFT, OR SUBDUED TONES, are those which range from a whisper to a complete vocality, and are used to expressfear,caution,secrecy,solemnity, and alltender emotions.
EXAMPLES.
1.
We watched her breathing through the night,Her breathing soft and low,As in her breast the wave of lifeKept heaving to and fro.
HOOD.
2.
Softly, peacefully,Lay her to rest;Place the turf lightly,On her young breast.
D.E. GOODMAN.
3.
The loud wind dwindled to a whisper low,And sighed for pity as it answered,—"No."
2. A MIDDLE TONE, or medium loudness of voice, is employed in readingnarrative,descriptive, ordidactic sentences.
EXAMPLE.
I love my country's pine-clad hills,Her thousand bright and gushing rills,Her sunshine and her storms;Her rough and rugged rocks that rearTheir hoary heads high in the air,In wild fantastic forms.
3. A LOUD TONE, or fullness and stress of voice, is used in expressingviolent passionsandvehement emotions.
EXAMPLES.
1.
STAND!the ground's your own, my braves,—Will ye give it up toslaves?Will ye look forgreener graves?Hope ye mercy still?What's the mercydespotsfeel?Hear it in thatbattle-peal,—Read it on yon bristling steel,Ask it—ye who will!
PIERPONT.
2.
"HOLD!" Tyranny cries; but their resolute breathSends back the reply: "INDEPENDENCE or DEATH!"
QUALITY has reference tothe kind of sounduttered.
Two sounds may be alike in quantity and pitch, yet differ in quality. The sounds produced on the clarinet and flute may agree in pitch and quantity, yet be unlike in quality. The same is true in regard to the tones of the voice of two individuals. This difference is occasioned mainly by the different positions of the vocal organs.
The qualities of voice mostly used in reading or speaking, and which should receive the highest degree of culture, are thePure Tone, theOrotund, theAspirated, and theGuttural.
1. THE PURE TONE is a clear, smooth, sonorous flow of sound, usually accompanied with the middle pitch of voice, and is adapted to express emotions ofjoy, cheerfulness, love, andtranquillity.
EXAMPLE.
Hail! beauteous stranger of the wood,Attendant on the spring,Now heaven repairs thy vernal seat,And woods thy welcome sing.
2. THE OROTUND is a full, deep, round, and pure tone of voice, peculiarly adapted in expressingsublimeandpathetic emotions.
EXAMPLE.
It thunders! Sons of dust, in reverence bow!Ancient of Days! Thou speakest from above:Almighty! trembling, like a timid child,I hear thy awful voice. Alarmed—afraid—I see the flashes of thy lightning wild,And in the very grave would hide my head.
3. THE ASPIRATED TONE of voice is not a pure, vocal sound, but rather a forcible breathing utterance, and is used to expressamazement, fear, terror, anger, revenge, remorse, andfervent emotions.
EXAMPLE.
Oh, coward conscience, how dost thou affright me!The lights burn blue. It is now dead midnight;Cold, fearful drops stand on my trembling flesh.
4. THE GUTTURAL QUALITY is a deep, aspirated tone of voice, used to expressaversion, hatred, loathing, andcontempt.
EXAMPLE.
Tell me Ihatethe bowl?HATE is a feeble word:Iloathe, ABHOR, my very soulWith strong disgust is stirred,Whene'er I see, or hear, or tell,Of the dark beverage of hell.
EXAMPLES FOR EXERCISE IN MODULATION.
POPE.
WHITTIER.
WILLIS.
MISS J.H. LEWIS.
From every battle-field of the revolution—from Lexington and Bunker Hill—from Saratoga and Yorktown—from the fields of Entaw—from the cane-brakes that sheltered the men of Marion—the repeated, long-prolonged echoes came up—(f.) "THE UNION: IT MUST BE PRESERVED" (<) From every valley in our land—from every cabin on the pleasant mountain sides—from the ships at our wharves—from the tents of the hunter in our westernmost prairies—from the living minds of the living millions of American freemen—from the thickly coming glories of futurity—the shout went up, like the sound of many waters, (ff.) "THE UNION: IT MUST BE PRESERVED."
BANCROFT.
G.D. PRENTICE.
YOUNG.
HALLECK.
CAMPBELL.
(o') His speech was at first low toned and slow. Sometimes his voice would deepen, (oo) like the sound of distant thunder; and anon, ('') his flashes of wit and enthusiasm would light up the anxious faces of his hearers, (<) like the far-off lightning of a coming storm.
T.B. READ.
MRS. SOUTHEY.
(of.) SPEAK OUT, my friends; would you exchange it for the DEMON'S DRINK, (ff.) ALCOHOL? Ashout, like theroarof a tempest, answered, (oo) NO!
CAMPBELL.
RHETORICAL PAUSES are those which are frequently required by the voice in reading and speaking, although the construction of the passage admits of no grammatical point.
These pauses should be as manifest to the ear, as those which are indicated by the comma, semicolon, or other grammatical points, though not commonly denoted by any visible sign. In the following examples they are denoted thus, (||).