CHAPTER V. INFLECTION. AN INFLECTION is a modification of the voice in reading or speaking, commonly referring to the upward and downward slides. There are four inflections, or modifications of the voice, besides the cadence; namely, the Rising Inflection, Falling Inflection, Circumflex, and Monotone. A mark inclining to the right, (') denotes the rising inflection. It should be distinctly remembered, that, although each of the above marks, or characters indicates an inflection of the voice, the same in kind, yet, in degree, intensity, and significant expressiveness, there is a great variety of shades. Any attempt, therefore, to give definite rules, touching the minor shades of modification, would rather perplex, than aid the learner. Good sense, correct taste, and a delicate ear, will ordinarily adapt the more graceful inflections to the spirit of the piece, in the best way, and in the most natural manner. Definitions and Explanations. 1. The RISING INFLECTION is an upward turn or slide of the voice; as, Will you go to-dúy? 2. The FALLING INFLECTION is a downward turn or slide of the voice; as, Where has he gone? 3. The CIRCUMFLEX is the union of the falling and rising inflections on the same syllable or word, QUESTIONS. What is an inflection? What are the four inflections, besides the cadence, which are used in reading? How is the rising inflection denoted? How the falling? How the circumflex? the monotone? What is said of the various minor shades of inflection? What is the rising inflection? What the falling? What the circumflex? producing a slight undulation or wave of the voice; as, Indeed, he is your friend, is he? 4. The MONOTONE is a protracted sameness of sound on successive syllables or words; as, High on a thrōne of royal state. 5. A CADENCE is a fall of the voice below the keynote or general pitch, and occurs, only, on the last syllable or word, at the end of a sentence; as, Time is money. The rising and falling inflections, the circumflex, and cadence, together with their different degrees of intensity, which are always in proportion to the degree of emphatic stress given to the words on which they occur, may be represented to the eye by the following diagram. The straight, horizontal line represents the general pitch of the voice, in which a phrase or sentence is read; and the different lengths of the inclined lines, represent the different degrees of intensity of the several inflections. 11/1 Rising Inflection. Falling Inflection. Circumflex. Cadence. From the above diagram, it will be seen that the voice, in the rising inflection, turns upward from the general pitch, and gradually rises to a height, proportioned to the required degree of emphasis; and, in the falling, that it commences above the general pitch, at a height, proportioned to the degree of emphasis required, and falls down to it, but not below, QUESTIONS. What is the monotone? What the cadence? What does the subjoined diagram represent? Explain it. What may be seen or learned from this diagram? as in the cadence. These characteristics of the inflections and cadence, should be well understood by the pupil, and great care must be taken in reading and speaking, not to mistake one for another. NOTE 1. The falling inflection, when attended with strong emphasis, is sometimes mistaken for the rising. If the learner is in doubt which has been employed, let him use the doubtful word in the form of a question, thus: home, or home? NOTE 2. The circumflex, when slight, so nearly coincides with the rising inflection, that it is frequently mistaken for it; or the rising inflection, and sometimes the falling, is mistaken for the circumflex. When there is doubt which has been used, let the doubtful word be tested thus: NOTE 3. The cadence is sometimes mistaken for the falling inflection. The error consists in not commencing the falling inflection above the key, as required, and sliding down to it, but in commencing it on the key, and sliding below it, thus making a perfect cadence. Their correct reading may be represented thus: NOTE 4. The inflection always begins on the accented syllable of the emphatic word, and although the influence is perceptible throughout the entire clause or sentence in which it occurs, yet, for all practical purposes, it is necessary to mark those words, only, which are most emphatic. QUESTIONS. When is the falling inflection sometimes mistaken for the rising? When there is doubt which has been employed, how can the learner determine? For what is circumflex sometimes mistaken? How may the doubtful word be tested? For what is the cadence sometimes mistaken? In what does the error consist? How is the correct reading illustrated? Where does an inflection begin in a sentence? How far does its influence extend? What words are usually marked? SECTION I. Rising and Falling Inflections. RULE 1. Direct questions, or those that can be answered by yes or no, generally require the rising inflection, and their answers, the falling. EXAMPLES. 1. Does the earth turn on its axís? Yès. 2. Does the moon shine with her own light? No. 3. Are the fixed stars plánets? They are not. 4. Is astronomy a pleasing stúdy? It is. 5. Has the earth an orbital motion around the sún? Yès. 6. Does the moon revolve around the earth? It doès. 7. Has any one sailed around the earth? Cook. Yès, Captain 8. Do you think the planets are inhábited? Yès, I dò. 9. Was it for thís that you exchanged masters? It was not. 10. Am I reduced to the necessity of próving this point? Most certainly. EXCEPTION 1. The direct question, when it becomes an appeal, and is uttered with earnestness and strong emphasis, the answer being anticipated, inclines the voice to the falling inflection. EXAMPLES. 1. Is it possible for a man to save himself? 2. Are we not naturally inclined to èvil? 3. Will any one who knows his own heart, trust himself? 4. Are not good reading and speaking, very rare attàinments? 5. Arè gold and silver mines, on the whole, benefìcial? 6. Cùn we be too zealous in promoting a good caùse? 7. Can you despise your own dear father? 8. Can you ever forget the kindness of your mòther? 9. Will you thus abandon an affectionate sìster? QUESTIONS. What is the rule for direct questions? Give an example. When the direct question becomes an appeal, how should it be read? Give an example. 10. Will your conscience justify such conduct? 11. Will not the slow, unmoving finger of scorn point at you, and mùy not you expect the cold contempt, both of friends and neighbors? EXCEPTION 2. When a direct question is not at first understood, and is repeated with earnestness and emphasis, the repetition takes the falling inflection. EXAMPLES. 1. Will you loan me your réading book? I did not understand you. Will you loan me your reading book? 2. Was your father a native of Germany? What did you say, sir? Was your father a native of Germany? 3. Was your brother of áge, at the time of the Revolution? What, sir? Was your brother of age at the time of the Revolùtion? 4. Will you accompany me to Niagara Falls? What was your question, sir? Will you accompany me to Niagara Falls? NOTE 1. In a short series of direct questions, closely connected in the same paragraph, the rising slide usually increases in intensity on each succeeding question, in proportion to the importance of the thought and emotions of the speaker; but, in some instances, the last question may be rendered more impressive, by giving it the falling slide. EXAMPLES. 1. What must the king do now? Must he submít? Must he be depósed? Must he lose the name of KING? 2. Must I búdge? Must I observe you? Must I stand and crouch under YOUR testy humor? 3. And now that he has practiced upon the gentleman's own precepts, he is assailed for it. Is there any fáirness in this? Is there consistency in it? Is there STATESMANSHIP in it? Is there, I ask, good COMMON SENSE in it? Neither, sir; NEITHER. QUESTIONS. When a direct question is repeated, what slide does the repetition require? Give an example. How is a short series of direct questions usually required to be read? What slide may the last question of the series sometimes take? |