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SECOND DIVISION.

PART III.

1. COMPOUND INFLECTIONS.

2. PAUSE OF FORCE, OR EXPRESSION.

3. CUMULATIVE EMPHASIS.

COMPOUND INFLECTIONS.

I have previously mentioned compound inflections, and it is now time to explain their force and use. They are distinguished from the simple rise and fall, by a greater range of ascent and descent, comprehending tones, double tones, and half tones, (carrying the voice over an interval of five tones, and sometimes even of an octave.)

The compound inflections are

1. The compound rising-thus marked

2. The compound falling-thus

The curved line is chosen to indicate them, because in making them, the voice does not rise or fall directly, but in a sort of curve, taking in (or slurring over) intermediate half-tones in its ascent or descent to the extreme point of inflection.

The use of these inflections does not set aside the rules for inflection, so far as to the point whether the

inflection shall be rising or falling; but it increases the pitch, and power of the inflection.

Thus, if I ask you

Did you say yes?

with the simple rising inflection, the question is an indifferent one, in fact, a simple interrogation: it might be thus marked on a diagram, indicating the descent and ascent of the voice, and the extreme point of inflection.

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Here the ascent or rise is of three tones,-or, as it is called, in thirds.

But, if I am anriously desirous to know what your answer was --and in my question wish to express that I shall be very much surprised if you have said "Yes," my question would be inflected with the compound (or curved) inflection, thus:

Did you say ye

-es?

or in musical score:

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in which there is on the word yes both a descent and an ascent -(that is, a double or compound inflection), the ascent being two tones higher than that of the simple inflection in the simple question; and the curved line denotes the slur of the voice in passing from the low tone to the high one.

In the same manner, the simple falling is changed, for expression and force, to the compound falling inflection. Thus, in reply to the above question, if you give a simple answer, you will say-No-with the simple falling inflection; but if (in answer to my compound inflection) you desire to imply "by no means; nothing could be further from my thoughts ; and I am surprised you should ask such a question;”—then you will reply with the compound falling inflection,

No

No

commencing on a high pitch of voice, and making a sweep or curve of descent equal and corresponding to the curve of ascent in the compound rising inflection of my question.

That ascent and descent are usually in fifths, as above; but when the speaker is under strong passion, his voice will ascend a full octave. Such, for example, should be the range of the inflection on the questions by Hamlet to Laertes at Ophelia's grave:

"Dost thou come here to whine?

To outface me with leaping in her grave ?"

Hamlet, act iv., sc. 1.

Dost thou come here

to whine.

And, unless the voice reach the octave in these lines, the passionate contempt intended to be conveyed will be lost; and the scornful question will be changed into a common interrogation, expecting a serious answer.

Such is the distinction between the compound and simple inflections.

Now let us see when and for what they are used.

RULE.

The compound inflections are used in strong and vehement Interrogation,--and for wonder, contempt, scornful indignation, ridicule, and (especially) in IRONY.

EXAMPLES.

When, in "The Merchant of Venice," (Act iv., sc. 1,) Portia, understanding that the merchant's bond to Shylock is forfeited,

says

Then must the Jew be merciful;

and Shylock asks

On what compulsion must I? tell me that;

her reply

The quality of mercy is not strain'd

must be marked with the compound rising inflection; which will give the expression of wonder that such a question could be asked, and contempt for the sordid feeling that dictated it.

So, in the following examples, for ridicule and irony:

You must take me for a fool, to think I could do that.

For mine own part,

I shall be glad to learn of noble men.

For Brutus is an honorable man.

You meant no harm; oh no! your thoughts are innocent; you have nothing to hide; your breast is pure, stainless, all truth.

And in that reply of Brutus to Cassius, (Julius Cæsar. Act iv.,) the scorn implied in his indignant interrogations, must be marked with the compound inflection, reaching a full

octave.

Cas.-Ye gods! ye gods! must I endure all this?

Br.-All this? Aye, more!-Fret till your proud heart break: Go show your slaves how choleric you are,

And make your bondmen tremble. Must I budge?
Must I observe you? Must I stand and crouch

Under your testy humour ?—

It is, in fact, this pitch, (the octave,) that lends the scornful expression to the words; and it is the degree of expression required that is to regulate the pitch.

IN ANTITHESIS.

These inflections are also used to give increased force to antithesis; and follow each other, sometimes, in double antithesis so closely, that the voice is kept in a continual wave of ascent and descent, by alternate rising and falling compound inflections.

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