With easy force it opens all the cells
Where Memory slept.
—William Cowper, The Task.
Herbert Spencer remarked that "Cadence"—by which he meant the modulation6 of the tones of the voice in speaking—"is the running commentary of the emotions upon the propositions of the intellect." How true this is will appear when we reflect that the little upward and downward shadings of the voice tell more truly what we mean than our words. The expressiveness9 of language is literally10 multiplied by this subtle power to shade the vocal11 tones, and this voice-shading we call inflection.
The change of pitch within a word is even more important, because more delicate, than the change of pitch from phrase to phrase. Indeed, one cannot be practised without the other. The bare words are only so many bricks—inflection will make of them a pavement, a garage, or a cathedral. It is the power of inflection to change the meaning of words that gave birth to the old saying: "It is not so much what you say, as how you say it."
Mrs. Jameson, the Shakespearean commentator12, has given us a penetrating13 example of the effect of inflection; "In her impersonation of the part of Lady Macbeth, Mrs. Siddons adopted successively three different intonations14 in giving the words 'We fail.' At first a quick contemptuous interrogation—'We fail?' Afterwards, with the note of admiration—'We fail,' an accent of indignant astonishment15 laying the principal emphasis on the word 'we'—'we fail.' Lastly, she fixed16 on what I am convinced is the true reading—We fail—with the simple period, modulating17 the voice to a deep, low, resolute18 tone which settles the issue at once as though she had said: 'If we fail, why then we fail, and all is over.'"
This most expressive8 element of our speech is the last to be mastered in attaining19 to naturalness in speaking a foreign language, and its correct use is the main element in a natural, flexible utterance20 of our native tongue. Without varied21 inflections speech becomes wooden and monotonous22.
There are but two kinds of inflection, the rising and the falling, yet these two may be so shaded or so combined that they are capable of producing as many varieties of modulation as maybe illustrated23 by either one or two lines, straight or curved, thus:
lines
Sharp rising
Long rising
Level
Long falling
Sharp falling
Sharp rising and falling
Sharp falling and rising
Hesitating
These may be varied indefinitely, and serve merely to illustrate24 what wide varieties of combination may be effected by these two simple inflections of the voice.
It is impossible to tabulate25 the various inflections which serve to express various shades of thought and feeling. A few suggestions are offered here, together with abundant exercises for practise, but the only real way to master inflection is to observe, experiment, and practise.
For example, take the common sentence, "Oh, he's all right." Note how a rising inflection may be made to express faint praise, or polite doubt, or uncertainty26 of opinion. Then note how the same words, spoken with a generally falling inflection may denote certainty, or good-natured approval, or enthusiastic praise, and so on.
In general, then, we find that a bending upward of the voice will suggest doubt and uncertainty, while a decided27 falling inflection will suggest that you are certain of your ground.
Students dislike to be told that their speeches are "not so bad," spoken with a rising inflection. To enunciate28 these words with a long falling inflection would indorse the speech rather heartily29.
Say good-bye to an imaginary person whom you expect to see again tomorrow; then to a dear friend you never expect to meet again. Note the difference in inflection.
"I have had a delightful30 time," when spoken at the termination of a formal tea by a frivolous31 woman takes altogether different inflection than the same words spoken between lovers who have enjoyed themselves. Mimic32 the two characters in repeating this and observe the difference.
Note how light and short the inflections are in the following brief quotation33 from "Anthony the Absolute," by Samuel Mervin.
At Sea—March 28th.
This evening I told Sir Robert What's His Name he was a fool.
I was quite right in this. He is.
Every evening since the ship left Vancouver he has presided over the round table in the middle of the smoking-room. There he sips34 his coffee and liqueur, and holds forth35 on every subject known to the mind of man. Each subject is his subject. He is an elderly person, with a bad face and a drooping36 left eyelid37.
They tell me that he is in the British Service—a judge somewhere down in Malaysia, where they drink more than is good for them.
Deliver the two following selections with great earnestness, and note how the inflections differ from the foregoing. Then reread these selections in a light, superficial manner, noting that the change of attitude is expressed through a change of inflection.
When I read a sublime38 fact in Plutarch, or an unselfish deed in a line of poetry, or thrill beneath some heroic legend, it is no longer fairyland—I have seen it matched.—Wendell Phillips.
Thought is deeper than all speech,
Feeling deeper than all thought;
Souls to souls can never teach
What unto themselves was taught.
—Cranch
It must be made perfectly39 clear that inflection deals mostly in subtle, delicate shading within single words, and is not by any means accomplished40 by a general rise or fall in the voice in speaking a sentence. Yet certain sentences may be effectively delivered with just such inflection. Try this sentence in several ways, making no modulation until you come to the last two syllables41, as indicated,
And yet I told him dis-
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(low)
tinctly.
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And yet I told him dis- |
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(low)
Now try this sentence by inflecting the important words so as to bring out various shades of meaning. The first forms, illustrated above, show change of pitch within a single word; the forms you will work out for yourself should show a number of such inflections throughout the sentence.
One of the chief means of securing emphasis is to employ a long falling inflection on the emphatic42 words—that is, to let the voice fall to a lower pitch on an interior vowel43 sound in a word. Try it on the words "every," "eleemosynary," and "destroy."
Use long falling inflections on the italicized words in the following selection, noting their emphatic power. Are there any other words here that long falling inflections would help to make expressive?
ADDRESS IN THE DARTMOUTH COLLEGE CASE
This, sir, is my case. It is the case not merely of that humble45 institution; it is the case of every college in our land. It is more; it is the case of every eleemosynary institution throughout our country—of all those great charities founded by the piety46 of our ancestors to alleviate47 human misery48 and scatter49 blessings50 along the pathway of life. Sir, you may destroy this little institution—it is weak, it is in your hands. I know it is one of the lesser51 lights in the literary horizon of our country. You may put it out. But if you do you must carry through your work; you must extinguish, one after another, all those great lights of science which, for more than a century, have thrown their radiance over our land!
It is, sir, as I have said, a small college, and yet—there are those who love it!
Sir, I know not how others may feel, but as for myself when I see my alma mater surrounded, like C?sar in the senate house, by those who are reiterating52 stab after stab, I would not for this right hand have her turn to me and say, And thou, too, my son!
—Daniel Webster.
Be careful not to over-inflect. Too much modulation produces an unpleasant effect of artificiality, like a mature matron trying to be kittenish. It is a short step between true expression and unintentional burlesque53. Scrutinize54 your own tones. Take a single expression like "Oh, no!" or "Oh, I see," or "Indeed," and by patient self-examination see how many shades of meaning may be expressed by inflection. This sort of common-sense practise will do you more good than a book of rules. But don't forget to listen to your own voice.
QUESTIONS AND EXERCISES
1. In your own words define (a) cadence, (b) modulation, (c) inflection, (d) emphasis.
2. Name five ways of destroying monotony and gaining effectiveness in speech.
3. What states of mind does falling inflection signify? Make as full a list as you can.
4. Do the same for the rising inflection.
5. How does the voice bend in expressing (a) surprise? (b) shame? (c) hate? (d) formality? (e) excitement?
6. Reread some sentence several times and by using different inflections change the meaning with each reading.
7. Note the inflections employed in some speech or conversation. Were they the best that could be used to bring out the meaning? Criticise55 and illustrate.
8. Render the following passages:
Has the gentleman done? Has he completely done?
And God said, Let there be light: and there was light.
9. Invent an indirect question and show how it would naturally be inflected.
10. Does a direct question always require a rising inflection? Illustrate.
11. Illustrate how the complete ending of an expression or of a speech is indicated by inflection.
12. Do the same for incompleteness of idea.
13. Illustrate (a) trembling, (b) hesitation56, and (c) doubt by means of inflection.
14. Show how contrast may be expressed.
15. Try the effects of both rising and falling inflections on the italicized words in the following sentences. State your preference.
It is sown a natural body; it is raised a spiritual body.
SELECTIONS FOR PRACTISE
In the following selections secure emphasis by means of long falling inflections rather than loudness.
Repeat these selections, attempting to put into practise all the technical principles that we have thus far had; emphasizing important words, subordinating unimportant words, variety of pitch, changing tempo58, pause, and inflection. If these principles are applied59 you will have no trouble with monotony.
Constant practise will give great facility in the use of inflection and will render the voice itself flexible.
CHARLES I
We charge him with having broken his coronation oath; and we are told that he kept his marriage vow44! We accuse him of having given up his people to the merciless inflictions of the most hot-headed and hard-hearted of prelates; and the defence is, that he took his little son on his knee and kissed him! We censure60 him for having violated the articles of the Petition of Right, after having, for good and valuable consideration, promised to observe them; and we are informed that he was accustomed to hear prayers at six o'clock in the morning! It is to such considerations as these, together with his Vandyke dress, his handsome face, and his peaked beard, that he owes, we verily believe, most of his popularity with the present generation.
—T.B. Macaulay.
ABRAHAM LINCOLN
We needed not that he should put on paper that he believed in slavery, who, with treason, with murder, with cruelty infernal, hovered61 around that majestic62 man to destroy his life. He was himself but the long sting with which slavery struck at liberty; and he carried the poison that belonged to slavery. As long as this nation lasts, it will never be forgotten that we have one martyred President—never! Never, while time lasts, while heaven lasts, while hell rocks and groans64, will it be forgotten that slavery, by its minions65, slew66 him, and in slaying67 him made manifest its whole nature and tendency.
But another thing for us to remember is that this blow was aimed at the life of the government and of the nation. Lincoln was slain68; America was meant. The man was cast down; the government was smitten69 at. It was the President who was killed. It was national life, breathing freedom and meaning beneficence, that was sought. He, the man of Illinois, the private man, divested70 of robes and the insignia of authority, representing nothing but his personal self, might have been hated; but that would not have called forth the murderer's blow. It was because he stood in the place of government, representing government and a government that represented right and liberty, that he was singled out.
This, then, is a crime against universal government. It is not a blow at the foundations of our government, more than at the foundations of the English government, of the French government, of every compact and well-organized government. It was a crime against mankind. The whole world will repudiate71 and stigmatize72 it as a deed without a shade of redeeming73 light....
The blow, however, has signally failed. The cause is not stricken; it is strengthened. This nation has dissolved,—but in tears only. It stands, four-square, more solid, to-day, than any pyramid in Egypt. This people are neither wasted, nor daunted74, nor disordered. Men hate slavery and love liberty with stronger hate and love to-day than ever before. The Government is not weakened, it is made stronger....
And now the martyr63 is moving in triumphal march, mightier75 than when alive. The nation rises up at every stage of his coming. Cities and states are his pall-bearers, and the cannon76 beats the hours with solemn progression. Dead—dead—dead—he yet speaketh! Is Washington dead? Is Hampden dead? Is David dead? Is any man dead that ever was fit to live? Disenthralled of flesh, and risen to the unobstructed sphere where passion never comes, he begins his illimitable work. His life now is grafted77 upon the Infinite, and will be fruitful as no earthly life can be. Pass on, thou that hast overcome! Your sorrows O people, are his peace! Your bells, and bands, and muffled78 drums sound triumph in his ear. Wail79 and weep here; God makes it echo joy and triumph there. Pass on, victor!
Four years ago, O Illinois, we took from your midst an untried man, and from among the people; we return him to you a mighty80 conqueror81. Not thine any more, but the nation's; not ours, but the world's. Give him place, ye prairies! In the midst of this great Continent his dust shall rest, a sacred treasure to myriads82 who shall make pilgrimage to that shrine83 to kindle84 anew their zeal85 and patriotism86. Ye winds, that move over the mighty places of the West, chant his requiem87! Ye people, behold88 a martyr, whose blood, as so many inarticulate words, pleads for fidelity89, for law, for liberty!—Henry Ward7 Beecher.
THE HISTORY OF LIBERTY
The event which we commemorate90 is all-important, not merely in our own annals, but in those of the world. The sententious English poet has declared that "the proper study of mankind is man," and of all inquiries91 of a temporal nature, the history of our fellow-beings is unquestionably among the most interesting. But not all the chapters of human history are alike important. The annals of our race have been filled up with incidents which concern not, or at least ought not to concern, the great company of mankind. History, as it has often been written, is the genealogy92 of princes, the field-book of conquerors93; and the fortunes of our fellow-men have been treated only so far as they have been affected94 by the influence of the great masters and destroyers of our race. Such history is, I will not say a worthless study, for it is necessary for us to know the dark side as well as the bright side of our condition. But it is a melancholy95 study which fills the bosom96 of the philanthropist and the friend of liberty with sorrow.
But the history of liberty—the history of men struggling to be free—the history of men who have acquired and are exercising their freedom—the history of those great movements in the world, by which liberty has been established and perpetuated97, forms a subject which we cannot contemplate98 too closely. This is the real history of man, of the human family, of rational immortal99 beings....
The trial of adversity was theirs; the trial of prosperity is ours. Let us meet it as men who know their duty and prize their blessings. Our position is the most enviable, the most responsible, which men can fill. If this generation does its duty, the cause of constitutional freedom is safe. If we fail—if we fail—not only do we defraud100 our children of the inheritance which we received from our fathers, but we blast the hopes of the friends of liberty throughout our continent, throughout Europe, throughout the world, to the end of time.
History is not without her examples of hard-fought fields, where the banner of liberty has floated triumphantly101 on the wildest storm of battle. She is without her examples of a people by whom the dear-bought treasure has been wisely employed and safely handed down. The eyes of the world are turned for that example to us....
Let us, then, as we assemble on the birthday of the nation, as we gather upon the green turf, once wet with precious blood—let us devote ourselves to the sacred cause of constitutional liberty! Let us abjure102 the interests and passions which divide the great family of American freemen! Let the rage of party spirit sleep to-day! Let us resolve that our children shall have cause to bless the memory of their fathers, as we have cause to bless the memory of ours!—Edward Everett.
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1
intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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cadence
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| n.（说话声调的）抑扬顿挫 | |
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pealing
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| v.（使）（钟等）鸣响，（雷等）发出隆隆声( peal的现在分词 ) | |
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sonorous
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| adj.响亮的，回响的；adv.圆润低沉地；感人地；n.感人，堂皇 | |
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gale
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| n.大风，强风，一阵闹声（尤指笑声等） | |
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modulation
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| n.调制 | |
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ward
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| n.守卫，监护，病房，行政区，由监护人或法院保护的人（尤指儿童）；vt.守护，躲开 | |
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expressive
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| adj.表现的，表达…的，富于表情的 | |
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expressiveness
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| n.富有表现力 | |
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literally
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| adv.照字面意义，逐字地；确实 | |
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vocal
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| adj.直言不讳的；嗓音的；n.[pl.]声乐节目 | |
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commentator
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| n.注释者，解说者；实况广播评论员 | |
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13
penetrating
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| adj.（声音）响亮的，尖锐的adj.（气味）刺激的adj.（思想）敏锐的，有洞察力的 | |
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intonations
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| n.语调，说话的抑扬顿挫( intonation的名词复数 )；（演奏或唱歌中的）音准 | |
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astonishment
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| n.惊奇，惊异 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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modulating
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| 调整( modulate的现在分词 )； （对波幅、频率的）调制； 转调； 调整或改变（嗓音）的音调 | |
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resolute
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| adj.坚决的，果敢的 | |
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attaining
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| （通常经过努力）实现( attain的现在分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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utterance
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| n.用言语表达，话语，言语 | |
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varied
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| adj.多样的，多变化的 | |
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monotonous
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| adj.单调的，一成不变的，使人厌倦的 | |
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illustrated
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| adj. 有插图的，列举的 动词illustrate的过去式和过去分词 | |
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illustrate
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| v.举例说明，阐明；图解，加插图 | |
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tabulate
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| v.列表，排成表格式 | |
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uncertainty
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| n.易变，靠不住，不确知，不确定的事物 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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enunciate
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| v.发音；（清楚地）表达 | |
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heartily
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| adv.衷心地，诚恳地，十分，很 | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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frivolous
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| adj.轻薄的；轻率的 | |
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mimic
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| v.模仿，戏弄；n.模仿他人言行的人 | |
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quotation
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| n.引文，引语，语录；报价，牌价，行情 | |
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sips
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| n.小口喝，一小口的量( sip的名词复数 )v.小口喝，呷，抿( sip的第三人称单数 ) | |
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forth
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| adv.向前；向外，往外 | |
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drooping
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| adj. 下垂的，无力的 动词droop的现在分词 | |
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eyelid
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| n.眼睑，眼皮 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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syllables
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| n.音节( syllable的名词复数 ) | |
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42
emphatic
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| adj.强调的，着重的；无可置疑的，明显的 | |
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vowel
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| n.元音；元音字母 | |
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vow
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| n.誓(言)，誓约；v.起誓，立誓 | |
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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piety
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| n.虔诚，虔敬 | |
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alleviate
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| v.减轻，缓和，缓解(痛苦等) | |
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misery
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| n.痛苦，苦恼，苦难；悲惨的境遇，贫苦 | |
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scatter
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| vt.撒，驱散，散开；散布/播；vi.分散，消散 | |
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50
blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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reiterating
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| 反复地说，重申( reiterate的现在分词 ) | |
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burlesque
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| v.嘲弄，戏仿；n.嘲弄，取笑，滑稽模仿 | |
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scrutinize
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| n.详细检查，细读 | |
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criticise
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| v.批评，评论；非难 | |
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hesitation
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| n.犹豫，踌躇 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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tempo
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| n.(音乐的)速度；节奏，行进速度 | |
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applied
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| adj.应用的；v.应用，适用 | |
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censure
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| v./n.责备；非难；责难 | |
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hovered
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| 鸟( hover的过去式和过去分词 )； 靠近（某事物）； （人）徘徊； 犹豫 | |
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majestic
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| adj.雄伟的，壮丽的，庄严的，威严的，崇高的 | |
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martyr
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| n.烈士，殉难者；vt.杀害，折磨，牺牲 | |
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groans
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| n.呻吟，叹息( groan的名词复数 )；呻吟般的声音v.呻吟( groan的第三人称单数 )；发牢骚；抱怨；受苦 | |
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minions
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| n.奴颜婢膝的仆从( minion的名词复数 )；走狗；宠儿；受人崇拜者 | |
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slew
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| v.（使）旋转；n.大量，许多 | |
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slaying
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| 杀戮。 | |
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slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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smitten
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| 猛打，重击，打击( smite的过去分词 ) | |
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divested
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| v.剥夺( divest的过去式和过去分词 )；脱去（衣服）；2。从…取去…；1。（给某人）脱衣服 | |
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repudiate
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| v.拒绝，拒付，拒绝履行 | |
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stigmatize
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| v.污蔑，玷污 | |
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redeeming
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| 补偿的，弥补的 | |
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daunted
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| 使（某人）气馁，威吓( daunt的过去式和过去分词 ) | |
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mightier
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| adj. 强有力的，强大的，巨大的 adv. 很，极其 | |
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cannon
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| n.大炮，火炮；飞机上的机关炮 | |
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grafted
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| 移植( graft的过去式和过去分词 )； 嫁接； 使（思想、制度等）成为（…的一部份）； 植根 | |
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muffled
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| adj.（声音）被隔的；听不太清的；（衣服）裹严的；蒙住的v.压抑，捂住( muffle的过去式和过去分词 )；用厚厚的衣帽包着（自己） | |
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wail
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| vt./vi.大声哀号，恸哭；呼啸，尖啸 | |
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mighty
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| adj.强有力的；巨大的 | |
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conqueror
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| n.征服者，胜利者 | |
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myriads
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| n.无数，极大数量( myriad的名词复数 ) | |
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83
shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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kindle
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| v.点燃，着火 | |
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zeal
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| n.热心，热情，热忱 | |
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patriotism
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| n.爱国精神，爱国心，爱国主义 | |
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requiem
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| n.安魂曲，安灵曲 | |
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behold
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| v.看，注视，看到 | |
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fidelity
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| n.忠诚，忠实；精确 | |
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commemorate
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| vt.纪念，庆祝 | |
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inquiries
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| n.调查( inquiry的名词复数 )；疑问；探究；打听 | |
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genealogy
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| n.家系，宗谱 | |
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conquerors
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| 征服者，占领者( conqueror的名词复数 ) | |
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affected
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| adj.不自然的，假装的 | |
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melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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bosom
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| n.胸，胸部；胸怀；内心；adj.亲密的 | |
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perpetuated
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| vt.使永存（perpetuate的过去式与过去分词形式） | |
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contemplate
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| vt.盘算，计议；周密考虑；注视，凝视 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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defraud
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| vt.欺骗，欺诈 | |
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triumphantly
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| ad.得意洋洋地；得胜地；成功地 | |
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102
abjure
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| v.发誓放弃 | |
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