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But when we say a word is to have the rising inflection, it is not meant that this word is to be pronounced in a higher tone than other words, but that the latter part of the word is to have a higher tone than the former part; the same may be observed, mutatis mutandis, of the falling inflection; and this difference of tone between the former and latter part of a word (especially if the word be a monosyllable,) is so difficult to analyse, that though we can perceive a difference upon the whole, we cannot easily mark where it lies.

But if we form a series of words, beginning with long polysyllables, and proceeding to monosyllables, and carefully preserve the same inflection on each sentence, we shall plainly perceive the diversity of inflection in the short as well as in the long words. This will appear by pronouncing the different series in the plate annexed.

Explanation of Plate II.

In this table we find the rising and falling inflections very distinguishable in the long words, and grow more and more imperceptible in the short ones; they are, however, no less real in one, than in the other; as a good ear will easily perceive, by beginning at the long words, and repeating down to the short ones. From No. I. to No. IX. the contrasted words are rising at the comma, and falling at the note of interrogation; and from No. X. to No. XVIII. they are falling at the comma, and rising at the period.

Lest an inaccurate ear should be led to suppose that the different signification of the opposing words is the reason of their sounding differently, we have given some phrases composed of the same words, which are nevertheless pronounced with exactly the same difference of inflection as the others. Thus

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the words conscience, No. IV. are pronounced with the same difference of inflection as the preceding phrases; that is, the first conscience has the rising and the last the falling inflection; the following words, unjustly, pride, mind, all, and lad, have the same diversity of pronunciation; and the diversity in these, as in the rest, is in an inverted order in the opposite column.

If we consider these slides or inflections with respect to quantity; that is, how long the upward inflection continues to rise from the point where it begins, and how long the downward inflection falls from its commencing point; we shall find that as this difference is not easily ascertained, so, in an outline of this kind, it is of no great consequence: the rising or falling of the slide, in a greater or a less degree, does not essentially affect the sense or harmony of a sentence; while adopting one slide for the other, will often destroy both. See p. 75.

Thus in the interrogative sentence, No. XIX. Did he act justly? the voice ought to adopt the rising inflection, and continue the upward slide on the word justly, somewhat longer and higher than if it had been a mere comma; and yet, if we mark the rising inflection on the word justly in the sentence, No. XX. the difference of the slides on these two words in these different sentences is not very considerable.

If we consider the sentence, No. XXI. as concluding a subject or a considerable branch of it, the voice will gradually slide into a lower tone towards the end, and the word unjustly will be pronounced in a lower tone of voice than in the sentence, No. V.; but the downward slide in both will be nearly of the same duration and extent: for, as we have before observed, as the different key in which we sing or play a tune, makes no difference in the length or shortness of the notes; so the different pitch of voice in which we speak or read, has no relation to the height or low

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ness of the slide or inflection with which we terminate our words.

It will be necessary for the pupil to practise over these series of words, and to form sentences of his own, for the purpose of using the ear to distinguish the inflections. In order to this, he must dwell longer on the words at which he pauses, and on those which have emphasis, than is proper when he is reading or speaking in common, that the ear may be better enabled to catch the inflection: it may be remarked too, that the more colloquial and familiar the language, provided it is earnest and emphatical, the more perceptible the inflections are; and the more elevated and poetical, the less so. The plaintive tone, so essential to the delivery of elegiack composition, greatly diminishes the slides, and reduces them almost to monotones; nay, a perfect monotone, without any inflection at all, is sometimes very judiciously introduced in reading verse. Thus in the sublime description of the richness of Satan's throne, in the beginning of the second book of Paradise Lost:

High on a throne of royal state which far
Outshone the wealth of Ormus or of Inde,
Or where the gorgeous East with richest hand
Show'rs on her kings barbarick pearl and gold,
Satan exalted sat.-

In this passage, I say, every word of the third and fourth line, but pearl and gold, may be pronounced in a monotone; and this monotone will greatly add to the dignity and grandeur of the object described. As poetry, therefore, when properly read, will often greatly diminish, and sometimes even entirely sink the inflections into a monotone; emphatick sentences in prose will be the best for the learner to practise upon, in order to acquire an idea of the difference of inflection: constantly observing to pro

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