LECTURE X. The Falling Inflections of the voice-Logical Principles of their application: (1) Where the meaning of a Clause or Sentence is complete; Illustrations; (2) Where it is required to keep Clauses distinct and independent; Illustrations; (3) Where an Interrogation cannot be answered by a simple Affirmative or Negative; Illustra tions; Exceptions; Illustrations; Emotional Uses of the Falling Inflections: (1) In Sentences expressing Strong Conviction or Solemn Affirmation; Illustrations; (2) In Sentences that Express Command or Authority; Illustrations; (3) Where Sentences express Hatred, Anger, &c.; Illustrations-Use of the Staccato; Illustrations-Climax, how best Rendered; Illustrations-Gradual Inflections or Monotone-Uses of the Monotone-When Passages are characterised by Awe or Solemnity; Illustrations. W E have now to enter upon an examination of the falling inflections of the voice, and of the uses they serve in Elocution. Let us take these first in reference to the logical principles which govern their application, and afterwards consider them as regards emotional expression. With respect to the former division, I should give this as RULE 1. As soon as the meaning of a sentence, or clause of a sentence, is logically complete, then the falling inflection must be employed. Illustrations for Practice. 1. The princely David with his outlaw band, They followed where he lèd. The danger press'd; Had spread their armies. Through Rephaim's vale In woods or càves. The brave, undaunted few, Gathering round David, sought the mountain hòld. He came, the pure, 2. The setting sun fell low on Zutphen's plain; 3. Elaine the fair, Elaine the lovable, Elaine the lily maid of Astolat, High in her chamber, up a tower to the east, Which first she placed where morning's earliest ray 4. I will tell you : The barge she sat in, like a burnished throne The winds were love-sick with them: the oars were silver; Which to the tune of flutes kept stroke, and made The water, which they beat, to follow faster, As amorous of their strokes. For her own person, In her pavilion (cloth of gold, of tissue) 5. Now came still evening on, and twilight grey The starry host, rode brightest; till the moon, 6. We stood beneath the concave of a blue With clear voice That falter'd not, albeit the heart was mov'd, The Wanderer said : "One adequate support For the calamities of mortal life Exists-one only; an assur'd belief 7. I went to see him, and my heart was touch'd For he had been a soldier in his youth, His speech struck from me, the old man would shake Then, having show'd his wounds, he'd sit him down, Of war's vast art was to this hermit known. 8. Here closed the Sage that eloquent harangue, To us who stood low in that hollow dell, With ample shadows, seemingly, no less -Adown the path that from the glen had led A grateful couch was spread for our repose, 9. Dear is the memory of our wedded lives, 10. The lotos blooms below the barren peak: All day the wind breathes low with mellower tone, Round and round the spicy downs the yellow lotos-dust is blown. Rolled to starboard, rolled to larboard, when the surge was seething free, Where the wallowing monster spouted his foam-fountains in the sea. 11. In the first place, true honour, though it be a different principle from religion, is that which produces the same effects. The lines of action, though drawn from different parts, terminate in the same points. Religion embraces virtue, as it is enjoined by the laws of God; honour as it is graceful and ornamental to human nature. The religious man fears, the man of honour scorns, to do an ill action. The latter considers vice as something that is beneath him, the other as something that is offensive to the Divine Being. The one as what is unbecoming, the other as what is forbidden. Thus Seneca speaks in the natural and genuine language of a man of honour, when he declares, that were there no God to see or punish vice, he would not commit it, because it is of so mean, so base, and so vile a nature. 12. Virtue is the foundation of honour and esteem, and the source of all beauty, order, and happiness in nature. It is what confers value on all the other endowments and qualities of a reasonable being, to which they ought to be absolutely subservient, and without which, the more eminent they are, the more hideous deformities and the greater curses they become. The use of it is not confined to any one stage of our existence, or to any particular situation we can be in, but reaches through all the periods and circumstances of our being.-Many of the endowments and talents we now possess, and of which we are too apt to be proud, will cease entirely with the present state; but this will be our ornament and dignity in every future state to which we may be removed. Beauty and wit will die, learning will vanish away, and all the arts of life be soon forgot; but virtue will remain for ever. RULE II.-Inasmuch as a falling inflection always suggests to the mind a certain degree of completeness of meaning (just as a rising inflection does of incompleteness) it may be usefully employed in those sentences which consist of several clauses, conveying imperfect sense, and independent of each other's meaning, for the purpose of keeping the several clauses separate and distinct from each other. Illustrations for Practice. 1. Swarth figures clothed In strange apparel from the further East, With blue-eyed Thracians; merchants with their wares 2. You, Lord Archbishop, Whose See is by a civil peace maintained; Whose beard the silver hand of peace hath touched; Whose learning and good letters peace hath tutored, You do ill translate yourself Into the harsh and boisterous tongue of war. 3. And then when Harry Bolingbroke and he 4. The passionate prayer The wild idolatry-the purple light Bathing the cold earth from a Hebe's urn. |