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/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:

Did I say

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 ìs.

5. Has the earth an orbital motion around the sún? Yès. 6. Does the moon revolve around the earth? It does. 7. Has any one sailed around the earth? Yès, Captain Cook.

8. Do you think the planets are inhábited? Yès, I dò.

9. Was it for this that you exchanged masters? It was not. 10. Am I reduced to the necessity of proving 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 evil?

3. Will any one who knows his own heart, trust himself? 4. Are not good reading and speaking, very rare attainments?

5. Arè gold and silver mines, on the whole, beneficial? 6. Cùn we be too zealous in promoting a good cause?

7. Can you despise your own dear father?

8. Càn you ever forget the kindness of your mòther?
9. Will you thus abandon an affectionate sister?

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 age, at the time of the Revolution? What, sir? Was your brother of uge at the time of the Revolution?

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 submit? Must he be depósed? Must he lose the name of KÍNG ?

2. Must I búdge? Must I observe you? crouch under YOUR testy humor?

Must I stand and

3. And now that he has practiced upon the gentleman's own precepts, he is assailed for it. Is there any fairness 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 re quired to be read? What slide may the last question of the series sometimes take?

It is important that the reader should learn to distinguish the direct question from the indirect; and this he may readily do, by observing that all sentences involving direct questions, like those under this rule, very uniformly commence with verbs; while those involving indirect questions as uniformly commence with relative pronouns or adverbs. Let these characteristics of the direct and indirect questions, be well understood, and there need be no misapplication of the inflections in either case.

EXERCISE I.

Direct Questions without their Answers.

1. Will the Lord cast off forever? and will he be favorable

no móre ? Is his mercy clean gone forever? doth his promise fail forevermore? Hath God forgotten to be grácious? hath . ho in anger shut up his tender mércies?

2. Is not this the carpenter's són? is not his mother called Máry and his brethren, Jámes, and Jóses, and Símon, and Júdas? and his sisters, are they not all with us?

3. Can we believe a thinking being, that is in a perpetual progress of improvement, and traveling on from perfection to perféction, after having just looked abroad into the works of his Creátor, and made a few discoveries of his infinite goodness, wisdom, and power, must pérish at his first setting out, and at the very beginning of his inquiries?

4. Wast thou displeased with the rívers? was thine anger against the rivers? was thy wrath against the seá, that thou didst ride upon thy horses and thy chariots of salvation?

5. Shall dust and ashes stand in the presence of that uncreated glory, before which principalities and powers bow down, tremble, and adóre? Shall guilty and condemned creatures appear in the presence of Him, in whose sight the heavens are not clean, and who chargeth his angels with fólly?

QUESTION. How may the direct question be distinguished from the indirect