Grammatically considered, their relations to each other are indicated by connecting words, and by constructions which are essential to the very existence of language. But in addition to these, spoken language has certain modifications of the voice, which still farther explain the mutual relations of thought. Such modifications are called inflexions.

This term has been understood to designate certain upward and downward turns of the voice in pitch. But when first introduced as a technical term, the actual changes of pitch which take place in utterance, had been but imperfectly analyzed; consequently its application has been, even to the present period, so vague and uncertain, that in a scientific analysis, like that of Dr. Rush, it deserves to be wholly rejected. The earlier writers did not know that each syllable of a word has a separate and independent pitch. They supposed that an entire polysyllabic word slides up or down by a continuous progress.

For a detailed refutation of this fundamental error, we must refer to the works of Dr. Rush, or Professor Day. The plan of the present treatise being chiefly to explain the natural impulses and effects of the mind, in communicating thought, a complete vocal analysis is unnecessary. In continuing to proceed on this plan, it will be convenient to retain the use of the established term inflexion.

Our present subject is very extensive, comprehending no less than all the turns of voice, which may be employed to express the relations between ideas contained in different clauses of the same sentence. The methods by which ideas may, by inflexions, be connected, contrasted and stated in reference to each other, are even more numerous, than the variations in these respects, which may be effected by employing different connecting words and grammatical constructions, great as is the number of these.

In very many cases, it is not by changing its grammatical construction, that the wording of a sentence can be made to

supersede the necessity of inflexions. To accomplish this object, additional and explanatory words must be introduced. If these are carefully selected and are sufficiently numerous, it is indeed possible to supersede all necessity of explanatory inflexions; but the style of composition will by this process, be liable to become too diffuse and full. What the celebrated critic Jeffrey calls a written style, is distinguished chiefly by having less necessity for inflexions than the more elliptical and irregular construction of extemporaneous oratory, of conversation, and of the drama.

It is obvious that a discussion which should undertake to exhaust the subject of inflexions, would require an entire volume, rather than a single chapter.

Rules for invariably appropriating particular inflexions to certain grammatical combinations, are worse than useless. Not an example can be found in any of the older books of elocution, which may not with propriety be read in a manner opposite to that which is directed. All that is necessary for so doing, is for the reader to present the idea conveyed by the example, in a different light from that contemplated by the constructor of the rule.

It would seem at first sight, as if rules for inflexions ought no more to be needed in reading or speaking, than in conversation. If we understand passages aright, and make instinctive efforts to convey our apprehension of them to others, our voices (if not fettered by previous bad habits) will as infallibly make use of the required inflexions, as our articulating organs will enunciate the words.

Still farther, it is no more necessary for us to know what precise changes of pitch our voices exhibit in any one inflexion, than in the case of articulation, to watch the minute changes of position made by the lips, teeth and tongue.

But as the same objections are applicable, in a greater or less degree, to giving information in regard to other instinctive acts

which occur in delivery, and as without some analysis of these, there can be no study of elocution, it will be necessary to present a general account of inflexions, upon the plan of treatment pursued throughout the volume. Still we shall avoid laying down precise and invariable rules.

In our examples for practice, we have from the first employed the marks commonly used for indicating inflexions, because some guide is necessary for purposes of practice, and to enable the student to go along readily with the teacher. Many however have been inserted, rather in accordance with the custom of other books of elocution, and to prevent possible mistakes, than because they are strictly necessary. Experience in using the volume may hereafter lead to an omission of a considerable number.

When a mark of inflexion is put over a word, it indicates the general effort of the mind and voice upon the word, or upon the phrase in which it occurs, rather than the exact degree of rise or fall in pitch. The latter cannot be exhibited to the eye, except by a notation, which like that of music, exhibits the pitch of each separate syllable,-while even this will not of itself be sufficient. In music, notes do not often slide up or down, to an extent that is deserving of regard. But in speech, each syllable not only begins with a distinct and independent pitch, but after having thus begun, has always a slide. The slide may be either simply up or down, or may be first in one direction and then in another. Still farther, the distance to which the slide may rise or fall, is of several distinct degrees, each of which conveys a separate meaning or expression.

In short, an inflexion is a change in pitch, in which the voice first skips up or down, and then slides up or down.

The skip may be to several different distances, and so may the subsequent slide.

The slide may likewise be first in one direction, and then in the other; thus producing what are called waves or circumflexes.

This waving course may even be continued through several repetitions of upward or downward progress.

Thus the actual number of inflexions employed by the voice, is very great. Instead of three, as formerly supposed, there can scarcely be less than three hundred.

It will be easy however, to reduce them for practical purposes, to three classes, and it is to a class, rather than to any one of the variations of pitch, that we apply the term inflexion.

Inflexions, then, are of three kinds: 1. rising; 2. falling; 3. falling and rising, or circumflex.

This old classification, does in truth correspond to the distinctions which we recognize in our minds, and to the instinctive vocal efforts which we make to set forth the relations of ideas.

The explanation of them will be rendered more readily intelligible, if we begin with the falling inflexions.

FALLING INFLEXIONS.

As a principle is often best illustrated by an extreme case, we will commence explaining the general class of falling inflexions, by a description of Cadences.

Every one knows that a cadence at the end of a sentence, indicates a close of the course of thought; and that after it there is always a pause, and an interruption for the time, of the onward progress of the mind.

This interruption or check, is the true principle of every falling inflexion. For the present, however, we shall speak only of cadences, and of inflexions at the ends of phrases.

In every case of a falling inflexion on a strongly emphatic word, there is at least a mental pause; and if the delivery is very

slow and forcible, a vocal pause will also become strikingly manifest. If the vocal pause does not come in immediately at the end of the word which receives the inflexion, it will still occur at the end of the group, or at farthest, of the phrase.

When a falling inflexion is used, the mind ceases for the time being to look forward, and to employ ideas solely in reference to subsequent ones.

Either a simple close or termination of a course of thought, and its independence of what is to follow, is indicated; or the truth and importance of an idea, is affirmed and particularly pointed out.

In the latter case, the voice always leaps up to a higher pitch on the accented syllable, so as to make the falling inflexion begin from a higher point.

We have thus, at the ends of phrases, two kinds of falling inflexions; one, moderate and quiet, and which conveys no impression but that of simple termination of thought; the other, striking, and calculated particularly to attract the attention of the listener.

This will be best illustrated by a single example, read or spoken in different styles. Let us take the first sentence in our first extract, (p. 45.)

"I make the assertion deliberately."

Here the mark for the falling inflexion, placed after the word, indicates a mere cadence, such as any one will naturally make when the full stop occurs in punctuation. If the delivery is impressive or solemn, and the word "deliberately" is uttered with great earnestness, yet without a striking and peculiarly animated tone, it will still keep the same pitch, but will be dwelt upon in such a way as to prolong the syllables and make the articulation particularly distinct. The tone of voice will be strong and heavy. For our immediate purpose, we may indicate this by the following mode of printing: