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1. Saw whom ?
2. Seems, madam?
3. The king, my father?

EXAMPLE: DESCRIPTIVE, JOYOUS. Rising Inflection of Third, Fifth, and Octave, Expulsive Form, Fure Tone, Moderate Force, Radical Stress, Middle Pitch, Moderate Movement.

An Idyl of the Period.


1. “Walk right in! How are you, Fred?

Find a chair,—have a light?”
“Well, old boy, recovered yet

From the Mathers' jam last night ?” “ Didn't dance-the German's old."

“Didn't you? I had to leadAwful bore !-but where were you ?”

“ Sat it out with Molly Meade; Jolly little girl she is

Said she didn't care to dance,
'D rather have a quiet chat-

Then she gave me such a glance.
So when you had cleared the room,

And had captured all the chairs,
Having nowhere else, we two

Took possession of the stairs.
I was on the lower step,

Molly on the next above;
Gave me her bouquet to hold-

Asked me to draw off her glove.
Then, of course, I squeezed her hand,

Talked about my wasted life;
Said my sole salvation must

Be a true and gentle wife.
Takes a girl, that kind of talk.



Then, you know, I used my eyes-
She believed me every word;

Almost said she loved me-Jove!
Such a voice I never heard-
Gave me some symbolic flower,
Had a meaning, O! so sweet.
Don't know where it is, I'm sure;
Must have dropped it in the street.
How I spooned! and she-ha! ha!
Well, I know it wasn't right,
But she did believe me so,

That I-kissed her-pass a light."


3. "Molly Meade, well I declare!

Who'd have thought of seeing you,
After what occurred last night,

Out here on the avenue?

O! you awful, awful girl!

There-don't blush-I saw it all."
"Saw all what?" "Ahem-last night-
At the Mathers', in the hall.”
"O! you horrid-where were you?
Wasn't he an awful goose?

Most men must be caught, but he
Ran his neck right in the noose.

I was almost dead to dance,
I'd have done it if I could;
But old Gray said I must stop,
And I'd promised ma I would;
So I looked up sweet and said

That I'd rather talk with him.
Hope he did not see my face;

Luckily the lights were dim.
Then how he did squeeze my hand-
And he looked up in my face
With his lovely, great big eyes—
Really it's a dreadful case.


4. “He was all in earnest, too;

But I thought I'd have to laugh
When he kissed a flower I gave,

Looking—0! like such a calf !
I suppose he has it now

In a wine-glass on his shelves-
It's a mystery to me

Why men will deceive themselves.
Saw him kiss me!

Well he begged so hard for one,
And I thought there'd no one know,

So I-let him—just for fun.
I know it wasn't really right

To trifle with his feelings, dear,
But men are such conceited things,

They need a lesson once a year.”

O! you


QUESTIONS. 1. Define Inflections. 2. What is said of their importance ? 3. What is the topic of this lesson? 4. Define Rising Inflection. 5. Illustrate it. 6. When do we use a Rising Inflection of a Second ? 7. When a Third ? 8. When a Fifth ? 9. When an Octave ? 10. What lines in the selection will require Rising Slide of Fifth ? 11. What of an Octave ? 12. Why?



Falling Inflection, A Falling Inflection is a rapid change in the pitch of the voice from a higher to a lower one through the concrete movement.

Like the Rising Inflection, it admits of various degrees.

If a person in reply to a question utters the word no, expressing a mild dissent, the voice will pass from the middle pitch downward, exhibiting a Falling Inflection of a second or third ; when uttered so as to express stronger dissent it will commence on a higher pitch, and end in a downward slide of a fifth ; and when uttered in a very strong or passionate dissent, the downward slide will run through a whole octave.

The Falling Inflection is used
To express completion of thought.

To express, in different degrees, positiveness, firmness, confidence, authority, declaration, determination, command, defiance, indignation, etc.

To answer questions.

To ask indefinite questions, or those beginning with relative pronouns or adverbs, and not admitting of an answer by yes or no.

To give emphasis to words which otherwise would bave the Rising Inflection.



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Second and Third. 1. Charity suffereth long, and is kind. 2. Shakespeare was the greatest tragic writer.

8. It is natural for man to indulge in the illusions of hope. COMPLETENESS, POSITIVENESS, DETERMINATION.

Third, Fifth, and Octave. 1. We shall not fail. 2. The war must go on

3. I am commissioned of heaven to perform this work.


Third, Fifth, and Octave. 1. What would content you? Talent? No. Enter prise ? No. Courage? No. Virtue ? No. The men whom you would select should possess not one, but all of these.

Are they Hebrews ? So am I. Are they Israelites? So am I. Are they the seed of Abraham ? So am I. Are they ministers of Christ ? I am more.

Can honor set a leg? No. Or an arm ? No. Or take away the grief of a wound ? No. Honor hatt no skill in surgery, then? No. What is honor ? A word. What is that word honor ? All. Who hath it ? He that died on Wednesday. Doth he feel it ? No. Doth he hear it ? No. Is it insensible, then ? Yes, to the dead.


Third, Fifth, and Octave. 1. Why reason ye these things in your hearts ?

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