der" and
the rising inflection on "better." If Cassius had omitted the words
"not a better," the very same meaning could have been conveyed by
placing a combination of the rising and the falling inflection or a
falling circumflex on the word "elder," thus--"I said an elder
soldier." In the next line he goes on to say "Did I say b[)e]tter?"
Here, there is an implied contrast with "elder," which is expressed by
a combination of the falling and the rising inflection or a rising
circumflex. From these two examples, we can see that the law of
completeness and incompleteness holds good with the compound or
circumflex inflection, just as it does with the simple inflection, and
determines whether the circumflex shall be rising or falling.

A very common mistake in reading is to use the circumflex inflection
in emphasizing a word, thus making a contrast where none is intended.
"Ramped and roared the lions" with a falling circumflex inflection on
"lions," instead of a simple falling inflection, suggests that the
tigers or some other animals did not ramp and roar. For similar
reasons, avoid the circumflex when emphasizing "hand" and "feet" in
"put a ring on his hand and shoes on his feet."

As has already been stated, it is necessary to know the motive behind
the words. When Shylock says: "O wise and upright judge," his
intention is evidently to bestow sincere praise. The reader, knowing
this, instinctively gives a straight slide. Later, when Gratiano says:
"O upright judge, O learned judge!" his intention is to taunt and hold
up to ridicule; there is a double meaning conveyed, which finds its
natural expression in a curved inflection.

Compare the curved inflections in the cobbler's speeches in Act I.
Scene I, of _Julius Caesar_ (p. 133) when he is fencing with Marullus,
with the straight inflections of his final speech when he has thrown
aside his raillery and speaks with sincerity:

~ ~ ~ ~
Truly, sir, to wear out their shoes, to get myself
~ ~
in more work. But, indeed, sir, we make holiday to

see C`aesar, and to rejoice in his triumph.

One writer has said: "Where there is simple and genuine thought, deep
and sincere feeling, wherever the eye is single, the inflections of
the voice are straight; a crook in the mind however is indicated by a
crook in the voice."

=Pitch= is the key of the voice. A change of pitch is a leap from one
key to another during silence. Inflection,