LLE. You are decided?

VANNA. Yes.

PRINZIVALLE. Need I recall the terms of the--?

VANNA. It is useless--I know them.

PRINZIVALLE. Your lord consents.

VANNA. Yes.

PRINZIVALLE. It is my mind to leave you free....

There is yet time should you desire to renounce....

VANNA. No!

And so the seeming inquisition proceeds. To each relentlessly searching
interrogation from Gianello comes Vanna's unfaltering reply, in a
single, swift monosyllable, "Yes" or "No." The same word, but, oh, the
revelation which may lie in the inflection of that word! Let us try it.
Let us read the scene aloud, first giving as nearly as possible the same
inflection to each of Vanna's answers, then let us voice it again,
putting into the curve of the tone within the narrow space of the two or
three lettered monosyllables all the concentrated mental passion of
Vanna's soul in its attitude toward the terrible situation and toward
the man whom she believes to be her enemy. This is a most difficult
exercise, but if "a man's reach should exceed his grasp," it will not
retard our progress toward the goal of a vocal vocabulary to attempt it
now. Apart from all aim in its pursuit, there is no more fascinating
study than this study of inflection. In this day of artistic photography
there is an endless interest for the artist of the camera in playing
with a subject's expression by varying the light and shade thrown upon
the face. So for the student of vocal expression there is endless
interest in this play with the thought behind a group of words by
varying the inflection of those words. Lady Macbeth's, "We fail!" or
Macbeth's, "If it were done when 'tis done, then 'twere well it were
done quickly," occurs to us, of course, as rich material for this
exercise.

In her analysis of the character of Lady Macbeth Mrs. Jameson gives us
an interesting study in inflection, based on Mrs. Siddons's
interpretation of the words "We fail." A foot-note reads: "In her
impersonation of the part of Lady Macbeth Mrs. Siddons adopted
successively three different intonations in giving the words 'we fail.'
At first a quick, contemptuous interrogation--'we fail?' Afterward with
the note of admiration--'we fail!' and an accent of indignant
astonishment laying the principal emphasis on the word we--'_we_ fail!'
Lastly, she fixed on what I am convinced is the true reading--'_we
fail_'--with the simple period, modulating the voice