CHAPTER XXII. Interrogative Intonation. 188. THE wider rising intervals of pitch, third, fifth, and octave, concrete and discrete, are adapted by an ordination of nature to the expression of inquiry or direct interrogation. Emphasis is effected by an occasional use of these intervals in the course of the melody, but we shall find that proper interrogation requires them on every syllable of a word, phrase, or sentence, in which case they form what may be called, when extending to any succession of syllables, the melody of interrogation. Interrogative intonation may be applied to a single word, a phrase, or a sentence. On a monosyllabic word, it must be expressed by the concrete form of interrogative intonation; on two syllables it may be effected by a rising discrete movement, and in the melody of interrogation, both interrogative intervals may be employed. Inquiry expressed by the concrete interrogative interval is much more impressive than by the discrete, as the voice seems to seize hold of the question, as it were, and exert a greater energy upon it. The familiar question of simple inquiry, "Did you!" will receive positive interrogative expression by uttering the two words on the extremes of a rising third, fifth, or octave, even though the concrete of each syllable passes through the interval of but a rising second. The strongest expression of inquiry is effected by the union of concrete and discrete interrogative intervals, thus: utter the noun con-duct as a direct inquiry,-conduct? as if the words Did you say? were understood before it. In this case, the first syllable, being of extendible quantity, and bearing the accent, will rise through a slow concrete of a third, fifth, or octave, while the immutable and unaccented syllable duct will rise in radical pitch to the summit line of the vanish of con, and thence pass upward through its rapid concrete of perhaps a third. The melody of strong and energetic interrogation is well illustrated by the notation of the following interrogative sentences, in which the rapid concretes are indicated by the smaller symbol. The sentence has been uttered as a command, "Give Brutus a statue with his ancestors." In which case, every syllable would take a direct downward interval. But the command creates in the mind of the hearer doubt and astonishment, which he expresses by repeating the words with a directly reversed form of intonation, every syllable rising through either a third, fifth, or octave, according to the degree of earnestness in the inquiry. Hamlet's astonished repetition of Horatio's words would carry the concretes through the same intervals as those of the notation: "The king, my father?" The following diagrams give two forms of cadence in the interrogative sentence. The first ends with unaccented syllables passing through the rapid concretes in a monotone; in the second, the last word is emphatic, and with the preceding syllable forms a tritone, the last constituent of which is a rising fifth. M.E.--23. 189. The familiar sentence, so often quoted, is here employed for the purpose of noting the emphatic word, and what constitutes the emphasis itself, and also shows how this may be applied to the thorough interrogative sentence: Do you ride to town to-day? In the first diagram, the general inquiry is expressed through a melody of rising thirds, every word bearing the same emphasis. If, however, the question refers to riding or walking, ride would require to be made emphatic by being carried through a a rising concrete third, its radical falling below the current diatonic melody of the rest of the sentence, as in the second diagram; if the inquiry should be as to whether you or some other person rode to town, you would take the same movement; should the question be as to destination or time, town or to-day would require emphasis. Reach the mooring? Rather say, RULE II. 192. The common question, or that constructed by the reversed position of the nominative and verb, usually take thorough expression. This form of question has been called direct from the fact that it may always be answered by yes or no, while those beginning with adverbs or pronouns have been called indirect because they can not be answered by yes or no. EXAMPLES OF COMMON QUESTIONS TAKING THOROUGH EX PRESSION. "Would you do homage in the most agreeable way? Would you render the most acceptable service? Offer unto God thanksgiving." We have an exception to the above rule in the very moderate form of question which becomes partial,—as in Hamlet's inquiry: “Will you play upon this pipe?” "This pipe, will you play upon it?" This may bear the upward movement on the merely verbal form of interrogation, "Will you play?" and pipe may be emphasized by being made a feeble cadence. Should the interrogation be earnestly increased, it would demand the thorough in tonation. This same form of intonation may be used in the simple question: "Can we have the flag?" RULE III. pronominal questions of a moderate degree only the partial expression. construction, the uncertainty or doubt tion does not generally extend to the ce, certain facts being implied as adthe doubt existing only in their rela umstances of agency, person, time, Thus, in the sentence, "Where has of his having gone is not the point of direction indicated by the interrogativevord. then, will recive the interrogative. remainder of the sentence will pass e melody. This expression is not direct rising interval. t wave may be used for the purpose tead of the simple concrete, and is ployed for this purpose. In the interadverbial and pronominal question in e, the second or falling constituent is the rising, and marked by final this intonation will extend to all the in such a sentence, if uttered with vity. sentences contain members or clauses , or an assertion, or expletives, or refer ng the leading point of the question, ded in the interrogation, they require |