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15) Learning about #KEYWORDS# proves to be quite easy once you read through this article. It has all the necessary information on #KEYWORDS#. 75) It may have taken us a few hours to write all this about public speaking. However, it will take you a few minutes to read it. Rules and Usage of Inflection Inflection or slide of the voice indicates the tendency or direction of a speaker's mind. When the tendency is to anticipate, suspend, contrast, or hold the thought open, the voice naturally takes a rising inflection. When the tendency; is to emphasize or complete a thought, the voice takes a falling inflection. The possession of "a musical ear" is of decided advantage in producing correct inflections. The cure for monotone and sing-song delivery lies chiefly in the proper use of this modulation. Mrs. J. W. Shoemaker says: �Inflections show contrast. They tell the facts. Length of slides shows the importance of the facts. Straight slides show directness of purpose. Waves show beauty and sympathy. Broken slides show weakness and uncertainty. Zigzag or continuous wave movements represent sarcasm, irony, scorn and duplicity.' The following rules are taken from Professor Mumptre's King's College Lectures: USES OF INFLECTION LOGICAL USES OF THE RISING INFLECTION 1. So long as the meaning of a clause or sentence is in� complete or kept suspended, the rising inflection is to be used. 2. All clauses or sentences that are negative in structure take the rising inflection. 3. Clauses or sentences that express doubt or contingency; take the rising inflection. Our dreams of writing a lengthy article on public speaking has finally materialized Through this article on public speaking. however, only if you acknowledge its use, will we feel gratitude for writing it! 4. Sentences that are interrogative in character, and to which a simple affirmative or negative can be returned as an answer, end with the rising inflection. EMOTIONAL USES OF THE RISING INFLECTION 1. When a sentence is in the nature of an appeal, it takes a general rising inflection throughout its delivery, and the key of the voice is usually more or less high in pitch; but in sad and solemn appeals the pitch of the inflection is always low. 2. Sentences that convey supplication or prayer take a general rising inflection throughout their delivery, the key of the voice varying from a low one, if the prayer is very solemn in character, to one more or less high, if the sup�plication is simply pathetic in its nature. 3. All sentences that express joy, love, friendship, hope, and in general all the more pleasurable and amiable emo�tions, partake of a rising inflection, and the voice is usually pitched in keys more or less high; tho where great ten�derness, pity or pathos mingles with the affection, the voice is often modulated into a low, soft, minor key, as it has been termed in elocution. 4. Sentences that express wonder, amazement, or surprise take an extreme degree of the rising inflection, and the voice is usually pitched in very high keys, unless awe, dread, or terror mingles with the emotion, when keys more or less low in pitch prevail. LOGICAL USES OF THE FALLING INFLECTION 1. As soon as the meaning of a sentence, or clause of a sentence, is logically complete, then the falling inflection must be employed. Developing a basis for this composition on public speaking was a lengthy task. It took lots of patience and hard work to develop. 2. Inasmuch as a falling inflection always suggests to the mind a certain degree of completeness of meaning, it may be usefully employed in those sentences which consist of several clauses, conveying imperfect sense, and independent of each other's meaning, for the purpose of keeping the several clauses separate and distinct from each other. 3. Where a sentence is interrogative in its character, and one to which a simple affirmative or negative cannot be returned as an answer, but something definite in expression must be given instead, such sentence requires at its close the falling inflection. EMOTIONAL USES OF THE FALLING INFLECTION 1. Where it is desired to convey the impression of solemn affirmation or strong conviction of the truth of what we say, emphatic falling inflections on the principal words, even tho the sentence may be negative in form of con�struction, produce the desired effect; and the keys in which the inflections are pitched are in general low. 2. Sentences that express command, reprehension, or authority, take emphatic falling inflections, and the range of the voice in pitch is usually from the middle to lower keys. We have not actually resorted to roundabout means of getting our message on public speaking through to you. All the matter here is genuine and to the point. We have actually followed a certain pattern while writing on public speaking. We have used simple words and sentences to facilitate easy understanding for the reader. So after reading what we have mentioned here on public speaking, it is up to you to provide your verdict as to what exactly it is that you find fascinating here. 3. It may be said as a general principle that all the sterner, harsher, and more vindictive passions, such as anger, hatred, detestation, etc., take the most extreme degree of the emphatic falling inflection, and the voice, for the most part loud in power, is pitched in the lower keys. 4. In sentences that express gloom, dejection, melancholy, and similar distressing emotions, falling inflections predominate, and the voice is pitched in keys more or less low, and the time is slow. LOGICAL USES OF THE CIRCUMFLEX INFLECTION 1. When any word is introduced which suggests an an�tithesis without openly expressing it, such word should have emphatic force, and be pronounced with a circumflex inflection. An affirmative or positive clause takes a falling, and a negative or contingent clause a rising circumflex on the words suggesting an antithesis. 2. When words or clauses are antithetic in meaning, and emphatic in character, the falling circumflex inflection should be used on the positive or absolute member, and the rising on the negative or relative. EMOTIONAL USES OF THE CIRCUMFLEX INFLECTION 1. Whenever it is designed to make any passage ironical, an emphatic prolonged circumflex inflection should be given to the words in which the irony is meant to be conveyed. 2. All passages that express scorn, contempt, or reproach, take emphatic prolonged circumflexes on the principal words, the keys in which the voice is pitched varying ac�cording to the dominant emotion. 3. When a question is followed by words closely connected with it, the end of the passage takes a rising inflection, as, "Am I my brother's keeper?" said the unhappy man. Now that we have come to the end of this composition on public speaking, we do hope that you enjoyed reading it as much as we enjoyed writing it.

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