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IV. The graphical illustrations mentioned above consist 

 of a little collection of broken or curved lines drawn with a 

 lead pencil, which I let my hand trace at the same time as 1 

 attentively listened to a conversation that took place so far 

 away from me that I could not distinguish the single words, 

 but only follow the voice of the speaker. I thereby succeeded 

 in getting an image of the movements of the voice during a 

 rather long discourse, without having to stop to memorize what 

 I heard. The result is in return the more abstract. 



1 shall not give all the drawings but only some of the 

 most typical ones : 



I. 2. 



To take an example, to the first type would belong a period 

 which, after having remained at about the same pitch, ended 

 with a word of the formation : [ijei^j-d-rqsi-q] (so far as 1 know, 

 it is so) with a strong, oratorical emphasis of the difference of 

 pitch in the last two syllables. As will be seen, the greatest 

 differences of pitch occur as a rule in the end of a period 

 (sentence, a short narrative) ; and I should judge that the last 

 two types are the most usual ones (cf. the examples given with 

 musical notes), that is to say, the end of a period as well as of 

 a word most frequently contains an ascending interval. But 

 even if it is not a rise that takes place, there is very often, 

 especially toward the end, a strong point of musical emphasis 

 in lively speaking. This emphasis is probably as a rule only 

 an oratorical exaggeration of the natural musical word-accent 

 in the last syllable of the period, in those parts of the period 

 which precede the end, similar tone-movements take place, only 

 in a less marked degree. In the drawings given, they must be 



