which may be considered either separately in distinct syllables, or jointly in the same. Hence there are two sorts of accents: two simple; viz. the acute, ¿¿ùs, figured thus ('), which denotes the elevation of the voice; and the grave, Bagus, shaped thus () to signify the falling or depression of the voice, and another compound,viz. the circumflex, περισπώμενος, which was formed at first of these two strokes joined together thus (^), and afterwards was rounded like an inverted upsilon thus (4), and at length was made like a couchants in this manner (). ANNOTATION. The rules of accents are either general or particular. The particular suppose a knowledge of quantity, and ought to be referred to another place. The general rules regard the nature, difference, and place of accent: whereof it is proper to treat here. RULE VI. Of syllables capable of being accented. The acute accent may be on one or other of the three last syllables, whether short or long. The circumflex is only upon a long syllable, which must be either the last or last but one. The grave is never but on the last syllable, and when another word follows in a sentence, instead of an acute. EXAMPLES.. The accents in Greek, as well as in Latin, cannot be removed further from the last syllable than to the antepenultima. 1. The acute may be placed upon one or other of the three last syllables, whether that which receives it be long or short: and if the last of all be short, the accent is generally on the antepenultima; on the contrary, if it be long, the antepenultima, generally speaking, cannot be accented. 2. The circumflex is never upon any other syllable than the last, or last but one, which must always be long by nature. The grave is only on the last syllable, and when another word follows in a sentence,instead of an acute. ANNO ANNOTATION. The grave accent is only a depression of the voice. Therefore, as after having raised the voice upon a syllable, it must necessarily sink upon those that follow; these syllables are called grave or barytons, though they be not marked with this accent: for the grave accent is never marked but when another word follows in a sentence, on oxytons, or words acuted on the last, as ós; which in that case do change their acute into grave, as Oe's nμwr, Deus noster, to shew that we must not raise the last syllable; otherwise it would bear upon the following word, and produce the same effect as that of enclitics, namely, to be joined to the preceding word. Of BREATHINGS. The grammarians call breathing (veu) the different force of the voice in pronouncing, These breathings are twofold; one weak and smooth, ov, which is figured like a small comma over a word, thus yw, ego. The other strong and rough, Sugu, which is shaped like a small, thus due, simul. Every vowel in the beginning of a word is marked with one of these breathings. The vowel has always the rough breathing, we, aqua: the others commonly the smooth, as we shall more particularly observe in the last book, But the mark of the smooth breathing seems to be quite unnecessary, since where there is not a rough breathing, we must suppose a smooth. ANNOTATION. Formerly H was the mark of aspiration among the Greeks, as it is still in Latin. For they wrote HEKATON instead of ixar, and Пн, KH, TH, for 9, x, . And those breathings which now obtain, are the remains of this H, which being split into two, the first part was used for the rough breathing, and the second for the smooth, as we see them marked in ancient copies. And in pro. cess of time these two demi-figures came to be rounded a little, to form those we now make use of c, 3. The ancients put the aspiration sometimes in the middle of words, #gges, unitis, just as we use an H, in the Latin miki 5 CHAP. ! CHAP. IX. Of the change, addition, and cutting off of syllables. SYLLABLES admit of different changes, which grammarians comprise under certain figures, whose names it will almost suffice here to explain, because we shall see examples of them hereafter in different places; though we intend to treat of them more amply in the ninth book, in the chapter of poetical licences, as they are most commonly used by poets. MUTATION OF METATHESIS, μεtábeis, is a transposition of letters or syllables, as απερείσια for ἀπείρεσιας infinita: páros for Jágros, audacia. So in Latin, decus from κῦδος : cito from ταχύ : meus from ἐμὸς: rego from gxw: parvus from waugos, whence also is derived the French word pauvre: duóλsbos, in French laquais, quasi, λanósbos, &c. ADDITION OF PLEONASM, wλeovaouds, is in the beginning, the middle, or the end. That in the beginning is called PROSTHESIS, węóσθεσις, as βαιόν, ἠξαιὸν, paululum: εἴκοσι, ἐείκοσι, viginti and in Latin natus, gnatus, &c. That in the middle, EPENTHESIS, Tévbeσiç: azw, йyov, yasov, egi: in Latin relligio for religio. That in the end, PARAGOGE, wagaywyn: λóyois, Abyola, sermonibus: Mivw, Mívwo, Minoïs, in Latin anarier for amari. The RETRENCHMENT or cutting off is also made in three places. In the beginning it is called APHERESIS, ἀφαίρεσις, as αςεροπή, ξεροπή, fulgur. In the middle it is called SYNCOPE, VYOTй, as ἦλθον for ἤλυθον, veni or venerant: ἑκάτερθεν for ἑκατέ gudev, utrinque in Latin amarit for amaverit: pulto for pulsito, Ter. &c. In the end it is called APOCOPE, άTоNOTÝ, as dángu for δάκρυον, lachryma : τρόφι for τρόφιμον, magnum, plea και : δῷ for δῶμα, domus ; ποῦ for παῦσαι, sile, tace. CHAP. CHAP. X. Of the contraction of syllables. CONTRACTION is the drawing of two syllables into one. This contraction is either simple, when two syllables are drawn into one, without any change in writing, as Teixei, Teíne, muro, which is called synæresis: or mixed, when the two vowels being blended together, there results a new sound, as Teixeos, ous, muri; Teixeα, 4, muri; which is called crasis, or mixture. This crasis is as natural as the synæresis, because it follows the nature of the letters, as we have explained it: or else the vowels strongest in sound or quantity swallows up the weakest. The syllable contracted, either by synæresis or crasis, is always long, because it includes in some measure two within itself: and generally it is one of these three vowels a, n, w: or else one of these five diphthongs ε,,,, ou: which the following rule will render easy to retain, wherein I shall include only the most general contractions, reserving those that are uncommon for their proper place. A comes RULE VII, General for all contractions. A comes from ue, un, ka, « from aw, oc, xo. or from 00, 0ε, ε0. H from y: El from ëɛ, ëet. DI from 801, 001, from dos. EXAMPLES. μα: κέραα, μέρα, cornua. αε: иgéαɛ, ngéα, carnes: Bóue, Bóa, clama. from as: rúgai, rúga, senectuti. Ex: xośα, xoa, congium. μια: διπλόας, διπλῶς, duplicitates. And Α comes from H And by the same analogy, αη: βοάη, βοᾷ, clamet. CEL: Bodel, Boa, clamat, because the, is subscribed. Γεή: Απελλέης, ἧς, Apelles; ποιέητον, ποιητον, ambo faciatis, or faciant. comes ɛɛ: anßée, ààðã, veri: inées, йs, Att. E from Ω comes from Ω comes from ΟΙ comes from or comes< from quites. [εα: ἀληθέα, ἀληθῆ, vera. And by the same analogy, Γεω: ἀληθέων, ἀληθῶν, verorum: ποιέω, ποιῶ, facio. και κρέμος, κρέως, carnis : βοάων, βοῶν, clamans. ποι: κρεάοιν, κρεών, carnium: βοάοις, βοῷς, cla mares. εοι: χρύσεοι, χρυσοΐ, aurei: ποιέοις, ποιοῖς, faceres. 04: χρυσόης, χρυσοῖς, inaures. Γερ: χρυσέας, χρυσές, aureos: ποιέεσι, ὅσι, faciunt. co: νέος, vis, mens: χρυσόομεν, ἔμεν, inauramus. οει: ἀμαθόεις, ἀμαθῶς, arenosus : χρυσόειν, χρυ Loa: Bóas, Bar, boves. |