Very well. Farewell in welfare. Puff up the fop. Fine white wine vinegar with veal. Velvet weaver. Weave the withes. Five wives weave withes. May we vie? Pretty, frisky. playful fellow. A very wilful whimsical fellow. A comic mimic. Move the muse by mute, manœuvres. Bring a bit of buttered brown bread. Such pranks Frank's prawns play in the tank. A paltry portly puppy. Portly poultry. A wet white wafer. Beef tea and veal broth. Put the cut pumpkin in a pipkin. Pick pepper peacock. Coop up the cook. A bad big dog. A big mad dog bit bad Bob. Don't attack the cat. Dick. Keep the tippet ticket. Come quickly. Catch the cats. Kate hates tight tapes. Tie tight Dick's kite. Geese cackle, cattle low, crows caw, cocks crow. The tea-caddy key. The key of the tea-caddy. A knapsack strap. Pick up the pips. Take tape and tie the cape. Kate's baked cakes. Quit contact. A school coal-scuttle. Put the pot on the top of the poop. A great big brig's freight. Bid Bob good bye. Pick a pitcher full of pippins. Come and cut the tongue, cook. The bleak breeze blighted the bright broom blossoms. Dick dipped the tippet and dripped it. Fanny flattered foppish Fred. Giddy Kittie's tawdry gewgaws. Kitchen chit-chat. The needy needlewoman needn't wheedle. Fetch the poor fellow's feather pillow. A very watery western vapour. A sloppy, slippery, sleety day. Catch Kate's ten cats. The kitten killed the chicken in the kitchen. Six thick thistle sticks. She says she shall sew a sheet. sign of sunshine. The sun shines on the shop signs. A shocking sottish set of shopmen. Such a sash. A shot-silk sash shop. A short soft shot-silk sash. A silly shatter-brained chatterbox. Shilly-shally, silly Sally. Sickening, stickling, shilly-shally silliness. It is a shame, Sam, these are the same Sam, 'tis all a sham Sam, and a shame it is to sham so Sam. Fetch six chaises. Catch the cats. Pas que je sache. She thrust it through the thatch. Thrice the shrew threw the shoe. The slow snail's slime. A swan swam over the sea. swim swan swim, well swam swan. I snuff shop snuff, do you snuff shop snuff? She sells sea-shells, Some shun sunshine. The sweep's suitably sooty suit. A rural ruler. Truly rural. Rural raillery. A laurel crowned clown. Rob Low's lum reeks. Let reason rule your life. A lump of raw red liver. Literally literary. Railway literature. A lucent rubicund rotatory luminary. Robert loudly rebuked Richard, who ran lustily roaring round the lobby. Don't run along the wrong labyrinth. His right leg lagged in the race. Don't run along the lane in the rain. Lucy likes light literature. Let me recollect a little. A little tittle. A little ninny. A little knitting needle. Let little Nellie run. A menial million. A million minions. A million menial minions. We shall be in an inn in an instant. Don't go on, Ann. in an uninanimated manner.

A sure

Laid in the cold ground. (not coal ground.) Half I see the panting spirit sigh, (not spirit's eye. Be the same in thine own act and valour as thou art in desire, (not thy known.) Oh, the torment of an ever-meddling memory, (not a never meddling.) All night it lay an ice-drop there, (not a nice drop.) Would that all difference of sects were at an end, (not sex.) Oh studied de

ceit, (not study.) A sad dangler, (not angler.) Goodness centres in the heart, (not enters.) His crime moved me, (not cry.) Chaste stars, (not chase tars.) She could pain nobody, (not pay.) Make clean our hearts, (not lean.) His beard descending swept his aged breast, (not beer.)

XXIII. ACCENT OR SYLLABIC STRESS.

182. Every word of more than a single syllable has one of its syllables made prominent, by superior force of articulative or vocal effort:- - this is called "accent."

183. When the accented syllable of a word is the third, or any syllable beyond the third, from the beginning, a slight accentual stress is laid on some former syllable to support a rhythmical pronunciation. Thus :

(I.) If the primary accent is on the third syllable, a secondary accent is on the first; (II.) when the primary is on the fourth syllable, the secondary may be either on the first or second; (III.) when the primary accent is on the fifth, the secondary will be on the second syllable, or there may be two secondary accents, namely, on the first and third syllables; and, (IV.) when the primary accent is on the sixth syllable, there must be two secondaries— distributed either on the first and third, the first and fourth, or the second and fourth syllables. The primary accent never falls beyond the sixth syllable.

184. The following Table exhibits all the varieties of English accentuation. The asterisks (*) denote the accent; the large dots, secondary accent; and the small dots, unaccented syllables.

186. ILLUSTRATIVE WORDS.

Initial Accent.- (1) Wayward, temperate, temporary, necessariness.

Initial Unaccented Syllable.- (2) Away, remember, contemporal, inveterately, unnecessarily.

Initial Secondary Accent.- (3) Recommend, contemplation, anatomical, disingenuously, inconsiderableness; (4) superintend, epigrammatic, superabundantly. Initial Unaccented Syllable before a Secondary Accent. -(5) Misunderstand, subordination, extemporaneous, invalitudinary; (6) personification, impracticability. Initial Secondary Accent before a Secondary Accent.(7) antipestilential, indestructibility; (8) intercolumniation, incommunicability, incomprehensibility.

PRINCIPLES OF ACCENTUation.

187. The general principles that regulate the position of the accent, are the following:-I. The seat of accent tends to the penultimate syllable of dissyllables, and to the ante-penultimate of polysyllables, if no other principle occur to thwart this tendency; as in aspect, comfort, aggravate, orator, &c.

II. The accent of the primitive word is generally retained in derivatives, as in accept, acceptable, commend. commendable, &c.

III. Words of the same orthography, but of different parts of speech, (especially nouns and verbs,) are generally distinguished by difference of accent, as in at'tribute, attrib'ute, ac'cent, accent', reb'el, rebel', &c. The verbs in such cases have the lower accent.

IV. Prefixes, terminations, and syllables common to a number of words, are generally without accent; such as ab, be, con, in, re, mis, ness, less, ly, full, sion, tion, ing, able, ible, ally, ary, &c.

188. When three or more syllables follow the accent, a secondary force is generally accorded to one of them for the sake of avoiding, by an agreeable rhythm, the hurrying effect of a long cluster of unaccented syllables. Thus, in such words as the following, the voice will be more or less distinctly poised on the second syllables after the accent: Ab"dica'tive, accessoriness, arbitrarily, calcula

tory, figuratively, gentlewoman, indicator, opinionativeness, secretariship, temporarily.

In

189. In all the preceding accentual illustrations, the primary and secondary accents are separated by one or two syllables. They may, however, occur in proximate syllables, as in the words A'men", fare'well", &c. pronouncing these words, the time of an unaccented syllable intervenes between the accents. Thus, "Amen," and "eighty men," "farewell," and "fare thee well," occupy exactly the same time in utterance.

190. Words are frequently used in poetry with false accentuation. The reader must not sacrifice ordinary prose propriety to suit the casual poetic accent. A compromise may generally be effected by accentuating both the regularly and the rhythmically accented syllables. Thus the words ravines and supreme, in the following lines, may be pronounced rav'ines' and su'preme'.

"Ye ice-falls! ye, that from the mountain's brow
Adown enormous rav'ines' slope amain!"

"Our su'preme' foe, in time, may much remit."

SENTENTIAL ACCENTS.

191. In the pronunciation of sentences, the words are not delivered with separate accentuation, as in a vocabulary, but they are collocated into accentual groups, according to grammatical connexion and relative value to the sense. Certain classes of words are generally unaccented; such as articles, prepositions, pronouns, auxiliary verbs, and conjunctions. These are primarily accented, only when they are used with ANTITHESIS. The same principles which regulate the secondary accentuation of single words, apply also to the grammatical groups, or oratorical words."

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192. When words, the accentual syllables of which are the same, are used in contrast, the primary accent is transposed to the syllable of difference, and the regular primary receives a secondary accent: as in com'prehen"d, pronounced com"prehen'd when opposed to apprehend', literally and lit'erar"y, af"fect' and ef"fect', in"form" and re"form', ex"pel' and im"pel', mor"tal'ity and im"mortal'ity, re'lig'ion and ir"religion, &c. This trans

position always takes place in the second word of the contrasted pair, but not always on the first, unless the contrast is distinctly instituted on its utterance.

193. The same principle of contrast or antithesis, expressed or implied, regulates the accentuation or emphasis of sentences. Any phrase or sentence containing a word or IDEA that has been previously expressed or IMPLIED in the context, will have the primary accent-or the emphasis—on one of the other words, even though of the most subordinate class, conjunction, preposition, pronoun, or article. Much judgement is displayed by a good reader in this accentual recognition of included thoughts or synonymous expressions. Thus in the word "unfeeling" in the following lines, the accent should fall on the negative prefix “un,” to show that the word "tender," before used, includes the idea of "feeling."

"To each, his sufferings; all are men,
Condemn'd, alike to groan;
The tender, for another's pain,
The unfeeling for his own."-

Gray.

The subject of Emphasis will be found more fully illustrated in a subsequent section.