ADDITIONS AND CORRECTIONS. DURING the first Six Chapters of Part I. the accent is represented by an inverted period, or dot on a level with the top of the line, thus (), placed at the end of the accented syllable; h is only used as a diacritical sign, and the aspirate is represented by H. In Chapter 7, note 1, page 91, we have changed these notations, and in all subsequent pages an acute accent (') is used at the end of the accented syllable; h is the representative of the aspirate after consonants, and h elsewhere; while h simply, after consonants, is still a simple diacritical sign; and H denotes the strengthened hard breathing, p. 92. Note. (3 means the 3d line inclusive from the top of the text. 3) bottom pen'dyulem. There 20; (2 Add as a note at the word "sound.”—Such a method of writing would be syllabic, and has been adopted by "Sīkwēyā," otherwise called George Guess, the inventor of the Cherokee or "Tsilōgi" Alphabet, which consists of 85 characters, the first six representing vowels, and the remainder vowels preceded by consonants. must of course be as many characters as there are syllables in the language, and it would be impossible to spell with such characters any words containing closed syllables for instance; 77 letters of the Cherokee alphabet are given in the Phonographic Journal for 1844, p. 74, whence it appears that the only letters required for printing the language correspond to our ā, ē, ī, ō, ū, e̱, g, k, h, l, m, n, nh, c, w, s, d, t, y, = : 19. This serves to shew the practical inferiority of the syllabic scheme even when applied to a very simple language. 20; 8) for By action, read By the action. .... 22; (11,12 Expunge "This argument chapter." The author has preferred considering this argument in his " Colloquy on the Writing and Printing Reformation," Phonotypic Journal for 1844, pp. 306-311, and "Plea for Phonotypy and Phonography," published separately. 23; [1 for 1 33; 3) [1 35 (5 37; 40 42 43 .... .... .... .... .... .... c"; that the spoken read 3 .... .... .... .... .... .... kyuklos Shtok hau'zən jazmun A" mh, nh, Nh -; (21 73; 6) 81; 23) .... incarrying .... bonne (fr.) several dialects read Sende .... "QUANTITY" Camões Part II. in carrying "EMPHASIS, ACCENT, & QUANTITY" p. 139. Camões Part II. p. 152. 82; 8) Add as a note. It would be perhaps more correct to say that the German eu were oi, and not ōi, that is, were the close and not the loose diphthong. Perhaps even in English a delicate ear will distinguish the sounds in boy, boil, oyster. The German is most like the last. The first is often pronounced quite like a dissyllable ōii. When a vowel or diphthong occurs in a final accented syllable, unprotected by any following consonant, the Englishman is very apt to split the sound into two syllables, and thus say ēi, qu, aii, ōii, auu, for ē, o, ai, õi, au. Foreigners never commit this fault, and hence they keep these vowels much purer than the English. 86; (18 resembles ō. Add as a note. Similarly in the German vor, and other words where the theoretically correct pronunciation is for, the more common spoken sound is for. We have observed Germans pronounce this word sometimes with ō and sometimes with o in the same sentence, so that it is almost impossible to say what sound they mean to utter. The imperfection of the contact in r renders it very difficult for the ear to distinguish between fōr and for, especially if the latter is kept well distinct from foer. 89; 16) for Diphthongs. read Triphthongs. ; 10) Diphthongs. Triphthongs. .... .... 93; (16 after nasal N, add, when following, and into the combination gn, when preceding a vowel. 96; 9) for relative weakened consonants read relative whispered consonants prodnces, .... .... .... produces. next,) 109; 2) The Dutch orthography of these words is gav, geven, glijden, groot, dag, dagen, berg, volgen, volgt. 110; 11) for combinatian, read combination, 118; 10) Add as a note. In the preface to "A Collection of Hymns, for the use of Native [Ojibway] Indians, translated by Peter Jones (Kahkewaquonaby), Indian Missionary," we read, "There are sounds in the Ojibway [odzhibwê] which the English letters do not exactly convey, such as between b and p, d and t, g and k, s and z, sh and zh, gw and qu, ch and j. Thus the Indian writer is liable to interchange one letter for the other when spelling the same word, and, consequently, that want of uniformity, always desirable, will sometimes appear [in the orthography]." We had an opportunity of speaking, for a short time, with Mr. P. Jones himself, an intelligent Ojibway Indian, when on his third visit to England (this year, 1845.) He seemed to have great difficulty in pronouncing these intermediate sounds, so as to keep them clear of either extremity, and they were more apt to fall into the spoken than the whispered variety. He told us he had great difficulty in pronouncing the English th; but was not aware of any difference between the th in thigh and that in thy. This will serve to show the difficulty he must naturally feel in distinguishing spoken from whispered consonants, and to connect the Ojibway with the German “indifferent 127; 17) After "especially actors," add as a note. This has not escaped the 66 notice of our modern Aristophanes, Punch, who, in vol. 8, p. 150, proposes the following "INTERROGATORIES FOR PLAYERS. What do actors and actresses mean by saying "skee-yi," blee-yew," ," "kee-yind," and "dis-gyee-ise," for sky, blue, kind, and disguise? Are the ladies and gentlemen in question aware that all these words are words of one syllable, except the last, which has two, and of which they make three? Are they ignorant of these facts? or do they think it fine or elegant thus to tamper with the QUEEN'S English? If they do, let PUNCH seriously assure them that they are mistaken; he very much wishes that they would break themselves of this habit, which he can never go to a theatre without being annoyed by. Especially has he to complain of certain walking gentlemen,' to whom he would feel greatly obliged if they would pay a little more attention to their 'Walker."" Unfortunately for this last witticism, Walker, in the introduction to his dictionary, p. 160, says, “When this vowel [meaning the diphthong ai] is preceded by g hard, or k, which is but another form for hard c, it is pronounced as if an e were inserted between the consonant and the vowel; thus, sky, kind, guide, guise, disguise, catechise, guile, beguile, mankind, are pronounced as if written ske-y, ke-ind, gue-ise, dis-gue-ise, cat-e-che-ise, gue-ile, be-gue-ile, man-ke-ind." If this was the pronunciation of Walker's day, it has ceased to be the pronunciation of the educated at the present day; even those who have the greatest inclination to it, do not alter the number of syllables, but only insert a y. Actors, however, have a kind of traditional stage pronunciation of many words, and rather represent the English of fifty years since than that of to-day. 128; (6 before "In French," insert, When the letter affected is 1, we find that; (8 to lh, add as a note. See the remarks on Dr. Rapp's 12, infrà p. 171. 130; 12) for double as read double, as egg 134; [4 chra,szcz 135; 17) for except k and g, (as sack, egg, read except b, k, and g (as ebb, sack, 141; 16) for 2021, read 2012. (This error only occurs in a few copies.)— There is some awkwardness in using a higher number to express a lower accent, and it was a feeling that the higher number should always express the superior accent, that led the reader' to make the error just corrected. We have been induced, by this circumstance, to believe that the following notation would be better:-Chief accent, 1; secondary,; tertiary, 4, &c.; none, 0. The passage from Milton, on p. 141, will then be represented, as far as accents go, by 0 1 1 101 0 0 1 1 100 1 This is too gene 143; (8 To "the whole of the ancient Latin," add as a note. ral. The versification of Plautus, and of the Latins generally, before the introduction of Greek literature, appears to be rhythmical, or guided by the recurrence of accent, rather than of quantity. The quantitative versification had a comparatively brief sway in Italy, from B. C. 200 to A. D. 200; and even then it is probable that the songs of the people were rhythmical, and not quantitative. True, quantitative Latin poetry did not cease to be written, and is still written; but the whole construction of Latin verse is (now, at least) artificial, the distinctions of long and short being regulated by rule, and not by ear. An ingenious writer in the Edinburgh Review, vol. 6, pp. 363-377, endeavours to prove that even the Latin (and, perhaps, the Greek) quantitative verse was regulated by a rhythmical rule as well, so that, in fact, the rhythm gave the character to the verse, and the quantitative rules only served to prevent the recurrence of too many consonants on the one hand, and unaccented open syllables on the other; and he shews how the same laws of accent passed into modern verse, unencumbered by the rules of quantity. We annex the following quotation (ib., p. 381), because it is an endeavour to show the nature of quantity, and its effects on English verse:-" Every ear accustomed to Latin sapphics, would observe the peculiar structure of the following lines, and object to them in English blank verse; yet they are in every respect such as frequently occur, excepting that the words all follow the Latin rule of accentuation, and that the arrangement of quantities, as well as accents, corresponds with that in a sapphic stanza. A good writer (although he might use the same combination of accents) would naturally shun such coincidence of temporal metre, not as being inharmonious, but as bearing a peculiar character which should be avoided in English blank verse. It will appear, by the following lines, which have the very same accentuation and the same cæsura, that a difference of quantities will destroy the resemblance to Latin sapphics : The headlong torrent from its native caverns Roárs through the válley, wásting with déluge We must confess that our ears do not detect this great difference, although the greater number of consonants, by which the change of quantity is supposed to be affected, necessarily gives a different character to the latter lines, but not such a difference as we have been accustomed to consider quantitative. Mr. Hallam (Literature of Europe, p. 39), " The early poets in the modern languages chiefly borrowed their forms of versification from the Latin. It is unnecessary to say that metrical composition in that language, as in Greek, was an arrangement of verses corresponding by equal or equivalent feet; all syllables being presumed to fall under a known division of long and short, the former passing for strictly the double of the latter in quantity of time. By this law of pronunciation all verse was measured, and to this not only actors, who were assisted by an accompaniment, but the orators also endeavoured to conform. But the accented, or, if we choose to call them so, emphatic syllables, being regulated by a very different though uniform law, the uninstructed people, especially in the decline of Latinity, pronounced, as we now do, with little or no regard to the metrical quantity of syllables, but according to their accentual value. And this gave rise to the popular or rhythmical poetry of the lower empire, traces of which may be found in the second century, and even much earlier, but of which we have abundant proofs after the age of Constantine. The well-known lines of Adrian to Florus" (he adds in a note) "and his reply, Ego nolo Florus esse,' &c., are accentual Trochaics, but not wholly so; for the last line, Scythicas pati pruinas,' requires the word pati to be sounded as an iambic. They are not the earliest instances extant of disregard to quantity, for Seutonius quotes some satirical lines on Julius Cæsar."-See Suet. J. Cæs. 49,51. The lines are in general unfit for quotation, but we give one, as a specimen of the accentual trochaic : Ecce Cæsar nunc triumphat, qui subegit Gallias. 147; (16 after task, add especially for foreign words. 153; (2 for the end of the word read the penultim 154; 15) using a wrong symbol, having indicated a wrong sound. 155; Ex. I. col. 2, 1. 10, for ditermind, read diter'mind. yu niförmli, yuniformli. 15, Ex. 2, col. 2, 1. 3, yənə, .... 9, rejhǝlmèsijhes, read rejhǝlmêsijhes. 156; Add as a note to the German example. We have here given ọ as the stopped sound corresponding to ō in German. Germans, however, are by no means consistent in giving it this sound, and we very frequently hear Ŏ instead of o, especially before kh, as nokh. Instead of vh, we may pronounce v, without fear of discovery, except by a very attentive ear, and one more alive to the discrimination of sounds nearly alike than that of the majority of Germans. 156; Ex. 3, col. 2, 1. 8, for le ran.. àlōrs, read la ran.. àlor. 157; 10] for nor to reply, read or to reply. |