...syllable with the rising inflexion, and the unaccented with the falling, in a lower •••'•с. None of these modes but the first and last do we ever...grave accent the falling inflexion, in a lower tone. * This, I may be bold to say, is coming to the point at once, without biding our ignorance, by supposing...

...give them the accent with the falling inflexion: the second is, to pronounce the accented syllable with the rising inflexion, and the unaccented syllables...grave accent the falling inflexion, in a lower tone. * This, I may be bold to say, is coming to the point at once, without hiding •ur ignorance, by supposing...

...inflexion, and the unaccented syllables with the same inflexion in a lower tone, which we never hear in bur own language : the third is, to pronounce the accented...grave accent the falling inflexion, in a lower tone. * This, I may be bold to say, is coming to the point at once, without hiding our ignorance, by supposing...

...we give them the accent with the falling inflexion. The second is to pronounce the accented syllable with the rising inflexion, and the unaccented syllables...acute accent was the rising inflexion, and the grave the falling inflexion in a lower tone.' Concerning the question whether the ancient poetry should be...

...voice in any language. The first leaves us no possible means of explaining the circumflex; butthelast, by doing this, gives us the strongest reason to suppose...acute accent was the rising inflexion, and the grave the falling inflexion in a lower tone.' Concerning the question whether the ancient poetry should be...

...close vowel (as in man) and " grave accent" = open vowel (as in mane) ; but he himself finds (§ 27) " the strongest reason to suppose that the Greek and...grave accent the falling inflexion, in a lower tone." Yet he had just before (note on § 22) accepted Foster's remark that the old accent marks could not...