LD 
 CJ 
 
GIFT OF 
 Felix Flflgel 
 
A KEY 
 
 
 TO THE 
 
 CLASSICAL PRONUNCIATION 
 
 or 
 
 Greek, Latin, and Scripture Proper Names; 
 
 IN WHICH 
 
 THE WORDS ARE ACCENTED AND DIVIDED INTO SYLLABLES 
 
 EXACTLY AS THEY OUGHT TO BE PRONOUNCED, 
 
 ACCORDING TO RULES DRAWN FROM ANALOGY AND THE BEST USAGE. 
 TO WHICH ARE ADDED, 
 
 TERMINATiONAL VOCABULARIES 
 
 OF 
 
 HEBREW, GREEK, AND LATIN PROPER NAMES, 
 
 IN WHICH 
 
 THE WORDS ARE ARRANGED ACCORDING TO THEIR FINAL SYLLABLES, 
 AND CLASSED ACCORDING TO THEIR ACCENTS ; 
 
 By which the General Analogy of Pronunciation may be seen at one view, and 
 the Accentuation of each word more easily remembered. 
 
 CONCLUDING WITH 
 
 Observations on the Greek and Latin Accent and Quantity; 
 
 WITH 
 
 SOME PROBABLE CONJECTURES ON THE METHOD OF FREEING THEM 
 
 FROM THE OBSCURITY AND CONFUSION IN WHICH THEY AKE 
 
 INVOLVED, BOTH BY THE ANCIENTS AND MODERNS. 
 
 Si quid novisti rcctius istis, 
 Candidas imperti ; si non, his utere mecum. Hor. 
 
 The SEVENTH EDITION. 
 
 BY JOHN WALKER, 
 
 AUTHOR OF THE CRITICAL PRONOUNCING DICTIONARY, &C. 
 
 LONDON : 
 
 PRINTED FOR T. CADELL, LONGMAN, HURST, REES, ORME, AND BROWNE, 
 
 BALDWIN, CRADOCK, AND JOY, J. ROBINSON, G. ANI> W. B. 
 
 WH1TTAKER, AND SIMPKIN AND MARSHALL. 
 
 1822. 
 
W3 
 l&li 
 
 J. M 4 Crery, TookvCourt, 
 Chnc*rr-Lan, London. 
 
l.t. 
 
 PREFACE. 
 
 1 HE Critical Pronouncing Dictionary of the English 
 Language naturally suggested an idea of the present 
 work. Proper names from the Greek and Latin form 
 so considerable a part of every cultivated living lan- 
 guage, that a Dictionary seems to be imperfect with- 
 out them. Polite scholars, indeed, are seldom at a 
 loss for the pronunciation of words they so frequently 
 meet with in the learned languages; but there are 
 great numbers of respectable English scholars, who, 
 having only a tincture of classical learning, are 
 much at a loss for a knowledge of this part of it. It 
 is not only the learned professions that require this 
 knowledge, but almost every one above the merely 
 mechanical. The professors of painting, statuary, 
 and music, and those who admire their works 
 readers of history, politics, poetry all who con- 
 verse on subjects ever so little above the vulgar, have 
 so frequent occasion to pronounce these proper 
 names, that whatever tends to render this pronun- 
 ciation easy must necessarily be acceptable to the 
 Public. 
 
 The proper names in Scripture have still a higher 
 claim to our attention. That every thing contained 
 
 a 2 
 
iv PREFACE. 
 
 in that precious repository of divine truth should be 
 rendered as easy as possible to the reader, cannot be 
 doubted : and the very frequent occasions of pro- 
 nouncing Scripture proper names, in a country 
 where reading the Scripture makes part of the reli- 
 gious worship, seem to demand some work on this 
 subject more perfect than any we have hitherto 
 seen. 
 
 I could have wished it had been undertaken by a 
 person of more learning and leisure than myself; but 
 we often wait in vain for works of this kind, from 
 those learned bodies which ought to produce them, 
 and at last are obliged, for the best we can get, to 
 the labours of some necessitous individual. Being 
 long engaged in the instruction of youth, I felt the 
 want of a work of this kind, and have supplied it in 
 the best manner I am able. If I have been happy 
 enough to be useful, or only so far useful as to in- 
 duce some abler hand to undertake the subject, I 
 shall think my labour amply rewarded. I shall still 
 console myself with reflecting, that he who has pro- 
 duced a prior work, however inferior to those that 
 succeed it, is under a very different predicament 
 from him who produces an after-work inferior to 
 those that have gone before. 
 
ADVERTISEMENT 
 
 TO 
 
 THE SECOND EDITION. 
 
 THE favourable reception of the first edition of this 
 work has induced me to attempt to make it still 
 more worthy of the acceptance of the public, by the 
 addition of several critical observations, and parti- 
 cularly by two Terminational Vocabularies of Greek 
 and Latin, and Scripture Proper Names. That so 
 much labour should be bestowed upon an inverted 
 arrangement of these words, when they had already 
 been given in their common alphabetical order, may 
 be matter of wonder to many persons, who will na- 
 turally inquire into the utility of such an arrange- 
 ment. To these it may be answered, that the words 
 of all languages seem more related to each other by 
 their terminations than by their beginnings; that 
 the Greek and Latin languages seem more particu- 
 larly to be thus related ; and classing them accord- 
 ing to their endings seemed to exhibit a new view 
 of these languages, both curious and useful : for as 
 
 a3 
 
vi ADVERTISEMENT. 
 
 their accent and quantity depend so much on their 
 termination, such an arrangement appeared to give 
 an easier and more comprehensive idea of their pro- 
 nunciation than the common classification by their 
 initial syllables. This end was so desirable as to in- 
 duce me to spare no pains, however dry and dis- 
 gusting, to promote it ; and if the method I have 
 taken has failed, my labour will not be entirely lost 
 if it convinces future prosodists that it is not worthy 
 of their attention. 
 
CONTENTS OF THE INTRODUCTION. 
 
 PAGE 
 
 THE pronunciation of Greek and Latin not so difficult 
 as that of our own language * . . ix 
 
 The ancient pronunciation of Greek and Latin, a subject 
 of great controversy among the learned ibid. 
 
 The English, however faulty in their pronunciation of 
 Greek and Latin, pronounce them, like other European 
 nations, according to the analogy of their own language x 
 
 Sufficient vestiges remain to prove that the foreign pronun- 
 ciation of the Greek and Latin letters is nearer to the 
 ancient than the English (Note) ibid. 
 
 The English pronunciation of Greek and Latin injurious 
 to quantity xi 
 
 No sufficient reason for altering the present pronunciation on 
 these accounts xiii 
 
 Rule for accenting Latin words xiv 
 
 Rule for accenting Greek proper names xv 
 
 Probable conjecture why the terminations tia and tio in Greek 
 appellatives have not the same sound as in Latin (Note) xvi 
 
 Importance of settling the English quantity with which we 
 pronounce Greek and Latin proper names, and particu- 
 larly that of the unaccented syllables xx 
 
INTRODUCTION. 
 
 1 HE pronunciation of the learned languages is much more ea- 
 sily acquired than that of our own. Whatever might have been 
 the variety of the different dialects among the Greeks, and the 
 different provinces of the Romans, their languages now being 
 dead, are generally pronounced according to the respective ana- 
 logies of the several languages of Europe, where those languages 
 are cultivated, without partaking of those anomalies to which the 
 living languages are liable. 
 
 Whether one general uniform pronunciation of the ancient 
 languages be an object of sufficient importance to induce the 
 learned to depart from the analogy of their own language, and 
 to study the ancient Latin and Greek pronunciation, as they do 
 the etymology, syntax, and prosody of those languages, is a 
 question not very easy to be decided*. The question becomes 
 still more difficult when we consider the uncertainty we are in 
 respecting the ancient pronunciation of the Greeks and Romans, 
 and how much the learned are divided among themselves about 
 it*. Till these points are settled, the English may well be al- 
 
 * Middleton contends that the initial c before e and i ought to be pronounced 
 as the Italians now pronounce it ; and that Cicero is neither Sisero, as the French 
 and English pronounce it ; nor Kikero, as Dr. Bentley asserts ; but Tchitckero, 
 as the Italians pronounce it at this day. This pronunciation, however, is de- 
 rided by Lipsius, who affirms that the c among the Romans had always the 
 sound of fc. Lipsius says too, that of all the European nations, the British alone 
 pronounce the i properly ; but Middleton asserts, that of all nations they pro- 
 nounce it the worst. Middleton De I*at. Liter. Pronun. Dissert. 
 
 Lipsius, speaking of the different pronunciation of the letter G in different 
 countries, says: 
 
 Nos hodie (de Htera G loquente) quam peccamus? Italorum enim plerique 
 nt Z exprimnnt, Galli et Belgia? ut J consonantem. Itaqne illorum est Lezere. 
 Fuzere ; nostrum, Leiere, Fuiere (Lejere, Fvjere). Omnia imperite, inepte". 
 Germanos saltern audite, quorum sonns hie germanus, Legere, Tegere ; ut in Le- 
 go, Tego, nee unquam variant : at nos ante /, , IE, Y, semper dicimusqne Jem- 
 mum, J&tulos, Jimjivam, Jyrum ; pro istis, Gemmam, Gatulos, Gingivaih, Gyrum. 
 Mutemns aut vapulemus. Lipsius. De Rect. Pron. Ling. Lot. p. 71. Hinc 
 
 factum 
 
X INTRODUCTION. 
 
 lowed to follow their own pronunciation of Greek and Latin, as 
 well as other nations, even though it should be confessed that it 
 seems to depart more from what we can gather of the ancient 
 pronunciation, than either the Italian, French, or German*. 
 For why the English should pay a compliment to the learned 
 
 factum est ut tanta in pronunciando varietas extiteret ut pauci inter se in liter- 
 arum sonis conseutiant. Quod quidem mirnm non esset, si indocti tantum a 
 doctis in eo, ac non ipsi etiam alioqui eruditi inter se magna contentions dissi- 
 derent. Adolp. Meker. De Lin. Greec. vet. Pronun. cap. ii. p. 15. 
 
 * Monsieur Launcelot, the learned author of the Port-Royal Greek Grammar, 
 in order to convey the sound of the long Greek vowel , tells us, it is a sound 
 between the c and the , and that Eustathius, who lived towards the close of 
 the twelfth century, says, that #?, 03, is a sound made in imitation of the bleat- 
 ing of a sheep ; and quotes to this purpose this verse of an ancient writer 
 called Cratinus : 
 
 Is fatuus perinde ac ovis, b, be, dicens, iacedit. 
 
 He, like a silly sheep, goes crying ban. 
 
 Caninius has remarked the same, Hellcn, p. 26. E longum, ciijus sonus in 
 ovium balatu sentitur, ut Cratinus et Varro tradiderunt. The sound of the e 
 long may be perceived in the bleating of sheep, as Cratinus and Varro have 
 handed down to us. 
 
 Eustathius likewise remarks upon the 499 v. of Iliad I. that the word 
 BXo-J. fffrlv o TJ? xXe^vfrgttc n^os fu/u7f na.ro, ray <ff&\aia<; ; 8n EXJH 
 f*il*o-iv Tr^arav <j>vf. Kgawo?. Bxty est Clepsydrae sonus, ex imitatione 
 secundum veteres; et fa imitatur vocum ovium. Blops, according to the 
 ancients, is a sound in imitation of the Clepsydra, as baa is expressive of 
 the voice of sheep. It were to be wished that the sound of every Greek 
 vowel had been conveyed to us by as faithful a testimony as the >mt ; we 
 should certainly have had a better idea of that harmony for which the Greek 
 language was so famous, and in which respect Quintilian candidly yields it the 
 preference to the Latin. 
 
 Aristophanes has handed down to us the pronunciation of the Greek diphthong 
 aZ aZ by making it expressive of the barking of a dog. This pronunciation is 
 exactly like that preserved by nurses and children among us to this day in bow 
 wow. This is the sound of the same letters in the Latin tongue; not only in 
 proper names derived from Greek, but in every other word where this diph- 
 thong occurs. Most nations in Europe, perhaps all but the English, pronounce 
 audio and laudo, as if written owdio and lowdo ; the diphthong sounding like ou 
 in loud. Agreeable to this rule, it is presumed that we formerly pronounced 
 the apostle Paul nearer the original than at present. In Henry the Eighth'* 
 time it was written St. Poule'8, and sermons were preached at Poule'i 
 
INTRODUCTION. XI 
 
 languages, which is not done by any other nation in Europe, it 
 is not easy to conceive; and as the colloquial communication of 
 learned individuals of different nations so seldom happens, and 
 is an object of so small importance when it does happen, it is not 
 much to be regretted that when they meet they are scarcely intel- 
 ligible to each other*. 
 
 But the English are accused not only of departing from the 
 genuine sound of the Greek and Latin vowels, but of violating 
 the quantity of these languages more than the people of any other 
 nation in Europe. The author of the Essay upon the Harmony 
 of Language gives us a detail of the particulars by which this 
 accusation is proved : and this is so true a picture of the English 
 pronunciation of Latin, that I shall quote it at length, as it may 
 be of use to those who are obliged to learn this language without 
 the aid of a teacher. 
 
 Cross. The vulgar, generally the last to alter, either for the better or worse, 
 still have a jingling proverb with this pronunciation, when they say, As old as 
 Poules. 
 
 The sound of the letter u is no less sincerely preserved in Plautus, in M enaech. 
 
 page 622, edit. Lambin. in making use of it to imitate the cry of an owl 
 
 "MEN. Egon'dedi? PEN. Tu, Tu, istic, inquam, vin' afferri noctuam, 
 " Qua? tu, tu, usque dicat tibi? nam nos jam nos defessi sumus." 
 " It appears here," says Mr. Forster, in his defence of the Greek accents, 
 page 129, " that an owl's cry was tu, tu, to a Roman ear, as it is too, too, to an 
 " English." Lambin, who was a Frenchman, observes on the passage^ * Alludit 
 " ad noctuae vocem sen cantum, tu, tu, seu ton, *<m." He here alludes to the 
 voice or noise of an owl. It may be farther observed, that the English have 
 totally departed from this sound of the u in their own language, as well as in 
 their pronunciation of Latin. 
 
 * Erasmus se adfuisse olim commemorat cum die qnodam solemn conaplures 
 piincipum legati ad ftfaximilianum Imperatorem salutandi causa advenissent ; 
 Singulosque Gallum, Germanum, Danum, Scotum, &c. orationem Latinam, ita 
 barbare ac vaste prommciasse, ut Italis, quibnsdam, nihil nisi risum moverint, 
 qui eos non Latine sed sua quenique lingua, locutos jnrassent. Middleton, De 
 Lat. Lit. Pronun. 
 
 The love of the marvellous prevails over truth : and I question if the greatest 
 diversity in the pronunciation of Latin exceeds that of English at the capital 
 and in some of the counties of Scotland, and yet the inhabitants of both have 
 no great difficulty in understanding each other. 
 
Xll INTRODUCTION. 
 
 " The falsification of the harmony by English scholars in 
 " their pronunciation of Latin, with regard to essential points, 
 " arises from two causes only : first, from a total inattention to 
 " the length of vowel sounds, making them long or short 
 " merely as chance directs ; and, secondly, from sounding double 
 " consonants as only one letter. The remedy of this last fault 
 " is obvious. With regard to the first, we have already ob- 
 " served, that each of our vowels hath its general long sound, 
 " and its general short sound totally different. Thus the short 
 lt sound of e lengthened is expressed by the letter a, and the 
 " short sound of t lengthened is expressed by the letter e : and 
 " with all these anomalies usual in the application of vowel 
 " characters to the vowel sounds of our own language, we pro- 
 " ceed to the application of vowel sounds to the vowel charac- 
 " ters of the Latin. Thus in the first syllable of ridus and no- 
 " m'en, which ought to be long ; and of miser and onus, which 
 " ought to be short ; we equally use the common long sound of 
 " the vowels ; but in the oblique cases, sideris, nominis, miseri, 
 " onerisy &c., we use quite another sound, and that a short one. 
 " These strange anomalies are not in common to us with our 
 " southern neighbours the French, Spaniards, and Italians. 
 " They pronounce sidus according to our orthography, seedus, 
 " and in the oblique cases preserve the same long sound of the 
 " i : nomen they pronounce as we do, and preserve in the oblique 
 " cases the same long sound of the o. The Italians also, in their 
 " own language, pronounce doubled consonants as distinctly as 
 " the two most discordant mutes of their alphabet. Whatever, 
 " therefore, they may want of expressing the true harmony of the 
 " Latin language, they certainly avoid the most glaring and absurd 
 " faults in our manner of pronouncing it. 
 
 " It is a matter of curiosity to observe with what regularity 
 " we use these solecisms in the pronunciation of Latin. When 
 " the penultimate is accented, its vowel, if followed but by a 
 " single consonant, is always long, as in Dr. Forster's examples. 
 " When the antepenultimate is accented, its vowel is, without 
 " any regard to the requisite quantity, pronounced short, as in 
 
INTRODUCTION. X1H 
 
 " mirabile, frigidus; except the vowel of the penultimate be 
 " followed by a vowel, and then the vowel of the antepenuhi- 
 11 mate is with as little regard to true quantity pronounced long, 
 " as in maneo, redeat, odium, imperium. Quantity is however 
 " vitiated to make i short even in this case, as in oblimo, vinea, 
 " virium. The only difference we make in pronunciation be- 
 " tween vinea and venia is, that to the vowel of the first syllable 
 " of the former, which ought to be long, we give a short sound ; 
 " to that of the latter, which ought to be short, we give the same 
 " sound, but lengthened. U accented is always before a single 
 " consonant pronounced long, as in humerus, fugiens. Before 
 " two consonants no vowel souud is ever made long, except that 
 " of the diphthong au ; so that whenever a doubled consonant 
 " occurs, the preceding syllable is short*. Unaccented vowels 
 " we treat with no more ceremony in Latin than in our own lan- 
 " guage." Essay upon the Harmony of Language, page 224. 
 Printed for Robson, 1774. 
 
 This, it must be owned, is a very just state of the case ; but 
 though the Latin quantity is thus violated, it is not, as this writer 
 observes in the first part of the quotation, merely as chance di- 
 rects, but, as he afterwards observes, regularly, and he might 
 have added according to the analogy of English pronunciation, 
 which, it may be observed; has a genius of its own ; and which, 
 if not so well adapted to the pronunciation of Greek and Latin 
 as some other modern languages, has as fixed and settled rules for 
 pronouncing them as any other. 
 
 The learned and ingenious author next proceeds to show the 
 advantages of pronouncing our vowels so as to express the Latin 
 quantity. " We have reason to suppose," says he, " that our 
 " usual accentuation of Latin, however it may want of many ele- 
 " gancies in the pronunciation of the Augustan age, is yet suf- 
 " ficiently just to give with tolerable accuracy that part of the 
 
 * This corruption of the true quantity is not, however, peculiar to the English ; 
 for Beza complains in his country : Hiuc enim fit ut in Graeca oratione vel nullum, 
 vel prorsus corruptuin numerum intelligas, dum nuiltae breves producuntur, et 
 contra plurimas longae corripiuntur. Beza de Germ. Pron. Grzecae Linguae, p. 50. 
 
XIV INTRODUCTION. 
 
 " general Harmony of the language of which accent is the ef- 
 " ficient. We have also a pretty full information from the poets 
 " what syllables ought to have a long, and what a short quantity. 
 " To preserve, then, in our pronunciation, the true harmony of 
 " the language, we have only to take care to give the vowels a 
 t* long sound or a short sound, as the quantity may require ; and 
 " when doubled consonants occur, to pronounce each distinctly." 
 Ibid, page 228*. 
 
 In answer to this plea for alteration, it may be observed, that 
 if this mode of pronouncing Latin be that of foreign nations, 
 and were really so superior to our own, we certainly must per- 
 ceive it in the pronunciation of foreigners, when we visit them, 
 or they us : but I think I may appeal to the experience of every 
 one who has had an opportunity of making the experiment, that 
 so far from a superiority on the side of the foreign pronunciation, 
 it seems much inferior to our own. I am aware of the power of 
 habit, and of its being able, on many occasions, to make the worse 
 appear the better reason : but if the harmony of the Latin lan- 
 guage depended so much on a preservation of the quantity as 
 many pretend, this harmony would surely overcome the bias we 
 have to our own pronunciation ; especially if our own were 
 really so destructive of harmony as it is said to be. Till, there- 
 fore, we have a more accurate idea of the nature of quantity, 
 and of that beauty and harmony of which it is said to be the ef- 
 
 * By what this learned author has observed of our vicious pronunciation of 
 the Towels by the long and short sound of them, and from the instances he has 
 given, he must mean that length and shortness which arises from extending and 
 contracting them, independently of the obstruction which two consonants are 
 supposed to occasion in forming the long quantity. Thus we are to pronounce 
 Manus as if written and divided into Man-nus; and Pannus as if written Pay- 
 nus, or as we always hear the word Pom's (bread) ; for in this sound of Pannus 
 there seems to be no necessity for pronouncing the two consonants distinctly or 
 separately, which he seems to mean by distinctly, because the quantity is shown 
 by the long sound of the vowel: but if by distinctly he means separately, that is 
 as if what is called in French the schfaa or mute e were to follow the first con- 
 sonant, this could not be done without adding a syllable to the word ; and the 
 word Pannus would in that case certainly have three syllables, as if written 
 Pon-e.Vnus. -See Observations on the Greek and Latin Accent and Quantity, 
 sect. 24. 
 
INTRODUCTION. XV 
 
 ficient in the pronunciation of Latin, we ought to preserve a pro- 
 nunciation which has naturally sprung up in our own soil, and is 
 congenial to our native language. Besides, an alteration of this 
 kind would be attended with so much dispute and uncertainty as 
 must make it highly impolitic to attempt it. 
 
 The analogy, then, of our own language being the rule for pro- 
 nouncing the learned languages, we shall have little occasion for 
 any other directions for the pronunciation of the Greek and Latin 
 proper names, than such as are given for the pronunciation of 
 English words. The general rules are followed almost without 
 exception. The first and most obvious powers of the letters are 
 adopted, and there is scarcely any difficulty but in the position of 
 the accent ; and this depends so much on the quantity of the 
 vowels, that we need only inspect a dictionary to find the quantity 
 of the penultimate vowel, and this determines the accent of all the 
 Latin words ; and it may be added, of almost all Greek words 
 likewise*. Now in our pronunciation of Latin words, whatever 
 be the quantity of the first syllable in a word of two syllables, we 
 always place the accent on it : but in words of more syllables, if 
 the penultimate be long, we place the accent on that ; and if short 
 we accent the antepenultimate. 
 
 The Rules of the Latin Accentuation are comprised in a clear 
 and concise manner by Sanctius within four hexameters : 
 
 Accentum in se ips monosyllaba dictio ponit. 
 Exacuit sedem dissyllabon onme priorem. 
 Ex tribus, extollit pi imam pen ultima curta : 
 Extollit seipsam quando est penultima louga. 
 
 These rules I have endeavoured to express in English verse : 
 
 Each monosyllable has stress of course : 
 Words of two syllables, the first enforce ; 
 A syllable that's long, and last but one, 
 Must have the accent upon that or none ; 
 But if this syllable be. short, the stress 
 Must on the last but two its force express. 
 
 The only difference that seems to obtain between the pronun- 
 ciation of the Greek and Latin Languages, is that in the Latin ti 
 
 * That is, in the general pronunciation of Greek ; for, let the written accent 
 be placed where it will, the quantitative accent, as it may be called, follows the 
 analogy of the Latin. 
 
Xvi INTRODUCTION. 
 
 and si, preceded by an accent, and followed by another vowel 
 forming an improper diphthong, are pronounced as in English, 
 like sh or zh, as natio, nation ; persuasio, persuasion, &c. ; and 
 that in the Greek the same letters retain their pure sound, as 
 Q&awr'tcc, uyvuff'w, TrgoGa.Tw, x. r. A.* This difference, how- 
 ever, with very few exceptions, does not extend to proper 
 names ; which, coming to us through, and being mingled with, 
 the Latin, fall into the general rule. In the same manner, though 
 in Greek it was an established maxim, that if the last syllable 
 
 * " The Greek language," says the learned critic, " was happy in not being 
 " understood by the Goths, who would as certainly have corrupted the t in 
 " etlrtct, am'ov, &c. into ula-ict, aa-iov, &c. as they did the Latin motio and 
 " doceo into moshio and dosfcof." This, however, may be questioned ; for, if in 
 Latin words this impure sound of t takes place only in those words where the 
 accent is on the preceding vowel, as in natio, facio, &c. ; but not when the ac- 
 cent follows the t, and is on the following vowel, as in satietas, societas, c. why 
 should we suppose any other mode of pronunciation would have been adopted 
 by the Goths in their pronouncing the Greek? Now no rule of pronunciation is 
 more uniform in the Greek language than that which places an acute on the iota 
 at the end of words, when this letter is succeeded by a long vowel ; and conse- 
 quently if the accent be preserved upon the proper letter, it is impossible the 
 preceding t and s should go into the sound of sh; why, therefore, may we not 
 suppose that the very frequent accentuation of the penultimate / before a final 
 vowel preserved the preceding v from going into the sound ofsk, as it was a 
 difference of accentuation that occasioned this impure sound of t in the Latin 
 language ? for though t at the end of words, when followed by a long vowel, or 
 a vowel once long and afterwards contracted, had always the accent on it in 
 Greek; in Latin the accent was always on the preceding syllable in words of 
 this termination: and hence seems to have arisen the corruption of t in the 
 Gothic pronunciation of the Latin language. 
 
 It is highly probable, that in Lu clan's time the Greek t when followed by 
 and another vowel, had not assumed the sound of a- ; for the Sigma would not 
 have failed to accuse him of a usurpation of her powers, as he had done of her 
 character: and if we have preserved the r pure in this situation when we pro- 
 nounce Greek, it is, perhaps, rather to be placed to the preserving power of the 
 accented i in so great a number of words, than any adherence to the ancient rules 
 of pronunciation, which invariably affirm, that the consonants had but one 
 sound ; unless we except the y before y, , ^, ; as ayfexoj, Apwga, *?#'*, 
 *. T. x. where the y is sounded like v : but this, says Henry Stephens, is an errour 
 of the copyists, who have a little extended the bottom of the v, and made a y of it ; 
 for, says he, it is ridiculous to suppose that v was changed into y, and at the same 
 
 time 
 t Ainsworth on the letter T. 
 
INTRODUCTION. 
 
 \vas long, the accent could scarcely be higher than the penulti- 
 mate; yet in our pronunciation of Greek, and particularly of 
 proper names, the Latin analogy of the accent is adopted : and 
 though the last syllable is long in Demosthenes, Aristophanes, 
 Theramenes and Deiphobe, yet as the penultimate is short, the 
 accent is placed on the antepenultimate, exactly as if they were 
 Latin*. 
 
 As these languages have been long dead, they admit of no 
 new varieties of accent like the living languages. The common 
 accentuation of Greek and Latin may be seen in Lexicons and 
 Graduses ; and where the ancients indulged a variety, and the 
 moderns are divided in their opinions about the most classical 
 accentuation of words, it would be highly improper, in a work 
 intended for general use, to enter into the thorny disputes of the 
 learned ; and it may be truly said, in the rhyming adage, 
 
 When Doctors disagree, 
 Disciples then are free ? 
 
 This, however, has not been entirely neglected. Where there 
 
 time that y should be pronounced like v. On the contrary, Scaliger says, that 
 where we find a v before these letters, as avxt^a, it is an error of the copyists, 
 who imagined they belter expressed the pronunciation by this letter; which, as 
 Vossius observes, should seem to demand something particular and uncommon. 
 
 It is reported of Scaliger, that when he was accosted by a Scotchman in Latin, 
 he begged his pardon for not understanding him, as he had never learned the 
 Scotch language. If this was the case with the pronunciation of a Scotchman, 
 which is so near that of the Continent, what would he have said to the Latin 
 pronunciation of an Englishman ? I take it, however, that this diversity is 
 greatly exaggerated. 
 
 * This, however, was contrary to the general practice of the Romans : for 
 Victorinus in his Grammar says, Graca nomina, si iisdem literis proferuntur, 
 (Latine versa) Grcecos accentus habebunt : nam cum diciinus Thyas, Nais, acutiim 
 habebit posterior accentum; et cum Themistio, Calypso, Theano, ultimam ciiv 
 cumflecti videbimus, quod utrumque Latinus sermo non patitur, nisi admodum 
 raro. " If Greek nouns turned into Latin are pronounced with the same letters, 
 " they have the Greek accent: for when we say Thyas, Nais, the latter syllable 
 " has the acute accent ; and when we pronounce Themistio, Calypso, Theano, 
 " we see the last syllable is circnmflexed ; neither of which is ever seen in Latin 
 " words, or very rarely." Servius. Forstcr. Reply, page 31, Notes 32, bott, 
 
 b 
 
xviii INTRODUCTION. 
 
 has been any considerable diversity of accentuation among our 
 prosodists, I nave consulted the best authorities, and have some- 
 times ventured to decide : though, as Labbe says, " Sed his de 
 " rebus, ut aliis multis, malo doctiorum judicium expectare, 
 " quam meam in medium proferre sententiam." 
 
 But the most important object of the present work is settling 
 the English quantity, (see Rules 20, 21, 22) with which we 
 pronounce Greek and Latin proper names, and the sounds of 
 some of the consonants. These are points in a state of great un- 
 certainty ; and are to be settled, not so much by a deep know- 
 ledge of the dead languages, as by a thorough acquaintance with 
 the analogies and general usage of our own tongue. These must, 
 in the nature of things, enter largely into the pronunciation of a 
 dead language ; and it is from an attention to these that the 
 Author hopes he has given to the Public a work not entirely 
 unworthy of their acceptance. 
 
RULES 
 
 FOR 
 
 PRONOUNCING THE VOWELS 
 
 OF 
 
 GREEK AMD LATIN PROPER NAMES. 
 
 1. lli VERY vowel with the accent on it at the end of a syllable 
 is pronounced as in English, with its first long open sound ; 
 thus Co! to*, Philome 1 la, Ori' on, Pho' don, Lu' cifer, &c. have 
 the accented vowels sounded exactly as in the English words 
 pa! per, me' tre, spi' der, no' ble, tu' tor, &c. 
 
 2. Every accented vowel not ending a syllable, but followed 
 by a consonant, has the short sound as in the English : thus 
 Man'lius, Pen'theus, Pin' darus, Col' chis, Cur' tius, &c. have 
 the short sound of the accented vowels, as in man' ner, plen' ty, 
 prin' ter, col' lar, Cur' few, &c. 
 
 3. Every final i, though unaccented, has the long open 
 sound : thus the final i forming the genitive case, as in Ma- 
 gis' tri, or the plural number, as in De' cii, has the long open 
 sound, as in vi f al ; and this sound we give to this vowel in this 
 situation, because the Latin i final in genitives, plurals, and pre- 
 terperfect tenses of verbs, is always long; and consequently 
 
 * This pronunciation of Cato, Plato, Cleopatra, &c. has been but lately 
 adopted. Quin, and all the old dramatic school, used to pronounce the a in 
 these and similar words like the a in father. Mr. Garriok, with great good 
 sense, as well as good taste, brought in the present pronunciation, and the pro- 
 priety of it lias made it now universal. 
 
 b<2 
 
XX RULES FOB PRONOUNCING 
 
 where the accented i is followed by i final, both are pronounced 
 with the long diphthongal /', like the noun eye, as Achi' 'vi*. 
 
 4. Every unaccented i ending a syllable not final, as that in 
 the second of Alcibiades, the Hernici, &c. is pronounced like e, 
 as if written Alcebiades, the Herneci, &c. So the last syllable 
 but one of the Fabii, the Horatii, the Curiatii, &c. is pro- 
 nounced as if written Fa-be-i, Ho-ra-she-i, Cu-re-a-she-i; and 
 therefore if the unaccented i and the diphthong & conclude a 
 wordy they are both pronounced like e, as Harpyi<Z t Har- 
 
 tsf*** 
 
 5. The diphthongs & and a , ending a syllable with the ac- 
 cent on it, are pronounced exactly like the long English e t as 
 Casar, (Eta, &c. as if written Cee' sar, E' ' ta, &c. ; and like the 
 short e, when followed by a consonant in the same syllable, as 
 
 , (Edipus, &c. pronounced as if written Deddalus, 
 j &c. The vowels ei are generally pronounced like long 
 if. For the vowels eu in final syllables, see the word Idome- 
 neus: and for the ou in the same syllables, see the word An- 
 tinous, and similar words, in the Terminational Vocabulary. 
 
 6. Y is exactly under the same predicament as i. It is long 
 when ending an accented syllable, as Cy' rus ; or when ending an 
 unaccented syllable if final, as JE 1 ' gy, M' py, &c. : short when 
 joined to a consonant in the same syllable, as Lye' idas ; and 
 sometimes long and sometimes short, when ending an initial syl- 
 
 * This is the true analogical pronunciation of this letter when ending an ac- 
 cented syllable ; but a most disgraceful affectation of foreign pronunciation has 
 exchanged this full diphthongal sound for the meagre, squeezed sound of the 
 French and Italian i, not only in almost every word derived from those languages, 
 but in many which are purely Latin, as Faustina, Messalina, &c. Nay, words 
 from the Saxon have been equally perverted, and we hear the i in Elfrida, Ed- 
 wina, &c. turned into Elfreeda, Edioecna, Sac. It is true this is the sound the 
 Romans gave to their i ; but the speakers here alluded to are perfectly innocent 
 of this, and do not pronounce it in this manner for its antiquity, but its novelty. 
 
 t See Elegeia Hygeia, &c. in the Terminational Vocabulary of Greek and 
 Latin Proper Names. 
 
GREEK AND LATIN PROPER NAMES. XXI 
 
 lable not under the accent, as Ly-cur' gus, pronounced with the 
 tirst syllable like lie, a falsehood ; and Lysimachus, with the first 
 syllable like the first of legion; or nearly as if divided into Lys- 
 Ma-chus,&c. See Principles of English Pronunciation pre- 
 fixed to ihe Critical Pronouncing Dictionary, No. 117, 118, &c. 
 and 185, 186, 187. 
 
 7. A y ending an unaccented syllable, has the same obscure 
 sound as in the same situation in English words ; but it is a 
 sound bordering on the Italian a, or the a infa-ther, as Dia' na, 
 where the difference between the accented and unaccented a 
 is palpable. See Principles of English Pronunciation pre- 
 fixed to the Critical Pronouncing Dictionary, No. 92, and the 
 letter A. 
 
 8. .E final, either with or without the preceding consonant, 
 always forms a distinct syllable, as Penelope, Hyppocrene, Evoe, 
 Amphitrite, &c. When any Greek or Latin word is anglicised 
 into this termination, by cutting off a syllable of the original, it 
 becomes then an English word, and is pronounced according 
 to our own analogy : thus Acidalius altered to Acidale, has the 
 final e sunk, and is a word of three syllables only : Proserpine, 
 from Proserpina, undergoes the same alteration. Thebes, and 
 Athens, derived from the Greek 0^1? and A0j^, and the Latin 
 Theb& and Athena, are perfectly anglicised; the former into a 
 monosyllable, and the latter into a dissyllable: and the Greek 
 KJTJ and the Latin Greta have both sunk into the English 
 monosyllable Crete : Hecate likewise pronounced in three sylla- 
 bles when Latin, and in the same number in the Greek word 
 Exar*j, in English is universally contracted into two, by sinking 
 the final e., Shakspeare seems to have begun as he has now 
 confirmed this pronunciation by so adapting the word in Mac- 
 beth: 
 
 " Why how now, Hecat'? you look angerly." Act IV* 
 Perhaps this was no more than a poetical licence to him : bat 
 the actors have adopted it in the songs in this tragedy : 
 " He-cat c, He-cate, come away" 
 
RULES FOR PRONOUNCING 
 
 And the play-going world, who form no small portion of what 
 is called the better sort of people, have followed the actors in this 
 word: and the rest of the world have followed them. 
 
 The Roman magistrate, named Mdilis, is anglicised by pro- 
 nouncing it in two syllables, M'dile. The capital of Sicily, Sy- 
 racuse, of four syllables, is made three in the English Syr' a- 
 cuse; and the city of Tyrus, of two syllables, is reduced to a 
 monosyllable in the English Tyre. 
 
 Rules for pronouncing the Consonants of Greek and Latin 
 Proper Names. 
 
 9. C and G are hard before a, o, and u, as Cato, Comus, Cures, 
 Galba, Gorgon, &c. and soft before e, i, and y, as Cebes, 
 Scipio, Scylla, Cinna, Geryon, Geta, Gillus, Gyges, Gymnoso- 
 phista, &c.* 
 
 10. T, S, and C, before ia, ie, ii, io, iu, and eu, preceded by 
 the accent, in Latin words, as in English, change into sh and zh, 
 as Tatian, Statius, Portius, Portia, Sodas, Caduceus, Accius, 
 Helvetii, M&sia, Hesiod, &c. pronounced Tashian, Stasheus, 
 Porsheus, Porshea, Sosheas, Cadusheus, Aksheus, Helveshei, 
 Mezhea, Hezheod, &c. See Principles of English Pronuncia- 
 tion prefixed to the Pronouncing Dictionary, No. 357, 450, 45 1 , 
 
 * That this general rule should be violated by smatterers in the learned lan- 
 guages in such words as Gymnastic, Heterogeneous, &c., it is not to be wondered 
 at ; but that men of real learning, who do not want to show themselves off to 
 the vulgar by such innuendoes of their erudition, should give in to this irregula- 
 rity, is really surprising. We laugh at the pedantry of the age of James the 
 First, where there is scarcely a page in any English book that is not sprinkled 
 with twenty Greek and Latin quotations ; and yet do not see the similar pe- 
 dantry of interlarding our pronunciation with Greek and Latin sounds; which 
 may be affirmed to be a greater perversion of our language than the former. 
 In the one case, the introduction of Greek and Latin quotations does not inter- 
 fere with the English phraseology ; but in the other the pronunciation is dis- 
 turbed, and a motley jargon of sounds introduced, as inconsistent with true 
 taste as it is with neatness and uniformity. 
 
GREEK AND LATIN PROPER NAMES. XXlli 
 
 459,463. But when the accent is on the first of the diphthongal 
 vowels, the preceding consonant does not go into sh, but preserves 
 its sound pure, as Miltiades, Antiates, &c. See the word Sa- 
 tiety in the Crit. Pron. Diet. 
 
 11. T, and S, in proper names, ending in tia, sia, cyon, and 
 sion, preceded by the accent, change the t and s into sh and zh. 
 Thus Phocion, Sicyon, and Cercyon, are pronounced exactly in 
 our own analogy, as if written Phoshean, Sishean, and Sershean: 
 Artemisia and Aspasia sound as if written Artemizhea, and As- 
 pazhea : Galatia, Aratia, Alutia, and Batia, as if written Ga- 
 lashea, Arasheaj Aloshea, and Bashea : and if Atia, the town 
 in Campania, is not so pronounced, it is to distinguish it from 
 Asia, the eastern region of the world. But the termination tion 
 (of which there are not even twenty examples in proper names 
 throughout the whole Greek and Latin languages) seems to pre- 
 serve the t from going into sh, as the last remnant of a learned 
 pronunciation ; and to avoid, as much as possible, assimilating 
 with so vulgar an English termination : thus, though AZsion, 
 Jasion, Dionysion, change the s into z, as if written Mzion, Ja- 
 zion, Dionizion, the z does not become zh : but Philislion, Gra- 
 tion, Eurytion, Dotion, Androtion, Hippotion, Iphition, Orny- 
 tion, Metion, Polytion, Stration, Sotion, JEantion, Pallantion, 
 Mtion, Hippocration, and Amphyction, preserve the t in its true 
 sound : Hephastion, however, from the frequency of appearing 
 with Alexander, has deserted the small class of his Greek com- 
 panions, and joined the English multitude, by rhyming with 
 question ; and Tatian and Theodotion seem perfectly anglicised. 
 With very, very few exceptions, therefore, it may be concluded, 
 that Greek and Latin proper names are pronounced alike, 
 and that both of them follow the analogy of English pronun- 
 ciation. 
 
 12. Ch. These letters before a vowel are always pronounced 
 like k, as Chabrias, Colchis, &c ; but when they come before 
 a mute consonant at the beginning of a word, as in Chthonia, 
 they are mute, and the word is pronounced as if written Thonia. 
 Words beginning with Sche, as Schedius, Scheria, &c. are pro- 
 
XXIV RULES FOR PRONOUNCING 
 
 nounced as if written Skedius, Skeria, &c. ; and c before n in 
 the Latin praenomen Cneus, or Cn&us is mute ; so in Cnopus, 
 Cnosus, &c. and before t in Cteatus, and g before n in Gnidus 
 pronounced Nopus, Nosus, Teatus, and Nidus. 
 
 13. At the beginning of Greek words we frequently find the 
 uncombinable consonants MN, TM, &c. ; as Mnemosyne, Mne- 
 aidamus, Mneus, Mnesteus, Tmolus, &c. These are to be pro- 
 nounced with the first consonant mute, as if written Nemosyne, 
 Nesidamus, Neus, Nesteus, Molus, &c. in the same manner as 
 we pronounce the words Bdellium, Pneumatic, Gnomon, Mne- 
 monics, &c. without the initial consonant. The same may be ob- 
 served of the C hard like K, when it comes before T; as Ctesi- 
 phon, Ctesippus, &c. Some of these words we see sometimes 
 written with an e or i after the first consonant, as Menestius, Ti- 
 molus, &c., and then the initial consonant is pronounced. 
 
 14. Phj followed by a consonant, is mute, as Phthia, Phthio- 
 tis, pronounced Thia, Thiotis, in the same manner as the natu- 
 ralized Greek word Phthisick, pronounced Tisick. 
 
 15. Ps: p is mute also in this combination, as in Psyche, 
 Psammetichus, &c. pronounced Syke, Sammeticus, &c. 
 
 16. Pt, p is mute in words beginning with these letters when 
 followed by a vowel, as Ptolemy, Pterilas, &c. pronounced 
 Tolemy, Terilas, &c. ; but when followed by /, the t is heard, 
 as in Tlepolemus : for though we have no words of our own 
 with these initial consonants, we have many words that end with 
 them, and they are certainly pronounced. The same may be ob- 
 served of the % in Zmilaces. 
 
 17- The letters S, X, and Z, require but little observation, 
 being generally pronounced as in pure English words. It may, 
 however, be remarked, that 5, at the end of words, preceded by 
 any of the vowels but e, has its pure hissing sound ; as mas, 
 dis, as, mus, &c. but when e precedes, it goes into the sound 
 of 2 ; as pes, Thersites, vates, &c. It may also be observed, 
 that when it ends a word preceded by r or n it has the sound 
 of z. Thus the letter s in metis, Mars, mors, &c. has the 
 same sound as in the English words hens, stars, wars, &c. X 
 
GREEK AND LATIN PROPER NAMES. XXV 
 
 when beginning a word or syllable, is pronounced like z ; as 
 Xerxes, Xenophon, &c. are pronounced gerkzes, Zenophon, &c. 
 Z is uniformly pronounced as in English words: thus the z 
 in Zeno and Zeugma is pronounced as we hear it in zeal, zone, 
 &c. 
 
 Rules for ascertaining the English Quantity of Greek and 
 Latin Proper Names. 
 
 18. It may at first be observed, that in words of two sylla- 
 bles, with but one consonant in the middle, whatever be the 
 quantity of the vowel in the first syllable in Greek or Latin, we 
 always make it long in English : thus Crates the philosopher, 
 and crates a hurdle ; decus honour, and dedo to give ; ovo to 
 triumph, and ovum an egg ; Numa the legislator, and Numen 
 the divinity, have the first vowel always sounded equally long by 
 an English speaker, although in Latin the first vowel in the first 
 word of each of these pairs is short*. 
 
 19- On the contrary, words of three syllables, with the ac- 
 cent OH the first and with but one consonant after the first sylla- 
 ble, have that syllable pronounced short, let the Greek or Latin 
 quantity be what it will ; thus regulus and remora, mimicus and 
 minium, are heard with the first vowel short in English pronuncia- 
 tion, though the first word of each pair has its first syllable long 
 in Latin : and the u in fumigo and fugito is pronounced long in 
 both words, though in Latin the last u is short. This rule is 
 never broken but when the first syllable is followed by e or i fol- 
 lowed by another vowel : in this case the vowel in the first sylla- 
 ble is long, except that vowel be i : thus lamia, genius, Libya, 
 doceo, cupio, have the accent on the first syllable, and this syllable 
 is pronounced long in every word but Libya, though in the origi- 
 nal it is equally short in all. 
 
 20. It must have frequently occurred to those who instruct 
 youth, that though the quantity of the accented syllable of long 
 proper names has been easily conveyed, yet that the quantity of 
 
 * The only word occurring to me at present, where this rule is not observed, 
 is Canon, a Rule, which is always pronounced like the word Cannon, a piece of 
 ordnance. 
 
XXvi RULES FOR PRONOUNCING 
 
 the preceding unaccented syllables has occasioned some em- 
 barrassment. An appeal to the laws of our own language would 
 soon have removed the perplexity, and enabled us to pronounce 
 the initial unaccented syllables with as much decision as the 
 others. Thus every accented antepenultimate vowel but u, even 
 when followed by one consonant only is, in our pronunciation of 
 Latin, as well as in English, short : thus fabula, separo, diligo, 
 nobilis, cucumis, have the first vowels pronounced as in the Eng- 
 lish words, capital, celebrate, simony, solitude, luculent, in direct 
 opposition to the Latin quantity, which makes every antepenul- 
 timate vowel in all these words but the last long ; and this we 
 pronounce long, though short in Latin. But if a semi-consonant 
 diphthong succeed, then every such vowel is long but i in our 
 pronunciation of both languages ; and Euganeus, Eugenia, Jilius, 
 folium, dubia, have the vowel in the antepenultimate syllable 
 pronounced exactly as in the English words satiate, menial, deli" 
 nous, notorious, penurious; though they are all short in Latin 
 but the f, which we pronounce short, though in the Latin it is 
 long. 
 
 21. The same rule of quantity takes place in those syllables 
 which have the secondary accent : for as we pronounce lamenta- 
 tion, demonstration, diminution, domination, lucubration, with 
 every vowel in the first syllable short but u, so we pronounce 
 the same vowels in the same manner in lamentatio, demonstratio, 
 diminutio, dominatio, and lucubratio : but if a semi-consonant 
 diphthong succeed the secondary accent, as in Ariovistus, Heli- 
 odorus, Gabinianus, Herodianus, and Folusianus, every vowel 
 preceding the diphthong is long but i; just as we should pro- 
 nounce these words in the English words amiability, mediatorial, 
 propitiation, excoriation, centuriator, &c. For the nature of 
 the secondary accent, see Principles prefixed to the Critical Pro- 
 nouncing Dictionary, No. 544. 
 
 22. But to reduce these rules into a smaller compass, that 
 they may be more easily comprehended and remembered, it 
 may be observed, that as we always shorten every antepenulti- 
 mate vowel with the primary accent but u, unless followed by 
 
GREEK AND LATIN PROPER NAMES. XXV11 
 
 a semi-consonant diphthong, though this antepenultimate vowel 
 is often long in Greek and Latin, as JEschylus, Mschines, &c. 
 and the antepenultimate i, even though it be followed by such a 
 diphthong : as Eleu&inia, Ocrysia, &c. so we shorten the first 
 syllable of JEsculapiw, JEnobarbus, &c. because the first syl- 
 lable of both these words has the secondary accent : but we pro- 
 nounce the same vowels long in Ethiopia, Mgialeus, Halt- 
 artus, &c. because this accent is followed by a semi-consonant 
 diphthong. 
 
 23. This rule sometimes holds good where a mute and liquid 
 intervene, and determines the first syllable of Adrian, Adriatic, 
 &c. to be long like ay, and not short like add: and it is on this 
 analogical division of the words, so little understood or attended 
 to, that a perfect and a consistent pronunciation of them de- 
 pends. It is this analogy that determines the first u to be long 
 in stupidus, and the y short in clypea, though both are short in 
 the Latin ; and the o in the first syllable of Coriolanus, which is 
 short in Latin, to be long in English. 
 
 24. The necessity of attending to the quantity of the vowel in 
 the accented syllable has sometimes produced a division of 
 words in the following vocabulary, that does not seem to convey 
 the actual pronunciation. Thus the words Sulpitius, Anicium, 
 Artemisium, &c. being divided into Sulpit' i-us, A-nicf i-um, 
 Ar-te-mis f i-um, &c. we fancy the syllable after the accent de- 
 prived of a consonant closely united with it in sound, and 
 which, from such a union, derives an aspirated sound, equiva- 
 lent to sh. But as the sound of t, c, or s, in this situation, is so 
 generally understood, it was thought more eligible to divide the 
 words in this manner, than into Sul-pi' ti-us, A-ni' ci-um, Ar-te- 
 mi' si-urn, as in the latter mode the i wants its shortening con- 
 sonant, and might, by some speakers, be pronounced, as it ge- 
 nerally is in Scotland, like ee. The same may be observed of c 
 and g when they end a syllable, and are followed by e or i, as in 
 Ac-e-ra' tus, Ac-i-da' li-a, Tig-el-li 1 nus, Teg'y-ra, &c. where 
 the c and g ending a syllable, we at first sight think them to 
 have their hard sound ; but, by observing the succeeding vowel 
 
XXviii RULES FOR PRONOUNCING 
 
 we soon perceive them to be soft, and only made to end a syl- 
 lable in order to determine the shortness of the vowel which pre- 
 cedes. 
 
 25. The general rule therefore of quantity indicated by the 
 syllabication adopted in the vocabulary is, that when a conso- 
 nant ends a syllable, the vowel is always short, whether the accent 
 be on it or not ; and that when a vowel ends a syllable with the 
 accent on it, it is always long : that the vowel u, when it ends 
 a syllable is long whether the accent be on it or not, and that 
 the vowel i (S) (4) when it ends a syllable without the accent, is 
 pronounced like e ; but if the syllable be final, it has its long 
 open sound as if the accent were on it : and the same may be 
 observed of the letter y. 
 
 Rules for placing the accent of Greek and Latin Proper 
 
 Names. 
 
 26. Words of two syllables, either Greek or Latin, whatever 
 be the quantity in the original, have, in English pronunciation, 
 the accent on the first syllable : and if a single consonant come 
 between two vowels, the consonant goes to the last syllable, 
 and the vowel in the first is long; as Cato, Ceres, Comus, 
 &c. See Principles of English Pronunciation prefixed to the 
 Critical Pronouncing Dictionary, No. 503, and the word 
 Drama. 
 
 27. Polysyllables, adopted whole from the Greek or Latin 
 into English, have generally the accent of the Latin : that is, 
 if the penultimate be long, the accent is on it, as Severus, 
 Democedes, &c. ; if short, the accent is on the antepenultimate, 
 as Demosthenes, Aristophanes, Posthumus, &c. See Intro- 
 duction. 
 
 28. When Greek or Latin Proper Names are anglicised, 
 either by an alteration of the letters, or by cutting off the latter 
 syllables, the accent of the original, as in appellatives under 
 the same predicament, is transferred nearer to the beginning 
 of the word. Thus Proserpina has the accent on the second 
 
GREEK AND LATIN PROPER NAMES. XXIX 
 
 syllable ; but when altered to Proserpine, it transfers the accent 
 to the first. The same may be observed of Homerus, Virgi- 
 lius, Horatius, &c. when anglicised to Homer, Firgil, Horace, 
 &c. See the word Academy, in the Critical Pronouncing Dic- 
 tionary. 
 
 29. As it is not very easy, therefore, so it is not necessary to 
 decide where Doctors disagree. When reasons lie deep in 
 Greek and Latin etymology, the current pronunciation will be 
 followed, let the learned do all they can to hinder it : thus, after 
 Hyperion has been accented by our best poets according to 
 our own analogy with the accent on the antepenultimate, as 
 Shakspeare : 
 
 Hyperion's curls, the front of Jove himself." Hamlet. 
 
 il that was to this 
 
 " Hyperion to a Satyr." Ibid. 
 
 " next day after dawn, 
 
 4 * Doth rise and help Hyperion to his horse. Henry Vth. 
 
 So Cooke, in his translation of Hesiod's Theogony, follows the 
 accentuation of Shakspeare : 
 
 Hyperion and Japhet, brothers, join ; "\ 
 
 Thett and Rhea of this ancient line \ 
 
 Descend ; and Themis boasts the source divine. 1 
 
 The fruits of Thia and Hyperion rise, 
 And with refulgent lustre light the skies. 
 
 After this established pronunciation, I say, how hopeless, as 
 well as useless, would it be to attempt the penultimate accentu- 
 ation, which yet ought undoubtedly to be preserved in reading 
 or speaking Greek or Latin compositions; but, in reading or 
 speaking English, must be left to those who would rather appear 
 learned than judicious. But Acrion, Arion, Amphion, Echion, 
 Orion, Ixion, Pandion, Asion, Alphion, Mrion, Ophion, Me- 
 thion, Axiori) Eion, Thlexion, and Sandion, preserve their penul- 
 timate accent invariably: while Ethalion, a word of the same form 
 and origin, is pronounced with the accent on the antepenultimate, 
 
XXX RULES FOR PRONOUNCING 
 
 like Deucalion and Pygmalion : and this, if I mistake not, is the 
 common pronunciation of a ship in the British navy, so called 
 from the name of the Argonaut, who accompanied Jason in his 
 expedition to Colchis to fetch the golden fleece. 
 
 30. The same difficulty of deciding between common usage 
 and classical propriety appears in words ending in ia ; as 
 Alexandria, Antiochia 9 Selemia, Samaria, Iphigenia, and several 
 others which were pronounced by our ancestors, as appears from 
 their poetry, according to our own analogy, with the accent on 
 the antepenultimate syllable; and there is no doubt but every 
 word of this form would have fallen into the same accentuation, 
 if classical criticism had not stepped in and prevented it. A phi- 
 losophical grammarian would be apt to think we are not much 
 obliged to scholars for this interruption of the vernacular cur- 
 rent of pronunciation : but as there is so plausible a plea as that 
 of reducing words to their original languages, and as a know- 
 ledge of these languages will always be an honourable distinction 
 among men, it is strongly to be suspected that these words will 
 not long continue in their plain homespun English dress. This 
 critical correction, however, seems to have come too late for 
 some words, which, as Pope expresses it, have " slid into verse," 
 and taken possession of our ears ; and therefore, perhaps, the 
 best way of disposing of them will be to consider them as the an- 
 cients did the quantity of certain doubtful syllables, and to pro- 
 nounce them either way. Some, however, seem always to have 
 preserved the accent of their original language, as Thalia and 
 Sophia : but Iphigenia, AntiQchia, Seleucia t and Samaria, have 
 generally yielded to the English antepenultimate accent ; and 
 Erythia, Deidamia, Laodamia f Hippodamia, Apamia, Ilithyia, 
 and Orythia, from their seldom appearing in mere English 
 composition, have not often been drawn aside into plain English 
 pronunciation. The same may be observed of words ending 
 in nicus or nice: if they are compounded of the Greek nun, 
 the penultimate syllable is always long, and must have the ac- 
 cent, as Stratonicus, Berenice) &c. ; if this termination be what 
 
GREEK AND LATIN PROPER NAMES, XXXI 
 
 is called a gentile, signifying a man by his country, the penulti- 
 mate is short, and the accent is on the antepenultimate ; as Mace- 
 donicus, Sardonicus, Britannicus, &c. See ANDRONICUS. 
 
 31. Thus we see many of these proper names are of dubious 
 accentuation : and the authorities which may be produced on 
 both sides sufficiently show us the inutility of criticising beyond 
 a certain point. It is in these as in many English words : 
 there are some which, if mispronounced, immediately show a 
 want of education ; and there are others which, though not 
 pronounced in the most erudite manner, stamp no imputation 
 of ignorance or illiteracy. To have a general knowledge, there- 
 fore of the pronunciation of these words, seems absolutely ne- 
 cessary for those who would appear respectable in the more re- 
 spectable part of society. Perhaps no people on earth are so 
 correct in their accentuation of proper names as the learned 
 among the English. The Port-Royal Grammar informs us, 
 that, " notwithstanding all the rules that can be given, we are 
 " often under the necessity of submitting to custom, and of 
 " accommodating our pronunciation to what is received among 
 " the learned according to the country we are in." " So we 
 " pronounce," says the grammarian, " Aristo' bulus, Basi' lius, 
 " Ido' Hum, with the accent on the antepenultimate, though the 
 " penultimate is long, because it is the custom : and, on the 
 " contrary, we pronounce Andre? as, ide' a, Mari' a, &c. with the 
 " accent on the penultimate, though it is short, because it is the 
 " custom of the most learned. The Italians," continues he, " place 
 " the accent on the penultimate of antonomasi' a, harmoni' a, 
 " philosopM a, theologi' a, and similar words, according to the 
 " Greek accent, because, as Ricciolus observes, it is the custom 
 " of their country. Alvarez and Gretser think we ought always 
 " to pronounce them in this manner, though the custom, not only 
 " of Germany and Spain, but of all France, is against it : but 
 " Nebrissensis authorizes this last pronunciation, and says, that it 
 " is better to place the accent of these vowels on the antepenulti- 
 " mate syllable ; which shows," concludes the grammarian, 
 " that when we once depart from the ancient rules, we have but 
 
RULES FOR PROM OUN CING, &C. 
 
 ft little certainty in practice, which is so different in different 
 
 countries." 
 
 But however uncertain and desultory the accentuation of many 
 words may be, it is a great satisfaction to a speaker to know that 
 they are so. There is a wide difference between pronouncing 
 words of this kind ignorantly and knowingly. A person who 
 knows that scholars themselves differ in the pronunciation of these 
 words, can always pronounce with security: but one who is unac- 
 quainted with the state of the accent, is not sure that he is right 
 when he really is so, and always pronounces at his peril. 
 
 * # * It is hoped the candid peruser of this work will make 
 allowances for an occasional error in dividing a syllable, or 
 placing an accent, when he reflects on the difficulty with which 
 such a work must necessarily be attended. The Author flatten 
 himself, however, that such attention has been paid both to the 
 compilation and the proofs, that the fewest errors imaginable 
 have escaped him. 
 
PRONUNCIATION 
 
 OF 
 
 GREEK and LATIN PROPER JVAMES. 
 INITIAL VOCABULARY. 
 
 *** When a word is succeeded by a word printed in Italics, the latter word 
 is merely to spell the former as it ought to be pronounced. Thus Abansheas is 
 the true pronunciation of the>preceding word Abantias ; and so of the rest. 
 
 *** The Figures annexed to the words refer to the rules prefixed to the 
 Work. Thus the figure (3) after Achcei refers to Rule the 3d, for the pronun- 
 ciation of the final i; and the figure (4) after Abii refers to Rule the 4th, for 
 the pronunciation of the unaccented i, not final; and so of the rest. 
 
 *** When the letters Eng. are put after a word, it is to shew that this word 
 is the preceding word Anglicised. Thus Lu'can, Eng. is the Latin word Lucn- 
 nuSy changed into the English Lucun, 
 
 AB AB AB 
 
 A' BA and A' BJE 
 
 A- ban' she- as 
 
 A'bas(l) 
 
 Ab'a-a 
 
 Ab-an-ti'a-des(l) 
 
 A-ba'sa(l)(7) 
 
 Ab' a-ba 
 
 A-ban' ti-das (4) 
 
 Ab-a-si'tis (7) (1) 
 
 Ab-a-ce'ne (8) 
 
 A- ban' tis 
 
 Ab-aa-se'na(l) (7) 
 
 Ab' a-ga 
 
 Ab-ar-ba' re-a (7) 
 
 Ab-as-se' ni 
 
 Ab'a-lus(20) 
 
 Ab' a-ri (3) 
 
 A-bas'sus (7) 
 
 fA-ba' na (7) 
 
 A-bar' i-mon (4) 
 
 Ab'a-tos (7) 
 
 A-ban' tes 
 
 Ab'a-ris(7) 
 
 Ab-da-lon'i-mus (4) 
 
 A-ban'ti-as (10) 
 
 A-ba'rus(l) 
 
 Ab-de'ra(l)(7) 
 
 * Every a ending a syllable, with the accent upon it, is pronounced like the 
 a in the English words fa-vour, ta-per t &c. See Rule the 1st, prefixed to this 
 Vocabulary. 
 
 f Every unaccented , whether initial, medial, or final, ending a syllable, has 
 an obscure sound, bordering on the a in father. See Rule the 7th, prefixed to 
 this Vocabulary, 
 
 B 
 
AB 
 
 AC 
 
 AC 
 
 Ab-de' ri-a(l) (4)(7) Ab-u-li' tes (1) ' Ac' e-la (24) 
 
 Ab-de-ri'tes (1) j Ab-y-de'ni (6) Ac-e-ra' tus (27) 
 
 Ab-de' rus (1) Ab-y-de'nus (6) 
 
 A-cer' bas 
 
 A-be' a-taa (7) ( 1) (5) A-by' di (6) 
 
 Ac-e-ri'na (1) 
 
 A-bel'la(7) A-by'dos(6) 
 
 A-cer' rae (4) 
 
 Ab-el-li' nus 
 
 A-b>'dus 
 
 Ac-er-sec' o-mes 
 
 A'bi-a (1) (4) (7) 
 
 Ab'y-la(6) 
 
 A'ces(7) 
 
 A-ben'da (7) 
 
 Ab'y-lon (6) 
 
 A-ce'si-a (10) 
 
 Ab'ga-rus 
 
 Ab-ys-si'ni (1) 
 
 Ac-e-si' nes ( I ) 
 
 A' !;i-i (4) 
 
 Ab-ys-sin'i-a (6) 
 
 Ac-e-si' nus (1) 
 
 Ab'i-la(4)(7) 
 
 Ac-a-cal' lis (7) 
 
 A-ce' si-us (10) 
 
 A-bis'a-res (7) 
 
 Ac-a-ce' si-um ( 10) 
 
 A-ces' ta (7) 
 
 A-bis'a-ris(7) 
 
 Ak-a-se' zhe-um 
 
 A-ces' tes 
 
 Ab-i-son'tes (4) 
 
 A-ca'ci-us (10) 
 
 A-ces' ti-um (10X 
 
 Ab-le'tes (1) 
 
 A-ka f she-us 
 
 A-ces-to-do' rus 
 
 A-bob' ri-ca (4) 
 
 Ac-a-de' mi-a (7) 
 
 A-ces-tor' i-des 
 
 A -bo' bus 
 
 Ac-a-de' mus 
 
 A-ce' tes 
 
 A-boec'ri-tus (5) 
 
 Ac-a-lan' drus 
 
 *Ach-a-b/tos (12) 
 
 Ab-o-la'ni(3) 
 
 A-cal' le (8) 
 
 A-cha/ a (7) 
 
 A-bo'lus(7)(l) 
 
 A-ca-mar' chis (7) 
 
 A-chaj' i (3) 
 
 Ab-on-i -tei' chos (5) 
 
 Ac' a- mas (7) 
 
 A-cha/ i-um 
 
 Ab~o-ra'ca (1) (7) 
 
 A-camp'sis (7) 
 
 A^chaem' e-nes 
 
 Ab-o-rig'i-nes (4) 
 
 A-cau'tha (7) 
 
 Ach-ae-me' ni-a 
 
 A-bor'ras(7) 
 
 A -can' thus (7) 
 
 Ach-ae-men' i-des 
 
 Ab-ra-da' tas ' 
 
 Ac'a-ra (7) 
 
 A-chae' us 
 
 Ab-ra-da' tes 
 
 A-ca'ri-a (7) 
 
 A-cha'i-a(7) 
 
 A-bren' ti-us (10) 
 
 Ac-ar-na' ni-a (7) Ach' a-ra (7) 
 
 A-broc' o-mas 
 
 A-car'nas (7) Ach-a-ren' ses 
 
 Ab-rod-i-ae' tus (4) 
 
 A-cas' ta (7) i A-char' naa (4) 
 
 A-bro' ni-us (4) 
 
 A-cas'tus(7) A-cha' tes 
 
 A-bron'y-cus (6) 
 
 Ac-a-than' tus (7) | Ach-e-lo' i-des (4) 
 
 Ab'ro-ta(7) 
 
 Ac' ci-a (10) (7) Ach-e-lo' ri-um 
 
 A-brot' o-num | Akf she-a 
 
 Ach-e-lo' us 
 
 A-bryp' o-lis (6) 
 
 Ac'ci-la (7) A-cher'dus 
 
 Ab-se' us 
 
 Ac' ci-us (10) i A-cher' i-mi (3) (4) 
 
 Ab*sin' thi-i (4) 
 
 Ak' she-us \ Ach' e-ron 
 
 Ab' so-rus 
 
 Ac'cu-a (7) 
 
 Ach-e-ron' ti-a (10) 
 
 Ab-syr' tos (6) 
 
 A'ce(8) 
 
 Ach-e-ru' si-a (11) 
 
 Ab syr'tus (6) 
 
 Ac-e-di'ci (3) (24) 
 
 Ach-e-ru' si-as (11) 
 
 * Achabytos. CA, in this and all the subsequent words, have the sound of k, 
 Thus Achabytos, Achcea, Achates, 5fc. are pronounced as if written Akabytos. 
 Akaa, Akutts, &c. See Rule the 12th. 
 
AC AD TEA 3 
 
 A-che' tus 
 
 A-cra' tus 
 
 Ad' a-mas 
 
 A-chil'las 
 
 A'cri-as (4) 
 
 Ad-a-mas'tus 
 
 A-chil' le-us 
 
 Ac-ri-doph'a-gi (3) 
 
 A-das' pi-i (4) 
 
 Ach-il-le'a(7) 
 
 A-cri'on (11) 
 
 Ad'a-tha 
 
 Ach-il-lei-ei/ ses 
 
 Ac-ris-i-o'ne 
 
 Ad-de-pha' gi-a 
 
 Ach-il-le' is 
 
 Ac-ris-i-o-ne' us 
 
 Ad'du-a(7) 
 
 A-chil'les 
 
 Ac-ris-i-o-ni' a-des 
 
 A-del' phi-us 
 
 Ach-il-le'um 
 
 A-cris'e-us (10) 
 
 A-de' mon 
 
 A-chi' vi (4) 
 
 A-cri'tas (1) 
 
 A'des, or Ha' des 
 
 Ach-la-dae' us 
 
 Ac-ro-a' thon 
 
 Ad-gan-des' tri-us 
 
 Ach-o-la'i (3) 
 
 Ac-ro-ce-rau' ni-um 
 
 Acl-her' bal 
 
 Ac-ra-di'na (7) 
 
 Ac-ro-co-rin' thus 
 
 Ad-her' bas 
 
 Ach-o-lo'e 
 
 A'cron (1) 
 
 Ad-i-an'te (S) 
 
 Ach-ra-di' na 
 
 Ac-ro-pa'tos 
 
 A-di-at'o-rix 
 
 Ac-i-cho' ri-us 
 
 A-crop' o-lis 
 
 Ad-i-man' tus 
 
 Aoi-da' li-a (8) 
 
 Ac'ro-ta 
 
 Ad-me'ta (7) 
 
 Ac-i-da' sa 
 
 A-crot' a-tus 
 
 Ad-i-me' te 
 
 A-cil'i-a 
 
 Ac-ro' tho-os 
 
 Ad-me' tus 
 
 Ac-i-lig' e-na (24) Ac' ta (7) 
 
 A-do' ni-a 
 
 A-cii'i-us Ac-tae'a (7) 
 
 A-do'nis 
 
 A-cir la (7) Ac-tae' on (4) 
 
 Ad-ra-myt' ti-um 
 
 A'cis 
 
 Ac-tae'us (4) 
 
 A-dra'na (7) (1) 
 
 Ac' mon 
 
 Ac'te (8) 
 
 A-dra'num 
 
 Ac-mon'i-des (4) 
 
 Ac'ti-a(lO) 
 
 A-dras' ta 
 
 A-coe' tes 
 
 Ac' tis 
 
 A-dras' ti-a 
 
 A-co' nas (4) 
 
 Ac-tis' a-ues 
 
 A-dras' tus 
 
 A-con' tes 
 
 Ac'ti-um (10) 
 
 A' dri-a (23) 
 
 A- cor/ te-us 
 
 Ac' ti-us (10) 
 
 A-dri-a' num 
 
 A-con' ti-us (10) ! Ac' tor 
 
 A-dri-at'i-cum 
 
 A-con-to-bi/ ius Ac- tor' i-des 
 
 A-dri-an-oj/ o-lis 
 
 A-co' ris Ac-to' ris 
 
 A-dri-a' nus 
 
 A' era 
 
 A-cu' phis 
 
 A' dri-an (Eng.) 
 
 A'crae 
 
 A-cu-si-la' us 
 
 Ad-ri-me'tum 
 
 A-crse' a (7) i A-cu' ti-cus, M. 
 
 Ad-u-al' i-ci (4) 
 
 A-cra?ph'ni-a (7) ; A' da (7) 
 
 A-dyr-ma-chi'dae 
 
 Ac-ra-gal-li'dae (4) A-da/us 
 
 *^'a(7) 
 
 Ac' ra-gas (7) ' Ad-a-man-tae' a (7) 
 
 jfE-a-ce'a 
 
 * JEa. The diphthong is merely ocular, for the a has no share in the sound, 
 though it appears in the type. Indeed as we pronounce the a, there is no middle 
 sound between that letter and e, and therefore we have adopted the last vowel, 
 and relinquished the first. This, among other reasons, makes it probable that the 
 Greeks and Romans pronounced the a as we do in water, and the e as \ve hear it 
 
 U 2 
 
4 JEG JEG JEN 
 
 JE-ac'i-das 
 
 -^E-ge' le-on 
 
 JE'gus 
 
 -ZE-ac' i-des 
 
 j?E-ge' ri-a 
 
 ^E'gy (6) 
 
 fit! a-cus 
 
 ^E-ges' ta 
 
 -Eg-y-pa' nes 
 
 .ZE'ae 
 
 -/E-ge' us 
 
 JE-gyp'sus 
 
 JE-a/a 
 .ZE-an-te' um 
 
 ^E-gi' a-le 
 ^1-gi-aMe-us (22) 
 
 ^-gyp'ti-i (4) (10). 
 JE-gyp' ti-um (10) 
 
 .ZE-an'ti-des 
 
 ^E-gi-a'li-a (22) (4) 
 
 JE-gyp' tus 
 
 jiE-an' tis 
 
 ^E-gi'a-lus 
 
 IE! li-a 
 
 ^S'as 
 
 ^E-gi' des 
 
 ^E-li-a'nus 
 
 IE! a-tus 
 
 ^E-gi'la 
 
 M' li-an (Eng) 
 
 JEch-mac'o-ras 
 
 ^E-gil'i-a 
 
 #yii-us and IE! li-a 
 
 JEch'mis 
 
 -^-gim'i-us 
 
 JE-lu'rus 
 
 .ZE-dep' sum 
 
 ^Eg-i-mo'rus 
 
 ^-mil' i-a 
 
 JE-des' sa 
 
 ^-gi'na 
 
 JB)-mil-i-a'nus 
 
 ^-dic' u-la 
 
 .ZEg-i-ne' ta 
 
 ^E-mil' i-us 
 
 Jvdi' les (8) 
 
 ^Eg-i-ne'tes 
 
 .ZEm-nes'tus 
 
 JE-dip' sus 
 
 ^1-gi'o-chus 
 
 IE! mon 
 
 ^E'don 
 
 j3E-gi' pan 
 
 JEm' o-na 
 
 JE'du-i, or Hed'u-i 
 
 JE-gi'ra 
 
 .ZE-mo'ni-a 
 
 .ZE-el' lo 
 
 ^E-gir-o-es' sa 
 
 JE- mon' i-des 
 
 ^-e' ta 
 
 *^E' gis 
 
 2ES mus 
 
 jE-e'ti-as (10) 
 
 jE-gis' thus 
 
 JEt-myYi-a 
 
 JE'ga 
 
 ^E-gi' turn 
 
 ^-myl-i-a' nus 
 
 ^E-ge' as 
 
 ^'gi-um 
 
 -^E-myl'i-i (4) 
 
 jE'gae(5) 
 
 Mfk 
 
 jE-myl'i-us 
 
 .flE-gae' as 
 
 JEg'les 
 
 ^E-nu'ri-a 
 
 ^-gae' on 
 
 ^E^-le' tes 
 
 ^E-ne' a 
 
 ./E-gae' um 
 
 ^Eg'lo-ge 
 
 JE-ne' a-des 
 
 ^E-gae' us 
 
 iE-gob' o-lus 
 
 ^E-ne'a-dse 
 
 ^E-ga' le-os 
 
 JEi-goc f e-ros 
 
 ^E ne'as 
 
 JE-ga' le-um 
 
 jE'gon 
 
 JE-ne'i-a 
 
 ^E'gan 
 
 ^E'gos pot'a-mos 
 
 ^E-ne'is 
 
 ^'gas (5) 
 
 ^Eg-o-sa' gas 
 
 ^-ne x i-des (4) 
 
 ^E-ga' tes 
 
 jE-gos' the-na 
 
 ./E-nes-i-de' mus 
 
 in where and then ; the middle or mixt sound then would be like o in father, 
 which was probably the sound they gave to this diphthong. 
 
 * JEgis. This diphthong, though long in Greek and Latin, is in English pro- 
 nunciation either long or short, according to the accent or position of it. Thus, 
 if it immediately precedes the accent, as in JEgeus, or with the accent on it, be- 
 fore a single consonant, in a word of two syllables, it is long, as in JEgis; before 
 two consonants it is short, as in JEgles ; or before one only, if the accent be on 
 the antepenultimate, as ASropus. For the exceptions to this rule, see Rule 22, 
 
JES AG AG 5 
 
 &-ne' si-us (10) 
 
 -3E-se' pus 
 
 Ag-a-me' tor 
 
 JE-ne' tus 
 
 ^E-ser' ni-a 
 
 Ag-a m- nes' tor 
 
 M' ni-a 
 
 ^-si'on (11) 
 
 Ag-a-nip' pe 
 
 JE-ni' a-cus 
 
 JE'son 
 
 A-gan za-ga 
 
 ^E-ni'o-chi (12) 
 
 .S-son' i-des 
 
 Ag-a-pe' no 
 
 JEn-o-bar' bus (22) 
 
 ^E-so' pus 
 
 Ag-a-re'ni (3) 
 
 JEn' o-cles 
 
 M' sop (Eng.) 
 
 Ag-a-ris'ta 
 
 JE'nos 
 
 ^s ; tri-a 
 
 A-gas' i-cles 
 
 ^E'num 
 
 Ms' u-a 
 
 A-gas' sae 
 
 ^E-ny'ra 
 
 JE-sy' e-tes 
 
 A-gas'the-nes 
 
 JE-o'li-a 
 
 j aEs-ym-ne / tes(21) 
 
 A -gas' thus 
 
 JE-o' li-as 
 
 M-sym' nus 
 
 A-gas'tro-phus 
 
 ^-ol'i-da 
 
 ^E-thal' i-des 
 
 Ag' a-tha 
 
 JE-ol' i-des 
 
 JE-thi-o' pi-a (22) 
 
 Ag-ath-ar' chi-das 
 
 ^E'o-lis 
 
 ^Eth'li-us 
 
 Ag-ath-ar' chi-des 
 
 jE'o-lus 
 
 JB'thon 
 
 Ag-ath-ar / cus 
 
 ^i'o-ra 
 
 M' thra 
 
 A-ga' thi-as 
 
 ^E-pa'li-us 
 
 JE-thu'sa 
 
 Ag'a-tho 
 
 JE-pe'a 
 
 ^E'ti-a(lO) 
 
 A-gath-o-cle'a 
 
 ^Ep'u-lo (21) 
 
 -aS'ti-on(ll) 
 
 A-gath'o-cles 
 
 IE' py (6) 
 
 J aE'ti-us*(10) 
 
 Ag'a-thon 
 
 jflEp'y-tus (21) 
 
 JEt'na 
 
 A-gath-o-ny' mus 
 
 ,E-qua' na (7) 
 
 ^-toMi-a 
 
 Ag-a-thos' the-nes 
 
 ^'qui (3) 
 
 JE-to' lus 
 
 Ag-a-thyr 7 num 
 
 .ZE-quic' o-li 
 
 A'fer 
 
 Ag-a-thyr'si (3) 
 
 ^q-ui-me' li-um 
 
 A-fra' ni-a 
 
 A-ga' ve 
 
 I! ri-as 
 
 A-fra' ni-us 
 
 A-gau'i(3) 
 
 ^Er'o-pe 
 
 Af'ri-ca(7) 
 
 A-ga' vus 
 
 ^r' o-pus 
 
 Af-ri-ca' nus 
 
 Ag-des' tis 
 
 jSSs' a-cus 
 
 Af ri-cum 
 
 Ag-e-e' na 
 
 ^E-sa' pus 
 
 A-gag-ri-a' nae 
 
 Ag-e-las' tus 
 
 JE'sar, or ^E-sa'ras 
 
 Ag-a-las' ses 
 
 Ag-e-la' us 
 
 lEd chi-nes (22) 
 
 A-galMa(7) 
 
 A-gen' a-tha 
 
 .ZEs'chi-ron (12) 
 
 A-gam' ma-tse 
 
 Ag-en-di' cum 
 
 JEs-chy-li 7 des 
 
 Ag-a-me' des 
 
 A-ge' nor 
 
 JEs'chy-lus (21) 
 
 Ag-a-mem' non 
 
 Ag-e-nor' i-des 
 
 JEs-cu-la 7 pi-us (22) 
 
 Ag-a-mem-no' ni-us 
 
 Ag-e-ri' nus 
 
 * One of the G enerals of Valentinian the Third ; which Labbe tells us, ought 
 properly to be written Aetius; that is, without the diphthong. We may observe, 
 that as this word conies from the Greek, but is latinized, it is pronounced with 
 the t like sh, as if written JEshius; but the preceding word JEtion, being pure 
 Greek, does not confirm to this analogy. See Rule the llth and 29th. 
 
6 AG AL AL 
 
 Ag-e-san 7 der 
 
 Ag-ri-gen 7 tum 
 
 A-las 7 tor 
 
 A-ge'si-as(lO) 
 
 A-grin 7 i-um 
 
 Al 7 a-zon 
 
 Ag-es-i-la 7 us 
 
 A-gi i-o' ni-a 
 
 Al'baSyl'vi-us 
 
 Ag-e-sip 7 o-Iis 
 
 A-gri 7 o-pas 
 
 Al-ba 7 ni-a 
 
 Ag-e-sis 7 tra-ta 
 
 A-gri 7 o-pe 
 
 Al-ba 7 nus 
 
 Ag-e-sis 7 tra-tus 
 
 A-grip 7 pa 
 
 Al-bi 7 ci (3) (4) 
 
 Ag-gram' mes 
 
 Ag-rip-pi 7 na 
 
 Al-bi-e 7 ta3 (4) 
 
 Ag-gri 7 nae 
 
 A-gris 7 o-pe (8) 
 
 Al-bi' ni (3) 
 
 Ag' i-d<e 
 
 A 7 gri-us ( 1 ) 
 
 Al-bi-no-va 7 nus 
 
 Ag-i-la 7 us 
 
 Ag 7 ro-las 
 
 Al-bin-te-me 7 li-um 
 
 A'gis 
 
 A 7 gron 
 
 Al-bi 7 nus 
 
 Ag-la'i-a 
 
 A-gro 7 tas 
 
 Al 7 bi-on 
 
 Ag-lay'a 
 
 A-grot 7 e-ra 
 
 Al 7 bi-us 
 
 Ag-la-o-ni 7 ce 
 
 A-gyl'e-us (5) 
 
 Al-bu-cil 7 la 
 
 Ag-la 7 o-pe 
 
 A- g yi 7 la 
 
 Al 7 bu-la 
 
 Ag-la-o-phae' na 
 
 Ag-yl-lae 7 us 
 
 Al-bu 7 ne-a 
 
 Ag-la 7 o-phon 
 
 A-g> 7 rus 
 
 Al-bur 7 nus 
 
 Ag-la-os 7 the-nes 
 
 A-gyr 7 i-um 
 
 Al 7 bus Pa'gus 
 
 Ag-lau' ros 
 
 A-gyr 7 i-us 
 
 Al-bu 7 ti-us (10) 
 
 Ag-la 7 us 
 
 A-gyr 7 tes 
 
 Al-cae 7 us 
 
 Ag 7 na 
 
 A-ha 7 la(7) 
 
 Al-cam 7 e-nes 
 
 Ag'no 
 
 A 7 jax 
 
 Al can 7 der 
 
 Ag-nod' i-ce 
 
 A-i-do 7 ne-us (5) 
 
 Al-can 7 dre 
 
 Ag' non 
 
 A-im 7 y-lus 
 
 Al-ca 7 nor 
 
 Ag-non 7 i-des 
 
 A-i'us Lo-cu'ti-us 
 
 Al-cath 7 o-e 
 
 Ag-o-ua' li-a, and 
 
 Al-a-ban 7 da 
 
 Al-cath 7 o-us 
 
 A-go' ni-a 
 
 Al'a-bus 
 
 Al'ce 
 
 A-go 7 nes 
 
 A-la3 7 a 
 
 Al-ce 7 nor 
 
 Ag 7 o-nis 
 
 A-las'i (3) 
 
 Al-ces 7 te 
 
 A-go 7 ni-us 
 
 A-lae 7 sa 
 
 Al-ces 7 tis 
 
 Ag-o-rac 7 ri-tus 
 
 A-lae 7 us 
 
 Al 7 ce-tas 
 
 Ag-o-ran 7 o-mi (3) 
 
 Al-a-go 7 ni*a 
 
 Ai 7 chi-das(12) 
 
 Ag-o-ra 7 nis 
 
 A-la 7 la 
 
 Al-chim 7 a-cus 
 
 Ag-o-rae 7 a 
 
 Al-al-com 7 e-nae 
 
 Al-ci-bi' a-des (4) 
 
 A'gra(l) 
 
 A-la 7 li-a(7) 
 
 Al-cid 7 a-mas 
 
 A-gr* 7 i(3) 
 
 Al-a-ma 7 nes 
 
 Al-ci-da-me 7 a 
 
 Ag 7 ra-gas 
 
 Al-a-man 7 ni, or Al-ci-dam 7 i-das 
 
 A-grau 7 le 
 
 Al-e-man'ni Al-cid 7 a-mus 
 
 A-grau 7 li-a 
 
 A-la 7 ni Al-ci'das 
 
 A-grau 7 los 
 
 Al 7 a-res ;Al-ci 7 des 
 
 Ag-rau-o-ni 7 tae 
 
 Al-a-ri 7 cus Al-cid 7 i-ce 
 
 A-gri-a 7 nes 
 
 Al' a-ric (Eng.) Al-cirh 7 e-de 
 
 A-gric 7 o-la 
 
 Al-a-ro 7 di-i (3) (4) Al-cim 7 e-don 
 
AL AL AL 7 
 
 Al-cin/ e-nes 
 
 A-le' mon 
 
 Al-ex-i' nus 
 
 Al' ci-mus 
 
 Al-e-rnu' si-i (4) 
 
 A-lex'i-o 
 
 Al-cin'o-e 
 
 A' lens 
 
 A-lek'she-o 
 
 Al' ci-nor 
 
 A'le-on 
 
 Al-ex-ip'pus 
 
 *Al-cin' o-us 
 
 A-le'se 
 
 Al-ex-ir' a-es 
 
 Al-ci-o' ne-us (5) 
 
 A-le'si-a (10) 
 
 Al-ex-i i 7 ho-e 
 
 Al' ci-phron 
 
 A-le'si-um (10) 
 
 A -lex' is 
 
 Al-cip'pe 
 
 A-le'tes 
 
 A-lex' on 
 
 Al-cip'pus 
 
 A-le'thes 
 
 Al-fa-ter' na 
 
 Al'cis 
 
 A-le'thi-a 
 
 Al-fe' nus 
 
 Al-cith'o-e 
 
 A-let' i-das 
 
 Al'gi-dum 
 
 Alc-mse'on 
 
 A-le' tri-um 
 
 A-H-ac'mon 
 
 Alc-mae-on' i-day 
 
 A-le' turn 
 
 A-li-ar'tum 
 
 Ale' man 
 
 Al-eu-a' das 
 
 A-li-ar'tus 
 
 Alc-me' na 
 
 A-le' us 
 
 Al'i-cis 
 
 Al-cy' o-ne 
 
 A'lex (1) 
 
 A-li-e'nus (21) 
 
 Al-cy-o' ne-us (5) 
 
 A-lex-a-me' nus 
 
 Al'i-fffi 
 
 Al-cy' o-na 
 
 JAl-ex-an'der 
 
 Al-i-lae' i (3) (4) 
 
 Al-des'cus 
 
 Al-ex-an' dra 
 
 Al-i-mer/ tus 
 
 Al-du' a-bis 
 
 Al-ex-an-dri'a^O) 
 
 A-lin'daa 
 
 A'le-a (1)(7) 
 
 Al-ex-an'dri-des 
 
 A-lin-do'i-a 
 
 A-le'bas 
 
 Al-ex-an-dri' na 
 
 Al-i-phe' ri-a 
 
 A-le' bi-on 
 
 Al-ex-an-drop' o-lis 
 
 Al-ir-ro' thi-us 
 
 A-lec' to 
 
 Al-ex-a' nor 
 
 Al'li-a 
 
 A-lec' tor 
 
 Al-ex-ar'chus 
 
 Al-li-e'nos 
 
 A-lec' try-on 
 
 A-lex' as 
 
 Al-lob' ro-ges 
 
 A-lec' tus 
 
 A-lex' i-a 
 
 Al-lob'ry-ges 
 
 fA-le'i-us Cam' pus 
 
 Jl-hk' she-a 
 
 Al-lol' ri-ges 
 
 Al-e-man' ni 
 
 A-lex-ic' a-cus 
 
 Al-lu'ti-us (10) 
 
 * Alcinous. There are no words more frequently mispronounced by a mere 
 English scholar than those of this termination. By such a one we sometimes 
 hear Alcinous and Antinous pronounced in three syllables, as if written Al-ci-nouz, 
 and An-ti-nouz, rhyming with vows; but classical pronunciation requires that 
 these vowels should form distinct syllables. 
 
 f Aleius Campus. 
 
 Lest from this flying steed unrein'd (as once 
 Bellerophon, though from a lower clime) 
 Dismounted, on th' Aldan field I fall, 
 Erroneous there to wander, and forlorn. 
 
 MILTON'S Par. Lost, b. vii. v. 17. 
 
 i Alexander. This word is as frequently pronounced with the accent on th* 1 
 first as on the third syllable. 
 
8 AM AM 
 
 A-lo'a 
 
 Am-al-the'um 
 
 Al-o-e' us 
 
 Am' a-na 
 
 Al-o-i'dae 
 
 A-man' tes 
 
 Al-o-i' des 
 
 Am-an-ti'ni (3) 
 
 A-lo'ne 
 
 A-ma' nus 
 
 Al' o-pe 
 
 A-mar' a-cus 
 
 A-lop' e-ce 
 
 A-mar'di(3) 
 
 A-lop' e-ces 
 
 A-mar' tus 
 
 A-lo'pi-us 
 
 Am-bryl'lis 
 
 A'los 
 
 Am-ar-yn'ce-us (5) 
 
 A-lo'ti-a(lO) 
 
 Am-ar-yn'thus 
 
 Al-pe' nus 
 
 A' mas 
 
 Al'pes 
 
 A-ma'si-a (10) 
 
 Alps (Eng.) 
 
 Am-a-se' nus 
 
 Al-phe'a 
 
 A-ma' sis 
 
 Al-phe' i-a 
 
 A-mas' tris 
 
 Al-phe' nor 
 
 A-mas' trus 
 
 Al-phe' nus 
 
 A-ma' ta 
 
 Al-phe-si-boe' a (5) 
 
 Am-a-the' a 
 
 Al-phe-si-bce' us 
 
 Ani'a-thus 
 
 Al-phe' us 
 
 A-max-am-pe' us 
 
 Al' phi- us 
 
 A-max' i-a 
 
 Al-phi'on(29) 
 
 A-max' i-ta 
 
 Al-pi'nus 
 
 Am-a-ze' nes 
 
 Al'pis 
 
 A-maz'o-nes 
 
 Al' si-urn (10) 
 
 Am' a-zons (Eng.) 
 
 Al'sus 
 
 Am- a-zon'i-des 
 
 Al-thaj'a 
 
 Am-a^zo' ni-a 
 
 Al-thaem' e-nes 
 
 Am-a-zo' ni-um 
 
 Al-ti' num 
 
 Am -a-zo' ni-us 
 
 Al'tis 
 
 Am-ba/ ri (3) 
 
 A-lun'ti-um(lO) 
 
 Am' be-nus 
 
 A'lus, Al'u-us 
 
 Am-bar-va' li-a 
 
 A-ly-at' tes 
 
 Am-bi-a-li' tes 
 
 Al'y-ba(6) 
 
 Am-bi-a' num 
 
 Al-y-cai' a 
 
 Am-bi-a-ti'num 
 
 Al-y-cae' us 
 
 Am-bi-ga' tus 
 
 A-lys' sus 
 
 Am-bi' o-rix 
 
 Al-yx-oth' o-e 
 
 Am' bla-da 
 
 A-mad' o-ci (3) 
 
 Am-bra'ci-a (10) 
 
 A-mad' o-cus 
 
 Am-bra' ci-us (10) 
 
 Am' a-ge 
 
 Am' bri (3) 
 
 Am-al-thae' a | Am-bro' nes 
 
 AM 
 
 Am-bro'si-a(lO) 
 Am-bro' si-us (10) 
 Am-bry' on 
 Am-brys' sus 
 Am-bul'li(3) 
 Am' e-les 
 Am-e-na' nus 
 Am-e-ni' des 
 A-men' o-cles 
 A-me' ri-a 
 A-mes' tra-tus 
 A-mes' tris 
 A-mic' las 
 Am-ic-lae' us 
 A-mic-lae' us 
 A-mic' tas 
 A-mi'da(3) 
 A-mil'car 
 Am' i-los (4) 
 A-mim'o-ne, or 
 
 A-mytn' o-ne 
 A-min'e-a, or 
 
 Am-min'e-a 
 A-min'i-as 
 A-min'i-us 
 A-min' o-cles 
 Am-i-se' na 
 A-mis'i-as (10) 
 A-mis'sas 
 A-mi' sum 
 A-mi' sus 
 Am-i-ter' num 
 Am-i-tha'on, or 
 
 Am-y-tha' on 
 Am-ma' lo 
 Am-mi-a'nus 
 Am' mon 
 Am-mo'ni-a 
 Am-mo'ni-i (3) 
 Am-mo' ni-us 
 Am-mo' the-a 
 Am' ni-as 
 Am-ni' sus (3) 
 
AM AN AN $ 
 
 Am-oe-bae'us (5) 
 
 Am-phis' the-nes 
 
 A-na'cre-on (23) 
 
 Am-o-me' tus 
 
 Am-phis-ti' des 
 
 An-ac-to'ri-a 
 
 A'mor (1) 
 
 Am-phis' tra-tus 
 
 An-ac-to' ri-um 
 
 A -mor' ges 
 
 Am-phit'e-a 
 
 j-An-a-dy-om' e-ne 
 
 A-mor' gos 
 
 Am-phith'e-mis 
 
 A-nag' ni-a 
 
 Am'pe-lus 
 
 Am-phith'o-e 
 
 An-a-gy-ron' turn 
 
 Am-pe-lu'si-a 
 
 Am-phi-tri'te (8) 
 
 An-a-i' tis 
 
 Am-phe' a (7) 
 
 Am-phit' ry-on 
 
 An' a-phe 
 
 Am-phi-a-la' us 
 
 Am' phi-tus 
 
 An-a-phlys' tus 
 
 Am-phi'a-nax 
 
 Am-phot'e-rus 
 
 A-na' pus 
 
 Am-phi-a-ra'us 
 
 Am-phot-ry-o-ni' a- 
 
 A-nar' tes 
 
 Am-phi-ar'i-des 
 
 des 
 
 A'nas(l) 
 
 Am-phic' ra-tes 
 
 Am-phry' sus 
 
 An'cho-ra 
 
 Am-phic' ty-on (1 1) 
 
 Amp' sa-ga 
 
 A-nat' o-le 
 
 Am-phic- le' a 
 
 Am-pys'i-des 
 
 A-nau' chi-das (12) 
 
 Am-phid' a-mus 
 
 Am' pyx 
 
 A-nau' rus 
 
 Am-phi-dro' mi-a 
 
 Am-sac' tus 
 
 A'nax(l) 
 
 Am-phi-ge' ni-a, or 
 
 A-mu'li-us 
 
 An-ax-ag' o-ras 
 
 *Am-phi-ge-ni'a(29) 
 
 A-myc' la 
 
 An-ax-an' der 
 
 Am-phil' o-chus 
 
 A-myc' Ise 
 
 An-ax-an'dri-des 
 
 Am-phil' y-tus 
 
 Am'y-cus 
 
 An-ax-ar' chus (12) 
 
 Am-phim' a-chus 
 
 Am' y-don 
 
 An-ax-ar' e-te 
 
 Am-phim' e-don 
 
 Am-y-mo' ne 
 
 An-ax-e'nor 
 
 Am-phin'o-me 
 
 A-myn' tas 
 
 A-nax'i-as (10) 
 
 Am-phin'o-mus 
 
 A-myn-ti-a' nus 
 
 An-ax-ib'i-a 
 
 Am -phi' on (28) 
 
 A-myn' tor 
 
 An-ax-ic' ra-tes 
 
 Am-phip'o-les 
 
 A-my' ris 
 
 An- ax-id' a-mus 
 
 Am-phip' o-lis 
 
 A-myr'i-us 
 
 A-nax'i-las (10) 
 
 Arn-phip'y-ros 
 
 Am'y-rus 
 
 A-nax-i-la' us 
 
 Am-phi-re' tus 
 
 A-mys'tis 
 
 An-ax-il' i-des 
 
 Am-phir' o-e 
 
 Am-y-tha' on 
 
 An-ax-i- man' der 
 
 Am' phis 
 
 Am' y-tis 
 
 An-ax-im'e-nes 
 
 Am-phis-bae' na 
 
 An' a-ces 
 
 An-ax-ip' o-lis 
 
 Am-phis' sa 
 
 An-a-char' sis 
 
 An-ax-ip' pus 
 
 Am-phis-se' ne 
 
 A-na'ci-um (10) 
 
 An-ax-ir'ho-e 
 
 Am-phis' sus 
 
 A-nac're-on, or 
 
 A-nax' is 
 
 * Amphigenia. See Iphigenia, and Rule 30, prefixed to this Vocabulary. 
 
 t This epithet from the Greek waXvu emergens, signifying rising out of the 
 water, is applied to the picture of Venus rising out of the sea, as originally 
 painted by Apelles. I doubt not that some, who only hear this word without 
 seeing it written, suppose it to mean Anno Domini, the year of our Lord. 
 
10 AN AN 
 
 AN 
 
 A-nax'o 
 
 An' des 
 
 *An-dro-ni' cus (28) 
 
 An-ca?' us 
 
 An-doc' i-des 
 
 : An-droph' a-gi (3) 
 
 An-ca-li' tes 
 
 An-dom' a-tis 
 
 An-dro-pom' pus 
 
 An-ca' ri-us 
 
 An-drae' mon 
 
 ; An' dros 
 
 An-cha'ri-a (7) 
 
 An-dra-ga'thi-us 
 
 An-dros' the-nes 
 
 An-cha' ri-us 
 
 An-drag' a-thus 
 
 An-dro' tri-on 
 
 An-chem' o-lus 
 
 An-drag' o-ras 
 
 An-e-lon' tis 
 
 An-che-si' tes 
 
 An-dram' y-tes 
 
 i An-e-ras' tus 
 
 An-ches' mus 
 
 An-dre' as 
 
 An-e-mo' li-a 
 
 An-chi' a-la 
 
 An' drew (Eng.) 
 
 ! An-e-mo'sa 
 
 An-chi' a-le 
 
 An'dri-clus 
 
 An-fin' o-mus 
 
 An-chi' a-lus 
 
 An' dri-on 
 
 An-ge'li-a 
 
 An-chi-mo'H-us 
 
 An-dris' cus 
 
 An-ge'li-on 
 
 An-chin'o-e 
 
 An-dro' bi-us 
 
 An'ge-lus 
 
 An-chi' ses 
 
 An-dro-cle'a 
 
 An gi'tes 
 
 An-chis'i-a(ll) 
 
 An'dro-cles 
 
 i An'grus 
 
 An-chi-si'a-des An-dro-cli'des 
 
 An-gu-it'i-a(ll)(24) 
 
 An' cho-e 
 
 An-dro' clus 
 
 A' ni-a (7) 
 
 An-chu'rus 
 
 An-dro-c/des 
 
 An-i-ce' tus 
 
 An-ci'le 
 
 An-drod'a-mus 
 
 A-nic'i-a (10) 
 
 An' con 
 
 An-dro' ge-os 
 
 A-nic' i-um (24) 
 
 An-co' na 
 
 An-dro' ge-us 
 
 A-nic'i-us Gal'lus 
 
 An'cus Mar'ti-us 
 
 An-drog' y-nae 
 
 An' i-grus 
 
 An-c/le 
 
 An-dro rn' a-che 
 
 A' ni-o, and A' ni-en 
 
 An-cy' 1 33 
 
 An-drom-a-chi' dae 
 
 An-i-tor' gis 
 
 An' da 
 
 An-drom' a-chus 
 
 A' ni-us 
 
 An-dab' a-tae 
 
 An-drom' a-das 
 
 An' na 
 
 Ail-da' ni-a 
 
 An-drom' e-da 
 
 An-ni-a'nus 
 
 An-de-ca' vi-a 
 
 An' dron 
 
 #> 
 
 An' ni-bal 
 
 * Andronicus. This word is uniformly pronounced by our prosodists with the 
 penultimate accent : and yet so averse is an English ear to placing the accent on 
 the penultimate t, that by all English scholars we hear it placed upon the ante- 
 penultimate syllable. That this was the pronunciation of this word in Queen 
 Elizabeth's time, appears plainly from the tragedy of Titus Andronicus, said to 
 be written by Shakspeare; in which we every where find the antepenultimate 
 pronunciation adopted. It may indeed be questioned, whether Shakspeare's 
 learning extended to a knowledge of the quantity of this Gra?co-Latin word ; 
 but, as Mr. Steevens has justly observed, there is a greater number of classical 
 allusions in this play than are scattered over all the rest of the performances on 
 which the seal of Shakspeare is indubitably fixed; and therefore it may be pre- 
 sumed that the author could not be ignorant of the Greek and Latin pronuncia- 
 tion of this word, but followed the received English pronunciation of his time ; 
 and which by all but professed scholars is still continued. See Stophronicus. 
 
AN AN AP 11 
 
 An'ni-bi(3)(4) 
 
 An-thro-pi' nus 
 
 An-ti ph'i-lus 
 
 An-nic'e-ris (24) An-thro-poph'a-gi 
 
 An' ti-phon 
 
 An'non An-tbyl'la 
 
 An-tiph' o-nus 
 
 An-o-pae'a 
 
 An-ti-a-ni ra 
 
 An' ti-phus 
 
 An' ser 
 
 An'ti-as (10) 
 
 An-ti-poe' nus (5) 
 
 An-si-ba' ri-a 
 
 An-ti-cle' a 
 
 An-tip' o-lis 
 
 An-tae'a 
 
 An' ti cles 
 
 An-tis' sa 
 
 An-tae'as 
 
 An-ti-cli' des 
 
 An-tis' the-nes 
 
 An-tae' us 
 
 An-tic' ra-gus 
 
 An-tis' ti-nus 
 
 An-tag' o-ras 
 
 An-tic'ra-tes 
 
 An-tith'e-us 
 
 An-tal'ci-das 
 
 An-tic' y-ra 
 
 An'ti-um (10) 
 
 An-tan' der 
 
 An-tid'o-tus 
 
 An-tom' e-nes 
 
 An-tan' dros 
 
 An-tid'o-mus 
 
 An-to' ni-a 
 
 An-ter-bro'gi-us 
 
 An-tig'e-nes 
 
 An-to' ni-i (3) (4) 
 
 An-te' i-us 
 
 An-ti-gen' i-das 
 
 An-to-m' na 
 
 An-tem' nae 
 
 An-tig'o na 
 
 An-to-ni' nus 
 
 An-te' nor 
 
 An-tig' o-ne 
 
 An-to-ni-op' o-lis 
 
 An-te-nor'i-des 
 
 An-ti-go' ni-a 
 
 An-to' ni-us, M. 
 
 An' te-ros 
 
 An-tig' o-nus 
 
 An-tor'i-des 
 
 An-the' a 
 
 An-til' co 
 
 A-nu' bis 
 
 An' the-as 
 
 An-ti-lib' a-nus 
 
 An' xi-us 
 
 An-the' don 
 
 An-til' o-chus 
 
 An' xur 
 
 An-the' la 
 
 An-tim' a-chus 
 
 An'y-ta 
 
 An' the-mis 
 
 An-tim' e-nes 
 
 An' y-tus 
 
 An' the-mon 
 
 An-ti-noe' i-a (5) 
 
 An-za' be (8) 
 
 An' the- in us 
 
 An-ti-nop'o-Hs 
 
 A-ob' ri-ga 
 
 An-the-mu'si-a (10) 
 
 An-tin' o-us 
 
 A-ol' li-us 
 
 An-the' ne 
 
 An-ti-o' chi-a, or 
 
 A' on 
 
 An-ther' mus 
 
 *An-ti-o-chi' a (29) A' o-nes 
 
 An' thes 
 
 A n' ti-och (Eng.) A-o' ris 
 
 An-thes-pho' ri-a 
 
 An-ti' o-chis 
 
 A-or' nos 
 
 An-thes-te' ri-a 
 
 An-ti' o-chus 
 
 A-o'ti 
 
 An' the-us 
 
 An-ti' o-pe (8) A-pa'i-ta? 
 
 An-thi' a 
 
 An-ti-o' rus ! A-pa' ma (7) 
 
 An' thi-as 
 
 An-tip'a-ter A-pa' me (8) 
 
 An' thi-um 
 
 An-ti-pa' tri-a Ap-a-me' a 
 
 An' thi-us 
 
 An-ti-pat' ri-das Ap-a-mi' a 
 
 An' tho 
 
 An-tip' a-tris A-par'ni 
 
 An-tho' res 
 
 An-tiph'a-nes Ap-a-tu'ri-a 
 
 An-thra'ci-a (10) 
 
 An-tiph' a-tes Ap-e-au' ros 
 
 * Antiuchia. For words of this termiuatioij|j|ee Iphigtnia, and No. 3() of 
 the Rules prefixed to this Vocabulary. 
 
12 AP AP AR 
 
 A-pe'la 
 
 A-pol-li-na'res 
 
 A-qua' ri-us 
 
 A-pel'les 
 
 A^-poMi-na' ris 
 
 Aq-ui-la' ri-a 
 
 A-pel' li-con 
 
 Ap-ol-lin'i-des 
 
 Aq-ui-le'i-a 
 
 Ap-en-ni' nus 
 
 A-pol' li-nis 
 
 A-quil li-a 
 
 A' per 
 
 A-pol' lo 
 
 A-quil' i-us 
 
 Ap-e-ro' pi-a 
 
 Ap-ol-loc'ra-tes 
 
 Aq'ui-lo 
 
 Ap' e-sus 
 
 A-pol-lo-do' rus 
 
 Aq-ui-lo'ni-a 
 
 Aph' a-ca 
 
 Ap-ol-lo' ni-a 
 
 A-quin' i-us 
 
 A-phae' a 
 
 Ap-ol-lo' ni-as 
 
 A-qui' num 
 
 A 7 phar 
 
 Ap-ol-lo-ni' a-des 
 
 Aq-ui-ta'ni-a 
 
 Aph-a-re' tus 
 
 Ap-ol-lon-i'des 
 
 A'ra(17) 
 
 Aph-a-re' us 
 
 Ap-ol-lo' ni-us 
 
 Ar-a-bar' ches 
 
 A'phas (1) 
 
 Ap-ol-loph' a-nes 
 
 A-ra' bi-a 
 
 A-phel'las 
 
 A-po-my-i' os 
 
 A-rab' i-cus 
 
 Aph' e-sas 
 
 A-po-ni-a' na (7) 
 
 Ar' a-bis 
 
 Aph' e-tae 
 
 A-po' ni-us, M. 
 
 Ar'abs 
 
 Aph' i-das (4) 
 
 Ap' o-nus 
 
 Ar' a-bus 
 
 A-phid'na 
 
 Ap-os-tro'phi-a 
 
 A-rac'ca, or 
 
 A-phid' nus 
 
 *A-poth-e-o' sis 
 
 A-rec' ca 
 
 Aph-oe-be' tus 
 
 Ap-o-M o-sis 
 
 A-rach' ne 
 
 A-phri'ces(l) 
 
 Ap'pi-aVi'a 
 
 Ar-a-cho' si-a 
 
 Aph-ro-dis'i-a 
 
 Ap-pi' a-des 
 
 Ar-a-cho' tae 
 
 Aph-ro-di' sum (1) 
 
 Ap-pi-a' nus 
 
 Ar-a-cho' ti 
 
 Aph-ro-di' te (8) 
 
 Ap' pi-i Fo' rum 
 
 A-rac' thi-as 
 
 A-ph/te(8) 
 
 Ap' pi-us 
 
 Ar-a-cil'lum 
 
 A' pi-a (1) (4) (7) 
 
 Ap' pu-la 
 
 Ar-a-co' si-i (4) 
 
 A-pi-a' nus 
 
 A' pri-es 
 
 Ar-a-cyn' thus (4) 
 
 Ap-i-ca' ta 
 
 A' pri-us 
 
 Ar' a-dtis 
 
 A-pic'i-us (24) 
 
 Ap-sin' thi-i (4) 
 
 A'r(17) 
 
 A-pid' a-nus 
 
 Ap'si-nus 
 
 A'rar(17) 
 
 Ap' i-na 
 
 Ap'te-ra(20) 
 
 Ar' a-rus 
 
 A-pi' o-la 
 
 Ap-u-le' i-a 
 
 Ar-a-thyr' e-a 
 
 A'pi-on(l) 
 
 Ap-u-le'i-us 
 
 A-ra' tus 
 
 A' pis 
 
 A-pu' li-a 
 
 A-rax' es 
 
 A -pit' i-us (24) 
 
 Ap-u-sid' a-mus 
 
 Ar-ba'ces, or 
 
 * Apotheosis. When we are reading Latin or Greek, this word onght to have 
 the accent on the penultimate syllable ; but in pronouncing English we should 
 accent the antepenultimate : 
 
 Allots the prince of his celestial line 
 An Apothtms and rites divine. GARTH. 
 
AR AR AR 
 
 *Ar' ba-ces Ar-ches' tra-tus 
 
 Ar 7 chy-tas 
 
 Ar-be' la Ar-che-ti' mus 
 
 Arc-ti' nus 
 
 fAr' be-la 
 
 Ar-che'ti-us(lO) 
 
 Arc-toph' y-lax 
 
 Ar'bis 
 
 Ar' chi-a 
 
 Arc' tos 
 
 Ar-bo-ca'la 
 
 Ar' chi-as 
 
 Arc-to' us 
 
 Ar-bus'cu-la 
 
 Ar-cbi-bi' a-des (4) 
 
 Arc-tu'rus 
 
 Ar-ca'di-a Ar-chib'i-us 
 
 Ar' da-lus 
 
 Ar-ca' di-us Ar-cbi-du' mi-a (29) 
 
 Ar-da' ni-a 
 
 Ar-ca' num ! jAr-cbi-da' mus, or 
 
 Ar-dax-a' nus 
 
 Ar' cas 
 
 Ar-chid'a-mus 
 
 Ar' de-a 
 
 Ar'ce-ua 
 
 Ar'chi-das 
 
 Ar-de-a' tes 
 
 Ar' cens Ar-chi-de' mus 
 
 Ar-de-ric' ca 
 
 Ar-ces-i-la' us : Ar-chi-de' us 
 
 Ar-di-ae'i (4) 
 
 Ar-ce' si-us (10) | Ar-chid'i-um 
 
 Ar-do'ne-a 
 
 Ar-chae'a 
 
 Ar-chi-gal' lus 
 
 Ar-du-en'na 
 
 Ar-chae' a-nax 
 
 Ar-chig' e-nes 
 
 Ar-du-i'ne 
 
 Ar-chae-at' i-das 
 
 Ar-chil' o-cus 
 
 Ar-dy-en' ses 
 
 Arch-ag' a-thus 
 
 Ar-chi-me'des 
 
 Ar'dys 
 
 Ar-chan' der 
 
 Ar-chi' nus 
 
 A-re' a 
 
 Ar-cban' dros 
 
 Ar-chi-pel 7 a-gus 
 
 A-re-ac' i-dae 
 
 Ar'che (12) 
 
 Ar-chip' o-lis 
 
 A' re-as 
 
 Ar-cheg' e-tes (24) 
 
 Ar-chip' pe 
 
 A-reg' o-nis 
 
 Ar-che-la' us 
 
 Ar-chip' pus 
 
 Ar-e-la' turn 
 
 Ar-chem' a-chus 
 
 Ar-chi' tis 
 
 A-rel'li-us 
 
 Ar-chem' o-rus 
 
 Ar' ebon 
 
 Ar-e-mor'i-ca 
 
 Ar-chep'o-lis 
 
 Ar-chon' tes 
 
 A' re 
 
 Ar-chep-tol'e-mus 
 
 Ar'chy-lus(6) 
 
 A-re' te 
 
 * Arbaces. Lempriere, Gould man, Gesner, and Littleton, accent this word 
 on the first syllable, but Ainsworth and Holyoke on the second ; and this is so 
 much more agreeable to the English ear, that I should prefer it, though I have, 
 out of respect to authorities, inserted the other, that the reader may choose 
 which he pleases. Labbe has not got this word. 
 
 t Arbela, the city of Assyria, where the decisive battle was fought between 
 Alexander and Darius, and the city in Palestine of that name, have the accent 
 on the penultimate ; but Arbela, a town in Sicily, has the accent on the ante- 
 penultimate syllable, 
 
 t Archidamus. Ainsworth, Gouldman, Littleton, and Holyoke, place the 
 ace MU on the antepenultimate syllable of this word, but Lempriere and Labbe 
 on the penultimate. I have followed Lempriere and Labbe, though, in my 
 opinion, wrong : for as every word of this termination has the antepenultimate 
 accent, as Polydamas, Theodamas, &c. 1 know not why this should be different. 
 Though Labbe tells us, that the learned are of hraopinion. 
 
14 AR AR AR 
 
 A-ren' a-cum 
 
 Ar-gil 7 lus 
 
 Ar-i-ci 7 na 
 
 Ar-e-op-a-gi 7 tae 
 
 Ar'gi-lus 
 
 Ar-i-dae'us 
 
 *Ar-e-op 7 a-gus 
 
 Ar-gi-nu 7 sae 
 
 A-ri-e 7 nis 
 
 A-res' tae 
 
 Ar-gi 7 o-pe 
 
 Ar-i-gae 7 urn 
 
 A-res'tha-nas 
 
 Ar-gi-phon' tes 
 
 A-ri 7 i (4) 
 
 A- res-tor' i-des 
 
 Ar-gip'pe-i (3) 
 
 Ar 7 i-rna 
 
 A're-ta 
 
 Ar-gi 7 va 
 
 Ar-i-mas 7 pi (3) 
 
 Ar-e-tae'us 
 
 Ar-gi 7 yi (3) 
 
 Ar-i-mas 7 pi-as 
 
 Ar-e-taph'i-la 
 
 -\Ar'gwes (Eng.) 
 
 Ar-i-mas 7 thae 
 
 Ar-e-ta 7 les 
 
 Ar'gi-us 
 
 Ar-i-ma 7 zes 
 
 A-re'te 
 
 Ar'go 
 
 Ar 7 i-mi(3) 
 
 A-re 7 tes 
 
 Ar-goK i-cus 
 
 A-rim 7 i-num 
 
 Ar-e-thu'sa 
 
 Ar' go-lis 
 
 A-rim' i-nus 
 
 Ar-e-ti'num 
 
 Ar' gon 
 
 Ar-im-phae 7 i 
 
 Ar 7 e-tus 
 
 Ar-go-nau' tae 
 
 Ar 7 i-mus 
 
 A' re-us 
 
 Ar-go 7 us 
 
 A-ri-o-bar-za 7 nes 
 
 Ar-gag 7 us 
 
 Ar' gus 
 
 A-ri-o-man 7 des 
 
 Ar' ga-lus 
 
 Ar-gyn' nis 
 
 A-ri-o mar 7 dus 
 
 Ar-gath'o-ua 
 
 Ar'gy-ra 
 
 A-ri-o-me 7 des 
 
 Ar-ga-tho'ni-us 
 
 Ar-gy-ras'pi-des 
 
 A-ri 7 on (28) 
 
 Ar'ge(9) 
 
 Ar'gy-re 
 
 A-ri-o-vis 7 tus (21) 
 
 Ar-ge 7 a 
 
 Ar-gyr' i-pa 
 
 A 7 ris 
 
 Ar-ge-a 7 thae 
 
 A'ri-a 
 
 A-ris 7 ba 
 
 Ar-gen'num 
 
 A-ri-ad'ne 
 
 Ar-is-taEn 7 e-tus 
 
 Ar'ges 
 
 A-ri-as' us 
 
 Ar-is-tse 7 uin 
 
 Ar-ges 7 tra-tus 
 
 A-ri-a'ni, or 
 
 Ar-is-tas 7 us 
 
 Ar-ge 7 us 
 
 A-ri-e' ni 
 
 Ar-is- tag 7 o-ras 
 
 Ar'gi(9)(3) 
 
 A-ri-ari' tas 
 
 Ar-is-tan 7 der 
 
 Ar-gi'a 
 
 A-ri-am'nes 
 
 Ar-is-tan 7 dros 
 
 Ar'gi-as 
 
 A-ri-a-ra 7 thes 
 
 Ar-is-tai 7 che 
 
 Ar-gi-le 7 turn 
 
 Ar-ib-ba3 7 us (5) 
 
 Ar-is-tar 7 chus 
 
 Ar-gil 7 i-us 
 
 A-ric 7 i-a (24) ' Ar-is- ta-za 7 nes 
 
 * Areopagus. Labbe tells us, that the penultimate syllable of this word is 
 beyond all controversy short ; qnidquid nonnnlli in tant& luce etiamniim caecu- 
 tiant. Some of these blind men are, Gouldman, Holyoke, and Littleton ;- 
 but Lempriere and Ainsworth, the best authorities, agree with Labbe. 
 
 f Argives. I have observed a strong propensity in school-boys to pronounce 
 the g in these words hard, as in the English word give. This is, undoubtedly, 
 because their masters do so ; and they will tell us, that the Greek gamma should 
 always be pronounced hard in words from that language. What, then, must we 
 alter that long catalogue of Words where this letter occurs, as in Genesis, genius, 
 Diogenes, JEgyptus, &c. ? The question answers itself. 
 
AR AR AR 15 
 
 A-ris' te-as 
 
 Ar-is-tot' e-les 
 
 Ar-sam-o-sa' ta 
 
 A-ris' te-rae 
 
 Ai J is-to-tle (Eng.) 
 
 Ar-sa' nes 
 
 A-ris' te-us 
 
 Ar-is-to-ti'mus 
 
 Ar-sa' ni-as 
 
 A-ris'the-nes 
 
 Ar-is-tox' e-nus 
 
 Ar-se'na 
 
 A-ris' thus 
 
 A-ris'tus 
 
 Ar' ses 
 
 Ar-is-ti' bus 
 
 Ar-is-tyl' lus 
 
 Ar' si -a 
 
 Ar-is-ti' des 
 
 A' ri-us 
 
 Ar-si-dae' us 
 
 Ar-is-tij/ pus 
 
 Ar' me-nes 
 
 Ar-sin'o-e 
 
 A-ris' ti-us 
 
 Ar-me'ni-a 
 
 Ar-ta-ba' nus 
 
 A-ris' ton 
 
 Ar-men-ta' ri-us 
 
 Ar-ta-ba'zus 
 
 Ar-is-to-bu'la 
 
 Ar-mil' la-tus 
 
 Ar'ta-bri (3) 
 
 Ar-is-to-bu' lus 
 
 Ar-mi-lus'tri-um 
 
 Ar-ta-bri'tae 
 
 Ar-is-to-cle'a 
 
 Ar-min' i-us 
 
 Ar-ta-cae'as 
 
 A-ris' to- cles 
 
 Ar-mor' i-cae 
 
 Ar-ta-cae' na 
 
 A-ris-to-cli' des 
 
 Ar'ne (8) 
 
 Ar' ta-ce 
 
 Ar-is-toc'ra-tes 
 
 Ar'ni (3) 
 
 Ar-ta-ce' ne 
 
 Ar-is-to' cre-on 
 
 Ar-no' bi-us 
 
 Ar-ta' ci-a 
 
 Ar-is-toc'ri-tus 
 
 Ar'nus 
 
 Ar-tae'i (3) 
 
 A-ris-to-de'mus 
 
 Ar' o-a 
 
 Ar-tag'e-ras 
 
 Ar-is-tog' e-nes 
 
 Ar' o-ma 
 
 Ar-ta-ger' ses 
 
 Ar-is-to-gi' ton 
 
 Ar' pa-ni 
 
 Ar-ta' nes 
 
 Ar-is-to-la' us 
 
 Ai'pi (3) 
 
 Ar-ta-pher'nes 
 
 Ar-is-tom' a-che 
 
 Ar-pi'nuai 
 
 Ar-ta' tus 
 
 Ar-is-tom'a-chus 
 
 Ar-rje'i (3) 
 
 Ar-ta-vas' des 
 
 Ar-is-to- me' des 
 
 Ar-rah-bae'us 
 
 Ar-tax' a 
 
 Ar-is-tom' e-nes 
 
 Ar'ri-a 
 
 Ar-tax' i-as 
 
 A-ris-to-nau' tie 
 
 Ar-ri-a' mis 
 
 Ar-tax' a-ta 
 
 Ar-is-to-ni' cus 
 
 Ar'n-us 
 
 Ar-ta-xerx' es 
 
 A-ris' to-nus 
 
 A' ri-us 
 
 Ar-tax' i-as 
 
 Ar-is-ton' i-cles 
 
 Ar-run'ti-us (10) 
 
 Ar-ta-yc' tes 
 
 Ar-is-toiV y-inus 
 
 Ar-sa' bes 
 
 Ar-ta-yn' la 
 
 Ar-is-toph'a-nes 
 
 Ar-sa' ces, or 
 
 Ar-ta-yn' tes 
 
 A-ris-to-phi-li' des 
 
 *Ar'sa-ces 
 
 Ar-tem-ba'res 
 
 A-ris' to-phon 
 
 Ar-sac'i-dae 
 
 Ar-tem-i-do' rus 
 
 A-i is' tor 
 
 Ar-sam' e-nes 
 
 fAr' te-mis 
 
 Ar-is-tor' i-des 
 
 Ar-sam' e - tes Ar-te-mis' i-a (11) 
 
 * Arsaces. Gould man, Lempriere, Holyoke, and Labbe, accent this word 
 on the first syllable, and unquestionably not without classical authority ; but 
 Ainsworth, and a still greater authority, general usage, have, in my opinion, 
 determined the accent df this word on the second syllable. 
 f Artemis.-~- The sisters to Apollo tune their voice, 
 
 And Artemis to thee whom darts rejoice. 
 
 COOKK'S Hesiod. Theog. v. 17. 
 
16 AS AS AS 
 
 Ar-te-mis' mum 
 
 As-ca' ni-us 
 
 As-ple' don 
 
 *Ar-te-mi' ta 
 
 As-ci'i (3) 
 
 As-po-re'nus (4> 
 
 Ar'te-mon 
 
 As-cle' pi-a 
 
 As'sa 
 
 Arth' rni-us 
 
 As-cle-pi' a-des 
 
 As-sa-bi' nus 
 
 Ar-te'na 
 
 As-cle-pi-o-do' rus 
 
 As-sar' a-cus 
 
 Ar-tim' pa-sa 
 
 As-cle-pi-o-do' tus 
 
 As-se-ri'ni (3) 
 
 Ar-to-bar-za' nes 
 
 As-cle' pi-us 
 
 As' so-rus 
 
 Ar-toch' rnes 
 
 As-cle-ta' ri-on 
 
 As' sos 
 
 Ar-to' na 
 
 As'clus 
 
 As-syr' i-a 
 
 Ar-ton' tes 
 
 As-co' li-a 
 
 As'ta 
 
 Ar-to' ni-us 
 
 As-co' ni-us La'be-o 
 
 As-ta-cce'ni (5) 
 
 Ar-tox' a-res 
 
 As' era 
 
 As'ta-cus 
 
 Ar-tu'ri-us 
 
 As' cu-lum 
 
 As' ta-pa 
 
 Ar-ty' nes 
 
 As'dru bal 
 
 As' ta-pus 
 
 Ar-tyn' i-a 
 
 A-sel'li-o 
 
 As-tar'te (8) 
 
 Ar-tys' to-na 
 
 A'sU(10)(ll) 
 
 As' ter 
 
 Ar' u-ae 
 
 A-si-at' i-cus 
 
 As-te' ri-a 
 
 A-ru'ci 
 
 A-si' las 
 
 As- te' ri-on 
 
 Ar-va' les 
 
 As-i-na' ri-a 
 
 As-te' ri-us 
 
 A-ru'e-ris 
 
 As-i-na' ri-us 
 
 As-te-ro' di-a 
 
 Ar-ver' ni 
 
 As' i-na 
 
 As- ter' o-pe 
 
 Ar-vir' a-gus 
 
 As' i-ne 
 
 As-te-ro' pe-a 
 
 Ar-vis' i-um 
 
 As' i-nes 
 
 As-ter-o-pae' us 
 
 Ar-vi' sus 
 
 A-sin'i-us Gal'lus 
 
 As-ter-u' si-us (11) 
 
 A' runs (1) 
 
 A' si-us (11) 
 
 As- tin' o-me 
 
 A-run'ti-us (10) 
 
 As-na' us 
 
 As-ti'o-chus 
 
 Ar-u-pi' mis 
 
 A-so' phis 
 
 As'to-mi (3) 
 
 Arx' a-ta 
 
 A-so' pi-a 
 
 As-trae'a 
 
 Ar-y-an' des 
 
 As-o-pi' a-des 
 
 As-trae' us 
 
 Ar'y-bas 
 
 A-so' pis 
 
 As'tu 
 
 Ar-yp-tae' us 
 
 A-so' pus 
 
 As' tur 
 
 A-san' der 
 
 As-pam' i-thres 
 
 As' tu-ra 
 
 As-ba-me'a 
 
 As-pa-ra' gi-um 
 
 As'tu-res 
 
 As-bes' tae 
 
 As-pa'si-a (11) 
 
 As-ty' a-ge 
 
 As' bo-lus 
 
 As-pa-si' rus 
 
 As-ty' a-ges 
 
 As-bys' tse 
 
 As- pas' tes 
 
 As-ty' a-lus 
 
 As-cal' a-phus 
 
 As-pa-thi' nes 
 
 As-ty' a-nax 
 
 As' ca-lon 
 
 As-pin' dus 
 
 As-ty-cra'ti-a (10) 
 
 As-ca' ni-a 
 
 As' pis 
 
 As-tyd' a-mas 
 
 * Artemita. Ainsworth places the accent on the antepenultimate syllable of 
 this word ; but Letnpriere, Gouldman, and Holyoke, more correctly, in niy 
 opinion, on the penultimate. 
 
AT AT AU 17 
 
 As-ty-da-mi' a (SO) 
 
 Ath-e-nae' us 
 
 At'ta-lus 
 
 As' ty-lus 
 
 Ath-e-nag'o-ras 
 
 At-tar'ras 
 
 As-tym-e-du' sa 
 
 Ath-e-na'is 
 
 At-te'i-us Cap'i-to 
 
 As-tyn'o-me 
 
 A-the' ni-on 
 
 At' tes 
 
 As-tyn'o-mi 
 
 A-then'o-cles 
 
 At' this 
 
 As-tyn'o-us 
 
 Ath-en-o-do' rus 
 
 At' ti-ca 
 
 As-ty'o-che 
 
 A' the-os 
 
 At' ti-cus 
 
 As-ty-o-chi 7 a (30) 
 
 Atl/e-sis 
 
 At-ti-da' tes 
 
 As-ty-pa-lae'a 
 
 A'thos (1) 
 
 At'ti-la 
 
 As-typh' i-lus 
 
 Ath-rul'la 
 
 At-til' i-us 
 
 As-ty' ron 
 
 A-tliym' bra 
 
 At-ti' nas 
 
 As'y-chis 
 
 A-ti'a (11) 
 
 At'ti-us Pe-lig'nus 
 
 A-sy' las 
 
 A-til'i-a 
 
 At-u-at' i-ci (4) 
 
 A-syl'lus 
 
 A-tiKi-us 
 
 A' tu-bi (3) 
 
 A-tab'u-lus 
 
 A-til'la 
 
 A-ty'a-dae 
 
 At-a-by' ris 
 
 A-ti'na 
 
 A'tys(l) 
 
 At-a-by-ri' te (6) 
 
 A-ti' nas 
 
 Av-a-ri' cum 
 
 At'a-ce(8) 
 
 A-tin' i-a 
 
 A-vel' la 
 
 At-a-lan' la 
 
 At-lan' tes 
 
 Av-en-ti' nus 
 
 At-a-ran' tes 
 
 At-lan-ti' a-des 
 
 A-ver'nus, or 
 
 A-tar'be-chis(ll) 
 
 At-lan' ti-des 
 
 A-ver' na 
 
 A-tar' ga-tis 
 
 At' las 
 
 A-ves' ta 
 
 A-tar' ne-a 
 
 A-tos' sa 
 
 Au-fe' i-a a' qua 
 
 A' tas, and A' thas 
 
 At' ra-ces 
 
 Au-fi-de'na 
 
 A' tax 
 
 At-ra-myt' ti-um 
 
 Au -fid' i-a 
 
 A'te(8) 
 
 Al'ra-pes 
 
 Au-fid' i-us 
 
 A-tel'la 
 
 A' trax ( 1 ) 
 
 Au'fi-dus 
 
 At' e-na 
 
 At-re-ba'tae 
 
 Au'ga, and Au'ge 
 
 At-e-no-ma' rus 
 
 *At-re-ba'tes 
 
 Au-ge' a 
 
 Ath-a-ma' nes 
 
 A-tre'ni 
 
 Au' ga-rus 
 
 Ath' a-mas 
 
 At' re-us 
 
 Au'ge-ae 
 
 Ath-a-man-ti' a-des 
 
 A-tri'dae 
 
 Au'gi-as, and 
 
 Ath-a-na' si-us (10) 
 
 A-tri' des 
 
 Au' ge-as 
 
 Ath' a-nis 
 
 A-tro' ni-us 
 
 Au'gi-lse 
 
 A' the-as 
 
 At-ro-pa-te'ne 
 
 Au-gi'nus 
 
 A-the'na 
 
 At-ro-pa'ti-a (11) 
 
 Au'gu-res 
 
 A-the'na3(8) 
 
 At'ro-pos (1Q) 
 
 Au-gus' ta 
 
 Ath-e-nae' a 
 
 At'ta 
 
 Au-gus-la'li-a 
 
 Ath-e-nae' um 
 
 At-ta'li-a 
 
 Au-gus-ti'nus 
 
 * Atrebatei. Ainsworth accents this word on the antepenultimate syllable ; 
 but Lempriere, OouldniaH, Holyoke, and Labbe, on the penultimate ; and this 
 is, in my opinion, the better pronunciation. 
 
 c 
 
13 AU AU AZ 
 
 du-gus' tin (Eng.) 
 
 Au-run' ce (8) 
 
 Au-tom' a-te 
 
 Au-gus' tu-lus 
 
 Au-run-cu-le'i-us 
 
 Au- torn' e-don 
 
 Au-gus' tus 
 
 Aus-chi'sae (12) 
 
 Au-to-me-du' sa 
 
 A-vid-i-e' nus 
 
 Aus'ci(3) 
 
 Au-tom'e-nes 
 
 A-vid'i-us Gas' si-us 
 
 Au'ser 
 
 Au-tom' o-li 
 
 Av-i-e' nus 
 
 Au' se-ris 
 
 Au-ton' o-e 
 
 A' vi-um 
 
 Au' ses 
 
 Au-toph-ra-da' tes 
 
 Au-les'tes 
 
 Au' son 
 
 Au-xe'si-a (11) 
 
 Au-le' tes 
 
 Au-so' ni-a 
 
 Ax' e-nus 
 
 Au'lis 
 
 Au-so' ni-us 
 
 Ax-i' o-chus 
 
 Au' Ion 
 
 Au' spi-ces 
 
 Ax-i' on (29) 
 
 Au-lo'ni-us 
 
 Aus' ter 
 
 Ax-i-o-ni' cus (30) 
 
 An' lus 
 
 Aus-te'si-on 
 
 Ax-i-o' te-a 
 
 Au' ras 
 
 Au-to-bu'lus, or 
 
 Ax-i-o' the-a 
 
 Au-re' li-a 
 
 At-a-bu'lus 
 
 Ax' i-us 
 
 Au-re-li-a' nus 
 
 Au-ta-ni'tis 
 
 Ax' ur, and An' xur 
 
 Au-re' li-an (Eng.) 
 
 Au-toch' tho-nes 
 
 Ax' us 
 
 Au-re' li-us 
 
 Au' to-cles 
 
 A'zan(l) 
 
 Au -re' o-l us 
 
 Au-toc'ra-tes 
 
 A-zi' ris 
 
 Au-ri'go 
 
 Au-to-cre' ne (8) 
 
 Az' o-nax 
 
 Au-rin'i-a 
 
 Au-tol' o-lae 
 
 A-zo'rus (11) 
 
 Au-ro'ra 
 
 Au-tol'y-cus 
 
 A-zo' tus 
 
 BA BA BA 
 
 BA-BIL'I-US 
 
 Bac'chkutn Bae'bi-us, M. 
 
 Bab'i-lus 
 
 Bac' chi-us Bae' tis 
 
 Bab'y-lon 
 
 Bac' chus 
 
 Ba3' ton 
 
 Bab-y-lo' ni-a 
 
 Bac-chyl' i-des 
 
 Ba-gis' ta-me 
 
 Bab-y-lo'ni-i(4) 
 
 Ba-ce' nis Ba-gis' ta-nes 
 
 Ba-byr'sa 
 
 Ba'cis Ba-go'as, and 
 
 Ba-byt' a-ce 
 
 Bac'tra 
 
 Ba-go'sas 
 
 Bac-a-ba'sus 
 
 Bac'tri, and 
 
 Bag-o-da' res 
 
 Bac' chae 
 
 Bac-tri-a'ni (4) 
 
 Ba-goph' a-nes 
 
 Bac-cha-na' li-a 
 
 Bac-tri-a' na 
 
 Bag'ra-da 
 
 Bac-chan' tes 
 
 Bac' tros 
 
 Ba'i-je 
 
 Bac'chi (3) 
 
 Bad' a-ca 
 
 Ba'la 
 
 Bac-chi'a-das 
 
 Ba'di-a 
 
 Ba-la' cms 
 
 Bac' chi-des 
 
 Ba' di-us 
 
 Bal-a-na' gra3 
 
 Bac' chis 
 
 Bad-u-hen' nse 
 
 Ba-Ja' nus 
 
BA BA BE 
 
 Ba-la'ri 
 
 Ba'ri-um 
 
 Bat' is 
 
 Bal-bil'Ius 
 
 Bar' nu-us 
 
 Bat' tus 
 
 Bal-bi'nus 
 
 Bar-si' ne, and 
 
 Bat' u-lum 
 
 Bal'bus 
 
 Bar-se' ne 
 
 Bat' u-lus 
 
 Bal-e-a' res 
 
 Bar-za-en' tes 
 
 Ba-tyl' lus 
 
 Ba-Ie'tus 
 
 Bar-za' nes 
 
 Bau' bo 
 
 Ba'li-us 
 
 Bas-i-le'a 
 
 Bau' cis 
 
 Ba-lis'ta 
 
 Bas-i-li' da? 
 
 Ba' vi-us 
 
 Bal-lon'o-ti (3) 
 
 Bas-i-li' des 
 
 Bau'li(3) 
 
 Bal-ven'ti-us (10) 
 
 Ba-sil-i-o-pot' a-mos 
 
 Baz-a-en' tes 
 
 Bal'y-ras 
 
 Bas'i-lis 
 
 Ba-za' ri-a 
 
 Bam-u-ru' se 
 
 Ba-sil'i-us(Sl) 
 
 Be' bi-us 
 
 Ban'ti-ae(4) 
 
 Bas' i-lus 
 
 Be-bri' a-cum 
 
 Ban'ti-us, L. (10) 
 
 Bas' S3? 
 
 Beb'ry-ce(6) 
 
 Baph'y-rus (6) 
 
 Bas-sa' ni-a 
 
 Beb' ry-ces, and 
 
 Bap' tae 
 
 Bas-sa' re-us 
 
 Be-bryc'i-i(4) 
 
 Ba-rae'i 
 
 Bas' sa-ris 
 
 Be-bryc' i-a 
 
 Bar' a-thrum 
 
 Bas' sus Au-fid' i-us 
 
 Bel-e-mi' na 
 
 Bar'ba-ri 
 
 Bas-tar'nae, and 
 
 Bel-e-phan'tes 
 
 Bar-ba' ri-a 
 
 Bas-ter' nae 
 
 Bel'e-sis 
 
 Bar-bos' the-nes 
 
 Bas'ti-a 
 
 Bel'ge 
 
 Bar-by th' a-ce 
 
 Ba'ta 
 
 Bel'gi-ca 
 
 Bar'ca 
 
 Ba-ta' vi 
 
 Bel'gi-um 
 
 Bar-cae'i, or 
 
 Ba'thos 
 
 Bel'gi-us 
 
 Bar' ci-tse 
 
 Bath'y-cles 
 
 Bel' i-des, plural. 
 
 Bar' cae 
 
 Ba-thyl'lus 
 
 Be-li' des, singular 
 
 Bar' cha 
 
 Bat-i-a' tus 
 
 Be-lis'a-ma 
 
 Bar-dae'i 
 
 Ba'ti-a(ll) 
 
 Bel-i-sa' ri-us 
 
 Bar'di 
 
 Ba-ti' na, and 
 
 Bel-is-ti'da 
 
 Bar-dyl'lis 
 
 Ban-ti' na 
 
 Bel'i-tae 
 
 Ba-re'a 
 
 Ba'tis 
 
 Bel-ler 7 o-phon 
 
 Ba' re-as So-ra' nus 
 
 Ba'to 
 
 Bel-le'rus* 
 
 Ba' res 
 
 Ba' ton 
 
 Bel-li-e' nus 
 
 Bar-gu' si-i (3) 
 
 Bat-ra-cho-my-o- 
 
 Bel-lo'na 
 
 Ba-ri' ne 
 
 mach'i-a 
 
 Bel-lo-na'ri-i(4) 
 
 Ba-ris' ses 
 
 Bat-ti' a-des 
 
 Bel-lov' a-ci 
 
 * Bellerns. All our lexicographers unite in giving this word the antepenulti- 
 mate accent : but Milton seems to have sanctioned the penultimate, as much 
 more agreeable to English ears, in his Lycidas: 
 
 Or whether thou, to our moist vows denied, 
 Sleep'st by the fable of Bellems old. 
 
 Though 
 C 2 
 
20 Bl BL BO 
 
 Bel-lo-ve'sus 
 
 Bib'Ji-a,aiidBil'n-a 
 
 Blai'sus 
 
 Be' Jon 
 
 Bib' lis 
 
 Blan-de-no' na 
 
 Be'lus 
 
 Bib-li'na 
 
 Blan-du' si-a 
 
 Be-na' cus 
 
 Bib'lus 
 
 Blas-to-pho3-ni' ces 
 
 Ben-e-did'i-uin 
 
 Bi-brac' tae 
 
 Blem' my-es 
 
 Ben' dis 
 
 Bib' u-lus 
 
 Ble-ni' na 
 
 Ben-e-ven' turn 
 
 Bi'ces 
 
 Blit'i-us(lO) 
 
 Ben-the-sic'y-me 
 
 Bi'con 
 
 Blu'ci-um (10) 
 
 Be-pol-i-ta' nus 
 
 Bi-cor' ni-ger 
 
 Bo-a-dic'e-a 
 
 Ber' bi-caj 
 
 Bi-cor' nis 
 
 Bo'ae, and Bo'e-a 
 
 Ber-e-cyn' thi-a 
 
 Bi-for' mis 
 
 Bo-a' gi i-us 
 
 Ber-e-ni'ce(SO) 
 
 Bi' frons 
 
 Bo-ca' li-as 
 
 Ber-e-ni' cis 
 
 Bif bi-iis 
 
 Boc' car 
 
 Ber' gi-on 
 
 Bi-ma' ter 
 
 Boc' cho-ri 
 
 Ber-gis' te-ni 
 
 Bin'gi-um 
 
 Boc' chus 
 
 Be' ris, and Ba' ris 
 
 Bi'on 
 
 Bo-du' ni 
 
 Ber' mi-us 
 
 Bir' rhus 
 
 Bo-du-ag-na' tus 
 
 Ber'o-e 
 
 Bi-sal' la* 
 
 Bce-Wia 
 
 Be-roe' a 
 
 Bi-sal' tes 
 
 Bce'bi-a 
 
 Ber-o-ni'ce(SO) 
 
 Bi-sal' tis 
 
 Bo-e-dro' mi-a 
 
 Be-ro' sus 
 
 Bi-san' the 
 
 Boe-o-tar'chae 
 
 Ber-rhoe' a 
 
 Bis' ton 
 
 Boe-o' ti-a 
 
 Be'sa 
 
 Bis' to-nis 
 
 602-0' tus 
 
 Be-sid'i-ae 
 
 Bi' thus 
 
 Boe-or-o-bis' tas 
 
 Be-sip' po 
 Bes'si (3). 
 
 Bith'y-a? 
 Bi-thyn' i-a 
 
 Bo-e' thi-us 
 Bo'e-tus 
 
 Bes' sus 
 
 Bit'i-as 
 
 Bo' e-us 
 
 Bes' ti-a 
 
 Bi'ton 
 
 Bo'ges 
 
 Be'tis 
 
 Bi-tu'i-tus 
 
 Bo'gud 
 
 Be-tu' ri-a 
 
 Bi-tun' tuui 
 
 Bo' gus 
 
 Bi'a 
 
 Bi-tur' i-ges 
 
 Bo'i-i(S) 
 
 *Bi-a' nor 
 
 Bi-tui y i-cum 
 
 Bo-joc' a-lus 
 
 Bi'as 
 
 Biz' i-a 
 
 Bo' la 
 
 Bi-bac' u-lus 
 
 Bls'oa 
 
 Bol'be 
 
 Bib'a-ga 
 
 Bl'si-i(4) 
 
 Bol-bi-ti'num 
 
 Though it must be acknowledged that Milton has in this word deserted the clas- 
 sical pronunciation, yet his authority is sufficient to make us acquiesce in his 
 accentuation in the above-mentioned passage. 
 
 * Bianor. Lempriere accents this word on the first syllable : but Labbe 
 Ainaworth, Gouldmau, and Holyoke, on the secondhand these agree with 
 Virgil, Eel. ix. Y. 60. 
 
BR BR BU 2 
 
 Bol' gi-us 
 
 Brau' ron 
 
 Bry' ges 
 
 Bo-li'na 
 
 Bren'ni, and 
 
 Bry'gi(3)(5) 
 
 Bol-i-nae' us 
 
 Breu' ni 
 
 Bry' se-a 
 
 Bo-lis'sus 
 
 Bren' nus 
 
 Bu-ba-ce' ne 
 
 Bol-la' nus 
 
 Bren'the 
 
 Bu-ba'ces 
 
 Bo'lus 
 
 Bres' ci-a 
 
 Bu' ba-ris 
 
 Bom-i-en' ses 
 
 Bret'ti-i(3) 
 
 Bu-bas-ti' a-cus 
 
 Bo-mil 7 car 
 
 Bri-a' re-us 
 
 Bu' ba-sus 
 
 Bom-o-ni' cae (30) 
 
 Bri' as 
 
 Bu' bon 
 
 Bo-no' ni-a 
 Bo-no' si-us 
 
 Bri-gan'tes 
 Brig-an-ti' nus 
 
 Bu-ceph' a-la 
 Bu-ceph' a-lus 
 
 Bo-no' zhe-us 
 
 Bri' mo 
 
 Bu-col'i-ca 
 
 Bo-o-su' ra 
 
 Bri-se' is 
 
 Bu-col' i^cuni 
 
 Bo-o' tes 
 
 Bri' ses 
 
 Bu-co' li-on 
 
 Bo-o' tus, and 
 
 Bri-se' us 
 
 Bu' co-lus 
 
 Boe' o-tus 
 
 Bri-tan' ni 
 
 Bu'di-i (3) 
 
 Bo're-a 
 
 Bri-tan' ni-a 
 
 Bu-di' ni (3) 
 
 Bo-re' a-des 
 
 Bri-tan' ni-cus (30) 
 
 Bu-do' rum 
 
 Bo' re-as 
 
 Brit-o-mar' tis 
 
 Bu' lis 
 
 Bo-re-as' mi (3) 
 
 Brit-o-ma' rus 
 
 Bul-la'ti-us(lO) 
 
 Bo' re-us 
 
 *Brit'o-nes 
 
 Bu' ne-a 
 
 Bor' ges 
 
 Brix-el' lum 
 
 Bu' nus 
 
 Bor-go' di 
 
 Brix' i-a 
 
 Bu' po-lus 
 
 Bor' nos 
 
 Bri'zo 
 
 Bu' pha-gus 
 
 Bor-sip' pa 
 
 Broc-u-be' us 
 
 Bu-pho' ni-a 
 
 Bo'rus 
 
 Bro' mi-us 
 
 Bu-pi a' si-um 
 
 Bo-rys' the-nes 
 
 Bro' mus 
 
 Bu'ra 
 
 Bos' pho-rus 
 
 Bron' tes 
 
 Bu-ra' i-cus 
 
 Bot'ti-a 
 
 Bron-ti' nus 
 
 Bur' rhus 
 
 Bot-ti-ae'is 
 
 Bro' te-as 
 
 Bur'sa 
 
 Bo-vi-a' num 
 
 Bro' the-us 
 
 Bur' si-a 
 
 Bo-vil'lse 
 
 Bruc'te-ri (4) 
 
 Bu'sae 
 
 Brach-ma' nes 
 
 Bru-ma' li-a 
 
 Bu-si' ris 
 
 Brae' si-a 
 
 Brun-du' si-urn 
 
 Bu'ta 
 
 Bran-chi' a-des 
 
 Bru-tid' i-us 
 
 Bu' te-o 
 
 Bran' chi-da3 
 
 Bru'ti-i(4) 
 
 Bu' tes 
 
 Bran-chyi'li-des 
 
 Bru' tu-lus 
 
 Bu-thro' turn 
 
 Bra' si-ae 
 
 Bru' tus 
 
 Bu-thyr' e-us 
 
 Bras' i-das 
 
 Bry' as 
 
 Bu' to-a 
 
 Bras-i-de'i-a 
 
 Bry-ax' is 
 
 Bu'tos 
 
 Brau're 
 
 Bry'ce 
 
 Bu-tor 7 i-des 
 
 * Britones. Labbe tells us, that this word is sometimes pronounced with the 
 penultimate accent, but more frequently with the antepenultimate. 
 
22 BY BY BY 
 
 Bu-tun'tum 
 
 Byb'li-i(4) 
 
 Byz-an-ti' a-cus 
 
 Bu' tus 
 
 Byb'lis 
 
 By-zan' ti-um 
 
 Bu-zy'ges 
 
 Byl-li' o-nes 
 
 By' zas 
 
 Byb-le' si-a, and 
 
 Byr' rhus 
 
 By-ze' nus 
 
 By-bas' si-a 
 
 Byr'sa 
 
 Byz' e-res 
 
 Byb'li-a 
 
 By-za' ci-um 
 
 Byz' i-a 
 
 CM C#l CA 
 
 CA-AN'THUS 
 
 Cae-cil-i-a' nus 
 
 Cae-so' ni-us 
 
 Cab'a-des(20) 
 
 Cae-cil' i-i (4) 
 
 Caet' o-brix 
 
 Cab'a-les(20) 
 
 Caec' i-lus 
 
 Ca}t' u-lum 
 
 Ca-bal'i-i(4) 
 
 Cae-cil' i-us 
 
 Caa'yx 
 
 Cab-al-li' num 
 
 Cae-ci'na Tus'cus 
 
 Ca-ga' co 
 
 Cab-a-li' nus 
 
 Caec' u-bum 
 
 Ca-i-ci'nus 
 
 Ca-bar' nos 
 
 Caec' u-lus 
 
 Ca-i' cus 
 
 Ca-bas' sus 
 
 Ca3-dic'i-us(JO) 
 
 Ca-i-e'ta 
 
 Ca-bel'li-o(4) 
 
 Cas' li-a 
 
 Ca' i-us, and Ca' i-a 
 
 Ca-bi' ra 
 
 Cffi'li-us 
 
 Ca'i-us 
 
 Ca-bi'ri(3) 
 
 Caem' a-ro 
 
 Cal'ab-er, Q. 
 
 Ca-bir' i-a 
 
 Cae'ne 
 
 Ca-la' bri-a 
 
 Ca-bu'ra(7) 
 
 C'<ef ne-us 
 
 Cal' a-brus 
 
 Cab'u-rus(SO) 
 
 Caen'i-des 
 
 Cal-a-gur-rit ; a-ni 
 
 Ca'ca 
 
 Cas-ni' na 
 
 Cal'a-is 
 
 Cach' a-les (20) 
 
 Cae' nis 
 
 Ca-lag' u-tis 
 
 Ca'cus 
 
 Cae-not' ro-pae 
 
 Cal' a- mis 20) 
 
 Ca-cu' this 
 
 Cae'pi-o 
 
 Cal-a-mi' sa 
 
 Ca-cyp' a-ris 
 
 Cae-ra' tus 
 
 Cal' a-mos 
 
 Ca'di(3) 
 
 Cae' re, or Cae' res 
 
 Cal'a-mus(20) 
 
 Cad-me'a 
 
 Casr'e-si(3) 
 
 Ca-la' nus 
 
 Cad-me' is 
 
 Cae' sar 
 
 Cal'a-on 
 
 Cad' mus 
 
 Caes-a-re' a 
 
 Cal'a-ris 
 
 Ca'dra(7) 
 
 Cae-sa' ri-on 
 
 Cal-a-tha'na 
 
 Ca-du'ce-us(lO) 
 
 Cae-se' na 
 
 Ca-la' thi- on 
 
 Ca-dur'ci (3) 
 
 Cae-sen' ni-as 
 
 Cal' a-thus 
 
 Ca-dus' ci 
 
 Cae-ce'ti-us (10) 
 
 Cal'a-tes(20) 
 
 Cad'y-tis 
 
 Cae' si-a (10) 
 
 Ca-la' ti-a 
 
 C3e'a(7) 
 
 Cse' si-us (10) 
 
 Ca-la' ti-ae( 10) 
 
 Ce'ci-as(10) 
 
 Cae' so 
 
 Ca-la'vi-i(4) 
 
 Cs-cil'i-a 
 
 Cse-so' ni-a 
 
 Ca-la' vi-us 
 
CA CA 
 
 Cal-au-re'a, and 
 
 Cal-lim' a-chus (12) 
 
 Cal-au-ri'a 
 
 Cal-lim' e-don 
 
 Cal'bis 
 
 Cal-lim' e-des 
 
 Cal'ce 
 
 Cal-li'nus 
 
 Cal' chas 
 
 Cal-li'o-pe(S) 
 
 Cal-che-do' ni-a 
 
 Ca!-Ii-pa-ti'ra(30) 
 
 Cal-chin'i-a(12) 
 
 Cal' li-phon 
 
 Cal' dus Cae' li-us 
 
 Cal'li-phron 
 
 Ca'le 
 
 Cal-lip'i-dae 
 
 Cal-e-do' ni-a 
 
 Cal-lip' o-lis 
 
 Cu-le' nus 
 
 Cal' li-pus 
 
 Ca'les 
 
 Cal-lip' y-ges 
 
 Ca-le' si-us (10) 
 
 Cal-lir' ho-e (8) 
 
 Ca-le'ta3 
 
 Cal-lis'te 
 
 Cal ; e-tor (20) 
 
 Cal-lis-te'i-a 
 
 Ca'lex 
 
 Cal-lis' the-nes 
 
 Cal-i-ad'ne 
 
 Cal-lis'to 
 
 Cal-i-ce' ni 
 
 Cal-lis-to-ni' cus 
 
 Ca-lid'i<us, M. 
 
 Cal-lis' tra-tus 
 
 Ca-lig' u-la, C. 
 
 Cal-lix'e-na 
 
 Cal'i-pus 
 
 Cal-lix' e-nus 
 
 Ca'lis 
 
 Ca'Ion 
 
 Cal-laes' chrus 
 
 Ca'lor 
 
 Cal-la'i-ci(4) 
 
 Cal' pe 
 
 Cal' las 
 
 Cal-phur' ni-a 
 
 Cal-la-te' bus 
 
 Cal-phur' ni-us 
 
 Cal-la-te ; ri-a 
 
 Cal-pur' ni-a 
 
 Cal-le'ni 
 
 Cal'vi-a 
 
 Cal'li-a 
 
 Cal-vi' na 
 
 Cal-li'a-des 
 
 Cal-vis'i-us(lO) 
 
 Cal'li-as 
 
 Cal-u-sid' i-us 
 
 Cal-lib'i-us 
 
 Cal-u'si-um(lO) 
 
 Cal-li-ce'rus 
 
 Cal'y-be(8) 
 
 Cal-lich' o-rus 
 
 Cal-y-cad'nus 
 
 Cal'li-cles 
 
 Cal'y-ce(8) 
 
 Cal-li-co-lo' na 
 
 jCa-lyd' i-um 
 
 Cal-lic'ra-tes 
 
 Ca-lyd' na 
 
 Cal-lic-rat' i-das 
 
 Cal'y-don(6) 
 
 Cal-lid'i-us 
 
 Cal-y-do' nis 
 
 Cal-lid' ro-mus 
 
 Cal-y-do' ni-us 
 
 Cal-li-ge' tus 
 
 Ca-lym' ne 
 
 CA 2 
 
 Ca-lyn'da 
 Ca-lyp' so 
 Ca-man'ti-um (10) 
 Cam-a-ri' na 
 Cum-bau'les 
 Cam' bes 
 Cam' bre 
 Cam-bu' ni-i (4) 
 Cam-by' ses 
 Cam-e-la'ni (3) 
 Cam-e-li' tag 
 Cam' e-ra (7) 
 Cam-e-ri'num, and 
 
 Ca-me'ri-um 
 Cam-e-ri'nus 
 Ca-mer' ti-um 
 Ca-mer' tes 
 Ca-mil'la 
 Ca-mil'Ji, and 
 
 Ca-mil' Ize 
 Ca-mil' Jus 
 Ca-mi'ro 
 Ca-mi'rus, and 
 
 Ca-mi'ra 
 Cam-is-sa' res 
 Cam' ma 
 Ca-moe' nae 
 Cam-pa'na Lex 
 Cam-pa' ni-a 
 Cam' pe (8) 
 Cam-pas' pe 
 Camp'sa 
 
 Cam' pus Mar' ti-us 
 Cam-u-lo-gi' nus 
 Ca'na 
 Can' a-ce 
 Can'a-che(]2) 
 Can' a-chus 
 Ca'na! 
 Ca-na'ri-i(4) 
 Can' a-thus 
 
24 CA CA CA 
 
 *Can'da-ce 
 
 Ca'pi-o(4) 
 
 Ca' res 
 
 Can-da' vi-a 
 
 Cap-is-se' ne 
 
 Car' e-sa 
 
 Can-dau' les 
 
 Cap'i-to 
 
 Ca-res' sus 
 
 Can-di' o-pe 
 
 Ca-pit-o-li' nus 
 
 Car-fin' i-a 
 
 Ca' nens 
 
 Cap-i-to' li-um 
 
 Ca'ri-a 
 
 Can-e-pho' ri-a 
 
 Cap-pa-do' ci-a (10) 
 
 Ca'ri-as 
 
 Can'e-thum 
 
 Cap' pa-dox 
 
 Ca-ri' a-te 
 
 Ca-nic-u-la' res di'es Ca-pra'ri-a 
 
 Ca-ri' na 
 
 Ca-nid'i-a 
 
 Ca' pre-ae 
 
 Ca-ri' na? 
 
 Ca-nid' i-us 
 
 Cap-ri-cor' nus 
 
 Car-i' ne 
 
 Ca-nin-e-fa' tes 
 
 Cap-ri-fic-i-a' lis 
 
 Ca-ri' nus 
 
 Ca-nin' i-us 
 
 Ca-pri' na 
 
 Ca-ris' sa-num 
 
 Ca-nis'ti-us(lO) 
 
 Ca-prip' e-des 
 
 Ca-ris' turn 
 
 Ca' ni-us 
 
 Ca' pri-us 
 
 Car- ma' ni-a 
 
 Can' nse 
 
 Cap-ro-ti'na 
 
 Car- in a' nor 
 
 Ca-nop' i-cum 
 
 Ca' prus 
 
 Car' me 
 
 Ca-no' pus 
 
 Cap' sa 
 
 Car-me' lus 
 
 Can' ta-bra 
 
 Cap' sa-ge 
 
 Car-men'ta, and 
 
 Can' ta-bri (3) 
 
 Cap' u-a 
 
 Car- men' tis 
 
 Can-ta' bri-a? (4) 
 
 Ca'pys 
 
 Car-men-ta' les 
 
 Can' tha-rus (20) 
 
 Ca' pys Syl' vi-us 
 
 Car-men-ta' lis 
 
 Can' thus 
 
 Car-a-bac' tra 
 
 Car 7 mi-des (6) (20) 
 
 Can'ti-um (10) 
 
 Car'a-bis (20) 
 
 Car'na Car-din' e-a 
 
 Can-u-le' ira 
 
 Car-a-cal' la 
 
 Car-na' si-us (10) 
 
 Can-u-le' i-us 
 
 Ca-rac' a-tes 
 
 Car-ne' a-des 
 
 Ca-nu' li-a 
 
 Ca-rac'ta-cus 
 
 Car-ne' i-a 
 
 Ca-nu'si-um (10) 
 
 Ca'rse 
 
 Car' ni-on 
 
 Ca-nu' si-us 
 
 Ca-ra/ us 
 
 Car' nus 
 
 Ca-nu' ti-us( 10) 
 
 Car' a-lis 
 
 Car-nu' tes 
 
 Cap'a-neus, 3 sy\\. 
 
 Car' a- nus (20j 
 
 Car-pa' si-a (11) 
 
 Ca-pel' la 
 
 Ca-rau' si-us (10) 
 
 Car-pa' si-um (11) 
 
 Ca-pe' na 
 
 Car' bo 
 
 Car' pa- thus 
 
 Ca-pe' nas 
 
 Car-che'don(12) 
 
 Car' pi-a (7) 
 
 Ca-pe'ni(3) 
 
 Car-ci' nus 
 
 Car' pis 
 
 Ca' per 
 
 Car-da' ces 
 
 Car'po 
 
 Ca-pe' tus 
 
 Car-dam' y-le 
 
 Car-poph' o-ra 
 
 Ca-pha' re-us 
 
 Car' di-a 
 
 Car-poph' o-rus 
 
 Caph'v-a? (4) 
 
 Car-du'chi(l2;(3) 
 
 Car'ra?, and Car'rhae 
 
 * Cundace. L^mpriere, Labbe, and Ainsworih, accent this word on the first 
 syllable, but Gouldman and Holyolte on the last ; and I am much mistaken 
 if the general ear has not sanctioned this latter pronunciation, and given it the 
 preference. 
 
 
CA CA CE 25 
 
 Car-ri-na' tes 
 
 Cas-ta' li-a 
 
 Cau' i li-us 
 
 Car-ru 7 ca 
 
 Cas-ta' li-us fons 
 
 Cau' nus 
 
 Car-se' o-li (3) Cas-to'lus 
 
 Cau' ros 
 
 Car-ta' !i-as Cas-ta' ne-a 
 
 Cau' rus 
 
 Car-th ae' a Cas-ti-a-ni' ra 
 
 Ca'us 
 
 Car-tha-gin-i-en'ses Cas' tor and Pol' lux 
 
 Ca-y'ci(3)(6) 
 
 Car th a' go Cas-tra' ti-us (10) 
 
 Ca-y' cus 
 
 Car' tttage (Eng). Cas' tu- lo 
 
 Ca-ys' ter 
 
 Car-tha' sis Cat-a-du' pa 
 
 Ce'a, or Ce'os 
 
 Car-tei'a, 3 syll. Cut-a-meri'te-les 
 
 Ce'a-des 
 
 Car-vil' i-us Cat' a-na (0) 
 
 Ceb-al-li'nus 
 
 Ca'rus Cat -a-o' ni-a 
 
 Ceb-a-ren' ses 
 
 Ca'ry-a(6)(7) 
 
 Cat a-rac'ta 
 
 Ce'bes 
 
 Car-y-a' tae 
 
 Cat' e-nes 
 
 Ce' bren 
 
 Car-y-a' tis 
 
 Ca-thas'a 
 
 Ce-bre' ni-a 
 
 Ca-rys' ti-us 
 
 Cath'a-ri(3) 
 
 Ce-bri' o-nes v 
 
 Ca-rys' tus 
 
 Ca'ti-a(ll) 
 
 Cec'i-das 
 
 Ca' ry-um 
 
 Ca-ti-e'na 
 
 Ce-cil' i-us 
 
 Cas' ca 
 
 Ca-ti e'nus 
 
 Cec' i-na 
 
 Cas-cel' li-us 
 
 Cat-i-li' na 
 
 Ce-cin'na, A. 
 
 Cas-i-li' num 
 
 Cat' i-line (Eng.) 
 
 Ce-cro' pi-a 
 
 Ca-si'na Ca-si'num 
 
 Ca-til' li (3) 
 
 Ce-crop' i-da; 
 
 Ca' si-us (10) 
 
 Ca-til'lus, or 
 
 Ce' crops 
 
 Cas-me' nae 
 
 Cat'i-lus 
 
 Cer-cyph'a-lae 
 
 Cas- mil' la 
 
 Ca-ti' na 
 
 Ced-re-a' tis 
 
 Cas-pe' ri-a 
 
 Ca' ti-us (10) 
 
 Ce'don 
 
 Cas-per' u-la 
 
 Cat'i-zi(S) 
 
 Ce-dru'si-i(3) 
 
 Cas-pi-a' na 
 
 Ca'to(l) 
 
 Ceg' lu-sa 
 
 Cas'pi-i(4) 
 
 Ca' tre-us 
 
 Ce'i(3) 
 
 Cas'pi-um ma' re 
 
 Cat' ta 
 
 Cel'a-don 
 
 Cas-san-da' ne 
 
 Cat' ti (3) 
 
 Cel'a-dus 
 
 Cas-san' der 
 
 Cat-u-H-a' na 
 
 Ce-lse'nae 
 
 Cas-san' dra 
 
 Ca-tul'lus 
 
 Ce-ls'no 
 
 Cas-san' dri-a 
 
 Cat' u-lus (20) 
 
 Cel'e-ffi(4) 
 
 Cas'si-a (10) 
 
 Cav a-ril'lus 
 
 Ce-le'i-a, and Ce'la 
 
 Cas-si' o-pe 
 
 Cav-a-ri' nus 
 
 Cel-e-la'tes 
 
 Ca-si-o-pe' a 
 
 Can' ca-sus 
 
 Ce-len'drae 
 
 Cas-si-ter' i-des 
 
 Cau' con 
 
 Ce-len'dris, or 
 
 Cas-si-ve-lau' nus 
 
 Cau' co-nes 
 
 Ce-le' de-ris 
 
 Cas' si-us, C. (10) 
 
 Cau'di, and 
 
 Ce-le' ne-us 
 
 Cas-so' tis 
 
 Cau' di-um 
 
 Ce-len'naCe-la'na 
 
 Cai-tab' a-la 
 
 Ca'vi-i(3) 
 
 Ce'ler 
 
 Cas'ta-bus 
 
 Cau-lo' ni-a 
 
 Cel ; e-res 
 
26 CE 
 
 Cel' e-trum 
 Ce'le-us 
 Cel' mus 
 Cel' o-nae 
 Cel' sus 
 Cel'tas 
 Cel-ti-be'ri 
 Cel'ti-ca 
 Cel' ti-ci 
 Cel-til'lus 
 Cel-to'ri-i(4) 
 Cel-to/ cy-thae 
 Cem' me-nus 
 Cem'psi (3) 
 Ce-nae' urn 
 Cen'chre-aB(12) 
 Cen'chre-is 
 Cen' chre-us 
 Cen' chri-us 
 Ce-nes' po-lis 
 Ce-ne'ti-um(lO) 
 Ce' ne-us 
 Cen-i-mag'ni 
 Ce-ni' na 
 Cen-o-ma' ni 
 Cen-so' res 
 Cen so-ri'nus 
 Cen' sus 
 Cen-ta-re' tus 
 Cen-tau'ri(S) 
 Cen-tau' rus 
 Cen-tob' ri-ca 
 Cen' to-res (20) 
 Cen-tor' i-pa 
 Cen-tri' tes 
 Cen-tro' ni-us 
 Cen-tum' vi-ri (4) 
 Cen-tu' ri-a 
 Cen-tu' ri-pa 
 Ce' os and Ce' a 
 Ceph' a-las 
 Ceph-a-le' di-on 
 Ce-phal' len 
 
 CE 
 
 Ceph-a-le' na 
 Ceph-al-le' ni-a 
 Ceph'a-lo 
 Ceph-a-loe'dis (5) 
 Ceph' a-lon 
 Ceph-a-lot' o-mi 
 Ceph-a-lu' di-um 
 Ceph'a-lus 
 Ce-phe' us 
 Ce-phe' nes 
 Ce-phis'i-a (10) (20) 
 Ceph-i-si' a-des 
 Ce-phis-i-dc/ rus 
 Ce-phis'i-on(lO) 
 Ce-phis-od' o-tus 
 Ce-phis' sus 
 Ce-phi' sus 
 Ce' phren 
 Ce'pi-o 
 Ce'pi-on 
 Cer'a-ca 
 Ce-rac' a-tes 
 Ce-ram' bus 
 Cer-a-mi' cus 
 Ce-ro' mi-urn 
 Cer'a-mus^O) 
 Ce'ras 
 Cer' a-sus 
 Cei 7 a-ta 
 Ce-ra'tus 
 Ce-rau' ni-a 
 Ce-rau' ni-i (4) 
 Ce-rau' n us 
 Ce-rau' si-us (10) 
 Cer-be' ri-on 
 Cer'be-rus 
 Cer' ca-phus 
 Cer-ca-so' rum 
 Cer-ce' is 
 Cer-ce' ne 
 Cer-ces'tes 
 Cer'ci-des 
 Cer' ci-i (4) 
 
 CE 
 
 Cer' ci-na 
 Cer-cin' na 
 Cer-cin' i-um 
 Cer'ci-us(lO) 
 Cer-co' pes 
 Cer' cops 
 Cer'cy-on(lO) 
 Cer-cy' o-nes 
 Cer-cy'ra, or 
 Cor-cy'ra 
 Cer-dyl' i-um 
 Cer-e-a'li-a 
 Ce'res 
 Ce-res' sus 
 Cer'e-tae 
 Ce-ri-a' lis 
 Ce'ri-i(4) 
 Ce-ril'lum 
 Ce-rin' thus 
 Cer-y-ni' tes 
 Cer-ma'nus 
 Cer' nes 
 Ce'ron 
 
 Cer-o-pas' a-des 
 Ce-ros' sus 
 Cer 7 phe-res 
 Cer-rhze'i(S) 
 Cer-sob-lep' tes 
 Cer' ti-ma 
 Cer-to' ni-um 
 Cer-va' ri-us 
 Cer'y-ces(6) (20) 
 Ce-ryc' i-us 
 Cer-y-mi' ca 
 Cer-ne'a 
 Ce-ryn'i-tes 
 Ce-sel'li~us 
 Ce-sen' ni-a 
 Ces'ti-us(lO) 
 Ces-tri' na 
 Ces-tri' nus 
 Ce'tes 
 Ce-the'gus 
 
CH CH CH 27 
 
 Ce' ti-i (4) (10) i Chal' co-don 
 
 Cha'ris 
 
 Ce'ti-us(lO) j Chal' con 
 
 Cha-ris'i-a 
 
 Ce'to 
 
 Chal'cus 
 
 Char'i-tes 
 
 Ce' us, and Cae' us 
 
 Chal-da'a 
 
 Char' i-ton 
 
 Ce'yx 
 
 Chal-d33'i(3) 
 
 Char' mi-das 
 
 Cha' bes 
 
 Cha-les' tra 
 
 Char' me, and 
 
 Che' a* (1 2) 
 
 Chal-o-ni' tis 
 
 Car' me 
 
 Cha-bi' nus 
 
 Chal'y-bes, and 
 
 Char' mi-des 
 
 Cha' bri-a 
 
 Cal'y-bes 
 
 Char-mi' nus 
 
 Cha' bri-as 
 
 Chal-y-bo-ni' tis 
 
 f Char-mi' o-ne 
 
 Chab'ry-is(6) 
 
 Chal'ybs 
 
 Char' mis 
 
 Chae-an' i-t33 (4) 
 
 Cha-ma' ni 
 
 Char-mos' y-na 
 
 Chae' re-as 
 
 Cham-a-vi' ri (4) 
 
 Char' ino-tas 
 
 Chaer-e-de' mus 
 
 Cha'ne 
 
 Char' mus 
 
 Chae-re' mon 
 
 Cha' on 
 
 Cha' ron 
 
 Chaer' e-phon 
 
 Cha' o-nes 
 
 Cha-ron' das 
 
 Chae-res' tra-ta 
 
 Cha-o' ni-a 
 
 Char-o-ne' a 
 
 Chae-rin' thus 
 
 Cha-o-ni'tis 
 
 Cha-ro' ni-um 
 
 Chae-rip' pus 
 
 Cha' os 
 
 Cha' rops, and 
 
 Chse'ro 
 
 Char' a-dra 
 
 Char' o-pes 
 
 Chae-ro' ni-a 
 
 Cha-ra' dros 
 
 Cha-ryb' dis 
 
 Chae-ro-ne' a, and 
 
 Char' a-drus 
 
 Chau' bi, and 
 
 Cher-ro-ne'a 
 
 Cha-rae'a-das 
 
 Chau' ci 
 
 Cha-lae'on 
 
 Char-an-dae' i 
 
 Chau' la (7) 
 
 Chal-cse' a 
 
 Cha' rax 
 
 Chau' rus 
 
 Chal' ce-a 
 
 Cha-rax' es, and 
 
 Che'lae 
 
 Chal-ce' don, and 
 
 Cha-rax' us 
 
 Che'les 
 
 Chal-ce-do' ni-a 
 
 Cha' res 
 
 Chel-i-do' ni-a 
 
 Chal-ci-de' ne 
 
 Char'i-cles 
 
 Chel-i-do' ni-ae 
 
 Chal-ci-den' ses 
 
 Char' i-clo 
 
 Che-lid' o-nis 
 
 Chal-cid' e- us 
 
 Char-i-cli' des 
 
 Chel'o-ne 
 
 Chal-cid' i-ca 
 
 Char-i-de' mus 
 
 Chel' o-nis 
 
 Chal-cid' i-cus 
 
 Char'i-la 
 
 Chel-o-noph' a-gi 
 
 Chal-ci-oe' us 
 
 Char-i-la' us, and 
 
 Chel-y-do're-a 
 
 Chal-ci' o-pe 
 
 Cha-ril'lus 
 
 Chem' mis 
 
 Chal-ci' tis (3) 
 
 Cha-ri'ni, and 
 
 Che'na(7) 
 
 Chal' cis 
 
 Ca-ri'ni(3) 
 
 Che'naa 
 
 * C/ua. The ch in this and all words from the Greek and Latin, must be 
 pronounced like k. 
 
 f Charmionc. Dry den, in his tragedy of All for Love, has anglicised this 
 word into Charmion ; the ch pronounced as in charm, 
 
28 CH CH CI 
 
 Che' ni-on 
 
 Choer' e-ai 
 
 Cliry-so'di-um 
 
 Che' ni-us 
 
 Chon' ni-das 
 
 Chry-sop' o-lis 
 
 Che' ops, and 
 
 Chon' u-phis 
 
 Chry-sor' rho-ae 
 
 Che-os' pes 
 
 Cho-ras' mi (3) * 
 
 Chry-sor' rho-as 
 
 Che' phren 
 
 Cho-rin' e-us 
 
 Chrys' os-toin 
 
 Cher-e-moc' ra-tes 
 
 Cho-roe' bus 
 
 Chrys-oth'e-mis 
 
 Che-ris' o-plius 
 
 Cho-rom-nae' i (3) 
 
 Chryx' us 
 
 Cher' o-phon 
 
 Chos' ro-es 
 
 Chtho'ni-a(12) 
 
 Cher'si-as(lO) 
 
 Chre' mes 
 
 Chtho' ni-us (12) 
 
 Cher-sid' a-mas 
 
 Chrem' e-tes 
 
 Chi' trum 
 
 Cher' si-pho 
 
 Chres' i-phon 
 
 Cib-a-ri' tis 
 
 Cher-so-ne' sus 
 
 Chres-phon' tes 
 
 Cib'y-ra 
 
 Che-rus'ci (3) 
 
 Chres' tus 
 
 Cic' e-ro 
 
 Chid-nae'i(3) 
 
 Chro' mi -a 
 
 Cith'y-ris 
 
 Chil-i-ar' chus 
 
 Chro' mi-os 
 
 Cic' o-nes 
 
 Chil' i-us, and 
 
 Chro' mis 
 
 Ci-cu' ta 
 
 Chil'e-us 
 
 Chro' mi-us 
 
 Ci-lic'i-a(lO) 
 
 Chi'lo 
 
 Chro' ni-us 
 
 Ci-lis'sa 
 
 Chi-lo' nis 
 
 Chro' nos 
 
 Ci'lix 
 
 Chi-mae' ra 
 
 Chry' a-sus 
 
 Cil' la 
 
 Chim' a-rus 
 
 Chry'sa, and 
 
 CiMes 
 
 Chi-me' ri-utn 
 
 Chr/se 
 
 Cil'lus 
 
 Chi-om' a-ra 
 
 Chrys' a-me 
 
 Cil' ni-us 
 
 Chi' on (1) 
 
 Chry-san' tas 
 
 Ci'lo 
 
 Chi'o-ne(8) 
 
 Chry-san'thi-us 
 
 Cim'ber 
 
 Chi-on' i-des 
 
 Chry-san' tis 
 
 Cim-be' ri-us 
 
 Chi' o-nis 
 
 *Chry-sa' or 
 
 Cim' bri (3) 
 
 Chi' os 
 
 Chrys-a-o' re-us 
 
 Cim'bri-cum 
 
 Chi' ron 
 
 Chry-sa' o-ris 
 
 Cim' i-nus 
 
 Chit' o-ne (8) 
 
 Chry' sas 
 
 Cim-me'ri-i (4) 
 
 Chlo'e 
 
 Chry-se' is 
 
 Cim' me-ris 
 
 Chlo' re-us 
 
 Chry-sei / mus 
 
 Cim-me' ri-um 
 
 Chlo'ris 
 
 Chry'ses 
 
 Ci-mo'lis, and 
 
 Chlo' rus 
 
 Chry-sip'pe 
 
 Ci-no' lis 
 
 Cho-a-ri' na 
 
 Chry-sip' pus 
 
 Ci-mo' lus 
 
 Cho-as' pes 
 
 Chry' sis 
 
 Ci' mon 
 
 Cho'bus 
 
 Chrys -o-as' pi-des 
 
 Ci-nae' thon 
 
 Choar' a-des 
 
 Chry-sog' o-nus 
 
 Ci-nar' a-das 
 
 Cho3r' i-lus 
 
 Chrys-o-la' us 
 
 Cin' ci-a (10) 
 
 * Chrysaor. Then started out, when yon began to bleed 
 The great Chrysaor, and the gallant steed. 
 
 COOKE'S Hfsiod. Theog. 
 
CI CL CL 29 
 
 Cin-cin-na' tus, L. Q. 
 
 Cis'si-ae(ll) 
 
 Cle'o-bis 
 
 Cin'ci-us(lO) 
 
 Cis' si-des 
 
 Cle-o-bu'la 
 
 Cin' e-as 
 
 Cis-sces' sa (5) 
 
 Cle-ob-u-li' na 
 
 Ci-ne'si-as(ll) 
 
 Cis'sus 
 
 Cle-o-bu' lus 
 
 Cin' e-thon 
 
 Cis-su' sa 
 
 Cle-o-cha' res 
 
 Cin'ga 
 
 Cis-tae' ne 
 
 Cle-o-cha'ri-a 
 
 Cin-get' o-rix 
 
 Ci-thse' ron 
 
 Cle-o-dae' us 
 
 Sin-get' o-rix 
 
 Cith-a-ris' ta 
 
 Cle-od' a-mas 
 
 Cin'gu-lum 
 
 Cit'i-um (10) 
 
 Cle-o-de' mus 
 
 Cin-i-a' ta 
 
 Ci-vi'lis 
 
 Cle-o-do' ra 
 
 Ci-nith'i-i(4) 
 
 Ci'us 
 
 Cle-o-dox' a 
 
 Cin'na 
 
 Ciz' y-cum 
 
 Cle-og' e-nes 
 
 Ciu' na-don 
 
 Cla' de-us 
 
 Cle-o-la' us 
 
 Cin' na-iuus 
 
 Cla'nes 
 
 Cle-om' a-chus 
 
 Cin-ni' a-na 
 
 Cla'nis 
 
 Cle-o-man' tes 
 
 Cinx' i-a 
 
 Cla'ni-us, or Cla'nis 
 
 Cle-om' bro-tus 
 
 Ci' nyps, and 
 
 Cia'rus 
 
 Cle-o-me'des 
 
 Cin' y-phus 
 
 Clas-tid' i-um 
 
 ^Cle-om' e-nes 
 
 Cin' y-ras 
 
 Clau' di-a 
 
 Cle' on 
 
 Ci'os 
 
 Clau'di-a 
 
 Cle-o'nae, and 
 
 Cip' pus 
 
 Clau-di-a' nus 
 
 Cle'o-na 
 
 Cir'ce 
 
 Clau-di-op' o-lis 
 
 Cle-o'ne 
 
 Cir-cen'ses lu'di 
 
 Clau' di-us 
 
 Cle-o-ni' ca 
 
 Cir'ci-us (10) 
 
 Clav-i-e' nus 
 
 Cle-o-ni' cus (30) 
 
 Cir'cus 
 
 Clav'i-ger 
 
 Cle-on' nis 
 
 Ci' ris 
 
 Clau' sus 
 
 Cle-on' y-mus 
 
 Cir-rae' a-tuni 
 
 CJa-zom'e-nae, and 
 
 Cle-op' a-ter 
 
 Cir' rha, and 
 
 Cla-zom' e-iia 
 
 fCle-o-pa'tra 
 
 Cyr'rha 
 
 Cle'a-das 
 
 Cle-op' a-tris 
 
 Cir' tha, and Cir' ta 
 
 Cle-an' der 
 
 Cle-oph' a-nes 
 
 Cis-al-pi' na Gal' li-a 
 
 Cle-an' dri-das 
 
 Cle-o-phan' thus 
 
 Cis'pa 
 
 Cle-an' thes 
 
 Cle' o-phes 
 
 Cis' sa 
 
 Cle-ar' chus 
 
 Cle-oph' o-lus 
 
 Cis' se-is 
 
 Cle-ar' i-des 
 
 Cle' o-phon 
 
 Cis-se' us 
 
 Cle' mens 
 
 Cle-o-phy'lus 
 
 Cis'si-a(ll) 
 
 Cle'o 
 
 Cle-o-pom' pus 
 
 * Cleomenes. There is an unaccountable caprice in Dryden's accentuation 
 of this word, in opposition to all prosody ; for through the whole tragedy of this 
 title he places the accent on the penultimate instead of the antepenultimate 
 syllable. 
 
 f Cleopatra. The learned editor of Labbe tells us this word ought to be 
 pronounced with the accent on the antepenultimate, Cle-op' a-tra, though the 
 penultimate accentuation, he says, is the more common. 
 
30 CL CO CO 
 
 Cle-op-tol' e-mus 
 
 Clon'di-cus 
 
 Coc'a-lus 
 
 Cle' o-pus 
 
 Clo' ni-a 
 
 Coc-ce' i-us 
 
 Cle-o'ra 
 
 Clo' ni-us 
 
 Coc-cyg' i-us 
 
 Cle-os' tra-tus 
 
 Clo'tho 
 
 Co'cles,Pub.Horat 
 
 Cle-ox' e-nus 
 
 Clu-a-ci' na 
 
 Coc'ti-ae, and 
 
 Clep'sy-dra 
 
 Clu-en'ti-us (10) 
 
 Cot' ti-ae 
 
 Cle'ri(3) 
 
 Clu' po-a, and 
 
 Co-cy' tus 
 
 Cles'i-des 
 
 Clyp'e-a(23) 
 
 Co-dom' a-nus 
 
 Cle'ta 
 
 Clu' si-a (11) 
 
 Cod'ri-dffi 
 
 Clib' a-nus 
 
 Ciu-si'ni fon'tes 
 
 Co-drop' o-lis 
 
 Cli-de' mus 
 
 Clu-si'o-lum 
 
 Co'drus 
 
 Clim' e-nus 
 
 Clu'si-um (10) 
 
 Coe-cil' i-us 
 
 Cli' nas 
 
 Clu' si-us (10) 
 
 Coe'la 
 
 Clin' i-as 
 
 Clu'vi-a 
 
 Coe-lal'e-tae 
 
 Cli-nip' pi-des 
 
 Clu'vi-us Ru'fus 
 
 Coel-e-syr' i-a, and 
 
 Cli' nus 
 
 Clym'e-ne 
 
 Coe-lo-syr' i-a 
 
 Cli'o 
 
 Clym-en-e'i-des 
 
 Coe'li-a 
 
 Cli-sith' e-ra 
 
 Clym' e-nus 
 
 Cce-li-ob' ri-ga 
 
 Ciis' the-nes 
 
 Cly-son-y-mu' sa 
 
 Coe' li-us 
 
 Cli'UB 
 
 Clyt-em-nes' tra 
 
 Cce'lus 
 
 Cli-tar'chus 
 
 Clyt'U, or Clyt'i-e 
 
 Coe'nus 
 
 Cli' tse 
 
 Clyt'i-us(lO) 
 
 Goer' a-nus 
 
 Cli-ter' ni-a 
 
 Cly'tus 
 
 Co'es 
 
 Clit-o-de' mus 
 
 *Cna-ca' di-um (30) 
 
 Coe' us 
 
 Cli-tom' a-chus 
 
 Cnac' a-lis 
 
 Cog' a-mus 
 
 Cli-ton'y-mus 
 
 Cna' gi-a 
 
 Cog-i-du' nus 
 
 Clit' o-phon 
 
 Cne'mus 
 
 Co'hi-bus 
 
 Cli' tor 
 
 Cne' us, or Cnae' us 
 
 Co'hors 
 
 Cli-to'ri-a 
 
 Cni-din' i-um 
 
 Co-lae' nus 
 
 Cli-tum'nus 
 
 Cni'dus, or 
 
 Co-lax' a-is 
 
 Cli'tus 
 
 Gni' dus 
 
 Co-lax' es 
 
 Clo-a-ci' na Cno' pus ( 1 3) 
 
 Col'chi(12)(3) 
 
 Clo-an' thus Cnos' si-a (11) 
 
 Col'chis, and 
 
 Clo'di-a Cno'sus 
 
 Col'chos 
 
 Clo'di-us Co' os, and Cos 
 
 Co-len' da 
 
 C!CE' li-a Co-a-ma' ni 
 
 Co'li-as 
 
 Cloe' li-ae (4) Co-as' trae, and 
 
 Col-la' ti-a 
 
 Cloe' li-us Co-ac' trae 
 
 Col-la-ti'nus 
 
 Clo'nas 
 
 Cob' a -res 
 
 Col-li'naf 
 
 * Cnacadium. C before N ,in this and the succeeding words, is mute j and 
 they must be pronounced as if written Nacadium, Nacalis, &c. 
 
 f Collina. Lempriere accents this word on the antepenultimate ; but 
 worth, Gouldman , and Holyoke, more properly on the penultimate? 
 
CO CO CO 31 
 
 Col-lu' ci-a 
 
 Con-cor' di-a 
 
 Co-po' ni-us 
 
 Co'lo 
 
 Con' da-lus 
 
 Cop' ra-tes 
 
 Co-lo' nse 
 
 Con' da-te 
 
 Co' pre-us 
 
 Co-lo' ne 
 
 Con-do-cha' tes 
 
 Cop' tus and Cop' tos 
 
 Co-lo' nos 
 
 Con-dru' si (3) 
 
 Co'ra 
 
 Col'o-phon 
 
 Con-dyl' i-a 
 
 Cor-a-ce' si-um, and 
 
 Co-los'se, and 
 
 Co'ne(7) 
 
 Cor-a-cen' si-um 
 
 Co-los' sis 
 
 Con-e-to-du' nus 
 
 Cor-a-co-na' sus 
 
 Co-los' sus 
 
 Con-fu'ci-us (10) 
 
 Co-ral' e-tae 
 
 *Col'o-tes 
 
 Con-ge' dus 
 
 Co-ral'li(S) 
 
 Col' pe 
 
 Co' ni-i (3) 
 
 Co-ra r nus 
 
 Co-lum' ba 
 
 Con-i-sal' tus 
 
 Co'ras 
 
 Col-u-mel'la 
 
 Co-nis'ci(3) 
 
 Co' rax 
 
 Co-lu' thus 
 
 Con-ni' das 
 
 Co-rax' i (3) 
 
 Co-\y t' tus 
 
 Co' nen 
 
 Cor' be-us 
 
 Com-a -ge' na 
 
 Con-sen' tes 
 
 Cor' bis 
 
 Com-a-ge' ni 
 
 Con-sen' ti-a 
 
 Cor' bu-lo 
 
 Co-ma' na 
 
 Con-sid'i-us 
 
 Cor-cy' ra 
 
 Co-ma' ni-a 
 
 Con-si-1i' num 
 
 Cor'du-ba 
 
 Com' a-ri (3) 
 
 Con'stans 
 
 Cor-du-e'ne(S) 
 
 Com' a-rus 
 
 Con-stan' ti-a (11) 
 
 Co' re (8) 
 
 Co-mas' tus 
 
 Con-stan-ti' na 
 
 Co-res' sus 
 
 Com-ba' bus 
 
 Con-stan-ti-nop' o- 
 
 Cor' e-sus 
 
 Com' be 
 
 lis 
 
 Cor' e-tas 
 
 Com' bi (3) 
 
 Con-stan-ti' nus 
 
 Cor-fin' i-um 
 
 Com-bre' a 
 
 Con' stan-tine (Eng.) 
 
 Co'ri-a(7) 
 
 Com' bu-tis 
 
 Con-stan' ti-us ( 10) 
 
 Co-rin' e-um 
 
 Co- me' tes 
 
 Con' sus 
 
 Co-rin' na 
 
 Com' e-tho 
 
 Con-syg' na 
 
 Co-rin' nus 
 
 Co-min' i-us 
 
 Con-ta-des'dus 
 
 Co-rin' thus 
 
 Co-mit'i-a(lO) 
 
 Con-tu'bi-a(7) 
 
 Co-ri-o-la r nus (23) 
 
 Co' mi-us 
 
 Co' on 
 
 Co-ri'o-li, and 
 
 Com' mo-dus 
 
 Co' os, Cos, Ce'a 
 
 Co-ri-ol' la 
 
 Co' mon 
 
 and Co 
 
 Co-ris' sus 
 
 Com-pi-ta' li-a 
 
 Co'pse 
 
 Cor'i-tus 
 
 Comp'sa-tus 
 
 Co-phon' tis 
 
 Cor' mus 
 
 Com-pu' sa 
 
 Co'phas 
 
 Cor' rna-sa 
 
 Co' mus 
 
 Co'pi-a(7) 
 
 Cor-ne' li-a 
 
 Con'ca-ni(3) 
 
 Co-pil'lus 
 
 Cor-ne'li-i(4) 
 
 * Colotes. Ainsworth and Lempriere accent this word on the antepenulti- 
 mate syllable; bin Labbe Gouldman, and Holyoke, more agreeably to the 
 general ear, on the penultimate. 
 
32 CO CR CR 
 
 Cor-nic'u-lum 
 
 Co-sin' gas 
 
 Crat-e-sip' pi-das 
 
 Cor-ni-fic / i-us(10) 
 
 Co' sis 
 
 Cra-te' vas 
 
 Cor' ni-ger 
 
 Cos' mus 
 
 Cra' te-us 
 
 Cor-nu' tus 
 
 Cos'se-a (7) 
 
 Cra' this 
 
 Co-roe' bus 
 
 Cos' sus 
 
 Cra- ti' nus 
 
 Co-ro' na 
 
 Cos-su' ti-i (4) 
 
 Cra-tip' pus 
 
 Cor-o-ne' a 
 
 Cos-to-bce'i (3) 
 
 Crat' y-lus (6) 
 
 Co-ro' nis 
 
 Co-sy' ra 
 
 Crau'si ae(ll) 
 
 Co-ron' ta 
 
 Co' tes, and Cot' tes 
 
 Crati' sis 
 
 Co-re/ nus 
 
 Co'thon 
 
 Cra-ux' i-das 
 
 Cor-rha'gi-um 
 
 Co-tho'ne-a(7) 
 
 Crem' e-ra 
 
 Cor' si (3) 
 
 Cot' i-so 
 
 Crem' ma 
 
 Cor' si-ae 
 
 Cot-to' nis 
 
 Crem' my-on, and 
 
 Cor'si-ca(7) 
 
 Cot' ta 
 
 Crom' my-on 
 
 Cor'so-te 
 
 Cot' ti-ae Al' pes 
 
 Crem' ni, and 
 
 Cor' su-ra (7) 
 
 Cot' tus 
 
 Crem' nos 
 
 Cor-to' nae 
 
 Cot-y-aj'um (6) 
 
 Cre-mo'na 
 
 Cor-vi' nus 
 
 Co-ty'o-ra 
 
 Crem' i-des 
 
 Cor-un-ca' nus 
 
 Cot-y-lae' us 
 
 Cre-mu'ti-us(lO) 
 
 Co'rus 
 
 Co-tyl'i-us 
 
 Cre'on 
 
 Cor-y-ban'tes (6) 
 
 Co'tys 
 
 Cre-on-ti' a-des 
 
 Cor' y-bas 
 
 Co-tyt' to 
 
 Cre-oph'i-lus 
 
 Cor-y-bas' sa 
 
 Cra' gus 
 
 Cre-pe' ri-us 
 
 Cor' y-bus 
 
 Cram-bu' sa 
 
 Cres 
 
 Co-rye' i-a (24) 
 
 Cran'a-i(3) 
 
 Cre'sa, and Cres'sa 
 
 Co-rye' i-des 
 
 Cran' a-pes 
 
 Cre' si-us (11) 
 
 Co-rye' i-us (10) 
 
 Cran' a-us 
 
 Cres-phon' tes 
 
 Cor'y-cus(6) 
 
 Cra' ne 
 
 Cres' si-us (11) 
 
 Cor' y-don 
 
 Cra-ne' um 
 
 Cres' ton 
 
 Cor' y-la, and 
 
 Cra' ni-i (4) 
 
 Cre' sus 
 
 Cor-y-le'um 
 
 Cra' non, and 
 
 Cre'ta 
 
 Co-rym'bi-fer 
 
 Cran' non 
 
 Crete (Eng.) (8) 
 
 Cor' y-na 
 
 Cran' tor Cre-tae' us 
 
 Cor-y-ne' ta, and 
 
 Cra-as-sil'i-us (10) 
 
 Cre' te (8) 
 
 Cor-y-ne' tes 
 
 Cras' sus 
 
 Cre' te-a (7) 
 
 Cor-y-pha' si-urn 
 Cor-y-then' ses 
 
 Cras-ti'nus 
 Crat' a-is 
 
 Cre' tes 
 Cre-te' us 
 
 Cor' y-hus 
 
 Cro- tae' us 
 
 Cre' the-is 
 
 Co-ry'tus(G) 
 
 Cra' ter 
 
 Cre' the-us 
 
 Cos 
 
 Crat't-rus(20) 
 
 Creth'o-na 
 
 Co'sa, and Cos'sa, 
 
 Cra' tes 
 
 Cret' i-cus 
 
 or Co'sae 
 
 Crat-es-i-cle'a 
 
 Cres' sas 
 
 Cos-co' ni-us 
 
 Crat-e-sip'o-lis 
 
 Cre-u'sa(7) 
 
CR CY CY 
 
 Cre-u' sis 
 
 Cru'sis Cy-a'ne-a3 (4) 
 
 Cri'a-sus 
 
 Crus-tu-me' ri (4) Cy-an' e-e, and 
 
 Cri-nip' pus 
 
 Crus-tu-me' ri-a 
 
 Cy-a' ne-a 
 
 Cri' nis 
 
 Crus-tu-me' ri-um 
 
 Cy-a' ne-us 
 
 Cri-ni'sus and 
 
 Crus-tu-mi' num 
 
 Cy-a-nip' pe 
 
 Cri-mi' sus 
 
 Crus-tu' mi-um 
 
 Cy-a-nip' pus 
 
 Cri' no 
 
 Crus-tu' nis, and 
 
 Cy-a-rax' es, or 
 
 Cri' son 
 
 Crus-tur-ne' ni-us 
 
 Cy-ax' a-res (6) 
 
 Cris-pi' na 
 
 Cry' nis 
 
 Cy-be'be 
 
 Cris-pi' nus 
 
 Cte' a-tus 
 
 Cyb'e-la, and 
 
 Crit' a-la 
 
 Ctem'e-ne(l3) 
 
 C)b-e'la 
 
 Crith'e-is 
 
 Cte'nos 
 
 Cyb-e'le 
 
 Cri-tho' te 
 
 Cte' si-as 
 
 Cyb'e-lus 
 
 Crit'i-as(lO) 
 
 Cte-sib'i-us 
 
 Cyb' i-ra 
 
 Cn' to 
 
 Ctes'i-cles 
 
 Cy-ce'si-um (11) 
 
 Crit-o-bu'lus 
 
 Cte-sil' o-chus 
 
 Cych' re-us (12) 
 
 Crit-og-na' tus 
 
 Ctes'i-phon(13) 
 
 Cyc' la-des 
 
 Crit-o-la' us 
 
 Cte-sip' pus 
 
 Cy-clo' pes 
 
 Cri' us 
 
 Ctim' e-ne 
 
 Cy' clops (Eng.) 
 
 Cro-bi' a-lus 
 
 Cu' la-ro 
 
 Cyc' nus 
 
 Crob'y-zi(3) 
 
 Cu' ma and Cu' mas 
 
 Cy'da(6) 
 
 Croc'a-le 
 
 Cu-nax'a (7) 
 
 Cyd'i-as 
 
 Cro' ce-se 
 
 Cu-pa' vo 
 
 Cy-dip' pe 
 
 Croc-o-di-lop' o-lis 
 
 Cu- pen' tus 
 
 Cyd' nus 
 
 Cro' cus 
 
 Cu-pi' do 
 
 Cy' don 
 
 Croe' sus 
 
 Cu-pi- en' ni-us 
 
 Cy-do'ni-a 
 
 Cro-i' tes 
 
 Cu' res 
 
 Cyd' ra-ra 
 
 Cro' mi (3) 
 
 Cu-re' tes 
 
 Cyd-ro-la' us 
 
 Crom' my- on Cu-re' tis 
 
 Cyg' nus 
 
 Crom' na Cu' ri-a 
 
 Cyl'a-bus 
 
 Cro' mus Cu-ri-a' ti-i (4) 
 
 Cyl'i-ces 
 
 Cro'ni-a(7) Cu'ri-o 
 
 Cy-lin' dus 
 
 Cron'i-des Cu-ri-o-sol' i-tae 
 
 Cyl-lab' a-rus 
 
 Cro' ni-um Cu' ri-um 
 
 Cyl' la-rus 
 
 Cro' phi (3) Cu' ri-us Den-ta' tus 
 
 Cyl'len 
 
 Cros-sae'a Cur'ti-a (10) 
 
 Cyl-le'ne 
 
 Crot' a-lus Cur-til' lus 
 
 Cyl-le-ne'i-us 
 
 Cro' ton ! Cur'ti-us (10) 
 
 Cyl-lyi'i-i (3) (4) 
 
 Cro-to'na(7) Cu-ru'lis 
 
 Cy' Ion 
 
 Crot-o-ni' a-tis Cus-sge' i (3) 
 
 Cy' ma, or Cy' mae 
 
 Cro-to'pi-as Cu-til'i-um 
 
 Cy-mod' o-ce 
 
 Cro-to' pus Cy-am-o-so' rus 
 
 Cy-mod-o-ce' a 
 
 Cru'nos Cy'a-ne(6)(8) 
 
 Cy mod -o-ce' as 
 
34 CY CY CY 
 
 Cy' me, and Cy' ino 
 
 Cyn-os-se' ma Cyr' nus 
 
 Cym'o-lus, and 
 
 Cyn-o-su' ra 
 
 Cyr-raB'i(S) 
 
 Ci-mo'lus 
 
 Cyn' o-sure (Eng.) 
 
 Cyr' rha-dae 
 
 * Cym-o-po-li' a 
 
 Cyn x thi-a 
 
 Cyr'rhes 
 
 Cy-moth' o-e 
 
 Cyn' thi-us 
 
 Cyr' rhus 
 
 Cyn' a-ra 
 
 Cyn' thus 
 
 Cyr-ri-a'na(7) 
 
 Cyn-a3-gi' rus 
 
 Cyn-u-ren' ses 
 
 Cyr-si' lus 
 
 Cy-nae' thi-um 
 
 Cy'nus 
 
 Cy' rus 
 
 Cy-na' ne 
 
 Cyp-a-ris' si, and 
 
 Cy^rop 7 o-lis 
 
 Cy-na' pes 
 
 Cyp-a-ris'si-a(U) Cy' ta 
 
 Cy-nax'a 
 
 Cyp-a-ris' sus 
 
 Cy-tae'is 
 
 Cyn' e-as 
 
 Cyph' a-ra 
 
 Cy-the' ra 
 
 Cy-ne'si-i (4), and 
 Cyn' e-tae 
 
 Cyp-ri-a'nus 
 Cy' prus 
 
 f Cy th-e-rae' a, or 
 Cy th-e-re' a 
 
 Cyn-e-thus'sa 
 
 Cyp-sel' i-des 
 
 JCyth'e-ris 
 
 Cyn'i-a 
 
 Cyp' se-lus 
 
 Cy-the' ri-us 
 
 Cyn'i-ci(S) 
 
 Cy-rau' nis 
 
 Cy-the' ron 
 
 Cy-nis' ca 
 
 Cy're 
 
 Cy-the' run 
 
 Cy'no(6) 
 
 Cy-re-na' i-ca 
 
 Cyth' e-rus 
 
 Cyn-o-ceph' a-le 
 
 Cy-re-na' i-ci (3) 
 
 Cyth'nos 
 
 Cyn-o-ceph'a-li 
 
 Cy-re'ne(8) 
 
 Cy-tin' e-um 
 
 Cyn-o-phon' tis 
 Cy-nor' tas 
 
 Cy-ri' a-des 
 Cy-ril' lus 
 
 Cyt-is-so' rus 
 Cy-to' rus 
 
 Cy-nor'ti-on (11) 
 
 Cyr'il (Eng.) 
 
 Cyz-i-ce' ui 
 
 Cy'nos 
 
 Cy-ri' nus 
 
 Cyz' i-cuni 
 
 Cyn-o-sar'ges 
 
 Cyr'ne 
 
 Cyz' i-cus 
 
 * See Jphigenia, Neptune, wh shakes the earth, his daughter gave, 
 Cymopolid) to reward the brave. 
 
 COOKE'S Hesiod. Theog. v. 1132, 
 
 f Cylhcrca. 
 
 -Behold a nymph arise, divinely fair, 
 Whom to Cythera first the surges bear ; 
 And Aphrodite, from the foam, her name, 
 Among the race of gods and men the same; 
 And Cytherea from Cythera came. 
 
 COOKE'S Hesiod. Theog. v. 299. 
 
 Cytheris. 
 
 Mere poetry 
 
 Your Roman wits, your Gallus and Tibullus, 
 Have taught you this from Cytheris and Delia. 
 
 DRYDEN, All for Love. 
 
DA 
 
 DA 
 
 DE 
 
 
 Da-moc' ri-tus 
 
 UA'JE Da'hse 
 
 Da' mon 
 
 Da'ci, and Da'cae 
 
 Dam-o-phan' tus 
 
 Da'ci-a(ll) 
 
 Da-moph'i-la 
 
 Dac'ty-li(3)(4) 
 
 Da-moph'i-lus 
 
 Dad' i-cae 
 
 Dam' o-phon 
 
 Daed'a-!a 
 
 Da-mos'tra-tus 
 
 Dae-da' li-on 
 
 Da-mox' e-nua 
 
 Died' a-lus 
 
 Da-myr'i-as 
 
 Dae' mon 
 
 Da'na(7) 
 
 Da'i(4) 
 
 Dan' a-e 
 
 Da'i-cles(l) 
 
 Dan'a-i(S) 
 
 Da'i-dis 
 
 Da-na'i-des (4) 
 
 Da-im'a-chus 
 
 Dan' a-la 
 
 Da-im' e-nes 
 
 Dan' a-us 
 
 Da'i-phron (1) 
 
 Dan'da-ri, and 
 
 Da-i'ra(l) 
 
 Dan-dar'i-da3 
 
 Dal'di-a 
 
 Dan' don 
 
 Dal-ma'ti-a(lO) 
 
 Da-nu' bi-us 
 
 Dal-ma'ti-us(lO) 
 
 Dan' ube (Eng.) 
 
 Dam-a-ge' tus 
 
 Da' o-chus (12) 
 
 Dam' a-lis 
 
 Daph' nae 
 
 Da' mas (1) 
 
 Daph-nae' us 
 
 Dam-a-sce' na 
 
 Daph'ne 
 
 Da-mas'ci-us (10) 
 
 Daph-ne-pho' ri-a 
 
 Da-mas' cus 
 
 Daph' nis 
 
 Dam-a-sip' pus 
 
 Daph' nus 
 
 Dam-a-sich' thon 
 
 Dar'a-ba 
 
 Dam-a-sis'tra-tus 
 
 Da' raps 
 
 Dam-a-sith' y-nus 
 
 Dar'da-ni (3) 
 
 Da-mas' tes 
 
 Dar-da' ni-a 
 
 Da' mi-a 
 
 Dar-dan' i-des 
 
 Da-mi p' pus 
 
 Dar' da-nus 
 
 Da' mis 
 
 Dai ' da-ris 
 
 Dam'no-rix 
 
 Da' res 
 
 Da' mo 
 
 Da-re' tis 
 
 Dam' o-cles 
 
 Da-ri' a 
 
 Da-moc' ra-tes Da-ri' a-ve& 
 
 Da-moc' ri-ta Da-ri' tag 
 
 D '2 
 
 Da-ri' us 
 Das' con 
 
 Das-cyl-i' tis 
 
 Das' cy-lus 
 
 Da' se-a 
 
 Da'si-us(ll) 
 
 Das-sar' e-tre 
 
 Das-sa-re' ni 
 
 Das-sa-ri' tae 
 
 Das-sa-rit'i-i (3) (4) 
 
 Dat' a-mes 
 
 Dat-a-pher' nes 
 
 Da' tis 
 
 Da'tos, or Da' ton 
 
 Dav'a-ra(7) 
 
 Dau'lis 
 
 Dau'ni(3) 
 
 Dau' ni-a 
 
 Dau' nus 
 
 Dau'ri-fer, and 
 
 Dau' ri-ses 
 De-ceb' a-lus 
 De-ce' le-um 
 Dec'e-lus 
 De-cem' vi-ri (4) 
 De-ce'ti-a (10) 
 De-cid'i-tis Sax'n 
 De-cin' e-us 
 De'ci-us(lO) 
 Oe-cu' ri-o 
 [)ed-i-tam'e-nes 
 [)ej-a-ni'ra 
 3e-ic' o-on 
 3e-id-a-mi'a(3Q) 
 3e-i-le'on 
 )e-il' o-chus (12) 
 )e-im'a-chus 
 )ej' o-ces 
 )e-i' o-chus 
 
36 DE DE DI 
 
 De-i' o-ne 
 
 De-me 7 tri-us j De-ru-si-ae 7 i(3) 
 
 De-i-o' ne-us 
 
 De 7 mo |De-sud 7 a-ba 
 
 De-i-o-pe 7 i-a 
 
 Dem-o-a-nas 7 sa Deii-ca 7 li-on (28) 
 
 De-jot' a- rus 
 
 Dem-o-ce 7 des Deu-ce 7 li-us (10) 
 
 De-iph 7 i-la 
 
 De-moch 7 a-res j Deu 7 do-rix 
 
 De-iph' o-be 
 
 Bern 7 o-cles Dex-am 7 e-ne 
 
 De-iph' o-bus 
 
 De-moc 7 o-on i Dex-am 7 e-nus 
 
 De 7 i-phon De-moc 7 ra-tes | Dex-ip 7 pus 
 
 De-i-phon 7 tes De-moc 7 ri-tus Dex-ith'e-a 
 
 De-ip' y-le (6) (7) De-mod' i-ce (4) (8) Dex 7 i-us 
 
 De-ip 7 y-lus De-mod' o-cus i Di 7 a ( 1 ) (7) 
 
 De-ip 7 y-rus De-mo 7 le-us 
 
 Di-ac-o-pe'na 
 
 Del 7 don 
 
 De-mo 7 le-on 
 
 Di-ac-tor 7 i-des 
 
 De 7 li-a 
 
 De 7 mou 
 
 Di-ae 7 us 
 
 De-li 7 a-des 
 
 Dem-o-nas 7 sa 
 
 Di-a-du-me-ni-a' 
 
 De 7 li-uin 
 
 De-mo 7 nax 
 
 nus 
 
 De 7 li-us 
 
 Dem-o-ni 7 ca (1) 
 
 Di 7 a-gon, and 
 
 Del-ma 7 ti-us (10) 
 
 Dem-o-ni 7 cus 
 
 Di 7 a-gum 
 
 Del-min 7 i-um 
 
 Dem-o-phan 7 tus 
 
 Di-ag 7 o-ras 
 
 De'los 
 
 De-moph 7 i-lus 
 
 Di-a'lis 
 
 * Del 7 phi 
 
 Dem' o-phon 
 
 Di-al 7 lus 
 
 Del 7 phi-cus 
 
 De-moph 7 o-on 
 
 Di-a-mas-ti-go 7 sis 
 
 Del-phin 7 i-a 
 
 De-mop 7 o-lis 
 
 Dia 7 na(7) 
 
 Del-phin 7 i-um 
 
 De' mos 
 
 Di-an 7 a-sa 
 
 Del 7 phus 
 
 De-mos 7 the-nes (18) 
 
 Di-a 7 si-a(ll) 
 
 Del-phy 7 ne(6) 
 
 De-mos 7 tra-tus 
 
 Di-cae 7 a 
 
 Del'ta 
 
 Dem 7 y-lus 
 
 Di-cae 7 us 
 
 Dem 7 a-des 
 
 De-od 7 a-tus 
 
 Di'ce(8) 
 
 De-maen'e-tus 
 
 De-o 7 is 
 
 Dic-e-ar 7 chus 
 
 De-mag 7 o-ras 
 
 Der 7 bi-ces 
 
 Di-ce 7 ne-us 
 
 Dem-a-ra 7 ta 
 
 Der 7 ce 
 
 Dic 7 o-mas 
 
 Dem-a-ra 7 tus 
 
 Der-cen 7 nus 
 
 Die 7 tae 
 
 De-mar 7 chus 
 
 Dei^ce-to, and 
 
 Dic-tam 7 num, and 
 
 Dem-a-re 7 ta 
 
 Der 7 ce-tis 
 
 Dye- tin 7 na 
 
 Dem-a-ris 7 te 
 
 Der-cyl 7 li-das 
 
 Dic-ta 7 tor 
 
 De 7 me- a 
 
 Der-cyl 7 lus 
 
 Dic-tid-i-en 7 ses 
 
 De-me 7 tri-a 
 
 Dei 7 cy-nus 
 
 Dic-tyn 7 na 
 
 De-me 7 tri-as 
 
 Der-sse 7 i (3) 
 
 Die 7 tys 
 
 * Delphi. This word-* was, formerly, universally written Delphos; till Mr. 
 Cumberland, a gentleman no less remarkable for his classical erudition than his 
 dramatic abilities, in his Widow qf Delphi, rescued it from the vulgarity in 
 which it had been so long involved. 
 
DI DI DO 3 
 
 Did' i-us 
 
 Di-og-ne' tus 
 
 Di-plior' i-das 
 
 Di'do 
 
 Di-o-me' da 
 
 Di-pce' nae 
 
 Did'y-ma 
 
 * Di-o-me' des 
 
 Dip'sas 
 
 Did-y-mae' us 
 
 Di-o-me' don 
 
 Di'ra 
 
 Did-y-ma' on 
 
 Di'on (3) 
 
 Dir'ce 
 
 Did'y-me(6)(8) 
 
 Di-o-nae' a 
 
 Dir-cen' na 
 
 Did' y-mum 
 
 Di-o' ne 
 
 Dir' phi-a 
 
 Did' y-mus 
 
 Di-o-nys'i-a (11) 
 
 Dis-cor' di-a 
 
 Di-en' e-ces 
 
 Di-o-ny-si' a-des 
 
 Dith-y-ram' bus 
 
 Di-es' pi-ter 
 
 Di-o-nys' i-as (11) 
 
 Dit'a-ni (3) 
 
 Di-gen'ti-a (10) 
 
 Di-o-nys'i-des 
 
 Div-i-ti' a^cus 
 
 Dig' ma 
 
 Di-o-nys-i-o-do' rus 
 
 Di'vus Fid' i-us 
 
 Di'i(3)(4) 
 
 Di-o-nys' i-on (11) 
 
 Di-yl'lus 
 
 Di-mas' sus 
 
 Di-o-ny-sip' o-lis 
 
 Do-be' res 
 
 Di-nar'chus (12) 
 
 Di-o-nys' i-us (11) 
 
 Doc'i-lis 
 
 Di-nol' o-chus 
 
 Di-oph'a-nes 
 
 Doc'i-mus (24) 
 
 Din'i-ae(4) 
 
 Di-o-phan' tus 
 
 Do'cle-a 
 
 Din'i-as 
 
 Di-o-pi' tes 
 
 Do-do' na 
 
 Din'i-che(12) 
 
 Di-o-pre' nus 
 
 Dod-o-nae' us 
 
 Di-noch' a-res 
 
 Di-op' o-lis 
 
 Do-do 7 ne 
 
 Di-noc' ra-tes 
 
 Di-o' res 
 
 Do-don' i-des 
 
 Di-nod' o-chus 
 
 Di-o-ry' tus 
 
 Do'i-i(4) 
 
 Di-nom' e-nes 
 
 Di-o-scor' i-des 
 
 Dol-a-bel'Ia 
 
 Di' non 
 
 -f-Di-os'co-rus 
 
 Dol-i-cha'on 
 
 Di-nos' the-nes 
 
 JDi-o-scu'ri(3) 
 
 Dol'i-che(l)(12) 
 
 Di-nos' tra-tus 
 
 Di-os' pa-ge 
 
 Do'li-us 
 
 Di-o'cle-a 
 Di' o-cles 
 
 Di-os' po-lis 
 Di-o-ti'me(l)(8) 
 
 Dol-o-ine'na 
 Do' Jon 
 
 Di-o-cle-ti-a' nus 
 
 Di-o-ti' mus 
 
 Do-Ion' ci (3) 
 
 Di-o-de f fr'-aw(Eng.) 
 
 Di-ot' re-phes 
 
 Dol' o-pes 
 
 Di-o-do' rus 
 
 Di-ox-ip' pe 
 
 Do-lo' phi-on 
 
 Di-o' e-tas 
 
 Di-ox-ip' pus 
 
 Do-lo' pi-a 
 
 Di-og' e-nes 
 
 Di-pae' ae 
 
 Do' lops 
 
 Di-o-ge' ni-a 
 
 Diph'i-las 
 
 Dom-i-du' cus 
 
 Di-og' e-nus 
 
 Diph'i-lus 
 
 Do-min'i-ca 
 
 * Diomedes. All words ending in f.des have the same accentuation; as Archi- 
 medes, Diomedes, &c. The same may be observed of words ending in ides and 
 odes; as Ipkieles, Damocles, Androcles, &e. See the Terminational Vocabulary. 
 
 t Dioscorus. An heresiarch of the fifth century. 
 
 t Dioscuri. The name given to Castor and Pollux, from the Greek Ate? and 
 pro Kogo?, the sons of Jove. 
 
38 DO DR DY 
 
 Do-mit'i-a(lO) 
 
 Dos-se' nus 
 
 Dry' mo 
 
 Do-mit-i-a' nus 
 
 Dot' a-das 
 
 Dry' mus 
 
 Do-mit' i-an (Eng.) 
 
 Do' to 
 
 Dry' o-pe 
 
 Dom-i-til'la 
 
 Do' tus 
 
 Dry-o-pe' i--a (5) 
 
 Do-mit'i-us (10) 
 
 Dox-an' der 
 
 Dry' o-pes 
 
 Do-na' tus 
 
 Dra-ca' nus 
 
 Dry'p-pis, and 
 
 Don-i-la' us 
 
 Dra' co 
 
 Dry-op' i-da 
 
 Do-nu' ca 
 
 Dra-con' ti-des 
 
 Dry' ops 
 
 Do-ny' sa 
 
 Dra' cus 
 
 Dryp' e-tis 
 
 Do-rac' te 
 
 Dran' ces 
 
 Du-ce' ti-us (10) 
 
 Do' res 
 
 Drari-gi-a'na (7) 
 
 Du-il'li-a ' 
 
 Dor'i-ca(4)(7) 
 
 Dra' pes 
 
 Du-il'li-usNe'pos 
 
 Dor'i-cus 
 
 Drep'a-na, and 
 
 Du-lich'i-um 
 
 Do-ri-en' ses 
 
 Drep'a-num 
 
 Dum' no-rix 
 
 Dor'i-las 
 
 Drim' a-chus 
 
 Du' nax 
 
 Dor-i-la' us 
 
 Dri-op' i-des 
 
 Du-ra'ti-us (10) 
 
 Do' ri-on 
 
 Dri'os 
 
 Du' ri-us 
 
 Do'ris 
 
 Dro'i(3) 
 
 Du-ro'ni-a 
 
 Do-ris' cus 
 
 Dro-mae' us 
 
 Du-um'vi-ri (4) 
 
 Do' ri-um 
 
 Drop' i-ci (4) 
 
 Dy-a-gon' das 
 
 Do' ri-us 
 
 Dro' pi-on 
 
 Dy-ar-den' ses 
 
 Do-ros' to- rum 
 
 Dru-en' ti-us, and 
 
 Dy'rnaa 
 
 Dor-sen' nus 
 
 Dru-en'ti-a(lO) 
 
 Dy-m'i(3) 
 
 Dor' so 
 
 Dru'ge-ri (3) 
 
 Dy' mas 
 
 Do' rus 
 
 Dru'i-da3 
 
 Dym' nus 
 
 Do-ry' a-sus (6) 
 
 Dru' ids (Eng.) 
 
 Dy-nam' e-ne 
 
 Do-ry' clus 
 
 Dru-sil'la Liv'i-a 
 
 Dyn-sa' te 
 
 Dor-y-lae' um, and 
 
 Dru' so 
 
 Dy'ras(6) 
 
 Dor-y-lse' us 
 
 Dru' sus 
 
 Dy-ras' pes 
 
 Dor' y-las 
 
 Dry' a-des 
 
 Dyr-rach' i-um 
 
 Dor-y-la' us 
 
 Dry' ads (Eng.) 
 
 Dy-sau' les 
 
 Do-rys' sus 
 
 Dry-an-ti' a-des 
 
 Dys-ci-ne' tus 
 
 Dos'ci(3) 
 
 Dry-an' ti-des 
 
 Dy-so' rum 
 
 Do-si' a-des 
 
 Dry-mas' a 
 
 Dys-pon' ti-i (4) 
 
 EA EB EC 
 
 E A-NES 
 
 Eb'do-me 
 
 Ec-a-me' da 
 
 E-a' nus 
 
 E-bor'a-cum 
 
 Ec-bat'a-na 
 
 E-ar' i-nus 
 
 Eb-u -ro' nes 
 
 Ec-e-chir'i-a 
 
 E-a' si-um 
 
 Eb' u-sus 
 
 Es-e-kir' i-a 
 
 
EL 
 
 E-chec'ra-tes 
 
 E-kek' ra-tes 
 
 Ech-e-da' mi-a (30) 
 
 E-chel' a-tus 
 
 E-chel' ta 
 
 Ech'e-lus 
 
 E-chem'bro-tus 
 
 E-che' mon 
 
 Ech'e-mus 
 
 Ech-e-ne' us 
 
 Ech'e-phron 
 
 E-chep' o-lus 
 
 E-ches' tra-tus 
 
 E-chev-e-then'ses 
 
 E-chid'na 
 
 Ech-i-do'rus 
 
 E-chin'a-des 
 
 E-ehi' non 
 
 E-chi'nus 
 
 Ech-i-nus'sa 
 
 E-chi' on (29) 
 
 Ech-i-on' i-des 
 
 Ech-i-o' ni-us 
 
 Ech'o 
 
 E-des'sa, E-de'sa 
 
 E-dis'sa 
 
 E'don 
 
 E-do'ni(3) 
 
 E-dyl'i-us 
 
 E-e'ti-on (10) 
 
 E-gel' i-das 
 
 E-ge' ri-a 
 
 E-ges-a-re 7 lus 
 
 Eg-e-si' nus 
 
 E-ges' (a 
 
 Eg-na'ti-a(lO) 
 
 Eg-na'ti-us(lO) 
 
 E-jo' ne-us 
 
 E-i'on (26) 
 
 E-i' o-nes 
 
 E-i-o' ne-us 
 
 El-a-bon' tas 
 
 E-la'a 
 
 EL EN 
 
 E-he'us 
 
 E-lis' sa 
 
 El-a-ga-ba' lus, or 
 
 El-lo'pi-a 
 
 El-a-gab' a-lus 
 
 E-lis' sus 
 
 El-a-i'tes 
 
 E-lo' rus 
 
 E-la' i-us 
 
 E'los 
 
 El-a-phi-ae'a 
 
 El-pe' nor 
 
 El' a-phus 
 
 El-pi-ni' ce 
 
 El-a-phe-bo' li-a 
 
 El-u-i' na 
 
 El-ap-to' ni-us 
 
 El'y-ces 
 
 E-la'ra 
 
 El-y-ma' is 
 
 El-a-te' a 
 
 El'y-mi (3) 
 
 E-la' tus 
 
 EKy-mus 
 
 E-la'ver 
 
 Ei'y-rus 
 
 E'le-a 
 
 E-lys' i-um 
 
 E-le-a'tes 
 
 E-raa' thi-a 
 
 E-lec'tra 
 
 E-ma' thi-on 
 
 E-lec'trae 
 
 Em' ba-tum 
 
 E-lec' tri-cles 
 
 Em-bo -\\ f ma 
 
 E-lec' try-on 
 
 E-mer'i-ta 
 
 E-le'i 
 
 E-mes' sa, and 
 
 El-e-le'us 
 
 E-mis' sa 
 
 E' le-on 
 
 Em-me'li-us 
 
 El-e-on' turn 
 
 E-mo'da 
 
 El-e-phan' tis 
 
 E-mo'dus 
 
 El-e-phan-topb' a-gi 
 
 Em-ped' o-cles 
 
 El-e-phe' nor 
 
 Em-pe-ra'mus 
 
 El-e-po' rus 
 
 Em-po'clus 
 
 E'le-us 
 
 Em-po' ri-a 
 
 E-leu' chi-a 
 
 Em-pu' sa 
 
 El-eu-sin'i-a(22) 
 
 En cel x a-dus 
 
 E-leu' sis 
 
 En-chel / e-a;(12) 
 
 E-leu'ther 
 
 En' de-is 
 
 E-leu'the-ra 
 
 En-de' ra 
 
 El-eu-the' ri-a 
 
 En-dym' i-on 
 
 E-leu'tho 
 
 E-ne' ti 
 
 E-leu-ther-o-cil'i- 
 
 En-gy' um 
 
 ces 
 
 En-i-en' ses 
 
 E-lic'i-us(10)(24) 
 
 En-i-o' pe-us 
 
 El-i-en'sis, and 
 
 E-nip' e-us 
 
 E-li'a-ca 
 
 E-nis'pe(8) 
 
 El-i-me' a 
 
 En'na 
 
 EMis 
 
 En' ni-a 
 
 El-is-pha' si-i (4) En' ni-us 
 
40 EP ER ER 
 
 En' no-miss 
 
 Ep-i-dam 7 nus 
 
 Er'a-to 
 
 En-nos-i-gae 7 us 
 
 Ep-i-daph'ne 
 
 Er-a-tos' the-wes 
 
 En' o-pe 
 
 E-pi-dau' ri-a 
 
 Er-a-tos 7 tra-tus 
 
 E' nops 
 
 Ep-i-dau 7 rus 
 
 E-ra' tus 
 
 E'nos 
 
 E-pid'i-us 
 
 Er-bes' sus 
 
 En-o-sich 7 thon 
 
 Ep-i-do 7 tae 
 
 Er'e-bus 
 
 E-not-o-coe 7 tae 
 
 E-pig 7 e-nes 
 
 E-rech 7 the-us 
 
 En-tel' la 
 
 E-pig' e-us 
 
 E-rem'ri(3) 
 
 En-tel'lus 
 
 E-pig 7 o-ni (3) 
 
 E-re 7 mus 
 
 En-y-a' li-us 
 
 E-pig' o-nus 
 
 Er-e-ne 7 a 
 
 E-n/o(6) 
 
 E-pi'i, and E-pe 7 i 
 
 E-res 7 sa 
 
 E'o-ne 
 
 E-pil 7 a-ris 
 
 E-rech 7 thi-des 
 
 E'os 
 
 Ep-i-mel 7 i-des 
 
 E-re 7 sus 
 
 E-o'us 
 
 E-pim 7 e-nes 
 
 E-re 7 tri-a 
 
 E-pa' gris 
 
 Ep-i-men 7 i-des 
 
 E-re 7 turn 
 
 E-pam-i-non' das 
 
 Ep-i-me' the-us 
 
 Er-eu-tha'li-ou (29) 
 
 Ep-an-tel' i-i (4) 
 
 Ep-i-tne'this 
 
 Er 7 ga-ne 
 
 E-paph-ro-di' tus 
 
 E-pi'o-chus (12) 
 
 Er-gen 7 na 
 
 Ep 7 a-phus 
 
 E-pi'o-ne (8) 
 
 Er 7 gi-as 
 
 Ep-as*nac' tus 
 
 E-piph' a-nes 
 
 Er-gi 7 nus 
 
 E-peb' o-lus 
 
 Ep-i-pha' ni-us 
 
 Er-gin 7 nus 
 
 E-pe'i(3) 
 
 E-pi' rus 
 
 Er-i-boe 7 a 
 
 E-pe 7 us 
 
 E-pis' tro-phus 
 
 E-rib 7 o-tes 
 
 Eph 7 e-sus 
 
 E-pit 7 a-des 
 
 Er-i-ce 7 tes 
 
 Eph'e-tae 
 
 E' pi-um 
 
 E-rich' tho 
 
 Eph-i-al' tes 
 
 Ep 7 o-na 
 
 Er-ich-tho 7 ni-us 
 
 Eph 7 o-ri(3) E-po'pe-us 
 
 Er-i-cin 7 i-um 
 
 Eph' o-rus 
 
 Ep-o-red' o-rix 
 
 Er-i-cu 7 sa 
 
 Eph 7 y-ra 
 
 Ep 7 u-lo 
 
 * E-rid 7 a-nus 
 
 Ep-i-cas' te 
 
 E-py t' i-des 
 
 E-rig 7 o-ne 
 
 Ep-i-cer 7 i-des 
 
 Ep' y-tus 
 
 E- rig' o-nus 
 
 Ep-i-cha' i-des 
 
 E-qua-juj> 7 ta 
 
 Er-i-gy' us 
 
 E-pich 7 a-ris 
 
 E-quic 7 o-lus 
 
 E-ril 7 lus 
 
 Ep-i-char 7 mus 
 
 E-quir 7 i-a 
 
 E-rin 7 des 
 
 Ep' i-cles 
 
 E-quo-tu' ti-cum 
 
 E-rin 7 na 
 
 Ep-i-cli 7 des 
 
 Er 7 a-con 
 
 E-rin 7 nys 
 
 E-pic 7 ra-tes 
 
 E-rae'a 
 
 E-ri' o-pis 
 
 Ep-ic-te 7 tus 
 
 Er-a-si 7 nus 
 
 E-riph' a-nis 
 
 Ep-i-cu 7 rus 
 
 Er-a-sip 7 pus 
 
 E-riph' i-das 
 
 E-pic' y-des (24) 
 
 Er a-sis 7 tra-tus 
 
 Er-i-phy 7 le 
 
 * Eridanus. Alpheus and Eridanus the strong, 
 
 That rises deep, and stately rolls along. 
 
 COOKE'S Hesiod. Tkeog. v. 520. 
 
ES EU EU 4t 
 
 E'ris 
 
 Et-e-ar' chus 
 
 Eu-bu 7 li-des 
 
 Er-?i-sich 7 thon 
 
 E-te'o-cles 
 
 Eu-bu 7 lus 
 
 Er'i-thus 
 
 E-te'o-clus 
 
 Eu-ce 7 rus 
 
 'E-rix 7 o 
 
 Et-e-o-cre' tae 
 
 Eu-che 7 nor 
 
 E-ro 7 chus 
 
 E-te' o-nes 
 
 Eu 7 chi.des 
 
 E-ro 7 pus, and 
 
 E-te-o'ne-us 
 
 Eu-cli 7 des 
 
 Jr 7 o-pas 
 
 Et-e-o-ni' cus (30) 
 
 Eufclid(Ens.} 
 
 E'ros 
 
 E-te'si-se(ll) 
 
 Eu'clus 
 
 E-ros 7 tra-tus 
 
 E-tbaMi-on (29) 
 
 Eu' cra-te 
 
 E-ro'ti-a(lO) 
 
 E-the 7 le-um 
 
 Eu 7 cra-tes 
 
 Er-ru'ca 
 
 Eth' o-da 
 
 Eu 7 cri-tus 
 
 Er'se 
 
 E-the' mon 
 
 Euc-te 7 mon 
 
 Er' y-mas 
 
 E'ti-as(lO) 
 
 Euc-tre' si-i (4) 
 
 Er'xi-as 
 
 E'tis 
 
 Eu-dae 7 mon 
 
 E-ryb 7 i-um 
 
 E-tru 7 ri-a 
 
 Eu-dam' i-das 
 
 Er-y-ci 7 na 
 
 Et 7 y-lus 
 
 Eu' da-mus 
 
 Er-y-man 7 this 
 
 E-vad 7 ne 
 
 Eu-de 7 mus 
 
 Er-y-man 7 thus 
 
 Ev 7 a-ges 
 
 Eu-do 7 ci-a 
 
 E-rym' na3 
 
 E-vag 7 o-ras 
 
 Eu-doc 7 i-mus 
 
 E-rym'ne-us 
 
 E-vag 7 o-re 
 
 Eu-do' ra 
 
 Er'y-mus 
 
 E'van 
 
 Eu-do 7 rus 
 
 *Er-y-the 7 a 
 
 E-van 7 der 
 
 Eu-dox'i-a 
 
 Er-y-thi'ni (4) 
 
 E-van'ge-lus 
 
 Eu-dox 7 us 
 
 Er'y-thra 
 
 Ev-an-gor 7 i-des 
 
 E-vel 7 thon 
 
 Er'y-thra 
 
 E-van' thes 
 
 Eu-e-mer 7 i-das 
 
 E-ryth 7 ri-on 
 
 E-var 7 chus 
 
 E-vem' e-ru$ 
 
 E-ryth 7 ros 
 
 E 7 vas 
 
 E-ve 7 nus 
 
 E'ryx 
 
 E'vax 
 
 Ev-e-phe 7 nus 
 
 E-ryx'o 
 
 Eu 7 ba-ges 
 
 Ev'e-res 
 
 E-ser'nus 
 
 Eu-ba 7 tas 
 
 E-ver 7 ge-tae 
 
 Es-quil 7 i-ae, and 
 
 Eu 7 bi-us 
 
 E-ver 7 ge-tes 
 
 Es-qui-li'nus 
 Es-sed' o-nes 
 
 Eu-boe 7 a (7) 
 Eu-bo 7 i-cus 
 
 Eu-ga 7 ne-i (3) 
 Eu-ge 7 ni-a (20) 
 
 Es' su-i (S) 
 
 Eu 7 bo-te 
 
 Eu-ge' ni-us 
 
 Es'u-la 
 
 Eu 7 bo-tes 
 
 Eu' ge-on 
 
 Es-ti-ai'a (7) 
 
 Eu-bu'le(8) 
 
 Eu-hem'e-rus 
 
 * Erythca. Clirysaor, Love the guide, Callirbe led, 
 
 Daughter of Ocean, to the genial bed. J. 
 
 Whence Geryon sprung, fierce with his triple head ; J 
 Whom Hercules laid breathless on the ground 
 In Erythea, which the waves surround. 
 
 COOKE'S Hesiod. Theog. v. 523. 
 
*2 EU EU EU 
 
 Eu' hy-drum 
 
 Eu-phan' tus 
 
 Eu-ry-crat' i-das 
 
 Eu'hy-us 
 
 Eu-phe'me 
 
 Eu-ryd'a-mas 
 
 E-vip'pe(8) 
 
 Eu-phe' mus 
 
 Eu-ryd' a-me 
 
 E-vip' pus 
 
 Eu-phor'bus 
 
 Eu-ry-dam' i-das 
 
 Eu-lim' e-ne 
 
 Eu-pho' ri-on 
 
 Eu-ryd' i-ce 
 
 Eu-ma'chi-us (12) 
 
 Eu-phra'nor 
 
 Eu-ry-ga' ni-a 
 
 Eu-mae' us 
 
 Eu-phra'tes 
 
 Eu-ry' le-on 
 
 Eu-me' des 
 
 Eu' phron 
 
 Eu-ryl' o-chus 
 
 Eu-me' lis 
 
 Eu-phros'y-ne 
 
 Eu-rym' a-chus 
 
 Eu-me' Jus 
 
 Eu-plae' a, or 
 
 Eu-rym' e-de 
 
 Eu' me-lus (King) 
 
 Eu-ploe' a 
 
 Eu-rym' e-don 
 
 *Eu' me-nes 
 
 Eu' po-lis 
 
 Eu-rym' e-nes 
 
 Eu-me'ni-a 
 
 Eu-pom' pus 
 
 Eu-ryn' o-me 
 
 Eu-men' i-des 
 
 Eu-ri-a-nas' sa 
 
 Eu-ryn' o-mus 
 
 Eu-me-nid'i-a 
 Eu-me' ni-us 
 
 Eu- rip' i-des 
 Eu-ri' pus 
 
 Eu-ry' o-ne 
 Eu' ry-pon 
 
 Eu-mol' pe 
 
 Eu-ro' mus 
 
 Eu-ry p'y-le 
 
 Eu-mol' pi-dae Eu-ro' pa (7) 
 
 Eu-ryp'y-lus 
 
 Eu-mol' pus Eu-ro-pae'us 
 
 Eu-rys' the-nes 
 
 Eu-mon' i-des Eu' rops 
 
 Eu-rys-then' i-dae 
 
 Eu-nae'us Eu'ro-pus 
 
 Eu-rys' the-us 
 
 Eu-na' pi-ua ! Eu-ro' tas 
 
 Eu' ry-te 
 
 Eu-no' mi-a Eu-ro' to 
 
 Eu-ryt' e-as 
 
 Eu' no-tnus 
 
 Eu' rus 
 
 Eu-ryt' e-le 
 
 Eu' nus 
 
 Eu-ry'a-1e(8) 
 
 Eu-ryth' e-mis 
 
 Eu' ny-mos 
 
 Eu-r/a-lus 
 
 Eu-ryth' i-on, and 
 
 Eu' o-ras 
 
 Eu-ryb'a^tes 
 
 Eu-ryt' i-on( 11) 
 
 Eu-pa' gi-um 
 
 Eu-ryb'i-a 
 
 Eu' ry-tus 
 
 Eu-pal' a-mon 
 
 Eu-ry-bi'a-des 
 
 Eu'ry-tis 
 
 Eu-pal' a-mus 
 
 Eu-ryb' i-us 
 
 Eu-se' bi-a 
 
 Eu' pa-tor 
 
 Eu-ry-cle' a 
 
 Eu-se' bi-us 
 
 Eu-pa-to' ri-a 
 
 Eu' ry-cles 
 
 Eu'se-pus 
 
 Eu-pei' thes 
 
 Eu-ry-ch'des 
 
 Eu-sta' thi-us 
 
 Eu' pha-es 
 
 Eu-ryc' ra-tes 
 
 Eu-sto'H-a 
 
 * Ewnenes. It is not a little surprising that so elegant a writer as Hughes 
 should, throughout the whole tragedy of the Siege of Damascus, accent this 
 word on the penultimate syllable ; especially as there is not a single proper 
 name of more than two syllables in ihe Greek or Latin languages of this termi- 
 nation which has the penultimate syllable long. Lee has done the same in the 
 tragedy of Alexander, which would lead us to suppose there is something na- 
 turally repugnant to an English car in the antepenultimate accentuation of 
 these words, and something agreeable in the penultimate. 
 
EU EU EX 43 
 
 Eu-sto' li-us 
 
 Eu-thy' mus 
 
 Eu-xan' thi-us 
 
 Eu-taj'a (7) 
 
 Eu-trap' e-lus 
 
 Eux' e-nus 
 
 Eu-tel' i-das 
 
 Eu-tro' pi-a 
 
 Eu-xi' nus Pon' Mis 
 
 Eu-ter' pe 
 
 Eu-tro' pi-us 
 
 Eu-xip' pe 
 
 *Eu-tha' li-a 
 
 Eu' ty-ches 
 
 Ex-a' di-us 
 
 Eu-tha' li-us Eu-tych' i-de 
 
 Ex-ae'thes 
 
 Eu-thyc' ra-tes Eu-tych' i-des 
 
 Ex-ag' o-nus 
 
 Eu-thy-de' mus Eu' ty-phron 
 
 Ex-om' a-tra3 
 
 FA FE FL 
 
 r AB'-A-RIS 
 
 Fa-ven'ti-a (10) 
 
 Fi-bre' nus 
 
 Fa'bi-a(7; 
 
 Fa-ve' ri-a 
 
 Fi-cul' ne-a 
 
 Fa-bi-a' ni (3) 
 
 Fau'la 
 
 Fi-de'na 
 
 Fa'bi-i(4) 
 
 Fau' na 
 
 Fi-de' nas 
 
 Fa' bi-us 
 
 Fau-na' li-a 
 
 Fi-den' ti-a 
 
 Fab-ra-te' ri-a 
 
 Fau'ni(3) 
 
 Fi'des 
 
 Fa-bric' i-us (24) 
 
 Fau' nus 
 
 Fi-dic' u-lae 
 
 Fa-bul'la 
 
 Fa' vo 
 
 Fim' bri-a 
 
 Fa'dus 
 
 Fau' sta 
 
 Fir' mi-us 
 
 Faes' u-lae 
 
 Fau-sti'na (3) 
 
 Fis-cel'lus 
 
 Fal-cid' i-a 
 
 Fau' sti-tas 
 
 Fla-cel'li-a 
 
 Fa-le'ri-i(4) 
 
 Fau' stu- lus 
 
 Flac'cus 
 
 Fal-e-ri' na 
 
 Fau' tus 
 
 Fla-cil'la M'\\-a 
 
 Fa-ler' nus 
 
 Feb'ru-a 
 
 Fla-min' i-a 
 
 Fa-lis'ciCS) 
 
 Fec-i-a' les 
 
 Fla-min'i-us, or 
 
 Fa-lis 7 cus 
 
 Fel' gi-nas 
 
 Flam-i-ni' nus 
 
 Fa' ma 
 
 Fen-es-tel'la 
 
 Fla'vU-a 
 
 Fan' ni-a 
 
 Fe-ra'li-a 
 
 Fla-vi-a' num 
 
 Fan / ni-i(4 > ) 
 
 Fer-en-ta' num and 
 
 Fla-vin' i-a 
 
 Fan' ni-us 
 
 Fe-ren' turn 
 
 Fla-vi-ob' ri-ga 
 
 Far' fa-rus 
 
 Fe-re' tri-us 
 
 Fla' vi-us 
 
 Fas' ce-lis 
 
 Fe-ro'ni-a 
 
 Flo'ra 
 
 Fas-eel' li-na 
 
 Fes-cen' ni-a 
 
 Flo-ra'li-a 
 
 Fau-cu' i-a 
 
 Fes' tus 
 
 Flo'rus 
 
 * Euthalia. Labbe observes, that this word does not come from the muse 
 Thalia, as some suppose, but from the masculine Euthaliits, as Eulatia, Eumenia, 
 Eustolia, Eutropia, Emmelia, &c. which are professedly accented on the ante- 
 penultimate. See Rule 29. 
 
44 FR FU FU 
 
 Flo-ri-a' nus 
 
 Fren-ta'ni (3) 
 
 Ful'vi-a 
 
 Flu-o' ni-a 
 
 Frig' i-dus 
 
 Ful'vi-us 
 
 Fo'li-a 
 
 Fris' i-i (4) 
 
 Fun-da' nus 
 
 Fon-te' i-a (5) 
 
 Fron' ti-nus 
 
 Fun'di(3) 
 
 Fon-te' i-us Cap' i-to 
 
 Fron' to 
 
 Fu'ri-a 
 
 For' mi-ae 
 
 Fru' si-no 
 
 Fu' ri-ae 
 
 For-mi-a'num 
 
 Fu-ci' na 
 
 Fu'ri-i(4) 
 
 For' nax 
 
 Fu-ci' nus 
 
 Fu-ri' na 
 
 For-tu' na 
 
 Fu-fid'i-us 
 
 Fu-ri' nae 
 
 For' u-li 
 
 Fu' fi-us Gem' i-nus 
 
 Fu' ri-us 
 
 Fo' rum Ap' pi-i 
 
 Ful-gi-na' tes 
 
 Fur' ni-us 
 
 Fran'ci(3) 
 
 Ful-gi' nus 
 
 Fus' cus 
 
 Fre-gel'la(7) 
 
 Ful' li-num, and 
 
 Fu / si-a(ll) 
 
 Fre-ge' nae 
 
 Ful'gi-num 
 
 Fu' si-us (10) 
 
 GA GA GA 
 
 V3f AB' A-LES 
 
 Gal'a-ta(7) 
 
 Gal-lo-grae' ci- a 
 
 Gab' a-za 
 
 Gal'a-tae 
 
 Gal-lo' ni-us 
 
 Ga-be'ne, and 
 
 Gal-a-tae'a, and 
 
 Gal'lus 
 
 Ga-bi-e' ne 
 
 Gal-a-thae'a 
 
 Ga-max' us 
 
 Ga-bi-e' nus 
 
 Ga-la'ti-a (10) 
 
 Ga-me' li-a 
 
 Ga'bi-a(4) 
 
 Ga-lax'i-a 
 
 Gan-da-ri' tag 
 
 Ga-bi' na 
 
 Gal' ba 
 
 Gan'ga-ma 
 
 Ga-bin'i-a 
 
 Ga-le' nus 
 
 Gan-gar'i-dae 
 
 Ga-bin-i-a' nus (20) 
 
 Ga-le' o-lae 
 
 Gan' ges 
 
 Ga-bin' i-us 
 
 Ga-le' ri-a 
 
 Gan-nas'cus 
 
 Ga'des, and 
 
 Ga-le' ri-us 
 
 Gan-y-me' de 
 
 Gad'i-ra 
 
 Ga-le' sus 
 
 Gan-y-me' des 
 
 Gad-i-ta' nus 
 
 Gal-i-lae'a 
 
 Gan'y-mede (Eng.) 
 
 Gae-sa'tae 
 
 Ga-lin-thi-a'di-a 
 
 Ga-rae' i-cum 
 
 Gae-tu' li-a 
 
 Gal' li (3) 
 
 Gar-a-man' tes 
 
 Ge-tu' li-cus 
 
 Gal' li-a 
 
 Gar-a-man' tis 
 
 Ga-la'bri-i(4) 
 
 Gal-li-ca' nus 
 
 Gar'a-mas 
 
 Gal-ac-toph' a-gi (3) 
 
 Gal-H-e' nus 
 
 Gar'a-tas 
 
 Ga-lae' sus 
 
 Gal-li-na' ri-a 
 
 Ga-re' a-tae 
 
 Ga-lan' this 
 
 Gal-lip' o-lis 
 
 Ga-re-ath'y-ra' 
 
GE GL GO 4.5 
 
 * Gar-ga' nus 
 
 Ge-or'gi-ca 
 
 Glaph' y-rus 
 
 Gar-ga' phi-a 
 
 Geor' gics (Eng.) Glau'ce 
 
 Gar'ga-ra(7) 
 
 Ge-phy'ra Glau-cip'pe 
 
 Gar' ga-ris 
 
 Ge-phyr'ae-i(S) 
 
 Glau-cip' pus 
 
 Ga-ril' i-us 
 
 Ge-ra' ni-a 
 
 Glau' con 
 
 Gar-git' ti-us 
 
 Ge-ran' thrae G lau-con' o-me 
 
 Gar-i' tes 
 
 Ge-res' ti-cus 
 
 Glau-co'pis 
 
 Ga-rum'na 
 
 Ger'gi-thum (9) 
 
 Glau'cus 
 
 Gas' iron 
 
 Ger-go' bi-a 
 
 Glau' ti-as 
 
 Gath'e-ae (4) 
 
 Ge' ri-on 
 
 Gli' con 
 
 Ga-the'a-tas 
 
 Ger-ma'ni-a 
 
 Glis' sas 
 
 Gau'lus, Gau'le-on 
 
 Ger-man'i-cus 
 
 Glyc' e-ra 
 
 Gau' rus 
 
 Ger-ma' ni-i (4) 
 
 Gly-ce' ri-um 
 
 Ga'us, Ga'os 
 
 Ge-ron' thrse 
 
 Gly' con 
 
 Ge-ben' na (9) 
 
 Ger 7 rhai 
 
 Glym' pes 
 
 Ge-dro'si-a(ll) 
 
 Ge'rus, and 
 
 Gna'ti-a (13) (10) 
 
 Ge-ga' ni-i (4) 
 
 Ger 7 rhus 
 
 Gni'dus 
 
 Ge'la 
 
 Ge' ry-on (9), and 
 
 Gnos'si-a(lO) 
 
 Ge-la' nor 
 
 Ge-ry' o-nes 
 
 Gnos' sis 
 
 Gei'li-a 
 
 Ges'sa-tse 
 
 Gnos' sus 
 
 Gel'li-as 
 
 Ges' sus 
 
 Gob-a-nit'i-o (10) 
 
 Gel'li-us 
 
 Ge'ta (9) 
 
 Go' bar 
 
 Ge'lo, Ge'lon 
 
 Ge'ta 
 
 Gob' a-res 
 
 Ge'lo-i(3) 
 
 Ge-tu'li-a 
 
 Gob'ry-as 
 
 Ge-lo' nes, Ge-lo' rii 
 
 Gi-gan' tes 
 
 Gol'gi 
 
 Ge'los 
 
 Gi-gar' turn 
 
 Gom' phi 
 
 Ge-min' i-us 
 
 Gi' gis 
 
 Go-na' tas 
 
 Gem' i-nus 
 
 Gil' do 
 
 Go-ni' a-des 
 
 Ge-na' bum 
 
 Gil'lo 
 
 Go-nip' pus 
 
 Ge-nau' ni 
 
 Gin-da' nes 
 
 Go-noss' sa 
 
 Ge-ne' na 
 
 Gin'des 
 
 Go-nus'sa 
 
 Ge-ni' sus 
 
 Gin'ge 
 
 Gor-di-a'nus 
 
 Ge' ni-us 
 
 Gin-gu'num 
 
 Gor'di-um 
 
 Gen' se-ric 
 
 Gip' pi-us 
 
 Gor' di-us 
 
 Gen'ti-us(lO) 
 
 Gis' co 
 
 Gor-ga' sus 
 
 Gen'u-a 
 
 Gla-di-a-to'ri-i(4) 
 
 Gor'ge(8) 
 
 Ge-nu'ci-us(lO) 
 
 Gla' nis 
 
 Gor' gi-as 
 
 Ge-nu' sus 
 
 Glaph'y-re, and 
 
 Gor' go 
 
 Ge-nu'ti-a(ll) 
 
 Glaph'y-ra Gor'go-nes 
 
 * Gargannt. And high Garganus, on the Apulian plain, 
 Is mark'd by sailors from the distant main. 
 
 WILKIE, Epigonwd. 
 
46 GR GR GY 
 
 Gor-go' ni^a 
 
 Gra' i-us Gy' a-rus, and 
 
 Gor-go' ni-us 
 
 *Gra-ni' cus, or Gy' a-ros 
 
 Gor-goph' o-ne 
 
 Gran' i-cus 
 
 Gy'as 
 
 Gor-goph' o-ra 
 
 Gra' ni-us Gy-gae' us 
 
 Gor' gus 
 
 Gra'ti-ae(lO) \ Gy'ge 
 
 Gor-gyth' i-on 
 
 Gra-ti-a'nus (21) 
 
 Gy'ges(9), or 
 
 Goi / tu-ae 
 
 Gra-tid' i-a 
 
 Gy'es 
 
 Goi 7 tyn 
 
 Gra'ti-on(ll) 
 
 Gy-lip' pus 
 
 Gor-ty' na 
 
 Gra'ti-us(lO) 
 
 Gym-na'si-a (11) 
 
 Gor-tyn' i-a 
 
 Gra'vi-i(4) 
 
 Gym-na' si-um (11) 
 
 Gor'tys 
 
 Gra-vis'cae 
 
 Gyrn-ne' si-ae (U) 
 
 Got'thi(S) 
 
 Gra' vi-us 
 
 Gym' ne-tes 
 
 Grac'chus (12) 
 
 Gre-go'ri-us 
 
 Gym-nos-o-phis' tae 
 
 Gra-di' vus 
 
 Grin'nes 
 
 Jim-nos' o-phists 
 
 Grse'ci(3) 
 
 Gro' phus 
 
 (Kng-) (9) 
 
 Grse'ci-a(ll) 
 
 Gryl'lus 
 
 Gy-na:' ce-as 
 
 Grae'ci-a Mag'na 
 
 Gry-ne' urn Gyn-ae-co-thoe' nas 
 
 Grae-ci' nus 
 
 Gry-ne' us : Gyn' des 
 
 Grae' cus 
 
 Gry-ni' um Gy-the' um 
 
 HA HA HA 
 
 HA' BIS 
 
 Ha-le' sus 
 
 Ha-lim'e-de 
 
 Ha-dri-a-nop' o-lis 
 
 Hal'a-la 
 
 Hal-ir-rho'ti-us(10 
 
 Ha-dri-a' nus (23) 
 
 Hal-cy'o-ne (8) 
 
 Hal-i-ther'sus 
 
 Ha-dri-at' i-cum 
 
 Ha'les 
 
 Ha'Ji-us (20) 
 
 Has' mon 
 
 Ha-le' si-us (11) 
 
 Hal-i-zo'nes (21) 
 
 Hae-mo' ni-a 
 
 Ha'li-a 
 
 Hal' mus 
 
 Hae' mus 
 
 Ha-li-ac'mon(21) 
 
 Hal-my-des' sus 
 
 Ha'ges 
 
 Ha-li-ar'tus(21) 
 
 Ha-loc' ra-tes 
 
 Hag' no 
 
 Hal-i-car-nas' sus 
 
 Ha-lo'ne 
 
 Hag-nag' o-ra 
 
 Ha-lic / y-2e(11)(24) 
 
 Hal-on-ne' sus 
 
 Ha-lae' sus, and 
 
 Ha-li'e-is 
 
 Ha-lo'ti-a(lO) 
 
 * Granicus. As Alexander's passing the river Granicus is a common subject 
 of history, poetry, and painting, it is not wonderful that the common ear should 
 have given into a pronunciation of this word more agreeable to English analogy 
 than the true classical accent on the penultimate syllable, The accent on the 
 first syllable is now so fixed, as to make the other pronunciation savour of pe- 
 dantry. See Andronicus. 
 
HE HE HE 47 
 
 Ha-lc/tus 
 
 He' brus 
 
 Hel-i-ca' on 
 
 Ha'lus 
 
 Hec'a-le 
 
 Hel'i-ce 
 
 Hal-y-ae' tus 
 
 Hec-a-le' si-a 
 
 Hel' i-con 
 
 Hal-y-at' tes 
 
 Hec-a-me' de 
 
 Hel-i-co-ni' a-des 
 
 Ha'lys 
 
 Hec-a-tae' us 
 
 Hel-i-co' nis 
 
 Ha-ly/i-aOl) 
 
 Hec'a-te (8), or 
 
 He-li-o-do' rus (21) 
 
 Ham-a-dry' a-des 
 
 Hec' ate (Eng.) 
 
 fHe-li-o-ga-ba' lus 
 
 Ha-max' i-a 
 
 Hec-a-te'si-a (li) 
 
 He-li-op'o-lis 
 
 Ha- mil' car 
 
 Hec-a-tom-bo'i-a 
 
 He-lis' son 
 
 Ham' mon 
 
 Hec-a-tom-pho' ni-a 
 
 He' li-us 
 
 Han' ni-bal 
 
 Hec-a-tom' po-lis 
 
 He-lix' us 
 
 Har' ca-lo 
 
 Hec-a-tom' py-los 
 
 HeUan'i-ce 
 
 Har-ma-te' Ji-a 
 
 Hec' tor 
 
 Hel-lan'i-cus 
 
 Har 7 ma-tris 
 
 Hec' u-ba 
 
 Hel-la-noc' ra-tes 
 
 Ha-mil' lus 
 
 Hed' i-la 
 
 Hel' las 
 
 Har-mc/ di-us 
 
 He-don' a-cum 
 
 Hel'le(8) 
 
 Har-ma'ni-a 
 
 Hed'u-i(S) 
 
 Hel'len 
 
 Har-mon' i-des 
 
 He-dym' e-les 
 
 Hel-le' nes 
 
 Har'pa-gus 
 
 He-gel' o-chus 
 
 Hel-le-spon' tus 
 
 Har-pal'i-ce 
 
 *He-ge' mon 
 
 Hel-lo' pi-a 
 
 Har-pa' li-on 
 
 Heg-e-si' nus 
 
 Hel-lo'ti-a(lO) 
 
 Har'pa-lus 
 
 Heg-e-si' a-nax 
 
 He-lo'ris 
 
 Har-pal'y-ce(8) 
 
 He-ge' si-as 
 
 He-lo' rum, and 
 
 Har-pal' y-cus 
 
 Heg-e-sil' o-chus 
 
 He-lo' rus 
 
 Har' pa-sa 
 
 Heg-e-sin' o-us 
 
 He'los 
 
 Har' pa-sus 
 
 Heg-e-sip'pus 
 
 He-lo' tae, and 
 
 Har-poc' ra-tes 
 
 Heg-e-sip' y-le 
 
 He-lo' tes 
 
 Har-py' i-ae (4) 
 
 Heg-e-sis' tra-tus 
 
 Hel-ve'ti-a (10) 
 
 Har' pies (Eng.) 
 
 Heg-e-tor' i-des 
 
 Hel-ve' ti-i (4) 
 
 Ha-ru'spex 
 
 Hel'e-na(7) 
 
 Hel'vi-a 
 
 Has'dru-bal 
 
 He-le' ni-a 
 
 Hel'vi-i(4) 
 
 Ha-te' ri-us 
 
 He-le' nor 
 
 Hel-vi'na 
 
 Hau' sta-nes 
 
 Hel' e-nus 
 
 Hel' vi-us Cin'na 
 
 Heb'do-le 
 
 He-ler'ni Lu'cus 
 
 He'lum 
 
 He' be (8) 
 
 He-li' a-des 
 
 Hel' y-mus 
 
 He-be' sus 
 
 He-li-as' tae 
 
 He-rna' thi-on 
 
 * #fg-<?mon. Gouldman and Holyoke accent this word on the antepenulti- 
 mate syllable, but Labbe and Lempriere more classically on the penultimate. 
 
 Helwgabalus. This word is accented on the penultimate syllable by Labbe 
 and Lempriere; but in my opinion more agreeably to the general ear by Ains- 
 worth, Gouldman, and Holyoke, on the antepenultimate. 
 
48 HE HE HI 
 
 He-mith' e-a 
 
 Her' i-lus He-roph' i-lus 
 
 He' mon 
 
 Her' ma-chus 
 
 He-ros' tra-tus 
 
 He' mus 
 
 Her' m& 
 
 Her' pa 
 
 Hen'e-ti (3) 
 
 Her-mae' a 
 
 Her'se 
 
 Heni'o-chi (3) 
 
 Her-mae' um 
 
 Her-sil'i-a 
 
 He-phaes' ti-a 
 
 Her-mag' o-ras 
 
 Her'tha, and 
 
 He-phajs' ti-i (4) 
 
 H er-man-du' ri 
 
 Her'ta 
 
 He-phaes' ti-o 
 
 Her-man' ni 
 
 Her'u-li 
 
 He-phaes' ti-on (11) 
 
 Her-maph-ro-di' tus 
 
 He-sae' nus 
 
 Hep-ta-pho' nos 
 
 Her-ma-the' na 
 
 He-si' o-dus 
 
 Hep-tap' o-lis 
 
 Her-me' as 
 
 He? zhe-od(En.)(i(>) 
 
 Hep-tap' y-los 
 He'ra(7) 
 
 Her-me' i-as 
 Her'mes 
 
 He-si' o-ne 
 Hes-pe' ri-a 
 
 Her-a-cle' a 
 
 Her-me-si' a-nax 
 
 Hes-per' i-des 
 
 Her-a-cle' i-a 
 
 Her-mi'as 
 
 Hes' pe-ris 
 
 He-rac' le-um 
 
 Her-min' i-us 
 
 Hes-per' i-tis 
 
 He-rac-le-o' tes 
 
 Her-mi' o-ne 
 
 Hes' pe-rus 
 
 Her-a-cli' dae 
 
 Her-mi' o-ni-ae 
 
 Hes' ti-a 
 
 Her-a-cli' dis 
 
 Her-mi-on' i-cus Si' 
 
 Hes-ti-se'a(7) 
 
 Her-a-cli' des 
 
 nus 
 
 He' sus 
 
 *Her-a-cli' tus 
 
 Her-mip' pus 
 
 He-sych' i-a 
 
 He-rac' li-us 
 
 Her-moc' ra-tes 
 
 He-sych' i-us 
 
 He-ra'a 
 
 Her-mo-do' rus 
 
 He-trie' u-lum 
 
 He-rae' um 
 
 Her-mog' e-nes 
 
 He-tru'ri-a 
 
 Her-bes' sus 
 
 Her-mo-la' us 
 
 Heu-rip' pa 
 
 Her-ce' i-us 
 
 Her-mo-ti'mus 
 
 Hex-ap' y-lum 
 
 Her-cu-la' ne-um 
 
 Her-mun-du' ri 
 
 Hi-ber'ni-a, and 
 
 Her'cu-les 
 
 Her' mus 
 
 Hy-ber' ni-a 
 
 Her-cu' le-um 
 
 Her' ni-ci (4) 
 
 Hi-bril' des 
 
 Her-cu' le-us 
 
 He'ro 
 
 Hic-e-ta'on (24) 
 
 Her-cy' na 
 
 He-ro'des 
 
 His-e^taf on 
 
 Her-cyn' i-a 
 
 He-ro-di-a'nus (21) 
 
 Hi-ce'tas 
 
 Her-do' ni-a 
 
 He-rod' i-cus 
 
 Hi-emp' sal 
 
 Her-do'ni-us 
 
 He-rod' o-tus 
 
 Hi'e-ra 
 
 He-ren' ni-us Se-ne' 
 
 Her' o-es 
 
 Hi-e-rap' o-lis 
 
 ci-o 
 
 He-ro' is 
 
 Hi' e-rax 
 
 He' re-us 
 
 He'ron 
 
 Hi'e-ro 
 
 He-ril' lus 
 
 He-roph' i-la 
 
 Hi-e-ro-ce' pi-a 
 
 * Heraclitus. This name of the weeping philosopher is so frequently con- 
 trasted with that of Democritus, the laughing philosopher, that we are apt to 
 pronounce both with the same accent ; but all our prosodists are uniform in 
 giving the antepenultimate accent to the latter, and the penultimate to the fi 
 mer word. 
 
HI HI HO 4C 
 
 Hi-er'o-cles 
 
 Hip-pob' o-tes 
 
 Hip-pos' tra-tus ' 
 
 Hi-e-ro-du' lum 
 
 Hip-pob' o-tus 
 
 Hip-pot' a-des 
 
 Hi-er-om' ne-mon 
 
 Hip-po-cen-tau' ri 
 
 Hip' po-tas, or 
 
 Hi-e-ro-ne'sos 
 
 Hip-poo' o-on 
 
 Hip'po-tes 
 
 Hi-e-ron' i-ca (30) 
 
 Hip-po-cor-ys' tes 
 
 Hip-poth'o-e 
 
 Hi-er-on'i-cus 
 
 Hip-poc'ra-tes 
 
 Hip-podi'o-on 
 
 Hi-e-rori' y-mus Hip-po-cra' ti-a (11) Hip-poth-o-on' tis 
 
 Hi-e-roph'i-lus *Hip-po-cre'ne (7) Hip-poth'o-us 
 
 Hi-e-ro-bol' y-ma Hip-pod' a-mas 
 
 Hip-po'ti-on (11) 
 
 Hig-na' ti-a Vi' a Hip-pod' a-me Hip-pu'ris 
 
 Hi-la' ri-a Hip-po-da-mi'a (30) Hip' pus 
 
 Hi-la' ri-us Hip-pod' a-mus 
 
 Hip' si-des 
 
 Hi-mel'la 1 Hip-pod' i-ce 
 
 Hi'ra 
 
 Him'e-ra Hip-pod'ro-mus 
 
 Hir-pi' ni (4) 
 
 Hi-mil' co Hip'po-la 
 
 Hir-pi'nus, Q. 
 
 Hip-pag' o-ras Hip-pol'o-chus 
 
 Hir'ti-a(lO) 
 
 Hip-pal' ci-mus Hip-pol'y-te (8) 
 
 Hir'ti-us An' Ins 
 
 Hip'pa-lus Hip-pol'y-lus 
 
 Hir'tus 
 
 Hip- par' chi-a ( 1 2) Hip-pom' a-chus 
 
 His' bon 
 
 Hip-par'chus Hip-porn' e-don 
 
 His-pa' ni-a 
 
 Hip-pa-ri' mis i Hip-pom' e-ne 
 
 His-pel'lum 
 
 Hip-pa' ri-on Hip-pom' e-nes 
 
 His'po 
 
 Hip' pa-sus 
 
 Hip-po-mol'gi 
 
 His-pul' la 
 
 Hip'pe-tis 
 
 Hip'pon,andHip'po 
 
 His-tas'pes 
 
 Hip' pi (3) Hip-po'na 
 
 His'ter Pa-cu'vi-us 
 
 Hip'pi-a 
 
 Hip'po-nax 
 
 His-ti-ae'a 
 
 Hip' pi-as 
 
 Hip-po-ni' a-tes 
 
 His-ti-ab'o-tis 
 
 Hip' pis 
 
 Hip-po' ni-um 
 
 His-ii-ae'us 
 
 Hip' pi-us 
 
 Hip-pon'o-us 
 
 His' tri-a 
 
 Hip' po 
 
 Hip-pop'o-des 
 
 Ho'di-us 
 
 * Hippocrene. Nothing can be better established than the pronunciation of 
 this word in four syllables, according to its original; and yet such is the licence 
 of English poets, that they not unfrequently contract it to three. Thus COOKF, 
 Hesiod. Theog. v. 9. 
 
 And now to Hippocrene resort the fair ; 
 
 Or, Olmius, to thy sacred spring repair. 
 
 And a late translator of the Satires of Persius : 
 
 Never did I so much as sip, 
 Or wet 'with Hippocrene a lip. 
 
 This contraction is inexcusable, as it tends to embarrass pronunciation, and 
 lower the language of poetry. 
 
 E 
 
50 HY HY HY 
 
 Hoi' o-cron 
 
 Hyb' re-as 
 
 Hy-pa' tes 
 
 Ho-me' rus 
 
 Hy-bri' a-nes 
 
 Hyp' a-tha 
 
 Ho'mer(Eng.) 
 
 Hyc' ca-ra 
 
 Hy-pe' nor 
 
 Horn' o-le 
 
 Hy'da, andHy'de 
 
 Hy-pe-ra'on 
 
 Ho-mo' le-a 
 
 Hyd'a-ra 
 
 Hy-per 7 bi-us 
 
 Hom-o-lip' pus 
 
 Hy-dar' nes 
 
 Hyp-erbo' re-i 
 
 Hom-o-lo' i-des 
 
 Hy-das' pes 
 
 Hy-pe're-a, and 
 
 Ho-mon-a-den' ses 
 
 Hy' dra 
 
 Hy-pe' ri-a 
 
 Ho-no'ri-us 
 
 Hy-dra' mi-a (30) 
 
 Hyp-e-re'si-a(l 1) 
 
 Ho'ra 
 
 Hy-dra-o' tes 
 
 Hy-per' i-des 
 
 Ho-rac'i-tse (24) 
 
 Hy-droch' o-us 
 
 Hy-pe' ri-on (29) 
 
 Ho'r* 
 
 Hy-dro-pho' ri-a 
 
 Hyp-erm-nes' tra 
 
 Hor-a-pol'lo 
 
 Hy'drus 
 
 Hy-per'o-chus 
 
 Ho-ra' ti-us 
 
 Hy-dru' sa 
 
 Hy-per-och' i-des 
 
 Hor' ace (Eng.) 
 
 Hy' e-la 
 
 Hy-phae' us 
 
 Hor'ci-as(lO) 
 
 Hy-emp'sal 
 
 Hyp' sa 
 
 Hor-mis' das 
 
 Hy-et' tus 
 
 Hyp-se' a 
 
 Ho-ra' tus 
 
 Hy-ge' i-a 
 
 Hyp-se' nor 
 
 Hor-ten'si-a(lO) 
 
 Hy-gi-a' na 
 
 Hyp-se' us 
 
 Hor-ti' num 
 
 Hy-gi' nus 
 
 Hyp-si- era- te' a 
 
 Hor- ten' si-us (10) 
 
 H/la, and Hy' las 
 
 Hyp-sic' ra-tes 
 
 Hor-to' na 
 Ho' rus 
 
 Hy-lac' i-des 
 Hy-lac' tor 
 
 Hyp-syp' y-le 
 Hyr-ca' ni-a 
 
 Hos-til'i-a 
 
 Hy'he 
 
 Hyr-ca'num ma' re 
 
 Hos-til'i-us 
 
 Hy-la'us 
 
 Hyr-ca' nus 
 
 Hun-ne-ri' cus 
 
 Hy' las 
 
 Hyr'i-a 
 
 Hun-ni' a-des 
 
 Hy'lax 
 
 Hy-ri' e-us, and 
 
 Hy-a-cin' thi-a 
 
 Hyl'i-as 
 
 Hyr'e-us 
 
 Hy-a-cin' thus 
 
 Hyl-la' i-cus 
 
 Hyr-mi' na 
 
 Hy' a-des 
 
 Hyl'lus 
 
 Hyr' ne-to, and 
 
 Hy-ag' nis 
 
 Hy-lon' o-me 
 
 Hyr 7 ne-tho 
 
 Hy'a-la 
 
 Hy-loph'a-gi(S) 
 
 Hyr-nith' i-um 
 
 Hy-ara' po-lis 
 
 Hym-e-nae' us, and 
 
 Hyr' ta-cus 
 
 Hy-an' thes 
 
 Hy' men 
 
 Hys'i-a(ll) 
 
 Hy-an' tis 
 
 Hy-met' tus 
 
 Hys' pa 
 
 Hy-ar'bi-ta 
 
 Hy-pae' pa 
 
 Hys'sus, and 
 
 Hy'as 
 
 Hy-p2e'si-a(ll) 
 
 Hys' si (3) 
 
 Hy'bla 
 
 Hyp' a-nis 
 
 Hys-tas' pes 
 
 *Hy-bre'as, or 
 
 Hyp-a-ri' nus 
 
 Hys-ti-e' us 
 
 * Hybreas. Lempriere accents this word on the penultimate syllable ; but 
 Labbe, Gouldman, and Holyoke, more properly, on the antepenultimate. 
 
( 51 ) 
 
 IA 1C ID 
 
 I' A 
 
 Jar' chas 
 
 Ich-o-nu' phis 
 
 I-ac'chus 
 
 I-ar 7 da-nus 
 
 Ich-thy-oph' a-gi (3) 
 
 I-a'der 
 
 I-as' i-des 
 
 Ich' thys 
 
 I-a-le' mus 
 
 I-a'si-on (11), and 
 
 I-cil'i-us 
 
 I-aK me-nus 
 
 I-a' si-us 
 
 Ic'i-us (10) 
 
 I-al' y-sus 
 
 Ja' son 
 
 1'cos 
 
 I-am' be 
 
 1'a-sus 
 
 Ic-ti'nus 
 
 I-am' bli-cus 
 
 I-be'ri 
 
 I'da 
 
 I-am' e-nus 
 
 I-be'ri-a 
 
 I-d<e'a 
 
 I-am' i-dae 
 
 1-be'rus 
 
 I-dze' us 
 
 Ja-nic' u-lum 
 
 F bi (3) 
 
 Id' a-lus 
 
 I-a-ni' ra 
 
 I'bis 
 
 Id-an-thyr'sus 
 
 I-an' the 
 
 Ib'y-cus 
 
 I-dar' nes 
 
 I-an' the-a 
 
 I-ca' ri-a 
 
 I' das 
 
 Ja' nus 
 
 I-ca' ri-us 
 
 fld'e-a(28) 
 
 I-ap-e-ron' i-des 
 
 Ic' a-rus 
 
 1-des'sa 
 
 *I-ap' e-tus 
 
 Ic'ci-us (10) 
 
 I-dit-a-ri' sus 
 
 I-a' pis 
 
 Ic'e-los 
 
 Id' mon 
 
 I-a-pyg'i-a 
 
 I-ce' ni 
 
 l-dom' e-ne (3) 
 
 I-a' pyx 
 
 Ic' e-tas 
 
 I-dom-e-ne' us, or 
 
 I-ar'bas 
 
 Ich' nae 
 
 Jl-dom'e-neus 
 
 I-ar'chas, and 
 
 Ich-nu'sa 
 
 -do' the-a 
 
 * lapetus. Son of lapetus, o'er-subtle go, 
 
 And glory in thy artful theft below. 
 
 COOKE'S Hesiod. 
 
 t Idea. This word, as a proper name, I find in no lexicographer but Lem- 
 priere. 
 
 The English appellative, signifying an image in the mind, has uniformly the ac- 
 cent on the second syllable, as in the Greek tSia in opposition to the Latin, which 
 we generally follow in other cases, and which, in this word, has the penultimate 
 short, in Ainsworth, Labbe, and our best prosodists ; and according to this ana- 
 logy, idea ought to have the accent on the first syllable, and that syllable short, 
 as the first of idiot. But when this word is a proper name, as the daughter of 
 Dardanus, I should suppose it ought to fall into the general analogy of pro- 
 nouncing Greek names, not by accent, but by quantity ; and, therefore, that it 
 ought to have tt.e accent on the first syllable; and, according to our own ana- 
 logy, that syllable ought to be short, unless the penultimate in the Greek is a 
 diphthong, and then, according to general usage, it ought to have the accent. 
 
 t Idomeneus. The termination of nouns in eus was, among the ancients, some- 
 times pronounced as two syllables, and sometimes, as a diphthong; in one. Thus 
 
 E 2 Labbe 
 
52 IL IL IN 
 
 I-dri' e-us 
 
 I-li'a-des I-man-u-en' ti-us 
 
 I-du'be-da 
 
 Il'i-as 
 
 (10) 
 
 I-du' me, and 
 
 11' i-on 
 
 flm' a-us 
 
 Id-u-me'a 
 
 I-li'o-ne 
 
 Im'ba-rus 
 
 I-dy'i-a 
 
 Il-i-o'ne-us, or 
 
 Im-brac'i-des 
 
 Jen' i-sus 
 
 *I-li' o-neus 
 
 Im-bras'i-des 
 
 Je' ra 
 
 I-lis'sus 
 
 Im' bra-sus 
 
 Je-ro'mus, and I-lith-y-i'a 
 
 Im'bre-us 
 
 Je-ron'y-mus Il'i-um or 
 
 Im'bri-us 
 
 Je-ru'sa-lem I i' i-on 
 
 Im-briVi-ura 
 
 I-e'tse j Il-lib'e-ris 
 
 Im' bros 
 
 Ig' e-ni Il-lip' u-la 
 
 In'a-chi(3)(12) 
 
 Jg-na'ti-us (10) Il-li-tur'gis 
 
 l-na' chi-a 
 
 Il-a-i' ri Il-lyr' i-cum 
 
 I-nach'i-dae 
 
 11' ba 
 
 U' ly-ris, and 
 
 I-nach' i-des 
 
 Il-e-ca' o-nes, and 
 
 Il-lyr' i-a 
 
 I-na' chi-um 
 
 Il-e-ca-o-nen'ses 
 
 Il-lyr' i-cus Si' nus 
 
 lD'a-chus(l2) 
 
 I-ler'da 
 
 Il-lyr'i-us 
 
 I-nam'a-mes 
 
 Il'i-a, or Rhe'a 
 
 Il'J-a(7) 
 
 I-nar'i-me (8) 
 
 I-li'a-ci Lu'di(S) 
 
 l-lyr'gis ! In'a-rus 
 
 I-li' a-cus 
 
 I'lus 
 
 In-ci-ta' tus 
 
 Labbe tells us, that Achilkiis, Agyleus, Pharaleiis, Apsirteiis, are pronounced 
 commonly in four syllables, and Nereiis, Orpheus, Porteus, Tereiis, in three, with 
 the penultimate syllable short in all; but that these words, when in verse, have 
 generally the diphthong preserved in one syllable : 
 
 Eumenidum velnti demens videt agmina Pentheus. VIRG. 
 He observes, however, that the Latin poets very frequently dissolved the 
 diphthong into two syllables: 
 
 Naiadum coetu, tantum non Orpheiis Hebrum 
 Pcenaque respectus, et nunc rrianet Orpheus in te. 
 
 The best rule, therefore, that can be given to an English reader, is, to pro- 
 nounce words of this termination always with the vowels separated, except an 
 English poet, in imitation of the Greeks, should preserve the diphthong: but, in 
 the present word, I should prefer Ldom'e-neus to I-dom~e-ne? MS, whether in 
 verse or prose. 
 * See Idomcneus. 
 
 f Iwwus. All our prosodists make the penultimate syllable of this word short, 
 and consequently accent it on the antepenultimate ; but Milton, by a licence 
 he was allowed to take, accents it on the penultimate syllable : 
 As when a vulture on /mails bred, 
 Whose snowy ridge the roving Tartar bounds. 
 
IN 
 
 1O 
 
 IP 58 
 
 In-da-thyr'sus 
 
 l'o(l) 
 
 Jop' pa 
 
 In' di-a 
 
 I-ob' a-tes, and 
 
 I' o-phon 
 
 In-dig' e-tes 
 
 Jo-ba' tes 
 
 Jor-da' nes 
 
 In-dig'e-ti (3) 
 
 I'o-bes 
 
 Jor-nan' des 
 
 In'dus 
 
 Jo-cas'ta 
 
 I' OS 
 
 rno(l) 
 
 l-o-la'i-a 
 
 Jo-se'phus Fla'vi-us 
 
 I-no' a (7) 
 
 I'o-las, or 
 
 Jo-vi-a' nus 
 
 1-n o' pus 
 
 I-o-la' us 
 
 Jo'vi-an (Eng.) 
 
 I-no' us 
 
 -ol'chos 
 
 Ip' e-pae 
 
 I-no' res 
 
 'o-le(i)(8) 
 
 Iph-i-a-nas' sa 
 
 In'su-bres 
 
 'on 
 
 Iph' i-clus, or 
 
 In-ta pher'nes 
 
 -o'ne(8) 
 
 Iph'i-cles 
 
 In-te-ram' na 
 
 -o' nes 
 
 I-phic'ra-tes 
 
 In-ter-ca' ti-a (11) 
 
 -o' ni-a 
 
 I-phid' a-mus 
 
 In' u-us 
 
 -o' pas 
 
 Iph-i-de-mi'a 
 
 I-ny' cus 
 
 ' o-pe, and 
 
 * Jph-i-ge-ni' a 
 
 * Iphigenia. The antepenultimate syllable of this word had been in quiet 
 possession of the arc* nt for more than a century, till some Greeklings of late 
 have attempted to place the stress on the penultimate in compliment to the ori- 
 ginal Ifiyku*. If we ask our innovators on what principles they pronounce this 
 word with the accent on the t, they answer, because the i stands for the diph- 
 thong E(, which, being long, must necessarily have the accent on it : but it may 
 be replied, this was indeed the case in the Latin language, but not in the Greek, 
 where we find a thousand long penultimates without the accent. It is true, one 
 of the vowels which composed a diphthong in Greek, when this diphthong was 
 in the penultimate syllable, generally had an accent on it, but not invariably; for 
 a long penultimate syllable did not always attract the accent in Greek as it did 
 in Latin. An instance of this, among thousands, is that famous line of dactyls 
 in Homer's Odyssey, expressing the tumbling down of the stone of Sisyphus ; 
 
 Auru; Iftlita, r!Jov&g Kv\ivhro Xaa? avaiM/;. OdySS, b 11. 
 
 Another striking instance of the same accentuation appears in the two first 
 verses of the Iliad : 
 
 MijviV 0,61^6 Qea. 
 
 I know it may be said, the written accents we see on Greek words are of no 
 kind of authority, and that we ought always to give accent to penultimate long 
 quantity, as the Latins did. Not here to enter into a dispute about the authority 
 of the written accents, the nature of the acute, and its connexion with quantity, 
 which has divided the learned of Europe for so many yearstill we have a clearer 
 idea of the nature of the human voice, and the properties of speaking sounds, 
 which alone can clear the difficulty for the sake of uniformity perhaps it were 
 
 better 
 
54 IR 
 
 IS 
 
 IS 
 
 *Iph-i-me-d/a 
 
 -re 7 sus 
 
 I-sau' ri-cus 
 
 1-phim' e-don 
 
 7 ris 
 
 I-sau 7 rus 
 
 Iph-i-me-du' sa 
 
 'rus 
 
 Is-c,he 7 ni-a(12) 
 
 I-phin 7 o-e (8) 
 
 s 7 a-das 
 
 Is-cho-la' us 
 
 I-phin 7 o-us 
 
 -sa> 7 a(7) 
 
 Is-com' a-chus 
 
 F phis 
 
 -sae 7 us 
 
 Is-rhop'o-lis 
 
 I-phit'i-on (11) 
 
 s' a-mus 
 
 Is 7 ia(13) 
 
 Iph'i-tus 
 
 -san'der 
 
 Is-de-ger 7 des 
 
 Iph 7 thi-me 
 
 -sa' pis 
 
 Is-i-do 7 rus 
 
 Ip-se'a (29) 
 
 7 sar, and Is'a-ra 
 
 Is' i-dore (Eng.) 
 
 l'ra(l)(7) 
 
 7 sar, and I-sae'us 
 
 Tsis 
 
 I-re'ne 
 
 -sar'chus (12) 
 
 Is 7 ma-rus, and 
 
 Ir-e-nae 7 us 
 
 I-sau 7 ri-a 
 
 Is 7 ma-ra 
 
 better to adopt the prevailing mode of pronouncing Greek proper names like 
 the Latin, by making the quantity df the penultimate syllable the regulator of 
 the accent, though contrary to the genius of Greek accentuation, which made 
 the ultimate syllable its regulator ; and if this syllable was long, the accent could 
 never rise higher than the penultimate. Perhaps in language as in laws, it is 
 not of such importance that the rules of either should be exactly right, as that 
 they should be certainly and easily known ; so the object of attention in the 
 present case is not so much what ought to be done, as what actually is done; 
 and as pedantry will always be more pardonable than illiteracy, if we are in 
 doubt about the prevalence of custom, it will always be safer to lean to the side 
 of Greek or Latin than of our own language. 
 
 * Iphimedia. This and the foregoing word have the accent on the same sylla- 
 ble, but for what reason cannot be easily conceived. That Iphigenia, having the 
 diphthong E( in its penultimate syllable, should have the accent on that syllable, 
 though not the soundest, is at least a plausible reason ; but why should our pro- 
 sodists give the same accent to the i in Iphimedia 'I which coming from ;cj>t and 
 /uE^Ett, has no such pretensions. If they say it has the accent in the Greek word, 
 it may be answered, this is not esteemed a sufficient reason for placing the ac- 
 cent in Iphigenia; besides, it is giving up the sheet-anchor of modern prosodists, 
 the quantity, as the regulator of accent. We know it was an axiom in Greek 
 prosody, that when the last syllable was long by nature, the accent could not 
 rise beyond the penultimate ; but we know too that this axiom is abandoned in 
 Demosthenes, Aristoteles, and a thousand other words. The only reason there- 
 fore that remains for the penultimate accentuation of this word is, that this syl- 
 lable is long in some of the best poets. Be it so. Let those who have more 
 learning and leisure than I have find it out. In the interim, as this may perhaps 
 be a long one, I must recur to my advice under the last word ; though Ainsworth 
 has, in my opinion, very properly left the penultimate syllable of both these 
 words short, yet those who affect to be thought learned will always find their ac- 
 count in departing as far as possible from the analogy of their own language in 
 favour of Greek and Latin. 
 
IT JU IX 5, 
 
 Js-me'ne (8) 
 
 I-tem' a-les 
 
 Ju'li-i (4) 
 
 Is-me' ni-as 
 
 Ith'a-ca 
 
 Ju-li-o-ma' gus 
 
 Is-men' i-des 
 
 I-thob'a-lus 
 
 Ju-li- op' o-lis 
 
 Is-me' nus 
 
 I-tho' me 
 
 Ju'lis 
 
 1-soc'ra-tes 
 
 Ith-o-ma'i-a 
 
 Ju'li-us Cae'sar 
 
 Is'sa(7) 
 
 I-tho' mus 
 
 I-u' lus 
 
 Is'se(S) 
 Is' sus 
 
 Ith-y-phal' lus 
 I-to' ni-a (7) 
 
 Ju' ni-a (7) 
 Ju'no 
 
 Is'ter, and Is'trus 
 
 I-to' nus 
 
 Ju-no-na'li-a 
 
 1st' hmi-a 
 
 It-u-rae' a 
 
 Ju-no' nes 
 
 Ist'hmi-us 
 
 I-tu' rum 
 
 Ju-no' ni-a 
 
 Ist'hmus 
 
 It'y-lus 
 
 Ju-no'nis 
 
 Is-ti-ae' o-tis 
 
 It-y-rae'i (3) 
 
 Ju' pi-ter 
 
 !&' tri-a 
 
 i'tys 
 
 Jus-ti' nus 
 
 Is-trop' o-l is 
 
 Ju'ba 
 
 Ju-tur'na 
 
 I'sus 
 
 Ju-dae' a 
 
 Ju-ve-na' lis 
 
 I-ta'li-a (7) 
 
 Ju-gan' tes 
 
 Ju' ve-nal (Eng.) 
 
 It' a-ly ( Kng.) 
 
 Ju-ga' ri-us 
 
 Ju-ven' tas 
 
 I-tal' i-ca 
 
 Ju-gur' tha 
 
 Ju-ver' na, or 
 
 I-tal'i-cus 
 
 Ju'li-a(7) 
 
 Hi-ber' ni-a 
 
 It'a-lus 
 
 Ju-li' a-des 
 
 Ix-ib' a-taa 
 
 I-tar' gris 
 
 Ju-li-a' nus 
 
 Ix-i' oil 
 
 It'e-a(20) 
 
 Ju' li-an (Eng.) 
 
 Ix-i-on' i-des 
 
 LA LA LA 
 
 JLiA-AN'DER 
 
 La-bi' cum 
 
 Lac-e-das' mon 
 
 La-ar' chus 
 
 La-bi-e' nus 
 
 Lac-e-dae-mo' ni-i 
 
 Lab' a-ris 
 
 Lab-i-ne' tus 
 
 Lac-e-daem' o-nes 
 
 Lab' da 
 
 La-bo' bi-us 
 
 Lac-e-de-mo' ni-ans 
 
 Lab' da-cus 
 
 La-bob' ri-gi (3) 
 
 (Eng.) 
 
 Lab' da-Ion 
 
 La-bo' tas 
 
 La-cer' ta 
 
 La'be-o 
 
 La-bra' de-us 
 
 Lach' a-res 
 
 La-be' ri-us 
 
 Lab-y^rin' thus 
 
 La'ches(l)(l2) 
 
 La-bi'ci(4) 
 
 La-cae' na 
 
 *Lach' e-sis 
 
 * Lachesis. Clotho and Lachesis, whose boundless sway, 
 With Atropos, both men and gods obey. 
 
 COOKE'S Hesiod. Theog. v. 335. 
 
o(i LA LA LA 
 
 Lac' i-das 
 
 La'gi-a(SO) 
 
 Lamp'sa-cus, and 
 
 La-ci'des 
 
 Lag' i-des 
 
 Lamp' sa-chum 
 
 La-cin'i-a 
 
 La-cin' i-a 
 
 Lamp-te' ri-a 
 
 La-cin-i-en' ses 
 
 La' gus 
 
 Lam' pus 
 
 La-cin'i-um 
 
 La-gu' sa 
 
 La' mus 
 
 Lac' mon 
 
 La-gy' ra (6) Lam' y-rus 
 
 La'co(l) 
 
 La-i'a-des(S) 
 
 La-nas' sa 
 
 La-cob' ri-ga I La'i-as 
 
 Lan'ce-a(lO) 
 
 La-co' ni-a, and 
 
 La' is 
 
 Lan'ci-a (10) 
 
 La-con' i-ca 
 
 La' i-us 
 
 Lan' di-a 
 
 Lac' ra-tes Lai' a~ge 
 
 Lan' gi-a 
 
 Lac' ri-nes | La-las' sis 
 
 Lan-go~bar'di (3) 
 
 Lac-tan' ti-us (13) 
 
 Lam' a-ehus 
 
 La-nu' vi-um 
 
 Lac' ter 
 
 La-mal' mon 
 
 La-o-bo'tas, or 
 
 Lac' y-des 
 
 Lam-bra' ni (3) 
 
 Lab' o-tas 
 
 Lac'y-dus (24) 
 
 Lam' brus 
 
 La-oc' o-on 
 
 La' das 
 
 La' mi-a 
 
 La-od' a-mas 
 
 La' de (8) 
 
 La-mi' a-cum bel' 
 
 La-o-da' mi-a (30) 
 
 La'des 
 
 lum 
 
 La-od' i-ce (8) 
 
 La' don 
 
 La' mi-ae 
 
 La-od-i-ce' a 
 
 Lae' laps 
 
 La'mi-as M li-us 
 
 La-od-i-ce' ne 
 
 Lse'li-a 
 
 La-mi-' rus 
 
 La-od' o-chus 
 
 LaB-li-a'nus 
 
 Lam' pe-do 
 
 La-og' o-nus 
 
 Las' li-us, C. 
 
 Lam-pe'ti-a (10) 
 
 La-og' o-ras 
 
 Lae'na, and 
 
 Lam'pe-to, and 
 
 La-og' o-re (8) 
 
 Le-ae'na 
 
 Lam' pe-do 
 
 *La-o-me-di'a(30) 
 
 Lae' ne-us 
 
 Lam'pe-us, and 
 
 La-om' e-don 
 
 Lae' pa Mag'na 
 
 Lam' pi-a 
 
 La-om-e-don' te-us 
 
 La-er' tes 
 
 Lam' pon, Lam' pos 
 
 La-om-e-don-ti' a- 
 
 La-er' ti-us Di-og'e- 
 
 or Lam' pus 
 
 d* 
 
 nes 
 
 Lam-po-ne'a 
 
 La-on' o-me (8) 
 
 Lae-stryg' o-nes 
 
 Lam-po' ni-a, and 
 
 La-on-o-me' ne 
 
 Lae'ta 
 
 Lam-po' ni-um 
 
 La-oth' o-e (8) 
 
 Lae-to' ri-a 
 
 Lam-po' ni-us 
 
 La' o-us 
 
 Lae' tus 
 
 Lam-prid' i-us 
 
 Lap' a-thus 
 
 Lag' vi (3) 
 
 J' li-us 
 
 Laph' ri-a 
 
 Lae-vi' nus 
 
 Lam' pro-cles 
 
 La-phys' ti-um 
 
 La-ga' ri-a 
 
 Lam' prus 
 
 La-pid' e-i 
 
 * Laomedia. 
 
 See Iphigenia. 
 
 -Evagore, Laomedia join, 
 And thou Polynome, the numerous line. 
 
 COOKE'S Hesiod, Theog. v. 399. 
 
LA 
 
 LE 
 
 LE 57 
 
 La-pid 7 e-us 
 
 La-she-a! ris 
 
 Le-an 7 der 
 
 Lap 7 i-thae 
 
 La-ti'ni(3)(4) 
 
 Le-an' dre 
 
 Lap-i-thae'uni 
 
 La-tin' i-us 
 
 Le-an'dri-as 
 
 Lap'i-tho 
 
 La-ti' nus 
 
 Le-ar'chus (12) 
 
 Lap' i-thus 
 
 La' ti-um 
 
 Leb-a-de' a 
 
 La'ra, or La-ran' da 
 
 La' she-urn 
 
 Leb 7 e-dus, or 
 
 La-ren'ti-a, and 
 
 La' ti-us (10) 
 
 Leb'e-dos 
 
 Lau 7 ren-ti-a (10) 
 
 Lat' mus 
 
 Le-be 7 na 
 
 La' res 
 
 La-to'i-a 
 
 Le-bin'thos, and 
 
 Lar'ga 
 
 La-to' is 
 
 Le-byn' thos 
 
 Lar' gus 
 
 La-to' us 
 
 Le-chae' um 
 
 La-ri 7 des 
 
 La-to' na 
 
 Lec'y-thus (24) 
 
 La-ri' na 
 
 La- top' o-l is 
 
 Le'da 
 
 La-ri' num 
 
 La' tre-us 
 
 Le-dae' a 
 
 La-ris' sa 
 
 Lau-do'ni-a 
 
 Le'dus 
 
 La-ris' sus 
 
 La-ver' na 
 
 Le 7 gi-o 
 
 La' ri-us 
 
 Lau-fel'la 
 
 Le 7 i-tus (4) 
 
 Lar' nos 
 
 Lav-i-a' na (7) 
 
 Le'laps 
 
 La-ro' ni-a 
 
 La-vin' i-a 
 
 Lei 7 e-ges 
 
 Lar'ti-us Flo'rus 
 
 La-vin' i-um, or 
 
 Le'lex , 
 
 Lar-to-laBt' a-ni 
 
 La-vi' num 
 
 Le-man' nus 
 
 Lar' vae 
 
 Lau' ra 
 
 Lena' nos 
 
 La-ryni'na 
 
 Lau' re-a 
 
 Le-mo'vi-i (3) 
 
 La-rys'i-um (11) 
 
 Lau-ren-ta 7 li-a 
 
 Lem' u-res 
 
 Las'si-a(lO) 
 
 Lau-rei/tes a'gri 
 
 Le-mu' ri-a, and 
 
 Las'su.s, or 
 
 Lau-ren'ti-a (10) 
 
 Le-mu-ra 7 li-a 
 
 La' sus 
 
 Lau-ren-ti' ni (4) 
 
 Le-nae' us 
 
 Las' the-nes 
 
 Lau-ren' turn 
 
 Len'tu-lus 
 
 Las-the 7 ni-a, or 
 
 Lau-ren' ti-us (10) 
 
 Le'o 
 
 *Las-the-ni'a 
 
 Lau' ri-on 
 
 Le-o-ca'di-a 
 
 Lat' a-gus 
 
 Lau' ron 
 
 Le-o-co' ri-on 
 
 Lat-e-ra'nus Plau' 
 
 La 7 us Pom -pe 7 i-a 
 
 Le-oc 7 ra-tes 
 
 tus 
 
 Lau 7 sus 
 
 Le-od 7 a-mas 
 
 La-te' ri-um 
 
 Lau-ti 7 um (10) 
 
 Le-od' o-cus 
 
 La-ti-a' lis 
 
 Le 7 a-des 
 
 Le-og 7 o-ras 
 
 La~she-a' lis 
 
 Le-ee'i(3) 
 
 Le'on 
 
 La-ti-a' ris 
 
 Le-ae' na 
 
 Le-o 7 na 
 
 * Lasthenia. AH the prosodists I have consulted, except Aiuswortli, accent 
 Ibis word on the penultimate syllable; and though English analogy would pre- 
 fer the accent on the antepenultimate, we must necessarily yield to such a de- 
 cided superiority of votes for the penultimate in a word so little anglicised by 
 use. See Iphigenia. 
 
58 LE LI LI 
 
 *Le-on' a-tus 
 
 Leu' cas 
 
 Li-ber 7 tas 
 
 Le-on' i-das 
 
 Leu-ca' tes 
 
 Li-be' thra 
 
 Le-on'ti-um, and 
 
 Leu-ca'si-on (11) 
 
 Li-beth' ri-des 
 
 Le-on-ti'ni (4) 
 
 Leu-cas'pis 
 
 Lib' i-ci, Li-be' ci-i 
 
 Le-on-to-ceph' a-lus 
 
 Leu' ce 
 
 Lib-i-ti'na 
 
 Le-on' ton, or 
 
 Leu'ci(3) 
 
 Li' bo (I) 
 
 Le-on-top' o-lis 
 
 Leu-cip' pe 
 
 Li' bon 
 
 Le-on-tych' i-des 
 
 Leu-cip' pi-des 
 
 Lib-o-phoe-ui'ces 
 
 Le'os 
 
 Leu-cip' pus 
 
 Li'bri(4) 
 
 Le-os' the-nes 
 
 Leu' co-la 
 
 Li-bur' na 
 
 Le-o-tych' i-des 
 
 Leu' con 
 
 Li-bui 7 ni-a 
 
 Lep' i-da 
 
 Leu-co' ne (8) 
 
 Li-bur' ni-des 
 
 Lep'i-dus 
 
 Leu-co' nes 
 
 Li- bur' num ma' re 
 
 Le-phyr'i-um 
 
 Leu-con' o-e 
 
 Li-bur' nus 
 
 Le -pi' nus 
 
 Leu-cop' e-tra 
 
 Libs 
 
 Le-pon' ti-i (4) 
 
 Leu' co-phrys 
 
 Lib'y-a 
 
 Le' pre-os 
 
 Leu-cop' o-lis 
 
 Lib' y- cum ma' re 
 
 Le' pri-um 
 
 Leu' cos 
 
 Lib'y-cus, and . 
 
 Lep' ti-nes 
 
 Leu-co' si-a (11) 
 
 Li-bys' tis 
 
 Lep' tis 
 
 Leu-co-syr' i-i (4) 
 
 Li'bys 
 
 Le' ri-a 
 
 Leu-coth' o-e, or 
 
 Li-bys'sa 
 
 Le-ri'na 
 
 Leu-co' the-a 
 
 Lie' a-tes 
 
 Ler'na 
 
 Leuc' tra 
 
 Li'cha 
 
 Le'ro 
 
 Leuc' trum 
 
 Li'chas(l) 
 
 Le'ros 
 
 Leu' cus 
 
 Li'ches 
 
 Les' bos 
 
 Leu-cy-a' ni-as 
 
 Li-cin' i-a 
 
 Les' bus, or Les' bos 
 
 Le-vi' nus 
 
 Li-cin' i-us 
 
 Les'ches (12) 
 
 Leu-tych' i-des 
 
 Li-ci' nus 
 
 Les-tryg' o-nes 
 
 Lex-o' vi-i (4) 
 
 Li-cym' ni-us 
 
 Le-ta' num 
 
 Li-ba' ni-us 
 
 Li'de(l8) 
 
 Le-thae' us 
 
 Lib' a-nus 
 
 Li-ga' ri-us 
 
 Le'the 
 
 Lib-en- ti'na 
 
 Li-ge' a 
 
 Le'tus 
 
 Li'ber 
 
 Li'ger 
 
 Le-va' na (7) 
 
 Lib'e-ra(SO) 
 
 Li'ger, or Lig'e-ris 
 
 Leu' ca 
 
 Lib-er-a' li-a 
 
 Lig / o-ras 
 
 * Leonatus. In the accentuation of this word I have followed Labbe and 
 Lempriere : the former of whom says Quanquam de hac voce amplius cogitan- 
 dum cum eruditis viris existimem. Till, then, these learned men have considered 
 this word, I think we may be allowed to consider it as formed from the Latin 
 Ico and nahts, lion-born, and as the a in natus is long, no shadow of reason can 
 be given why it should not have the accent. This is the accentuation constant- 
 ly given to it in the play of Cymbeline, and is in my opinion the best. 
 
LI LO LU 59 
 
 Lig ; u-res 
 
 Lis'ta 
 
 Lo'tis, or Lo'tos 
 
 Li-gu' ri-a 
 
 Lit' a-brun 
 
 Lo-toph' a-gi (3) 
 
 Lig-u-ri' nus 
 
 Lit' a-na 
 
 Lo' us, and A' o-us 
 
 Li'gus(18) 
 
 Li-tav' i-cus 
 
 Lu'a(7) 
 
 Lig'y-es 
 
 Li-ter' nura 
 
 Lu' ca 
 
 Li-gyr' gum 
 
 Lith-o-bo' li-a 
 
 Lu' ca-gus (20) 
 
 Li-la/ a 
 
 Li' thrus 
 
 Lu-ca' ni (3) 
 
 Lil-y-bae' um 
 
 Li-tu' bi-um 
 
 Lu-ca' ni-a 
 
 Li-mae' a 
 
 Lit-y-er' sas 
 
 Lu-ca' ni-us 
 
 Li-me'iri-a 
 
 Li v' i-a Dru-sil'la 
 
 Lu-ca' nus 
 
 Lira' nae 
 
 Liv-i-ne' i-us 
 
 Lu f can (Eng.) 
 
 Lim-naB' urn 
 
 Li-viNa 
 
 Lu-ca' ri-a, or 
 
 Lim-na-tid' i-a 
 
 Li' vi-us 
 
 Lu-re' ri-a 
 
 Lim-ni' a-ce 
 
 Lw'y (Eng.) 
 
 Luc-ce' i-us 
 
 Lim-ni-o' tae 
 
 Lo' bou 
 
 Lu' ce-res 
 
 Lim-no' ni-a 
 
 Lo'ce-us (10) 
 
 Lu-ce' ri-a 
 
 Li' mon 
 
 Lo' cha 
 
 Lu ce'ti-us (10) 
 
 Lin-ca'si-i (4) 
 
 Lo' chi-as 
 
 Lu ci-a' nus 
 
 Lin' dus 
 
 Lo'cri 
 
 Lu' ci-an (Eng.) 
 
 Lin'go-nes 
 
 Lo' cris 
 
 Lu'ci-fer 
 
 Lin-ter'na pa'lus 
 
 Lo-cus' ta 
 
 Lu-cil' i-us 
 
 Lin-ter' num 
 
 Lo-cu'ti-us (10) 
 
 Lu-cil'la 
 
 Li' nus 
 
 Lol'li-a Pau-li'na 
 
 Lu-ci'na 
 
 Li' o-des 
 
 Lol-li-a' nus 
 
 *Lu'ci-a 
 
 Lip'a-ra 
 
 Lol' li-us 
 
 Lu'ci-us(lO) 
 
 Lip' a-ris 
 
 Lon-di' num 
 
 Lu-cre'ti-a (10) 
 
 Liph'Jum 
 
 Lou' don (Eng.) 
 
 Lu-cret'i-lis 
 
 Lip-o-do'rus 
 
 Lon-ga-re' nus 
 
 Lu-cre' ti-us (10) 
 
 Li-quen' ti-a 
 
 Lon-^im' a-nus 
 
 Lii-cn' num 
 
 Lir-cae' us 
 
 Lon-gi' nus 
 
 Lu-cn' nus 
 
 Li-ri'o-pe 
 
 Lon-go-bar' di 
 
 Luc-ta' ti-us (10) 
 
 Li' ris 
 
 Lon' gu-la 
 
 Lu-cul' le-a 
 
 Li-siu'i-as 
 
 Lon-gun' ti-ca 
 
 Lu-cul' lus 
 
 Lis' son 
 
 Lor'di(3) 
 
 Lu' cu-mo (20) 
 
 Lis' sus 
 
 Lor'y-ma 
 
 Lu' cus 
 
 * Lucia. Labbe cries out loudly against those who accent this word on the 
 penultimate, which, as a Latin word, ought to have the accent on the antepe- 
 nultimate syllable. If once, says he, we break through rules, why should we 
 not pronounce Amtnia, Anastasia, Cecilia, Leocadia, Natalia, &c. with the 
 accent on the penultimate, likewise? This ought to be a warning against our 
 pronouncing the West-India island St. Lu'cia as we sometimes hear it St. 
 Luci' a. 
 
60 LY LY LY 
 
 Lug-du' ntmi Ly' ce (8) 
 
 Lyg'i-i(4) 
 
 Lu'na(7) Ly'ces 
 
 Ly' gus 
 
 Lu'pa 
 
 Ly-ce' um 
 
 Ly-mi're 
 
 *Lu-pei' cal 
 
 Lych-ni'-des 
 
 Ly' max 
 
 Lu-per-ca'li-a 
 
 Lyc'i-a(lO) 
 
 Lyn-ci' des 
 
 Lu-per' ci (3) 
 
 Lye' i-das 
 
 Lyn-ces' tae 
 
 Lu-per' cus 
 
 Ly-cini'na 
 
 Lyn-ces' tes 
 
 Lu' pi-as, or Lu'pi-a 
 
 Ly-cim' ni-a 
 
 Lyn-ces' ti-us 
 
 Lu' pus 
 
 Ly-cis' cus 
 
 Lyn-ce' us 
 
 Lu-si-ta' ni-a 
 
 Lyc'i-us(lO) 
 
 Lyn' cus, Lyn-cae' us, 
 
 Lu-so' nes 
 
 Lyc-o-me' des (0) 
 
 or Lynx 
 
 Lus' ii i-cus 
 
 Ly' con 
 
 Lyn-ci' dae 
 
 Lu-la'ti-us 
 
 Ly-co' ne (8) 
 
 Lyr' cae 
 
 Lu-te' ri-us 
 Lu-te'ti-a (10) 
 
 Lyc'o-phron 
 Ly-cop' o-l is 
 
 Lyr-cas' us 
 Lyr-ce'a 
 
 Lu-to' ri-us 
 
 Ly-co' pus 
 
 Lyr' cus 
 
 Ly-ae' us 
 
 Ly-co' ri-as 
 
 Lyr-nes'sus 
 
 Ly'bas 
 
 Ly-co' j is 
 
 Ly-san' der 
 
 Lyb'y-a, or 
 
 Ly-cor' mas 
 
 Ly-san' dra 
 
 Ly-bis' sa 
 
 Ly-cor' tas 
 
 Ly-sa' ni-as 
 
 Lye' a-bas 
 
 Lyc-o-su' ra 
 
 Ly'se(8) 
 
 Lyc-a-be'tus 
 
 Lye' tus 
 
 Ly-si' a-des 
 
 Ly-cae' a 
 
 Ly-cur' gi-des 
 
 Lys-si-a-nas' sa 
 
 Ly-cae' uni 
 
 Ly-cur'gus 
 
 Ly-si' a-nax 
 
 Ly-cae' us 
 
 Ly' cus 
 
 Lys'i-as (11) 
 
 Ly-cam' bes 
 
 Ly'de(8) 
 
 Lys' i-cles 
 
 Ly-ca' on 
 
 Lyd' i-a 
 
 Ly-sid' i-ce 
 
 Lyc-a-o' ni-a 
 
 Lyd'i-as 
 
 Ly-sim' a-che 
 
 Ly' cas 
 
 Lyd' i-us 
 
 Lys-i-ma' clii-a 
 
 Ly-cas'te Ly'dus 
 
 Ly-sim' a-chus 
 
 Ly-cas' turn Lyg' da-mis, or 
 
 Lys-i-mach' i-des 
 
 Ly-cas' tus Lyg' da-mus 
 
 Lys-i-me' li-a 
 
 * Lupercal. This word is so little iqterwoven with our language, that it 
 ought to have its true Latin accent on the penultimate syllable. But wherever 
 the antepenultimate accent is adopted iu verse, as in Shakespeare's Julius Caesar, 
 where Antony says, 
 
 You all did see that on the Lu'percal 
 I thrice presented him a kingly crown 
 
 we ought to preserve it. Mr. Barry, the actor, who was informed by some 
 scholar of the Latin pronunciation of this word, adopted it in this place, and 
 pronounced it Lttper'wtJ, which grated every ear that heard him. 
 
LY LY LY 
 
 61 
 
 Ly-sin' o-e (8) 
 
 Ly' sis 
 
 Ly'so 
 
 
 Ly-sip' pe 
 Ly-sip' pus 
 
 Ly-sis' tra-tus 
 Ly-sith' o-us 
 
 Ly-tae' a 
 Ly-za' ni-as 
 
 
 MA 
 
 MA'CJE 
 
 Maem-ac-te' ri-a 
 
 Ma' car 
 
 Maen' a-des 
 
 Ma-ca' re-us 
 
 Maen' a-la 
 
 Ma-ca' ri-a 
 
 Msen' a-lus 
 
 Mac' a-ris 
 
 Ma?' ni-us 
 
 Ma-ced' nus 
 
 Mae'non 
 
 Mac' e-do 
 
 Mae-o' ni-a 
 
 Mac-e-do' ni-a 
 
 Mae-on'i-dae 
 
 Mac-e-don'i-cus(30) 
 
 Mae on'i-des 
 
 Ma-cel'la 
 
 Mae' o-nis 
 
 Ma' cer ^E-myl' i-us 
 
 Mae-o' tae 
 
 Ma-chae' ra 
 
 Mae-o' tis pa' lus 
 
 Ma-chan' i-das 
 
 Mffi'si-aSyl'va(ll) 
 
 Ma-cha' on 
 
 Mae' vi-a 
 
 Ma' era 
 
 Mae' vi-us 
 
 Mac-ri-a' nus 
 
 Ma' gas 
 
 Ma-cri'nus, M. 
 
 Ma-gel' la 
 
 Ma' cro 
 
 Mag'e-tae 
 
 Ma-cro' bi-i (4) 
 
 Ma'gi 
 
 Ma-cro' bi-us 
 
 Ma'gi-us 
 
 Mac' ro-chir 
 
 Mag'na Grae'ci-a 
 
 Ma-cro' nes 
 
 Mag-nen' ti-us (10) 
 
 Mac-to' ri-um 
 
 Mag' nes 
 
 Mac-u-lo' nus 
 
 Mag-ne'si-a (11) 
 
 Ma-de 7 tes 
 
 Ma' go 
 
 Mad'y-es 
 
 Ma' gon 
 
 Maudes' tes 
 
 Mag-on-ti' a-cum 
 
 Mae-an' der 
 
 Ma' gus 
 
 Mae-an'dri-a 
 
 Ma-her' bal 
 
 Mae-ce' nas 
 
 Ma' i-a 
 
 Mae' di (3) 
 
 Ma-jes' tas 
 
 Mae' li-us 
 
 Ma-jo-ri-a' nus 
 
 MA 
 
 Ma-jor' ca 
 
 Ma' la For-tu'na 
 
 Mal'a-cha 
 
 Ma-le'a 
 
 Mai' ho, or 
 
 Ma'tho 
 Ma'^ li-a 
 
 Ma'lis 
 
 Mal'Ie-a,orMal'li-a 
 Mai' li-us 
 Mal'los 
 Mal-thi' nus 
 Mal-va' na 
 Ma-ma' us 
 Ma-mer' cus 
 Ma- mer' thes 
 Mam-er-ti' na 
 Mam-er-ti'ni(4)(S) 
 Ma-mil' i-a 
 Ma-mil' i-i (4) 
 Ma-mil' i-us 
 Mam-mae'a 
 Ma-mu' ri-us 
 Ma-mur' ra 
 Ma-nas' ta-bal 
 Man-ci' nus 
 Man-da' ne (8) 
 Man-da' nes 
 Man-.de 7 la 
 Man-do' ni-us 
 Man' dro-cles 
 
62 MA MA MA 
 
 Man-droc 7 li-das 
 
 Mar-do' ni-us 
 
 Mars 
 
 Man'dmn 
 
 Mar'dus 
 
 Mar'sa-la 
 
 Man-lu'bi-i (4) 
 
 Mar-e-o 7 tis 
 
 Mar-sae' us 
 
 Man-du-bra' ti-us 
 
 Mar-gin' i-a, and Mar'se(8) 
 
 Ma' lies 
 
 Mar-gi-a'ni-a Mar' si (3) 
 
 Ma-ne' tho 
 
 Mar-gi'tes Myr-sig'ni (3) 
 
 Ma 7 m-a 
 
 ^Ma ri'a or Ma'ri-a Mar-sy'a-ba 
 
 Ma-ml'i-a 
 
 Ma-n'a-ba Mar'tha 
 
 Ma-ni i 7 i-us 
 
 Ma-ri-am'ne 
 
 Mar'ti-a(lO) 
 
 Man 7 1- mi (4) 
 
 Ma-ri-a'na3 Fos'sae 
 
 Mar' she- a 
 
 Man 7 li-a 
 
 Ma-ri-an-dy' num 
 
 Mar-ti-a 7 lis 
 
 Man'li-us Tor-qua 7 Ma-ri-a'nus 
 
 Mm* ti-al (Eng.) 
 
 tus Ma-ri' ca 
 
 Mar-ti-a' nus 
 
 Man 7 nus 
 
 Ma-ri'ci (3) 
 
 Mar-ti 7 na 
 
 Man-sue' tus 
 
 Mar' i-cus 
 
 Mar-tin-i-a'nus 
 
 Man-ti-ne 7 a 
 
 Ma-ri' na 
 
 Mar 7 ti-us (10) 
 
 Man-ti-ne' us 
 
 Ma-ri' nus 
 
 Ma-rul 7 lus 
 
 Man 7 ti-us (10) 
 
 Ma 7 ry-on 
 
 Mas-ae-syl 7 i-i (4) 
 
 Man' to 
 
 Ma 7 ris 
 
 Mas-i-nis 7 sa 
 
 Man 7 tu a 
 
 Ma-ris 7 sa 
 
 Mas' sa 
 
 Mar-a-can 7 da 
 
 Mar' i-sus 
 
 Mas 7 sa-ga 
 
 MarVtha 
 Mar' a-thon 
 
 Ma-ri 7 ta 
 Ma 7 ri-us 
 
 Mas-sag 7 e-lag 
 Mas-sa'na (7) 
 
 Mar 7 a-thos 
 
 Mar' ma-cus 
 
 Mas-sa' ni (3) 
 
 Mar-eel' la 
 
 Mar-ma-ren 7 ses 
 
 Mas' si-cus 
 
 Mar-cel-li'nus Am- 
 
 Mar-mar 7 i-ca 
 
 Mas-sil' i-a (7) 
 
 mi-a 7 nus 
 
 Mar-mar' i-dae 
 
 Mas-sy'la 
 
 Mar-eel' lus 
 
 Mar-ma' n- on 
 
 Ma-su 7 ri-us 
 
 Mar'ci-a (10) 
 
 Ma 7 ro(l) 
 
 Ma' tho 
 
 Mar-ci-a' na 
 
 Mar-o-bud' u-i (3) 
 
 Ma-ti-e' ni 
 
 Mar-she-a f na 
 
 Ma 7 ron 
 
 Ma-ti'ns 
 
 Mar-ci-a-nop' o-lis 
 
 Mar-o-ne 7 a 
 
 Ma- tis' co 
 
 Mar-ci-a 7 nus (10) 
 
 Mar-pe'si-a (10) 
 
 Ma-tra'li-a 
 
 Mar 7 ci-us Sa-bi'nus Mar-pes 7 sa 
 
 Ma-tro' na 
 
 Mar-co-man 7 ni Mar-pe 7 sus 
 
 Mat-ro-na'li-a 
 
 Mar 7 cus 
 
 Mar 7 res 
 
 Mat~ti'a-ci (3) 
 
 Mar 7 di(3) 
 
 Mar-ru 7 vi-um ? or 
 
 Ma tu' ta 
 
 Mar'di-a 
 
 Mar-ru 7 bi-um 
 
 Ma' vors 
 
 * Maria. This word, says Labbe, derived from the Hebrew, has the accent 
 on the second syllable ; but when a Latin word, the feminine of Marius, it has 
 the accent on the first. 
 
ME ME ME 63 
 
 Ma-vor'ti-a (10) 
 
 Med-o-bith' y-ni 
 
 Me-la' ne-us 
 
 Mau'ri (3) 
 
 Me-dob' ri-ga 
 
 Me-lan' i-da 
 
 Mau-ri-ta' ni-a 
 
 Me' don 
 
 Me-la' ni-on 
 
 Mau' rus 
 
 Me-don'ti-as (10) 
 
 Mel-a-nip' pe 
 
 Mau-ru'si-i(4)(ll) 
 
 Med-u-a' na 
 
 Mel-a-nip' pi-des 
 
 Man-so' lus 
 
 Med-ul-li' na 
 
 Mel-a-nip' pus 
 
 Max-en' ti-us (10) 
 
 Me'dus 
 
 Mel-a-no' pus 
 
 Max-im-i-a' nus 
 
 Me-du' sa 
 
 Mel-a-nos' y-ri 
 
 Max-i-mil-i-a'na 
 
 Me-gab'i-zi 
 
 Me-lan' thi-i (4) 
 
 Max-i-mi'nus 
 
 Meg-a-by' zus 
 
 Me-lan' thi-us 
 
 Max'i-min (Eng.) 
 
 Meg' a-cles 
 
 Me-lan' tho 
 
 Max' i-mus 
 
 Me-gac' li-des 
 
 Me-lan' thus 
 
 Maz' a-ca 
 
 Me-gae' ra 
 
 Me' las 
 
 Ma-za'ces 
 
 Me-ga' le-as 
 
 Mel-e-a' ger 
 
 Ma-zae' us 
 
 Meg-a-le'si-a(ll) 
 
 Mel-e-ag' ri-des 
 
 Ma-za' res 
 
 Me-ga' li-a 
 
 Mel-e-san' der 
 
 Maz' e-ras 
 
 Meg-a-lop' o-lis 
 
 Me'les 
 
 Ma-zi' ces, and 
 
 Meg-a-me' de (8) 
 
 Mel'e-se 
 
 Ma-zy' ges 
 
 Meg-a-ni' ra 
 
 Mel-e-sig' e-nes, or 
 
 Me-cha' ne-us 
 
 Meg-a-pen' thes 
 
 Mel-e-sig' e-na 
 
 Me-cis' te-us 
 
 *Meg' a-ra 
 
 Me'H-a 
 
 Me-coe'nas, or 
 
 *}-Meg-a-re' us 
 
 Mel-i-bce' us 
 
 Me-cae' nas 
 
 Meg' a-ris 
 
 Mel-i-cer' ta 
 
 Mec' ri-da 
 
 Me-gar' sus 
 
 Mel-i-gu' nis 
 
 Me-de' a 
 
 Me -gas' the-nes 
 
 Me-li' na 
 
 Me-des-i-cas'te(S) 
 
 Me' ges 
 
 Me-li'sa(7) 
 
 Me'di-a(7) 
 
 Me-gil'la 
 
 Me-lis' sa 
 
 Me'di-as 
 
 Me-gis' ta 
 
 Me-lis' sus 
 
 Med' i-cus 
 
 Me' la Pom-po'ni-us 
 
 Mel'i-ta 
 
 Me-di-o-ma-tri' ces 
 
 Me-gis' ti-a 
 
 Mel'i-te 
 
 Me-di-o-ma-tri' ci 
 
 Me-lae' nae 
 
 Mel-i-te'ne 
 
 Me-di-ox' u-mi 
 
 Me-lam' pus 
 
 Mel'i-tus, Accuser 
 
 Med-i-tri'na 
 
 Mel-anch-lae' ni 
 
 of Socrates 
 
 Me-do'a-cus, or 
 
 Me-lan' chrus 
 
 Me'li-us 
 
 Me-du' a-cus 
 
 Mel' a-ne 
 
 Mel-ix-an' drus 
 
 * Mfg-ara. I have in this word followed Labbe, Ainsvvorth, Gouldman, and 
 Holyoke, by adopting the antepenultimate accent in opposition to Lempriere, 
 who accents the penultimate syllable. 
 
 f Megareus. Labbe pronounces this word in four syllables, when a noun sub- 
 stantive ; but Ainsworth marks it as a trisyllable; when a proper name ; and 
 in my opinion incorrectly. See Idomeneus. 
 
04 ME ME ME 
 
 *Me-lob' o-sis 
 
 Me-nes' thi-us Mes-o-po-ta' mi-a 
 
 Me' Ion 
 
 Men' e-tas 
 
 Mes-sa' la 
 
 Me'los 
 
 Me-nip' pa 
 
 Mes-sa-li' na (3) 
 
 Mel' pi-a 
 
 Me-nip' pi-des 
 
 Mes-sa-li' nus 
 
 Mel-pom' e-rie (8) 
 
 Me-nip' pus 
 
 Mes-sa' na (7) 
 
 Me-mac' e-ni 
 
 Me' ni-us 
 
 Mes-sa' pi-a 
 
 Mem' mi-a 
 
 M en' nis 
 
 Mes' sa-tis 
 
 Mem' mi-us 
 
 Me-nod'o-tus 
 
 Mes'se (3) 
 
 Mem' non 
 
 Me-nce'ce-us (10) 
 
 Mes-se' is (5) 
 
 Mem' phis 
 
 Me-nce'te 
 
 Mes-se'ne, or 
 
 Mem-phi' tis 
 
 Me-nce' ti-us (10) 
 
 Mes-se' na 
 
 Me'na or Me'nes 
 
 Me' non 
 
 Mes-se' ni-a 
 
 Me-nal'cas 
 
 Me-noph'i-lus 
 
 Mes' tor 
 
 Me-nal' ci-das 
 
 Men' ta or Min' the 
 
 Me-su'la 
 
 Men-a-lip'pe 
 
 Men' tes 
 
 Met' a-bus 
 
 Men-a-lip' pus 
 
 Men-tis' sa 
 
 Met-a-git' ni-a 
 
 Me-nan' der 
 
 Men' to 
 
 Met-a-ni'ra 
 
 Me-na' pi-i (4) 
 
 Men' tor 
 
 Met-a-pon'tum 
 
 Men' a-pis 
 
 Me-nyl' lus 
 
 Met-a-pon' tus 
 
 Me'nas 
 
 Me'ra 
 
 Me-tau' rus 
 
 Men-che'res(12) 
 
 Me'ra, or Moe'ra 
 
 Me-tel'la 
 
 Men' des 
 
 Mer-cu 7 ri-us 
 
 Me-tel'li(3) 
 
 Me-nec' les 
 
 Mer 1 cu-ry (Eng.) 
 
 Me-thar' ma 
 
 Men-e-cli' des 
 
 Me-ri' o-nes 
 
 Me-thi' on (29) 
 
 Me-nec' ra-tes 
 
 Mer' me-rus 
 
 Me-tho' di-us 
 
 Men-e-de'mus 
 
 Merm' na-dae 
 
 Me-tho'ne(S) 
 
 Me-neg' e-tas 
 
 Mer'o-e(S) 
 
 Me- thy d' ri-um 
 
 Men-e-la' i-a 
 
 Mer'o-pe (8) 
 
 Me-thym'na 
 
 Men-e-la' us 
 
 Me' rops 
 
 Me-ti-a-du' sa (21) 
 
 Me-ne' ni-us 
 
 Me'ros 
 
 Me-tiKi-a 
 
 A-grip'pa 
 
 Mer' u-la 
 
 Me-til'i-i(4) 
 
 Men' e-phron 
 
 Me-sab' a-tes 
 
 Me-til' i-us 
 
 Me' nes 
 
 Me-sa' bL-us 
 
 Me-ti'o-chus 
 
 Me-nes' teus, or 
 
 Me-sa'pi-a 
 
 Me'ti-on(ll) 
 
 Me-nes' the-us, or 
 
 Me-sau' bi-us 
 
 Me' tis 
 
 Mnes' the-us( 13) 
 
 Me-sem' bri-a 
 
 Me-tis' cus 
 
 Men-es-the'i For' 
 
 Me-se' ne 
 
 Me' ti-us (10) 
 
 tus 
 
 Mes-o-me' des 
 
 Me-to3'ci-a(10) 
 
 * Melobosis. In this word I have given the preference to the antepenulti- 
 mate accent, with Labhe, Goiildman, and Holyoke; though the penultimate, 
 which Lempriere has adopted, is more agreeable to the ear. < 
 
MI MN 
 
 Me' ton 
 
 Min-nae' i (3) 
 
 Met'o-pe(S) 
 
 Mi-no' a 
 
 Me' tra 
 
 Mi-no' is 
 
 Me-tro' bi-us 
 
 Mi'nos 
 
 Met' ro-cles 
 
 Min-o-tau' rus 
 
 Met-ro-do'rus 
 
 M in' the 
 
 Me-troph' a-nes 
 
 Min-tur' nae 
 
 Me-trop'o-lis 
 
 Mi-nu'ti-a(lO) 
 
 Met'ti-us(lO) 
 
 Mi-nu'ti-us (10) 
 
 Me-va' ni-a 
 
 Min' y-ae (6) 
 
 Me' vi-us 
 
 Min' y-as 
 
 Me-zen'ti-us (10) 
 
 Min'y-cus 
 
 Mi-ce' a 
 
 Mi-ny'i-a(()) 
 
 Mi-cip' sa 
 
 Min' y-tus 
 
 Mic'y-thus (24) 
 
 Mir' a-ces 
 
 Mi' das 
 
 Mi-se' num 
 
 Mi-de' a of Argos 
 
 Mi-se'nus 
 
 Mid'e-a of Boeotia 
 
 Mi-sith' e-us 
 
 Mi-la' ni-on 
 
 Mi' thras 
 
 Mi-le'si-i(4)(ll) 
 
 Mith-ra-da' tes 
 
 Mi-le' si-us (10) 
 
 Mi-thre'nes 
 
 Mi-le'ti-a(lO) 
 
 Mith-ri-da' tes 
 
 Mi-le' ti-um (10) 
 
 Mith-ri-da'tis 
 
 Mi-le' tus 
 
 Mith-ro-bar-za' nes 
 
 Mil'i-as 
 
 Mit-y-le'ne, and 
 
 Mil'i-chus(12) 
 
 Mit-y-le' nae 
 
 Mi-li'nus Mi' tys 
 
 Mil-i-o' ni-a Miz-ae' i 
 
 Mi'lo |Mna-sal'ces(13) 
 
 Mi-lo'ni-us Na-sal' ces 
 
 Mil-ti' a-des Mna' si-as (11) 
 
 Mil' to Mnas'i-cles 
 
 Mil' vi-us Mna-sip' pi-das 
 
 Mil' y-as Mna-sip' pus 
 
 Mi-mal' lo-nes Mna-sith' e-us 
 
 Mi' mas Mna' son ( 1 3) 
 
 Mim-ner' mus 
 
 Mna-syr' i-um 
 
 Min'ci-us(lO) 
 
 Mne ; rnon 
 
 Min' da-rus 
 
 Mne-mos' y-ne (3) 
 
 Mi-ne' i-des 
 
 Mne-sar' chus 
 
 Mi-ner' va 
 
 Mne-sid' a-mus 
 
 Min-er-va' li-a 
 
 Mnes-i-la'us 
 
 Min' i-o 
 
 Mne-sim' a-che 
 
 F 
 
 MO 65 
 
 Mnen-sim' a-chus 
 M ties' ter 
 ! M lies' the-us( 13) 
 Mnes' ti-a 
 , Mnes'tra , 
 
 1 Mne' vis 
 Mo-a-pher' nes 
 Mo'di-a 
 
 i Mce'ci-a(5)(10) 
 Moe' nus 
 Moe-rag' e-tes 
 Mce' ris 
 Moe'di 
 Moe' on 
 Moe-on' i-des 
 Moe'ra 
 Moe' si-a 
 Mo-gy' ni 
 Mo-Ie' i-a 
 Mo-li'o-ne 
 i Mo'lo 
 I Mo-loe'is 
 I Mo-lor'chus (12) 
 Mo-los'si(S) 
 Mo-los'si-a, or 
 
 Mo-los' sis 
 Mo-Jos' sus 
 Mol-pa' di-a 
 Mol' pus 
 Mo'lus 
 Mo-Jyc' ri-on 
 Mo-mem' phis 
 Mo' mus 
 Mo'na 
 Mo-nae' ses 
 Mo-ne' sus 
 Mo-ne'ta 
 Mon'i-ma 
 Mon' i-mus 
 Mon' o-dus 
 Mo-noe' cus 
 Mo-no' le-us 
 Mo-noph' i-lui 
 
66 MU MU MY 
 
 Mon-ta'nus 
 
 Mul'ci-ber 
 
 Mu-tus'cae 
 
 Mo-noph'a-ge 
 
 *Mu-hi'cha 
 
 My-ag'rus or 
 
 Mon'y-chus(6)(12) 
 
 Mul' vi-iis Pons 
 
 My'o-des 
 
 Mon' y-mua 
 
 Mum' mi-us 
 
 f-Myc'a-le 
 
 Mo' phis 
 
 Mu-na'ti-us (10) 
 
 Myc-a-les' sus 
 
 Mop' si-urn (10) 
 
 Mun' da 
 
 My-ce' nae 
 
 Mop-so' pi-a 
 
 Mu-ni' his 
 
 Myc-e-ri'nus 
 
 Mop' sus 
 
 Mu-nych' i-ae (4) 
 
 Myc-i-ber' na 
 
 Mor-gan' ti-um (10) 
 
 Mu-rae'mi 
 
 Myc' i-thus 
 
 Moi 7 i-ni 
 
 Mur'cus 
 
 My' con 
 
 Mor-i-taj/gus 
 
 Mu-re' tus 
 
 *t*Myc' o-ne 
 
 Mo' ri-us 
 
 Mur-gan'ti-a (10) 
 
 My' don 
 
 Mor'phe-us 
 
 Mur-rhe'nus 
 
 My-ec' pho-ris 
 
 Mors 
 
 Mur'ti-a (10) 
 
 My-e' nus 
 
 Mo' rys 
 
 Mus 
 
 Myg 7 don 
 
 Mo'sa 
 
 Mu'sa An-to' ni-us 
 
 Myg-do' ni-a 
 
 Mos'chi(3)(12) 
 
 Mu'sae 
 
 Myg' do-nus 
 
 Mos'chi-on 
 
 Mu-saj'us 
 
 My-las' sa 
 
 Mos'chus 
 
 Mu-so' ni-us Ru'fus 
 
 M/le, or My' las 
 
 Mo-sel'la 
 
 Mus-te' la 
 
 My'les 
 
 Mo'ses 
 
 Mu-thul'lus 
 
 My-lit' ta 
 
 Mo-sych' lus 
 
 Mu'ti-a (10) 
 
 Myn' dus 
 
 Mos-y-nse' ci (3) 
 
 Mu-tii'i-a 
 
 My' nes 
 
 Mo-tho' ne 
 
 fMu' ti-na 
 
 Myn' i-ae 
 
 Mo-ty' a 
 
 Mu-ti' nes 
 
 My-o' ni-a 
 
 Mu-ci-a' nus 
 
 Mu-ti'nus, or 
 
 Myr-ci' nus 
 
 Mu'ci-us(lO) 
 
 Mu-tu' nus 
 
 My-ri' cus 
 
 Mu' cra3 
 
 Mu'ti-us (10) 
 
 JMy-ri' nus 
 
 * Mulucha. This word is accented on the antepenultimate syllable by Labbe, 
 Lempriere,and Ainsworth; and on the penultimate by Gouldman and Holyoke. 
 Labbe, indeed, says ut volueris ; and I shall certainly avail myself of this per* 
 mission to place the accent on the penultimate ; for when this syllable ends 
 with u, the English have a strong propensity to place the accent on it, even in 
 opposition to etymology, as in the word Arbutus. 
 
 t Mycale and Mycone. An English ear seems to have a strong predilection for 
 the penultimate accent on these words ; but all our prosodists accent them on the 
 antepenultimate. The same may be observed of Mutina. See note on Or yua. 
 
 t Myrinus. Labbe is the only prosodist I have met with who accents this 
 word on the antepenultimate syllable ; and as this accentuation is so contrary to 
 analogy, T have followed Lempriere, Ainsworth, Gouldman, and Holyoke, with 
 the actent on the penultimate. See the word in the Terminutivnul Vocabulary. 
 
MY MY MY 6 
 
 My-ri' na 
 
 My-stal' i-des Myr' ta-le 
 
 Myr'i-ce 
 
 Myr' sus Myr-to' us 
 
 Myr-mec' i-des 
 
 Myr' te-a Venus ! Mys' tes 
 
 Myr-mid' o-nes 
 
 Myr-te' a, a City Mys' i-a ( 1 1 ) 
 
 My-ro' nus 
 
 Myr' ti-lus My-so-ma-ced' o- 
 
 My-ro-ni-a' nus 
 
 Myr-to' um Ma' re nes 
 
 My-rot/ i-des 
 
 Myr-tun' ti-um (10) i My' son 
 
 Myr'rha 
 
 Myr-tu'sa Myth'e-cus 
 
 Myr' si-lus 
 
 My- seel' lus 
 
 Myt-i-le' ne 
 
 Myr'si-nus, a City 
 
 Myr'tis My' us 
 
 NA NA NE 
 
 NAB-AR-ZA'NES Nas'i-ca Nau-sith' o-us 
 
 Nab-a-thae' a 
 
 Na-sid-i-e' nus Nau' tes ( 1 7) 
 
 Na'bis 
 
 Na-sid' i-us Nax' os 
 
 Na-dag' a-ra 
 
 Na' so Ne-ae' ra 
 
 Nae' ni-a 
 
 Nas' sus, or Na' sus Ne-ae 7 thus 
 
 Nae' vi-us 
 
 Nas'u-a(lO) Ne-al'ces 
 
 Naev' o-lus 
 
 Na-ta'lis Ne-al'i-ces 
 
 Na-har'va-li (S) 
 
 Nat' ta Ne-an' thes 
 
 Nai' a-des 
 
 Na-ta'li-a Ne-ap'o-lis 
 
 Na'is 
 
 Na' va Ne-ar' chus 
 
 Na-pae' ae 
 
 Nau' co-lus 
 
 Ne-bro' des 
 
 Naph' i-lus 
 
 Nau' cles 
 
 Ne-broph' o-nos 
 
 Nar 
 
 Nau' cra-tes 
 
 Ne'chos 
 
 Nar'bo 
 
 Nau' cra-tis 
 
 Nec-ta-ne' bus, and 
 
 Nar-bo-nen' sis 
 
 Na' vi-us Ac' ti-us 
 
 Nee-tan' a-bis 
 
 Nar-cae' us 
 
 Nau' lo-chus 
 
 Ne-cys'i-a(lO) 
 
 Nar-cis'sus 
 
 Nau-pac'tus, or 
 
 Ne'is 
 
 Nar'ga-ra 
 
 Nau-pac' turn 
 
 Ne'le-us 
 
 Na-ris'ciCS) 
 
 Nau' pli-a 
 
 Ne'lo 
 
 Nar' ni-a, or Nar' na 
 
 Nau' pli-us 
 
 Ne-mae' a 
 
 Nar-the' cis 
 
 Nau' ra 
 
 Ne-me' a 
 
 Na-ryc'i-a(lO) 
 
 Nau-sic' a-ae 
 
 Ne-me-si-a'nus (21) 
 
 Nar' ses 
 
 Nau' si-cles 
 
 Nem' e-sis 
 
 Nas-a-mo' nes 
 
 Nau-sim' e-nes 
 
 Ne-me' si-us ( 10) 
 
 Nas' ci-o, or Na' ti-o 
 
 Nau-sith' o-e 
 
 Nem-o-ra' li-a 
 
 F 2 
 
68 NE Nl NI 
 
 N-em 7 e-tes 
 
 Ne-re' i-us 
 
 Ni-ca' nor 
 
 Ne-me'us 
 
 JNe 7 re-us 
 
 Ni-car 7 chus 
 
 *Ne-o-bu 7 le 
 
 Ne-ri'ne 
 
 Nic-ar-thi 7 des 
 
 Ne-o-caes-a-re 7 a 
 
 Ner' i-pbus 
 
 Ni-ca' tor 
 
 Ne-oeh 7 a-bis 
 
 Ner'i-tos 
 
 Ni'ce(8) 
 
 Ne 7 o-cles 
 
 Ne'ri.us 
 
 Nic-e-pho 7 ri-uni 
 
 Ne-og 7 e-nes 
 
 Ne'ro 
 
 Nic-e-pho 7 ri-us 
 
 Ne-om 7 o-ris 
 
 Ne-ro 7 ni-a 
 
 Ni-ceph 7 o-rus 
 
 Ne'on 
 
 Ner-to-brig 7 i-a 
 
 Nic-er-a 7 tus 
 
 Ne-on-ti'cbos(12) 
 
 Ner 7 va Coc-ce 7 i-us | Ni-ce 7 tas 
 
 Ne-op-tol'e-mus 
 
 Ner' vi-i (3) 
 
 Nic-e-te 7 ri-a 
 
 f-Ne 7 o-ris 
 
 Ner 7 u-lutn 
 
 Nic 7 i-a (10) 
 
 Ne'pe 
 
 Ne-sae 7 a 
 
 Nic 7 i-as(10> 
 
 Ne-pha'li-a 
 
 Ne-sim 7 a-chus (12) 
 
 Ni-cip 7 pe 
 
 Nepb'e-le 
 
 Ne-si-o 7 pe 
 
 Ni-cip' pus 
 
 Neph-er-i'tes 
 
 Ne-she~o'pe 
 
 Ni'co 
 
 Ne'pbus 
 
 Ne-so 7 pe 
 
 Ni-coch 7 a-res 
 
 Ne 7 pi-a 
 
 Ne'sis 
 
 Nic 7 o-cles 
 
 Ne 7 pos 
 
 Nes 7 sus 
 
 Ni-coch 7 ra-tes 
 
 Ne-po-ti-a'nus(12) 
 
 Nes 7 to-cles 
 
 Ni-co 7 cre-on 
 
 Nep 7 thys 
 
 Nes 7 tor 
 
 Nic-o-de 7 mus 
 
 Nep-tu 7 ni-a 
 
 Nes-to 7 ri-us 
 
 Nic-o-do' rus 
 
 Nep-tu 7 ni-uni 
 
 Nes 7 tus, or Nes 7 sus 
 
 Ni-cod 7 ro-nuis 
 
 Nep-tu 7 ni-us 
 
 Ne 7 turn 
 
 Nic-o-la 7 us 
 
 Nep-tu 7 nus 
 
 Ne 7 u-ri 
 
 Ni-com 7 a-cha 
 
 Nep' tune (Eng.) 
 
 Ni-cae 7 a 
 
 Ni-com 7 a-chus 
 
 Ne-re 7 i-des 
 
 Ni-cag 7 o-ras 
 
 Nic-o-me 7 des 
 
 Nef re-ids ( Eng.) 
 
 Ni-can 7 der 
 
 Nic-o-me 7 di-a 
 
 * Neobule. Labbe, Ainsworth, Gouldman, Littleton, and Holyoke, give this 
 word the penultimate accent, and therefore I have preferred it to the antepe- 
 nultimate accent given it by Lempriere ; not only from the number of authori- 
 ties in its favour, but from its being more agreeable to analogy. 
 
 f Nem-is. The authorities are nearly equally balanced between the penulti- 
 mate and antepenultimate accent; and therefore I may say as Labbe sometimes 
 does, ut volueris: but I am inclined rather to the antepenultimate accent as more 
 agreeable to analogy, though I think the penultimate more agreeable to the ear. 
 
 $ Nereus. Old Nereus to the sea was born of earth 
 
 Nereus who claims the precedence in birth 
 To their descendants ; him old god they call, 
 Because sincere and affable to all. 
 
 GOOKE'S Hesiod, Theog, v. 357, 
 
NI NO NU 69 
 
 Ni' con 
 
 Ni-to'cris 
 
 No'vi-us Pris'cus 
 
 Ni-cc/ ni-a 
 
 Nit'ri-a 
 
 Non' nus 
 
 Nic'o-phron 
 
 No' as 
 
 Nox 
 
 Ni-cop'o-lis 
 
 Noc' mon 
 
 Nu-ce' ri-a 
 
 Ni-cos' tra-ta 
 
 Noc-ti-lu'ca 
 
 Nu-ith' o-nes 
 
 Ni-cos' tra-tus 
 
 No' la 
 
 Nu'ma Pom-pil' i-us 
 
 Nic-o-te' le-a 
 
 Nom-en-ta' nus 
 
 Nu-ma' na 
 
 Ni-cot' e-les 
 
 Norn 7 a-des 
 
 Nu-man'ti-a 
 
 Ni' ger 
 
 No' mae 
 
 Nu-man-ti' na 
 
 Ni-gid'i-us Fig'u- 
 
 No-men' turn 
 
 Nu-ma' nus Rem'u- 
 
 lus 
 
 No'rni-i(3) 
 
 lus 
 
 Ni-gri' tae 
 
 No' rai-us 
 
 Nu' me-nes 
 
 Ni'le-us 
 
 *No-na'cris 
 
 Nu-me' ni-a, or 
 
 Ni'lus 
 
 No' ni-us 
 
 Ne-o-me'ni-a 
 
 Nin' ni-us 
 
 Non' ni-us 
 
 Nu-me' ni-us 
 
 Nin' i-as 
 
 No' pi-a, or 
 
 Nu-me-ri-a' nus 
 
 Ni'nus 
 
 Cno' pi-a 
 
 Nu-me' ri-us 
 
 Nin'y-as 
 
 No'ra 
 
 j-Nu-mi' cus 
 
 Ni'o-be 
 
 No' rax 
 
 Nu' mi-da 
 
 Ni-phae' us 
 
 Nor' ba 
 
 Nu-mid'i-a 
 
 Ni-pha' tes 
 
 Nor-ba'nus, C. 
 
 Nu-mid'i-us 
 
 Ni'phe 
 
 Nor' i-cum 
 
 Nu' mi-tor 
 
 Nir' e-us 
 
 Nor-thip' pus 
 
 Nu-mi-to' ri-us 
 
 Ni'sa 
 
 Nor'ti-a (10) 
 
 Nu-mo' ni-us 
 
 Ni-sse' a 
 
 No' thus 
 
 Nun-co' re-us 
 
 Ni-sae' e 
 
 No' nus 
 
 JNun'di-na 
 
 Ni-se' i-a 
 
 No'ti-um (10) 
 
 . Nun' di-nae 
 
 Nis'i-bis 
 
 No' tus 
 
 Nur' sae 
 
 Ni'sus 
 
 No-va' tus 
 
 Nur' sci-a 
 
 Ni-s/ ros 
 
 No-vi-o-du' nuni 
 
 Nur'si-a(l9) 
 
 Ni-te' tis 
 
 No-vi-om' a-gum 
 
 Nu' tri-a 
 
 * Nonacris. Labbe, Ainswortb, Gould man, and Holyoke, give this word the 
 antepenultimate accent; but Lempriere, Littleton, and the Graduses, place 
 the accent, more agreeably to analogy, on the penultimate. 
 
 f Numicus. Our fleet Apollo sends 
 
 Where Tuscan Tyber rolls with rapid force, 
 
 And where Numicus opes his holy source. DRYDEN. 
 
 t Nundina. Lempriere places the accent on the penultimate syllable of 
 this word; but Labbe, Gouldman, and Holyoke, on the antepenultimate. 
 Ains worth marks it in the same manner among the appellatives, nor can there 
 be any doubt of its propriety. 
 
70 NY NY NY 
 
 Nyc-te' is 
 
 Nym-phae' um 
 
 Ny' sa or Nys' sa 
 
 Nyc-te' li-us 
 
 Nym-phae' us 
 
 Ny-sae' us 
 
 Nyc' te-us 
 
 Nym-phid' i-us 
 
 N/sas 
 
 Nyc-tim' e-ne 
 
 Nym' phis 
 
 Ny-se' i-us 
 
 Nyc' ti-mus 
 
 Nym-pho-do' rus 
 
 Ny-si' a-des 
 
 Nym-bse 7 um 
 
 Nym-pho-lep' tes 
 
 Ny-sig' e-na 
 
 Nym' pha? 
 Nymphs (Eng.) 
 
 Nym' phon 
 Nyp' si-us 
 
 Ny-si' ros 
 Nys 7 sa 
 
 OC OD OE 
 
 O'A-RUS 
 
 Oc' nus 
 
 Od' o-nes 
 
 O-ar'ses 
 
 O-cric' u-Ium 
 
 Od' ry-sa3 
 
 O' a-sis 
 
 O-crid' i-on 
 
 O-dys'se-a 
 
 O-ax'es 
 
 O-cris'i-a 
 
 Od'ys-sey (Eng.) 
 
 O-ax' us 
 
 Oc-ta-cil' li-us 
 
 fCE-ag' a-rus, and 
 
 Ob-ul-tro' ni-us 
 
 Oc-ta' vi-a 
 
 CE' a-ger (5) 
 
 O-ca'le-a, or 
 
 Oc-ta-vi-a'nus 
 
 GE-an'tha3, and 
 
 O-ca' li-a 
 
 Oc-ta 7 vi-us 
 
 CE-an' thi-a 
 
 *O-ce' a-na 
 
 Oc-tol' o-phum 
 
 CE'ax(5) 
 
 O-ce-an' i-des, and 
 
 O-cy'a-lus 
 
 CE-ba'li-a 
 
 O-ce-an-it' i-des 
 
 O-cyp' e-te (8) 
 
 GEb'a-lus^) 
 
 O-ce' a-nus 
 
 O-cyr' o-e 
 
 CEb'a-res 
 
 O-ce' i-a 
 
 Od-e-na'tus 
 
 CE-cha' li-a 
 
 O-cel'lus 
 
 O-des' sus 
 
 CE-cli'des 
 
 O-ce' lum 
 
 O-di'nus j CEc'le-us 
 
 O'cha 
 
 O-di' tes | CEc-u-me' ni-us 
 
 O-che' si-us (11) 
 
 Od-o-a' cer CEd-i-po' di-a 
 
 O'chus(12) 
 
 Od-o-man' ti (3) CEd' i-pus (5) 
 
 * Oceana. So prone are the English to lay the accent on the penultimate of 
 words of this termination, that we scarcely ever hear the famous Oceana of Har- 
 rington pronounced otherwise. 
 
 t (Eagarus. This diphthong, like <e, is pronounced as the single vowel e. If 
 the conjecture concerning the sound of was right, the middle sound between 
 the o and e of the ancients must, in all probability, have been the sound of our 
 a in water. See the word Ma. 
 
OG 
 
 OL ON 71 
 
 (E 7 me (8) 
 
 *0g 7 y-ges 
 
 O-lym-pi-o-do' rus 
 
 (E-nan 7 thes 
 
 O-gyg' i-a 
 
 O-Iym-pi-os 7 the- 
 
 (E'ne 
 
 Og 7 y-ris 
 
 nes 
 
 CE 7 ne-a 
 
 O-ic 7 le-us 
 
 O-lym' pi-us 
 
 OE'ne-us 
 
 O-il 7 e-us 
 
 O-lytn 7 pus 
 
 CE-ni'des 
 
 O-i-li 7 des Ol-ym-pu' sa 
 
 (En 7 o-e 
 
 Ol 7 a-ne (8) 
 
 O-lyn 7 thus^ 
 
 CE-nom' a-us 
 
 O-la 7 nus 
 
 O-ly'ras 
 
 CE 7 non 
 
 OKba, orOl'bus 
 
 O-ly 7 zon 
 
 <E-no'na(7) 
 
 Ol 7 bi-a 
 
 O-ma 7 ri-us 
 
 CE-no'ne (8) 
 
 Ol 7 bi-us 
 
 Oin 7 bi (3) 
 
 CE-no'pi-a 
 
 Ol-chin 7 i-urn 
 
 Om 7 bri (3) 
 
 CE-nop' i-des 
 
 O-le 7 a-ros, or 
 
 Om 7 o-le 
 
 CE-no 7 pi-on 
 
 Ol 7 i-ros(20) 
 
 Om-o-pha'gi-a 
 
 CEn'o-tri(S) 
 
 O-le' a-truni 
 
 *f*Om 7 pha-le 
 
 GE-no' tri-a 
 
 O'ien 
 
 Om 7 pha-los 
 
 CEn' o-trus 
 
 OKe-nus, or 
 
 O-n3C 7 um, or 
 
 CE-nu'sae 
 
 Ol 7 e-iiuni(20) 
 
 O-ae 7 ne-uin 
 
 CE 7 o-nus 
 
 Ol'ga-sys 
 
 O-na 7 rus 
 
 CEr 7 o-e (8) 
 
 Ol-i-gyr' tis 
 
 O-nas 7 i-mus 
 
 CE' ta (7) 
 
 O-lin 7 thus 
 
 O-na 7 tas 
 
 CEt 7 y-lus, or 
 
 Ol-i-tin 7 gi 
 
 Ou-ches 7 tus 
 
 <Et 7 y-lum 
 
 Ol 7 Ii-us 
 
 O-ne 7 i-on 
 
 O-felMus 
 
 Ol-lov 7 i-co 
 
 O-nes 7 i-rnus 
 
 7 fi(3) 
 
 Oi 7 mi-us 
 
 On-e-sip 7 pus 
 
 Og-dol 7 a-pis 
 
 O-lin 7 i-ae 
 
 O-ne 7 si-us (10) 
 
 Og-do 7 rus 
 
 Ol-o-phyx 7 us 
 
 On-e-tor' i-des 
 
 Og 7 mi-us 
 
 O-lym 7 pe-um 
 
 On-e-sic 7 ri-tus 
 
 Og 7 o-a(7) 
 
 O-lym' pi-a 
 
 O' ni-um 
 
 O-gul 7 ni-a 
 
 O-lym 7 pi-as 
 
 On 7 o-ba(10) 
 
 * Ogyges. This word is by all our prosodists accented on the first syllable, 
 and consequently it must sound exactly as if written Odd'je-jez; and this, how- 
 ever odd to an English ear, must be complied with. 
 
 t Omphale. The accentuation which a mere English speaker would give to 
 this word was experienced a few years ago by a pantomime called Hercules and 
 Omphale: when the whole town concurred in placing the accent on tiie second 
 syllable, till some classical scholars gave a check to this pronunciation by 
 placing the accent on the first. This, however, was far from banishing the 
 former manner, and disturbed the public ear without correcting it. Those 
 however, who would not wish to be numbered among the vulgar, must take 
 care to avoid the penultimate accent. 
 
72 OR OR OR 
 
 O-noch' o-nus 
 
 Or-be'lus 
 
 O-ri'tae(o) 
 
 On-o-mac' ri-tus 
 
 Or-bil'i-us 
 
 O-rith-y-i' a 
 
 On-o-mar' chus 
 
 Or-bo' na 
 
 O-rit'i-as(lO) 
 
 On-o-mas-tor' i-des 
 
 Or' ca-des 
 
 O-ri-un' dus 
 
 On-o-mas' tus 
 
 Or-cha' lis 
 
 Or' me-nus (20) 
 
 On' o-plias 
 
 Or' cha-mus 
 
 Or' ne-a 
 
 On' o-phis 
 
 Or-chom' e-nus, or 
 
 Or' ne-us 
 
 On-o-san' der 
 
 Or-chom' e-num 
 
 Or-ni' thon 
 
 On'y-thes 
 
 Or' cus 
 
 Or 7 ni-tus 
 
 O-pa'li-a 
 
 Or-cyn' i-a 
 
 Or-nos' pa-des 
 
 O-phe'las 
 
 Or-des' sus 
 
 Or-nyt'i-on(ll) 
 
 O-phel' tes 
 
 O-re'a-des 
 
 O-ro' bi-a 
 
 O-phen' sis 
 
 O' re-ads (Eng.) 
 
 O-ro'des 
 
 O' phi-a 
 
 O're-as 
 
 O-rae' tes 
 
 O-phi'on(29) 
 
 O-res'ta? 
 
 O-rom' e-don 
 
 O-phi-o' ne-us 
 
 O-res' tes 
 
 O-ron' tas 
 
 O-phi-u' cus 
 
 O-res' te-um 
 
 O-ron' tes 
 
 O-phi-u'sa 
 
 Or-es-ti' dae 
 
 Or-o-pher' nes 
 
 Op'i-ci 
 
 Or' e-tse 
 
 O-ro' pus 
 
 O-pig' e-na 
 
 Or-e-ta' ni (3) 
 
 O-ro' si-us (11) 
 
 O'pis 
 
 Or-e-til' i-a 
 
 *Or'phe-us 
 
 O-pil' i-us 
 
 O-re' um 
 
 Or-sed' i-ce 
 
 Op'i-ter 
 
 Or' ga, or Or' gas 
 
 Or-se' is 
 
 O-pim' i-us 
 
 Or-ges' sum 
 
 Or-sil'lus 
 
 Op-i-ter-gi' ni 
 
 Or-get' o-rix 
 
 Or-sil' o-chus 
 
 O-pi'tes 
 
 Or'gi-a 
 
 Or'si-nes(4) 
 
 Op' pi-a 
 
 O-rib' a-sus 
 
 Or-sip' pus 
 
 Op-pi-a' nus 
 
 Or'i-cum, or 
 
 Or'ta-lus, M. 
 
 Op-pi' di-us 
 
 Or' i-cus 
 
 Or-thag' o-ras 
 
 Op' pi-us 
 
 O' ri-ens 
 
 Or' the (8) 
 
 O'pus 
 
 Or' i-gen 
 
 Or-thae'a 
 
 Op-ta' tus 
 
 O-ri' go 
 
 Or'thi-a(4)(7) 
 
 Op' ti-mus 
 
 O-ri' nus 
 
 Or'thrus 
 
 O'ra(7) 
 
 O-ri-ob' a-tes 
 
 Or-tyg' i-a 
 
 O-rac' u-lum 
 
 O-ri' on (29) 
 
 Or-tyg'i-us 
 
 O-rae'a 
 
 O-ris' sus 
 
 O'rus 
 
 Or' a-sus 
 
 Or-i-sul'la Liv'i-a O-ry-an'der 
 
 * Orpheus. See Idomeneus. 
 
OS OV OZ 
 
 73 
 
 *O-ry' us 
 
 Os-y-man' dy-as Ox-ar' tes 
 
 
 O'ryx 
 
 Ot-a-cil' i-us Ox-id' a- tes 
 
 
 Os-cho-pho' ri-a 
 
 O-ta' nes Ox' i-mes 
 
 
 Os'ci(3) 
 
 Oth' ma-rus Ox-i' o-nae 
 
 
 Os'ci-us(lO) 
 
 O'tho, M.Sal' vi-us Ox' us 
 
 
 Os'cus 
 
 Oth-ry-o'ne-us Ox-y'a-res 
 
 
 O-sin' i-us 
 
 O'thrys Ox-y-ca'nus 
 
 
 O-si' ris 
 
 O' tre-us 
 
 Ox-yd' ra-cae 
 
 
 O-sis' mi-i 
 
 O-tri' a-des 
 
 Ox'y-lus 
 
 
 Osf pha-gus 
 
 O-troe'da 
 
 Ox-yn' thes 
 
 
 Os-rho-e' ne 
 
 O' tus Ox-yp' o-rus 
 
 
 Os'sa 
 
 O' tys Ox-y-rin-chi' tae 
 
 
 Os-te-o' des 
 
 O-vid' i-us i Ox-y-ryii' chus 
 
 
 Os' ti-a 
 
 Ov'^(Eng.) O-zi'nes 
 
 
 Os-to'ii-us 
 
 O-vin'i-a ! Oz' o-lae, or 
 
 
 Os-tro'go-thi 
 
 O-vin'i-us Oz'o-li 
 
 
 PA PA PA 
 
 
 JL A-CA-TI-A'NUS 
 
 Pa-du' sa 
 
 Pag' a-sa 
 
 
 (21) 
 
 Pae'an 
 
 Pag' a-sus 
 
 
 Pac'ci-us(lO) 
 
 Pa'di-us 
 
 Pa'gus 
 
 
 Pa'ches(12) 
 
 Pe-ma'ni(S) 
 
 Pa-la' ci-um, or 
 
 
 Pa-chi' nus 
 
 Pae'on 
 
 Pa-la' ti-um (10) 
 
 Pa-co' ni-us 
 
 Pae' o-nes 
 
 Pa-lss'a 
 
 
 Pac' o-rus 
 
 Pae-o' ni-a 
 
 Pal-ae-ap' o-lis 
 
 
 Paoto'lus 
 
 Pae-on' i-des 
 
 Pa-lae' mon, or 
 
 
 Pac' ty-as 
 
 Paa'os 
 
 Pal'e-mon 
 
 
 Pac' ty-es 
 
 Pas' sos 
 
 Pa-laep' a-phos 
 
 
 Pa-cu' vi-us 
 
 Paes' turn 
 
 Pa-laeph' a-tus 
 
 
 Pa-da'i (3) 
 
 Pae-to' vi-um 
 
 Pa-laep' o-lis 
 
 
 Pad' u-a 
 
 Pae' tus Cse-cin' na 
 
 Pa-las' te 
 
 
 Pa'dus 
 
 Pag'a-sae, or 
 
 Pal-ae-sti' na 
 
 
 * Ort/us. And, at once, Broteas and Oryus slew : 
 Oryus' mother, Mycal, was known, 
 Down from her sphere to draw the laboring moon. 
 
 GARTH'S Ovid. Met. 
 
74 
 
 PA 
 
 PA 
 
 Pa-lae-sti' nus 
 
 f*Pam' me-nes 
 
 Pal-a-me' des 
 
 Pam' mon 
 
 Pa-Ian' ti-a ( 10) 
 
 Pam' pa 
 
 Pa-Ian' ti-um (10) 
 
 Pam' phi-lus 
 
 Pal-a-ti' nus 
 
 Pam' phos 
 
 Pa'le-is or Pa' he 
 
 Pam' phy-la 
 
 Pa'les 
 
 Pam-phyl'i-a 
 
 Pal-fu'ri-us Su'ra 
 
 Pan 
 
 Pa-li' ci, or Pa-lis' ci 
 
 Pan-a-ce'a 
 
 Pa-lil'i-a 
 
 Pa-nse'ti-us (10) 
 
 Pal-i-nu' rus 
 
 Pan' a-res 
 
 Pal-i-sco' rum, or 
 
 Pan-a-ris' te 
 
 Pal-i-co' rum 
 
 Pan-ath-e-nae' a 
 
 Pal'la-des 
 
 Pan-chae' a, or 
 
 Pal-la' di-um 
 
 Pan-che'a, or 
 
 Pal-la' di-us 
 
 Pan-cha' i-a 
 
 Pal-lan-te' urn 
 
 Pan' da 
 
 Pal-Ian' ti-as 
 
 Pan' da- ma 
 
 Pal-Ian' ti-des 
 
 Pan-da' ri-a 
 
 Pal-lau' ti-on (28) 
 
 Pan' da-rus 
 
 Pal' las 
 
 Pan' da-tes 
 
 Pal-le'ne(8) 
 
 Pan-de' mus 
 
 Pal' ma 
 
 Pan'di-a 
 
 *PaI-m/ra 
 
 Pan'di-on (11) 
 
 Pal-phu' ri-us 
 
 Pan' do-ra 
 
 Pal-mi' sos 
 
 Pan-do' si-a( 11) 
 
 PA 
 
 Pan' dro-sos 
 Pan' e-nus, or 
 
 Pa-nae' us 
 Pan-gae' us 
 Pa-ni' a-sis 
 Pa-ni-o' ni-um 
 Pa' ni-us (20) 
 Pan-no' ni-a 
 Pan-om-phae' us 
 Pan' o-pe, or 
 
 Pan-o-pe' a 
 Pan' o- pes 
 Pa-no' pe-us 
 Pa-no' pi -on 
 Pa-nop' o-lis 
 Pa-nor' mtis 
 Pan'sa, C. 
 Pan-tag-nos' tus 
 Pan-ta'gy-as 
 Pan-ta' Je-on 
 Pan-tau' chus 
 Pan' te-us 
 Pan' thi-des 
 Pan-the' a 
 JPan' the-on 
 Pan' the-us, or 
 
 * Palmyra. Nothing can be better fixed in an English ear than the penulti- 
 mate accentuation of this word : this pronunciation is adopted by Ainsworth and 
 Lempriere. Gouldman and Holyoke seem to look the other way ; but Labbe 
 says the more learned give this word the antepenultimate accent, and that this 
 accent is more agreeable to the general rule. Those, however, must be pe- 
 dantic coxcombs, who should attempt to disturb the received pronunciation 
 when in English, because a contrary accentuation may possibly be proved to be 
 more agreeable to Greek or Latin. 
 
 f Pammenes.I find this word no where but in Lempriere, who accents it on 
 the penultimate ! but as all words of this termination have the antepenultimate 
 accent, till this appears an exception I shall venture to alter it. 
 
 $ Pantheon. This word is universally pronounced with the accent on the 
 second syllable in English, but in Latin it has its first syllable accented ; and 
 this accentuation makes so slight a difference to the ear, that it ought to have 
 the preference. 
 
PA 
 
 PA 
 
 PA 
 
 75 
 
 Pan' thus 
 
 Pa-ra'si-a (11) 
 
 Par' the-non 
 
 Pan-tho'i-des (4) 
 
 Pa-ra' si-us (11) 
 
 Par-then-o-pae' us 
 
 Pan-ti-ca-pae' um 
 
 Pa/ cae 
 
 Par-then' o-pe (8) 
 
 Pan-tic' a-pes 
 
 Par' is 
 
 Par'thi-a 
 
 Pan-til' i-us 
 
 Pa-ris' a-des 
 
 Par-thy-e' ne 
 
 Pa-ny' a-sis 
 
 Pa-ris'i-i(4) 
 
 Pa-rys' a-des 
 
 Pa-ny' a-sus 
 
 Par' i-sus 
 
 fPar-y-sa'.tis 
 
 Pa-pae' us 
 
 Pa' ri-um 
 
 Pa-sar' ga-da 
 
 Pa-pha' ges 
 
 Par' ma (1) 
 
 Pa' se-as 
 
 Pa'phi-a^ 
 
 Par-men' i-des 
 
 Pas'i-cles 
 
 Paph-la-go' ni-a 
 
 Par-me'm-o 
 
 Pa-sic'ra-tes 
 
 Pa'phos 
 
 Par-nas' sus 
 
 Pa-siph' a-e 
 
 Paph'us 
 
 Par' nes 
 
 Pa-sith' e-a 
 
 Pa-pi-a' nus 
 
 Par-nes' sus 
 
 Pa-sit' i-gris 
 
 *Pa'pi-as 
 
 Par'ni(3) 
 
 Pas' sa-ron 
 
 Pa-pm-i-a' nus 
 
 Pa'ron 
 
 Pas-si-e' nus 
 
 Pa-pin' i-us 
 
 Par-o-re' i-a 
 
 Pas' sus 
 
 Pa-pir' i-a 
 
 Pa'ros 
 
 Pat'a-ra 
 
 Pa-pir' i-us 
 
 Par-rha'si-a(lO) 
 
 Pa-ta' vi-um 
 
 Pap' pus 
 
 Par-rha' si-us (10) 
 
 Pa-te/ cu-lus 
 
 Pa-pyr'i-us 
 
 Par-tha-mis' i-ris 
 
 Pa-ti/i-thes 
 
 Par-a-bys' ton 
 
 Par-tha' on 
 
 Pat' mos 
 
 Par-a-di' sus 
 
 Par-the' ni-a 
 
 Pa' tree 
 
 Pa-raet' a-cae 
 
 Par- the' ni-a?, and 
 
 Pa'trq 
 
 Par-ae-to' ni-um 
 
 Par-the' ni-i (4) 
 
 Pa-tro' cli 
 
 Par'a-li(S) 
 
 Par-the' ni-on 
 
 Pa-tro' cles 
 
 Par' a-lus 
 
 Par-the'ni-us 
 
 JPa-tro' clus 
 
 * Papias. This is the name of an early Christian writer, who first propagated 
 the doctrine of the Millennium; and it is generally pronounced with the accent 
 on the second syllable, but I believe corruptly, since Labbe has adopted the 
 antepenultimate accent, who must be well acquainted with the true pronuncia- 
 tion of ecclesiastical characters. 
 
 + Parysatis. Labbe tells us that some prosodists contend that this word 
 ought to be accented on the antepenultimate syllable, and we find Lempriefe 
 has so accented it ; but so popular a tragedy as Alexander, which every where 
 accents the penultimate, has fixed this pronunciation in our own country be- 
 yond a doubt. 
 
 | Patroclus. Lempriere, Ainsworth, Gouldman, and Holyoke, accent the 
 penultimate syllable of this word ; but Labbe the antepenultimate ; our gra- 
 duses pronounce it either way ; but I do not hesitate to prefer the penultimate 
 accent : and till some good reason be given for the contrary, I think Fa- 
 froclathe historian and Patrocli a small island, ought to be pronounced with 
 the same as the friend of Achilles. 
 
76 PE PE 
 
 Pat-ro-cli' des 
 
 Pe'li-on 
 
 Pa' tron 
 
 Pe' li-um 
 
 Pat'ro-us 
 
 Pel' la 
 
 Pa-tul'ci-us(lO) 
 
 Pel-la' na? 
 
 Pau'la 
 
 Pel-le'ne 
 
 Pau-li' na (7) 
 
 Pel-o-pe' a, or 
 
 Pau-li' nus 
 
 Pel-o-pi'a 
 
 Pau'lus -ZE-myl'i-us 
 
 Pel-o-pe' i-a 
 
 Pa'vor 
 
 Pe-lop' i-das 
 
 Pau-sa' ni-as 
 
 Pel-o-pon-ne' sus 
 
 Pau'si-as(ll) 
 
 Pe'lops 
 
 Pax- 
 
 Pe'lor 
 
 Pax' os 
 
 Pe-lo' ri-a 
 
 Pe'as 
 
 Pe-lo'rum, or 
 
 Pe-da'ci-a(lO) 
 
 Pe-lo 7 rus 
 
 Pe-dae' us 
 
 Pe-lu' si-urn (10) 
 
 Pe-da'ni 
 
 Pe-na' tes 
 
 Pe-da' ni-us 
 
 Pen-da' li-um 
 
 Paed' a-sus 
 
 Pe-ne'i-a, Pen'e-is 
 
 Pe-di' a-dis 
 
 Pe-ne'li-us 
 
 Pe-di' a-nus 
 
 Pe-nel' o-pe 
 
 Pe'di-as 
 
 Pe' ne-us, or 
 
 Pe'di-usBlae'sus 
 
 Pe-ne' us 
 
 Pe'do 
 
 Pen' i-das 
 
 Pe' dum 
 
 Pen-tap' o-lis 
 
 Pe-ga' i-des 
 
 Pen-the-si-le' a 
 
 Peg'a-sis 
 
 Pen' the-us 
 
 Peg 7 a-sus 
 
 Pen'thi-lus 
 
 Pel' a-gon 
 
 Pen' thy-lus 
 
 Pe-lar'ge 
 
 Pep-ar-e' thos 
 
 Pe-las'gi(3) 
 
 Peph-re'do 
 
 Pe-las'gi-a, or 
 
 Pe-r'a(7) 
 
 Pe-las-gi' o-tis 
 
 Per-a-sip' pus 
 
 Pe-las' gus 
 
 Per-co'pe(S) 
 
 Pel-e-thro' ni-i (4) 
 
 Per-co' si-us (11) 
 
 Pe' le-us 
 
 Per-co'te 
 
 Pe-li'a-des 
 
 Per-dic' cas 
 
 Pe'li-as 
 
 Per'dix 
 
 Pe-li'des 
 
 Pe-ren'na 
 
 Pe-lig' ni 
 
 Pe-rei/ nis 
 
 Pe-lig' nus 
 
 Pe' re-us 
 
 Pel-i-nae' us 
 
 Per'ga 
 
 Pel-i-nje'uni 
 
 Per' ga-inus 
 
 PE 
 
 Per'ge(8) 
 Per' gus 
 Pe-ri-an' der 
 Pe-ri-ar' chus 
 Per-i-boe'a 
 Per-i-bo' mi-us 
 Per'i-cles 
 Per-i-clym' e-nus 
 Pe-rid'i-a 
 Pe-ri-e-ge' tes 
 Pe-ri-e' res 
 Pe-rig'e-nes 
 I Pe-rig'o-ne 
 Per-i-la'us 
 Per-i-le'us 
 Pe-riKla 
 Pe-ril' lus 
 Per-i-me' de (8) 
 Per-i-me' la 
 Pe-rin' thus 
 Per-i-pa-tet' i-ci (3) 
 Per' i-pa-tet-ics 
 
 (Eng.) 
 
 Pe-riph' a-nes 
 Per'i-phas 
 Pe-riph' a-tus 
 Per-i-phe' mus 
 Per-pho-re' tus 
 Pe-ris' a-des 
 Pe-ris' the-nes 
 Pe-rit' a-nus 
 Per'i-tas 
 Per-i-to' ni-uin 
 Pe'ro, or Per'o-ne 
 Per' o-e (8) 
 Per-mes' sus 
 Per' o-la 
 Per-pen'na, M. 
 Per-pe-re' ue 
 Per-ran' thes 
 Per-rhae' bi-a 
 Per' sa, or Per-se' is 
 Per'sa? 
 
PE PH PH 77 
 
 Per-sa' us 
 
 Peu-ci'ni (4) 
 
 Pha-le' ris 
 
 Per-se'e 
 
 Peu-co-la' us 
 
 Pha-le' ron, or 
 
 Per-se' is 
 
 Pex-o-do' rus 
 
 Phal' e-rum 
 
 Per-seph' o-ne 
 
 Pha' a 
 
 Pha-le' rus 
 
 Per- sep' o-lis 
 
 Phse-a'ci-a(lO) 
 
 Pha'li-as , 
 
 Per' se-us, or 
 
 Pha' ax 
 
 Phal'li-ca 
 
 Per'ses 
 
 Phaed'i-mus 
 
 Pha-lys'i-us (10) 
 
 Per' se-us 
 
 Pha' don 
 
 Pha-na 7 us 
 
 Per'si-a (10; 
 
 Pha'dra 
 
 Phan-a-rse 7 a 
 
 Per' sis 
 
 Pha'dri-a 
 
 Pha 7 nes 
 
 Per 7 si-us Flac' cus 
 
 Pha'drus 
 
 Phan' o-cles 
 
 Per' ti-nax 
 
 Phged' y-ma (3) 
 
 Phan-o-de' mus 
 
 Pe-ru'si-a(lO) 
 
 Phae-mon' o-e 
 
 Phan-ta'si-a(lO) 
 
 Pes-cen' ni-us 
 
 Phan-a-re' te 
 
 Pha' nus 
 
 Pes-si' nus 
 
 Pha' ni-as 
 
 Pha' on 
 
 Pe-ta' li-a 
 
 Phaen'na 
 
 Pha'ra 
 
 Pet' a-lus 
 
 Phan' nis 
 
 Pha-rac'i-des(24) 
 
 Pe-te'li-a 
 
 Pha-oc' o-mes 
 
 Pha'ar, or Phe'ra 
 
 Pet-e-li' nus 
 
 Phas' a-na 
 
 Pha-ras' ma-nes 
 
 Pe-te' on 
 
 Phas 7 turn 
 
 Pha 7 rax 
 
 Pe' te-us 
 
 Pha' e-ton 
 
 Pha' ris 
 
 Pe-til' i-a 
 
 Pha-e-ton-ti' a-des 
 
 Phar-me-cu' sa 
 
 Pe-til' i-i (S) 
 
 Pha-e-tu 7 sa 
 
 Phar-na-ba' zus 
 
 Pe-til' i-us 
 
 Pha' us 
 
 Phar-na' ce-a 
 
 Pet-o-si' ris 
 
 Pha-ge'si-a(lO) 
 
 f-Phar-na 7 ces 
 
 Pe'tra 
 
 Pha' la 
 
 Phar-na-pa 7 tes 
 
 Pe-tra' a 
 
 Pha-lae'cus 
 
 Phar-nas 7 pes 
 
 Pe-trei' us 
 
 Pha-la 7 si-a (11) 
 
 Phar 7 nus 
 
 Pe-tri' num 
 
 Pha-lan 7 thus 
 
 Pha 7 ros 
 
 Pe-tro'ni-a 
 
 Phal 7 a-ris 
 
 Phar-sa 7 li-a 
 
 Pe-tro' ni-us 
 
 Pha 7 nas 
 
 Phar 7 te 
 
 Pet' ti-us 
 
 Phal'a-rus 
 
 Pha' rus 
 
 Peu'ce(8) 
 
 Phal' ci-don 
 
 Pha-ru 7 si-i, or 
 
 Peurces' tes 
 
 Pha 7 le-as 
 
 Phau-ra 7 si-i(4) 
 
 Peu-ce'ti-a(lO) 
 
 * Pha-le 7 re-us 
 
 Pha 7 si-as 
 
 * Phakreus. There is some doubt among the learned whether this word 
 ought to be pronounced in three or four syllables ; that is, as Phal-e-reus, or 
 Pha-le-re-us. The latter mode, however, with the accent on the antepenulti- 
 mate, seems to be the most eligible. 
 
 t Pharnaces. All our prosodists accent the antepenultimate syllable of thi* 
 word ; but an English ear is strongly inclined to accent the penultimate, as in 
 Arbacts and Arsaces, which see. 
 
78 PH PH PH 
 
 Phar' y-bus 
 
 Phic'o-res PhiMo 
 
 Pha-ryc' a-don 
 
 Phid' i-as Phil-o-boe' o-tus 
 
 Phar'y-ge 
 Pha-se'lis 
 
 Phid' i-le Phi-loch' o-rus 
 Phi-dip' pi-des Phil' o-cles 
 
 Pha-si-a' na 
 
 Fhi-dit' i-a (10) Phi-loc' ra-tes 
 
 Pha'sis 
 
 Phi' don Phil-oc-te' tes 
 
 Phas'sus 
 
 Phid'y-le Phil-o-cy' prus 
 
 Phau'da 
 
 Phig-a' le-i Phil-o-da-me' a 
 
 Phav-o-ri'nus 
 
 Phi' la Phil-o-de' mus 
 
 Pha-yl'lus 
 
 Phil-a-del'phi-a 
 
 Phi-lod'i-ce 
 
 Phe'a,orPhe'i-a 
 
 Phil-a-del' phus 
 
 Phil-o-la'us 
 
 Phe-ca' dum 
 
 PhiM 
 
 Phi-lol' o-gus 
 
 Phe'ge-us, or 
 
 Phi-las' ni 
 
 Phi-lorn' a-che 
 
 Phle'ge-us 
 
 Phi^lae'us 
 
 Phi-lorn' bro-tus 
 
 Phel'li-a 
 
 Phi-lam' mon 
 
 *Phil-o-me' di-a 
 
 Phel'lo-e 
 
 Phi-lar'chus(12) 
 
 Phil-o-me' dus 
 
 Phel'lus 
 
 Phi-le' mon 
 
 Phil-o-me'la 
 
 Phe'mi-us 
 
 Phi-le' ne (8) 
 
 Phil-o-me' lus 
 
 Phe-mon' o-e (8) 
 
 Phi-le' ris 
 
 Phi'lon 
 
 Phe-ne' um 
 
 Phil'e-ros 
 
 Phi-Ion' i-des 
 
 Phe' ne-us (lacus) 
 
 Phi-le' si-us (19) 
 
 Phil' o-nis 
 
 Phe' raj 
 
 Phil-e-tae' rus 
 
 Phi-Ion' o-e (8) 
 
 Phe-rae' us 
 
 Phi-le' tas 
 
 Phi-Ion' o-me 
 
 Phe-rau'les 
 
 Phi-le' ti-us( 10) 
 
 Phi-Ion' o-mus 
 
 Phe-rec'lus 
 
 Phil'i-das 
 
 Phil'o-nus 
 
 Phe-rec' ra-tes 
 
 Phil'i-des 
 
 Phi-lop' a-tor 
 
 Pher-e-cy' des 
 
 Phi-lin' na 
 
 Phil' o-phron 
 
 Phe-ren-da' tes 
 
 Phi-li'nus 
 
 Phil-o-poe' men 
 
 Pher-e-ni' ce (29) 
 
 Phi-lip'pe-i 
 
 Phi-los'tra-tus 
 
 Phe' res 
 
 Phi-lip' pi 
 
 Phi-lo'tas 
 
 Phe-re'ti-as(lO) 
 
 Phi-lip' pi-des 
 
 Phi-lot' e-ra 
 
 Pher-e-ti'ma 
 
 Phi-lip' po-lis 
 
 Phi-lot' i-mus 
 
 Pher' i-num I Phi-lip-pop' o-lis 
 
 Phi-lo'tis 
 
 Phe'ron Phi-lip' pus 
 
 Phi-lox' e-uus 
 
 Phi'a-le Phi-lis'cus 
 
 Phi-lyl'li-us 
 
 Phi-a' li-a, or Phi-lis' ti-on (1 1) 
 
 Phil'y-ra 
 
 Phi-ga'li-a Phi-lis' tus 
 
 Phil'y-res 
 
 Phi'a-lus Phil'lo 
 
 Phi-lyr' i-des 
 
 Philomedia. 
 
 Nor less by Philomedia known on earth ; 
 A name derived immediate from her birth. 
 
 COOKE'S Hesiod, Tkeog. v. 311 
 
PH PH PI 
 
 Phioe' us 
 
 Phoi y mis 
 
 Phyl-la'li-a 
 
 Phin'ta 
 
 Pho-ro' ne-us 
 
 Phyl-Ie'i-us 
 
 Phin'ti-as(lO) 
 
 Pho-rc/ nis 
 
 Phyl'iis 
 
 Phla 
 
 Pho-ro' ni-um 
 
 Phvl'li-us 
 
 Phleg'e-las 
 
 Pho-ti' nus 
 
 Phyl-lod'o-ce 
 
 Phleg'e-thon 
 
 Pho'ti-usClO) 
 
 Phyl'los 
 
 Phle' gi-as 
 
 Phox'us 
 
 Phyl' lus 
 
 Phle'gon 
 
 Phra-a' tes 
 
 Phy-scel'la 
 
 Phle'gra 
 
 Phra-at' i-ces 
 
 Phy-rom' a-chus 
 
 Phle'gy-e(6)(8) 
 
 Phra-da' tes 
 
 Phys' co-a 
 
 Phle'gy-as 
 
 Phra-gan' de 
 
 Phys' con 
 
 Phli' as 
 
 Phra-ha' tes 
 
 Phys' cos 
 
 Phli' us 
 
 Phra-nic' a-tes 
 
 Phys' cus 
 
 Phlce'us 
 
 Phra-or' tes 
 
 Phy-tal' i-des 
 
 Pho-be' tor 
 
 Phras' i-cles 
 
 Phyt' a-lus 
 
 Pho-cae' a 
 
 Phras' i-raus 
 
 Phy' ton 
 
 Pho-cen'ses, and 
 
 Phra' si-us (10) 
 
 Phyx' i-um 
 
 Pho'ci-ci(3)(10) 
 
 Phra-ta-pher' nes 
 
 Pi' a, or Pi-a'li-a 
 
 Pho-cil' i-des 
 
 Phri-a-pa'ti-us(lO) 
 
 Pi' a-sus 
 
 Pho'ci-on(lO) 
 
 Phrix' us 
 
 Pi-ce' ni (3) 
 
 Pho'cis 
 
 Phron' i-ma 
 
 Pi-cen'ti-a(lO) 
 
 Pho'cus 
 
 Phron' tis 
 
 Pic-en-ti' ni (4) 
 
 Pho-cyl' i-des 
 
 Phru' ri (3) 
 
 Pi-ce' num 
 
 Phce'be 
 
 Phry'ges(6) 
 
 Pi' era 
 
 Phce' be-um 
 
 Phryg' i-a 
 
 Pic'tae, or Pic'ti 
 
 Phceb'i-das 
 
 Phry'ne(6)(8) 
 
 Pic-ta' vi, or 
 
 Phoe-big' e-na 
 
 Phryn' i-cus 
 
 Pict' o-nes 
 
 Phce' bus 
 
 Phry' nis 
 
 Pic-ta' vi-um 
 
 Phoe' mos 
 
 Phry'no 
 
 Pic' tor 
 
 Phoe-ni' ce (29) 
 
 Phryx'us 
 
 Pi' cus 
 
 Phoe-nic'i-a(lO) 
 
 Phthi'a (14) 
 
 Pi-do' rus 
 
 Phce-nic' e-us 
 
 Phthi-o' tis 
 
 Pid'y-tes 
 
 Phce-uic' i-des 
 
 Phy'a 
 
 Pi'e-lus 
 
 Phcje-ni' cus 
 
 Phy'cus 
 
 Pi'e-ra 
 
 Phoen-i-cu' sa 
 
 Phyl' a-ce 
 
 Pi-e'ri-a 
 
 Phoe-nis' sa 
 
 Phyl' a-cus 
 
 Pi-er 7 i-des 
 
 Phoe' nix 
 
 Phy- lar' chus 
 
 Pi'e-ris - 
 
 Phol' o-e 
 
 Phy'las 
 
 Pi' e-rus 
 
 Pho'lus 
 
 Phy'le 
 
 Pi'e-tas 
 
 Phor'bas 
 
 Phyl' e-is (20) 
 
 Pi'gres 
 
 Phor 7 cus, or 
 
 Phv-le' us 
 
 Pi-lum' nus 
 
 Phor' cys 
 
 Phyl'i-ra 
 
 Pim'pla 
 
 Phor' mi-o 
 
 PhylMa 
 
 Pimrple' i-des 
 
 79 
 
80 PI PI PL 
 
 Pim-ple' e-des 
 
 Pi-si' di-a 
 
 Pit-u-la'ni(S)* 
 
 Pim-pra' na 
 
 Pi-sid'i-ce 
 
 Pit-y-*'a 
 
 Pin'a-re 
 
 Pi' sis 
 
 Pit-y-as' sus 
 
 Pi-na' ri-us 
 
 Pis-is-trat' i-dae 
 
 Pit-y-o-ne ; sus 
 
 Pin' da-rus 
 
 Pis-is-trat' i-des 
 
 Pit-y-u'sa 
 
 Pin' da-sus 
 
 Pi-sis' tra-tus 
 
 Pla-cen'ti-a(lO) 
 
 Pin-de-nis' sus 
 
 Pi' so 
 
 Plac-i-de-i-a' nus 
 
 Pin'dus 
 
 Pi-so' nis 
 
 Pla-cid'i-a 
 
 Pin'na 
 
 Pis'si-rus 
 
 Pla-cid' i-usr 
 
 Pin'thi-as 
 
 Pis' tor 
 
 Pla-na'si-a (10) 
 
 Pi-o' ni-a 
 
 Pi' sus 
 
 Plan-ci' ua 
 
 Pi-rse' us, or 
 
 Pi-suth' nes 
 
 Plan' cus 
 
 Pi-rae' e-us 
 
 Pit'a-ne 
 
 Pla-tae'a 
 
 Pi-re' ne 
 
 Pith-e-cu'sa 
 
 Pla-tae' 
 
 Pi-rith' o-us 
 
 Pith' e-us 
 
 Pla-ta' ni-us 
 
 Pi'rus 
 
 Pi'tho 
 
 Pla'to 
 
 Pi'sa 
 
 Pith-o-la' us 
 
 Plau' ti-a (10) 
 
 Pi'sa 
 
 Pi-tho' le-on 
 
 Plau' ti-us 
 
 Pi-sse' us 
 
 Pi' thon 
 
 Plau-ti-a' nus 
 
 Pi-san' der 
 
 Pi'thys 
 
 Plau-she-a* 'nus 
 
 Pi-sa'tes, orPi-sae'i Pit'ta-cus 
 
 Plau-tii'la 
 
 Pi-sau' rus 
 
 Pit'the-a 
 
 Plau'tus 
 
 Pi-se' nor 
 
 Pit-the'is 
 
 *Plei'a-des 
 
 Pis' e-us 
 
 Pit'the-us 
 
 Plei'o-ne 
 
 Pis'i-as(lO) 
 
 Pit-u-a' ni-us 
 
 Plem-myr'i-um 
 
 * Pleiadts. 
 
 When with their domes the slow-pac'd snails retreat, 
 
 Beneath some foliage from the burning heat 
 
 Of the Pleiades, your tools prepare; 
 
 The ripen'd harvest then deserves your care. 
 
 COOEB'S Hesiod, Works and Day*. 
 
 The translator had adhered strictly to the original nxmafc?, in making this 
 word four syllables. Virgil has done the same: 
 
 Pletadas, Hyadas, claramque Lycaonis Arcton. 
 
 GEORGIC. I. 
 
 But Ovid has contracted this word into three syllables : 
 Pleiades incipiunt humeros relevare paternos. 
 
 FASTI, iv. p. 169. 
 
 The latter translators of the Classics have generally contracted this word to 
 three syllables. Thus in Ogilby's translation of Virgil's Georgics, b. 1 . 
 
 First 
 
PL PL PCE 81 
 
 Plem'ne-us (29) 
 
 Plis-to-ni' ces (30) 
 
 Pnig'e-us (13) 
 
 Pleu-ra' tus 
 
 Plo' tte 
 
 Pob-lic'i-us(24) 
 
 PJeu' ron 
 
 Plo-ti' na 
 
 Pod-a-lir' i-us 
 
 Plex-au' re 
 
 Plot-i-nop'o-lis 
 
 Po-dar' ce (8) 
 
 Plex-ip' pus 
 
 Plo-ti' nus 
 
 Po-dar' ces 
 
 Plin'i-as 
 
 Plo'ti-us(lO) 
 
 Po-da'res 
 
 Plin'y (Eng.) 
 
 Plu-tar'chus 
 
 Po-dar' ge 
 
 Plin-thi' ne i Plu' larch (Eng.) 
 
 Po-dar 7 gus 
 
 Plis-tar'chus 
 
 Plu'ti-a (10) 
 
 Poe'as 
 
 Plis' tha-nus 
 
 Plu' to 
 
 Pcec'i-le(<24) 
 
 Plis' the-nes 
 
 Plu-to' ni-um 
 
 Poe' ni (3) 
 
 Plis-ti' nus 
 
 Plu' tus 
 
 Pee' on 
 
 Plis-to' a- nax 
 
 Plu' vi-us 
 
 Pce-o'ni-a 
 
 Plis-to' nax 
 
 Plyn-te' ri-a 
 
 Pre'us 
 
 First let tlie eastern Pleiades go down, 
 And the bright star in Ariadne's crown. 
 The Pleiades and Hyades appear ; 
 The sad companions of the turning year. 
 
 CREECH'S Manilius. 
 
 But Dryden has, to the great detriment of the poetical sound of this word, 
 anglicised it, by squeezing it into two syllables : 
 
 What are to him the sculpture of the shield, 
 Heaven's planets, earth, and ocean's wat'ry field. 
 The Pleiads, Hyads, less and greater Bear, 
 Undipp'd in seas, Orion's angry star ? 
 
 OVID'S Met. b. 12. 
 
 This unpleasant contraction of Dry den's seems not to have been ranch fol- 
 lowed. Elegant speakers are pretty uniform in preferring the trisyllable ; but a 
 considerable variety appears in the sound of the diphthong ei. Most speakers pro- 
 nounce it like the substantive eye ; and this pronunciation is defended by the 
 common practice in most schools of sounding the diphthong si in this manner in 
 appellatives ; but though Greek appellatives preserve the original sound of their 
 letters, as qiXavria., 9Tf>ottT<oy, x. T. x, where the t does not slide into sh, as in 
 Latin words ; yet proper names, which are transplanted into all languages, par- 
 take of the soil into which they are received, and fall in with the analogies of 
 the language which adopts them. There is, therefore, no more reason for pre- 
 lerving the sound of et in proper names, than for pronouncing the c like k in 
 Phocion, Lacedamon, &c. 
 
 But perhaps it will be said, that our diphthong ei has the sound of eye as well as 
 the Greek si. To which it may be answered, that this is an irregular sound of 
 these vowels, and can scarcely be produced as an example, since it exists but in 
 
 - G either 
 
82 PO PO % PO 
 
 Po' gon 
 
 Pol-y-bo' tes 
 
 Pol-y-la' us 
 
 Po'la 
 
 Pol-y-ca' on 
 
 Po-lym' e-nes 
 
 Pol-e-mo-cra' ti-a 
 
 Pol-y-car' pus 
 
 Pol-y-me'de 
 
 Pol' e-mon 
 
 Pol-y-cas' te 
 
 Po-lym' e-don 
 
 Po-le'nor 
 
 Po-lych' a-res 
 
 Pol-y-me' la 
 
 Po' li-as 
 
 Pol-y-cle'a 
 
 Pol-ym-nes' tes 
 
 Po-li-or-ce' tes 
 
 Pol'y-cles 
 
 Pol-ym-nes' tor 
 
 Po-lis' ma 
 
 Pol-y-cle' tus 
 
 Pol-y-ni' ces 
 
 Po-lis' tra-tus 
 
 Po-Iyc' ra-tes 
 
 Po-lyn' o-e 
 
 Po-li' tes 
 
 Pol-y-cre' ta, or 
 
 Pol-y-pe'mon 
 
 Pol-i-to' ri-um 
 
 Pol-y-cri' ta 
 
 Pol-y-per' chon 
 
 Pol-len'ti-a(lO) 
 
 Po-lyc' ri-tus 
 
 Pol-y phe' mus 
 
 Pol-lin' e-a 
 
 P0-lyc' tor 
 
 Pot' y-pheme (Eng.) 
 
 Pol'li-o 
 
 Pol-y-dae' mon 
 
 Pol-y-phon' tes 
 
 Pol'lis 
 
 Po-lyd' a-mas 
 
 Pol'y-phron 
 
 Pol' li-us Fe' lix | Pol-y-dam' na 
 
 Pol-y-poe' tes 
 
 Pol-la' ti-a (10) 
 
 Pol-y-dec' tes 
 
 Po-lys' tra-tus 
 
 Pol' lux 
 
 Pol-y-deu-ce' a 
 
 Pol-y-tech' nus 
 
 Po'lus 
 
 Pol-y-do'ra 
 
 Pol-y-ti-me' tus 
 
 Po-lus'ca 
 
 Poky-do' rus 
 
 Po-lyt'i-on (10) 
 
 Pol-y-ae'nus 
 
 Pol-y-aa-mon' i-des 
 
 Po-ly t' ro-pus 
 
 Pol' y-nus 
 
 Pol-y-gi' ton 
 
 Po-lyx' e-na 
 
 Pol-y-ar' chus 
 
 Po-lyg' i-us 
 
 Pol-yx-en' i-das 
 
 Po-lyb' i-das 
 
 Pol-yg-no' tus 
 
 Po-lyx' e-nus 
 
 Po-lyb' i-us, or 
 
 Po-lyg' o-nus 
 
 Po-lyx' o 
 
 Pol'y-bus 
 
 Pol-y-hym'ni-a and 
 
 Pol-y-ze' lus 
 
 Pol-y-boe'a 
 
 Po-lym' ni-a 
 
 Pom-ax-ae' thres 
 
 Pol-y-boe' tes 
 
 Pol-y-id' i-us 
 
 Po-me'ti-a (10) 
 
 either, neither, height, and sleight. The two first words are more frequently and 
 analogically pronounced eether, neether ; and height is often pronounced, go as to 
 rhyme with weight, and would, in all probability, be always so pronounced, but 
 for the false supposition, that the abstract must preserve the sound of the verb 
 or adjective from which it is derived ; and with respect to sleight, though Dr. 
 Johnson says it ought to be written slight, as we sometimes see it, yet, if we 
 observe his authorities, we shall find tbat several respectable authors spelt the 
 word in this manner ; and if we consult Junius and Skinner, particularly the 
 last, we shall see the strongest reason from etymology to prefer this spelling, as 
 in all probability it conies from sly. The analogical pronunciation therefore of 
 this diphthong in our own language is either as heard in vein, rein, &c. or in 
 perceive, receive, &c. The latter is adopted by many speakers in the present 
 word, as if written Pleeades; but Plyades, though less analogical, must be owned 
 to be the more polite and literary pronunciation. See note on Elegeia in the 
 Terminational Vocabulary. 
 
PO 
 
 Po-me'ti-i (3) 
 Pom-e-ti' na 
 Po-mo'na 
 Pom-pei' a (o) 
 Pom-pei-a' nus 
 Pom-pei' i, or 
 Pom-pei' um 
 Pom-pei-op'o-lis 
 Pom-pei' us 
 Pom-pil'i-a 
 Pom-pi I' i-us Nu'ma 
 Pom-pi' lus 
 Pom-pis' cus 
 Pom-po' ni-a 
 Pom-po' ni-us 
 Pom-po-si-a' nus 
 Pomp-ti'ne 
 Pomp' ti-nus 
 Pom' pus 
 Pon'ti-a(lO) 
 Por/ ti-cum ma' re 
 Pon'ti-cus 
 Pon-ti' na 
 Pon-ti' nus 
 Pon'ti-us (10) 
 Pon' lus 
 
 Pon'tus Eu-xi'nus 
 ^Po-pil' i-us Lae' nas 
 Pop-lie' o-l a 
 Pop-pae'a Sa-bi'na 
 Pop-pae'us 
 Pop-u-lo' ni-a 
 
 PO 
 
 Por'ci-a(JO) 
 Por'ci-us (10) 
 Po-red'o-rax 
 Po-ri' na 
 Por-o-se-le' ne 
 Por-phyr' i-on 
 Por-phyr'i-us 
 Por' ri-ma 
 Por-sen'na, or 
 
 Por' se-na 
 Por'ti-a, and 
 
 Por'ti-us (10) 
 Port' mos 
 Por-tum-na' li-a 
 Por-tum' nus 
 Po'rus 
 Po-si' des 
 Pos-i-*de' um 
 Po-si' don 
 Pos-i-do' ni-a 
 Pos-i-do' ni-us 
 Po'si-o (10) 
 Post-hu'mi-a 
 Post-hu' mi-us 
 Post-ver' ta 
 Pos-tu' mi-us 
 Po-tam'i-des 
 Pot' a-mon 
 Po-thi'nus 
 Po' thos 
 Pot-i-dae' a 
 Po-ti'na 
 
 PR 83 
 
 Po-tit'i-us(24) 
 
 Pot' ni-ae 
 
 Prac'ti-um (10) 
 
 Prae'ci-a (10) 
 
 Prag-nes'te 
 i Prae'sos 
 1 Praj' sli (3) 
 : Prae' tor 
 
 Prae-to' ri-us 
 
 Prae-ti/ti-um (10) 
 
 Prat' i- nas 
 
 Prax-ag' o-ras 
 
 Prax' i-as 
 
 Pi ax-id' a-mas 
 i Prax-id' i-ce 
 i Prax' i- la 
 i Prax-iph'a-nes 
 ! Prax' is 
 
 Prax-it'e-les 
 
 Prax-ith'e-a 
 I Pre-u'ge-nes 
 
 Prex-as'pes 
 
 Pri-am' i-des 
 
 Pri' a-mus 
 1 Pri-a' pus 
 
 Pri-e'ne 
 i Pri' ma 
 Pri' on 
 'Pris-cil'la 
 I Pris' cus 
 | Pris'lis 
 I Pri-ver'nus 
 
 * Popilius Lanas. Nothing can shew the dignity of the Roman common- 
 wealth and the terrour of its arms more than the conduct of this man. He was 
 sent as an ambassador to Antiochus, king of Syria, and was commissioned to 
 order that monarch to abstain from hostilities against Ptolemy, king of Egypt, 
 who was an ally of Rome. Antiochus, who was at the head of his army when 
 lie received this order, wished to evade it by equivocal answers ; but Popilius, 
 with a stick which he had in his hand, made a circle round him on the sand, 
 and bade him, in the name of the Roman senate and people, not to go beyond 
 it before he spoke decisively. This boldness intimidated Antiochus : he with- 
 drew his garrison from Egypt, and no longer meditated a war against Ptolemy. 
 
 G 2 
 
84 PR PR PT 
 
 Pri-ver' num 
 
 Pro-me' the-i 
 
 fProt-o-ge-ni' a 
 
 Pro'ba 
 
 Pro-me' the-us (29) 
 
 JPro-to-me-di'a 
 
 Pro' bus, M. 
 
 Pro-me' this, and 
 
 Prot- o-me-du' sa 
 
 Pro'cas 
 
 Prom-e-thi' des 
 
 Prox' e-nus 
 
 Proch' o-rus 
 
 Prom' e-thus 
 
 Pru-den' ti-us (10) 
 
 Proch' y-ta 
 
 Prom' u-lus 
 
 Prum' ni-des 
 
 Pro-cil' i-us 
 
 Pro-nap' i-des 
 
 Pru'sa 
 
 Pro-cil' la 
 
 Pro' nax 
 
 Pru-sae' us 
 
 Pro-cil' lus 
 
 Pron' o-e 
 
 Pru'si-as(lO) 
 
 Proc'le-a 
 
 Pron' o-mus 
 
 Prym' no 
 
 Pro'cles 
 
 Pron' o-us 
 
 Pryt'a-nes 
 
 Proc'ne 
 
 Pron' u-ba 
 
 Pryt-a-ne' um 
 
 Pro-cli'dae 
 
 Pro-per' ti-us 
 
 Pryt' a-nis 
 
 Proc-on-ne' sus 
 
 Pro-poet' i-des 
 
 Psam' a-the (15) 
 
 Pro-co' pi- us 
 
 Pro-pon' tis 
 
 Psam' a-thos 
 
 Pro' cris 
 
 Prop-y-le' a 
 
 Psam-me-ni' tus 
 
 Pro-crus' tes 
 
 Pros-chys' ti-us (10) 
 
 Psam-met' i-chtis 
 
 Proc'u-la 
 
 Pro-ser'pi-na (28) 
 
 Psam' mis 
 
 Proc-u-lei' us (5) 
 
 Pros' er-pine (Eng.) 
 
 Psa' phis 
 
 Proc'u-lus 
 
 Pros-o-pi'tis 
 
 Psa' pho (15) 
 
 Pro'cy-on 
 
 Pro-sym' na 
 
 Pse'cas 
 
 Prod'i-cus 
 
 Pro-tag' o-ras 
 
 Pso' phis 
 
 Pro-er'na 
 Proit' i-des 
 
 Prot-a-gor 7 i-des 
 Pro'te-i Co-lum'nas 
 
 Psy'che(12)(15) 
 Psych' rus 
 
 Proe'tus 
 
 Pro-tes-i-la' us 
 
 Psyl'li(3)(15) 
 
 Prog' He 
 
 Pro'te-us 
 
 Pte'le-um(l6) 
 
 Pro-la' us 
 
 *Pro-tho-e'nor 
 
 Pter-e-la' us 
 
 Prom'a-chus 
 
 Pro' the-us 
 
 Pte'ri-a 
 
 Pro-math' i-das 
 
 Proth'o-us 
 
 Ptol-e-der' ma 
 
 Pro-ma' thi-on 
 
 Pro' to 
 
 Ptol-e-ma2' um 
 
 Prom' e-don 
 
 Prot-o-ge-ne' a 
 
 Ptol-e-mse'us 
 
 Prom-e-nae' a 
 
 Pro-tog' e-nes 
 
 Ptol' e-my (Eng.) 
 
 * Prothoenor. 
 
 The hardy warriors whom Boeotia bred, 
 
 Peneleus, Leitus, Prothoenor led. POPE'S Horn. Iliad. 
 
 \ See Iphigenia. 
 J Protomtdia. 
 
 Nisaea and Actaca boast the same, -\ 
 
 Protomedia from the fruitful dame, 
 
 And Doris, honour' d with maternal name. J 
 
 COOKE'S Heaiod. Theog. v. 483. 
 See Iphigenia. 
 
PY PY PY 85 
 
 Tol'e-me(\6) 
 
 Py-lar' ge 
 
 Pyr'rhi-as 
 
 Ptoi-e-ma'is 
 
 Py'las 
 
 Pyr'rhi-ca 
 
 Ptol'y-cus 
 
 Py-le'ne 
 
 Pvr' rhi-cus 
 
 Pto'cuS' 
 
 Pyl'e-us 
 
 Pyr'rhi-dfc 
 
 Pub lic'i-us(lO) 
 
 Pyl'le-on 
 
 Pyi'rho 
 
 Pub-lie' i-a (24) 
 
 Py'lo 
 
 Pyr'rhus 
 
 Pub-lie' o-la 
 
 Py'los 
 
 Pys' te 
 
 Pub' li-us 
 
 Py'lus 
 
 Py-thag' o-ras 
 
 Pul-che'ri-a(12) 
 
 Py'ra 
 
 Pyth-a-ra' tus 
 
 Pu' ni-cum bel' lum 
 
 Py-rac' mon 
 
 Pyth'e-as 
 
 Pu' pi- us 
 
 Py-rac' mos 
 
 P/thes 
 
 Pu-pi-e'nus 
 
 Py-raech' mes 
 
 Pyth'e-us 
 
 Pup' pi-us 
 
 Pyr' a-mus 
 
 Pyth'i-a 
 
 Pu-te' o-li (3) 
 
 Pyr-e-nae' i 
 
 Pyth'i-as 
 
 Py-a-nep' si-a (ICf) 
 
 Pyr-e-nae' us 
 
 Pyth'i-on 
 
 Pyd'na 
 
 Py-re' ne 
 
 Pyth'i-us 
 
 Pyg'e-la 
 
 Pyr'gi (3) 
 
 Py'tho 
 
 Pyg-mae'i 
 
 Pyr'gi-on 
 
 Py-thoch' a-ris 
 
 Pyg-ma' li-on (29) 
 
 Pyr' go 
 
 Pyth'o-cles 
 
 Pyi'a-des 
 
 Pyr-got' e-les 
 
 Pyth-o-do'rus 
 
 Py'he 
 
 Pyr' gus 
 
 Pyth-o-la' us 
 
 Py-laem' e-nes 
 
 Py-rip' pe 
 
 Py'thon 
 
 Py-lag' o-rae 
 
 Py'ro 
 
 Pyth-o-ni' ce (30) 
 
 Py-lag' o-ras 
 
 Pyr'o-is 
 
 Pyth-o-nis' sa 
 
 Py-la'on 
 
 Py-ro' ni-a 
 
 Pyt'na 
 
 Py-lar' tes 
 
 Pyr'rha 
 
 Pyt'ta-lus 
 
 QU 
 
 Qua'di 
 Qua-dra' tus 
 Quad' ri-frons, or 
 
 Quad' ri-ceps 
 Quaes-to'res 
 Qua'ri(3) 
 Qua' ri-us 
 Quer' cens 
 
 QU 
 
 Qui-e' tus 
 
 Quinc-ti-a'nus (10) 
 Quinc-til'i-a 
 Quinc' ti-us, T. 
 Quin-de-cem' vi-ri 
 Quin-qua' tri-a 
 Quin-quen-na' les 
 Quin-til-i-a' nus 
 Quin-til' i-an (Eng.) 
 
 QU 
 
 Quin-til' i-us Va' rus 
 Quin-til' la 
 Quin-til' lus, M. 
 Quin' ti-us (10) 
 Quin'tus Cur' ti-us 
 Quir-i-ua' li-a 
 Quir-i-na'Jis 
 Qui-ri' nus 
 Qui-ri'tes (!) 
 
( 86 ) 
 
 RH RH RU 
 
 KA-BVR'I-US Rha'ros j Rho-sa'ces 
 
 Ra-cil'i-a j Rhas-cu' po-ris Rho'sus 
 
 Rae-sa' ces 
 
 Rhe'a 
 
 Rhox-a' na, or 
 
 Ra-mi' ses 
 
 Rhe'bas,or Rhe'bus 
 
 Rox-a' na 
 
 Ram' nes 
 
 Rhed' o-nes 
 
 Rhox-a' ni (3) 
 
 Ran' da 
 
 Rhe'gi-um 
 
 Rhu-te'ni, and 
 
 Ra'po 
 
 Rhe-gus' ci (3) 
 
 Rhu-the'ni 
 
 Ra-scip'o-lis 
 
 Rhe'mi(3) 
 
 Rhyn' da-cus 
 
 Ra-ven'na 
 
 Rhe'ne 
 
 Rhyn' thon 
 
 Rav' o-la 
 
 Rhe'ni(3) 
 
 Rhy' p 
 
 Rau-ra' ci (3) 
 
 Rhe'nus 
 
 Ri-phaj'i (3) 
 
 Rau-ri' ci 
 
 Rlie-o-rni' tres 
 
 Ri-phe' us 
 
 Re-a' te (8) 
 
 Rhe'sus 
 
 Rix-am'a-rae 
 
 Re-die' u-lus 
 
 Rhe-tog'e-nes 
 
 Ro-bi'go, or 
 
 Red' o-nes 
 
 Rhet'i-co 
 
 Ru-bi'go 
 
 Re-gil'lae 
 
 Rhe-u'nus 
 
 Rod-e-ri' cus 
 
 Re-gil-H-a' nus 
 
 Rhex-e' nor 
 
 Ro' ma 
 
 Re-gil'lus 
 
 Rhex-ib'i-us 
 
 Rome (Eng.) pro- 
 
 Reg 7 u-lus 
 
 Rlii-a' nus 
 
 nounced Room 
 
 Re' mi (3) 
 
 Rhid' a-go 
 
 Ro-nia'ni (3) 
 
 Rem' u-lus 
 
 Rhi-mol' a-cles 
 
 Ro-ma' nus 
 
 Re-mu' ri-a 
 
 Rhi'on 
 
 Ro-mil' i-us 
 
 Re' mus 
 
 Rhi'pha^rRbi'phe 
 
 Rom' u-la 
 
 Re'sus 
 
 Rhi-pha3'i (3) 
 
 Ro-mu'li-dae 
 
 Re-u-dig'ni (3) 
 
 Rbi-pbe' us 
 
 Rom' u-lus 
 
 Rha'ci-a(lO) 
 
 Rhi' inn 
 
 Ro' mus 
 
 Rba' ci-us 
 
 Rhod' a-nus 
 
 Ros' ci-us (10) 
 
 Rha-co' tis 
 
 Rho' de 
 
 Ro-sil' la-nus 
 
 Rhad-a-man' thus 
 
 Rho'di-a 
 
 Ro' si-us (11) 
 
 Rhad-a-mis' tus 
 
 Rbod-o-gy' ne, or 
 
 Rox-a' na 
 
 Rha'di-us 
 
 Rbod-o-gu' ne 
 
 Rox-o-la' ni (3) 
 
 Rhse' te-um 
 
 Rho'do-pe, or 
 
 Ru-bel'li-us 
 
 Rhae'ti, or Rae'ti 
 
 Rfio-do'pis 
 
 Ru'bi (3) 
 
 Rhae'tU(lO) 
 
 Rho' dus 
 
 Ru' bi-con 
 
 Rham-nen' ses 
 
 Rhodes (Eng.) Ru-bi-e'nus Lap' pa 
 
 Rharn' nes 
 
 Rhoa' bus 
 
 Ru-bi'go 
 
 Rham-si.-iii ; tus 
 
 Rhoe' cus 
 
 Ru' bra sa' xa 
 
 Rham' nus 
 
 Rho?' te-um 
 
 Ru' bri-us 
 
 Rha ; nis 
 
 Rhoe' tus |Ru'di-a; 
 
RU RU RU 
 
 87 
 
 Ru'faj 
 
 Run-ci'na 
 
 Ru'ti-la 
 
 
 Ruf'fus 
 
 Ru-pil' i-us 
 
 Ru' ti-lus 
 
 
 Ru-fil'lus 
 
 Rus'ci-us (10) 
 
 Ru-til' i-us Ru' 
 
 fus 
 
 Ruf-fi' nus 
 
 Rus-co' ni-a 
 
 Ru'tu-ba 
 
 
 Ru-fi' nus 
 
 Ru-sel' laa 
 
 Ru f tu-bus 
 
 
 Ru' fus 
 
 Rus' pi-na 
 
 Ru' tu-li (3) 
 
 
 Ru'gi-i(4) 
 
 Ru-te'ni 
 
 Ru' tu-pae 
 
 
 Ru' mi-nus 
 
 Rus' ti-cus 
 
 Ru-tu-pi'nus 
 
 
 SA 
 
 SA 
 
 OA'BA 
 
 Sad' a-les 
 
 Sa' li-us 
 
 Sab'a-chus, or 
 
 Sa' dus 
 
 Sal-lus' ti-us 
 
 Sab' a-con 
 
 Sad-y-a' tes 
 
 Sal' lust (Eng.) 
 
 Sa'ba? 
 
 Sag' a-na 
 
 Sal' ma-cis 
 
 Sa-ba'ta 
 
 Sag' a-ris 
 
 Sal-mo' ne 
 
 Sa-ba' zi-us 
 
 Sa-git'ta 
 
 Sal-mo' ne-us 
 
 Sab' bas 
 
 Sa-gun' turn, or 
 
 Sal' mus 
 
 Sa-bel' la 
 
 Sa-gun' tus 
 
 Sal-my-des' sus 
 
 Sa-bel'li(S) 
 
 Sa'is 
 
 Sa'lo 
 
 Sa-bi' na 
 
 Sa'la 
 
 Sa-lo'me (8) 
 
 Sa-bi'ni(3)(4) 
 
 Sal' a-con 
 
 Sa' Ion 
 
 Sa-bin-i-a' nus (^Jl) 
 
 Sal-a-min' i-a 
 
 Sa-lo'na, or 
 
 Sa-bi' nus Au x lus 
 
 Sal' a- mis 
 
 Sa-io' nag 
 
 Sa' bis 
 
 Sal-a-mi' na 
 
 Sal-o-ni' na 
 
 Sab' ra-cae 
 
 Sa-la' pi-a, or 
 
 Sal-o-ni' nus 
 
 Sa-bri' na 
 
 Sa-la' pi-ae 
 
 Sa-lo' ni-us 
 
 Sab' u-ra 
 
 Sal' a-ra 
 
 Sal' pis 
 
 Sab-u-ra' nus 
 
 Sa-la' ri- a 
 
 Sal' vi-an 
 
 Sab' ra-ta 
 
 Sa-las'ci(S) 
 
 Sal-vid-i-e' nus 
 
 Sa' bus 
 
 Sa-lei' us (5) 
 
 Sal'vi-us 
 
 Sac' a-das 
 
 Sa-le' ni (3) 
 
 Sa-ma'ri-a (30) 
 
 Sa'cffi 
 
 Sal-en-ti' ni (3) 
 
 Sam-bu' los 
 
 Sa' cer 
 
 Sa-ler'num 
 
 Sa' me, or Sa' mos 
 
 Sach-a-li' tes 
 
 Sal-ga' ne-us, or 
 
 Sa' mi-a 
 
 Sa-cra'ni 
 
 Sal-ga' ne-a 
 
 Sam-ni' tae 
 
 Sa-cra' tor 
 
 Sa' li-i (3) (4) 
 
 Sam-ni' tes 
 
 Sa-crat' i-vir 1 Sal-i-na' tor 
 
 Sam' nites (Eng.) 
 
88 SA SA SC 
 
 Sam' ni-um 
 
 Sar' di (3) 
 
 Sav' e-ra 
 
 Sa-mo' ni-um 
 
 Sar' des 
 
 Sau-fei' us Tro' gus 
 
 Sa'mos 
 
 Sar-din'i-a 
 
 Sa' vo, or Sav-o' na 
 
 Sa-mos' a-ta 
 
 Sar'dis, or Sar' des 
 
 Sau-rom' a-tae 
 
 Sam-o-thra' ce, or 
 
 Sar-don' i-cus (SO) 
 
 Sau' rus 
 
 Sam-o-thra' ci-a 
 
 Sar-i-as' ter 
 
 Sa' vus 
 
 Sa' mus 
 
 Sar-ma'ti-a (10) 
 
 Saz'i-ches (la) 
 
 Sa' na 
 
 Sar-men' tus 
 
 Sea/ a 
 
 San' a-os 
 
 Sar'ni-us 
 
 Se'a 
 
 San-cho-ni' a-thon 
 
 Sa' ron 
 
 Scae' va 
 
 * San-da' ce 
 
 Sa-ron' i-cus Si'nus 
 
 Se' va 
 
 San-da' li-uni 
 
 Sar-pe' don 
 
 Seas' vo-la 
 
 San' da-nis 
 
 Sar-ras' tes 
 
 Sev' o-la 
 
 San' da-nus 
 
 Sar' si-na 
 
 Seal' pi-um 
 
 San-di'on (11) 
 
 Sar-san' da 
 
 Sea-man' der 
 
 San-dre-cot' tus 
 
 Sa' son 
 
 Sea-man 7 dri-us 
 
 San'ga-la 
 
 Sa-tas' pes 
 
 Scan da' ri-a 
 
 San-ga' ri-us, or 
 
 Sa'ti-ze(lO) 
 
 Scan-di-na'vi-a 
 
 San' ga-ris 
 
 Sat-i-bar-za'ne 
 
 Scan-til' la 
 
 San-guin'i-us 
 
 Sa-tic' u-la, and 
 
 Scap-tes'y-le 
 
 San-nyr' i-on 
 
 Sa-tic'u-lus 
 
 Scap'ti-a(lO) 
 
 San' to-nes, and 
 
 Sa' tis 
 
 Scap'ti-us(lO) 
 
 San' to-na? 
 
 Sat-ra-pe' ni 
 
 Scap' u-la 
 
 Sa'on 
 
 Sa-tri' cum 
 
 Scar' di-i (S) (4) 
 
 Sa-pa' i, or Sa-phae' i 
 
 Sa-trop' a-ces 
 
 Scar-phi' a, or 
 
 Sa' por 
 
 Sat' u-ra 
 
 Scar' phe 
 
 'j-Sa-po' res 
 
 Sat-u-rei' um, or 
 
 Scau' rus 
 
 Sap' pho, or Sa' pho 
 
 Sa-U/ re-urn 
 
 Seed' a-sus 
 
 Sap' ti-ne 
 
 Sat-u-rei'us 
 
 Scel-e-ra' tus 
 
 Sa-rac' o-ri (3) 
 
 Sat-ur-na' li-a 
 
 Sche' di-a 
 
 Sa-ran' ges 
 
 Sa-tur' ni-a 
 
 SkSdi-a 
 
 Sar-a-pa' ni (3) 
 
 Sat-ur-ni' nus 
 
 Sche'di-us (12) 
 
 Sai 7 a-pus 
 
 Sa-tur' ni-us 
 
 Sche' ri-a 
 
 Sar' a-sa 
 
 Sa-tur 7 nus 
 
 Scbre' ne-us 
 
 Sa-ras' pa-des 
 
 Sat' u-rum 
 
 Schoe'nus, or 
 
 Sar-dan-a-pa' lus 
 
 Sat'y-rus 
 
 Sche' no 
 
 * Sandace. A sister of Xerxes, which I find in no lexicographer but Lcm- 
 priere, and in him with the accent on the first syllable ; but from its Greek 
 original Zav&tujoi it ought certainly to be accented on the second syllable. 
 
 f- Sapores. This word, says Labbe, is by Gavanttis and others, ignorant of 
 the Greek, accented on the first syllable. 
 
SC SE SE 89 
 
 Sci'a-this 
 
 Scy' lax Se-du'ni(S) 
 
 Si'a-this 
 
 Scyl' la Se-du' si-i (3) 
 
 Sci'a-thos 
 
 Scyl-lae' urn 1 Se-ges' ta 
 
 Sci'dros 
 
 Scyl' li-as 
 
 Se-ges' tes 
 
 Scil' lus 
 
 Scyl'lis 
 
 Se-gob' ri-ga 
 
 Sci' nis 
 
 Scyl' lus 
 
 Seg'ni(3) 
 
 Scin'thi(S) 
 
 Scy-lu' rus 
 
 Seg' o-nax 
 
 Sci-o' ne 
 
 Scyp'pi-tim 
 
 Se-gon' ti-a, or 
 
 Sci-pi' a-dae 
 
 Scy'ras 
 
 Se-gun'ti-a(lO) 
 
 Scip'i-o(9) 
 
 Scy' ros 
 
 Seg-on-ti' a-ci (3) 
 
 Sci'ra(7) 
 
 Scy' thae 
 
 Se-go' vi-a 
 
 Sci-ra' di-um 
 
 Scy'thes, or 
 
 Se-gun' ti-um (10) 
 
 Sci' ras (3) 
 
 Scy' tha 
 
 Se-ja' nus IE,' li-us 
 
 Sci' ron 
 
 Scy th' i-a 
 
 Sei'us Stra'bo 
 
 Sci' rus 
 
 Scy th' i-des 
 
 Se-lem' nus 
 
 Sco'lus 
 
 Scy-thi' nus 
 
 Se-le' ne 
 
 Scorn' brus 
 
 Scy' thon 
 
 Sel-eu-ce' na, or 
 
 Sco' pas 
 
 Scy-thop' o-lis 
 
 Se-leu' cis 
 
 Sco' pi-urn 
 
 Se-bas' ta 
 
 *Sel-eu'ci-a(29) 
 
 Scor-dis' ci, and 
 
 Se-bas' ti-a 
 
 Se-Ieu'ci-dae 
 
 Scor-dis' cae 
 
 Seb-en-ny' tus 
 
 Se-leu' cis 
 
 Sco-ti' nus 
 
 Se-be' tus 
 
 Se-leu' cus 
 
 Sco-tus' sa 
 
 Se-bu-si-a' ni, or 
 
 Sel'ge 
 
 Scri-bo' ni-a 
 
 Se-gu-si-a' ni 
 
 Se-iim'nus 
 
 Scri-bo-ni-a' nus 
 
 Sec-ta' nus 
 
 Se-li'nuns, or , 
 
 Scri-bo' ni-us 
 
 Sed-i-ta'ni, or 
 
 Se-li' nus 
 
 Scyl-a-ce' urn (9) 
 
 Sed-en-la'ni (3) 
 
 Se-la' si-a 
 
 * Seleucia. Lempriere and Labbe accent this word on the penultimate ; but 
 Ainswortb, Gouldman, and Holyoke, on the antepenultimate. As this word, ac- 
 cording to Strabo, has its penultimate formed of the diphthong E<, zexeuxsi*, 
 this syllable ought to have the accent; but as the antepenultimate accent is so 
 incorporated into onr tongue, i would strongly recommend the pronunciation 
 which an English scholar would give it at first sight, and that is placing the ac- 
 cent on the M. This is the accent Milton gives it : 
 
 Eden stretch'd her line 
 
 From Auran eastward to the royal tow'rs 
 
 Of great Seleucia, built by Grecian kings. 
 
 Par. Lost, b. 4. 
 
 If, however, the English scholar wishes to shine in the classical pronunciation 
 of this word, let him take care to pronounce the c like s only, and not like sh, 
 which sound it necessarily has, if the accent be on the antepenultimate syllable. 
 See Rules 10 and 30. 
 
90 SE SE SY 
 
 Sel-le'is 
 
 Seq' ua-na 
 
 Ser'vi-usTul'li-us 
 
 Sel'li(3) 
 
 Seq' ua-ni 
 
 Ses' a-ra 
 
 Se-lym' bri-a 
 
 Se-quin'i-us 
 
 Se-sos' tris 
 
 Sem' e-le 
 
 Se-ra' pi-o 
 
 Ses' ti-us 
 
 Sem-i-ger-ma' ni 
 
 *Se-ra' pis 
 
 Ses' tos, or Ses' tus 
 
 Sem-i-gun' tus 
 
 Se'res 
 
 Se-su' vi-i (3) 
 
 Se-rnii y a-inis 
 
 Ser-bo' nis 
 
 Set'a-bis 
 
 Sem' no-iies 
 
 Se-re' na 
 
 Se' thon 
 
 Se-mo' nes 
 
 Se-re-ni-a' nus 
 
 Se'ti-a(lO) 
 
 Sem-o-sanc' tus 
 
 Se-re' nus 
 
 Se-ve' ra 
 
 Sem-pro' ni-a 
 
 Ser-ges' tus 
 
 Se-ve-ri-a' nus 
 
 Sem-pro' ni-us 
 
 Ser' gi-a 
 
 JSe-ve' rus 
 
 Se-mu'ri-um 
 
 Ser'gi-us 
 
 Seu' ihes 
 
 Se'na 
 
 fSer-gi' o-lus 
 
 Sex' ti-a 
 
 Se-na' tus 
 
 Se-ri' phus 
 
 Sex-til' i-a 
 
 Sen'na, or 
 
 Ser' my-la 
 
 Sex-til' i-us 
 
 Se' na 
 
 Ser-ra' nus 
 
 Sex' ti-us 
 
 Sen' e-ca 
 
 Se' ron 
 
 Sex' tus 
 
 Sen' ones 
 
 Ser-to' ri-us 
 
 Si-bi'ni(3) 
 
 Sen'ti-us(lO) 
 
 Ser-vae' us 
 
 Si-bur' ti-us 
 
 Sep-te' ri-on 
 
 Ser-vi-a' nus 
 
 Si-byl'lse 
 
 Sep-tim' i-us 
 
 Ser-vil' i-a 
 
 Si'ca 
 
 Sep-ti-mu-lei' us 
 
 Ser-vil-i-a' nus 
 
 Si-cam' bri, or 
 
 Sep' y-ra 
 
 Ser-vil 7 i-us 
 
 Sy-gam' bri (3) 
 
 * Serapis. There is not a dissenting voice among our prosodists for the pro- 
 nouncing of this word with the accent on the penultimate syllable j and yet, to 
 show the tendency of English pronunciation, when a ship of this name had a 
 desperate engagement with one of the French, which attracted the attention of 
 the Public, every body pronounced it with the accent on the first syllable. Milton 
 has done the same in his sublime description of the grandeurs of Pandemonium -. 
 
 Not Babylon 
 
 Nor great Alcairo such magnificence 
 EqualFd in all their glories to enshrine 
 Belus or Serapis their gods ; or seat 
 Their kings, when Egypt with Assyria strove, 
 In wealth and luxury. 
 
 Par. Lost, b. i. v. 717. 
 
 f Sergiolus. I find this word in no dictionary but Lempriere's and there the 
 accent is placed upon the penultimate instead of the antepenultimate syllable. 
 
 t Severus. This word, like Serapis, is universally mispronounced by the mere 
 English scholar with the accent on the first syllable. 
 
SI SI SO 9 
 
 Si-ca' ni (3) 
 
 Sil-va' nus 
 
 Sir' i-us 
 
 Si-car'ni-a 
 
 Sim-briv' i-us, or 
 
 Sir' mi-um 
 
 Sic'e-lis 
 
 Sim-bruv'i-us 
 
 Si-sam' nes 
 
 Si-eel' i-des 
 
 Si -me' thus, or 
 
 Sis' a-pho 
 
 Si-chae' us 
 
 Sy- me' thus 
 
 Sis'e-es 
 
 Si-cil'i-a 
 
 Sim'i-lae 
 
 Si-sen' na 
 
 Si-cin'i-us Den-ta' 
 
 Sim' i-lis 
 
 Sis-i-gam'bis, or 
 
 tus 
 
 Sim'mi-as 
 
 Sis-y-gam' bis 
 
 Si-ci' nus 
 
 Si' mo 
 
 Sis-o-cos'tus 
 
 Sic'o-rus 
 
 Si' mo-is 
 
 Sis'y-phus 
 
 Sic'u-li (3) 
 
 Sim-o-is'i-us (10) 
 
 Si-tal' ces 
 
 Sic' y- on 
 
 Si' mon 
 
 Sith' ni-des 
 
 Sishf e-on 
 
 Si-mon' i-des 
 
 Si'thon 
 
 Sic-y-o' ni-a 
 
 Sim-plic'i-us (24) 
 
 Si-tho' ni-a 
 
 Sish-e-o' ne-a 
 
 Sim' u-lus 
 
 Sil'i-us (10) (24) 
 
 Si'de(8) 
 
 Si' mus 
 
 Sit' o- nes 
 
 Si-de' ro 
 
 Sym'y-ra 
 
 S me' nus 
 
 Sid-i-ci' num 
 
 Sin'di 
 
 Smer'dis 
 
 Si' don 
 
 Sin-gas' i (3) 
 
 Smi'lax 
 
 Si-do' nis 
 
 Si' nis 
 
 Smi' lis 
 
 Si-do' ni-us 
 
 Sin' na-ces 
 
 Smin-dyr' i-des 
 
 ?!'g a 
 
 Sin' na-cha 
 
 *Smin' the-us 
 
 Si-gae' urn, or 
 
 Sin' o-e 
 
 Smyr'na 
 
 Si-ge' urn 
 
 Si' non 
 
 So-a' na 
 
 Sig' ni-a 
 
 Si-no' pe 
 
 So-an' da 
 
 Sig-o-ves' sus 
 
 Si-no' pe-us 
 
 So-a' nes 
 
 Si-gy'ni, Sig'u-nae 
 
 Sin' o-rix 
 
 Soc' ra-tes 
 
 Si-gyn' nae 
 
 Sin'ti-i(3)(4) 
 
 Soe A mi-as 
 
 Si' la, or Sy' la 
 
 Sin-u-es'sa 
 
 Sog-di-a' na 
 
 Si-la' na Ju'li-a 
 
 Siph' nos 
 
 Sog-di-a'nus 
 
 Si-la' nus 
 
 Si-pon'tum, Si' pus 
 
 Sol' o-e, or So' li 
 
 Sil' a-ris 
 
 Sip'y-lum, and 
 
 So-loe' is 
 
 Si-le' nus 
 
 Sip'y-lus 
 
 So' Ion 
 
 Sil-i-cen' se 
 
 Si-re' nes 
 
 So-lo' ni-um 
 
 Sil'i-us I-tal'i-cus 
 
 5t'rw(Eng.) 
 
 So'lus 
 
 Sil'phi-um 
 
 Si' ris 
 
 ol'y-ma, and 
 
 * Smintheus. This word, like Orpheus, and others of the same form, has the 
 accent on the first syllable ; but poets often contract the two last syllables into 
 
 one ; as Pope 
 
 O, Smintheus, sprung from fair Latona's line, 
 Thou guardian pow'r of Cilia the divine ! 
 See Idomeneus. 
 
92 SO SP ST 
 
 Sol'y-mae 
 
 So-sip' a-ter 
 
 Spac-te'ri-ae 
 
 Som' iius 
 
 So' sis 
 
 Sphe'rus 
 
 Son'chis (12) 
 
 So-sis' tra-tus 
 
 Sphinx 
 
 Son-ti' a-tes 
 
 So' si- us (10) 
 
 Spi'o 
 
 Sop'a-ter 
 
 Sos' the-nes 
 
 Spho' dri-as 
 
 So' phax 
 
 Sos' tra-tus 
 
 Sphra-gid'i-um 
 
 So-phe' ne (8) 
 
 Sot' a-des 
 
 Spi-cil'lus 
 
 Soph' o-cles 
 
 So'ter 
 
 Spin'tha-rus 
 
 Soph-o-nis' ba 
 
 So-te'ri-a 
 
 Spin' ther 
 
 So' phron 
 
 So-ter' i-cus 
 
 Spi-tam' e-nes 
 
 *So-phron' i-cus 
 
 So' this 
 
 Spi-thob' a-tes 
 
 Soph-ro-nis' cus 
 
 So'ti-on(ll) 
 
 Spith-ri-da' tes 
 
 So-phro' ni-a 
 
 So'ti-us(lO) 
 
 Spo-le'ti-um (10) 
 
 So-phros' y-ne 
 
 So' us 
 
 fSpor' a-des (20) 
 
 Sop' o-lis 
 
 Soz'o-men 
 
 Spu-ri' na 
 
 So'ra 
 
 Spa' co 
 
 Spu' ri-us 
 
 So-rac' tes, and 
 
 Spar' ta 
 
 Sta-be' ri-us 
 
 So-rac' te 
 
 Spar' ta-cus 
 
 Sta' bi-ae 
 
 So-ra' uus 
 
 Spar' tae, or Spar 7 ti 
 
 Sta-gi'ra(l) 
 
 So' rex 
 
 Spar-ta'ni, or 
 
 Sta' i-us 
 
 So-rit'i-a(lO) 
 
 Spar-ti-a' tae (22) 
 
 Staph'y-lus 
 
 So'si-aGal'la(lO) 
 
 Spar-ti-a' nus 
 
 Sta-san' der 
 
 So-sib' i-us 
 
 Spe'chi-a(12) 
 
 Sta-sil'e-us(29) 
 
 Sos'i-cles 
 
 Spen' di-us 
 
 Sta- til' i-a 
 
 So-sic' ra-tes 
 
 Spen' don 
 
 Sta-til' i-us 
 
 So-sig' e-nes 
 
 Sper-chi'us(12) 
 
 Stat' i-nae 
 
 So'si-i<3)(10) 
 
 Sper-ma-toph' a-gi 
 
 Sta-ti'ra 
 
 Sos' i-lus 
 
 Speu-sip' pus 
 
 Sta' ti-us (10) 
 
 * Sophronicus. I find this word in no prosodist but Labbe ; and he places the 
 accent on the penultimate syllable, like most other words of this termination : 
 unless, says he, any one thinks it more likely to be derived from Sophron, than 
 from victory ; that is, by uniting a general termination to the root of the word. 
 than by combining it with another word significant of itself; but as there is a 
 Greek adjective zvtyovutocy signifying ordained by nature to temperance ; it is 
 much more probable that Sophronicus is this adjective used substantively, than 
 that it should be compounded of 2o<j>g<wv and wxo?, conquering temperance ; and 
 therefore the antepenultimate accent seems preferable. 
 
 t Sporades. This word has the accent placed on the first syllable by all our 
 prosodists ; but a mere English ear is not only inclined to place the accent on the 
 second syllable, but to pronounce the word as if it were a dissyllable, Spo-rades ; 
 but this is so gross an errour, that it cannot be too carefully avoided. 
 
ST SU SY 93 
 
 Sta-sic ; ra-tes 
 
 Stra' bo 
 
 Sue' vi-us 
 
 Sta'tor 
 
 Stra-tar' chas 
 
 Suf-fe' nus 
 
 Stei-la'tes 
 
 Stra' to, or Stra' ton 
 
 Suf-fe' ti-us, or 
 
 Stel'li-o 
 
 Strat' o-cles 
 
 Fu-fe' ti-us 
 
 Ste' na 
 
 Strat-o-ni'ce 
 
 ^Sui'das 
 
 Sten-o-boe' a 
 
 Stra-to-ni'cus(SO) 
 
 Suil' i-us 
 
 Ste-noc' ra-tes 
 
 Stron' gy-le 
 
 Sui' o-nes 
 
 Sten' tor 
 
 Stroph' a-des 
 
 Sul'chi 
 
 Steph'a-na 
 
 Stro' phi-us 
 
 Sul' ci-us 
 
 Steph'a-nus 
 
 Stru-thoph' a-gi Sul' mo, or 
 
 Ster' o-pe 
 
 Stru' thus Sul' mo-na 
 
 Ster' o-pes 
 
 Stry' ma Sul-pit' i-a 
 
 Ste-sich' o-rus 
 
 Strym' no 
 
 Sul-pit' i-us, or 
 
 Ster-tin' i-us 
 
 Stry' mon 
 
 Sul- pic' i-us (24) 
 
 Ste-sag' o-ras 
 
 Stym-pha' li-a, or Sum-ma' nus 
 
 Stes-i-cle'a 
 
 Stym-pha' lis 
 
 Su ni-ci 
 
 Ste-sim' bro-tus 
 
 Stym-pha' lus 
 
 Su' ni-des 
 
 Sthen'e-le 
 
 Styg' ne 
 
 Su'ni-um 
 
 Sthen' e-lus 
 
 Sty' ra 
 
 Su-o-vet-au-rir* i-a 
 
 Sthe' nis 
 
 Sty'rus 
 
 Su' pe-rum ma' re 
 
 Sthe'uo 
 
 Styx 
 
 Su'ra JS-myl'i-us 
 
 Sthen-o-boe' a 
 
 Su-ar-do' nes 
 
 Su-re' na 
 
 Stii'be, or Stil'bi-a 
 
 Su-ba' tri-i (3) (4) 
 
 Sur-ren' turn 
 
 Stil' i-cho 
 
 Sub-lie' i-us (24) 
 
 Su' rus 
 
 Stil'po 
 
 Sub'o-ta 
 
 Su'sa 
 
 Stim' i-con 
 
 Sub-ur' ra 
 
 Su' sa-na 
 
 Stiph' i-lus 
 
 Su' cro 
 
 Su-si-a'na, or Su'sis 
 
 Sto-bae' us 
 
 Sues' sa 
 
 Su-sa' ri-on 
 
 Stoech' a-des 
 
 Sues' so-nes 
 
 Su' tri-um 
 
 Sto' i-ci 
 
 Sue-to' ni-us 
 
 Sy-ag' rus 
 
 fc/fci(Eng.) 
 
 Sue' vi 
 
 Syb'a-ris 
 
 * Suidas. This word is generally heard, even among the learned, in two syl- 
 lables, as if written Sui-das. Labbe, however, makes it three syllables, and ac- 
 cents the first; although, says he, by what right I know not, it is generally pro- 
 nounced with the accent on the penultimate. It may be observed, that if we 
 place the accent on the first syllable, the i in the second most be pronounced 
 likee; and that the general pronunciation which Labbe complains of, that of 
 placing the accent on the second syllable, must, in our English pronunciation of 
 Greek or Latin words, preserve the t in its long open sound, as in idle: if, there- 
 fore, we pronounce the t in this manner, it is a sufficient proof that we place the 
 accent on the penultimate syllable ; which, though common, is, as Labbe ob- 
 serve*, without good authority. 
 
94 SY SY SY 
 
 Syb-a-ri' ta 
 
 Syl' vi-a 
 
 Sy-phas' um 
 
 Syb f a-rite (Eng.) 
 
 Syl' vi-us 
 
 Syr' a-ces 
 
 Syb' o-tas 
 
 Sy' ma, or Sy' me 
 
 Syr-a-co'si-a (10) 
 
 Sy-cin' nus 
 
 Sym' bo-lum 
 
 Syr-a-cu'sae (8) 
 
 Sy' e-dra 
 
 Sym' ma-chus 
 
 Syr' a-cuse (Eng.) 
 
 Sy'e-ne(8) 
 
 Sym-pleg' a-des 
 
 Syr' i-a 
 
 Sy-e-ne'si-us (10) 
 
 Sy'nius 
 
 Sy' rinx 
 
 Sy-en-i' tes 
 
 Syn-cel' lus 
 
 Syr-o-phoe' nix 
 
 Syg' a-ros 
 
 Sy-ne' si-us (10) 
 
 Syr-o-phoe-ni' ces 
 
 Sy-le'a 
 
 Syn'ge-lus 
 
 Sy' ros 
 
 Syl' e-us 
 
 Syn'nas 
 
 Syr' tes 
 
 Syl'la 
 
 Syn-na-lax' is 
 
 Sy'rus 
 
 Syl'lis 
 
 Syn' nis 
 
 Sys-i-gam' bis 
 
 Syl' o-es 
 
 Sy-no'pe 
 
 Sy-sim' e-thres 
 
 Syl' o-son 
 
 Syn' ty-che 
 
 Sys'i-nas 
 
 Syl-va' nus 
 
 Sy' phax 
 
 Sy' thas 
 
 TA 
 
 TA-AI/TES 
 
 TA 
 
 Ta'lus 
 
 TA 
 
 Ta-phi-as'sus 
 
 Tab'ra-ca 
 
 Tarn' a-rus 
 
 Tap-rob' a-ne 
 
 Ta- bur' nus 
 
 Ta' mos 
 
 Tap'sus 
 
 Tac-fa-ri'nas 
 
 Ta-ma' se-a 
 
 Tap'y-ri (3) 
 
 Ta-champ'so 
 
 Tarn' pi-us 
 
 Tar'a-nis 
 
 Ta'chos, or Ta'chus 
 
 Tarn' y-ras 
 
 Ta' ras 
 
 Tac'i-la(24) 
 
 Tarn' y-ris 
 
 Tar-ax-ip' pus 
 
 Tac' i-tus (24) 
 
 Tan' a-gra 
 
 Tar-bel' li (3) 
 
 Tse'di-a 
 
 Tan'a-grus, or 
 
 Tar-che' ti-us (10) 
 
 Taen'a-rus 
 
 Tan' a-ger 
 
 Tar' ebon 
 
 Ta' ni-as 
 
 Tan'a-is 
 
 Ta-ren'tum, or 
 
 Ta'ges 
 
 Tan'a-quil 
 
 Ta-ren'tus 
 
 Ta-go' ni-us 
 
 Tan-tal' i-des 
 
 Tar'nae 
 
 Ta' gus 
 
 Tan'ta-lus 
 
 Tar' pa 
 
 Ta-la' si-us (10) 
 
 Ta-nu' si-us Ger' mi- 
 
 Tar-pei' a (5) 
 
 Tal' a- us 
 
 nus (10) 
 
 Tar-pei/' us (5) 
 
 Ta-la'y-ra(6) 
 
 Ta'phi-se 
 
 Tar-quin' i-a 
 
 Tal'e-tum 
 
 Ta' phi-us 
 
 Tar-quin' i-i (3) 
 
 Tal-thyb'i-us 
 
 Ta'phi-us, or Tar-quin' i-us 
 
TA TE 
 
 Tar-quit' i-us (27) 
 Tar' qui-tus 
 
 Ta-y-ge' te 
 *Ta-yg' e-tus, or 
 
 Tel-e-phas' sa 
 Tel'e-phus 
 
 Tar-ra-ci'na 
 
 Ta-yg' e-ta 
 
 Te-le'si-a (10) 
 
 Tar' ra-co 
 
 Te-a' num 
 
 Te-les' i-clas 
 
 Tar-ru'ti-us(lO) 
 
 Te' a-rus 
 
 Tel-e-sil'la 
 
 Tar' sa 
 
 Te-a'te-a,Te'a-te,or 
 
 Tel-e-sin' i-cus 
 
 Tar' si-us (10) 
 
 Te-ge' a-te 
 
 Tel-e-si' nus 
 
 Tar' sus, or Tar' sos 
 
 Tech-mes' sa 
 
 Tel-e-sip' pus 
 
 Tar' ta-rus 
 
 Tech' na-tis 
 
 Te-les' pho -rus 
 
 Tar-tes'sus 
 
 Tec' ta-mus 
 
 Tel-e-stag' o-ras 
 
 Tar-un'ti-us 
 
 Tec-tos' a-ges, or 
 
 Te-les' tas 
 
 Tas-ge' ti-us 
 
 Tec-tos' a-gse 
 
 Te-les' tes 
 
 Ta'ti-an 
 
 Te' ge-a, or Te-gse' a 
 
 Te-les' to 
 
 Ta-ti-en' ses 
 
 Teg' u-la 
 
 Tel'e-thus 
 
 Ta' ti-us (10) 
 
 Teg'y-ra (7) 
 
 Tel-e-thu' sa 
 
 Tat' ta 
 
 Te'i-tis(5) 
 
 Te-leu' ri-as 
 
 Tau-lan'ti-i (3) 
 
 Te' i-um, or Te' os 
 
 Te-leu' ti-as 
 
 Tau' nus 
 
 Tel' a-mon 
 
 Tel-la' ne 
 
 Tau-ra' ni-a 
 
 Tel-a-mo-m' a-des 
 
 Tel'li-as 
 
 Tau-ran' tes 
 
 Tel-clii'nes 
 
 Tel'lis 
 
 Tau' ri (3) 
 
 Tel-chin' i-a 
 
 Tel'lus 
 
 Tau'ri-ca Cher-so- 
 
 Tel-chin' i-us 
 
 Tel-mes' sus, or 
 
 ne' sus 
 
 Tel'chis 
 
 Tel-mis' sus 
 
 Tau'ri-ca (7) 
 
 Te'le-a(7)(19) 
 
 Te' Ion 
 
 Tau-ri'ni(3) 
 
 Te-leb'o-as 
 
 Tel-thu'sa 
 
 Tau-ris' ci (3) 
 
 Te-leb' o-se, or 
 
 Te'lys(26) 
 
 Tau' ri-um 
 
 Te-leb'o-es 
 
 Te-ma' the-a 
 
 Tau-ro-min' i-um 
 
 Tel-e-bo'i-des 
 
 Te-me' ni-um 
 
 Tau' rus 
 
 Te-lec'Jes,or 
 
 Tem-e-ni' tes 
 
 Tax'i-la 
 
 Te-lec'lus 
 
 Tem'e-nus 
 
 Tax'i-lus, or 
 
 Tel-e-cli' des 
 
 Tem-e-rin' da 
 
 Tax'i-les 
 
 Te-leg' o-nus 
 
 Tem' e-sa 
 
 Tax-i-maq' ui-lus 
 
 Te-lem' a-chus | Tem' e-se 
 
 Ta-yg' e-te, or 
 
 Tel' e-mus j Tern' nes 
 
 * Taygetus and Taygete. All ourprosodists but Lempriere accent these words 
 on the antepenultimate syllable, as if divided into Ta-yg' e-tus and Ta-yg' e-te. 
 J am, therefore, rather inclined to suppose the quantity marked in his dictionary 
 an errour of the press. The lines in Lily's Qu<e Genus will easily call to the 
 recollection of every scholar how early he adopted the antepenultimate pronun- 
 ciation. 
 
 Tartara, Taygetus, sic Tcencra, Massica, et altus 
 
 Gargarus . 
 
96 TE TH TH 
 
 Tem'nos 
 
 Te-trap'o-lis 
 
 Thau-inan'ti-as, and 
 
 Tem'pe 
 
 Tet'ri-cus 
 
 Thau-man' tis 
 
 Ten'e-dos 
 
 Teu'cer 
 
 Tau'mas 
 
 Te'nes(26) 
 
 Teu'cri(S) 
 
 Thau-ma' si-us 
 
 Ten'e-sis 
 
 Teu' cri-a 
 
 The' a 
 
 Te'nos(26) 
 
 Teuc'te-ri(S) 
 
 The-ag' e-nes 
 
 Ten'ty-ra, Egypt 
 
 Teu-mes' sus 
 
 The-.a'ges 
 
 Ten-ty'ra, Thrace 
 
 Teu' ta 
 
 The-a'no 
 
 Te'os, orTe'i-os 
 
 Teu-ta' mi-as, or 
 
 The-a' num 
 
 Te-re'don 
 
 Teu' ta-mis 
 
 The-ar'i-das 
 
 Te-ren' ti-a 
 
 Teu 7 ta-mus 
 
 The-ar' nus 
 
 Te-ren-ti-a' nus 
 
 Teu'tas, or 
 
 The-a-te'tes 
 
 Te-ren' tus 
 
 Teu-ta' tes 
 
 The'bse(8) 
 
 *Te' re-us 
 
 Teu'thras 
 
 \-Thebes (Eng.) 
 
 Ter-ges' te, and 
 
 Teu-tom' a tus 
 
 Theb' a-is 
 
 Ter-ges' tarn 
 
 Teu'to-ni, and 
 
 The' be, or The' ba> 
 
 Te'ri-as(19) 
 
 Teu'to-nes 
 
 The'i-a 
 
 Ter-i-ba'zus 
 
 Tha-ben' na 
 
 The'i-as(5) 
 
 Te-rid'a-e(l9) 
 
 Tha'is 
 
 Thel-e-phas'sa 
 
 Ter-i-da'tes 
 
 ThaMa 
 
 Thel-pu' sa 
 
 Ter'i-gum 
 
 Thai' a-me 
 
 Thelx-i'on(29) 
 
 Ter-men'ti-a(lO) 
 
 Tha-las 7 si -us 
 
 Thelx-i' o-pe 
 
 Ter-me'rus(27) 
 
 Tha'les 
 
 The-rae'si-on(ll) 
 
 Ter-me'sus(27) 
 
 Tha-les'tri-a, or 
 
 The' mis 
 
 Ter-mi-na' li-a 
 
 Tha-les'tris 
 
 The-mis' cy-ra 
 
 Ter-mi-na' lis 
 
 Tha-le'tes(27) 
 
 Them' e-nus 
 
 Ter' mi-nus 
 
 Tha-li'a(30) 
 
 Them' i-son 
 
 Ter'mi-sus, or 
 
 Thai' pi-us 
 
 The-mis' ta 
 
 Ter-mes' sus 
 
 Tham' y-ras 
 
 The-mis' ti-us 
 
 Ter-pan'der 
 
 Tham' y-ris 
 
 The-mis' to-cles 
 
 Terp-sicb' o-re (8) 
 
 Thar-ge'li-a 
 
 Them-i-stog' e-nes 
 
 Terp-sic' ra-te 
 
 Tha-ri' a-des 
 
 The-o-cle' a 
 
 Ter-ra-ci'na 
 
 Tha' rops (26) 
 
 The' o-cles 
 
 Ter-ra-sid' i-us 
 
 Thap' sa-cus 
 
 The' o-clus 
 
 Te/ ti-a (10) 
 
 Tha' si-us, or 
 
 The-o-clym' e-nus 
 
 Ter'ti-us(lO) 
 
 Thra' si-us (10) 
 
 The-oc' ri-tus 
 
 Ter-tul-li-a'nus 
 
 Tha' sos (26) 
 
 The-od' a-mas, or 
 
 Te'thys(26) 
 
 Tha' sus 
 
 Thi-od' a-mas 
 
 * Tereus. For words of this termination, see Idomeneus. 
 t Thebes. Thebes in Egypt was called Hecatom' pylosjrom having a hundred 
 gates ; and Thebes in Greece Heptap'ylos, from its seven gates. 
 
TH TH TH 9" 
 
 The-o-dec'tes 
 
 Ther' i-tas Tlies-ti' a-de, and 
 
 The-od-o-re'tus 
 
 Ther'ma Thes-ti' a-des 
 
 The-od' o-ret (Erig.) 
 
 Thermo' don Thes' ti-as 
 
 The-od-o-ri' tus 
 
 Ther-mop' y-lse Thes' ti-us 
 
 The-o-do' ra 
 
 Then 7 mus Thes' tor 
 
 The-o-do'rus 
 
 The-rod' a-mas Thes' ty-lis 
 
 The-o-do' si-us (10) 
 
 The'ron The'tis 
 
 The-od' o-ta 
 
 Ther-pan' der 
 
 Theu'tis, or 
 
 The-o-do' ti-on (11) 
 
 Ther-san' der 
 
 Teu'this 
 
 The-od' o-tus 
 
 Ther-sil' o-chus 
 
 Thi'a 
 
 The-og-ne' tes 
 
 Ther-sip' pus 
 
 Thi'as 
 
 The-og' nis 
 
 Ther-si'tes(l) 
 
 Thim' bron 
 
 The-om-nes' tus 
 
 Thes-bi' tes 
 
 Thi-od' a-mas 
 
 The 7 on 
 
 The-se'i-dae 
 
 This' be 
 
 The-on' o-e (8) 
 
 The-se' is 
 
 This'i-as(lO) 
 
 The'o-pe 
 
 The'se-us 
 
 This'o-a 
 
 The-oph' a-ne 
 
 The-si'dae 
 
 Tho-an'ti-um (10) 
 
 The-oph' a-nes 
 
 The-si'des 
 
 Tho'as 
 
 The-o-pha' ni-a 
 
 Thes-moph-o' ri-a 
 
 Tho'e(8) 
 
 The-oph' i-lus 
 
 Thes-moth' e-tae 
 
 Thorn' y-ris( 19) 
 
 The-o-phras' tus 
 
 Thes-pi' a 
 
 Tho'lus 
 
 The-o-pol x e-mus 
 
 Thes-pi' a-dae 
 
 fThon 
 
 The-o-pom' pus 
 
 Thes-pi' a-des 
 
 Tho'nis 
 
 The-o-phy-lac' tus 
 
 Thes' pi-ae 
 
 Tho' on 
 
 The-oph' i-lact(Eng.) 
 
 Thes' pis 
 
 Tho' o-sa 
 
 The-o'ri-us 
 
 Thes' pi-us, or 
 
 Tho-o' tes 
 
 The-o-ti' mus 
 
 Thes' ti-us 
 
 Tho-ra' ni-us 
 
 The-ox' e-na 
 
 Thes-pro'ti-a(lO) 
 
 Tho' rax 
 
 The-ox- e'ni- a 
 
 Thes-pro' tus 
 
 Tho' ri-a 
 
 The-ox -e'ni-us 
 
 Thes-sa'li-a 
 
 Thor'nax 
 
 The' ra 
 
 Thes-sa' li-on (29) 
 
 Thor' sus 
 
 The-ram' bus 
 
 Thes-sa-li' o-tis 
 
 Tho' us 
 
 The-rani' e-nes 
 
 ^Thes-sa-lo-ni'ca 
 
 Thra'ce 
 
 The-rap' ne, or 
 
 (30) 
 
 Thra' ces 
 
 Te-rap' ne 
 
 Thes'sa-lus 
 
 Thra'ci-a 
 
 The'ras 
 
 Thes'te 
 
 Thrace (Eng.) 
 
 The-rip' pi-das 
 
 Thes'ti-a 
 
 Thrac'i-dae(19) 
 
 * Thessalonica. This word, like every other of a similar termination, is sure 
 to be pronounced by a mere English scholar with the accent on the third sylla- 
 ble ; but this must be avoided on pain of literary excommunication. 
 f Than, a physician of Egypt. Milton spells this word with the final e, 
 
 making 
 H 
 
98 TH TI 
 
 Thra'cis 
 
 Thym 7 bron 
 
 Ti-gel'li-us 
 
 Thra'se-as(ll) 
 
 Thym' e-le 
 
 Ti-gra' nes 
 
 Thra-sid' e-us 
 
 Thy-mi' a-this 
 
 Tig-ran-o-cer' ta 
 
 Thra' si-us (10) 
 
 Thy-moch' a-res 
 
 Ti'gres 
 
 Thra' so 
 
 Thy-moe' tes 
 
 Ti' gris 
 
 Thras-y-bu'lus 
 
 Thy-od' a-mas 
 
 Tig-u-ri'ni(S) 
 
 Thras-y-dae' us 
 
 Thy-o'ne 
 
 Til-a-tae'i(4) 
 
 Thra-syl' lus 
 
 Thy-o' ne-us 
 
 Ti-mae'a 
 
 Thra-sym' a-chus 
 
 Thy' o-tes 
 
 Ti-mae' us 
 
 Thras-y-me'des 
 
 Thy' re 
 
 Ti-mag' e-nes 
 
 Thras-y-me' nus 
 
 Thyr'e-a 
 
 Ti-mag'o-ras 
 
 Thre-ic'i-us (24) 
 
 Thyr'e-us 
 
 Ti-man' dra 
 
 Thre-is'sa 
 
 Thyr'i-on(29) 
 
 Ti-man'dri-des 
 
 Threp-sip' pas 
 Thri-am' bus 
 
 Thyr-sag' e-taa 
 Thys'sos 
 
 Ti-man' thes 
 Ti-mar'chus (12) 
 
 Thro' ni-um 
 
 Thy' us 
 
 Tim-a-re' ta 
 
 Thry' on 
 
 Ti'a-sa(l) 
 
 Ti-ma'si-on (11) 
 
 Thry'us 
 
 Tib-a-re'ni 
 
 Tim-a-sith' e-us 
 
 Thu-cyd' i-des 
 
 Ti-be'ri-as 
 
 Ti-ma' vus 
 
 Thu-is' to 
 
 Tib-e-ri' nus 
 
 Ti-me' si-us (11) 
 
 Thu'le(8) 
 
 Tib'e-ris 
 
 Ti-moch'a-ris(l2) 
 
 Thu'ri-ae, or 
 
 Ti-be'ri-us 
 
 Tim-o-cle' a 
 
 Thu' ri-um 
 
 Ti-be' sis 
 
 Ti-moc' ra-tes 
 
 Thu' ri-nus 
 
 Ti-bul'lus 
 
 Ti-mo' cre-on 
 
 Thus / ci-a(10) 
 
 Ti'bur 
 
 Tim-o-de' mus 
 
 Thy' a 
 
 Ti-bur'ti-us(lO) 
 
 Tim-o-la' us 
 
 Thy' a-des 
 
 Ti-bur'tus 
 
 Ti-mo' le-on 
 
 Thy' am-is 
 
 Tich'i-us(12) 
 
 Ti-mo' lus (13) 
 
 Thy'a-na 
 
 Tic'i-da 
 
 Ti-mom' a-chus 
 
 Thy-a-ti'ra 
 
 Ti-ci'nus 
 
 Ti'mon 
 
 Thy-bai / ni 
 
 Tid'i-us 
 
 Ti-moph' a-nes 
 
 Thy-es'ta 
 
 Ti-es'sa 
 
 Ti-mo' the-us 
 
 Thy-es' tes 
 
 Tif'a-ta 
 
 Ti-mox' e-nus 
 
 Thym'bra 
 
 Ti-fer' num 
 
 Tin'gis 
 
 Thym-brae' us 
 
 Tig'a-sis 
 
 Ti'pha 
 
 Thym' bris 
 
 Tig-el-li'nus(24) 
 
 Ti' phys 
 
 making it one syllable only, and consequently pronouncing it so as to rhyme 
 with tone: 
 
 Not that Nepenthe, which the wife of Thone, 
 
 In Egypt, gave to Jove-born Helena, 
 
 Is of such power to stir up joy as this 
 
 Comus. 
 
TI 
 
 Tiph'y-sa 
 
 Ti-re'si-as (10) 
 
 Tir-i-ba'ses 
 
 Tir-i-da'tes 
 
 Ti'ris (18) 
 
 Ti'ro 
 
 Ti-ryn' thi-a 
 
 Ti-ryn'thus 
 
 Ti-sse' um 
 
 Ti-sag' o-ras 
 
 Ti-sam'e-nes 
 
 Ti-san' drus 
 
 Ti-sar'chus(12) 
 
 Ti-si' a-rus 
 
 Tis'i-as(lO) 
 
 Ti-siph' o-ne 
 
 Ti-siph' o-nus 
 
 Tis-sam' e-nus 
 
 Tis-sa-pher'nes 
 
 Ti-tae'a 
 
 Ti'tan, Ti-ta'nus 
 
 Tit'a-na 
 
 Ti-ta' nes 
 
 Ti-ta' ni-a 
 Ti-tan' i-des 
 Ti-ta' nus, (a giant) 
 Tit'a-nus, (a river) 
 Tit-a-re' si-us (10) 
 Tit' e-nus 
 Tith-e-nid'i-a 
 Ti-tho'nus 
 Tit' i-a 09) 
 Tit-i-a'na(21) 
 Tit-i-a' nus 
 Tit'i-i (3) (19) 
 Ti-thraus' tes 
 Ti-tin'i-us 
 Tit'i-us(10)(19) 
 Ti-tor'mus 
 Ti-tu' ri-us 
 Ti' tus 
 Tit' y-rus 
 
 TR TR 
 
 Tit'y-us(19) 
 
 Tre-ba'ti-us(lO) 
 
 Tle-pol'e-mus(l6) 
 
 Tre-bel-li-a'nus 
 
 Tma'rus 
 
 Tre-bel-li-e'nus 
 
 Tmo'lus(13) 
 
 Tre-bel'li-us 
 
 Troch'a-ri 
 
 Tre'bi-a 
 
 To-ga' ta 
 
 Tre'bi-us 
 
 Tol' mi-des 
 
 Tre-bo'ni-a 
 
 To-lo' sa 
 
 Tre-bo' ni-us 
 
 To-lum' nus 
 
 Treb'u-la(19) 
 
 To'lus 
 
 Tre'rus 
 
 To-mae' um 
 
 Trev'e-riCS) 
 
 Tom'a-rus (19) 
 
 Tri-a'ri-a 
 
 Tom'i-sa 
 
 Tri-a'ri-us 
 
 To' mos, or To' mis 
 
 Tri-bai' li (3) 
 
 Tom'y-ris (19) 
 
 Trib' o-ci 
 
 To'ne-a 
 
 Tri-bu'ni 
 
 Ton-gil'li 
 
 Tric-as-ti'ni(3) 
 
 To-pa'zos 
 
 Tric'cae 
 
 Top'i-ris, or 
 
 Trick' se 
 
 Top'rus 
 
 Tri-cla'ri-a 
 
 Tor'i-ni(S) 
 
 Tri-cre' na 
 
 To-ro'ne 
 
 Tri-e-ter / i-ca 
 
 Tor-qua' ta 
 
 Trif-o-li' nus 
 
 Tor-qua' tus 
 
 Tri-na' cri-a, or 
 
 Tor' tor 
 
 Trin' a-cris 
 
 To'rus 
 
 Tri-no-ban' tes 
 
 Tor'y-ne 
 
 Tri-oc' a-la, or 
 
 Tox-a-rid'i-a(19) 
 
 Tri' o-cla 
 
 Tox'e-us 
 
 Tri'o-pas, or 
 
 Tox-ic' ra-te 
 
 Tri' ops 
 
 Tra'be-a 
 Trach'a-lus(12) 
 
 Tri-phyl'i-a 
 Tri-phil'lis(l) 
 
 Tra'chas 
 
 Tri-phi'lus 
 
 Tra-chin' i-a 
 
 Trip' o-lis (19) 
 
 Trach-o-ni' tis 
 
 Trip-tol' e-mus 
 
 Tra'gus 
 
 Triq' ue-tra 
 
 Traj-a-nop' o-lis 
 
 Tris-me-gis' tus 
 
 Tra-ja' nus 
 
 Trit'i-a(lO) 
 
 Trafjan (Bug.) 
 
 Trit-o-ge-ni'a(SO) 
 
 Trafles 
 
 Tri' ton 
 
 Trans-tib-er-i' na 
 
 Tri-to'nis 
 
 Tra-pe' zus 
 
 Tri-ven' turn 
 
 Tra-sul' lus 
 
 Triv'i-a 
 
 H 2 
 
 99 
 
100 TR TU TY 
 
 Triv' i-ae an' trum 
 
 Try' phon 
 
 Tur' nus 
 
 Triv'i-ae lu'cus 
 
 Try-pho'sa 
 
 Tu' ro-nes 
 
 Tri-vi' cum 
 
 Tu'be-ro(19) 
 
 Tur' pi-o 
 
 Tri-um'vi-ri (4) 
 
 Tuc'ci-a (10) 
 
 Tu-rul' li-us 
 
 Tro'a-des 
 
 Tuk'she-a 
 
 Tus-ca' ni-a, and 
 
 Tro'as 
 
 Tu'ci-a (10) 
 
 Tus'ci-a(lO) 
 
 Troctfo-is(12) 
 
 Tu'der, or 
 
 Tus'ci(3) 
 
 Trce-ze'ne 
 
 Tu-der'ti-a(lO) 
 
 Tus-cu-la' num 
 
 Trog'i-lus(24) 
 
 Tu'dri(3) 
 
 Tiis' cu-lum 
 
 Trog-lod' y-tae 
 
 Tu-gi'ni, or 
 
 Tus'cus 
 
 Tro'gus Pom-pe'i- 
 
 Tu-ge'ni 
 
 Tu'ta 
 
 us 
 
 Tu-gu-ri' nus (22) 
 
 Tu'ti-a(lO) 
 
 Tro'ja 
 
 Tu-is'to 
 
 Tu' ti-cum 
 
 Troy (Bog.) 
 
 Tu-lin'gi(3) 
 
 Ty'a-na 
 
 *Tro'i-lus 
 
 Tul'la 
 
 fTy-a'n^flfe, or 
 
 Trom-en-ti' na 
 
 Tul'li-a 
 
 Ty-a-ne' us 
 
 Troph' i-mus 
 
 Tul-li' o-la 
 
 Ty-a-ni' tis 
 
 Tro-pho' ni-us 
 
 Tui'li-us 
 
 Ty' bris 
 
 Tros 
 
 Tu-ne'ta, orTu'nis 
 
 Ty' bur 
 
 Tros' su-lum 
 
 Tun'gri 
 
 Ty'che(12) 
 
 Trot' i-lum 
 
 Tu-ra' ni-us 
 
 Ty'ke 
 
 Tru-en' turn, or 
 
 Tur'bo 
 
 Tych'i-us(lS) 
 
 Tru-en-ti / num 
 
 Tur-de-ta' ni 
 
 Tych'i-cus (12) 
 
 Tryph' e-rus 
 
 Tu-re' sis 
 
 Ty'de 
 
 Tryph-i-o-do' rus 
 
 Tu'ri-us 
 
 fTyd'e-us 
 
 * Troilus. This word is almost always heard as if it were two syllables only, 
 and as if written Troy' lus. This is a corruption of the first magnitude : the 
 vowels should he kept separate, as if written Tro'e-lus. See %oilus. 
 
 f Tyaneus. This word is only used as an adjective to Apollonius, the cele- 
 brated Pythagorean philosopher, and is formed from the town of Tyana, where 
 he was born. The natural formation of this adjective would undoubtedly be 
 Tyaneus, with the accent on the antepenultimate syllable. Labbe, at the word 
 Tyana, says, " et inde deductum Tyaneus; quidquid sciam reclamare nonnullos 
 sed immerito, ut satis norunt eruditi." 
 
 The numberless authorities which might be brought for pronouncing this 
 word either way, sufficiently show how equivocal is its accent, and of how little 
 importance it is to which we give the preference. My private opinion coin- 
 cides with Labbe; but as we generally find it written with the diphthong, we 
 may presume the penultimate accent has prevailed, and that it is the safest to 
 follow. 
 
 t Tydeus. This word, like several others of the same termination, was pro- 
 nounced by the Greeks sometimes in three, and sometimes in two syllables, the 
 
TY 
 
 Ty-di'des 
 Ty-e' nis 
 Tym' her 
 Ty-mo' lus 
 Tym-pa'ni-a 
 Tym phee'i (3) 
 Tyn dar'i-des 
 Tyn'da-ris 
 Tyn' da-rus 
 Tyn' ni-chus 
 Ty-phoe'us, or 
 Ty-phoe'os, sub. 
 
 TY 
 
 Ty-pho'e-us, adj, 
 Ty'phon 
 Ty-ran-ni'on 
 Ty-ran' nus 
 Ty'ras, orTy'ra 
 Ty'res 
 Tyr-i-da' tes 
 Tyr'i-i(4) 
 Ty-ri' o-tes 
 Ty'ro 
 
 Ty-rog' ly-phus 
 Ty'ros 
 
 TY 
 
 101 
 
 Tyr-rhe'i-dae 
 Tyr-rhe'i-des 
 Tyr-rhe' ni 
 Tyr-rhe'num 
 Tyr-rhe' nus 
 Tyr 7 rhe-us 
 Tyr-rhi' dae 
 Tyr'sis 
 Tyr-tse'us 
 Ty'rus, or Ty'ros 
 Tyre (Eng.) 
 Tys'i-as(lO) 
 
 VA 
 
 VA 
 
 VA 
 
 VAC-CJE'I (3) 
 
 Va' lens 
 
 Va-U' ri-an (Eng.) 
 
 Va-cu'na 
 
 Va-len'ti-a(lO) 
 
 Va-le' ri-us 
 
 Va'ga 
 
 Val-en-tin-i-a' nus 
 
 Val'e-rus 
 
 Vag-e-dru' sa 
 
 Va-len-tin 1 i-an, 
 
 Val'gi-us 
 
 Va-gel' li-us 
 
 (Eng.) 
 
 Van-da'li-i(3)(4) 
 
 Va-ge'ni(3) 
 
 Va-le' ri-a 
 
 Van-gi' o-nes 
 
 Va'la 
 
 Va-le-ri-a' BUS 
 
 Van' ni-us 
 
 m considered as a diphthong. When it was pronounced in three syllables, the 
 penultimate syllable was long, and the accent was on it, as we find it in a verse 
 of Wilkie's Epigoniad : 
 
 Venus, still partial to the Theban arms, 
 
 Tydeus* son seduc'd by female charms. 
 
 But the most prevailing pronunciation was that with the antepenultimate 
 accent, as we generally find it in Pope's Homer. 
 
 Next came Idomeneus and Tydeus 1 son, 
 Ajax the less, and Ajax Telamon. 
 
 POPE'S Horn. b. iL v. 50. 
 See Idomeneus, 
 
J02 VE VE VE 
 
 Va-ra' nes Vel-le' i-us 
 
 Ve-ro' nes 
 
 Var-dae 7 i *Ve-na 7 frum 
 
 Ver-o-ni'ca(SO) 
 
 Va'ri-a Ven'e-di 
 
 Ver-re-gi'num 
 
 Va-ri'ni(S) Ven'e-li 
 
 Ver're^C. 
 
 Va-ris'ti Ven 7 e-ti(3) 
 
 Ver' ri-tus 
 
 Va 7 ri-us Ve-ne'ti a (10) 
 
 Ver' ri-us 
 
 Var'ro 
 
 Few'ce(Eng.) 
 
 fVer-ru' go 
 
 Va'rus 
 
 Ven' e-tus 
 
 Ver 7 ti-co 
 
 Vas-co 7 nes 
 
 Ve-nil' i-a 
 
 Ver-ti-cor 7 di-a 
 
 Vat-i-ca' nus 
 
 Ve-no' ni-us 
 
 Ver-tis 7 cus 
 
 Va-tin 7 i-us 
 
 Ven-tid' i-us 
 
 Ver- turn 7 nus 
 
 Vat-i-e 7 nus 
 
 Ven'ti (3) 
 
 Ver-u-la 7 nus 
 
 U'bi-i (4) 
 
 Ven-u-le' i^us 
 
 Ve 7 rus 
 
 U-cal 7 e-gon 
 
 Ven' u-lus 
 
 Ves 7 bi-us, or 
 
 U'cu-bis 
 
 Ve' nus 
 
 Ve-su 7 bi-us 
 
 Vec'ti-us(lO) 
 
 Ve-nu'si-a, or 
 
 Ves-ci-a 7 num 
 
 Ve 7 di-usPol 7 li-o 
 
 Ve-nu'si-um (10) 
 
 Ves- pa- si- a 7 nus 
 
 Ve-ge'ti-us(lO) 
 
 Ve-ra' gri 
 
 Fes-pa' si-an (Eng.) 
 
 Ve'i-a 
 
 Ve-ra' ni-a 
 
 Ves-cu-la 7 ri-us 
 
 Ve- i-a 7 nus 
 
 Ve-ra 7 ni-us 
 
 Ves'e-ris 
 
 Ve^i-en'tes 
 
 Ver-big' e-nus 
 
 Ve-se 7 vi-us, and 
 
 Ve-i-en 7 to 
 
 Ver-cel'las 
 
 Ve-se ; vus 
 
 Vefi-i(3) 
 
 Ver-cin-get' o-rix 
 
 Ves'ta 
 
 Vej' o-vis 
 
 Ver-e'na 
 
 Ves-ta 7 les 
 
 Ve-la 7 brum 
 
 Ver-gil' i-a 
 
 Ves-ta 7 li-a 
 
 Ve-la 7 ui-us 
 
 Ver-gas-il-lau' nus 
 
 Ves-tic 7 i-us (24) 
 
 Ve'li-a 
 
 Ver-gel'lus 
 
 Ves-til 7 i-us 
 
 Vel'i-ca 
 
 Ver-gil' i-ae 
 
 Ves-til 7 la 
 
 Ve-li'na 
 
 Ver-gin' i-us 
 
 Ves-ti 7 ni(3) 
 
 Ve-li' iium 
 
 Ver 7 gi-um 
 
 Ves- ti 7 nus 
 
 Ve-li-o-cas' si (3) 
 
 Ver-go-bre' tus 
 
 Ves 7 u-lus 
 
 Vel-i-ter 7 na 
 
 Ver'i-tas 
 
 Ve-su 7 vi-us 
 
 Ve-li'tra 
 
 Ver-o-doc'ti-us(lO) 
 
 Vet 7 ti-us 
 
 VeKia-riCS) 
 
 Ver-o-man' du-i 
 
 Vet-to 7 nes 
 
 Vel'le-da 
 
 Ve-ro' na 
 
 Vet-u-lo 7 ni-a 
 
 * Venafrwn. Though the accent may be placed either on the antepenulti- 
 mate or the penultimate syllable of this word, the latter is by far the prefer- 
 able, as it is adopted by Lempriere, Labbe, Gouldman, and other good autho- 
 rities. 
 
 f Verrugo. I have given this word the penultimate accent with Lempriere ; 
 in opposition to A ins worth, who adopts the antepenultimate. 
 
VI VO 
 
 Ve-tu'ri-a 
 Ve-tu' ri-us 
 
 Vir-gin' i-us 
 Vir-i-a'thus 
 
 Ve'tus 
 
 Vir-i-dom' a-rus 
 
 U'fens 
 
 Vi-rip' la-ca 
 
 Uf-en-ti' na 
 
 Vir'ro 
 
 Vi-bid'i-a 
 
 Vir' tus 
 
 Vi-bid' i-us 
 
 Vi-sel' li-us 
 
 Vib'i-us 
 
 Vi-sel'lus 
 
 Vi'bo 
 
 Vi-tel'li-a 
 
 Vib-u-le' nus 
 
 Vi-tel' li-us 
 
 Vi-bul' li-us 
 
 Vit 7 i-a (10) 
 
 Vi'caPo'ta 
 
 Vit 7 ri-cus 
 
 Vi-cen'ta, or 
 
 Vi-tru' vi-us 
 
 Vi-ce'ti-a(lO) 
 
 Vit' u-la 
 
 Vi-cel' li-us 
 
 Ul-pi-a'nus 
 
 Vic' tor 
 
 Ul'pi-an, (Eng.; 
 
 Vie-to' ri-a 
 
 U'lu-brse 
 
 Vic- to' ri-us 
 
 U-lys 7 ses 
 
 Vie-to -ri' na 
 
 Um'ber 
 
 Vic-to-ri' nus 
 
 Um' bra 
 
 Vic-tum' vi-ae 
 
 Urn' bri-a 
 
 Vi-en' na 
 
 Urn-brig' i-us (24) 
 
 Vil'li-a 
 
 Um' bro 
 
 Vil' li-us 
 
 Un'ca 
 
 Vim-i-na' lis 
 
 Un'chaj 
 
 Vin-cen' ti-us (10) 
 
 Un-de-cem' vi-ri (3) 
 
 Vin 7 ci-us 
 
 U-nel'li(3) 
 
 Vin-da' li-us 
 
 Unx'i-a 
 
 Vin-del' i-ci (4) 
 
 Vo-co 7 ni-a 
 
 Vin-de-mi-a' tor 
 
 Vo-co' ni-us 
 
 Vin'dex Ju' li-us 
 
 Vo-con'ti-a(lO) 
 
 Vin-dic'i-us(lO) 
 
 Vog' e-sus 
 
 Vin-do-nis' sa 
 
 Vol-a-gin 7 i-us 
 
 Vi-nic'i-us(lO) 
 
 Vo-la'na 
 
 Vi-nid' i-us 
 
 Vo-lan' dum 
 
 Vin 7 i-us 
 
 Vol-a-ter'ra 
 
 Vin 7 ni-us 
 
 Vol'cae, or 
 
 Vip-sa' ni-a 
 
 Vol'gaB 
 
 Vir'bi-us 
 
 Vo-log' e-ses 
 
 Vir-gil'i-us 
 
 Vo-log 7 e-sus 
 
 Vir 9 gil (Eng.) 
 
 Vol'scens 
 
 Vir-gin' i-a 
 
 Vol'sci,or Vol'ci 
 
 vu 
 
 103 
 
 Vol-sin' i-um 
 Vol-tin'i-a 
 Vo-lum'nae Fa'num 
 Vo-lum' ni-a 
 Vo-lum' nus 
 Vo-lum' ni-us 
 Vo-lup' tas, and 
 
 Vo-lu' pi-a 
 Vol-u-se' nus 
 Vo-lu-si-a'nus 
 Vo-lu' si-us (10) 
 Vol' u-sus 
 Vo'lux 
 Vo ma' nus 
 Vo-no 7 nes 
 Vo-pis' cus 
 Vo-ra' nus 
 Vo-ti-e' nus (22) 
 U-ra' ni-a 
 
 U-ra' ni-i, or U' ri-i 
 U' ra-nus 
 Ur-bic 7 u-a 
 Ur'bi-cus 
 U'ri-a 
 U'ri-tes 
 Ur-sid' i-us 
 Us' ca-na 
 U-sip'e-tes, or 
 
 U-sip' i-ci 
 Us-ti' ca 
 U'ti-ca 
 Vul-ca-na' li-a 
 Vul-ca'ni 
 Vul-ca' ni-us 
 Vul-ca' nus 
 Ful'can(Eng.) 
 Vul'ca-ti-us(lO) 
 Vul'so 
 Vul'tu-ra 
 Vul-tu-re'i-us 
 Vul-tu' ri-us 
 Vul-tur'num 
 
104 VU 
 
 ux 
 
 uz 
 
 Vul-tur' nus 
 
 Ux-el-lo-du' num 
 
 Ux-is' a-ma 
 
 Vul-si' num 
 
 Ux'i-i(3) 
 
 U'zi-ta 
 
 XE 
 
 XE 
 
 XY 
 
 yVAN'THE (1?) 
 
 Xe-nar' chus 
 
 Xen-o-do'rus 
 
 Xan' thi 
 
 Xen'a-res 
 
 Xe-nod' o-tus 
 
 Xan' thi-a 
 
 Xen' e-tus 
 
 Xe-nopfy' a-nes 
 
 Xan' ihi-ca 
 
 Xe'ne-us 
 
 Xe-noph'i-lus 
 
 Xan-thip' pe 
 
 Xe-ni' a-des 
 
 Xen' o-phon 
 
 Xan-thip' pus 
 
 Xe'ni-us 
 
 Xen-o-phon-ti' us 
 
 Xan'tho 
 
 Xen-o-cle' a 
 
 Xen-o-pi-thi' a 
 
 Xan-tho-pu' lus 
 
 Xen' o-cles 
 
 Xerx'es (17) 
 
 Xan' thus 
 
 Xen-o-cli'des 
 
 Xeu' xes 
 
 Xan'ti-cles 
 
 Xe-noc' ra-tes 
 
 Xu' thus 
 
 Xan-tip' pe 
 
 Xe-nod' a-nius 
 
 'X/chus 
 
 Xan -tip' pus 
 
 Xe-nod' i-ce 
 
 Xyn' i-as 
 
 Xe-nag' o-ras 
 
 Xe-nod' o-chus 
 
 Xyn~o-ich' i-a 
 
 ZA 
 
 ZA 
 
 ZE 
 
 AB'A-TUS (19) 
 
 Zab-di-ce' ne 
 Za-bir' na 
 Zab' u-lus 
 Za-cyn' thus 
 Za-grae' us 
 Za' grus 
 Zal'a-tes(19) 
 Za-leu'cus 
 
 Za' ma, or Zag' ma 
 Za' me-is 
 Za-mol' xis 
 Zan' cle 
 Zan' the-nes 
 Zan' thi-cles 
 Za' rax 
 Zar-bi-e' nus 
 Zar-i-as' pes 
 Za'thes 
 
 Ze-bi'na 
 
 Ze'la, orZe'li-a 
 
 Ze'les 
 | Ze-loi'y-pe 
 
 Ze'lus 
 
 Ze'no 
 
 Ze-no' bi-a 
 ! Zen' o-cles 
 
 Zen-o-cli' des 
 ' Zen-o-do'rus 
 
ZE 
 
 ZO ZY 105 
 
 Zen-o-do' ti-a 
 
 Zeu-xip'pe 
 
 Zo-pyr' i-o 
 
 *Ze-nod' o-tus 
 
 Zeu'xis 
 
 Zo-pyr' i-on 
 
 Ze-noth' e-mis 
 
 Zeu' xo 
 
 Zop'y-rus(19) 
 
 Ze-noph' a-nes 
 
 Zi-gi'ra 
 
 Zor-o-as' ter 
 
 Ze-phyr' i-um 
 
 Zil'i-a, or Ze'lis 
 
 Zos' i-mus 
 
 Zeph' y-rus 
 
 Zi-my' ri 
 
 Zos' i-ne 
 
 Zeph' y-rum 
 
 Zi-ob' e-ris 
 
 Zos-te'ri-a 
 
 Ze-ryn' thus 
 
 Zi-px' tes 
 
 Zo-thraus' tes 
 
 Ze' thes, or Ze' tus 
 
 Zmil'a ces(l6) 
 
 Zy-gar/ tes 
 
 Zeu-gi-ta' na 
 
 fZo' i-lus (29) 
 
 Zyg' e-na 
 
 Zeug' ma 
 
 Zo-ip'pus 
 
 Zyg'i-a 
 
 Ze'us 
 
 Zo'na 
 
 Zy-gom' a-la 
 
 Zeux-id' a-mus 
 
 Zon' a-ras 
 
 Zy-gop' o-lis 
 
 Zeux' i-das 
 
 Zoph' o-rus Zy-gri' tae 
 
 * Zenodotus. All our prosodists but Lempriere give this word the antepenul- 
 timate accent ; and till a good reason is given why it should differ from Herod- 
 otus, I must beg leav to follow the majority. 
 
 + Zoilus. The two vowels in this word are always separated in the Greek 
 and Latin, but iit the English pronunciation of it they are frequently blended 
 into a diphthong, as in the words oil, boil, &c. This, however, is an illiterate 
 pronunciation, and should be avoided. The word should have three syllables, 
 and be pronounced as if written Zo f e-lus. 
 
 BY inspecting the foregoing Vocabulary, we see that, notwith- 
 standing all the barriers with which the learned have guarded the 
 accentuation of the dead languages, still some words there are 
 which despise their laws, and boldly adopt the analogy of English 
 pronunciation. It is true the catalogue of these is not very nu- 
 merous : for, as an error of this kind incurs the penalty of being 
 thought illiterate and vulgar, it is no wonder that a pedantic ad- 
 herence to Greek and Latin should, in doubtful cases, be gene- 
 rally preferred. 
 
 But as the letters of the dead languages have insensibly 
 changed their sound by passing into the living ones, so it is 
 
( 106 ) 
 
 impossible to preserve the accent from sliding sometimes into the 
 analogies of our own tongue ; and when once words of this kind 
 are fixed in the public ear, it is not only a useless, but a perni- 
 cious, pedantry to disturb them. Who could hear without pity 
 of Alexander's passing the river Grant' cus, or of his marry- 
 ing the sister of ParyJ atis ( t These words, and several others, 
 must be looked upon as planets shot from their original spheres, 
 and moving round another centre. 
 
 After all the care, therefore, that has been taken to accent 
 words according to the best authorities, some have been found 
 so differently marked by different prosodists, as to make it no 
 easy matter to know to which we shall give the preference. In 
 this case I have ventured to give my opinion without presuming 
 to decide, and merely as an 'Hwnxov, or Interim, till the learned 
 have pronounced the final sentence. 
 
PREFACE 
 
 TO THE 
 
 TERMINATIONAL VOCABULARY. 
 
 TAKING a retrospective view of language, or surveying it in 
 its terminations, affords not only a new but an advantageous 
 view of all languages. The necessity of this view induced me, 
 several years ago, to arrange the whole English language ac- 
 cording to its terminations ; and this arrangement I found of in- 
 finite use to me in consulting the analogies of our tongue. A 
 conviction of its utility made me desirous of arranging the 
 Greek and Latin proper names in the same manner, and more 
 particularly as the pronunciation of these languages depends 
 more on the termination of words than any other we are ac- 
 quainted with. Of such utility is this arrangement supposed 
 to be in the Greek language, that the son of the famous 
 Hoogeven, who wrote on the Greek particles, has actually 
 printed such a dictionary, which only waits for a preface to 
 be published. The labour of such a selection and arrange- 
 ment must have been prodigious ; nor is the task I have under- 
 taken in the present work a slight one ; but the idea of render- 
 ing the classical pronunciation of proper names still more easy, 
 encouraged me to persevere in the labour, however dry and fa- 
 tiguing. 
 
 I flattered myself I had already promoted this end, by di- 
 viding the proper names into syllables upon analogical princi- 
 ples ; but hoped I could still add to the facility of recollecting 
 their pronunciation by the arrangement here adopted; which 
 
( 108 ) 
 
 in the first place, exhibits the accent and quantity of every word 
 by its termination. 
 
 In the next place, it shows the extent of this accentuation, by 
 producing, at one view, all the words differently accented, by 
 which means may be formed the rule and the exception. 
 
 Thirdly, when the exceptions are but few, and less apt to be 
 regarded, by seeing them contrasted with the rule, they are im- 
 printed more strongly on the memory, and are the more easily 
 recollected. Thus, by seeing that Sperchius, Xenophontius, and 
 Darius, are the only words of that very numerous termination 
 which have the accent on the penultimate ; we are at perfect 
 ease about all the rest. 
 
 Fourthly, by seeing that all words ending in enes have uni- 
 versally the antepenultimate accent, we easily recollect that the 
 pronunciation of Eumenes, with the accent on the penultimate, is 
 radically wrong, and is only tolerated because adopted by some 
 respectable writers. Thus, too, the numerous termination in 
 ades is seen to be perfectly antepenultimate ; and the ambiguous 
 termination in ides is freed in some measure from its intricacy, 
 by seeing the extent of both forms contrasted. This contrast, 
 without being obliged to go to Greek etymologies, shows at one 
 view when this termination has the accent to the penultimate i, 
 as in Tydides; and when it transfers the accent to the antepe- 
 nultimate, as in Thucydides ; which depends entirely on the 
 quantity of the original word from which these patronymics are 
 formed. 
 
 And lastly, when the number of words pronounced with a dif- 
 ferent accent are nearly equal, we can at least find some way of 
 recollecting their several accentuations better than if they were 
 promiscuously mingled with all the rest of the words in the lan- 
 guage. By frequently repeating them as they stand together, 
 the ear will gain a habit of placing the accent properly, without 
 knowing why it does so. In short, if Labbe's Catholici Indices, 
 which is in the hands of all the learned, be useful for readily 
 finding the accent and quantity of proper names, the present 
 Index cannot fail to be much more so, as it not only associates 
 
them by their accent and quantity, but according to their termi- 
 nation also ; and by this additional association it must necessa- 
 rily render any diversity of accent more easily perceived and re- 
 membered. 
 
 To all which advantages it may be added, that this arrangement 
 has enabled me to point out the true sound of every termina- 
 tion ; by which means those who are totally unacquainted with 
 the learned languages will find themselves instructed in the true 
 pronunciation of the final letters of every word, as well as its ac- 
 cent and quantity. 
 
 It need scarcely be observed, that in the following Index 
 almost all words of two syllables are omitted : for, as dissyllables 
 in the Greek and Latin languages are always pronounced with 
 the accent on the first, it was needless to insert them. The same 
 may be observed of such words as have the vowel in the penul- 
 timate syllable followed by two consonants : for, in this case, 
 unless the former of these consonants was a mute, and the 
 latter a liquid, the penultimate vowel was always long, and 
 consequently always had the accent. This analogy takes place 
 in our pronunciation of words from the Hebrew, which, with 
 the exceptions of some few have been anglicised, such as 
 Bethlehemite, Nazarene, &c. have the accent, like the Greek 
 and Latin words, either on the penultimate or antepenultimate 
 syllable. 
 
 It might have been expected that I should have confined my- 
 self to the insertion of proper names alone, without bringing in 
 the gentile adjectives, as they are called, which are derived from 
 them. This omission would, undoubtedly have saved me immense 
 trouble ; but these adjectives being sometimes used as substan- 
 tives, made it difficult to draw the line ; and as the analogy of 
 accentuation was, in some measure, connected with these adjec- 
 tives, I hoped the trouble of collecting and arranging them would 
 not be entirely thrown away. 
 
TERMINATIONAL VOCABULARY 
 
 OF 
 
 GREEK AND LATIN PROPER NAMES. 
 
 AA 
 
 Accent the Antepenultimate. 
 
 A BAA*, Nausicaa. 
 
 BA 
 Accent the Antepenultimate. 
 
 Ababa, Desudaba, Alaba, Allaba, Aballaba, Cillaba, Adeba, 
 Abnoba, Onoba, Arnoba, Ausoba, Hecuba, Gelduba, Corduba, 
 Voluba, Rutuba. 
 
 ACA ECA ICAf OCA UCA YCA 
 
 Accent the Penultimate. 
 
 Cleonica, Thessalonica, Veronica, Noctiluca, Donuca. 
 Accent the Antepenultimate. 
 
 Ithaca, Andriaca, Malaca, Tabraca, Mazaca, Seneca, Cjre- 
 na'ica, Belgica, Georgica, Cabalica, Italica, Maltilica, Bellica, 
 Laconica, Leonica, JVIarica, Marmarica, Conimbrica, Merobrica, 
 Mirobrica, Cetobrica, Anderica, America, Africa, Arborica, 
 Aremorica, Armorica, Norica, Tetrica, Asturica, Illyrica, Nasi- 
 
 * As the accent is never on the last syllable of Greek or Latin proper names, 
 the final a must be pronounced as in English words of this termination ; that is, 
 nearly as the interjection ah! See Rule 7, prefixed to the Initial Vocabulary. 
 
 f Of all the words ending m ica, Cleonica, Veronica, and Theualonica, are the 
 only three which have the penultimate accent. See Rule the 29th prefixed to 
 the Initial Vocabulary, and the words Andronicus and Sophronicut$ 
 
ca, Esica, Corsica, Athatica, Bcetica, Ceretica, Anaitica, Celti- 
 ca, Salmantica, Cyrrhestica, Ustica, Utica, Engravica, Oboca, 
 Amadoca, Aesyca, Mutyca. 
 
 DA 
 
 Accent the Penultimate. 
 
 Abdeda, Hecameda, Diomeda, Amida, Actrida. 
 Accent the Antepenultimate. 
 
 Aada, Adada, Symada, Bagrada, Suada, Idubeda, Andromeda, 
 Ceneda, Agneda, Voneda, Candida, Egida, Anderida, Florida*, 
 Pisida. 
 
 JEA 
 
 Accent the Penultimate. 
 Dicaea, Nicaea, and all words of this termination. 
 
 EA 
 
 Accent the Penultimate. 
 
 Laodicea, Stratonicea, Cymodocea, Medea, Ligea Argea, 
 Amathea, Alphea, Erythea, Ethalea, Malea, Heraclea, Amphi- 
 clea, Theoclea, Agathoclea, Androclea, Euryclea, Penthesilea, 
 Achillea, Asbamea, Alcidamea, Cadmea, Elimea, .ZEnea, Man- 
 tinea, Maronea, Chaeronea, JEpea, Barea, Caesarea, NeocaBsarea, 
 Cytherea, Ipsea, Hypsea, Galatea, Platea, Myrtea (a city). 
 
 Accent the Antepenultimate. 
 
 Pharnacea, Ardea, Tegea, ^Ethea, Dexithea, Leucothea, Alea, 
 Doclea, Dioclea, Elea, Marcellea, Demea, Castanea, Aminea, 
 Ficulnea, Albunea, Boea, Clupea or Clypea, Abarbarea, Chaerea, 
 Verrea, Laurea, Thyrea, Rosea, Odyssea, Etea, Tritea, Myrtea 
 (a name of Venus), Butea, Abazea. 
 
 GEA 
 
 Accent the Penultimate. 
 Meleboea, Euboea, and all words of this termination. 
 
 * Labbe tells us that some of the most learned men pronounce this part of 
 America with the accent on the penultimate syllable. 
 
GA 
 
 Accent the Antepenultimate. 
 
 Abaga, Bibaga, Ampsaga, Aganzaga, Noega, Arabriga, Ao- 
 briga, Segobriga, Coeliobriga, Flaviobriga. 
 
 HA 
 
 Accent the Antepenultimate. 
 
 Malacha, Pyrrhicba, Adatha, Agatba, Badenatha, Abaratha, 
 Monumetha. 
 
 AIA 
 
 Accent the Antepenultimate. 
 Achaia*, Panchaia, Aglaia, Maia. 
 
 BIA 
 Accent the Antepenultimate. 
 
 Arabia, Trebia, Contrebia, Albia, Balbia, Olbia, Corymbia, 
 Zenobia, Cornubia. 
 
 CIAf 
 
 Accent the Antepenultimate. 
 
 Nicacia, Dacia, Salacia, Wormacia, Thaumacia, Connacia, 
 Ambracia, Thracia, Samothracia, Artacia, Accia, Gallacia, 
 Gra?cia, Voadicia, Vindelicia, Cilicia, Libyphoenicia, Aricia, 
 Chalcia, Francia, Provincia, Cappadocia, Porcia, Muscia, Ascia, 
 Iscia, Thuscia, Boruscia, SeleuciaJ, Tucia, Lycia. 
 
 DIA 
 
 Accent the Penultimate. 
 Iphimedia^, Laomedia, Protomedia. 
 
 * The vowels in this termination do not form a diphthong. The accent fa 
 upon the first a, the i is pronounced like y consonant in year, and the final a 
 nearly like the a in father, or the interjection ah /See Rule?. 
 
 t Words of this termination have the da pronounced as if written she-a. See 
 Rule 10, prefixed to the Initial Vocabulary. 
 
 t See Rule 30, and the word in the Initial Vocabulary. 
 
 $ See Ipldgenia in the Initial Vocabulary. 
 
 \ 
 
( "4 ) 
 
 Accent the Antepenultimate. 
 
 Badia, Arcadia, Leucadia, Media, Iphimedia, Nicomedia, 
 Polymedia, Eporedia, Corsedia, Suedia, Fordicidia, Numidia, 
 Canidia, Japidia, Pisidia, Gallovidia, Scandia, India, Burgundia, 
 Ebodia, Cbdia, ^Erodia, Longobardia, Cardia, Verticordia, Con- 
 cordia, Discordia, Herephordia, Claudia, Lydia. 
 
 EIA 
 
 Accent the Penultimate. 
 
 Elegeia*, Hygeia, Antheia, Cartheia, Aquileia, Pompeia, 
 Deiopeia, Tarpeia, Carteia. 
 
 G1A 
 
 Accent the Antepenultimate. 
 
 Sphagia, Lagia, Athanagia, Cantabrigia, Ortigia, Norvigia, 
 Langia, Eningia, Finningia, Lotharingia, Turingia, Sergia, Or- 
 gia, Pelasgia, Fugia, Kugia, Ogygia, Jopygia, Phrygia, Zygia. 
 
 HIA 
 
 Accent the Penultimate. 
 Sophia, Xenopithia, Anthia, Erythia, 
 
 Accent the Antepenultimate. 
 
 Valachia, Lysimachia, Centauromachia, Inuchia, Xynsichia, 
 Antiochia, Amphilochia, Munychia, Philadelphia, Apo&trophia, 
 
 * The ancients sometimes separated the vowels ci in this termination, and 
 sometimes pronounced them as a diphthong. The general mode of pronounc- 
 ing them with us is to consider them as a diphthong, and to pronounce it as long 
 or double e ; which from its squeezed sound, approaches to the initial t/, and 
 makes these words pronounced as if written El-e-je" yah, Uy-j& yah, &c. This 
 is the pronunciation which ought to be adopted, but scholars who are fond of 
 displaying their knowledge of Greek will be sure to pronounce Elegeia, Hygeia, 
 or rather Hygieia, Anthtia, and Deiopeia, with the diphthong like the noun eye; 
 while Cartheia, or Carteia, Aquileia, Pompeia, and Tarpeia, of Latin original, are 
 permitted to have their diphthongs sounded like double e, or, which is nearly 
 the same thing if the vowels are separated, to sound the e long as in equal, and 
 the i as y consonant, articulating the final a. See note on Achaia. 
 
 For a more complete idea of the sound of this diphthong, see the word 
 Pleiades, in the Initial Vocabulary. To which observations we may add, that 
 when this diphthong in Greek is reduced to the single long i in Latin, as in 
 Iphigenia, Elegia, &c. it is pronounced like single i, that is, like the noun eye. 
 
( "5 ) 
 
 Scarphia, Acryphia, Emathia, ^mathia, Alethia, Hyacinthh, 
 Carinthia, Tyrinthia, C)nthia, Tyryuthia, Paithia, Scythia, 
 Pylhia. 
 
 L1A 
 
 Accent the Penultimate. 
 
 Thalia, Aristoclia, Basilia. 
 
 Accent the Antepenultimate. 
 
 CEbalia, Fornicalia, Lupercalia, Acidalia, Vandalia, Podalia, 
 Megalia, Robigalia, Fugalia, CEchalia, Westphalia, .ZEthalia, 
 Alalia, Vulcanalia, Paganalia, Bacchanalia, Terminalia, Fonti- 
 nalia, Veriumnalia, Portumnalia, Agonalia, Angeronalia, Satur- 
 nalia, Faunalia, Portunalia, Opalia, Liberalia, Feralia, Fioralia, 
 Lemuralia, Salia, Pharsalia, Thessalia, ^Etalia, Italia, Cornpita- 
 lia, Carmontalia, Laurentalia, Castalia, Attalia, Psytalia, Mam- 
 blia, .ZElia, Caelia, Belia, Celia, Decelia, Agelia, Helia, Corne- 
 lia, Cloelia, Aspelia, Cerelia, Aurelia, Velia, Anglia, Caecilia, 
 Sicilia, -3Egilia, Cingilia, Palilia, Emilia, ^Enilia, Venilia, Pa- 
 rilia, Basilia, Absilia, Hersilia, Massilia, Atilia, Anatilia, Petilia, 
 Antilia, Quintilia, Hostilia, Cutilia, Aquilia, Servilia, Elapho- 
 bolia, Ascolia, Padolia, JEolia, Folia, Natolia, Anatolia, j^Etolia, 
 Nauplia, Daulia, Figulia, Julia, Apulia, Gaetulia, Getulia, Tri- 
 phylia, Pamphylia. 
 
 MIA 
 Accent the Penultimate. 
 
 * Deidamia, Laodamia, Hippodamia, Astydamia, Apamia > 
 Hydramia. 
 
 Accent the Antepenultimate. 
 
 Lamia, Mesopotamia, Cadmia, Academia, Archidemia, Eu- 
 demia, Isthmia, Holmia, Posthumia. 
 
 N IA 
 
 Accent the Penultimate. 
 Amphigenia, Iphigeniaf, Tritogenia, Lasthcnia. 
 
 Accent the Antepenultimate. 
 
 Albania, Sicania, Hyrcania, Arcania, Lucania, Dania, Co- 
 dania, Dardania, Epiphania, Alania, Mania, Cannania, Ger- 
 
 * See Rule 30. t Sec this word in the Initial Vocabulanj. 
 
 I 2 
 
( 116 ) 
 
 mania, Normania, Ciunania, Acarnania, Campania, Hispania, 
 Pomerania, Afrania, Urania, Bassania, Actania, Edetania, Lale- 
 tania, Occitania, Ossigitania, Mauritania, Lusitania, Titania, 
 Sexitania, Alentania, Contestania, Mevania, Lithuania, Tran- 
 silvania, Azania, .ZEnia, Actaenia, Aberdenia, Ischenia, Tyrrhe- 
 nia, Parlhenia, Diogenia, Menia, Acliaemenia, Armenia, Nenia, 
 Ncenia, Poenia, Cebrenia, Seriia, Arnagnia, Signia, Albinia, 
 Lacinia, Dinia, Sardinia, Fulginia, Virginia, Bechinia, Mach- 
 linia, Ciminia, Eleusinia, Tinia, Lavinia, Mervinia, Lamnia, 
 Lycemnia, Polyhymnia, Alemannia, Britannia, Fescennia, Aonia, 
 Lycaonia, Chaonia, Catalonia, Laconia, Glasconia, Adonia, 
 Macedonia, Marcedonia, Caledonia, Mygdonia, Aidonia, Asi- 
 donia, Posidonia, Abbendoriia, Herdonia, Laudonia, Cydonia, 
 Maeonia, PaBonia, Pelagonia, Paphlagonia, Aragonia, Antigonia, 
 Sithonia, Ionia, Agrionia, Avalonia, Aquilonia, Apollonia, Colo- 
 nia, Polonia, Populonia, Vetulonia, Babylonia, Acmonia, ^Emo- 
 nia, Haemonia, Tremonia, Ammonia, Harmonia, Codanonia, 
 Simonia, Pannonia, Bononia, Lamponia, Pomponia, Cronia, 
 Feronia, Sophronia, Petronia, Antronia, Duronia, Turonia, 
 Caesonia, Ausonia, Latonia, Tritonia, Boltonia, Ultonia, Han- 
 tonia, Vintonia, Wintonia, Bistonia, Plutonia, Favonia, Sclavonia, 
 Livonia, Arvonia, Saxonia, Exonia, Sicyonia, Narnia, Sarnia, 
 Dorebernia, Hibernia, Cliternia, Lindisfornia, Vigornia, Wigor- 
 nia, Liburnia, Calphurnia, Saturnia, Pornia, Daunia, Ceraunia, 
 Acroceraunia, Junia, Clunia, Neptunia ; Ercynia, Bithynia, 
 Macrynia. 
 
 OIA 
 
 Accent the Antepenultimate. 
 Laioia. 
 
 PIA 
 
 Accent the Antepenultimate. 
 
 Apia, Salopia, Manapia, Messapia, Asclipia, Lampia, Olym- 
 pia, Ellopia, Dolopia, CEnopia, Cecropia, Mopsopia, Appia, 
 Lappia, Oppia, Luppia, Antuerpia. 
 
 RIA 
 
 Accent the Penultimate. 
 Daria. 
 
 Accent the Antepenultimate. 
 Aira, Baria, Fabaria, Columbaria, Barbaria, Caria, Ficaria, 
 
( 117 ) 
 
 Calcaria, Sagaria, Megaria, Hungaria, Pharia, Salaria, Hilaria, 
 Allaria, Mallaria, Sigillaria, Anguillaria, Samaria*, Palmaria, 
 Planaria, Enaria, Maenaria, Gallinaria, Asinaria, Carbonaria, 
 Chaunaria, Colubraria, Agraria, Diocaesaria, Pandataria, Cota- 
 ria, Nivaria, Antiquaria, Cervaria, Petuaria, Argentuaria, Cala- 
 bria, Cantabria, Cambria, Sicambria, Mesembria, Fimbria, 
 Umbria, Cumbria, Selymbria, Abobria, Amagetobria, Trina- 
 cria, Teucria, Molycria, Adria, Hadria, Geldria, Andria, Sca- 
 mandria, Anandria, Cassandria, Alexandria, .ZEria, Egeria, Ae- 
 ria, Faberia, Iberia, Celtiberia, Luceria, Nuceria. ^Egeria, 
 JEtheria, Eleutheria, Pieria, Aleria, Valeria, Ameria, Numeria, 
 Neria, Casperia, Cesperia, Hesperia, Hyperia, Seria, Fabrateria, 
 Compulteria, Asteria, Anthesteria, Faveria, Lbcegria, Iria, 
 Liria, Equiria, Oschoforia, Daphnephoria, Themophoria, Anthes- 
 phoria, Cliilmoria, Westmoria, Eupatoria, Anactoria, Victoria, 
 Praetoria, Arria, Atria, Eretria, Feltria, Conventria, Bodotria, 
 CEnotria, Cestria, Cicestria, Circestria, Thalestria, Istria, Aus- 
 tria, Industria, Tablustria, Uria, Calauria, Isauria, Curia, Duria, 
 Manduria, Furia, Liguria, Remuria, Etruria, Hetruria, Turia, 
 Apaturia, Baeturia, Beturia, Asturia, Syria, Coelesyria, Coelosyria, 
 Leucosyria, Assyria. 
 
 SI Af 
 
 decent the Antepenultimate. 
 
 Asia, Chadasia, Lasia, Seplasia, Amasia, Aspasia, Therasia, 
 Agirasia, Austrasia, Anastasia, Arbsia, ^Esia, Caesia, Maesia, 
 ^Idesia, Artemesia, Magnesia, Mcesia, Merpesia, Ocresia, Eu- 
 phratesia, Artesia, Suesia, Bisia, Calisia, Provisia, Hortensia, 
 Chenobosia, Leucosia, Pandosia, Theodosia, Arachosia, Ortho- 
 sia, Rosia, Thesprosia, Sosia, Lipsia, Nupsia, Persia, Nursia, 
 Tolassia, Cephissia, Russia, Blandusia, Clusia, Ampelusia, An- 
 themusia, Acherusia, Perusia, Bysia, Sicysia, Mysia, Dionysia. 
 
 TIA 
 
 Accent the Antepenultimate. 
 Sabatia, Ambatia, Latia, Calatia, Galatia, Collatia, Dalmatia, 
 
 * For the accent of this word and Alexandria, see Rule 30, prefixed to the 
 Initial Vocabulary. 
 
 t The s in this termination, when preceded by a vowel, ought always to be 
 sounded like zfc, as if written Amazhia, Aspazhia, &c. Asia, Theodosia, and 
 Sosia, seem to be the only exceptions. See Principles of English Pronuncia- 
 tion, No. 453, prefixed to the Critical Pronouncing Dictionary of the English, 
 Language. 
 
( "8 ) 
 
 Sarmatia, Egnatia, Aratia, Alsatia, Actia, Caetia, Rhaetia, Anse- 
 tia, Vicetia, Peucetia, Pometia, Anetia, Clampetia, Lucretia, 
 Cyretia, Setia, Lutetia, Helvetia, Uzetia, Phiditia, Angitia, An- 
 drolitia, Sulpitia, Naritia, Delgovitia, Baltia, Bantia, Brigantia, 
 Murgantia, Almantia, Numantia, Aperantia, Constantia, Pla- 
 centia, Picentia, J^ucentia, Fidentia, Digentia, Morgentia. 
 Valentia, Pollentia, Polentia, Terentia, Florentia, Laurentia, 
 Consentia, Potentia, Faventia, Confluentia, Liquentia, Druentia, 
 Quintia, Pontia, Acherontia, Alisontia, Moguntia, Scotia, Boeotia, 
 Scaptia, Martia, Tertia, Sebastia, Bnbastia, Adrastia, Bestia, 
 Modestia, Segestia, Orestia, Charistia, Ostia, Brattia, Acutia, 
 Minutia, Cossutia, Tutia, Clytia, Narytia. 
 
 VIA 
 
 Accent the Antepenultimate. 
 
 Candavia, Blavia, Flavia, Menavia, Scandinavia, Aspavia, 
 Moravia, Warsavia, Octavia, Juvavia, JEvia, Cendevia, Menevia, 
 Suevia, Livia, Trivia, Urbesalvia, Sylvia, Moscovia, Segovia, 
 Gergovia, Nassovia, Cluvia. 
 
 XIA 
 
 Accent the Antepenultimate. 
 Brixia, Cinxia. 
 
 YIA 
 
 Accent the Penultimate. 
 llithyia*, Orithyia. 
 
 ZIA 
 
 Accent the Antepenultimate. 
 Sabazia, Alyzia. 
 
 ALA 
 
 Accent the Penultimate. 
 Ahala, Messala. 
 
 Accent the Antepenultimate. 
 
 Abala, Gabala, Castabala, Onobala, Triocala, Crocala, Ab- 
 dala, Daedala, Bucepbala, Abliala, Astyphala, Maenala, Avala. 
 
 * The vowels ia in these words must be pronounced distinctly in two sylla- 
 bles, as if written Il-ith-C'i 1 ah, 0-rtth>e-i' ah ; the penultimate syllable pro- 
 nounced as the noun eye. 
 
( 119 ) 
 CLA 
 
 decent either the Penultimate or Antepenultimate syllable. 
 Amicla. 
 
 ELA 
 Accent the Penultimate. 
 
 Arbela (in Persia), Acela, Adela, Suadete, Mundela, Philo- 
 mela, Amstela. 
 
 ELA 
 
 Accent the Antepenultimate. 
 Arbela (in Sicily). 
 
 OLA 
 Accent the Antepenultimate. 
 
 Publicola, Anionicola, Junonicola, Neptunicola, Agricola, 
 Baticola, Leucola, JEola, Abrostola, Scaevola. 
 
 ULA 
 
 Accent the Antepenultimate. 
 
 Abula, Trebula, Albula, Carbula, Callicula, Saticula, Adula, 
 Acidula, jEgula, Caligula, Artigula, Longula, Ortopula, Me- 
 rula, Casperula, Asula, .^Esula, Foesula, Sceptesula, Scepterisula, 
 Insula, Vitula, Vistula. 
 
 YLA 
 
 Accent the Penultimate. 
 Idyla, Massyla. 
 
 Accent the Antepenultimate. 
 Abyla. 
 
 AMA EMA IMA OMA UMA YMA 
 
 Accent the Penultimate. 
 Cynossema, Aroma, Narracustoma. 
 
 Accent the Antepenultimate. 
 
 Pandama, Abderama, Asama, Uxama, Acema, Obrima, Per- 
 rima, Certinaa, Boreostoma, Decuma, Didyma, Hierosolyma, 
 
( 120 ) 
 
 A NA 
 Accent the Penultimate. 
 
 Albana, Pandana, Trajana, Marciana, Diana, Sogdiana, Dran- 
 giana, Margiana, Aponiana, Pomponiana, Trojana, Copiana, 
 Mariana, Drusiana, Susiana, Statiana, Glottiana, Viana, Alana, 
 Crococalana, Eblana, jElana, Amboglana, Vindolana, Quercu- 
 lana, Querquetulana, Amana, Almana, Comana, Mumana, Bar- 
 pana, Clarana, Adrana, Messana, Catana, Accitana, Astigitaua, 
 Zeugitana, Meduana, Malvana, Cluana, Novana, Equana. 
 
 ANA 
 Accent the Antepenultimate. 
 
 Abana, Fricana, Concana, Adana, Cispadana, Sagana, Ach- 
 ana, Leuphana, Hygiana, Drepana, Barpana, Ecbatana, Catana, 
 Sequana, Cyana, Tyana. 
 
 ENA 
 
 Accent the Penultimate. 
 
 Labena, Characena, Medena, Fidena, Aufidena, Ageena, 
 Comagena, Dolomena, Capena, Caesena, Messena, Artena. 
 
 Accent the Antepenultimate. 
 
 Phoebigena, Graphigena, Aciligena, Ignigena, Junonigena, 
 Opigena, Nysigena, Boetigena, Trojugena, jEgostheiia, Alena, 
 Helena, Pellena, Porsena, Atena, Polyxena, Theoxena. 
 
 IN A* 
 Accent the Penultimate. 
 
 Arabina, Acina, Cloacina, Tarracina, Cluacina, Coecina, 
 Kicinu, Kuncina, Cercina, Lucina, Erycina, Acradina, Achra- 
 dina, jEgina, Bachina, Acanthina, Messalina, Catalina, Fascelina, 
 Mechlina, Tellina, Callina, Meduliina, Cleobulina, Tutulina, 
 Caenina, Cenina, Antonina, Heroiua, Apina, Cisalpina, Trans- 
 alpina, Agrippina, Abarina, Carina, Larina, Camarina, Sabrina, 
 Phalacrina, Acerina, Lerina, Camerina, Terina, Jamphorina, 
 Caprina, Myrina, Casina, Felsina, Abusina, Eleusina, Atina, 
 Catina, Metina, Libitina, Maritina, Libentina, Adruruentina, 
 
 * Every word of this termination with the accent on the penultimate syllable, 
 has the i pronounced as the noun eye. See Rules 1, 3, and 4, prefixed to the 
 Initial Vocabulary. 
 
Ferentina, Aventina, Aruntina, Potina, Palaestina, Mutina, Fla- 
 vina, Levina. 
 
 Accent the Antepenultimate. 
 Acina, Fascellina, Proserpina, Asina, Sarsina. 
 
 ON A 
 
 Accent the Penultimate. 
 
 Abona, Uxacona, Libisocona, Usocona, Saucona, Dodona, 
 Scardona, Adeona, Aufona, Salona, Bellona, Duellona, J-Etmo- 
 na, Cremona, Artemona, Salmona, Homona, Pomona, Flanona, 
 ^Enona, Hippona, Narona, Aserona, Angerona, Verona, Ma- 
 trona, ^Esona, Latona, Antona, Dertona, Ortona, Cortona, Al- 
 vona, Axona. 
 
 UNA 
 
 Accent the Antepenultimate. 
 Ituna. 
 
 OA 
 
 Accent the Penultimate. 
 Aloa. . 
 
 Accent the Antepenultimate. 
 Anchoa. 
 
 IPA OPA UPA 
 Accent the Penultimate. 
 Argyripa, Europa, Catadupa. 
 
 ARA 
 
 Accent the Penultimate. 
 Abdara. 
 
 Accent the Antepenultimate. 
 
 Abara, Acara, Imacara, Accara, Cadara, Gadara, Abdara, 
 Megara, Machara, Imachara, Phalara, Cinara, Cynara, Li para, 
 Lupara, Isara, Patara, Mazara. 
 
 CRA DRA 
 
 Accent the Antepenultimate. 
 Lepteacra, Cliaradra, Clepsydra. 
 
ERA 
 
 decent the Penultimate. 
 
 Abdera, Andera, Cythera (the island Cerigo, near, Crete). 
 Accent the Antepenultimate. 
 
 Libera, Glycera, Acadara, Jadera, Abdera, Andera, Aliphera, 
 Cythera (the city of Cyprus), Hiera, Cremera, Cassara. 
 
 GRA 
 
 Accent the Antepenultimate. 
 Tanagra, Beregra. 
 
 HRA 
 
 Accent the Penultimate. 
 Libethra. 
 
 IRA 
 
 Accent the Penultimate. 
 
 Daira, Thelaira, Stagira, JEgira, Deiariira, Metanira, Thy- 
 atira. 
 
 Accent the Antepenultimate. 
 Cybira. 
 
 OR A 
 
 Accent the Penultimate. 
 Pandora, Aberdora, Aurora, Vendesora, Windesora. 
 
 Accent the Antepenultimate. 
 Ebora. 
 
 TRA 
 
 Accent the Penultimate. 
 Cleopatra. 
 
 Accent the Antepenultimate. 
 Excetra, Lucopetra, Triquetra. 
 
 URA 
 
 Accent the Penultimate. 
 
 Cabura, Ebura, JSbura, Balbura, Subura, Pandura, Baniura, 
 Asura, Lesura, Isura, Cynosura, Lactura, Astura. 
 
YRA 
 
 Accent the Penultimate. 
 
 Ancyra, Cercyra, Corey ra, Lagyra, Palmyra*, Cosyra, Ten- 
 tyra. 
 
 Accent the Antepenultimate. 
 Laphyra, Glaphyra, Philyra, Cebyra, Antic)'ra. 
 
 ASA 
 
 Accent the Antepenultimate. 
 Abasa, Banasa, Dianasa, Harpasa. 
 
 ESA ISA OSA 
 Accent the Penultimate. 
 
 Ortogesa, Alesa, Halesa, Namesa, Alpesa, Berresa, Mentesa, 
 Ampbisa, Elisa, Tolosa, .ZErosa, Dertosa, Cortuosa. 
 
 USA YSA 
 
 Accent the Penultimate. 
 
 Pharmacusa, Pithecusa, Nartecusa, Phoenicusa, Celadusa, 
 Padusa, Lopadusa, Medusa, Eleusa, Creusa, Lagusa, Elaphusa, 
 Agathusa, Marathusa, ^Ethusa, Phoethiisa, Arethusa, Ophiusa, 
 Elusa, Cordilusa, Drymusa, Eranusa, Ichnusa, Colpusa, Aprusa, 
 Cissusa, Scotusa, Dryusa, Donysa. 
 
 ATA 
 
 Accent the Penultimate. 
 
 Braccata, Adadata, Rhadata, Tifata, Tiphata, Crotoniata, 
 Alata, Amata, Acmata, Comata, Sarmata, Napata, Demarata, 
 Quadrata, Grata, Samosata, Armosata, Congavata, Artaxata. 
 
 Accent the Antepenultimate. 
 Chaerestrata. 
 
 ETA IT A OTA UTA 
 Accent the Penultimate. 
 
 JEta, Caieta, Moneta, Deniareta, Myrteta, Herbita, Areopa- 
 gita, Melita, Abderita, Artemita, Stagirita, Uzita, Phthiota, 
 Epirota, Contributa, Cicuta, Aluta, Matuta. 
 
 * Palmyra. See this word in the Initial Vocabulary. 
 
( 124 ) 
 
 decent the Antepenultimate. 
 Damocrita, Emerita. 
 
 AVA EVA IVA 
 
 Accent the Penultimate. 
 
 Clepiduva, Abragava, Calleva, Geneva, Areva, Atteva, Lu- 
 teva, Galliva. 
 
 Accent the Antepenultimate. 
 Batava. 
 
 UA 
 
 Accent the Antepenultimate. 
 
 Accua, Addua, Hedua, Heggua, Armua, Capua, Februa, 
 Achrua, Palatua, Flatua, Mantua, Agamzua. 
 
 Y A 
 
 Accent the Antepenultimate. 
 Libya, Zerolibya, j^Ethya, Carya, Marsya. 
 
 AZA EZA OZA 
 
 Accent the Penultimate. 
 Abaraza, Mieza, Baragoza. 
 
 AE 
 
 Accent the Antepenultimate. 
 Nausicae, Pasiphae. 
 
 Accent the Penultimate. 
 Maricae. 
 
 Accent the Antepenultimate. 
 
 Colubae, Vaginiacae, Carmocae, Qxydracae, Gallicae, Hieronicge, 
 Coricae, Anticae, Odrycae. 
 
 AD^E 
 
 Accent the Antepenultimate. 
 , Baccbiadae, Scipiadaa, Battiadae, Thestiadae. 
 
 Accent the Penultimate. 
 Proclidae, Basilkjae, Orestidag, Ebudae, 
 
( 125 ) 
 
 Accent the Antepenultimate. 
 
 Labdacidae, Seleucidae, Adrymachidae, Branchidae, Pyrrhi- 
 dae, Basilidae, Romulidae, Numidae, Dardanidae, Borysthenidae, 
 Ausonidae, Cecropida?, Gangaridae, Marmaridae, Tyndaridse, 
 Druidae. 
 
 jE#l EM FJE G^ H^E 
 
 Accent the Penultimate. 
 Achaeae, Plataeae, Napaeae, Allifae. 
 
 Accent the Antepenultimate. 
 
 Diomedeae, Cyaneae, Cenchreae, Capreae, Plateae, Callifae, 
 Latobrigae, Lapithae. 
 
 Accent the Antepenultimate. 
 
 Baiae, Graiae, Stabiae, Ciliciae, Cerciae, Besidiae, Rudiae, 
 Taphiae, Versaliae, Ficeliae, Encheliae, Cloeliae, Cutilias, Esqui- 
 liae, Exquiliae, Formiae, Volcaniae, Araniae, Armeniae, Britan- 
 niae, Boconiae, Chelidoniae, Pioniae, Gemonise, Xyniae, Ellopiae, 
 Herpiae, Caspiae, Cuniculariae, Canariae, Purpurariae, Chabriae, 
 Feriae, Laboriae, Emporiae, Caucasiae, Vespasiae, Corasiae, Pra- 
 siae, Ithacesiae, Gymnesiae, Etesiae, Gratiae, Venetiae, Piguntia?, 
 Selinuntiae, Sestiae, Cottiae, Landavia?, Harpyiae. 
 
 Accent the Antepenultimate. 
 
 Pialae, Agagamalac, Apsilae, Apenninicolae, ^Iquicolae, Apiolae, 
 EpipolaB, Bolbula?, Anculae, Fulfulae, Fesulae, Carsulae, Latulae, 
 Thermopylae, Acrocomse, Achomae, Solymae. 
 
 AN^E EN^E 
 Accent the Penultimate. 
 
 Africanae, Clodianae, Valentinianae, Marianae, Valentianae, 
 Sextianse, Cumanae, Adiabenae, Mycenae, Fregenaa, Sophenae, 
 Athenae, Hermathenae, Mitylenae, Acesamenae, Achmenae, Clas- 
 somenae, Camoenae, Convenae. 
 
 Accent the Antepenultimate. 
 Apenninigenae, Faunigenae, Ophiogenae. 
 
 * See Rule 4 of the Initial Vocabulary. 
 
( 126 ) 
 
 INM ON^S UNJE ZOM 
 Accent the Penultimate. 
 
 Salinae, Calaminae, Agrippina?, Caiina?, Taurinae, Philistine, 
 Cleonae, Veunonae, Oonae, Vacunae, Androgunae, Abzose. 
 
 IPJE UP^E 
 
 Accent the Antepenultimate. 
 Centuripae, Rutupae. 
 
 ARJE ER^E UBR^ YTHR^E OR^E ATR^E ITRjE 
 
 Accent the Penultimate. 
 
 Adiabarae, Andara?, Ulubrae, Budor?e, AlachoraB, Coatrap, 
 Velitrae. 
 
 Accent the Antepenultimate. 
 Eleutherse, Biiterae, Erythrae, Pylagorae. 
 
 AS^E ES^E US^E 
 Accent the Penultimate. 
 Syracusae, Pithecusae, Pityusae. 
 
 Accent the Antepenultimate. 
 Pagasae, Acesae. 
 
 AT^l ETJE 
 Accent the Penultimate. 
 
 Maeatae, Abrincatae, Lubeatse, Docleatae, Pheneatae, Aca- 
 peatae, Magatae, Olciniatae, Crotoniatae, Galatae, Arelatae, Hylatae, 
 Arnatae, laxamatae, Dalmatse, Sauromatas, Exomataj, Abriualae, 
 Fortunatae, Asampatae, Cybiratae, Vasatae, Circetai, ^Isymnetae, 
 Agapetae, Aretae, Diaparetae. 
 
 Accent the Antepenultimate. 
 Ttiyroageta?, Massagelai, Aphetrc, Denseletye, Coeletae, De- 
 
 decent the Penultimate. 
 
 Ascitae, Abraditae, Acbitae, Aboniteichitae, Accabacotichitae, 
 ^\rsagalita3, Avalita?, Phaselilae, Brullitae, Hierapolitae, Anto- 
 niopolitae, Adriauapolita?, Metropolitae, Diouysopolitae, Adulita; ; 
 
Elamitae, Bomitae, Tomitas, Scenitae, Pionitae, Agravonitae, 
 Agonitae, Sybaritae, Daritae, Opharitae, Dassaritae, Nigritae, 
 Orita?, Aloritae, Tentyritae, Galeota?, Linmiotae, Estiotae, Am- 
 preutae, Alulae, TroglodytaB, or Troglod' y taa. 
 
 Accent the Penultimate. 
 Durcabrivae, Elgovas. Durobrovae. 
 
 Accent the Antepenultimate, 
 
 Mortuae, Halicya?, Phlegyae, Bitbyae, Ornilhyae, Milyae, 
 Minyae. 
 
 QBE 
 
 Accent the Antepenultimate. 
 Deiphobe, Niobe. 
 
 ACE ECE ICE OCE YCE 
 
 Accent the Penultimate. 
 Phcenice, Berenice, Aglaonice, Stratonice. See Rule 30. 
 
 Accent the Antepenultimate. 
 
 Candace, Phylace, Canace, Mirace, Artace, Allebece, Alo- 
 pece, Laodice, Aguodice, Eurydice, Pyrrhice, Helice, Gallice, 
 lllice, Deniodice, Sarmatice, Erectice, Getice, Cymodoce, 
 Agoce, Harpalyce, Eryce. 
 
 EDE 
 
 Accent the Penultimate, 
 Agamede, Perimede, Alcimede. 
 
 JEE 
 
 Accent the Penultimate. 
 
 NEE AGE 
 
 Accent the Antepenultimate. 
 Cyanee, Lalage. 
 
 * The termination of yce, with the accent on the preceding syllable, must be 
 pronounced as two similar letters ; that is, as if spelt Halic-e-e, Min-e-e, &c. 
 See Rule 4 of the Initial Vocabulary. 
 
( 128 ) 
 ACHE ICHE YCHE 
 
 decent the Antepenultimate. 
 Ischomache, Andromache, Canache, Doliche, Eutyche. 
 
 PHE THE 
 
 Accent the Antepenultimate. 
 Anaphe, Psamathe. 
 
 IE 
 
 Accent the Penultimate. 
 
 Gargaphie*, Uranie, Meminie Asterie, Hyrie, Parrhasie, 
 Clylie. 
 
 ALE ELE ILE OLE ULE YLE 
 
 Accent the Penultimate. 
 Neobule, Eubule, Cherdule, Eriphyle. 
 
 Accent the Antepenultimate. 
 
 Acale, Hecale, Mycale, Megale, Omphale, JEthale, Noven- 
 diale, ^Egiale, Atichiale, Myrtale, Ambarvale, Hyale, Euryale, 
 Cybele, Nephele, Alele, Semele, Perimele, Poecile, Affile, 
 CEmphile, lole, Omole, Homole, Phidyle, Strongyle, Chtho- 
 nophyle, Deipyle, Eurypile. 
 
 AME I ME OME YME 
 
 Accent the Antepenultimate. 
 
 Apame, Inarirae, Ithome, Amymome, CEnome, Amphinome, 
 Laonome, Hylonome, Eurynome, Didyme. 
 
 AN E 
 Accent the Penultimate. 
 
 Mandane, jEane, Anthane, Achriane, Anane, Drepane, Acra- 
 batane, Eutane, Roxane. 
 
 Accent the Antepenultimate. 
 Taprobarie, Cyane, Pitane. 
 
 * The i in the penultimate syllables of the words, not having the accent, must 
 be pronounced like e. This occasions a disagreeable hiatus between this and 
 the last syllable, and a repetition of the same sound ; but at the same time is 
 strictly according to rule. See Rule 4 of the Initial Vocabulary. 
 
( 129 ) 
 ENE 
 
 decent the Penultimate. 
 
 Acabene, Bubacene, Damascene, Chalcidene, Cisthene, 
 Alcisthene, Partbiene, Priene, Poroselene, Pallene, Tellene, 
 Cyllene, Pylene, Mitylene, .ZEmene, Laonomene, Ismene, 
 Dindymene, Osrhoene, Troene, Arene, Autocrene, Hippo- 
 crene, Pirene, Cyrerie, Pyrene, Capissene, Atropatene, Cor- 
 duene, Syene. 
 
 decent the Antepenultimate. 
 
 Helene, Dynamene, Depamene, Nyctimene, Idomene, Mel- 
 pomene, Anadyomene, Armene. 
 
 INE 
 
 Accent the Penultimate. 
 
 Sabine, Carcine, Trachine, Alcanthine, Neptunine, Larine, 
 Nerine, Irine, Barsine, Bolbetine. 
 
 Accent the Antepenultimate. 
 Asine. 
 
 ONE YNE 
 Accent the Penultimate. 
 
 Methone, Ithone, Dione, Porphyrione, Acrisione, Alone, 
 Halone, Corone, Torone, Thyone, Bizone, Delphyne. 
 
 Accent the Antepenultimate. 
 
 Mycone, Erigone, Persephone, Tisiphone, Deione, Pleione, 
 Chione, Ilione, Hermione, Herione, Commone, Mnemosyne, 
 Sophrosyne, Eupbrosyne. 
 
 O E (in two syllables) 
 Accent the Antepenultimate. 
 
 Amphirboe, Alcatboe, Alcithoe, Amphithoe, Nausithoe, Lao- 
 tboe, Leucothoe, Cymothoe, Hippotboe, Alyxothoe, Myrioe, 
 Pholoe, Soloe, Sinoe, Mnoe, Arsinoe, Lysinoe, Antinoe, Leu- 
 conoe, Theonoe, Pliilonoe, Phaemonoe, Autonoe, Polynoe, 
 Beroe, Meroe, Peroe, Ocyroe, Abzoe. 
 
 APE OPE 
 
 Accent the Antepenultimate. 
 lotape, Rbodope, Cbalciope, Candiope, JEthiope, Calliope, 
 
( 130 ) 
 
 Liriope, Cassiope, Alope, Agalope, Penelope, Parthenope, Si- 
 nope, jErope, Merope, Dryope. 
 
 ARE IRE ORE YRE 
 
 decent the Penultimate. 
 Lymire. 
 
 Accent the Antepenultimate. 
 Becare, Tamare, JEnare, Terpsichore, Zephyre, A pyre. 
 
 ESE 
 
 Accent the Antepenultimate. 
 Melese, Temese. 
 
 ATE ETE ITE OTE YTE TYE. 
 
 Accent the Penultimate. 
 
 Ate, Reate, Teate, Arelate, Admete, Arete, Aphrodite, Am- 
 phitrite, Atabyrite, Percote, Pactye. 
 
 Accent the Antepenultimate. 
 
 Hecate, Condate, Automate, Taygete, Nepete, Anaxarete, 
 Hippolyte. 
 
 AVE EVE 
 Accent the Penultimate. 
 Agave. 
 
 Accent the Antepenultimate. 
 Nineve. 
 
 LAI* NAI (in two syllables) 
 
 Accent the Penultimate. 
 Acholai. 
 
 Accent the Antepenultimate. 
 Danai. 
 
 BI 
 
 Accent the Antepenultimate. 
 Acibi, Abnobi, Attubi. 
 
 ACl 
 Accent the Antepenultimate. 
 
 Segontiaci, Mattiaci, Amaci, -ZEnaci, BettovacL 
 * For the final i in these words, see Rule the 4th of the Initial Vocabulary. 
 
( 131 ) 
 ACI ICI OCI UC1 
 
 decent the Penultimate. 
 
 Rauraci, Albici, Labici, Acedici, Palici, Marici, Medoma- 
 trici, Raurici, Arevici, Triboci, Aruci. 
 
 decent the Antepenultimate. 
 
 Callaici, Vendelici, Academic!, Arecomici, Hernici, Cynici, 
 Stoici, Opici, Nassici, Aduatici, Atuatici, Peripatetici, Cettici, 
 Avantici, Xystici, Lavici, Triboci, Amadoci, Bibroci. 
 
 GDI YDI 
 
 \ 
 
 decent the Penultimate. 
 Borgodi, Abydi. 
 
 JEI 
 Accent the Penultimate. 
 
 Saba?i, Vaccaei, and so of all words which have a diphthong in 
 the penultimate syllable. 
 
 E I (in two syllables) 
 
 : decent the Antepenultimate. 
 
 Lapidei, Candei, Agandei, Amathei, Elei, Canthlei, Euganei, 
 CEnei, Mandarei, Hyperborei, Carastasei, Pratei. 
 
 GI 
 
 Accent the Antepenultimate. 
 
 Acridophagi, Agriophagi, Chelanophagi, Andropophagi, An- 
 thropophagi, Lotophagi, Struthophagi, Ichthyophagi, Decem- 
 pagi, Novempagi, Artigi, Alostigi. 
 
 CHI THI 
 
 Accent the Antepenultimate. 
 Heniochi, ^Enochi, Henochi, Ostrogothi. 
 
 IP 
 
 Accent the Antepenultimate. 
 Abii, Gabii, and all words of this termination. 
 
 * See Rule 3 and 4 of the Initial Vocabulary. 
 K 2 
 
( 132 ) 
 ALI ELI ILI OLI ULI YLI 
 
 Accent the Antepenultimate. 
 
 Abali, Vandali, Acephali, Cynocephali, Macrocephali, At- 
 tali, Alontegeceli, Garoceli, Monosceli, Igiigili, JEquicoli, 
 Carseoli, Puteoli, Corioli, Ozoli, Atabuli, Graeculi, Pediculi, 
 Siculi, Puticuli, Anculi, Barduli, Varduli, Turduli, Foruli, 
 Gaetuli, Bastuli, Rutuli, Massesyli, Dactyli. 
 
 AMI EMI 
 
 Accent the Penultimate. 
 Apisami, Charidemi. 
 
 OMI UMI 
 
 Accent the Antepenultimate. 
 Cephalatomi, Astomi, Medioxumi. 
 
 ANI 
 
 Accent the Penultimate. 
 
 Albani, Cerbani, ^cani, Sicani, Tusicani, &c., and all words 
 of this termination, except Choani and Sequani, or such as are 
 derived from words terminating in anus, with :he penultimate 
 short ; which see. 
 
 ENI 
 Accent the Penultimate. 
 
 Agabeni, Adiabeni, Saraceni, Iceni, Laodiceni, Cyziceni, 
 Uceni, Chaldeni, Abjdeni, Comageni, Igeni, Quingeni, Ce- 
 pheni, Tyrrheni, Rutheni, Labieni, Alieni, Cileni, Cicimeni, 
 Alapeni, Hypopeni, Tibareni, Agareni, Rufreni, Caraseni, 
 Volseni, Bateui, Cordueni. 
 
 Accent the Antepenultimate. 
 Origeni, Apartheni, Antixeni. 
 
 INI* 
 
 Accent the Penultimate. 
 Gabini, Sabini, Dulgibini, Basterbini, Peucini, Marrucini, 
 
 * When the accent is on the penultimate syllable, the i in the two last syl- 
 lables is pronounced exactly like the noun eye; but when the accent is on the 
 antepenultimate, the first t is pronounced like e, and the last like eye* See 
 Rule 3 and 4 of the Initial Vocabulary. 
 
( 133 ) 
 
 Lactucini, Otadini, Bidini, [Jdini, Caudini, Budini, Rhegini, 
 Triocalini, Triumpilini, Magellini, Entellini, Canini, Menanini, 
 Anagnini, Amiternini, Sattirnini, Centuripini, Paropini, Irpini, 
 Hirpini, Tibarini, Carini, Celaiini, Citarini, Illiberini, Acherini, 
 Elorini, Assorini, Fellrini, Sutrini, Eburini, Tigurini, Cacyrini, 
 Agyrini, Halesini, Otesini, Mosini, Abissini, Mossini, Clusini, 
 Arusini, Reatini, Latini, Calatini, Collatini, Calactini, Ectini, 
 JEegetini, Ergetini, Jetini, Aletini, Spoletini, Netini, Neretini, 
 Setini, Bantini, Murganiini, Pallantini, Amantini, Nuraantini, 
 Fidentini, Salentini, Colentini, Carentini, Verentini, Florentini, 
 ConsentJni, Potentini, Faventini, Leontini, Acherontini, Sagun- 
 tini, Haluntini, .Slgyptini, Mamertini, Tricastini, Vestini, Faus- 
 tini, Abrettini, Enguini, Inguini, Lanuvini. 
 
 Accent the Antepenultimate. 
 Lactucini, Gemini, Memini, Morini*, Torrini. 
 
 ONI UNI YNI 
 
 Accent the Penultimate. 
 
 Edoni, Aloni, Nemaloni, Geloni, Aqueloni, Abroni, Gorduni, 
 Mariandyni, Magyni, Mogyni. 
 
 Accent the Antepenultimate. 
 Epigoni, Theutoni. 
 
 UPI 
 
 Accent the Penultimate. 
 Catadupi. 
 
 ARI ERI IRI ORI URI YRI 
 Accent the Penultimate. 
 
 Babari, Chomari, Agactari, Iberi, Celtiberi, Doberi, Algeri, 
 Palemeri, Monomeri, Hermanduri, Dioscuri, Banuri, Paesuri, 
 Agacturi, Zimyri. 
 
 Accent the Antepenultimate. 
 Abari, Tochari, Acestari, Cavari, Calabri, Cantabri, Digeri, 
 
 * Extremique hominum Morini, Rhenusqne bicornis. 
 
 VIRG. Mn. vii. 727. 
 
 The Danes, unconquer'd offspring, march behind ; 
 And Morini, the last of human kind, 
 
 DRYDEN. 
 
( 134 ) 
 
 Drugeri, Eleutheri, Crustumeri, Teneteri, Brueteri, Suelteri, 
 lYeveri, Veragri, Treviri, Ephori, Pastophori. 
 
 USI YSI 
 
 Accent the Penultimate. 
 Hermandusi, Condrusi, Nerusi, Megabysi. 
 
 ATI ETI OTI UTI 
 
 Accent the Penultimate. 
 Abodati, Capellati, Ceroti, Thesproti, Carnuti. 
 
 Accent the Antepenultimate. 
 Athanati, Heneti, Veneti. 
 
 AVI EVI IVI AXI UZI 
 
 Accent the Penultimate. 
 
 Andecavi, Chamavi, Batavi, Pictavi, Suevi, Argivi, Achivi, 
 Coraxi, Abruzi. 
 
 UI 
 
 Accent the Antepenultimate. 
 
 Abascui, JEdui, Hedui, Vermandui, Bipeditnui, Inui, Cas- 
 truminui, Essui, Abrincatui. 
 
 IBAL UBAL NAL QUIL 
 
 Accent the Penultimate. 
 Promonal. 
 
 Accent the Antepenultimate. 
 Annibal, Hannibal, Asdrubal, Hasdrubal, Tanaquil. 
 
 AM 1M UM 
 Accent the Penultimate. 
 Adulara, JEgipam, Aduram, Gerabum. 
 
 Accent the Antepenultimate. 
 Abarim. 
 
 UBUM ACUM ICUM OCUM 
 
 Accent the Penultimate. 
 Cornacum, Tornacum, Baracum, Camericum, Labicuni, 
 
( 135 ) 
 
 Avaricum, Antricum, Trivicum, Nordovicum, Longovicum, 
 Verovicum, Norvicum, Brundsvicum. 
 
 Accent the Antepenultimate. 
 
 Caecubum, Abodiacum, Tolpiacum, Bedriacum, Gessoria- 
 cum, Magontiacum, Mattiacum, Argentomacum, Olenacum 
 Arenacum, Bremetonacum, Eboracum, Eburacum, Lampsa- 
 cum, Nemetacum, Bellovacum, Agedicum, Agendicum, Gly- 
 couicum, Canopicum, Noricum, Massieum, Adriaticum, Sa- 
 benneticun), Balticum, Aventicum, Mareoticum, Agelocum. 
 
 EDUM IDUM 
 
 Accent the Antepenultimate. 
 Manduessedum, Algidum. 
 
 ^:UM 
 
 Accent the Penultimate. 
 Lilybseum, Lycaeum, and all words of this termination. 
 
 EUM 
 
 Accent the Penultimate. 
 
 Syllaceum, Lyceum, Sygeum, Amatheum, Glytheum, Didy- 
 meum, Prytaneum, Palanteum. 
 
 Accent the Antepenultimate. 
 
 Heracleum, Herculeum, Rataneum, Corineum, Aquineum, 
 Dictynneum, Panticapeum, Rhoetum. 
 
 AGUM IGUM OGUM 
 
 Accent the Antepenultimate. 
 
 Noviomagum, Nivomagum, Adrobigum, Dariorigum, Allo- 
 brogum. 
 
 IUM 
 
 Accent the Antepenultimate. 
 
 Albium, Eugubium, Abrucium, and all words of this termi- 
 nation. 
 
 ALUM ELUM ILUM OLUM ULUM 
 
 Accent the Antepenultimate. 
 Anchialum, Acelum, Ocelum, Corbilum, Clusiolnm, Oracu- 
 
( 136 ) 
 
 him, Janiculutn, Coruiculiim, Hetriculum, Uttriculum, Ascu- 
 lum, Tusculum, Angulum, Cingulum, Apulum, Trossulum, 
 Batulum. 
 
 MUM 
 
 decent the Penultimate. 
 
 Amstelodamum, Amstelrodamum, Novocomum, Cadomum. 
 Accent the Antepenultimate. 
 
 Lygdamum, Cisamum, Boiemum, Antrimum, Auximum, 
 Bergomum, Mentonomum. 
 
 ANUM 
 Accent the Penultimate. 
 
 Albanian, Halicanum, Arcanum, .^Eanum, Teanum, Trifa- 
 num, Stabeanum, Ambianum, Pompeianum, Tullianum, For- 
 mianum, Cosmianum, Boianum, Appianum, Bovianum, Me- 
 (Holanum, Amanum, Aquisgranum, Trigisanum, Nuditanum, 
 Usalitanum, Ucalitanum, Acoletanum, Acharitanum, Abziri- 
 tanum^ Argentanum, Hortanum, Anxanum. 
 
 Accent the Antepenultimate. f 
 Apuscidanum, Hebromanum, Itanum. 
 
 ENUM 
 Accent the Penultimate. 
 
 Picenum, Calenum, Durolenum, Misenum, Volsenum, Dar- 
 venum. 
 
 Accent 'the Antepenultimate. 
 Olenum. 
 
 I NU M 
 Accent the Penultimate. 
 
 Urbinum, Sidicinum, Ticinum, Pucinum, Tridinum, Londi- 
 num, Aginum, Casilinum, Crustuminum, Apenninum, Sepi- 
 num, Arpinum, Aruspinum, Sarinum, Ocriuum, Lucrinum, 
 Camerinum, Laborinum, Petrinum, Taurinum, Casinum, Ne- 
 mosiuum, Cassinum, Atinum, Batinum, Ambiatinum, Petinum, 
 Altinum, Salentinum, Tollentinum, Ferentinum, Laurentinum, 
 Abrotinum, Inguinum, Aquinum, Nequinum. 
 
( 137 ) 
 O NU M 
 
 Accent the Penultimate. 
 Cabillonum, Garianonum, Duronum, Cataractonum. 
 
 Accent the Antepenultimate. 
 Ciconum, Vindonum, Britonura. 
 
 UNUM YNUM 
 Accent the Penultimate. 
 
 Segedunum, Lugdunum, Maridunum, Moridunum, Arcal- 
 dunum, Rigodunum, Sorbiodunum, Noviodunum, Melodunuiu, 
 Camelodunum, Axelodunum, Uxellodunum, Brannodunum, 
 Carodunum, Caesarodunum, Tarodunum, Theodorodunum, Ebu- 
 rodunum, Nernantodunum, Bekmum, Antematimum, Andoma- 
 tunum, Maryandynum. 
 
 GUM GPUM YPUM 
 
 Accent the Penultimate. 
 Myrtbum, Europum. 
 
 Accent the Antepenultimate. 
 Pausilypum. 
 
 ARUM 
 Accent the Penultimate. 
 
 Agarum, Belgarum, Nympharum, Convenarum, Rosarum, 
 Adulitarum, Celtarum. 
 
 ABRUM UBRUM 
 
 Accent the Penultimate. 
 Veiabrum, Vernodubrum. 
 
 Accent the Antepenultimate. 
 Artabrum. 
 
 ERUM 
 
 Accent the Antepenultimate. 
 Caucoliberum, Tuberum. 
 
 AFRUM ATHRUM 
 Accent the Penultimate. 
 Venafrum. 
 
( 138 ) 
 
 decent the Antepenultimate. 
 Barathrum. 
 
 IRU M 
 
 decent the Penultimate. 
 Muziruin. 
 
 ORUM 
 
 Accent the Penultimate. 
 Cermorum, Ducrocortorum. 
 
 Accent the Antepenultimate. 
 Dorostorum. 
 
 E T R U M 
 
 Accent either the Penultimate or Antepenultimate. 
 Celetrum. 
 
 URUM 
 Accent the Penultimate. 
 
 Alaburum, Ascurum, Lugdurum, Marcoduriim, Lactodurum, 
 Octodururn, Divojurum, Silurum, Saturum. 
 
 Accent the Antepenultimate. 
 Tigurum. 
 
 ISUM OSUM 
 Accent the Penultimate. 
 Alisum, Amisum, Janosum. 
 
 ATUM ETUM ITUM OTUM UTUM 
 
 Accent the Penultimate. 
 
 Atrebatum, Calatum, Argentoratum, Mutristratum, Eloce- 
 tum, Quercetum, Caletum, Spoletum, Vallisoletum, Toletum, 
 Ulmetum, Adrumetum, Tunetum, Eretum, Accitum, Duro- 
 litum, Corstopitum, Abritum, Neritum, Augustoritum, Nau- 
 crotitum, Complutum. 
 
 Accent the Antepenultimate. 
 Sabbat um. 
 
 AVUM IVUM YUM 
 
 Accent the Penultimate. 
 Gandavum, Symbrivum. 
 
( 139 ) 
 
 decent the Antepenultimate. 
 Coccyum, Engyum. 
 
 MIN AON ICON 
 
 Accent the Penultimate. 
 
 Helicaon, Lycaon, Machaon, Dolichaon, Amithaon, Didy- 
 inaon, Hyperaon, Hicetaon. 
 
 Accent the Antepenultimate. 
 Salamin, Rubicon, Helicon. 
 
 ADON EDON IDON ODON YDON 
 
 Accent the Penultimate. 
 
 Calcedon, Chalcedon, Carchedon, Anthedon, Asplcdon, 
 Sarpedon, Thermodon, Abydon. 
 
 Accent the Antepenultimate. 
 
 Celadon, Alcimedon, Amphimedon, Laomedon, Hippomedon, 
 Oromedon, Antomedon, Armedon, Eurymedon, Calydon, 
 Amydon, Corydon. 
 
 EON EGON 
 
 Accent the Penultimate. 
 Pantheon, Deileon, Achilleon, Aristocreon. 
 Accent the Antepenultimate. 
 
 Aleon, Pitholeon, Demoleon, Timoleon, Anacreon, Timo- 
 creon, Ucalegon. 
 
 APHON EPHON IPHON OPHON 
 
 Accent the Antepenultimate. 
 
 Agalaphon, Chaerephon, Ctesiphon, Antiphon, Colophon, 
 Demophon, Xenophon. 
 
 THON 
 
 Accent the Antepenultimate. 
 
 Agathon, Acroathon, Marathon, Phaethon, Phlegethon, Py- 
 riphlegithon, Arethon, Acrithon. 
 
( 140 ) 
 ION 
 
 Accent the Penultimate. 
 
 Pandion, Sandion, Echion, Alphion, Amphion, Ophion, Me- 
 thion, Arion, Oarion, ^Erion, Hyperion, Orion, Asion, Metion, 
 Axion, Ixion. 
 
 Accent the Antepenultimate. 
 
 Albion, Phocion, Cephaledion, JEgion, Brigion, Adobogion, 
 Brygion, Moschion, Calathion, Emathion, Amethion, Anthion, 
 Erothion, Pythion, Deucalion, Daedalion, Sigalion, Ethalion, 
 Ereuthalion, Pigmalion, Pygmalion, Cemelion, Pelion, Ptelion, 
 Iliou, Bryllion, Cromion, Endymion, Milanion, Athenion, Bo- 
 ion, Apion, Dropion, Appion, Noscopion, Aselelarion, Acrion, 
 Chimerion, Hyperion, Asterion, Dorion, Euphorion, Por- 
 phyrion, Thyrion, Jasion, JEsion, Hippocration, Stration, Ac- 
 tion, ^Etion, Metion, ^Eantion, Pallantion, Dotiou, Theodo- 
 tion, Erotion, Sotion, Nephestion, Philistion, Polytion, Ornytion, 
 Eurytion, Dionizion. 
 
 LON MON NON OON PON RON PHRON 
 
 Accent the Penultimate. 
 
 Philemon, Criumetopon, Caberon, Dioscoron, Cacipron. 
 Accent the Antepenultimate. 
 
 Ascalon, Abylon, Babylon, Telamon, Ademon, ^Egemon, Po- 
 lemon, Ardemon, Hieromnemon, Artemon, Abarimon, Orome- 
 non, Alcamenon, Tauromenon, Deiccoon, Democoon, Laocb'on, 
 Hippocoon, Deraophoon, Hippothbon, Acaron, Accaron, Pa- 
 paron, Acheron, Apteron, Daiptorori, Chersephron, Aleiphron, 
 Lycophron, Euthyphron. 
 
 SON TON YON ZON 
 
 Accent the Penultimate. 
 Theogiton, Aristogiton, Polygiton, Deltoton. 
 Accent the Antepenultimate. 
 
 Themison, Abaton, Aciton, Aduliton, Sicyon, Cercyon, 
 .flLgyon, Cremmyon, Cromyon, Geryon, Alcetryon, Amphitryon,. 
 Amphictyon, Acazon, Amazon, Olizon, Amyzon. 
 
 ABO ACO ICO EDO IDO 
 
 Accent the Penultimate^ 
 Lampedo, Cupido. 
 
Accent the Antepenultimate. 
 Arabo, Tarraco, Stilico, Macedo. 
 
 BEO LEO TEO 
 
 Accent the Antepenultimate. 
 Labeo, Aculeo, Buteo. 
 
 AGO IGO UGO 
 
 Accent the Penultimate. 
 Carthago, Origo, Verrugo. 
 
 PHO THO 
 
 Accent the Antepenultimate. 
 Clitipho, Agatho. 
 
 BIO CiO DIO GiO LIO M1O NIO RIO SIO T1O VIO 
 
 X10 
 
 Accent the Antepenultimate. 
 
 Arabic, Corbio, Navilubio, Senecio, Diomedio, Regio, 
 Phrygio, Bambalio, Ballio, Caballio, Ansellio, Pollio, Sirmio, 
 Formio, Phormio, Anio, Parmenio, Avenio, Glabrio, Acrio, 
 Curio, Syllaturio, Occasio, Vario, Aurasio, Secusio, Verclusio, 
 Natio, Ultio, Deventio, Versontio, Divio, Oblivio, Petovio, 
 Alexio. 
 
 CLO 1LO ULO UMO 
 
 Accent the Antepenultimate. 
 
 Chariclo, Corbilo, Corbulo, JEpulo, Baetulo, Castulo, Anu- 
 mo, Lucumo. 
 
 ANO ENO INO 
 
 Accent the Penultimate. 
 Theano, Adramitteno. 
 
 Accent the Antepenultimate. 
 Barcioo, Ruscino, Fruscino. 
 
 APO IPO 
 
 Accent the Antepenultimate. 
 Sisapo, Olyssipo. 
 
( 142 ) 
 ARO ERO 
 
 Accent the Penultimate. 
 Vadavero. 
 
 Accent the Antepenultimate. 
 Bessaro, Civaro, Tubero, Cicero, Hiero, Acimero, Cessero. 
 
 ASO ISO 
 
 Accent the Penultimate. 
 Carcaso, Agaso, Turiaso, Aliso, Natiso. 
 
 ATO ETO ITO YO XO 
 
 Accent the Penultimate. 
 Enyo, Polyxo. 
 
 Accent the Antepenultimate. 
 Erato, Derceto, Capito, Siccilissito, Anaphitryo. 
 BER FER GER TER VER 
 
 Accent the Penultimate. 
 Meleager, Elaver. 
 
 Accent the Antepenultimate. 
 
 Calaber, Mulciber, Noctifer, Tanager, Antipater, Marspater, 
 Diespiter, Marspiter, Jupiter. 
 
 AOR NOR FOR TOR ZOR 
 
 Accent the Penultimate. 
 
 Chrysaor, Alcanor, Bianor, Euphranor, Alcenor, Agenor, 
 Agapenor, Elpenor, Rhetenor, Anterior, Anaxenor, Vindemiator, 
 Rhobetor, Aphetor. 
 
 Accent the Antepenultimate. 
 Mafcipor, Lucipor, Numitor, Albumazor, or Albumazar. 
 
 BAS DAS EAS GAS PHAS 
 
 Accent the Penultimate. 
 Alebas, Augeas (king of Elis), JEneas, Oreas, Symplegas. 
 
 Accent the Antepenultimate. 
 Dotadas, Cercidas, Lucidas, Timaichidas, Alcidamidas, 
 
( 143 ) 
 
 Charmidas, Leonidas, Aristonidas, Pelopidas, Mnasippidas, The- 
 aridas, Diagoridas, Diphoridas, Antipatridas, Abantidas, Suidas, 
 Cratixidas, Ardeas, Augeas (the poet), Eleas, Cineas, Cyneas, 
 Boreas, Broteas, Acragas, Periphas, Acyphas. 
 
 IAS 
 
 Accent the Penultimate. 
 Ophias. 
 
 Accent the Antepenultimate. 
 
 Caecias, Nicias, Cephalaedias, Phidias, Herodias, Cydias, 
 Ephyreas, Pleias, Minyeias, Pelasgias, Antibacchias, Acro- 
 lochias, Archias, Adarchias, Arcathias, Agathias, Pythias, Pe- 
 lias, Ilias, Damias, Soemias, Arsanias, Pausanias, Olympias, 
 Appias, Agrippias, Chabrias, Tiberias, Terias, Lycorias, Pelo- 
 rias, Demetrias, JDioscurias, Agasias, Phasias, Acesias, Agesias, 
 Hegesias, Tiresias, Ctesias, Cephisias, Pausias, Prusias, Ly- 
 sias, Tysias, ^Etias, Bitias, Critias, Abantias, Thoantias, Phae- 
 thoutias, Phaestias, Thestias, Phoestias, Sestias, Livias, Artaxias, 
 Loxias. 
 
 LAS MAS NAS 
 Accent the Penultimate. 
 
 Acilas, Adulas, Maecenas, Mrecenas (or, as Labbe says it 
 ought to be written, Mecoenas), Fidenas, Arpinas, Larinas, Atinas, 
 Adunas. 
 
 Accent the Antepenultimate. 
 
 Amiclas, Amyclas, Agelas, Apilas, Arcesilas, Acylas, Dory- 
 las, Asylas, Acamas, Alcidamas, Iphidamas, Chersidamas, 
 Praxidamas, Theodamas, Cleodamas, Therodamas, Thyodamas, 
 Astydamas, Athamas, Garamas, Dicomas, Sarsinas, Sassinas, 
 Pitinas. 
 
 OAS PAS RAS SAS TAS XAS YAS 
 
 Accent the Penultimate. 
 
 Bagoas, Canopas, Abradaras, Zonaras (as Labbe contends it 
 ought to be), Epitheras, Abradatas, Jetas, Philetas, Damostas, 
 Acritas, Eurotas, Abraxas. 
 
 Accent the Antepenultimate. 
 
 Teleboas, Chrysorrhoas, Agriopas, Triopas, Zonaras, Gya- 
 ras, Chrysoceras, Mazeras, Chaboras, Orthagoras, Pythagoras, 
 Diagoras, Pylagoras, Demagoras, Timagoras, Hermagoras, 
 
. ( 144 ) 
 
 Athenagoras, Xeuagoras, Hippagoras, Stesagoras, Tisagoras, 
 Telestagoras, Protagoras, Evagoras, Anaxagoras, Praxagoras, 
 Ligoras, Athyras, Thamyras, Cinyras, Atyras, Apesas, Pietas, 
 Felicitas, Liberalitas, Lentulitas, Agnitas, Opportunitas, Clari- 
 tas, Veritas, Faustitas, Ci vitas, Archytas, Phlegyas, Milyas, 
 
 BES 
 
 Accent the Antepenultimate. 
 Chalybes, Armenochalybes. 
 
 CES 
 Accent the Penultimate. 
 
 Arbaces, Pharnaces, Samothraces, Arsaces, Phoenices, Liby- 
 phoeuices, Olympionices, Plistonices, Polynices, Ordovices, Le- 
 movices, Eburovices. 
 
 Accent the Antepenultimate. 
 
 Axiaces, Astaces, Derbices, Ardices, Eleutherocilices, Cappo- 
 doces, Eudoces, Bebryces, Mazyces. 
 
 ADES 
 
 Accent the Antepenultimate. 
 
 Icades, Olcades, Arcades, Orcades, Carneades, Gorgades, 
 Stoechades, Lichades, Strophades, Laiades, Naiades, Alcibiades, 
 PleiadevS, Branchiades, JDeliades, Heliades, Peliades, Oiliades, 
 Naupliades, Juliades, Memmiades, Cleuiades, Xeniades, Hun- 
 niades, Heliconiades, Acrisioniades, Telamoniades, Limoniades, 
 Acheioiades, Asclepiades, Asopiades, Crotopiades, Appiades, 
 Thespiades, Thariades, Otriades, Cyriades, Scyriades, Anchisi- 
 ades, Dosiades, Lysiades, Nysiades, Dionysiades, Menoetiades, 
 Miltiades, Abantiades, Atlantiades, Dryantiades, Laomedonti- 
 ades, Phaetontiades, Laertiades, Hepha3stiades, Thestiades, Bat- 
 tiades, Cyclades, Pylades, Demades, Nomades, Ma?nades, 
 'Ecbinades, Cispades, Cbcerades, Sporades, Perisades, Hip- 
 potades, Sotades, Hyades, Thyades, Dryades, Hamadryades, 
 Othryades. 
 
 EDES 
 Accent the Penultimate. . 
 
 Democedes, Agamedes, Palamedes, Archimedes, Nicomedes, 
 Diomedes, Lycomedes, Cleomcdes, Ganymedes, Tbrasymedes, 
 
( 145 ) 
 IDES 
 
 decent the Penultimate. 
 
 Alcides, Lyncides, Tydides, JEgides, Promethides, Nicar- 
 thides, Heraclides, Teleclides, Epiclides, Anticlides, Andro- 
 clides, Meneclides, CEclides, Cteseclides, Xenoclides, Chari- 
 clides, Patroclides, Aristoclides, Euclides, Eurydides, Belides 
 (singular), Basilides, Nelides, Pelides, ^Eschylides, Snides, 
 Antigenides, CEnides, Lycbnides, Amanoides, Japeronides, 
 Larides, Abderides, Atrides, Thesides, Aristides. 
 
 Actent the Antepenultimate. 
 
 Epichaides, Danaides, Lesbides, Labdacides, ^Eacides, Hyla- 
 cides, Ph^lacides, Pharacides, Imbracides, Myrmecides, Phoe- 
 nicides, Antalcides, Lvncides, Andocides, Ampycides, Thucy- 
 clides, Lelegeides, Tynheides, Pimpleides, Clymeneides, Mi- 
 neides, Scyreides, Minyeides, Lagides, Harpagides, Lycur- 
 gides, Ogygides, Iriachides, Lysimarhides, Agatharchides, Ti- 
 marchides, Leulychides, Leontychides, Leotychides, Sisyphides, 
 Erecthides, Promelhides, Cretbides, Scythides, CEbalides, 
 ^Ethalides, Tantalides, Castalides, Mystalides, Phytalides, Te- 
 leclides, Meneclides, CEclides, Ctesiclides, Androclides, Eu- 
 clides, Euryclides, Belides (plural), Sicelides, Epimelides, 
 Cypselides, Anaxilides, ^Bolides, Eubulides, Pbocylides, Pria- 
 mides, Potamides, Cnemides, ^Esimides, Tolmides, Charmides, 
 Dardanides, Oceanides, Amanides, Titanides, Olenides, Achae- 
 menides, Acbinienides, Epimenides, Parmenides, Ismenides, 
 Eumenides, Sithnides, Apollinides, Prumnides, Aonides, Do- 
 donides, Mygdalonides, Calydonides, Moeonides, CEdipodioni- 
 des, Deionides, Chionides, Echionides, Spercbionides, Ophioni- 
 des, Japetionides, Ixionides, Mimallonides, Pbilonides, Apoilo- 
 nides, Acnionides, ^monides, Polypemonides, Simonides, Har- 
 monides, Memnonides, Cronides, Myronides, /Esonides, Aris- 
 tonides, Praxonides, Liburnides, Sunides, Teleboides, Panthoi- 
 des, Acbeloides, Pronopides, Lapides, Callipides, Euripides, Dri- 
 opides, CEnopides, Cecropides, Leucippides, Philippides, Ar- 
 gyraspides, Clearides, Taenarides, Hebrides, Timandrides, An- 
 axandndes, Epicerides, Pierides, Hesperides, Hyperides, Cassi- 
 terides, Anterides, Peristerides, Libelhrides, Dioscorides, Pro- 
 togondes, Melhorides, Antenorides, Actorides, Diaf torides, 
 Polyctorides, Hegetorides, Onetorides, Antorides, Acesiorides, 
 Thestorides, Aristorides, Electrides, CEnotrides, Smindyrides, 
 Philyrides, Pegasides, lasides, Imbrasides, Clesides, Diony- 
 
( 146 ) 
 
 sides, Cratides, Propoetides, Prcetides, Oceanitides, JEantides, 
 Dryantides, Dracontides, Absyrtides, Acestides, Orestides, 
 Epytides. 
 
 ODE UDES YDES 
 
 Accent the Penultimate. 
 
 JEgilodes, Acmodes, Nebrodes, Herodes, Orodes, Habudes, 
 Harudes, Lacydes, Pherecydes, Androcydes. 
 
 Accent the Antepenultimate. 
 
 Sciapodes, CEdipodes, Antipodes, Hippopodes, Himanto- 
 podes, Pyrodes, Epicydes. 
 
 AGES EGES IGES OGES YGES 
 
 Accent the Antepenultimate. 
 
 Theages, Tectosages, Astyages, Leleges, Nitiobriges, Duro- 
 triges, Caturiges, Allobroges, Antobroges, Ogyges, Cataphryges, 
 Sazyges. 
 
 ATHES ETHES YTHES IES 
 
 Accent the Penultimate. 
 Ariarathes, Alethes. 
 
 Accent the Antepenultimate. 
 Onythes, Aries. 
 
 ALES 
 
 Accent the Penultimate. 
 Novendiales, Geniales, Compitales, Arvales. 
 Accent the Antepenultimate. 
 Carales. 
 
 ACLES ICLES OCLES 
 Accent the Antepenultimate. 
 
 Daicles, Mnasicles, Iphicles, Zanthicles, Charicles, Thericles, 
 Pericles, Agasicles, Pasicles, Phrasicles, Ctesicles, Sosicles, 
 Nausicles, Xanticles, Niocles, Empedocles, Theocles, Neocles, 
 Eteocles, Sophocles, Pythocles, Diodes, Philocles, Damocles, 
 Democles, Phanocles, Xenocles, Hierocles, Androcles, Man- 
 drocles, Patrocles, Metrocles, Lamprocles, Cephisocles, Nes- 
 tocles, Themistocles. 
 
ELES ILES OLES ULES 
 
 decent the Antepenultimate. 
 
 Ararauceles, Hedymeles, Pahiteles, Praxiteles, Pyrgoteles, 
 Demoteles, Aristoteles, Gundiles, Absiles, Novensiles, Pisa- 
 tiles, Taxiles, ^Eoles, Autololes, Abdimonoples, Hercules. 
 
 AMES OMES 
 
 Accent the Antepenultimate. 
 Priames, Datames, Abrocomes. 
 
 AN ES 
 Accent the Penultimate. 
 
 Jordanes, Athamanes, Alamanes, Brachmanes, Acarnanes, 
 JEgipanes, Tigranes, Actisanes, Titanes, Ariobarzanes. 
 
 Accent the Antepenultimate. 
 
 Diaphanes, Epiphanes, Periphanes, Praxiphanes, Dexiphanes, 
 Lexiphanes, Antiphanes, Nicophanes, Theophanes, Diophanes, 
 Apollophanes, Xenophanes, Aristophanes, Agrianes, Pharas- 
 manes, Prytanes. 
 
 ENES* 
 Accent the Antepenultimate. 
 
 Timagenes, Melagenes, Sosigenes, Epigenes, Melesigenes, 
 Antigenes, Theogenes, Diogenes, Oblogenes, Hermogenes, 
 Rhetogenes, Themistogenes, Zanthenes, Agasthenes, Lasthenes, 
 Clisthenes, Callisthenes, Peristhenes, Cratisthenes, Antisthenes, 
 Barbosthenes, Leoslhenes, Demosthenes, Dinosthenes, Andros- 
 thenes, Posthenes, Eratosthenes, Borysthenes, Alcamenes, The- 
 ramenes, Tisamenes, Deditamenes, Spitamenes, Pyleinenes, 
 Althemenes, Achaemenes, Philopoemenes, Daimenes, Nausi- 
 menes, Numenes, Antimenes, Anaximenes, Cleomenes, Hippo- 
 menes, Heromenes, Ariotomenes, Eumenes, Numenes, Poly- 
 inenes, Geryenes. 
 
 INES 
 
 Accent the Penultimate. 
 Telchines, Acesines. 
 
 * All the words of this termination have the accent on the antepenultimate. 
 See Eumenes in the Initial Vocabulary. 
 
 L 2 
 
( 148 
 
 Accent the Antepenultimate. 
 Aborigines, ^Eschiues*, Asines. 
 
 ONES 
 Accent the Penultimate. 
 
 Calucones, Agones, Antechthones, lones, Helleviones, Vo- 
 lones, Nesiniones, Verones, Centrones, Eburones, Grisones, 
 Auticatones, Statones, Vectones, Vetones, Acitavones, Ingoe- 
 vones, I staevones, Axones, JExones, Halizones. 
 
 Accent the Antepenultimate. 
 
 Lycaones, Chaones, Frisiabones, Cicones, Vernicones, 
 Francones, Vascones, Mysomacedones, Rhedones, Essedones, 
 Myriiiid<nes, Pocones, Paphlagones, Aspagones, La3strigones, 
 Lingone*, Lestrygones, Vangiones, Nuithones, Sithunes, Bali- 
 ones, Htrmumes, Biggeriones, Meriones, Suiones, Minmllones, 
 Senones, Meinnones, Pannones, Ambrones, Suessones, An- 
 sones, Pictones, Teutones, Amazones. 
 
 O ES 
 
 Accent the Penultimate. 
 Heroes. 
 
 Accent the Antepenultimate. 
 Chorsoes, Chosroes. 
 
 APES OPES 
 Accent the Penultimate. 
 Cynapes, Cecropes, Cyclopes. 
 
 Accent the Antepenultimate. 
 
 Panticapes, Crassipes, Esubopes, ^Ethiopes, Hellopes, Do- 
 lopes, Panopes, Ster6pes, Dryopes. 
 
 ARES ERES IRES ORES URES 
 
 Accent the Penultimate. 
 
 Cabares, Balcares, Apollinares, Saltuares, Ableres, Byzeres, 
 Bechires, Diores, Azores, Silures. 
 
 * Labbe ays, that a certain anthologist, forced by the necessity of his vere, 
 has pronounced this word with the accent on the penultimate. 
 
( 149 ) 
 Accent tJie Antepenultimate. 
 
 Leochares, JEmochares, De mocha res, Abisares, Cavares, 
 Insubres, Luceres, Pieres, Astabores, Musagores, Centores, 
 Limures. 
 
 ISES 
 
 Accent the Penultimate. 
 Anchises. 
 
 ENSES 
 
 Accent the Penultimate. 
 Ucubenses, Leonicenses, and all words of this termination. 
 
 OCES YSES 
 Accent the Penultimate. 
 Cambyses. 
 
 ATES 
 Accent the Penultimate. 
 
 Phraates, Atrebates, Cornacates, Ceracates, Adunicates, Ni- 
 sicates, Barsabocates, Leucates, Teridates, Mithridates, Atti- 
 dates, Osquidates, Oxydates, Ardeates, Eleates, Bercoreates, 
 Caninefates, Casicenufates, ^Egates, Achates, Niphates, Deci- 
 ates, Attaliates, Mevaniates, Cariates, Quariates, Asseriates, 
 Euburiates, Antiates, Spartiates, Celelates, Hispellates, Stel- 
 lates, Suillates, Albulaies, Focimates, Auximates, Flanates, 
 Edenates, Fidenates, SufFenatcs, Fregenates, Capenates, Senates, 
 Coesenates, Misenates, Padinates, Fulginates, Merinates, Ala- 
 trinates, ^siriates, Agesinates, Asisinates, Sassinates, Sessinates, 
 Frusinates, Atinates, Altinates, Tollentinates, Ferentinates, In- 
 teramnates, Chelonates, Casmonates, Arnates, Titernates, In- 
 fernates, Privernates, Oroates, Euphrates, Orates, Vasates, Co- 
 cosates, Tolosates, Antuates, Nantuates, Sadyates, Caryates. 
 
 Accent the Antepenultimate. 
 
 Spithobates, Eurybates, Antiphates, Trebiates, Zalates, Sau- 
 romates, Attinates, Tornates, Hypates, Menecrates*, Phere- 
 crates, Iphicrates, Callicrates, Epicrates, Pasicrates, Sras iates, 
 Sosicrales, Hypsicrates, Nicocrates, Halocrates, Dam nates, 
 Democrates, Cheremocrates, Timocrates, Heiniocraies .Steno- 
 
 ;f All words ending in crates have the accent on the antepenultimate syllable. 
 
( 150 ) 
 
 crates, Xenocrates, Hippocrates, Harpocrates, Socrates, Iso- 
 crates, Cephisocrates, Naucrates, Eucrates, Eulhycrates, Poly- 
 crates. 
 
 ETES 1TES OTES UTES YTES YES ZES 
 
 Accent the Penultimate. 
 
 Acetes, Ericetes, Cadetes, ^Eetes, Mocragetes, Caletes, Phi- 
 locletes, jEgletes, Nemetes, Cometes, Ulmanetes, Consuanetes, 
 Gymnetes, JEsymnetes, Nannetes, Serretes, Curetes, Theatetes, 
 Andizetes, Odiies, Belgites, Margites, Memphites, Ancalites, 
 Ambialites, Avalites, Cariosuelites, Polites, Apollopolites, Her- 
 mopolites, Latopolites, Abulites, Stylites, Borysthenites, Teme- 
 nites, Syenites, Carcinites, Samnites, Deiopites, Garites, Cen- 
 trites, Thersites, Is! arcissites, Asphaltites, Hydraotes, Hera- 
 cleotes, Boeotes, Helotes, Bootes, Thootes, Anagnutes, Ari- 
 mazes. 
 
 Accent the Antepenultimate. 
 
 Dercetes, Massagetes, Indigetes, Ilergetes, Euergetes, Au- 
 chetes, Eusi petes, Abalites, Charites, Cerites, Praestites, An- 
 dramytes, Dariaves, Ardyes, Machlyes, Blemmyes- 
 
 A I S 
 
 Accent the Penultimate. 
 Achais, Archelais, Homolais, Ptolemais, Elymais. 
 
 Accent the Antepenultimate. 
 Thebais, Phocais, Aglais, Tanais, Cratais. 
 
 BIS CIS DIS 
 
 Accent the Penultimate. 
 Berenicis, Cephaledis, Lycomedis. 
 
 Accent the Antepenultimate. 
 
 Acabis, Carabis, Setabis, Nisibis, Cleobis, Tucrobis, Tiso- 
 bis, Ucubis, Curubis, Salmacis, Acinacis, Brovonacis, Athracis, 
 Agnicis, Carambucis, Cadmeidis. 
 
 EIS^ ETHIS ATHIS 
 Accent the Penultimate. 
 Medeis, Spercheis, Pittheis, Crytheis, Nepheleis, Eleleis, 
 
 * These vowels form distinct syllables. See the termination EIUS. 
 
Achilleis, Pimpleis, Cadmeis, .52neis, Schoeneis, Peneis, Acri- 
 soneis, Triopeis, Patereis, Nereis, Cenchreis, Theseis, Briseis, 
 Perseis, Messeis, Chryseis, Nycteis, Sebethis, Epimethis. 
 
 Accent the Antepenultimate. 
 Thymiathis. 
 
 ALIS ELIS ILIS OLIS ULIS YLiS 
 
 Accent the Penultimate. 
 
 Andabalis, Cercalis, Regalis, Stympbalis, Dialis, Latialis, 
 Septimontialis, Martialis, Manalis, Juvenalis, Quirinalis, Fonti- 
 nalis, Junonalis, Avernalis, Vacunalis, Abrupalis, Floralis, 
 Quietali.s, Eumelis, Phaselis, Eupilis, Quiuctilis, Adulis. 
 
 Accent the Antepenultimate. 
 
 CEbalis, Hannibalis, Acacalis, Fornicalis, Androcalis, Lu- 
 percalis, Vahalis, Ischalis, Caralis, Thessalis, Italis, Facelis, 
 Sicelis, Fascelis, Vindelis, Nephelis, Bibilis, Incibilis, Leucre- 
 tilis, Myrtilis, Indivilis, JEeolis, Argolis, Cimolis, Decapolis, 
 Neapolis, and all words ending in polis. Herculis, Thestylis. 
 
 AMIS EMIS 
 
 Accent the Antepenultimate. 
 Calamis, Salamis, Semiramis, Thyamis, Artemis. 
 
 ANIS ENIS INIS ONIS YNIS 
 
 Accent the Penultimate. 
 
 Mandanis, Titanis, Bacenis, Mycenis, Philenis, Cyllenis, 
 Ismenis, Cebrenis, Adonis, Edonis, ^Edonis, Thedonis, Sido- 
 nis, Dodonis, Calydonis, Agonis, Alingonis, Colonis, Corbu- 
 lonis, Cremonis, Salmonis, Junonis, Ciceronis, Scironis, Coro- 
 nis, Phoronis, Turonis (in Germany), Tritonis, Phorcynis, 
 Gortynis. 
 
 Accent the Antepenultimate. 
 
 Sicanis, Anticanis, Andanis, Hypanis, Taranis, Prytanis, 
 Poemanis, Eumenis, Lycaonis, Asconis, Maeonis, Paeonis, Si- 
 thonis, Memnonis, Pannonis, Turonis (in France), Bitonis, 
 Geryonis. 
 
( 152 ) 
 OIS* 
 
 Accent the Penultimate. 
 Minois, Herois, Latois. 
 
 Accent the Antepenultimate. 
 Symois, Pyrois. 
 
 APIS OPIS 
 Accent the Penultimate. 
 lapis, Colapis, Serapitrf*, Isapis, Asopis. 
 
 Accent the Antepenultimate. 
 Acapis, Minapis, Cecropis, Meropis. 
 
 ARIS ACRIS ATRIS ERIS IGR1S IRIS 1TRIS ORIS 
 UR1S YRIS 
 
 Accent the Penultimate. 
 
 Balcaris, Apollinaris, Nonacris, Cimmeris, Aciris, Osiris, 
 Petosiris, Busiris, Lycoris, Calaguris, Gracchuris, Hippuris. 
 
 Accent the Antepenultimate. 
 
 Abaris, Fabaris, Sybaris, Icaris, Andaris, Tyndaris, Sagaris, 
 Angaris, Phalaris, Elaris, Caularis, Taenaris, Liparis, Araris, 
 Biasans, Caesaris, Abisaris, Achisaris, Bassaris, Melaris, Au- 
 taris, Trinacris, Illiberis, Tiberis, Zioberis, Tyberis, Nepheris 
 Cytheris, Pieris, Trieris, Auseris, Pasitigris, Coboris, Sicoris, 
 Neoris, Peloris, Antipatris, Absitris, Pacyris, Ogyris, Porphyris, 
 Amyris, Thamyris, Thomyris, Tomyris. 
 
 ASIS ESIS ISIS 
 Accent the Penultimate. 
 Amasis, Magnesis, Tuesis. 
 
 Accent the Antepenultimate. 
 
 Bubasis, Pegasis, Parrhasis, Paniasis, Acamasis, Engonasis, 
 Griecostasis, Lachesis, Athesis, Thamesis, Nemesis, Tibisis. 
 
 ENSIS 
 
 Accent the Penultimate. 
 Genubensis, Cordubensis, and all words of this termination. 
 
 * These vowels form distinct syllables. 
 
 t Serapis. See the word in the Initial Vocabulary. 
 
( 153 ) 
 OSIS USIS 
 
 Accent the Penultimate. 
 Diamastigosis, Enosis, Eleusis. 
 
 ATIS ETIS ITIS OTIS YTIS 
 
 Accent the Penultimate. 
 
 Tegeatis, Sarmatis, Caryatis, Miletis, Limenetis, Curetis, 
 Acervitis, Chalcitis, Memphitis, Sophitis, Arbelitis, Fascelitis, 
 Dascylitis, Comitis, JEanitis, Cananitis, Circinitis, Sebennitis, 
 Chaonitis, Trachonitis, Chalonitis, Sybaritis, Daritis, Calenderitis, 
 Zephyritis, Amphaxitis, Rhacotis, Estiaeotis, Moeotis, Tracheotis, 
 Mareotis, Phthiotis, Sandaliotis, Elimiotis, Iscariotis, Casiotis, 
 Philotis, Nilotis. 
 
 Accent the Antepenultimate. 
 Atergatis, Calatis, Anatis, Naucratis, Dercetis, Eurytis. 
 
 OVIS UIS XIS 
 
 Accent the Penultimate. 
 Amphaxis, Oaxis, Alexis, Zamolxis, Zeuxis. 
 Accent the Antepenultimate. 
 Vejovis, Dijovis, Absituis. 
 
 ICOS EDOS ODOS YDOS 
 
 Accent the Penultimate. 
 Abydos. 
 
 Accent the Antepenultimate. 
 Oricos, Tenedos, Macedos, Agriodos. 
 
 EOS 
 
 Accent the Penultimate. 
 Spercheos, Achilleos. 
 
 Accent the Antepenultimate. 
 Audrogeos, Egaleos, ^galeos, Hegaleos. 
 
 IGOS ICHOS OCHOS OPHOS 
 
 Accent the Penultimate. 
 Melampigos, Niontichos, Machrontichos. 
 
( 154 ) 
 
 Accent the Antepenultimate. 
 Nerigos, ^Egiochos, Oresitrophos. 
 
 ATHOS ETHOS 1THOS IOS 
 
 Accent the Penultimate. 
 Sebethos. 
 
 Accent the Antepenultimate. 
 Seiathos, Arithos, Ilios, Ombrios, Topasios. 
 
 LOS MOS NOS POS 
 
 Accent the Penultimate. 
 
 Stymphalos, JEgilos, Pachinos, Etheonos, Eteonos, Hepta- 
 phouos. 
 
 Accent the Antepenultimate. 
 
 Haegalos, JEgialos, Ampelos, Hexapylos, Sipylos, Hecatom- 
 pylos, Potamos, JEgospotamos, Olenos, Orchomenos, Auapau- 
 omenos, Epidicazomencs, Heautontimorumenos, Antropos. 
 
 ROS SOS TOS ZOS 
 
 Accent the Penultimate. 
 
 Meleagros, Hecatoncheros, ^gimuros, Nisyros, Pityonesos, 
 Hieronesos, Cephesos, Sebetos, Haliaeetos, Miletos, Polytimetos, 
 Aretos, Buthrotos, Topazos. 
 
 Accent the Antepenultimate. 
 
 Sygaros, JSgoceros, Anteros, Meleagros, Myiagros, Absoros, 
 Amyros, Pegasos, Jalysos, Abates, Aretos, Neritos, Acytos. 
 
 IPS OPS 
 
 Accent the Antepenultimate. 
 JEgilips, ^thiops. 
 
 LAUS MAUS NAUS RAUS (in two syllables.) 
 
 Accent the Penultimate. 
 
 Archelaus, Menelaus, Aglaus, Agesilaus, Protesilaus, Nico- 
 laus, lolaus, Hermolaus, Critolaus, Aristolaus, Dorylaus, Am- 
 phiaraus. 
 
 Accent the Antepenultimate. 
 
 Imaus*, Emmaus, CEnomaus, Danaus. 
 
 * JmavA See the word in the Initial Vocabulary. 
 
( 155 ) 
 BUS 
 
 Accent the Antepenultimate. 
 
 Agabus, Alabus, Arabus, Melabus, Setabus, Erebus, Ctesibus. 
 Deiphobus, Abubus, Polybus, 
 
 ACUS 
 
 Accent the Antepenultimate. 
 Abdacus, Labdacus, Rhyndacus, ^Eacus, Ithacus. 
 
 IACUS* 
 
 Accent the Antepenultimate. 
 
 lalciacus, Phidiacus, Alabandiacus, Rhodiacus, Calchiacus, 
 Corinthiacus, Deliacus, Peliacus, lliacus, Niliacus, Titaniacus, 
 Armeniacus, Messeniacus, Salaminiacus, Lemniacus, loniacus, 
 Sammoniacus, Tritoniacus, Gortyniacus, Olympiacus, Caspia- 
 cus, Me^embriacus, Adriacus, Iberiacus, Cytheriacus, Siriacus, 
 Gessoriacus, Cytoriacus, Syriacus, Phasiacus, Megalesiacus, 
 Etesiacus, Isiacus, Gnosiacus, Cnossiacus, Pausiacus, Amathu- 
 siacus, Pelusiacus, Prusiacus, Actiacus, Divitiacus, Byzantiacus 
 Thermodontiacus, Propontiacus, Hellespontiacus, Sestiacus. 
 
 LACUS NACUS OACUS RACUS SACUS TACUS 
 
 Accent the Penultimate. 
 Benacus. 
 
 Accent the Antepenultimate. 
 
 Ablacus, Medoacus, Armaracus, Assaracus, .ZEsacus, Lamp- 
 sacus, Caractacus, Spartacus, Hyrtacus, Pittacus. 
 
 ICUS 
 
 Accent the Penultimate. 
 
 Caicus, Numicus, Demonicus, Granicus, Atidronicus, Stra- 
 tonicus, Callistonicus, Aristonicus, Alaricus, Albericus, Rode- 
 ricus, Rudericus, Romericus, Hunnericus, Victoricus, Ama- 
 tricus, Henricus, Theodoncus, Ludovicus, Grenovicus, Var- 
 vicus. 
 
 Accent the Antepenultimate. 
 
 Thebauus, Phocaicus, Chaldaicus, Bardaicus, Judaic us, 
 Achaicus, Lecliaicus, Pancbaicus, Thermaicus, Naicus, Pana- 
 
 * All words of this termination have the accent on the t', pronounced like 
 the noun eye. 
 
( 136 ) 
 
 thenaicus, Cyrenaicus, Arabicus, Dacicus, Samothracicus, Tur- 
 cicus, Areadicus, Sotadicus, Threcidicus, Chalcidicus, Alaban- 
 dicus, Judiciis, Ciondicus, Cornificus, Belgicus, Allobrogicus, 
 Georgicus, Colchieus, Delphicus, Sapphicus, Parthicus, Scy- 
 thicus, Pythicus, Stymphalicus, Pharsalicus, Thessalicus, Ita- 
 licus, Attalicus, Gallicus, Sabeilicus, Tarbellicus, Argolicus, 
 Getulicus, Camicus, Ceramicus, Academicus, GraBcanicus, 
 Cocanicus, Tuscanicus, jEanicus, Hellanicus, Glanicus, Atel- 
 lanicus, Amanicus, Honuuucus, Germanicus, Hispunicus, Aqui- 
 tanicus, Sequanicus, Poenicus, Alemannicus, Britannicus, La- 
 conicus, Leticonicus, Adonicus, Macedonicus, Sandonicus, 
 lonicus, Hermionicus, Babylonicus, Samonicus, Pannonicus, 
 Hieronicus, Plalouicus, Santonicus, Sophronicus, Teutonicus, 
 Amazonicus, Hernicus, Liburnicus, Eubbicus, Troicus, Sloi- 
 cus, Olympicus, ,#thiopicus, Pindaricus, Baleancus, Marma- 
 ricus, Bassaricus, Cimbricus, Andricus, Ibericus, Trietericus, 
 Trevericus, Africus, Doricus, Pythagoricus, Leuctricus, Ad- 
 gandesiricus, tstricus, Isauricus, Centauricus, Biluncus, Illyri- 
 cus, Syricus, Pagasicus, Moesicus, Marsicus, Persi<-us, Corsi- 
 cus, Massicus, Issicus, Sabbaticus, Mithridaticus, Tegeaticus, 
 Syriaticus, Asiaticus, Dalmaticus, Sarmaticus, Ciovraticus, 
 Rhaeticus, Geticus, Gangeticus, ^gineticus, Rhoeticus, Creti- 
 cus, Memphiticus, Sybariticus, Abderilicus, Celticus, Atlanti- 
 cus, Garamanticus, Alenticus, Ponticus, Scoticus, Ma?oticus, 
 Bceoticus, Heracleoticus, Mareoticus, Pbthioticus, Niloticus, 
 Epiroticus, Syrticus, Atticus, Alyatticus, Halyatticus, Medi- 
 astuticus. 
 
 OCUS UCUS YCUS 
 Accent the Penultimate. 
 Ophiucus, Inycus. 
 
 Accent the Antepenultimate. 
 
 Lauodocus, Amodocus, Amphilocus, Ibycus, Libycus, Bes- 
 bycus, Autolycus, Amycus, Glanycus, Corycus. 
 
 ADUS EDUS IDUS ODUS YDUS 
 
 Accent the Penultimate. 
 
 Lebedus, Congedus, Alfredus, Aluredus, Emodus, Andro- 
 dus. 
 
 Accent the Antepenultimate. 
 
 Adadus, Enceladus, Aradus, Antaradus, Aufidus, Algidus, 
 Lepidus, Hesiodus, Commodns, Monodus ; Lacydus, Polydas. 
 
( 157 ) 
 
 MUS GEUS 
 
 decent the Penultimate. 
 
 Niobaeus, Meliboeus, and all words of these terminations. 
 
 BUS* 
 Accent the Penultimate. 
 
 Lycambeus, Thisbeus, Bereniceus, Lynceus (the brother of 
 Idas), Simonideus, Euripideus, Pherecydeus, Piraeeus, Phege- 
 us, Tegeus, Sigeus, Ennosigeus, Argeus, Baccheus, Motor- 
 chetis, Cepheus, Ripheus, Alpheus, Orpheus (adjective), 
 Erectheus, Prometheus (adjective), Cleantheus, Rhadamantheus, 
 Erymantheus, Pantheus (adjective), Daedaleus, Sophocleus, 
 Themistocleus, Eleus, Neleus (adjective), Oileus (adjective), 
 Apelleus, Achilleus, Perilleus, Luculleus, Agylleus, Pimpleus, 
 Ebuleus, Asculeus, Masculeus, Cadmeus, Aristophaneus, Ca- 
 naneus, CEneus (adj. 3 syll.), CEneus (sub. 2 syll.), idome- 
 neus, Schoeneus, Peneus, Phineus, Cydoneus, Androgeoneus, 
 Bioneus, Deucalioneus, Acrisioneus, Salmoneus (adjective), 
 Maruneus, Antenoreus, Phoroneus (adjective), Thyoneus, Cyr- 
 neus, Epeus, Cyclopeus, Penelopeus, Phillippeus, Aganippeus, 
 Meuandreus (adjective), Nereus, Zagreus, Boreas, Hyperboreus, 
 Polydoreus, Atreus (adjective), Centaureus, Nesseus, Cisseus, 
 CEteus, Rhoeteus, Auteus, Abanteus, Phalanteus, Theiodaman- 
 teus, Polydamanteus, Thoanteus, Hyanteus, Aconteus, Laome- 
 doiueus, Thermodonteus, Phaethonteus, Phlegethonteus, Oron- 
 teus, Thyesteus, Phryxeus. 
 
 decent the Antepenultimate. 
 
 Gerionaceus, Meno3ceus, Lynceus (adjective), Dorceus, 
 Caduceus, Asclepiadeus, Paladeus, Sotadeus, Tydeus, Orpheus 
 (substantive), Morpheus, Tyrrheus, Prometheus (substantive), 
 Cretht us, Mnesitheus, Dositheus, Pentheus (substantive), Smin- 
 
 * It may be observed, that words of this termination are sometimes both sub- 
 stantives and adjectives. When they are substantives, they have the accent on 
 the antepenultimate syllable, as N leus, Prom theus, Salm6 neus, &c. ; and when 
 adjectives on the penultimate, as Neltus, Prometheus, Salmontus, &c. Thus, 
 CEneus, a king of Calydonia,is pronounced in two syllables ; the adjective (Enius, 
 which is formed from i , is a trisyllable ; and CEneius, another formation of it, is 
 a word of four syllables. But these words, when formed into English adjectives, 
 alter their termination \\ith the accent on the penultimate : 
 
 With other notes than to the Orphean lyre. MILTON. 
 
 The tuneful tongue, the Promethean band. AKENSIDE. 
 
 And sometimes on the antepenultimate, as 
 
 The sun, as from Thyestian banquet turn'd. MILTON. 
 
theus, Timotheus, Brotheus, Dorotheas, Menestheus, Eurys- 
 iheus, Pittheus, Py theus, Daedaleus, ^Egialeus, Maleus, Tanta- 
 Jeus, Heracleus, Celrus, Eleleus, Neleus, Peleus, Nileus, 
 Oileus (substantive), Demoleus, Romuleus, Pergameus, 
 Euganeus, Melaneus, Herculaneus, Cyaneus, Tyaneus, Ce- 
 neus, Dicaneus, Pheneus, CEneus, Cupidineus, Apollineus, 
 Enneus, Adoneus, Aridoneus, Gorgoneus, Deioneus, Ilioneus, 
 Mimalloneus, Salmoneus (substantive), Acroneus, Phoroneus 
 (substantive), Albuneus, Enipeus, Sinopeus, Hippeus, Aristip- 
 peus, Areus, Macareus, Tyndareus, Megareus (substantive), 
 Capharens (substantive), Briareus, ^sareus, Patareus, Cythe- 
 reus, Phaiereus, Nereus (substantive), Tereus, Adoreus, Mento- 
 reus, Nestoreus, Atreus (substantive), Caucaseus, Pegaseus, 
 Theseus, Perseus, Nicteus, Argenteus, Bronteus, Proteus, 
 Agyeus. 
 
 AGUS EGUS IGUS OGUS 
 Accent the Penultimate. 
 
 Cethegus, Robigus, Rubigus. 
 
 Accent the Antepenultimate. 
 
 JEgopbagus, Osphagus, Neomagus, Rothomagus, Niomagus, 
 Noviomagus, Casaroniagus, Sitomagus, Areopagus, Harpagus, 
 Arviragus, Uragus, Astrologus. 
 
 ACHUS OCHUS UCHUS YCHUS 
 
 Accent the Penultimate. 
 
 Daduchus, Ophiuchus. 
 
 Accent the Antepenultimate. 
 
 Telemachus, Daimachus, Deimachus, Alcimachus, Callima- 
 chus, Lysimacbus, Antimachus, Symmachus, Andromachus, 
 Clitomachus, Aristoniachus, Eurymachus, Inachus, Jamblichus, 
 Demodochus, Xenodochus, Deiochus, Antiochus, Deilochus, 
 Archilochus, Mnesilochus, Thersilochus, Orsilochus, Antilo- 
 chus, Naulochus, Eurylochus, Agerochus, Polyochus, Monychus, 
 Abronychus. 
 
 APHUS EPHUS IPHUS OPHUg YPHUS 
 
 Accent the Penultimate. 
 Josephus, Seriphus, 
 
 Accent the Antepenultimate. 
 
 Ascalaphus, Epaphus, Palaepaphus, Anthropographus, Tele- 
 phus, Absephus, Agastrophus, Sisyphus. 
 
( 159 ) 
 ATHUS ^THUS ITHUS 
 
 Accent the Penultimate. 
 Si ma? thus. 
 
 Accent the Antepenultimate. 
 
 Archagathus, Amathus, Lapathus, Carpathus, Mychithus. 
 AIU S 
 
 Accent the Antepenultimate. 
 Cams, Laius, Graius. See Achaia. 
 
 AB1US IB1US OBIUS UBIUS YBIUS 
 
 Accent the Antepenultimate. 
 
 Fabius, Arabhis, Bsebius, Vibius, Albius, Amobius, Macro- 
 bius, Androbius, Tobius, Virbius, Lesbius, Eubius, Danubius, 
 Marrhubius, Talthybius, Polybius. 
 
 CIUS 
 
 Accent the Antepenultimate. 
 
 Acacius, Ambracius, Acracius, Tbracius, Athracius, Samo- 
 thracius, Lampsacius, Arsacius, Byzacius, Accius, Siccius, 
 Decius, Threicius, Cornificius, Cilicius, Numicius, Apicius, 
 Sulpicius, Fabricius, Oricius, Cincius, Mincius, Marcius, 
 Circius, Hircius, Roscius, Albucius, Lucius, Lycius, Bebry- 
 cius. 
 
 DIUS 
 
 Accent the Antepenultimate. 
 
 Leccadius, Icadius, Arcadius, Palladius, Tenedius, Albidius^ 
 Didius, Thucydidius, Fidius, Aufidius, Eufidius, jEgidius, 
 Nigidius, Obsidius, Gratidius, Brutidius, Helvidius, Ovidius, 
 Rhodius, Clodius, Hannodius, Gordius, Claudius, Rudius, 
 Lydius. 
 
 E I U S* 
 Accent the Antepenultimate. 
 
 Daneius, Cocceius, Lyrceius, JEacideius, Lelegeius, Si- 
 geius, Baccheius, Cepheius, Typhoeeius, Cretheius, Pittheius, 
 
 * Almost all the words of this termination are adjectives, and in these the 
 vowels ti form distinct syllables ; the others, as Coccenw, SaUiu*, Proculenis, 
 
 Canultw*, 
 
( 160 ) 
 
 Saleius, Semeleius, Neleius, Stheneleius, Porculeius, Septimu- 
 leius, Canuleius, Venuleius, Apuleius, Egnatuleius, Sypyleius, 
 Priameius, Cadmeius, Tyaneius, ^Eneius, Clymeneius, QEneius, 
 Autoneius, Schoeneius, Lampeius, Rhodopeius, Dolopeius, 
 Priapeius, Pompeius, Tarpeius, Cynareius, Cythereius, Ne- 
 reius, Satureius, Vultureius, Cinyreius, Nyseius, Teius, He- 
 cateius, Eluteius, Rhoeteius, Atteius, Minyeius. 
 
 GIUS 
 
 decent the Antepenultimate. 
 Valgius, Belgius, Catangius, Sergius, Asceburgius, Oxygius. 
 
 CHIUS PH1US THIUS 
 
 Accent the Penultimate. 
 
 Sperchius. 
 
 Accent the Antepenultimate. 
 
 Inachius, Bacchius, Dulichius > Telechius, Muuychius, 
 Hesychius, Tychius, Cynipliius, Alphius, Adelphius, Sisyphius, 
 Einathius, Simselhius, Acithius, Melantliius, Erynmnthius, Co- 
 rinthius, Zerynthius, Tirynthius. 
 
 AL1US ^LIUS ELIUS ILIUS ULIUS YLIUS. 
 
 Accent the Antepenultimate. 
 
 CEbalius, Idalius, Acidalius, Palsephalius, Stymphalius, Mae- 
 nalius, Opalius, Thessalius, Castalius, Publius, Heraclius*, 
 jElius, Caelius, Laelius, Delius, Mclius, Cornelius, Coelius, 
 Clselius, Aurelius, Nyctelius, Praxitelius, Abilius, Babilius, 
 
 Canuleius, Apuleius, Egnatuleius, Schancius, Lampeius, Vultureius, Atteius, and 
 Minyeius, are substantives ; and which, though sometimes pronounced with the 
 ei forming a diphthong, and sounded like the noun eye, are more generally heard 
 like the adjectives ; so that the whole list may be fairly included under the 
 same general rule, that of sounding the e separately, and the t like y consonant, 
 as in the similar terminations in eia and ia. This is the more necessary in these 
 words, as the accented e and unaccented i are so much alike as to require the 
 sound of the initial or consonant y, in order to prevent the hiatus, by giving a 
 small diversity to the two vowels. See Achaia. 
 
 * Labbe places the accent of this word on the penultimate, , as in Heraclitus 
 and Heradid<z; but the Roman emperor of this name, is so generally pronounced 
 with the antepenultimate accent, that it would savour of pedantry to alter it. 
 Nor do I understand the reason on which Labbe founds his accentuation. 
 
Carbilius, Orbilius, Acilius, Caecilius, Lucilius, JEdilius, Virgilius, 
 jEmilius, Manilius, Pompilius, Turpilius, Atilius, Basilins*, 
 Cantilius, Quintilius, Hostilius, Attilius, Rutilius, Duilius, Ster- 
 quilius, Carvilius, Servilius, Callius, Trebellius, Cascellius, Gel- 
 Jius, Arellius, Vitellius, Tullius, Manlius, Tenolius, Nauplius, 
 Daiilius, Julius, Amulius, Parnphylius, Pylius. 
 
 MIUS 
 
 Accent the Antepenultimate. 
 
 Samius, Ogmius, Isthmius, Decimius, Septimius, Rbemmius, 
 Memmius, Mummius, Nomius, Bromius, Latmius, Postbu- 
 niius. 
 
 ANIUS ENIUS INIUS ENNIUS 
 
 Accent the Antepenultimate. 
 
 Anius, Libanius, Canius, Sicanitis, Vulcanius, Ascanius, Dar- 
 danius, Clanius, Manius, Afranius, Granius, ^Enius, Maenius, 
 Genius, Borysthenius, Lenius, Valenius, Cyllenius, Olenius, 
 Menius, Acbaemenius, Armenius, Ismenius, Poenius, Sirenius, 
 Messenius, Dossenius, Polyxenius, Troezenius, Gabinius, Al- 
 binius, Licinius, Sicinius, Virginius, Tracbinius, Minius, Sala- 
 minius, Flaminius, Etiminius, Arminius, Herminius, Caninius, 
 Tetritinius, Asinius, Eleusinius, Vatinius, Flavinius, Tarquinius, 
 Cilnius, Tolumnius, Annius, Fannius, Elannius, Ennius, Fes- 
 cennius, Dossennius. 
 
 ONIUS UNIUS YNIUS OIUS 
 
 Accent the Antepenultimate. 
 
 Aonius, Lycaonius, Chaonius, Machaonius, Amythaonius, 
 Trebonius, Heliconius, Stiliconius, Asconius, Macedonius, Chal- 
 cedonius, Caledonius, Sidonius, Alcbandonius, Mandonius, 
 Dodonius, Cydonius, Calydonius, Maeonius, Paeonius, Ago- 
 nius, Gorgonius, Laestrygonius, Lestrygonius, Trophonius, 
 Sopbonius, Marathonius, Sithonius, Ericthonius, Aphtbo- 
 nius, Argantbonius, Tithonius, lonius, OEdipodionius, Echio- 
 nius, Ixionius, Salonius, Milonius, Apollonius, Babylonins, 
 
 * Tliis word, the learned contend, ought to have the accent on the penul- 
 timate ; but that the learned frequently depart from this pronunciation, by 
 placing the accent on the antepenultimate, may be seen, Rule 31, prefixed to 
 the Initial Vocabulary. 
 
 M 
 
( 162 ) 
 
 JEmonius, JLacedieniouius, Haemonius, Paltemonius, Ammonius, 
 Strymonius, Nonius, Memnonius, Agamemnonius, Crannonius, 
 Vennonius, Junonius, Pomponius, Acronius, Sophronius, Sciro- 
 nius, Sempronius, Antronius, /Esonius, Ausonius, Latonius, 
 Suetonius, Antonius, Bistonius, Plutonius, Favonius, Amazonius, 
 Esernius, Calphurnius, Saturnius, Daunius, Junius, Neptunius, 
 Gortynius, Typhoius, Acheloius, Miub'ius, Troius. 
 
 AP1US OPIUS IPIUS 
 
 Accent the Antepenultimate. 
 
 Agapius, ^Isculapius, JEsapius, Messapius, Grampius, Pro- 
 copius, CEnopius, Cecropius, Eutropius, ^Esopius, Mopsopius, 
 Gippius, Puppius, Caspius, Thespius, Cispius. 
 
 ARIUS ERIUS IRIUS ORIUS URIUS YRIUS 
 
 Accent the Penultimate. 
 
 Darius. 
 
 Accent the Antepenultimate. 
 
 Arius, Icarius, Tarcundarius, Ligarius, Sangarius, Corinthi- 
 arius, Larius, Marius, Hierosolymarius, ^Enarius, Taenarius, 
 Asinarius, Isinarius, Varius, Januarius, Aquarius, Februarius, 
 Atuarius, [mbrius, Adrius, Evandrius, Laberius, Biberius, Ti- 
 berius, Celtiberius, Vinderius, Acherius, Valerius, Numerius, 
 Hesperius, Agrius, CEagrius, Cenchrius, Rabirius, Podalirius, 
 Sinus, Virius, Bosphorius, Elorius, Fiorius, Actorius, Anacto- 
 riusj Sertorius, Caprius, Cyprius, Arrius, Feretrius, CEnotrius, 
 Adgandestrius, Caystrius, Epidaurius, Curius, Mercurius, Du- 
 rius, Furius, Palfurius, Tliurius, Mamurius, Purius, Masurius, 
 Spurius, Veturius, Asturius, Atabyrius, Scyrius, Porphyrius, 
 Assyrius, Tyrius. 
 
 ASIUS ESIUS ISLUS OSIUS USIUS YSIUS 
 
 Accent the Antepenultimate. 
 
 Asius, Casius, Thasius, Jasius, ^sius, Acesius, Coracesius, 
 Arcesius, Mendesius, Chesius, Ephesius, Milesius, Theume- 
 sius, Teumesius, JEnesius, Magnesius, Proconnesius, Cherso- 
 nesius, Lyrnesius, Marpesius, Acasesius, Melitesius, Adylisius, 
 Amisius, Artemisius, Simbisius, Charisius, Acrisius, Horten- 
 sius, Syracosius, Theodosius, Gnosius, Sosius, Mopsius, Cas- 
 
( 163 ) 
 
 sius, Thalassius, Lyrnessius, Cressius, Tartessius, Syracusius, 
 Fnsius, Agusius, Amathnsius, Ophiusius, Ariusius, Volusius, 
 Selinusius, Acherusius, Maurusius, Lysius, Elysius, Dionysius, 
 Odrysius, Amphrysius, Otbrysius. 
 
 ATIUS ETJUS ITIUS OTIUS UTIUS 
 
 Accent the Penultimate. 
 Xenophontius. 
 
 Accent the Antepenultimate. 
 
 Trebatius, Catius, Volcatius, Achatius, Latins, Caesenatius, 
 Egnatius, Gratius, Horatius, Tatius, Luctatius, Statius, Actius, 
 Vectius, Quinctius, Aetius, ^Etius. Pansetius, Praetius, Cetius, 
 Caeetius, Vegitius, Metius, Moenetius, Lucretius, Helvetius, 
 Saturnalitius, Floralitius, Compitalitius, Domitius, Beritius, 
 Neritius, Crassitius, Titius, Politius, Abundantius, Paeantius, 
 Taulantius, Acamantius, Teuthrantius, Lactantius, Hyantius, 
 Byzantius, Terentius, Cluentius, Maxentius, Mezentius, Quin- 
 tius, Acontius, Vocontius, Laomedontius, Leontius, Pontius, 
 Hellespontius, Acherontius, Bacuntius, Opuntius, Anintius, 
 Masotius, Thesprotius, Scaptius, ^Egyptius, Martius, Laertius, 
 Propertius, Hirtius, Mavortius, Tiburtius, Curtius, Theslius, 
 Themistius, Canistius, Sallustius, Crustius, Carystius, Hymet- 
 tius, Bruttius, Abutius, Ebutius, ^Ebutius, Albutius, Acutius, 
 Locutius, Stercutius, Mutius, Minutius, Pretutius, Clytius, 
 Bavins, Fiavius, Navius, Evius, Maevius, Naevius, Ambivius, 
 Livius, Milvius, Fulvius, Sylvius, N-ovius, Servius, Vesvius, 
 Pacuvius, Vitruvius, Vesuvius, Axius, Naxius, Alexius, Ixius, 
 Sabazius. 
 
 ALUS CLUS ELUS ILUS OLUS ULUS YLUS 
 
 Accent the Penultimate. 
 
 Stymphalus, Sardanapalus, Androclus, Patroclus, Doryclus, 
 Orbelus, Philomelus, Kumelus, Pliasaelus, Phaselus, Ciysi- 
 lus, Cimolus, Timolus, Tmolus, Mausolus, Pactolus, jEtolus, 
 Atabulus, Praxibulus, Cleobulus, Critobulus, Acontobulus, 
 Arislobulus, Eubulus, Thrasybulus, Getulus, Bargylus, Mas- 
 sylus. 
 
 Accent the Antepenultimate. 
 
 Abalus, Heliogabalus, Corbalus, Bubalus, Cocalus, 
 
 M '2 
 
( 164 ) 
 
 daius, Idalus, Acidalus, Megalus, Trachalus, Cephalus, Cyno- 
 cepbalus, Bucephalus, Anchialus, Maenalus, Hippalus, Harpa- 
 lus, Bupalus, Hypalus, Thessalus, Italus, Tantalus, Crotalus, 
 Ortalus, Attains, Etuyalus, Doryclus, Stiphelus, Sthenelus, 
 Eutrapelus, Cypselus, Babilus, Diphilus, Antiphilus, Pam- 
 philus, Theophilus, Damophilus, Troilus, Zciilus, Choerilus, 
 Myrtilus, ^goboltis, Naubolus, Equieolus, ^olus, Laureolus, 
 Anchemolus, Bibulus, Bibaculus, Caeculus, Grasculus, Sicu- 
 lus, Saticulus, ^Equiculus, Paterculus, Acisculus, Regulus, 
 Eomuhis, Venulus, Apulus, Salisubsulus, Vesulus, Catulus, 
 Gtetulus, Getulus, Opitulus, Lentulus, Rutulus, ^Eschyltis, 
 Deiphylus, Demylus, Deipylus, Sipylus, Empylus, Cratylus, 
 As ty lus. 
 
 AMUS EMUS IMUS OMUS UMUS YMUS 
 
 decent the Penultimate. 
 
 Callidemus, Charidemus, Pethodemus, Philodemus, Phano- 
 demus, Clitodemus, Aristodemus, Polyphemus, Theotimus, 
 Herrnotimus, Aristotimus, Ithomus. 
 
 Accent the Antepenultimate. 
 
 Lygdanius, ArchidamuSj Agesidamus, Apusidamus, Anaxi- 
 damus, Zeuxidamus, Androdamus, Xenodamus, Cogamus, Per- 
 gamus, Orchamus, Priamus, Giniiamus, Ceramus, Abdiramus, 
 Pyramas, Anlhemus, Telemus, Tlepolemus, Theopolemus, 
 Neoptolemus, Phaedimus, Abdalonimus, Zosiiuus, Maximus, 
 Antidomus, Amphinomus, Nicodromus, Didymus, Dindymus, 
 Helymus, Solymus, Cleouymus, Abdalonymus, Hieroriymus, 
 Euonymus, jEsymus, 
 
 ANUS 
 
 Accent the Penultimate. 
 
 Artabanus, Cebanus, Thebanus, Albanus, Nerbanus, Ver- 
 banus, Labicanus, Gallicanus, African us, Sicanus, Vaticanus, 
 Lavicanus, Vulcanus, Hyrcanus, Lucanus, Transpadanus, 
 Pedanus, Apidanus, Fundanus, Codanus, Eanus, Garganus, 
 Murhanus, Baianus, Trajanus, Fabiaous, Accianus, Prisci- 
 anus, Roscianus, Lucianus, Seleucianus, Herodianus, Claudi- 
 anus, Saturciantis, Sejanus, Carteianus, ^Elianus, Afflianus, 
 
Lucilianus, Virgilianus, Petilianus, Quintilianus, Catullianus, 
 Tertullianus, Julianus, Ammianus, Memmianus, Formianus, 
 Diogenianus, Scandinianus, Papinianus, Valeiitinianus, Justini- 
 anus, Trophonianus, Otlionianus, Pomponianus, Maronianus, 
 Apronianus, Thyonianus, Trojanus, Ulpianus, jEsopiamis, 
 Appianus, Oppianus, Marianus, Adrianus, Hadrjanus, Tibe- 
 riamis, Valerianus, Papirianus, Vespasianus, Horlensianus, 
 Theodosianus, Bassianus, ' Pelusianus, Diocletianus, Domitia- 
 nus, Antianus, Scantianus, Terentianus, Quintianus, Sestianus, 
 Augustianus, Sallustianus, Pretutianus, Sextianus, Flavianus, 
 Bovianus, Pacuvianus, Alanus, Elanus, Silanus, Fregellanus, 
 Atellanus, Regillanus, Lucullanus, Sullanus, Syllanus, Car- 
 seolanus, Pateolanus, Coriolanus, Ocriculanus, ^Esculanus, 
 Tusculanus, Carsulanus, Fassulanus, Querquetulanus, Ama- 
 nus, Lemanus, Surnmanus, Romanus, Rhenanus, Amenanus, 
 Pucinanus, Cinnanus, Canipanus, Hispanus, Sacranus, Vena- 
 franus, Claranus, Ulubranus, Seranus, Luteranus, Coranus, 
 Soranus, Serranus, Suburranus, Gauranus, Suburanns, Ancy- 
 ranus, Cosanus, Sinuessanus, Syracusanus, Satanus, Laletanus, 
 Tunetanus, Abretanus, Cretanus, Setabitanus, Gaditanus, Tin- 
 gitanus, Caralitanus, Neapolitans, Antipolitanus, Tomita- 
 nus, Taurominitanus, Sybaritanus, Liparitanus, Abderitauus, 
 Tritanus, Ancyritanus, Lucitanus, Pantanus, Nejentanus, 
 Nomentanus, Beneventanus, Montanus, Spartanus, Paestanus, 
 Adelstanus, Tutatms., Sylvanus, Albinovanus, Adeantuanus, 
 Mantuanus. 
 
 Accent the Antepenultimate. 
 
 Libanus, Clibanus, Antilibanus, Oxycanus, Eiidanus, Rho- 
 daiuis, Dardanus, Oceanus, Long im anus, Idiimanus, Pripanus, 
 Caranus, Adranus, Coeranus, Tritanus, Pantanus, Sequanus. 
 
 E NU S 
 Accent the Penultimate. 
 
 Characenus, Lampsacenus, Astacenus, Picenus, Damasce- 
 nus, Suifenus, Alienus, Alplienus, Tyrrhenos, Gabienus, La- 
 bienus, Avidenus, A menus, Pupienus, Garienus, Cluvienus, 
 Calenus, Galenus, Silenus, Pergamenus, Alexamenus, Isme- 
 rnis, Tbrasyraenus, 'Frasymenus, Diopoenus, Capenus, Cebrenus, 
 Fibrenus, Serenusj Palmy renus, Amasenus, Tibisenus, Misenus, 
 Evenus, B)zeius. 
 
( 166 ) 
 
 Accent the Antepenultimate. 
 
 Ambetius, Helenus, Olenus, Tissamenus, Dexamenus, Dia- 
 dutnenus, Clymenus, Periclymenus, Axenus, Callixenus, Phi- 
 loxenus, Timoxenus, Aristoxenus. 
 
 INUS 
 Accent the Penultimate. 
 
 Cytainus, Gabintis, Sabinus, Albinus, Sidicinus, Aricinus, 
 Sicinus, Ticinus, Mancinus, Adminocinus, Carcinus, Cosci- 
 nus, Marrucinus, Erycinus, Acadiims, Caudinus, Cytainus, 
 Rufinus, Rheginus, Erginus, Opiturginus, Auginus, Hyginus, 
 Pachinus, Echinus, Delphinus, Myrrhinus, Pothiuus, Face- 
 linus, Velinus, Stergilinus, Esquilinus, ^squilinus, Caballinus, 
 Marcelliuus, Tigellinus, Sibyllinus, Agyllinus, Solinus, Capi- 
 tolinus, Gerainus*, Maximinus, Crastumiuus, Anagninus, 
 Signinus, Theoninus, Saloninus, Antoninus, Amiterninus, Sa- 
 turninus, Priapinus, Salapinus, Lepinus, Alpinus, Inulipinus, 
 Arpinus, Hirpinus, Crispinus, Rutupinus, Lagarinus, Chari- 
 nus, Diocharinus, Nonacrinus, Fibrinus, Lucrinu.s, Leandri- 
 nus, Aiexandrinus, Iberinus, Tiberinus, Transtibeiitms, Ame- 
 rinus, JEserinus, Quirinus, Censorinus, Assorimis, Favoiinus, 
 Phavorinus, T"aurinus, Tigurinus, Thurinu.s, Seinuunus, Cy- 
 rinus, Myrinus, Gelasinus, Exasinus, Acesinus, Halesinus, 
 Telesinus, JSepesinus, Brundisinus, Nursinus, N;iKiisinus> 
 Libyssimis, Fuscinus, Clusinus, Venusinus, Perusinus, Susi- 
 nus, Ardeatinus, Reatinus, Antiatinus, Latinus, Collatinus, 
 Cratinus, Soractinus, Aretinus, Arretinus, Setinus, Bantinus, 
 Murgantinus, Phalantinus, Numantinus, Tridentinus, Ufenti- 
 nus, Murgeutinus, Salentinus, Pollentinus, Polentinus, Ta- 
 rentinus, Terentinus, Snnentinus, Laurentinus, Aventinus, 
 Truentinus, Leontinus, Pontinus, Metapontinus, S.iguntinus, 
 Martinus, Mamertinus, Tiburtinus, Crastinus, Palaestinus, Prae- 
 nestinus, Atestinus, Vestinus, Augustinus, Justinus, Lavinus, 
 Patavinus, Acuinus, Elvinus, Corvinus, Laimvinus, Vesuvinus, 
 Euxinus. 
 
 * This is the name of a certain astrologer mentioned by Petaviiu, which 
 Labbe says would be pronounced with the accent on the antepenultimate by 
 those who are ignorant of Greek. 
 
( 167 ) 
 
 decent the Antepenultimate. 
 
 Phainus, Acinus, Alcinus, Fucinus, JEacidinus, Cyteinus, 
 Barcliiims, Morinus*, Myrrhinus, Terminus, Ruminus, Earinus, 
 Asinus, Apsinus, Myrsinus, Pometinus, Agrantinus. 
 
 ONUS ONUS YNUS 
 Accent the Penultimate. 
 
 Drachonus, Onochonus, Ithonus, Tithonus, Myronus, Nep- 
 tunus, Portunus, Tutunus, Acindynus, Bitbynus. 
 
 Accent the Antepenultimate. 
 
 Exagonus, Hexagonus, Telegonus, Epigonus, Erigonus, 
 Tosigonus, Antigonus, Laogonus, Chrysogonus, Nebrophonus, 
 Aponus, Carantonus, Santonus, Aristonus, Dercynus, Acindynus. 
 
 ous 
 
 Accent the Penultimate. 
 
 Aoiis, Lnoiis, Sardous, Eoiis, Geloiis, Acheloiis, Jnolis, Mi- 
 noiis, Naupac toiis, Arctoiis, Myrtoiis. 
 
 Accent the Antepenultimate. 
 
 Hydrochoiis, Aleaihoiis, Pirithous, Nausithoiis, Alcinoiis, 
 Sphinoiis, Antinoiis. 
 
 APUS EPUS IPUS OPUS 
 
 Accent the Penultimate. 
 
 Priapus, Anapus, ^Esapus, Messapus, Athepus, JEsepus, 
 Euripus, Lycopus, Melanopus, Canopus, Inopus, Paropus, 
 Oropus, Europus, Asopus, ^Ssopus, Crotopus. 
 
 Accent the Antepenultimate. 
 Sarapus, Astapus, CEdipus, Agriopus, ^Sropus. 
 
 * The singular of Morini. See the word. 
 
 As the i in the foregoing selection has the accent on it, it ought to be pro- 
 nounced like the noun eye ; while the unaccented a in this selection should b 
 pronounced like e. See Rule 4th prefixed to the Initial Vocabulary. 
 
( 168 ) 
 
 ARUS ERUS IRUS ORUS URUS YRUS 
 
 decent the Penultimate. 
 
 Cimarus, .ZEsarus, Iberus, Doberus, Homerus, Severus, 
 Koverus, Meleagrus, CEagrus, Cynaegirus, Camirus, Epirus, 
 Achedorus, Artemidorus, Isidorus, Dionysidorus, Theodoras, 
 Pythodorus, Diodurus, Tryphiodorus, Heliodorus, Asclepi- 
 odorus, Alhesiodorus, Cassiodorus, Apollodorus, Demodorus, 
 Hermodorus, Xenodorus, Metrodorus, Polydorus, Alorus, 
 Elorus, Helorus, Pelprus, ^Egimorus, Assorus, Cytorus, Epi- 
 curus, Palinurus, A returns. 
 
 Accent the Antepenultimate. 
 
 Abarus, Imbarus, Hypobarus, Icarus, Pandarus, Pindarus, 
 Tyndarus, Tearus, Farfarus, Agarus, Abgarus, Gargarus, 
 Opharus, Cantharus, Obiarus, Uliarus, Silarus, Cyllarus, 
 Tamarus, Absimarus, Comarus, Vindomarus, Tomarus, 
 Tsmarus, Ocinarus, Pinarus, Cinnarus, Absarus, Bas.sarus, 
 Deioiarus, Tartarus, Eleazarus, Artabrus, Balacrus, Charadrus, 
 Cerberus, Bellerus, Mermerus, Terrnerus, Hesperus, Craterus, 
 Icterus, Anigrus, Glaphirus, Deborus, Pacorus, Stesicborus, 
 Gorgophorus, Telesphorus, Bosphorus, Phosphorus, Heptapo- 
 rus, Euporus, Anxurus, Deipyrus, Zopyrus, Leucosyrus, Salyrus, 
 Tityrus. 
 
 ASUS ESUS ISUS OSUS USUS YSUS 
 Accent the Penultimate. 
 
 Parnasus, Galesus, Halesus, Volesus, Termesus, Theuine- 
 sus, Teurnesus, Alopeconnesus, Proconnesus, Arconnesus, 
 Elaphonnesus, Demonesus, Cherronesus, Chersonesus, Arcten- 
 nesus, Myonnesus^ Halonesus, Cephalonesus, Peloponnesus, 
 Cromyonesus, Lyrnesus, Marpesus, Titaresus, Alisus, Paradisus, 
 Amisus, Paropamisus, Crinisus, Amnisus, Berosus, Agrosus, 
 Ebusus, Amphrysus. 
 
 Accent the Antepenultimate. 
 
 Oribasus, Bubasus, Caucasus, Pedasus, Agasus, Pegasus, 
 Tamasus, Harpasus, Imbrasus, Cerasus, Doryasus, Vogesus, 
 Vologesus, Ephesus, Anisus, Genusus, Ambrysus. 
 
( 169 ) 
 
 ATUS ETUS ITUS OTUS UTUS YTUS 
 
 Accent the Penultimate. 
 
 Rubicatus, Baeticatus, Abradatus, Ambigatus, Viriatus, Elatus, 
 Pilatus, Catugnatus, Cincinnatus, Odenatus, Leonatus, Aratus, 
 Pytharatus, Demaratus, Acratus, Ceratus, Sceleratus, Serratus, 
 Dentatus, Dualus, Torquatus, Februatus, Achetus, Polycletus, 
 ./Egletus, Miletus, Admetus, Tremetus, Diognelus, Dyscinetus, 
 Capetus, Agapetus, lapetus, Acretus, Oretus, Hermaphroditus, 
 Epaphroditus, Heraclitus, Munitus, Agapitus, Cerritus, Bituitus, 
 Polygnotus, Azotus, Acutus, Stercutus, Coruutus, Cocytus, 
 Berytus. 
 
 Accent the Antepenultimate. 
 
 Deodatus, Palaephatus, Inatus, Acratus, Dinocratus, Eches- 
 tratus*, Amestratus, Menestratus, Amphistratus, Callistratus, 
 Damasistratus, Erasistralus, Agesistratus, Hegesistratus, Pisis- 
 tratus, Sosistratus, Lysistratus, Nicostratus, Cleostratus, Da- 
 mostratus, Demostralus, Sostratus, Philostratus, Dinostratus, 
 Herostralus, Eratostratus, Polystratus, Acrotatus, Taygetus, 
 Demaenetus, lapetus, Tacitus, Jphitus, Onomacritus, Agora- 
 critus, Onesicritus, Cleocritus, Damocritus, Democritus, Aris- 
 tocritus, Antidutus, Theodotus, Xenodotus, Herodotus, Cephi- 
 sodotus, Libanotus, Leuconotus, Euronotus, Agesimbrotus, 
 Stesimbrutus, Theombrotus, Cleombrotus, Hippolytus, Anytus, 
 ACpytus, Eurytus. 
 
 AVUS EVUS 1VUS UUS XUS YUS ZUS XYS U 
 
 Accent the Penultimate. 
 
 Agavus, Timavus, Saravus, Batavus*f-, Versevus, Siievus, 
 Gradivus, Argivus, Briaxus, Oaxus, Araxus, Eudoxus, Trapezus, 
 Charaxys. 
 
 Accent the Antepenultimate. 
 Batavus, Inuus, Fatuus, Tityus, Diascoridu. 
 
 * AH words ending in stratus have the accent on the antepenultimate syllable. 
 
 t This word is pronounced with the accent either on the penultimate or an* 
 tepenultimate syllable : the former, however, is the most general, especially 
 among the poets. 
 
( 170 ) 
 
 DAX LAX NAX RAX RIX DOX ROX 
 
 decent the Penultimate. 
 Ambrodax, Demonax, Hipponax. 
 
 decent the Antepenultimate. 
 
 Arctophylax, Hegesianax, Hcrmesianax, Lysianax, Astyauax, 
 Agonax, Hierax, Caetobrix, Eporedorix, Deudorix, Ambiorix, 
 Dumnorix, Adiatorix, Orgetorix, Biturix 7 Cappadox,, Allobrox. 
 
RULES 
 
 FOR THE 
 
 PRONUNCIATION 
 
 OF 
 
 SCRIPTURE PROPER NAMES. 
 
( 172 ) 
 
 ADVER TISEMENT. 
 
 1 HE true pronunciation of the Hebrew language, as Doctor Lowth observes, 
 is lost. To refer us for assistance to the Masoretic points, would be to launch 
 us on a sea without shore or bottom: the only compass by which we can pos- 
 sibly steer on this boundless ocean, is the Septuagint version of the Hebrew 
 Bible ; and as it is highly probable the translators transfused the sound of the 
 Hebrew proper names into the Greek, it gives us something like a clew to 
 guide us out of the labyrinth. But even here we are often left to guess our 
 way: for the Greek word is frequently so different from the Hebrew, as 
 scarcely to leave any traces of similitude between them. In this case custom 
 and analogy must often decide, and the ear must sometimes solve the difficulty. 
 But these difficulties relate chiefly to the accentuation of Hebrew words : and 
 the method adopted in this point will be seen in its proper place. 
 
 I must here acknowledge my obligations to a very learned and useful work 
 the Scripture Lexicon of Mr. Oliver. As the first attempt to facilitate the 
 pronunciation of Hebrew proper names, by dividing them into Syllables, it de- 
 serves the highest praise : but as I have often differed widely from this gen- 
 tleman in syllabication, accentuation, and the sound of the vowels, I have 
 thought it necessary to give my reasons for this difference, which will be seen 
 under the Rules: of the validity of which reasons the reader will be the best 
 judge. 
 
 N. B. As there are many Greek and Latin proper names in Scripture, par- 
 ticularly in the New Testament, which are to be met with in ancient history, 
 some of them have been omitted in this selection : and therefore if the inspector 
 does not find them here, he is desired to seek for them in the Vocabulary of 
 Greek and Latin Names. 
 
RULES 
 
 FOR PRONOUNCING 
 
 SCRIPTURE PROPER NAMES. 
 
 1. IN the pronunciation of the letters of the Hebrew proper 
 names, we find nearly the same rules prevail as in those of 
 Greek and Latin. Where the vowels end a syllable with the 
 accent on it, they have their long open sound, as Na f bal, Je' hu, 
 Si' rack, Go' shen, and Tu' ' bal. (See Rule 1st prefixed to the 
 Greek and Latin Proper Names.) 
 
 2. When a consonant ends the syllable, the preceding vowel 
 is short, as Sam' u-el, Lem' u-el, Sim' e-on, Sol' o-mon, Sue' cot h, 
 Syn' a-gogue. (See Rule 2d prefixed to the Greek and Latin 
 Proper Names.) I here differ widely from Mr. Oliver ; for I 
 cannot agree with him that the e in Abdiel, the o in Arnon, and 
 the u in Ashur, are to be pronounced like the ee in seen, the o in 
 tonej and the u in tune, which is the rule he lays down for all 
 similar words. 
 
 3. Every final i forming a distinct syllable, though unaccented, 
 has the long open sound, as A' i, A-ris' a-i. (See rule the 4th 
 prefixed to the Greek and Latin Proper Names.) 
 
 4. Every unaccented i, ending a syllable not final, is pro- 
 nounced like e, as A' ri-el, Ab'di-el; pronounced A' re-el, 
 Ab f de-el. (See Rule the 4th prefixed to the Greek and Latin 
 Proper Names.) 
 
 5. The vowels ai are sometimes pronounced in one syllable, 
 and sometimes in two. As the Septuagint version is our chief 
 guide in the pronunciation of Hebrew proper names, it may be 
 observed, that when these letters are pronounced as a diphthong 
 in one syllable, like our English diphthong in the word daily, 
 they are either a diphthong in the Greek word, or expressed by 
 the Greek e or , as Ben-ai' ah, Bavau*; Hu f shai, Xa* ; Hu'rai, 
 Ovgi, Sec. ; and that when they are pronounced in two syllables, 
 as Sham' ma-i, Shash' a-i, Ber-a-i' ah, it is because the Greek 
 words by which they arc translated, as af*a*, Zeo-ls, Bag***, 
 make two syllables of these vowels. Mr. Oliver has not always 
 
174 RULES FOR PRONOUNCING 
 
 attended to this distinction: he makes Sin' a-i three syllables, 
 though the Greek make it but two in ,?. That accurate 
 prosodist Labbe, indeed, makes it a trisyllable; but he does 
 the same by Aaron and Canaan, which our great classic Milton, 
 uniformly reduces to two syllables, as well as Sinai. If we were 
 to pronounce it in three syllables, we must necessarily make the 
 first syllable short, as in Shim' e-i; but this is so contrary to the 
 best usage, that it amounts to a proof that it ought to be pro- 
 nounced in two syllables with the first i long, as in Shi' nar. 
 This, however, must be looked upon as a general rule only : 
 these vowels in Isaiah, Graecised by HraVac, are always pro- 
 nounced as a diphthong, or, at least with the accent on the a, 
 and the i like y articulating the succeeding vowel ; in Caiaphas 
 likewise the ai is pronounced like a diphthong, though divided 
 in the Greek KaVa<pa$; which division cannot take place in 
 this word, because the i must then necessarily have the accent, 
 and must be pronounced as in Isaac, as Mr. Oliver has marked 
 it; but I think contrary to universal usage. The only point ne- 
 cessary to be observed in the sound of this diphthong, is the slight 
 difference we perceive between its medial and final position ; 
 when it is final, it is exactly like the English ay without the ac- 
 cent, as in holyday, roundelay, galloway ; but when it is in the 
 middle of a word, and followed by a vowel, the i is pronounced 
 as if it were y, and as if this y articulated the succeeding vowel : 
 thus Ben-ai' ah is pronounced as if written Ben-a' yah. 
 
 6. Ch is pronounced like k, as Chebar, Chemosh, Enoch, &c. 
 pronounced Kebar, Kemosh, Enoch, &c. Cherubim, and Rachel, 
 seem to be perfectly anglicised, as the ch in these words is always 
 heard as in the English word cheer, child, riches, &c. (See 
 Rule 12 prefixed to the Greek and Latin Proper Names.) The 
 same may be observed of Cherub, signifying an order of angels ; 
 but when it means a city of the Babylonish empire, it ought to 
 be pronounced Re' rub. 
 
 7. Almost the only difference in the pronunciation of the 
 Hebrew, and the Greek and Latin proper names, is in the sound 
 of the g before e and i : in the two last languages this consonant is 
 always soft before these vows, as Gellius, Gippius, &c., pro- 
 
SCRIPTURE PROPER NAMES. 175 
 
 nounced, Jellius, Jippius, &c ; and in the first it is hard ; as 
 Gera, Gerizim, Gideon, Gilgal, Megiddo, Megiddon, &c. This 
 difference is without all foundation in etymology ; for both g 
 and c were always hard in the Greek and Latin languages, as 
 well as in the Hebrew, but the latter language being studied so 
 much less than the Greek and Latin, it has not undergone that 
 change which familiarity is sure to produce in all languages: 
 and even the solemn distance of this language has not been able 
 to keep the letter c from sliding into s before e and i, in the 
 same manner as in the Greek and Latin : thus, though Gehazi, 
 Gideon, &c. have the g hard, Cedrom, Cedron, Cisai, and Cittern, 
 have the c soft, as if written Sedrom, Sedron, &c. The same may 
 be observed of Igeabarim, Igeal, Nagge, Shage, Pagiel,\vi\h theg 
 hard ; and Ocidelus, Ocina, and Pharacion, with the c soft like s. 
 
 8. Gentiles, as they are called, ending in ines and ites, as 
 Philistines, Hivites, Hittites, &c. being anglicised in the trans- 
 lation of the Bible, are pronounced like formatives of our own, 
 as Philistins, Whitfiddites, Jacobites, &c. 
 
 9- The unaccented termination ah, so frequent in Hebrew 
 proper names, ought to be pronounced like the a in father. The 
 a in this termination, however, frequently falls into the indis- 
 tinct sound heard in the final a in Africa, JEtna, c. ; nor can 
 we easily perceive any distinction in this respect between Elijah 
 and Elisha : but the final h preserves the other vowels open, as 
 Colhozeh, Shi/oh, &c. pronounced Colhozee, Shilo, &c. (See 
 Rule 7 prefixed to the Greek and Latin proper Names.) The 
 diphthong ei is always pronounced like ee: thus Sa-mei' us is 
 pronounced as if written Sa-meef us. But if the accent be 
 on the ah, then the a ought to be pronounced like the a in father; 
 as Tah'e-ra, Tah' pe-nes, &c. 
 
 10. It may be remarked that there are several Hebrew pro- 
 per names, which, by passing through the Greek of the New 
 Testament, have conformed to the Greek pronunciation ; such as 
 Aceldama, Genazareth, Bethphage, &c. pronounced Aseldama, 
 Jenazareth, Bethphaje, &c. This is, in my opinion, more 
 agreeable to the general analogy of pronouncing these Hebrew 
 Greek words than preserving the c and g hard. 
 
176 RULES FOR PRONOUNCING 
 
 Rules for ascertaining the English Quantity of the Vowels in 
 Hebrew Proper Names. 
 
 11. With respect to the quantity of the first vowel in dissyl- 
 lables, with but one consonant in the middle, I have followed the 
 rule which we observe in the pronunciation of such dissyllables 
 when Greek or Latin words. (See Rule 18 prefixed to the 
 Greek and Latin Proper Names :) and that is, to place the ac- 
 cent on the first vowel, and to pronounce that vowel long, as 
 Ko 1 rah, and not Kor'ah, Mo' loch and not Mol'och, as Mr. Oli- 
 ver has divided them in opposition both to analogy and the best 
 usage. I have observed the same analogy in the penultimate of 
 polysyllables ; and have not divided Balthasar into Bal-thas' ar, 
 as Mr. Oliver has done, but into Bal-tha' sar. 
 
 12. In the same manner, when the accent is on the antepe- 
 nultimate syllable, whether the vowel end the syllable, or be fol- 
 lowed by two consonants, the vowel is always short, except fol- 
 lowed by two vowels, as in Greek and Latin proper names. 
 (See Rule prefixed to these names, Nos. 18, 19, 20, &c.) 
 Thus Jehosaphat has the accent on the antepenultimate sylla- 
 ble, according to Greek accentuation by quantity, (see Intro- 
 duction to this work) and this syllable, according to the clearest 
 analogy of English pronunciation, is short, as if spelt Je-hos' a- 
 phat. The secondary accent has the same shortening power in 
 
 OthoniaSj where the primary accent is on the third, and the se- 
 condary on the first syllable, as if spelt Oth-o-ni'as: and it is on 
 these two fundamental principles of our own pronunciation, 
 namely, the lengthening power of the penultimate, and the 
 shortening power of the antepenultimate accent, that I hope I 
 have been enabled to regulate and fix many of those sounds which 
 were floating about in uncertainty ; and which, for want of this 
 guide, are differently marked by different orthoepists, and often 
 differently by the same orthoepist. See this fully explained and 
 exemplified in Principles of English Pronunciation prefixed to the 
 Critical Pronouncing Dictionary, Nos. 547, 530, &c. 
 
 Rules for placing the Accent on Hebrew Proper Names. 
 
 13. With respect to the accent of Hebrew words, it cannot 
 be better regulated than by the laws of the Greek language. I 
 
SCRIPTURE PROPER NAMES. J?7 
 
 do not mean, however, that every Hebrew word which is Grae- 
 cised by the Septuagint should be accented exactly according to 
 the Greek rule of accentuation ; for if this were the case, every 
 word ending in el would never have the accent higher than the 
 preceding syllable ; because it was a general rule in the Greek 
 language, that when the last syllable was long the accent could 
 not be higher than the penultimate : nay, strictly speaking, were 
 we to accent these words according to the accent of that language, 
 they ought to have the accent on the last syllable, because AdiA 
 and icr%oiv)h, Abdiel and Israel, have the accent on that syllable. 
 It may be said, that this accent on the last syllable is the grave, 
 which, when on the last word of a sentence, or succeeded by an 
 enclitic, was changed into an acute. But here, as in words 
 purely Greek, we find the Latin analogy prevail : and because 
 the penultimate is short, the accent is placed on the antepenul- 
 timate, in the same manner as in Socrates, Sosthenes, &c. though 
 the final syllable of the Greek words Ewx^arjj?, rwo-fi/Mj?, &c., is 
 Jong, and the Greek accent on the penultimate. (See Introduc- 
 tion prefixed to the Rules for pronouncing Greek and Latin 
 Proper Names.) It is this general prevalence of accenting 
 according to the Latin analogy that has induced me, when the 
 Hebrew word has been Gragcised in the same number of 
 syllables, to prefer the Latin accentuation to what may be called 
 our own. Thus Cathua, coming to us through the Greek 
 Kafitfa, I have accented it on the penultimate, because the 
 Latins would have placed the accent on this syllable on account 
 of its being long, though an English ear would be better pleased 
 with the antepenultimate accent. The same reason has induced 
 me to accent Chaseba on the antepenultimate, because it is 
 Grsecised into Xac-ga. But when the Hebrew and Greek word 
 does not contain the same number of syllables, as Mcs' o-bah, 
 Meo-uGia, Id' u-el, i5>jAo ? , it then comes under our own analogy, 
 and we neglect the long vowel, and place the accent on 
 the antepenultimate. The same may be observed of Mordecai, 
 
 from Ma^o^a?o?. 
 
 14. As we never accent a proper name from the Greek on the 
 
 N 
 
178 RULES FOR PRONOUNCING 
 
 last syllable, (not because the Greeks did not accent the last 
 syllable, for they had many words accented in that manner, but 
 because this accentuation was contrary to the Latin prosody :) so 
 if the Greek word be accented on any other syllable, we seldom 
 pay any regard to it, unless it coincide with the Latin accent. 
 Thus in the word Gede' rah I have placed the accent on the pe- 
 nultimate, because it is Graecised by rqga, where the accent is 
 on the antepenultimate; and this because the penultimate is long, 
 and this long penultimate has always the accent in Latin. (See 
 this farther exemplified, Rule 18, prefixed to the Greek and 
 Latin Proper Names, and Introduction near the end.) Thus 
 though it may seem at first sight absurd to derive our pronun- 
 ciation of Hebrew words from the Greek, and then to desert the 
 Greek for the Latin ; yet since we must have some rule, and if 
 possible, a learned one, it is very natural to lay hold of the 
 Latin, because it is nearest at hand. For as language is a mix- 
 ture of reasoning and convenience, if the true reason lie too 
 remote from common apprehension, another more obvious one is 
 generally adopted; and this last, by general usage, becomes a 
 rule superior to the former. It is true the analogy of our own 
 language would be a rule the most rational ; but while the ana- 
 logies of our own language are so little understood, and the Greek 
 and Latin languages are so justly admired, even the appearance 
 of being acquainted with them will always be esteemed reputable, 
 and infallibly lead us to an imitation of them, even in such points 
 as are not only insignificant in themselves, but inconsistent with 
 our vernacular pronunciation. 
 
 15. It is remarkable that all words ending in ias and iah have 
 the accent on the i, without any foundation in the analogy of 
 Greek and Latin pronunciation, except the very vague reason 
 that the Greek word places the accent on this syllable. I call 
 this reason vague, because the Greek accent has no influence on 
 words in ael, iel, ial, &c. as io-g^ A<^J?W BeAta*, K. r. A. 
 
 Hence we may conclude the impropriety of pronouncing 
 Messias with the accent on the first syllable according to Lab be, 
 who says we must pronounce it in this manner, if we wish to 
 
SCRIPTURE PROPER NAMES. 1?9 
 
 pronounce it like the French with the os rotundum et focundum. 
 and, indeed, if the i were to be pronounced in the French man- 
 ner like e, placing the accent on the first syllable seems to have 
 the bolder sound. This may serve as an answer to the learned 
 critic, the editor of Labbe, who says, " the Greeks, but not the 
 French, pronounce ore rotundo ;" for though the Greeks might 
 place the accent on the i in Mto-riaf, yet as they certainly pro- 
 nounced this vowel as the French do, it must have the same 
 slender sound, and the accent on the first syllable must, in that 
 respect, be preferable to it ; for the Greek i, like the same letter 
 in Latin, was the slenderest of all the vowel sounds. It is the 
 broad diphthongal sound of the English * with the accent on it 
 which makes this word sound so much better in English than it 
 does in French, or even in the true ancient Greek pronunciation. 
 
 16. The termination aim seems to attract the accent on the a, 
 only in words of more than three syllables : as Ephf ra-im and 
 Miz'ra-im have the accent on the antepenultimate; but Ho-ro- 
 na r im, Ram-a-tha' im, &c. on the penultimate syllable. This is 
 a general rule ; but if the Greek word has the penultimate 
 long, the accent ought to be on that syllable, as Phar-vaf im, 
 $ag8ju, &C. 
 
 17. Kemuel, Jemuel, Nemuel, and other words of the same 
 form, having the same number of syllables as the Greek word 
 into which they are translated, ought to have the accent on the 
 penultimate, as that syllable is long in Greek; but Emanuel, 
 Samuel, and Lemuel, are irrecoverably fixed in the antepenulti- 
 mate accentuation, and show the true analogy of the accentuation 
 of our own language. 
 
 18. Thus we see what has been observed of the tendency of 
 Greek and Latin words to desert their original accent and to 
 adopt that of the English, is much more observable in words 
 from the Hebrew. Greek and Latin words are fixed in their 
 pronunciation, by a thousand books written expressly upon the 
 subject, and ten thousand occasions of using them ; but Hebrew 
 words, from the remote antiquity of the language, from the pau- 
 city of books in it, from its being originally written without 
 
 N 2 
 
180 RULES FOR PRONOUNCING SCRIPTURE PROPER NAMES, 
 points, and the very different style of its poetry from that of 
 other languages, afford us scarcely any criterion to recur to for 
 settling their pronunciation, which must therefore often be irre- 
 gular and desultory. The Septuagint, indeed, gives us some 
 light, and is the only star by which we can steer; but this is so 
 frequently obscured, as to leave us in the dark, and to force us 
 to pronounce according to the analogy of our own language. It 
 were to be wished, indeed, that this were to be entirely adopted 
 in Hebrew words, where we have so little to determine us ; and 
 that those words which we have worn into our own pronunciation 
 were to be a rule for all others of the same form and termina- 
 tion ; but it is easier to bring about a revolution in kingdoms 
 than in languages. Men of learning will always form a sort of 
 literary aristocracy; they will be proud of the distinction which a 
 knowledge of language gives them above the vulgar ; and will be 
 fond of showing this knowledge, which the vulgar will never fail 
 to admire and imitate. 
 
 The best we can do, therefore, is to make a sort of compro- 
 mise between this ancient language and our own ; to form a kind 
 of compound ratio of Hebrew, Greek, Latin, and English, and 
 to let each of these prevail as usage has permitted them. Thus 
 Emanuelj Samuel, Lemuel, which, according to the Latin ana- 
 logy and our own, have the accent on the antepenultimate syllable, 
 ought to remain in quiet possession of their present pronunciation, 
 notwithstanding the Greek E/^am^, Sa^^, Ae/xtA* ; but 
 Elishua, Esdrelon, Gederah, may have the accent on the pe- 
 nultimate, because the Greek words into which they are trans- 
 lated, EAwae, 'Eerfyv>*v[A, Fa&jpa, have the penultimate long. If 
 this should not appear a satisfactory method of settling the pro- 
 nunciation of these words, I must entreat those who dissent from 
 it to point out a better : a work of this kind was wanted for ge- 
 neral use ; it is addressed neither to the learned nor the illiterate, 
 but to that large and most respectable part of society who have 
 a tincture of letters, but whose avocations deny them the oppor- 
 tunity of cultivating them. To these a work of this kind cannot 
 fail of being useful ; and by its utility to these the author wishes 
 to stand or fall. 
 
PRONUNCIATION 
 
 OF 
 
 SCRIPTURE PROPER NAMES. 
 
 INITIAL VOCABULARY. 
 
 %* When a word is succeeded by a word printed in Italics, this latter word 
 is merely to spell the former as it ought to be pronounced. Thus Asfe-fa is the 
 true pronunciation of the preceding word Ac? i-pha; and so of the rest. 
 
 %* The Figures annexed to the words refer to the Rules prefixed to the Voca- 
 bulary. Thus the figure (3) after Ab' di refers to Rule the 3d, for the pronun- 
 ciation of the finali; and the figure (5) after A-bishf a-i refers to Rule the 5th, 
 for the pronunciation of the unaccented ait and so of the rest. 
 
 \* For the quantity of the vowels indicated by the syllabication, see Nos. 
 18 and 19 of the Rules for Greek and Latin proper Names. 
 
 AB AB AB 
 
 A'A-LAR 
 
 Ab'a-dah 
 
 A'bal 
 
 *A'a-ron(5) 
 
 A-bad' don 
 
 Ab'a-na (9) 
 
 Ab 
 
 Ab-a-di'as(15) 
 
 fAb' a-rim 
 
 Ab' a-cue 
 
 A-bag' tha 
 
 Ab' a-ron 
 
 * Aaron. This is a word of three syllables in Labbe, who says it is used to 
 be pronounced with the accent on the penultimate : but the general pronunti- 
 ation of this word in English is in two syllables, with the accent on the first, and 
 as if written A'ron. Milton uniformly gives it this syllabication and accent. 
 Till by two brethren (those two brethren call 
 Moses and Aaron) sent from God to claim 
 His people from inthralment. Par. Lost, b. xii. v. 170. 
 t Abarim. This and some other words are decided in their accentuation by 
 Milton in th following verses : 
 
 From 
 
182 AB AB AC 
 
 Ab' ba (9) 
 
 A'bi-el(4)(12) 
 
 Ab' i-sum 
 
 Ab'da 
 
 A-bi-e'zer(12) 
 
 Ab'i-tal 
 
 Ab'di(3) 
 
 A-bi-ez' rite 
 
 Ab' i-tub 
 
 Ab-di'as(lS) 
 
 Ab'i-gail 
 
 A-bi'ud 
 
 Ab'di-el(4)(13) 
 
 A b' i-gal 
 
 Ab'ner 
 
 Ab'don 
 
 Ab-i-ha'il 
 
 *A' bram, or 
 
 A- bed' ne-go 
 
 A-bi'hu 
 
 A' bra-ham 
 
 A'bel(l) 
 
 A-bi' hud 
 
 Ab' sa-lom 
 
 A'bel Beth-ma' a-cah 
 A'belMa'im 
 
 A-bi'jah (9) 
 A-bi'jam 
 
 A-bu' bus 
 Ac' cad 
 
 A'bel Me-ho'lath 
 
 Ab-i-le' ne 
 
 Ac' a*ron 
 
 A'bel Mis' ra-im (16) 
 
 A-bim'a-el(lS) 
 
 Ac' a-tan 
 
 A' bel Shit' tim 
 
 A-bim' e-lech (6) 
 
 Ac' ca-ron 
 
 Ab'e-san(ll) 
 
 A-bin' a-dab 
 
 Ac'cho(6) 
 
 Ab'e-sar(lS) 
 
 A-bin' o-am 
 
 Ac' cos 
 
 A'bez 
 
 A-bi' ram 
 
 Ac'coz 
 
 Ab'ea-rus(12) 
 
 A-bi' rom 
 
 A-cel'da-ma(lO) 
 
 A'bi(3) 
 
 A-bis' a-i (5) 
 
 A-sei' da-ma 
 
 A-bi' a, or A-bi' ah 
 
 Ab-i-se'i 
 
 A'chab(6) 
 
 A-bi-al'bon(12) 
 
 Ab' i-shag 
 
 A' chad 
 
 A-bi' a-saph 
 
 A-bish' a-i (5) 
 
 A-cha' i-a (5) 
 
 A-bi' a-thar 
 
 A-bish' a-har 
 
 A-cha' i-cus 
 
 A' bib 
 
 A-bish' a-loni 
 
 A' chan (6) 
 
 A-bi'dah(9) 
 
 A-bish' u-a( 13) 
 
 A' char 
 
 Ab' i-dan 
 
 Ab' i-shur 
 
 A'chaz(6) 
 
 From Aroar to Nebo, and the wild 
 
 Of southmost Abarim in Hesebon, 
 
 And Horonaim, Seon's realm, beyond 
 
 The flow'ry dale of Sibma, clad with vines, 
 
 And ElealS to th' Asphaltic pool. Par. Lost, b. i. v. 407. 
 
 Yet his temple high 
 
 Heard in Azotns, dreaded through the coast 
 
 Of Palestine, in Gath and Ascalon, 
 
 And Accaron and Gaza's frontier bounds. 
 
 Ib. 463. 
 
 * Abram or Abraham. The first name of two syllables was the patriarch's 
 original name, but God increased it to the second, of three syllables, as a pledge 
 of an increase in blessing. The latter name, however, from the feebleness of 
 the h in our pronunciation of it, and from the absence of the accent, is liable 
 to such an hiatus, from the proximity of two similar vowels, that in the most 
 solemn pronunciation we seldom hear this name extended to three syllables. 
 Milton has but once pronounced it in this manner, but has six times made it 
 only two syllables : and this may be looked upon as the general pronunciation. 
 
AD AD AH 183 
 
 Ach'bor 
 
 Ad'a-sa(Q) 
 
 A-du'el (13) 
 
 A-chi-ach' a-rus 
 
 Ad'a-tha (9) 
 
 A-dul'lam 
 
 A'chim(6) 
 
 Ad'be-el(lS) 
 
 A-dum' mini 
 
 A-chim' e-lech (6) 
 
 Ad' dan 
 
 A-e-di'as(15) 
 
 A'chi-or 
 
 Ad'dar 
 
 ^'gypt 
 
 A-chi'ram 
 
 Ad'di(3) 
 
 ^E-ne' as. Virgil. 
 
 A'chish 
 
 Ad' din 
 
 JE'ne-as. Acts 9. 
 
 Ach'i-tob, or 
 
 Ad' do 
 
 ./E'non 
 
 Ach' i-tub 
 
 Ad'dus 
 
 ^'nos 
 
 A-chit'o-phel 
 
 A'der(l) 
 
 Ag' a-ba 
 
 A-kit' o-fel 
 
 Ad'i-da 
 
 Ag' a-bus 
 
 Ach' me-tha 
 
 A'di-el(lS) 
 
 A'gag(l)(ll) 
 
 A'chor 
 
 A' din 
 
 A' gag-ite 
 
 Ach'sa(9) 
 
 Ad'i-na(9) 
 
 A' gar 
 
 Ach' shaph 
 
 Ad'i-no 
 
 Ag-a-renes' 
 
 Ach'zib(6) 
 
 Ad'i-nus 
 
 Ag'e-e (7) 
 
 Ac' i-pha 
 
 Ad' i-tha (9) 
 
 Ag-ge'us (7) 
 
 ^//a(7) 
 
 Ad-i-tha'im (16) 
 
 Ag-noth-ta' bor 
 
 Ac'i-tho 
 
 Ad'la-i(5) 
 
 A'gur 
 
 A-cu'a(lS) 
 
 Ad' mah 
 
 A'hab 
 
 A' cub (11) 
 
 Ad' ma-tha 
 
 A-har'ah(9) 
 
 A' da 
 
 Ad 7 na (9) 
 
 A-har'al 
 
 A' dad 
 
 Ad'nah(9) 
 
 A-has'a-i (5) 
 
 Ad' a-da, or 
 
 *Ad'o-nai (5) 
 
 A-has-u-e' rus 
 
 Ad' a-dali (9) 
 
 Ad-o-ni'as (15) 
 
 A-ha' va 
 
 Ad-ad-e' zer 
 
 A-do-ni-be' zek 
 
 A'haz 
 
 Ad-ad-rim' mon 
 
 Ad-o-ni'jah(15) 
 
 A-haz'a-i(5) 
 
 A'dah 
 
 A-don' i-kam 
 
 A-ha-zi'ah (15) 
 
 Ad-a-i'ah (9) (15) 
 
 A-don-i' ram 
 
 Ah' ban 
 
 Ad-a-li'a(15) 
 
 A-don-i-ze' dek A' her 
 
 Ad' am 
 
 A-do' ra (9) 
 
 A'hi(S) 
 
 Ad' a-ma, or 
 
 Ad-o-ra' im ( 1 6) 
 
 A-hi' ah 
 
 Ad'a-mah 
 
 A-do' ram A-hi' am 
 
 Ad'a-mi(3) 
 
 A-dram' e-lech A-hi-e' zer 
 
 Ad'a-miNe'keb 
 
 A' dri-a (2) (9) ( 1 2) A-hi' hud 
 
 A'dar(l) 
 
 A'dri-el (IS) A-hi'jah 
 
 * Adonai. Lal)be, says his editor, makes this a word of three syllables 
 only ; which, if once admitted, why, says he, should he dissolve the Hebrew 
 diphthong in Suda'i, Sina'i, Tolma'i, &c., and at the same time make two syllables 
 of the diphthong in Casleu, which are commonly united into one ? In this, says 
 he, he is inconsistent with himself. See Sinai'. 
 
184 Al 
 
 AM 
 
 AN 
 
 A-hi' kam 
 
 Ai' ja-lon 
 
 A-mal' da 
 
 A-hi'lud 
 
 Adfja-lon 
 
 Am' a-lek 
 
 A-him' a-az 
 
 Aij' e-leth Sha' bar 
 
 Am' a-lek-ites (8) 
 
 A-hi' man 
 
 Ad'je-kth 
 
 A' man 
 
 A-him' e-lecli 
 
 A' in (5) 
 
 Am' a-na 
 
 A-hini' e-lek 
 
 A-i'oth 
 
 Am-a-h' ah (15) 
 
 A-hi' moth 
 
 A-i' rus 
 
 A-ma' sa 
 
 A-hin'a-dab , 
 
 Ak'kub 
 
 A-mas'a-i (5) 
 
 A-hin' o-am 
 
 Ak-rab' bim 
 
 Am-a-shi' ah (15) 
 
 A-hi'o 
 
 A-lam'e-lech (6) 
 
 Arn-a-the'is 
 
 A-hi'ra(9) 
 
 Al' a-meth 
 
 Am' a-this 
 
 A-hi' ram 
 
 Al' a-moth 
 
 Am-a-zi' ah 
 
 A-hi'ram-ites(8) 
 
 Al'ci-mus 
 
 *A' men' 
 
 A-his'a-mach (6) 
 
 Al'e-ma 
 
 A' mi (3) 
 
 A-hish' a-hur 
 
 A-le' meth 
 
 A-miri' a -dab 
 
 A-hi' sham 
 
 Al-ex-an' dri-a 
 
 A-mit' tai (5) 
 
 A-hi' shar 
 
 Al-ex-an' dri-on 
 
 A>miz' a-bad 
 
 A-hi'tob 
 
 Al-le-lu'jah 
 
 Am' mah 
 
 A-hit' o-phel 
 
 Al-le-lu'yah (5) 
 
 Am-rnad' a-tha 
 
 A-hi' tub 
 
 A-li'ah 
 
 Am' mi (3) 
 
 A-hi'ud 
 
 A-li'an 
 
 Am mid'i-oi (4) 
 
 Ah'lah 
 
 Al' lorn 
 
 Am' mi el (4) 
 
 Ah'lai(5) 
 
 Al' Ion Bac' huth 
 
 Am-mr* hud 
 
 A-ho' e, or A-ho' ah 
 
 Al-mo'dad 
 
 Am-i-fshad' da-i (5) 
 
 A-ho'ite(8) 
 
 Al'mon, Dib-la- 
 
 Am'mon 
 
 A-ho'lah 
 
 tha'im (15) 
 
 Am' mou-ites 
 
 A-hol' ba 
 
 Al' na-thau 
 
 Am' non 
 
 A-hol' bah 
 
 A' loth 
 
 A' mok 
 
 A-ho'li-ab 
 
 Al'pha 
 
 A'mon 
 
 A-hol' i- bah (9) 
 
 Al-phe' us 
 
 Am' o-rites (8) 
 
 A-ho-lib' a-mah 
 
 Al-ta-ne' us 
 
 A' mos 
 
 A-hu'ma-i (5) 
 
 Al-tas'chith ((j) 
 
 Am'pli-as 
 
 A-hu' zam 
 
 Al'te-kon 
 
 Am' ram 
 
 A-huz' zah 
 
 Al' vah, or Al' van 
 
 Am'ram-ites (8) 
 
 A' M3) 
 
 A' lush 
 
 Am' ran 
 
 A-i'ah(lo) 
 
 A' mad 
 
 Am' ra-phel 
 
 A'i-ath 
 
 A-mad' a-tha 
 
 Am 7 zi (3) 
 
 A-i'ja 
 
 A- mad' a- thus 
 
 A' nab 
 
 A-i'jah 
 
 A'mal 
 
 An'a-el(ll) 
 
 * Amen- The only simple word in the language which has necessarily two. 
 successive accents. See Critical Pronouncing Dictionary, under the word. 
 
AN AR AR 185 
 
 A'nah An-tip'a-tris 
 
 A-ra 7 bi-a 
 
 An-a-ha 7 rath An' ti-pha 
 
 A'rad 
 
 An-a-i'ah (5) (15) 
 
 An- to 7 ni-a A 7 rad-ite (8) 
 
 A'nak 
 
 An-to-tbi 7 jah (15) 
 
 Ai 7 a-dus 
 
 Ai/a-kims 
 
 An 7 toth-ite (8) 
 
 A'rah(l) 
 
 An'a-mim A 7 nub 
 
 A' ram 
 
 A-narn 7 e-lech (6) Ap-a-me 7 a 
 
 A 7 ran 
 
 A' nan 
 
 Aph-a-ra' im (16) 
 
 Ar' a-rat 
 
 An-a 7 ni 
 
 A-pbar 7 sath-chites 
 
 A-rau 7 nah 
 
 An-a-ni'ah (15) 
 
 A-phar' sites (8) 
 
 Ar 7 ba, or Ar' bah 
 
 An-a-ni 7 as 
 
 A 7 phek 
 
 Ar 7 bal 
 
 A-nan'i-el (13) 
 
 A-phe 7 kah 
 
 Ar-bai' tis 
 
 A 7 nath 
 
 A-pher'e-ma 
 
 Ar-be 7 la, in Syria 
 
 *A-nath' e-ma 
 
 A-phei ' ra 
 
 Ar-bel 7 la 
 
 An 7 a-thoth 
 
 A-phi 7 ab (15) 
 
 Ar 7 bite(8) 
 
 An' drew 
 
 Apb'rah 
 
 Ar-bo 7 nai (5) 
 
 A 7 item, or A'nen 
 
 Apb' ses 
 
 Ar-che-la 7 us 
 
 A 7 ner A-poc 7 a-lypse 
 
 Ar-ches 7 tra-tus 
 
 A 7 nes A-poc 7 ry-pha 
 
 Ar 7 che-vites (8) 
 
 A'neth 
 
 A-pol' los 
 
 Ar 7 chi(3) 
 
 An' a-thoth-ite (8) 
 
 A-pol 7 ly-on 
 
 Ar-chi-at 7 a-roth 
 
 A 7 ni-ain 
 
 A-pol' yon 
 
 Ar-chip 7 pus 
 
 A' nim 
 
 Ap 7 pa-im (15) 
 
 Arch 7 ites(8) 
 
 An 7 na (9) 
 
 Ap'phi-a(3) 
 
 Ard 
 
 An'na-as 
 
 Aph' e-a 
 
 Ar 7 dath 
 
 An' nas 
 
 Ap'phus 
 
 Ard 7 ites(8) 
 
 An-nu'us (13) 
 
 Aph' us 
 
 Ar 7 don 
 
 A' nus 
 
 Aq' ui-la A-re 7 li (3) 
 
 An-ti-lib' a-nus 
 
 Ar A-re 7 lites 
 
 An'ti-och (6) 
 
 A 7 ra A-re-op 7 a-gite (8) 
 
 An-ti' o-chis 
 
 A 7 rab j f A-re-op 7 a-gus 
 
 An-ti 7 o-chus 
 
 Ar' a-bah A 7 res 
 
 An 7 ti-pas 
 
 Ar-a-bat 7 ti-ne Ar-e 7 tas 
 
 * Anathema. Those who are not acquainted with the profound researches of 
 verbal critics would be astonished to observe what waste of learning has been 
 bestowed on this word by Labbe, in order to show that it ought to be accented 
 on the antepenultimate syllable. This pronunciation has been adopted by 
 English scholars ; though some divines have been heard from the pulpit to give 
 it the penultimate accent, which so readily unites it in a trochaic pronunciation 
 with Maranaiha, in the first Epistle of St. Paul to the Corinthians : "If any 
 " man love not the Lord Jesus Christ, let him be Anathema maranatha.*' 
 
 t Areopagus. There is a strong propensity in English readers of the New 
 
 Testament 
 
186 
 
 AR 
 
 AS AS 
 
 Ar' pad, or Ar' phad 
 
 A-se' as 
 
 Ar' sa-ces 
 
 As-e-bi' a 
 
 Ar-phax' ad 
 
 A-seb-e-bi'a(15) 
 
 Ar'te-mas 
 
 As' e-nath 
 
 Ar'vad 
 
 A'ser 
 
 Ar'vad-ites (8) 
 
 A-se' rar 
 
 Ar 7 u-both 
 
 Ash-a-bi' ah (15) 
 
 A-ru'mah (13) 
 
 A' shan 
 
 Ar'za 
 
 Ash' be-a 
 
 A'sa 
 
 Ash'bel 
 
 As-a-di' as 
 
 Ash'bel-ites(8) 
 
 As'a-el(lS) 
 
 Ash' dod 
 
 As'a-hel 
 
 Ash' doth-ites (8) 
 
 As a-i' ah (5) (15) 
 
 Ash' doth Pis' gah 
 
 As' a-na 
 
 A' she-an 
 
 A' saph 
 
 Ash'er 
 
 As' a-phar 
 
 Ash' i-math 
 
 As' a-ra 
 
 Ash' ke-naz 
 
 A-sar'e-el(lS) 
 
 Ash' nah 
 
 As-a-re' lah 
 
 A' shon 
 
 As-baz' a-reth 
 
 Ash' pe-naz 
 
 As' ca-lon 
 
 Ash'ri-el(13) 
 
 A-re' us 
 Ar'gob 
 Ar'gol 
 A-rid' a-i (5) 
 A-rid' a-tha 
 A-ri'eh(9) 
 A'ri-el(4)(12) 
 Ar-i-ma-the'a 
 A'ri-och(4) 
 A-ris'a-i(5) 
 Ar-is-to-bu' lus 
 Ark' ites 
 Ar-ma-ged' don 
 Ar-mi-shad' a-i 
 Ar* mon 
 Ar' nan 
 Ar' ne-pher 
 Ar' non 
 A' rod 
 Ar'o-di(3) 
 Ar 7 o-er 
 A'rom 
 
 Testament to pronounce this word with the accent on the penultimate syllable ; 
 and even some foreign scholars have contended that it ought to be so pro- 
 nounced, from its derivation from "Ag EI? Tmyav, the Doric dialect for -m^v, the 
 fountain of Mars, which was on a hill in Athens, rather than from "A^ rrayo?, 
 the hill of Mars. But Labbe very justly despises this derivation, and says, 
 that of all the ancient writers none have said that the Areopagus was derived 
 from a fountain, or from a country near to a fountain ; but all have confessed 
 that it came from a hill, or the summit of a rock, on which this famous court of 
 judicature was built. Vossius tells us, that St. Augustine, De Civ. Dei, 1. x. 
 cap. 10, calls this word pagum Martis, the village of Mars, and that he fell into 
 this error because the Latin word pagus signifies a village or street ; but, says 
 he, the Greek word signifies a hill, which, perhaps, was so called from naya. or 
 7ryj, (that is, fountain,) because fountains usually take their rise on hills.- 
 Wrong, however, as this derivation may be, he tells us it is adopted by no less 
 scholars than Beza, Budaens, and Sigonius. And this may show us the uncer- 
 tainty of etymology in language, and the security of general usage ; but in the 
 present case both etymology and usage conspire to place the accent on the an- 
 tepenultimate syllable. Agreeably to this usage, we find the prologue to a play 
 observe, that 
 
 The critics are assembled in the pit, 
 
 And form an Areopagus of wit. 
 
AS AT AZ 
 
 Ash' ta-roth 
 
 As-si-de'ans (13) A' va 
 
 Ash' te-rnoth 
 
 As' sir Av'a-ran 
 
 Ash' ta-roth-ites (8) As' sos A' ven 
 
 A-shu'ath 
 
 As' ta-roth Au' gi-a (4) 
 
 Ash'ur 
 
 Ash' ta-roth A' vim 
 
 A-shu'rim(13) 
 
 As-tar' te 
 
 A' vims 
 
 Ash' ur-ites (8) ' As 7 tath 
 
 A'vites (8) 
 
 A' si-a A-sup' pirn 
 
 A'vith 
 
 As-i-bi' as (15) A-syn' cri-tus 
 
 Au-ra-ni 7 tis 
 
 A a si-el(13) 
 
 A' tad 
 
 Au-ra' nus 
 
 As' i-pha 
 
 At' a-rah 
 
 Au-te' us 
 
 As 7 ke-lon A- tar' ga-tis 
 
 Az-a-e' lus 
 
 *As'ma-dai(5) At' a-roth 
 
 A'zah 
 
 As' ma-veth ! A' ter 
 
 A'zal 
 
 As-mo-de' us 
 
 At-e-re-zi' as (15) 
 
 Az-a-li'ah(15) 
 
 As-mo-ne'ans 
 
 A'thack 
 
 Az-a-ni'ah (15) 
 
 As' nah 
 
 Ath-a-i'ah (15) 
 
 A-za' phi-on 
 
 As-nap' per 
 
 Ath-a-li'ah (15) 
 
 Az' a-ra 
 
 A-so' chis (6) 
 
 Ath-a-ri'as (15) 
 
 A-za' re-el 
 
 A'som 
 
 Ath-e-no' bi-us 
 
 Az-a-ri'ah (15) 
 
 As' pa-tha 
 
 Ath' ens 
 
 Az-a-ri'as (15) 
 
 As' phar 
 
 Ath'lai(5) 
 
 A'zaz 
 
 As-phar' a-sus 
 
 At' roth 
 
 fA-za'zel 
 
 As'ri-el(lS) At'tai(5) 
 
 Az-a-zi'ah (15) 
 
 As-sa-bi' as (15) At-ta-li' a (15) 
 
 Az-baz' a-reth 
 
 As-sal' i-moth At' ta-lus 
 
 Az'buk 
 
 As-sa-ni' as ( 1 5) At-thar' a-tes 
 
 A-ze' kah (9) 
 
 * Asmadai. Mr. Oliver has not inserted this word, but we have it in 
 Milton : 
 
 On each wing 
 
 Uriel and Raphael his vaunting foe, 
 
 Though huge, and in a rock of diamond arm'd, 
 
 Vanquish'd, Adramelech and Asmadai. 
 
 Par. Lost, b. vi. v. 365. 
 
 whence we may guess the poet's, pronunciation of it in three syllables; the 
 diphthong sounding like the ai in daily. See Rule 5, and the words Sinai and 
 Adonai. 
 
 t Azazd. This word is not in Mr. Oliver's Lexicon ; but Milton makes use 
 of it, and places the accent on the second syllable : 
 
 that proud honour claim'd 
 
 Azazel as his right ; a cherub tall. 
 
 Par, Lost, b. i. v. *34. 
 
188 AZ AZ AZ 
 
 A'zel ' A'zi-el(lS) 
 
 Az'ri-kam 
 
 A'zem A-zi'za 
 
 A-zu' bah 
 
 Az-e-phu' rith Az' ma-veth ! A' zur 
 
 A'zer Az'mon Az'u-ran 
 
 A-ze' tas Aa' noth Ta' bor Az' y-mites 
 
 Az'gad 'A'zor Az'zah 
 
 A-zi' a (15) A-zo' tus Az' zan 
 
 A-zi'e-i Az'ri-el(13) Az'zur 
 
 BA BA BA 
 
 JL>AAL, or Bel 
 
 Ba' a-ra 
 
 Bal-tha'sar (11) 
 
 Ba'al-ah 
 
 Ba' a-sha (9) 
 
 Ba' mah 
 
 Ba' al-ath 
 
 Ba ; a-shah 
 
 Ba' moth 
 
 Ba'al-ath Be' er 
 
 Ba-a-si'ah(15) 
 
 Ba' moth Ba' al 
 
 Ba'al Be' rith 
 
 Ba'bel 
 
 Ban 
 
 Ba' al-le 
 
 Ba'bi(3) 
 
 Ba'ni(3) 
 
 Ba'alGad' 
 
 Bab'y-lon 
 
 Ba'nid 
 
 Ba'al Ham' on 
 
 Ba'ca 
 
 Ban-a-i'as (15) 
 
 Ba'al Han' an 
 
 Bach' rites (8) 
 
 Ban' nus 
 
 Ba'al Ha' zor 
 
 Bac-chu' rus 
 
 Ban' u-as 
 
 Ba'al Her'non 
 
 Bach' uth AY Ion 
 
 Ba-rab' bas 
 
 Ba'al-i (3) 
 
 Ba-go' as 
 
 Bar' a-chel (6) 
 
 Ba'al-im. Milton. 
 
 Bag'o-i(3)(5) 
 
 Bar-a-chi'ah (15) 
 
 Ba'al-is 
 
 Ba-ha' rum-ite (8) 
 
 Bar-a-chi' as 
 
 Ba'al Me' on 
 
 Ba-hu' rim 
 
 Ba'rak 
 
 Ba'alPe'or 
 
 Ba'jith 
 
 Bar-ce' nor 
 
 Ba'al Per'a-aim 
 
 Bak-bak' er 
 
 Bar' go 
 
 Ba'al Shal'i-sha 
 
 Bak' buk 
 
 Bar-hu' mites (8) 
 
 Ba'al Ta'mar 
 
 Bak-buk-i'ah(15) 
 
 Ba-ri'ah(15) 
 
 Ba'alZe'bub 
 
 Ba la-am (16) 
 
 Bar-je' sus 
 
 Ba'al Ze'phon 
 
 *Ba'lam 
 
 Bar-jo' na 
 
 Ba'a-na 
 
 Bal'a-dan 
 
 Bar'kos 
 
 Ba'a-uah 
 
 Ba' lah (9) 
 
 Bar' na-bas 
 
 Ba' a-nan 
 
 Ba'lak 
 
 Ba-ro' dis 
 
 Ba' a-nath 
 
 Bal' a-mo Bar' sa-bas 
 
 Ba-a-ni'as(15) 
 
 Bal'a-nus Bar' ta-cus 
 
 See Canaan, Aaron, and Israel. 
 
BE BE 
 
 Bar-thol' o-raew 
 
 Be-er' she-ba 
 
 Bar-ti-me' us 
 
 Be-esh' te-rah 
 
 Ba'ruch(6) 
 
 Be' he-moth 
 
 Bar-zil' la-i (5) 
 
 Be' kah (9) 
 
 Bas' ca-ma 
 
 Be' la 
 
 Ba'shan, or 
 
 Be' lah 
 
 Bas' san 
 
 Be' la-ites (8) 
 
 Ba' shan Ha' voth 
 
 Bel' e-mus 
 
 Fa'ir 
 
 Bel'ga-i(5) 
 
 Bash' e-math 
 
 Be'li-al(lS) 
 
 Bas'lith 
 
 Bel'ma-im(l6) 
 
 Bas' math 
 
 Bel' men 
 
 Bas' sa 
 
 Bel-shaz' zer 
 
 Bas'ta-i(5) 
 
 Bel-te-shaz' zar 
 
 Bat' a-ne 
 
 Ben 
 
 Bath 
 
 Ben-ai'ah(5) 
 
 Bath' a-loth 
 
 Ben-am' mi (3) 
 
 Bath-rab' bim 
 
 Ben-eb' e-rak 
 
 Bath' she-ba 
 
 Ben-e-ja' a-kam 
 
 Bath'shu-a(lS) 
 
 Ben' ha- dad 
 
 Bav' a-i (5) 
 
 Ben-ha' il 
 
 Be-a-li'ah (15) 
 
 Ben-ha' nan 
 
 Be' a-loth 
 
 Ben' ja-min 
 
 Be' an 
 
 Ben' ja-mite (8) 
 
 Beb' a-i (5) 
 
 Ben'ja-mites 
 
 Be' cher 
 
 Ben' i-nu 
 
 Be' her (6) 
 
 Ben-u'i(3)(14) 
 
 Bech-o' rath 
 
 Be' no 
 
 Bech' ti-leth 
 
 Be-no' ui (3) 
 
 Be' dad 
 
 Ben-zo' heth 
 
 Bed-a-i'ah(15) 
 
 Be' on 
 
 Be-el-i' a-da 
 
 Be' or 
 
 Be-el' sa-rus 
 
 Be' ra 
 
 Be-el-teth' mus 
 
 Ber'a-chah(6)(9) 
 
 Be-el' ze-bub 
 
 Ber-a-chi'ah (15) 
 
 Be'er 
 
 Ber-a-i'ah (15) 
 
 Be-e'ra 
 
 Be-re' a 
 
 Be-e' rah, or Be' rah 
 
 Be' red 
 
 Be-er-e' lira 
 
 Be'ri(3) 
 
 Be-e' ri (S) 
 
 Be-ri'ah(15) 
 
 Be-er-la-ha' i-roi 
 
 Be' rites (8) 
 
 Be-e' roth 
 
 Be'rith 
 
 Be-e' roth-ites (8) 
 
 Ber-ni'ce 
 
 BE 
 
 189 
 
 Be-ro' dach Bal' a- 
 
 dan 
 
 Be' roth 
 Ber'o-thai(5) 
 Be-ro' thath 
 Ber'yl 
 Ber-ze' lus 
 Be' zai (5) 
 
 Bes-o-dei'ah(9)(15) 
 Be' sor 
 Be' tah 
 Be' ten 
 Beth-ab' a-ra 
 Beth-ab' a-rah (9) 
 Beth' a-nath 
 Beth' a-noth 
 Beth' a-ny 
 Beth' a-ne 
 Beth-ar' a-bah (9) 
 Beth' a-rani 
 Beth-ar' bel 
 Beth-a' ven 
 Beth-az' ma-veth 
 Beth-ba-al-me' on 
 Beth-ba' ra 
 Beth-ba' rah (9) 
 Beth' ba-si (3) 
 Beth-bir' e-i (3) 
 Beth' car 
 Beth-da' gon 
 Beth-dib-la-tha' im 
 Beth' el 
 Beth' el-ite 
 Beth-e' mek 
 Be' ther 
 Beth-es' da 
 Beth-e' zel 
 Beth-ga' der 
 Beth-ga' mul 
 Bcth-hac' ce-rim (7) 
 Belli-hak' ser~im 
 Beth-ha' ran 
 Beth-hog 7 lah (9) 
 
190 BE 
 
 Bl 
 
 BU 
 
 Beth-ho' ron 
 
 Beth-su'ra (14) 
 
 Bin'nu-i (3) (14) 
 
 Beth-jes' i-moth 
 
 Be-thu' el (14) 
 
 Bir'sha 
 
 Beth-leb'a-oth 
 
 Be'thul 
 
 Bir' za-vith 
 
 Beth' le-hem 
 
 Beth-u-li'a(5) 
 
 Bish'lam 
 
 Beth' le-hem Eph' 
 
 Beth' zor 
 
 Bi-thi'ah(la) 
 
 ra-tah 
 
 Beth' zur 
 
 Bith' ron 
 
 Beth' le-hem Ju'dah 
 
 Be-to' li-us 
 
 Biz-i-jo-thi'ah(5) 
 
 Beth' le-hem-ite (8) 
 
 Bet-o-mes' tham 
 
 Biz-i-jo-thi'jah 
 
 Beth-lo' mon 
 
 Bet' o-nim 
 
 Biz' tha 
 
 Beth-ma' a-cah (9) 
 
 Be-u'lah 
 
 Blas'tus 
 
 Beth-mat' ca- both 
 
 Be' zai (5) 
 
 Bo-a-ner'ges 
 
 Beth- me' on 
 
 Be-zal'e-el 
 
 Bo' az, or Bo' oz 
 
 Beth-nim'rah (9) 
 
 Be'zek 
 
 Boc' cas 
 
 Beth-o' ron 
 
 Be' zer, or Boz' ra 
 
 Boch' e-ru (6) 
 
 Beth-pa' let 
 
 Be' zeth 
 
 Bo'chim(6) 
 
 Beth-paz' zer 
 
 Bi' a-tas 
 
 Bo' han 
 
 Beth-pe' or 
 
 Bich'ri(3)(6) 
 
 Bos'cath 
 
 *Beth'pha-ge (12) 
 
 Bid'kar 
 
 Bo' sor 
 
 Beth' fa-je (\Q) 
 
 Big' tha 
 
 Bos' o-ra 
 
 Beth' phe-let 
 
 Big' than 
 
 Bos' rah (9) 
 
 Beth' ra-bah (9) 
 
 Big' tha-na 
 
 Bo' zez 
 
 Beth' ra-pha (9) 
 
 Big' va-i (5) 
 
 Boz' rah 
 
 Beth' re-hob 
 
 Bil' dad 
 
 Brig' an-dine 
 
 Beth-sa' i-da (9) 
 
 Bil'e-am 
 
 Buk'ki(3)' 
 
 Beth' sa-mos 
 
 Bil'gah (9) 
 
 Buk-ki'ah (15) 
 
 Beth' shan 
 
 Bil'ga-i(5) 
 
 Bui, rhymes dull 
 
 Beth-she' an 
 
 Bil' ha, or Bil' hah 
 
 Bu' nali 
 
 Beth' she-mesh 
 
 Bil' ban 
 
 Bun' ni (3) 
 
 Beth-shit' tah (9) 
 
 Bil' shan 
 
 Buz 
 
 Beth' si-mos 
 
 Bim' hal 
 
 Bu'zi(3) 
 
 Beth-tap' pu-a 
 
 Bin' e-a (9) 
 
 Buz' ite (8) 
 
 * Bethphage. This word is generally pronounced by the illiterate in two 
 syllables, and without the second A, as if written Beth' page. 
 
CA 
 
 CA 
 
 CH 
 
 CAU 
 
 *Ca' na-an 
 
 Car' mel-ite (8) 
 
 Cab' bon 
 
 Ca' na-an-ites (8) 
 
 Car' mel-i-tess 
 
 Cab' ham 
 
 Can' nan-ites 
 
 Car' mi (3) 
 
 Ca'bul.- See Bui. 
 
 Can' neh (9) 
 
 Car' mites (3) 
 
 Cad'dis 
 
 Can' nee 
 
 Car'na-im (15) 
 
 Ca'des 
 
 Can' veh (9) 
 
 Car' ni-on 
 
 Ca' desh 
 
 Can' vee 
 
 Car' pus 
 
 Cai'a-phas(5) 
 
 fCa-per' na-um (16) 
 
 Car-she' na 
 
 Cain 
 
 Caph-ar-sal' a- ma 
 
 Ca-siph' i-a 
 
 Ca-i' nan 
 
 Ca-phen' a-tha (9) 
 
 CasMeu 
 
 Cai' rites (8) 
 
 Ca-phi' ra (9) 
 
 Cas' lu-bim 
 
 Ca'lah 
 
 Caph' tor 
 
 Cas' phor 
 
 Cal' a-mus 
 
 Caph' to-rim 
 
 Cas' pis, or 
 
 Cal' col 
 
 Caph' to-rims 
 
 Cas' phin 
 
 Cal-dees' 
 
 Cap-pa-do' ci-a 
 
 Ca-thu'ath (IS) 
 
 Ca'leb 
 
 Cap-pa-do' she-a 
 
 Ce' dron (7) 
 
 Ca'lebEph'ra-tah 
 
 Car-a-ba' si- on 
 
 Cei'lan 
 
 Cal'i-tas 
 
 Car-a-ba' ze-on 
 
 Ce-le-mi'a(9) 
 
 Cal-a-rnol'a-lus 
 
 Car 7 cha-mis (6) 
 
 Cen' cre-a (6) 
 
 Cai'neth 
 
 Car'che-mish (6) 
 
 Cen-de-be' us 
 
 Cal' no 
 
 Ca-re' ah (9) 
 
 Cen-tu' ri-on 
 
 Cal' phi (3) 
 
 Ca'ri-a 
 
 Ce'phas 
 
 Cal r va-ry 
 
 Car'kas 
 
 Ce'ras 
 
 Cat' va-re 
 
 Car-ma' ni-ans 
 
 Ce'teb 
 
 Ca' mon 
 
 Car' me 
 
 Cha'bris(6) 
 
 Ca'na 
 
 Car'mel 
 
 Cha'di-as 
 
 * Canaan. This word is not unfrequently pronounced in three syllables, with 
 the accent on the second. But Milton, who in his Paradise Lost has intro- 
 duced this word six times, has constantly made it two syllables, with the accent 
 on the first. This is perfectly agreeable to the syllabication and accentuation 
 of Isaac and Balaam, which are always heard in two syllables. This suppres- 
 sion of a syllable in the latter part of these words arises from the absence of 
 accent : an accent on the second syllable would prevent the hiatus arising from 
 the two vowels, as it does in Baal and Baalim, which are always heard in two 
 and three syllables respectively. See Adonai. 
 
 f Capernaum. This word is often, but improperly, pronounced with the ac- 
 cent on the penultimate. 
 
192 CH CI CY 
 
 Chae're-as Cher'u-bim 
 
 Clau'da 
 
 Chal' ce-do-ny Cries' a-lon 
 
 Cle-a' sa 
 
 Chal' col Che'sed 
 
 Clem'ent 
 
 Chal-de' a 
 
 Che'sii 
 
 Cle' o-phas 
 
 Cha'nes 
 
 Che' sud 
 
 X^lo'e 
 
 Chan-nu-ne' us 
 
 Che-sul' loth 
 
 Cni' dus 
 
 Char-a-ath' a-lar 
 
 Chet' tim 
 
 Ni'dus 
 
 Char'a-ca Che'zib 
 
 Col-ho'zeh (9) 
 
 Char' a-sim Chi' don 
 
 Col'li-us 
 
 Char'cus Chil'le-ab 
 
 Co-los' se 
 
 Cha're-a Chi-li' on 
 
 Co-los' si-ans 
 
 Char' mis 
 
 Chil' mad 
 
 Co-Iosh f e-ans 
 
 Char' ran 
 
 Chin/ ham 
 
 Co-ni'ah (15) 
 
 Chas'e-ba(lS) 
 
 Chis'leu, Cas'leu, 
 
 Con-o-ni'ah 
 
 Che' bar (6) 
 
 or Cis' leu 
 
 Cor 
 
 Ched-er-la' o-mer 
 
 Chis' Ion 
 
 Cor' be 
 
 Che'lal 
 
 Chis'lothTa'bor 
 
 Cor' ban 
 
 Chel'ci-as 
 
 Chit' tim 
 
 Co' re 
 
 Kel' she-as 
 
 Chi'un 
 
 Cor'inth 
 
 Chel' lub 
 
 Chlo'e 
 
 Co-rin' thi-ans 
 
 Che'lod 
 
 Cho'ba 
 
 Co' sam 
 
 Che' lub 
 
 Cho-ra'sin, or 
 
 Cou' tha 
 
 Chel'li-ans 
 
 Cho-ra' shan, or 
 
 Coz 
 
 Chel'lus 
 
 Cho-ra'zin 
 
 Coz' bi (3) 
 
 Che-lu' bai (5) 
 
 Chos-a-me' us 
 
 Cres' cens 
 
 Che-lu' bar 
 
 Cho-ze' ba 
 
 Crete 
 
 Chem' a-rims 
 
 CHRIST 
 
 Cre'tans 
 
 Che' mosh 
 
 Chub (6) 
 
 Cretes 
 
 Che-na' a-nah (9) 
 
 Kub 
 
 Cre'ti-ans 
 
 Chen'a-ni (3) 
 
 Chun 
 
 Cre' sh e-ans 
 
 Chen-a-ni'ah (15) 
 
 Chu' sa, or Chu' za 
 
 Cu' bit 
 
 Che'phar Ha-am' 
 
 Chush' an Rish-a- 
 
 Cush 
 
 mo-nai (5) 
 
 tha'im (15) 
 
 Cu' shan 
 
 Cheph-i'rah(6)(9) 
 
 Chu' si 
 
 Cu'shan Rish- 
 
 Che' ran 
 
 Cin' ner-eth, or 
 
 tha'im (15) 
 
 Che' re- as 
 
 Cin' ner-oth 
 
 Cu'shi (3) 
 
 Chei' eth-ims 
 
 Ch'a-ma Cuth, or Cuth'als 
 
 Cher' eth-ites (8) 
 
 Ci' sai (5) Cu' the-ans 
 
 Che'rith, or 
 
 Cis'leu C/a-mon 
 
 Che' risli 
 
 Cith'e-rus |Cy-re'ne 
 
 Cher' ub (6) 
 
 Cit' tims Cy-re' ni-us 
 
( 193 ) 
 
 DA 
 
 DI 
 
 DU 
 
 DAB' A-REH (9) 
 
 Da'vid 
 
 Dil'e-an 
 
 Dab' ba-sheth 
 
 De'bir 
 
 Dim' nah 
 
 Dab'e-rath 
 
 *Deb'o-rah 
 
 D/mon 
 
 Da' bi i-a 
 
 De-cap' o-lis 
 
 Di-mo'nah (Q) 
 
 Da-co' bi (3) 
 
 De'dan 
 
 Di'nal>(9) 
 
 Dad-de' us 
 
 Ded' a-nim 
 
 Di'na-ites(8) 
 
 Da' gon 
 
 Ded' a-nims 
 
 Din' ha-bah (9) 
 
 Dai' san (5) 
 
 De-ha'vites (8) 
 
 Di-ot' re-phes 
 
 Dal-a-i' ah (5) 
 
 De'kar 
 
 Di'shan 
 
 Dal'i-lah 
 
 Del-a-i'ah (5) 
 
 Di'shon 
 
 Dal-ma-nu' tha 
 
 Del'i-lah 
 
 Diz'a-hab 
 
 Dal' phon 
 
 De' mas 
 
 Do'cus 
 
 Dam' a-ris 
 
 Der'be 
 
 Dod'a-i(5) 
 
 Dam-a-scenes' 
 
 Des' sau 
 
 Dod' a-nim 
 
 Dan 
 
 De-u'el(17) 
 
 Dod'a-vah(9) 
 
 Dan'ites(S) 
 
 Deu-ter-on' o-my 
 
 Do' do 
 
 Dan-ja' an 
 
 Dib'la-im(l6) 
 
 Do' eg 
 
 Dan'i-el(lS) 
 
 Dib'iath 
 
 Doph' kah (9) 
 
 Dan' nah 
 
 Di' bon 
 
 Dor 
 
 Dan' o-brath 
 
 Di' bon Gad 
 
 Do'ra 
 
 Da'ra 
 
 Dib' ri (3) 
 
 Dor' cas 
 
 Dar'da 
 
 Dib'za-hab, or 
 
 Do-rym' e-nes 
 
 Da' ri-an 
 
 Diz'a-hab 
 
 Do-sith'e-us 
 
 Dar' kon 
 
 Di' drachm 
 
 Do'tha-im, or 
 
 Da' than 
 
 Di' dram 
 
 Do' than (16) 
 
 Dath' e-mah, or 
 
 Did' y-mus (6) 
 
 Du' mah (9) 
 
 Dath' mah 
 
 Dik'lah, orDil'dah 
 
 Du'ra 
 
 * Deborah. The learned editor of Labbe tells us, that this word has the pe- 
 nnltimate long, both in the Greek and Hebrew ; and yet he observes, that our 
 clergy, when reading the Holy Scriptures to the people in English, always pro- 
 nounce it with the accent on the first syllable ; " and why not," says he, " when 
 they place the accent on the first syllable of orator, auditor, and successor?" 
 " But," continues he, " I suppose they accent them otherwise, when they speak 
 Latin," Who doubts it ? 
 
( 194 ) 
 
 EL 
 
 EL 
 
 EL 
 
 E'A-NAS 
 
 E'lath 
 
 El-i-hob'na-i(5) 
 
 E'bal 
 
 El-beth'el 
 
 El-i-ho'reph 
 
 E'bed 
 
 El'ci-a 
 
 E-li'hu 
 
 E-bed'me-lech 
 
 El' she- a 
 
 E-li' as (15) 
 
 Eb-en-e' zer 
 
 El'da-ah 
 
 E-li'jab (9) 
 
 E'ber 
 
 El' dad 
 
 El'i-ka 
 
 E-bi' a-sapli 
 
 E'le-ad 
 
 E'lim 
 
 E-bro' nah 
 
 E-le-a'leh(9) 
 
 E-lim'e-lech (6) 
 
 E-ca' nus 
 
 E-le-a' le. Milton. 
 
 E-li-oe'na-i(5) 
 
 Ec-bat' a-na 
 
 E-le'a-sah(9) 
 
 E-li-o' nas 
 
 Ec-cle-si-as' tes 
 
 E-le-a' zer 
 
 El'i-phal 
 
 Ec-cle-si-as' ti-cus 
 
 E-le-a-zu' rus 
 
 E-liph'a-leh(9) 
 
 Ed 
 
 El-el-o'hels'ra-el 
 
 El'i-phaz 
 
 E'dar 
 
 E-leu' the-rus 
 
 E-liph'e-let 
 
 E'den 
 
 El-eu-za'i (3) (5) 
 
 E-lis'a-beth 
 
 E'der 
 
 El -ha' nan 
 
 El-i-sae'us 
 
 E'des 
 
 E'li(3) 
 
 E-li'sha(9) 
 
 E'di-as 
 
 E-li'ab 
 
 E-li' shah 
 
 Ed'na 
 
 E-li'a-da 
 
 E-lish' a-ma 
 
 E'dom 
 
 E-li'a-dah 
 
 E-lrsh' a-mah 
 
 E' dom-ites (8) 
 
 E-li' a-dun 
 
 E-lisli' a-phat 
 
 Ed' re-i (3) 
 
 E-li'ah(9) 
 
 E-lish' e-ba 
 
 Eg'lah 
 
 E-li' ah-ba (9) i El-i-shu' a ( 1 3) 
 
 Eg'la-im(l6) 
 
 E-li'a-kim 
 
 E-lis'i-mus 
 
 Eg'lon 
 
 E-li'a-li(3) 
 
 E-li'u 
 
 E'gypt 
 
 E-li'am 
 
 E-li' ud 
 
 E'hi (3) 
 
 E-li' as (15) 
 
 E-liz' a-phan 
 
 E'hud 
 
 E-li' a-saph 
 
 El-i-se' us 
 
 E'ker 
 
 E-h'a-shib 
 
 E-li' zur 
 
 Ek're-bel 
 
 E-li'a-sis 
 
 El'ka-nah 
 
 Ek'ron 
 
 E-li'a-tha, or 
 
 El'ko-shite(a) 
 
 Ek'ron-ites(8) 
 
 E-li'a-thah 
 
 El'la-sar 
 
 E'la 
 
 E-li-a'zar 
 
 El' mo-dam 
 
 El'a-dah 
 
 E-li' dad 
 
 El' na-am 
 
 EMah 
 
 E'li-el(13) 
 
 El' na-thau 
 
 E'lam 
 
 E-li-e'na-i (5) 
 
 E'lon 
 
 E'lam-ites(S) 
 
 E-li-e'zer 
 
 E'lon-ites(8) 
 
 El' a-sah (9) 
 
 E-li'ha-ba 
 
 E'lon Beth' ha-ivan 
 
EN ES EZ 195 
 
 E'loth 
 
 Ei/ she-mesh 
 
 Esh' ka-lon 
 
 El' pa-al 
 
 En-lap' pu-ah (9) 
 
 Esh'ta-ol 
 
 El' pa-let 
 
 Ep' a-phras 
 
 E^/tau-lites (8) 
 
 El-pa' ran 
 
 E-paph-rodi' tus 
 
 Esh-U>m' o-a 
 
 El'te-keh (9) 
 
 E-pen'e-tus Esl/te-moth 
 
 El'te-keth 
 
 E' phah Esh' ton 
 
 El' te-kon 
 
 E' phai (5) 
 
 Es' li (3) 
 
 El'to-lad 
 
 E'pher 
 
 Es-ma-chi'ah (15) 
 
 E'lul 
 
 E' phes-dam' min 
 
 E-so' ra 
 
 E lu'za-i (5) 
 
 Eph'lal 
 
 Es' ril 
 
 El-y-ma'is 
 
 E'phod 
 
 Es' rom 
 
 El'y-mas 
 
 E' phor 
 
 Es-seties' (8) 
 
 El' za-bad 
 
 Eph' pha-tha 
 
 Est' ha-ul 
 
 El'za-phan 
 
 E'phra-im (16) 
 
 Es' ther 
 
 Em-al-cu'el (I?) 
 
 E'phra-im-ites (8) 
 
 Es' ter 
 
 E-mar/u-el (1?) 
 
 Epl/ra-tah 
 
 E' tarn 
 
 E' minis 
 
 Epl/raih 
 
 E' tham 
 
 * En/ ma-us 
 
 Epl/ rath-ites (8) 
 
 E' than 
 
 Em' mer 
 
 E' phron 
 
 Ell/ a-nim 
 
 E'mor 
 
 Er 
 
 Eth' ba-al 
 
 E' nam 
 
 E'ran 
 
 E' ther 
 
 E' nan 
 
 E' ran-ites (8) 
 
 Eth' ma 
 
 Ei/ dor 
 
 E-ras' tus 
 
 Eth' nan 
 
 En-eg-la'im(l6) 
 
 E'rech (6) 
 
 Eth'ni(S) 
 
 En-e-mes' sar 
 
 E'riCS) 
 
 Eu-as' i-bus 
 
 E-ne' ni-as 
 
 E'sa 
 
 Eu-bu'lus 
 
 En-gai/nim 
 
 E-sa'i-as(5) 
 
 Eve 
 
 En'ge-di(7) 
 
 E' sar-had' don 
 
 E' vi (3) 
 
 En-had' dah (9) 
 
 E'sau 
 
 E'vil mer-o'dach 
 
 En-hak'ko-re 
 
 Es'dras 
 
 Eu' na-ihan 
 
 En-ha' zor 
 
 Es-dre'lon (13) 
 
 Eu-n/ ce 
 
 En-misl/pat 
 
 Es'e-bon 
 
 Eu-o' di-as 
 
 E' noch (6) 
 
 E-se'bri-as 
 
 Eu-pol'e-tnus 
 
 E'nock 
 
 E'sek 
 
 Eu-roc' ly-don 
 
 E'non 
 
 Esh'ba-al 
 
 Eu' ty-chus 
 
 E'nos 
 
 Esh' ban 
 
 Ex'o-dus 
 
 E' nosh 
 
 Esh' col 
 
 E'zar 
 
 En-rim' mon 
 
 E' she-an 
 
 Ez'ba-i(3)(5) 
 
 En-ro'get (13) 
 
 E'shek 
 
 Ez' bon 
 
 * Emmuus. This word is very improperly pronounced in two syllables, as if 
 divided into Em' maus. 
 
 O 2 
 
196 EZ EZ EZ 
 
 Ez-e-chi' as 
 
 Ez-e-ri'as(15) 
 
 Ez'ra-hite(8) 
 
 Ez-e-ki'as 
 
 E-zi'as(15) 
 
 Ez'ri(3) 
 
 E-ze'ki-el(lS) 
 
 E-zi'on Ge'fbar, or 
 
 Ez'ri-el(13) 
 
 E'zel 
 
 E' zi-on-ge' ber 
 
 Ez'ril 
 
 E'zem 
 
 Ez'nite(8) 
 
 Ez' ron, or Hez' ron 
 
 E'zer 
 
 Ez'ra 
 
 Ez'ron-ites(8) 
 
 GA GE GE 
 
 G A' A L Gam' ma-dims 
 
 Ge'der 
 
 Ga'ash 
 
 Ga' mul 
 
 Ge-de'rah (14) 
 
 Ga'ba 
 
 Gar 
 
 Ged'e-rite(8) 
 
 Gab'a-el(lS) 
 
 Ga'reb 
 
 Ge-de'roth(13) 
 
 Gab'a-tha 
 
 Gar' i-zim 
 
 Ged-e-roth-a'im(l6) 
 
 Gab'bai(o) 
 
 Gar' mites (8) 
 
 Ge'dir 
 
 Gab' ba-tha 
 
 Gash' mu 
 
 Ge'dor 
 
 Ga' bri-as 
 
 Ga' tarn 
 
 Ge-ha'zi(7)(13) 
 
 Ga'bri-el(13) 
 
 Gath 
 
 Gel'i-loth 
 
 Gad 
 
 Gath He' pher 
 
 Ge-mal' li (3) 
 
 Gad'a-ra 
 
 Gath Rim'mon 
 
 Gem-a-ri'ah(l5) 
 
 Gad-a-renes' (8) 
 
 Gau' Ian 
 
 Ge-ne'zar(lS) 
 
 Gad'des 
 
 Gau'lon 
 
 Ge-nes'a-reth (7) 
 
 Gad'di-el(lS) 
 
 Ga'za 
 
 Gen' e-sis 
 
 Ga'di(3) 
 
 Gaz' a-bar 
 
 Jen' e-sis 
 
 Gad' ites (8) 
 
 Ga-za'ra 
 
 Gen-ne' us 
 
 Ga' ham 
 
 Ga'zath-ites (8) 
 
 Gen-u'bath 
 
 Ga' bar 
 
 Ga'zer 
 
 Gen' tiles (8) 
 
 Ga' i-us 
 
 Ga-ze'ra(lS) 
 
 Jen' tiles 
 
 Ga'yus 
 
 Ga' zez 
 
 Ge'on 
 
 Gal'a-dad 
 
 Gaz' ites (8) 
 
 Ge'ra 
 
 Ga'lal 
 
 Gaz'zam 
 
 Ge' rah (9) 
 
 Gal'e-ed 
 
 Ge'ba (7) 
 
 Ge'rar 
 
 Gal'ga-la 
 
 Ge'bal 
 
 Ger'a-sa(9) 
 
 Gal'i-lee 
 
 Ge' bar 
 
 Ger'ga-shi (3) 
 
 Gal' lira 
 
 Ge'ber 
 
 Ger'ga-shites(8) 
 
 Gal'li-o 
 
 Ge' bim 
 
 Ger-ge-senes' (8) 
 
 Gam'a-el(l.S) 
 
 Ged-a-li'ah(15) 
 
 Ger'i-zim(7) 
 
 Ga-ma'li-el(l3) 
 
 Ged'dur 
 
 Ger'rin-i-ans 
 
GI GI GLJ 19 
 
 Ger-rae' ans 
 
 Gid'del 
 
 Glede 
 
 Ger' shorn 
 
 Gid'e-on(7) 
 
 Gni'dus 
 
 Ger'shon 
 
 Gid-e-o' ni (3) 
 
 Ni'dus 
 
 Gei'shon-ites (8) 
 
 Gi'dom 
 
 Go'ath 
 
 Ger' shur 
 
 Gi'er Ea'gle 
 
 Gob 
 
 Ge'sem 
 
 jy er Eagle 
 
 Gog 
 
 Ge' shan 
 
 Gi'hon 
 
 Go' Ian 
 
 Ge'shem 
 
 Gil'a-lai(5) 
 
 Gol'go-tba 
 
 Ge' shur 
 
 Gil'bo-a 
 
 Go-li'ah (9) 
 
 Gesh" U-T! (3) 
 
 Gil'e-ad 
 
 Go-li'ath 
 
 Gesh' u-rites (8) 
 
 Gil'e-ad-ite(S) 
 
 Go' mer 
 
 Ge'thur 
 
 Gil' gal (7) 
 
 Go-mor'rah 
 
 Geth-o-li'as(15) 
 
 Gi'loh(9) 
 
 Go'pher-\vood 
 
 Gelh-sem'a-ne 
 
 Gi'lo-nite(8) 
 
 Gor' gi-as 
 
 Ge-u'el(17) 
 
 Gim' zo 
 
 Gor'je-as 
 
 Ge'zer 
 
 Gi'nath 
 
 Gor' ty-na 
 
 Ge'zer-ites (8) 
 
 Gin' ne-tho 
 
 Go'shen 
 
 Gi'ah 
 
 Gin' ne-thon 
 
 Go-thon'i-el(lS) 
 
 Gib' bar 
 
 Gir' ga-shi (3) 
 
 Go' zan 
 
 Gib' be-thon 
 
 Gir'ga-shiles (8) 
 
 Gra'ba 
 
 Gib' e-a (9) 
 
 Gis'pa(9) 
 
 Gre'ci-a(9) 
 
 Gib'e-ah(9) 
 
 Gil' tab He'pber 
 
 Ore' she-a 
 
 Gib'e-ath 
 
 Git'ta-im (15) 
 
 Gud'go-dah 
 
 Gib' e-on 
 
 Git' tite 
 
 Gu'ni(3) 
 
 Gib'e-on-ites (8) 
 
 Git' lites (8) 
 
 Gu'nites(S) 
 
 Gib'lites(S) 
 
 Git'tith 
 
 Gur 
 
 Gid-dal'ti(3) 
 
 Gi'zo-nite(8) 
 
 Gur-ba'al 
 
 HA 
 
 HA-A-HASH'TA-RI 
 
 Ha-bai'ah(5) 
 
 Hab'a-kuk 
 
 Hab-a-zi-ni'ah(15) 
 
 Ha-ber' ge-on 
 
 Ha'bor 
 
 Hach-a-li'ah(15) 
 
 Hach'i-lah 
 
 HA 
 
 Hach' mo-ni (3) 
 Hach'mo-nite (8) 
 Ha' da 
 Ha' dad 
 Had-ad-e' zer 
 Ha' dad Rim'mon 
 Ha'dar 
 Had'a-sbah 
 
 HA 
 
 Ha-das'sa(9) 
 Ha-das' sah 
 Ha-dat' tab (9) 
 Ha' did 
 Had'la-i(5) 
 Ha-do' ram 
 Ha'drach(6) 
 Ha' gab 
 
]<J8 HA 
 
 Hag'a-bah (9) 
 
 Hag'a-i(5) 
 
 Ha' gar 
 
 Ha-gar-enes' (8) 
 
 Ha'gar-ites (8) 
 
 Hag'ga-ri(5) 
 
 Hag'ge-ri (3) 
 
 Hag'gi(3) 
 
 Hag-i'ah(l5) 
 
 Hag'gites(8) 
 
 Hag'gith 
 
 Ha' i (5) 
 
 Hak'ka-tan 
 
 Hak' koz 
 
 Ha-ku / pba(13) 
 
 Ha'lah (9) 
 
 Ha' lac 
 
 Hal'lul 
 
 Ha'Ji(3) 
 
 Hal-le-lu'jah 
 
 Hal-le-lvf yah 
 
 Hal-lo'esh 
 
 Ham 
 
 Ha' man 
 
 Ha' math, or 
 
 He' math 
 Ha' math-ite (8) 
 Ha' math Zo' bah 
 Ham' math 
 Ham-med'a-tha 
 Ham' e-lech (6) 
 Ham' i-tal 
 Ham-mol' e-keth 
 Ham'mon 
 Harn'o-nah 
 Ha'mon Gog 
 Ha' mor 
 Ha' moth 
 Ha' moth Dor 
 Ha-mu'el (17) 
 Ha'mul 
 
 Ha' mul-ites (8) 
 Ha-mu'tal 
 
 HA 
 
 Ha-nam'e-el(13) 
 
 Ha' nan 
 
 Ha-nan'e-el (13) 
 ; Han'a-ni (3) 
 
 Han-a-ni'ah (15) 
 I Ha' nes 
 I Han'i-el (13) 
 ! Han'nah (9) 
 I Han' na-tbon 
 | Han'ni-el(13) 
 
 Ha'noch 
 
 Ha'noch-ites (8) 
 
 Ha' nun 
 
 Hapb-a-ra'im (15) 
 JHa'ra 
 
 Har'a-dah(9) 
 
 Har-a-i'ah(lo) 
 
 Ha' ran 
 
 Ha'ra-rite(S) 
 
 Har-bo' na 
 
 Har-bo' nah 
 
 Ha'reph 
 
 Ha'Velh 
 
 Har x has 
 
 Har'ha-ta(9) 
 
 Har'hur 
 
 Ha' rim 
 
 Ha' riph 
 
 Har'ne-pher 
 
 Ha' rod 
 
 Ha'rod-ite(S) 
 
 Har'o-eh(9) 
 
 Ha 7 ro-rite (8) 
 
 Har' o-sheth 
 
 Har'sha(9) 
 
 Ha' rum 
 
 Ha-ru'maph 
 
 Ha-ru' phite (8) 
 
 Ha'ruz 
 
 Has-a-di'ah(15) 
 
 Has-e-nu'ah (13) 
 
 Hash-a-bi'ah(15) 
 
 Hash-ab'nah(9) 
 
 HE 
 
 Hash-ab-ni'ab (15) 
 Hash-bad' a-na (9) 
 Ha'shem 
 Hash-mo' nah (9) 
 Ha'sbum 
 Ha-shu'pha (9) 
 Has',,,!, 
 
 Has-se-na'ah (9) 
 Ha-su' pha (9) 
 Ha' tach Cl) 
 Ha' tack 
 Ha'thath 
 Hal' i-ta 
 Hat' til 
 Hat-ti' pha 
 Hat' tush 
 Hav 7 i-lah (9) 
 Ha'voth Ja'ir 
 Han' ran 
 Haz'a-el (13) 
 Ha-zai'ah (5) 
 Ha'zar Ad'dar 
 Ha'zar E'nan 
 Ha'zar Gad'dah 
 Ha'zar Hat'ti-con 
 Ha'zar Ma' veth 
 Ha-za'roth 
 Ha'zar Shu' el 
 Ha'zar Su'sah 
 Ha'zar Su'sim 
 Ha'zel El-po'ni(3) 
 Ha-ze'rim 
 Ha-ze'rolh 
 Ha'zer Shu' sim 
 Haz' e-zon Ta' mar 
 Ha'zi-el (13) 
 Ha'zo 
 Ha'zor 
 
 Haz'u-bah (9) 
 He'ber 
 
 He'ber-ites (8) 
 He' brews 
 He'bron 
 
HE HO HU 199 
 
 He' bron-ites (8) 
 
 He-ro' di-as 
 
 Ho' dish 
 
 Heg'a-i(5) 
 
 He-ro' di-an 
 
 Ho-de'va(9) 
 
 He'ge (7) 
 
 He'seb 
 
 Ho-de' vah (y) 
 
 He' lah (9) 
 
 He'sed 
 
 Ho-di'ah(15) 
 
 He'larn 
 He! 7 bah (9) 
 
 Hesh' bon 
 Hesh'mon 
 
 Ho-di'jah (16) 
 Hog' lah 
 
 Hel'bon 
 
 Heth 
 
 Ho' ham 
 
 Hel-chi'ah (15) 
 
 Heth'lon 
 
 Ho' len 
 
 Hel'da-i(o) 
 
 Hez'e-ki (3) 
 
 Hol-o-fer' nes 
 
 He'leb 
 
 Hez-e-ki'ah(l5) 
 
 Ho' Ion 
 
 He' led 
 
 He'zer, or He'zir 
 
 Ho' man, or 
 
 He'lek 
 
 He-zi'a 
 
 He' man 
 
 He'lek-kes(8) 
 
 He'zi-on 
 
 Ho' mer 
 
 He'lem 
 
 Hez'ra-i(15) 
 
 Hoph' ni (3) 
 
 He'leph 
 
 Hez'ro 
 
 Hoph' rah 
 
 He'lez 
 
 Hez' ron 
 
 Hor 
 
 He'li (3) 
 
 Hez'ron-ites(8) 
 
 Ho' ram 
 
 Hel'ka-i(o) 
 
 Hid' da-i (5) 
 
 Ho'reb 
 
 Hel'kath 
 
 Hid'de-kel 
 
 Ho'rem 
 
 Hel'kathHaz'zu- 
 
 Hi' el 
 
 Hor-a-gid' dad 
 
 rim 
 
 Hi-er'e-el(l3) 
 
 Ho' ri (3) 
 
 Hel-ki'as(15) 
 
 Hi-er'e-moth 
 
 Ho' rims 
 
 He' Ion 
 
 Hi-er-i-e'lus 
 
 Ho' rites (8) 
 
 He' man 
 
 Hi-er' mas 
 
 Hor' mah 
 
 He' math, or 
 
 Hi-er-on'y-mus 
 
 Hor-o-na'im (15) 
 
 Ha' math 
 
 Hig-gai' on (5) 
 
 Hor' o-nites (8) 
 
 Hem' dan 
 
 Hi'len 
 
 Ho ; sa, or Has' ah 
 
 Hen 
 
 Hil-ki'ah(15) 
 
 Ho-san' na 
 
 He'na(9) 
 
 HilMel 
 
 Ho-se' a (9) 
 
 Hen' a-dad 
 
 Hin 
 
 Ho-zef a 
 
 He'noch(6) 
 
 Hin'nom 
 
 Hosh-a-i'ah(15 
 
 He'pher 
 
 Hi' rah 
 
 Hosh' a- ma 
 
 He'pher-ites(S) 
 
 Hi' ram 
 
 Ho-she'a (8) 
 
 Heph' zi-bah (9) 
 
 Hir-ca'nus 
 
 Ho' tham 
 
 He' ram 
 
 His-ki'jah(l5) 
 
 Ho' than 
 
 He' res 
 
 Hit' tites (8) 
 
 Ho'thir 
 
 He'resh 
 
 Hi' vites (8) 
 
 Huk'kock 
 
 Her' mas 
 
 Ho' ba, or 
 
 Hul 
 
 Her-mog' e-nes 
 
 Ho' bah 
 
 Hul'dah(9) 
 
 Her' mon 
 
 Ho'bab 
 
 Hum'tah 
 
 Her' mon-ites (8) 
 
 Hod 
 
 Hu'pham 
 
 Her'od 
 
 Hod-a-i'ah(15) 
 
 Hu' pham-ites (8) 
 
 He-ro' di-ans 
 
 Hod-a-vi'ah(lo) 
 
 Hup' pah 
 
200 HU 
 
 HU HY 
 
 Hup' pirn 
 
 Hu'shai(5) 
 
 Huz 
 
 Hur 
 
 Hu' sham 
 
 Hu'zoth 
 
 Hu'iai (5) 
 
 Hu'shath-ite(8) 
 
 Huz'zab 
 
 Hu'ram 
 Hu'ri(3) 
 Hu'shah (9) 
 
 Hu'shim 
 Hu'shub 
 Hu' shu-bah (9) 
 
 Hy-das' pes 
 Hy-e'na(9) 
 Hy-men-e'us 
 
 JA 
 
 JA 
 
 JA 
 
 JA' A-KAN 
 
 Jad-du' a (9) 
 
 Ja'keh (9) 
 
 Ja-ak' o-bah (9) 
 
 Ja' don 
 
 Ja'kim 
 
 Ja-a' la 
 
 Ja'el 
 
 Jak' kirn 
 
 Ja-a'lah (9) 
 
 Ja'gur 
 
 Ja'lon 
 
 Ja-a' lam 
 
 Jah 
 
 Jam' bres 
 
 Ja' a-nai (5) 
 
 Ja-ha'le-el(13) 
 
 Jam'bri (3) 
 
 Ja-ar-e-or' a-gim 
 
 Ja-hal'e-lel (13) 
 
 James 
 
 Ja-as-a-ni'a 
 
 Ja' hath 
 
 Ja' min 
 
 Ja'a-sau 
 
 Ja' haz 
 
 Ja'min-ites (8) 
 
 Ja-a' si-el (13) 
 
 Ja-ha' za 
 
 Jam' lech (6) 
 
 Ja-a'zah (9) 
 
 Ja-ha'zah (9) 
 
 Jam'na-au 
 
 Ja-az-a-ni' ah (15) 
 
 Ja ha-zi'ah (15) | Jam'ni-a (9) 
 
 Ja-a' zar 
 
 Ja ha'zi-el (13) 
 
 Jam'nites (8) 
 
 Ja-a-zi'ah (15) 
 
 Jah'da-i (5) 
 
 Jan' na (9) 
 
 Ja-a'zi-el (13) 
 
 Jah'di-el(13) 
 
 Jan' nes 
 
 Ja'bal 
 
 Jah' do 
 
 Ja-no'ah (9) 
 
 Jab' bok 
 
 Jah'le-el 
 
 Ja-no'hah (9) 
 
 Ja'besh 
 
 Jah'le-el-ites(S) 
 
 Ja'num 
 
 Ja'bez 
 
 Jah'ma-i(5) 
 
 Ja'phet 
 
 Ja' bin 
 
 Jah'zah (9) 
 
 Ja'pheth 
 
 Jab'ne-el(13) 
 
 Jah'ze-el(13) 
 
 Ja-phi'ah (15) 
 
 Jab'ueh(9) 
 
 Jah'zi-el(13) 
 
 Japh'Jet 
 
 Ja'chan 
 
 Jah' ze-el-ites (8) 
 
 Japh'le-ti(3) 
 
 Ja' chin 
 
 Jah'ze-rah (9) 
 
 Ja' pho 
 
 Ja' chin-ites (8) 
 
 Ja'ir 
 
 Jar 
 
 Ja' cob 
 
 Ja'ir-ites (8) 
 
 Ja'rah (9) 
 
 Ja-cu'bus(13) 
 
 Ja' i-rus Ja' e-rus 
 
 Ja'reb 
 
 Ja'da Ja'kan 
 
 Ja'red 
 
JE 
 
 Jar-e-si'ah (15) 
 
 Jar' ha (9) 
 
 Ja' rib 
 
 Jar'nmth 
 
 Ja-ro'uh (9) 
 
 Jas'a-el (13) 
 
 Ja' sheni 
 
 Ja' sheii 
 
 Ja'sher 
 
 Ja-sho' be-am 
 
 Jash'ub 
 
 Jash' n-bi Le' hem 
 
 Jash'<rb-ites(8) 
 
 Ja'si-ef (13) 
 
 Ja-M/ bus 
 
 Ja'tal 
 
 Jath'm-el (13) 
 
 Jat' tir 
 
 Ja' van 
 
 Ja' zar 
 
 Ja'zer 
 
 Ja'zi-el (13) 
 
 Ja'ziz 
 
 Ib'har 
 
 Ib'le-am 
 
 Ib-nei' ah (9) 
 
 Ib-m'jah(9) 
 
 Ib'ri(3) 
 
 Ib'zan 
 
 Ich' a-bod 
 
 I-co' ni-um 
 
 Id'a-lan(9) 
 
 Id' bash 
 
 Id' do 
 
 Id x u-el(13) 
 
 Id-u-ma?' a (9) 
 
 Id-u-niae'ans 
 
 Je' a- rim 
 
 Je-ai' e-iai (5) 
 
 Je-be.-e-chi'ah(15) 
 
 Je' bus 
 
 Je-bu'si (3) 
 
 Jcb' u-sites (8) 
 
 JE 
 
 Jec-a-mi'ah (15) 
 Jec-oli'ah(15) 
 Jec-o-ni'ah (15) 
 Je-dui'a(5)(9) 
 Je-dai' ah (5) 
 Jed-de' us 
 Jed' du 
 Je-dei'ah(9) 
 Je-di'a-el (13) 
 Jed'i-ah 
 Jed-e-di'ah (15) 
 Je'di-el(13) 
 Jed' u-tliun 
 Je e'li(3) 
 Je-e' zer 
 Je-e' zer-ites (8) 
 Je' gar Sa-ha-du' tha 
 Je-ha'le-el (13) 
 Je-hal'e-el(l.S) 
 Je-ha'zi-iel(13) 
 Jeli -del' ah (9) 
 Je-hei' el (9) 
 Je-hez' e-kel 
 Je-hi' ah (9) 
 Je-hi'el 
 Je-hi'e-li^S) 
 Je-hish'a-i (5) 
 Je-his-ki'ah (15) 
 Je-ho' a-dah 
 Je-ho-ad' dan 
 Je-ho' a-haz 
 Je-ho' ash 
 Je-ho' ha-dah (9) 
 Je-ho' ha-nan 
 Je-hoi'a-chin (6) 
 Je-hoi' a-da 
 Je-hoi'a-kim 
 Je-hoi' a-rib 
 Je-hon'a-dab 
 Je-bon'a-than 
 Je-ho' ram 
 Je-ho-shab' e-ath 
 Je-hosh'a-phat(lS) 
 
 JE 201 
 
 Je-hosh' e-ba 
 Je-hosh' u-a 
 JE-HO' VAH 
 Je-ho' vah Ji'reth 
 Je-ho'vah Nis'si 
 Je-ho' vah Shal' lorn 
 Je-ho'vah Sham' 
 
 mah 
 Je-ho' vah Tsid'ke- 
 
 nu 
 
 Je-hoz'a-bad 
 Je' hu 
 Je -hub' bah 
 Je' hu-cal 
 Je'hud 
 
 Je-hu'di(3)(13) 
 Je-hu-di'jah(15) 
 Je' hush 
 Je-i'el 
 
 Je-kab'ze-el(13) 
 Jek-a-me' am 
 Jek-a-mi'ah(15) 
 Je-ku'thi-el (13) 
 Jem' i-mah 
 Jem-u'el (1?) 
 Jeph' thah 
 Je-phun' nah 
 Je'rah 
 
 Je-rahm'e-el (IS) 
 Je-rahm' e-el-ites 
 Jer' e-chus (6) 
 Je' red 
 
 Jer' e-mai (5) 
 Jer-e-mi'ah(15) 
 Jer 7 e-moth 
 Jer'e-mouth 
 Je-ri'ah (15) 
 Jer'i-bai(5) 
 Jer'i-cho(6) 
 Je'ri-el(13) 
 Je-ri'jah (15) 
 Jer' i-moth 
 Je' ri-oth 
 
202 JE JO JO 
 
 Jer'o-don 
 
 Jez-li'ah (15) 
 
 Jo' bab 
 
 Jer' o-ham 
 
 Jez 7 o-ar 
 
 Joch'e-bed (6) 
 
 Jer-o-bo'am 
 
 Jez-ra-hi'ah (15) 
 
 Jo' da (9) 
 
 Je-rub'ba~al 
 
 Jez' re-el (13) 
 
 Jo' ed 
 
 Je-rub' e-sheth 
 
 Jez' re-el-ite (8) 
 
 Jo' el 
 
 Jer'u-el (1?) 
 
 Jez're-el-i-tess 
 
 Jo-e'lah(9) 
 
 Je-ru' sa-lem 
 
 I' gal Jo-e' zer 
 
 Je-ru' sha (13) 
 
 Ig-da-li'ah(15) Jog'be-ah 
 
 Je-sai'ah (.3) 
 
 Ig-e-ab'a-rim (7) Jog' li 
 
 Jesh-a-i' ah (5) 
 
 Ig'e-alt?) Jo'ba(Q) 
 
 Jesh'a-nah 
 
 Jib'sam Jo-ha'nau 
 
 Jesh-ai' e-lah 
 
 Jid' laph John 
 
 Jesh-eb'e-ab 
 
 Jim Jon 
 
 Jesh-eb'e-ah (9) 
 
 Jim' la, or Im' la Joi' a-da (9) 
 
 Je'sher 
 
 Jim'na, or Jim'nah Joi'a-kim 
 
 Jesh' i-mon 
 
 Jim'nites (8) 
 
 Joi'a-rib 
 
 Je-shish'a-i (5) 
 
 I'jon 
 
 Jok' de-am 
 
 Jesh-o-ha-i' ah (15) 
 
 Jiph'tah 
 
 Jo' kim 
 
 Jesh'u-a(lS) 
 
 Jiph' thah-el 
 
 Jok'me-an 
 
 Jesh' u-run 
 
 Ik' kesh 
 
 Jok' ne-am 
 
 Je-si'ah (15) 
 
 I'lai(5) 
 
 Jok' shan 
 
 Je-sim' i-el 
 
 Im 
 
 Jok' tan 
 
 Jes' se 
 
 Im'lah (9) 
 
 Jok'the-el(lS) 
 
 Jes'u-a(J3) 
 
 Im' mah (9) 
 
 Jo' na (9) 
 
 Jes'u-i(S) 
 
 Im-man'u-el (1?) 
 
 Jon'a-dab 
 
 JE'SUS 
 
 Im'mer 
 
 Jo' nab (9) 
 
 Je'ther 
 
 Im'na, or Im'nah 
 
 Jo' nan 
 
 Je'theth 
 
 im'rah 
 
 Jo'nas 
 
 Jeth' lab 
 
 Im'ri(3) 
 
 Jon' a-than 
 
 Je' thro 
 
 Jo'ab 
 
 Jo'nath E'lim 
 
 Je' tur 
 
 Jo' a-chaz 
 
 Re-cho'chim(6) 
 
 Je'u-el(13) 
 
 Jo-a-da'nus 
 
 Jop' pa 
 
 Je' ush 
 
 Jo' ah 
 
 Jo'ra 
 
 Je'uz 
 
 Jo'a-haz 
 
 Jo'ra-i(5) 
 
 Jew' He 
 
 Jo'a-kim 
 
 Jo' ram 
 
 Jez-a-ni'ah(15) 
 
 Jo-an' na 
 
 Jor' dan 
 
 Jez' a-bel 
 
 Jo-an' nan 
 
 Jor' i-bas 
 
 Je-ze' lus 
 
 Jo' ash 
 
 Jo' rim 
 
 Je'zer 
 
 Jo' a- that u 
 
 Jor'ko-am 
 
 Je'zer-ites(S) 
 
 Jo-a-zab' dus 
 
 Jos' a- bad 
 
 Je-zi'ah(15) 
 
 Job Jos' a-phat 
 
 Je'zi-el(ll) 
 
 Jobe Jos-a-phi' as ( 1 5) 
 
IR 
 
 IS 
 
 JtJ COS 
 
 Jo'se 
 
 I 'ram 
 
 Ish'tob 
 
 Jos'e-dech(G) 
 
 l'ri(3) 
 
 Ish'u-a(g) 
 
 Jo'se-el(l3) 
 
 I-ri'jah (15) 
 
 Ish' u-ai (5) 
 
 Jo'seph 
 
 Ir' na-hash 
 
 Is-ma-chi'ah (15) 
 
 J o 7 ses 
 
 I'ron 
 
 Is-ma-i'ah (15) 
 
 Josh'a-bad 
 
 Ir'pe-el(13) 
 
 Is' pah 
 
 Jo' shah (9) 
 
 [r-she' mish 
 
 ^Is'ra-el 
 
 Josh'a-phat 
 
 I'm 
 
 Is' ra-el-ites (8) 
 
 Josh-a-vi'ah (15) 
 
 I' sa-ac 
 
 Is 7 sa- char 
 
 Josh-bek'a-sha 
 
 I'zak 
 
 Is-tal-cu'rus (13) 
 
 Josh 7 n-a (9) 
 
 I-sai 7 ah (5) 
 
 Is'u-i(3)(IS) 
 
 Jo-si' ah (15) 
 
 Is' cah 
 
 Is 7 u-ites (8) 
 
 Jo-si 7 as 
 
 ls-car 7 i-ot 
 
 Ith'a-i, or It'a-i (5) 
 
 Jos-i-bi'ah (15) 
 
 Is 7 da-el (13) 
 
 It' a-ly 
 
 Jos-i-phi' ah 
 
 lsh'bah(9) 
 
 Ith'a-mar 
 
 Jo-si' ph us (1(2) 
 
 Ish'bak 
 
 Ith'i-el (IS) 
 
 I-o'ta (9) 
 
 Ish'bi Be' nob 
 
 Ith'mah (9) 
 
 Joi'bah(9) 
 
 fsh 7 bo-sheth 
 
 Ith' nan 
 
 Jot' bath 
 
 'shi(3) 
 
 lth'ra(9) 
 
 Jot 7 ba-tha 
 
 shi'ah (15) 
 
 Ith' ran 
 
 Jo' tham 
 
 -shi'jah (15) 
 
 Ith 7 re-am 
 
 Joz' a-bad 
 
 Ish' ma (9) 
 
 Ith 7 rites (S) 
 
 Joz'a-char (6) 
 
 si/ ma-el (13) 
 
 It'tah Ka'zin 
 
 Joz'a-dak 
 
 sh' ma-el-ites (8) 
 
 U'ta-i (5) 
 
 lph-e-dei' ah (15) 
 
 Ish-ma-i'ah (15) 
 
 It-u-re'a(lS) 
 
 Ir 
 
 Ish' me-rai (5) 
 
 I'vah 
 
 1'ra 
 
 1' shod 
 
 Ju'bal 
 
 I'rad 
 
 I si/ pan 
 
 Ju'cal 
 
 * Israel This word is colloquially pronounced in two syllables, and not un- 
 frequently heard in the same manner from the pulpit. The tendency of two 
 vowels to unite, where there is no accent to keep them distinct, is the cause of 
 this corruption, as in Canaan, Isaac, &c. : but as there is a ureater difficulty in 
 keeping separate two unaccented vowels of the same kind, so the latter cprrnp- 
 tion is more excusable than the former ; and therefore, in my opinion, thii 
 word ought always in public pronunciation, especially in reading the Scripture, 
 to be heard in three syllables. Milton introduces this word lour times in his 
 Paradise Lost, and constantly makes it two syllables only. But those who un- 
 derstand English Prosody know that we have a great number of words which 
 have two distinct impulses, that go for no more than a single syllable in verse, 
 such as heaven, given, &c. : higher and dyer are always considered as dissyllables ; 
 and hire and dire, which have exactly the same quantity to the e<ir, but a*. 
 monosyllables. Israel, therefore, ought always, in deliberate and solemn speak- 
 ing, to be heard in three syllables. Tiie same may be observed of Raphael and 
 Michael. 
 
204 JU IZ IZ 
 
 Ju' dah 
 
 Ju' ni-a 
 
 Iz-ra-hi / ah(15) 
 
 Ju' das 
 
 Ju-shab' he-sed 
 
 Iz'ra-bite 
 
 Jude 
 
 Jus' tus 
 
 Iz-ra-i'ah, or 
 
 Ju-dae' a 
 
 Jut' tab (Q) 
 
 Is-ra-i'ah(9) 
 
 Ju'dith 
 
 Iz'e-har(13) 
 
 Iz' re-el (13) 
 
 Ju'el 
 
 Iz'har 
 
 Iz'ri(3) 
 
 Ju'li-a 
 
 Iz'har-ite(8) 
 
 Iz' rites (8) 
 
 KE KI KU 
 
 KAB 
 
 Ke'nath 
 
 Kir'jath Hu'zoth 
 
 Kab'ze-elOS) 
 
 Ke'naz 
 
 Kir'jath Je' a-rim 
 
 Ka'des 
 
 Ken'ites(8) 
 
 Kir'jath San' nab 
 
 Ka' desh, CM* Ca' desh 
 
 Ken'niz-zites 
 
 Kir'jath Se'pher 
 
 Ka'desh Bar'ne-a 
 
 Ker-en-hap' puch 
 
 Kir' i-otb (4) 
 
 Kad' mi-el (13) 
 
 Ker- en-hap 1 puk 
 
 Kish 
 
 Kad' mon-ites (8) 
 
 Ke' ri-oth 
 
 Kish'i(S) 
 
 Kal'la-i(5) 
 
 Ke' ros 
 
 Kisb' i-on (4) 
 
 Ka'nah (9) 
 
 Ke-tu' ra 
 
 Ki'shon, or 
 
 Ka-re'ah (9) 
 
 Ke-tu' rab (9) 
 
 Ki' son 
 
 Kar' ka-a (9) 
 
 Ke-zi'a(l)(9) 
 
 Kith'lish 
 
 Kai 7 kor 
 
 Ke'ziz 
 
 Kit' ron 
 
 Kar'na-im (16) 
 
 Kib'roth Hat-ta'a- 
 
 Kit' tim 
 
 Kar'tan 
 
 vah 
 
 Ko'a(9) 
 
 Kar'tah(9) 
 
 Kib'za-im(J6) 
 
 Ko'hatb 
 
 Ke 7 dar 
 
 Kid'ron 
 
 Ko' hath-ites 
 
 Ked'e-mah(9) 
 
 Ki'nab(9) 
 
 Kol-a-i'ah(15) 
 
 Ked ; e-moth 
 
 Kir 
 
 Ko'rah (14) 
 
 Ke'desh 
 
 Kir-bar' a-seth 
 
 Ko' rah-ites (8) 
 
 Ke-h^l'a-thahCg) 
 
 Kir'he-resh 
 
 Ko'rath-ites 
 
 Kei'lal^g) 
 
 Kir'i-etb, or 
 
 Kor'hite 
 
 Ke-lai'ah(5) 
 
 Kir'jath 
 
 Kor'hites 
 
 Kel'i-ta 
 
 Kir'jath Ar'ba 
 
 Kor' ites (8) 
 
 Kel'kath-ha-zu'rim 
 
 Kir'jath A'im 
 
 Ko're 
 
 Kem'u-el(13)(l7) 
 
 Kir'jath A' rim 
 
 Koz 
 
 Ke'nah(9) 
 
 Kir'jath A' ri-us 
 
 Kush-ai'ab(5) 
 
 Ke'nan 
 
 Kir'jath Ba'al 
 
 
( 205 ) 
 
 LE LO LY 
 
 LiA'A-DAH(9) 
 
 La' a-dan 
 
 Leb-be'us(13) 
 Le-bo' nah (9) 
 
 Log 
 Lo'is 
 
 La 7 ban 
 
 Le' chah 
 
 Lo Ru' ha-mah 
 
 Lab' a-na (9) 
 
 Le' ha-bim 
 
 Lot 
 
 La' chish 
 
 Le'hi 
 
 Lo' tan 
 
 La-cu'nus (13) 
 
 Lem'u-el (1?) 
 
 Loth-a-su' bus (13) 
 
 La' dan Le' shem 
 
 Lo' zon 
 
 La' el Let' tus 
 
 Lu' bim 
 
 La' had Le-tu'shim 
 
 Lu' bims 
 
 La-hai' roi Le' vi (3) 
 
 Lu' cas 
 
 Lah' man Le-vi'a-than 
 
 Lu' ci-fer 
 
 Lah' mas 
 
 Le'vis 
 
 Lu' ci-us 
 
 Lah' mi (3) 
 
 Le' vites (8) 
 
 Ltid 
 
 La' ish 
 
 Le-vit'i-cus 
 
 Lu' dim 
 
 La'kum 
 
 Le-um'mim 
 
 Lu'hith 
 
 La'mech (6) 
 
 Lib' a-nus 
 
 Luke 
 
 Lap'i-doth Lib'nah (9) 
 
 Luz 
 
 La-se'a(9) Lib'ni (3) 
 
 Lyc-a-o' ni-a 
 
 La' shah Lib'nites (8) 
 
 Lye' ca 
 
 La-sha' ron Lib' y-a (9) 
 
 Lyd'da 
 
 Las' the-nes 
 
 Lig-nal' oes 
 
 Lyd'i-a 
 
 Laz'a-rus 
 
 Li'gure(l) 
 
 Ly-sa'ni-as 
 
 Le'ah(9) 
 
 Lik'hi(3) 
 
 L>;s'i-a(9) 
 
 Leb'a-nah (9) 1 Lo-am'mi (3) 
 
 Lizh' e-a 
 
 Leb' a-non 
 
 Lod 
 
 Lys' i-as 
 
 Leb'a-oth 
 
 Lod' e-bar 
 
 Lys' tra 
 
 MA 
 
 MA'A-CAH (9) 
 Ma'a-chah (6) 
 Ma-ach'a-thi(3) 
 Ma-ach' a-thites (8) 
 Ma-ad' ai (5) 
 Ma-a-di'ah(15) 
 
 MA 
 
 Ma-a'i(5) 
 Ma-al'ehA-crab' 
 
 bim 
 
 Ma'a-nai(5) 
 Ma' a-rath 
 Ma-a-sei' ah (9) 
 
 MA 
 
 Ma-a-si'ah(15) 
 
 Ma'ath 
 
 Ma'az 
 
 Mu-a-zi'ah(15) 
 
 Mab'da-i(5) ' 
 
 Mac'a-lon 
 
206 
 
 MA 
 
 Mac' ca-bees 
 Mac-ca-bae' us 
 Mach' be-nah 
 Mach'be-nai (5) 
 Mach-he'loth 
 Ma'chi(3)(6) 
 Ma'chir 
 Ma'chir-ites(8) 
 Mach' rnas 
 Mach-na-de'bai (5) 
 Mach-pe'lah (6) 
 Ma' cron 
 Mad' a-i (5) 
 Ma-di'a-bun 
 Ma-di'ah (lo) 
 Ma'di-an 
 Mad-mau'nah 
 Ma' don 
 Ma-e'lus (13) 
 Mag' bi.sk 
 Mag' da-la (9) 
 Mag' da-leu 
 Mag-da-le 7 ue 
 Mag'di-el(13) 
 Ma' gog 
 
 Ma' gar Mis'sa-bib 
 Mag' pi-ash (4) 
 Ma'ha-lah (Q) 
 Ma' ha-lalh 
 
 Le-an' noth 
 Ma' ha-lath 
 
 Mat/chil (6) 
 Ma-ha'le-el (13) 
 Ma'ha-li(.S) 
 Ma-ha-na'im (16) 
 Ma'ha-neh Dau 
 Ma'ha-nem 
 Ma-bar 7 a-i (5) - 
 Ma' nath 
 Ma' ha-vites (8) 
 Ma'haz 
 Ma-ha' zi-olh 
 
 MA 
 
 Ma'her-shal'al- 
 
 hash' baz 
 Mah'lah 
 Mah'li (3) 
 Mah'lites(S) 
 Mah' Ion 
 Mai-an' e-as 
 Ma' kas 
 Ma'ked 
 Mak-e'Ioth 
 Mak^ke'dah (13) 
 Mak'tesh 
 Mal'a-chi(3)(6) 
 Mai' chain 
 Mal-chi'ah(l5) 
 Mal'chi.el (13) 
 Mal'chi-el-ites(8) 
 Mai chi'jah 
 Mal-chi'ratn 
 Mal-chi-shu'ah(12) 
 Mal'chom 
 Mal'chus(6) 
 Mai' las 
 Mai' lo-thi (3) 
 MalMuch(fJ) 
 Ma-mai' as (5) 
 Mam' mon 
 Mam-ni-ta-nai' mus 
 Mam' re 
 Ma-mu'cus 
 Mau'a-en 
 Man'a-hath 
 Man'a-heni 
 Ma-na'heth-ites (8) 
 Man-as-se'as (12) 
 Ma-nas'seh(9) 
 Ma-nas' sites (8) 
 Ma'neh(9) 
 Man-ha-na' im (16) 
 Ma'ui(3) 
 Man' na 
 SI a -no' ah 
 
 MA 
 
 Ma'och(6) 
 Ma' on 
 
 Ma'on-ites (8) 
 Ma' ra (9) 
 Mu'rah (9) 
 Mai y a-lah 
 Mar-a-nalh'a 
 Mar-do-che'us(G) 
 Ma-re' shah 
 Mark 
 
 Mar' i-sa (9) 
 Mar' moth 
 Ma' roth 
 Mar're-kah (9) 
 Mar'se-na (9) 
 Mar'te-na 
 Mar' tha 
 Ma'ry 
 Mas'chil(6) 
 Mas' e-loth 
 Mash 
 Ma'shal 
 Mas' man 
 Mas' moth 
 Mas' re-kah (9) 
 Ma'sa(9) 
 Mas' sah (^) 
 Mas-si' as (15) 
 Ma'tred 
 Ma'tri(S) 
 Mat' tan 
 Mat' tan-ah 
 Mat-tan-i'ah 
 Mat' ta-tha 
 Mat-ta-thi 7 as 
 Mat-te-na' i (>) 
 Mat' than 
 Mat' that 
 Mat-the'las 
 Mat' thevv 
 Mat-thi' as ( 1 5) 
 Mat-ti-thi'ah(15) 
 
ME 
 
 Maz-i-li'as(15) 
 
 Maz-za' roth 
 
 Me' ah 
 
 Me-a'ni (3) 
 
 Me -a' rah 
 
 Me-bu' nai (5) 
 
 Mech'e-ralh(IS) 
 
 Mecl/ e-rath-ite (8) 
 
 Me' dad 
 
 Med'a-lah(9) 
 
 Me' dan 
 
 Med' e-ba (9) 
 
 Medes 
 
 Me'di-a 
 
 Me'di-an 
 
 Me-e'da 
 
 Me-gicl'do (?) 
 
 Me-gid'don (?) 
 
 Me-ha' li (3) 
 
 Me-hei' a-bel 
 
 Me-hi' da 
 
 Me'hir 
 
 Me-hol'ath-iteCS) 
 
 Me-hu'ja-el (13) 
 
 Me-hu' man (o) 
 
 Me-hu' nim 
 
 Me-hu'nims 
 
 Me-jar 7 kon 
 
 Mek' o-nah (9) 
 
 Mel-a-ti'ah(lo) 
 
 Mel'chi(3)(6) 
 
 Mcl-chi'ah(6)(9) 
 
 Mel-chi'as(lo) 
 
 Mel'chi-el(lS) 
 
 Mel-chis'e-dek 
 
 Mel-chi-sbu'a(lS) 
 
 Me-le'a 
 
 Me' lech (6) 
 
 Mel'li-cu 
 
 Mel'i-ta 
 
 Mel'zar 
 
 Mem' phis 
 
 Me-mu'can(i3) 
 
 ME 
 
 Men' a-hem 
 Me' nan 
 
 Me'ne 
 Me'nilh 
 Men'o-thai (o) 
 Me-on' e-nem 
 Meph' a-ath 
 Me-phib' o-sheth 
 Me' rab 
 
 Mer-a-i'ah(lo) 
 Me-rai'oth (5) 
 Me' ran 
 Mer'a-ri(S) 
 Mer'a-rites(B) 
 Mer-a-tha' im (16) 
 Me' red 
 Mer' e-moth 
 Me' res 
 
 Mer'i-bah(9)* 
 Mer'i-bah Ka'desh 
 Me-rib'ba-al 
 Mer' i-moth (4) 
 Me-ro'dach (11) 
 
 Bal' a-dan 
 Me' rom 
 
 Me-ron'o-thiie(8) 
 Me' roz 
 Me' ruth 
 Me'sech(6) 
 Me' sek 
 Me' sha 
 Me' shach (6) 
 Me' shech (6) 
 Me'shek 
 Mesh-el-e-mi' ah 
 Mesh-ez' a-bel 
 Mesh-ez' a-beel 
 Mesh-il-la' mith 
 Mesh-il' le-moth 
 Me-sho' bah (9) 
 Me-shul'lam 
 Me-shul'le-mith 
 Mes'o-bah(lS) 
 
 MI 
 
 207 
 
 Mes' o-ba-ile (8) 
 
 Mes-o-po-ta' mi-a 
 
 Mes-si'ah (15) 
 
 Mes-st'as(15) 
 
 Me-te'rus (13) 
 
 Me'theg Am'mah 
 
 Meth're-dath 
 
 Me-thu'sa-el 
 
 Me-thu'se-Iah(9) 
 
 Me-thu'se-la 
 
 Me-u'nim (IS) 
 
 Mez' a-hab 
 
 Mi' a- in in 
 
 Mib'har 
 
 Mil/sam 
 
 Mib'zar 
 
 Mi'cah (9) 
 
 Mi-cai'ah (5) 
 
 Mi'cha(9) 
 
 Mi'cha-el(15> 
 
 Mi'chah(9) 
 
 Mi-chai'ah 
 
 Mi' cliel 
 
 Mich' mas (6) 
 
 Mik' mas 
 
 M ich' mash 
 
 Mkh'me-thah (9) 
 
 Mich'ri(3) 
 
 Mich' tarn 
 
 Mid' din 
 
 Mid'i-an 
 
 Mid'i-an-ites (8) 
 
 Mig'da-lel 
 
 Mig' dal Gad 
 
 Mig' dol 
 
 Mig'ron 
 
 Mij'a-min 
 
 Mik' loth 
 
 Mik-nei'ah(9) 
 
 Mil' cah (9) 
 
 Mil'chah(9) 
 
 Mil'cha(9) 
 
208 MI MO MY 
 
 Mil' com 
 
 Mith'cah(9) 
 
 Mom'dis 
 
 Mil' Jo 
 
 Mith'nite (8) 
 
 Mo-o-si'as(13) 
 
 Mi'na(9) 
 
 Mith'ri-dath 
 
 Mo'rash-ite(8) 
 
 Mi-ni'a-min 
 
 Mi'zar 
 
 Mo'ras-thile 
 
 Min' ni (3) 
 
 Miz' pah (9) 
 
 Mor'de-cai(5)(13) 
 
 Min'nith 
 
 Miz'peh (9) 
 
 Mo'reh (9) 
 
 Miph' kad 
 
 Miz'ra-im (16) 
 
 Mor'esh-eth Galh 
 
 Mir'i-am 
 
 Miz'zah (9) 
 
 Mo-ri'ah (15) 
 
 Mir' ma (9) 
 
 Mna' son 
 
 Mo-se'ra(9) 
 
 Mis' gab 
 
 Na' son 
 
 Mo-se' rah (9) 
 
 Mish'a-el(13)(15) 
 
 Mo'ab 
 
 Mo-so'roth 
 
 Mi' shal (3) 
 
 Mo' ab-ites (8) 
 
 Mo' ses 
 
 Mi' sham 
 
 Mo-a-di'ah (15) 
 
 Mo' zes 
 
 Mi'she-al 
 
 Mock' mur 
 
 Mo-sol' lam 
 
 Mish' ma (9) 
 
 Mock' ram 
 
 Mo-sui'la-mon 
 
 Mish-man' na 
 
 Mo' din 
 
 Mo'za(9) 
 
 Mish'ra-ites (6) 
 
 Mo'eth 
 
 Mo'zah 
 
 Mis' par 
 
 Mol'a-dah (9) 
 
 Mup'pim 
 
 Mis'pe-reth 
 
 Mo' lech (6) 
 
 Mu'shi(3) 
 
 Mis' pha (9) 
 
 Mo' lek 
 
 Mu' shites (8) 
 
 Mis'phah (9) 
 
 Mo'H(3) 
 
 Muth' lab-ben 
 
 Mis'ra-im(l6) 
 
 Mo' lid 
 
 Myn' dus 
 
 Mis' re-photh-ma' 
 
 Mo' loch (6) 
 
 M/ra(9) 
 
 im(!6) 
 
 Mo'lok 
 
 Myt-e-le' ne 
 
 NA - NA NA 
 
 NA'AM 
 
 Nab-a-ri' as 
 
 Na' ham 
 
 Na'a-mah(9) 
 
 Na-ba-lhe' ans 
 
 Na-ham'a-ni (3) 
 
 Na'a-man (15) 
 
 Na'bath-ites (8) 
 
 Na-har'a-i(5) 
 
 Na' a-ma-thites (8) 
 
 Na'both 
 
 Na'hash 
 
 Na'a-mites(S) 
 
 Na'chon(6) 
 
 Na' hath 
 
 Na' a-rah (9) 
 
 Na'chor(6) 
 
 Nah'bi(S) 
 
 Na'a-rai(5) 
 
 Na' dab 
 
 Na'ha-bi(3) 
 
 Na' a-ran 
 
 Na-dab' a-the 
 
 Na'hor 
 
 Na' a-rath 
 
 Nag'ge(7) 
 
 Nah' shon 
 
 Na-ash' on 
 
 Na-ha'li-el(13) 
 
 Na' hum 
 
 Na'a-thus 
 
 Na-hal'lal 
 
 Na'i-dus(5) 
 
 Na'bal 
 
 Na'ha-lol 
 
 Na'im 
 
NE NE NY s 
 
 Na'in 
 
 Ne'cho (6) 
 
 Ne-toph' a-thites 
 
 Nai' oth (5) 
 
 Ne-co' dan 
 
 Ne-zi'ah (15) 
 
 Na-ne'a(9) 
 
 Ned-a-bi'ah(15) 
 
 Ne'zib 
 
 Na' o-mi (3) 
 
 Ne-e-mi'as 
 
 Nib'bas 
 
 Na'pish 
 
 Neg'i-noth(7) 
 
 Nib'shan 
 
 Naph' i-si (3) 
 
 Ne-hel' a-mite 
 
 Nic-o-de' mus 
 
 Naph'tha-li(S) 
 Naph' thar 
 
 Ne-he-mi'ah(9)(l5 
 Ne-he-mi' as 
 
 Nic-o-la'i-tanes 
 Nic'o-las 
 
 Naph'tu-him (11) 
 
 Ne'hum 
 
 Nim'rah 
 
 Nas'bas 
 
 Ne-hush'ta(9) 
 
 Nim'rim 
 
 Na' shon 
 
 Ne-hush' tah 
 
 Nitn' rod 
 
 Na'sith 
 
 Ne-hush' tan 
 
 Nim'shi(S) 
 
 Na'sor 
 
 Ne'i-el (13) 
 
 Nin' e-ve 
 
 Na' than 
 
 Ne'keb 
 
 Nin'e-veh(9) 
 
 Na-than'a-el (13) 
 
 Ne-ko'da 
 
 Nin'e-vites(8) 
 
 Nath-a-ni'as (15) 
 
 Nem-u'el(13)(17) 
 
 Ni' san 
 
 Na' than Me' lech (6) 
 
 Nem-u' el-ites (8) 
 
 Nis'roch(6) 
 
 Na've 
 
 Ne'pheg 
 
 Ms'ro/b 
 
 Na'um 
 
 Ne'phi(3) 
 
 No-a-di'ah (15) 
 
 Naz-a-rene' 
 
 Ne'phis 
 
 No' ah or No'e 
 
 Naz-a-renes' (8) 
 
 Ne'phish 
 
 Nob 
 
 Naz'a-reth 
 
 Ne-phish' e-sim 
 
 No' bah (9) 
 
 Naz'a-rite(8) 
 
 Neph'tha-li(S) 
 
 Nod 
 
 Ne'ah 
 
 Nep'tho-ah 
 
 No' dab 
 
 Ne-a-ri'ah (15) 
 
 Neph' tu-im 
 
 So'e-ba(9) 
 
 Neb'a-i(5) 
 
 Ne-phu'sim (13) 
 
 NTo'ga, or No'gah 
 
 Ne-bai'oth(o) 
 
 Ner 
 
 No' hah (9) 
 
 Ne-ba'joth 
 
 Ne' re-us 
 
 Norn 
 
 Ne-bal'lat 
 
 
 tf om' a-des 
 
 Ne'bat 
 
 Ner'gal Sha-re'zer 
 
 Non 
 
 Ne'bo 
 
 Ne'ri(3) 
 
 Noph 
 
 Neb-u-chad-nez' zar 
 
 Ne-ri'ah(15) 
 
 Noff 
 
 Neb-u-chod-on' o- 
 
 tfe-than'e-el(lS) 
 
 N T o'phah(9) 
 
 sor 
 
 ^eth-a-ni'ah 
 
 No-me' ni-us 
 
 Neb-u-chad-rez' zar 
 
 ^"eth' i-nims 
 
 Nun, the father of 
 
 Neb-u-chas' ban 
 
 Ne-to'phah(9) 
 
 Joshua 
 
 Neb-u-zar' a-dan 
 
 Ne-toph'a-thi (3) 
 
 Nym' phas- 
 
 209 
 

 ( 310 ) 
 
 
 OM 
 
 OP 
 
 oz 
 
 OB-A-DI'AH(IS) 
 
 O'mar 
 
 O'reb 
 
 O'bal 
 
 0-me'ga(9) 
 
 O' ren, or O' ran 
 
 O'bed 
 
 O'mer 
 
 O-ri' on 
 
 O'bedE'dom 
 
 Om'ri(3) 
 
 Or' nan 
 
 O'beth 
 
 On 
 
 Or' phah (9) 
 
 O'bil 
 
 O' nam 
 
 Or'fa 
 
 O'both 
 
 O'nan 
 
 Or-tlio-si'as(15) 
 
 O'chi-el(lS) 
 
 O-nes'i-mus 
 
 O-sai'as(5) 
 
 Oc-i-de' lus (7) 
 
 On-e-siph' o-rus 
 
 O-se'as 
 
 Qi-i-de r lus 
 
 O-ni' a-res 
 
 O'see 
 
 Oc'i-na(7) 
 
 O-ni'as(15) 
 
 O' she-a 
 
 Os' i-na 
 
 O'no 
 
 Os' pray 
 
 Oc'ran 
 
 O'nus 
 
 Os' si-frage 
 
 O'ded 
 
 O-ny' as 
 
 Oth'ni(3) 
 
 O-dol' lam 
 
 On' y-cha 
 
 Oth'ni-el(4)(l3) 
 
 Od-on-ar' kes 
 
 On'e-ka 
 
 Oth-o-ni'as (15) 
 
 Og 
 
 O'nyx 
 
 O'zem 
 
 O'had 
 
 O'phel 
 
 O-zi'as(15) 
 
 O'hel 
 
 O'pher 
 
 O'zi-el(4)(13) 
 
 Of a-mus 
 
 O'phir 
 
 Oz'ni (3) 
 
 O-lym' phas 
 
 Oph / ni(3) 
 
 Oz'nites(8) 
 
 Om-a-e'rus (13) 
 
 Oph' rah 
 
 O-zo'ra(9) 
 
 PA 
 
 PA 
 
 PA 
 
 PA'A-RAI (5) 
 
 Pal'lu-ites(8) 
 
 Par' me-nas 
 
 Pa' dan 
 
 Pal'ti(3) 
 
 Par' nath 
 
 Pa' dan A' ram 
 
 Pal'ti-elClS) 
 
 Par'nach(6) < 
 
 Pa' don 
 
 Pai'tite(8) 
 
 Pa'rosh 
 
 Pa'gi-el(7)(13) - 
 
 Pan' nag 
 
 Par-shan'da-tha 
 
 Pa' hath Mo' ab 
 
 Par' a-dise 
 
 Par' u-ah 
 
 Pa'i (3) (5) 
 
 Pa' rah 
 
 Par-va / im(o)(l6) 
 
 Pa'lal 
 
 Pa' ran 
 
 Pa'sach(6) 
 
 Pal' es-tine 
 
 Par' bar 
 
 Pas-dam' min 
 
 Pal'lu 
 
 .Par-mash' ta 
 
 Pa-se'ah (9) 
 
PE PH 
 
 Pash'tir 
 
 Per'iz-zites (8) 
 
 Pas' o-ver 
 
 Per' me-nas 
 
 Pat' a-ra 
 
 Per-u'da (9) (13) 
 
 Pa-te'o-li 
 
 Peth-a-hi'ah (Id) 
 
 Pa-the'us (13) 
 
 Pe'thor 
 
 Pall/ ros 
 
 Pe-thu'el (13) 
 
 Path-ru'sim 
 
 Pe-ui' thai (5) 
 
 Pat' ro-bas 
 
 Phac' a-reth 
 
 Pa'u 
 
 Phai' siir (5) 
 
 Paul 
 
 Phal-dai'us (,5) 
 
 Ped'a-hel(lS) 
 
 Pha-le'as (11) 
 
 Ped' ah-zur 
 
 Pha'leg 
 
 Ped-ai'ah(5) 
 
 Phal'lu 
 
 Pe'kah(Q) 
 
 Pl.al'ti (3) 
 
 Pek-a-hi' ah 
 
 Phal'ti-el (13) 
 
 Pe'kod 
 
 Pha-nu'el (13) 
 
 Pel-a-i' ah (5) 
 
 Phar'a-cim (7) 
 
 Pel-a-h'ah 
 
 Pha'ra-oh 
 
 Pel-a-ti'ah(l5) 
 
 Fa'ro 
 
 Pe'leg 
 
 Phar-a-tho' iii (3) 
 
 Pe'let 
 
 Pha'rez 
 
 Pe'leth 
 
 Pha'rez-ites(B) 
 
 Pe'leth-ites(8) 
 
 Phar' i-sees 
 
 Pe-li'as(lo) 
 
 Pha'rosh 
 
 Pel' o-nite (8) 
 
 Phar'phar 
 
 Pe-ni'el (13) 
 
 Phar'zites(S) 
 
 Pe-nin'nah 
 
 Pha'se-ah (13) 
 
 Pen' ni -nnh 
 
 Pha-se'lis(13) 
 
 Pen-tap' o-lis 
 
 Phas'i-ron 
 
 Pen' ta-teuch (6) 
 
 Phe'be 
 
 Pen'ta-teuk 
 
 Phe-ni'ce(13) 
 
 Pen' te-cost 
 
 Phib'e-seth 
 
 Pen' te- coast 
 
 Phi' col 
 
 Pe-nu'el (13) 
 
 Phi-la/ ches 
 
 Pe'or 
 
 Phi-le'moi^ll) 
 
 Per'a-zini 
 
 Phi-le'tus(ll) 
 
 Pe'resh 
 
 Phi-lis'li-a 
 
 Pe'rez 
 
 Phi-lis' tim 
 
 Pe'rezUz'za 
 
 Phi-lis'tines(8) 
 
 Per'ga (9) 
 
 Fi-lis' tins 
 
 Per' "a-inos 
 
 Phi-lol' o-gus 
 
 Pc-ri'da(9) 
 
 Phil-o-me' tor 
 
 p 2 
 
 PV * 
 
 I Phin'e-as 
 I Phin'e-has 
 ! Phi' son (1) 
 j Phle' gon 
 Pho'ros 
 
 Phul, rhymes dull 
 Phur 
 Phu'rah 
 
 Phut, rhymes nut 
 Phu'vah 
 Phy-geKlus 
 Phy-lac' te-riea 
 Pi-ha-hi'roth 
 Pi' late 
 Pi!' dash 
 Pil'e-tha 
 Pi!' tai (5) 
 Pi' non 
 Pi'ra 
 Pi' ram 
 Pir' a-lhon 
 Pir' a-thon-ite (8) 
 Pis'gah 
 Pi' son (I) 
 Pis' pah 
 Pi'thon(l) 
 Poch' e-reth (6) 
 Pon'ti-us Pi' late 
 Por'a-tha(9) 
 Pot' i-phar 
 Po-tiph' e-ra 
 Proch' o-rus 
 Pu'a, or Pu'ah 
 Pu' dens 
 Pu'hites(8) 
 Pu!, rhymes dull 
 Pu'nites(8) 
 Pu' non 
 
 Pur, or Pu' rim 
 Put, rhymes nut 
 Pu'ti-el(13) 
 P}' 
 
RA 
 
 RE 
 
 RE 
 
 RA' A-MAH (9) 
 
 Ra' ma, or Ra' mah Re-el-i' as ( 1 5) 
 
 Ra-a-mi'ah(15) 
 
 Ra' math 
 
 Ree-sai' as (5) 
 
 Ra-am' ses 
 
 Ra-math-a'im (!()) 
 
 Re' gem, the g hard 
 
 Rab' bah 
 
 Ram' a-them 
 
 Re-gem 7 me-lech 
 
 Rab' bath 
 
 Ra' math-ite (8) 
 
 Re' gom 
 
 Rab' bat 
 
 Ra'mathLe'hi 
 
 Re-ha-bi'ah(15) 
 
 Rab' bi (3) 
 
 Ra' math Mis' peh 
 
 Re' hob 
 
 Rab'bith 
 
 Ra-me' ses 
 
 Re-ho-bo' am 
 
 Rab-bo'ni(3) 
 
 Ra-mi'ah(15) 
 
 Re-ho' both 
 
 Rab' mag 
 
 Ra' moth 
 
 Re'hu 
 
 Rab' sauces 
 
 Ra'moth Gil'e-ad 
 
 Re' hum 
 
 Rab' sa-ris 
 
 Ra'pha 
 
 Re' i (3) 
 
 Rab'sha-keh (9) 
 
 *Ra'pha-el(lS)(15) 
 
 Re' kern 
 
 Ra'ca, or Ra'cha 
 
 Ra'phel 
 
 Rem-a-li'ah (15) 
 
 Ra'cab(6) 
 
 Ra' phah (9) 
 
 Re' meth 
 
 Ra'cal 
 
 Raph'a-im (16) 
 
 Rem' mon 
 
 Ra' chab (6) 
 
 Ra' phon 
 
 Rem'mon Meth'o- 
 
 Ra'chel(6) 
 
 Ra'phu 
 
 ar 
 
 Rad'da-i(5) 
 
 Ras'sis 
 
 Rem' phan 
 
 Ra'gati 
 
 Rath'u-mus (12) 
 
 Rem' phis 
 
 Ra' ges 
 Rag' u-a 
 
 Ra'zis 
 Re-a-i'ah(5) 
 
 Re'pha-el(13)(15) 
 Re' phah 
 
 Ra-gu'el(lS) 
 
 Re' ba (9) 
 
 Reph-a-i'ah (15) 
 
 Ra' hab 
 
 Re-bee' ca (9) 
 
 Reph'a-im (1 6) 
 
 Ra' ham 
 
 Re' chab (6) 
 
 Reph' a-ims 
 
 Ra' kern 
 
 Re' chab-ites (8) 
 
 Reph' i-dim 
 
 Rak'kath 
 
 Re'chah(9) 
 
 Re' sen 
 
 Rak'kon 
 
 Ref ka 
 
 Re'sheph 
 
 Ram 
 
 Re-el-ai' ah (5) 
 
 Re'u 
 
 * Raphael. This word has uniformly the accent on the first syllable through- 
 out Milton, though Graecised by 'Pa^x j but the quantity is not so invariably 
 settled by him ; for in his Paradise Lost he makes it four times of three sylla- 
 bles, and twice of two. What is observed under Israel is applicable to this 
 word. Colloquially we may pronounce it in two, as if written Raphel ; but in 
 deliberate and solemn speaking or reading, we ought to make the two last vow- 
 els to be heard separately and distinctly. The same may be observed of 
 Michael, which Milton, in his Paradise Lost, uses six times as a word of three 
 syllables, and eighteen times as a word of two only. 
 
RH 
 
 Reu' ben 
 Re-u'el(lS) 
 Reu' mah 
 Re'zeph 
 Re-zi'a(15) 
 Re' zin 
 Re' zon 
 Rhe' gi-uni 
 Refje-um 
 Rhe'sa 
 Re'sa 
 Rho'da 
 
 RO 
 
 RO 
 
 213 
 
 Rhod' o-cus 
 
 Roh'gah (9) 
 
 Ri' bai (5) 
 Rib'lah 
 
 Ro'ga 
 R.O' i-nms 
 
 Rim' mon 
 
 Ro-mam-ti-e' zer 
 
 Rim' mon Pa' rez 
 
 Rosh 
 
 Rin' nah (9) 
 
 Ru'by 
 
 Ri'phath 
 
 Ru'fus 
 
 Ri/fath 
 
 Ru' ha-mah 
 
 Ris'sah(9) 
 
 Ru' mah 
 
 Rith' mah 
 
 Rus' ti-cus 
 
 Ris'pah 
 
 Ruth 
 
 Ro-ge'lim (7) (13) 
 
 Rootk 
 
 SA 
 
 SA 
 
 SA 
 
 SA-BAC-THA' NI* 
 
 Sab'tah(Q) 
 
 Sal-a-sad' a-i (5) 
 
 fSab' a-oth 
 
 Sab'te-cha(G) 
 
 Sa-la'thi-el(13) 
 
 Sa'bat 
 
 Sa' car 
 
 Sal'cah(9) 
 
 Sab'a-tus 
 
 Sad-a-mi'as (15) 
 
 Sal'chah 
 
 Sab' ban 
 
 Sa' das 
 
 Sa' lem 
 
 Sab' bath 
 
 Sad-de' us 
 
 Sa'lim 
 
 Sab-ba-the' us 
 
 Sad' due 
 
 Sal' la-i (5) 
 
 Sab-be' us 
 
 Sad' du-cees 
 
 Sal'lu 
 
 Sab-de' us 
 
 Sa'doc 
 
 Sal'lum 
 
 Sab'di(3) 
 
 Sa-ha-du'tha Je'gar 
 
 Sal-lu'mus(13) 
 
 Sa-be' ans 
 
 Sa'la 
 
 Sal' ma, or Sal' mah 
 
 Sa'bi(3) 
 
 Sa'lah(9) 
 
 Sal' mon 
 
 * Sabacthani. Some, says the editor of Lab be, place the accent on the an. 
 tepenultimate syllable of this word, and others on the penultimate : this last 
 pronunciation, he says, is most agreeable to the Hebrew word, the penultimate 
 of which is not only long, but accented : and as this word is Hebrew, it is cer- 
 tainly the preferable pronunciation. 
 
 t Sabaoth. This word should not be confounded in its pronunciation with 
 Sabbath, a word of so different a signification. Sabaoth ought to be heard in 
 three syllables by keeping the a and o separate and distinct. This it must be 
 confessed, is not very easy to do, but is absolutely necessary to prevent a very 
 gross confusion of ideas, and a perversion of the sense. 
 
214 SA . SA SA 
 
 Sal-mo' lie (13) ; 
 
 San-a-bas' sa-rus 
 
 Sar' de-us 
 
 Sa' lorn 
 
 San' a-sib 
 
 Sar' dis 
 
 Sa-lo / me(13) 
 
 San-bal'iat 
 
 Sar'dites(8) 
 
 Sa'lu 
 
 San'he-drim 
 
 Sar' di-us 
 
 Sa' lum 
 
 San- san' nah 
 
 Sar' dine 
 
 San/a-el (13) 
 
 Saph 
 
 Sar' do-nyx 
 
 Sa-mai' as (5) 
 
 Sa' phat 
 
 Sa're-a 
 
 Sa ma'ri-a, or 
 
 Saph-a-ti'as (15) 
 
 Sa-i ep' ta 
 
 Sam-a-ri'a 
 
 Saph' ir 
 
 Sar' gon 
 
 Sa-mai' i-tans 
 
 Sa'pheth 
 
 Sa' rid 
 
 Sam' a-ttis 
 
 Sap-phi' ra (9) 
 
 Sa' ron 
 
 Sa-mei'us (9) 
 
 Sap' phire 
 
 Sa-ro'lhi (3) 
 
 Sam 7 gar Ne'bo 
 
 Sar-a-bi'as (15) 
 
 Sar-se'chim (6) 
 
 Sa'nn (3) 
 
 Sa' ra, or Sa' rai (5) 
 
 Sa'ruch(6) 
 
 Sa' mis 
 
 Sar-a-i'ah (5) 
 
 *Sa' tan ' 
 
 San/ lab (9) 
 
 Sa-rai'as(5)(13) 
 
 Sath-ra-ba/nea 
 
 Sam'nius 
 
 Sa-ian/a-el 
 
 Sath-ra-bou-za'nes 
 
 Samp' sa-mes 
 
 Sar'a-mel 
 
 Sav' a-ran 
 
 San/ son 
 
 Sa'raph Sa'vi-as (15) 
 
 Sam'u-el(13)(17) 
 
 Sar-ched' o-nus (6) i Saul 
 
 * Satan. There is some dispute among the learned about the quantity of the 
 second syllable of this word when Latin or Greek, as may be seen in Labbe, 
 but none, about the first. TJiis is acknowledged to be short, and this has in- 
 duced those critics who have great knowledge of Latin, and very little of their 
 own language, to pronounce the first syllable short in English, as if written 
 Sattan. If these gentlemen have not perused the Principles of Pronunciation, 
 prefixed to the Critical Pronouncing Dictionary, I would take the liberty of 
 referring them to what is there said, for full satisfaction for whatever relates to 
 deriving English quantity from the Latin. But tor those who have not an op- 
 portunity of inspecting that work, it may, perhaps, be sufficient to observe, 
 that no analogy is more universal than that which, in a Latin word of two syl. 
 lables with but one consonant in the middle, and the accent on the first syl- 
 lable, leads ns to pronounce that syllable long. This is, likewise, the genuine 
 pronunciation of English words of the same form ; and where it has been coun- 
 teracted we find a miserable attempt to follow the Latin quantity in the English 
 word, which we entirely neglect in the Latin itself, (see Introduction, page xiii,) 
 Cato and Plato are instances where we make the vowel a long in English, where 
 it is short in Latin ; and calico and cogito, where we make the a and > in the 
 first syllable short in English, when it is long in Latin. Thus if a word of two 
 syllables with one consonant in the middle and the accent on the first, which, 
 according to our own vernacular analogy, we should pronounce as we do Cato and 
 riuto with the first vowel long ; if this word, I say, happens to be derived from 
 a word of three syllables in Latin, with the first short ; this is looked upon as 
 
 a good 
 
SE SE 
 
 SH 215 
 
 See 7 va 
 
 Se'ied 
 
 Se'red 
 
 Sefva 
 
 Sel-e-rni'as(15) 
 
 Se' ron 
 
 Sche'chem (6) 
 
 Sem 
 
 Se' rug 
 
 SM kern 
 
 Sem-a-chi' ah (15) 
 
 Se' sis 
 
 Scribes 
 
 Sem-a-i'ah (15) 
 
 Ses' thel 
 
 Scyth' i-ans 
 
 Sem-a-i'as (5) 
 
 Seih 
 
 Syth f i-ans 
 
 Sem'e-i(3) 
 
 Se'thar 
 
 Scy-thop'o-lis 
 
 Se-mel'le-us 
 
 Se' ther 
 
 Scyth-o-pol'i-tans 
 
 Se' mis 
 
 Sha-al-ab' bin 
 
 Se'ba 
 
 Sen' a ah 
 
 Sha-al'bim 
 
 Se' bat 
 
 Se' neh (9) 
 
 Sha-al' bo-nite (8) 
 
 Sec'a-cah 
 
 Se' nir 
 
 Sha' aph 
 
 Sech-e-ni' as ( 1 5) 
 
 Sen-a-che'rib(13) 
 
 Sha-a-ra'im(l6) 
 
 Se' chu 
 
 Sen'u-ah 
 
 Shar' a-im 
 
 Sed-e-ci' as (15) 
 
 Se-o'rim 
 
 Sha-ash' gas 
 
 Sed-e-si' as (7) 
 
 Se' phar 
 
 Shab-beth'a-i(5) 
 
 Se'gub 
 
 Seph' a-rad 
 
 Shach' i-a 
 
 Se'ir 
 
 Seph-ar-va' im (16) 
 
 Shad' da-i (5) 
 
 Se'i-rath 
 
 Se' phar-vites 
 
 Sha' drach 
 
 Se'la 
 
 Se-phe' la 
 
 Sha'ge(7) 
 
 Se' la Ham-mah-le' 
 
 Se' rah 
 
 Sha-haz'i-math (13) 
 
 koth 
 
 Se-ra-i' ah (5) 
 
 Shal'le-cheth 
 
 Se'Jah (9) 
 
 Ser' a-phim 
 
 Sha' lem 
 
 a good reason for shortening the first syllable of the English word, as in magic, 
 placid, tepid, &c., though we violate this rule in the pronunciation of the Latin 
 words, caligo, cogito, &c., which, according to this analogy, ought to be cale-i-go, 
 coge-i-to, &c. with the first syllable long. 
 
 This pedantry, which ought to have a harsher title, has considerably hurt the 
 sound of our language, by introducing into it too many short vowels, and con- 
 sequently rendering it less flowing and sonorous. The tendency of the penul- 
 timate accent to open and lengthen the first vowel in dissyllables, with but one 
 onsonant in the middle, in some measure counteracts the shortening tendency 
 of two consonants, and the almost invariable shortening tendency of the ante- 
 penultimate accent ; but this analogy, which seems to be the genuine operation 
 of nature, is violated by these ignorant critics, from the pitiful ambition of ap- 
 pearing to understand Latin. As the first syllable, therefore, of the word in 
 question has its first vowel pronounced short for such miserable reasons as have 
 been shown, and this short pronunciation does not seem to be general, as may 
 be seen under the *ord in the Critical Pronouncing Dictionary, we ought cer- 
 tainly to incline to that pronunciation which is so agreeable to the analogy of 
 our own language, and which is, at the same time, so much more pleasing to 
 the ear .See Principles prefixed to the Critical Pronouncing Dictionary, No. 
 543, 544, &c., and the words Drama and Satire. 
 
216 SH 
 
 Sha' lim 
 
 Shal' i-sha 
 
 Shal' lum 
 
 Shal' ma-i (5) 
 
 Shal 7 man 
 
 Shal-ma-ne' ser 
 
 Sha' ma 
 
 Sham-a-ri'ah (15) 
 
 Sha'med 
 
 Sha' mer 
 
 Sham' gar 
 
 Sham' huth 
 
 Sha' mir 
 
 Sham' ma (9) 
 
 Sham'mah(9) 
 
 Sham' ma-i (5) 
 
 Sham' moth 
 
 Sham-mu' a (9) 
 
 Sham-mu' ah (9) 
 
 Sham-she-ra' i (5) 
 
 Sha' pham 
 
 Sha' phan 
 
 Sha' phat 
 
 Sha' pher 
 
 Shar'a-i(5) 
 
 Shar'ma-im (16) 
 
 Sha' rar 
 
 gha-re'zer 
 
 Sha' rpn 
 
 Sha' ron-ite (8) 
 
 Sha-ru'hen 
 
 Shash'a-i (5) 
 
 Sha'shak 
 
 Sha / veh(9) 
 
 Sha'veth 
 
 Sha'ul 
 
 Sha'ul-ites(8) 
 
 Sha-u'sha 
 
 She'al 
 
 She-al'ti-el(lS) 
 
 She-a-ri'ah (15) 
 
 She-ar-ja' shub 
 
 She' ba, or She' bah 
 
 SH SH 
 
 She' bam 
 
 She' rah 
 
 Sheb-a-ni'ah(15) 
 
 Sher-e-bi'ah(15) 
 
 Sheb' a-rim 
 
 She' resh 
 
 She' bat 
 
 She-re' zer 
 
 She'ber 
 
 She' shack 
 
 Sheb' na 
 
 She'shai(5) 
 
 Sheb'u-el(IS) 
 
 She' shan 
 
 Shec-a-ni' ah 
 
 Shesh-baz' zar 
 
 She'chem(6) 
 
 Sheth 
 
 She' chem-ites 
 
 She'thar 
 
 Shech' i-nah 
 
 She' thar Boz' na-i 
 
 Shek' e-nah 
 
 She' va 
 
 Shed' e-ur 
 
 Shib' bo-letk 
 
 She-ha-ri'ah(15) 
 
 Shib' mah (9) 
 
 She'kel 
 
 Shi' chron 
 
 She'lah 
 
 Shig-gai' on (5) 
 
 She'lan-ites(8) 
 
 Shi' on 
 
 Shel-e-mi'ah(15) 
 
 Shi'hor 
 
 She'leph 
 
 Shi'hor Lib'nath 
 
 She'lesh 
 
 Shi-i'im(3)(4) 
 
 Shel'o-mi(3) 
 
 She-i' im 
 
 Shel' o-mith 
 
 Shil' hi (3) 
 
 Shel' o-moth 
 
 Shil'him 
 
 She-lu' mi-el (IS) 
 
 Shil'lem 
 
 Shem 
 
 Shil'lem-ites (8) 
 
 She' ma 
 
 Shi'loh,orShi'lo(9) 
 
 Shem'a-ah(9) 
 
 Shi-lo'ah(9) 
 
 Shem-a-i'ah(5) 
 
 Shi-lo'ni(3) 
 
 Shem-a-ri'ah(15) 
 
 Shi-lo'nites(8) 
 
 Shem' e-ber 
 
 Shil' shah (9) 
 
 She' mer 
 
 Shim' e-a 
 
 She-mi' da (13) 
 
 Shim' e-ah 
 
 Shem' i-nith Shim' e-am 
 
 She-mir'a-moth Shim'e-ath 
 
 She-mu' el ( 13) (17) Shim' e-ath-ites 
 
 Shen 
 
 Shim' e-i (3) 
 
 She-na' zar 
 
 Shim' e-on 
 
 She' oir 
 
 Shim' hi (3) 
 
 She' pham 
 
 Shi' mi (3) 
 
 Sheph-a-ti' ah (15) 
 She' phi (3) 
 
 Shim'ites(B) 
 Shim' ma (9) 
 
 She' pho 
 
 Shi' mon 
 
 She-phu'phan (H) 
 
 Shim' rath 
 
SH SH SI 217 
 
 Shim' ri (3) 
 
 Sho' choh (9) 
 
 Shu'thal-ites(S) 
 
 Shim' rith 
 
 Sho' ham 
 
 Si'a(l) 
 
 Shim'ron 
 
 Sho'mer 
 
 Si'a-ka(l)(9) 
 
 Shim'ron-ites (8) 
 
 Sho'phach(6) 
 
 Si'ba 
 
 Shim'ron Me'ron 
 
 Sho' phan 
 
 Sib' ba-chai (5) 
 
 Shim' shai (5) 
 
 Sho-shan' nim 
 
 Sib'bo-leth 
 
 Shi' nab 
 
 Sho-shan' nim 
 
 Sib'mah(9) 
 
 Shi'nar 
 
 E'duth 
 
 Sib'ra-im(l6) 
 
 Shi' phi (3) 
 
 Shu' a (9) 
 
 Si'chem(l)(fj) 
 
 Shiph' mite 
 
 Shu' ah (9) 
 
 Sid' dim 
 
 Shiph'ra (9) 
 
 Shu'al 
 
 Si'de 
 
 Shiph' rath 
 
 Shu'ba-el(lS) 
 
 Si' don 
 
 Ship' tan 
 
 Shu' ham 
 
 Si-gi' o-noth (7) 
 
 Shi'sha (9) 
 
 Shu' ham-ites (8) 
 
 Si' ha (9) 
 
 Shi'shak 
 
 Shu' hites 
 
 Si' hon 
 
 Shit'ra-i (5) 
 
 Shu'lam-ite 
 
 Si'hor 
 
 Shit' tah (9) 
 
 Shu' math-ites (8) 
 
 Si' las 
 
 Shit' tim Wood 
 
 Shu' nam-ite 
 
 Si!' la (9) 
 
 Shi'za (9) 
 
 Shu' nem 
 
 *Sil'o-a 
 
 Sho' a (9) 
 
 Shu'ni(3) 
 
 Sil' o-as 
 
 Sho'ah (9) 
 
 Shu' nites (8) 
 
 Sil'o-ah, or 
 
 Sho' ab 
 
 Shu' pham 
 
 Sil' o-am 
 
 Sho' bach (6) 
 
 Shu' pham-ite 
 
 Sil'o-e(9) 
 
 Sho' ba-i (5) 
 
 Shup' pirn 
 
 Si-mal-cu' e 
 
 Sho'bal 
 
 Shur 
 
 Sin/ e- on 
 
 Sho'bek 
 
 Shu' shan 
 
 Sim' e-on-ites (8) 
 
 Sho'bi(S) 
 
 Shu'shan E'duth 
 
 Si' mon 
 
 Sho' cho (6) 
 
 Shu'the-lah(9) 
 
 Sim'ri(3) 
 
 * Siloa. This word, according to the present general rule of pronouncing 
 these words, ought to have the accent on the second syllable, as it is Grsecised 
 by Stxwa ; but Milton, who understood Its derivation as well as the present race 
 of critics, has given it the antepenultimate accent, as more agreeable to the 
 general analogy of accenting English words of the same form : 
 
 Or if Sion hill 
 
 Delight thee more, or Siloa's brook that flow'd 
 Fast by the oracle of God 
 
 If criticism /ought not to overturn settled usages, surely when that usage is 
 sanctioned by such a poet as Milton, it ought not to be looked upon as a 
 licence, but an authority. With respect to the quantity of the first syllable, 
 analogy requires that, if the accent be on it, it should be short. (See Ruler- 
 prefixed to the Greek and Latin Proper Names, rule 19.) 
 
218 SO SU SY 
 
 Sin 
 
 Sod'om 
 
 Suc'coth Be'noth 
 
 *Si'nai(5) 
 
 Sod' om-ites 
 
 Su-ca' ath-ites 
 
 Si' nim 
 
 Sod' o-ma 
 
 Sud 
 
 Sin' ites (8) 
 
 Sol' o-mou 
 
 Su' di-as 
 
 Si' on 
 
 Sop' a-ter 
 
 Suk' ki-ims (4) 
 
 Siph' moth 
 
 Soph' e-reth 
 
 Sur 
 
 Sip' pai (5) 
 
 So'rek 
 
 Su'sa 
 
 Si'rach (1)(6) 
 
 So-sip' a-ter 
 
 Su' san-chites (6) 
 
 Si' rali (9) 
 
 Sos'the-nes (13) 
 
 Su-san' nah (9) 
 
 Sir' i- on 
 
 Sos'tra-tus(13) 
 
 Su' si (3) 
 
 Sis-am' a-i (o) 
 
 So' ta-i (5) Syc' a-mine 
 
 Sis'e-ra(9) 
 
 Sta'chys (6) 
 
 Sy-ce' ne 
 
 Si- sin' nes 
 
 Sta' kees 
 
 Sy'char(l)(6) 
 
 Sit' nah 
 
 Stac' te 
 
 Sy-e'lus(12) 
 
 Si' van 
 
 Steph' u-nas 
 
 Sy-e' ne 
 
 So 
 
 Steph' a-na 
 
 Syn' a-gogue 
 
 So'choh(6)(9) 
 
 Ste' phen 
 
 Syn' a-gog 
 
 So'ko 
 
 Su' ah (9) 
 
 Syn' ti-che (4) (6) 
 
 So'-'coh (9) 
 
 Su'ba 
 
 Syr' i-a Ma' a-.cah 
 
 So' to 
 
 Su'ba-i (5) 
 
 Syr' i-on 
 
 So' di (3) 
 
 Sue' coth 
 
 Sy-ro-phe-nic' i-a 
 
 * Sinai. If we pronounce this word after the Hebrew, it is three syllables ; 
 if after the Greek, 2(v, two only ; though it must be confessed that the liberty 
 allowed to poets of increasing the end of a line with one, and sometimes two 
 syllables, renders their authority, in this case, a little equivocal. Labbe 
 adopts the former pronunciation, but general usage seems to prefer the latter : 
 and if we almost universally follow the Greek in other cases, why not in this? 
 Milton adopts the Greek. 
 
 Sing, heav'nly muse! that on the secret top 
 
 Of Oreb or of Sinai didst inspire 
 
 That shepherd 
 
 God, from the mount of Sinai, whose gray top 
 
 Shall tremble, he descending, will himself, 
 
 In thunder, lightning, and loud trumpets' sound, 
 
 Ordain them laws. 
 
 Par. Lost, b. xii. v. 227. 
 
 Tfe ought not, indeed, to lay too much stress on the quantity of Milton, which 
 is often so different in the same word ; but these are the only two passages in 
 his Paradise Lost where this word is used ; and as he has made the same letters 
 a diphthong in Asmadai, it is highly probable he judged that Sinai ought to be 
 pronounced in two syllables. (See Rules prefixed to this Vocabulary, No. 5.) 
 
( 219 ) 
 
 TA 
 
 I A'A-NACH (5) 
 Ta'a-nach Shi' lo 
 Tab'ba- th 
 Tab' baili 
 Ta' be-al 
 Ta'be-ei (13) 
 Ta-bel'H-us 
 Tab' era (9) 
 Tab'i-tha 
 Ta'bor 
 Tab'ri-nion 
 Tach' mo-nite 
 Tad' mor 
 IV lian 
 
 $LY ban -ites (8) 
 Ta-haph' a-nes 
 Ta-hap'e-nes 
 Ta' hath 
 Tab' pe-ries (9) 
 Tab' re-a (9) 
 Tah'tim Hod'sbi 
 Tal'i-iha Cu'mi 
 Tal' mai (5) 
 Tal' mon 
 Tal' sas< 
 Ta' uiah 
 Ta'mar 
 Tarn' muz 
 Ta' nacli (6) 
 Tan' hu-rneth 
 Ta' nis 
 Ta' phaih 
 Taph'e-nes 
 Tapb' nes 
 Ta'phon 
 Tap'pu ab(13) 
 Ta' rah (9) 
 Tar'a-lah (9) (13) 
 Ta' re-a (9) 
 
 TE 
 
 TI 
 
 Tar' pel-ites (8) 
 
 Tel' narcb (6) 
 
 Tar'bbis 
 
 Thad-de'us(l) 
 
 Tar'shish 
 
 Tha' hash 
 
 Tar-sbi' si (3) 
 
 Tha' mah (9) 
 
 Tar' .sus 
 
 Tliam' na-tha 
 
 ; Tar'tak 
 
 Tha' ra (9) 
 
 Tar' tan - 
 
 Thar'ra(9) 
 
 Tal' na-i (5) 
 
 1 bar' sbisb 
 
 Te' bab (9) 
 
 Thas'si(S) 
 
 Teb-a-li'ah (15) 
 
 The' bez 
 
 Te' beth 
 
 The-co'e 
 
 Te-bapb' lie-lies 
 
 Tile-las' ser 
 
 Te-bin'nab 
 
 The-ler' sas 
 
 IV kel 
 
 The-oc' a-uus 
 
 Te-ko' a, or 
 
 The-od' o-tus 
 
 Te-ko'ab 
 
 Tbe-oph'i-lus 
 
 Te-ko'ites(8) 
 
 The'ras 
 
 Tel' a- bib 
 
 Ther' me-leth 
 
 Te' lab (9) 
 
 Thes-sa-lo-ni' ca 
 
 Tel'a-im(l6) 
 
 Theu'das 
 
 j Te-las' sar 
 
 Thini' na-thatb 
 
 Te'lern 
 
 This' be 
 
 Tel-ha-re'sha 
 
 Thorn' as 
 
 l Tel-bar' sa (9) 
 
 Tom' as 
 
 Tel' me-la (9) 
 
 Thorn' o-i (3) 
 
 Tel' me-lah (9) 
 
 Thra-se'as 
 
 Te'ma(9) 
 
 Thum' mim 
 
 . Te' man 
 
 Thy-a-ti' ra (9) 
 
 Tem'a-ni(3) 
 
 Tib' bath 
 
 Te' man-ites (8) 
 
 Ti-be' ri-as 
 
 Tem'e-ni(3) ! Tib'ni (3) 
 
 Te'pho iTi'dal 
 
 Te' rab (9) . Tig' latb Pi-lc' ser 
 
 Tei y a-pbim 
 
 Tik' vah (9) 
 
 Te'resh 
 
 Tik' vatb 
 
 Ter' ti-us 
 
 Ti'lon 
 
 Ter' she-us 
 
 Ti-me'lus(lS) 
 
 Ter-tul'lus 
 
 Tim'na(9) 
 
 IVta 
 
 Tira'nath (9) 
 
220 TI TO TY 
 
 Tim'na-thah 
 
 To' ah 
 
 To'phel 
 
 Tim' nath He' res 
 
 To' a-uah 
 
 To'phet 
 
 Tim'nath Se'rah 
 
 Tob 
 
 To'u 
 
 Tim'nite(8) 
 
 To-bi'ah(15) 
 
 Tfach-o-ni'tis (12) 
 
 Ti-mo'the-us 
 
 To-bi'as(l5) 
 
 Trip'o-lis 
 
 Tim' o-thy (Eng.) 
 Tip'sah(9) 
 
 To' bie (Eng.) 
 To'bi-el(4)(13) 
 
 Tro'as 
 Tro-gyl' li-um 
 
 Ti'ras 
 
 To-bi'jah (15) 
 
 Troph' i-mus 
 
 Ti'rath-ites(8) 
 
 To' bit 
 
 Try-phe'na(12) 
 
 Tir'ha-kah(9) 
 
 To'chen(6) 
 
 Try-pho'sa(12) 
 
 Tir' ha-nah 
 
 To-gar' mah 
 
 Tu'bal 
 
 Tir'i-a(9) 
 
 To'hu 
 
 Tu'balCa'in 
 
 Tir'sha-tha 
 
 To'i (3) 
 
 Tu-bi'e-ni(3) 
 
 Tir'zah (9) 
 
 To' la (9) 
 
 Ty-be'ri-as 
 
 Tish' bite 
 
 To' lad 
 
 Tych' i-cus 
 
 Ti'van 
 
 To'la-ites(8) 
 
 Tyre, one syllable 
 
 Ti'za 
 
 Tol'ba-nes 
 
 Ty-ran' nus 
 
 Ti'zite(S) 
 
 Tol'mai(5) 
 
 Ty'rus 
 
 UN UT UZ 
 
 VA-JEZ'A-THA(9) 
 
 Voph' si (3) 
 
 U'tha-i(5) 
 
 Va-ni' ah (9) 
 
 U'phaz 
 
 U'thi(3) 
 
 Vash'ni(S) 
 
 U-phar' sin 
 
 U' za-i (5) 
 
 Vash'ti(3) 
 
 Ui 7 ba-ne 
 
 U'zal 
 
 U'cal 
 
 U'ri(3) 
 
 Uz'za(9) 
 
 U'el 
 
 U-ri'ah(9) 
 
 U/ zah (9) 
 
 U'la-i (5) 
 
 U-ri'as(15) 
 
 U/zenShe'rah 
 
 U'lam 
 
 U'ri-el(4)(l4) Uz'zi (3) 
 
 Ul'la(9) 
 
 U-ri'jah (9) (15) Uz-zi' ah (15) 
 
 Um'mah(9) 
 
 U'rim 
 
 Uz-zi' el (13) (15) 
 
 Un'ni(S) 
 
 U'ta(9) 
 
 Uz-zi' el-ites (8) 
 
 XA XE XY 
 
 XA'GUS 
 
 Xe'ne-as 1 Xe-rol'y-be 
 
 Xan' thi-cus 
 
 Xer-o-pha' gi-a | Xys' tus 
 
ZA 
 
 ZE 
 
 ZE 
 
 ZA-A-NA'lM(l6) 
 
 Za' moth 
 
 Ze-bu'da(lS) 
 
 Za' a-man 
 
 Zam-zum' minis 
 
 Ze' bul 
 
 Za-a-nan' nim 
 
 Za-no' ah (9) 
 
 Zeb' u-lon 
 
 Za' a-van 
 
 Zaph-nath-pa-a-ne' 
 
 Zeb' u-lon-ites (8) 
 
 Za' bad 
 
 ah 
 
 Zech-a-ri'ah(15) 
 
 Zab-a-dae' ans 
 
 Za' phon 
 
 Ze'dad 
 
 Zab-a-dai' as (5) 
 
 Za'ra 
 
 Ze-de-ki'ah(15) 
 
 Zab'bai(5) 
 
 Zar' a-ces 
 
 Zeeb 
 
 Zab'ud 
 
 Za'rah 
 
 Ze'lah(9) 
 
 Zab-de'us(12) 
 
 Zar-a-i'as(15) 
 
 Ze'lek 
 
 Zab'di(3) 
 
 Za' re-ah 
 
 Ze-lo' phe-ad 
 
 Zab'di-el(ll) 
 
 Za' re-ath-hes (8) 
 
 Ze-lo'tes(l3) 
 
 Za-bi'na (9) 
 
 Za'red 
 
 Zel'zah 
 
 Za' bud 
 
 Zar' e-phath 
 
 Zem-a-ra'im (1 6) 
 
 *Zab'u-lon 
 
 Zar' e- tan 
 
 Zem' a-rite (8) 
 
 Zac' ca-i (5) 
 
 Za'reth Sha' har 
 
 Ze-mi' ra 
 
 Zac' cur 
 
 Zar'hites(6) 
 
 Ze'nan 
 
 Zac-a-ri'ah(15) 
 
 Zar' ta-nah 
 
 Ze' nas 
 
 Za'cher (6) 
 
 Zar' than 
 
 Ze-or'im (IS) 
 
 Za'ker 
 
 Zath' o-e 
 
 Zeph-a-ni'ah (15) 
 
 Zac-che'us(12) 
 
 Za-thu'i(3)(ll> 
 
 Ze'phath 
 
 Zak-M us 
 
 Zath' thu 
 
 Zeph' a-thah 
 
 Za(dok 
 
 Zat' tu 
 
 Ze' phi, or Ze' pho 
 
 Za' ham 
 
 Za' van 
 
 Ze' phon 
 
 Za'ir 
 
 Za'za 
 
 Zeph' on-ites (8) 
 
 Za'laph 
 
 Zeb-a-di'ah(15) 
 
 Zer 
 
 Zal' raon 
 
 Ze' bah (9) 
 
 Ze' rah (9) 
 
 Zal-mo'nah(9) 
 
 Ze-ba'im(13)(l6) 
 
 Zer-a-hi'ah(15) 
 
 Zal-mun' nah 
 
 Zeb' e-dee 
 
 Zer-a-i' a (5) 
 
 Zam' bis 
 
 Ze-bi' na 
 
 Ze' rau 
 
 Zam'bri(6) 
 
 Ze-bo'im(lS) 
 
 Ze' red 
 
 * Zabulon. Notwithstanding," says the editor of Labbe, " this word in 
 
 *' Greek) zaxiv, has the penultimate long, yet in our churches we always 
 
 " hear it pronounced with the acute on the antepenultimate* Those who 
 
 " thus pronounce it, plead that in Hebrew the penultimate vowel is short ; but 
 
 " in the word Zorobabd, Zogoasx, they follow a different rule ; for, though the 
 
 " penultimate in Hebrew is long, they pronounce it with the antepenultimate 
 
 * accent." 
 
222 Zl Zl ZtJ 
 
 Zer'e-da 
 
 Zif 
 
 Zi'na(l)(9) 
 
 Zer'e-dah 
 
 Zi / ha(l)(9) 
 
 Zo'an 
 
 Ze-red'a-thah 
 
 Zik'lag 
 
 Zo' ar 
 
 Zer' e-ralh 
 
 Zii'lah (9) 
 
 Zo' ba, or 
 
 Ze' resh 
 
 Zil'-pah (9) 
 
 Zo' bah 
 
 Ze'reth 
 
 Zil'thai(5) 
 
 Zo-be'bah (9) (13) 
 
 Ze'ri (3) 
 
 Zin/ mah 
 
 Zo'har 
 
 Ze'ror 
 
 Zim'ram, or 
 
 Zo'he-leth 
 
 Ze-ru'ah(13) 
 
 Ziin'ran 
 
 Zon' a-ras 
 
 Ze-rub' ba-bel 
 
 Zim'ri (3) 
 
 Zo' peth 
 
 Zer-uri'ah (15) 
 
 Zin I Zo' phah 
 
 Zer-vi'ah (15) 
 
 Zi'na(l)(9) 
 
 Zo' phai (5) 
 
 Ze' tham 
 
 Zi'on, or Si'onO) 
 
 Zo' phar 
 
 Ze' than 
 
 Zi'or (1) 
 
 Zo' phitu 
 
 Ze'thar 
 
 Ziph 
 
 Zo^rah 
 
 Zi'a(9) 
 
 Zi'phah (1) 
 
 Zo' rath-ites (8) 
 
 Zi'>(9) 
 
 Ziph' i-on (2) 
 
 Zo' re-ah (9) 
 
 Zib'e-on 
 
 Ziph'ites (8) 
 
 Zo' rites (9) 
 
 Zib'i-on 
 
 Zi'phron (1) 
 
 *Zo-rob'a-bel 
 
 Zich'ri(S) 
 
 Zip' por 
 
 Zu'ar 
 
 ZiVri 
 
 Zip-po'rah(13)(l6) 
 
 Zuph 
 
 Zid' dim 
 
 Zith'ri(3) 
 
 Zur 
 
 Zid-ki'jah (15) 
 
 Ziz 
 
 Zu'ri-el(13) 
 
 Zi' don, or Si' don 
 
 Zi'za(l)(9) 
 
 Zu-ri-shad' da-i (5) 
 
 Zi-do' iii-ans 
 
 Zi'zah(l)(9) 
 
 Zu'zims 
 
 * Zorobabel. See Zabulon. 
 
TERMINATIONAL VOCABULARY 
 
 OF 
 
 SCRIPTURE PROPER NAMES. 
 
 E B A* 
 
 Accent the Antepenultimate. 
 BATHSHEBA, Elisheba, Beersheba. 
 
 ADA IDA 
 
 Accent the Penultimate. 
 Shemida. 
 
 Accent the Antepenultimate. 
 
 Eliada, Jehoida, Bethsaida, Adida. 
 
 EA EGA ECHA UPHA 
 
 Accent the Penultimate. 
 
 Laodicea, Chaldea, Judea, Arimathea, Idumea, Casarea, 
 Berea, Iturea, Osea, Hosea, Omega, Hasupha. 
 
 Accent the Antepenultimate. 
 Cenchrea, Sabtecha. 
 
 ASHA ISHA USHA 
 
 Accent the Penultimate. 
 Elisha, Jerusha. 
 
 Accent the Antepenultimate. 
 Baasha, Shalisha. 
 
 ATHA ITHA UTHA 
 
 Accent the Penultimate. 
 Jegar-Sahadutha, Dalmanutha. 
 
 * For the pronunciation of the final a in this selection, see Rule the 9th. 
 
( 224 ) 
 
 decent the Antepenultimate. 
 
 Gabatha, Gabbatha, Amadatha, Hammedatha, Parshandatha, 
 Ephphatha, Tirshatha, Admatha, Caphenatha, Poratha, Achme- 
 tha, Tabitha, Golgotha. 
 
 IA 
 
 (Pronounced in two syllables,) 
 
 decent the Penultimate. 
 
 Seleucia*, Japhia, Adalia, Bethulia, Nethania, Chenania, 
 Jaazania, Jamnia, Samaria, Hezia. 
 
 Accent the Antepenultimate. 
 
 Achaia, Arabia, Thracia, Samothracia, Grecia, Cilicia, Cappa- 
 docia, Seleucia, Media, India, Pindia, Claudia, Phrygia, An- 
 tiochia, Casiphia, Philadelphia, Apphia, Igdalia, Julia, Pamphy- 
 lia, Mesopotamia, Armenia, Lycaonia, Macedonia, Apollonia, 
 Junia, Ethiopia, Samaria, Adria; Alexandria, Celosyria, Syria, 
 Assyria, Asia,^ Persia, Mysia, Galatia, Dalmatia, Philistia. 
 
 IK A 
 
 Accent the Antepenultimate. 
 Elika. 
 
 ALA ELA ILA AMA EMA IMA 
 
 Accent the Penultimate. 
 Ambela, Arbela, Macphela. 
 
 Accent the Antepenultimate. 
 Magdala, Aquila, Aceldama, Apherema, Ashima, Jemima. 
 
 ANA ENA INA ONA 
 
 Accent the Penultimate. 
 Diana, Tryphena, Hyena, Palestina, Barjona. 
 
 Accent the Antepenultimate. 
 Abana, Hashbadana, Amana, Ecbatana. 
 
 * For this word and Samaria, Antiochia, and Alexandria) see the Initial Voca- 
 bulary of Greek and Latin Proper Names. Also Rule 30th prefixed to the 
 Initial Vocabulary, 
 
( 225 ) 
 O A 
 
 Accent the Antepenultimate. 
 Gilboa, Tekoa, Siloa, Eshtemoa. 
 
 ARA ERA IRA URA 
 
 Accent the Penultimate. 
 Guzara, Ahira, Sapphira, Thyatira, Bethsura. 
 
 Accent the Antepenultimate. 
 Baara, Bethabara, Patara, Potiphera, Sisera. 
 
 ASA OSA 
 
 Accent the Penultimate. 
 Cleasa, Tryphosa. 
 
 Accent the Antepenultimate. 
 Adasa, Amasa. 
 
 ATA ETA ITA 
 Accent the Antepenultimate. 
 Ephphata, Achmeta, Melita, Hatita. 
 
 AVA UA AZA 
 Accent the Penultimate. 
 Ahava, Malchishua, Elishua, Shamua, Jahaza. 
 
 Accent the Antepenultimate. 
 Jeshua, Abishua, Joshua. 
 
 AB IB OB UB 
 
 Accent the Penultimate. 
 
 Eliab, Sennacherib, Ishbi-Benob, Ahitob, Ahitub. 
 Accent the Antepenultimate. 
 
 Abinadab, Aminadab, Jehonadab, Jonadab, Chileab, Aholiab, 
 Magor-Missabib, Aminadib^ Eliashib, BUalzebub, Beelzebub. 
 
 AC UC 
 
 Accent the Antepenultimate. 
 Isaac, Syriac, Abacuc, Habbacuc. 
 
( 226 ) 
 
 AD ED ID OD UD 
 
 Accent the Penultimate. 
 Almodad, Arphaxad, Elihud, Ahihud, Ahiud, Ahilud. 
 
 Accent the Antepenultimate. 
 
 Galaad, Josabad, Benhadad, Gilead, Zelophead, Zelophehad, 
 Jochebed, Galeed, Icabod, Ammihud, Abiud. 
 
 CE DEE LEE MEE AGE YCHE OHE ILE AME 
 OME ANE ENE OE OSSE VE 
 
 Accent the Penultimate. 
 
 Phenice, Bernice, Eunice, Elelohe, Salome, Magdalene* 
 Abilene, Mitylene, Gyrene, Syene, Colosse, (Nazarene, pro- 
 nounced in three syllables, with the accent on the last,) 
 
 Accent the Antepenultimate. 
 
 Zebedee, Galilee, Ptolemee, Bethphage, Syntyche, Subile, 
 Apame, Gethsemane, Siloe, Ninive. 
 
 IT E*(in one syllable.) 
 
 Accent the Penultimate. 
 
 Thisbite, Shuhite, Abiezrite, Gittite, Hittite, Hivite, Buzite. 
 
 Accent the Antepenultimate. 
 
 Harodite, Agagite, Areopagite, Gergashite, Morashite, Ha- 
 ruphite, Ephrathite, Bethelite, Carmelite, Hamulite, Benjamite, 
 Nehelamite, Shulamite, Shunamite, Edomite, Temanite, Gilo- 
 nite, Shilonite, Horonite, Amorite, Jebusite. 
 
 Accent the Preantepenultimate. 
 
 Naatnathite, Jezreelite, Bethlehemite, Ephraimite, (Canaanite 
 generally pronounced in three syllables, as if written Can-an-ite.) 
 
 AG OG 
 
 Accent the Antepenultimate. 
 Abishag, Hamongog. 
 
 * Words of this termination have the accent of the words from which they 
 are formed, and on this account are sometimes accented even on the preautepc- 
 nultimate syllable ; as Bethlehemite from Bethlehem, and so of others. Words 
 of this termination, therefore, of two syllables, have the accent on the penulti- 
 mate syllable ; and words of three or more on the same syllable as their primi- 
 tives. See Rule the 8th, page 175. 
 
( 227 ) 
 
 BAH CAH DAH EAH CHAH SHAH THAH 
 
 Accent the Penultimate. 
 Zobazibah, Makkedah, Abidah, Elishah. 
 
 Accent the Antepenultimate. 
 
 Dinhabah, Aholibah, Meribah, Abelbethmacah, Abadah, 
 Moladah, Zeredah, Jedidah, Gibeah, Shimeah, Zaphnath- 
 Paaneah, Meachah, Berachah, Baashah, Eliathah. 
 
 AIAH EIAH 
 
 (Ai and ei pronounced as a diphthong in one syllable.) 
 
 Accent the Penultimate. 
 
 *Micaiah, Michaiah, Benaiah, Isaiah, Jphedeiah, Maaseiah. 
 (Ai pronounced in two syllables.) 
 
 Accent the Penultimate. 
 Adaiah, Pedaiah, Semaiah, Seraiah, Asaiah. 
 
 IAH 
 
 Accent the Penultimate. 
 
 Abiah, Rheabiah, Zibiah, Tobiah, Maadiah, Zebadiah, Oba- 
 diah, Noadiah, Jedidiah, Ahiah, Pekahiah, Jezrahiah, Barachi- 
 ah, Japhiah, Bithiah, Hezekiah, Helkiah, Zedekiah, Adaliah, 
 Gedaliah, Igdaliah, Athaliah, Hackaliah, Remaliah, Nehemiah, 
 Shelemiah, Meshelemiah, Jeremiah, Shebaniah, Zephaniah, 
 Nethaniah, Chenaniah, Hananiah, Coniah, Jeconiah, Sheariah, 
 Zachariah, Zechariah, Amariah, Shemariah, Azariah, Neariah, 
 Moriah, Uriah, Josiah, Messiah, Shephatiah, Pelatiah, Ahaziah, 
 Amaziah, Asaziah, Uzziah. 
 
 J A H 
 
 Accent the Penultimate. 
 
 Aijah, Abijah, Jehidijah, Ahijah, Elijah, Adonijah, Irijah, 
 Tobadonijah, Urijah, Hallelujah, Zerujah. 
 
 * For the pronunciation of the two last syllables of these words, see Rule 
 5th prefixed to Scripture Proper Names, page 173, 174. 
 
KAH LAH MAH NAH OAH RAH SAH TAH VAH 
 
 UAH 
 
 Accent the Penultimate. 
 
 Rebekah, Azekah, Machpelah, Aholah, Abel-meholah, Beu- 
 lah, Elkanah, Hannah, Kirjath-sannah, Harbonah, Hashmonah, 
 Zalmonah, Shiloah, Noah, Manoah, Zanoah, Uzzen-sherah, 
 Zipporah, Keturah, Hadassah, Malchishuah, Shammuah, 
 JEHOVAH, Zeruah. 
 
 Accent the Antepenultimate. 
 
 Marrekah, Baalah, Shuthelah, Telmelah, Methuselah, Hachi- 
 lah, Hackilah, Dalilah, Delilah, Havilah, Raamah, Aholiba- 
 mah, Adamah, Elishamah, Ruhamah, Loruhamah, Kedemah, 
 Ashimah, Jemimah, Penninah, Baarah, Taberah, Deborah, 
 Ephratah, Paruah. 
 
 ACH ECH OCH 
 
 Accent the Penultimate. 
 Merodach, Evil-merodach. 
 
 Accent the Antepenultimate. 
 
 Ahisamach, Ebed-melech, Abimelech, Ahimelech, Elime- 
 lech, Alammelech, Anammelech, Adrammelech, Regemmelech, 
 Nathan- melech, Arioch, Antioch. 
 
 KEH LEH VEH APH EPH ASH ESH 1SH 
 
 Accent the Penultimate. 
 Elealeh, Elioreph, Jehoash. 
 
 Accent the Antepenultimate. 
 
 Rabshakeh, Nineveh, Ebiasaph, Bethshemesh, Enshemesh, 
 Carchemish. 
 
 ATH ETH ITH OTH UTH 
 
 Accent the Penultimate. 
 
 Goliath, Jehovah-jireth, Hazar-maveth, Baal-berith, Reho- 
 both, Arioth, Nebaioth*, Naioth, Moseroth, Hazeroth, Pihahi- 
 roth, Mosoroth, Allon-bachuth. 
 
 * The at in this and the next word form one syllable. See Rule 5, p. 173. 
 
( 229 ) 
 
 Accent the Antepenultimate. 
 
 Mahalath, Bashemath, Asenath, Daberath, Elisabeth, Dab- 
 basheth, Jerubbesheth, Ishbosheth, Mephibosheih, Haroshetb, 
 Zoheleth, Bechtileth, Shibboleth, Tanhumeth, Genesareth, 
 Asbazareth, Nazareth, Mazzareth, Kirharaseth, Shelomith, 
 Sheminith, Lapidoth, Anathoth, Kerioth, Shemiramoth, Kede- 
 moth, Ahemoth, Jerimoth, Sigionoth, Ashtaroth, Mazzaroth. 
 
 AI 
 
 (Pronounced as a diphthong in one syllable.) 
 
 Accent the Penultimate. 
 
 Chelubai, Asmadai, Sheshai, Sliimsbai, Hushai, Zilthai, 
 Berothai, Talmai, Tolmai, Sinai, Talnai, Arbonai, Sarai, Sippai, 
 Bezai. 
 
 Accent the Antepenultimate. 
 Mordecai, Sibbachai, Chephar-Hammonai, Paarai. 
 
 AI 
 
 (Pronounced in two syllables.) 
 
 Accent the Penultimate. 
 Ai. 
 
 Accent the Antepenultimate. 
 
 Zabbai, Babai, Nebai, Shobai, Subai, Zaccai, Shaddai, Ami- 
 shaddai, Aridai, Heldai, Hegai, Hagg'ai, Belgai, Bilgai, Abishai, 
 Uthai, Adlai, Barzillai, Ulai, Sisamai, Shalmai, Shammai, 
 Eliaenai, Tatnai, Shether-boznai, Naharai, Sharai, Shamsherai, 
 Shitrai, Arisai, Bastai, Bavai, Bigvai, Uzai. 
 
 DI El LI MI NI 01 PI RI UI ZI. 
 
 Accent the Penultimate. 
 
 Areli, Lb'ammi, Talithacumi, Gideoni, Benoni, Hazeleponi, 
 Philippi, Gehazi. 
 
 Accent the Antepenultimate. 
 
 Engedi, Simei, Shimei, Edrei, Bethbirei, Abisei, Baali, 
 Naphthali, Nepththali, Pateoli, Adami, Naomi, Hanani, Beer- 
 lahairoi, Mehari, Haahashtari, Jesiii. 
 
 EK UK 
 
 Accent the Penultimate. 
 Adonizedek, Adonibezek. 
 
( 230 ) 
 
 Accent the Antepenultimate. 
 Melchizedek, Amalek, Habbakkuk. 
 
 AAL EAL IAL ITAL UTAL 
 
 Accent the Penultimate. 
 Baal, Kirjath-baal, Hamutal. 
 
 Accent the Antepenultimate. 
 Meribbaal, Eshbaal, Ethbaal, Jerubaal, Tabeal, Belial, Abital. 
 
 AEL ABEL EBEL 
 
 Accent the Penultimate. 
 Jael, Abel. 
 
 Accent the Antepenultimate, 
 
 Gabael, Michael, Raphael, Mishael, Mehujael, Abimael, 
 Ishmael, Ismael, Anael, Nathanael, Israel, Asael, Zerubbabel, 
 Zerobabel, Mehetabel, Jezebel. 
 
 EEL GEL AHEL ACHEL APHEL OPHEL ETHEL 
 
 Accent the Penultimate. 
 Enrogel, Rachel, Elbethel. 
 
 Accent the Antepenultimate. 
 
 Tabeel, Abdeel, Japhaleel, Mahaleel, Bezaleel, Hanameel, 
 Jerahmeel, Hananeel, Nathaneel, Jabneel, Jezreel, Hazeel, 
 Asahel, Baracel, Amraphel, Achitophel. 
 
 IEL KEL 
 
 Accent the Penultimate. 
 Peniel, Uzziel. 
 
 Accent the Antepenultimate. 
 
 Abiel, Tobiel, Adiel, Abdiel, Gaddiel, Pagiel, Salathiel, 
 Ithiel, Ezekiel, Gamaliel, Shelumiel, Daniel, Othniel, Ariel, 
 Gabriel, Uriel, Shealtiel, Putiel, Haziel, Hiddekel. 
 
 UEL EZEL 
 
 Accent the Penultimate. 
 
 Deuel, Raguel, Bethuel, Pethuel, Hamuel, Jemuel, Kemuel, 
 Nemuel, Phanuel, Penuel, Jeruel, Bethezel. 
 
( 231 ) 
 
 Accent the Antepenultimate. 
 *Samuel, Lemuel, Emanuel, Immanuel. 
 
 AI L 
 
 (Pronounced in two syllables.) 
 
 Accent the Penultimate. 
 A bih ail. 
 
 AIL 
 
 (Pronounced as a diphthong in one syllable.) 
 
 Accent the Antepenultimate. 
 Abigail. 
 
 OL UL 
 
 Accent the Penultimate. 
 Bethgamul. 
 
 Accent the Antepenultimate. 
 Eshtaol 
 
 ODAM AHAM IAM IJAM IKAM 
 
 Accent the Penultimate. 
 Elmodam, Abijam, Ahikam. 
 
 Accent the Antepenultimate. 
 Abraham, Miriam, Adonikam. 
 
 0AM 
 
 Accent the Penultimate. 
 Rehoboam, Roboam, Jeroboam. 
 
 Accent the Antepenultimate. 
 Siloam, Abinoam, Ahinoam. 
 
 ARAM 1RAM ORAM 
 
 Accent the Penultimate. 
 
 Padanaram, Abiram, Hiram, Adoniram, Adoram, Hadoram, 
 Jehoram. 
 
 * See Rule the 17th prefixed to Scripture Proper Nainei, page 179. 
 
( 232 ) 
 AHEM EHEM ALEM EREM 
 
 Accent the Antepenultimate. 
 JMenahem, Bethlehem, Jerusalem, Beth-haccerem. 
 
 AIM* 
 
 Accent the Penultimate. 
 
 Chusan-Rishathaim, Kirjathaim, Bethdiblathaim, Ramathaim, 
 Adithaim, Misrephothmaim, Abelmaim, Mahanaim, Manha- 
 naim, Horonaim, Shaaraim, Adoraim, Sepharvaim. 
 
 Accent the Antepenultimate. 
 
 Rephaim, Dothaim, Eglaim, Carnaim, Sharaim, Ephraim, 
 Beth-ephraim, Mizraim, Abel-mizraim. 
 
 BIM CHIM PHIM KIM LIM NIM RIM Z1M 
 
 Accent the Penultimate. 
 Sarsechim, Zeboim, Kirjatharim, Bahurim, Kelkath-hazurim. 
 
 Accent the Antepenultimate* 
 
 Cherubim, Lehabim, Rephidim, Seraphim, Teraphim, Elia- 
 kim, Jehoiakim, Joiakim, Joakim, Baalim, Dedanim, Ethanim, 
 Abarim, Bethhaccerim, Kirjath-je'arim, Hazerim, Baal-perazim, 
 Gerizim, Gazizim. 
 
 DOM LOM AUM IUM NUM RUM TUM 
 
 Accent the Penultimate. 
 Obededon, Appii-forum, Miletum. 
 
 Accent the Antepenultimate. 
 
 Abishalom, Absalom, Capernaum, Rhegium, Trogyllium, 
 Iconium, Adranvyttium, Galbanum. 
 
 AAN CAN DAN EAN THAN IAN MAN NAN 
 
 Accent the Penultimate. 
 Memucan, Chaldean, Ahiman, Elhanan, Johanan, Haman. 
 
 Accent the Antepenultimate. 
 Canaan, Chanaan, Merodach-baladan, Nebuzaradan, Elna- 
 
 * In this selection the ai form distinct syllables. See Rule 16, page 179. 
 
( 253 ) 
 
 than, Jonathan, Midian, Indian, Phrygian, Italian, Macedonian, 
 Ethiopian, Syrian, Assyrian, Egyptian, Na'aman. 
 
 AEN YEN CHIN MIN ZIN 
 
 decent the Penultimate. 
 Manaen, Bethaven, Chorazin. 
 
 decent the Antepenultimate. 
 Jehoiachin, Benjamin. 
 
 EON AGON EPHON ASHON AION ION ALON 
 ELON ULON YLON MON NON RON YON 
 THUN RUN 
 
 decent the Penultimate. 
 
 Baal-meon, Beth-dagon, Baal-zephon, Naashon, Higgaion, 
 Shiggaion, Chilion, Orion, Esdrelon, Baal-hamon, Philemon, 
 Abiron, Beth-horon. 
 
 Accent the Antepenultimate. 
 
 Gibeon, Zibeon, Gedeon, Gideon, Simeon, Pirathon, Hero- 
 dion, Camion, Sirion, Ascalon, Ajalon, Askelon, Zebulon, 
 Babylon, Jeshimon, Tabrimon, Solomon, Lebanon, Aaron, 
 Apollyon, Jeduthun, Jeshurun. 
 
 EGO ICHO HIO LIO 
 
 Accent the Penultimate. 
 Ahio. 
 
 Accent the Antepenultimate. 
 Abednego, Jericho, Gallio. 
 
 AR ER IR OR UR 
 
 Accent the Penultimate. 
 
 Ahisar, Baal-tamar, Balthasar, Eleazar, Eziongeber, Tig- 
 lath-pileser, Shalmaneser, Hadadezer, Abiezer, Ahiezer, Elie- 
 zer, Romantiezer, Ebenezer, Joezer, Sharezer, Havoth-jair, 
 Asnoth-tabor, Beth-peor, Baal-peor, Nicanor, Philometor. 
 
 Accent the Antepenultimate. 
 
 Issachar, Potiphar, Abiathar, Ithamar, Shemeber, Lucifer, 
 Chedorlaomer, Aroer, Sosipater, Sopater, Achior, Nebucho- 
 donosor, Eupator, Shedeur, Abishur, Pedahzur. 
 
( 234 ) 
 
 AAS BAS EAS PHAS IAS LAS MAS NAS OAS PAS 
 
 RAS TAS YAS 
 
 Accent the Penultimate. 
 
 Oseas, Esaias, Tobias, Sedecias, Abadias, Asadias, Abdias, 
 Barachias, Ezechias, Mattathias, Matthias, Ezekias, Neemias, 
 Jeremias, Ananias, Assanias, Azarias, Ezerias, Josias, Ozias, 
 Bageas, Aretas, Onyas. 
 
 Accent the Antepenultimate. 
 
 Annaas, Barsabas, Patrobas, Eneas, Phineas, Caiaphas, Cleo- 
 phas, Herodias, Euodias, Georgias, Amplias, Lysanias, Ga- 
 brias, Tiberias, Lysias, Nicolas, Artemas, Elymas, Parmenas, 
 Siloas, Antipas, Epaphras. 
 
 CES DES EES GES HES LES NES SES TES 
 
 Accent the Penultimate. 
 Gentiles*, Rameses, Mithridates, Euphrates. 
 Accent the ' Antepenultimate. 
 
 Rabsaces, Arsaces, Nomades, Phinees, Astyages, Diotrephes, 
 Epiphanes, Tahapanes, Hermogenes, Taphenes, Calisthenes, 
 Sosthenes, Eumenes. 
 
 ENES AND INES 
 
 (In one syllable.) 
 Accent the Ultimate. 
 Gadarenes, Agarenes, Hagarenes. 
 
 Accent the Penultimate. 
 Philistines, (pronounced like Philistins.) 
 
 ITES 
 
 (Pronounced in one syllable.) 
 
 [Words of this termination have the accent of the words from 
 which they are formed, which sometimes occasions the accent 
 to be placed even on the preantepenultimate syllable, as 
 
 * Gentiles. This may be considered as an English word, and should be pro- 
 nounced in two syllables, as if written Jen-tiles, the last syllable as the plural 
 of tile. 
 

 ( 235 ) 
 
 Gileadites from Gilead, and so of others. Words of this ter- 
 mination therefore, of two syllables, have the accent on the pe- 
 nultimate syllable ; and words of three or more on the same syl- 
 lable as their primitives.] 
 
 Accent the Penultimate. 
 
 Gadites, Kenites, Jammites, Levites, Hittites, Hivites. 
 Accent the Antepenultimate. 
 
 Rechabites, Moabites, Gergeshites, Nahathites, Kohathites, 
 Pelethites, Cherethites, Uzzielites, Tarpelites, Elamites, Edo- 
 niites, Reubenites, Ammonites, Hermonites, Ekronites, Haga- 
 rites, Nazarites, Amorites, Geshurites, Jebusites, Ninevites, 
 Jesuites, Perizzites. 
 
 Accent the Preantepenultimate. 
 
 Gileadites, Amalekites, Ishmaelites, Israelites, Midianites, 
 Gibeonites, Aaronites. 
 
 OTES 
 
 Accent the Penultimate. 
 Zelotes. 
 
 IS 
 
 Accent the Penultimate. 
 ElimUis. 
 
 Accent the Antepenultimate. 
 
 Antiochis, Amathis, Baalis, Decapolis, Neapolis, Hierapolis, 
 Persepolis, Amphipolis, Tripolis, Nicopolis, Scythopolis, Sa- 
 lamis, Damaris, Vabsaris, Antipatris, Atargatis. 
 
 IMS 
 
 Accent the Penultimate. 
 Emims, Zamzummims, Zuzims. 
 
 Accent the Antepenultimate. 
 
 Rephaims, Gammadims, Cherethims, Anakims, Nethenims, 
 Chemarims, 
 
( 236 ) 
 
 AN S 
 decent the Penultimate. 
 
 Sabeans, Laodiceans, Assideans, Galileans, Idu means, Epi- 
 cureans. 
 
 Accent the Antepenultimate. 
 
 Arabians, Grecians, Herodians, Antiochians, Corinthians, 
 Parthians, Scythians, Athenians, Cyrenians, Macedonians, 
 Zidonians, Babylonians, Lacedemonians, Ethiopians, Cyprians, 
 Syrians, Assyrians, Tyrians, Ephesians, Persians, Galatians, 
 Cretians, Egyptians, Nicolaitans, Scythopolitans, Samaritans, 
 Libyans. 
 
 MOS NOS AUS BUS CUS DUS 
 
 Accent the Penultimate. 
 Archelaus, Menelaus, Abubus, Andronicus, Seleucus. 
 
 Accent the Antepenultimate. 
 
 Pergamos, Stephanos, Emmaus, Agabus, Bartacus, Achaicus, 
 Tychicus, Aradus. 
 
 EUS 
 
 Accent the Penultimate. 
 
 Daddeus, Asmodeus, Aggeus, Zaccheus, Ptolemeus, Macca- 
 beus, Lebbeus, Cendebeus, Thaddeus, Mardocheus, Mordo- 
 cheus, Alpheus, Timeus, Bartimeus, Hymeneus, Elizeus. 
 
 Accent the Antepenultimate. 
 Dositheus, Timotheus, Nereus. 
 
 GUS CHUS THUS 
 
 Accent the Antepenultimate. 
 
 Areopagus, Philologus, Lysimachus, Antiochus, Eutychus, 
 Amadathus. 
 
 IU S 
 
 Accent the Penultimate. 
 Darius. 
 
 Accent the Antepenultimate. 
 Gaius, Athenobius, Cornelius, Numenius, Cyrenius, Apol- 
 
( 237 ) 
 
 lonius, Tiberius, Demetrius, Mercurius, Dionysius, Pontius, 
 Tertius. 
 
 LUS MUS NUS RUS SUS TUS 
 Accent the Penultimate. 
 
 Aristobulus, Eubulus, Nicodemus, Ecanus, Hircanus, Aura- 
 nus, Sylvanus, Ahasuerus, Assuerus, Heliodorus, Arcturus, 
 Bar-jesus, Fortunatus, Philetus, Epaphroditus, Azotus. 
 
 Accent the Antepenultimate. 
 
 Attalus, Theophilus, Alcimus, Trophimus, Onesimus, Didy- 
 mus, Libanus, Antilibanus, Sarchedonus, Acheacharus, Laza- 
 rus, Citherus, Elutherus, Jairus, Prochorus, Onesiphorus, Asa- 
 pharasus, Ephesus, Epenetus, Asyncritus. 
 
 AT ET OT 1ST OST 
 
 Accent the Antepenultimate. 
 Ararat, Eliphalet, Gennesaret, Iscariot, Antichrist, Pentecost. 
 
 EU HU ENU EW MY 
 
 Accent the Penultimate. 
 Casleu, Chisleu, Abihu, Andrew. 
 
 Accent the Antepenultimate. 
 Jehovah- Tsidkenu, Bartholomew, Jeremy. 
 
 BAZ GAZ HAZ PHAZ 
 
 Accent the Penultimate. 
 Mahar-shalat-hash-baz, Shaash-gaz, Eliphaz, 
 Accent the Antepenultimate. 
 Jehoahaz. 
 

 OBSERVATIONS 
 
 ON THE 
 
 GREEK AND LATIN 
 ACCENT AND QUANTITY ; 
 
 WITH SOME 
 
 PROBABLE CONJECTURES 
 
 ON 
 
 THE METHOD OF FREEING THEM FROM THE OBSCURITY 
 AND CONTRADICTION IN WHICH THEY ARE IN- 
 VOLVED, BOTH BY THE ANCIENTS AND MODERNS. 
 
 " Nullius addict us jurare in verba magistri." Horace. 
 
( 240 ) 
 
 ADVERTISEMENT. 
 
 AFTER the many learned pens which have been employed on 
 the subject of the following Observations, the Author would have 
 been much ashamed of obtruding his humble opinion on so deli- 
 cate a point, had he not flattered himself that he had taken a ma- 
 terial circumstance into the account, which had been entirely 
 overlooked by almost every writer he had met with. 
 
 It is not a little astonishing, that when the nature of the human 
 voice forms so great a part of the inquiry into accent and quan- 
 tity, its most marking distinctions should have been so little 
 attended to. From a perusal of every writer on the subject*, 
 one would be led to suppose that high and low, loud and soft, and 
 quick and slow, were the only modifications of which the voice 
 was susceptible ; and that the inflexions of the voice, which dis- 
 tinguish speaking from singing, did not exist. Possessed, there- 
 fore, of this distinction of sounds, the Author at least brings 
 something new into the inquiry : and if, even with this advantage, 
 he should fail of throwing light on the subject, he is sure he 
 shall be entitled to the indulgence of the learned, as they fully 
 understand the difficulty of the question. 
 
 * The only exception to this general assertion is Mr. Steele, the author of 
 Prosodia Rationalis ; but the design of this gentleman is not so much to illustrate 
 the accent and quantity of the Greek language as to prove the possibility of 
 forming a notation of speaking sounds for our own, and of reducing them to a 
 musical scale, and accompanying them with instruments. The attempt is un- 
 doubtedly laudable, but no farther useful than to show the impossibility of it by 
 the very method he has taken to explain it ; for it is wrapped up in such an im. 
 penetrable cloud of music as to be unintelligible to any but musicians ; and the 
 distinctions of sound are so nice and numerous as to discourage the most perse- 
 vering student from labouring to understand him. After all, what light can we 
 expect will be thrown on this subject by one who, notwithstanding the infinites- 
 simal distinctions he makes between similar sounds, says, that the u in ugly, and 
 the e in met and get, are diphthongs ; that the a in may is long, and the same let- 
 ter in nation short ; and that the u in you, use, &c. is always acuto-grave, and 
 the i in idle, try, fee. grave-acute? 
 
( 241 ) 
 
 CONTENTS. 
 
 PREPARATORY OBSERVATIONS. 
 
 *-> PAGE 
 
 I HE different states of the voice 244 
 
 A definition of accent 245 
 
 All the different modifications of the voice exemplified . . 247 
 
 OBSERVATIONS ON THE GREEK AND LATIN ACCENT ANT} 
 
 QUANTITY. 
 
 The necessity of understanding the accent and quantity of 
 our own language before we attempt to settle the accent 
 and quantity oj the Greek and Latin ...... 25 1 
 
 What English quantity is . . . . . ..... .252 
 
 That it is entirely independent on accent ib. 
 
 Mr. Sheridan's erroneous opinion of English accent . . 253 
 His definition of accent applicable only to singing in a mo- 
 notone 255 
 
 The true distinction between singing and speaking laid down ib, 
 Singing and speaking tones as essentially distinct as motion 
 
 and rest ib. 
 
 Recitative real singing, and not a medium between singing 
 
 and speaking ib. 
 
 The true definition of English accent . 256 
 
 Mr. Fowler's errour zvith respect to the nature of the Eng- 
 lish and Scotch accent (Note) 257 
 
 The true difference between the English and Scotch accent 26 1 
 Some nt tempts to form a precise idea of the quantity of the 
 
 Greek and Latin languages 262 
 
 Dr. Gaily s idea of Greek and Latin quantity examined 263 
 If quantity in these languages consisted in lengthening or 
 shortening the sound of the vowel, it necessarily rendered 
 the pronunciation of words very different, as they zoere 
 
 differently arranged 265 
 
 Opposite opinions of learned men concerning the nature of 
 
 the Greek and Latin accent . . 
 
 R 
 
242 CONTENTS. 
 
 PAGE 
 
 The definition which the ancients gave of the acute accent 
 unintelligible, without having recourse to the system of 
 the inflexions of the speaking voice 268 
 
 An attempt to reconcile the accent and quantity of the an- 
 cients, by reading a passage in Homer arid rirgil, ac- 
 cording to the ideas of accent and quantity here laid down 272 
 
 The only four possible ways of pronouncing these passages 
 Without singing 273 
 
 The only probable method pointed out ib. 
 
 This method renders the reading very monotonous ; but this 
 must necessarily be the case, let us adopt what system we 
 will 274 
 
 The definition of the circumflex accent, a confirmation of 
 the system here adopted 275 
 
 The monotony of the Greek and Latin languages not more 
 extraordinary than the poverty of their music, and the 
 seeming absurdity of their dramatic entertainments . . 276 
 
 Probable causes of the obscurity and confusion in which this 
 subject is involved, both among the ancients and moderns 282 
 
 PREPAftAtOKY 
 
( 243 ) 
 
 PREPARATORY OBSERVATIONS 
 
 As a perusal of the Observations on Greek and Latin Accent 
 and Quantity requires a more intimate acquaintance with the na- 
 ture of the voice than is generally brought to the study of that 
 subject, it may not be improper to lay before the reader such an 
 explanation of speaking sounds, as may enable him to distinguish 
 between high and loud, soft and low, forcibleness and length, 
 and feebleness and shortness, which are so often confounded, and 
 which consequently produce such confusion and obscurity among 
 our best prosodists. 
 
 But as describing such sounds upon paper as have no definite 
 terms appropriated to them, like those of music, is a new and 
 difficult task, the reader must be requested to give as nice an at- 
 tention as possible to those sounds and inflexions of voice, which 
 spontaneously annex themselves to certain forms of speech, and 
 which, from their familiarity, are apt to pass unnoticed. But if 
 experience were out of the question, and we were only ac^. 
 quainted with the organic formation of human sounds, we must 
 necessarily distinguish them into five kinds : namely, the monotone, 
 or one sound continuing a perceptible time in one note, which is 
 the case with all musical sounds; a sound beginning low and 
 sliding higher, or beginning high and sliding lower, without any 
 perceptible intervals, which is essential to all speaking sounds. 
 The two last may be called simple slides or inflexions ; and these 
 may be so combined as to begin with that which rises, and end 
 with that which falls, or to begin with that which falls, and end 
 
244 PREPARATORY OBSERVATIONS. 
 
 with that which rises : and if this combination of different in- 
 flexions be pronounced with one impulse or explosion of the 
 voice, it may not improperly be called the circumflex or com- 
 pound inflexion ; and this monotone, the two simple and the two 
 compound inflexions, are the only modifications, independent on 
 the passions, of which the human voice is susceptible. 
 
 The different States of the Voice. 
 
 The modifications of the voice which have just been enu- 
 merated may be called absolute ; because they cannot be con- 
 verted into each other, but must remain decidedly what they are ; 
 while different states of the voice, as high and low, loud and 
 soft, quick and slow, are only comparative terms, since what is 
 high in one case may be low in another, and so of the rest. Be- 
 side, therefore, the modifications of voice which have been 
 described, the only varieties remaining of which the human voice 
 is capable, except those produced by the passions, are high, low, 
 loud, soft, quick, slow, forcible, and feeble. Though high and 
 loud, and low and soft, are frequently confounded, yet, when 
 considered distinctly, their difference is easily understood ; as if 
 we strike a large bell with a deep tone, though it gives a 
 very loud tone, it will still be a low one : and if we strike a 
 small bell with a high tone, it will still be a high tone, though the 
 stroke be ever so soft ; a quick tone in music is that in which the 
 same tone continues but a short time, and a slow tone where it 
 continues longer ; but in speaking, a quick tone is that when the 
 slide rises from low to high, or from high to low, in a, short 
 time, and a slow tone the reverse ; while forcible and feeble 
 seem to be severally compounded of two of these simple states ; 
 that is, force seems to be loudness and quickness, either in a 
 high or low tone also ; and feebleness seems to be softness 
 and slowness, either in a high or a low tone likewise. As to the 
 tones of the passions, which are so many and various, these, 
 in the opinion of one of the best judges in the kingdom, are 
 
PREPARATORY OBSERVATIONS. 245 
 
 qualities of sound, occasioned by certain vibrations of the orgnns 
 of speech, independent on high, low, loud, soft, quick, slow, 
 forcible, or feeble : which last may not improperly be called dif- 
 ferent quantities of sound. 
 
 It may not, perhaps, be unworthy of observation, how few are 
 these principles, which, by a different combination with each 
 other, produce that almost unbounded variety of which human 
 speech consists. The different quantities of sound, as these dif- 
 ferent states of the voice may be called, may be combined so as 
 to form new varieties with any other that are not opposite to 
 them. Thus high may be combined with either loud or soft, 
 quick or slow ; that is, a high note may be sounded either in a 
 loud or soft tone, and a low note may be sounded either in 
 a loud or a soft tone also, and each of these tones may be pro- 
 nounced either in a longer or a shorter time ; that is, more 
 slowly or quickly ; while forcible seems to imply a degree of 
 loudness and quickness, and feeble, a degree of softness and 
 slowness, either in a high or a low tone. These combinations 
 may, perhaps, be more easily conceived by classing them in con- 
 trast with each other : 
 
 High, loud, quick. 
 Low, soft, slow. 
 
 Forcible may be high, loud, and quick ; or low, loud, and quick. 
 Feeble may be high, soft, and slow ; or low, soft, and slow. 
 
 The different combinations of these states may be thus repre- 
 sented : 
 
 High, loud, quick, forcible. Low, loud, quick, forcible. 
 
 High, loud, slow. Low, loud, slow. 
 
 High, soft, quick. Low, soft, quick. 
 
 High, soft, slow, feeble. Low, soft, slow, feeble. 
 
 When these states of the voice are combined with the five mo- 
 difications of voice above-mentioned, the varieties become ex- 
 ceedingly numerous, but far from being incalculable : perhaps 
 
246 PREPARATORY OBSERVATIONS. 
 
 they may amount (for I leave it to arithmeticians to reckon them 
 exactly) to that number into which the ancients distinguished 
 the notes of music, which, if I remember right, were about two 
 hundred. 
 
 These different states of the voice, if justly distinguished and 
 associated, may serve to throw some light on the nature of 
 accent. If, as Mr. Sheridan asserts, the accented syllable is only 
 louder and not higher than the other syllables, every polysyllable 
 is a perfect monotone. If the accented syllable be higher than 
 the rest, which is the general opinion both among the ancients 
 and moderns, this is true only when a word is pronounced alone, 
 and without reference to any other word ; for when suspended at 
 a comma, concluding a negative member followed by an affirma- 
 tive, or asking a question beginning with a verb; if the un- 
 accented syllable or syllables be the last, they are higher than the 
 accented syllable, though not so loud. So that the true definition 
 of accent is this : If the word be pronounced alone, and with- 
 out any reference to other words, the accented syllable is both 
 higher and louder than the other syllables either before or after 
 it ; but if the word be suspended, as at the comma, if it end a 
 negative member followed by an affirmative, or if it conclude an 
 interrogative sentence beginning with a verb, in each case the ac- 
 cented syllable is louder and higher than the preceding, and 
 louder and lower than the succeeding syllables. This will be 
 sufficiently exemplified in the following pages. In the mean time 
 it may be observed, that if a degree of swiftness enters into the 
 definition of force, and that the accented syllable is the most for- 
 cible, it follows that the accent does not necessarily lengthen the 
 syllable, and that if it falls on a long vowel, it is only a longer 
 continuation of that force with which it quickly or suddenly com- 
 menced ; for as the voice is an efflux of air, and air is a fluid like 
 water, we may conceive a sudden gush of this fluid to continue 
 either a longer or a shorter time, and thence form an idea of 
 long or short quantity. If, however, this definition of force,, as 
 applied to accent, should be erroneous or imaginary, let it be 
 
PREPARATORY OBSERVATIONS. 247 
 
 remembered it is an attempt to form a precise idea of what has 
 hitherto been left in obscurity ; and that, if such an attempt should 
 fail, it may at least induce some curious inquirer to show where 
 it fails, and to substitute something better in its stead. 
 
 If these observations are just, they may serve to show how ill- 
 founded is the opinion of that infinite variety of voice of which 
 speaking sounds consist. That a wonderful variety may arise 
 from the key in which we speak, from the force or feebleness 
 with which we pronounce, and from the tincture of passion or 
 sentiment we infuse into the words, is acknowledged : but speak 
 in what key we will, pronounce with what force or feebleness we 
 please, and infuse whatever tincture of passion or sentiment 
 we can imagine into the words, still they must necessarily be 
 pronounced with one of the foregoing modifications of the voice. 
 Let us go into whatever twists or zig-zags of tone we will, we 
 cannot go out of the boundaries of these inflexions. These are 
 the outlines on which all the force and colouring of speech is 
 laid ; and these may be justly said to form the first principles 
 of speaking sounds. 
 
 Exemplification of the different Modifications of the Voice. 
 The Monotone, the Rising Inflexion, the Falling Inflexion, 
 the Rising Circumflex, and the Falling Circumflex. 
 
 Though we seldom hear such a variety in reading or speaking 
 as the sense and satisfaction of the ear demand, yet we hardly 
 ever hear a pronunciation perfectly monotonous. In former 
 times we might have found it in the midnight pronunciation of 
 the Bell-man's verses at Christmas; and now the Town crier, 
 as Shakspeare calls him, sometimes gives us a specimen of the 
 monotonous in his vociferous exordium " This is to give notice /" 
 The clerk of a court of justice also promulgates the will of the 
 court by that barbarous metamorphosis of the old French word 
 
248 PREPARATORY OBSERVATIONS* 
 
 Oyez ! Oyez ! Hear ye ! Hear ye ! into O yes ! O yes ! in a per* 
 feet sameness of voice, But however ridiculous the monotone 
 in speaking may be in the above-mentioned characters, in certain 
 solemn and sublime passages in poetry it has a wonderful pro- 
 priety, and, by the uncommonness of its use, it adds greatly to 
 that variety with which the ear is so much delighted. 
 
 This monotone may be defined to be a continuation or same- 
 ness of sound upon certain words or syllables, exactly like that 
 produced by repeatedly striking a bell : such a stroke may be 
 louder or softer, but continues in exactly the same pitch. To ex- 
 press this tone, a horizontal line may be adopted ; such a one us 
 is generally used to signify a long syllable in verse. This tone 
 may be very properly introduced in some passages of Akenside's 
 Pleasures- of Imagination, where he so finely describes the 
 tales of horrour related by the village matron to her infant 
 audience 
 
 Breathing astonishment ! of witching rhymes 
 And evil spirits ; of the death-bed call 
 To him who robb'd the widow, and devoured 
 The orphan's portion ; of unquiet souls 
 Ris'n from the grave to ease the heavy guilt 
 Of deeds in life conceal'd ; of shapes that walk 
 At dead of night, and clank their chains, and wave 
 The torcli of Hell around the murd'rer's bed. 
 
 If the words " of shapes that walk at dead of night" are pro- 
 nounced in a monotone, it will add wonderfully to the variety 
 and solemnity of the passage. 
 
 The rising inflexion is that upward turn of the voice we gene- 
 rally use at the comma, or in asking a question beginning with a 
 verb, as N6, say you ; did he say N6 ? This is commonly called 
 a suspension of voice, and may not improperly be marked by the 
 acute accent, thus ('). 
 
 The falling inflexion is generally used at the semicolon and 
 
PREPARATORY OBSERVATIONS. 249 
 
 colon, and must necessarily be heard in answer to the former 
 question : He did; he said N6. This inflexion, in a lower 
 tone of voice is adopted at the end of almost every sentence, 
 except the definite question, or that which begins with the 
 verb. To express this inflexion, the grave accent seems adapted, 
 thus 0). 
 
 The rising circumflex begins with the falling inflexion, 
 and ends with the rising upon the same syllable, and seems 
 as it were to twist the voice upwards. This inflexion may 
 be exemplified by the drawling tone we give to some words 
 spoken ironically; as the word Clodius in Cicero's Oration 
 for Milo. This turn of voice may be marked in this man- 
 ner (v): 
 
 " But it is foolish in us to compare Drusus Africanus 
 " and ourselves with Clodius ; all our other calamities were 
 " tolerable, but no one can patiently bear the death of 
 C15dius." 
 
 The falling circumflex begins with the rising inflexion, and 
 ends with the falling upon the same syllable, and seems to 
 twist the voice downwards. This inflexion seems generally to be 
 used in ironical reproach; as on the word you in the following 
 example : 
 
 " So then you are the author of this conspiracy against me ? 
 ' It is to you that I am indebted for all the mischief that has 
 " befallen me." 
 
 If to these inflexions we add the distinction of a phrase into 
 accentual portions, as 
 
 Prosperity | gains friends | and adversity | tries them, | 
 
 and pronouuce/ne/ids like an unaccented syllable of gains ; and 
 like an unaccented syllable of adversity ; and them like an unac- 
 cented syllable of tries; we have a clear idea of the relative 
 forces of all the syllables, and approximate closely to a notation 
 of speaking sounds. 
 
250 PREPARATORY OBSERVATIONS. 
 
 For farther information respecting this new and curious 
 analysis of the human voice, see Elements of Elocution, second 
 edition, page 62; and Rhetorical Grammar , third edition, 
 page 143. 
 
 OBSERVATIONS 
 
( 251 ) 
 
 OBSERVATIONS 
 
 ON THE 
 
 GREEK AND LATIN ACCENT, <trc. 
 
 \. IN order to form an idea of the Accent and Quantity of the 
 dead languages, it will be necessary first to understand what we 
 mean by the accent and quantity of our own language*: and 
 as quantity is supposed by some to regulate the accent in 
 
 * It is not surprising that the accent and quantity of the ancients should be 
 so obscure and mysterious, when two such learned men of our own nation as 
 Mr. Forster and Dr. Gaily differ about the very existence of quantity in our 
 own language. The former of these gentlemen maintains, that " the English 
 " have both accent and quantity, and that no language can be without them/ 
 but the latter asserts, that, " in the modern languages, the pronunciation doth 
 " not depend upon a natural quantity, and therefore a greater liberty may be 
 " allowed in the placing of accents." And in another place, speaking of the 
 northern languages of Europe, he says, that " it was made impossible to think 
 " of establishing quantity for a foundation of harmony in pronunciation. Hence 
 " it became necessary to lay aside the consideration of quantity, and to have 
 " recourse to accents. In these and some other passages, that writer," says 
 Forster, " seems to look upon accents as alone regulating the pronunciation of 
 
252 OBSERVATIONS ON THE 
 
 English as well as in Greek and Latin, it will be necessary first 
 to inquire, what we mean by long and short vowels, or, as some 
 are pleased to term them, syllables. 
 
 2. In English, then, we have no conception of quantity, aris- 
 ing from any thing but the nature of the vowels, as they are pro- 
 nounced long and short. Whatever retardation of voice in the 
 sound of a vowel there might be in Greek or Latin before two 
 consonants, and those often twin consonants, we find every 
 vowel in this situation as easily pronounced short as long ; and 
 the quantity is found to arise from the length or shortness we give 
 to the vowel, and not from any obstruction of sound occasioned 
 by the succeeding consonant. Thus the a in banish, banner, 
 and banter, is short in all these words, and long in paper, taper, 
 and vapour : the i long in miser, minor, and mitre, and short in 
 misery, middle, and mistress : and so of the rest of the vowels ; 
 and though the accent is on the first syllable of all these words, 
 we see it perfectly compatible with either long or short quantity. 
 
 3. As a farther proof of this, we may observe, that unac- 
 cented vowels are frequently pronounced long when the accented 
 vowels are short. Thus the o in Cicero, in English as well as in 
 Latin pronunciation, is long, though unaccented: and the i short, 
 
 " English, and quantity as excluded from it." Forster's Essay on Accent 
 and Quantity, page 2S. 
 
 As a farther proof of the total want of ear in a great Greek scholar Lord Moii- 
 boddo says, " Our accents differ from the Greek in two material respects : 
 " First, they are not appropriated to particular syllables of the word, but arc 
 " laid upon different syllables, according to the fancy of the speaker, or rather 
 " as it happens : for I believe no man speaking English does, by choice, give 
 " an accent to one syllable of a word different from that which he gives to 
 " another." 
 
 " Two things, therefore, that, in my opinion, constitute our verse, are the 
 " number of syllables, and the mixture of loud and soft, accordiug to certain 
 11 rules. As to quantity, it is certainly not essential to our verse, and far less is 
 " accent." See Steele's Prosodia Rationales, page 103. 110. 
 
GREEK AND LATIN ACCENT. 253 
 
 though under the accent. The same may be observed of the 
 name of our English poet Lillo. So in our English words c6n- 
 ctave, reconcile, chamomih, and the substantives confine, per- 
 fume, and a thousand others, we see the first accented syllable 
 short, and the final unaccented syllable long. Let those who 
 contend, that the acute accent and long quantity are inseparable, 
 call the first vowels of these words long, if they please ; but to 
 those who make their ear and not their eye the judge of quantity, 
 when compared with the last vowels, they will always be es- 
 teemed short*. 
 
 4. The next object of inquiry is, What is the nature of 
 English accent ? Mr. Sheridanf , with his usual decision, tells 
 
 * A late very learned and ingenious writer tells us, that our accent and 
 quantity always coincide; he objects to himself the words signify, magnify, 
 qualify, &c. where the final syllable is longer than the accented syllable; but 
 this he asserts, with the greatest probability, was not the accentuation of our 
 ancestors, who placed the accent on the last syllable which is naturally the 
 longest. But this sufficiently proves, that the accent does not necessarily 
 lengthen the syllable it falls on ; that is, if length consists in pronouncing the 
 vowel long, which is the natural idea of long quantity, and not the duration 
 of the voice upon a short vowel occasioned by the retardation of sounding two 
 succeeding consonants, which is an idea, though sanctioned by antiquity, that 
 has no foundation in nature ; for who, that is not prejudiced by early opinion, 
 can suppose the first syllable of elbow to be long, and the last short? See Essay 
 on Greek and Latin Prosodies. Printed for ROBSON. 
 
 | The term (accent) with us has no reference to inflexion of the voice or 
 musical notes, but only means a peculiar manner of distinguishing one syllable 
 of a word from the rest. Lectures on Elocution, quarto edition, page 41. 
 
 To illustrate the difference between the accent of the ancients and that of 
 ours, (says Mr. Sheridan) let us suppose the same movements beat upon the 
 drum, and sounded by the trumpet. Take, for instance, a succession of 
 words, where the accent is on every second syllable, which forms an Iambic 
 movement ; the only way by which a drum (as it is incapable of any change 
 of notes; can mark that movement, is by striking a soft note first, followed 
 by one more forcible, and so in succession. Let the same movement be 
 
254 OBSERVATIONS ON THE 
 
 us, that accent is only a greater force upon one syllable than 
 another, without any relation to the elevation or depression 
 of the voice; while almost every other writer on the .subject 
 makes the elevation or depression of the voice inseparable from 
 accent. When words are pronounced in a monotone, as the 
 bellman repeats his verses, the crier pronounces his advertisement, 
 or the clerk of a church gives out the psalm, we hear an ictus or 
 accentual force upon the several accented syllables, which distin- 
 guishes them from the others, but no more variety of tone than 
 if we were to beat the syllables of the same words upon a drum, 
 which may be louder or softer, but cannot be either higher 
 or lower ; this is pronouncing according to Mr. Sheridan's defi- 
 nition of accent : and this pronunciation certainly comes under 
 the definition of singing : it is singing ill, indeed, as Julius Caesar 
 said of a bad reader, but still it is singing, and therefore essen- 
 tially different from speaking : for in speaking, the voice is con- 
 tinually sliding upwards or downwards ; and in singing, it is leap-* 
 ing, as it were, from a lower to a higher, or from a higher to a 
 lower note : the only two possible ways of varying the human 
 voice with respect to elevation or depression : so that when we 
 
 Bounded by the trumpet in an alternation of high and low notes, and it will give 
 a distinct idea of the difference between the English accent and those of the 
 ancients. Art of Reading, page 75. 
 
 I am sorry to find one of the most ingenious, learned, and candid inquirers 
 into this subject, of the same opinion as Mr, Sheridan. The authority of Mr. 
 Nares would have gone near to shake my own opinion, if I had not recollected 
 that this gentleman confesses he cannot perceive the least of a diphthongal 
 sound in the i in strike, which Dr. Wallis, he observes, excludes from the sim- 
 ple sounds of the vowels. For if the definition of a vowel sound be, that it is 
 formed by one position of the organs, nothing can be more perceptible than 
 the double position of them in the present case, and that the noun eye, which 
 is perfectly equivalent to the pronoun /, begins with the sound of a in father t 
 and ends in that of c in equal. See Nares's English Orthoepy, page 2. 144. 
 
GREEK AND LATIN ACCENT. 255 
 
 are told by some writers on this subject, that the speaking of the 
 ancients was a kind of singing, we are led into the errour of sup- 
 posing, that singing and speaking differ only in degree, and not in 
 kind; whereas they are just as different as motion and rest*. 
 
 5. Whenever in speaking we adopt a singing tone, (which was 
 formerly the case with Puritan preachers) it differs essentially 
 from speaking, and can be pricked down upon paper, and be 
 played upon a violin : and whenever in singing we adopt a speak- 
 ing tone, the slide of this tone is so essentially distinct from 
 singing as to shock the ear like the harshest discord. Those, 
 therefore, who rank recitative as a medium between singing and 
 speaking, are utterly ignorant of the nature of both. Recitative 
 is just as much singing as what is called air, or any other species 
 of musical composition. 
 
 6. If we may have recourse to the eye, the most distinct and 
 definite of all our senses, we may define musical notes to be ho- 
 rizontal lines, and speaking tones oblique lines : the one rises 
 from low to high, or falls from high to low by distinct inter- 
 vals, as the following straight lines to the eye ; 
 
 * It is not denied, that the slides iu speaking may sometimes leap, as it were, 
 from a low to a high, or from a high to a low note ; that is, that there may be 
 a very considerable interval between the end of one of those slides and the be- 
 ginning of another; as between the high note in the word no in the question, 
 Did he say No ? and the low note which the same word may adopt in the an- 
 swer, No, he did not. But the sound which composes the note of speaking, as 
 it may be called, and the sound which composes the note of singing, are essen- 
 tially distinct ; the former is in continual motion, while the latter is for a given 
 time at test. See Note to sect. 23. 
 
256 OBSERVATIONS ON THK 
 
 the other slides upwards or downwards, as the following ob- 
 lique lines,- / \ nor is the one more different to the eye 
 
 / \ 
 
 than the other is to the ear. Those, therefore, who gravely tell 
 us, that the enunciation of the ancients was a kind of musical 
 speaking, impose upon us with words to which we can annex no 
 ideas; and when they attempt to illustrate this musico-speaking 
 pronunciation, by referring us to the Scotch and other dia- 
 lects, they give us a rhetorical flourish instead of a real ex- 
 ample ; for however the Scotch and other speakers may 
 drawl out the accent, and give the vowel a greater length 
 than the English, it is always in an oblique, and not in a 
 straight line ; for the moment the straight line of sound, or 
 the monotone, is adopted, we hear something essentially distinct 
 from speaking. 
 
 7. As high and low, loud and soft, forcible and feeble, are 
 comparative terms, words of one syllable pronounced alone, 
 and without relation to other words or syllables, cannot be said 
 to have any accent*. The only distinction to which such 
 words are liable, is an elevation or depression of voice, when 
 we compare the beginning with the end of the word or syllable. 
 Thus a monosyllable, considered singly, rises from a lower to 
 a higher tone in the question No? which may therefore be 
 
 * How the ancients could make every monosyllable accented, (that is, ac- 
 cording to their definition of accent, pronounced with an elevated tone of 
 voice,) without telling us how this elevation happened, whether it was an ele- 
 vation of one part of the syllable above the other, or the elevation of one word 
 or syllable above other words or syllables, how these distinctions, I say, so 
 absolutely necessary to a precise idea of accent, should never be once men- 
 tioned, can be resolved mto nothing but that attachment to words without 
 ideas, and that neglect of experiment, which have involved the moderns in 
 the sa'nie mist of ignorance and erronr. 
 
GREEK AND LATIN ACCENT. 257 
 
 called the acute accent, and falls from a higher to a lower tone 
 upon the same word in the answer Nd, which may therefore be 
 called the grave. But when the accented word or syllable is 
 associated with unaccented words or syllables, the acute accent 
 is louder and higher than the preceding, and louder and lower 
 than the succeeding syllables, as in the question, Satisfactorily 
 did he say ? and the grave accent both louder and higher than 
 either the preceding or succeeding syllables in the answer 
 He said satisfactorily. T nose wn wish to see this explained 
 more at large may consult Elements of Elocution, page 183 ; or 
 Rhetorical Grammar, 3d edit, page 77. 
 
 8. This idea of accent is so evident upon experiment, as to 
 defy contradiction ; and yet, such is the general ignorance of 
 the modifications of the voice, that we find those who pretend 
 to explain the nature of accent the most accurately, when they 
 give us an example of the accent in any particular word, suppose 
 it always pronounced affirmatively and alone*; that is, as 
 if words were always pronounced with one inflexion of voice, 
 
 * That excellent scholar Mr. Forster furnishes an additional instance of the 
 possibility of uniting a deep and accurate knowledge of what is called the pro- 
 sody of the ancients with a total ignorance of the accent and quantity of his own 
 language. After a thousand examples to show how the English is susceptible of 
 every kind of metre among the ancients, (though in all his examples he substL 
 tutes English accent for Greek and Latin quantity) he proceeds to show the dif- 
 ference between the English, the Irish, and the Scotch pronunciation. 
 
 " The English join the acute and long time together, as in ll'berty : y short. 
 " The Scotch observe our quantity, and alter our accent, liberty'; y short. 
 " When I say they observe our quantity, I mean they pronounce the same s\\- 
 " lable long which we do, but they make it longer. In respect to the ciicum- 
 11 flex with which their pronunciation abounds : it may be remarked, that it is 
 " not formed as the Greek, Latin, and English, of an acute and grave, but of a 
 " grave and acute, vooc, ros, r6uud, English ; round, Scotch. 
 
 " The Irish observe our quantity and accent too, but with a greater degree of 
 
 *' spirit 
 S 
 
<258 OBSERVATIONS ON THE 
 
 and as if there were no difference with respect to the nature of 
 the accent, whether the word is an affirmation or a question, 
 in one part of the sentence, or in another : when nothing can be 
 more palpable to a correct ear than that the accents of the 
 
 ' spirit or emphasis, which Scaliger calls afflatio in latitudine, giving to most 
 " syllables an aspiration." Essay on Accent and Quantity, page 75. 
 
 Mr. Forster falls exactly into the mistake of Mr. Sheridan, though he has a 
 quite different idea of accent. He supposes liberty always pronounced by an 
 Englishman in one manner, and that as a single word, or at the end of a 
 sentence : he has not the least notion of the different inflexion the same word 
 may have accordingly as the accent is differently inflected, as we may plainly 
 perceive in the following question : Is it liberty or licentiousness you plead for ? 
 where the English raise the voice on the latter syllables, as the Scotch too fre- 
 quently do. With respect to the quantity of the first syllable, which Mr. 
 Forster says the Scotch preserve in this word, I must dissent from him totally ; 
 for they preserve the accent, and alter the quantity, by pronouncing the first 
 syllable as if written leeberty. If Mr. Forster calls this syllable long in the 
 English pronunciation of it, I should be glad to be told of a shorter accented 
 syllable than the first of liberty: if he says the accent being on it renders it 
 long; I answer this subverts his whole system; for, if accent falling on any 
 vowel, makes it long, the quantity of the Greek and Latin is overturned, and 
 cano, in the first line of the YEneid, must be a spondee. 
 
 This is the consequence of entering on the discussion of a difficult point, 
 without first defining the terms ; nothing but confusion and contradiction can 
 ensue. 
 
 But I must give this writer great credit for his saying the Scotch pronuncia- 
 tion abounds with the circumflex ; for this is really the case ; and the very cir- 
 cumflex opposite to the Greek and Latin, beginning with the grave and ending 
 with the acute. I am not, however, a little astonished that this did not show 
 him how deficient the ancients were in this modification of the voice, which, 
 though used too frequently in Scotland, is just as much in the human voice as 
 the other circumflex ; and may be, and is often used in England, with the ut- 
 most propriety. With respect to the common circumflex on Greek, Latin, and 
 some French words, the accentual use of it is quite unknown, and it only stands 
 for long quantity ; but both these circumflexes are demonstrably upon the 
 human voice in speaking, and may be made as evident by experiment as the 
 
 stress 
 
GREEK AND LATIN ACCENT. 259 
 
 word voluntary in the following sentences are essentially different : 
 
 His resignation was voluntary. 
 He made a voluntary resignation. 
 
 In both, the accent is on the first syllable. In the first sentence, 
 the accented syllable is higher and louder than the other syllables ; 
 and in the second, it is louder and lower than the rest. The 
 same may be observed of the following question : 
 
 Was his resignation voluntary or involuntary 
 
 where the first syllable of the word voluntary is louder and 
 lower than the succeeding syllables ; and in the word involun- 
 tary it is louder and higher. Those who have not ears suffi- 
 ciently delicate to discern this difference, ought never to open 
 their lips about the acute or grave accent, as they are pleased to 
 call them ; let them speak of accent as it relates to stress only, 
 and not to elevation or depression of voice, and then they may 
 speak intelligibly. 
 
 9. A want of this discernment has betrayed Mr. Forster 
 into obscurity and contradiction. To say nothing of his asserting 
 that the English, Irish, and Scotch accents differ, (where accent 
 cannot possibly mean stress, for then English verse would not 
 be verse in Ireland and Scotland) what shall we think of his 
 
 stress of an accented syllable by pronouncing the word on which it is placed. 
 See Rhetorical Grammar, 3d edit, page 80. 
 
 I must just take notice of the inaccuracy of Mr. Forster in saying the last 
 syllable of liberty is short, and yet that it has the circumflex accent : this is 
 contrary to all the prosody of antiquity, and contrary to the truth of the case 
 in this instance ; for it is the length of the first syllable, arising from the cir- 
 cumflex on it, which distinguishes the Scotch from the English pronunciation. 
 
260 OBSERVATIONS ON THE 
 
 telling us, that in England we pronounce the word majesty* 
 with an acute accent, and long quantity upon the first syllable, 
 and the two last syllables with the grave accent and short quan- 
 tity ; and that in Scotland this word is pronounced with a grave 
 accent, and long quantity on the first syllable, and with an acute 
 accent and short quantity on the last ? Now, if by accent is meant 
 stress, nothing is more evident than that the English and Scotch, 
 with the exception of very few words, place the accent on the 
 same syllable ; but if elevation be included in the idea of accent, 
 it is as evident that the English pronounce the first syllable louder 
 and higher than the two last, when they pronounce the word 
 either singly, or as ending a sentence ; as 
 
 He spoke against the king's majesty: 
 
 and louder and lower than the two last when it is the last ac- 
 cented word but one in a sentence, as 
 
 He spoke against the majesty of the king : 
 
 or when it is the last word in asking a question, beginning with a 
 verb, as 
 
 Did he dare to speak against the king's majesty ? 
 
 10. Where then is the difference, it will be asked, between 
 the English and Scotch pronunciation ? I answer, precisely ni 
 this ; that the Scotch are apt to adopt the rising circumflex and 
 long quantity where the English use the simple rising inflexion 
 
 * Would not any one suppose, that by Mr. Forster's producing this word as 
 an example of the English accent, that the English always pronounced it one 
 way, and that as if it ended a declarative sentence? This is exactly like the 
 mistake of Priscian in the word Natura. -See sect. 20, in the Notes. 
 
GREEK AND LATIN ACCENT. 26 1 
 
 and short quantity. Thus in the word majesty, as well as in 
 every other of the same form, they generally adopt the rising 
 inflexion, as in the two last sentences, whether it ends a ques- 
 tion beginning with a verb, as, " Is this the picture of his 
 majesty V or whether it ends an affirmative sentence, as, " This 
 is the picture of his majesty" And it is the prevalence of 
 this long quantity with the rising inflexion that forms the prin- 
 cipal difference between the English and Scotch pronuncia- 
 tion. 
 
 1 1 . Having thus endeavoured to ascertain the accent and quan- 
 tity of our own language, let us next inquire into the nature of the 
 accent and quantity of the ancients*. 
 
 12. The long quantity of the ancients must arise either from 
 a prolongation of the sound of the vowel, or from that delay of 
 voice which the pronunciation of two or more consonants in 
 succession are supposed naturally to require. Now vowels 
 
 * So much are the critics puzzled to reconcile the tragic and comic verses of 
 the ancients to the laws of metre, that a learned writer in the Monthly Review, 
 for May 1762, speaking of the corrections of Dr. Heath, in his notes or read- 
 ings of the old Greek tragedians, says 
 
 " These Emendations are much more excusable than such as are made merely 
 " for the sake of the metre, the rules of which are so extremely vague and va- 
 " rious, as they are laid down by the metrical critics, that we will venture to 
 ' say, any chapter in Robinson Crusoe might be reduced to measure by them. 
 " This is not conjecture; the thing shall be proved. 
 
 " As I was rummaging about her, lambicus dimeter hypercatalectus 
 
 " I found several Dochmaicus 
 
 " Things that I wanted, Dactyiicus dimeter 
 
 " A fire shovel and tongs, Dochmaicus ex epitrito quarto et syllaba 
 
 " Two brass kettles, Dochmaicus 
 
 " A pot to make chocolate, Periodus brachycatalectus 
 
 " Some horns of fine glaz'd powder, Euripideus 
 
 '* A gridiron, and seve- Dnctylica penthimimeris 
 
 ** Ral other necessaries. Basis anapeestica cum syllaba." 
 
262 OBSERVATIONS ON THE 
 
 were said to be either long by nature, or long by position. 
 Those long by nature* were such as were long, though succeeded 
 by a single consonant, as the u in natura, and were a sort of 
 exception to the general rule ; for a vowel before a single conso- 
 nant was commonly short, as in every u in the word tumulus. 
 Those vowels which were long by position were such as were 
 succeeded by two or more .consonants, as the first o in sponsor : 
 but if the long and short quantity of the ancients was the same 
 distinction of the sound of the vowel as we make in the words 
 cadence and magic, calling the first a long, and the second short, 
 then the a in mater and pater *f- must have been pronounced 
 like our a in later and latter ; and those vowels which were 
 long by position, as the a in Bacchus and campus, must have 
 been sounded by the ancients as we hear them in the English 
 words bake and cane. 
 
 J3. If therefore the long quantity of the ancients was no 
 more than a retardation of voice on the consonants, or that du- 
 ration of sound which an assemblage of consonants is supposed 
 naturally to produce without making any alteration in the sound 
 of the vowel, such long quantity as this an English ear has not 
 the least idea of. Unless the sound of the vowel be altered, 
 we have not any conception of a long or short syllable ; and the 
 
 * If the long quantity of the Greek and Latin arose naturally from the re- 
 tardation of sound occasioned by the succeeding consonants, the long vowels in 
 this situation ought to have been termed long by nature, and those long vowels 
 which come before single consonants should have been called long by custom : 
 since it was nothing but custom made the vowel e in decus (honour) short, and 
 in dedo (to give) long ; and the vowel o in ovum (an egg) long, and in ovo (to 
 triumph) short. 
 
 t I do not here enter into the question concerning the ancient sound of the 
 Latin a, which I am convinced was like our a in water ; but whether it was like 
 the a in paper, father, or water, is not of any importance in the present question j 
 the quantity is the same, supposing it to have been any one of them. 
 
GREEK AND LATIN ACCENT. 263 
 
 first syllables of banish, banner, and banter, have, to our ears, 
 exactly the same quantity. 
 
 14. But if the long quantity of the ancients arose naturally 
 from the obstruction the voice meets with in the pronunciation 
 of two or more consonants, how does it happen that the preced- 
 ing consonants do not lengthen the vowel as mugh as those 
 which succeed ?* Dr. Gaily tells us, the reason of this is 
 " that the vowel being the most essential part of the syllable, 
 " the voice hastens to seize it ; and, in order to do this, it slurs 
 u over all the consonants that are placed before it, so that the 
 " voice suffers little or no delay. But the case of the consonant 
 " that follows is not the same : it cannot be slurred over, but 
 " must be pronounced full and distinct, otherwise it would run 
 " into and be confounded with the following syllable. By this 
 " mean the voice is delayed more in the latter than in the former 
 " part of the syllable, and or' is longer than c-rgo, and w longer 
 " than SnW 
 
 I must own myself at a loss to conceive the force of this rea- 
 sonings, I have always supposed the consonant, when it forms 
 part of a syllable, to be as essential to its sound as the vowel : 
 nor can I conceive why the latter consonants of a syllable may 
 not be pronounced as rapidly as the former, without running the 
 former syllable into the latter, and thus confounding them to- 
 gether; since no such confusion arises when we end the first 
 syllable with the vowel, and begin the following syllable with 
 the consonants, as pro-crastino, pro-stratus, &c. as in this case 
 there is no consonant to stop the first syllable, and prevent its 
 running into the second; so that Dr. Gaily seems to have 
 slurred over the matter rather than to have explained it : but as 
 he is the only writer who has attempted to account for the man- 
 ner in which quantity is produced by consonants, he is entitled to 
 attention. 
 
 * " Dissertation against pronouncing the Greek Language according to Ac- 
 cents." Dissert, ii. page 50, second edition. 
 
264 OBSERVATIONS ON THE 
 
 15. In the first place, then, in words of more than one syllable 
 but one consonant can belong to the preceding vowel, as the 
 others must necessarily be considered as belonging to the succeed- 
 ing vowel, and according to Dr. Gaily, must be hurried over ? 
 that the voice may seize its favourite letter. As one consonant 
 therefore does not -naturally produce long quantity, where is the 
 delay if the other consonants are hurried over ? and, consequently, 
 where is the long quantity which the delay is supposed to pro- 
 duce ? This is Jike adding two nothings together to produce a 
 something. 
 
 16. But what does he mean by the necessity there is of pro- 
 nouncing the latter consonant full and distinct, that it may not 
 run into and be confounded with the following syllable ? Must 
 not every consonant be pronounced full and distinct, whether 
 we pronounce it rapidly or slowly, whether before or after the 
 vowel ? Is not the str in stramen pronounced as full and dis- 
 tinct as the same letters in castra, castrametor? &c. I know 
 there is a shadow of difference by pronouncing the vowel in our 
 short English manner so as to unite with the s, as if written 
 cass; but if we make the preceding vowel long, as in case, and, 
 according to the rules of syllabication laid down by Ramus, 
 Ward, and the Latin grammarians, carry the consonants to the 
 succeeding syllable, as if written cay-stray, we find these con- 
 sonants pronounced exactly in the same manner : and this leads 
 us to suppose that double consonants were the signs only, and 
 not the efficients of long quantity : and that this same long 
 quantity was not simply a duration of sound upon the conso- 
 nants, but exactly what we call long quantity a lengthening of 
 the sound by pronouncing the vowel open, as if we were to pro- 
 nounce the a long in mater, by sounding it as if written may- 
 ter; and the same letter short \npater, as if it were written patter*. 
 
 * What exceedingly corroborates this idea of quantity is, the common or 
 doubtful vowels as they are called j that IF, such as come before a mute and a 
 
 liquid ; 
 
GREEK AND LATIfl ACCENT. 265 
 
 17. The reason of our repugnance to admit of this analogy of 
 quantity in the learned languages is, that a diametrically opposite 
 analogy has been adopted in the English, and, I believe, in most 
 modern tongues an analogy which makes the vowel long before 
 one consonant, and short before more than one. 
 
 18. If, however, the quantity of the ancients lay only in the 
 vowel, which was lengthened and shortened in our manner by 
 altering the sound, how strange must have been their poetical 
 language, and how different from the words taken singly ! Thui 
 the word nee, which, taken singly, must have been pronounced 
 with the vowel short, like our English word neck in composi- 
 tion, as in the line of Virgil, where it is long, 
 
 " Fulgura, nee diri toties arsere cometae, 
 
 must have been pronounced as if written neek; just as differently 
 as the words proper, of, mankind, is, and man, in the line of 
 Pope, would be pronounced by the same rule, 
 
 " The proper study of mankind is man ; 
 
 and as if written, 
 
 " The propeer study ove mane-kind ees mane" 
 
 When to this alteration of the quantity, by the means of succeed- 
 ing consonants, we add that rule 
 
 " Finale tu caesura brevem producere gaudet," 
 
 liquid ; as the first a in patria, the e in refluo, &c. ; as in these words the vowel 
 preceding the mute or liquid is either long or short, as the writer or speaker 
 pleases to make it ; but if the consonants naturally retarded the sound of the 
 syllable, so as to make it long, how could this be ? If the syllable was to be 
 made long, did the speaker dwell longer on the consonants, and if it was to be 
 made short, did he hurry them over? And did this make the difference in the 
 quantity of these syllables? The utter impossibility of conceiving this to have 
 been the case renders it highly probable that the long or short quantity lay only 
 in the vowel. 
 
266 OBSERVATIONS ON THE 
 
 which makes the short or doubtful vowel long, that either im- 
 mediately precedes the caesura, or concludes the hexameter 
 verse what must be our astonishment at this very different 
 sound of the words arising merely from a different collocation 
 of them, and at the strange variety and ambiguity to the ear this 
 difference must occasion* ! 
 
 1 9. But if this system of quantity among the ancients appears 
 strange and unaccountable, our wonder will not be diminished 
 when we inquire into the nature of their accent. 
 
 20. From what has been said of accent and quantity in our 
 own language, we may conclude them to be essentially distinct 
 and perfectly separable : nor is it to be doubted that they were 
 equally separable in the learned languages : instances of this 
 from the scholiasts and commentators are innumerable ; but so 
 loose and indefinite are many of their expressions, so little do 
 they seem acquainted with the analysis of the human voice, 
 that a great number of quotations are produced to support the 
 most opposite and contradictory systems. Thus Vossius, Hen- 
 ninius, and Dr. Gaily, produce a great number of quotations 
 which seem to confound accent and quantity, by making the 
 acute accent and long quantity signify the same ; White, 
 Michaelis, Melancthon, Forster, Primat, and many other men 
 of learning, produce clouds of witnesses from the ancients to 
 prove that accent and quantity are essentially different f. The 
 
 * See this idea of the different sound of words, when taken singly, and when 
 in composition, most excellently treated by the author of the Greek and Latin 
 Prosodies, attributed to the present Bishop of St. Asaph, page 101. 
 
 t It is not astonishing that learned men will wrangle with each other for 
 whole pages about the sense of a word in Dionysius of Halicarnassus, upon the 
 difference between singing and speaking sounds, when this difference is just as 
 open to them by experiment as it was to him. Who can sufficiently admire the 
 confidence of Isaac Vossius, who says" In cantu latius evagari sonos, quam in 
 " recitalione aut communi sermone, utpote in quo vitiorum liabeatur, si vox 
 
 " ultra 
 
GREEK AND LATIN ACCENT. 26? 
 
 only thing they seem to agree in is, that the acute accent always 
 raises the syllable on which it is placed higher than any other in 
 the word*. This is certainly true, in English pronunciation, 
 if we pronounce the word singly, and terminate it as if no other 
 were to follow ; but if we pronounce it in a sentence, where it 
 is the last accented word but one, or where it is at the end of a 
 question beginning with a verb when we suspend the voice in 
 expectation of an answer, we then find the latter syllables of 
 the word, though unaccented, are pronounced higher than the 
 accented syllable in the former part of the word. See No. 7. 
 
 '21. But what are we to think of their saying, that every 
 monosyllable is either aculed or circumflexedf ? If the acute 
 accent signifies an elevation of voice, this, with respect to words 
 
 -' ultra diapente seu tres tonos et semitonium, acuatur." In singing, the sound 
 has a larger compass than in reading or common speaking, insomuch that in 
 common discourse, whatever is higher than the diapente is held to be extremely 
 vicious. 
 
 * Thus Priscian. In unaquaque parte orationis arsis et thesis sunt velut in 
 " hac parte natura : ut quando dico natu, elevatur vox et est arsis in tu: 
 " quando vero ra deprimitur vox et est thesis." Any one would conclude from 
 this description of the rising and falling of the voice upon this word, that it 
 could only be pronounced one way, and that there was no difference in the 
 comparative height of the vowel u in the two following sentences: 
 
 Lucretius wrote a book De Rerum Natura. 
 Lucretius wrote a book De Natura Rerum. 
 
 Whereas it is evident that the word natura is susceptible of two different pro- 
 nunciations : in the first sentence the syllable tu is louder and higher than the 
 last ; and in the second it is louder and lower than the last ; and this confound- 
 ing of loud with high, and soft with low, seems to be the great stumbling block, 
 both of ancients and moderns. See No. 7, 8, &c. 
 
 t Ea vero quae sunt syllabae unuis erunt acuta aut flexa ; ne sit aliqna vox sine 
 acuta. Quinct. lib. i. c. 5. 
 
268 OBSERVATIONS ON THfl 
 
 of one syllable, must mean elevated above some other word 
 either preceding or succeeding, since elevation is a mere com- 
 parative word ; but this is not once mentioned by them ; if it 
 has any meaning, therefore, it must imply that the acute accent 
 is the monosyllable, pronounced with, what I should call, the 
 rising inflexion, or upward slide ; and then we can comprehend 
 how a monosyllable may have the acute accent without refer- 
 ence to any other word ; as when we begin a syllable low, and 
 slide it higher, or begin it high, and slide it lower, it may be 
 said to be acute or grave of itself; that is, when it is pronounced 
 alone, and independent of other words. Unless we adopt this 
 definition of the acute and grave, it will be impossible to con- 
 ceive what the old grammarians mean when they speak of a 
 monosyllable having the grave or the acute accent. Thus Di- 
 omedes says on some words changing their accent " S\,post 
 " adverbium cum gravi pronunciatur accentu, erit praepositio ; 
 " si acuto erit adverbium, ut longo post tempore veni." 
 
 22. It was a canon in the prosody of the Greeks and Ro- 
 mans, that words of more than one syllable must have either an 
 acute or a circumflex accent ; and that the other syllables, with- 
 out an accent, were to be accounted grave : but if this be so, 
 what are we to think of those numerous monosyllables, and the 
 final syllables of those dissyllables that we see marked with 
 the grave accent, as Ml*, rpo, o-t, @o?, 'AV^, *. r. A. ? " Why 
 " these words," says Mr. Forster, " whatever Dr. Gaily may 
 " conceive, had certainly their elevation on the last syllable :" 
 and this opinion of Mr. Forster's is supported by some of the 
 most respectable authorities.* 
 
 * The seeming impossibility of reconciling accent and quantity made Herman 
 tanderhardt, the author of a small treatise, entitled, " Arcanum Accentuum 
 " Grtfeorum," consider the marks of Greek accentuation as referring not to syl- 
 labic, but oratorical accent. But, as Mr. Forster observes, " if this supposition 
 
 " were 
 
GREEK AND LATIN ACCENT. 
 
 23. With respect to the power of the accent in both the 
 Greek and Latin languages nothing can be better established 
 by the ancient grammarians than that the acute accent did not 
 lengthen the syllable it fell upon ; and that short syllables, re- 
 maining short, had often the acute accent. This opinion has 
 been irrefutably maintained by Mr. Forster*, and the author of 
 
 " were true, we should not meet with the same word constantly accented in the 
 " same manner as we see it at present. A word's oratorical accent will vary 
 11 according to the general sentiment of the passage wherein it occurs ; but its 
 " syllabic accent will be invariably the same, independent of its connexion with 
 " other words in the same sentence, except in the case of enclitics and a few 
 " others." Essay on Accent and Quantity, page 25. 
 
 * But when Mr. Forster endeavours to explain how this is to be done, he has 
 recourse to music. 
 
 " Notwithstanding the reluctance of Vossius, Henninius, and thousands after 
 " them, to admit the acute as compatible with a short time, if I could have them 
 " near me with a flute in my hand, or rather with an organ before us, I would 
 " engage to convince them of the consistency of these two. I would take any two 
 " keys next to each other, one of which would consequently give a sound lower 
 " than the other: suppose the word asih before us, or agougav; both which words 
 " Vossius would circumflex on the penultimate, instead of giving an acute to 
 " the first, according to our present marks : I would conformably to these marks 
 " just touch the higher key for the initial a, and take my finger off immediately ; 
 " and then touch the lower key, on which I would dwell longer than I did on the 
 " higher, and that would give me a grave with a long time for the syllable si, 
 11 the same lower key I would just touch again, and instantly leave it, which 
 " would give me a grave with a short time for Je: atih. Now if this can be 
 " done on a wind instrument within the narrow compass of two notes, it may be 
 " done by the organs of human speech, which are of the nature of a wind iustru- 
 " ment, in ordinary pronunciation. For the sounds of our voice in common 
 " speech differ from those of such musical instruments, not in quality, but in 
 " arithmetical discrete quantity or number only, as hath been observed before, 
 " and is confirmed by the decisive judgment of that nice and discerning critic 
 " Dionysius of Halicarnassus. Here then is, to demonstration, an acute tone con- 
 **. sisteut with a short time, and a grave tone with a long one." P. 342, 343. 
 To this I may add the observation made by the author of the Eisay on the Har- 
 mony 
 
270 OBSERVATIONS ON THE 
 
 Observations on the Greek and Latin Prosodies ; though as 
 strenuously denied by Dr. Gaily*, Isaac Vossius, and Hen- 
 ninius ; and these last seem to have been persuaded of the in- 
 separable concomitancy of the acute accent and long quantity, 
 from the impossibility they supposed there was of separating 
 them in any language. But if we make our ears and not our 
 eyes judges of quantity, can any thing be more palpable than 
 the short quantity of the accented syllables of proselyte, ano- 
 dyne, tribune, and inmate ; and the long quantity of the final 
 syllables of these words? And when we pronounce the Greek 
 and Latin words, a-qxxXhu, fallo, aptpu, ambo, nothing can 
 be more evident than the long quantity of the final vowel 
 
 many of Language. " Strange it seems, that the author of this passage should 
 " maintain an opinion so contrary to truth, so repugnant to his own purpose, so 
 " belied by daily and hourly experience, as that the union of the acute tone, 
 " with a short quantity, seldom occurs in English pronunciation, and is hardly 
 " practicable by an English voice." And still more strange, I may add, is it, 
 that these two authors should not see that the experiment, which is called a de- 
 monstration, has nothing to do with the point in question. It regards tones that 
 rise or fall by perceptible intervals, and not such as rise or fall by slides or im- 
 perceptible ones. Let it once be allowed that the Greeks and Romans sung 
 their language, instead of speaking it, and then the acute or grave accent, with 
 long or short quantity, are easily conceived ; but it is not about musical, but 
 speaking tones that we inquire: and though the authority of Dionysius of Hali- 
 carnassns is cited for the nature of the speaking voice as distinct, in degree only 
 and not in kind, from singing, I boldly assert that this is not matter of authority 
 but of experiment, and that singing and speaking are as distinct as motion and 
 rest. It is true some motion may be so slow as not to be perceived : but then 
 it is to be considered as rest : as a curve may approach so near to a right 
 line as not to be distinguishable from it ; but in these cases, where the senses 
 and not the understanding are addressed, things are to be estimated for just 
 what the senses value them at. De non apparentibus, et de non existentibus, 
 eadam est ratio. 
 
 * If the acute accent or stress, as Dr. Gaily calls it, made the short sylla- 
 ble long, what becomes of the metre of verse? How will he scan '* Arma 
 " virumquecano?" 
 
GREEK AND LATIN ACCENT. 2? 1 
 
 though without the accent, and the short quantity of the initial and 
 accented syllable. 
 
 24. As to the long quantity arising from the succession of 
 two consonants, which the ancients are uniform in asserting, if 
 it did not mean that the preceding vowel was to lengthen its 
 sound, as we should do by pronouncing the a in scatter as we do 
 in skater, (one who skates) I have no conception of what it 
 meant*; for if it meant that only the time of the syllable was 
 prolonged, the vowel retaining the same sound, I must confess 
 as utter an inability of comprehending this source of quantity in 
 the Greek and Latin as in English. Banish, banner, and banter, 
 have to our ears the first syllable equally short : the same may be 
 observed of senate, seminary, sentence, and sentiment : and if, as 
 an ingenious critic f has asserted, the ancients pronounced both the 
 consonants in callidus,fallo, &c., that is, finishing one / by sepa- 
 rating the tongue from the palate before the other is begun, such 
 a pronunciation must necessarily augment the number of sylla- 
 bles, nearly as if written calelidtis, falelo, &c., and is, therefore, 
 contrary to all the rules of ancient prosody ; nor would this 
 pronunciation to our ears give the least length to the preceding 
 vowel, any more than the succeeding mute does in sentence and 
 sentiment. 
 
 * If the double consonants naturally made a syllable long, I should be glad 
 to know how there could be exceptions to this rule ? How could Ammonius 
 say that the second syllable of xaray^ua was long, when the word was used in 
 one particular sense, and short in another ? And how could Cicero say, that the 
 first letter of "mclytus was short, and the first of msanus and infelix long, if 
 two succeeding consonants naturally lengthened the syllable? Dr. Forster, 
 indeed, attempts to reconcile this contradiction, by observing that Cicero does 
 not say, the first syllable of inclytus is short, but the first letter; but it may be 
 demanded, what is it that makes the syllable long or short but the length or 
 shortness of the vowel ? If the double consonants necessarily retard the sound 
 of the vowel, the second syllable of Kara^a, and the first of inclytus, could 
 not possibly be pronounced short ; and particularly the latter word could not be 
 so pronounced, as it has the accent on the first syllable. See sect. 16, in the note. 
 
 t Essay upon the Harmony of Language, page 228, 233. ROBSON, 1774. 
 
272 OBSERVATIONS ON THE 
 
 25. When these observations on the accent and quantity of 
 the ancients are all put together, shall we wonder that the learu- 
 ed and ingenious author of Elements of Criticism* should go so 
 far as to assert, that the dactyls and spondees of hexameter verse, 
 with respect to pronunciation, are merely ideal, not only with us, 
 but that they were so with the ancients themselves ? Few, how- 
 ever, will adopt an opinion which will necessarily imply that the 
 Greek and Latin Critics were utterly ignorant of the nature of 
 their own language : and every admirer of those excellent wri- 
 ters will rather embrace any explanation of accent and quantity, 
 than give up Dionysius of Haiicarnassus, Cicero, Quintilian, and 
 Longinus. Suppose then, as a last refuge, we were to try to 
 read a Greek or Latin verse, both by accent and qi antity in the 
 manner they have prescribed, and see what such a trial will pro- 
 duce. 
 
 26. By quantity, let us suppose the vowel lengthened to express 
 the long quantity ; and by the acute accent, the rising inflexion as 
 explained above. 
 
 Tityre, tu patulae re*cubans sub tegmine fdgi, 
 Sylvestrem tenui musam meditaris avena. 
 
 Tityre, tu patulae recubans sub tegmine fagi, 
 Sylvestrem tenui musam meditaris avena. 
 
 Tee"tyre to6 patulee rectibanes so6b tee"gmine fagi, 
 Seelve6streem t6nui moosame meditaris av6ena. 
 
 pvpt a^aloT? 
 
 M^an-in a-eyc-de The-ay Pea-lea-e-a-dyo A-kil-lea-ose 
 Ow-lom-m6n-een hee moo-re a-kay-ofes ail-ge 6th-ee-kee. 
 
 * Elements of Criticism, vol. II. page 106. See also the Essay upon the Har- 
 mony of Language, page 234. 
 
GREEK AND LATIN ACCENT. 273 
 
 37. Now there are but four possible ways of pronouncing 
 these verses without going into a perfect song* : one is, to pro- 
 nounce the accented syllable with the falling inflexion, and the 
 unaccented syllable with the same inflexion in a lower tone, 
 which is the way we pronounce our own words when 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 with the same inflexion in a lower tone, 
 which we never hear in our own language : the third is, to pro- 
 nounce the accented syllable with the falling inflexion, and the 
 unaccented syllables with the rising, in a lower tone : and the 
 fourth, to pronounce the accented syllable with the rising in- 
 flexion, and the unaccented with the falling, in a lower tone. 
 None of these modes, but the first and last, do we ever hear in 
 our own language : the second and third seem too difficult to per- 
 mit us to suppose that they could be the natural current of the 
 human voice in any language. The first leaves us no possible 
 means of explaining the circumflex, but the last, by doing this, 
 gives us the strongest reason to suppose that the Greek and Latin 
 acute accent was the rising inflexion, and the 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 that the ancients had some mysterious way of pro- 
 nouncing which we are utterly incapable of conceiving. Mr. Sheridan tells 
 us, that " the ancients did observe the distinction of accents by an elevation 
 " and depression of voice ; but the manner in which they did it must remain 
 u for ever a secret to us : for, with the living tongue, perished the tones also ; 
 " which we in vain endeavour to seek for in their visible marks." Lectures on 
 Elocution, 4to edition, page 39. From these and similar observations in many 
 of our writers, one would be tempted to imagine, that the organs of speaking 
 in ancient Greece and Rome were totally different from those of the present 
 race of men in Europe. 
 
 T 
 
274 OBSERVATIONS ON THE 
 
 28. But if the reader were sufficiently acquainted with these 
 inflexions of voice, or could be present while I exemplified them 
 to him, I doubt not that he would immediately say, it was im- 
 possible so monotonous a pronunciation could be that of the 
 Greeks and Romans*: but when we consider the monotony of 
 the Scotch, Welsh, and Irish, why should we wonder that 
 other nations should be as monotonous ? Let us view the 
 Greek and Latin pronunciation on which side we will, we must, 
 to be consistent with their own rules, feel them to be extremely 
 monotonous. According to the laws of ancient prosody, every 
 unaccented syllable must be lower than that which is accented ; 
 and if so, a most disagreeable monotony must necessarily ensue : 
 for as every word in Latin, and almost every word in Greek, of 
 more than one syllable, ended with the grave accent, that is, in a 
 lower tone than the preceding syllables, almost every word in 
 those languages ended with the same tone, let that tone have been 
 what it would -f-. 
 
 29- I am supported in this conjecture, notwithstanding all 
 
 * Dr. Barney tells us, that Meibomius, the great and learned Meibomins, 
 when prevailed upon at Stockholm to sing Greek strophes, set the whole court 
 of Christina in a roar j as Naud6 did in executing a Roman dance. And Sea- 
 liger observes, that if the nice tonical pronunciation of the ancients could be 
 expressed by a modern, it would be disagreeable to our ears. 
 
 t This is certainly too general an assertion, if we consider the real pronun- 
 ciation of the Greek language according to accent ; as it must be allowed, that 
 a great number of Greek words were accented with the acute or circumflex on 
 the last syllable ; but when we consider the modern pronunciation of Greek, 
 which confounds it with the Latin, we shall not have occasion to recall the 
 assertion. To which we may add, that those words in Greek that were cir- 
 cumflexed on the last syllable may very properly be said to end with the grave 
 accent ; and that those which had a grave upon the final syllable altered the 
 grave to an acute only when they were pronounced alone, when they came be- 
 fore an enclitic, or when they were at the end of the sentence. 
 
GREEK AND LATIN ACCENT. '275 
 
 the fine things* the ancients, and many of the moderns, say of 
 the variety and harmony of the Greek and Latin languages, by 
 the definition which they give of the circumflex accent ; which 
 is, that it was a combination of the acute and grave upon the 
 same syllable. This is so incomprehensible to modern ears, 
 that scarcely any one but the author of the present Observations 
 has attempted to explain it by experiment. It stands for nothing ' 
 but long quantity in all our schools ; and, contrary to the 
 clearest testimonies of antiquity, it has, by Dr. Gallyf, and a 
 late respectable writer on the Greek and Latin Prosodies, been 
 explained away into nothing more than the acute accent. But 
 if it means a raising and falling of the voice upon the same syl- 
 lable, which is the definition the ancients uniformly give of 
 it, it is just as easy to conceive as raising and falling the voice 
 upon successive syllables, or, in other words, as going from a 
 lower tone to a higher upon one syllable, and from a higher to a 
 lower upon the next: and this consideration leads me to con- 
 jecture, that the acute accent of the ancients was really the rising 
 
 * The Grecian sage (says Dr. Burney), according to Gravina, was at once 
 a philosopher, a poet, and a musician. " In separating these characters," says 
 he, " they have all been weakened ; the system of philosophy has been con- 
 " tracted ; ideas have failed in poetry, and force and energy in song. Truth no 
 " longer subsists among mankind ; the philosopher speaks not at present through 
 " the medium of poetry ; nor is poetry heard any more through the vehicle of 
 " melody." " Now to my apprehension," says Dr. Burney, " the reverse of 
 "all this is exactly true: for, by being separated, each of these pi ofessions 
 " receives a degree of cultivation, which fortifies and renders it more power- 
 " fill, if not more illustrious. The music of ancient philosophers, and the 
 " philosophy of modern musicians, I take to be pretty equal in excellence." 
 History of Music, Vol. I, page J 62. Here we see good sense and sound philo- 
 sophy contrasted with the blind admiration and empty flourish of an overgrown 
 school-boy concluding his theme. 
 
 f Dissertation against Greek Accents, page 53. 
 
 T 2 
 
276 OBSERVATIONS ON THE 
 
 inflexion, or upward slide of the voice; for this being once 
 supposed, nothing is so easy as to demonstrate the circumflex in 
 our own language ; which, without this clew, it will be impossi- 
 ble to do in the ancient languages ; and even with it, we must be 
 astonished they had but one circumflex ; since it is just as easy 
 to fall and raise the voice upon the same syllable, as to raise and 
 fall it *. 
 
 30. But our wonder at these peculiarities of the Greek and 
 Latin languages will cease, when we torn our thoughts to the 
 dramatic performances of the people who spoke these lan- 
 
 * To add to our astonishment, that the Greek and Latin languages had but 
 one circumflex, what can be more wonderful, than that among so many of the 
 ancients who have written on the causes of eloquence, and who have descended 
 to such trifling and childish observations upon the importance of letters and syl- 
 lables, we should not find a single author who has taken notice of the import- 
 ance of emphasis upon a single word ? Our modern books of elocution abound 
 with instances of the change produced in the sense of a sentence by changing 
 the place of the emphasis : but no such instance appears among the ancients. 
 Not one poor Will you ride to town to-day ! 
 
 Our wonder will increase when we consider that the ancients frequently men- 
 tion the different meaning of a word as it was differently accented ; that is, as 
 the acute or circumflex was placed upon one syllable or another ; but they never 
 hint that the sense of a sentence is altered by an emphasis being placed upon 
 different words. The ambiguity arising from the same word's being differently 
 accented is so happily exemplified by the author of the Greek and Latin Pro- 
 sodies, that I shall use his words. " Alexander Aphrodisiensis illustrates this 
 " species of sophism, by a well-chosen example of a law, in which the sense 
 " depends entirely upon the accuracy of accentuation. 'Era/pa. x.vtrta, si <pogoin 
 " bnpoiria, la-tea. The word Svi^os-ia, with the acute accent upon the antepenult, 
 11 is the neuter nominative plural, in apposition with ^vfia. And the sense 
 " is, ' If a courtezan wear golden trinkets, let them (viz. her golden trinkets) 
 " be forfeited to the public use.' But if the accent be advanced to the penult, 
 " the word, without any other change, becomes the feminine nominative singu- 
 < < lar, and must be taken in apposition with Ivaigo,. And thus the sense will be, 
 tf * If a courtezan wear golden trinkets, let her become public property.' This 
 
GREEK AND LATIN ACCENT. 77 
 
 guages. Can any thing astonish us more, than that all their 
 tragedies and comedies were set to music, and actually accom- 
 panied by musical instruments ? How is our laughter, as well as 
 our wonder, excited, when we are told, that sometimes one actor 
 gesticulated, while another recited, a speech, and that the greater 
 admiration was bestowed upon the former ! Nay, to raise the 
 ridicule to the highest pitch, we are informed that actors in their 
 speech**:, and the chorus in their songs, accompanied the per- 
 formances by dancing ; that the actors wore masks lined with 
 brass, to give an echoing sound to the voice, and that these 
 masks were marked with one passion on one side, and with a 
 contrary passion on the other; and that the actor turned that 
 side to the spectators which corresponded to the passion of the 
 speech he was reciting. These extraordinary circumstances are 
 not gathered from obscure passages of the ancients, picked up 
 here and there, but are brought to us by the general and united 
 voice of all antiquity ; and therefore, however surprising, or even 
 ridiculous, they may seem, are undoubtedly true. 
 
 31. Perhaps it will be said, is it possible that those who have 
 left us such proofs of their good sense and exquisite taste in 
 their writings, statues, medals, and seals, could be so absurd in 
 their dramatic representations ? The thing is wonderful, it 
 may be answered ; but not more so than that they should not 
 have seen the use of stirrups in riding, of the polarity of the 
 loadstone in sailing, and of several other modern discoveries, 
 
 u is a very notable instance of the political importance of accents, of written 
 
 " accents, in the Greek language. For if this law had been put in writing 
 
 u without any accent upon the word ^npoa-ia there would have been no means 
 
 " of deciding between two constructions ; either of which, the words, in this 
 
 " state, would equally have admitted : and it must have remained an inexpli- 
 
 " cable doubt, whether the legislator meant, that the poor woman should only 
 
 " forfeit her trinkets, or become a public slave." 
 
278 OBSERVATIONS ON THE 
 
 which seem to have stared them full in the face without their 
 perceiving it.* But is there any thing more common than to 
 find, not only individuals, but a whole people, who, though re- 
 markably excellent in some things, are surprisingly deficient in 
 others ? So true is the observation of Middleton, who, speak- 
 ing of those who have written on the pronunciation of the Greek 
 and Latin languages, says : " Ab illis vero scriptoribus etsi 
 " plurima ingeuiose atque erudite disputata sint, nonnulla 
 " tamen deesse, multa dubie, quaedam etiam falso posita ani- 
 
 * We have the strongest proof in the world, that the ancient Greeks made 
 use only of capital letters, that they were utterly ignorant of punctuation, and 
 that there was not the least space between words or sentences, but that there 
 was an equal continuation of letters, which the reader was obliged to decipher, 
 without any assistance from points or distances. Without the clearest evidence, 
 could we suppose, that, while composition had reached the perfection it had 
 done in Greece, orthography was in a state of barbarity worthy of the Cape of 
 Good Hope ? 
 
 Can any thing give us a more ludicrous idea, than the practice of the ancients 
 in sometimes splitting a word at the end of the line, and commencing the next 
 line with the latter part of the word ? This must have been nearly as ridicu- 
 lous as the following English verses in imitation of this absurd practice. 
 
 Pyrrhus, you tempt a danger high, 
 When you would steal from angry li- 
 Oness her cubs, and soon shall fly 
 
 inglorious. 
 
 For know the Romans, you shall find 
 By virtue more and generous kind- 
 Ness, than by force or fortune blind, 
 
 victorious. 
 
 Notwithstanding the hackneyed epithet of Gothic barbarity applied to verse in 
 rhyme, is it not wonderful that a species of versification, approved by Italy, 
 France, and England, in their best periods of poetry, should never once have been 
 tried by the Greeks and Romans? that they should never have straggled, either 
 
GREEK AND LATIN ACCENT. 279 
 
 " madverti ; idque hac in causa accidisse, quod in caeteris pie- 
 "' risque solet, ut mortalium nemini detur rem invenisse simul 
 " et perfecisse." De Lat. Lit. Pronun. 
 
 32. That singing a part in a tragedy should seem so unna- 
 tural* to us, arises chiefly from our being so litlle accustomed 
 to it. Singing in the pulpit seems to the full as extraordinary ; 
 
 by chance, or for the sake of change, into so pleasing a jingle of sounds? 
 They who would write poems, and so lengthen or shorten the lines, as to form 
 axes, wings, and altars, might, without any imputation on their taste, have, now 
 and then, condescended to rhyme. In short, that the ancients should never 
 have slid into rhyme, is a circumstance which would never have been believed, 
 had it been possible to doubt it: and I fear it must be classed with that long 
 catalogue of unaccountables, with which their prosody, their rhetoric, and 
 their drama abound. 
 
 * Perhaps our unwillingness to believe tha*t the ancient dramas were set to 
 music, arises from a very mistaken notion we have of their skill in that art. It 
 is true we have not the same materials for judging of their music as we have of 
 their poetry and sculpture ; but their ignorance of counterpoint, and the po- 
 verty of their instruments, sufficiently show what little progress they had made 
 in it. Those very few remains of their music which have reached us, confirm 
 m in this conjecture j and it is to the indefatigable pains of so good a scholar 
 and so excellent a musician as Dr. Burney, that we are indebted for an illus- 
 tration of it. 
 
 " At the end of a Greek edition of the astronomical poet, Aratus, called Pha- 
 " nomena," says Dr. Burney, " and their Scholia, published at Oxford in 1762 ; 
 " the anonymous editor, supposed to be Dr. John Fell, among several other 
 " pieces, has enriched the volume with three hymns, which he supposed to 
 ** have been written by a Greek poet called Dionysius; of which the first is 
 " addressed to the muse Calliope, the second to Apollo, and the third to Ne- 
 " mesis; and these hymns are accompanied with the notes of ancient music to 
 " which they used to be sung. 
 
 " I know not whether justice has been done to these melodies; all I can say is, 
 " that no pains have been spared to place them in the clearest and most favour- 
 " able point of view : and yet, with all the advantages of modern notes and 
 
 *' modern 
 
280 OBSERVATIONS ON THE 
 
 and yet this song was so powerful about a century or two ago, 
 and later in Scotland*, as to make mere speaking, though with 
 the utmost energy, appear flat and insipid. Let the human 
 
 " modern measures, if I had been told that they came from the Cherokees or 
 " the Hottentots, I should not have been surprised at their excellence. 
 
 " I have tried them in every key and in every measure that the feet of the 
 " verses would allow; and as it has been the opinion of some, that the Greek 
 ** scale and music should be read Hebrew-wise, I have even inverted the order 
 " of the notes, but without being able to augment their grace and elegance. 
 " The most charitable supposition that can be admitted concerning them is, 
 *' that the Greek language being itself accentuated and sonorous, wanted less 
 " assistance from musical refinements than one that was more harsh and rough ; 
 " and music being still a slave to poetry, and wholly governed by its feet, de- 
 " rived all its merits and effects from the excellence of the verse, and sweetness 
 " of the voice that sung or rather recited it : for mellifluous and affecting 
 " voices nature bestows from time to time on some gifted mortals in all the ha- 
 " bitable regions of the Earth ; and even the natural effusions of these must 
 " ever have been heard with delight. But as music, there needs no other proof 
 *' of the poverty of ancient melody, than its being confined to long and short 
 ** syllables. We have some airs of the most graceful and pleasing kind, which 
 " will suit no arrangement of syllables to be found in any poetical numbers, 
 * ancient or modern, and which it is impossible to express by mere syllables in 
 " any language with which I am at all acquainted." 
 
 Dr. Bmney's conjecture, that the Greek music was entirely subservient to 
 verse, accounts for the little attention which was paid to it in a separate state ; 
 it accounts for the effects with which their music was accompanied, and for the 
 total uselessness of counterpoint. Simple melody is the fittest music to accont- 
 pany words, when we wish to understand what is sung ; simple melody is the 
 music of the great bulk of mankind ; and simple melody is never undervalued, 
 till the ear has been sufficiently disciplined to discover the hidden melody, 
 which is still essential to the most complicated and elaborate harmony. 
 
 * The Rev. Mr. Whitfield was a highly animated and energetic preacher, 
 without the least tincture of that tone which is called canting. When he went 
 to Scotland, where this tone was in high estimation, though his doctrine was in 
 perfect unison with that of his auditors, his simple and natural, though earnest 
 
 manner 
 
GREEK AND LATIN ACCENT. 28 i 
 
 voice be but in a tine tone, and let this tone be intensely im- 
 passioned, and it will infallibly, as Milton expresses it, 
 
 take the prison'd soul, 
 
 " And lap it in Elysium ." 
 
 33. What may tend to reconcile us still more to this dramatic 
 music, is the sing-song manner, as it is called, of pronouncing 
 tragedy, which very generally prevailed before the time of Mr. 
 Garrick, and which now prevails among some classes of speakers, 
 and is preferred by them to, what we call, the more natural 
 manner. This drawling, undulating pronunciation, is what the 
 actors generally burlesque by repeating the line, 
 
 Turn ti turn ti, turn ti turn ti turn ti : 
 
 and though this mode of declamation is now so much de- 
 spised, it is highly probable that it was formerly held in esti- 
 mation*. 
 
 34. Now, if we suppose this drawling pronunciation, which, 
 fhough very sonorous, is precisely speaking, and essentially dif- 
 ferent from singing : if we suppose this to have been the con- 
 versation pronunciation of the Greeks and Romans, it may pos- 
 sibly throw some light upon the manner in which they pro- 
 nounced by accent and quantity at the same time ; for though 
 
 manner of speaking, was looked upon at first as a great defect. He wanted, 
 they said, the holy tone. 
 
 * This cant, which, though disgnstful now to all but mere rustics, on account 
 of its being out of fashion, was very probably the favourite modulation in which 
 heroic verses were recited by our ancestors. So fluctuating are the taste and 
 practices of mankind! but whether tlie power of language has received any ad- 
 vantage from the change just mentioned (namely, pronouncing words in a more 
 simple manner) will appear at least very doubtful, when we recollect the stories 
 of its former triumphs, and the inherent charms of musical sounds. The Art <\) 
 delivering Written Language, page 73. 
 
282 OBSERVATIONS ON THE 
 
 we can sufficiently conceive, that in common speaking in our own 
 language we can make the accented syllable short, and the unac- 
 cented syllable long, as in the words qualify, specify, elbow, in- 
 mate, &c. ; yet in the drawling pronunciation we have been speak- 
 ing of, the long unaccented vowels in these words are made much 
 longer, and consequently more perceptible. 
 
 35. But, if the accent of our language is so different from 
 that of the Greek and Latin, our pronunciation must necessarily 
 be very different likewise. The acute accent of the ancients 
 being always higher than either the preceding or succeeding syl- 
 lables, and our accent, though always higher than the preceding, 
 being sometimes lower than the succeeding syllables, (see sect, vii.) 
 there must certainly be a wide difference between our pronunci- 
 ation and theirs. Let us, however, explain the Greek and Latin 
 accent as we will, let it be by singing, drawling, or common 
 speaking, it will be impossible to tell how a monotony could be 
 avoided, when almost every word of more than one syllable in 
 these languages must necessarily have ended in the same tone, or, 
 if you will, with the same grave accent*. 
 
 36. After all, that the Greeks and Romans, in explaining the 
 causes of metrical and prosaic harmony, should sometimes de- 
 scend to such minute particularsf as appear to us trifling and 
 imaginary, and at the same time neglect things which appear to 
 
 * Where was all that endless variety with which the moderns puff off the 
 Greek language, when it had but one circumflex? The human voice is just as 
 capable of falling and rising upon the same syllable as rising and falling ; and 
 why so palpable a combination of sounds as the former should be utterly 
 unknown to the Greeks and Latins, can be resolved into nothing but (horresco 
 referens) their ignorance of the principles of human speech. 
 
 f Nee illi(Demostlieni)turpe videbatur vel optimis relictis magistris ad canes 
 se conferre, et ab illis literae vim et naturam petere, illorumque in sonando, 
 quod satis esset, morem imitari. Ad. Meker. de vet. et rect. Pron. Ling. Graces, 
 page 14. 
 
 It 
 
GREEK AND LATIN ACCENT. 
 
 us so essential ; that they should be so dark, and sometimes so 
 contradictory in their account of accent and quantity, as to 
 furnish opposite systems among the modems, with ample quota- 
 tions in favour of each ; is this more wonderful than that Mr. 
 Sheridan*, who was so good an actor, and who had spent so 
 much time in studying and writing on elocution, should say 
 that accent was only a louder pronunciation of the accented syl- 
 lable, and not a higher ? But as this same Mr. Sheridan, in his 
 Art of Reading, has excellently observed, that our perception of 
 Latin quantity is imaginary, and arises not from the ear, but only 
 from association, like spelling ; so it may be observed, that the 
 
 It is an observation of Chambers, author of the Cyclopaedia, that nonsense 
 sounds worse in the English than in any other language : let us try the experiment 
 by translating the above passage. " Nor did Demosthenes think it below him to 
 " leave the company of the most respectable people of Athens, and go to the 
 " dogs, in order to learn from them the nature of the letter r, and, by observing 
 " the sound they gave it, to imitate, as much as was necessary, their manner of 
 " pronouncing it." 
 
 What encomiums do we meet with in Cicero, of the delicacy of the ears even 
 of the common people of Rome ; who, if an actor on the stage made the least 
 error in accent or quantity, were immediately sensible of it, and would express 
 their disapprobation. But I am apt to think, that an English actor, who should 
 pronounce theatre, senator, or conquest, with the accent on the second syllable, 
 would not escape better than the Roman. 
 
 * " The Scotchman utters the first syllable of battle, borrow, habit, in the 
 " middle tone, dwelling on the vowel ; and the second with a sudden elevation 
 " of the voice, and short : as bai-tle, bau-ro, ha-bit. The Englishman utters both 
 " syllables without any perceptible change of tone and in equal time, as bat' tie, 
 " bar' row, haVit." Art of Reading, page 77. The smallest degree of attention 
 might have taught Mr. Sheridan, that though this is the prevailing, it is not the 
 invariable, pronunciation of a Scotchman ; and that this elevation of voice, 
 though more perceptible in a Scotchman from his drawling out his tones, is no 
 less real in an Englishman, who pronounces them quicker, and uses them less fre- 
 quently; that is, he mixes the downward inflexion with them, which prbduces 
 a variety. But these two inflexions of voice Mr. Sheridan was an utter stranger 
 to. See Elements of Elocution, part II. page 183. 
 
284 OBSERVATIONS ON THE 
 
 confusion and obscurity which reign among all our writers on 
 accent and quantity seem to arise from an ideal perception of 
 long quantity produced by double consonants ; from confounding 
 stress and quantity, which are so totally different ; and from mis- 
 taking loud for high, and soft for low, contrary to the clearest 
 definitions of each*. 
 
 37. But till the human voice, which is the same in all ages 
 and nations, is more studied and better understood, and till a 
 
 * Nothing is more fallacious than that perception we seem to have of the 
 sound of words being expressive of the ideas, and becoming, as Pope calls it, 
 an echo to the sense. This coincidence, as Dr. Johnson observes in one of his 
 Ramblers, seldom exists any where but in the imagination of the readei. 
 Dryden, who often wrote as carelessly as he thought, and often thought as care- 
 lessly as he lived, began a commendation of the sweetness and smoothness of 
 two lines of Denham in praise of the Thames 
 
 " Though deep yet clear, though gentle yet not dull ; 
 " Strong without rage, without o'erflowing full." 
 
 and this commendation of Dryden's has been echoed by all subsequent writers, 
 who have taken it for granted, that there is a flow in the lines similar to that of 
 the object described ; while the least attention to those stops, so necessary on 
 the accented and antithetic words, will soon convince us, that, however expres- 
 sive the lines may be, they are as rugged and as little musical as almost any in 
 the language. 
 
 A celebrated critic observes " I am apt to think the harmony of the verse 
 " was a secret to Mr. Dryden, since it is evident he was not acquainted with 
 " the caesural stops, by which all numbers are harmonised. Dr. Bentley has ob- 
 " served, the beauty of the second verse consists in the ictus that sounds on the 
 " first syllable of the verse, which, in English heroics, should sound on the 
 " second : for this verse is derived from the Trimeter Iambic, Brachycatalectic." 
 Manwaring's Stichology, page 71. 
 
 When I read such profound observations in such learned terms, it brings to 
 my mind the Mock Doctor in the farce, who shines away to the illiterate knight 
 by repeating Propria qua maribus, &c., and makes him most pathetically 
 exclaim Oh, why did I neglect my studies ? 
 
GREEK AND LATIN ACCENT. 285 
 
 notation of speaking sounds is adopted, I despair of conveying 
 my ideas of this subject with sufficient clearness upon paper. I 
 have, however, marked such an outline as may be easily filled up 
 by those who study speaking with half the attention they must do 
 music. From an entire conviction, that the ancients had a no- 
 tation of speaking sounds, and from the actual experience of hav- 
 ing formed one myself, I think I can foresee that some future 
 philosophical inquirer, with more learning, more leisure, and 
 more credit with the world than I have, will be able to unravel 
 this mystery in letters, which has so long been the opprobrium et 
 crux grammaticorwn, the reproach and torment of grammarians. 
 
 THE END. 
 
 New 
 
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 Chancery-Lane /London. 
 
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 lately been published by the same Proprietors. 
 
 I. 
 
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 EXPOSITOR OF THE ENGLISH LANGUAGE. 
 
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