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
J. M'Creery, Tooks-Court,
Chancery-Lane /London.
New Editions of the following Works, written by MR. WALKER, have
lately been published by the same Proprietors.
I.
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AND
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In which the meaning of every Word is explained, the Sound of
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