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Updated: May 27, 2025
but time and again in Chaucer's lines we find that if we allow the words their natural English stresses, we break up the music altogether; whereas if we read them like French, without syllabic accent, they make a very reasonable music indeed.
Young's specific discoveries were these: That many of the pictures of the hieroglyphics stand for the names of the objects actually delineated; that other pictures are sometimes only symbolic; that plural numbers are represented by repetition; that numerals are represented by dashes; that hieroglyphics may read either from the right or from the left, but always from the direction in which the animal and human figures face; that proper names are surrounded by a graven oval ring, making what he called a cartouche; that the cartouches of the preserved portion of the Rosetta Stone stand for the name of Ptolemy alone; that the presence of a female figure after such cartouches in other inscriptions always denotes the female sex; that within the cartouches the hieroglyphic symbols have a positively phonetic value, either alphabetic or syllabic; and that several different characters may have the same phonetic value.
In their own language they used the syllabic characters, invented and perfected by the Reverend James Evans, the founder of this mission. These syllabics, as their name indicates, each represent a syllable. The result is there is no spelling, and just as soon as a pupil, young or old, has once mastered these characters he begins to read.
The ancient Roman ballads were in what is called Saturnian meter, which depends on stress and accent; it is not unlike the meter of the Scotch and English ballads. That means that old Latin was spoken like English is, with syllabic accent. But Greek was not. In that, what counted, what made the meters, was tone and quantity.
But at a certain stage this method was abandoned, and teachers came with pictorial symbols of words. They invented visible characters to signify words, syllables, sounds. Thus came alphabetical writing, syllabic writing, verbal writing, into the world.
He was even observed on a calm day to watch these waifs as they floated off, and was confidently believed to recognise them as his own property, while in such language as he knew, which was not syllabic, he talked and scolded at them, as if, in spite of facts, he meant to charge them with being down there entirely through their own perversity.
Yet again these pictures may stand neither as pictures of things nor as ideographs, but as having the phonetic value of a syllable. Such syllabic signs may be used either singly, as above, or in combination, as illustrated below. But one other stage of evolution is possible, namely, the use of signs with a purely alphabetical significance.
Instead of building with the arrow-head a multitude of syllabic characters, including many homophones, as had been and continued to be the custom with the Assyrians, the Persians selected a few of these characters and ascribed to them phonetic values that were almost purely alphabetic.
He chooses his words with measured caution. He is what is known as a smooth talker. The torpedo talker is of the rapid fire explosive variety. He bursts into a conversation. He scatters labials, dentals, and gutturals in all directions. He is a war-time talker, boom, burst, bang, roar, crash, thud! He fills the air with vocal bullets and syllabic shrapnel.
It is agreed that the so-called "letters" are nothing more than copies of marks produced by the action of fire upon bones used in divination. The Japanese cleverly adapted the Chinese ideographs to syllabic purposes, but they never devised a script of their own. *Kanekata, who wrote the Shaku Nihongi in the era 1264 1274.
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