1825.] 
tated a cow in the pit of Covent Garden 
theatre ; &c. &e. 
We must resign the work, however, to 
the more elaborate criticism of those to 
whose taste such collections are more con- 
genial; and, as we have only looked into it, 
will not attempt any quotations, lest not 
haying read the whole we should not do 
the compiler the justice of selecting the 
best. 
Truth and Fashion ; a Sketch, by F. B., 
in 2 vols. 12mo.—These two volumes con- 
tain a Sketch of the unhappy results from 
an early initiation into the World of Fa- 
shion, whereby the object (who is naturally 
gifted with a disposition attuned to the 
best feelings of our nature) becomes a com- 
plete heartless votary and victim of folly. 
It is contrasted with the quiet and 
straight-forward life of retirement—to shew 
the contentment_and happiness to be found 
in the paths of peace and simplicity. 
The modern Greek Grammar of Julius 
David, formerly one of the Professors in 
the Greek College of Scio; translated from 
the original French, by the Rev. GEorcE 
Winnock, a.3., of Magdalen Hall, Ox- 
ford, Chaplain ts the Forces in the Ionian 
Islands, 8vo.—If Mr. W. has translated 
the language of Mons. David’s grammar, 
he certainly has not the types; for the 
letter, and the press-work too, are most 
assuredly as good French still as ever they 
were in the printing-house at Paris; and 
the same may be said of the paper. In 
other words, notwithstanding the imprint 
of the title-page, this is obviously a pro- 
duction not of the English, but of the 
French press. It is none the worse for 
that, however, except to the eye,—for the 
press has evidently had an English oyver- 
looker. To those who are desirous, or 
who may have occasion to make them- 
selves acquainted with the. Romaic or 
modern Greek, it will be an acceptable 
present ; and the translator is entitled to 
their thanks for having shortened their 
road by a new turnpike, which precludes 
the circuitous route through the French, 
and: opening a direct communication be- 
tween the English and Hellenic tongue. 
Eyen classical scholars, and some clas- 
sical teachers, seem to be recovering so 
much of their senses, which for centuries 
had been lost, as to be ready to give gene- 
ral application to the concluding sentence 
of the translator’s brief advertisement. 
** If, however, the work be of any value to an 
Englishman, it is most certainly worthy of appear- 
ing in an English costume, for as, in sound logic, it 
isa manifest error to explain ore term by another, 
more, or equally obscure or difficult; and it is the 
perfection of illustration to use the easiest and most 
explicit—so, in a science materially connected, as 
grammar is, with sound reasoning, it is at length 
> 
the great wonder ? expecting, of course, vast thanks 
for the raree-show. ‘* O!” replied Macp., “I like 
your great bear vastly—so here’s half-a-crown for 
you, for I ought to reward-the showman.” ’ 
Domestic and Foreign. 
551 
fortunately, deemed an absurdity to teach one 
foreign language through the medium of another, 
whenever the master can avail himself of the lan- 
guage of his pupil. 
There is, however, another discovery 
which we wish to see in like progress, 
namely, a perception of the importance 
that those who write upon the subject of 
grammar, or any other science, should de- 
fine, with correct discrimination, the terms 
of instruction they make use of. When, 
for example, will our grammarians learn to 
confine the term accent to one simpie 
and direct signification—that signification 
which old Ben Johnson, in his grammar, 
so accurately defines, “‘ the lifting of the 
voice up, or letting it down in the musical 
scale ;’ and which Steele, in his Prosodia 
Rationalis, has so well and so amply illus- 
trated. 
«« The accent of the Greek,” says our author, ‘is 
an elevation of voice, communicated to one of the 
syllables of a word, so that that syllable, striking 
the ear ina more sensible and emphatic manner, 
appears to predominate over the rest.” 
According to which, it should seem that 
there was but one mode of accent, and that 
acute ; it was by elevation of the voice 
alone, that any syllable could be made 
emphatically predominant oyer others : 
whereas it is a demonstrable fact, that 
such emphasis (as it is here called) can be 
given as easily with a grave as with an 
acute inflection; and the author himself 
says, a little further on (in terms, by the 
way, not a little contradictory and econ- 
fused), ‘‘ three signs are in use to indicate 
the accent or elevation of the voice on a 
syllable, the acute (‘), the grave (‘), and 
the circumflex (-).’’ A grave elevation of 
the voice—that is to say, a falling aseent— 
ought, one would think, to‘belong only to 
the grammar of a much nearer country than 
Greece. Equally difficult it would be to 
understand the meaning of what imme- 
diately follows. 
*« The acute and the grave have always been equi- 
valents, though they have affected different parts of 
a word; but it is highly probable that the circum- 
flex originally served to indicate a different elevation 
of voice from that signified by the other two.” 
But these observations apply rather to 
the general confusion of grammatical terms 
in this department of philology, and the 
want of prosodial analysis, imputable- to 
almost every writer upon such subjects. 
If the grammarian hopes to convey any 
written instruction relative to prosody and 
orthoepical inflection, he must analyze the 
complicated phenomena they involve, and 
give to each separate property and action 
defined, its contradistinguishing and un; 
deviating name, 
Tales of the Crusaders, by the “ Author 
of Waverly,” &c., in 4 vols. 8v0.—From 
some cause, probably connected with the 
fire in Edinburgh, in which the print- 
ing-office of Ballantyne and Co. was con- 
sumed, these tales, promised by adyertise: 
ment 
