444 APPENDIX. 



Rule of Euphony. — In the construction of words, it is required 

 tliat a consonant &\xo\x\^ precede or follow a vowel. In dissyllables 

 wherein two consonants are sounded in juxtaposition, it happens 

 from the joining of two syllables, the first of which ends and the 

 last begins with a consonant, as inuh-kuh^ a box, and os-sin^ a 

 stone ; the utterance in these cases being confluent. But in longer 

 compounds this juxtaposition is generally avoided by throwing 

 in a vowel for the sake of euphony, as in the term assinehwoin, 

 the e in which is a mere connective, and has no meaning by itself. 

 Nor is it allowable for vowels to follow each other in syllabica- 

 tion, except in the restricted instances where the being or exist- 

 ence of a thing or person is affirmed, as in the vowel-words i-e-e 

 and'i-e-a, the animate and inanimate forms of this declaration. 

 In these cases, there is a distinct accent on each vowel. 



4. Accent. — The accent generally falls on full or broad vowels, and 

 never on short vowels ; such accented vowels are always significant, 

 and if they are repeated in a compoand word, the accents are also 

 repeated, the only difference being that there are primary and 

 secondary accents. Thus, in the long descriptive name for a horse, 

 Pa-hd-zliilc-u-ga-zM^ which is compounded of a numeral term and 

 two nouns, meaning, the animal with solid hoofs ; there are three 

 accents, the first of whieh is primary, while the others succeed 

 each other with decreased intensity. By a table of words which 

 I have constructed, and had carefully pronounced over by the 

 natives, it is denoted that dissyllables are generally accented on 

 the final syllable,, trisyllables on the second, and words of four 

 syllables on the second and fourth. But these indications may 

 not be constant or universal, as it is perceived that the accents 

 vary agreeably to the distribution of the full and significant 

 vowels. 



5. Em2iJi.asis. — Stress is laid on particular words in sentences to 

 which the speaker designs to impart force, and the whole tone of the 

 entire sentiment and passages is often adapted to convey particular 

 impressions. This trait more frequently comes out in the private 

 narrative of real or imaginary scenes, in which the narrator assumes 

 the very voice and tone of the real or supposed actor. Generally, 

 in their dealings and colloquial intercourse, there is a significant 

 stress laid on the terms, meenungaika., certainly ; Jcaigait, truly ; 

 haugaigo, nothing at all; tiau^ behold; tvolmv, who; auwanain, 



