to take off the friction of moving upon the ribs, HH. These wheels
are shown at _fig._ 4., which is a section of the screw and the
platen, with the carriage beneath it: their axles, _n_, are fitted to
springs, _p_, and these are adjustable by means of screws, _r_, so
that the carriage will be borne up to any required height. This is so
regulated, that when the carriage is run into the press, its lower
surface shall bear lightly upon the solid cheeks, G, which are part
of the body of the press, and these support it when the pressure is
applied, the same as the winter of the old press: but the wheels by
their springs act to bear up great part of the weight of the carriage
with the types upon it, and diminish the friction, yet do not destroy
the contact of the carriage upon the ribs, because this would not
give the carriage that solidity of bearing which is requisite for
resisting the pull. This is only at the time when the carriage is
run into the press, because as it runs out, the ribs on which the
wheels run rise higher, and therefore the wheels support the whole
weight. The manner in which the wheels run in rebates or recesses
in the edges of the ribs is shown at _fig_. 1. The carriage is made
of cast iron, in the form of a box, with several cross partitions,
which are all cast in one piece, and although made of thin metal, are
exceedingly strong: the upper surface is made truly flat, by turning
it in a lathe. The same of the platen, which is likewise a shallow
box: the slider, _d_, has a plate formed on the lower end of it,
which is fixed by four screws upon the top of the platen, and thus
they are united. At the four angles of the carriage, pieces of iron
are screwed on, to form bearings for the quoins or wedges which are
driven in to fasten the form of types upon it in the true position
for printing. The tympan, P, (_fig._ 2.) is attached to the carriage
by joints, with an iron bracket or stop to catch it when it is thrown
back: the frisket, R, is joined to the tympan, and when opened out,
rests against a frame suspended from the ceiling. The register
points are the same as in the wooden press, and all the operations
of working are exactly the same. The iron frame, A, of the press is
screwed down upon the wooden base, M, by bolts, which pass through
feet, _s s_, projecting from the lower part of the iron frame.
Another wooden beam is fixed into the former at right angles, so as
to form a cross, which lies upon the floor. The ribs, H, for the
carriage to run upon are supported from the wooden base by an iron
bracket, T.
The advantages of the iron presses in working are very considerable,
both in saving labour and time. The first arises from the beautiful
contrivance of the levers, the power of the press being almost
incalculable at the moment of producing the impression; and this is
not attended with a correspondent loss of time, as is the case in
all other mechanical powers, because the power is only exerted at
the moment of pressure, being before that adapted to bring down the
platen as quickly as possible. This great power of the press admits
of a saving of time, by printing the whole sheet of paper at one
pull, the platen being made sufficiently large for that purpose;
whereas, in the old press, the platen is only half the size of the
sheet. In the Stanhope press, the whole surface is printed at once,
with far less power upon the handle than the old press. This arises
not only from the levers, but from the iron framing of the press,
which will not admit of any yielding, as the wood always does, and
indeed is intended to do, the head being packed up with elastic
substances, such as scaleboard, pasteboard, and the felt of an old
hat. In this case much power is lost, for in an elastic press the
pressure is gained by screwing or straining the parts up to a certain
degree of tension, and the effort to return produces the pressure:
now in this case, the handle will make a considerable effort to
return, which, though it is in reality giving back to the workman a
portion of the power he exerted on the press, is only an additional
labour, as it obliges him to bear the strain a longer time than he
otherwise would. The iron presses have very little elasticity, and
those who use them find it advantageous to diminish the thickness of
the blankets in the tympan; the lever has then very little tendency
to return; in fact, if the pull be so justified as that, when the
bar is pulled home, the end of the lever, _i_, that is attached to
the connecting rod, _h_, passes in a small degree the centre of the
second spindle, _l_, the pressure is past its maximum power, the
press bar has no tendency to return, and the pressman can rest upon
his pull in fine work, without any exertion.
STATIONERS’ COMPANY. _See_ DONATIONS.
STEM.
--The straight flat strokes of a straight letter is called stem.--_M._
STEREOTYPE.
--The surface of a page of types cast in one piece, of type metal,
about the eighth of an inch thick, and turned in a lathe at the back
of the plate, so that the whole of the plates of a volume shall be of
one uniform thickness.
When they are required to be printed they are mounted on what are
called Risers: these risers, with the thickness of the stereotype
plate, are precisely the same height as the types, so that when a
form is composed of stereotype plates and types, the pressure shall
be equal on both.--_See_ RISERS.
The spaces and quadrats are cast higher than for the common
process; and when the form is ready, the face of it is oiled with
a brush, then burnt plaster of Paris (gypsum) mixed with water to
the consistence of cream is poured upon it; when the plaster is
sufficiently hardened it is taken off from the types and forms a
matrix in which to cast a facsimile of the types; this matrix is then
placed in an oven to dry, and made hot, when it is secured in a frame
and immersed in a caldron of melted metal, where it remains some
time; when it is taken out, and cool, it goes to a person styled the
Picker, to remove any superfluous metal, and to remedy any defects;
it is then, generally, turned at the back to a specific thickness,
and to remove any inequalities; after this it is ready for press. For
the details of the process I refer the reader to “An Essay on the
Origin and Progress of Stereotype Printing: including a Description
of the various Processes. By Thomas Hodgson, Newcastle: printed by
and for S. Hodgson, &c. 1820.”
This process was first practised by William Ged, of Edinburgh, who
commenced in the year 1725. After much perseverance he formed an
engagement with the University of Cambridge to print Bibles and
Prayer-books; but the plan received so much opposition from the
workmen, in making errors and batters, that it was discontinued, and
the plates were ultimately sent to Mr. Caslon’s foundery to be melted
down. Mr. Hansard, in his Typographia says,--“But a remnant escaped
from Caslon’s cormorant crucible; and I have the opportunity of here
presenting my readers with an opposite view of a pair of the very
malefactors; and challenge any other to dispute the palm of venerable
antiquity with them: they have been rather roughly treated, but
besides the purpose for which they are here exhibited, will serve to
show the style of type, typography, and stereotype of those days.”
Mr. Tilloch had a page of Ged’s casting given to him by Mr. Murray,
of Fleet Street, bookseller, which I have seen: there is also a plate
of Ged’s casting, at the Royal Institution, containing fourteen
pages of a Common Prayer, presented by Mr. Frederick Kanmacher,
of Apothecaries Hall, from which I had impressions printed.--See
“Biographical Memoirs of William Ged. By John Nichols.” 8vo.
London, 1781. “Dissertation upon English Typographical Founders and
Founderies, by Edward Rowe Mores, A. M. and A. S. S.”
STEREOTYPE-PLATE RISERS. _See_ RISERS.
STET.
When a word has been struck out, in reading a proof, and it is
afterwards decided that it shall remain, then it is usual to make
dots under the word which has had the pen run through it and write
the word _stet_ opposite to it in the margin, which is the third
person singular, imperative mood, of the neuter verb _sto_, to stand,
to endure, or abide.--_See_ CORRECTING.
STICK.
The composing stick, commonly so called.--_M._ _See_ COMPOSING STICK.
STICKFULL.
When a compositor has arranged as many lines in his composing stick
as it will contain, it is termed a stickfull.--_M._
STIFF JUSTIFYING. _See_ HARD JUSTIFYING.
STOLEN PROPERTY.
The Act of the 25th of Geo. II. c. 36. s. 1. inflicted a penalty
of fifty pounds upon any person who should print or publish any
advertisement offering a reward for the recovery of any property
that had been stolen and no questions asked; this section has been
repealed by the Act of the 7 & 8 Geo. IV. c. 27., one of Mr. Peel’s
Acts; and by another of Mr. Peel’s Acts, of the 7 & 8 Geo. IV. c.
29. s. 59., it is re-enacted, with some verbal alterations and the
addition of the words “or lost,” as may be perceived by the following
extract, which it is of importance for printers to be acquainted
with.
s. 59. “That if any Person shall publicly advertise a Reward for
the Return of any Property whatsoever, which shall have been
stolen or lost, and shall in such Advertisement use any Words
purporting that no Questions will be asked, or shall make use of
any Words in any public Advertisements purporting that a Reward
will be given or paid for any Property which shall have been
stolen or lost, without seizing or making any Enquiry after the
Person producing such Property, or shall promise or offer in any
such public Advertisement to return to any Pawnbroker or other
Person who may have bought or advanced Money by Way of Loan upon
any Property stolen or lost, the Money so paid or advanced, or
any other Sum of Money or Reward for the Return of such Property,
or if any Person shall print or publish any such Advertisement,
in any of the above Cases, every such Person shall forfeit the
Sum of Fifty Pounds for every such Offence, to any Person who
will sue for the same by Action of Debt, to be recovered with
full Costs of Suit.”
s. 69. By this section it is enacted, “That it shall be lawful
for the King’s Majesty to extend his Royal Mercy to any Person
imprisoned by virtue of this Act, although he shall be imprisoned
for Nonpayment of Money to some Party other than the Crown.”
STOPS. _See_ POINTS.
STRAHAN, ANDREW. _See_ DONATIONS.
STRAHAN, WILLIAM. _See_ DONATIONS.
STRIP A FORM.
Taking the furniture away from the pages.--_M._
STROKES.
Strokes are fat, lean, fine, hair.--_M._ The hair strokes of letters
are now termed _ceriphs_ by the founders.
STRONG INK.
Ink made with a powerfully binding varnish, so as to prevent the
separation of the colouring matter and the spread of the varnish in
the paper. It is usually made with superior colouring materials, and
more care taken in grinding it than with common ink. _See_ ENGRAVINGS
ON WOOD; FINE PRESSWORK; and for more details I refer the reader to
my treatise on the Preparation of Printing Ink.
STUD.
A piece of hardened steel, a little hollowed at the top, on which the
toe of the spindle works. It is square on the outside, and fitted
into the cup of the platen, but so as to be taken out, when it wants
altering or repairing.
SUMMER.
In a press, a piece of wood nailed across the wooden ribs on the
under side, close to the winter, to keep them steady in their place.
In Moxon’s time a summer was for a different purpose; viz. to
prevent the cheeks of the press from springing open; the winter was
dovetailed into the cheeks, to answer this purpose: after describing
the winter, he adds--
“But yet I think it very convenient to have a _Summer_ also, the more
firmly and surer to keep the cheeks together; this _Summer_ is only
a Rail _Tennanted_, and let into Mortesses made in the inside of the
_Cheeks_, and Screwed to them with long Screws, similar to those used
for _Bed-Posts_; its depth four Inches and an half, and its breadth
eight Inches, _viz._ the breadth of the _Cheeks_.”
SUNDAY, PUBLIC MEETING ON. _See_ PUBLIC MEETINGS.
SUPERIORS.
Superiors are small letters and figures, upon the upper part of the
shank of the body, so that they range with the top of the letter to
which they belong; as, ^{abcdefgh}, ^{1234567890}; they are generally
used as references to notes, and occasionally in abbreviated words;
as M^r, Master; M^{rs}, Mistress; D^o, Ditto; N^o, (Numero,) for
Number, and in many other instances; also in contracted words, in the
printed Records. _See_ RECORDS. REFERENCES. It would be a convenience
if the type founders would cast the , ; : and . to them, as it has
not a good appearance, when a point is necessary, to see a comma or
any other point used that has been cast for the regular body; it is
too large, and does not range in line.
SUPERNUMERARIES. _See_ NEWSPAPERS.
SWASH LETTERS.
In the seventeenth century Italick capitals, in which some of the
letters had their terminations projecting considerably beyond the
shank, were in use: this projection was called a swash; as--
[Illustration: The Alphabet of swash letters (italic capitals)]
SWEDISH.
[Illustration: The Swedish Alphabet]
The Swedish Alphabet consists of twenty-eight letters.
+--------------------------------------------------------------------+
| Name and Figure. Power. |
+-----+---------------+----------------------------------------------+
| A | ~A a~ | sounds like the English _a_ in _psalm_. |
| B | ~B b~ | be |
| C | ~C c~ | ce |
| D | ~D d~ | de |
| E | ~E e~ | has a sound between the _slender a_ and the _e_, |
| | | or as it is commonly pronounced in the article |
| | | _the_, _de_. |
| F | ~F f~ | f |
| G | ~G g~ | ge |
| H | ~H h~ | ho |
| I | ~I i j~ | sounds like the English _ee_ in _bee_, _bi_. |
| J | | longt i (i. e. _long i_) |
| K | ~K k~ | ko |
| L | ~L l~ | l |
| M | ~M m~ | m |
| N | ~N n~ | n |
| O | ~O o~ | (the Greek ω) sounds nearest to the _narrow oo_ |
| | | in _rood_. |
| P | ~P p~ | pe |
| Q | ~Q q~ | koo |
| R | ~R r~ | err |
| S | ~S s~ | s |
| T | ~T t~ | te |
| U | ~U u~ | sounds like the English _u_ in _ruin_. |
| V | ~V v~ | ve |
| W | ~W w~ | |
| X | ~X x~ | ex |
| Y | ~Y y~ | sounds like the French _u_ in _une_, _syn_, |
| | | sight. |
| Z | ~Z z~ | satah |
| Å | ~Å å~ | sounds like the English _o_ in _long_, _lång_. |
| Ä | ~Ä* ä~ | sounds like the English _a_ in _name_, _nämna_. |
| Ö | ~Ö* ö~ | sounds like the French _eu_ in _feu_; _bröd_, |
| | | bread, or nearest to _i_ before _r_, as in |
| | | _thirsty_, _törstig_. |
+--------------------------------------------------------------------+
The order they here stand in is that of the Swedish Alphabet.
* These letters in the Roman characters are Ä and Ö.
The Swedish language has no diphthongs. When two vowels occur
together, they must both be heard, as _bēēdiga_, brōār.--_Brunnmark’s
Swedish Grammar_. London, 1805.
SWEEPINGS.
When the boys sweep the composing room in a morning, all the letters
and spaces that are on the floor in each frame are carefully gathered
up and placed on the bulk belonging to it, and it is the customary
rule for the compositor to distribute them the first thing; what are
swept together from the middle of the room are collected from the
dust before it is taken away, and put in some appointed place for the
person who has the care of the materials to distribute.
SWIFT. _See_ FIRE EATER.
SYMBOLS, CHEMICAL. _See_ FORMULÆ.
SYRIAC.
Under this appellation are classed three different alphabets.
[Illustration: The Syriac Alphabet]
Key to Column Headers--
U - Unconnected.
F - Final.
M - Medial.
I - Initial.
PL - Powers of the Letters.
NV - Numerical Value.
+--------+----------+-----------------------+------+------+
| Order | Names |Figures of the Letters.| | |
| of the | of the +-----+-----+-----+-----+ PL | NV |
|Letters.| Letters. | U | F | M | I | | |
+--------+----------+-----+-----+-----+-----+------+------+
| 1. | Olaph | ܐ | ܐ | ܐ | ܐ | A. | 1. |
| 2. | Beth | ܒ | ܒ | ܒ | ܒ | B. | 2. |
| 3. | Gomal | ܓ | ܓ | ܓ | ܓ | G. | 3. |
| 4. | Dolath | ܕ | ܕ | ܕ | ܕ | D. | 4. |
| 5. | He | ܗ | ܗ | ܗ | ܗ | H. | 5. |
| 6. | Vau | ܘ | ܘ | ܘ | ܘ | V. | 6. |
| 7. | Zaïn | ܙ | ܙ | ܙ | ܙ | Z. | 7. |
| 8. | Cheth | ܚ | ܚ | ܚ | ܚ | Ch. | 8. |
| 9. | Teth | ܛ | ܛ | ܛ | ܛ | T. | 9. |
| 10. | Jud | ܝ | ܝ | ܝ | ܝ | I. | 10. |
| 11. | Coph | ܟ | ܟ | ܟ | ܟ | C. | 20. |
| 12. | Lomad | ܠ | ܠ | ܠ | ܠ | L. | 30. |
| 13. | Mim | ܡ | ܡ | ܡ | ܡ | M. | 40. |
| 14. | Nun | ܢ | ܢ | ܢ | ܢ | N. | 50. |
| 15. | Semchat | ܣ | ܣ | ܣ | ܣ | S. | 60. |
| 16. | Ngae | ܥ | ܥ | ܥ | ܥ | A. | 70. |
| 17. | Pe | ܦ | ܦ | ܦ | ܦ | P. | 80. |
| 18. | Tzode | ܨ | ܨ | ܨ | ܨ | Tz. | 90. |
| 19. | Koph | ܩ | ܩ | ܩ | ܩ | K. | 100. |
| 20. | Risch | ܪ | ܪ | ܪ | ܪ | R. | 200. |
| 21. | Schin | ܫ | ܫ | ܫ | ܫ | Sch | 300. |
| 22. | Thau | ܬ | ܬ | ܬ | ܬ | T. | 400. |
+--------+----------+-----+-----+-----+-----+------+------+
The first and most ancient of these, called Estranghelo, is formed
with square rectangular characters; another alphabet, a little
smaller, has letters slightly differing from the first, for greater
facility in writing; the third is that known generally by the name of
Syriac, and is the only one existing in type in England. The Syriac
reads from right to left.
Olaph, when followed by Lomad, is written obliquely, as ܐܰܠܗܳܐܳ. But
when Lomad is followed by Olaph, it is written in the beginning of
words thus, ܠܐܳ _not_; in the middle thus, ܓܷܠܿܓ _he is bewailed_;
and at the end thus, ܓܰܠܠ _it rolls_.
The pronunciation of the letters is the same as in Hebrew and
Chaldee; yet it may be observed, (1.) that Olaph, in certain cases,
takes the sound of Jud, as, ܐܳܐܰܪ ojar _air_, ܡܠܵܐܐܵ mlojo
_fulness_, ܣܐܷܵܡ sojem _placing_; (2.) that Vau initial is to be
pronounced ܠܷܗܲܕ as the consonant _v_, but when medial or final, as
the vowel _u_; (3.) that initial Jud with Chebhozo is pronounced as
_i_, as, ܝܻܠܷܦ ileph _he learned_; (4.) that Ngae followed by He has
the sound of ܐܷ, as, ܠܷܗܲܕ ehadh _he remembered_; and (5.) that the
aspirated sibilant Schin has no peculiar point by which it may be
distinguished from the simple sibilant Sin.
The numbers are expressed by the same letters as in Hebrew, excepting
that ܝܗ denotes 15, ܩ 20, and ܢ 50. A point above the line is used
to convert the tens into hundreds, as ܝܿ 100, ܟܿ 200, ܠܿ 300, &c.,
although the four first hundreds may be expressed also by the four
last letters of the alphabet. An oblique line, slanting to the right,
under the first nine letters, serves to denote thousands, as ܐ݈
1000, ܒ݈ 2000; and a similar line, but transverse, designates the
tens of thousands, as ܐ̱ 10,000, ܒ̱ 20,000.
The vowels are five in number, which are represented either by
figures or by points, according as the ancient or modern system is
followed, but very frequently both are met with together. The simple
vowels are--
_A_ _E_ _I_ _O_ _U_
ܐܰ ܐܷ ܐܻ ܐܳ ܐܘܶ
and both figures and points are joined with consonants in the
following manner:--
Petocho ܒܰ or ܒܲ _ba_.
Rebhozo ܒܷ or ܒܸ or ܒֽܸ _be_.
Chebhozo ܒܻ or ܒܹ _bi_.
Zekopho ܒܳ or ܒܵ _bo_.
Ozozo ܒܘܽ or ܒܘܿ or ܒܘܼ _bu_.
Formerly the marks for the vowels _E_ and _I_ were only written below
the line, as ܒܷ _be_ and ܒܻ _bi_; and the vowels _A_, _O_, and
_U_, were only written above, as ܒܰ _ba_, ܒܳ _bo_, ܒܽ _bu_;
but now they are placed sometimes above and sometimes below, as may
be most convenient in writing. The points never change their places.
Zekopho does not give precisely the sound of _o_, but an obscure
sound between _o_ and _a_, as we find in 1 Cor. xvi. 22. ܡܓܳܪܰܢ
ܐܳܬܐ _Maran-atha_, and in Mark xiv. 36. ܐܰܒܳܐ _Abba_.
Ozozo is never written without Vau (ܘ), except in ܒܽܠ _all_, and
ܡܷܓܛܾܠ _because of_.
When the point Ozozo is above the line, it denotes Kibbutz; but when
below the line, Shurek.
The diphthongs are formed by the combination of the vowels with the
points, of which these are the most used, ܓܰܘ _au_, ܓܰܝ _ai_,
ܓܳܝ _oi_, ܘܳ _ou_.
The vowel marks are not always annexed to the letters to which they
belong, but sometimes to the preceding or subsequent letter, and
sometimes omitted altogether, so that grammatical analogy must always
be attended to by the reader, as, for example, in the word ܒܰܢܝܓܳ
_of a son_, the point ܒܰ does not belong to the ܒ over which it
is placed, but to the ܢ following.
Three letters (ܐ ܘ ܝ) become quiescent under certain circumstances.
Olaph, with the vowels Petocho, Rebhozo, and Zekopho
in the middle and at the end of a word; with Chebhozo only at the
end. Vau always with Ozozo, and in foreign names also with Zekopho.
Lastly, Jud with Rebhozo and Chebhozo.
Olaph never allows of sheva before it, but brings its own vowel into
its place, and in that case becomes quiescent.
The vowels are doubtful as respects their quantity, and at one time
are short, and at another long; the difference is to be traced from
analogy.
There are also two points, called Kuschoï and Ruchoch, used for
showing the peculiar power of certain letters, and generally
distinguished in manuscripts by a difference in the colour of the
ink. Kuschoï is a point placed above the six letters ܒ݁ ܓ݁ ܕ݁ ܟ݁
ܦ݁ ܬ݁ _begadcephat_. It answers to the dagesh in Hebrew, and takes
away the aspiration properly belonging to those letters; thus ܒ݁
is equivalent to _b_, ܓ݁ to _g_, ܕ݁ to _d_, ܟ݁ to _k_, ܦ݁
to _p_, ܬ݁ to _t_, also to _bb_, _gg_, _dd_, _kk_, _pp_, _tt_.
Ruchoch is a point placed below the six letters ܒ݂ ܓ݂ ܕ݂ ܟ݂ ܦ݂ ܬ݂
_begadcephat_; it shows that the letters are to be aspirated, and
answers to the Hebrew raphe; thus ܒ݂ is equivalent to _bh_, ܓ݂ to
_gh_, ܕ݂ to _dh_, ܟ݂ to the Greek χ, ܦ݂ to φ, ܬ݂ to θ. These
points are rarely expressed, unless where there is an ambiguity to be
explained.
Besides those before spoken of, certain lines or points are also
employed, having a use partly in orthography, and partly in
etymology. To orthography belong--
1. A small transverse line written above combined numbers, or
contracted words, as ܝ̅ܗ 15, ܬܫܟ̅ܘ for ܬܫܟܘܽܝܛܐܵ _praise_.
2. A similar small line, called _virgula occultans_, under certain
letters, which, when indicated thus, are of no value, and to be
passed over in reading, so as scarcely to be heard in pronunciation.
Thus ܩܳܪܐ ܐ̱ܙܵܐ is not pronounced _kore ano_, but _koreno_; and
ܐܳܡܪ ܐ̱ܙܵܐ not _omar ano_, but _omarno_. Olaph, Dolath, He, Lomad,
Nun, and Risch, are the letters most subject to its influence.
3. A diacritical point, changed in its situation in order to avoid
an ambiguity in reading. The following may be taken as cases of this
sort:--
ܒܝܿܫܐ בַיְשָׁא _miserable_. ܒܝܼܫܐ בִישָׁא _evil_.
ܒܿܟܝܐ בָכְּיָּא _weeping_ (part.). ܒܼܟܝܐ בֶכְיָא _weeping_ (subs.).
ܕܟܙܿܐ דְיָנָא _a judge_. ܕܟܙܼܐ דִינָא _judgment_.
The following belong to etymology:--
1. Two points are used to distinguish the numbers of nouns, because
there is often no variation of case or of termination, or mutation
of letters, to distinguish the singular from the plural. These two
points are called Ribbui, _multitude_, and are placed over the
letter, similarly to the Hebrew tzeri, in this manner ܒ̈. But if
Risch (ܪ), which always has a point above it, to distinguish it
from the Dolath (ܕ), should occur in the word, then the single
point of Risch coalesces with the double point thus, ܩܲܩܪ̈ܐ. In the
verbs, the double point indicates the feminine third person plural of
the preterites.
2. A point is placed beneath the line in all the persons of the
preterite (excepting the first person singular, where it is placed
above), and besides this, the third person singular has another at
the left side.
3. The present active participle has a point above the line, but when
Vau is in the middle of the word, the point is placed below.
4. The infinitive and imperative often have a point placed beneath
them, but this is not regular.
5. The second and third persons of the future have a point below the
line, but the first person has the point above.
6. The imperatives of all the passives require the virgula under the
second vowel.
There are no accents expressed in Syriac. The stress in pronunciation
ought to be laid on the last or penultimate syllables; and in this
respect the analogy of the Chaldee is to be attended to.
In the derivation of words from the Hebrew, letters may frequently
undergo mutation with others of the same class, or of the same organ,
and also sibilants with linguals.
The servile letters are eleven in number, as in Hebrew, and are the
same, saving that Dolath is servile, and on the other hand Schin is
radical.