Page:Gesenius' Hebrew Grammar (1910 Kautzsch-Cowley edition).djvu/120

 ;  ; as also when the tone-syllable of the second word is preceded by a half-syllable, e.g.   (on the Dag. f., cf. );   (cf. ).

According to the above, it must be regarded as anomalous when the Masora throws back the tone of a closed ultima upon a virtually sharpened syllable with a short vowel, e.g., ;  , cf. , ; ; whereas it elsewhere allows a closed penultima to bear the tone only when the ultima is open. Still more anomalous is the placing of the tone on a really sharpened syllable, when the ultima is closed, as in ;  ; cf. also, with Metheg of the secondary tone. We should read either, or, with Frensdorff, Massora Magna, p. 167, Ginsb., Kittel, after Bomb.,. Other abnormal forms are  (for similar instances see, end) and.

(c) In, see i–v.

The meeting of two tone-syllables (see e, f) is avoided also by connecting the words with Maqqeph, in which case the first word entirely loses the tone, e.g.,.

4. Very important changes of the tone and of the vowels are effected by the. By this term is meant the strong stress laid on the tone-syllable in the last word of a sentence (verse) or clause. It is marked by a great distinctive accent, Sillûq, ʾAthnâḥ, and in the accentuation of the books, ʿÔlè weyôrēd. Apart from these principal pauses (the great pause), there are often pausal changes (the lesser pause) with the lesser distinctives, especially Segolta,, Rebhîaʿ, and even with Pašṭa, Tiphḥa, Gereš, and Pazer. In most cases, probably on account of a following guttural or (at the end of a sentence) (cf. e.g.,  [but Ginsb. ], ,  [but Ginsb. ]; before  ) [see also ]. ,, , where ā has , are very irregular, but the lengthening here is probably only to avoid the cacophony šāphṭ ʾĕt. In the same way  (with Mahpakh before ) and   (with Darga before ) are to be explained. The four instances of for  apparently require a different explanation; see .—The theory of Olshausen and others that the phenomena of the  are due entirely to liturgical considerations, i.e. that it is ‘a convenient way of developing the musical value of the final accents by means of fuller forms’ in liturgical reading (Sievers,, i. 236, also explains pausal forms like ,  as ‘late formations of the grammarians’) is contradicted by the fact that similar phenomena are still to be observed in modern vulgar Arabic, where they can only be attributed to rhythmical reasons of a general character.

The changes are as follows:

(a) When the tone-syllable naturally has a short vowel, it as a rule becomes tone-long in, e.g. , ; , ; ,. An ă which has been modified to usually becomes ā in, e.g.  (ground-form qašr) in   ;  ;