with the end of the word or syllable.  Thus a monosyllable, considered singly, rises from a lower to a higher tone in the question No? which may therefore be called the acute ACCENT:  and falls from a higher to a lower tone upon the same word in the answer No, which may therefore be called the grave [ACCENT].”—­Walker’s Key, p. 316.  Thus he tells of different accents on “a monosyllable,” which, by his own showing, “cannot be said to have any accent”! and others read and copy the text with as little suspicion of its inconsistency!  See Worcester’s Universal and Critical Dictionary, p. 934.

[476] In Humphrey’s English Prosody, cadence is taken for the reverse of accent, and is obviously identified or confounded with short quantity, or what the author inclines to call “small quantity.”  He defines it as follows:  “Cadence is the reverse or counterpart to accent; a falling or depression of voice on syllables unaccented:  and by which the sound is shortened and depressed.”—­P. 3.  This is not exactly what is generally understood by the word cadence.  Lord Kames also contrasts cadence with accent; but, by the latter term, he seems to have meant something different from our ordinary accent.  “Sometimes to humour the sense,” says he, “and sometimes the melody, a particular syllable is sounded in a higher tone; and this is termed accenting a syllable, or gracing it with an accent.  Opposed to the accent, is the cadence, which I have not mentioned as one of the requisites of verse, because it is entirely regulated by the sense, and hath no peculiar relation to verse.”—­Elements of Criticism, Vol. ii, p. 78.

[477] The Latin term, (made plural to agree with verba, words,) is subaudita, underheard—­the perfect participle of subaudio, to underhear.  Hence the noun, subauditio, subaudition, the recognition of ellipses.

[478] “Thus, in the Proverbs of all Languages, many Words are usually left to be supplied from the trite obvious Nature of what they express; as, out of Sight out of Mind; the more the merrier, &c.”—­W.  Ward’s Pract.  Gram., p. 147.

[479] Lindley Murray and some others say, “As the ellipsis occurs in almost every sentence in the English language, numerous examples of it might be given.”—­Murray’s Gram., p. 220; Weld’s, 292; Fisk’s, 147.  They could, without doubt, have exhibited many true specimens of Ellipsis; but most of those which they have given, are only fanciful and false ones; and their notion of the frequency of the figure, is monstrously hyperbolical.