The tonal opposition rising ~ falling is hence generally possible only in the first accented syllable of polysyllabic words, and the opposition by lengths, long ~ short, is possible even in the non-accented syllable as well as in the postaccented syllable ( but not in the preaccented position ).
42.
The tonal opposition rising ~ falling is hence generally only possible in the first accented syllable of polysyllabic words, while the opposition by lengths, long ~ short, is possible even in the non-accented syllable as well as in the post-accented syllable ( but not in the pre-accented position ).
43.
The 15th edition of " The Chicago Manual of Style " recommended the traditional practice, which included providing for several exceptions to accommodate spoken usage such as the omission of the extra " s " after a polysyllabic word ending in a sibilant, but the 16th edition no longer recommends omitting the extra " s ".
44.
In the Rapanui texts, some two dozen common polysyllabic words, such as " ariki "'leader', " ingoa "'name', and " rua "'two', have the same frequency as a score of syllables, while other syllables such as are less frequent than these words.
45.
A toneless or 4th-tone zero rime is omitted at the end of a polysyllabic word . ( Words ending in " r?" ( �e )'day'are an exception, to prevent confusion with the " erhua " suffix . ) When context makes it unambiguous, the zero rime in other tones may also be omitted.
46.
Monotonic orthography, adopted in 1982, replaces the ancient diacritics with just two : the acute accent ( " t�nos ", e . g . ), used to mark the stressed syllable in polysyllabic words, and the diaeresis ( " dialytik?", e . g . ), which indicates that the vowel is not part of a digraph.
47.
It uses only a single accent mark, the acute ( also known in this context as " tonos ", i . e . simply " accent " ), marking the stressed syllable of polysyllabic words, and occasionally the diaeresis to distinguish diphthongal from digraph readings in pairs of vowel letters, making this monotonic system very similar to the accent mark system used in Spanish.
48.
These are described as " tonal word accents " by Scandinavian linguists, because there is a set number of tone patterns for polysyllabic words ( in this case, two ) that is independent of the number of syllables in the word; in more prototypical pitch-accent languages, the number of possible tone patterns is not set but increases in proportion to the number of syllables.
49.
On the subject of the game's humor, Linkola noted that " there are many visual jokes, but the backbone of the game is in its witty dialogue ", and as such this gave the game a " replayability value " as players may pick up on jokes based on " verbal acrobatics, on the use of polysyllabic words, old English and other such oddities " that they missed the first time around.
50.
The "'rhythm "'of language is infinitely varied; all aspects of language contribute to it : loudness, pitch, duration, pause, syntax, repeated elements, length of phrases, frequency of polysyllabic words . . . As C . S . Lewis observes, " [ i ] f the scansion of a line meant all the phonetic facts, no two lines would scan the same way ".
