The reverse of this is true at Ch’á-p’ú and Hái-ning to the South-west of Sháng-hái, where the penultimate takes the accent.
II. A secondary accent occurs in groups of three, which rests on the most significant word, or on the tones naturally requiring most stress of voice, the first and third.
III. An interchange takes places between the second and third tones, when either of them stands before a word which is the same in tone.
IV. The first tone becomes the lower first, i e. even, low and rising at the end, when standing last, if the word preceding takes the accent. After the third tone, upper and lower, it does not vary.
V. The first tone is lengthened in time in the penultimate, when the stress of the voice is on the last word, and the third, when in that position, shortened.
VI. The upper tones tend to fall in key, where they come after the first tone, and when they do so, always preserve their initial consonants. After any other tone, they usually keep their proper elevation.
34. In entering on the lower tones we meet with new consonants, G, D, B, NG, N, M, L, R. The exceptions will be found noticed in [Art. 56].
Lower first tone. This is a long low tone deflected upwards at the end. East of the Hwáng-p’ú river and in the city of Sháng-hái, this tone is as here described. But to the westward of that river, the quick low circumflex very soon takes its place, and is met with to the immediate neighbourhood of Sú-cheú and Háng-cheú. It appears to consist of a quick rising and quick falling tone pronounced rapidly together.
Ex. 篷 póng, sail; 龍 lóng, dragon; 門 mun, door.
35. Examples of this tone in the penultimate of a combination of two.