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(IPA,obsolete) a rising tone, or, in contrast to low ⟨◌̗⟩, a high rising tone.
(Lithuanian dialectology)Marks a stressed syllable with "falling tone".
(UPA) A palatalized consonant, and in some conventions a palatal consonant. For example, palatalized t́, d́, ś, ź, ń, ĺ; palatalized or palatal ḱ, ǵ, χ́, γ́ and ŋ́ or ή.
Usage notes
The Unicode code point U+0341COMBINING ACUTE TONE MARK is canonically equivalent to U+0301COMBINING ACUTE ACCENT. It was intended for Vietnamese and later deprecated.
(lexicography)Used in glossaries, such as for Latinate technical terms or Classical names, to mark stressed syllables when full pronunciations are not given, as the pronunciation is largely predictable once stress-placement is known.
(poetry,rare)Used to show an unexpectedly stressed syllable, or where the choice of stress is metrically important, e.g. idiosyncratic caléndar; noun rébel as opposed to verb rebél; áll trádes as a spondee rather than iamb.
And in his wound the seared blood did make a gréeuous sound, As when a peece of stéele red who tane vp with tongs is drownd In water by the smith, it spirts and hisseth in the trowgh.
Our hony alſo is taken and reputed to be the beſt bycauſe it is harder, better wrought & clenlyer veſſelled vp, thẽ that which cõmeth from beyond the ſea, where they ſtampe and ſtraine their combes, Bées, & young Blowinges altogither into the ſtuffe, as I haue béene informed.
1580, Iohn Stow (collector), The Chronicles of England, from Brute vnto This Present Yeare of Christ 1580., London: Ralphe Newberie,, page 512:
The King ſent to the Londoners requeſting to borrowe of them one thouſande pounde, whiche they ſtoutely denyed, and alſo euil entreated, bette and néere hand ſlew a certain Lumbard that woulde haue lent the King the ſayde ſumme, which when the King heard he was maruellouſly angried, and calling togither almoſt all the nobles of the lande, hée opened to them the malitiouſneſſe of the Londoners, and cõplayned of theyr preſumption, the whyche noble men gaue counſell, that their inſolencie ſhoulde with ſpéede be oppreſſed, and theyr pride abated.
1582, Stephen Batman (translator), Batman vppon Bartholome his booke De proprietatibus rerum, London: Thomas East, Book 5, Chapter 26, “Of the shoulders,”
The twisted forkes be néedfull to binde the shoulders, and to depart them from the breast.
The raueled cheat therfore is generallie ſo made that out of one buſhell of meale, after two and twentie pounds of bran be ſifted and taken from it (wherevnto they ad the gurgeons that riſe from the manchet) they make thirtie cast, euerie lofe weighing eightéene ounces into the ouen and ſixteene ounces out
1588, John Harvey, A Discoursive Probleme concerning Prophesies, how far they are to be valued or credited, page 8:
I take it néedles, and booteles to make ouer déepe, or ſcrupulous enquiry into euery moſt auncient, and obſolete antiquitie: I preſuppoſe it ſufficient to peruſe, and examine the moſt famous, and moſt autentique ſuppoſed propheſies, that haue curranteſt paſſage, and repaſſage in moſt mouthes, and bookes: conſidering how eaſily euerie indifferent man may proportionably make eſtimation of the woorſe, by the better, and ratably value the one by the other.
1589, Thomas Nashe, The Anatomie of Absurditie:
euen ſo it fareth with mee, who béeing about to anatomize Abſurditie, am vrged to take a view of ſundry mens vanitie, a ſuruey of their follie, a briefe of their barbariſme
1590, T L, “Alindas Comfort to Perplexed Rosalynd”, in Rosalynde. Euphues Golden Legacie:, London: Thomas Orwin for T. G and John Busbie, →OCLC; republished : Hunterian Club], , →OCLC, folio 13, verso, page 34:
If thou grieueſt that beeing the daughter of a Prince, and enuie thwarteth thée with ſuch hard exigents, thinke that royaltie is a faire marke; that Crownes haue croſſes when mirth is in Cottages; that the fairer the Roſe is, the ſooner it is bitten with Catterpillers;
1591, T L of Lincolns, Catharos Diogenes in his Singularitie: Wherein is comprehended his merrie baighting fit for all mens benefits: Christened by him, A Nettle for Nice Noſes, London: Iohn Busbie, page 12; republished : , :
I appoynt thée no more continencie, than to eate while thy bellie is full, nor conſtancie, but to brawle rather than burne: a filbert is better than a faggot, except it be an Athenian ſhe handfull: you know that Coſmoſophos, euer ſince your laſt mariage, how doth the father of your ſonne in law?
As for the Tapſter, he fled into the Cellar, rapping out fiue or ſixe plaine Country oathes, that hée would drowne himſelfe in a moſt villanous Stand of Ale, if the ſicke Londoner ſtoode at the doore any longer.
Retained in foreign loan words (mostly French é), particularly when unassimilated:
The first and last uses are not always distinct, but can be differentiated in words such as pâté ~ paté and résumé ~ resumé, where the final acute is retained even when the other French diacritics are dropped.
The acute accent indicates that a close-mid or close vowel is pronounced stressed. Stressed open-mid or open vowels are indicated with a grave accent `.
The acute accent is used to disambiguate words when the placement of stress is important to distinguish meanings (e.g., één in its numerical sense of “one”). It is also used to place emphasis on a specific word or syllable. It is also retained in some French loanwords, mostly to distinguish /eː/ from /ə/.
The line is not seen as a diacritic, and all the letters are considered separate letters of the alphabet each having its own name. Other diacritic letters like É/é and Ć/ć appear in names of foreign origin.
A diacritical mark of the Latin script, called síneadh fada(“long mark”) in Irish, and found on Á/á, É/é, Í/í, Ó/ó and Ú/ú.It is used to indicate a long vowel, but a vowel without the mark can also be a long vowel in some circumstances.
A diacritical mark of the Latin script, called 尖音符(jiānyīnfú, “acute tone mark”) in Mandarin, and found on Á/á, É/é, Í/í, Ó/ó, Ú/ú and Ǘ/ǘ,representing the 陽平聲 / 阳平声(yángpíng shēng, “light level tone”), also known as the 第二聲 / 第二声(“second tone”), in Pinyin.
Usage notes
Not to be confused with ◌ˊ, which represents the second tone in the Mandarin Zhuyin script.
On a consonant, the kreska indicates that the consonant is pronounced with a palatal articulation. It is used only when the consonant is not followed by a vowel. A palatal consonant followed by a vowel is indicated by I/i after the consonant instead.
On the letter Ó/ó, the kreska indicates that it is pronounced as U/u but may alternate with O/o in inflections.
“Phonemic Values”, in ROMLEX – the Romani Lexicon Project, 2000, archived from the original on 26 February 2005
Marcel Courthiade (2009) “DECISION : "THE ROMANI ALPHABET"”, in Melinda Rézműves, editor, Morri angluni rromane ćhibǎqi evroputni lavustik = Első rromani nyelvű európai szótáram : cigány, magyar, angol, francia, spanyol, német, ukrán, román, horvát, szlovák, görög (overall work in Hungarian and English), Budapest: Fővárosi Onkormányzat Cigány Ház--Romano Kher, →ISBN, page 499
(lexicography) A diacritical mark, both in the Cyrillic and Latin script, used to denote a long-rising accent. Not used in everyday writing. Can be used on vowels and the syllabic R:
A diacritical mark of the Latin script, called acento agudo(“acute accent”) in Spanish, and found on Á/á, É/é, Í/í, Ó/ó and Ú/ú. Used to indicate stress patterns not predictable from orthographic rules.
In Vietnamese handwriting and signmaking, this tone mark may be written as a vertical line, like a combining ', and the letter I/i retains its tittle.
In earlier versions of Unicode, this tone mark was encoded as U+0341 rather than U+0301. Unicode compliant processes do not intentionally distinguish them.
Acute accent on Wikipedia.Wikipedia 
