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PANJABI MANUAL

AND

GRAMMAR

‘ W- ■

PANJABI MANUAL

AND

GRAMMAR

A GUIDE TO THE COLLOQUIAL PANJABI

T. GRAHAME BAILEY T. CUMMINGS

ASIAN EDUCATIONAL SERVICES

=:NEW DELHI ★ MADRAS ★ 1994=

ASIAN EDUCATIONAL SERVICES

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First Published: 1912

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PREFACE.

This Grammar is intended as a Guide to the spoken Panjabi of the Northern Panjab, i.e. the Panjabi spoken in the districts of Sialkot. Gujranwala, Lahaur, Gujrat, Firozpur and to some extent in the adjoining districts. The language of the northern part of Gujranwala has been taken as the standard. It is a guide to spoken Panjabi, not to the Panjabi found in books, and in particular it is not meant to deal with the Panjabi of the Sikkhs. usually written in Gurmukkhi letters. The Panjabi treated of in this work is as a rule found printed in Persian letters.

It is now generally admitted that the old method of learning a language is unsatisfactory. To attempt to learn Panjabi as we learned Greek and Latin and Hebrew can only result in failure. In the following pages, therefore, great stress is laid on the modern oral method, and an exhaustive series of short questions and answers will be found in Part II, the Guide to Conversation , and of longer sentences in Part III, the Guide to Connected Speech.

The responsibility for the various parts of the work has been divided between us as follows Mr. Cummings has written the Introduction on the Right Method of learning a language ; Part I, a Phonetic account of the Pronunciation ; the English of Lessons I to XL in Part II on Conversation ; Lessons I to XXL with the English of XXII to XXXV, in Part III on Connected Speech ; the Diversification Table.

I have written the Panjabi Grammar which forms the second section of this Volume ; the Preface, the Pronunciation Exer¬ cises ; the Panjabi of the first forty lessons and the whole of the succeeding lessons in Part II, the Panjabi of Lessons XXII to XXXV in Part III ; have revised the Panjabi of Lessons I to XXI at the request of Mr. Cummings, who has resided now for some time in America, and have corrected all the proofs of the work.

I should like to make grateful mention of the assistance

IV

PREFACE.

rendered by Lala Sundar Das, teacher in the Church of Scotland High School, Gujrat. He is particularly well acquainted with the niceties of his native language, and he has made many valuable suggestions.

Romanising . The values of thedifferent letters will befouudin the Phonetic Introduction, Part I. It will be useful here to draw attention to the difficulties of accurate Romanising. It is easy to transliterate from Persian or Gurmukkhi letters to Roman, for each letter in that case has its value, but when the standard is the spoken sound the difficulty is very great. Indeed to romanise accurately one would need new signs.

Sounds varj' in different places, so that what is a correct repre¬ sentation for one district may not be quite correct for a neigh¬ bouring district. A teacher with Urduising tendencies may affect an Urdu pronunciation. Such a teacher would pedan¬ tically say sahib for sahb ; bimar for bamar, ill ; zamin for jiwi, land; Arabi for Arbi, Arabic.

In the following pages an effort has been made to avoid forms which are confined to illiterate villagers, to avoid also imitations of Urdu and to preserve the forms which are commonly used in daily speech amongst people of moderate education, such as schoolboys or shopkeepers. Thus for penknife kacu is avoided as illiterate, caqu as Urdu, and cakktl is employed as the ordinary word ; so also for road the word is not sharak or sarak, but sarak. It follows that all special Arabic signs are rejected. Words like haqq, huqqa, ta‘rif, liyaqat, are changed to hakk, hukka, tarif, liakat and so on.

The determination of the length of yowels, especially un¬ accented vowels, is a matter of great difficulty. Thus a is quite different from a, the former being generally considered long. Yet we have words like saje, sasu, sane (see Pronom. Suffixes, pp. 84, 86), where the a is the same vowel as a, but is quite short. Similarly the final unaccented a in pata, bhijjna^ tuhadda is the vowel a, but is shorter than an accented a.

We find the same difficulty with e and e, o and o. Should we write hoke or hoke, hoea or hoea, ki e or ki e ; is the second vowel in tft § short or long ? A question arises also about words

PREFACE.

with short ai, paie or pae, lahe or laihe, baihe or bahe, gaie or gae.

Again there is a tendency in Panjabi to nasalize the vowel of every syllable containing n, and still more of every syllable con¬ taining n. If we were to write all such syllables with the nasal sign we should produce very uncouth forms. The student will bear in mind this general tendency. Sane might equally v\ ell be written sani, jana might be janS, jane might be janl.

Another tendency is to introduce a tonic h (i.e. an h which raises the tone of a syllable) in accented syllables at the end of sentences. It is common to hear karho for karo, jah for ja, banaha for banaS, and so on. This h has not been written in these pages except in very marked cases such as deh, deho, jah, jaho, instead of de, deo, ja, jao (give, go).

On the other hand the deep guttural h is sometimes uttered especially after r, when there is a very strong accent, thus we hear rhath for rath, resolute ; Rhano for Rano, girl’s name : rhat! for rati, by night.

There is a common tendency to double a consonant, other than n,l, r, r and h, when an accented vowel precedes and an unaccent¬ ed vowel follows. We sometimes hear Panjabbi for Panjabi, tuhannfi for tuhanft, to you, malli for mali, gardener. In other w'ords, too, this difficulty arises, as in calna or callna.

Again g and g, kh and kh are often interchangeable. It may be noticed that the sounds kh, g, 1, n, tend to become either kkh, gg, 11, nn or kh, g, 1, n. Thus sikhea is either sikkhea or sikhea, laga, is lagga or laga, and we find that n and 1 are rare undoubled unless when followed by a consonant which makes n and 1 hard to enunciate.

These varieties will occur in the declension of a single word. We may have likkha, shall I write, but likh§a, written, sikkhiga, you will learn, and sikhi (f) learned, wekkhe, he may see, wekhke, having seen. In a number of the above instances it has seemed better to allow both forms to appear and not to imply a uniformity which does not exist.

The reader will, therefore, expect to find some words written in two ways, and will moreover be prepared for somewhat unfa-

V]

PREFACE.

miliar spellings of words which occur in Urdu. It has hitherto been customary to roiuaniso Urdu words as they are romanis- ed in Urdu. This leads to mispronunciation. In the following pages words will be found written approximately as they are spoken. Thus munsif becomes munsaf, hazir becomes hazar, for Shaitan we haye shatan, and so with many others.

Owing to the habit of I’etaining the Urdu spelling one is in dan¬ ger of oyerlooking the fact that eyen by educated speakers these words are not pronounced as they are in Urdu. In the interests of correctness it is clearly necessary to depart from the custom* ary spelling.

Triple letters found in words like ciikkke, bhannnS, saddda, or with h added, in bannhnS, nakhiddhda, are not easy to pro¬ nounce. Between them and double letters there is a difference which, if slight, is frequently quite perceptible See Pronun. Exx., p. XX.

In Parts II and III it should be noted that the translation is not always literal. It is important for the beginner early to realise that ideas and not words are to be translated. Thus if in a lesson on the use of Prepositions a Panjabi sentence is found containing no preposition, it is to be understood that in such a sentence Panjabi ordinarily does not need one. The student should, speciall}' in Part III, make inquiries about the exact meaning of the words employed.

Some difficulty was felt in Part III with regard to the use of capitals for pronouns referring to the Persons of the Trinity As in a number of the sentences it is not clear from the actual words that any reference to the Diyine Persons is intended, it seemed better to follow the practice of the Revised Version of the Bible and restrict capitals to nouns, printing the pronouns with small letters. The sentences founded on the Gospel according to St. John will be of special value to those who in their daily work experience a need for a religious vocabulary. It has been thought advisable to keep in a distinct section all the sentences directly bearing upon religious matters. They will be found in Part III.

In conclusion one may be permitted to express the hope that this Grammar will be found useful by those Europeans — missionaries.

PREFACE.

Vll

Government servants and business men — who desire to acquire a knowledge of the language of the sturdy inhabitants of the Panjab. The avoidance of Persian and Gurmukkhi letters will ha ye the double advantage of rendering the words easy to read and of securing greater correctness in the representation of sounds. As students will be spared the initial difficulty of learning a new script perhaps many will take courage and com¬ mence the study of this virile and fascinating tongue.

WazIrabad : February 20th. 1912

T. Grahamk Bailey.

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CONTENTS.

Page

PREFATORY SECTION. Preface

System of Romanising . . Pronunciation Exercises

SECTION I.

Introduction, the Right Method of Learning a Language . Part I. — Guide to Pronunciation (Phonetics) . .

Part TI.— Prefatory Remarks Lessons I to LV Diversification Table Part III. — Lessons I to XXXV

List of Principal Subjects Illustrated

!

1 I

2(i

30—115

116—121

122—264

265

SECTION II.— Gbammab.

Accidence — Pabts or Speech.

Nouns

Gender

Feminine

Number

Nominative Case, Prepositional Case

Agent Case, Genitive Case

Dative Case, Locative Case

Vocative Case

Declensions

Diminutives

Collective Nouns, Contractions . . Doublets

Adjectives . . . • • • '

Declension, etc.

Formation of Adjectives Comparison

Numeral Adjectives . .

Cardinal . .

Ordinal . .

Multiples, Fractional Numbers Distributives Pbonouns Personal Interrogative

266—280 266 267—270 270, 271

272

273 274—276

276

277

278

279

280 280—289 280—282

282

283

284—289

284—287

287

288 289

289—293

289

290

X

CONTENTS.

Correlative Talile	Page. 291
Other Forms	292, 293
Adverbs	294—300
Correlative Table	294
Adverbs of f’Kace. Adverbs of Time	295—297
Other Adverbs	297—300
Comparison	300
PRRI’OStTlONS	300—303
CoX.UTN(^TIONS	303
Interjections	304
Verb	306—337
Transitive and Intransitive	306—308
Inhnitive . .	308
Verbal Agent	309
Present Participle	310
Past Participle	313—316
Conjunctive Participle, Imperative	316, 317
Auxiliary Verb (also p. 55)	317
Present and Past Conditional	318, 319
Future	319
Present, Past Imperfect, Past Indefinite Tenses	320
Perfect	321
Pluperfect, Auxiliary Verb	322
Passive	323—325
Conjugation of Transitive and Intransitive Verbs	326—330
Irregular Verbs	331
Compound Verbs	332—337
Emphasis	332
Completion, Ability, Permission, Commencement . .	333
Desire, Advisability, Duty, Necessity, Progression	334
Continuance, Habit, Repetition	335, 336
Note on Jana	337
Syntax	337—390
Order of words	337
Repetition of words	338
Doublets, Agreement of Subject and Predicate	339
Pairs	340
Agent Case	341
Genitive Case, Dative Case	342
Accusative Case	343
Locative Case	344
Vocative Case	345

CONTENTS.

xi

The ending —eft

Personal Pronouns, Attributive Nouns and Adjectives

Use of tfl and tusl

Pronominal Suffixes and Infixes . .

Interrogative Pronouns Indefinite and Reflexive Pronouns Pbkpositions Adjbotivbs . .

Numeral Adjectives . .

Advbbbs

Vbbbs

Infinitive . .

-wala . .

PMt Participle Conjunctive Participle Present Conditional Present Indicative, Imperfect Past Conditional Conditional Sentences -O forms . .

Past, Perfect and Pluperfect Imperative Causative Verbs Compound Verbs

Completeness or intensity

laiQa oah^a . .

Ability and Inability Direct and Indirect Speech Euphemisms Days of Week, Months Relationships Special Idioms Appendix . .

Page

346

347

348 349—363

363

360

362-364

364—367

366, 367

367, 368 368—390 368—372 372, 373

374

374—376

376

377 377

377— 381

378— 381 382 382

383, 384 384—389 384 386, 386 386—388

388, 389

389, 390 390

390, 391 391—393 393—416 417—419

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SYSTEM OF ROMANISING.

The approximate sounds of the letters employed may be given here, but fuller details should be sought in the Phonetic account of the pronunciation, pp. 11 — 25.

Consonants, b, f, j, k, 1, m, n, p, s, z have nearly the same sound as in English, but great care should be taken not to as¬ pirate k and p. English k and p are always slightly aspirated. This caution is required also for the letters c, t, t, all of which a foreigner tends to aspirate.

c, like ch in child, but unaspirated.

d and t are the sounds we should make if we tried to say the English d and t with the tip and sides of the tongue against the front teeth, d and t are the same pronounced with the tip of the tongue against the soft palate. The difference between t and t, and between d and d, is very great.

g, like g in get. In Panjabi undoubled g between two vowels tends to become g.

g is a voiced kh. One may learn to say g by repeating ga*ga*ga over and over again with extreme rapidity.

h, see Phonetics, p. 17, and Pronunc. Exx. pp. xvi — xxiv. In ch, kh, ph, th, th, it resembles an English h, but must be forcibly enunciated without any vowel between it and the letter preceding it.

j, see above ; when undoubled and followed and preceded by a vowel it tends to become y.

like gh in Irish lough or ch in Scotch loch, kh, with k undoubled, preceded and followed by a vowel, tendstobecome to.

1, like 1 uttered with the tip of the tongue against the soft palate.

n, like n with the tip of the tongue against the soft palate.

Nasal n is represented by a sign over the nasalized vowel as S, §, etc. It is like the n in the French mon, voyons.

fi, like n in senor, canon or the ni in lenient, nj tends to become n.

h, like ng in sing.

XIV

SYSTEM OF ROMANISING.

r, like Scotch r well trilled, very unlike English, Irish or American r.

r made from the soft palate, see 1‘honetics. It has no resem¬ blance to the American or Irish r. t, t, see above under d.

w, see Phonetics. It is dififerent from English w and v, but is nearer to v than to w. The lower lip must not touch the teeth in making Panjabi w.

y, like English consonantal y, but tends, especially when doubled, towards zh.

VOWELS.

a, i, u, like Italian a, i, u ; e, 6, like French e, 6. a, e, i, o, u when not marked long are to be read short. Sometimes e and o have been marked short as a warning against the tendency to make them invariably long. But they are to be read long only when especially marked so.

a is like the first a in the word America or the u in plum. , e, o are like S, 6 shortened, i is like English i in linen, u like u in pull, but broad and unrounded, ai ; the pronunciation of ai heard from well-educated people is given on page 21 of Phonetics. Among ordinary people it has practically ceased to be diphthongal. If one says the vowel in hand, and while saying it lowers the jaw and spreads the lips one will get very near ai.

au is a combination of a and o made into a diphthong.

PRONUNCIATION EXERCISES.

The following sentences and words are given in the hope that they may suggest to the student the chief difficulties of pronun¬ ciation. They are merely suggestions. The list might be indefinitely extended; each day’s study of the language will draw attention to new words which are hard to pronounce. There is perhaps nothing which students of language seem to find harder than to carry out a firm resolve to set apart a definite period of time every day for practice in pronunciation . Y et there is scarcely anything in language study so well worth acquiring as a good pronunciation. It is of far more value than a large vocabulary.

The following rules for the use of these and similar exercises m ay be of use :~

1. Set apart a definite time of at least 20 minutes every day for practice in pronunciation, and let nothing interfere with it.

2. During this time practise nothing but pronunciation. Do not get beguiled into a discussion of idioms or constructions or other points in connec tion with the language. They can wait for the Conversation hour.

3. Pay little or no attention to the Munshi’s assurances that your pronunciation is practically correct. If you wish to test your pronunciation, do so by dictating to the Munshi a list of imaginary words and observing in how many cases he writes the sound which you intend. Dictate such sounds as these tS, ta, tha, tha, ta, tht, t§, tha, tah, tab, tah, tth. Then sub¬ stitute for the initial t or t the letters, r, r, d, d, p, b, c, ch, etc., and change all the vowels, and finally put all the consonants after the vowel instead of before it. Try them also doubled, e.g., ata atta, aoa, aoca, acha, aocha, etc. If the Munshi always knows what sounds you intend you have learned the pronunciation of the language well, but not of necessity perfectly, for the Munshi may come to recognise your method of making a particular sound.

XVI

PRONUNCIATION EXERCISES.

Do not attempt all the sounds every day. A few are enough for each lesson. Sometimes one or two are sufficient, but do not go on too long at one sound, you will soon cease to be fresh enough to be able to make it.

5. Few instructors can teach pronunciation ; you will there¬ fore have to teach yourself, by saying each word or sound after the teacher. Keep on doing this whether he says you have got it correctly or not. Do not, however, say a word twenty times after he has said it once, sa3^ it rather once, or perhaps twice, each time that he says it.

(5. During conversation or reading do not spend much time on the niceties of pronunciation, for jmur conversation or reading will be unduly interrupted. This rule, No. 6, applies only if time is being set apart with unfailing regularit\^ every day for practice in pronunciation.

7. Do not confine yourself to the words in the following sentences. Take up systematicallyallthesoundsof thelanguage, and be especially careful not to limit yourself to the sounds which are commonly considered difficult. Pay great attention to vowels. They are generally disregarded by students as being quite easy. The simplest vowels are often extremely difficult for a foreigner.

8. About once a week have dictation of sounds, using both real and imaginary words. For the purposes of this dictation words and sounds should be written in Roman letters. It need not occupy more than a very few minutes. Sometimes the student should dictate sounds to the Munshi, sometimes the Munshi should dictate them to the student. If the student is working at the Persian or Gurmukkhi character, he will have dictation, quite independent of this and at a different time, to test his knowledge of the letters.

The 'pronunciation of h. h is perhaps the most difficult letter in Panjabi. Its three pronunciations are dealt with under phonetics.

(a) The ordinary English pronunciation is found in only two or three words. It is probably merely softened down from for it is quite common to hear aU5 for aho, yes ; eUai and 5^al for ebal and ohal, this very one, that very one.

PRONUNOTATrO,N F.X KROISIOS.

xvn

(6) The touio h, raising the tone of the syllable, occurs only in an accented syllable after the vowel, or before the vowel of the syllable following an accented syllable. It cannot occur before an accented vowel . As its only effect is to raise the tone it will be understood that from the point of view of pronunciation it is im¬ material whether we write dacUia or dahda (severe), unnhiwS or unnlhwS, nineteen, wehnda or w€ndha, looking.

(c) The deep sound represented by h occurs always in an accented syllable before the vowel. It distantly resembles the Arabic ain, and can be enunciated only on a low tone. Tt strikes the ear as a deep guttural sound. It may accompany any consonant or vowel whatever, whether surd or sonant. In the majority of cases, bh, jh, gh, dh, dh when pronounced with this deep h are really pronounced as beginning with p, c, k, t, t, but it is, of course, quite possible to have b, j, g, d, d, also with this sound. The following examples show actual occurrences of it. The forms in brackets indicate the usual way of writing the words, the others the actual pronunciation. The sound is represented by (’).

pr’a (bhra), brother, p’a, (bha), price, b’a, (baba), cause to sit. t’ai, (dial), 2J. d’ai, (dahai), price of placing (beds, etc.).

s’ab, (hisab), account.

S’ai, (Isal), Christian.

Z’ak (Izhak), Isaac.

Sh’abba (Shahaba), a name. paWa, (pakhha) fever, heat, ph’a (phaha), entanglement. n’SrnI, (hanSrni), giddiness. I’ai, (lahai), descent. wal’e^^S., (waJhSt^ft), wrap up.

M’ammft (Mhamma), a name. w’alS, (whala), interj , well, etc.

lahg’ana, (lahghania), cause to pass.

kat’ana, (ghatana), lesson, kad’ana, (kadhana), turn out.

o’ajjar,(jhajjar), earthen pot. J’-Qxa (Hujura), a name. oi’'Qx, (jhiur) waterman, pale’al, (bhaleai), goodness ch’ attar (chihattar), 76. panj’attar, (panjhattar), 75. tar’aea, (dharaea), caused to be placed.

Wad’aw&, (Wadhawa), a name.

kai^fieft, (ghai’fteS.), caused to be engraved.

’iyyS, (hlyyS), sides of bed. ’S, (hS) yes.

XVIII

PRONlTNCTATtON WXRRCISKS.

It is important to ge( a clear understanding of these sounds, to see for example the difference between dhai, the price of placing beds, etc., and dhai, 2^ : bhai, seated, and bhai, inother. The first vowel a’ usuallj^ written in bahai, seated, and in dahai price of placing, is not pronounced except by those who affect an I rdu pronunciation. Tlie whole difference is in the initial letter. Note carefully the sounds in —

Kitthe bhai bhai, (kitthe b’ai, p’ai), where hast thou seated her, brother ?

(Uiai dhai ane ditti (d’ai t’ai) he gave 21 annn.s for placing the beds.

It will be seen, then, that the double letters bh, gh, dh, dh, jh, have two sounds for each pair. In one case the first letters are pronounced as sonants, b, g, d, d, j, in the other case as surds, p k, t, t, e. It is somewhat difficult to know when to pronounce them as sonants and when as surds, but the following rules may be given : —

(1) When the combination bh, gh, etc., is the result of eliding a vowel between the b and the h or the g and the h, etc. the first letters are sonants. Thus in bhana, pretence, for bahana ; jhaz, ship, for jahaz ; bhai for bahai, seated (f), the initial letters are

sonant, i e., are b, j, b and not p, c, p.

(2) Sometimes in the simplest form of a word one of these

combinations, bh, gh, etc., occurs after the accented vowel and is, therefore, pronounced with the tone-raising h, yet in some of the words derived from the original simple form of the word the accent is thrown forward so as to follow bh, gh, etc. In this case the h naturally receives the deep guttural pronunciation and the bh, gh, etc., are pronounced with an initial sonant, b, g, etc.

This change of accent occ urs chiefly in two cases, (a) in casual verbs and nouns formed from them and (6) in the organic passive heard in some districts. Thus we have such forms as the following —

kaddhna, turn out wadcUina, cut labbhna, find dahpa, place

Causal.

katana

wa(Uiana

labhana

Passive.

kadhlna

wa(Uiipa

labhlnft

dhana (dahana), nouncUiai (dahai)

PRONONOIATION EXERCISKS.

XIX

(3) When jh comes from an original ah, the j is always sonant . Thus in Jhtira, for Huzura, jhar or ajhar for bazar, thousand, the first consonant is pronounced j not c.

In other cases these double letters usually have the first letter pronounced surd.

It follows from the above that while bhiai, and pihai are identical, ( both being pi’ai), bihai is different (bi’ai). Simi¬ larly tihai and dhial are ti’al, while dihal is di’ai : jhiaari, jhuhari and cuhari are all cu’ari, but juhari is ju’ari. (Most of these are imaginary words.) We find, too, that there is often doubt about the proper spelling of a Panjabi word. Thus some write panjhal, others bhanjal, partner. In either case the pronunciation is panj’al; dhigane, meaning uselessly, could be written tighan§ (tig’ane) ; kahani, story, and ghani, mud, are identical in pronunciation (k’ani).

Accent. It is difficult to give any useful rules for accent The student will get most words right with care. One rule worth re¬ membering is that the syllable of a word which has the accent will retain the accent through all declensions or conjugations of that word. Thus dassna, show, has the accent on dass, therefore all parts of that verb, such as dassanwala, dassanwaliS, dassSga, will have it on dass. Europeans often wrongly accent wala in forms like dassanwala. Similarly in kacUiana, cause to be turned out, the accent is on <^a and there remains through all parts of the verb.

An exception to this is found in the regular organic passive made by adding ina to the root This passive in its complete form is not heard in north Guj ran wala or Sialkot.

ka<^lna, be turned out, from kadc^na, wa^lna, be cut, from wad(^na, and all other such verbs, accent the 1 of Ina.

paillS waiUilndiS n§ palS, the fields are being out.

Note however that the passive participle inidafound inGujrah- wala and Sialkot accents according to the ordinary role ; thus wad<Uiida, wad(UxldI§, being cut, have the accent on wad<Ui.

Causative verbs are not really exceptions to the rule, for they are new words. Causative verbs formed regularly by adding -a

XX

PRONDNCIATION EXF.RClSlfiS .

or -wft to the root, always accent this added syllable. Hence kadhai^a, cause to be turned out, wacpiana, cause to be cut, and all others similarly formed accent the last syllable of the

root.
	Pronunciation Exercises.
1.	eh pata e	this is a lease.
	€h pata e	this is the address.
	eh Phatta e	this is Phatta.
	eh pattha e	this is a piece of wood in millstone.
	eh pattha e	this is a young one.
2.	Oh phatha e	that is entangled.
	oh pata e	that is torn.
3.	kehre mare sau	which were feeble ?
	kehre mare san	which were beaten ?
4.	oh kari e	that is a bangle.
	Oh khari e	that (f.) is good.
	oh khari e	she is standing.
5.	eh dahda e	this is hard.
	eh dadda e	this is a grandfather.
	eh dada e	this is a professional singer.
6.	je Oh sadde	if he calls.
	j€ Oh saddde	if they had called.
	mal bhanna	shall I break ?
	mal bhannna	I am breaking.
	mal bhannpa e	I have to break.
	je cukke jan	if they are lifted.
	je cukkke jan	if they, having lifted it, go.
	mai bhajji ?	shall I run '?
	mai bhajj ji P	shall I run away ?
7.	malea hoea	ill.
	mallea hoea	taken possession of.
	eh gall e	this is an affair.
	eh gallh e	this is a cheek.
	eh gal e	this is a neck.
	Palla e	that is Palla.
	pala e	it is cold.

PRONUNCIATION EXERCISES.

XXI

bille§ hoeS. hi)ea hoea hun wSla e huQ wSlilft e

bailie Shah nti mannde ne Balle Shah nfi mannde n§ ikkS hal I ?

ikk5 hall i ?

. waooha bannh waooha ban dh sShna e oh s6na e eh aan marl e @s saunh marl e mend, pona deh mend ponna deh un lai bhain unn lai bhain eh mani e 3h Mahnl e eh man! e

9. r6r de sh rSfh de sd td bara kala i td bara kahla §

€h mSrl kandb. e eh merl kapd e kis lahii n§ kis lali^ n§

5h banne n3 dh bannhe n§

5h pindlS n3 5h pihndlS nS eh sda e eh stiha e

shaken, accustomed, now it is time, now he is free, many reverence the Shah, they reverence Bale Shah, have you only one yoke of oxen ?

have you only one plough ?

tie up the calf.

become a calf.

he is beautiful.

that is gold.

this is bad flax.

he has committed a burglary.

give me a cloth for bread.

give me sugarcane.

weave, sister.

take wool, sister.

this is twelve maunds.

this is Mahni.

this is a rope made of wheat stalks.

give him kankar.

pour it out.

you are very black.

you are in a great hurry.

this is my wall.

this is my back.

who has taken them down ?

who has attached them ?

those are ridges.

let him tie them ?

the women are drinking.

the women are grinding.

this is a big needle.

this is red.

XXll

PRON QNCIATION PXKRCISES.

N.B. — The h in these sentences is not sounded. It merelv raises the tone.

10. pill kitthe we	where is the bridge ?
phull kitthe we	where is the flower ?
kholx n§	open them.
kol i ne	it is beside them.
Kohli ni	they are Kohlis by caste.
tatti e	it is warm (fern.).
thatti e	it is a low caste quarter (some
	say thatthi).
thatthi e	she stammers
11. §h ghori e	this is a mare.
eh gori e	she is fair in colour, or red (of
	a cow).
dfth baia di lakkar	the wood of two doorposts.
dflh bhaia di lakkar	the wood of two brothers.
kadhala manjia diS hiyyS	had the side pieces of beds
	taken out.
ku dhaia manjia dia hiyyS	the side pieces of about two
	and a half beds.
ki bhannea su	what did he break ?
ki banea su	what was made for him ^
mez bhanaea su	he caused the table to be
	broken
mez banaea stl	he made the table.
eh bhari (p’arl) e	this is heavy (f ).
eh bhari (b’arl) e	this is a broom.
-The h in these words, has a deep guttural sound
(except in dSh).
12. hup ja	now go.
hun ji P	shall I now go ?
jS akhe	if he says.
je akhl	if thou sayesl .
hae	alas !
ha§	now, now (threatening).
hai whai?	is it, my man ?

PROKI'NCI V'l'UO.

xxm

hai whai ? ba marie bah mari c eh sau e eh sauh e deh rat! de rati den rati dana dhahnS

13. oh kharde nehi oh kharde nS nh

nhh

panjhi rupai panji rupa!

14. un unn un

aih we aiw§ siwia sai wiha

16. oh waggda e oh wagda e paggharda e

ragarda e

16. mai wika dSnnS mai wi^a dSnnS likkhea hoea, lil^ea hoea

rakkhSga ral^aSga

17. t'ractise all the

of h.

what did \ou itiy man ?

O silly woman, the arm is weak, this is a hundred, this an oath, day and night let him give at night, let them give at night, grain.

parched barley grain, th.ey will not take away, they are taking away, to.

daughter-in-law.

for twenty-five rupees.

for five rupees.

without special reason.

wool.

weave.

it is thus.

without reason, anyhow, macaroni.

a hundred twenties, it is working (well), etc. it is leaking.

it is melting. Cf. with follow¬ ing.

he is rubbing.

1 will get it sold.

I will show it

(two pronunciations) it is written.

1 will place.

I will have it placed

words given above under Pronunciation

XXIV

PRONUNCIATION RXRRCINES

18. Difficult coiubiitations. karf barfe bSrfSi bhurri&n nanan banaQ bannhan ra)ab gh^am <Ui5dha malal balfi tagrSra wSkhke wagke waffietna wikh§.n deni wigarna wigfnwa)a

grey hair.

wheat, barley and gram.

smell of burning cloth, etc.

husband’s sister.

they may be made.

they may tie.

they may meet, etc.

noise of. splashing.

bread made of maize or millet.

cream. •-

misfortune.

rather strong.

having seen.

having leaked, etc

wrap up.

show oneself.

be spoiled.

one who is getting spoiled.

INTRODUCTION.

THE RIGHT METHOD OF LEARNING A LANGUAGE.

The right method of learning a language depends entirely on our definition of the terms language and learning. Language in its primary and fundamental sense is human speech. Writing, whether it be in alphabetic characters or in ideograms or picture writing, by hand or by printed type, is not really language. Language is speech. Writing and printing are by accommodation called language, but their appeal is to the eye, while language appeals to the ear. The spoken sound is what we must take a& the basis of our study. But what is the unit of speech. Is it the word or the sentence ? The Encyclopaedia Britannica says that it is now recognized that ‘ the sentence is the unit of speech, and that grammar should be taught inductively,’ so we shall not need to argue the case further. Consequently in studying a language we must study the spoken sentence. As far as the written form of this spoken sentence enables us to study the spoken form, so far is writing an aid ; hence the value of writing a new language in a familiar character, such as Roman for Urdu or Panjabi ; but as soon as the written or printed character interferes between us and the spoken form, it becomes a hin¬ drance. It does thus interfere when it is wholly strange, as is at first Arabic, Hindi or Chinese writing, or when Roman, by its old familiar symbols, leads us to suppose that these well-known letters have the same value in Panjabi, as they have in English. If when we see a “ t,” the dot under it con¬ veys no significance to our mind and we pronounce it as we always do our English “ t,” then Roman has become a snare and not a help. It will be a help when we recognize the fact that these old symbols indicate sounds which are only similar to their corresponding values in English, and are not the identical sounds. In other words, one can learn the sound values of a foreign lan¬ guage not from the printed page, but only from the living tongue

INTRODUCTION.

2

of the native or of the skilled fellow-countryman. Therefore the study of the sentence should be the study of the sounds of that sentence as they come from the mouth of the living teacher, and the writing or printing should be studied simply as an aid to remembering what we have already heard spoken. As, how¬ ever, in beginning a new language, one only bears a babble of strange sounds, and as one quickly forgets the unfamiliar com¬ binations of sounds, it is imperative that one’s early teaching and study should be almost wholly by ear and therefore always with the teacher. Here is the greatest error of the scholastic method. It pretends to take in language through the eye. The ear is the natural receptive medium of language, which is speech and so audible. The eye is the medium of form and is necessary for writing and printing, which are not language, but only the con¬ ventional signs thereof.

It is here, in learning strange sound’s that phonetic study is most valuable. In its broadest sense phonetics is the science of sounds, but as applied to linguistics, it is the science of the positions and movements of the vocal organs in the formation of speech sounds. Applied phonetics will teach how the sounds of Panjabi are made, and how they differamong themselves and from those of other languages. It is absolutely necessary that one should have had a previous training in phonetics, either practical, or technical and practical, to enable one to listen appreciatively and to remember correctly the sounds of any strange tongue.

But beyond the skill to pronounce the individual words is the ability to catch the rising and failing rhythm of the sentence with its changes of pitch and cadence, its movement and intona¬ tion. This, too, demands the study of the language in the sentence, since there alone can be found that vital rhythm, which is never present in the individual word. It is true, indeed, that this rhythm is found wholly and fully only in spoken living speech, where people mean what they say. It is seldom present in a teacher, and almost never in a reader, for very few read naturally. Hence the less one reads, in beginning the strange tongue', the better, and the more one can study the language right out among the people, talking with them, and above all listening

INTRODUCTION.

3

to them talking among themselves, the sooner will one get the language in its rhythmic swing and natural beauty of intonation.

But it is not enough to say to some one, Go out and learn the language by association with the people. He must be taught to hear and to speak, that he may be able thus to learn. His whole education hitherto has been through the eye, and to thrust him out with untrained ear and expect success would be the sheerest folly. It is the aim of the Phonetic Inductive Method to impart such skill as will enable the pupil, after his first few months, to go out and get the language intelligently and successfully from the people. Languages are spoken rapidly. The slow hesi¬ tating utterance of the schoolroom is not found in house and street. So after a year, sometimes after years of study, by the old eye method, the student has to say, Do not speak so fast. Consequently a natural method must teach the pupils to hear at the normal rate of utterance.

Here should be defined the second term of our first) sentence — “learning” What is it to “learn” \ It is safe to say that more people fail because they have not a true “ standard of attainment”— have no measure to determine when they have really acquired a sentence, when they truly knoxo a thing — than for any other reason. Let this be our standard — To he able to express any given idea as readily, fluently and correctly in Panjabi as in English. Having reached this standard we may consider that we are ready to pass on. Less than this does not suffice for the requirements of those who have to use Panjabi as the medium of their everyday work, for our ideal must be — to hear so as to understand, and to speak so as to he understood.

We note further, in this connection, that every language is made up of certain words, divisible into classes, which are called “ parts of speech,” and these form the elements of speech. In order to speak and understand we must be able to use and appre¬ ciate these various elements in all their different permutations and combinations. These word-changes are the facts of gram¬ mar, and “grammatical facts indicate logical processes.” Hence, if one is to understand language as it is spoken naturally and rapidly, one must be a perfect master of all the endings, words.

4

INTRODUCTION

and auxiliaries which are used to show the interrelation of the- different parts of sentences and paragraphs to one another.

It is perfectly evident from this that a man must know the grammar of any language which'he pretends to use correctly, and, for this reason, most methods begin with the study of the grammar, for ‘‘ grammar ” to most of us means a book. But, in truth, grammar is only the codification of those forms of language which existed, and were correctly used bv thou¬ sands of people, long before the “ grammar ” was written. Now,, whether we can codify or not is of little practical importance |n comparison with the ability to use these principles correctly. Correct speech is a product not of studying grammars, but of learning correct models of utterance. Thousands of Panjabis speak their language according to the best models, but are wholly unable to explain the underlying principles. A book of grammatical facts is a splendid thing to test yourself by tn see whether you are getting into correct habits of speech, but mastery of grammatical principles is to be attained not by learn- ing, for example, that “ the adjective must agree with its noun in gender and number,” and then thinking, when you wish to sav

the bread is black” that roti is feminine, and so you must say kali not kdld, but rather through accustoming yourself to associating kali and roti. Ask a Panjabi the gender of noun and he is often unable to tell you, until he repeats to himself a sentence w'hich demands the gender of the word in question, and then he will tell you. Yet he always uses it correctly. Let this then be our primary aim — to use correct speech, explaining it, if we can, but, if not, using it as the people do. Which of us can explain why we say in English, “ We had better go ”? Yet it is the accepted, classic phrase.

Let us note, also, some of the psychological principles involved in learning a language. “ In learning a new language,” says E. W. Scripture", “one must learn to associate a new set of sensory and motor, auditory and speaking, sensations with the old ideas. It is the begetting of a new habit of thinking and speaking.” Consequently, as we wish to form no bad habits,

E. W. Scripture, Elements of Experimental Phonetics, p. 381.

INTRODDCTION.

we must give special attention, through phonetic study and by careful observation, to getting correct concepts of the sounds which we wish to reproduce. Only as our concept is accurate can our reproduction be exact, and, since many of the Panjabi sounds are very like our own, though still quite distinct, it requires trained and close observation to obtain a just and dis¬ criminating concept of these sounds. Yet it can ivud must be done, and the cultivation of the habit of careful listening to the exact character of the speech sounds and the exact forms of expression, is vital to a mastery of Panjabi.

But we forget so easily. Often it is because we have not really grasped the idea. One cannot expect to remember what one has not fully perceived, and the best way to correct a false impression, and strengthen a right one, is to have the exciting idea again brought before the mind . Have the sentence repeated . It has been determined that the memory normally loses more than 66 per cent, over night. So patience with one’s memory is necessary, and frequent repetition must be resorted to, in order that the impression may be so deepened that the full 100 per -cent, shall he retained.

All early study must , be* aloud with the teacher, and this careful hearing will fix'thbdmpression. For many the writing of the sounds in Roman is a great aid to remembering. Some find that by certain similarities of sounds they are able to aid their memory, as PANI-Pawnee-Indian-fire-wa ter- WATER, and so to fix both sound and meaning. One should follow the bent of one’s own Qiind, having once determined what that is, and learn to perfection whateveroneattemptsthe first year. This involves, of course, the necessity of attempting nothing save what must be learned. Practice makes perfect, but it must be wide-awake, watchful practice. Repetition by a tired, worn-out mind is worse than useless.

It is also a matter of observation that words once learned are most economically learned again after an interval of twenty -four hours or at least a night. Peculiarly difficult subjects, such as ■new and strange sounds, should be taken up in the morning when •one is thoroughly rested.

6

INTRODUCTION.

Another psychological principle is that “ intense effort edu¬ cates,” and that is why this “ Slip Study,” demandingthe attain¬ ment of a mathematically fixed standard of five syllables per second, is one of the most important parts of the Phonetic Induc¬ tive Method, for it requires ready, fluent and accurate utterance, not merely of one, but of many slips, in rapid succession. For this the mind must be alert and active, and so one is educated in the new speech. As one in using the slips is always trying to better, or at least equal, one’s previous record for speed in the repetition of a given number of slips, it gives a zest to this study, which is the best earnest of success.

It is well, too, in accordance with psychological law, that im¬ pressions of one kind should not be dissipated by introduction of another set of impressions ; when one is trying to learn Panjabi sounds, the introduction of English or even of Urdu, tends to break up the Panjabi associations and so weakens the resultant concept. It is a fundamental principle of the Phonetic Inductive Method that “ each language must he the medium of its own impartation.” Consequently Panjabi must be begun at once, and after a month should be the sole medium of communication for both pupil and teacher.

Again, ordinary book study is hampered by that local memory which tries to recall what is “ on the top of the left-hand page,” or elsewhere, and get it from visualisation. Slip study breaks up all this local memory and compels one to go directly from the idea to the Panjabi expression of it.

So, too, the local and rote memory .that plays so large a part in the paradigm study of the grammar, is quite supplanted. We no longer begin at the beginning and run through till w'e come to the required form, but, since we learn each form as a part of a sentence, disassociated from any particular paradigm, we are able to reproduce it at will.

Translation as an exercise for imparting skill in the language maybe safely omitted from the fi rst year’s requirements, since one of the severest tests of ability h nguage study is an idiomatic translation from one tongue into another. In slip study, the English expression is indeed given, but that is to impart the-

INTRODUCTION.

7

idea, and the Panjabi equivalent is required, not as an inde¬ pendent exercise of the mental faculties, but rather as a test of memory. Learning a language has all along been regarded too much as a task requiring great mental abilities, while, if one may draw a deduction from observation, ability to speak frequently goes with vei’}’ little mental power. The truth i.s that learning a language is a mechanical process, wherein the muscles of speech are taught to work in new and unusual move¬ ments. It is like learning to knit. The process, slow at first, becomes more and more unconscious, until the skilled knitter, goes through the operation without a thought. It has taken many thousands of repetitions before such a result has been attained, but it has come at last, and the steel needles glide in and out as if they were a part of the living hand. So must it be with the tongue. Slowly at first, but, by careful and painstaking repetition, skill is attained, until at last, without any thought, the words run off without the least effort, and then, and not till then, one may learn how to speak. So long as one is engrossed with the tool, one’s work is poorly done, but when the tool moves as a part of the workman, shape and shading will easily follow.

Slip study is, however, exhausting, and one consecutive hour of it is frequently too long. One should rest, on growing fatigued, by taking up some other branch of the study, such as gramma¬ tical forms, or copying out Panjabi, or reading along some other line, to rest the mind and organs of speech Such time should be used, if one intends to learn the Gurmukkhi character, by taking up S. Jno. iv, beginning with verse 7.

As to the length of time that one should study daily, it may be recalled that a gentleman who followed two children, of five and six years of age, during a whole day, and took note of their every word, ascertained that they each had made approximately 15,000 words utterances. Allowing 100 words to the minute in conversa¬ tion, this would give two and one-half hours of steady talking and as much listening for each child. Doubtless if one gave the same time to using familiar words, both hearing and speaking w’ithin one’s own vocabular}'^, and gradually extending it by

INTRODUCTION.

introducing and using a few new words, one would get the language rapidly and accurately.

The number of new words that can be assimilated will vary according to the diligence and mental power of the student. A student of German learned fifty words a day for several months. His method, however, was wrong, as it was the word method, and he did not assimilate so many as this daily. It is better to take a few and thoroughly incorporate them into our sentences, so that we can use them, rather than merely to get the meaning of a large number. If we study twenty-five days in the month, and master ten words daily, we shall be able to use 1,500 in six months. When we realize that the Gospel of St. John has only 1,000 words, we see the possibilities of a well-chosen vocabulary of 1,,500 words. By the end of the year we should be able to double or treble this number.

In the mastery of ten words daily it is implied that we dis¬ tribute our effort over the various parts of speech, and learn not merelj' to employ ten nouns or verbs, but to use the new' words in any sentence that we may have previously been able to say, substituting them, for words of the same kind. It is possible that ten words w'ould l?e too many for some students, but an earnest effort should be made to master at least this number. At first, saj' for the first two or three weeks, it may be allowable to count the variant forms of the verb ‘ to be ’ as different words, and so with variant forms of the noun, but the ambitious student will not do so. Hold yourself to not less than ten separate words, and if you do not get them thoroughly in mind, carry them along in review and add ten new words.

As you get out among the people, carry a book and pencil and enter w'ords and phrases, then at home correct and enter them in ink, and if they are desirable expressions, learn them. At first, sa}' for six months, confine your memorising very largely to the work outlined here. After that go as far afield as you ehoose, but always try to get your new words in phrases. Cul¬ tivate the habit of close and accurate noting of the exact forms •of the words in every Panjabi sentence, and you wdll soon acquire a habit of correct speech, for the ear is the governor of the

INTBODUCTION.

9

tongue, and as we bear so we speak. Avoid carefully all mongrel speech. When you talk Urdu, talk it, and when you talk Panjabi, talk it pure — no “ khicarl.”

It will be noted that the sentences of Part III are long and complex. The ordinar}^ language method carefully avoids any¬ thing complex till later. But it is much easier tf evolve the simple from the complex, than the complex from the simple. As mature students we are used to the complex in thought, and the difficulty of mastering an involved sentence of thirty words is little, if any more, than that of learning one of five or six words. Probably, because of the relation of thought, the complex will be found easier. So, too, the long and complex sentences, v/ker. mastered, give a command of idiomatic expression that is never learned from confining oneself to the simple, short sentences so common!}' found. The adult student has been used to allowing his thoughts to roam in palaces of paragraphs and involved sentences, and when he is confined to the one-roomed cottage of the simple period, he feels straitened and oppressed.

The written compositions and translations of the ordinary methods will find their best substitute in what I'rendergast calls ■ Diversification ” and “Oral Composition.” The already learned words are taken as the basis of new sentences. Changes of the subject are made by substituting the singular for the plural, nouns for pronouns, first person for second or third, past for present, future or perfect, feminine for masculine, and vice versa, until no ending, auxiliary or part of speech seems un¬ familiar. Take the Diversification Table at the end of Part III , and practise one or more classes daily after the first two months, until all the changes involved by the use of an\' of the words come readily to mind. Mastery of these few forms will give the mastery of all.

“ No one ever gained a fluent command over man\' words with¬ out first mastering a few at a time. Repetition of the same words in varied combinations, thus disclosing their various forms and uses, is the method whereby languages reveal their secrets.” We learn to use a language as we learn to use the sword. How many times must one practise the thriistand stroke, the feint and

10

INTRODUCTION.

parrv before one is fit to cross swords with a foe. So, too, we- must go over and over these thrusts and strokes of tongue and- mind, before we can use our Panjabi in front of an audience.

Reading, as has already been said, should follow our ability to understand, and may be carried on as we memorise the sen¬ tences of the Manual. While resting, one might take up the Gurmukkhi character (beginning with S. John iv. 7). By having the Gurmukkhi written under the English of our slips, it is possible to learn the general outlines of the Gurmukkhi words, while we are memorising their sounds, and after the first lesson or two to begin an inductive study of the character, with¬ out the drudgery of the alphabet.

The true language method then, we may observe, by way of recapitulation, demands

1. A phonetic analysis of the sounds of the student s native- tongue.

2. A phonetic analysis of Panjabi sounds.

3. A s\'nthetic combination of Panjabi sounds in Pronunciation Exercises.

4. A study of Panjabi as spoken by a native Panjabi in com¬ plete sentences.

5. Memori.sing these sentences aloud, till the pupil can say them at a normal rate of utterance, five syllables per second.

6. A complete mastery of the changes which the various parts of speech undergo to indicate the logical interrelations of the various sentences and parts of sentences to one another.

7. The initial and continued use of Panjabi as a direct medium of communication and of teaching Panjabi itself.

PART I.— GUIDE TO PRONUNCIATION.

As a proof of the value of phonetics, one cannot do better than quote the opinion of Miss Mary Brebner, Gilchrist Scholar of the Cambridge (England) Training School for Women Teachers, who was sent abroad to investigate the teaching of modern languages in Germany. After six months’ investigation she writes, “ I am fully persuaded by all that I saw and heard, that phonetic drill is invaluable for giving the pupils a good pronunciation from the start. I often marvelled at the sure unhesitating way in which the pupils had mastered the English sounds.”

Note also, in this connection, the deliverance of the World’s Missionary Conference, Edinburgh, June 1910, Commission V, “ The modern science of phonetics is without doubt of great use in the acquirement of a correct pronunciation and ought to be studied at home.”

Were it not that this science is almost wholly neglected in both English and American schools and colleges, one might pass over a great deal of what follows. It will be a great advance toward linguistic perfection, too, when the advice of the Edinburgh Conference is followed and the subject is really studied at home. How’ever, we must do the best we can on the field to make up for any lack of preparation at home, and so we shall treat the subject as if it were wholly strange to the student of Panjabi.

1 . Phonetics is the science of sounds, but as applied to linguis tics, it is the science of the positions and movements of the vocal organs in the production of speech-sounds. We shall endeavour to show the organic positions of Panjabi sounds, and show also how^ they differ from or resemble the corresponding Urdu and English sounds, so that the student may work inteljigently and successfully toward acquiring a correct intonation in his u-se of Panjabi.

This drill in phonetics is indispensable for the adult, owing to the fixity of his organs of speech, and his tendency to hear according to his preconceived notions of what the sounds are

]2

PHONK'l’ICS.

Not only will lin'd educate liitu to hear, hut he will be so trained that those who hear him will be able to tell with ease and certainty what he is saying and to recognize in his speech the distinctive Panjabi sounds. These are at first so much alike to the untutored ear that the ordinary beginner fails to distinguish them in his speaking or hearing, but a knowledge of them is absolutely necessary.

2. Speech is the original wireless telegraphy, and has as its medium the air. By means of the vocal organs certain wavelike movements are imparted to the air in the larynx and mouth, and these cause similar movements to radiate to the outer air. and thus the}' reach the ears of others. The lungs form the bellows from which the air of the chest is forced out through the larynx between the vocal chords, where it is so modified as to form the basis of articulate speech. The vocal chords, when broughtclose together, vibrate as do the lips, when one is blowing a trumpet, and by this vibration the vocal current becomes ’‘sonant” whereas, if the approximation of the chords is slight, the vocal current is but little changed, and becomes “ surd.”

Just above the larynx or Adam's apple is the pharynx, the passage between the back of the mouth and the gullet and wind¬ pipe. By a contraction of the walls of the pharynx force is given to all explosives. It is at the upper part of the pharynx that the vocal current is deflected outward, either into the mouth or into the nasal passage. This deflection is determined by the velum, or soft palate. If it is raised, breath goes out through the mouth; if it is down, in the natural position, and so open, the current goes out through the nose.

Once the vocal current has passed the vocal chords, it may be modified by the pharynx, or by the soft palate and its pillars, or by its extremity, the uvula, or by the back, middle, front, or tip of the tongue, as it comes into more or less close or open relation with the organs above, and also by the teeth and by the lips. Sometimes through the modifications resulting from both mouth and nasal organs certain clicks and sniffs are produced.

3. Sonant. — Although there are many points in phonetic problems which have not been clearly settled, 3’et the action of

PHON BTICS.

1?

these modiflers,in their main features, can be easily ascertained. Lay your fingers on your larynx (putting a hand on the top of the head, or holding a finger in each ear, gives the same result) and say alternately z-z-z-z-z and a-a-B-s-a, but be careful not to call these letters by name, only hiss and buzz their sounds. As you do this, you will feel a vibration in your throat, ears or head. Thisarisesfromthevibrationof the vocal current, produced b}’’ the action of the vocal chords. All sounds having this vibration arecalled“ sonant,” “ voice,” ‘‘ vocal,” or “ sub-vocal,” as 1, m, b, V, g, a, o.

4 Surd. — When j'ou pass from z-z-z to s-s-s, you will notea relaxation in the larynx, but when, you pass from breathing with open mouth to the sound of h in one and the same breath, you will note a slight contraction of the larynx. This is at the basis of allletters which are not “sonant.” Such are usually designated “ breath,” “aspirate,” “ voiceless,” but the best designation is “ surd.” The English t, s, f, sh, p, k are surds.

5. Vowels. — When the mouth has a fixed, open position, the voiced current produces a sound that is called a vowel. W'e may have as many vowels as we have different positions of the mouth, and by gliding from one position into another we get an additional number of what are called dipthongs. The Panjabi vowel table is quite simple.

6. Consonants. — When the vocalcurrent is cut off or constrict¬ ed so that there is an evident stoppage or friction at the point of articulation, we get what is called a consonant. The name is false from an etymological standpoint, and is still defined by some grammars as “ a sound that cannot be made alone.” The name is too well settled for us to try to change it, but one should note that the sounds of s, sh, f, v, 1, m and others, may be prolonged indefinitely without any vowel assistance.

7. Consonant Varieties. — Consonants are divided, according to the manner of articulation, into stops, continuants or fricatives, trills, nasals and laterals; and, according to the point of articu¬ lation, we have in Panjabi labials, dentals, palatals, cerebrals and gutturals. When stops end a syllable, they are called implo- sives, and when they begin it, they are called explosives. The

14

PHONETICS.

true explosive is explained later on. A combination of surd and sonant consonants is found under the term “ blends.” See Section 13.

Each point of articulation may have one pair of stops and one of continuants, with, in some positions, a. pair of trills or flaps, and one of laterals. Out of all these possible sounds, there may be only one in use, but frequently there are two or -three out of a possible six or eight.

8. Alphabet. — The Gurmukkhi alphabet, in common with the others derived from the Sanskrit, has a phonetic order superior to any of the western alphabets. It is probable that this alphabet came in along the south Arabian coast. It must have come into use long after the Sanskrit grammarians had classified their sounds, and, as a consequence, we have it arranged in good phonetic order, instead of in the topsy turvy way of our English letters.

9. Phonetic Analysis. — Any satisfactory study of phonetics must begin with an analysis of the sounds of English as spoken by the student. Let each one provide himself with a mirror and accustom himself to observe the actions of the vocal organs as they form the various speech sounds. Having observed , as before directed, the relation of, and difference between, s and z, let the same be noted in v and f, w and wh, sh and zh, th (thin) and th (thine).

Now say the sounds of p, b, t, d, ch, j, k, g, and, with fingers on larynx, note that p, t, ch, k are surd and b, d, j, g are sonant. Go from b to m, m to b, as in jab’m,Jamb, and observe the vocal action. So with hind, hidden, kin, king, reversing the two latter to nik and ngik.

10. Stops. — Stops should be studied with the vowel a (ah), as ap &b, pa ba, at ad, ta da, cha ja, ach aj, ka ga, ak ag, the exact point of articulation being noted. Say key, kay, kaw, gee, gay, gaw, and observe the change in point of articulation and in sound.’ Now say gaw, gay, gee, jee, and note that if we put the point of contact just a little further forward, the hard sound of gee becomes jee. In English, then, w e have four dis¬ tinct points of articulation, p, t, ch, k, but in Panjabi we have

PHONETICS.

16

'five, owing to the fact that we have two different sets of t’s. See 12.

11. ContinvMnts or Fricatives. — Take the mirror and holding the mouth eo that you can see up under the teeth, say mits, hits, and observe how the tongue which closes up tightly as you say hit, mit, opens at the point and allows the breath to escape over the tip for the s, and that the sounds of the two are quite different in length, the t being momentary, while the s is con¬ tinuous, hence the term continuant. Owing to thefactthatit and other similar letters take their character from friction of the vocal current passing between two approximated organs, the term fricative is also used. Each point for a stop will also give us continuante. Let us take up these sounds more in detail.

12. Sound Table (a) —

Stops	Explo¬ sives.	Nasals. tives.	Trills.	Late¬ rals.	Blends
Labials p b	ph	“ph” w m			bh
Dentals t d	th	s z n	r	1	dh
Palatals e* j	ch	sh zh h			jh
Cerebrals t d	th	n	r	1	(pi
Gutturals k g	kh	Kh h			gh
Sui generis		hh{ ‘ )

(6) Tt is to be observed that the only class in regard to which there is any dispute as to whether the sounds are simple or com¬ plex is that of the palatals. It is ordinarily taught that c is compounded of tsh and z of dzh, but this is incorrect for the following reasons. All alphabets have recognized it as a simple sound. Like other stop positions, it has its corresponding fricative, sh and nasal, n. It can be formed when the tip of the tongue is not involved, as it would be if there were a “ t ” in it.

It should also be noted that while our English “t” is called dental, it is really pre-palatal, since the tip of the tongue comes just above the upper gums.

(c) The labial fricatives “ph” and w are rather difficult for the beginner. The w is not the English w, which is rounded at

* C in Panjabi has the sound of oh in church.

16

PHONETICS.

lips and throat, but is a bilabial, made with lips drawn back at the corners, and sounds something like a v in English. The “ Pb ” is the indigenous f of India, and is made by holding the lips flattened and quite close, and at the same time blowing between them. Our English f is made by placing the lower edge of the upper front teeth against the lower lip, rather toward the inner and upper part, and then making the sound by strong blowing. The sonant of f is English v, while the sonant of “ph” is Panjabi w. The English w is formed from English o, by making the lips a little more shut, and the English wb is the surd of the English w. The Panjabi w bears the same relation to Panjabi o that English w does to English o. But see secs. 21-23, vowels.

(d) The Panjabi palatals are, like many of the Panjabi sounds, farther to the front in the mouth than the corresponding English sounds. So, too, where the English make c, j, sh, zh, with lips protruding, Panjabis have their lips flattened. The y is also a palatal, but it has the front of the tongue much lower than the zh or sh. It sometimes has a sound like zh. y bears the same relation to i as w bears to o. So n bears the same relation to j as n does to d.

(e) Cerebrals are usually termed “ hard.” That they are “hard” to make correctly all foreigners will admit. Several elements enter into their formation : first, the throat must be well opened, the lips drawn back tensely, and the tongue also tensed and low in the back ; second, the tensed tongue must be in a nearly perpendicular position, the sides spread out so as to fill completely the space between the upper teeth, from side to side, the tip being up against the hard palate for the t d th n 1, and must be widely open at the central tip for r, though flapped down to normal position a moment after.

(/) The gutturals, so called from Latin guttur, throat, are formed at the back of the tongue, where it comes in contact with the soft palate. The stops k, g should give no difficulty, but the fricatives kh, g may. Let it be noted that kh bears the same relation to k as b does to t, or “ ph” to p. Open the mouth widely and say ak, then holding the tongue in the same

PHONETICS.

17

position, which you will only do, if you are using the mirror, relax very slightly and then blow breath forcibly through between the tongue and soft palate. Now voice this ^ and you get the g, for g has the same relation to to as z has to s. The ng would more accurately be written h, or have a different symbol entirely, for it has in it neither the sound of n nor that of g. To form it as a final is easy for us, but to get it as an initial, open the mouth widely and say ang, ang, ang. Note how the tongue is low in front. Keep it so and reverse the sounds and say nga. If the tongue insists on rising in front, take a pencil and hold it down. If you say na or nya for nga, it is simply because the tongue rises in front. Only a back contact will give nga.

(g) The letter h is marked “ sui generis,” and has at least three values. It has the sound of the English h in home in the Panjabi aho, hae hae, aht> In a certain class of words it is used to indicate a rise in pitch and gives no sound of its own, as in wela, w6hla, kaja kahla. This corresponds to one of the Chinese “ tones,” a distinction which becomes more frequent as one proceeds toward east and south-east Asia. In most words it seems to be a sonant h, and should be carefully observed in the teacher’s pronunciation. See Pronunciation Exercises.

13. Blends. — Whether it is on account of this “ sonant h ”

that the letters bh, dh, jh, dh, gh have their peculiar character or not, is perhaps not known. Certain it is, however, that few Westerners master these sounds. An analysis on the kyma* graph shows that the difference is like that of the German b, 2

18

PHONETICS.

as compared with the English b. This same pronunciation is found across China and Tibet, right through to Korea. These letters bh, dh, jh, dh, and gh sometimes have their Urdu pro¬ nunciation, which is that of an explosive aspirated b, d, etc., but the regular Panjabi pronunciation is a blend of surd and sonant, in other words, bha, dha, jha, ^a and gha are as if they were pba, tda, oja, tda, and kga.

In the diagram on preceding page, let 1 denote the point of closing the organs, 2 the duration of the closure, 3 the point of breaking the shut position, 4 the glide from the shut consonant position into the open vowel position, and 5 the vowel.

In these words pa,ba,b’a, pha and bha, the vowel, 5, is common , so also is the silent closure of the lips, 1. The difference there¬ fore must be sought elsewhere. Between pa and ba, it is in the point where the vocal chords begin to sound, as indicated by the heavy line, that for ba beginning at once on the closure of the lips, and for pa not beginning till the vowel is reached. For pba (b’a), however, it begins at 3, immediately with the break. There is no aspiration with the blend pba, as there is with Urdu bha and pha. This aspiration begins with the break, 3, and runs to the vowel, as indicated by the dotted line.

14. Laterals. — In English we have the labio-dental laterals f and V and the dental laterals th (thin) and th (thine), and

he lingual lateral 1, but in Panjabi we have only the 1 and the 1, where the difference arises from the way in which the tongue is held, at the teeth for one and at the roof of the mouth for the other. The terms “liquid ” and “ lingual ” as applied to some letters have no real value as descriptive of the action.

15. Trills. — The dental r is a tongue-tip trill, though often it has but one flap, while the cerebral y is an inverted flap from the perpendicular to the horizontal position, but the murmur of the voice, as it passes over the tip of the perpendicular tongue, is an integral part of the sound, as is also that of the flap.

It should be noted that we have three or four r’s in common use in English. Final r, as in are, is a back open guttural at most, while with some it is silent. Initial r, as in raw, is a front palatal flap, or it may be (with the Scotch it is) a tip trill.

PHONETICS.

19

Occasionally, however, initial r is rounded,” by protruding the lips. Tongue-tied persons then pronounce words like wrong, write, as wong, wite. It is probable that this w in write, which we call "silent,” was formerly pronounced and written to dis¬ tinguish write from rite. The tip trill r is the only one that can be used in Panjabi.

16. Nasals. — Each of the 6ve stop positions give us a corres¬ ponding nasal. When the closure is held and the nasal veil opened, the vocal current, reverberating in the mouth as far forward as the closure will allow, passes out through the nasal chamber and gives us, corresponding to b, d, j, d, g, the nasals m, n, n, n, h. The sound of n is usually Romanized ny, and occurs in canon and onion. To get it initially take the word Bunyan, whisper the B^l and say the nyan aloud.

17. Explosives. — The letter p in English is usually called an explosive, but by many it is pronounced like the Panjabi ph. This ph and the th, ch, th, kh are true explosives. The breath pent up behind the point of contact of the lips, or of the tongue and palate or teeth, rushes out sufficiently to cause the hand to feel a puff of air, if it is held close to the mouth ; a slip of tissue paper or flock of cotton thus held will be driven away from the lips. One must practise until the pa, pha, ta, tha, etc., can be given alternately at will. See Pronunciation Exercises.

18. Normal Pose. — As a preliminary to discussing the vowels it will be well to note what is meant by " normal pose,” " organic basis,” or “ basis of articulation,” as it is variously termed. By this we mean that peculiar form and tension in which the vocal organs of the people of any given race are held as they speak theirjanguage. The points to be observed in determining this are whether the lips are neutral, forward or retracted, whether the throat is kept open or somewhat shut, and whether the organs are tense or lax.

19. Spreading. — This is the retraction of the lips at the comers, spreading the mouth and disclosing the teeth. It helps to produce the characteristic tone-quality of Panjabi.

20. Tone Placing. — Tone-quality, sometimes called “ focus ” or "placing” of the tone. The tone appears to be back in the

20

PHONKTICS.

mouth, nasalized, or forward on the hard palate or even the teeth. This qualit}^ of the tone depends on the positions and tenseness of the organs. Spreading seems to carry with it the low back tongue, and tensed muscles of the throat, as may be felt by ex¬ ternal pressure, and thus the tone is brought to the very front of the mouth and on the teeth, giving a ringing, metallic effect, which in singing is highly penetrating and unpleasant to Western ears.

There are many Americans and some Britons w'ho carry their tongues very high in their mouths, and so smother their articula¬ tion that one understands them with difficulty, and when they add to this, as is frequently the case, the nasalization that comes from a lowered velum, it is highly unpleasant to the cultivated ear. It is likely that chronic catarrh tends to produce a nasal twang.

The best focus in English is on the hard palatal arch. This involves, of course, as do all good tones, a low back tongue. The normal Panjabi focus is against the upper front teeth, and this gives a voice of splendid carrying quality.

One of the best exercises to secure a lowered tongue, and the resulting open throat, is to practise yawning, and then learn to hold the throat in the position that it takes just before the yawn is relaxed. Phe position of the throat preparatory to coughing is much the same. Focus or tone quality is one of the most essential elements in audibility.

FRONT

BACK

LOW

21. Vowel Modifications. — These arise from changesintheform of the oral cavity, which are made by varying shapes and tensions of the organs, as when the lips are passive, spread or rounded, when the tongue is highest at back, mid, front or tip, or when the velum (soft palate) is neutrally shut, open or rounded.

PHONETICS.

21

Further, all these organs may be in a lax or tense state, some¬ times called “ wide ” or “ narrow.”

22. Vowel Triangle. — If you open your mouth widely and saj' a § i (ah ey ee) you will note that the tongue moves forward, and when you say a 6 ti (ah o oo) the opening is made smaller and rounder, but if you keep your mouth wide open the round¬ ing may be confined to the back of the tongue and palate. The short vowels a e i o u are made with organs more lax than they are when forming the corresponding long vowels.

23. Rounding. — There are two kinds of rounding, outer, at the lips, and inner, between the tongue and soft palate. English has both these, w’hile Panjabi is characterised by inner rounding alone. If while saying English o, one inserts one’s little fingers and draw the lips back at both corners, one will get an o with only inner rounding.

24. Glides and Diphthongs.— \i you sa}' the English vowels o, oo, as you look in the mirror, jmu will see the lips move slightly to a closer position at the end of the vowels o, oo. This is called the w glide. At the end of the English ‘'long” a and e, there is the y glide. Perhaps this is why we spell day, they, bow, and wrongly explain the y and w as ” silent.” English “ long i” is a diphthong composed of ah and i, though so often supposed to be a simple sound. Jt is difficult for the English tongue to pronounce a vowel without a glide. It is by gliding from one vowel position to another that we form diphthongs, the blending of two vowel sounds into one.

Panjabi vowels are level, without final glides, save the two diphthongs, u.sually romanized as ai and au. The former is composed of Panjabi a + e, both short, and au of Panjabi a + o, both short. Learn by imitation of the teacher and use of the mirror to say the Panjabi fi 6 i 5 h without any glide, and the diphthongs with their proper constituents. Some claim to hear ai as if it were the sound of a in English man, but it is really different.

25. Nasal Vowels. — Vowels in Panjabi are nasalized when the vowel is pronounced with the passage into the nasal chaifiberopen ; the sound reverberating in the nasal cavity gives it this peculiar

22

PHONETICS.

character. Nasalization forms the basisof some vital distinctions in meaning. This is more frequently true of Urdu than Panjabi, but is true of both.

The sign used to indicate the nasal is more properly a wave (a) over the vowel, than n, since the latter implies that this “ nun gunna” is a separable sound, w^hereas it cannot be produced apart from a vowel.

26. Intonation. — Intonation is the peculiar melody which forms a part of the language, and differs in different localities, even though the language may be the same. The Panjabi intonation is characterized by a level and staccato movement and the front focus of tone. Intonation might be called the language “ tune,” and is more important than individual sounds. It is never acquired by those who stud}' after the ordinary method of learning words. It is only as one gets the sentence as a whole, intonation and all, that one may hope to acquire this. Failure to give the proper intonation makes the foreigner always remain a foreigner in speech, and his best efforts in Panjabi are often the cause of the remark, “ We do not under¬ stand English.” It is because our fellow-countrymen retain the familiar language tune that we are able to understand their Panjabi so much better than that of the native, and because the foreigner speaks English to us with his own peculiar melody, we often fail to understand his meaning.

27. Articulation. — Articulation is the uniting of consonants and vowels so as to give each its proper value. Many students of Panjabi will need to cultivate a better articulation in Panjabi than they have in their native tongue. A valuable exercise to this end in any tongue is to practise reading in a whisper, so that a person some twenty or thirty feet distant can hear with ease. Rapid repetition of the letters p, t, c, t, k, both forwards and backwards, will be of great assistance in cultivating a crisp, clear articulation . To do this one must know the exact point of contact, and, for vowel and consonant art' 'dations, the exact positions of the organs, and then take such positions clearly and decidedly.

28. Syllables. — A syllable is a measure of speech determined by a single impulse of the voice. As a rule every syllable contains

PHONETICS.

23

a vowel. Syllables are closed when they end in a consonant, and open when ending in a vowel. According to Arabic grammatical rules, which have been imposed on India, every syllable begins with a consonant. This is not correct in Panjabi where we have likh-e-a, bar-a, etc.

29. Doubled Consonants. — While we have many double conso¬ nants in English spelling, we have them actually doubled only in compound words, as head-dress, night-time, hook-case, where d, t, and kare doubled as we double them in Panjabi. In such words as ripple and hitting the pp and tt are used to indicate that the i is short. We ought, however, to distinguish beween such words as holy and wholly, by doubling the I of the latter. The Panjabi kacca is often anglicised as “ kutoha.” The reason is that we are not used to hearing a syllable with a close “ ch ” such as we have in kacca and accha. In other words, the first consonant in such combinations as pakka, pattar, kacca, dabbi, is made as the organs close into position, and the second is made by a new impulse, as they open for the succeeding vowel. In such words as assi, the new impulse comes in while the continuant s is sounding, and this new impulse forms the second letter. It is probable that inability to distinguish between a closed “ ch ” and a “ t” leads to the spelling watch, catch, etc.

30. Recoil. — A consonant properly consists of “ a position, an action and a separation.” This separation is the “ recoil.” In such words as word, hit, back, ending in stop consonants, the organs should recoil from the shut position, while the air of the mouth is at speech pressure. Such pressure should be non-vocal andthrownoff immediately the break occurs, or we may hear a disagreeable aspiration, or in such words as mud, rug, one occa¬ sionally hears a final uh, which, of course, is to be avoided. One should note the exact character of this recoil in the teacher’s pronunciation .

31. Personal and National Difficulties. — Occasionally a person is met with who through being tongue-tied is unable to articulate cerebral letters properly. A slight operation will cut the cord that binds the tongue and give it freedom, but it should be per¬ formed by a surgeon. Most difficulties arise from preconceived

24

PHONETICS.

notions of what the sounds are. So many on hearing a ** t, ’ think it is a t, and that settles it. To them an 1 is an 1, an s is an 8, and they do not recognize the difference between the Panjabi sounds and the similar sounds in English. Almost no Panjabi letter has the sound which it gets from an untutored Westerner.

Some English speakers are accustomed to omit or slur final r, or to give the lip rounded r (wr) at the beginning of words. Careful attention to eliminate both these peculiarities from one s Panjabi pronunciation will be required. If one has normally a nasal twang, one mustlearn to control it, to produce and eliminate it at will. If one habitually aspirates one’s p’s, t’s, k’s, ch’s in English one must get the ability to hear the aspiration and master the unaspirated sounds as well.

If anyone finds that his words ending in 1 are not understood, it is probably because his final 1 sounds like his final r. Our English tendency to glide on all our long vowels must be thoroughly overcome.

32. Analysis of Sounds— It is of great imx'ortance that the suggestions given here as to the manner in which sounds ar^ formed be again, and yet again, reviewed, until perfectly under¬ stood, and the sounds mastered. An analytic study of one’s own sounds must go along with the study of the Panjabi sounds. Whispering Panjabi sounds will often lay bare their secret. Sing them with “ a,” preceding and following the consonants that are under investigation. A half-inch stick between the jaw teeth of the teacher will often assist one greatly in seeing organic positions.

33 . A Good i?ar.— Few adult foreigners are at first able to hear the differences between the Panjabi sounds and their own. A good ear can be cultivated b\^ those born out of India, if they will take the trouble to practise the Pronunciation Exercises at the end of the Preface. The second or third term of mission service is not too late to mend any defects that may still exist. In training the ear it is well to know what sound the teacher is intending to make, so that we may listen for that, for one so often hears what one expects to hear, even though something else may be uttered.

PHONBTICS.

25

34. Gestures. — No Panjabi ever speaks if gesticulations will serve his purpose. It is just as well to learn and use these, so the student should observe carefully their form and meaning.

35. Clicks. — The “ smack ” of a kiss is used to stop a horse in India, contrary to thecustomin America where this sou ad is used to urge on an animal. In India they urge on the horse by a sucking sound with the tongue in the top of the mouth as for r. A sharp explosive suction, made by drawing the tongue down and forward suddenly from the roof of the mouth, is also used for driving. There are others, also, but these are a few to excite attention and the student should observe and note any others.

36. Pronunciation Exercises, Directions for Let your

teacher indicate by pointing, exactly which of the sounds he is about to make, so that you may not try to listen for some¬ thing else. After you listen to him making that sound and then contrasting it with a similar sound, you should try to imitate him.

As far as possible observe carefully the position of his lips, teeth, tongue, etc., while he speaks, and try to imitate these.

At the same time as you are learning the sounds, learn also the meaning of the words and sentences.

After a time the teacher should give the catch phrases and require the pupil to distinguish which word was used.

Later on the pupil should say the words, previously making out a list, and make the teacher write them down. He can then tell bv comparing lists whether he says what he intends to say.

These exercises should be practised 20 minutes twice daily for six months, and th«i once daily till perfection.

PART II.— GUIDE TO CONVERSATION.

To the Pupil. — This Guide is for the teacher. Unless he is thoroughly conversant with English, it must be, as it ought in anj’^ case to be, translated into the teacher’s vernacular, Panjabi.

To the Teacher. — It has been definitely settled by those who have studied the subject, that the only way to teach a language is by means of that language itself. Hence several principles must be followed : First, in teaching this Part II your method must be entirely oral. You must give every thing by word of mouth, as a mother does, when she repeats and repeats till the child can say the word. Men are but children of a larger growth ; so far as teaching to pronounce correctly is concerned, teach your pupil as you would a child that is just beginning to talk. When we teach children to pronounce we try to get them to speak fluently, even though they may not be able to pronounce all the sounds accurately. So you must teach your pupil to be fluent, going over and over the same sentences till he knows them perfectly. Of course you will give him a lesson every day. at some other time, in accuracy, but do not worry him by correcting him more than two or three times in other lessons for the same mistake. Perhaps he does not see where his mistake lies, and if you cannot point it out to him, or if he cannot perceive it when you do, it only irritates him to hear you say a thing again and again, and not to know wherein his failure lies.

Second, you must teach him to speak by teaching a complete sentence, and repeating this sentence, just as you would say it to a child, until he is able to hear it rapidly spoken, and then he will be able to repeat it rapidly himself. If he cannot hear it when you say it rapidly, he cannot repeat it fluently him¬ self.

Third, Grammar, or use of correct idioms, is also to be taught in the same way. If your pupil learns correct idioms, so that he is able to use them, he will copy them in his other speaking, but if you permit him to learn from incorrect models, he will speak

CONVERSATION.

27

according to those incorrect models, and it will be his teacher s fault. A child speaks as he bears his father and mother speak, because their speech is his model.

Fourth, your pupil will speak what he hears spoken. If you

TEACH HIM TO HEAR and if he hearscorrectlanguage,hewilluseit. Ifyoudonotteachhimtohear,you are no teacher. If you hear him using a wrong expression, teach him the right one, and get him to repeat it ten, fifty, a hundred times, till it is firmly fixed in his memory. Never teach him words one by one, always teach them as they occur in sentences. If you think he has a very poor memory, that makes no difference, you must make him repeat till he cannot forget. Hence this is Rule IV. Repetition IS THE secret of SUCCESS.

Now in beginning you may think that youmustspeak English, but no. Begin wdth the first question in the lessons, and say in your own Panjabi, What is this ? as you point to some object, a chair, a table, or a book, and answer your own question, always in your own language, this is a chair, this is a book. When you have done this five or six times, then get him to point to the object and say. This is a chair, this is a book. When he can say it readily, let him answer you, as you point to the table, and ask, what is this ? by saying to you, this is a table. Now ask the questions about the chair, the book, the table, and when he answers fluently', add another article, and ask about it, always reviewing the first familiar words. Ten new words are enough for one lesson, and count on it that in the next lesson he will forget or mix up half of the ten.

Keep a list of the words that you teach him day by day, and review them every day for the first two or three weeks. Then once in two weeks have a review, and if that is not often enough every week. No workmustbeleftundone. No word not worth learning must be taught, and every word worth learning must be so well taught that it will come to mind at once. Make the pupil every now and then take the teacher’s place and ask the ques¬ tions. While he is learning the names of the common things about the room, articles of diet, clothing, furniture, of outdoor life, you may at the same time, and along with these, go on to

28

CONVERSATION.

Lessons II, III, etc., and teach him ordinary action words such as eat, sleep, see, hear, smell, touch, catch, walk, sit, rise, etc., as detailed in the lessons.

These verbs will eventually be taught in three tenses, present past and future, but at first in only one.

You must teach the prepositions, the numerals, buying, selling, giving change, etc., for one or two hours daily. In fact, you should teach him the language by action and by pantomime.

Every day, before you come to teach, you must review the word lists and conversations of the preceding lessons, as well as those of the new lesson, so that 3’ou may recall the words that are familiar to him, and use them and them onh'^, and may know exactly what is to be taught in the remaining lessons.

Ten new words daily will make 250 words a month. In six months he will have 1500 words, quite enough to enable a man to .speak on all ordinary subjects. Of course he must get ten, fifteen, twenty thousand w'ords to be a learned man in your language, but that is a matter of years, and all that is necessary for him the first year is to be able to use these 1500 words in their various forms according to the correct idiom. If he does this he will be able not only to converse but to address audi¬ ences.

Never discourage your pupil by telling him he cannot get a word, nor be discouraged about him. He has learned one language, as an ignorant child, sureU’ he can learn another now tbathehasbeeneducated. Learned men have proved thatwhen someone is learning the words of a new language, which at first have no meaning to him, he will, in one hour, forget half of them, and over night he will forget two-thirds of them. So j'ou must expect to repeat a word to him ten times, before he is able to sav' it once, to have him repeat a sentence a hundred times before he can say it moderately well, to have him say his first sentences a thousandtimes.beforethey will come fluently', ten thousand times before he is able to make the difficult sounds smoothly and well. In teaching him pronunciation you must open your mouth widely to show him how and where the sounds are formed. Say' them with the vow'el “ a ” rather than call them by name as, “ at, ag,

CONVEBSATION.

29

ftk ” rather than “ t6, gain, kaf, ” etc. Some sounds he will not be able to catch at first, but do not think him deaf. It is because he has never heard them before. Whisper these sounds to him or sing them for him. It may take him six months, or perhaps a year, of daily drill to learn them. First teach him to hear two similar sounds and to recognize the difference. Some people study English for five or ten years and cannot say some of our commonest sounds. In twelve months the student should be able to pronounce all the Panjabi sounds fluently and correctly.

Sometimes when you are teaching kh, oh, th, th, ph, and he cannot distinguish them from p, t, t, c, k, hold a bit of paper close to your lips and he will see the difference. Somehow, in some wav, you must make him distinguish by the ear, and at the same time make him speak, so that even the old village women can understand what he is sajdng.

Get vour pupil to memorise these sentences, which are just what people use in talking to one other. He should repeat them as rapidly as five syllables a second and keep this up for a month, and then he will not forget them. Do all this carefully and faithfully day by day, and soon people will say. How well this sahib is progressing.

You must use words so that he knows what you mean by them. Get him to use what he knows. If he knows something per¬ fectly, he will be willing to use it. We learn to talk by talking. Follow the old adage, Practice makes perfect.

To Ihc Pupil. — Ask your teacher to say the sentences. Did you catch that long whale ? Did you catch that long wail ? Did you catch that long veil ? and perhaps he may appreciate your difficulty in apprehending some of the sounds he gives you.

The pupil ought to glance over the English of each lesson beforehand so that he may have a general idea of what is to come in it.

PART IL— SHORT SENTENCES.

Lesson I.

What is this ?

This is a table. This is a book. This is a chair. This is a carpet. This is a rug. This is a floor. This is a door. This is a window. This is a room. This is matting.

£h mez e.

Eh kitab e.

Eh kuxsi e.

Eh dari e.

Eh galica e. Eh farsh e.

Eh buha e.

Eh bari e.

Eh kamra we. Eh phiihr e.

Eh ki e ?

The teacher will ask these questions ; the pupil should give a full answer. Later on the pupil may answer by giving merely the name, as ‘ table, ’ mez, ‘ carpet, ’ dari, but at first, he must reply. Eh mez e.

These things will probably be present, but if at any time they are not, either pictures or the names of the articles, written on cardboard slips, must be used, and the teacher can point as he asks the question.

Ten new words are enough for one lesson, yet Lesson t is not to be finished before II is taken up ; it is rather to be carried on at the same time. These listsarenot exhaustive, and anything missing may be added, only see to it that each list is kept and practised until perfection is attained.

lAst 2. Dish, plate, knife, spoon, fork, cup, glass, water, tea, coffee.

List 3. House, verandah, dining-room, bed-room, bath¬ room, ofl&ce, drawing-room, pantry, kitchen, store-room.

Fihrist 2. Dis, plet, churi, cammac, kanta, piala, gilas, pani, oah, kafi.

Fihrist 3. Ghar, baranda, khana-kamra, saiina-kamra, gusl-l^ana, daftar, gol-kam- ra, b5tal-khana, boaroi-^a- na, gudam.

PANJABI grammar.

31

List 4. Bread, butter, meat, rice, fruit, peas, vegetables, potatoes, onions, chicken, por¬ ridge.

List 5. Sugar, salt, black pepper, red pepper, sauce, vinegar, gravy, soup, curry, walnuts, sweets, rice cooked in milk.

List 6. Paper, ink, pen, post, newspaper, pencil, letter, post office, postman, stamp.

List?. Couch, curtain, wall, book-case, cup- board, box, lug¬ gage, bedding, handbag.

Lists. Broom, duster, shov¬ el, tongs, brush, hat, clothes, dress, coat, shoes.

List 9. Train, station, ticket, carriage, fare, railway, porter, guard , engine, luggage-van, booking-clerk,“class, ’’luggage- receipt.

List 10. Hand, foot, nose, mouth, eye, ear, head, arm, face, leg, finger, toe right, left.

List 11. Hair, beard, mous¬ tache, elbow, knee, ankle, joint, back,brea8t, shoulder, stomach, waist.

List 12. Man, woman, child, boy, girl, horse, mare, colt, cow, calf, ox.

List 13. Donkey, buffalo, mule, camel . sheep, cart, buggy.

Fihrist 4. Boti, makkhan, mas, card, phal, matar, sabzi, aln, gandiie, kukkri, daliya.

Fihrist o. Khan(^ lun, kali, marc, lal marc, chatni, sirka, grebi, shuruia, kari, akhrot, mithai, khir;

Fihrist 6 . Kagaz, f^iahi, par, dak, akhbar, pinsal, citthi, dak-khana, dak-wa^a, tikat.

Fihrist 7. manji par da, kandh, almari, almari, bakas, asbab, bistra, thaili.

Fihrist 8. Jharu, jharan, karch, ucca, burs, topi, kapre (^es, kot, jutti.

Fihrist 9. Gaddi, steshan, tikat, gad(p, karaya, lain, kuli, gad, inan, brek, tika^ wala-babu, darja, bilti.

Fihrist 10. Hatth, pair, nakk, mffh, akkh, kann, sir, bSh, mffh, latt, uhgal, uhga^ sajja, khabba.

Fihrist 11. Wal, darhi, mucohS, arak, godda, gittft, jdr, kand, hikk, mondba, (^d(Ui, lakk.

Fihrist 12. Jana, janani, bacoa, munda, kuri, ghSra, ghori, wachera, gS, waocha, dhagga.

Fihrist 13. Khdta, majjh, khaocar, hth, bhSddi, gadda.

32

PANJABI OBAMMAR.

coolie, wood, stone, coal, city, charcoal, shop.

Listl4. Sheet, handkerchief, towel,pillow-case,blanket,mat- tress, pillow, shirt, undershirt, drawers, waistcoat, trousers, flannel, nightclothes, table¬ cloth, napkin, tray-cloth, cuffs, collar, skirt.

List 15. Servant, cook, scul¬ lion, water-man, groom, gar¬ dener, sweeper, table-servant, coachman, watchman, carpen¬ ter, blacksmith, pedlar.

List 16. Stable, cow-stable, garden, road, thatch, keys, organ (piano), picture, flowers, flower-pot, roof.

bagghi, kull, lakkar, patthar, patthar da kdla, shahr, kdla, hatti.

Fihrist 14. Falahg dl oadar, ramal, taulla, takle-da uchar, kambal, g a d 3 1 a, takla, kamiz, banain, draz, phutflhi, patltlq,, falalain, rat-d§-kapr3, mSz-dl-oadar, mSz-da-taulia, tr31>dI-oadar, kafS, kalar, saya.

Fihrist 15. Naukar, khan- sama, mas&lcl, mashki, sahis» mall, mehtar, khidmatgar, sablSi oaukldar, tarUan, luhar, bakas-wala.

Fihrist 16. Astabal, knrh, bag, sarak, ohappar, kunjlS, waja, taswir, phull, gamlft, chatt.

Lesson II.

Teacher, holding up a book, says, What is this ? Say, This is a book.

Pupil. This is a book.

T. That’s right. Give me the book. I take the book from you.

T. I give you the book. Now put the book on the table.

P. I take the book from you. Now 1 put it on the table.

T., as he .successively holds up pen, ink, pencil, and paper, asks. What is this ?

Munshi. ki e ? Akh5, eh katab e.

Sahb. £h katab e.

M. Thik e, katab mend deho. Mai tuhadde kdld katab lainna wS.

M. Mai tuhanft katSb denna wi. Hun mSz utte rakkho.

S. Mai tuhadde k5}S ka¬ tab lainna wi. Hub utte rakkhna wi.

M. lih kl e P Kalam, shia- hi, pinsal, kagat.

PANJABI GRAMMAR.

33

P. This is a pen, ink, paper, pencil.

T. Give me the pen. That is rignt (as the pupil hands it). Now give me the paper, the book, the ink, the pencil.

P. says with each, I give you the pen, etc.

T . Where is the book 1 Say, The book is on the table.

P. The book is on the table. T. •' Where is the pen ?

P. The pen is on the table . T. Where is the ink ?

P. The ink is on the book. T. Where is the paper ?

P. The paper is on the table.

T. (putting it on the chair), Where is the pen now ?

P. The pen |is now on the chair.

T. And now ?

P. Now it’s on the carpet. T. Where is the table ?

P. The table is on the carpet

T. Where is the carpet ?

P. The carpet is on the floor.

T. Where is the ink ? Now where ?

P. The ink is on the chair (the carpet, the floor, the table).

T. Where is the pencil ? Where is the paper ?

3

8. £h kalame, shiahi, pin- sal, kagat.

M. Mend kalam deho. Thik e Hun kagat deho, katab, shiahl, pinsal.

8. Mai tuhanu dSnna wi.

M. Katab kitthe we? Akho, Katab mez utte we.

8. Katab mez utte we.

M.. Kalam kitthe we P 8. Kalam mez utte we.

M. Shiahl kitthe we ?

8. ShiS-hi katab utte we.

M , Kagat kitthe we ?

8. Kagat mez te we.

M. Kalam hun kitthe we.

8. Kalam hun kursi te w»

M. Te hun kitthe ?

8. Hun dari te we.

M. Mez kitthe we ?

8. MSz dari te we.

M. Dari kitthe we P 8. Dari farsh utte we.

M. Shiahi kitthe we P Hup kitthe P

8. Shiahi kursi te we (daid, farsh, m3z).

M. Pinsal kitthe we P Ka¬ gat kitthe we P

34

PANJABI GKAMMAB.

P. The pencil is on the table. The paper is too.

T. Where are the paper and pencil ?

P. The paper and pencil are on the table.

T. Where are the pen and ink (bottle) ?

P. The pen and ink ( bottle) are on the table.

S. Finsal mez te we. Ka- gat wi mez te we.

M. Pinsal te kagat kitthe n§ ?

S. Pinsal te kagat mez te n§.

M. Kalam dawat kitthe we ?

8. Kalam dawat mez t e

we.

The teacher and pupil should exchange places, and the pupil should ask the questions.

Lesson III.

Teacher. Where is the chair Munshi. Kursi kitthe we (table, door, window, pen, car- (mez, bhha, darl, bari, pet, hat, rug, etc., etc.)? kalam, topi, galica) ?

Pupil. This is the chair, Sahb. Eh kursi e. etc. (pointing to each article in turn as the question is asked).

It is one great point of the teaching to get the pupil to under¬ stand when he is spoken to as rapidly as Panjabis speak to one another. Hence the pupil must be asked the questions until he can answer very rapidly, just as fast as the teacher can ask. It will need a great many reviews to attain this end, but it is imperative that it should be attained.

The teacher should prepare these lessons for teaching, since, although they are easy, it is not easy to teach them properly.

Lesson IV.

Teacher. Do you know what this is ?

Pupil. A chair.

T. Say: Yes, I know. It is a chair.

P . Yes, I know. It is a chair.

Munshi. Tuhantl pata e pal eh ki e ?

Sahb. Kursi e.

M. Akho, aho menti pata e, gh kursi e.

8. Aho, menS pata e, eh kursi e.

PANJABI GRAMMAR.

35

T. Do you know what this is ? Say, Yes I know.

P, Yes, I know. It is a book.

T. Madam, do you know what this is ?

P. Yes I know. It is a pen.

M. Tuhanft pata e pal eh ki e ? Akho, aho, pata e. 8. Aho pata e. £h kitab

e.

M. Memsahb, tuhantl pata e pal eh ki e ?

8. Aho pata e. Eh kalame.

T., in like manner, should ask about the other articles in the room, and require a complete answer from the pupil ; then get the pupil to ask about the same articles.

T, Do you know Panjabi ?

P. No, I do not know Pan¬ jabi. I know English.

T. Do you speak English ? Say, I speak English.

P. I speak English.

T. You understand Panjabi don’t you ?

P. No, I do not understand Panjabi well.

T. Say it again. Did you understand the thing ?

P, I did not understand.

T. Say again, I do not un¬ derstand very well.

P. I do not understand very well.

T. Well done. Now you understand.

P. Yes, I understand.

T. Do you know Persian ?

P. No, I do not.

M. Tuhantl Panjabi aun- di e ?

8. Nehl, menh Panjabi nehl aundi. Menh Ahgrezi aundi e.

M . Ahgrezi bol sakde o ? Akho, Ahgrezi b51 sakna wS,

8. Ahgrgzi bol sakna wa.

M. Tusi Panjabi samjhde o na ?

8. Nehl, mai cahgi tarhs nehl samjhda.

M. Pher akho; gall sa- majh lei e ?

8. Nehl samjhi.

M. Pher akh5, mai cahgi tarht nehl samjhda.

8. Mai cahgi tarha nehi samjhda.

M. Shabashi. Hun ta sa- majh ai.

8. Aho mainh samajh ai.

M. Tuhanfi Farsi aundi e?

8. Nehi, nehl aundi.

36

PANJABI OBAMMAR.

Lesson V.

1. T. (Holding a book.)

What is this ? P. A book.

2. T. (Putting it on the

table.) Where is the book ? P. The book is on the table.

3. T. Where is the table ?

P. The table is in the room.

4. T. What is the table on ?

P. The table is on the carpet.

5. T. Well done ! Now

where is the carpet ? P. The carpet is on the floor.

6. T. Right again, where is

the door ? P. The door is in the wall.

7. T. What is this? (hold¬

ing his hat) . P. That is a hat.

8. T. What is this ? (hold¬

ing his watch). P. That is a watch.

9. T Where is the watch ?

(putting it on the hat). P. The watch is on the hat.

10. T. Sir, give me the book.

P. Sir, I take the book and give it to you.

11. T. Take the book and

put it on the table. P. 1 take the book and pot it on the table.

1. M. Shkle? S', Katilbe.

2. M. Katab kitthe we P

8. Katab m€z utte we.

3. M. Mez kitthe we ? 8.

Mez kothe wico e.

4. M. Mez kah de utte

we ? 8. M3z dari utte we.

u. M . Bauht thlk e. Acoha, dari kitthe e ? 8.

Dari farsh utte e.

6. M. fih wi thlk e.

Btlha kitthe e ? 8.

Bhha kandh wicc e.

7. M. Eh ki e? 8. Oh

tdpi e.

8. M. Eh ki e ? S. Oh

ghari e.

9. M . Ghari kitth@ we P

8. Ghari Wpi uttS we.

10. M. Sahbji,men£l katab

deho. 8. Munshi ji, mai katab laike tuhand dSnna wa.

11. M. Katab nfl laike m6z

utte rakkho. 8. Mai katab laike m@z uttS rakhna wi.

PANJABI GRAMMAR.

37

12. T. Take it from the table

and put it on the chair. P. I take it from the table and put it on the chair.

13. T. Madam^ you take the

book from the chair and put it on the table. P. I take the book from the chair and put it on the table.

14. T. Madam, give the book

to me, then take the book from me and give it to him. P. I take the book from you and give it to him

15. T. Sir, come here and

take the book and put it on the bookcase. P. I put it on the bookcase.

16. T. Sir, give me the pen

and ink. P. I give you the pen and ink.

17. T . I now put the book

on the floor. Where is it? P. It is on the floor.

18. T. I put it on the table

and I put the paper under the book. Where is the paper ? P. It is under the book.

19. T. (As he puts the pen

under the book.) Where

12. M. Ohnfl mez to laike

kursi te rakkhc. S. Mai ohnfl mez tS laike kursi te rakhna wS.

13. M . Miss Sahb ji, katab

nft kursi t6 laike mez utte rakkh deho. 8. Mai katab nfl kursi t6 laike mez utte rakhni 3.

14. M. Miss Sahb ji, menfl

katab deho, pher mere k61§ laike ohnfl deho. 8. Mai tuhadde kold katab laike ohnfl denni S.

15. M. Sahb ji, etthe ake

katab lao te almari te rakkho. 8. Mai ohnfl almari utte rakh¬ na wa.

16. M. Sahb ji, mSnfl

kalam te shiahi deho. 8. Mai ji tuhanfl kalam te shiahi denna wt.

17. M. Hunmaikafcabfarsh

te rakhna wa. Kit- the we ? 8. Parsh te we.

18. M. Mai ohnfl mez te

rakhna wS, te katab heth kagat rakhna wa, kagat kitthe we ? 8.

kagat katab heth e.

19. M. Kalam kitthe we?

8. Kalam katab heth

38

PANJABI GRAMMAR.

is the pen ? P. The pen e. (Mez, dari, bari,

is under the book. buha, topi, ghari.)

(Table, carpet, window, door, hat, watch, etc.)

Lesson

1. T. Sir, give the book to

Hira. P. I give the book to Hira.

2. T. Take the book from

Hira and put it on the chair, then under the chair. P. I take the book from him and put it on the chair, now under it.

3. T . Where is the book ?

P. It is under the

chair.

4. T. Pu|; the book in the

bookcase. P I put the book in the book¬ case.

5. T. Put the paper in the

book. P. does so.

T. Now put it under the book.

6. T. Where is the book?

P. I put it in the

bookcase.

7. T. Where is the paper ?

P. It is under the

book.

8. T. Give me the pen and

VI.

1. M. S abb ji, katab Hire

nft deho. 8. Mai katab Hire nS. denna wa.

2. M. Hire k6l5 katab

laike kursi utte

rakkho, pher kursi heth rakkho 8.

Mai ohde kol5 katab laike kursi utte

rakkhna w3 te bun kursi heth rakkh¬ na wa.

3. M. Katab kitthe we ?

8. Kursi de heth e.

4.	M . Katab nft	almari
	wicc dharo. 8	Mai
	5hnft almari	wicc
	dharna wS.
5.	Kagat katab	wicc

rakkho ; hun katab de heth rakkho.

G. M. Katab kitthe we ? 8. Mai ohnft almari wicc dharea si.

7. M. Kagat kitthe we?

8. Katab heth e.

8. M. Menft kalam dawat

P4NJAB1

GRAMMAR.

39

ink and put the paper on the chair. P. Very well.

9. T. What is this ? P . It is a book.

10. T. Right, and what is

this ? P. A book.

11. T. That is right, two

books, one and one make two. Two books and one book make three b( oks. Here are three books. What are these ? P. These are books, three books.

12. T. This is a chair.

These are two chairs, these are three chairs. What are these ; P. These are chairs.

13. T. One table, two tables,

three tables. How do we say it ? P. We saj^ one table, two tables, three tables.

14. T. (As he points to the

chair.) What do we say ? P. One chair, two chairs, three chairs.

15. T. Pointing to his hat.

What do we say ? P. One hat, two hats, three hats.

IG. T. One watch, two watches, three watches.

deho, te kagat nS kursi utte rakkho. 8. Cahga. (Hala ji !) (Haccha)

9. M. Eh ki e ? 8. Ka-

tab e.

10. M. Thik e, ji, te ah ki

a ? 8. Katab.

11. M. Thik e, do katabS.

Ikk te ikk do. Do kataba te ikk katab trai katabt hoia. Ah wekha trai katabt nS. Eh ki n§ ? 8. Eh katabt nl, trai katabt.

12. M. Eh kursi e, eh do

kursit ne. Eh trai kursit nl. Eh ki nl ? 8. Eh kursit nl.

13. M. Ikk mez, do mez,

trai mez. Asi kis tarht ahnne t ? 8.

Asi ahnne t ikk mez, do mez, trai mez.

14. M. Asi ki ahnne t ?

8. Ikk kursi, do kur¬ sit, trai kursit.

15. M. As! ki a^ne t ?

Ikk topi, do topiS, trai topit. 8. Ikk t5pi, do topit, trai topis.

16. A/. Ikkghari,dogharit,

trai gharia. 8. Asi

40

PANJABI

GRAMMAR.

P. We say one watch^ two watches, three watches.

17. T. This is one book,

there is another. This is large, that is small.

18. P. Where is the large

book ? T . This is the small book. So with chairs, watches, tables. Also with other adjec-

akhne a ikk ghari, do ghariS, trai gharia.

17. M. Eh ikk katab e, eh

hor katab e. Eh waddi e, 5h nikki e.

18. S. Waddi katab kitthe

we. M. Nikki ka¬

tab eh we. (kursi, ghari, mez, cahga, mara, wadda, nikka.) tives good, bad, big, little, and other nouns to show the use of the adjective with the noun.

Lesson

1. T. What is this ? P.

A chair.

2. T. (Ashe seats himself.)

I sit on the chair, say " The teacher is sitting on the chair.” P. The teacher is sitting on the chair.

3. T. Who is sitting on

that chair (pointing to the one on which the Pupil is seated). P. I am sitting on this chair.

4. T. What is Madam sit¬

ting on ? P. Madam is sitting on a chair.

5. T. What are we all sit¬

ting on ? P. We are all sitting on chairs.

6. T. Sir, what are you

VII.

1. M. Ehkie? S. Kursi.

2. M. Mai kursi te baih

janna, akho munshi kursi te baitha e. S. Munshi kursi te bai¬ tha e.

3. M. Os kursi te kaun

baitha e ? Es kursi te mai baitha wS.

4. M. Miss sahb kahde

te baithe ni. S'. Miss sahb kursi te baithe ng.

5. -li. Asi sare kahde te

baithe S. S’. Asi sare kursiS te baithe

E.

d. i¥. Sahb ji tusi kahde

PANJABI GRAMMAR.

41

sitting on ? P. I am sitting on a chair.

7. T. What is the gentle¬

man sitting on ? P. He is sitting on a chair.

8. T. Who is sitting on

that chair ? P. Madam is sitting on that chair.

9. T. (As he rises) I rise

from my chair, now I sit down, what do I do ? P. Teacher rises from his chair. Teacher sits down on his chair.

10. P. You rise. T. 1 rise

from my chair. P. Sit down. T. I sit down on my chair.

11. P. Rise and take the

book. T. 1 rise and take the book.

12. P. Give it to Madam

and sit down. T. I give it to Madam and sit down.

13. T . Is this a Panjabi or

an English Book ? P. It is an English book.

14. T. Is it a big or a little

book 'i P. It is a little book.

16. 1'. Is it a good book ?

P. Yes, it is a good book.

te baithe o. S. Mai kursi te baitha wS.

7. M. Sahb kahde te

baithe nl. S. Kursi te baithe n§.

8. M. Os kursi te kaun

baitha e ? S. Os kursi te Miss sahb baithe n§.

9. M. Mai kursi tS utthna

wt, hun mai baih jannS. Mai ki karna wS ? S. Munshi hori kursi t5 utthde ne, munshi hori kursi te baihjandeni. (Gram¬ mar p. 27.)

10. S. Tusiuttho. M. Mai

kursi te utGina wa. S. Baihjao. .1/. Mai kursi te baih jannS.

11. S. Utthke katab lellao.

31. Mai utGike katab lellainna wa.

12. S. Miss sahb nft de de5

te baih jao. 31. Mai ohna nft denna wS te baih janna wS.

13. 31. Eh Panjabi katab

e ke Aiigrezi ? >S.

Ahgrezi katab e.

14. -li. Waddi katab e ke

nikki. Nikki ka¬

tab e.

15. .1/. Cahgi katab e?

■S'. Aho, cahgi katab

e.

42	PANJABI	GBAMMAR.
16.	T. Is that a bad book ?	16.	M. Oh bhairi katab e ?
	P. No it is not a bad		8. Nehi, bhain katab
	book, it is a good book.		neh!, oahgi katab e.
17.	T. Is this a good watch ?	17.	M. Eh oahgi gha^*! eP
	P. No, it is not a very		8. Eeh), bauht oahgi
	good w'atch.		ghari neh!.
18.	T. Is this a good chair ?	18.	M. &h oahgi kursi eP
	P. Yes, it is a good		8. Ahd oahgi kursi
	chair.		e.
19.	T. Is this a good table ?	19.	M. Eh oahgi. mez eP
	P. Yes, it is a good		8. Ahd, oahga mdz e.

table.

The teacher should get the pupil to ask a lot of these ques* tions and see to it that he is able to ask as well as to answer.

Lesson Vlll.

1. T. I am sitting on my

chair. Who is sitting on that chair ? P. 1 am sitting on this chair.

2. T. Say we are sitting

on our chairs. P. We are sitting on our chairs.

3. T. You are sitting on

your chair. P. You are sitting on ^^our chair.

4. T. He is sitting on his

chair P. Yes, he is sitting on his chair.

5. T. (Pointing to the

lady.) She is sitting on her chair. P. Yes, she is .sitting on her chair.

1. M. Mai apni kursi to

baitha wS. 6s kuiel te kaun baitha 3 ? 8. Es kursi te mal baithS. wS.

2. M. Akho as! apnii kur-

si§ te baithe S. 8. Asl apnit kursit te baithe t.

3. M. Tusi apni kursi te

baithe 5. 8. TusI

apni kursi te baithe 5.

4. M. Oh apni kursi te

baithe nl. 8. Ahd oh apni kursi te baithe ne.

5. M. Oh apni kursi te

baithe n3. 8. Ahd

dh apni kiursl te baithe ne.

PANJABI GBAMMAB.

43

6.

7.

8.

9.

10.

11.

12.

T. They are sitting on 6. their chairs. P. Yes, they are sitting on their chairs.

T. You are sitting on 7. your chair. P. Yes, you are sitting on your chair. The pupil

M. Oh apnii kursli te baithe n§. 8. Aho,

oh apniS kursli te baithe ni.

M. TusI apnl kursl te baithe 5. 8. Ahd

tusi apnl k lursl te baithe 5.

should be able to say this conjugation easily and readily.

7'. I rise from my chair 6. and go to the door.

Now you say it. P. I rise from m3' chair and go to the door.

M. Mai kmrsl t8 utth- ke buhe tlkar (or wall) janna wi. Hun tus! akh5. 8. Mai kursl to utthke bhhe

T. I open and shut the 9. door and go and sit down on my chair.

You say it. P. I open and shut the door and go and sit down on my chair.

T. I take a book from 10. the table and put it on the chair. P. I take a book and put it on the chair.

T. I see a book. Do you see it 1 P. Yes, I see it, it is a Panjabi book.

T. (Pointing to the table.) Say 1 see the table. P. I see the table.

tikar (or wall) janna wS.

M. Mai buha lahk3 marna wS, t§ kursl te jake baih janna w§. Tusi akho. 8. Mai buha lahke mama wS, t@ kursl te jake baih janna wa.

M. Mai mez t8 katab laike kursl te rakkh- na wa. 8. Mai mez tb katab laike kursl te rakkhna wt.

11. M. Mai ikk katab

wekhna wS. Tust oh katab wekhde 6P 8. Aho wekhna wa, Pan¬ jabi katab e.

12. M. Akho, ma! mez nd

wehnna wS. 8. Mai mez nh wehnna wS.

44

PANJABI GRAMMAR.

13.	T. Now this (pointing to	13. M. Hun gh. S. Ma!
	the chair). P. I see the chair.	kursi nfl wehnna wS.
	T. Now this (pointing to	M. Hun eh S. Mai
	the rug) . P. I see the	galica wehnna
	rug.	wa.
14.	T. And this, and this,	14. M. Te eh, te eh, (buha
	(as he points to the door, window, watch, hat, etc.).	bari, ghari, topi.)

Lesson IX.

The teacher will get the following articles and so drill on them that the pupil cannot fail to remember the names.

	Wood, fuel, fire, match,		Lakkar, ballan, agg, tilll.
	lamp, oil : also the		batti, tel. Saddna,
	words call, do, burn*		karna,balna,or ballna.
	for, from.		lai, waste, t8.
1.	T. (Showing the wood.)	1.	M. Eh ki e ? 8. Me¬
	What is this 1 P. I		nu pata nehl pal Pan¬
	do not know what they		jabi wicc ohnS ki
	call it in Panjabi.		ahnde ni.
2.	T. We call it wood. P.	2.	31. Asi ehnh. lakkar
	We call it wood, it is		ahnne a. 8. Asi eh-
	wood.		nfl lakkar ahnne 5,
			lakkar e.
3.	T. (Showing a match.)	3.	31. Ehnu till! a^ne a.
	We call this a match.		Ki e ? iS. Ehna tilli
	What is it ? P. We		akhne a.
	call it a match.
4.	2\ What is this ? What	4.	.1/ . Eh ki e ? Ehuh ki
	do you call it ? P.		ahnde 6 ? Ehnfl
	We call it a — . T. K		asi ahnne a — J/. bat¬
	lamp. P. Yes, we call		ti. S. Aho, ehuU asi
	it a lamp.		batti ahnne a.
5.	T. Look in the lamp,	5.	M. Batti wicc wekho.
	that is oil. There is		oh tel e ; batti wicc
	oil ill the lamp. What		tel e. Ki e ? S.

PANJABI GRAMMAR.

45

is it ? F. We call it oil, there is oil in the lamp.

6. T. I take a match and light it and set fire to the wick. I light the lamp. What do I do ? P. You light the lamp.

'7. T. Now you light the lamp. P. (Striking a match lights the lamp.) T. That is well done. What is this ? P. Wood.

8. T . Yes, I take the wood

and hold it in the lamp and it burns. The wood burns, what does the wood do ? P. The wood bums.

9. T. See the wood, it is

burning. This we call fire or flame. What is it ? P. This is fire.

10. T. We say, too, the lamp

is burning. P. The lamp is burning.

11. T. What is this ? P.

It is oil.

12. T. What is oil for ? P.

Oil is for burning.

13. T. Yes, it burns in the

Ohnfl tel ahnne a, batti wicc tel e.

6. M . Mai till! laike balna

wS, te batti nO, lanna wS, mai batti balna wS. Mai ki karna wS. S. Tusi batti balde 6.

7. M. Hun tusi balo. Eh

cahga kita e. Eh ki e ? 8. Lakkar.

8. M. Aho ji, mai lakkar

laike batti utte phari rakkhna "Wa, te oh bal paindi e. Lakkar bal paindi e, lakkar ki kardi e ? 8. Lakkar

bal paindi e. {8ee Gram. pp. 67, 68.)

9. M. Lakkar nfi wekho,

oh baldi e pai. Eh nu asl agg yS lat akhne a. Ki e ? 8.

Eh agg we.

10. M. Eh wi asi akhne S

pai batti baldi e. 8. Batti baldi e.

11. M. Eh ki e? 8. Eh

tel e.

12. M. Tel kah de waste

hunda e? 8. Tel balan waste hunda e.

13. M. Ako ji, batti wico

46

PANJABI ORAMMAR,

15.

10.

lamp. P. Wliat is the lamp for ?

14. T. The lamp is for 14.

light. What is the wood for ? P. The wood is for fuel.

15. T. Right, what is the

match for ? P. The match is to light the fire.

16. T. Yes, that is right,

we strike a match and light the lamp for light. We either burn the wood for cooking or for heat. P. What is the chair for ?

17. T. The chair is for sit- 17.

ting on. What is the table for ? P. We eat at the table.

18. T. IFhat is the door for ? I 8.

P. We go by way of the door. (It may be

balda e. S. Batti kah de waste a ?

M. Batti 15 waste e, lakkar kehre kamm waste e ? S Lakkar balan waste e (or ballan).

M . Thik e, tilli kah de lai e ? /?. Tilli agg

balan lai e.

M . Thik e, 16 waste asl tilli balke batti balne a. Lakkar asl ya roti pakan waste ya agg sekkan waste balne a. S. Kursi kah de waste we ?

M. Kursi baihn waste we. Mez k a h d e waste we ? S. Mez te asl roti khanne a.

M. Buha k^hde waste we ? S. Asl blihe rah andar janne a.

necessary for the teacher to help in answering.) The teacher should ask this same question about all the articles with which the pupil is familiar. It is not neces¬ sary that the pupil should learn new words, rather he should use those he knows.

Lesson X.

The teacher should use pantomime to explain the words. We learn words in our own tongue by being able to understand them from their connection or by hearing them in connection with some action.

PANJABI GRAMMAR.

47

1. T. What is this? P.

A room. T. Istheroom clean? P. “Clean?” I do not understand.

2. T. (Soiling his finger

with pencil, etc. and showing a clean and a soiled finger.) This finger is clean, this finger is not clean. (Showing handkerchiefs.) This handkerchief is clean, this is not clean. Now' is the room clean ? P. Yes, the room is clean.

3. T. (Showing abook.) Is

the book clean ? P. Yes, the book is clean.

4. T. Who cleans the room ?

I will tell you. The servant. Who ? P. The servant. The ser¬ vant cleans the room.

5. T. How does he clean the

room ? I will toll you. He cleans it thus (imi¬ tates sweeping and dusting and says). He sweeps tbe floor and dusts the furniture — the chairs, table, doors, bookcase. Now is the room clean ? P. Yes, the room is clean.

6. T. How doeshe clean it ?

P. He cleans with a

1. M. Ehkie? 8. Kawra.

M. Kawra safe? S. ‘Saf’ da nbh! mbnfl pata laggda.

2. M. Eh uzLgal saf e, eh

uhgal saf nbh!. £h ramal saf e, eh saf nShi. Hun, kawra saf e ? S. Aho kSwra saf e.

3. M. Eh katab saf e ?

8. Aho katab saf e.

4. M. Kawre nti saf kaun

karda e ? Mai tuhanfl dasshi, naukar. Kaun ? 8. Naukar. Naukar kawre nS saf karda e.

5. M. Oh kis tarht kawra

saf kard§ e ? Mai tu- hanti dassnS, es tarhS karda e. Dari te bau- kar pherda e, te m@zS kursiS nfl jhar pdc karda e (kursiS, mSz btihe, almari), hun kawra safe? 8. Aho kawra saf e.

6. M Kis tarhS s&f karda

e? 8. Bhari te

48

PANJABI GRAMMAP..

broom and duster. P . He cleans it with a broom and duster.

7. T. You tell me. P.

I will tell you. He sweeps the floor and dusts the chairs, tables, doors, windows.

8. T. What is on your shoes?

P Dust.

9 . T. Who cleans your shoes ?

P. The servant cleans my shoes.

10. T. How does he clean

them ? P. He cleans them with a brush.

11. T. What is this ? P.

It is my hat.

12. T. Who cleans your hat?

P. I clean it with a brush.

13. T. How are your clothes

cleaned ? P. Some we brush and some we have washed.

14. T. Who washes your

clothes ? P. A woman and her son.

15. T. Thisis ahandkerchief.

I give it to the washer¬ man. He washes it with soap and water and makes it clean. He gives clean clothes to

jharan nal saf karda e. (Inquire jharu, bhari.)

7. M. TusI menu dasso.

/S.Mai tuhanft dassnS. Oh jharu pherda e te kursia, mezS, buhehS, baris nft jhar poc karda e.

8. M. Tuhaddi jutti te ki

e? 8. Dhur.

9. M. Tuhaddi jutti kaun

saf karda e? 8. Nau- kar jutti saf karda e.

10. M. Kis tarha saf karda

e? 8. Bursh nal saf karda e.

11. M. Ehkie? 8. Meri

topi e.

12. M. Tuhaddi topi nfi

kaun saf karda e? 8. Mai ehnQ. api bursh nal saf karna wS.

13. M. Tuhadde kapre

kikan saf karide n§P 8. Kise kise nil bursh nal saf karne a, kise kise dhuanne a.

14. if. Tuhadde kapre kaun

dh5nda e? 8. Ikk dhoban te ohda puttar.

15. if. Eh ramal e. Mai

dhobe nft denna wS, oh sabun te pani nSl dh5ke saf karda e. Saf kapre oh sanH denda e, asl ohnfi

PANJABI GRAMMAR.

49

	us and we give him		paise denne a. S. Aho
	money. P. Yes, he		oh sadde kapre dhon-
	cleans our clothes and		da e, te asi ohnft paise
	we give him money.		denne 5.
16	T. What do you eat	16.	M. Tusi rotl kah de
	from ? P. We eat from plates.		wicckhandeo. S. Asl bhandeS wicc khanne a'. M . BhandeS nfl kaun
17	T. Who washes the	17.
	plates ? P. The water-		dhondae? S. Mash-
	carrier washes the		ki bhandea nu dhon-
	plates.		da e.
J8.	T. Who washes your face	18.	M. Tuhadda muh hatth
	and hands ? P. I wash		kaun dhonda e ? 8.
	my own face and hands.		Muh hatth mal ape dhonna wa.
	Lesson	XI.
The teacher should procure a	cup.	saucer, knife, fork, spoon,
plai	e, teapot, teaspoon, medium and	large spoons, sugar.
1	T (Showing a cup.) This	1.	M. Eh bhanda e, eh
	is a vessel, (a saucer)		wi bhanda e, eh
	this too is a vessel, (a		wi bhanda e, trai
	plate) this also is a		bhande. Eh ki n§ ?
	vessel, three vessels. What are these ? P. Vessels.		8. Bhande.
2.	T. Yes, they are vessels.	2.	M. Aho ji, bhande nl.
	This is a cup. What		Eh piala we, ki e ? 8.
	is it ? P. It is a cup.		tiala we.

So for the rest, though these should have been taught beforehand from the lists in Lesson I. Having reviewed them all to see that the pupil is familiar with them, and having set them all on the table,

3. T T see a cup. This is 3. M. Mai piala we^na a cup. I see a knife. wS. Eh piala we, mal

Th is is a knife. Pupil churi wekhna wa.

4

60

PANJABI GRAMMAR.

points out each as it is asked for. Now show me a cup (P. A knife).

4. Teacher (pretending, or better actually perform¬ ing). Here is the tea¬ pot, I put in some hot water, I throw it out, I put in tea, I pour in hot water ; let it draw, the tea is made. I put tea into the cup, I drink the tea.

5. T. (Taking up a tea¬

spoon and a large spoon.) This spoon is large and this is small. P . This spoon is large and this is small^

6. T. These are 3 spoons,

this is large, this is smaller, this is medium.

7. T. Is the cup small ? P.

Yes, the cup is small.

8. T. Is the plate small ?

P . No, the plate is not small.

9. T. Is this spoon small i

P. No, that is large.

10. T. Is this book large ? P. No, the book is small.

fih churi e. Hun mS- nfl piala wakhao. 8. churi wakhao.

4. M. Bh oahpSci e, mai tatta pan! pannS, mal ohnfl dohl chaddnt, mal cah panna wS, mal tatta pan! pannS wS; ehnfi rang a lain deho, cah tiar e, mai piale wicc cah panna wS, mai cah pi lenna wS. (5ee Gram. p. 112.)

stages, then go through the process

6. M . Sh cammac wadda e, eh nikka e. 8. Bh cammac wadda e, eh nikka e.

6. M. Bh trai cammac n§, eh wadda e, eh odft nikka e, eh wish- karle mel da e.

7.	M.	Piala nikka e ? 8.
	Aho, piala nikka e.
8.	M.	Piet nikki e ? 6'.
	N6hi, plet nikki nShi.
9.	M.	Bh cammac nikka e ?
	8.	Na, oh wadda e.
10.	M.	Bh katab waddi e ?
	8.	NShi, katab nikki
	e.

The teacher should lead the pupil through these procuring some eatable and a plate should of eating, explaining each action.

PANJABI GRAMMAR.

51

11.	T. Is the watch large ?	11.	M.	Ghari waddi e ?
	P. No, my watch is		S.	Nbh!, meri ghari
	small.		nikki e.
12	T. Is this chair large ?	12.	Al.	Eh kursi waddi e ?
	P. No, it is not large,		S.	NShi eh waddi
	that one is large.		nehf, 5h waddi e.
13.	T. Is the table large ?	13.	M.	Mez wadda e ?
	P. Yes, it is large.		S.	Aho wadda e.
14.	T. Is the room large ?	14.	M.	Kamra wadda e ?
	P. Yes, it is large.		S.	Aho, wadda e.

The teacher should get the pupil to ask these questions about the various articles in the room, seeing that the right gender of the adjective is used with each noun, and remember¬ ing that what the pupil needs is to learn how to use the words he already knows.

Lesson XII.

1.	T. (Pointing to his eye.)	1.	AI. Eh ki e? Meri
	What is this ? It is		akkh e. S. Meri
	my eye. P. It is my		akkh e.
	eye.
2,	T. Oh no, you must not	2.	in. Ka ji, ‘meri akkh’
	say it is my eye, but it		na akho, aih akh5
	is your eye. P. It is		‘tuhaddi akkh e.’
	3^0 ur eye.		iS. Tuhaddi akkh e.
3.	T. That’s right, this is	3.	M. Thik e, eh meri
	my e5^e, and that is your		akkh e, oh tuhaddi
	eye. I see with my eyes.		akkh e, mai akkhi
	What do you do with		nal wekhna wS, tusi
	your eyes 1 P. I see		akkhs nal ki karde o ?
	with my eyes.		S. Mai akkhS nal
			wel^na wi.
4.	T. Right, what do I do	4.	M. Thik e, mai akkhS
	with my eyes ? P.		nal ki karna wi P S.
	You see with your eyes.		Tusi akkht nal
			wehnde 5.

52

PANJABI GRAMMAR.

5. T. 1 see with one eye,

now I see with two e3’es. You say it. P. I see with one eye, now I .see with two eyes.

6. T. What does this wo¬

man do with herej'es ? (It ma}' be necessary to have clay 6gures). P. She sees with her eyes.

7. T. What does this man

do with his eves? P. H e sees with his eyes.

8. T. Whatdo men do w’ith

their eyes ? P. "1 he_y see with their e3’es.

9. 2’. What do women do

w'ith their e3’es ? P. The3- see with their

eves.

10. T. What do we all do

with our eyes ? P.

We all see with our eyes.

11. T. This is my right ey^e,

this is my left eye. Which is this ? P.

That is 3'our right ey^e and that is your left.

12. T. (Putting hand to ear.)

What is this ? P.

That is your ear.

13. T. Whatdoldo with my

6. M. Mai ikk akkh nal wehnna wt, hun dflh akkhi wehnnt. TusI wi akho. S. Mai ikk akkh nal wehnna wS, hun dfth akkhi wehnna.

6. M. Eh janani akkha nal ki kardi e ? S. Akkha nal wehndi e.

7. M. Eh jana akkha nal

ki karda e ? S. Akkha ual wehnda e.

8. Ji. Jane akkht nal kl

karde nl ? S. Oh akkhi wekhde n§.

9. Ji. Janania akkha nal

ki kardia nl ? S. Oh akkhi wekhdia nl.

10. 21. Asi sare akkha nal

ki karne 8. Asi sare akkhi wekhne a.

11. 21. Sh meri sajji akkh

e, te eh meri khabbi e, eh kShri e ? 8. Eh

tuhaddi sajji akkh e, te oh tuhadda khabbi e.

12. 21. Eh ki e? 8. Oh

tuhadda kann e.

13. 21. Mai kanna nal ki

PANJABI GRAMMAS.

ears ? I hear with my ears ? What do you do with your ears ? P. I hear with my ears.

14. T. How many ears have

we? P. We have two ears.

15. T. Which is your right

ear, which is your left ? What does the man do with his ears ? P. He hears with his ears.

16. T. What does the woman

do with her ears ? P. She hears with her ears.

17 T. What do we all do with our ears ? P. We all hear with our ears.

18. T. This is my foot. I

have two feet. What do I do with my feet ? P. I walk with my feet.

19. T. You walk with your

feet. What do I do with my feet ? P. You walk with your feet. (So with man, men, woman, women.)

20. 2’. (Pointingtohismouth.)

What is this ? It is my mouth. What is it ? P. It is your mouth.

karna wa. Mai kannS nal sunna wa, tusi kanna nal ki .karde o ? S. Mai kanna nal sunna wS.

14. J/. Sadde kinne kann

S. Sadde do kann n§.

15. Jl. Tuhadda sajja kann

kehra e ? Khabba kShra e ? Oh jana kanna nal ki karda e. <S. KannS nal sunda e.

16. M. Janani kanna nal

ki kardi e. S. Kanna nal sundi e.

17. M. Asi sare kanna nal

ki karne I. S. Asi sare kannS nal sunne

5.

18. yi. Eh mera p'air e.

Mere do pair ng. Mai paira nal ki karna wa. /S. Mai paira nal turna wS.

19. M. Tusi paira nal

turde 6. Mai pairs nal ki karna wS ? S. Tusi paira nal turde

6. (Jana, janani, jane, jananis.)

20. Jl/. Eh ki e ? Eh mera

mfih e. Ki e ? S. Tuhadda mfth e.

rA

PANJABI GRAMMAR.

21. T. (Poiiitiog to the pupil’s

mouth.) Wha,t is that ? P. It is my mouth.

22. T. What do you do with

your mouth ? P. I .speak with my mouth. 2:j. T. What does Jhanda do with hirs mouth ? P. He speaks with his mouth. 24 T. W^hatdoes the woman do with her mouth ? P. She .speaks, etc. /Man. boy, girl, men, boys.) 1\ T eat with my mouth (showing), do you do that way ? P. I eat with rny mouth.

2.3. 7'. (Show ingrromacup.)

1 drink with my mouth. Do you ? Yo.s, I drink witli my mouth.

2(\ T. Jhanda eats and drinks with his mouth. Do we all do so .? P. Yes, well all eat and drink with our mouths.

27. T. I laugh (ha ha ha)

with my mouth, and sing (la la la) with my mouth. Do 3mu laugh and sing with jmur mouth ? P. Yes, I laugh and sing with mj^ mouth.

28. T. Does J. laugh andsing

21. M. Oh ki 8 ? S. Mera

moh e.

22. M. TusI mfth nal ki kar-

de 5 /S'. Mai mfih

nal bolna wa.

23. M . Jhanda mflh nal ki

karda e. /S'. Oh mOh nal b51da e.

24. Janani mfih nal ki kar-

di e. /S'. Oh mfih nal bold! e (Jana, munda, knri, jane, munde. M. Mai mfih nal khanna wa. Tusl wi es tarha karde 5 ? /S . Mawi mfih nal khanna wa.

25. M. Mai mfih nal pinna

wa. Tusi wi es tarha karde 6 ? /S'. Ahol

mawi mfih nal pinna wa.

26. M . Jhanda wi mfih nal

khanda pinda e. Asi sare ese tarha karne a ? /S’. Aho, asi sare mfih nal khanne pinne a.

27. M. Mai mfih nal hasna

wi a, te mfih nal gaun- na wi a. Tusi wi mfih nal hasde te gaunde 6 ? S. Aho, mawi mfih nal hasna te gaunna wS.

28. M. Jhanda wi mfih na

PAKJABI OBAMMAR.

55

with his mouth ? (Boys, girls, etc.). T. This is my nose, I breathe with it and smell with it. What do I do ? P. You breathe and smell with your nose. (So boys, men, girls in pictures.)

29. T. This is my hand, I

take and give with my hand. What do I do ? P. You take and give with your hand.

30. T. What else do you do

with your hand ? Say, I write and worlc with it. P. I write and work with my hand.

hasda te gaunda e ? (Munde, kurlS, etc.). M. Eh mera nakk e, eh de nal mai sah lenna w§ te suhghna wt. Mai kl karna wa ?

TusI nakk nal sah lende te suhghde 5.

29. M. Eh mera hatth e.

Hatth nal mai lenna te denna wa. Ki kar¬ na wt ? 8. TusI hatth nal lende te dende 5.

30. M. Tusi hatth nal hor

ki karde 6 ? Akhd mai oh de nal likkh- na te kamm karna wfi. 8. Mai hatth

nal likkhna te kamm karna wS.

The teacher must keep a list of all new words and see that there are not too many.

Lesson XIII.

1. T. (Showing a book.)

What is this ? Take it. P. It is a book. I take it.

2. T. What do you take the

book with ? P. I take it with my hand.

3. T. Do you see the table ?

what with ? P. I see the table with my eyes.

1. M. Eh ki e ? Iiellao.

8. Elatab e. Mai lai lenna wS.

2. M. Tusi katab kahde

nal lende o? 8. Mai hatth nal lenna wi.

3. M. Tusi mez nfl wehn-

de o ? Kahde nal wehnde 6 ? 8. Mai

mez nh akkhlS nal wehnna wa.

56

PANJABI GRAMMAR.

4. T. I walk to the door. With what do you walk ? P. I w'alk with my feet.

5 T. With what do jmu open the door ? P. I open the door with my hands.

6. T. Do you see the door ?

With what do you see the door ? P. I see the door with my eyes.

7. T. Do you hear my

words ? P. Yes, I hear you speak.

8. T. With what do you

hear my words ? P. T hear you speak with my ears.

9. T. Please smell this

flower. With what do you smell it ? P. I smell it with my nose.

10. T. Please speak louder, say it again. What do .vou speak w’ith ? P. I speak with my mouth. T. Asks about woman man, boy, boys, girl.

4. M. Mai buhe tikar jan-

na wa. Kah de nal turde 6 ? S. Mai pair! nal turna wa.

5. M. Buha kahde naf

lahnde o ? S. Mai buhe na hattha nal lahnna wa.

6. M . Buhe nu wehnde 5 ?

Buhe nh kahde nal wehnde 6 ? S. Bflhe nfl akkhli nal wehnna wS.

7. M. Tusi meria galls

sunde 6 ? S. Aho, tuhaddia galls sunna wa.

8. M. Kahde nal merit

galls sunde o ? <S'.

tuhaddia galls kannS nal sunna wS.

9. M. Mehrbani karke

es phull nS suhgho. Kah de nal suhghde 6 ? S. Mai nakk nal suhghna wS.

10. M. Zara dabbke akh5, pher akho. Kah de nalkundeo? P. Mfih nal kunnS wS. (Ja- nani, jana, munda, munde, kuri, kuria, turna, sunna, wekh-

girls, walk, hear, see,

smell, speak. na, suhghna, kuna.)

It is not new words the pupil needs to learn, but how to use old ones.

PANJABI GRAMMAR.

57

Lesson

1 . T. What is this ? P. It

is a book. T. Whose book is it ? Is it mine ? P. No, it is mine.

2. T. Whose book is this,

then ? P. That is mine too. T. And this ? P. That book is yours.

3. T. Whose chair is this,

yours or mine ? P. That is Mr. Smith’s. T. Whose house is this ? P. It is Mr. Smith’s.

4. T. Whose books are

these ? S. They are his. (Cup-s, pen-s, hat-s, rug-8, coat-s, shoe-s,chair-s,picture-s, furniture.)

5. T. Have you a book ?

P. Yes, I have two books. T. Have you a chair ? P. Yes, I have one chair.

6. T. Have you a pen ? P.

Yes, I have a pen. T. Has Jhanda a hat ? P. Yes, Jhanda has a hat.

7. T. Have you all got

pens ? P. Yes, we all have pens. (Men, women, John,, Mary,

XIV.

1. 3/. Eh ki e. S. Kncab

e. M. Kihdi katab e ? Meri e ? S. Tfehl meri e.

2. M. Eh, pher, kihdi e ?

‘S'. Oh wi meri e. M. Teeh? S. Oh katab tuhaddi e.

3. M. Eh kihdi kiu’si e,

tuhaddi ke meri ? S'. Eh sahb di e. M. Eh gharkihdae? S. Eh Smith sahb da ghar e.

4. 3/. Eh kihdiS kitabt

ne ? N. Ohdla n§ (piala-e, kalam-a, to- pi-a, galica-e, kot, jut- tia, kursi-a, murat-a, sabab).

5. M. Tuhadde kol katab

e ? S. Aho Mere kol do kitaba nl. M. Tu¬ hadde kol kursi e ? ‘S'. Aho, mere kol ikk kursi e.

6. M. Tuhadde kol kalam

e ? ‘S'. Aho mere kol kalam e. M. Jhande kol t5pi e ? 8. Aho Jhande kol topi e

7. M. TuhaddeS sarea kol

kalama hain ? 8. Aho, saddea sarea kdl nl (janea, jananiS, Jhan-

68

PANJABI OBAMMAB.

etc., chairs, pens, cups, shoes, etc.)

Lesson

1. T. Here is a bag for

books, what is it ? P.

A bag for books. T. What is in the bag ?

P. There are books in the bag.

2. T. How many books are

in the bag ? P. There are one big, two thin, three small ones. T. How many are there ?

P. There are six books.

3. T. How many chairs are

there in the room ?

P. There are — chairs in the room. T. How many tables are there in the room ? P. There are — tables in the room.

4. T. How many carpets are

there in the room ? P. There is only one. T. How many rugs are there ? P. There are — rugs in the room.

5. T. How many hands

have 1 ? P. You have two hands T. How many fingers on one hand ? P. There are five fingers on each hand.

6. 2\ How many fingers are

de, Taban k5} kursll» kalamS, piale, juttlS nS).

XV.

1. M. Eh katabS waste

basta e, ki e P S. KatabS waste basta. M. Baste wicc ki e P S. Baste wioc katabi ne.

2. M. Baste wioo kinnlS

katabi ne P S. Ikk waddi, do patliH, trai nikkiS. M. KinniS n@ P S. Che katabS ne.

3. M. KSwre wicc kinnlt

kursiS n§ P S. KSw¬ re wicc — kurslS ni. M. Kawre wicc kinne mez ni P S. Kamre wicc — mez ni.

4. M. Kamre wicc kinniS

dariS ne P S. Ikkoi e. M. Galice kinne ni P

S. Kamre wicc — ga¬ lice ni.

5. M. Mere kinne hatth

ni P S. Tuhadde d5 hatth ni. M. Ikk hatth dli kinniS uhg- l£ ni P S. Doht hat- thS dit panj panj uhgl£ ni.

6. M. D5h£ hatthS di£

PANJABI GRAMMAR.

59

there on both hands together ? P. There are ten on both hands together. T. How many fingers am I show¬ ing ? (rapidly holding up 1,2, 3,4,5, 6, 7, 8, 9, 10 until the pupil can answer rapidly).

7 T. How many books are

there on the table ? P. There are 3,7, 9 on the table. T. How many are there under the table ? (as he puts them under).

8 T. How many are there

on the cushion ? P. There are — on the cushion. T. On the chair, the paper, under the hat, by the hat ?

9. T. Where is the big book ? (as he puts it into the bag). P. It is in the bag. T. Where is the little book ? P. It is under the big book.

lU. T. Now where is thelittle book ? P. It is in the big book. T. How many persons are in this room ? P. There are — persons in this room.

11. T. How many eyes have we all > /*. We all

ralake kinnia uhgll ng ? S. Doha diS ralake das uhgli n§. M. Mai kinnit uhgla pea wikhanna wa ? Ikk, do, trai, car, panj, che, satt, atth, nau, das.

7. M. Mez utte kinnii

kataba n§ ? <8. Mez

te trai, satt, nau. kata¬ ba ni. M. Mez de heth kinnia ne.

8. M. Sarhane kinnit

n§ ? (S'. Sarhane utte — ng ? M. Kursiutte, kagaz utte, topi heth, topi de kol.

9. M. Waddikatabkitthg

we ? (S'. Baste wico e. M. Nikki katab kitthe e ? S. Wad- di katab de heth e.

10. M. Hun nikki katab

kitthe we ? S. W addi katab de wicc e. J/. £s kawre wicc kinne bande ne ? S. Es Kawre wicc — bande nl.

11. M. SaddeS sarei dii

kinnia akkhiS n§ ? S

60

PAXJABI GRAMMAR.

have two eyes. T. Yes each has two eyes, but how many have all of us together ? P. We all have — eyes.

12 T. How many rupees have I ? Count them. P. Ten and one are — ? T . Eleven. How many have jmu ? P. I have ten and five.

13. T. Fifteen. Now here

are ten, a'ou give ten, how many have we now ? P . Twenty.

14. T. Count after me 1, 2, 3,

4, 5, 6, 7, 8, 9, 10, 11, 12, 13 14. 15, 16, 17, 18, 19, 20.

Saddet sarea diS do akkhia n§. M. Aho ji, saret diS do do akkhit ne, par saddeS sarea dit knll kinnii akkhii n§ ? S. Sad- dea sarea dia — akkhia n§.

12. M. Mere kol kinne

rupae . n§ ? Gin lao. S. Das te ikk kinne hunde n§? M. YarS; tuhadde k51 kinne n§ ? S. Mere kol das te panj n§.

13. M. PandrS. Etthe das

ni, te tusl das deo, hun sadde kol kinne ng ? S. Wih.

14. Ji. Mere picche pieche gino ikk, do, trai, car, panj, che, satt, atth, naft, das, yara, barS, tera, cauda, pandra, sola, satart, thara, unni, wih.

Ji. Es ghari nft wekho, ki e ? N. Ghari e. Ji. Oh ki e ? OhnS wi asi ghari ahnne a. S. Oh wi ghari e.

Ji. Oh de kinne ghainte nl ? gino ji. .S'. Ikk, d5, bara ghainte.

Lesson XVI.

1. T. Look at this watch, 1.

what is it ? P. It is a watch T. What is that ? We call that a clock. P. It is a clock.

2. P. How many hours are 2.

on it ? Count. P.

(As teacher points) 1, 2,

12 hours (as above).

PANJABI GRAMMAR.

61

3. T. What time is it now ? 3. 1/. Hun ki wajea e? 5. Das

P. It is ten o’clock. waje ii5. Ji. Te hnn?

T. And now 1 (There should be adri'll on time till the pupil can readily tell the time. Sometimes the teacher may say it is 5-30, and he should set the time accordingly, etc.) Practise on the following numbers for a month or so, till they are perfectly familiar.

A 1 Till 1 a 9 vl 91 93- and so on up to 20, 25, 30, 40, 50, GO, 100. 1-35 A. .M , 10 A.M., 8-30 A.ir., 12 noon, 12 mid¬ night, 2 A.M., 5 A..M., etc.

5. GO seconds makea minute, 60 minutes make an hour, 3 hours make a watch, 8 watches or 24 hours makea da)', 7 days make a week, 4 weeks or 30 days make a month, 12 months a year

4. Ikk, sawa, dudh or de(^,

panne do, do, sawa do, dhai, panne trai, trai, sawa trai, sadhe trai and so on with the numbers up to 12 as above, then panne terS, tera, sawa terS, sa<^e terS, and so on wdth cauda, pandra, sola, satara, atharS, unni, wih, panjhi, trih, call, panjah, satth, sau, rat da ikk wajjke painti mint, das waje din de, sadhe atth waje din de, bara waje dopaihr,bara waje rat de, do waje rat de, panj waje fajrl.

5. Sattha sikinta da mint

hunda e, sattha mintt da ghainta hunda e, tinna ghaintel da ikk paihr, atthl paihrS ya cawhia ghain^S da din, satta dihareS da hafta, cauh haftei ya trihl diharea da mahina, bara ma- hinea da sal (warha).

62

PANJABI GRAMMAR.

Lesson XVII.

1. T. What is this? P. A

book. T. And this ? P. That too, is a book. T. And these ? P. They are all books.

2. T. Yes, it is a book-shop.

I will sell the books. Will you buy a book ? P. How many rupees will it cost ?

/! T. Say what is the price ? P. How much is it ?

4, T. It is very cheap. The price is only Rs. 2. P. That is very expensive. I will give you 8 annas. T. All right, give me 8 annas.

.*5. P. Here are 4 annas, give me this book for 4 annas. T. No, that is very little, it is worth a whole rupee. P. All right. I do not want it.

1. M. Ehkie? 8. Katab

e. M. Te eh P Cli wl katab e? M. Te eh? 8. Sari§ katabs ne.

2. M . Aho ji, kataba di

hatti e. Mai katabS wectga, tusl katab laoge ? 8. Kinne

rupae laggang€ ?

3. 3/. Ain akho, ki mull

e ? 8. Ki mtUl e ?

4. M. Bauht sasti e, do

rupae mull e. 8. Bauht waddh e, mal tuhana dhell detga. M. Hala ji, dheli hi dg deo.

5. 8. Ah wekha pauli e.

Menft oh katab pauli tS de deo. M. 6h bauht ghatt e, eh pure rupagdie. P. Accha, whai, mai nehi lainda.

The pupil should be taught to understand current coinage and local measures and usage in the purchase of cloth, food, fuel, furniture, building materials and whatever the pupil will need. It will need much practice, but it may as well be done in the study as in the market at the expense of one’s pocket-book.

Lesson XV 111.

1. T. See what I do. I 1. M. Tusl wgkhS pai mai take my seat on ki karna wS pea. Mal

PANJABI GRAMMAR.

fi.3

this chair, I sit down, 1 rise from ray chair and w'alk to the door and open it. I am standing by the opened door, I shut it and walk back again to ray chair.

2. Now I will tell you what I

did. 1 sat down in my chair, I rose and went tothedoorandthen shut itandopenedit again. I stood by the opened door. I shut it and walked back to my chair and sat down. Now I will do it again. (Goes through every move¬ ment and after each movement asks, what do I do ?)

3. P. You sitdown, \^ou rise

from the chair, you walk to the door, 5'ou open it, you stand by the open door, you shut the door and walk back again to your chair.

4. T. (Doing it again) what

did I do ? P. You sat down. T. (Rising) what did I do ? P. You rose from your chair.

5. T. What am 1 doing

now ? P. You are

es kursi te baih jan- na wa. Mai baih jan- na wa, mai kursi t6 utthke te buhe tikar jake buha lahnna wa. Latthe buhe de kol mai khlota wS, btlha marke mai pher kur¬ si kol janna wa.

2. M. Hun mai tuhanft

dasslga pai mai ki kita si. Mai kursi te baih gea, mai kursi t5 utthke buhe wall gea, pher buha marke pher lahea ; latthe buhe kol khlo gea, pher kursi kol ake oh de te baih gea ; huFi mai pher karna wa.

3. S. Tusi baih jande o,

kursi te utthde 6, buhe tikar jande 5, ohnu lahnde 6, latthe buhe de kol khlonde 6, buha marde 6, te pher apni kursi tikar part aunde 5.

4. M. Mai ki kita si ? S.

Tusibaihgae. T. Mai kih kita si ? S. Tusi kursi t8 u^he.

5. M, Hun mai ki pea

karna wl ? 6’. Tust

64

PANJAiil GRAMMAR.

'tandiiig. T. (After walking to the door) what did I do ? P. You walked to the door. T. (After opening door) what did I do ?

6. P. You opened the door.

T. (After standing by opened door a few mo¬ ments) what did I do ?

P. You stood by the opened door. T. (Shut¬ ting door and walking back to chair) what did I do ?

7. P. You shut the doorand

returned to your chair.

T. (After sitting down), what did I do ?

P. You sat down. T. Now you do it all from the movements and describes l

khlote 6. M. Hun max ki kita e ? S. Tus! buhe kol gae. T . Mai kih kita e ’?

6. S. TusS biiha lah dit- ta. T. Mai ki kita ?

8. TusI latthe hoe buhe de kol khlote sau. T . Mai ki kita e ?

7. 8. Tusi buha marke

kursi tikar part ae. T. Main ki kita e? 8. Tusi baih gae. M. Hun tusi Sara mundhb kar lao. beginning. Pupil goes through hem in present and past tenses.

Lesson XIX

1 . T. iVhat is this ? P. A

book. T. What are these ? P. They are books.

2. T. See this book and

this, one is big and one little. This is the big one. This book is big¬ ger than that one. Which is bigger ? P. That book is bigger than this one, this is smaller than that.

1. M. Ehkio? S. Katab.

M . Eh ki n§ ? S. KatabS.

2. M. Ss katab nu te es

na wekho, ikk waddi e te ikk nikki. Waddi eh we. Eh katab oh de nal6 waddi e. Waddi kehri e ? 8. Oh

katab eh de nal8 waddi e. Eh oh de nalS nikki e.

PANJABI GRAMMAR.

65

3. T This book is little, very

little, this book is large very large. Which book is larger ? P. This book is larger.

4. T. This is a large book,

that is larger, this is largest. You say it. P. This book is large, that is larger, that is largest.

5- T. Look at these rupees, they are round and flat. This book, too, is flat. Say it. P. The book is flat, the rupee, too, is flat.

6. T. The book is thin^ the

rupee is thin, which is thinner? P. The book is thin, but the rupee is thinner, it is very thin.

7. T. Yes, the rupee is the

thinnest of all. See these two-anna, four- anna bits, now tell me which is small. P. That one is small, this one smaller, this is smallest.

8. T. This is a pencil, is it

large ? P. No, it is small. T. Here is an-

3. M. Eh katab nikkl e,

bauht nikki, eh katab waddi e, bauht waddi, dohS wiccS waddi kehri e ? S Eh katab waddi e.

4. M. Eh waddi katab e,

oh edft waddi e, eh saria tS waddi e. TusI akho. S. Eh katab waddi e, oh edS. waddi e, eh saria tS waddi e.

6. M. EhnS rupayyS nfl wekho, gol te capte ng, eh katab wi capti e. TusI akho. 8. Katab capti e, rupay- ya wi capta e.

6. M. Katabpatli e,rupay-

ya wi patla e, bauh- ta patla kehra e ? 8. Katab patli e, par rupayya odS patla e, oh bauht patla e.

7. M. Aho ji, rupayya sa-

reS nalS patla we. Ehna paulia, duannis nft wekho, menfl dasso kehri nikki e. 8. Oh nikki e, eh odfl nikki e, eh sarit nal6 nikki e.

8. M. Eh pinsal e, waddi

e ? 8. Nehl, nikki e.

M. Eh hor pinsal e,

o

-^66

PANJABI GBAMMAR.

other pencil, is it small ? P. No, it is larger.

9. T. We say long and short for pencils, this is long and this is short. P. I am short, John is shorter than I. Is that right ?

10. T. Yes you are taller

than I, and I am shorter than you. The pencil is long, the stick is longer, the rope is long¬ est. I am tall, Jhanda is taller than Hira, the tree is tallest.

11. P. I am taller than

Jhanda is that right? T. Yes. that is right, Jhanda is not so tall as you are, and I am shorter than you, you are tall- e.«t.

12. T. This chair is high, that

is not so high, this is higher and that is high¬ est. This paper is good, that is better, this is best. Which is best ?

13. T. 1 have some money in tins hand, I have more

nikki e ? ,S'. Nehi,

odfl waddi e,

9. M. Pinsala nft asi 1am- mian te nikkiS ahnne a, eh lammi e t§ oh nikki e. 5. Mai madhra wS, Jhanda mere nalS madhra e. Thik e ?

10. M. Ji ah, mai tuhadde

nalS madhra wS, tusi mere nalS ucce 6. Pinsal lammi e, soti ohde nalS lammi e, rassa sabbhnt tS lem¬ ma e. Mai lamma wS, Jhanda Hire nalo ucca e, rukkh sarea tS ucca e.

11. -S'. Mai Jhande nalC

ucca wa, thik e ? .1/.

Ji ah, thike. Jhanda tuhaide jedda ucca nehi, te mai tuhadde nalo maddhra Ava. tusi sarea t5 ucce o.

12. 37. Eh kursi ucci e,

oh inni ucci nehi, eh waddh ucci e, oh saria t6 ucci e. Eh kagat cahga e, oh eh- de nal5 cahga e, oh sarea t5 cahga e. Sarea t6 cahga kehra e ?

13. 37. Es hatth wicc kujjh

rupae paise nl, te es

PANJABI GRAMMAR.

67

in this hand, I have most hatth wioc waddh nl,

in my purse. Now they sareS to waddh bathe

are ail on the table. wioc n§. Hun sarS

mez te n§.

Let the teacher take the various articles in the room and compare them, and ask for comparison as to size, height, length, thickness, goodne.ss. Many repetitions will be necessary.

. Lesson XX.

1 . T. What is this ? It is

a ball, what is it ? P. It is a ball.

2. T. Is it long? P. Itis

not long a bit. It is — . T. Round. P. It is round.

3. T. Here is another ball,

is it round ? P. Yes, it is round too.

4. T. Is this ball larger or

smaller than that one ? P. It is larger. T. Yes, it is larger than that. Is it rounder than that? P. No, both are round.

5. T. Here is a rupee, is it

round ? P. Yes the rupee is round, but it is flat.

6. T. Is the ball flat? P.

No the ball is round every way.

7. T. Here is my pencil.

Is it round? P. Yes, it is round and long.

1. M . Eh ki e ? eh khehnS

(gend) e, kl e ? S, Khehnft e (gend).

2. M. Lamma e ? S. Oh

lamma hai i nehl, 5h

- . M. G-ol e. S,

G6l 6.

3. M. Eh ikk hor khehnfi

e, eh wl gol e ? .S'.

Aho, eh wi gol e.

4. M. Eh 5h de nal6

wadda e ke nikka ? <S'. Eh oh de nalo wadda e. M Oh de nalB

wadda te hai we, 8h de naiSgSlwIe? S. Nehl dowS gol nS.

5. Eh wekho, rupayya

e. G51 e ? S. Aho

goi e, par capt a e.

6. M. Gend capta e? tS.

Na, gend sabbhni pasi gol e. (See Grammar, pp. 77 and 78.)

7. 21. Eh meri pinsal e,

eh gol e ? S. Ah, gol e te lamml.

68

PANJABI GRAMMAR.

8. T. Are these things all

round ? P. A ball is only round, a rupee is round and flat, a pencil is round and long.

9. T. See this orange. Is

it round like a ball ? P. The ball is rounder than the orange.

10. T. Is the rupee rounder

than the orange ? P. No, the orange is rounder than the rupee.

11. T. What do we do with

the ball ? P. We do thus (showing by pan¬ tomime thro wing, catch¬ ing, hitting, and saying) what do you call this ?

12. T. We call this — throw¬

ing, and this catching, and this hitting. Can you throw ? P. Yes, give me the ball, catch it.

13. T. Can you catch a ball ?

P. Yes, and I play tennis a little.

U T. What is tennis ? We do not play it. Is it like cricket ? P. No it is another game.

15. T. Here is a book, is it round ? No, it is not, what shape i.s it ? P.

8. M. Eh saris cizS gol

nd? S. Gend nira gol e, rupayya gol te capta e, pinsal gol te lammi e.

9. M. Es santare nfl wekh-

6, eh khehnft wahgar gole? 8. Khehnu san¬ tare nal6 waddh gol e.

10. M. Rupayya santare

nal6 gol e ? 8. NShI, santara rupayye nalS go] e.

11. M. Gend nal ki karne

hunne a ? S. Ain karne S, eh nfi ki akhde 6 ?

12. M. Asi eh nu suttna

ahnne S, te ehnu jhop- na; eh nfl talla mama ; tusi sutt sakde 6 ? 8.

Aho, menfl gend deho, hun jhop lao.

13. M. TusI gend jhop sak¬

de 6 ? 8. Aho, te

tenis thora bahla khedna w3.

14. M. Tenis ki e ? aslnehl

tenis khedde, kirkat wahgar e? 8. NShl hor khed e.

15. M. Eh katab e, eh go]

e ? Nehi go] nShi e, ki shakl e ? 8. Cauri

PANJABI GRAMMAS.

69

	It is flat, but not like		e, par mpayye wahgft
	tbe rupee Thai, is		nghi, oh gol te oaurd
	round and flat, this is — .		e, gh — .
16.	T. Square and flat. It	16.	M. Cauras te capta e,
	is thin, too, but the		nale patli e, par kagat
	paper is thinner. (In¬		edft wi patla e.
	troduce heavy, light,		(Bhara, haula, wadda,
	big, little, long, round.		nikka, lamma, gol,
	some, more, most, all.)		kujjh, waddh, sarei t§ waddh, sare.)
	Lesson XXI	,
1.	T. Here is a penknife.	1.	M . Eh cakkti e, ki e ?
	what is it ? P. It is		<S'. Cakku e. M.
	a penknife. T. Take		Cakku nh laike mez
	the penknife and put it		te rakkhd. aV. Hun
	on the table. P. It is now on the table.		mez te we.
2.	T. Put it under the	2.	M . Kursi de heth
	chair. P. It is under		rakkho. S. Kursi de
	the chair.		heth e.
3.	T. Now under the rug.	3.	M. Hun galice heth
	P. It is under the rug.		rakkho. .S'. Galice heth e.
1.	T. Take the knife and	4.	i)/. Cakku nfl laike
	give it to the lady. P.		memsahb nfi deho. .S'.

I have given it to her.

6. T. Madam, who gave you the penknife ? P. The gentleman gave me the knife.

6. T. I go and open the

door. The door is open, how is the door? P. The door is open.

7. T. I shut it, now how

Mai memsahb na de chaddea e.

5. M. Memsahb ji, tuhana

kis cakku ditta ? S. Sahb horS mend ditta.

6. M. Mai jake bhha

lahnna wt. Bu.ha lattha e, buha kis tar a e? Btlha lattha e.

7. M. MaJ ohnfi mama

70

PANJABI ORAMMAR.

8.

9.

10.

11.

1.

is it ? P. It is shut.

T. Right, who opened the door ? P. You opened it. T. Who shut the door ? P. You shut it.

Who gave you the pen¬ knife ? P. You gave me the knife. T. To whom did you give it ? P. I gave the knife to Madam.

T. Who went to the door ? P. You went. T. Wh y did I go to the door ? P. You said,

I am going to the door.

T. What did I do at the door ? P. You open¬ ed the door and then you shut it. (Long, short, coarse. fine, heavy, light, old, new, weak, strong, young, good, very, bad, cloth, leather, thin, thick.)

Lesson

T. I have two books, this is old and that is new. Which is this? P. That is the old book. The other is

wt. Hun kis tarS e? S. Marba hoSa.

8. M, Thik e, buha kis

lahga si ? S. TusS lah@a si. M. BUha kis marfea si ? S. TUsS marSa si.

9. M. Tiihanfi cakkti kis

ditta ? S. Tusfi mSnfl ditta. M. Tusa kih nfl ditta ? 8. Mai

cakkti memsahb nfl ditta.

10. M. Btihe kol kaun gea ?

8. TusI gae sao. M . Mai kah de lai btihe kol gea ? 8. TusS

akhba si pai btihe kdl janna wS.

11. M. Mai buhg kol ki

kita ? 8. Paihle buha lahba saje te magarS marSa saje. [Lamma, nikka, mot a, mahin, bhara, haula, purana, nawS, mara, tagra, thori umr da, umda, bauht, bura (mara nikamma, etc.), kapra, cam, patla, mota.]

XXII.

1. M. Mere kol do katabS ni, eh purani e, te eh nawi, eh kehri e? 8. Oh purani katab e, dujji nawl e.

new.

PANJABI GRAMMAR.

71

2. T. One is thick and one

is thin. Which is which ? P. The new one is thick, the old one thin.

3. T. Yes, the old one is

thinner, which is heavier ? (Lifting it.) P. The new one is heavier, for it is thicker.

4. T. Right, the thick one

is heavier, the thin one is light. What is this one ? P. That is thinner and lighter. It is very thin.

5. T. How is this compared

w'ith the large book ? P. It is not so thick or so heavy.

6. T. Here are two pieces of

cloth, one is good. Are both