- “This usage was current from Norfolk northward and was not unknown in London by Chaucer's time” (6 b).
- The editors' curious remark “as in Modern English” (Part E.1. i a) puzzles the reviewer who knows of no similar distribution of long and short consonants in any PDE dialect.
- The question has so far been highly controversial.Kökeritz, Shak. Pron. 196 f. argues for the coalescence of the two phonemes in the South-east before the end of the ME period. Horn-Lehnert, Laut und Leben § 127 date it by 1600, Luick, Hist. Gr. § 499 in the early 18th century. However, all hand books indicate early coalescence in certain special positions.
- sing ended in /g/ in ME; cp. Horn-Lehnert § 405.
- Cf. Malone, Lang. 29, 205; Flasdieck, Anglia 71, 465.
- As a solitary attempt at systematic treatment of one part of the PDE vocabulary, see E. Leisi, Der Wortinhall: Seine Struktur im Deutschen und Englischen, Heidelberg 1953.
- Word 10 (1954). 1–27.
- N'y a-t-il pas quelque inconsėquence à dire ensuite (p. 226) de l'anceˆtre de l'amharique: « In the south…evolved from southern speech forms of Gə'‘z a language of the Amharic type ». Tout semble se ramener à une querelle de mots: « langue sœur », « dialecte », « parler »!
- En fait il est difficile de parler d'un substrat galla, sauf pour l'amharique de la région d'Addis-Ababa. La poussée galla vers le nord s'est exercée aux xve/xvie siècles. Mais l'influence du galla ne peut être niée.
- The only exception was a wartime course: M. B. Emeneau and Diether von den Steinen, A Course in Annamese (Berkeley: University of California, 1943).
- Eugene A. Nida, Learning a Foreign Language: A Handbook for Missionaries (New York: Foreign Missions Conference of North America, 1950).
- M. B. Emeneau, Studies in Vietnamese (Annamese) Grammar, (Berkeley: University of California Press, 1951).
- Cf. Nguyen Dinh Hoa, Quoc-Ngu, The Modern Writing System in Vietnam (Washington, D. C.: 1955), where the discussion is based on the dialect spoken around the area of Hanoi.
- At this writing a song book is also published. It contains several martial or revolutionary Vietnamese songs and reproductions of paintings by Nguyen Cuong and Pham Huy Nhung.
- Emeneau, op. cit., p. 8 and passim. The tones are given slightly different names in Nguyen Dinh Hoa, op. cit., p. 9.
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