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PL 1825.W58

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WR oA /

CHINESE

SPOKEN LANGUAGE.

we
By Rev. M. C. WHITE, M.D.

FROM THE METHODIST QUARTERLY REVIEW FOR JULY, 1856.

WITH IMPORTANT ADDITIONS,

PUBLISHED BY THE MISSIONARY SOCIETY

OF THE

METHODIST GENERAL BIBLICAL INSTITUTE,

 

CONOORD, N. H.

oh Throrat., /RbZ oe

 

 

 

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PL Pas:
Wwse

W935
THE CHINESE LANGUAGE SPOKEN AT FUH CHAU.

BY REY. M. C. WHITE, M. D.

THE Chinese language is, in theory, a language of monosyllables ;
but, owing to the paucity of distinct syllables, two monosyllabic words
having, in the language of books, the same signification, are often
joined. together in the spoken language to represent a single idea.
Other varieties of compound words are used to express ideas which,
in other languages, are represented by a simple word. Some words
which are generally regarded as monosyllables, contain two or more
vowel sounds, which are pronounced so distinct and separate as to
constitute real dissyllables, as, kiang, hiong, sieu, which are pro-
nounced ki-ang, hi-ong, si-eu.

There are in the Fuh Chau dialect but ten vowel sounds, and they
are generally reckoned as only nine, and the elementary consonant
sounds are only ten, hence the number of syllables must also be
small. Many combinations of consonants found in other languages
are unknown to the Chinese, and the structure of their language is
unfavourable to the formation of many polysyllabic words. ‘To com-
pensate for these restrictions upon the formation of words, they have
adopted the use of a variety of tones to distinguish ideas expressed

by what we should call the same word.

The tones used in different dialects vary both in. their number and
intonation.

In the court dialect, spoken at the Capital, and by public offi-
cers in all parts of the empire, there are five tones. In the Tiechu
dialect there are said to be nine tones. In the several dialects
spoken at Canton, Amoy, and Fuh Chau, there are reckoned eight
tones; but in the Fuh Chau dialect there are really but seven
tones, for the second and sixth are identical, and in their books,
the words referred to these two tones are all arranged under the
second.

In the Fuh Chau dialect there is a native work, called the Book of
Eight Tones, and Thirty-six Mother Characters. In this book
all the characters in common use are systematically arranged,
according to their sounds. Three of the mother characters are
mere duplicates, and are not used in the body of the work. All the

' syllabic sounds of this dialect are, therefore, arranged in thirty-three
genera, under mother characters, having the same final sound as the
2 The Chinese Language spoken at Fuh Chau.

characters arranged under them. Each genus (containing the same
final sound) is again divided into fifteen classes, in reference to the
initial sounds with which they are severally connected.

The Chinese have not carried their analysis of vocal sounds to
the nice elementary distinctions recognised in Western languages ;
but each simple word is divided by their analysis into two parts:
a final part, or “mother sound,” which gives body to the word, and
a “leading part,” or initial sound.

The intial sound consists of a single consonant, or of two conso-
nants combined, but no vowel ever acts as the “leading part,” or
initial.*

The final part, or “mother sound,” consists, essentially, of a
vowel or vowels, followed, in some words, by a single consonant,
but never by two consonants. Ng, which is found at the end of
many Chinese words, represents, as in English, but a single element-
ary consonant sound, unlike either 1 or g when used alone, and not
compounded of the sounds of n and g combined. This is a distinct
elementary sound, and is used both at the beginning and end of
Chinese words. This consonant sound, which we represent by ng,
is one of the initials, and in some cases it is used alone, without the
addition of a final, but only as a prefix to other words, giving them
a negative signification ; as, hd?, good; ng’-hd?, bad; k'63, to depart;
ng?-k'63, will not depart.

Each class of syllables is again sub-divided, according to the dis-
tinctions introduced by the tones.

The thirty-three final sounds, multiplied by the fifteen initial
sounds, give four hundred and ninety-five primary syllables. These
again, multiplied by the seven ‘ones in actual use, give three thou-
sand four hundred and sixty-five different. monosyllabic words,
which may be distinguished by the ear; to which may be added the
semi-vocal initial, ng, used in a single tone without a final, as men-
tioned above.

Though there are in theory this number of simple words, many
of them are distinguished from others by very slight shades of dif-
“ference, and there are (so far as known to the writer) only sixteen
hundred and forty-four in actual use.

To supply the defect which this paucity of words occasions in the
spoken language, two or more words are frequently combined into
one, to express a single idea. This practice is so common, that the

* Qne of the (so called) initials has merely the force of the Greek spiritus
lenis, and denotes the absence of any initial consonant, in which case the woid
begins with the vowel of the final or “ mother sound.”
The Chinese Language spoken at Fuh Chau. a

dialect of Fuh Chau has become, to a great extent, a language of
polysyllables.

The statement sometimes put forth, that there are hundreds of
characters expressing different ideas, which are all pronounced
exactly alike, refers only to the written language as read; and even
in the language as read the number of set phrases and the peculiar
collocation of words give a good degree of definiteness to the lan-
guage. There is but little more difficulty in understanding the idea
intended, than we experience when we hear an English book read,
in which occur such words as right, rite, write, and wright, or
cleave, fo split, and cleave, to adhere. It is true, however, that such
equivocal words are more numerous in Chinese than in English.

In the different provinces, and in different districts of the same
province, the reading sounds of the characters differ in the same
manner as the Arabic figures are differently pronounced by the
various nations of Europe. ‘he spoken dialects also differ widely
from the reading dialects of the same localities.

In general, the spoken dialects are more diffuse than the written
language, which is common to all parts of the empire. ‘This results,
in the main, from the frequent necessity of using two words of sim-
ilar meaning, or, more properly, a dissyllable, to express an idea
definitely, when a single written character or word is all that is
required.

The spoken languages being more diffuse, and differing in style
from the written language, they have adopted, in several dialects, a
system of writing the spoken dialects, by borrowing from the general
written language a few common characters, which they use clfiefly
as phonetics, to represent the sounds of the spoken language. These
characters are thus used without reference to their signification in
the classical writings which have been handed down from the remote
ages of antiquity.

“This is the common system of mercantile and epistolary writing
adopted by persons of limited education, and can only be understood
by persons speaking the same dialect, while the style of writing in
use among professed literary men, is understood alike by the literati
of all parts of the empire.

The system of initials and finals used in the “ Book of Hight
Tones,” referred to above, would, if used for that purpose, form (in
connection with the tonal marks) a complete alphabet for the Fuh
Chau dialect. ‘They have been so used by missionaries for writing
colloquial phrases, in their private study of the language. ‘Three
of the gospels have been written out in this manner by Chinese
teachers in the employment of missionaries.
4 The Chinese Language spoken at Fuh Chau.

Books written in this style can be read with the same facility
as alphabetic writing of other languages, and are a great aid in
learning the colloquial, though no books have been printed in this
style, and the initials and finals have never been used in this man-
ner in native books.

* To foreigners learning the Fuh Chau dialect, a thorough knowledge
of this system of initials and finals, and the eight tones, is of
great importance.

The student should constantly refer the pronunciation of every
word to its place in this system, till he can analyze each spoken
word, giving its proper initial and final, and point out its proper
tone as readily as he can spell any word in his mother tongue.

Slight variations in the pronunciation of Chinese words are
noticed among different Chinese teachers. When, therefore, Chinese
words are represented by the letters of the English alphabet, (which
are written more readily than the Chinese initials and finals,) the
student refers at once to the sounds of the corresponding initials
and finals, as he has Jearned them from his teacher.

The letters of the English alphabet, when used in the following
pages to represent Chinese sounds, are to be pronounced as follows:

I—Consonant Sounns.

1. Ch, having the same sound as in church.

2. Ch‘, ch with the same sound as above, followed by an addi-
tional 4, which is represented, in such cases, by the Greek spiritus
asper, (*.)

3: H, having its own proper sound, as in hand, at the beginning
of words, while at the end of words (where it occurs only in the
fourth and eighth tones) it denotes simply an abrupt closing of the
vocal organs, without the formation of any distinct sound. When
the sound of h follows ch, p, or t, it is, for convenience, represented
by the spiritus asper, (‘.)

. K has its own proper sound, as in king.
. K', k followed by a distinct sound of h.
. L, as in English words.

. M, as in English words.

. N, as in English words.

. Ng, as in sing, both at the beginning and end of words. It
often requires great care to cnunciate this sound correctly at the
beginning of words.

10. P, as in perk, purade.

11. P', p followed by the distinct sound of h.

12, §, as in same.

Conon,
cu

The Chinese Language spoken at Fuh Chau.

13. T, as in tame, till.

14. 'T', t followed by h, each letter retaining its own proper sound.

The preceding are the consonant sounds found in the Fuh Chau
initials, but it will be seen that there are, in reality, only ten ele-
mentary consonants, viz.: Ch, H, K, L, M, N, Ng, P, 5, ‘I.

The spiritus asper, (*,) which is equivalent to /, being used to
avoid confounding ph with the sound of f, and th with th in thin
or then, and to show that it is never silept in any combination.

Il.—Vowzts. ‘There are nine distinct vowel sounds, viz. :

1. a, as in far, father.

2. e, as in they, prey, but when followed by ng its sound is nearly
as short as in met.

8. 6, like the flat sound in there, or like a in care.

4. é, pronounced nearly like e in her, or 7 in bird, but more open,
and spoken deeper in the throat.

5. i, as in machine, but frequently like 7 in pin, if the word ends
with a consonant. °

6. 0, as in nole, report.

7. 6, like o in for, cord, lord.

8. u, like 00 in school; but if the word ends with h or ng, the
sound is like that of u in bull. The distinction, if any, between the
sound of uw in these two forms of Chinese words is unimportant in
practice, and too slight to be noted by any diacritical marks. At
the beginning of words, when followed by another vowel, it has the
force of w in English words.

9. i has the French sound of ii, as in Vitne. ‘his is a sound
between those of ¢ and oo. When two vowels come together in the
same word, each vowel retains its own sound. ‘There are no silent
letters employed in this system. :

III.—Tones. Figures raised above the line, at the end of words,
are used to distinguish the tones.

Nors.—This system of orthography is substantially that known as the system
of Sir William Joneé, used for Romanizing the languages of India, the Pacific
Islands, and the languages of the North American Indians. Some have desired
to embrace the sounds, used in all the dialects of China, in one system, distin-
guishing them by separate letters, or by diacritical marks, so that each letter
shall have a uniform sound in every dialect for which it is used. Such strict
uniformity would require the use of several diacritical marks on letters where
they are not needed, when, as in the plan here adopted, slight modifications are
allowed in each dialect. The sounds of the letters, as here given, is nearly
identical with the system used in writing the language spoken at the Sandwich
Islands.
G The Chinese Lunguage spoken at Fuh Chau.

TABLE OF FINALS AND INITIALS, WITH THEIR NAMES, AND
THEIR ALPHABETIC. VALUE IN ROMAN LETTERS.

 

 

 

 

THIRTY-THREE FINALS. FIFTEEN INITIALS.

Chung BR ung 18 Nging eR ang 1 Liu ID L
o* Hua 46 ua 19 Kong 4ST “ong 2* Pieng ee P
8* Hiong AR iong | 20 Chi Zi 8 Kin 3 K
4 Ch'iu AK iu 21 Téng He éng 4 Ke KK K'
5 Sang hy ang 22 Kau ay au 5 Te t T
6 Kai | ai 23* Kud ye ud 6 Pd wy P
7 Ka ea 24 Se py é 7T. fh T
8 Ping 3 ing | 2t Kao FR v0 8 Cheng i Ch
o* Huang #2} uang | 26+ Kie Re ie 9 Nik A, N
10 Ko oe b o7* Siang ee iang || 10 Sis Age S
lilt Si ZH a 28 Chioi 4H oi 11 Eng a’
12* Pue ye ue 29 Ché ype 12 Mung? ae M
18 Ku JH» 30* Tieng FE ieng || 13 Negi zh. Ng
14 Teng WE eng 31* Kia 47 ia 14 Ch'olit Hi Chi
15* Kuong 3 nong | 32 Uai ZB uai 15 Hi JE H
16* Hui HA ui 33t Keu is eu
17t Sien yes feu

 

 

Norr.—The twelfth and sixteenth finals are regarded by some teachers as
having the same alphabetic sound, (the initial consonant, of course, is ex-
cepted,) but most persons observe the distinction given in the table. The char-
acters arranged under the twenty-fifth final are pronounced by many persons
residing within the walls of Fuh Chau, like those under the twenty-third. The
vowel of the eighth final is pronounced by some teachers like the sound of 7 in
machine, while others give it the sound of i as in pin. The vowel of the fourteenth
final is pronounced by some like e in met, and by others like e in they. The
thirty-third final has a peculiarly clear and ringing sound, and at once reminds
a person of the croak of a frog.

The thirteenth iwitial sound is, in one instance, used alone without any final
or vowel sound following it. It is used only in the seventh tone, and merely ay
a negative prefix to other words.

The primary syllables formed by joining each initial with all the Jinals, will be
seen in the following table.

 

? Accented on the second vowel. ¢ Accented on the vowel before the last.
} The elever*h initial denotes merely the absence of initial sound.
The Chinese Language spoken at Fuh Chau.

my m,yo 13a mut
Suony Suon,yo Suonzu suonu
Suey Sueyo BZuesu suou
ny nyo nsu not
eng enyo onda onu

ny m4 nau qu

eT = yo Qa Qa
Sueny Suen,go Suendu Suenm
Zury = BuLqo |= Bursu = Buu
ey B90 Bsa Bul
rey 18,49 redu re
Susy 8ueyo Sae8u = sueur
ny ayo
Sdory Buoryo Zuowu Buon
eny = Bnygo)=—s wngu SS BN

gunq uno Sansa Sunw

4 HH ow &

1H 590.99 MSN sun

nt
Su01
sn
un
.

Buy

Ine = mus myo

Suons Zuonu Suonyo.

3ues Sneu Zueqo
as nu nyo
ens onu ento
ns nu nyo
Qs Qu eye
Zuens Suena Zuunyo
3uis gum = Saryo
88 8u eyo
ws = euCrRYD
Sues Suen suey
ms niu niyo
BZuois Zuo Buoys
ens end = BND
guns guna unto
fo A

iS - WIN BueyD

uon,d
3u0,d
u,d
en,d
ud

uid
suor,d
end
3un,d

gd
Suen,d
gur,d
ed
ved
8uv,d

Jd

ind

Buony
309}
ny
ony
ny

4
sueny
su}
2}

yey
3uvy
ny
su0y
en}

3un}

ny
3u0n,¥
U0,
ny
on,
Wy

OL
suen,y
SuLy
BL
st
3U8,y
OLY
SU0L,y
Bn,¥

3un,¥

Iny = md

my

Zuony Zuond guon,

Buoy 3uod
ny nd
eny = ond
ny ond
ex = gd
Suvny Sand
sur = Suid
BY ed
yey syed
Suey Sued
ny =o ud
BZuo1y Buord
eny end
3uny 3und

oY we ER

aL

2M

my Baer

Bud]
ut
en]
Wf

Ql
Suey]
Say]
BI

ret
Sue]
ny
BuO]
Buy
Suny]

tlt

mT

ae

i AR dae Be EK RS BR

cee

Im
rh

HR Sa

ayy
Su0ny
Bue,
ux
eng
as

Qn
sutny
Sug
eu
Tey
seg

TLGO
suorq

enw
sun qo
9

The Chinese Language spoken at Fuh Chau.

ney
yeng
BY
suey
eq
you
suey
ory
Qng
eq
ong
neq

guaq

Su0q
Suny

nety

ne,yo
yen,yo
BLY
Su01,q9
a.qo
1o,q9
Bue1yo
91,49
Qu.go
@49
Qn,yo
nB,yo
309,49
Ly
310,40
un,yo

net,yo

eau
ons
nesu
Suesu
13a
s003u
Ban3u

neisu

neut
tenur
‘BIOL

sue

jour
Susur
ert
nur
gua
gnu
newt

Sugur

Suour
Sunu

nett

Qn
ne

ug

3u0
3un

net

nes

Tens

suvis
ors

gus

neu
rena
elu

sue

tou
suena
elu
onu
eu
onu
new

sueu

3uou
Zunu

ner

neyo
yenyo
eryo
Sue1yo
ayo
royo
Savery
arya
nyo
eq
onto
neyo
sugyo
ry
suoyo
aunyo

nerqo

no
yen
Buy

Buat,t

10}
Sueyy
1}
Qn
a4
Qn,
ne,4
3u9,9
4
30,4
3un,4

nly

ned = ney nay ney ned
vend 1enj reny ny rend
ad By 8 6BLy oR Bid
Sua sae Buer,4y Suey Sued
ad = a4 ay ey ed
lod = 10} JON TOY tod
Sued suey sue,y Soe Sued
ord aly OLY Oly ed
ond ent ony = ony ond
ad =) Ho
gud eng guy ny nd
ned =e} ney ney one
Sued 3ugq} 3ua,y Suey Suad
1d n LY
Zuod 3u0, 3u0,.y Buoy Buod
Zon,d 30n3 30n,y Suny Bund

ned ney nery ney nerd

ne]
yen]
er
uel]
at

10]
Surly
et
ont
a
Qnty
NVI

Sug]

Bu0]
sun]

nel]

a

o
oe

RRSENRKSABRRS RK

Quy
ney
Sugy,
rq
Su0 yy
s8UnS Ny

nelg
10 The Chinese Language spoken ut Fuh Chau.

Each of the syllables in the preceding tables is susceptible of
seven variations of the tone in which it is enunciated. Some of the
tones affect the orthography, while others do not. Under each word
thus formed may be arranged several characters having independent
signifieations; and thus it happens that a single word in the spoken
language is made the symbol to express a number of ideas essen-
tially different from each other.

CHINESE TONES.

The greatest obstacle to the acquisition of the spoken dialects or
languages of China, is the peculiar application of the tones, which
distinguish words having otherwise the same orthography. It is
believed that the tones are not in themselves very difficult, but as
they are absolutely essential to the spoken language, and require
constant attention to nice distinctions, which are never noticed in
other languages, they demand all the attention the student can
bestow, to remember always the proper tone of each word, and to
enunciate it correctly in speaking.

In English, various tones or inflections of the voice are used to
give force and animation to language; but in Chinese, the tone is
an essential part of the word in all circumstances; while rhetorical
effect is given to discourse by accentuation, rapidity or slowness of
utterance, and peculiarities of manner, as well as varieties of pitch
of the voice, and gesticulation.

Mucb <as been written in regard to the tones, and some discrep-
.ace -will be found in the statements of different writers, caused,
puncipally, by the differences in tones of the same name in the sev-
eral dialects with which the different writers were acquainted.

It is generally believed that the system of tones was invented to
compensate for the paucity of syllables, or single words, in the
spoken languages, or dialects, of the numerous kingdoms of Eastern
Asia, which have long since been consolidated into the one vast em-
pire of China.

What was the condition of the spoken languages of China previous
to the adoption of the present system of writing, we have no means
of learning, except from the structure of their written language, and
their ancient poetry.

The general rules of poetry, derived from the Confucian classics,
have been fixed and unchanging for more than twenty centuries.

In poetical composition the words are arranged in reference to
their tones, of which, for poetical purposes, there are reckoned but
two classes or distinctions.

The poetical division of tones is into 2p at ping® siang, smooth
The Chinese Language spoken at Fuh Chau. 11

toue or tones; and Ket cha‘ siang, oblique, or harsh tone or
tones; (for these terms may be taken either as singular or plural.)
‘These being the only distinctions, in regard to tone, which it is
necessary to observe in poetical composition, it is not improbable
that there were only two tones in use when the ancient classics were
written, or at least in the early ages, when the poetic standards were
fixed.

The universal study of the ancient classics, and the observance
of the ancient standards of poetical composition, secure a pretty gen-
eral uniformity in the division of the characters into ping’, or smooth
toned, and cha‘, or harsh toned characters, though the subordinate
divisions in these two classes of tones are by no means uniform in
the different dialects.

The Nanking, or court dialect, has five tones, viz.: two ping®, or
smooth tones, and three cha‘, or harsh tones; though, it is stated
that there was originally but one smooth, or even tone.

The names which now distinguish the ping® tones, viz.: LP
siong? ping® siang, primary smooth tone ; and fp He ha? ping®
siang, secondary smooth tone, are thought, by Chinese writers, to
have arisen from having the characters arranged under the ping®
tone, placed in two volumes; the first volume (as is customary with
any work) marked [- siong?, or first, and the latter volume marked

\ ha®, or last. These distinctions, which originally related to the
volumes of the book, having been afterward referred to a distinction
of two ping’ tones. ‘This view is still further supported by the fact
that, while characters referred to the smooth tones in the court dia-
lect, are also referred to what are called smooth tones in the several
local dialects, yet many characters referred to what is called a pr7-
mary smooth tone in one dialect, are placed in the secondary smooth
tone in another dialect, and vice versa.

The chat tones, of which there are three in the court dialect,
called te siong? siang, high tone ; FE k'éii? siang, diminish-
ing tone; and ih® siang, entering, or abrupt tone, as they are
now found in the dictionaries of the general language, or court dia-
lect, are each again sub-divided, in many of the local dialects, (as the
even tone has been in all dialects,) into primary high, diminishing,
and abrupt, and secondary high, diminishing, and abrupt tones.

When all the tones now enumerated are arranged together, the
LE siong? siang, primary tones, are always arranged before the

RE ha? siang, or secondary tones, as follows, viz. :
12 The Chinese Language spoken at Fuh Chau.

1, LPs siong? ping’ siang; primary smooth tone.

2. Rie LE siong? siong” siang; primary high tone.

3. LEE siong’ k'éii* siang; primary diminishing tone.
4, oe NE siong? ih® siang; primary abrupt tone.

; PPE ha? ping® siang; secondary smooth tone.
PLE ha? siong? siang; secondary high tone.

: FEE ha? k‘éii® siang ; sécondary diminishing tone.
: TAF ha? ih® siang; secondary abrupt tone.

NX 2 ow

o

This translation of the Chinese names of the tones, though not
the one usually given, is admitted by the original, and gives a better
idea of their nature than a more literal translation. The names of
the tones, as given above, are common to various dialects, but they
do not represent the same qualities of voice, or sound, in the differ-
ent dialects; that is, tones bearing the same names are often essen-
tially different in different dialects.

The number of tones in actual use, varies also in different districts.
In several dialects, there are reckoned eight tones, as given above,
while in the Fuh Chau dialect, only seven are in actual use, and in
the Tiechu dialect there are said to be nine tones. In the spoken
language of Canton there are ten tones, but in reading, only eight.
The names applied to the tones give but an imperfect idea of their
nature, and, in general, it would be as well to designate them as
first, second, &c., tones, as to employ the names they bear in Chi-
nese books.

Description of Tones in the Fuh Chau Dialect.—The first, or
primary smooth tone, called siong? ping’, is a uniform even sound,
enunciated a little above the ordinary speaking key, but neither ele-
vated nor depressed, from the commencement to the close of the
word. It is, in this respect, like the enunciation of a note in music;
it may, therefore, be called the singing tone, or the musical mono-
tone.

The second, or primary high tone, called siong? siong®, is enunci-
ated in the ordinary speaking key, and the voice usually falls a note
at the close, as at the end of a sentence in unimpassioned discourse.
In connected discourse, however, the second tone is sustained, and
turns upward, like the vanishing stress of unaccented words in com-
mon conversation. In attempting to pronounce the letters a-e, we
notice that ¢ is pronounced either a note higher, or lower, than a.
So, also, if we take the pains to listen attentively when a alone is
pronounced, we shall notice that it has its ending, or vanishing move-
The Chinese Language spoken at Fuh Chau. 18

ment, turned upward one note; or, if spoken like the close of a sen-
tence, where the voice falls in the usual way, we shall perceive that
the vanishing movement of a turns downward one note. This is
exactly the variety of enunciation, distinguished by the second, or
siong? siong? tone in this dialect.

The third, or primary diminishing tone, called siong? k'éii, is
what elocutionists call the rising third, and is heard in English on
the emphatic word in a direct question, as, “Does it rain?” where
the voice turns upward, through the interval of two notes of the
octave.

The fourth, or primary abrupt tone, called siong? ih, turns the
voice upward through the same interval as the third tone ; but it
terminates abruptly, as though the voice was suddenly interrupted
in an effort to pronounce a final h. In words which, in other tones,
end in ng, the abrupt close of the fourth tone sounds somewhat like
a suppressed, or half-uttered k, but the clicking sound of the k is
not heard. If a person should attempt to ask the question, “Can
you open the luck?” and be suddenly stopped before enunciating
the final clicking sound of the k, he would give to the last word the
primary abrupt tone.

The fifth, or secondary smooth tone, called ha* ping’, is a quick,
forcible enunciation, commencing about two notes above the ordinary
key, and suddenly dropping down, at the close, to the key note. It
is what is called by elocutionists the falling third, and, when em-
phatic, the falling fifth. It is sometimes called the scolding tone.
Ji is heard in a petulant enunciation of the emphatic words in the
sentence, “No/ I’ll do no such thing.”

The sixth tone is identical with the second, and no words are
arranged under it; that is, no secondary high, or rising tone, has yet
been invented in this dialect.

The seventh, or secondary diminishing tone, called ha? k‘éii3, is a
guttural downward circumflex. It is, in English, expressive of pe-
culiar emphasis, frequently indicating rebuke, scorn, or contempt, as,

“Whence, and what art thou, execrable shape ?
. Back to thy punishment,
False Sugitive.”

“You wrong me every way; you wrong me, Brutus.”

The words very many, if spoken with forcible emphasis, would
also exhibit the tone under consideration.

This is probably the most difficult tone in the language to cnun.
ciate correctly, under all circumstances.
if The Chinese Language spoken at Fuh Chau.

The eighth, or secondary abrupt tone, called ha? ih’, closes
abruptly, like the fourth tone, but differs from it by being enunci-
ated on a uniform pitch, a little above the ordinary key. The eighth
tone is an abrupt termination of the first tone, in the same manner
as the fourth tone is an abrupt termination of the third.

The tones affect only that part of the word known as the finul,
while the znztial remains unaffected ,by the tone.

In the table, pages 16, 17, the finals are given with the modifi-
cations produced by the tones. If each initzal consonant is suc-
cessively prefixed to all the forms in the table, there will be obtained
all the separate words, or distinct syllables, found in the language.
We have placed at the head of the table, the initial eng, which de-
notes merely the absence of any initial consonant, as this gives the
simplest form of all the finals through each tone. ‘The student will
see, from the table at pages 8, 9, how each initial is success-
ively united with all the finals, and in the table, pages 16, 17,
how each final, whether joined to an initial or otherwise, is modified
by the tones. In the table, the vowels printed in italics are accented;
in all other cases the first vowel in a word takes the accent. This
accentuation of the vowels is uniform, and should be thoroughly
learned from the table. The accented vowels are not marked in
other parts of this article. Besides the final syllables in the table,
the semi-vocal ng is used in the seventh tone, without a vowel or
any other addition. With this addition there are sixty-one inde-
pendent final syllables, which may be arranged in alphabetical order,
as follows:

a, aé, ath, aéng, ah, ai, aih, aing, aiu, ang, au, anh, aung, e, @, €, eh, éh,
eng, Eng, eu, éti, éiih, éiing, i, ia, iah, iang, ie, ieh, ieng, ieu, ih, ing, ioh, iong,
iu, ng, 0, 6, oe, oh, oi, di, ong, u, ii, ua, uah, uai, uang, ue, uh, iih, ui, ung,
iing, ud, iid, uoh, uong.

If we add the forms produced by prefixing the initial consonants,
we shall obtain nine hundred and one syllables, or simple words
capable of being distinguished by the mode ‘of spelling them with
Roman letters. Some of these forms, it will be noticed, are pro-
(luced by changes in orthography, required by the tones. ‘The entire
number of forms obtained by all the changes produced by the tones
is three thousand four hundred and sixty-six words, which can be
distinguished by the ear. Some of these are distinguished with
difficulty, and (as nearly as is known) only one thousand six hun-
dred and forty-four of these monosyllabic words are in actual use in

the spoken language; while in the Tonic Dictionary, or Path Ing
The Chinese Language spoken at Fuh Chau. 15

only one thousand six hundred and twenty of these sounds have
characters arranged under them.

To compensate for this paucity of monosyllables, two or more are
often united together, forming real polysyllables, to express single
ideas. By this means the number of words is increased to several
thousands, and, as regards its richness and variety of expression,
this dialect is but little inferior to many alphabetic languages.

It will be seen in the table, that the orthography of some words is
changed, as they are declined through the different tones. In rapid
speaking, words in the third and seventh tones are but slightly dis-
tinguishable from the first tone; and in such cases the orthography
reverts toward the form of the corresponding word in the first tone.
Yet when spoken deliberately, the tones are readily distinguished,
and the orthography varies with the tones, as shown in the table.

Nouns.

Nouns, like other Chinese words, are incapable of inflexion.
Gender, number, person, and case, are determined either by the ad-
dition of other words, or by the position a word occupies in the
sentence.

Case.—The subject nominative precedes, and the predicate nom-
inative follows the verb, as in English. The accusative case is
placed after transitive verbs and prepositions, and is only distin-
guished by its position in a sentence. But in many instances, the
accusative precedes the verb in the imperative mood, as chii pong?
chii-ka?, book place book-case; that is, place the book in the book-
case. This construction is very common, though not always adopted.

The dative and ablative cases are often used without any distin-
guishing mark, though they are sometimes preceded by a preposition.
The genitive case of nouns is formed by adding ki, his, hers, its, or
theirs, after the noun, as sung® ki5 néng®, ship’s men; that is, sailors: or
boatmen; Ting kuoh‘ ki’ néng®, Central kingdom’s men; thatis, Chi-
namen. The genitive is often followed by the name of the thing pos-
sessed, without any intervening word, as sung néng’, boatmen, sailors ;
Ting kuoh‘ néng5, men of China; Kuoh‘ ho?, nation’s title, or national
title. But in such cases, the noun in the genitive may generally he
regarded as an adjective, qualifying the following noun.

Gender.—The gender of nouns is indicated by words denoting
male and female,*either directly or indirectly, as nang, male; and
nil’, for female. ‘These are general terms, applicable to any living
beings, and are placed before the nouns which they qualify. These
terms are but seldom used in speaking; they belong more properly
to the written language.
The Chinese Language spoken at Fuh Chau.

16

Tou

Suon

sure

90

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m

suo

Fl TL

SSUNOL HL

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17

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i

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17

The Chinese Language spoken at Fuh Chau.

Qu

ne

q@

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ure

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ne

Suge

Zune

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Qn
nB

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ure
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QB
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aay

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ne

yes

que

qne

ure

200

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QB
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dunt
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400

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neig
18 The Chinese Language spoken at Fuh Chau.

In common conversation, m6*, signifying mother, and kéiih', to de-
note the male, are employed after nouns, to distinguish the gender of
all the lower animals, including birds and insects ; as iong® mo’, the fe-
male goat ; iong® kéiih‘, the male goat. For human beings, nii? ing’ is
used for woman, in the most genteel society; but the common terms for
man and woman are derived from a singular circumstance in the history
of the ancient kingdom of U*-chi, of which Fuh Chau was the capital.

The kingdom of U®-chii was subjugated by the Tong® dynasty, and
tradition says, that all the men were destroyed, and that the women
were compelled to become the wives of their captors, (called Tong’
men,) who immediately occupied the kingdom of U®-chti, which,
thereafter, became a part of the great Chinese empire. In memory
of this circumstance, to the present day, the women of Fuh Chau
are usually called Chii niong®, or Chii niong' néng*; that is, Chii ladies,
retaining a part of their ancient name. Girls are called Chii nie-
kiang?; that is, Chi children. On the other hand, the men are called
Tong*pu6 néng®, or Tong’ men, and boys are called Tong*pud nie-
kiang?, or Tong*puo kiang?; that is, ‘l'ong® children. The shorter
term, Tong'pué, is often used to signify husband. A teacher, or
any literary man, is called sieng sang, while a literary lady is called
sieng sang niong®. ‘here are also other terms descriptive of the
various human relations, some of which are essentially masculine,
and others essentially feminine; as,

Huang*kiang’, foreigner. Huang po%, foreign lady.

Ho’, father. Mo’, mother.

Nong'pa’, papa. Nong'né?, mamma.

Tong’pud kiang®, son. Chii niekiang’, daughter.

Hiang tie’, brother. Chia*moe’, sister.
Neng'né’, nurse.

Hiang, elder brother. Chia’, elder sister.

Tie’, younger brother. Moe’, younger sister.

Number.—In the Chinese language, both written and spoken
there is often much vagueness in regard to the number of nouns. _

The singular can only be indicated definitely by being preceded
or followed by the numeral for one. The plural is denoted by the
connexion of words in the sentence, or by the addition of tens? de-
noting a class, or collection of individuals. Sometimes the “plural
is formed by repeating the noun, as néng® néng®, man by man, or
men generally.

CLAssiIFyina Nouns.

These are analogous to what are called, in English, collective
nouns ; as flock, drove, herd, pair. These and many others of the
The Chinese Language spoken at I'uh Chau. 19

same character are found among the Chinese classifying nouns.
But the greater part of the Chinese classifiers (as these nouns are
commonly called) relate to individual things, and become plural only,
when preceded by a numeral greater than one; as, a piece of wood ;
a fibre of silk; a blade of grass; a stalk of grain; a kernel of corn;
a grain of sand; a head of cabbage; a sprig of mint; a loaf of
bread; a block of marble, &c. While in English comparatively
few nouns have classifiers of this kind used with them, both in the
singular and plural numbers, in the Fuh Chau Chinese every noun
has its appropriate classifier attached to it, in almost every case
where it is preceded by a numeral.

Generally several nouns have the same classifier, but when the
same vocal sound is used as the names of different objects, the dif-
ferent classifiers that are used clearly distinguish them.

In the written Janguage the numeral can frequently be joined to
the noun without the classifier, but this usage is seldom or never
admissible in the spoken language.

If we say in English two piece men, as the Chinese do when
speaking English in the Chinese idiom, it sounds no more uncouth
to us than lang’ néng® (literally two men) does to the Chinese, who
say lang’ ka? néng®, for fwo men, using the classifier ka? between
the adjective Jang’, two, and the noun néng*, men. The combina-
tions, a flock of tongs, a drove of weights, a kernel of twine, a sprig
of land, would sound no more uncouth in English, than correspond-
ing errors in the use of Chinese classifiers; and as very few Chinese
nouns can be used without their classifiers, early attention to the
proper use of this class of words is. of great importance. Kéng, a
day’s work, is used without a classifier, and perhaps some others.
The round numbers for twenty, thirty, forty, &c, one hundred, two
hundred, one thousand, one myriad, &c., can be used before many
nouns without classifiers; but these are rare exceptions to the rule,
that Every noun must be accompanied by its appropriate classi-
Jier, when taking a numeral adjective before it.

The classifiers are called uah® che’, living words; because they
give life and precision to discourse. ‘I'wo nouns, differing greatly
in signification, though pronounced exactly alike, may be read-
ily distinguished by the different classifiers with which they are
joined in discourse; as, siio® kud ua’, a phrase of speech; ands 6*
hoh* ua’, a seroll of painting; the word ua’, meaning discourse in
one case, and painting in the other, being rendered perfectly defi-
nite by the classifying nouns with which it is joined in the two
cases. 'iu®, plain silk cloth, and tiu’, a wardrobe, or cupboard, are
distinguished in a similar manner, for we say, siid® ka’ tiu5, one frame
20 The Chinese Language spoken at Fuh Chau.

wardrobe; but siid® peh* tiu’, one web of silk; or, siid® t6i” tiv’, a small
piece of silk goods. It is thus that these living words give clear-
ness and precision to discourse.*

Compounp Nouns.

Two or more words are often united to describe an object which
has no simple name. ‘They form regular compound nouns, and are
of frequent occurrence. Kiang?, a childy or a small specimen of any
object named, is often affixed to nouns to form compounds; as,
néng® kiang®, a human child; ngu® kiang?, a calf; huang® kiang?, a
foreign child, or a foreigner; chieng® kiang?, a small coin; ie? kiang?,
a small chair, or a stool; sung® kiang?, a boatman. Kiang? may be
joined to any noun in the same manner as a diminutive suffix.
Sa hu? signifies a leader, and is a term often applied to priests;
but when preceded by the term for such substances as wood,
earth, stone, silver, it signifies a worker in those substances; as,
ngiing* sa hu?, a silversmith; T'u® sa hu’, a mason; siio® sa hu’,
a stone-cutter; muh® sa hu?, a worker in wood, a carpenter. Some
other trades are designated in the same manner.

Cho’, to make or do; or pa’, to beat out, or to fashion, prefixed
to the name of a thing, or the material of which it is made, designates
the maker of those goods, or the worker in that material; as, cho?
i siong®, maker of clothing, or a tailor; pa® t'ieh‘, iron worker, that is,
a blacksmith; pa® téng®, a coppersmith, or a brass-worker; pa®
ngiing5, a silversmith. Sa hu?, affixed to the aboye compounds, will
give the additional idea of a master workman at any of those trades.
We have cho? mé? me’, to work at buying and selling, or ché? seng
li?, or chd3 seng e°, to be a trader, or a merchant; chd* ch'eng, to
work the fields ; that is, to be a farmer; cho? cheng? kéii3, to bear tes-
timony, to be a witness; chd® kéng ngie’, to be a mechanic of any
kind; cho? maéng* would signify a maker of nets, but as the very

*Tn the use of nouns preceded by their classifiers, a numeral adjective must
always precede the classifier. The numeral sid®, one, is, in such circumstances,
commonly equivalent to a or an. There is no proper article in the Chinese Jan-
guage; its place is in part supplied by numeral and demonstrative adjectives,

Weights and measures, as classifiers, are used before nouns in the same man-
ner asin English. In the Chinese money weights in common use at Fuh Chau,

10 Lie equal one Hung = 5.755 grains, Troy.

10 Hung equal one Chieng == 57.55 grains, Troy.

10 Chieng equal one Liong, or ounce = 575.6 grains, Troy.

16 Liong equal one King, or pound = 9208 grains, Troy.

100 Kang equal one Tang, or load = 1814 pounds, Avoirdupois.

Six or eight other weights are in use at Fuh Chau, varying in value from el
to 14 of the King, or pound, given above.
The Chinese Language spoken at Fuh Chau. ot

same expression signifies also to dream, they usually say pa’ maéng’,
for making nets. “All the above terms formed with ché3, to make,
or pa’, to fashion, often take after them the phrase ki‘ néng®, its man ;
that is, the man of whom these actions are predicated, and the entire
expression is used as a noun, for merchant, trader, &c.

ADJECTIVES.

Adjectives commonly precede the nouns which they qualify; as,
keng® sang, a high hill; wong ngu®, a yellow ox; ngai® néng®, bad
men. The adjective may also be placed after the noun, the substan-
tive verb being understood, in which case the adjective becomes a
predicate. Such forms are more common than in English, as the
substantive verb is more readily understood, and needs not to be so
frequently expressed; as, néng® ngai®, the man is bad; no® /6d?, the
thing is good; tito’ /uong’, the road is long. In some such cases it
is scarcely admissible to supply the substantive verb in speaking,
though it must be supplied to give a éorrect translation in English.
An adjective reduplicated becomes intensive; as, hd?hd?, very good ;
keng®keng®, very high; ming®ming®, very plain, clear, or evident;
kuong’kuong?, very smooth; kuongkuong, very luminous. Differ-
ent qualities are expressed by ordinals; as, Té eh* ho?, number one
good, or first quality ; Té ne? ho?, number two good, or second qual-
ity. The Chinese are extravagant in the use of adjéctives, using
superlatives where intensives only are strictly admissible. Siong’,
upper, or superior, and ting’, ridge, or summit, are often thus used.

The following examples will show the method of comparing ad-
jectives: ia> keng®, rather high; keng®, high; keng*keng®, very high.
ku keng’, higher; kah* keng§, too high; ting® keng®, highest; ia® ho?,
rather good ; hd’, good; ho? hd’, very good; ku ho2, better; kah* ho?,
too good, or remarkably good; ting’ hé®, best; siong? hd’, first rate,
best quality; ia® pa®, rather white, pretty white; sometimes it means
very white.

Nia'ndi’, a little, or somewhat, affixed to an aa ava: indicates a
slight shade of the quality ; but this form is more commonly used in
comparing two objects, and indicates that the object to which the adjec-
tive thus modified is applied, surpasses by a little the one with which
it is compared. When two things are compared, they are generally
connected by the conjunction kéiing’, and the quality expressed by
the comparing adjective belongs to the thing first mentioned, though
it is placed after both nouns; thus, li’, kéiing’ li, ku hd’, plums éhan
pears [are] better; the same idea may be expressed without the
conjunction ; as, li? ku hé? ]i°, plums [are] better [than] pears; though
placed between the nouns, it still qualifies the former noun.
22 The Chinese Language spoken at Fuh Chau.

“The position of an adjective determines its comparison.” When
two things are compared, ~ — JJ tong’ siid® ch'tid*, signifies, longer
by a foot; but when one thing only is spoken of, the same expres-
sion means, length one foot; so also -R = sild® chi‘ tong’,
means, (when one thing only is referred to,) one foot long; but if
two objects are mentioned, the same expression signifies one foot
longer, and the greater length is understood of the thing first men-
tioned. F ¥X chii?nii’, signifies sons and daughters; while oa z
nu’chii?, signifies a female child; and in the written language, when
these two are combined into one character, thus, YZ it is read
ho?, and signifies good, beautiful. 7f-sE pang*chang?, literally
level and perpendicular, signifies in commen conversation, bad, of
inferior quality.

Numeral adjectives are best understood in connexion with the
written characters. Both the common and the business forms are
given in the following table.

Numbers. Characters. Spoken. Abbreviated. Spoken.
1 — Sao’, or, Eh*. | ih‘,
2 == = Lang’, or, Ne’. i Ne’.
8s S  Bang. i Sang.
4 QW Se. MM Se’.
5 == Ngo’. & Ngo’.
6 JN Leabt > Leah’,
7 G Ch'eh‘. > Ch'eht.
8 SN Pai’. i Paiht.
9 ye Kav’. x Kau’.
10 -}F _ Beh*. a Eh‘ seh’,
1 Se, Seh® eh‘. j— Eh‘ seh’ eh‘.
ig Se Seh® ne’. {= . Eh‘ seh? ne’.
18 = Seh® sang. i= Eh‘ seh® sang,
20 « ~ Ne’ seh’, Wr Ne’ seh’.
30 lO} Sang seh’. W+ Sang seh®.
100 7 Sto" pat 19 En‘ pat,
B
101 Oo Sad* pat ling® sid’. a Eh‘ pat ling* sad°,
102 @ Sud° pa‘ ling* lang’. poll Eh‘ pa‘ ling® lang’.
The Chinese Language spoken at Fuh Chau. 28

Numbers, Characters, Spoken. Abbreviated. Spoken.
110 g Sid’ pa‘ ling® seh® i*, B Pa* eh‘.
eo —|
lll 9 Sid° pa‘ ling® seh® eh‘, z Pat ehf sitd®,
— .
ee
0
120 & Sid® pa* ling® ne’ seh*. : Pat ne’.
= j=)
121 2 Sio* pa‘ ne’ seh® eh‘. a Pa‘ ne’ eh‘,
= i=l
122 g Sio® pa‘ ne’ seh® ne’. a Pat ne’ lang’.
= tloo
200 = Lang’ pa‘. a
1,000 3% Sad" ch'iong. Heo Eht ch'ieng.
a 41,0000
10,000 a Sad° uang’. 4 Suo® uang’.

211. Ne’ pa* eh‘, or, lang’ pat eht.
220. Ne” pa* ne’, or, lang’ pa‘ ne’.
122. Pat ne’ lang’.
1220. Ch'ieng ne’ lang’.
1221. Ch'ieng ne’ ne’ seh® eh’.
1001. Sio® ch'ieng ling’ siio*.
1202. Siio® ch'ieng lang’ pa* ling® lang’.
12000. Uang’ ne’. [One] myriad two [thousand].

In the use of the duplicate forms for one and two, some care i8
required, for while we can say eh‘ seh®, or ne? seh’, for ten and twenty,
we cannot say siid® seh®, Jang’ seh®, neither is it admissible to say sti6®
pa‘ eh‘, sii’ pa‘ ne’, for one hundred and ten and one hundred and
twenty.

The system of abbreviated numerals used in busiriess transactions
is easily made to represent concrete numbers, as inches, feet, and
poles; or ounces, pounds, &c., with their decimals, by placing the
character denoting some weight, or measure, under the proper figure,
in the same manner that the character for tens, hundreds, &c., is
used under ordinary abbreviated characters ; thus,

oe two hundred and twenty-one feet, four inches, six tenths ;
& mee twenty-two poles, one foot, four inches, six tenths; or,

t “57 two thousand two hundred and fourteen inches, six tenths.

The same system serves for writing decimals, as the character
placed below the line determines the place of units.

.
at The Chinese Language spoken at Fuh Chau.

PRONOUNS.

he words used to perform the office of pronouns, in Chinese, are
varied to suit the comparative rank of the speaker and hearer.

When a person speaks to an equal, or when a man of rank speaks
to an inferior, the proper personal pronoun Nguai? is used; but this
is inadmissible in addressing a superior. Néng>-ka, | or we, is
commonly used when speaking to equals; it is, however, a circum-
locution, but is in common use for the first person. Nu’, [literally,
a servant,] your servant, or, I your servant, is used by persons ad-
dressing their superiors, and generally by persons desiring to hon-
our those whom they address. Puong?-sing, this body, equivalent
to myself, is used to denote the speaker; it has no plural. There
are various other circumlocutions, used as polite forms of indicating
the speaker. Nu?, thou, or you, is the common form of the pronoun
in the second person. Jf [pronounced as in machine] is used for
he, she, it, they, or them. Pronouns, like other words in the Chi-
nese language, may be either singular or plural, as best suits the
connexion. Néng’, man, is often appended to pronouns, as the sign
of the plural; as, Nguai?-néng’, or, Nu5-néng, we, or us; Nii?-néng’,
you; I-néng®, they.

Ki5, the sign of the genitive case, may be placed after any of the
pronouns, in the same manner that it is used after nouns. For the
possessive case of pronouns, other forms are often used; thus, leng’
chong, your father; leng’ tong’, your mother; leng’ hing, your elder
brother; leng? tie’, your younger brother; leng’ chiang, your wife;
leng’ ching, your relations ; leng’ long’, your son; leng’ ch'ieng king,
your daughter. Leng’, in all these examples, signifies good, or ex-
cellent, and is used for your as a very respectful and dignified ad-
dress. The words for father, mother, &c., with which it is joined,
are also titles of respect and honour, and not literal translations of
our terms; yet one who fails to use them will often appear unedu-
cated.

In the same manner they say, kaho’, my father; ka mu, my
mother; ka hing, my elder brother. Ka, in these expressions, sig-
nifies one’s own family, or, perhaps, the family. When other rela-
tions are spoken of, another term is used; as, chieng’ noi’, my wife;
(literally, the unpretending, secluded one.) This accords with the
Chinese custom of speaking in humble terms of one’s self, or what
is one’s own, and of praising that belonging to anather.

Sia* te’, my younger brother ; sia’ ch'ing, my relations ; pe? iu?, my
friend ; pe’ ngieh® su, my teacher ; pe? muong' tu’, my pupils; pe? hud?,
my agent; pe* siong’, my master; sieu? i’, my boy; sieu? ni?, my
1

The Chinese Language spoken at Fuh Chau. 25

daughter; sieu? k'ai?, my slave. Sieu? means, literally, the little, or
inferior one. Koi, signifying honourable, is used for your, on the
ground that what is said to be honourable, is of course understood
to belong to the person addressed, rather than to the speaker. Koi?
k‘ai3, your slave; koi? siong’, your master, or superior; koi? hud?,
your agent; koi? tung, your employer’; koi? ka, your noble family ;
koi iu?, your noble friend; koi? kuch‘, your honourable country ; koi’
seng?, your surname. In all these examples honour is conferred
upon the person addressed by applying an honourable epithet to
what belongs to him.

When speaking of brutes or inanimate objects, the simple posses-
sive pronouns are generally used.

The Interrogatives are, sie’ nd®, what? which? sie’ no® néng®,
what man? who? tie? né néng’, who? or, man from what place?
tie? siid® chia‘, which one? ‘This expression is varied by using,
instead of the last word chia‘, the classifier which corresponds with
the particular thing in reference to which the inquiry is made.

The Demonstratives are, chi?, or chia, this; hi?, or hia*, that.
Chia”is also often used as nearly equivalent to that. Chui‘, or in
full, chia? kuai?, this place, is often used adjectively for this. Hui’,
or hia? kuai3, is also used for the demonstrative thar.

Who, which, and what, when used as relative pronouns, have no
proper equivalent in this dialect of the Chinese language. Their
place is supplied by demonstratives, followed by the nouns them-
selves.

VERBS.

The variations of the verb are not as numerous, or as precise in
their meaning, as in most other Janguages. The various forms of
pa’, to strike, will illustrate the peculiarities of the Chinese verb in
the Fuh Chau dialect.

J.—Indicative Mood. 1. General tense. Nguai? pa’, I strike.
This form may denote either past, present, os future time, which
may be determined, with more or less certainty, by the connexion in
which it is used.

2. Present tense, definite; as, Nguai? 1é? pa’, I am striking.

8. Perfect tense. This tense denotes that an action or event is
already completed. With transitive verbs, in this tense, the accusa-
tive follows the principal verb, and lau’, finished, follows the accusa-
tive, to denote the completion of the action; as, Nguai? pa®.z lau®, I
have struck him.

In case of intransitive verbs, k'6*, departed, or, li®, to come, is
often inserted between the principal verb and the auxiliary lau‘,
26 ‘The Chinese Language spoken at Fuh Chau.

which denotes the completion of the action; as, Muong® kui’ k'o°
lau’, the door is opened already ; Muong’ kuong li® lau’, the door is
shut to.

4. Future indefinite. Nguai? chiong pa®, I shall strike.

5. Future definite. Nguai? cheu’ pud® pa®, I at once will strike.

The following form is nearly intermediate between the two prece-
ding, namely, Nguai? chiong pud® pa®, I am about to strike.

II.—Subjunctive Mood. 'The subjunctive is formed from the in-
dicative, by placing ioh®-sii?, ka-sii?, or k6-pe®, signifying 7/, >r,
supposing that, before the nominative to the verb; as, ioh®-sit? Nguai®
pa’, if I strike, &c.

Ill.—Potential Mood. Nguai? é” pa8, I may, or can strike; Nguai?
tiid® pa®, I must strike ; Nguai? kai-tong pa®, I ought to strike; Nguai*
oi? pa’, I wish to strike.

IV.—Imperative Mood. Nii? pa®, strike thou; Ni? k‘0? pa®, pro-
ceed thou to strike; Nii? tiid® pa’, do you strike at once.

V.—Infinitive Mood. PaS, to strike; Ing kai pa®, it is proper to
strike; Lé? pa®, to be striking; Pa® lau’, to have struck; Chiong pud®
pa®, about to strike. s

VI—Participles. Lé? pa’, striking; Pa® lau‘, struck, or, having
struck.

Passive VOICE.

In the spoken language of Fuh Chau there is no proper passive
form of verbs. Kieng?, to see, or experience, placed before the verb,
and after the auxiliary, if there is one, is sometimes used to form
the passive voice, but it is seldom heard in conversation, and more
properly belongs to the written language. It is even doubtful
whether this form is understood by any except the educated, who
have learned it in books. Sieu. to receive, or suffer, is more fre-
quently used before the verb to denote action endured by the noun
which precedes the verb. Both these forms may be used without
naming the person or thing by which the action is performed. When
either of these words is used before an active verb to give it a pas-
sive signification, it becomes the principal verb, and the words de-
noting the action or suffering received or endured, become verbal
nouns in the accusative case.

There is another form sometimes used, namely, Nguai? kétth* i pa®,
J permitted him to strike; that is, 1 was struck by him. In some few
cases this form has acquired, by usage, something like a passive sig-
nification ; as, Nguai? kétth* 16-tia pas, I suffered the officer to strike;
that is, I have been beaten by the officer. In this form it is always
necessary to mention the person or thing by which the action has
ey
been performed. This form is to be carefully distinguished from
another which closely resembles it, but has a very different signifi-
cation; as, Nguai? kéiing’ lo-tia pa’, I with the officers fought, or, I
struck the officers.

By these and other circumlocutions, the ideas of the passive voice
can be tolerably well expressed, but they often appear very harsh.
The awkwardness of these expressions is most apparent when it is
desirable to give an exact colloquial translation, rather than a para-
phrase, of portions of Scripture.

The Chinese Language spoken at Fuh Chau.

List oF VERBS.

Aih’‘, to press.

Ang, to touch, to rest.

Ang’, to solder, to cement.

Chia, to shade.

Chie’, to sacrifice.

Cho’, to make.

Ch'ah*, to chop.

Cho? hua’, to create. .

Chiiang’, to invite.

Chu, to rent.

Ch'oh’, to go forth.

Chréh’, to mortise.

Eng’, to reply.

Eng*, to stamp, to seal, to print.

Eng’ sing, Ening, or, Eng’ ing, to
consent.

Hai’, to injure.

Héng, to roast, to bake.

Héiih’, to be tired.

Hieng’, to hate.

Ho? chui’, to sprinkle with water.

Hieu’ tih®, to understand.

Hung, to seal up.

Hung ho’, to direct.

Hui’ paung’, to defame.

Ka’, to teach.

Ka’, to bite.

Kai hong’, to teach [morals].

Ka' to’, to preach,

Kiang’, to see.

Kang’ kieng’, to see.

K’‘ang’, to lop off.

Kang’ tong’, to be inspired.

Kaing’, to cover.

(Kaiu’, a cover.)

K‘aih‘, to crowd.

K'aiu'’, to button.

K'aung’, to conceal.

K‘aung’, to sleep.

Ke’, to record, to remember.

Ke’, to unfold.

Keng’, to select.

Keng’, to honour.

Keng’, to lead.

Keu', to save.

Keu’, to call.

Kéii®, to saw.

Kéiih‘, to permit.

Kiang, to fear,

Kiang®, to walk.

K'?, to begin, to build, to set up.

Ki? li’, to get up.

Ke’, to stand.

Kivu‘, to shrivel.

Kong, to carry.

Kong’, to speak.

K0® laung’, or, Ko’ taung’, to
gurgle.

K'6%, to depart.

Ko? leng’, to pity.

Laé’, to rub, to file, to polish.

Li®, to come.

L0°, to descend.

Ld’, to bore.

Mai, to carry on the back.

Mai chaung, to bury.

Me’, to buy.

M3’, to sell.

Meng’, to command.

Maai, to grind.
28 The Chinese Language spoken at Fuh Chau.

Mub’, to heal. Se le’, to baptize.

Muong’, to inquire. Sieu, to burn.

Mud, to touch, to stroke. Sieu, to receive.

Neng’, to nurse. Sing, to search.

Neng’, to recognise. Sing puang, to judge.

Neng king, to repeat prayers. Sao’, to cut in pieces.

Né, to smear. Séng, to put on [clothes.]

QO’, there is, to have. Tang, to row.

O’, to learn. Tang, to carry burdens.

Pa, to manufacture. T‘aung®, to put off [clothes.]

Pa*, to strike. Teng’, to sew, to nail.

Peh‘, to pull. T'iang’, to ache.

Puai, to split. T'iang’, to love.

Pua’ td, to stumble. Tieu®, to jump.

Pau, to envelope. Tiang, to listen.

Sia’, to eat. Toi, to plane.

Sia che’, to write. Toi® ua®, to answer.

Sai, to use. Tui’, to hammer.

Sé, to wash. Uob’, to water.
ADVERBS.

Adverbs are compared in the same manner as adjectives. They
are in the same manner rendered intensive by reduplication; as,
k'é3 k'é3, very quick; maing’? maing’, very slowly. This latter
expression often means hereafter, or wait a little. Ng’ is a nega-
tive prefix, which may be joined either to adjectives or adverbs.

The following are adverbs in common use, namely:

Hieng’ chai’, now. HO", well.

Moe’, not yet. Chiang’ se’, truly, yes.

Po’, again. No’ se’, not so.

KY seng, formerly. Chiong uang’, thus.

Cha’, early. Chia’ iong®, after this fashion.

Chia? si* haiu’, at this time. Cha poh‘ to’, about so, or, not much

Hia? si® haiu’, at that time. different.

Na’, only, simply. Chia* chia‘, just now (past.)

M6* tang tong, impossible. Cha’ ki, early in the morning.

Kéting’, near. Mo’ ta’ king’, no matter.

Huong’, distant. Tang, now, to-day.
ADVERBIAL PHRASES.

King nieng’, this year. Mang’ nieng’, next year.

KO nieng’, last year. Nieng’ nieng’, yearly.

Nieng* t'au’, first of the year. Nieng* mue’, the last of the year.

Sd° nieng’, year before last. Au’ nieng®, year after next.

No’ au’ nieng®, three years hence. No’ s0° nieng*, three years ago.
Neguoh’ nguoh’, monthly. Chia’ nguoh’, this month.
The Chinese Language spoken at Fuh Chau. 29

Puang ka? nguoh’, half a month. Sud’ ka? nguoh®, one month.

Siong® nguoh’, last month. A’ nguoh*, next month.

Seng kui’ ka’ nguoh®, several months Ti® kui? ka? nguoh’, several months
ago. hence.

Chiang’ nguoh’, first month of the year. Sang? seh® mang pud, new year’s eve.

Nih® nib’, daily. King tang ; to-day.

Ming® tang’, or, ming’ nih’, to-morrow. So* mang", yesterday.

S08 nih®, day before Testanday: Au’ nih’, day after to-morrow.

No’ au’ nih’, three days hence. No’ s0* nih’, three days ago.

Puo, night, or evening, affixed to either of the expressions de-
noting days, signifies the evening of that day; as, king pud, (nih®
being omitted,) this evening; so? mang® pué, last evening.

CoNNECTIVES.

But few connecting particles are used in the dialect spoken at
Fuh Chau, and the same is true of the Chinese language generally.

CoNnJUNCTIONS.
Kéiing’, and; ling’, also; héith*, or héiih'-ti, or, either; ka sti?,
or ioh® si?, if; kd? pe?, supposing that; ing oi’, because; ku chii,
therefore.

PREPOSITIONS.
Meng?-seng’, before; a’-lau?, behind; ké-teng?, above; a’-té3,
below; tie?-tie?, within; ngie lau?, without, outside.

INTERJECTIONS.

Ho?! Well! It is well! Ai-ia®! an expression of wonder, or
surprise; this expression is also used in a drawling tone, denoting
excessive grief. Hii7! So-ho! Ho there! used to call the attention
of persons standing near. ©*! O5! expressive of sudden pain.

VERSIFICATION.*

The written language governs the style of poetry. The most an-
cient Chinese poetry was irregular, composed of an even number of
lines, consisting of a nearly uniform number of monosyllabic words
in a line, subject to rules of rhyme and alliteration; that is to say, to
periodic return and cadence of certain articulations and terminations.
Short pieces of this measured prose make up the Chu King, or Book
of Records, and some other arcient books of the same class. ‘'he
style of long poems, such as the Panegyric of Moukden, is very similar.
Chinese poetry has advanced by degrees to the condition in which

* The rules of Chinese versification have been translated from the Chinese
Grammar of Abel Remusat. Taris: A. D, 1822.
30 The Chinese Language spoken at Fuh Chau.

it is seen in at present. Modern poetry commonly consists of either
five or seven words in-a line. Of these two kinds, that of seven syl-
lables (words) in a line is the more common. ‘There are also verses
of three, four, six, and nine words, or syllables, in a line; but the or-
dinary poetry is written in measures of either five or seven syllables.

In poetry there are recognised only two distinctions of tone, namely,
the =p. ping, or smooth, and the fA cha‘, or harsh tones. ‘he
latter comprehends the [+ siong?, or rising, the 3 k’éit, or van-
ishing, and the /\ ih®, or abrupt tones, these being all considered
harsh tones.

In verses of five words (syllables) no attention is paid to the
tones of the first and third. ‘he second and fourth ought to alter-
nate; that is, if the second is a ping tone, the fourth ought to be
cha‘, and vice versa. The second and third lines ought to be the
reverse of the first, and, by consequence, the fourth verse resembles
the first. In verses of seven syllables, the tones of the first, third,
and fifth may be selected at pleasure. ‘Ihe tones of the second and
fourth words should alternate, and the sixth should correspond with
the second. In verses of five, and also of seven syllables, the stan-
zas, consisting of four lines each, require three of the lines to termi-
nate alike both in rhyme and tone, or accent. Usually the ending
of the third line does not rhyme with the others, and frequently they
dispense with the rhyme altogether.

The structure of Chinese poetry may be illustrated by oo
using the open circle to represent smooth tones, the
shaded circle for harsh tones, and the circle with one
half only shaded, to represent syllables which may
be smooth or harsh at pleasure.

In this example the left hand column represents (
the first line, having the second syllable a smooth
tone, and the fourth harsh. The second syllable of f
the second line is harsh, and the fourth smooth, and
80 on.

In the following example, the second syllable of the first line is
harsh, and the fourth smooth, and soon. This ex-
ample i is the inversion of the first.

It is thus admissible to choose at pleasure the “W
tone of the governing syllable, (the second of the
first line,) but when that is chosen, the whole stan-
za must be made to correspond to the peculiar form |
which agrees with it;’in the same manner as in can
music, the whole tune must preserve a certain rela-
tion to the key note. In some poems of five sylla-

 

 
The Chinese Language spoken at IF'uh Chau. 31

bles in a measure, the third of the first line is the governing word:
and the fifth sometimes holds the same relation in verses of seven
syllables. This key word in Chinese poetry is the object of par-
ticular attention. It must not be a mere particle, but a word ex-
pressing some prominent idea in the sentence. It may rhyme with
the key word in the following line, or it may alternate with it, ac-
cording to the rule which is chosen in the poem. These different
kinds of verses are variously combined, making as many as forty
different poetical metres. There are six different metres in ancient
poetry. The style of these poems is, in general, elevated, concise,
full of allegorical, and metaphorical expressions, of words that are
antique and little used, and references to events of history, deeds,
usages, and opinions little known. This is what renders Chinese
poetry so very difficult to be appreciated or described by Western
scholars.

The great difference between the smooth and harsh tones, which
are variable in different stanzas of Chinese poetry, some of which
can be scarcely, if at all, enunciated in singing, renders it almost
impossible to sing Chinese poetry with Western music, and a tune
which was adapted to one stanza would not be appropriate for the
next, though agreeing with it in the number and metrical arrange-
ment of its syllables.

In the written language there are so many synonymous characters
differing in pronunciation and tone, that there is little difficulty in
adapting them to the strict rules of Chinese poetry. In the spoken
language, however, the number, tones, and arrangement of words in
a sentence, is so inflexible, that it is almost impossible to compose
poetic measures in the spoken language. The popular songs of the
empire, and hymns composed for Christian worship, are only ap-
proximations to the style of the spoken language, and, consequently.
are but partially intelligible to the common people.
The Chinese Language spoken at Fuh Chau. 33

LIST OF NOUNS WITH THEIR CLASSIFIERS.

N. B. In the following list Sisd®, the adjective one, is frequently translated by
the indefinite article to which it is often equivalent,

AAAS Sid’ iong” I-siong®, One piece of clothing.
e Sid’ iong’ Ma®-kua’, A short riding coat.
Ue
pax 4 Ay Si1d* iong? No‘, One single thing.
iy se 2 a9 TORE ‘ i
nase f “p Re, Sid’ idng’ Pd*, A long robe open in front and behind.
f t: ee A Sid’ iong’ Poe*-tah’, One waistcoat.
{ Siid* iong’ Tai®-kie®, One piece of business.
4 Re Siid* iong’ Tong’-kua’, A long robe (buttoning in front.)
yi ey Sid? iong™ Tong’-sang, ‘A robe or gown buttoning at
—» 4A
P

the right side.
= Sid’ jong? Toi*-long’, A short under garment, a shirt.
— ERE

Oi’, A seat or throne (Used of men and gods.)
Sid? oi? Néng*-k'a‘, A visitor, a guest.
yp
— Tirta
A=
Se Fal Sw? ua® Che’, One stroke of writing.

ae ‘2 Siad* uong* Mieng’-p‘uoh®, A roll of bread or cake (made
— (Bl) Beaks

Sino’ ong Hung, A gale of wind.

Sad* uong® Kuang, One officer.
BS - of wheat fiour.
Sid* ch‘ah‘ U2, A shower of rain..
5 AR Sid chicht Téuh‘, One joint of bamboo.
Ae y Siid® chieh* Chi, One verse of a book.
ae = Sud’ chang? Ting, One cup lamp.
<= = VERSE Siad® chang? Ting-léng’, One lantern.
ms s VE Sio* chang® Chiu’, One cup of whiskey.
= /B ke Siid* cheng® Lau’, An upper story.
— KEKE, Sud® cheng® Lau'-t'ai, A ladder.
a
Ee Sid’ cheng* Kie-chd’, A flight of stairs.
“Blak eer
34 The Chinese Language spoken at Fuh Chau.
— EE Gir, Siid* chiat Uang*, One bowl.
oe ER Siid® chiat Chieng®, One (copper) coin.
roy = e Siid* chiat Laung’, One egg.
oe A Sid? chiat NéngS, One person, (man or a
et EE. Sid* chiat Ngieng’, ‘here talents:
a EE. ¥ Swo* chia’ Pau, A loaf of bread.
—— BH sits" chiat Piang?, A cake, a biscuit,
oe AE fp Sio® chia‘ Puang’, A plate or platter.
wee, \ Siié* chiat Pue, One cup. A tea cup.
— — ae Sia6*® chia‘ Tieh’, A saueer.

‘ Fe Sad" chiong Chi, One chapter of a book.
— Jae YE BE Std’ chd’ Chiu*-sih’, A refreshment saloon.

cos FE 4 prs Sid* chd* Ch'iong’, One wall.

—_— PE Ee FER. Sii0® cho’ Kuang-t‘iang, An official residence of a subo--
—— ER Sid? ché* Lau’, An upper ey. oe
= FE erF Sid? cho? Nga® muong’, A court of justice.
— FE Kee VE, Siid* chd® P'au*-tai®, A terrace for guns, a fort.
ea iL Sio* chd* Sang, One bill.
eee + + Sid cho* Siang’, A walled city.
eo Sid? chd® Tuai7-ch'id*, A large house.
ae ie Sao‘ chong Tai’-kie®’, One piece of business.
Fl gies chéii’ hiong, A stick of incense.
: eh‘ wong? Chuo, A string of beads.
=3h " ‘saa? eh‘uong? Chieng’, A string of eash.
a ch‘oi® Ta*, One swallow of tea.
Siid* ch‘ong® Uh®, A cushion bed.

= i Sid? ch‘ong® P'ue’, A quilt, a bedcover.
=he

Sitd* ch‘ong’ Tiong’, One set of musquito bars.
The Chinese Language spoken at Fuh Chau. 35
—- Ay B_ Sad" hat Cheut, A pair of birds.
2h Ss o>] Sid haht Chad‘, A couple of candles.
—+ KES Siid* hab‘ Chud‘-tai’, A pair of candlesticks,
_&e, Sao*® hab‘ Sieu*ieu té‘, A pair of small side tables, (Mak-
“ah pike y a square when put together.)
AD A Si6* halt Tiu’, A pair of wardrobes, or cupboards.
so = x Nd Sid* hah‘ Ta®-t6', A pair of tea-tables.
a g 2 Sad* hieh® Chi, One leaf of a book.

ss =]. Sad® ho’, A ee, eee of ten things of any kind.
ugh for ten persons.
— %! BSS, Siid® he? Uang?, A set of bowls.
— Si rg "SiHd* ho? Puang’, A set of plates.
—_— = BIER Sad? ho? Eu5, A set of cups.

3 8
t=) Kat Siid? ho? Tieh®, A set of saucers.
— F oy wae Sud* ho® Tong-piieuS, A set of soup spoons. (The Chi-

nese use porcelain spoons.)

— a) & 4  Siid® ho? Téii”, A set of chop-sticks (i.e. 10 pairs),
etait Siad® ho’ N; Nga! S-ch‘ieng. A set of tooth-picks.

ae eH Siid® ho? Ie?, A set of chairs.

ey ¥

as ie dads Siad® hohs Ch‘aéh‘, A scroll.

oe he Sid* hoh‘ Ua’, A picture (on a scroll).

—_ it g Sad® hoh‘ Pud’, ‘A roll of cotton cloth.

—. fe & ‘8id* hoh‘ Tiu’, A roll of silk.

=e Std* hong’ Che’, A column of characters. (Chinese is

written in columns.)
— 47 Sid" hong’ Ch‘eu’, A row of trees.

oo, He Siud* hung Chi, A sealed eommunication, a letter.
—FE g A. Siid® hud? Ngai’-néng’, A band of bad men, robbers.

(Hud? signifies many banded together.)
es BX ‘Sio* hud? Ch'eh*, A band of thieves.
A

eos > vit. Sid? hud? Ch‘eh*-sung*, A fleet of pirates.
A BBs e P

AB Ge Sad* ka? Chieng5, One cash, a copper coin. (The same
a as Siid# chia‘ Chieng’.)

paeers AR A Siid® ka? Néng’, One person, a human being.
36 The Chinese Language spoken at Fuh Chau.

ae Ag) A Sid® ka? Nguoh®, One month.
= Afa] E | Sii6* ka* Muong®, One door.
4a] KE £& Sind* ka’? Siong’, One trunk, box, or chest.
Aa eH Siid® ka* Chii-ka®, One book-case.
“eee .
we : Sid’ ka’ Chéii’ ming’ ching, A —< a self-strikin
— 42 4 aie g* chang: ( ing
8 3 €
TK BE Ik a 7 eae ‘ong®, One bedietend:
Le Sind) iu®, A cupboard, a wardrobe.
32

Pal 77 AX Siid* kang Ong’, A mercantile establishment, a hong.

—
ee p Ef fe Sud’ kang Ch‘ud%, One house.
a fal JE Siio* kang Pung? An inner room.

\

{

Siid® kang Taing?, One shop.
iG A g Taing® p
Sis keh? Chit, A set of books. (A work consisting of

several volumes.)

a BR Re Fe, Sid? kung®-teng® Ah‘, A flock of ducks,
pl Siid* kung*-teng® Tongs, A flock of sheep, a herd of goats,

>. zB ER fe Sid? kungs-teng® Nic*-kiang?, A company of children.

J

os Siid* kung®-teng? Néng®, A company of men.

Se nasinn Sid? kung*-teng? P‘a’-kieh ch‘ehs, A band of rob-
= “al oe Sirds kués Ua7, A phrase (spoken).
— “Fe Sa6s kué3 Chia, A sentence of a book.
— 9) Aaa Sid? kud? Ku-ua?, An ancient saying.
=o 2S Sad? kuds Sihs-ua7, An adage, a proverb.
2 Siid* kuong? Cheng, A needle, a probe.
— POR. Si* kuong? Mis, A. stalk of rice.
Se 3 oe Side kia Es, An odd shoe (one of a pair).
a K% = Siids kia Uabs, An odd stocking.
_ “af YU, Sitd* kia Kd, One boot, an odd boot.
Siiés k‘uoht Méhs, A cake of ink.
Siids k‘uoh+ Cha’, A block of wood.

=e
USE

= sve
_

aS
Bt
The Chinese Language spoken at Fuh Chau. 37

— SR ea Siioe lahs Chud-ungs, An arbutus, strawberry fruit, Red-

fruit.

—_ prBe tt Si2ds lah Uds-uongs, A pill, a medicinal bolus.

= Kt = Sind: lah? Chud, A bead.
Pp

Sid lah Ku? chi2, One fruit (i.¢., one apple, one peach,
q S one strawberry, or one of any kind of fruit).
—_ aa Sad: Jah? K‘aiu, One button.

- Kh RK Siio3 Jahe Mis, A kernel of rice.

see § Sixd: lahs Liz, A plum.
— DN u Sios lah: Lis, A pear.

x
3 Pj5- Medlar fruit, L t. 8 <i
— FON Sid? lahs Pis-pas, ae ruit, Loquat, Mespilus japon
; a gS Siids lahe Tan, A single bean.

Sid? lahs Tmg?, A button, worn on the top of the cap,
ie 4 ee designating official a BP
AIK Siid* lah? T'05, A peach.

ae Sid? lahs Ku2-ting, A round headed nail, a drum nail.

Kia 127 Sito? lal? Puds td', One grape.
ae

i083 Hiang? Ch'td*, A piece of matting.

SA a Sii68 liang? Pud3, One breadth of cotton cloth.
a

Sid’ mieng? Kis or Siios meng? Ki, A flag, 4 stand of
colors,
Sixo* mu? Chrieng®, One acre of field land.

ak Fe) Sid? mu? Huong’, An acre of garden land.
&

E Sid mue? Ngii’, A fish, onc tail (used in books only);
mee spoken, Siids t'aus Ngiis, One head of fish.
BR Sid? mue? Lus-Ngii}, A perch, a Chinese trout.

Hay Hae eRe?

ae wa Sid3 mue? Uong*-hua-ngii’, Yellow fish, (one of the best
ealt water fish. )

— PY ve, Sids muongs P’au?, One mouth of artillery, one cannon.

— +E. Ft Siids pa? Ch‘as, A bundle of wood, (used for fuel.)

poe e. 3 Siids paz Kings, A guitar.

7 Sid: pa? P'ud2-taus, An axe, a hatchet.
= +O ae a sponeaes
ee 7B Siid# pa? Nihschia, A sun shade, a parasol.

esas E = Siid? pa? Sang?, An umbrella.
38 The Chinese Language spoken at Fuh Chau.

— +e 4 Siids pa? Sieng3, A fan.

anne ce Siid* paz Sieu, A reed instrument with 12 tubes (sound-
: ing like an accordeon).

eo FE. a Suds pa? Kieu’, A flute, a clarinet (?)

totes FE, = Siid? pa? Kieu’ or Siio* ting? Kieu’, A sedan.
ies #0. fu Siid* pa? P'ieu®, A spoon.
fees #E, 7) Sii0s pa? To, One knife.

a +e, eX Side paz Ch‘a, One fork.

—fe. ta Ay Sid" pa? Hong-téngs, One tobacco pipe.

—Ht_LS - Sii0? pa? Sau?-ch‘iu2, One broom. (Pa%, is used with
W almost all mechanical tcols and implements of husbandry.)
a= KR = Sid peng? Chi, One page of a book (> called from

& peng:, the board, or block dn which it is engraved).
Sii0s peng? Che?, A block of characters, a block en-

graved for printing.

= —
ij ; ;

am ¢ RE Sid? peng? Ua’, A page of pictures.
=

= % ne eS Siid®-peng? Siid*-peng?, Stand aside, make way.
wy ¥ Lang’ peng?,” Two sides, both sides.
= F AK Sang-peng? or Sang-pang?, A small boat aan from
—- TK. the three oars with which it is rowed).
=< RFF Siid® pang® Kis, A chess board.
“ x
a Siio® puong? Chii, One volume of a book.

p.m = Siids puong? Peht, One pencil, (made of hair.)
+ Sid puongs Hua, A pot of flowers, a flowering plant.

Sid’ p'ch‘, A roll, or piece, of any woven goods. A
yi ‘fragment of cloth is called tdi.
a) Ba Siide p‘eht Ché3-pud3, A piece of summer cloth, i. e.,
nese ‘ grass-cloth.
io, Oy Sid? p‘eh1 Chaiu3-sa, A piece of crape.

— FRAY, 4a Side p’eht Hua-tiu’, A web of figured silk.
4
— FE HE Ardy S00 Poh Miongs-tins, Cloth made of cotton and silk

combived.
—KG AZ Side p’eht Pas-lings, A web of lutestring, a species of
WAL silk goods,
_ Side p‘ehs Puds, A piece of cotton cloth.

Ie. A zt Siids p‘eh‘ Taung’, A piece of satin.
’

a RE Sh Siids p’eh« Sos-tius, A piece of plain silk.
The Chinese Language spoken at Fuh Chau. 89

=a Ach Sitds p'ehs Tius, A piece of common silk.
EF A Siids peht Iongs-pud:, A piece of foreign cotton cloth.
— PR fe Sitd* p‘eht Nis, A piece of fulled cloth, dressed cloth.
es KEK. je Siids p‘ehs Tuai7 nis, A piece of broadcloth.

— RH Fe, Sii6s p‘eh‘ Pis-chie*, A piece of Spanish stripe (baize).
je F zB Sii6# p‘eh* Iongs-ché, A piece of foreign lawn.
KES AL Siid* p‘eht Sia-hongs iongs pud’, A piece foreign drilling.
“RFI Xv aay Siios p‘eh! Sia-hongs tings, A piece of cotton flannel.
—_ Fa Sad? p‘eh+ Siang-chaius, A piece of silk camlet.

= ve We Sitd® p‘eht Ma», A horse (one of a span).

— AF RE Siio* puangs Kis, A set of chess, a game of chess (#)

— Fate. Siid® puds Hua, A single flower, one blossom.

— af = Sid p'uo7 Chi, A set of books, or several volumes
— £ se Sid’ séng Bs, A pair of ahves, ouepecon of shoes.

=~

—- SE He Siié¢séng Uahs, A pair of stockings.

— EE Shy Siio* séng K'ud, One pair of boots.

—_— a TEP Sid sing Sings, An idol god.

—_— Be iS Sid? sing Pu5-sah‘, One (Budhist) idol.

_ & + s Sid’ sing Ku2-tung?, an spi Ti not. worshipped,
—_— gf A Siids sing Néng’-kiang?, A statue, a likeness,

— a bs) Sid sing Nguang’-uh*, A fancy image, a doll.

— % Hi , Si63 sing Hubs, An image of Buddha.

— & Fs 5a Siids sing Mo>-kui2, One devil.

— B = Siid? siu? Si, A piece of poetry.

— RES Suds tau Ch'eu’, One root tree, one tree.

ee We Av. Sid? tau Hua, One root of flowers.

— Ja sat Side t‘aus Taus-sang,, An animal, a wild animal.
ce qu Siid* tang’, A Coolie load, a hundred weight.
The Chinese Language spoken at Fuh Chau.
2 RX Sind* tais Hie’, A theatrical play.
og RK Sis taung? Puong7, A meal of victuals.
A Sud? tas Ungs-chiong, An essay, a dissertation.
4 - rT Sitd* teus O5, A canal, or river.

1 At Sands teu’ Kd, A street, a street bordered by shops, a
AS ALT market place. me

1 zB Std: tens Sd1, One rope.
{\& Ag Side teu’ Siangs, A silk thread.

= ie + ri Side teus Ch‘iu*-kiing, A handkerchief.

—

AS ie £1108 teus Tai, A girdle.
ie fe Sid? teu’ Sungs, A ship, a boat.

= NE EAR Siid* teus Sang-pengs, A three oared boat.
iar WE FAST Siids teu’ Tiieht ting, One iron nail.

ie e+ Siids teus Cheng, A single needle.
, Siid? teus Ch‘aus, A spear of grass.
iis

os & | 4 4 Suds teus Tétths, One bamboo.

ree

By ae el cele Gly elie
ih

j

Loe Sor

Ke KE Sid: teus T'eus " Sid? toi T’eus, A post, a pillar.
Sid? teu’ Ch‘en3, One tree.

BR Sud? tiang? Ngiings, One ingot of silver.

& Sto* tiang? King, An ingot of gold, a bar of gold.
Siid* tiang’ Seht, A block of pewter.

>
iy
Rik

| Sid? tiang? Téng*, A block of copper or brass.
Siids tiang? Teh‘, A pig of iron.

wae

ay
>

Siid* teh4 Chui?, A drop of water.
Stid* teht Kavg7, A drop of perspiration,

to

a

j Siid® teh‘ Méh®-chaiz, A tear.
mK Suds teh Ud*-chuiz, A drop of medicine,
Siid* teh*-kiang, A little drop, a little. (Properly used

. only of fluids. Nia®-noi? is used with other objects.)
Siso*-teh‘ Siid*-teht, Drop by drop.

Ht Sh a Sey
+

2
ca
The Chinese Language spoken at Fuh Chau.
— 4 SEX Suds ting? Lihs, A summer hat.

aes +H Wa Sid ting? Mo, A felt hat, a cap.

or 7a pas Sii6* ting? Kieu, One sedan. (A sedan, like a hat, has
< i" a ting?, or ball, on the top.) ;

— 4 xe Siids t67 Muong®-cha, An official communication.

geet HE zk Sis toi Tus, A heap of éarth.

ae HE a ty Sto? toi Pong?-to, A heap of rubbish.

Sitd? tdis Siids, A stone.

S h k
Ses, Sab Ginchiong, ne beisk:
+50, yl 03 tol long, ne brie.

Siios toi? Nguaz, One tile.
— 9 Bu

a) KE Sito toi3 Po-lés, A pane of glass.
cae Sis tois Huang-chiengs, A foreign coin, one dollar.

Ex
— + 2
gba Std? toi Ch‘as, A stick of firewood.
s AS Sito? tdis Chuit-ching, A piece of quartz crystal.

—

NEE si3s tis Peng, One board.
— 1 WK hae
Siios toi? Piang?, A cake, a biscuit.

oe + BL
¢ u. A Swoe tis Niths, A piece of meat.
ITE. VAT gies tai T* eu, A post, a pillar, a piece of timber.

— Pe, Ae

Sio* tings I-siong’, One thickness of clothing.

ERE

FA Sii6® tiings’ Muong:, A single door.
a Lang’ ting’ Muong®, A doubly enclosed door, a door
_— P A on face of the wall.

Sid? tings Siang*, A city surrounded with one wall, a

2
2
: :

Siid’ tiings Tieng, A single vault of heaven, a single

a mS iy Sud? t'aus Tau’-sang, Gee aimed: +
WA

— T’aus; is used as a classifier or numeral of every animal
a4 except man, whether on the earth, in the air, or in the
= water, including beast, fowl, reptile, and insect.
— G22 EB sis’ caus Mas, A horse.
—_ qa x Siid® t'aus Mas, A cat.
a

— Wa rE Sad? aus Ngus, A cow or an ox (used for either gender)
a Sid; t'aus Ngits, One fish.
— BH dy Bene
42

—F

me vg

s Chinese Language spoken at Fuh Chau.

Sis t'aus Tong’, A goat.

Sitd* t'aus Mings-iong*, A sheep.
Suds t'aus Ta, A hog.

Suds t'aus K’eng?, A dog.

Sii6s t'aus Kie, A fowl, a hen.

Sird* t'aus Ah‘, A duck.

Sid? t'aus Ngie’, A goose.

Sade tong Tez, One chair.

Sud: t'iong To, One table.

Sid* t'iong Chai*, One sheet of paper.
Sid: t'iong Ua?, One picture.
= oe Siise t'd? L-eiongs, One suit of clothes.

—ASSRR Side 63 King-kuch‘ue, A band of music.
—HeHKG Siie t‘d2 Tu-sing-puang$ A set of elegant dishes (?)

— J] AR Siid* to Chai?, A ream of paper, one cut of paper, one
package varying from 48 to 195 sheets..

Chinese Synonyms.

Fie Aibs To press or bear down
with the hand.
Ep Engs, A seal, to stamp, to print,
a@ press worked by a lever, to press, *
Vs Tah‘, A press worked by a screw.

i 4 Ma, To grasp in the hand.
La ch‘iu’, To clasp hands as

a token of respect.

K’eng ch‘iu’, To take hold

ay Engs, To toveh, to come in con-
+ Mua, To ae slightly, to feel.

ee, Laés, To rub, to polish, to grate,
a grater,
Lés, To graze in passing, as to
“strike against flowers in passing,
to come in collision.

ie ae . Ks ch'ieng*, To ae le

4

Fe

eRe Ch’'aés, To fret or chafe by rab- of hands.
___ bing. ; AF Ch'a ch‘iu2, To clasp the
E Maais, To grind, to polish, hands (the fingers of one hand

between those of the other. )

Muais td, To grind knives.
Mais méhs, To grind ink.
Muais sii68, To polish stones.

y Nieng, To bring.
85, To take up.
Tas lis, Bring.

 

67, To grind in a mili.

PAR Ts k'o3, Take away.
The Chinese Language spoken at Fuh Chau.

=e Keng, To lead,
ak Peh®, To pull, to draw.

Tua, To drag or force along a
resisting animal,

&
7, Kuir Disembodied spirits, de-|'

mons, devils, spiritual beings of| 2K

the lower orders good or bad.

Sia*-kui2, Evil spirits.
Possessed of

=, A Huang?-kuis, -

M6+-kui2, A devil working] 7

wonders.

ae Muong*kong’, To speak at

pence to say what is not/ |
ae eon kong?, af

oa Taz-kong?, To ate

Huong-tong*, To a false-
pH 1 be icaungt i

laung7 Siang, To
utter a tissue of|
falsehood with in-
tent to deceive.
Maa, To scold, to reprove, to re
proach,
sae Ghovana’, To curse.

ens Huiz-paung’, To slander.

speak
sely.

awe,

Se =, Pai>-paung®, Todefame (with| 2

evil intent.)
do Tung-ti, To inform against.
Ful P'ud, To spread and arrange
emoothly (as cotton for a quilt).
$3 ‘Ch’, To open out, to unfold, to

spread out nicely.
Bay Ts: k‘ui, To open or spread

out (as goods for sale).
ey FE chins tang-k'ui, To
FF i ‘ent the arm or|-
#813 sehiaiees To treat disre-
= spectfully.
&. tae Tait-mang7, To degrade.

te4g U2-mang7, To insult.

Be <2 Siehs-tuh’,

To treat with
scorn.

43
Fa Cho?-ch‘oi®, To curse.
See Sieh‘-sie’, To Pas (prop-
Bet Huah+-sie’, Te swear (vilely).
RE Ka chiid?, Master of a family.
et Ch‘ii6? chiio?, Landlord.
— Chiid2, Lord, master.
ft Ch‘ii63, Houses.
a) Chuds, Candles.
Ch‘ch‘, To go out.
ta Ch‘ads, Paddy.
Ch‘ti6t, A foot measure.
ie Ch'iids, Matting.
ze Kiang, To fear.

fe See A mirror.
4F Kiangs, To walk.

cad King-siangs, Threads of gold.
TRG K'ing*siang?, Guitar strings.
FEA King-siang’, Capital city.

$ Kiing?, Willing, I will.

PP Nek ing?, Unwilling, I
will not.

oR +4 ak King2-ng7-k‘ing?,
Are you willing?

# Liz, A Cities mile = 4 Eng.

mile.
AE Lie, Plums.

I] Lis, Pears.

AK bis, Come.
x q Lis-lau2, Has come.

 
44
Ax Ma, Mamma.

if Ma, To grasp in the hand.
Ma?, A horse.

eser,

Ma?, Father’s mother.

on Ma?, To chide, to blame.
aay Ma’, A eat.
Mas, The pulse.
Ma’, Barley.
Naur-séii’, A quarrel, a riot.
¥ Nau’-ieh*, Great bustle, a

Fal
Fa] 3 lace where crowds assemble

why e
for business or for pleasure.

Taha Ting?-nau7-ieh’, A very ees

great bustle.
Pung, To burst away (as water|
from a pool).
Pung’, An inner room.
Fo extinguish

X P‘ong?-huez,
fire.

P’ong, To liberate, to let loose.

AK Gponuiev'ong, Ebb tide.

Pong’, To place.

& Pong?, Night soil.

THE LORD

The Chinese Language spoken at Fuh Chau.

Puong?, Root, origin.

A G Puong*sing, Myself.

Fy Genny, A flower pot.
ae Puongs, A deep dish.

EK Puong’, Boiled rice.
Tong, Long (in space or in

time).

KK Fo Chvie taung, Flood tide.
5 Ee Tong-tong, Very long.

%e Tong, Hot water, soup.

RR Tiong, To swallow.

Tongs, Sugar.

ELABE av ones, White sugar.
#8 T'aung, To take off (raiment).
ig T’aung’, To row (a boat).

Z 2 Taung’, Satin.

34 Taung’, To drop, to lose.
ae
ya Taung7, A measure of ten feet.

 

"3 PRAYER.

Néng-ka-kis Tieng-hor tide tieng-lé?; Nguong? niz-kis miang®
siang*-sengs; Oi? nti? tiieng-kuoh‘ cheu7-li5; Oi? nii-kis chiz-e2
és-t'ung-hengs te’-lé? kéting’ tieng-lé2 siid*-iongs ; Nib®-éiing7kis
liongs-ch'd? king-tang’ sét? néngs-ka ; Kius Tieng-ho? sia’ n¢ngs-ka-kié
choi7 cheu? ch‘iong? néngs-ka sia? taiht-chdi7 néngs-ka-ki® neng®siid*-iongs ;
MO! sai? néng’-ka iu?-héh® k'03 se7 keu? néngs-ka cho‘h!-k‘32-chia?
‘hiing-auht; Ing oi? kuoh*-lé2, kuongs-pang®, kéiing’ ing-ieu’, tu se? ni?
suro7-kis; kau? k'ds’ tongs-kiu?; A-meng’.
 

 

pense