Grammar of the New Zealand language (2nd edition) by Robert Maunsell
Grammar of the New Zealand language (2nd edition) by Robert Maunsell
Muri { iho } afterwards.
ake
I } te aonga ake, next day.
No
No te atatu, early in the morning.
No reira, from that time, occasion, &c.
I tenei ra i tenei ra, (lit. this day, this day), } continually.
I te ao i te po, (lit. day and night),
Tena ano, do it again.
Ka { turua } waenga, at midnight.
turoto
Kahore i puta atu te kupu kua whakatika, I had not spoken, (i. e., immediately, as soon as I had spoken) he arose.
Haere po, go by night.
Haere awatea, go by day.
OF PLACE.
Ko hea, (whea Waikato), whither.
Hei hea, at what place (future).
No hea, } from what place, whence.
I hea,
Ki ko, thither.
No { konei,[20] } from this (and that) place.
I kona, & kora,
Kei reira te pakaru kei reira te paru: lit., there the broken place there the repair, wheresoever it is broken there coat with raupo.[20]
Kei waho e noho ana, he is sitting outside.
Note 2. Ki reira, no reira, hei reira, &c., correspond, in most cases, with ki kona, no kona, hei kona, with this difference, however, that the na and ra follow the rule already noticed. Vide tena, Pronouns.
Haere iho te tokitoki, haere iho te tahutahu, burn off the felled timber, and immediately as soon as it has been chopped up, (lit. go down the chopping, go down the burning).
Ko te tahutahu ko te ko, ko te tahutahu ko te ko, immediately as soon as, &c.
Tokitoki iho, ko atu, dig it immediately as soon as it is chopped up, (lit. chop downwards, dig forwards).
Ora noa, }
Me i kotahi, (lit. if it had been one), all but, &c.
Wahi iti, a little bit,
Whano,
He mea tatau a tau te utu, the payment is to be a thing counted per year; i. e. it is to be rented yearly.
I tenei tau i tenei tau, yearly.
He tau pea mahi atu, he tau pea mahi atu, this (manuring of the tree) is, perhaps, a work of every year, done yearly; kei te hauhake riwai, tuku iho kei te kumara, (we) are now (engaged) at digging up potatoes, afterwards (we shall be) at the kumara.
Ka maha nga haerenga, many have been his goings, i. e., he has gone frequently.
Hoki ake ko aua kupu, hoki ake ko aua kupu, he repeats the same words over and over again, (lit. return up, those very words, return up, those very words).
Na wai-a, at length, so it was, it came to pass.
Tatari noa, a, waited a long time.
A oti noa, until finished.
Kia tae mai ra ano, until he arrives.
Ka tahi ano, now for the first time.
Ka tahi ano he mea pai, it is a good thing indeed.
Ka tahi au ka mea atu, then I said.
OF ORDER.
I noho ai, he hau tetahi, he kai kore ka rua, (we) remained away 1st, (because of) the wind; 2ndly, (we) had no food.
Ka rua aku haerenga, I have gone twice, (lit. my goings have been two.)
Whakatepea te ko, kaua e pokapokaia, dig in regular progression, not here and there, (lit. ordina fossionem.)
Me haere wakatepe te korero, relate the matter in order, (lit. the speech must go in order.)
Hurihia ko roto, turn (it) inside out.
Hurihia kotuatia te papa, turn the board on the other side, upside down.
Matua, (Ngapuhi) first; kia matua keria, let it be first dug.
Mataati (Waikato) hopukia mataatitia, caught first.
Kua huri koaro te tangata wero,[21] the tangata wero has turned adversely.
Ho mai ki raro nei, give it down here.
Kei haere ki tawhiti, do not go far.
Whiua ki tua, throw it to the other side.
Neke atu ki tahaki, move to one side.
Kumea whakarunga, pull upwards.
Whakawaho, outwards.
Whakaroto, inwards.
A, tae noa ki te Pukatea, even to the Pukatea.
Haere iho, come down (to me).
Piki ake, climb up (to me).
Makā atu, thrown away.
Rukea ake e ahau, thrown away by me.
Makā mai, throw it here.
I te tahi taha i te tahi taha, }
(lit. on one side, on one side.)
A karapoi noa, (lit. until it surrounds) round about.
A porowhawhe noa, id.
A potaipotai, id.
Pehea te mataratanga? how far?
A, hea atu ra ano? How far will you go?
A, hea noa atu, one knows not where.
Tautauamoa rawa tana kai, tana kai, each man eats separately (i. e., by himself.)
Riri tautauamoa, fighting, each by himself.
Kaua e ururuatia te whangai, don't feed (the child) in rapid succession, without any stop (tout de suite.)
Me whakahipahipa etahi rangi, (lit. let some days be made uneven,) i. e., do it every alternate day, or, at irregular periods.
Haere tahi, go together.
A, te tukunga iho, (well, the letting down, at last, finally,) i. e., the issue of such conduct, &c.
E kore e roko kainga kua ruaki, he vomits immediately, as soon as he has eaten (it).
I te orokohangaanga o te ao, when first the world was made.
Kati inanahi ka haere mai koe, stop yesterday you came here; i. e., you started about this time yesterday.
OF QUANTITY.
Ho mai kia maha, give abundantly.
Ho mai katoa mai, give entirely, or wholly.
Tena hoki te tahi taro, give me also, or besides, some bread.
Ho mai kia iti, give me (let it be little), paululum.
Kia penei, let it be so much.
Poto rawa, consumed totally.
Koia ano te pai! how excellent!
Ano! &c., idem.
Roa poto nei ano, (long short,) i. e., moderately long.
Kahore atu, no other besides.
Tikina atu hoki, fetch another besides.
I ki mai ano hoki ia, he said moreover.
OF QUALITY.
Haere tupato, go cautiously.
Kia uaua ki te mahi, be strong to work, i. e., work industriously.
Kia kaha te hoe, pull (the oar) strong.
Noho whakaaro kore, sit without thought, i. e., thoughtlessly.
He aha i aweke ai to mahi? te tuku noa iho te tuku noa iho, why is the work done neatly and not (rather) heedlessly, (lit. and not rather let it down in any way, let it down in any way.)
Haere wehi, go fearfully.
Kai haere, go eating, i. e., eat as he walks.
Tu tahanga,[22] stand nakedly, i. e., naked.
- kau, idem.
Haere noa atu, go without guide, fear, &c., &c.
Tangohia huhua koretia iho, taken without cause, i. e. causelessly.
Ohia noa iho au ki te patu, I struck (him) unintentionally.
E hara i te mea totika, not intentionally.
Patua maoritia, killed intentionally, in the common way, &c.
- marietia, intentionally (sometimes).
I tukua whakareretia, let down by a dash, not with care.
Te kaha te tuku, don't let it down violently, i. e. do it gently.
Tukua marietia, let it down gently, peaceably.
Kia ata tuku, -- gently.
Kahore ano kia ata maoa, not quite done, (i. e. in cooking).
Te ata pai marie o te rangi i nanahi! what an exceedingly fine day was yesterday!
He pupuhi noa, firing without an object.
Tu kau ana, stand empty, idle, &c.
Marie ano ahau i haere mai ai i ora ai koe, I have come fortunately, by which you were saved; i. e. I have come just in time to save you, or, it is well that I came to, &c.
OF AFFIRMATION.
Maori is very well supplied with affirmative and negative particles, all of which differ by very slight shades of meaning from each other, and the uses of which will be best learned by practice.
Ae,[23] yes.
Ina, idem.
Aana, idem.
Koia, idem.
Ae ra, idem.
Ae ra hoki, yes truly, &c.
Ae ra pea, idem.
Koia ha hoki, idem.
Ae ko, yes (you are correct).
Koia pea, yes, perhaps; (sometimes used ironically for a negative) yes indeed!
OF NEGATION.
Negative adverbs partake of the nature of verbal particles. We have given some examples of them in chapter vii., (vid. paradigm of the tenses,) and we shall have occasion also to notice them in the Syntax.
Hore, no; hore rawa, by no means.
Kahore, not and no.
Kaho, } no.
Kao,
Kihai, not.
Kore, idem.
Tē, idem; tē whakaaro ia, who did not remember.
Aua, }
Auaka, do not.
Kaua,
Kauaka,
Kei, do not, and take care lest, or lest.
Aua hoki, (used in some parts of Waikato for) no, no; not at all.
E hara koe i te rangatira noku, you are not my master.
Kiano, (Ngapuhi) not yet.
Haunga,[24] not, (denoting exclusion, or exception); e. g.,
Haunga tena, not that, (but the other.)
Aratakina mai te poaka; haunga te mea purepure, lead the pig here; not the speckled, (but the other.)
Kahore haunga, (Waikato) used sometimes instead of haunga.
Aua, } I do not know.
Au,
Meho, (Waikato,) } not at all, (used in abrupt replies).
Hori,
OF COMPARISON.
Meatia, { peneitia, do it thus,
or penatia, } do it in that manner.
peratia,
Penei, kua ora, thus, (in that case, if that had been done) he would have been saved.
Koia ano tena, exactly so.
Me mahi motuhake, work separately.
Haere ana ia, ko tona kotahi, he went by himself, alone.
Waihoki, likewise, also.
Ano kua mate, as though he were dead.
Me te mea, &c. (Waikato) idem.
Koia ano kei te wai, exactly as if it were water.
Haere a parera, walk like a duck.[25]
Kia wakatangata nui, act manfully.
Wakatupu tangata, idem.
OF INTERROGATION.
Maori has many particles which indicate interrogation, and which correspond, in some particulars, with the enclitic particles ne and num of Latin; e. g.,
E pai ana? ne? are you inclined? are you?
Ine, (Waikato,) differs but little in its use from the above.
Ranei, ianei, iana, and iara, are always incorporated into the sentence, and generally denote a question, e. g.,
E pai ana ranei koe?
Koia?[26] Indeed? (when used by itself).
Oti, else.
Na-te-aha? why?
Me pehea? How must it be done?
Ranei is very frequently used in the sense of whether.
Ianei, iana, and iara, are sometimes pleonastic in Waikato.
OF INTENSITY.
Pai rawa, tino tika, tino pai rawa, kino whakaharahara, tika pu, he noa iho, tini whakarere, tika tonu; all these adverbs stand for very or some modification of it; e. g.,
I hoki rawa mai koe ihea? what is the exact, or last place from which you have returned?
Pokuru iho, pokuru iho te namu, densely clustered the sandflies.
Kahore kau, not at all.
Haere ra pea, go now, I say, &c.
Haere ra, idem.
Maori, as might be expected in the language of a rude people, abounds in adverbs of intensity. We shall have to mention some of these hereafter, (vid. adjective, comparative degree, Syntax.) They sometimes elegantly supply the place of verbal particles, as we shall have occasion to show when we treat on the Syntax of the verbs.
From the preceding table the student will see that Maori has the power of increasing its adverbs to any extent, and that the chief process by which a word may be converted into an adverb, is by placing it in immediate connexion with the verb or adjective.
It should, perhaps, be here noticed, 1st, that Maori inclines to this mode of construction. Thus, where we should say, the women and the children must all roll the log; a native would most probably employ the adverb; e. g., Huri tane huri wahine. Such a mode of construction, though loose, is, however, concise and emphatic.
2ndly. That the adverb, in this case, admits of the same variations as the verb-admits of number, voice, and the form of the verbal noun. For this, however, vid. Syntax.
3rdly. That another process for the creation of adverbs is by prefixing whaka, or a to the preposition, noun, or adverb.
4thly. That the compound prepositions, especially when time and place are denoted, will very often take the adverbial form.[27]
5thly and lastly. It would be a very useful exercise for the student to examine those sentences, the place of which would be supplied by an adverb in English, and notice the nature of their construction. Some, for example, he will find rendered by the verb, some by the verbal noun, some by the substantive in the possessive case, some by the pronoun, &c.
We have dwelt so long upon this subject, that we are unwilling to occupy his attention any further with it.
[18]? These adverbs of time are arranged according to their times, past present, and future. For the time of those adverbs which are compounded with prepositions, vid. the simple prepositions, chapter 8. The principal compound adverbs are hea, ahea, mua, muri, amata, apopo, reira, ko. They are chiefly adverbs of time and place. As they are of very common use, we shall give examples of their various combinations. Some of these combinations ought, perhaps, more properly to be considered as belonging to the class of substantives:
A hea?
Ko hea?
No hea?
Na hea?
I hea?
Mo hea?
Ma hea?
Ki hea?
Kei hea?
I hea?
O hea?
Hei hea?
A popo.
Ko apopo.
Mo apopo.
Hei apopo.
A mua.
Ko amua.
Ko mua.
No mua.
Na mua.
I mua.
Mo mua.
Mo a mua.
Ma mua.
Ki mua.
Kei mua.
I mua.
O mua.
Hei mua.
A hea?
Ko ahea?
Hei ahea?
Mo ahea?
No nahea?
I nahea?
A muri.
Ko muri.
No muri.
Na muri.
I muri.
Mo muri.
Ma muri.
Ki muri.
Kei muri.
I muri.
O muri.
Ko anaianei.
Hei anaianei.
Mo anaianei.
I naianei.
O naianei.
Reira, ko and konei, &c., will take the same combination as muri. It will be observed that some of the above adverbs take n between them and the preposition.
[19]? Ka mutu, and ka mea generally denote future time, and imply a short interval between the time of speaking and the act. Though the former expresses an ending of something else, it does not always intend it; for it is often used when the person addressed is not engaged at any thing. As there is nothing in Maori corresponding exactly to the Hebraic mode of phrase which is translated "it came to pass," "it shall come to pass," some have adapted ka mea as a substitute, and in some cases, perhaps, it must stand for want of better. There are, however, cases in which we think a more correct and idiomatic form might be adopted; viz.:-a simple a, or nawai a or tenei ake, &c. We, for example, should have no scruple in translating the following sentences "so it came to pass when all the men of war were consumed," &c., nawai a, ka poto nga tangata hapai patu katoa te mate, &c., "and it shall come to pass if ye hearken," &c., a tenei ake, ki te whakarongo koutou, &c., "and it came to pass when he heard," &c., a, te rongonga o, &c.
[20]? For the difference between nei, na, and ra, vid. pronouns, page 30.
[21]? The tangata wero, is the person who advances to meet a party, and throws a spear at them. If, in turning to retire, he turns to the side different from that from which the spear was darted, it is a huri koaro, and a bad omen.
[22]? Tahanga is only to be found as adverb.
[23]? Ae, and ina do not always strictly imply affirmation; e. g., Kahore he kete? He kete ano; ae ra, tikina atu. Is there no basket? There is a basket; yes, then, go fetch it. The word answer in Hebrew, and that corresponding to it in the Greek Testament and Septuagint, affords, we think, a parallel to this use of ae. (vid. Parkhurst's Greek Lexicon, by Rose.) It is putting a command, &c., into the form of an assent to some previous sentence.-N.B. Ina is often used to denote energy, certainty, &c.; e. g., ina ka riri au, certainly, in that case, I will be angry.
[24]? Some, we believe, maintain that the adverb besides should be always rendered by haunga. It is true that, wherever exclusion or negation is indicated by that word, haunga will generally answer; e. g., E rua tekau ratou, haunga nga wahine, they were twenty, besides (that is not counting) the women. In the leading sense, however, of besides, viz., that of moreover, addition to, haunga will, we are sure, seldom find an use; as in the following examples: "Besides you know," "nobody thinks so besides yourself," "there is nothing there besides the box," "besides her he had no child."
[25]? Some foreigners, we observe, give this adverb a more extensive meaning than we have allowed it. In such phrases, for example, as the following: "Held by the hand," "built by the hand," &c., they would say "purutia a ringaringatia," "hanga a ringaringa." We are, however, decidedly of opinion that such expressions are very rare in genuine Maori. "Purutia ringaringatia, hanga e te ringa," are, we consider, in every way preferable.
[26]? Koia, when part of an interrogative sentence, is, as far as we have observed, (although we are aware that some respectable speakers of Maori have not followed the rule,) almost always used in rejoinder; e. g., I pehea koia ahau? what then did I say? The speaker here supposes that the hearer had disputed his statement, and uses koia. Oti is used in a somewhat similar construction with the meaning of else, e. g., He aha oti? what else then is it?
[27]? It has been objected by a learned friend that the compound prepositions are more properly adverbs, and that in such a sentence as "kei roto i te whare," i is the governing preposition, and roto is an adverb. With all deference, however, to his very superior critical abilities, we submit, that if a preposition be "a particle denoting the relation of one substantive to another" then roto is a preposition; for it clearly indicates a local relation between roto (or i roto, if you please,) and the thing spoken of. Those who feel sceptical on this point, we would beg to examine the composite prepositions of Hebrew. For example, the Hebrew preposition under (tahath) is recognised as a preposition by grammarians, even though it may require the prepositions from and to in combination with it to exhibit its meaning. So also, in English, such prepositions as according to, out at, out of, &c., are not considered as disfranchised by the supplementary preposition annexed to them. At the same time it is to be noted, that where there is a break between the compound preposition and its supplement, then the former must be considered as an adverb; thus, in the sentence, "Kei raro, kei te whare," it is below, it is in the house; raro is here, as it is in English, an adverb joined to is; the line of connection being broken by a comma. In such a construction as this, the same preposition that precedes the compound preposition, (or rather, in this case, the adverb,) must also follow it.
For three years, Averie pushed herself through a secret marriage, waiting for the day she could finally wear a white dress and be seen as his wife. The night before she could finally walk down the aisle, he confessed without a hint of hesitation that he was marrying the woman who once rescued him instead. The "fake" divorce agreement she signed for him shattered into a real, icy breakup that finally freed her wounded heart. When he returned in remorse, begging for just one more chance, a ruthless business magnate pulled Averie close and muttered coldly, "You're too late. She's my woman now."
I had just survived a private jet crash, my body a map of violet bruises and my lungs still burning from the smoke. I woke up in a sterile hospital room, gasping for my husband's name, only to realize I was completely alone. While I was bleeding in a ditch, my husband, Adam, was on the news smiling at a ribbon-cutting ceremony. When I tracked him down at the hospital's VIP wing, I didn't find a grieving husband. I found him tenderly cradling his ex-girlfriend, Casie, in his arms, his face lit with a protective warmth he had never shown me as he carried her into the maternity ward. The betrayal went deeper than I could have imagined. Adam admitted the affair started on our third anniversary-the night he claimed he was stuck in London for a merger. Back at the manor, his mother had already filled our planned nursery with pink boutique bags for Casie's "little princess." When I demanded a divorce, Adam didn't flinch. He sneered that I was "gutter trash" from a foster home and that I'd be begging on the streets within a week. To trap me, he froze my bank accounts, cancelled my flight, and even called the police to report me for "theft" of company property. I realized then that I wasn't his partner; I was a charity case he had plucked from obscurity to manage his life. To the Hortons, I was just a servant who happened to sleep in the master bedroom, a "resilient" woman meant to endure his abuse in silence while the whole world laughed at the joke that was my marriage. Adam thought stripping me of his money would make me crawl back to him. He was wrong. I walked into his executive suite during his biggest deal of the year and poured a mug of sludge over his original ten-million-dollar contracts. Then, right in front of his board and his mistress, I stripped off every designer thread he had ever paid for until I was standing in nothing but my own silk camisole. "You can keep the clothes, Adam. They're as hollow as you are." I grabbed my passport, turned my back on his billions, and walked out of that glass tower barefoot, bleeding, and finally free.
Lyric had spent her life being hated. Bullied for her scarred face and hated by everyone-including her own mate-she was always told she was ugly. Her mate only kept her around to gain territory, and the moment he got what he wanted, he rejected her, leaving her broken and alone. Then, she met him. The first man to call her beautiful. The first man to show her what it felt like to be loved. It was only one night, but it changed everything. For Lyric, he was a saint, a savior. For him, she was the only woman that had ever made him cum in bed-a problem he had been battling for years. Lyric thought her life would finally be different, but like everyone else in her life, he lied. And when she found out who he really was, she realized he wasn't just dangerous-he was the kind of man you don't escape from. Lyric wanted to run. She wanted freedom. But she desired to navigate her way and take back her respect, to rise above the ashes. Eventually, she was forced into a dark world she didn't wish to get involved with.
For two years, I was the Alpha's secret wife, a duty he resented. But the positive pregnancy test in my hand was a miracle, a blessing from the Moon Goddess. This baby, our heir, was supposed to be the bridge that finally mended our broken mate bond. That night, he left without a word. I saw on a gossip site that he'd gone to pick up his ex-lover, Isadora. Reaching for him through our bond, I wasn't met with his usual coldness, but with her emotions bleeding through him-triumph and smug possession. The next morning, I went to his office, ready to tell him about our baby, believing our child could fix us. But I stopped when I heard him talking to our Pack Healer about me. The healer said I looked fragile, that he should care for his mate. My husband laughed. "You seem to care for her more than I do," Demetri said, his voice dripping with ice. "Do you want me to give her to you? Take her. She's of no use to me." My world shattered. I wasn't just unloved; I was a thing to be discarded. I looked down at the pregnancy report, the proof of the life inside me, and made a vow. He would never know about our child, and I would sever our bond myself.
On my wedding day, my father sold me to the Chicago Outfit to pay his debts. I was supposed to marry Alex Moreno, the heir to the city's most powerful crime family. But he couldn't even be bothered to show up. As I stood alone at the altar, humiliated, my best friend delivered the final blow. Alex hadn't just stood me up; he had run off to California with his mistress. The whispers in the cathedral turned me into a joke. I was damaged goods, the rejected bride. His family knew the whole time and let me take the public fall, offering me his cousins as pathetic replacements-a brute who hated me or a coward who couldn't protect me. The humiliation burned away my fear, leaving only cold rage. My life was already over, so I decided to set the whole game on fire myself. The marriage pact only said a Carlson had to marry a Moreno; it never said which one. With nothing left to lose, I looked past the pathetic boys they offered. I chose the one man they never expected. I chose his father, the Don himself.
I had been a wife for exactly six hours when I woke up to the sound of my husband’s heavy breathing. In the dim moonlight of our bridal suite, I watched Hardin, the man I had adored for years, intertwined with my sister Carissa on the chaise lounge. The betrayal didn't come with an apology. Hardin stood up, unashamed, and sneered at me. "You're awake? Get out, you frumpy mute." Carissa huddled under a throw, her fake tears already welling up as she played the victim. They didn't just want me gone; they wanted me erased to protect their reputations. When I refused to move, my world collapsed. My father didn't offer a shoulder to cry on; he threatened to have me committed to a mental asylum to save his business merger. "You're a disgrace," he bellowed, while the guards stood ready to drag me away. They had spent my life treating me like a stuttering, submissive pawn, and now they were done with me. I felt a blinding pain in my skull, a fracture that should have broken me. But instead of tears, something dormant and lethal flickered to life. The terrified girl who walked down the aisle earlier that day simply ceased to exist. In her place, a clinical system—the Valkyrie Protocol—booted up. My racing heart plummeted to a steady sixty beats per minute. I didn't scream. I stood up, my spine straightening for the first time in twenty years, and looked at Hardin with the detachment of a surgeon looking at a tumor. "Correction," I said, my voice stripped of its stutter. "You're in my light." By dawn, I had drained my father's accounts, vanished into a storm, and found a bleeding Crown Prince in a hidden safehouse. They thought they had broken a mute girl. They didn't realize they had just activated their own destruction.
© 2018-now CHANGDU (HK) TECHNOLOGY LIMITED
6/F MANULIFE PLACE 348 KWUN TONG ROAD KL
TOP
GOOGLE PLAY