154 Modifications of these orders:
l 7 the requirements of grammar.
Examples:
1. (a) / -kulli 'sana / yi~murri y-zuur ba^naatuh/^
(Every year, he goes round visiting his daughters.) (b) / -kulli '^eef / ti~murri t-zuur bavnatha/^/
(Every summer , she goes round visiting her daughters.) There is no question of either of the above examples being mis understood; their meanings are perfectly straightforward. The absence of ambiguity cannot be attributed solely to the presence of a pause in each splitting it into two tone-groups. Nevertheless, the features of pause and intonation marked in the examples are
normally observed; they represent how they are normally spoken. In other words, their grammatical structure is such that a boundary is normally to be expected between the first element, i.e, the sen tence adjunct with which each example begins, and the main sentence that follows. The internal relations within each example are signal-
by
led mainly means of the various grammatical devices like markers A.
and inflections, Eor instance, the fact that / fsana/(year) and /yi'murr/(goes round) do not match since the former is feminine
162
and the latter is masculine, and that the same applies to /^eef/ (summer-masc.-) and /ti*murr/(sho goes around),is in itself a sufficient clue to the fact that in each example, the first element is a sentence-adjunct and that the sequence of verbs separated from it by pause should not be split. This clue is re inforced by the presence of pause, and to this extent it can be said that intonation, or more accurately, tonality, is grafimati- cally relevant as far as these examples go.
When grammar justifies the splitting of a given sentence into a number of tone-groups, tonality, together with the other systems, steps in to reinforce the grammatical devices signalling relations within the sentence. Tonality is needed most, however, when these
devices fall down on the job. Under such circumstances, the burden of signalling these relations falls entirely on intonation. Here, tonality has to step in to resolve ambiguity and to signal the message to be communicated. Any imbiguity likely to arise ± & prevented by means of a break at the appropriate place within the sentence, accompanied by the necessary intonational changes. In this way meaning is kept clear.
^o illustrate this point, we may go back to the two examples given above. A slight alteration will be made in their substrates
so that they exchange their nain clauses. This will leave us with four possibilities, two of which we have already encountered;
H(a,}i,/^ -kulli ^sana t'murr / ti*"zuur ba^natha / £
(At the end of every year-lit. when every year goes round-, she visits her daughters.)
(b)i // -kulli _j3eef yi'murr / yi zuur ba^naatuh //
(At the end of every summer, he visits his daughters.) (a)ii/£-kulli 'sana / tx”murri t-zuur ba^natha f
(Every year, she goes round visiting...)
(b)ii/^ -kulli '^eef / yi"murri y-zuur ba%naatuh // (Every summer, he goes round visiting*..)
Here, the case is altogether different from the case in 1. As a result of the alteration introduced, / *sana/(year~fem.) and /ti’murr/Cshe goes round), and /^eef/(summer-masCo-) and /yi'murr/
(he goes round) show complete correspondence in terms of gender and number and are thus grammatically qualified to colligate with one another. In consequence, two alternative possibilities exist for each of the examples, both equally eligible. Such is the structure of the substrates now that a boundary may be placed at either of two points within each as can be seen in (i) and (ii). Each placement would yield a different arrangement of the elements within the substrate, and subsequently, different internal
relations between them, and in each case the result would be a different piece of communication.
So far, the two verbs /yi’murr/ and /yi’zuur/ have been left unaltered. In all the preceding cases, they agree with one
another in every respect. If this ceases to be so, the substrates will no longer be subject to ambiguity, and as in (l) the role of tonality will be in some sense secondary to that of grammar:
3* / -kulli ^sana t'murr / yi"zuuru ba^nathum //
164
On the other hand, there are cases in which the sentence is structurally ambiguous, not on account of some incidental details, but because ambiguity is inherent in the structure. Tonality is then indispensable;
law a'sibha / tirgag tiHuuh //
(If I leave her, she will lose her way again.) ii,// law ajsibha 'tirgag / ti'tuuh // !
(If I let her return, she will lose her way.)
The underlying structure is a conditional sentence. Any
changes in the first part(the condition), will necessitate changes in the second (the result). Tonality is here a necessary pre
requisite to the correct rendering of either of the above examples. In the following discussion, a few cases will be examined. These cases represent a number of grammatical structures in which there is room for ambiguity to arise and there is therefore need for tonality to step in. In such cases, tonality will be referred to as marked. In cases where the ambiguity in question is due to incidental factors, corresponding examples will be given in which these factors have been eliminated, and tonality is therefore reduced to its normal delimitative function. In such examples, tonality will be referred to as unmarked. In other words, if a substrate is susceptible of two renderings, i.e, two interpret ations! (i) and (ii), a choice has to be made between them. Iff on the other hand, a substrate has only one interpretation:(iii) no such choice exists.
1. (i) // ma*"taafeif/ ma^r iggi'diida //
(The museums of Heleopolis„-lit. of New Egypt-) (ii)/,/ ma^taahif “ma^r/iggi%diida //
(The new museums of Egypt.)
Here, /^xggi1diida/(new-fem.-) may colligate with /ma^r/
(Egypt-fem,-) or /ma’taahif/(museums-fem.-). (iii)//~mathaf -ma-3r iggi^diida //
(The museum of Heleopolis.)
In (iii), /*?iggi’diida/ does not colligate with /'mathaf/ (museum- masc.-). This difference in gender makes only one
m©aning possible.
2. (i) // ,/ana mab“guut min wa-faa*? ilxadxdaama //
(I am pleased with the honesty of the servant,-or (ii)) (ii) // _*?ana mab~{3uut min wa^faa*?// *?ilxad % daama //
(I am pleased with Wafaa?, the girl-servant.)
Here, /wa'faa*?/ can either be (i) an abstract noun (honesty) or a proper noun (girl’s name) as in (ii). The fact that it is followed by /*?ilxad*daama/(the servant.-fern.-) in both contexts gives rise to the two possibilities above. In (i) / w a ’faa*? ilxad *daama/( the honesty of the servant) are two nouns function ing as members of a construct. In (ii) /wa’faa*? ,ilxadfdaama/
(the servant Wafaa*?) functions as two nouns in apposition, (iii) /^ ^*?ana mab {3uu*f; min wa-faa*? ilxadxdaam //
166
In (ii) /?ilxadfdaam/(th.e servant) is masculine. Only one interpretation is possible.
3. (i) // na biil ~maat mas *kiin //
(Nabiil died poor.)
(ii)// na“biil ^maat // mas 'kiin // (Nabiil died. Poor man!)
(i) is a simple sentence; (ii) are two sentences in appo sition: the first is a sentence; the second is a sentence-fragment.
A-. (i) / L na_hiila mij ga~miila zayy uxvtaha // (Nabiila is not so beatiful as her sister.) (ii)// na~biila mij' gaNmiila // "znyy ux%taha //
(Nabiila is not beatiful. -Just- like her sister.) (i) is derived from:
// n a ’biila mij gaTmiila //(Nabiila is not beautiful.),and // ^ux’taha gamiila //(Her sister is beatiful,)
(ii) is derived from:
// na*biila mij gamiila //(Nabiila is not beautiful.), and // 'i’u x ’taha mij ga!miila //(Her sister is not beautiful.).
5
.(
1)/L
gay~ziin ba^naat gu'maal / %?aktar min_kida // (We want more of these beatiful girls.)(ii)// gay _ziin ba'naat /gu^maaljxktar min _kida // (We want girls who are more beautiful than these.)
In (i) / 9*?aktar/(nore) qualifies the noun-phrase /ba*naat g’u 'maal/ (beautiful girls); in (ii) it qualifies the noun /ba'naat/.
6. (i) // ^lamina 'fahmi g,gawwiz / ?issikir~teera han^nitu //
(When Fahmi got married, the secretary congratulated him.) (ii)// ^lamna "fahmi g^gawwiz Issikir,teera / han'nitu //
(When Fahmi married the secretary, she made him happy.) In (i) /^issikirfteora/(the secretary) belongs to the second clause (subject); in (ii) It belongs to the first (object). In E. C,Arabic, a single verb form /han!nitu/(she made him happy, or she
congratulated him) can stand alone as a complete clause and is syn tactically similar to one consisting of noun or pronoun followed by a verb / ?issikir1teera hanfnitu/(the secretary...).
(iii)// ^lamma 'fahmi g, gawwiz / "'brxtu han.*.nitu //
(When Fahmi got married, his sister congratulated him.) On semantic grounds, only one rendering is possible in (iii).
7 ,(i)// ?ihna lli $av gi<dna/ na'biil // ( nag’gaana)
St
(It was Nabiil that helped us.)
(ii)//'' -?ikna / ^ i l l i eSi'gidna na=biil // (eagid 'aaali-nag1 geena)
(We were the ones that helped Nabiil.)
/sa!£idna/ may either mean {1he helped us (i)n , or nwe helped him (ii)n. The substitution of /nagfgaana/(he saved us) for
/saTgidna/ in (i), and of either /nagfgeena/(we saved) or /saSid*naah/ (we helped him) in (ii) will reduce the need for such a complicated tonal picture, though the above patterns will still be possible.
168
8.(i) / / ?il-bal*tu_*£il3-6 m a %?aasu(h)//bizjaabti zayyi m a % ?ult //
(The coat fitted him. Exactly as X said.)
(±±)// ?il_bal*£u^t3*IiS ma-?aasu big'gocbt//jsayyi ma ’v?ult // (The coat fitted^exactly. Just as I said.)
In (i), the pronominal /u(h)/(his,its) suffixed to /ma^aas/ «V*K (size), has a referent other than /^il*bal*(Ti/(the coat). It marks the end of the sentence. /big fgabt/(exactly) modifies the second sentence.
In (ii), it may also refer to /^il*baltu/, in which case it cannot end the sentence, /big *gabt/ will mark the end of the first sentence and will s.ct as a compliment: e*g? /ma^fbuut/
(exact).
9. (i) // jxud ta-laata ^ahsan// ^itjieen ma ykaf'fuuj //
(It is better to take three. Two will not suffice.) (ii)// jxud ta^laata / _?afesan it-neen nayykaf'fuuj //
(Take three.because two will not suffice.)
In (i), the two substrates are grammatically independent. /*?afesan/ is an adverbial.
In (ii) j they are not q.uite so independent, /^afesan/ is "semi—con^unctive".
10.(i) // ?inta"saakin^feen // fizza'maalik //
169
(ii)/^ ^i nta saakin^feen fizza maalik /£
(Where exactly do you live in El-Zamaalik?)
In (i), there are two questions belonging to two sentence-sub- types.
In (ii). there is one question,
// Co? J he!
(l don’t want it. D o n ’t bother to fetch it.) 0 Jl' (±i)/£ mij1 ga"yizha/ba xlaaj /£
(if you don’t want it, don't take it.)
Finilarlyi (i) contains two sentences, whereas (ii) contains one.
12. (i) ?ilHaakam jsallim gal'bint // ?illi Nk±sbit isjsaba? ,// (The referee shook hands with the girl. She won the race. ) (ii)/£ ‘?il«feakam sallim gal"bint /Llli %kisbit is^saba?
/z
(The referee shook hands with the girl who won the racev )
(i) singles out /^il'bint / (the girl) as previously identified, i.e, by the context, probably the only girl taking part in the
contest'’
(ii) does not single out /^il^int/ as previously identified, possibly, all the contestants are girls.
It is obvious that /1?illi/(who) has two roles to play in
(i) and (ii), depending on the pitch pattern involved.
170
15* (a ) // ?inta ma tig raf,fxibnu na'biil /^(Don*t you know his son,N,?)
Cb) /</'la? injnam~agfaf
(y)
^ibnu (//) (_) ^sayyid,//( No, hut I know his son(. ) Sayyid.)
(a) is a question. (b), as marked normally, would be a correct answer in terms of its intonation. Intoned as shown between brackets, it would not be acceptable. It would, however, be proper if it were in answer to the question:
/L
?inta ma tig rafj'i'bintu na'biila /^(Don!t you know his daughter, Nabiila?)l*f. (a) ma l«bisti/ ?a (') jniifp (/vj'badla / zay^yida /
( I have never worn a -suitfs- shirt like this one.) (b) /£ ma l-bistij ?a )_nii|3 (/^Jlia'riir/ zay^yida /^/
( I have never worn a silk shirt like this one.) (c) / £ ma 1-bistiJ* ?ct (') jniig (AJ)na'tiin/ zay,yida / £
( I have never worn a durable shirt like this one, )
The above examples show how tonality does not violate grammatical restrictions. Harks placed outside the brackets represent one render ing which would be acceptable for all the examples. Marks placed between the brackets represent another which, would be irregular for
(a), objectionable for (b), and acceptable for (c). The reason is that in (a) it would split /^•mii^ *badla/(a -suit*s- shirt), two nouns forming a construct; in (b) it would split /?a*mii^ feafriir/
(a silk shirt ), a noun and its modifying noun of material; whereas in (c), quite normally, it would split / ‘hx’mii^ m a ftiin/ (a hard- wearing shirt), a noun and its adjective.
2, Contextual:
A sentence is often the carrier of more than one piece of communication. Each may be important enough to occupy a separate tone-group. In addition to the contribution they moke, in terns of
171
comunication, to the sentence, tone-groups modify one another in a variety of ways. Tone-groups belonging to one utterance reflect various qualifications about the previous utterance as well. In
the following, some of these functions will be discussed. Order (a):
Fall rise (s)-Jkall:
l.H./^ ^Jagra b'na?^ filma_daaris gan_dina rain nafeya_dii
(You feel there is a gap in our schools with regard to this?) N,/^ huwwa ya^guuz fiih ka-gaat zay*yidi lyomen_dool /[_
( Something like this may have been introduced nowadays.)
H./^ bassi l^injaina b'giid 'ganhum/ma ni?~4ctr JiNnukkum dil^wa^ti/^ ( but because' we~'are~Tar away IVomT"themv ^ b a m r6^ ^judge~ rPow.'T
N./^ <?illi bnis'magu'yagni/illi biyjruuhu hna^ri w'yiigu/ ( What we hear, I mean, those who go to Egypt and return,
biy^uulu lna-daaris ba*?it mum'taaza yagni say that -our- schools have become excellent.)
The last two utterances are the relevant ones. The second to last conveys mild contradiction; the last conveys reservation.
Fall rises interrupted by a falling group:
2,S,/^ hi~naak fabu ''zagbal/J'aarig'gilwi ?a'gunn/filmahatta H i
( There in Abu Z .? gilwi street I think, in the place bikkal-limu Nfiiha yagni//hi”naak biyu§~bu*tu (d~ (?uut / where talks are broadcast, there they adjust the purity winna^Taawa / wilha-gaat illi zayyi 'diy / gan jrt-rii?
of sounds etc.-and things of this sort- by means of ?ag"hizt il-?ir%saal /g/
the broadcasting apparatus.)
The'.underlined group defines the preceding groups. The repetition of/hi!naak/(there) explains why it is described as interrupting1
the combination. To pick up the thread, S. repeats it. This would not be necessary if the falling group did not occur.
IV 2
Order (b): Falls:
3.S.// mij1 il~magna ~ba?a yib?a l NYarac[//yagni Yarcocl list if Nhaam// (Not the meaning then but the purpose; i.e, that of asking;
?aw ^Yarct4 listin'kaar// d& xYctracL //
or of protesting; This is purpose.
These groups support and illustrate one another. The utterance, as a whole,,contradicts the previous one.
Rises :
ti^sibha m~gaaya wana k Jiflak ga'leeha//wagccllccfe'haalak// (Would you leave it with me to have a look at?: ' And repair?
jsayyi nana 'Jaayif As I think fit. ?)
The above is an offer, backed by a condition, all intoned alike. Orders (b) and (c) overlapping:
H.// ^ijjrahi lfagvkaja _diyyat yagni _?eeh //
( Explain what you mean by -this word- "roaming about11.)
4
5 .N./Z yagni -gadam listiq~rctar fi%kitta//yagni min~balad/li~balad/
( It means "not settling down in one place. It means from one li~balad / “mi/ fi«baladNwahda gala,tuul //
country,to another, -not settling in one country for good*) Here, the "objective" message is delivered first; then ''subjective" reminiscences prevail.
Or der _(_d ):
U./Z mij* ~kaanu“'?aalu hay zawwiNdulna lmu rfctt&b//
( Didn't they say they were going to increase our salary?)
6,N.//N/yaah / hilA-lini / ya~guuz yizav/wi^duu wi ya_guuz
^ ^ou canTA sure; We have a long time to wait; If ever ma y zawwiduA-huuJ' // (they do increase it.'
173
Here, there is hardly any objective message. It is a mixture of scepticism, disbelief, and sarcasm.
3* Pausal:
The more deliberate the speaker is, the more slowly does his sentence develop, and the more likely he is to insert pauses. This occurs normally when he is called upon to remember, to think of, or to mention a number of items. 11 Listing patterns11 are the best illust
ration of this.
In E.G.Arabic, listing patterns may be closed or open-ended. They may be factual, example-giving, merely rhetorical, or a mixture of these. Tonally, however, they come under the following headings: Order (a):
l.N./^Z ?il-mar?a lingili jaiyya na'/iifa/ wigama'liyya/wiCLtl^c^ l y T a/£ ( The English woman is active, practical, and economical.)
-closed and factual-) H./^/ bassi ^fiih "gandi -kaaga nta na^siiha//?ilwi”laad -gandi
( There is something you forget in my case. My children are k Nbaar / [^ ( no longer young.-They are not like yours.-) 2,3,/^/ wi biy'xuj'ju / wibiyis?a'luuk / wibiy^aj;'guuk / wi ''kulli
( They go into your room, ask you,interrupt you, etc.).haaga / -example-giving,verges on the rhatoricalaclosed by a formula.) 3' ^ ' f L ^bee^ / wi d ?ii? / wi'laban /{_
( It contains eggs, flour, and milk.-a common variant of the above, closed, factual.)
Order (b):
il%?ocxx / lil'?uxt / lizNzooga / l ± z z > ± ' m ± ± l / £
( Erom the brother, the sister, the wife, and the friend. In reply to "Have you suffered much?1*. Open-ended, example-giving,
Order (d):
174
5*// beecl / gibna / laban //( -There are eggs , cheese ,milk, ... ) *"* * * — «
6.// " fiih beeci / '** fiih gibna / " fii m rabba//
-(6), a variant of (5 ) , is miarkod by the repetition of /fiih/ (there
both are open-ended and example-giving} the latter is more emphatic•)
7 *// Y eer~ba9a tta%raddud ben ?ijrayit/hina/4?aw ‘?i_rayit^Lhina/ H. ( Apart from hesitating as whether to read this, or read this,
or read this, -and apart from- reading a bit here, a bit here, wi ^hitta min 'diy //
8
JL
• "?ana law ma-gaaya xamxsiin gi=neeh / wi gayiz ag-rifhum / ( If I possessed fifty pounds, and wanted to spend it,ma £rif~humji f^rifela // ?ajtivriili_haaga Jtiri-haaga lil^beet ( I would not spend it on a trip. I would buy myself something,
aj tiri-haaga lil?aw,laad //
I would buy something for the ’’house", ....for the children. - open-ended, example-giving, S . , rejecting the idea of a holi day by the sea for a week or two, resorts to rhetoric.)
The last thing to mention in this connection, is that in listing- patterns as well, the presence or absence of a pause may make a
difference in the message:
^ / L ? aw ^laadu sin-nuhum ta'laata w/'xamsa *w/ 'sitta w/ gi/'riin// (His children’s ages are three, five, six, and twenty.)
2,// *?aw^laadu sin-nuhum ta'laate w/'xamsa w/-sitta w giJViin //
(His children’s ages are three, five, and twenty-six.) both occur frequently without the particle /wa/(and)}
^aw ?ijrayit/hina /. wamsik hitta min^diy / wi feitta min Xdiy/
and a bit here open-ended, rhetorical) Compound;
175 (b) Tonicity
A. Two substrates contrast in tonicity when the difference between them lies in tba^ within them, the nuclear tone does not fall on the same syllable.
For the present purpose, a tone-group will be said to be un marked as to toniciy if the nuclear tone falls on the normally stress ed syllable of the last element of grammatical structure;
Unmarked; //~7ana ha~xudha w a d d j^haaluh / / ( I shall take it so as to giye^it to him.)
^ Marked: //-7ana fea~xudha wad diihaNluh//(.,. give it to him.) B, To the extent that tonicity functions in conjunction with
tonality or in a way similar to the way tonality functions, i.e, by distinguishing different meanings, it may be said to have a structural function. There are, however, a number of grammatical devices which help relieve tonicity of part of its burden. Of these the most
important arei (a) word-order changes, (b) independent personal pro nouns, (c) demonstratives and deictics, (d) a set of constructions for throwing certain elements of the sentence into relief as well as denoting emphasis and similar attitudes. When these devices are in operation, usually inseparably, tonicity, i.e, the placement of the nuclear syllable, is largely determined by them. This is one of the factors which interfere very frequently with neutral tonicity.
(a ) // ga"vmiil_?awi kka_lamda //(So far so good.)
// vhilwimbarra miJ/sa^ga/Z/It is fine outside, not cold.) // 'bukra^yixla^// vs. // ha~yixla£Nbukra //
(Soon it will be over.) (It will end to-morrow.) (b) // "“?ulluh // vs, // _?ulluNhuwwa //
176
// ma t^ul'liij* // vs. // ma t^ul/LiiJ^ana // ( Don *t tell me.) ( Don!t tell me.) ” f L J’ullu'huwwa // ma t?ul liij*sana //
( Tell him. Donft tell me.)
( c V / / a h u Mallana gayzu // (This Is what X want.)
/ L M a nta lli_?ult // mij* M n a //(It was you that said it;not / L Nma nta H i ?ul_tili //?ana gibtUhaaga min^gandi// ^
( ^ was y.°.u. that told me. I added nothing of my own.«~ - / da/ is contrastive; /ma/ is explanatory; both are sentence-
initiators in the last two examples.)
(d)// _da na%biil illi bi_zaS&a?//(Xt is N. that is. shouting. ) vs* // jda H i biy-zagga? naMiil//(Nabiil is the one shouting.)
/L
?id~dinya Halg/oar roc//(It is*~as cold, as-snow outside.) vs. // ?id~dinya Joarra%talg//(Outside, it is a*e cold.)vs.
ft
Malg id^dinyajbotrroc //(So cold is the weather outside.) - - The same happens with words like: /*wilga/(hot),/*2rafema/(overcrowded), /luyz/(difficult) etc.).
C. There are other factors, closely connected with tonicity, which
-e.
prevail in the material described. These factors seem to desrve brief mention:
(a) There are frequent cases where the nucleus, and sometimes the head as well, are followed by particles:
S. // ?aN<v gaaza A«ba?a / win~naas*-ba?a t Jaayyoc^-ba^a // ( It is a holiday, -you know-; and people rejoice.) L. / L . ?ana ga~yizha-ba?a mniddunya^wi;yya_ba?a //
( What I have in mind is a ’^ecul'ar” magazine. ~not a religious like the one suggested.) (b) There are cases in which the nucleus is followed by nredundantH words j or words appended to the mein grammatical structure in hand:
H. // ?il~magnavwaahid ma tyayyarj* //(The meaning i£ the samo,
— - 1 without change e ) mij ki tiir yagni //(Not much, I mean.) -- _ -— — --- // „J^fti ?ee mnnilbi^laad yer^landan hina//
177
(c) There are also cases of what may be described as stylistic and tonal oppositions:
S 0/^ la "*yumkin *az;£al : min N?ayyi _Jocxs//
a — '
( I never bear a grudge against any person,
wala-yumkin^azgal min“?ayyi*ma^lab : yiddi^huuli Jaxg//
o ZZ
( And I never take offence on account of any bad turn he does me ^ mahma "kaan INhaaza J_Jocxj3 // wi"mahma*kaan;U »ma vkaanit Jhaaza
( Wo matter who ho is.) ( And no matter what hiss) X X°^{3// position is.-.)
L
?eeh\j-''oc'?y'ak/filmuwocgoc-laat / wis^hult ilmuwotj3a_laaj;-/L
( What do you think of transport, and the ease of transport?) The frequency of the above cases sometimes gives the impression of a "penultimaten type of tonicity -analogous to penultimate stress- as neutral tonicity in E.C.A, This, however, has not been found to be the general rule outside the above cases. It should be noted
that though the tonal oppositions referred to above appear in emphatic sentences, they cannot be ignored since emphasis looms large in the colloquial studied,
D„ It seems that the major role of tonicity is a contextual one. The position of the nucleus within a tone-group is to a great extent determined by constraints imposed by the context. This is where
marked tonicity steps in. Marked tonicity occurs when an item, othe:: than the one occurring in iinal position, is (a) new and contrastive;
(b) new and non-contrastive, dr’ (c) given but contrastive. Examples:
(a),H./^/ ^hiyya mij nawyartiigi_baayin /^/(She doesn^t intend to come,
1 it seems,)
mij ha^ti^otr tiigi /^/(She won1t be able to come,) H* / L bit“hibb ittas£aa?ul /^/(You like to be optimistic.~?~) S c// ?ana %gaay.iz itta_faa?ul//(I need to be optimistic,)
(bJ.N,,// mab; ^uuia fgiddan)// bassi hiyya H i na~?i^hot/\gozha yagni