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.
Alcohol and heartbreak are definitely not a good combo.Too bad I learnt that a little too late. I'm Tessa Beckett and I painfully got dumped by my boyfriend of three years.That led me to getting drunk at a bar and having a one-night stand with a stranger.Before he would see me as a slut the next day,I paid him for the sex and deeply insulted his ability to please me. But this stranger turned out to be my new boss!
My husband, Ethan Vance, made me his trophy wife. My best friend, Susanna Thorne, helped me pick out my wedding dress. Together, they made me a fool. For three years, I was Mrs. Ethan Vance, a decorative silence in his billion-dollar world, living a quiet routine until a forgotten phone charger led me to his office. The low, feminine laugh from behind his door was a gut-punch; inside, I found Ethan and Susanna, my "best friend" and his CMO, tangled on his sofa, his only reaction irritation. My divorce declaration brought immediate scorn and threats. I was fired, my accounts frozen, and publicly smeared as an unstable gold-digger. Even my own family disowned me for my last cent, only for me to be framed for assault and served a restraining order. Broke, injured, and utterly demonized, they believed I was broken, too ashamed to fight. But their audacious betrayal and relentless cruelty only forged a cold, unyielding resolve. Slumped alone, a restraining order in hand, I remembered my hidden journal: a log of Ethan's insider trading secrets. They wanted a monster? I would show them one.
In her previous life, Kimberly endured the betrayal of her husband, the cruel machinations of an evil woman, and the endless tyranny of her in-laws. It culminated in the bankruptcy of her family, and ultimately, her death. After being reborn, she resolved to seek retribution against those who had wronged her, and ensure her family's prosperity. To her shock, the most unattainable man from her past suddenly set his sights on her. "You may have overlooked me before, but I shall capture your heart this time around."
After five years of playing the perfect daughter, Rylie was exposed as a stand-in. Her fiancé bolted, friends scattered, and her adoptive brothers shoved her out, telling her to grovel back to her real family. Done with humiliation, she swore to claw back what was hers. Shock followed: her birth family ruled the town's wealth. Overnight, she became their precious girl. The boardroom brother canceled meetings, the genius brother ditched his lab, the musician brother postponed a tour. As those who spurned her begged forgiveness, Admiral Brad Morgan calmly declared, "She's already taken."
Luna has tried her best to make her forced marriage to Xen work for the sake of their child. But with Riley and Sophia- Xen's ex-girlfriend and her son in the picture. She fights a losing battle. Ollie, Xen's son is neglected by his father for a very long time and he is also suffering from a mysterious sickness that's draining his life force. When his last wish to have his dad come to his 5th birthday party is dashed by his failure to show up, Ollie dies in an accident after seeing his father celebrate Riley's birthday with Sophia and it's displayed on the big advertising boards that fill the city. Ollie dies and Luna follows after, unable to bear the grief, dying in her mate's hands cursing him and begging for a second chance to save her son. Luna gets the opportunity and is woken up in the past, exactly one year to the day Sophia and Riley show up. But this time around, Luna is willing to get rid of everyone and anyone even her mate if he steps in her way to save her son.
Trigger/Content Warning: This story contains mature themes and explicit content intended for adult audiences(18+). Reader discretion is advised. It includes elements such as BDSM dynamics, explicit sexual content, toxic family relationships, occasional violence and strong language. This is not a fluffy romance. It is intense, raw and messy, and explores the darker side of desire. ***** "Take off your dress, Meadow." "Why?" "Because your ex is watching," he said, leaning back into his seat. "And I want him to see what he lost." ••••*••••*••••* Meadow Russell was supposed to get married to the love of her life in Vegas. Instead, she walked in on her twin sister riding her fiance. One drink at the bar turned to ten. One drunken mistake turned into reality. And one stranger's offer turned into a contract that she signed with shaking hands and a diamond ring. Alaric Ashford is the devil in a tailored Tom Ford suit. Billionaire CEO, brutal, possessive. A man born into an empire of blood and steel. He also suffers from a neurological condition-he can't feel. Not objects, not pain, not even human touch. Until Meadow touches him, and he feels everything. And now he owns her. On paper and in his bed. She wants him to ruin her. Take what no one else could have. He wants control, obedience... revenge. But what starts as a transaction slowly turns into something Meadow never saw coming. Obsession, secrets that were never meant to surface, and a pain from the past that threatens to break everything. Alaric doesn't share what's his. Not his company. Not his wife. And definitely not his vengeance.
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