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*    been given tone-marks of their own in noun-headings, but not in



*grammatical elements like (e)t-, (e)ʋ-, etc., nor in sentences.



*    The sign ^ has occasionally been used where a word had to be broken



*up at the end of a line, for purely technical reasons.



*    ORDER AND FORM OF ITEMS



*    The letters follow one another in the following order: a, b, d, e, ɛ, f,



*g, gb, ɣ, h, i, k, kp, l, m, n, nw, ny, o, ɔ, p, r, rh, ɽ, ɽ̃, s, t, u, v, ʋ̃, w, x, y, z.



*    In the case of words differing in tone only, the items with high tones



*are placed first, then those containing both high and low (or mid) tones,



*then the words with low tones only, and last those with rises or falls.



*    Unnasalised vowels have no precedence over nasalised ones, except



*where the tones are the same.



*    Nouns beginning with e-, i.e. an e- prefix which occurs mostly in a



*context and is often not pronounced when isolated, are found under the



*vowel e, but grammatical elements like (e)n-, (e)t-, etc. are entered



*under the appropriate consonant.



*    Entirely different items with the same phonetic and tonal form are



*differentiated by means of numbers. Different meanings that may be



*explained as semantic developments of one word are marked with



*bracketed numbers within the same item. Different meanings brought



*about by the addition of a noun, for example, in the genitive or object-



*relationship are usually not numbered.



*    In the case of verbs, the verbal combinations are given before the



*verb-noun combinations. In the verb-noun combinations the two ele-



*ments have been joined where they are followed by an object, or if



*there is no further object, e.g. in gb-ɔvo [ ˩ ˥ ] to be jealous, ɔgb-ɔvo ʋ̃ɛ [ ˩ ˩ ˩ ˥ ]



*she is jealous of me, but the two elements have been kept separate



*when an object is put between them, e.g. in gbe [ ˥ ] ɔvo [ ˩ ˥ ] to make



*somebody jealous, ɔgbe ʋ̃-ɔ̃vo [ ˩ ˩ ˩ ˥ ] it makes me jealous. The tones of



*the imperfect forms have been used in the headings and sub-headings,



*but in the case of verbal combinations, each verb has been given its



*independent tone, irrespective of tonal interrelations in actual speech.



*In sentences and other illustrative material, however, the author has



*tried to reproduce the actual intonation of his informant (nearly always



*H. G. Amadasu).



*    Inverted commas have been used for the following purposes:



*    (1) In single words or short expressions occurring in the English



*equivalent after the heading, they denote that the word or expression



*in question is “coastal English”, i.e. either Pidgin-English or a peculiar



*usage of English in the speech of the informant.



*    (2) In the translations of sentences, idioms, and explanatory notes,



*inverted commas denote either a literal translation which is not good



*English (and which maybe followed by a free translation), or a quotation.



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