*
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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.
*xv
