By Leila White
The English version of the preferred grammar publication. The book
concentrates on points of the language which could cause
foreigners difficulty, specifically conjugation. There are plenty
of examples and structural diagrams that make it more uncomplicated to
understand and have in mind issues. as a result of its transparent structure,
the publication can be an effective way of dealing with basic
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Additional resources for A Grammar Book of Finnish
Nepali, Maithili and Hindi influence is possibly reflected here. For example, most speakers would apply nasalisation to the 1sg (11a), 2sg (11b) and 3sg (11c-d) pronouns, the relative pronoun (11e) and some interrogative pronouns (11f). I have marked nasalisation in the broad transcription in the 1sg, 2sg and 3sg pronouns, relative and interrogative pronouns which are deemed nasalised by most speakers. Note that nasalisation is left-spreading, and that the domain of nasalisation seems to be the whole morpheme, unless spreading is blocked by an obstruent component.
Syllabificational contraints... The resonant + h segments, which also surface as aspirated with syllable divisions... ” If the components /mʰ/, /n̪ʰ/, /lʰ/ and /ŋʰ/ are interpreted as clusters in Rājbanshi, the analysis faces syllabification problems. Maintaining a break between the components would result in a syllable type "C” which is phonotactically unattested in the language. This could possibly be avoided by maintaining a ∅-morpheme for the imperative singular form, although maintaining a ∅-morpheme for other verb forms seems unwarranted.
B. Potential falling dipthongs or CV-sequences /iu, ie, iæ, iʌ, uæ, uʌ, ui/ c. Potential rising dipthongs or VC-sequences /eu, iu, æu, ʌu, ei, æi, ʌi, ui/ d. Non-occuring vowel sequences /ii, ee, oo, uu, ʌʌ, io, eæ, eo, oæ, oʌ, ou, oi, ue, uo, ʌo/ I find a diphthong / CV-analysis for most of the vowel sequences in (2b) to be unwarranted. 5 Moreover, a CV-analysis of the absolutive in (3c) would lead to an erroneous analysis of the (default) absolutive in (3d; cf. 4 for discussion on phonotactics).