Full Chapter Cherokee Language Lessons 2Nd Edition Michael Joyner PDF

Cherokee Language Lessons 2nd
Edition Michael Joyner

Visit to download the full and correct content document:
https://textbookfull.com/product/cherokee-language-lessons-2nd-edition-michael-joyn
er/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Robotic Existentialism The Art of Eric Joyner First

Edition Eric Joyner
https://textbookfull.com/product/robotic-existentialism-the-art-
of-eric-joyner-first-edition-eric-joyner/
Basics of Language for Language Learners 2nd Edition

Peter W. Culicover
https://textbookfull.com/product/basics-of-language-for-language-
learners-2nd-edition-peter-w-culicover/
Ten Lessons In Introductory Sociology 2nd Edition

Kenneth A. Gould
https://textbookfull.com/product/ten-lessons-in-introductory-
sociology-2nd-edition-kenneth-a-gould/
International Bureaucracy: Challenges and Lessons for

Public Administration Research 1st Edition Michael W.
Bauer
https://textbookfull.com/product/international-bureaucracy-
challenges-and-lessons-for-public-administration-research-1st-
edition-michael-w-bauer/
INFORMATICS EDUCATION IN HEALTHCARE lessons learned
2nd Edition Eta S. Berner
https://textbookfull.com/product/informatics-education-in-
healthcare-lessons-learned-2nd-edition-eta-s-berner/
Guide to asembly language 2nd Edition Streib J.T
https://textbookfull.com/product/guide-to-asembly-language-2nd-
edition-streib-j-t/
The Rust Programming Language 2nd Edition Steve Klabnik
https://textbookfull.com/product/the-rust-programming-
language-2nd-edition-steve-klabnik/
The Exoplanet Handbook 2nd Edition Michael Perryman
https://textbookfull.com/product/the-exoplanet-handbook-2nd-
edition-michael-perryman/
Therapeutic Lipidology 2nd Edition Michael H. Davidson
https://textbookfull.com/product/therapeutic-lipidology-2nd-
edition-michael-h-davidson/
• Paperbook
– LULU:
https://www.lulu.com/shop/search.ep?keyWords=%22cherokee%20language%20lessons%22
– Amazon:
http://amzn.to/2pdhTiV
ᏣᎳᎩ ᎦᏬᏂᎯᏍᏗ ᏗᏕᎶᏆᏍᏗ 1
Cherokee Language Lessons 1
Michael W S Joyner
Language and culture which are not shared and taught openly and freely will die.
If our language and culture die, as a people, so do we.
Cherokee Language Lessons 1, 2nd Edition
Copyright 2016, Michael Joyner
ISBN: 978-1-365-92880-2
$Revision: 2.004 $
$Date: 2020/01/15 02:38:51 $ UTC
This work is licensed under the C C A -S A 3.0 U S L . This means you
are free to copy, share, and update this material under the condition that attribution is kept, no endorsements are implied,
and your work is also licensed the same. Commercial use is permitted.
Dedication
To Ray Cochran - without his inspiration in working to keep the Cherokee culture and language alive this work would
probably not have come about.
Contributors
Being listed as a contributor does not indicate endorsement.
• All the students who participated in the http://

jalagigawoni.gnomio.com/ Cherokee Lan-
guage Moodle LMS.
Additional Sources
• The Cherokee-English Dictionary 1975 - Durbin Feel- • Classroom immersion materials produced by the
ing. Cherokee Nation of Oklahoma.
• A Reference Grammar of Oklahoma Cherokee 2008 • The public domain comic book site: http://
- Brad Montgomery-Anderson digitalcomicmuseum.com/
• A Learner’s Guide to the Cherokee-English Dictionary • Help by e-mail and discussion groups from various
(CED) - Christian Koops much appreciated individuals, not all of whom wished
to be listed as contributors.
• Verb Reference Book : Didehloqwasgi 2012 - Wyman
Kirk • Other materials too numerous to mention.
Contents
1 First Lesson 3
Dialects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
The Approach . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2 Second Lesson 5
Pronunciation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Cherokee is not English . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Written . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
3 Third Lesson 11
The Syllabary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Day 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
Day 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Day 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Day 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
Day 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Day 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Day 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
4 Fourth Lesson 35
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
5 Fifth Lesson 39
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
6 Sixth Lesson 43
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
7 Seventh Lesson 47
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47
ᏙᏪᎸᎦ (Write them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53
8 Eighth Lesson 57
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
v
9 Ninth Lesson 63
ᎦᏬᏂᏍᎬᎢ ᎠᎦᏔᎲᎢ (Grammar) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
ᏙᏪᎸᎦ (Write them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
10 Tenth Lesson 73
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74
11 Eleventh Lesson 81
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
12 Twelfth Lesson 89
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
13 Thirteenth Lesson 97
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
ᎤᏬᎵᏗ ᎪᏪᎵ (Funny Paper) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
ᏙᏪᎸᎦ (Write them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107
14 Fourteenth Lesson 111

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
15 Fifteenth Lesson 119

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
16 Sixteenth Lesson 125

ᏙᏪᎸᎦ (Write them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
17 Seventeenth Lesson 133

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
18 Eighteenth Lesson 145

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
19 Nineteenth Lesson 157

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158
20 Twentieth Lesson 171
ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
21 Twenty First Lesson 183

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
ᏂᏔᏛᎦ (Do them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184
22 Twenty Second Lesson 193

ᏘᎪᎵᏯ (Read them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
ᎤᏬᎵᏗ ᎪᏪᎵ (Funny Paper) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
ᏙᏪᎸᎦ (Write them) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203
A Additional Resources 209

The Leitner System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209
Preface
It is not perfection in speaking the Cherokee language that is required. Even the most proficient of speakers have differences
in the way they speak from each other. What is required is participation. Participation in speaking it. In reading it. In
writing it. In teaching it. If you do not participate, or if you go out of your way to cause others harm who are working hard
to keep the language alive, you are only doing the work of those who sent us to the boarding schools. You have become
“them”. The foreigners. The conquerors. Those who would remove us. Those who failed. Be counted among those who
keep “them” failing. Be not among those who would remove us from this Earth.
One of the keys to acquiring a new language is to learn the patterns that make up the language. Simply learning phrases
so you can speak “pidgin” Cherokee is not learning Cherokee. You need to learn the fundamentals of the language on how
words are put together to be able to understand and communicate in the language. There are many degrees of meaning that
different word parts provide and if you don’t learn these shades of meaning up front and how they are expressed you will
never progress beyond simple memorized phrases and never obtain satisfaction with the language. While each person’s skill
will differ, one should strive to gain enough understanding of the mechanics of the language to be able to comprehend and
communicate effectively. The goal of this material is to provide you a solid structural foundation on how Cherokee works.
You will learn how words are put together in basic sentences and how to form new words for ideas not listed in the dictionary.
You are about to embark on a journey of learning the Cherokee Language.
Please keep the following in mind as you do these lessons:
• The lessons in this material are like life. First we crawl, then we walk, and finally we run. The Cherokee you find
in these lessons has been modified to fit a special requirement referred to by many language instructors as Staying in
Bounds. This means that the lesson exercise material only uses the vocabulary and grammar rules that have already
been taught. As a result, many of the exercises, especially the earlier ones, will seem full of “childish” or “bad”
Cherokee language to full speakers. As these lessons progress, the less “childish” or “bad” the Cherokee that is taught
will be.
• Cherokee is a language of description and of relationship. For this reason, much of the language at first glance
appears to work opposite to the way English does. This material will hopefully ease the shift required in your thinking
by starting early with some of these concepts that are so very different from English.
If you find what you believe to be an error in this material or would like to make a suggestion or comment, please visit us on
the web at: http://www.cherokeelessons.com/.
When referencing this material, please be sure to notate the document revision tag: $R : 2.004 $.
1
2
ᎠᏯᏙᎸᎢ 1
ᎢᎬᏱᎢ ᎠᏕᎶᏆᏍᏗ
Darrel Kipp, Encouragement, Guidance, Insights, and Lessons Learned for Native Language Activists Devel-
oping Their Own Tribal Language Programs.
• Rule 1: Never Ask Permission, Never Beg to Save the Language. Never Beg.
• Rule 2: Don’t Debate the Issues. Don’t let anyone debate you. Don’t let them start in on you. Don’t let
them even start.
• Rule 3: Be Very Action-Oriented; Just Act.
• Rule 4: Show, Don’t Tell. Don’t talk about what you will do. Do it and show it.
—http://lakotalearners.com/Darrell%20Kipp.pdf
Dialects
Cherokee is grouped into three major dialects:
ᎡᎳᏘ (Elati). This dialect was historically spoken by inhabitants of the Lower Towns in the vicinity of the South Carolina–
Georgia border before the forced removal of 1838 and uses an “r” sound where the other two dialects use an “l” sound.
This is also known as “The Lower” dialect. This dialect is believed to have become extinct around 1900.
ᎣᏔᎵ (Otali). This dialect is spoken in Oklahoma and by the Snowbird Community in North Carolina and is known as the
“Western” or “Overhill” dialect.
ᎩᏚᏩ (Kituhwa). Commonly referred to as the “Eastern” dialect, it is spoken by the Eastern band on the Qualla Boundary
in North Carolina, and is known as “The Middle” dialect.
There is no single central form of Cherokee, instead, there are many variations of pronunciation and word usage within each
dialect, usually centered around different communities and townships.
The vocabulary and language structure as presented in this lesson material is based primarily on the “Cherokee-English
Dictionary (ᏣᎳᎩ-ᏲᏁᎦ ᏗᏕᏠᏆᏍᏙᏗ)” published in 1975 by the Cherokee Nation of Oklahoma, and is commonly referred to
as the “Durbin Feeling Dictionary” or “CED”.
The Approach
This lesson material uses many of the concepts from both the TPR and the TPRS language learning approaches.
TPR (Total Physical Response) is a language teaching method developed by James Asher, a professor emeritus
of psychology at San José State University. It is based on the coordination of language and physical movement.
In TPR, instructors give commands to students in the target language, and students respond with whole-body
actions…
https://en.wikipedia.org/wiki/Total_physical_response
☞ The core concept of TPR is physical activity in response to the language being learned.
3
TPRS (TPR Storytelling) is a method of teaching foreign languages. TPRS lessons use a mixture of reading and
storytelling to help students learn a foreign language…
https://en.wikipedia.org/wiki/TPR_Storytelling
☞ The core concept of TPRS is listening to the language as it is used to describe a series of connected events.
Many activities involve TPR by participants performing physical actions in response to commands. As the activities are
carried out, TPRS is used to enhance the learning experience by having the participants perform a very simplified form of
storytelling by providing different verbal responses based on what is happening or has happened.
One thing both approaches agree on is that students should be listening and only responding with actions only using simple
and brief verbal responses when necessary. It usually takes about 30 hours of instruction in a classroom setting before
students are ready to start speaking simple sentences. It is important to not force speaking the language before being ready.
In addition to the TPR and TPRS approaches, there are also sections explaining core grammar concepts in combination with
a few traditional translation exercises.
4
ᎠᏯᏙᎸᎢ 2
ᏔᎵᏁᎢ ᎠᏕᎶᏆᏍᏗ
Pronunciation
Vowel Sounds
Cherokee has six main vowels. They are “a”, “e”, “i”, “o”, “u”, and “v”.
They are generally pronounced as follows:
• a: as (a) in father.
• e: as (a) in cake. Some speakers shift this letter to sound more like the “e” in “ echo”.
• i: as (e) in Pete. Some speakers shift this letter to sound more like the “i” in “pit”.
• o: as (o) in hello.
• u: as (u) in tuba.
• v: as (u) in rung and is always nasalized (sounded through the nose).
Cadence Each Cherokee vowel is pronounced “long” or “short”. A long vowel is a vowel held for a normal length of time.
A short vowel is a vowel spoken for a very brief length of time. Other than for the amount of time a vowel is spoken, the
long and short vowels sound the same. Short vowels will be marked in the pronunciation guide with an “underdot”.
☞ Any vowels that are not followed immediately by a number and vowels that appear at the end of words in the pronunciation
guide are always short and will not be displayed with an underdot.
Examples (the numbers will be explained shortly):
nị²ga⁴da short “i”, long “a”, short “a”

This means “all”.
ạ²hwi short “a”, short “i”
This means “deer”.
noh²ji short “o”, short “i”
This means “pine” or “pine tree”.
Consonant Sounds
All of the consonants in Cherokee sound the same as their English versions, with the following few exceptions:
• g: Sounds like either the “g” in “gaff” or the “k” in “kite”. When in doubt, use the “g” sound. The pronunciation guide
will be using both the “g” and “k”.
5
• qu: Sounds like the “qu” in “question” or the “gw” in “Gwen”. When in doubt, use the “gw” sound. The pronunciation
guide will be using “kw” and “gw”.
• s: Sounds like the “s” in “sight” for Otali Cherokee or the “sh” in “shell” for Kituhwa Cherokee. The pronunciation
guide will be using the Otali pronunciation for the “s” sound.
• tl: This non-English sound is made by combining a “t” or “h” with the “l” sound while keeping the tongue’s tip against
the lower front teeth then dropping the tongue straight down. Those new to the language will many times think they
are hearing the “cl” sound as found in “clack” or “clock”. With a little practice, you will be able to tell the “tl”, “hl”,
and “kl” sounds apart. When in doubt, use the “hl” sound. The pronunciation guide will be using “hl” and “tl”.
• ts: Sounds like either the “j” in “John”, the “ch” in “chair”, the “ds” in “best buds”, or the “tz” in “spritzer”. In Otali
Cherokee the “j” and “ch” soundings are more common. In Kituwah Cherokee, the “ds” and “tz” soundings are more
common. As this material is primarily Otali based, when in doubt, try and use a mixture between the “j” and “ch”
sounds. The pronunciation guide will be using “j”, “ch”, “dz”, and “tz”. ☞ Some books and speakers of the language
will strictly use the letter combination “ts” and not any of the “j”, “ch”, or other combinations when using the English
alphabet.
• You will also see trailing and leading “h” sound indicators. These are not silent like they are in English, they are always
sounded out.
Pronunciation Guide
Each new Cherokee word will be presented with its Cherokee Syllabary spelling, an English pronunciation guide in brackets
(“[”, “]”), and an English definition.
The following describes the different symbols used in the pronunciation guide.
Vowels
a, e, i, o, u, v - Usually these are long vowels.

☞ Remember that when they are not immediately followed by a tone mark or when they appear at the end of a word
they are short vowels.
ạ, ẹ, ị, ọ, ụ, ṿ - These are always short vowels.
Pausing
ɂ - A dotless question mark indicates a brief pause in speaking. This is called a glottal stop.
Examples of this brief pause can be found in the middle of the English words: “uh-oh”, “stoplight”, and “workload”.
⚠ Glottal stops are important.
Miscellaneous
, - This will be used to indicate alternate pronunciations and spellings. Examples:
Ꮭ [tla, hla] “No” - Here the pronunciation guide shows “Ꮭ” is pronounced as either “tla” or “hla”.
ᎪᎱᏍᏗ, ᎪᏍᏗ [go²hu⁴sdi, go⁴sdi] “Something. A thing.” - Here the pronunciation guide shows two different ways of
spelling and saying the same word.
Tone In the CED and other source materials you will see references to pitch or tone.
What is pitch or tone? Pitch or tone, when dealing with languages, refers to shifting the tone of the voice up or down. An
example of this in English is the shifting of the tone upwards towards the end of a sentence when asking a question. In
Cherokee shifts in tone are actually considered parts of words and can also be used to indicate things like “happened in the
past” or “let it happen in the future”. ☞ The tones used in words or phrases can change their meaning, sometimes dramatically.
In this material, the CED numbering system is being used, where:
6
• A “²” indicates a tone with a normal pitch. ☞ This tone is commonly referred to as the “normal”, “low”, or “neutral”
tone.
• A “³” indicates a tone with a higher pitch. ☞ This tone is commonly referred to as the “high” tone.
Many words have parts with “contour” or “gliding” tones. These will be indicated by combining together the starting and
ending pitches:
• A “²³” indicates a tone that starts out at a normal pitch and then is glided higher in pitch. ☞ This tone is commonly
referred to as the “rising” tone.
• A “³²” indicates a tone that starts out at a higher pitch and then is glided down to a normal pitch. ☞ This tone is
commonly referred to as the “falling” tone.
There are two more tones which will be only marked with single numbers and one special gliding tone that has no marking
at all:
• A “¹” indicates a tone that starts with a normal pitch and then is glided downwards. ☞ This tone is commonly referred
to as the “extra low fall” or “low fall” tone.
• A “⁴” indicates a tone that starts out usually at either “normal” or “high”, the closest matching the preceding syllable,
and then is glided upwards in pitch to end higher than the “high” tone. ☞ This tone is commonly referred to as the
“extra high rise” or “high rise” tone.
• At the end of every word, unless otherwise indicated, there is always a “⁴³” gliding tone which starts out with an very
high pitch and then is glided down very far. Because this is at the end of every word, it is not marked. ☞ This tone is
commonly referred to as the “extra high fall” or “high fall” tone.
Example pronunciation guide entries, including entries that change meaning based on tone:
ᎠᏓ [ạ²da] Wood. ᎠᎹ [a³ma] Salt.

ᎠᏓ [ạ⁴ɂda] Young animal. ᎬᏍᎦᎳᏗᎠ [gv²sgạ²lạ³dị³ɂa] He is hiding a long object.
ᎠᎹ [ạ²ma] Water. ᎬᏍᎦᎳᏗᎠ [gv¹sgạ²lạ³dị³ɂa] I am hiding a long object.
⚠ Stay away from any material that does not indicate proper cadence, tone, or does not supply proper dictionary entries. This
especially applies to simple word lists. Only real dictionary entries, such as those found in the CED, will provide you with
correct meaning and pronunciation so that you do not end up speaking gibberish or saying very bad things about yourself.
Don’t embarrass yourself and don’t propagate false information about the language.
Things of note
Stress Unlike English, where you stress different syllables in words with loudness you should try and keep all the syllables
in your Cherokee words held at an equal volume. As a general rule, one should only stress an ending vowel that has the high
fall tone when speaking Cherokee. You will find some material that claims you should stress different parts of Cherokee
words and confuse cadence and tone together to create vocabulary entries with stress marks without tone or cadence marks.
You should not rely on such materials for pronunciation, you will be led astray. ☞ Speaking with this different way of using
stress takes a bit of practice. It is second nature for English speakers to stress certain parts of words without realizing they are
doing so.
Nasalization When speaking Cherokee, the “v” and “ṿ” vowels are always nasalized. (Sending the sound through the
nose). Additionally, the ending sound on each word is also nasalized. The English word “huh”, contains an example of a
nasalized “v”.
Tongue Placement Cherokee is spoken with the tip of the tongue against the lower front teeth most of the time. You
should be using the middle of your tongue to make the “s”, “d”, and “t” sounds, not the tongue’s tip. Keeping your tongue
properly placed takes practice, but is critical for properly emulating native pronunciation. Do not give up.
7
The Intrusive “H” Because of the way Cherokee is spoken, you will sometimes see an extra “h” added to the beginning
of a syllable in the pronunciation guide, even though the matching syllabary character does not indicate any “h” sounds. This
extra sound is called The Intrusive “H”. Except for the special Cherokee letters Ꮏ, “hna”, and Ꮐ, “nah”, this sound is not
written. The amount of Intrusive “H” will vary from speaker to speaker, so you will hear the same words spoken with and
without it to varying degrees.
Bridging There is normally an extra sound between spoken words in the same sentence in most languages. Different
languages use different sounds. If you listen very carefully, you will notice that most American English speakers use a “y”
or “w” sound between many words and between vowels in a word. Here are some American English words and phrases that
bridge using the “w” sound. Where these bridges occur have been marked with the “+” symbol.
• heroic, hero₊ic • “go away”, “go ₊ away”

• “who asked”, “who ₊ asked” • fluent, flu₊ent
• intuition, intu₊ition • “do it”, “do ₊ it”
Here are some American English words and phrases that bridge using the “y” sound. Where these bridges occur have been
marked with the “+” symbol.
• idea, ide₊a • “day after”, day ₊ after

• “say it”, “say ₊ it” • science, sci₊ence
• react, re₊act • “dry off”, dry ₊ off
Different from American English, Cherokee speakers tend to use an “h” sound. While it would be a good thing to learn
to bridge with an “h” sound while speaking Cherokee, it is not required to be understood clearly and correctly. It is this
bridging with an “h” sound that causes the existence of the Intrusive “H” and will give your Cherokee a more correct sound.
Cherokee is not English

Sex-gender Neutral Cherokee does not make a distinction between “he”, “she”, or “it”. Whenever you see an English
translation of “he”, you can usually substitute “she” or “it”. To save space and typing, only one of the “he”, “she”, or “it”
words will be provided depending on context.
Language Precision As Cherokee is more precise than English when talking about people, the English words “we” and
“us” will be avoided. They are too vague. Instead the more precise indications of people such as “he and I” and “they and I”
will be used.
Cherokee also makes a clear distinction between “you (one person)”, “you two”, and “you all”. Assume that whenever you
see “you” and not “you two” or “you all” it specifically means “you (one person)”.
Animacy Animacy refers to whether a thing is alive or not. Most alive things are considered animate. Most non-living
things are considered inanimate. If something moves about by itself without outside help, some speakers will use the animate
form.
Written
Long vs Short
For each of the following identify long vs short vowels as found in the pronunciation guide. The first one has been completed
as an example. Compare you answers to the answers in the next section.
8
1. sọ³hne²³la 13. na
(a) short, long, short 14. nvh²gi
2. chạ²ne²³la 15. tạɂ³li
3. jọ²ɂi 16. nị²ga²ɂdu
4. sa²ɂdu 17. jọ²ɂga²ɂdu
5. tạ²ɂldu 18. su²³dạ³li²ne⁴ɂi
6. sa¹gwu⁴ 19. gahl²gwo²³gi²ne⁴ɂi
7. ị²gv²yi⁴ɂi 20. tạɂ²li²ne⁴ɂi
8. hị²ɂahị²ɂa 21. nị²hi
9. u¹hna⁴ 22. hị²sgi
10. ạ³hạ²ni 23. chụ²ne²³la
11. gahl²gwo²³gi 24. ạ³hni
12. jọ²ɂi²ne⁴ɂi 25. nvh²gi²ne⁴ɂi
Questions
1. What are the Cherokee vowels? (a) ¹

2. What are the major dialects of Cherokee? (b) ²
(c) ɂ
3. Where do Cherokee Language speakers normally
place the tip of their tongue? (d) ²³
4. What tone do most Cherokee words end with? (e) ⁴
5. What do each of the following pronunciation marks 6. What Cherokee dialect is being taught in this material?
stand for?
Answers
1. sọ³hne²³la 7. ị²gv²yi⁴ɂi
(a) short, long, short (a) short, long, long, short
2. chạ²ne²³la 8. hị²ɂa
(a) short, long, short (a) short, short
3. jọ²ɂi 9. u¹hna⁴
(a) short, short (a) long, short
4. sa²ɂdu 10. ạ³hạ²ni
(a) long, short (a) short, short, short
5. tạ²ɂldu 11. gahl²gwo²³gi
(a) short, short (a) short, long, short
6. sa¹gwu⁴ 12. jọ²ɂi²ne⁴ɂi
(a) long, short (a) short, long, long, short
9
13. na (a) short, long, long, long, short
(a) short 20. tạɂ²li²ne⁴ɂi
14. nvh²gi (a) short, long, long, short
(a) short, short 21. nị²hi
15. tạɂ³li (a) short, short
(a) short, short 22. hị²sgi
16. nị²ga²ɂdu (a) short, short
(a) short, long, short 23. chụ²ne²³la
17. jọ²ɂga²ɂdu (a) short, long, short
(a) short, long, short 24. ạ³hni
18. su²³dạ³li²ne⁴ɂi (a) short, short
(a) long, short, long, long, short 25. nvh²gi²ne⁴ɂi
19. gahl²gwo²³gi²ne⁴ɂi (a) short, long, long, short
1. What are the Cherokee vowels? 5. What do each of the following pronunciation marks
stand for?
(a) a, e, i, o, u, v
(a) ¹ A low tone that falls.
2. What are the major dialects of Cherokee?
(b) ² A normal even speaking tone.
(a) Elati. Kituhwa. Otali.
(c) ɂ A very brief pause in speech.
3. Where do Cherokee Language speakers normally (d) ²³ A normal speaking tone that rises some in tone.
place the tip of their tongue?
(e) ⁴ A high and rising tone.
(a) Against the lower front teeth
6. What Cherokee dialect is being taught in this material?
4. What tone do most Cherokee words end with?
(a) Otali.
(a) The “high-fall” or ⁴³ tone.
10
ᎠᏯᏙᎸᎢ 3
ᏦᎢᏁᎢ ᎠᏕᎶᏆᏍᏗ
The Syllabary
The Cherokee syllabary was invented by a single individual named Sequoyah (ᏍᏏᏉᏯ) to write the Cherokee
language in 1819. He is credited as the only known person in history to create an alphabet from scratch without
knowing how to read or write.
Around 1809, impressed by the “talking leaves” of European written languages, Sequoyah began work to
create a writing system for the Cherokee language. After attempting to create a character for each word, Se-
quoyah realized this would be too difficult and eventually created characters to represent syllables… He worked
on the syllabary for twelve years before completion… The rapid dissemination of the syllabary is notable, and
by 1824, most Cherokees could read and write in the newly developed writing system.
In 1828, the ordering of the Syllabary and each letter’s shape were modified by Cherokee author and editor
Elias Boudinot to adapt the Syllabary to the printing press… for the creation of the “Cherokee Phoenix (ᏣᎳᎩ
ᏧᎴᎯᏌᏅᎯ)”, the first newspaper published in a Native American language… A digitized, searchable version of
the paper is available through the University of Georgia Libraries and the Digital Library of Georgia.
http://en.wikipedia.org/wiki/Cherokee_alphabet
http://en.wikipedia.org/wiki/Cherokee_Phoenix
11
The importance of writing in learning the Cherokee Syllabary.
Learning the Cherokee Syllabary is not difficult if the right technique is used. ☞ You should be able to learn the Cherokee
Syllabary with three to five days of dedicated study.
The best way to learn any writing system is by writing it. Unless you learn to write the Syllabary, you will be spending a lot
of effort just to learn to read Cherokee. The physical act of writing will dramatically reduce the amount of time it takes for
you to learn the Cherokee Syllabary. You need to associate a physical response with each letter’s shape.
Simply starting out by writing each letter over and over will not work. Your brain will quickly become numb to the infor-
mation you are trying to learn and you will encounter great difficulty going beyond a dozen or so letters. Instead you need
to use challenge and response exercises that have been crafted using a pattern that prevents this numbness from occurring.
Such an approach will give you the ability to learn many words in very short order with a much longer retention time. One
such solution is to use a pattern based on the “Graduated Interval Recall” method pioneered by Dr. Paul Pimsleur:
Graduated-interval recall is a specific method of spaced repetition, published by Paul Pimsleur in 1967…
Graduated Interval Recall is a complex name for a very simple theory about memory. No aspect of learning a
foreign language is more important than memory, yet before Dr. Pimsleur’s work, no one had explored more
effective ways for building language memory…
http://en.wikipedia.org/wiki/Graduated_interval_recall
After studying Dr. Pimsleur’s Graduated Interval Recall methodology, specially ordered exercises were created for different
groupings of the Cherokee Syllabary letters that indicate when each letter should be written down.
The writing exercises have been broken out into four sessions. One session per day. The first three sessions are learning new
letters. The fourth session is a comprehensive review exercise.
It works out best if you do each session twice per day. Once in the morning and once in the evening.
During your later lessons, if you are having problems recognizing any of the Syllabary, simply do the final session as a
refresher.
12
Day 1
Syllabary Writing Practice Ꭰ-Ꭶ

About
Each writing exercise will consist of two parts:
• Initial writing exercise.

– This brief exercise exists solely to introduce you to the shapes of these new letters.
• Full practice exercise.
– This is the exercise through which you will actually learn the Syllabary.
Learning the shapes.
This exercise covers “Ꭰ (a)”, “Ꭱ (e)”, “Ꭲ (i)”, “Ꭳ (o)”, “Ꭴ (u)”, “Ꭵ (v)” and “Ꭶ (ga)”.
Estimated time: 5 minutes.
The purpose of this exercise is to learn the hand strokes needed for writing each of the letters. Write the following line out
six times. Take your time and draw each letter step by step as depicted in the following figure. Do not write out the English
pronunciation next to each letter. Instead as you write each letter, say aloud its name while keeping the tip of your tongue
against the backside of your lower front teeth.
Recognition Practice.

Write out the English pronunciation for each of the following Cherokee letters:
Ꭰ Ꭱ Ꭰ Ꭱ Ꭲ Ꭱ Ꭰ Ꭲ Ꭳ Ꭱ Ꭲ Ꭳ Ꭴ Ꭳ
Ꭰ Ꭲ Ꭴ Ꭱ Ꭳ Ꭴ Ꭵ Ꭶ Ꭲ Ꭴ Ꭵ Ꭳ Ꭶ Ꭵ
Ꭰ Ꭶ Ꭴ Ꭱ Ꭶ Ꭵ Ꭲ Ꭳ Ꭶ Ꭴ Ꭵ Ꭶ Ꭰ Ꭱ
Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ Ꭱ Ꭰ Ꭱ Ꭲ Ꭳ Ꭰ Ꭲ Ꭳ
Ꭱ Ꭳ Ꭴ Ꭲ Ꭴ Ꭵ Ꭳ Ꭵ Ꭶ Ꭴ Ꭶ Ꭵ Ꭰ Ꭶ
Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ
Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ Ꭵ Ꭰ Ꭱ Ꭲ Ꭴ Ꭵ Ꭶ
Writing Practice.

Write out the Cherokee letter for each of the following English pronunciations:
a e a e i e a i o e i o u o
a i u e o u v ga i u v o ga v
a ga u e ga v i o ga u v ga a e
i o u v ga a e a e i o a i o
e o u i u v o v ga u ga v a ga
e i o u v ga a e i o u v ga a
e i o u v ga a v a e i u v ga
13
Audio Dictation Practice

Have a partner call out each of the following letters. (If you don’t have a partner, search Youtube.com for “Cherokee Syllabary
Dictation Practice” to find some dictation videos). As the letters are called out, write each one down. At the end of each line,
your partner should say “next line”. The purpose of this exercise is to learn the letters based strictly on sound.
Switch places with your partner and repeat the exercise.
Ꭰ Ꭱ Ꭰ Ꭱ Ꭲ Ꭳ Ꭰ Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭲ Ꭳ
Ꭰ Ꭱ Ꭴ Ꭵ Ꭶ Ꭰ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ Ꭱ Ꭲ
Ꭶ Ꭰ Ꭱ Ꭴ Ꭵ Ꭱ Ꭲ Ꭳ Ꭶ Ꭰ Ꭱ Ꭲ Ꭳ Ꭴ
Ꭳ Ꭴ Ꭵ Ꭶ Ꭴ Ꭵ Ꭱ Ꭲ Ꭳ Ꭴ Ꭶ Ꭰ Ꭵ Ꭶ
Ꭳ Ꭴ Ꭰ Ꭱ Ꭵ Ꭶ Ꭱ Ꭲ Ꭳ Ꭵ Ꭶ Ꭳ Ꭴ Ꭵ
Ꭶ Ꭰ Ꭵ Ꭶ Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ Ꭱ Ꭰ Ꭱ
Ꭰ Ꭲ Ꭱ Ꭲ Ꭳ Ꭰ Ꭲ Ꭳ Ꭱ Ꭴ Ꭳ Ꭴ Ꭵ Ꭲ
*** NEXT PAGE ***
Ꭵ Ꭴ Ꭵ Ꭶ Ꭳ Ꭶ Ꭰ Ꭵ Ꭶ Ꭱ Ꭴ Ꭰ Ꭶ Ꭰ
Ꭱ Ꭲ Ꭵ Ꭰ Ꭱ Ꭲ Ꭳ Ꭶ Ꭰ Ꭱ Ꭲ Ꭳ Ꭴ Ꭱ
Ꭲ Ꭳ Ꭰ Ꭳ Ꭵ Ꭲ Ꭴ Ꭱ Ꭳ Ꭶ Ꭰ Ꭴ Ꭵ Ꭱ
Ꭲ Ꭴ Ꭳ Ꭵ Ꭰ Ꭲ Ꭴ Ꭵ Ꭶ Ꭱ Ꭳ Ꭵ Ꭶ Ꭴ
Ꭶ Ꭴ Ꭲ Ꭳ Ꭵ Ꭶ Ꭵ Ꭶ Ꭴ Ꭵ Ꭰ Ꭱ Ꭶ Ꭲ
Ꭳ Ꭰ Ꭴ Ꭱ Ꭵ Ꭲ Ꭳ Ꭶ Ꭴ Ꭵ Ꭶ Ꭰ Ꭱ Ꭲ
Ꭳ Ꭴ Ꭵ Ꭶ Ꭰ Ꭲ Ꭴ Ꭰ Ꭱ Ꭲ Ꭳ Ꭴ Ꭶ Ꭲ
Syllabary Writing Practice Ꭷ-Ꭽ

This exercise covers “Ꭷ (ka)”, “Ꭸ (ge)”, “Ꭹ (gi)”, “Ꭺ (go)”, “Ꭻ (gu)”, “Ꭼ (gv)”, and “Ꭽ (ha)”.

Handwrite the English pronunciation for each of the following Cherokee letters:
Ꭷ Ꭸ Ꭷ Ꭸ Ꭹ Ꭺ Ꭷ Ꭸ Ꭹ Ꭺ Ꭻ Ꭼ Ꭹ Ꭺ
Ꭷ Ꭸ Ꭻ Ꭼ Ꭽ Ꭰ Ꭹ Ꭺ Ꭻ Ꭼ Ꭽ Ꭰ Ꭱ Ꭲ
Ꭽ Ꭰ Ꭷ Ꭸ Ꭻ Ꭼ Ꭱ Ꭲ Ꭹ Ꭺ Ꭽ Ꭰ Ꭱ Ꭲ
Ꭳ Ꭴ Ꭳ Ꭴ Ꭵ Ꭶ Ꭻ Ꭼ Ꭱ Ꭲ Ꭳ Ꭴ Ꭽ Ꭰ
Ꭵ Ꭶ Ꭳ Ꭴ Ꭷ Ꭸ Ꭵ Ꭶ Ꭱ Ꭲ Ꭹ Ꭺ Ꭵ Ꭶ
Ꭳ Ꭴ Ꭻ Ꭼ Ꭽ Ꭰ Ꭵ Ꭶ Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ
Ꭷ Ꭸ Ꭷ Ꭸ Ꭷ Ꭹ Ꭸ Ꭹ Ꭺ Ꭷ Ꭹ Ꭺ Ꭸ Ꭻ
14
Writing Practice.

Handwrite the Cherokee letter for each of the following English pronunciations.
go gu gv gi gv gu gv ha go ha ka gv ha ge
gu a ha a e gi gv a e i go ha a e
i o gu e i o a o gv i u e o ha
ka u v ge i u o v a gi u v ga e
go v ga u ga gu i o v ga gv ha ga u
v a e ga i o ka u ge v gi go ga gu
gv ha a e i o u v ga ka ge gi go gu

Have a partner call out each of the following letters. As the letters are called out, write each one down. At the end of each
line, your partner should say “next line”. The purpose of this exercise is to learn the letters based strictly on sound.
Ꭷ Ꭸ Ꭷ Ꭸ Ꭹ Ꭺ Ꭷ Ꭸ Ꭹ Ꭺ Ꭻ Ꭼ Ꭹ Ꭺ
Ꭷ Ꭸ Ꭻ Ꭼ Ꭽ Ꭰ Ꭹ Ꭺ Ꭻ Ꭼ Ꭽ Ꭰ Ꭱ Ꭲ
Ꭽ Ꭰ Ꭷ Ꭸ Ꭻ Ꭼ Ꭱ Ꭲ Ꭹ Ꭺ Ꭽ Ꭰ Ꭱ Ꭲ
Ꭳ Ꭴ Ꭳ Ꭴ Ꭵ Ꭶ Ꭻ Ꭼ Ꭱ Ꭲ Ꭳ Ꭴ Ꭽ Ꭰ
Ꭵ Ꭶ Ꭳ Ꭴ Ꭷ Ꭸ Ꭵ Ꭶ Ꭱ Ꭲ Ꭹ Ꭺ Ꭵ Ꭶ
Ꭳ Ꭴ Ꭻ Ꭼ Ꭽ Ꭰ Ꭵ Ꭶ Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ
Ꭷ Ꭸ Ꭷ Ꭸ Ꭷ Ꭹ Ꭸ Ꭹ Ꭺ Ꭷ Ꭹ Ꭺ Ꭸ Ꭻ
*** NEXT PAGE ***
Ꭺ Ꭻ Ꭼ Ꭹ Ꭼ Ꭻ Ꭼ Ꭽ Ꭺ Ꭽ Ꭷ Ꭼ Ꭽ Ꭸ
Ꭻ Ꭰ Ꭽ Ꭰ Ꭱ Ꭹ Ꭼ Ꭰ Ꭱ Ꭲ Ꭺ Ꭽ Ꭰ Ꭱ
Ꭲ Ꭳ Ꭻ Ꭱ Ꭲ Ꭳ Ꭰ Ꭳ Ꭼ Ꭲ Ꭴ Ꭱ Ꭳ Ꭽ
Ꭷ Ꭴ Ꭵ Ꭸ Ꭲ Ꭴ Ꭳ Ꭵ Ꭰ Ꭹ Ꭴ Ꭵ Ꭶ Ꭱ
Ꭺ Ꭵ Ꭶ Ꭴ Ꭶ Ꭻ Ꭲ Ꭳ Ꭵ Ꭶ Ꭼ Ꭽ Ꭶ Ꭴ
Ꭵ Ꭰ Ꭱ Ꭶ Ꭲ Ꭳ Ꭷ Ꭴ Ꭸ Ꭵ Ꭹ Ꭺ Ꭶ Ꭻ
Ꭼ Ꭽ Ꭰ Ꭱ Ꭲ Ꭳ Ꭴ Ꭵ Ꭶ Ꭷ Ꭸ Ꭹ Ꭺ Ꭻ
15
Day 2
Syllabary Writing Practice Ꭾ-Ꮄ

This exercise covers “Ꭾ (he)”, “Ꭿ (hi)”, “Ꮀ (ho)”, “Ꮁ (hu)”, “Ꮂ (hv)”, “Ꮃ (la)”, and “Ꮄ (le)”.

Ꭾ Ꭿ Ꭾ Ꭿ Ꮀ Ꮁ Ꭾ Ꭿ Ꮀ Ꮁ Ꮂ Ꮃ Ꮀ Ꮁ
Ꭾ Ꭿ Ꮂ Ꮃ Ꮄ Ꭷ Ꮀ Ꮁ Ꮂ Ꮃ Ꮄ Ꭷ Ꭸ Ꭹ
Ꮄ Ꭷ Ꭾ Ꭿ Ꮂ Ꮃ Ꭸ Ꭹ Ꮀ Ꮁ Ꮄ Ꭷ Ꭸ Ꭹ
Ꭺ Ꭻ Ꭺ Ꭻ Ꭼ Ꭽ Ꮂ Ꮃ Ꭸ Ꭹ Ꭺ Ꭻ Ꮄ Ꭷ
Ꭼ Ꭽ Ꭺ Ꭻ Ꭾ Ꭿ Ꭼ Ꭽ Ꭸ Ꭹ Ꮀ Ꮁ Ꭼ Ꭽ
Ꭺ Ꭻ Ꮂ Ꮃ Ꮄ Ꭷ Ꭼ Ꭽ Ꭸ Ꭹ Ꭺ Ꭻ Ꭼ Ꭽ
Ꭾ Ꭿ Ꭾ Ꭿ Ꭾ Ꮀ Ꭿ Ꮀ Ꮁ Ꭾ Ꮀ Ꮁ Ꭿ Ꮂ
Writing Practice.

hu hv la ho la hv la le hu le he la le hi
hv ka le ka ge ho la ka ge gi hu le ka ge
gi go hv ge gi go ka go la gi gu ge go le
he gu gv hi gi gu go gv ka ho gu gv ha ge
hu gv ha gu ha hv gi go gv ha la le ha gu
gv ka ge ha gi go he gu hi gv ho hu ha hv
la le ka ge gi go gu gv ha he hi ho hu hv

16
Ꭾ Ꭿ Ꭾ Ꭿ Ꮀ Ꮁ Ꭾ Ꭿ Ꮀ Ꮁ Ꮂ Ꮃ Ꮀ Ꮁ
Ꭾ Ꭿ Ꮂ Ꮃ Ꮄ Ꭷ Ꮀ Ꮁ Ꮂ Ꮃ Ꮄ Ꭷ Ꭸ Ꭹ
Ꮄ Ꭷ Ꭾ Ꭿ Ꮂ Ꮃ Ꭸ Ꭹ Ꮀ Ꮁ Ꮄ Ꭷ Ꭸ Ꭹ
Ꭺ Ꭻ Ꭺ Ꭻ Ꭼ Ꭽ Ꮂ Ꮃ Ꭸ Ꭹ Ꭺ Ꭻ Ꮄ Ꭷ
Ꭼ Ꭽ Ꭺ Ꭻ Ꭾ Ꭿ Ꭼ Ꭽ Ꭸ Ꭹ Ꮀ Ꮁ Ꭼ Ꭽ
Ꭺ Ꭻ Ꮂ Ꮃ Ꮄ Ꭷ Ꭼ Ꭽ Ꭸ Ꭹ Ꭺ Ꭻ Ꭼ Ꭽ
Ꭾ Ꭿ Ꭾ Ꭿ Ꭾ Ꮀ Ꭿ Ꮀ Ꮁ Ꭾ Ꮀ Ꮁ Ꭿ Ꮂ
*** NEXT PAGE ***
Ꮁ Ꮂ Ꮃ Ꮀ Ꮃ Ꮂ Ꮃ Ꮄ Ꮁ Ꮄ Ꭾ Ꮃ Ꮄ Ꭿ
Ꮂ Ꭷ Ꮄ Ꭷ Ꭸ Ꮀ Ꮃ Ꭷ Ꭸ Ꭹ Ꮁ Ꮄ Ꭷ Ꭸ
Ꭹ Ꭺ Ꮂ Ꭸ Ꭹ Ꭺ Ꭷ Ꭺ Ꮃ Ꭹ Ꭻ Ꭸ Ꭺ Ꮄ
Ꭾ Ꭻ Ꭼ Ꭿ Ꭹ Ꭻ Ꭺ Ꭼ Ꭷ Ꮀ Ꭻ Ꭼ Ꭽ Ꭸ
Ꮁ Ꭼ Ꭽ Ꭻ Ꭽ Ꮂ Ꭹ Ꭺ Ꭼ Ꭽ Ꮃ Ꮄ Ꭽ Ꭻ
Ꭼ Ꭷ Ꭸ Ꭽ Ꭹ Ꭺ Ꭾ Ꭻ Ꭿ Ꭼ Ꮀ Ꮁ Ꭽ Ꮂ
Ꮃ Ꮄ Ꭷ Ꭸ Ꭹ Ꭺ Ꭻ Ꭼ Ꭽ Ꭾ Ꭿ Ꮀ Ꮁ Ꮂ
Syllabary Writing Practice Ꮅ-Ꮋ

This exercise covers “Ꮅ (li)”, “Ꮆ (lo)”, “Ꮇ (lu)”, “Ꮈ (lv)”, “Ꮉ (ma)”, “Ꮊ (me)”, and “Ꮋ (mi)”
Recognition Practice. Estimated time: 10 minutes.

Ꮅ Ꮆ Ꮅ Ꮆ Ꮇ Ꮈ Ꮅ Ꮆ Ꮇ Ꮈ Ꮉ Ꮊ Ꮇ Ꮈ
Ꮅ Ꮆ Ꮉ Ꮊ Ꮋ Ꭾ Ꮇ Ꮈ Ꮉ Ꮊ Ꮋ Ꭾ Ꭿ Ꮀ
Ꮋ Ꭾ Ꮅ Ꮆ Ꮉ Ꮊ Ꭿ Ꮀ Ꮇ Ꮈ Ꮋ Ꭾ Ꭿ Ꮀ
Ꮁ Ꮂ Ꮁ Ꮂ Ꮃ Ꮄ Ꮉ Ꮊ Ꭿ Ꮀ Ꮁ Ꮂ Ꮋ Ꭾ
Ꮃ Ꮄ Ꮁ Ꮂ Ꮅ Ꮆ Ꮃ Ꮄ Ꭿ Ꮀ Ꮇ Ꮈ Ꮃ Ꮄ
Ꮁ Ꮂ Ꮉ Ꮊ Ꮋ Ꭾ Ꮃ Ꮄ Ꭿ Ꮀ Ꮁ Ꮂ Ꮃ Ꮄ
Ꮅ Ꮆ Ꮅ Ꮆ Ꮅ Ꮇ Ꮆ Ꮇ Ꮈ Ꮅ Ꮇ Ꮈ Ꮆ Ꮉ
Writing Practice. Estimated time: 10 minutes.

lv ma me lu me ma me mi lv mi li me mi lo
ma he mi he hi lu me he hi ho lv mi he hi
ho hu ma hi ho hu he hu me ho hv hi hu mi
li hv la lo ho hv hu la he lu hv la le hi
lv la le hv le ma ho hu la le me mi le hv
la he hi le ho hu li hv lo la lu lv le ma
me mi he hi ho hu hv la le li lo lu lv ma
17
Audio Dictation Practice Estimated time: 20 minutes.
Ꮅ Ꮆ Ꮅ Ꮆ Ꮇ Ꮈ Ꮅ Ꮆ Ꮇ Ꮈ Ꮉ Ꮊ Ꮇ Ꮈ
Ꮅ Ꮆ Ꮉ Ꮊ Ꮋ Ꭾ Ꮇ Ꮈ Ꮉ Ꮊ Ꮋ Ꭾ Ꭿ Ꮀ
Ꮋ Ꭾ Ꮅ Ꮆ Ꮉ Ꮊ Ꭿ Ꮀ Ꮇ Ꮈ Ꮋ Ꭾ Ꭿ Ꮀ
Ꮁ Ꮂ Ꮁ Ꮂ Ꮃ Ꮄ Ꮉ Ꮊ Ꭿ Ꮀ Ꮁ Ꮂ Ꮋ Ꭾ
Ꮃ Ꮄ Ꮁ Ꮂ Ꮅ Ꮆ Ꮃ Ꮄ Ꭿ Ꮀ Ꮇ Ꮈ Ꮃ Ꮄ
Ꮁ Ꮂ Ꮉ Ꮊ Ꮋ Ꭾ Ꮃ Ꮄ Ꭿ Ꮀ Ꮁ Ꮂ Ꮃ Ꮄ
Ꮅ Ꮆ Ꮅ Ꮆ Ꮅ Ꮇ Ꮆ Ꮇ Ꮈ Ꮅ Ꮇ Ꮈ Ꮆ Ꮉ
*** NEXT PAGE ***
Ꮈ Ꮉ Ꮊ Ꮇ Ꮊ Ꮉ Ꮊ Ꮋ Ꮈ Ꮋ Ꮅ Ꮊ Ꮋ Ꮆ
Ꮉ Ꭾ Ꮋ Ꭾ Ꭿ Ꮇ Ꮊ Ꭾ Ꭿ Ꮀ Ꮈ Ꮋ Ꭾ Ꭿ
Ꮀ Ꮁ Ꮉ Ꭿ Ꮀ Ꮁ Ꭾ Ꮁ Ꮊ Ꮀ Ꮂ Ꭿ Ꮁ Ꮋ
Ꮅ Ꮂ Ꮃ Ꮆ Ꮀ Ꮂ Ꮁ Ꮃ Ꭾ Ꮇ Ꮂ Ꮃ Ꮄ Ꭿ
Ꮈ Ꮃ Ꮄ Ꮂ Ꮄ Ꮉ Ꮀ Ꮁ Ꮃ Ꮄ Ꮊ Ꮋ Ꮄ Ꮂ
Ꮃ Ꭾ Ꭿ Ꮄ Ꮀ Ꮁ Ꮅ Ꮂ Ꮆ Ꮃ Ꮇ Ꮈ Ꮄ Ꮉ
Ꮊ Ꮋ Ꭾ Ꭿ Ꮀ Ꮁ Ꮂ Ꮃ Ꮄ Ꮅ Ꮆ Ꮇ Ꮈ Ꮉ
18
Day 3
Syllabary Writing Practice Ꮌ-Ꮒ

This exercise covers “Ꮌ (mo)”, “Ꮍ (mu)”, “Ꮎ (na)”, “Ꮏ (hna)”, “Ꮐ (nah)”, “Ꮑ (ne)”, and “Ꮒ (ni)”.

Ꮌ Ꮍ Ꮌ Ꮍ Ꮎ Ꮏ Ꮌ Ꮍ Ꮎ Ꮏ Ꮐ Ꮑ Ꮎ Ꮏ
Ꮌ Ꮍ Ꮐ Ꮑ Ꮒ Ꮅ Ꮎ Ꮏ Ꮐ Ꮑ Ꮒ Ꮅ Ꮆ Ꮇ
Ꮒ Ꮅ Ꮌ Ꮍ Ꮐ Ꮑ Ꮆ Ꮇ Ꮎ Ꮏ Ꮒ Ꮅ Ꮆ Ꮇ
Ꮈ Ꮉ Ꮈ Ꮉ Ꮊ Ꮋ Ꮐ Ꮑ Ꮆ Ꮇ Ꮈ Ꮉ Ꮒ Ꮅ
Ꮊ Ꮋ Ꮈ Ꮉ Ꮌ Ꮍ Ꮊ Ꮋ Ꮆ Ꮇ Ꮎ Ꮏ Ꮊ Ꮋ
Ꮈ Ꮉ Ꮐ Ꮑ Ꮒ Ꮅ Ꮊ Ꮋ Ꮆ Ꮇ Ꮈ Ꮉ Ꮊ Ꮋ
Ꮌ Ꮍ Ꮌ Ꮍ Ꮌ Ꮎ Ꮍ Ꮎ Ꮏ Ꮌ Ꮎ Ꮏ Ꮍ Ꮐ
Writing Practice.

hna nah ne na ne nah ne ni hna ni mo ne ni mu

nah li ni li lo na ne li lo lu hna ni li lo
lu lv nah lo lu lv li lv ne lu ma lo lv ni
mo ma me mu lu ma lv me li na ma me mi lo
hna me mi ma mi nah lu lv me mi ne ni mi ma
me li lo mi lu lv mo ma mu me na hna mi nah
ne ni li lo lu lv ma me mi mo mu na hna nah

19
Another random document with
no related content on Scribd:
Nous franchissons deux portes voûtées et bastionnées, et nous
voici en ville. C’est d’abord une place, ou mieux une cour de
forteresse entourée de bâtiments militaires auxquels des galeries
extérieures, à chaque étage, enlèvent le caractère de tristesse et de
nudité particulier à l’architecture des casernes. Des soldats font
l’exercice, et de tous points éclatent des commandements, des
coups de clairon, des roulements de tambour.
On débouche dans une rue étroite, l’artère principale, Main
Street, qui suit le rocher jusqu’à la pointe d’Europe. Des ruelles
tortueuses escaladent, à gauche, les premiers contreforts et
s’arrêtent brusquement, barrées par le roc, tandis qu’à droite, elles
sont coupées par les bâtiments militaires et les ouvrages de
défense.
En une double ligne de magasins, d’entrepôts, de boutiques
gorgés de marchandises et de denrées anglaises se presse une
population étrange :
Espagnols, Marocains, Grecs, Arabes, juifs de Tanger, nègres,
Allemands, malandrins de toutes les races, « tous gens, dit Richard
Ford, qui se sont expatriés pour le bien de leur pays ». Oh ! la
curieuse foule et la belle collection de coquins ! Je retrouve la ville
algérienne d’il y a vingt-cinq ans, avec son peuple de
banqueroutiers, de renégats, de déclassés, d’aventuriers suspects,
de colons marécageux, de forbans des deux mondes.
Des fantassins en jaquette rouge, des artilleurs bleus, des
tirailleurs noirs, des officiers en tenue ou en bourgeois tranchent par
leur méticuleuse correction avec le négligé des Levantins, la
malpropreté des juifs, le débraillé des Latins, tandis que la blonde
fraîcheur et la raideur des jeunes misses contraste avec le teint mat
et la gracilité des brunes Gibraltariennes.
Çà et là, cependant, des cheveux blonds émergeant de dessous
une mantille indiquent le mélange des races et prouvent que le
vertueux John Bull n’a pas passé toutes ses soirées au prêche ni
ses nuits dans la chasteté.
Malgré huit mille hommes de garnison et une population flottante
de matelots de toutes races, gens de grands appétits et de morale
peu farouche, les commis voyageurs chercheraient vainement dans
la ville, des demoiselles « qui vont en journée la nuit ». La Mission
protestante et la Société évangélique pour la surveillance des
mœurs, qui ont pignon sur la rue principale, boutique de vertu et
entrepôt de crétinisation, ne pouvaient souffrir le trafic de Cythère
dans un siège épiscopal d’évêque anglican. Libre aux catholiques,
aux mécréants, aux infidèles d’être impurs ; un protestant ne l’est
jamais, surtout un protestant anglais. Si les privations du célibat
jointes aux aphrodisiaques climatériques harcèlent Tom Atkins [16] , il
doit sortir de Gibraltar et aller dans les villes espagnoles voisines
chercher pâture à ses « impropres » appétits, à San Roque, San
Felipe, Mayorqa, Algéciras, lieux de perdition que les évangélistes
comparent dans leurs prêches aux sept villes maudites ensevelies
dans la mer Morte ; à moins qu’il ne prenne pour autel de ses
sacrifices au dieu Éros la femme ou la fille de son camarade, plus à
sa portée et à sa convenance.
[16] Surnom du soldat anglais.
Que la pureté de tous ces prêcheurs et chenapans bibliques est

odieuse et insupportable ; et comme ces gens font comprendre et
excuser certaines arquebusades célèbres de jadis !
Les drames sanglants de l’histoire nous semblent à première vue
cruels et abominables ; mais, quand on regarde autour de soi, on
arrive à les expliquer comme fatalités nécessaires.
Qui sait si sans ces moyens extrêmes, sans quelques poignées
de très braves mais très insupportables saints passés hâtivement et
brutalement de vie à trépas, les austères luthériens et les rigides
calvinistes n’auraient pas transformé la belle et joyeuse France en
un triste et laid champ de prêche où à l’heure actuelle nous
rivaliserions de vertus publiques et privées avec les pieux hypocrites
d’outre-Manche et les sots moralistes d’outre-Rhin !
Je ne me trouvais pas en pays nouveau, comptant dans la
garnison une dizaine d’officiers de génie et d’artillerie, vieilles
connaissances de Woolwich, y compris sir John Adye, le gouverneur
de Gibraltar, qui commandait il y a quelques années l’Académie
militaire.
Ma valise repêchée sans trop de dégâts me permit de lui rendre
visite ; mais cette formalité contraire à mes usages fut pour moi un
plaisir bien plus qu’un devoir, plaisir que semble éprouver aussi le
vaillant général qui aime les Français, ayant partagé en Crimée leurs
fatigues et leur héroïsme et qui porte fièrement sur son grand
uniforme la croix de commandeur de la Légion d’honneur.
La très gracieuse lady Adye et lui me font visiter leur palais, car
c’est un palais que cette résidence, ancien prieuré, embelli, orné,
fourni, meublé de tout le confort anglais joint au luxe oriental et où,
entre des galeries mauresques, s’épanouit, sur ce rocher aride et au
milieu de ces bastions, de ces forts et de ces engins de guerre, en
touffes verdoyantes et en fleurs paradisiaques, un vrai coin des
délicieux jardins de Grenade.
Dans la salle de réception sont rangés par ordre chronologique
les portraits des gouverneurs de Gibraltar, gentlemen de grand air et
soldats de haute mine, qui tous, comme les Gomes de Silva, ont
leurs faits d’armes et leur légende.
On sent à chaque pas les constantes préoccupations d’un
gouvernement qui whig ou tory, conservateur ou libéral, a le souci de
ses serviteurs, tient à ce qu’ils représentent dignement le pays,
entourant la fin de leur carrière de respect et de bien-être.
Devenus maîtres de Gibraltar par surprise, les Anglais montrent
bien qu’ils ne sont pas disposés à se laisser reprendre la place. De
1779 à 1782, Espagnols et Français le tentèrent vainement, et si
John Bull perd jamais cette clef de la Méditerranée, ce ne sera pas
manque de précautions.
On a vu que tout étranger ne peut y pénétrer que muni d’un
permis.
Indépendamment de cela, au coucher du soleil un coup de canon
prévient les gens de la banlieue qu’ils aient à déguerpir de la ville, et
à ceux de la ville qui ont eu affaire au dehors qu’ils doivent regagner
au plus vite le logis. Rien de plus comique que le chassé-croisé qui
commence et surtout la vue des retardataires. Piétons, cavaliers,
amazones, muletiers, âniers, carrioles et fiacres se hâtent d’entrer
ou de sortir. La porte divisée en deux empêche d’ailleurs tout heurt
et tout encombrement.
Le poste est sous les armes, le clairon, l’œil au guet sur l’aiguille
de l’horloge et l’embouchure à hauteur des lèvres, attend la seconde
précise.
Aussitôt la sonnerie éclate, et l’adjudant de place, avec une
régularité de chronomètre, pousse les portes et donne un tour de
clef.
Malheur aux traînards ! Toute supplication est vaine ; tout appel à
la pitié superflu. Le mari jaloux et la femme éplorée sont séparés
pour la nuit. Le règlement n’a pas d’oreille, et l’officier, impassible,
porte gravement les clefs au gouverneur, et, à moins d’un ordre
spécial de celui-ci — ordre écrit, signé et timbré — la porte ne
s’ouvre plus qu’au coup de canon du réveil.
Il y a là matière pour un joli vaudeville.
Eh bien, malgré ces exigences d’une ville de guerre, ou, si vous
le préférez, cette « brutale tyrannie du sabre », pas un Gibraltarien
ne voudrait l’échanger contre les douceurs civiles de l’administration
espagnole. Quand je dis Gibraltarien, je parle, bien entendu, de
l’indigène du Lizard of the rock, comme l’appellent, par dérision, les
habitants des villes voisines, sujet anglais de père en fils ou ayant
obtenu la naturalisation après quarante ans de séjour, et non du
cosmopolite véreux, du forban de l’industrie ou du commerce, qui y
est venu chercher un refuge provisoire.
Ce sentiment est un peu celui des Canadiens, qui nous disent
quand nous les visitons : « Nous aimons les français, nous sommes
Français d’origine et de cœur, mais ne voudrions à aucun prix l’être
de fait. » Aveu peu flatteur ; mais il faut bien reconnaître, entre nous,
qu’il est expliqué par les procédés puérils et vexatoires de notre
administration tracassière, procédés qui peuvent ne pas trop nous
choquer, habitués que nous sommes, dès l’enfance, à être
emmaillotés dans une quantité de lisières, mais qui ne manquent
pas de heurter et révolter l’étranger.
Ce système tout latin « d’embêter les gens » se fait sentir aux
portes de Gibraltar. Dès que vous avez franchi le territoire neutre,
vous êtes littéralement assailli par une escouade de carabiniers
espagnols, embusqués à l’entrée de la barrière de San Felipe, qui
vous entraînent dans une caverne douanière où non seulement
votre valise, mais vos poches sont fouillées de belle façon. Tout se
paye, jusqu’à un cigare, jusqu’à une once de tabac trouvée sur vous.
Il faut dire aussi, pour atténuer l’odieux de ces vexations
internationales, que l’occupation de Gibraltar par les Anglais coûte
annuellement, à l’Espagne, cent cinquante millions, soit par la
contrebande [17] , qui se fait sur une échelle d’autant plus vaste que
les fonctionnaires espagnols, dit-on, y prêtent une main
complaisante, soit en faisant dévier le commerce.
[17] Les gens de Ronda, les Rondanos, ont la
spécialité d’introduire en Andalousie, en dépit de tous les
postes de douane, les ballots de cotonnades et de tabacs
entassés dans les magasins de Gibraltar.
Un autre trait caractéristique, qui ne peut manquer de frapper les

Espagnols eux-mêmes, et j’avoue que si j’étais hidalgo je me
sentirais humilié, c’est l’extrême contraste entre les soldats des deux
nations, séparés par le simple terrain neutre d’un mille environ,
lande sablonneuse qui couvre la partie la plus étroite de l’isthme.
D’un côté, l’Anglais, superbe reître bien habillé, bien nourri, d’une
propreté méticuleuse, aussi correct en faction, dans son poste isolé,
sous sa planche mobile qui l’abrite du soleil, et témoigne en même
temps du souci que l’on prend de sa santé, que lorsqu’il défile la
parade devant le palais de Buckingham ; de l’autre, l’Espagnol, mal
vêtu, mal nourri, débraillé, de méchante mine, allongé dans la
poussière.
Je suis loin de vouloir dire que l’habillement, la correction et le
bifteck fassent le soldat, et que les petits fantassins navarrais ou
andalous soient inférieurs en rien, sur le champ de bataille, aux
superbes grenadiers du Middlesex ou du Kent ; mais, quand une
nation sait obliger ses soldats, détachés dans les stations les plus
lointaines et les climats les plus divers, à observer le respect de la
discipline, le self control, à garder l’orgueil de l’uniforme aussi bien
que dans la mère patrie, à être d’autant plus fiers et corrects qu’on
est en face de l’étranger ; que de l’autre côté, au contraire, sur le sol
natal, les soldats semblent livrés au laisser-aller, abandonnés à
l’incurie de chefs indifférents ou somnolents, on ne peut manquer
d’établir involontairement une comparaison qui n’est pas à
l’avantage de ceux-ci.
Puisque je parle de soldats, je ne veux pas terminer sans ajouter
quelques mots sur l’armée espagnole encore toute-puissante dans
le pays.
Il n’y a que deux choses, dit V. Almirall dans son excellent livre
déjà cité, l’Espagne telle qu’elle est, pour lesquelles l’Espagne
marche à la tête des nations européennes, et ces deux choses sont :
sa dette publique et le nombre de ses officiers généraux.
Pour une armée qui ne dépasse pas soixante-dix mille hommes
présents sous les drapeaux, elle compte sept capitaines généraux
ou maréchaux, soixante-seize généraux de division, trois cent
quatre-vingt-quinze généraux de brigade, plus six généraux de l’état-
major du roi, en tout quatre cent quatre-vingt-quatre officiers
généraux, c’est-à-dire plus que la France et l’Angleterre, deux fois
plus que l’Italie, presque le double de l’Allemagne.
Et ces chiffres, comme ceux de la dette publique, dont l’intérêt
est de près de trois cents millions, augmentent tous les ans.
Je ne sais rien des officiers espagnols si ce n’est qu’ils sont
d’une courtoisie exquise et plus aimables compagnons que les
Anglais ; mais, s’il faut s’en rapporter à un récent manifeste du duc
de Bourbon, daté de Tarbes (28 septembre 1886), il se serait établi
dans l’armée, comme à Madrid au temps de Figaro, un système
d’espionnage et de dénonciation plus digne de disciples de la
jésuitière de Loyola que des cadets de l’École de Tolède ; « le
colonel est espionné par le commandant, celui-ci par le capitaine, le
capitaine par le lieutenant, l’officier par le sergent. »
J’ajoute que je n’en crois rien pour l’honneur de toutes les
armées.
Avec Gibraltar à l’ouest, l’Égypte à l’est, Malte et Chypre au
centre, la Méditerranée est devenue en quelque sorte un lac anglais
et la Grande-Bretagne semble réaliser à son profit le rêve que faisait
Napoléon pour la France.
Mais le rocher de Gibraltar mérite-t-il bien la réputation que les
Anglais ont contribué à lui faire ?
S’il faut s’en rapporter aux organes militaires, plus compétents en
cette matière que les épiciers du Times, Gibraltar avec les nouveaux
engins de destruction ne serait plus qu’une forteresse fantoche. Sa
force ne repose que sur la routine et les préjugés, les préjugés d’une
nation avant tout marchande, qui a trop longtemps négligé les
choses de la guerre pour être à hauteur du mouvement qui entraîne
l’Europe.
Nous sommes loin en 1888 des batteries flottantes de M. d’Arçon
que les forts de Gibraltar coulèrent en 1783 si aisément, ce qui fit
dire au comte d’Artois accouru de Versailles pour assister au
bombardement de la place que de toutes les batteries françaises,
celle qui se signala le plus, avait été sa batterie de cuisine.
Disons le mot, ou plutôt répétons ce que disent les officiers
anglais eux-mêmes. L’inexpugnabilité de Gibraltar n’est plus à
discuter quand en une demi-heure un cuirassé de cent dix tonnes
peut mettre tous ses forts en pièces !
Quant à commander le détroit et à empêcher les navires de
passer, il suffit de jeter un coup d’œil sur la carte pour en reconnaître
l’impossibilité matérielle. Tant que Ceuta ne sera pas anglais,
Gibraltar peut être utile en temps de guerre comme place d’armes,
comme station de charbon, comme port de refuge, non contre la
grosse mer, car la baie n’est pas sûre, mais contre les croiseurs
ennemis. C’est du moins l’opinion générale. Pour les deux premiers
cas, rien de plus juste ; quant au troisième, s’imaginer que des
vaisseaux trouveraient un refuge sous les canons des forts est une
erreur, par la raison bien simple qu’il n’y a pas à Gibraltar un seul
canon qui pourrait protéger un navire contre un cuirassé, et qu’un
cuirassé de cent dix tonnes mettrait, je le répète, la place en pièces
en trente minutes.
Les ingénieurs militaires reconnaissent eux-mêmes qu’il n’y a
pas moins de quatre points d’où un cuirassé bombarderait aisément
la ville sans qu’un seul canon puisse l’atteindre. Les seules grosses
pièces actuelles sont deux canons Armstrong de cent tonnes
commandés par le gouvernement italien et achetés 50 000 livres
sterling par les Anglais pendant les menaces de guerre de la Russie.
Pièces dites Muzzle-loaders, d’un calibre et d’un modèle hors
d’usage et montées de telle sorte qu’elles ne peuvent balayer la mer.
Mais assez sur Gibraltar et revenons, pour conclure, à l’Espagne.
On dit qu’elle se relève, qu’en nombre de villes le commerce
renaît, que l’industrie s’étend, que Madrid est gai, Barcelone, Séville
et Malaga prospères ! Mais il faut voir l’intérieur, s’arrêter dans les
bourgades ruinées et misérables, où l’ignorance et la superstition
règnent en despotes. Aucun élément de culture moderne, aucune
aspiration vers un mieux matériel, nul sentiment du plus vulgaire
confort. C’est toujours le pays dont parlait Saint-Simon : « La science
y est un crime ; l’ignorance et la stupidité, la première vertu. »
Dans un roman de Fernan Caballero, la Famille d’Alvareda, il est
une vieille qui peut passer pour le type de toutes les paysannes,
jeunes et vieilles, rencontrées dans ma traversée d’Irun à Malaga.
Un de ses petits-fils, revenu de l’armée, raconte avoir entendu dire
par des camarades qu’il existe des pays où l’on ne joue pas du
couteau, où il n’y a ni combats de taureaux, ni frères, ni moines, où
le ciel est gris, le soleil sans brûlants rayons, les églises sans
chapelles, la vierge sans images, où il n’y a ni rosaire ni scapulaire,
et où tous les petits enfants savent lire et écrire ; la Vieille s’exclame
toute frissonnante de joie après la stupéfaction première : « Oh ! mon
soleil, mon scapulaire, mon église, ma Vierge santissima, ma terre,
ma foi et mon Dieu ! Bienheureuse mille fois d’être née ici et d’y
mourir ! Grâce au ciel, tu n’es pas allé à ce pays, fils, pays maudit
d’hérétiques. »
Aussi pas un rayon d’intelligence n’allume leur regard.
L’hébétude seule s’y lit, l’hébétude résignée de la bête passive,
livrée à ses seuls besoins, sa routine et ses instincts. Boire, manger,
dormir, entretenir une lampe devant une image et s’agenouiller deux
fois par jour au pied d’une idole de plâtre ou de bois !
L’Espagne pourra se relever, mais quand elle aura répandu
l’instruction au fond de ses bourgades, non pour qu’elles rejettent
sur le pavé de Madrid des légions affamées de surnuméraires et
d’institutrices, mais pour arracher la population à son lamentable état
d’indifférence et d’abrutissement fataliste.
Elle se relèvera quand elle sera sûre du lendemain, à l’abri des
pronunciamientos ; quand son budget de la guerre n’absorbera pas
la plus grande partie de ses ressources, que la conscription ne
prendra plus tous ses hommes valides, et que son trésor ne sera
plus en état de permanente banqueroute [18] .
[18] La dette flottante se montait, au moment où
j’écrivais ces lignes (nov. 1887), à 112 millions 400 000
pesetas.
Elle se relèvera surtout quand elle aura secoué l’exploitation

anglo-saxonne qui la dévore, lutté contre la concurrence allemande
qui inonde de ses pacotilles tous ses marchés, écrasant les
industries locales, les tarissant à leur source, fournissant les
mantilles à Madrid, les éventails à Séville, la coutellerie à Tolède, la
soierie à Murcie, la faïencerie à Valence, les vins à l’Andalousie et
les alcools partout !
FIN
TABLE DES MATIÈRES
Pages.
I. Entrée en Espagne 1
II. Les Passages 12
III. De Saint-Sébastien à Deva 17
IV. Le capitaine Bonelli 21
V. Loyola 26
VI. A travers les Andes 40
VII. Le palacio d’Urvaza 46
VIII. Messe au palacio 54
IX. Estella 60
X. Logroño 67
XI. Le col de Piqueras 73
XII. Histoire de brigands 79
XIII. La vieille Castille 88
XIV. Les ruines de Numance et Soria 93
XV. Madrid 101
XVI. Flamencos et peteneras 107
XVII. A los Toros ! 118
XVIII. Les toreros 134
XIX. L’Escorial 140
XX. Tolède 146
XXI. La petite dévote de Compostelle 152
XXII. La Vierge en chemise et le Christ en jupon 158
XXIII. Les bonnes lames de Tolède 164
XXIV. Visite aux fous 170
XXV. Le coin des folles 175
XXVI. A travers la Manche 180
XXVII. Mançanarès 185
XXVIII. El Muradiel 191
XXIX. La Carolina 196
XXX. De Baylen à Cordoue 201
XXXI. Grenade 211
XXXII. Les gitanos 217
XXXIII. Les bandoleros 223
XXXIV. Une exécution 228
XXXV. Route de Motril 233
XXXVI. La posada du Paradis 238
XXXVII. Motril et Malaga 245
XXXVIII. L’auberge du Grand Saint Iago 253
XXXIX. A travers l’Andalousie 259
XL. Séville 263
XLI. Les deux Maria de don Pedro 270
XLII. Les cigarières 277
XLIII. Sur le Guadalquivir 282
XLIV. Cadix 289
XLV. De Cadix à Algéciras 299
XLVI. Gibraltar 304
13442. — Imprimeries réunies, A, rue Mignon, 2, Paris.

Extrait du Catalogue général de la BIBLIOTHÈQUE CHARPENTIER
11, RUE DE GRENELLE, 11, PARIS
à 3 fr. 50 le volume
VOYAGES
THÉOPHILE GAUTIER
Voyage en Russie 1 vol.
L’Orient 2 vol.
Voyage en Espagne 1 vol.
Voyage en Italie 1 vol.
GÉRARD DE NERVAL
Voyage en Orient 1 vol.
GASTON LEMAY
A bord de la Junon 1 vol.
KOHN-ABREST
Zigzags en Bulgarie 1 vol.
VICTOR FOURNEL
Voyages hors de ma chambre 1 vol.
G. FERRY
Scènes de la vie sauvage au Mexique 1 vol.
Baron ERNOUF (traduit de l’allemand)
Du Weser au Zambèze. — Chez les Zoulous 1 vol.
JULES ARÈNE
La Chine familière et galante 1 vol.
J. VILBORT
En Kabylie, Voyage d’une Parisienne au Djurjura 1 vol.
SIMONIN
A travers les États-Unis 1 vol.
Le Grand-Ouest des États-Unis 1 vol.
THOMAS ANQUETIL
AVENTURES ET CHASSES DANS L’EXTRÊME-ORIENT
Hommes et Bêtes 1 vol.
Le Sport de l’éléphant 1 vol.
La Chasse au tigre 1 vol.
Imprimeries réunies, A, rue Mignon, 2, Paris. — 13867.

*** END OF THE PROJECT GUTENBERG EBOOK SAC AU DOS À
TRAVERS L'ESPAGNE ***
Updated editions will replace the previous one—the old editions

will be renamed.
Creating the works from print editions not protected by U.S.

copyright law means that no one owns a United States copyright
in these works, so the Foundation (and you!) can copy and
distribute it in the United States without permission and without
paying copyright royalties. Special rules, set forth in the General
Terms of Use part of this license, apply to copying and
distributing Project Gutenberg™ electronic works to protect the
PROJECT GUTENBERG™ concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if
you charge for an eBook, except by following the terms of the
trademark license, including paying royalties for use of the
Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is
very easy. You may use this eBook for nearly any purpose such
as creation of derivative works, reports, performances and
research. Project Gutenberg eBooks may be modified and
printed and given away—you may do practically ANYTHING in
the United States with eBooks not protected by U.S. copyright
law. Redistribution is subject to the trademark license, especially
commercial redistribution.
START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the

free distribution of electronic works, by using or distributing this
work (or any other work associated in any way with the phrase
“Project Gutenberg”), you agree to comply with all the terms of
the Full Project Gutenberg™ License available with this file or
online at www.gutenberg.org/license.
Section 1. General Terms of Use and

Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand,
agree to and accept all the terms of this license and intellectual
property (trademark/copyright) agreement. If you do not agree to
abide by all the terms of this agreement, you must cease using
and return or destroy all copies of Project Gutenberg™
electronic works in your possession. If you paid a fee for
obtaining a copy of or access to a Project Gutenberg™
electronic work and you do not agree to be bound by the terms
of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only

be used on or associated in any way with an electronic work by
people who agree to be bound by the terms of this agreement.
There are a few things that you can do with most Project
Gutenberg™ electronic works even without complying with the
full terms of this agreement. See paragraph 1.C below. There
are a lot of things you can do with Project Gutenberg™
electronic works if you follow the terms of this agreement and
help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the
collection of Project Gutenberg™ electronic works. Nearly all the
individual works in the collection are in the public domain in the
United States. If an individual work is unprotected by copyright
law in the United States and you are located in the United
States, we do not claim a right to prevent you from copying,
distributing, performing, displaying or creating derivative works
based on the work as long as all references to Project
Gutenberg are removed. Of course, we hope that you will
support the Project Gutenberg™ mission of promoting free
access to electronic works by freely sharing Project
Gutenberg™ works in compliance with the terms of this
agreement for keeping the Project Gutenberg™ name
associated with the work. You can easily comply with the terms
of this agreement by keeping this work in the same format with
its attached full Project Gutenberg™ License when you share it
without charge with others.
1.D. The copyright laws of the place where you are located also
govern what you can do with this work. Copyright laws in most
countries are in a constant state of change. If you are outside
the United States, check the laws of your country in addition to
the terms of this agreement before downloading, copying,
displaying, performing, distributing or creating derivative works
based on this work or any other Project Gutenberg™ work. The
Foundation makes no representations concerning the copyright
status of any work in any country other than the United States.
1.E. Unless you have removed all references to Project

Gutenberg:
1.E.1. The following sentence, with active links to, or other

immediate access to, the full Project Gutenberg™ License must
appear prominently whenever any copy of a Project
Gutenberg™ work (any work on which the phrase “Project
Gutenberg” appears, or with which the phrase “Project
Gutenberg” is associated) is accessed, displayed, performed,
viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United

States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it
away or re-use it under the terms of the Project Gutenberg
License included with this eBook or online at
www.gutenberg.org. If you are not located in the United
States, you will have to check the laws of the country where
you are located before using this eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is

derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to
anyone in the United States without paying any fees or charges.
If you are redistributing or providing access to a work with the
phrase “Project Gutenberg” associated with or appearing on the
work, you must comply either with the requirements of
paragraphs 1.E.1 through 1.E.7 or obtain permission for the use
of the work and the Project Gutenberg™ trademark as set forth
in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is

posted with the permission of the copyright holder, your use and
distribution must comply with both paragraphs 1.E.1 through
1.E.7 and any additional terms imposed by the copyright holder.
Additional terms will be linked to the Project Gutenberg™
License for all works posted with the permission of the copyright
holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project

Gutenberg™ License terms from this work, or any files
containing a part of this work or any other work associated with
Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute
this electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1
with active links or immediate access to the full terms of the
Project Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form,
including any word processing or hypertext form. However, if
you provide access to or distribute copies of a Project
Gutenberg™ work in a format other than “Plain Vanilla ASCII” or
other format used in the official version posted on the official
Project Gutenberg™ website (www.gutenberg.org), you must, at
no additional cost, fee or expense to the user, provide a copy, a
means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original “Plain Vanilla ASCII” or other
form. Any alternate format must include the full Project
Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,

performing, copying or distributing any Project Gutenberg™
works unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or

providing access to or distributing Project Gutenberg™
electronic works provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the
method you already use to calculate your applicable taxes. The
fee is owed to the owner of the Project Gutenberg™ trademark,
but he has agreed to donate royalties under this paragraph to
the Project Gutenberg Literary Archive Foundation. Royalty
payments must be paid within 60 days following each date on
which you prepare (or are legally required to prepare) your
periodic tax returns. Royalty payments should be clearly marked
as such and sent to the Project Gutenberg Literary Archive
Foundation at the address specified in Section 4, “Information
about donations to the Project Gutenberg Literary Archive
Foundation.”
• You provide a full refund of any money paid by a user who

notifies you in writing (or by e-mail) within 30 days of receipt that
s/he does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and
discontinue all use of and all access to other copies of Project
Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of

any money paid for a work or a replacement copy, if a defect in
the electronic work is discovered and reported to you within 90
days of receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project

Gutenberg™ electronic work or group of works on different
terms than are set forth in this agreement, you must obtain
permission in writing from the Project Gutenberg Literary
Archive Foundation, the manager of the Project Gutenberg™
trademark. Contact the Foundation as set forth in Section 3
below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend

considerable effort to identify, do copyright research on,
transcribe and proofread works not protected by U.S. copyright
law in creating the Project Gutenberg™ collection. Despite
these efforts, Project Gutenberg™ electronic works, and the
medium on which they may be stored, may contain “Defects,”
such as, but not limited to, incomplete, inaccurate or corrupt
data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other

Full Chapter Cherokee Language Lessons 2Nd Edition Michael Joyner PDF

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Full Chapter Cherokee Language Lessons 2Nd Edition Michael Joyner PDF

Uploaded by

Copyright:

Available Formats

Cherokee Language Lessons 2nd

Edition Michael Joyner

Robotic Existentialism The Art of Eric Joyner First

Basics of Language for Language Learners 2nd Edition

Ten Lessons In Introductory Sociology 2nd Edition

International Bureaucracy: Challenges and Lessons for

Guide to asembly language 2nd Edition Streib J.T

The Rust Programming Language 2nd Edition Steve Klabnik

The Exoplanet Handbook 2nd Edition Michael Perryman

Therapeutic Lipidology 2nd Edition Michael H. Davidson

Cherokee Language Lessons 1

• All the students who participated in the http://

14 Fourteenth Lesson 111

15 Fifteenth Lesson 119

16 Sixteenth Lesson 125

17 Seventeenth Lesson 133

18 Eighteenth Lesson 145

19 Nineteenth Lesson 157

21 Twenty First Lesson 183

22 Twenty Second Lesson 193

A Additional Resources 209

nị²ga⁴da short “i”, long “a”, short “a”

a, e, i, o, u, v - Usually these are long vowels.

, - This will be used to indicate alternate pronunciations and spellings. Examples:

ᎠᏓ [ạ²da] Wood. ᎠᎹ [a³ma] Salt.

• heroic, hero₊ic • “go away”, “go ₊ away”

• idea, ide₊a • “day after”, day ₊ after

Cherokee is not English

1. What are the Cherokee vowels? (a) ¹

4. What tone do most Cherokee words end with? (e) ⁴

Syllabary Writing Practice Ꭰ-Ꭶ

Each writing exercise will consist of two parts:

• Initial writing exercise.

Learning the shapes.

Estimated time: 10 minutes.

Estimated time: 10 minutes.

Estimated time: 20 minutes.

Syllabary Writing Practice Ꭷ-Ꭽ

Estimated time: 10 minutes.

Estimated time: 10 minutes.

Audio Dictation Practice

Estimated time: 20 minutes.

Syllabary Writing Practice Ꭾ-Ꮄ

Estimated time: 10 minutes.

Estimated time: 10 minutes.

Audio Dictation Practice

Estimated time: 20 minutes.

Syllabary Writing Practice Ꮅ-Ꮋ

Recognition Practice. Estimated time: 10 minutes.

Writing Practice. Estimated time: 10 minutes.

Syllabary Writing Practice Ꮌ-Ꮒ

Estimated time: 10 minutes.

Estimated time: 10 minutes.

hna nah ne na ne nah ne ni hna ni mo ne ni mu

Audio Dictation Practice

Estimated time: 20 minutes.

Que la pureté de tous ces prêcheurs et chenapans bibliques est

Un autre trait caractéristique, qui ne peut manquer de frapper les

Elle se relèvera surtout quand elle aura secoué l’exploitation

13442. — Imprimeries réunies, A, rue Mignon, 2, Paris.

Imprimeries réunies, A, rue Mignon, 2, Paris. — 13867.

Updated editions will replace the previous one—the old editions

Creating the works from print editions not protected by U.S.