Teach Yourself CO eats Learn the most useful language through the most frequent topics: Learn the Hindi script The sounds of Hindi Greetings Ask people how they are Hindi question words 2 Use postpositions The vocative Requests Talk about the past Express needs and wants Use ordinal numbers (‘first, second’) Talk about quantity Tell the time The Hindu calendar Kinship terms YOUR COMPLETE SPEAKING, LISTENING, &9 Audio included READING AND WRITING PACKAGE Rupert Snell eSTeach Yourself® is dedicated to promoting and advancing the learning of the world’s languages ~ popular and rare, modern and ancient — by providing innovative and effective content for all levels, learning styles and lifestyles. Our courses are ideal for learners studying on their own or with a tutor. They can also be used in the classroom. Our courses, available in over 65 languages, are continuously updated, include modern methodologies, and are written by teachers and academics at the top of their fields. Teach Yourself language courses are tried and tested at universities across the globe. If you are interested in using Complete Hindi in your classroom, with or without audio, please contact us at learningsolutions@teachyourself.com. We would be happy to work with you directly to provide a learning solution that fits you and your learners’ needs.Complete HindiTeach’ Yourself Complete Hindi Rupert Snell with Simon WeightmanFirst published in Great Britain as Teach Yourself Hindi company. This edition published in 2016 by John Murray Learning Copyright © Rupert Snell and Simon Weightman 1989, 2003, 2010, 2016 The right of Rupert Snell and Simon Weightman to be identified as the Authors of the Work has been asserted by them in accordance with the Copyright, Designs and Patents Act 1988, Database right Hodder & Stoughton (makers) The Teach Yourself name is a registered trademark of Hachette UK Allrights reserved. 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Printed and bound in Great Britain by CPI Group (UK) Ltd, Croydon, CRO 4YY. John Murray Learning policy is to use papers that are natural, renewable and recyclable products and made from wood grown in sustainable forests. The logging and manufacturing processes are expected to conform to the environmental regulations of the country of origin. Carmelite House 50 Victoria Embankment London EC4Y 0DZ www.hodder.co.ukContents Meet the author Only got a minute? Only got five minutes? Introduction The Hindi script and sound system 1 lam Pratap 1a Pratap, from London, meets his Delhi host 1.1. Personal pronouns and the verb'to be’ 1.2. Questions and answers 1b. Kamala shows Pratap his room 1.3 Nouns 14 Adjectives 15 The simple sentence 2 Questions and answers 2a Pratap in his Hindi teacher's office 2.1 Interrogative words 22 Agreement of adjectives with mixed genders, 2b Pratap’ little problem 23 Some conversational features 24 More on adjectives and nouns 3 Roomsin the house 3a Pratap’s mother phones from London 3.1. Simple postpositions 3.2. Nouns with postpositions 3b Prakash has lost his glasses 33. Adjectives in the oblique case 34 Pronouns in the oblique case 4 Whowas that handsome man? 4a_Sangeeta’s friend Suhas — just a friend? 4.1 ‘was'and ‘were’ 42 @to's0, as for 43, Comparison of adjectives 4b Khanna jiat the office 44 Some constructions with #1 ko 45 The vocative case Contents 4 26 38vi Please sit here 5a_Kamala’s neighbour Suresh comes for lunch 5.1 The infinitive verb 5.2 Commands and requests 5b Lost keys and lost tempers 53 Possession with #1 kd 5.4 I kowith the indirect and direct object 55 Alternative forms of the oblique pronoun + 41 ko What does Pratap do? 6a. Suresh asks Prakash about his household 6.1 The imperfective present tense 6.2. Possessive pronouns 6b Pratap and Sangeeta 63. HVAT “one’s own! 64 Compound postpositions 65 Pronouns revisited Father used to teach Urdu 7a Grandmother's childhood in Kanpur 7.1 The past imperfective 72 Wand eo 7.3. “fee ‘is wanted/needed’ 7b Who works where? 74 Ordinal numbers 75 Aggregatives 7.6 Conjunct verbs What is Arun doing in Lucknow? 8a Arun in Lucknow 8.1 The continuous tenses 8.2. Expressions for'to have! 8b Khanna Sahi’s coming to dinner! 83 Some adverbial phrases 84 ara t acta aT 2 7 what's today’s date?” 85 Word order 8.6 Some colloquial usages and pronunciation reminders In the future 9a Dinner at home or the cinema with Pinkie? 9.1 The future tense 92. Future tense in the auxiliary verb 9.3 ‘Presumptive’ uses of the future 50 78 10410 u 12 1B 96 Arun and his co-author 94 The emphatic € 95. Some expressions of quantity 96 The infinitive as verbal noun: ATT 'to go, going’ What should I say? 10a Chotu leaves a message for Prakash 10.1. The subjunctive 10.2 The subjunctive in the auxiliary verbs 10.3 The verb Tea 10b Sangeeta’ dilemma 104 Conditional sentences (1) 10.5 The suffix -aTaT Pratap has come back 1a Pratap rejoins his Hindi class 11 Transitivity 11.2 Perfective tenses ~ intransitive verbs 116 What Pratap did in Nepal 11.3 Perfective tenses - transitive verbs Ic Pratap phones home 11.4 More on perfective verbs Ask him and tell me 12a Khanna phones Prakash 12.1. TAR'having gone, after going’ 12.2 What's the time? 12b Dinner preparations 12.3. 3441, SIT, SHAT 12.4 Compound verbs (1) 125. Verbs in combination Those who know 13a. Pratap practises his Hindi with Rishi 13.1. 3... 4,'when ... then (Relative clauses 1) 132 Infinitive + aTf@x, ‘should, ought’ 13.3. Infinitive + @AT / TSA, ‘1am to, must’ 13b At the dinner 134 St... %,'the one who ..: (Relative clauses 2) 13.5. faeAT ‘to be available’ (‘to get’) 13.6. AAMT ‘how does it strike you?’ (‘do you like’) 130 146 160 Contents vil4 15 16 7 18 This was bought in Kathmandu 14a Sangeeta gets touchy 14.1. aTaT SIFT 'to be spoken’ - the passive 14,2 Transitivity and the passive 143 eT TS4 AUT it began raining’ - to begin to 144 Wat art ZT | ‘let me go!’- to allow 14b_ Arun's book 145. fara... 3aAT‘as much as’(Relative clauses 3) 146 Sar... 447 as... s0' (Relative clauses 4) 147 aéf ... aét where... there’ (Relative clauses 5) 148 Clause reversal (Relative clauses 6) Go on learning Hindi! 15a Pratap’s ‘new peacock’ 15.1 ARAT TAT / ATAT'to go on doing’ 15.2. fT FRAT 'to do habitually’ 153 revisited 15b Harish at his father’s office 15.4 Far like! 15.5 -ATish, “lke! 156 Inverted postpositions 15.7 Reflexive pronouns 16a. Chotu misses his chance 16.1. Conjunct verbs with AT / @AT 16.2 Other conjunct verbs 16. Khanna’sanxiety about Harish 16.3 ¥ét ‘somewhere’ 164 Repetition of words 165. Echo words 166 AT aT... a, 7... a ae If you weren't so stubborn... 17a. Sangeeta angers Prakash 17.1 Conditional sentences (2) 17.2: @ratf although’ 176 Sangeeta angers Kamala 17.3 Compound verbs (2) 174 The vocabulary of Hindi Alove that won't be stopped 18a Sangeeta confides in Suresh 18.1. Participles 18b Ahappy ending at 18.2. Intransitive and transitive verbs 183 Causative verbs 176 192 206 220 234Appendixes Key to exercises Hindi-English glossary English-Hindi glossary Glossary of grammatical terms Taking it further Index Contents 257 265 305 325 343 346 347 xMeet the author My contact with Indian culture began in about 1967, when | first heard Hindustani music ~ Ravi Shankar's recording of Raga Khamaj-- in a booth in a provincial record shop in England. This musical encounter led me eventually to begin a BA in Hindi at the School of Oriental and African Studies, University of London, in 1970. From the outset, | forced myself to use my faltering Hindi whenever the chance came along, although not always with great success: one day in Anwar's Delicacies in London | asked for a parosi neighbour’) when | meant a samosd! But Hindi speakers proved to be nothing if not neighbourly, and as soon as | started valuing communication above grammar, my conversations in Hindi began to be more meaningful, Numerous trips to India helped build my confidence. My interest in Hindi literature took me back in time to the old dialect of Braj Bhasha and eventually | wrote a PhD dissertation on a 16th-century text from the Braj devotional tradition. Teaching and researching both early and modern Hindi kept me gainfully employed at SOAS for more than three decades, after which | moved to the University of Texas at Austin, happily plying the same trade but now in the context of UT's Hindi Urdu Flagship, For me personally, Hindi has been the key toa rich and wonderful cultural world. Over the years | have learned to distinguish samosas from parosis with a ready confidence; but, thankfully, not everything thas changed, and the Raga Khamaj that | listened to on that vinyl LP more than 40 years ago sounds just as good nowadays played on my iPod, Rupert Snell Visit the author's webiste at http//www.hindidox.com/ for more on Hindi and it's wider world. Meet the author xiOnly got a minute? In deciding to learn Hindi, you are choosing a language that ranks in the top three or four world languages in terms of the number of speakers, This number is enlarged still further if we consider the pairing of Hindi with Urdu, for these two languages are virtually identical in terms of everyday colloquial speech (although they use different scripts and their higher vocabulary comes from two different sources ~ Sanskrit and Persian, respectively). Another language we encounter alongside Hindi and Urdu in South Asia is, of course, English; but although it is widely used in the big cities and in such domains as big business and international relations, English cannot compete with Hindi and the other Indian languages in their intimate connection with the culture of the Indian subcontinent. Learning a new language is always a challenge, but Hindi presents no particular problems to the learner. It'works'in ways that are familiar to speakers of European languages such as English, which is, after all, a distant cousin within the Indo-European language family. The Hindi script, which is called Devanagari, may look complicated, but its, in fact, very easy to learn, being an extremely methodical and precise rendering of the phonetics of the language: what you see is what you get’ so the learner can tell exactly how to pronounce a new word simply from its spelling (a benefit that is not found in English). Knowledge of Hindi is a pathway into the rich, complex and diverse worlds of Indian culture. The first step down that path is taken with learning the universal greeting used every day by millions of Hindi speakers ~ 74% namaste! With this single word, deeply rooted in Indian civilization and yet fully a part of modem India, you may begin your journey. Only gota minute? —_ xiOnly got five minutes? If English is your mother tongue and you ate interested in India, you are starting your encounter with Hindi from the same perspective from which | started mine. My motivation was to get as close as | could to the heart of the Indian cultural world that appealed to me so strongly, My initial point of contact had been Indian classical music, whose magic cast its spell on me in the late 1960s. Perhaps you have a similar motivation, or perhaps a very different one: maybe you are rediscovering Indian roots of your own or are hoping to reach out to someone close to you who comes from a Hindi-speaking background. In any case, I hope that this book is helpful to you and that it serves asa stepping stone to a familiarity, with this rich and rewarding language. am often asked the question, How long did it take you to learn Hindi? to which | have a standard answer:'When | get there, Il tell you’ Learning a language, especially if you are an adult learner, is a lang road, if not an endless one. That said, itis also true that Hindi is a very learnable language. Its connections with English run deep and take many forms. To begin with, both languages are members of the great Indo-European family, from which have sprung so many languages, from western Europe right across to Russia, South Asia and lan. When we learners of Hindi encounter a word like @1@ dat ‘tooth (think of a dentist’), a number like 74 das'ten’ (think of decimal’) or any one of hundreds of words in which Hindi-English parallels appear, we witness a connection that links Hindi to English through Sanskrit and Latin (their respective parent languages) all the way back to a common origin in Indo-European. Ifall this seems a bit academic and obscure, there are other ways in which Hindi and English connect. The two languages have traded words with one another for centuries: words like ‘cot,/shampoo and ‘ungalow’ have come into English from Hindi and words like 234 stesan, 7% skal and T42x daktar have made the opposite journey. One way and another, then, there are many ways in which the learner of Hindi finds connectivities with English Most important of all, the entire grammatical system of nouns, verbs, adjectives and adverbs ‘works'in ways that closely parallel the system with which we English speakers are familiar, so there are no great conceptual challenges standing in our way. Many introductions to Hindi begin with an array of statistics about numbers of speakers and itis true that, in this respect, Hindi is right up there with Chinese, English and Spanish as the languages with the most impressive statistics of all In fact, the single north Indian state of Uttar Pradesh (UP), heartland of the Hindi language and its associated culture, itself has a population of some 190 million - a population greater than any country in the world except for China, the United States, Indonesia... and the remainder of India! And UP is just one of the several states in which Hindi is spoken as a mother tongue. But numbers alone may not convince you of the need to add yet one more Hindi speaker by learning the language yourself and, indeed, there are other and better rewards awaiting you than membership of Only got five minutes? xvthis enormous club. A knowledge of Hindi gives access to a treasure trove of culture and to perspectives on life that both differ from and complement those of the English-speaking world, And because relatively few people from outside the Hind-speaking community seek entry to it by learning the language, a person who makes this effart (you!) receives the warmest of welcomes, with everybody encouraging you in your efforts and congratulating you for what you have already achieved Looking back a few decades to when | started learning Hindi, lam a little envious of the resources now available to people starting out down that same road. Not only have many excellent primers (ike this one!) and dictionaries come onto the market in recent years, there are also the huge resources of the internet to explore. Many learners of Hindi find that they an learn a lot through watching film clips and listening to film songs, all searchable through the web; and there are many guides to script, grammar, vocabulary and so on. Web searches in the Devanagari script will bring examples of real-life Hindi usage direct to your screen: for example, you could look up train times from Mathura Junction to Agra City, learning such useful expressions as ‘leaving at ..!and ‘arriving at...: warnings of possible cancellation and 50 0n and, in so doing, you will discover things about the usage of the Hindi that even this book doesn't tell you! There are so many resources available now, ‘And yet all journeys begin with the first step. That's where this book is going to help you. Whether or not you have some background in Hindi, steady progress in learning the language depends on a firm and solid understanding of the basics. For example, you need. to know about gender (every noun is either masculine or feminine and this will determine the form of associated adjectives and verbs) and you need to be able to express simple statements using the verb ‘to be' before you can get into more complex and expressive statements with greater conversational potential. Think what a basic thing it isin English to be able to determine how to pluralize nouns: patterns such as ship > ships, sheep > sheep, baby > babies and child > children may seem second nature to us as speakers of English, but newcomers to the language have to learn these things as grammatical rules. Similar rules apply with plurals in Hindi: 461 makan ‘house’ stays unchanged in the plural (ike‘sheep); but RT kamrd ‘room’ becomes Ht kamre ‘tooms, fast khirki ‘window’ becomes ferzferat khirkiya ‘windows and = chat ‘roof’ becomes 4 chaté Toofs (or rooves'!). These are the essentials for building your language house. Start by building a strong foundation and work steadily upwards You may have noticed that much of the Hindi in this book is transliterated into the roman script and this may tempt you not to bother to learn the Hindi script (Devanagari). Dont give into this temptation! Devanagar isa scientific and methodical writing system that is really very easy to learn; and because it has a strong phonetic basis, with a character for every sound and a sound for every character, knowledge of itis extremely helpful in developing good pronunciation and learning new words, And whether youte in India for real or just ‘Virtually’ through a computer, knowledge of Devanagari will open up worlds of learning opportunities for you at every turn,Like all modern languages, Hindi looks both forwards and backwards. It looks forwards to ever-changing contexts of language use that demand new words and new ways of saying things, and it looks backwards to a classical past in which the glories of Indian civilization lie recorded. To learn Hindi, then, is not only to approach an understanding of modein India, but also to attain a view ~ eventually! — of the rich history and culture of the Indian subcontinent as a whole, Only got five minutes?Introduction This course is designed to enable those with no previous knowledge of Hindi to learn to read, write and converse in the language with confidence and enjoyment. The course has proved effective as teaching material for both class tuition and individual study. The Hindi presented in this course is primarily colloquial and practical. To start by learning a very formal style of language, such as the purists might prefer, would be to invite looks of incredulity (and incomprehension) during everyday encounters with Hindi speakers. An advantage of the colloquial approach is that it gives greater access to Urdu, Hindi sister language. Hindi and Urdu share a virtually identical grammar and much of their vocabulary. In the higher registers they do part company, because Hindi looks to the classical Indian language of Sanskrit for its higher vocabulary, script and general cultural orientation, wi Urdu looks to Persian and Arabic for these things. But at the everyday spoken level, Hindi and Urdu are virtually identical, and you should not be surprised if you are complimented on your spoken ‘Urdu'when you complete this course in'Hindi' How to use the course The course is divided into 18 units, each of which is based on (usually two) dialogues that exemplify and bring to life the new grammar introduced in that particular unit Transliteration in the roman script is provided for the first five units and for all words in the Hindi-English glossary. The dialogues form a kind of soap opera based on the life of a Delhi family; the English translations are deliberately close and literal, so as to function as a key to the Hindi, The book ends with some additional material in the appendixes, together with a Key to the exercises and complete Hindi-English and English-Hindi glossaries, Once you have worked carefully through the introductory section on script and pronunciation, taking help from the recordings and/or a native speaker if possible, you should turn to Unit 1. Familiarize yourself with the vocabulary of the first dialogue (given beneath it) before reading the dialogue and working towards an understanding of it by means of the translation; then work through the grammatical explanations and the examples; alternatively, you may prefer to start with the grammar sections, and then turn back to the dialogue. Either way, learning the dialogues by heart will give you a sound basis for conversations of your own. When you have completed the whole unit in this way, learn the vocabulary (no short cuts here ~ this is essential), and then do the exercises, checking your work against the key. Don't forget to revise earlier sections as you progress through the book The grammatical explanations are meant to be as accessible and non-technical as possible. A book of this kind cannot aim to be exhaustive, but the main grammatical structures of Hindi are all presented here. A note on further learning material is included in Exercise 1853, which you can read in translation in the Key to the exercises Introduction xixACKNOWLEDGEMENTS Numerous people have made helpful suggestions as this book has progressed through its various editions. Amrik Kalsi, Mahesh Das Mundhra and my ddi guru, the late Ram Das Gupta, all helped with the original draft. Frances Pritchett has been a support throughout. Gyanam Mahajan, Shilpa Parnami, Bhavya Tiwari and many others have offered useful comments along the way, teaching me the language | profess to profess. The Zabaan team in Delhi—Christop Dusenbery, Ali Taqi and Sayeed Ayub - kindly provided detailed feedback. Colleagues and students in the Hindi Urdu Flagship at the University of Texas at Austin are a constant inspiration; and most recently, my friend and colleague Vidhu Chaturvedi has shared with me some particularly clear insights on various aspects of grammar. Sincere thanks to al Rupert Snell THE DIALOGUES: MEET THE KUMAR FAMILY The 37 dialogues tell the story of the Kumar family, who live in Delhi, and their paying guest Pratap, who is from London; many of the exercises also form part of the same narrative. Pratap (age 21) has come to India to study Hindi at a private college run by Sharma ji. Pratap’s divorced mother Anita, living in London, has arranged for him to stay as @ paying guest. with the Kumars, The Kumar family consists of the strong-willed Kamala and her obedient husband Prakash, their daughter Sangeeta (19), sons Rishi (14) and Raj (12) and Prakash's elderly but spry mother, whom everybody addresses as Dadi ji (Grandma). Tensions between Kamala and Prakash are not helped by their shared concern about the future of Sangeeta: they would like to see her married, but she strongly cherishes her independence. Sweet-natured Dadi ji, meanwhile, has a calming effect on the whole family. Prakash's younger brother, the aspiring author Arun, often stays with them; he speaks a rather Sanskritized or formal Hindi (whereas his co-author Prem speaks a Hindi liberally sprinkled with English). Suresh, a neighbour of the Kumars, is another frequent visitor; he is closer to Kamala than to Prakash. Prakash works in a company recently taken over by Mr Khanna, who has a rather pathetic office peon called Chotu. Khanna’ younger sister Pinkie is a close friend of Sangeeta Kumar. Khanna’s son Harish, like Pratap, admires Sangeeta from afar; but Sangeeta’s heart is engaged elsewhere. Astonishingly, the Kumars and their friends have not aged at all during the lifetime of this book. xxThe Hindi script and sound system Hindi is written in the Devanagari script, which is also used by Marathi and Nepali and is the main script for Sanskrit (India’s classical language). Devanagari is pronounced as it’s written, so'what you see is what you get’ This makes it quite easy to learn. The script is written from left to right and has no capital letters. Vowels have two forms: an independent character used when a vowel stands at the beginning of a syllable and a dependent sign used for a vowel immediately following a consonant. Here’s an example: is the independent character form of the long vowel d, pronounced as in the English word'calm. Placed before the consonant # m it forms the word STF dm, ‘mango! But in the name’Ram; the same vowel sound is written with its dependent form (the sign T), because the vowel now follows'r'(=) as part of the syllable ra: hence =T# Ram. Consonants that are not followed by a dependent vowel sign are automatically followed by the short vowel a, pronounced as in’alive: I's called the inherent vowel’ because itis inherent in the consonant character. This is why the Hindi consonants in the following table are transliterated ka, kha, ga etc. and not k, kh, g etc. The inherent vowel can be cancelled by writing the sign (called virém or halant) below the consonant: ¥ ka, % k. You may have noticed that no inherent vowel was shown just now after the m character in the name 27%; this is because the inherent vowel is dropped at the end of a word (and sometimes elsewhere, as we shall see later on). But this dropping doesn't occur in Sanskrit, where the name 27H has two full syllables ~ Rama, not Ram. Two important contrasts lie at the heart of correct Hindi pronunciation. First, you must distinguish between dental’ and 'etroflex’ consonants. Dental consonants are pronounced with the tip of the tongue touching the upper teeth, giving a’soft’ sound: Hindi #1 tin ‘three’has much softer consonants than English ‘teen’ Retroflex consonants are pronounced with the tongue curled back to touch the roof of the mouth, which it touches further back than in English, giving a’hard’ sound: Hindi @ Jat has a harder't’ than English ‘loot’ (which, incidentally, derives from the Hindi word). To Hindi speakers, English consonants sound more retroflex than dental; so they'll pronounce ‘David’ as 2f4= devid. The second important contrast is in the amount of breath that's released when a consonant is pronounced: aspirated’ consonants contrast with ‘unaspirated’ ones. The same effect sometimes occurs in English: put your hand in front of your mouth and say pit, spit' loudly (when alone!) and you'll probably feel that the’s’ reduces the aspiration accompanying the adjacent’p: Hindi has several pairs of aspirated/unaspirated consonants; English speakers must try hard to curb their aspiration in pronouncing the unaspirated ones (practise saying ‘Panjab’ and ‘Pakistan’ with minimum aspiration in the’p). The Hindi script and sound system xxiAnother test case for the difference in aspiration between ’p'and’b’in English is pun’ versus ‘pun: Your Hindi'‘p’ needs to be as unaspirated as your English’! When pronouncing Hindi vowels, English speakers must take care to avoid English-style diphthongs: words like @ se (from) and 4 ko (‘to’) are pure vowels that can be held unchanged as long as you have breath to hold them (try it); they must not be pronounced like say’ and ‘co; in which the quality of the vowel changes as you utter it You should now practise the shapes of the Devanagari characters. Using lined paper, begin on the left of each character and follow through to the right, completing the character with the headstroke, which should fall on the printed line; your words should hang from the printed line like washing put out to dry, not stand on the lower line as the Roman script does. Maintain the overall proportions of the characters carefully, not letting them get too. straggly; each one should fill two-thirds of the space between your printed lines. The Devanagari syllabary INDEPENDENT VOWEL CHARACTERS CONSONANTS eka akha = ga Agha (=Ay* mca Bcha ja ajha | (LA)* Zta Stha da tdha = na ata atha da adha = na "pa pha tba %bha = ma aya za ala ava 1a Usa asa tha “These bracketed forms rarely occur and can be ignored for now. Dependent vowel signs, based on % as an example Hka | -ATKG fH ki etki ku ko eke ke kai FT ko at kauThe Devanagari script and phonetics The phonetic organization of the Devanagari script was laid down by the grammarians of ancient India, who codified the Sanskrit language in order to preserve the effectiveness of its sacred mantras or prayer formulae. As a result, the main block of consonants from ¥ ka to # ma has a very precise layout: the vertical columns show the manner of articulation (voiceless unaspirated and aspirated; voiced unaspirated and aspirated; nasal) while the horizontal rows show the place of articulation in the mouth (velar, palatal, retroflex, dental, labial). Some Devanagari characters have dotted’ versions which show sounds not occurring in Sanskrit. Thus the guide to pronunciation that follows includes seven characters that don't appear in the syllabary: ¥ qa, % kha, 7 ga, % za, ¥ ra, rha, and % fa, These characters are not distinguished in dictionary order from their undotted equivalents; and the dots are often omitted in both handwriting and print. VOWELS Shown fist in their independent forms, then in their dependent forms, again using the consonant # by way of example: a a ¥ ka as in’alive’ inherent in any consonant not bearing a dependent vowel sign aT 4 aT ka as in‘palm’ z i fr ki as in‘hit’ = i ar ki as in’heat’ 3 u e ku as in foot’ z a z ka as in fool’ ¥ r z kr as'tiin ‘critic; in Sanskrit loanwords only x e * ke as in French é;a pure vowel sound, nota diphthong as in English z ai e kai as in‘hen’ at ° aT ko as in the first part of ‘o’in ‘hotel’; a pure vowel sound, not a diphthong as in English ait au at kau as in off” ‘Aconsonant can support only one dependent vowel. When two vowels appear in sequence, the second is written in its independent form: 47 hud, STS jdo, FAT lie, FE kal, 77H dead, etc. The character ¢ ra is something of a maverick; ru and riv have special forms ~ # ru, and © rd, The Hindi script and sound system xxVelar consonants (produced in the throat) ¥ aaa as ka qa kha kha ga ga gha A as in’skit; with minimal release of breath a’k’sound produced further back than # ka aspirated form of # ka: as init, but more aspirated as‘ch’in Scottish ‘loch, or German ‘Bach as in ‘gift’ a'g’sound produced further back than ™ ga aspirated form of tga: as in‘dog-house" used only with a velar consonant; as in‘ink’; its rarely seen in Hindi buts included here for completeness Palatal consonants (produced at the palate) Adaagas ca cha ja za jha A as in ‘cheese’, but with less release of breath aspirated form of ca: as in ‘pitch-hook as in jeer asin ‘zip! aspirated form of # ja: as in ‘large house’ used only with a palatal consonant; as in ‘inch’ — rarely seen, but included here for completeness Retroflex consonants (tongue curls back to touch the palate: ‘hard’ sounds) z a z a a 7 ta tha as in ‘train’, but harder aspirated form of & fa; as in ‘at home’ as in ‘drum, but harder a flapped hard ‘r- the tongue makes a ga sound as it moves past the palate aspirated form of = da flapped equivalent of dha the retroflex nasal; hard ‘n’ sound Dental consonants (tongue touches the upper teeth: ‘soft’ sounds) 7 q a ta tha da dha na as in ‘at’ within the phrase ‘at the’ aspirated form of # ta asin ‘breadth’ aspirated form of da the dental nasal: as in ‘anthem’ Labial consonants (produced with the lips) 7 a4 4 xxiv pa pha ba bha ma asin ‘spin’, with minimal release of breath like ‘p' in ‘pin’, but more aspirated, as in ‘top hat! as in ‘bin’ aspirated form of # ba: as in ‘club-house’ asin ‘mother’Semi-vowels etc. a ya as in ‘yet’, but less tense cn) asin ‘oll a la a dental '; softer than the first’ in ‘label’, and much softer than the second a va between English ‘v’ and ‘w/the teeth don't touch the lip as in ‘vest, but neither are the lips rounded as in ‘west’ Sibilants meg as‘sh’ in’ship’ meee a retroflex’sh’; usually not distinguished from 31 ga in pronunciation {and found in Sanskrit loanwords only) a sa asin‘sip! Aspirate fee this ‘th’ sound is always fully voiced, as in ‘ahead It often ‘lightens’ an adjacent a vowel: both vowels in 4 mahal (‘palace’) are similar to the’e' in ‘melt’ Visarga Visarga looks like a colon with widely spaced dots; it occurs without a headstroke within or at the end of a word and is pronounced as @ ha. It’s transliterated as f, as in $74 duhkh, 5: chah and is limited mostly to Sanskrit loanwords. CONJUNCT CHARACTERS Just when you thought you had mastered the script, along come the conjunct characters! When two consonants come in succession with no vowel between them, they are physically joined together as a ‘conjunet.. In the word sthan ‘place’ for example, no vowel separates the’s' from the ‘th, so # sa is reduced to a special half-form, # s, which is attached to the following 4 th to form #4 stha (RATA sthén). Without the conjunet, the word would be read as ‘sathan’. Most conjunets are formed on this principle; but some are a little more complicated, and some don't resemble either of their component parts. As already noted, © ra isa bit of a wild card. As the first member of a conjunct, it appears in the ‘flying’ form “ above the headstroke, as in #7 dharm (let's be very clear: the '' precedes the ‘m’ here). t's written at the very end of the syllable that it precedes in pronunciation: WHT sarmé, 7% barfi. As the second member of a conjunct, its characteristic sign is - as in 5 pra; but its location changes according to its partner: ga Ewa Fda Awa Asa Asta Sha ‘The common conjuncts are shown in the following tables. In the first column, the consonants are written initially with the halant sign introduced earlier; it cancels the inherent vowel. This list is meant for reference: have a look through it to familiarize yourself The Hindi script and sound system xxvwith the basic principle, but don't feel you have to learn all the forms immediately. You will pick them up gradually, as you encounter them. To begin with, here are all the conjunets that appear in Unit 1 e + a = # x + z = ae 1 + zt = a q + a = = a + 5 = % q + a = a a + z = = q + z = 7 oy a a a q + w = m coe 5 7 a x + a = a And here is a list of the 100 most common conjuncts, numbered for convenience. (Two forms are regarded as independent characters in their own right: & (& + 9), pronounced ‘ksha’ and # (51 + =), pronounced ‘gya’) teat pattie 7 7+ tT 2 A )2g + a 2 By + Tt a (3 8 + = Fw 9 f+ Te 48 40 a 04+ FB = 5H + t co 2% + F ¥ 6h + a ¥ 2+ C= F Seating ttt a setts z [oS eee ear “ue + 8 z 98 + 9 = @ Poe nietee tia 10% 4440 a ee + F a ne + Te me + kt z 2G 4 9 = BT + f= au erect ere te rh ay % eaaeeg cease ean 37 + R= Ow 5ST 4 Ft a 2] + tT = 7 Tn m 32 T +q+t = = xxviCart ie 33 34 TE ae or Oe iF te Oe ey ie 0 + 35 7 we 2 73 4 38 We we he tw he E bs ie 7 + her hoe he ia 46% a7 % 48 » e 82 bv soRBEREEEERE ® wv . + howe we te te eee bob Be B33 y be te hy tr pe PRs + - 8 ++ et ee tee tee tee w be 8 + 5% 96 o Ww 7 we ho 98 The Hindi script and sound system xxvii 9 & 100NASALIZED VOWELS, AND CONJUNCTS BEGINNING WITH NORM Any Hindi vowel (except # /) can be nasalized ~ some of the breath flows through the nose. Nasalized vowels bear the signi, a moon and a dot, called candrabindu (candra ‘moon’, bindu ‘dot’, logically enough). This is transliterated with a tilde (~) as in 4z mah ‘mouth, face’, and ‘thd yes’ Any vowel sign that protrudes above the headline eclipses the candra moon, so the bindu dot has to appear alone - 7ét nahi ‘no’, & har‘are’. Some people replace candrabindu with bindu for all nasalized vowels, writing @t for @t hd, Should you do this? 4 nahi‘No'! Should you write candrabindu in full where there’s no superscript vowel? @f hd ‘Yes! The bindu dot has a second function: it can replace any of the nasal consonants (®, >, ", 1, #) when they appear as the first member of a conjunct. Note its position in the following: a cs rang colour ora sar pariiab Panjab ast awet anda egg fet = fet hind? Hindi wat = aT lamba long, tall Both spellings are correct and either may be used freely ~ although in the first two pairs, the simple anusvar forms (@1, $3174) are much more common than their complicated alternatives. In this book, no special symbol is used for anusvar. both fara and féat are transliterated as ‘hinaf. PRONUNCIATION Do try to use the recordings or, better stil, get help from a native speaker, when practising pronunciation. Some watchpoints: 1. Short and long vowels in the pairs a/4, 7, u/d must be clearly distinguished, especially the @/4 pair as in ¥ kam ‘less'/ #14 kam ‘work’ 7 dal ‘political party’/ 27 dl lentils. 2. Adoubled consonant is ‘held’ momentarily — as in English ‘night train’, whose ‘t... is held to distinguish it from ‘night rain’. So #>AT baced ‘child! sounds different from FAT bacd ‘survived. The same effect occurs with repeated sounds in adjacent words: 3& @ us se ‘from that’ sounds different from 34 use ‘to that’. 3 As we've seen, the inherent vowel is not pronounced at the end of a word, But there's an exception: it may be lightly pronounced when the word ends in a conjunct. Thus ft mitr(a) ‘friend’, #774 avasy(a) ‘of course’ 4 There are occasions when an inherent vowel is not pronounced in the middle of a word, even though the spelling involves no conjunct. As a general rule, the inherent vowel remains silent in the second syllable of a word whose third character either includes a vowel sign (thus = samajh ‘understanding’, but #¥ET samjhd ‘understood’) or is followed by a fourth syllable (thus AT74 manav ‘human being’, but ATT janvar ‘animal’ This rule does not apply when the second or third syllable of the word has a conjunct.5 Inherent vowel + % ya, as in 4 samay ‘time’ and 4 jay ‘victory, is pronounced ai (indeed, the spellings 44 samai and # jai were once current). 6 The patter of stress across a sentence is more even in Hindi than in English ~ semantic emphasis is usually carried by the addition of ‘particles’ (short indeclinable words) rather than through the voice alone. PUNCTUATION AND OTHER SIGNS The full stop’ isa vertical line (1) called dand'stick’ or Khari pai'perpendicular line’. Other punctuation follows English usage. In writing abbreviations, a small circle ( ©) follows the first entire aksar or syllable of the abbreviated word: 30 0 fo to Ato THT FAC TEA Uttar Pradesh cifed arava aver aT Pandit Gopal Narayan Sharma The © is dropped when the initials cohere as an acronym aor = wedi oer et Bharatiya Janata Party aeret = AaWEE TERT NavBharat Times (newspaper) Sometimes abbreviations are merely transliterations of the English: wo Fro = up sfto uno Tat = GN. Sharma ato Fo Fo = (bi.je.pi) BP English ‘o’ sounds as in ‘chocolate’ or ‘sorry’ are pronounced by some Hindi speakers as similar to d; and Devanagari spellings of such sounds may use a special candra character (without dot) over the vowel: AT, aTe. ALTERNATIVE SPELLINGS Te following a vowel in verb endings can have different forms (the standard form is shown in the left-hand column): ‘aT jae = WT jaye, 377 jay may go ‘aTet jdie = 414 jdiye please go sarfem cahie = atfe® cahiye needed The use of conjuncts in loans from Persian is not fully standardized: ‘SR umar = SHumrage aH garam anf garm warm, hot "ea parda af parda curtain, purdah The Hindi script and sound system xxixNUMERALS OaeIU Hume ae AEE tg o 1 2 3 4 4 8 6 g 5 6 7 8 9 The so-called ‘Arabic’ numerals (which originated in India!) are used at least as commonly as the Devanagari numerals. DICTIONARY ORDER The dictionary order of the script follows the pattern shown in the Devanagari syllabary section, reading horizontally. Three principles apply: 1 Syllables with candrabindy or anusvér precede those without: 414 gav ‘village’ precedes TET gar’ ‘train, car’, and 4 tang ‘narrow’ precedes 7 tak‘up to! 2. Non-conjunct forms precede conjunct forms: TAT chat ‘umbrella’ precedes STH chatr ‘pupil’, and #4 bacd ‘survived! precedes =A bacca ‘child’ 3 ‘Dotted! forms (eg. ¥ qa, ¥ fa, ¥ za) are not distinguished in sequence from ‘undotted’ equivalents (# ka, ¥ da, ja). Pronunciation key @ 00.01 VOWELS wa ar ab ard aT ap ui wis 7 ‘et -mel zu st us a ‘SNR dpar ar aft esi te UH ek tai Rat aisa ait o ait or att au af aur NASALIZED VOWELS aa eat hast ata at ha tl tit te Suet agit we H mé ta % mai ait 6 ‘ale héth Xxx Wa sab aT ka ki aK faa pulis qta BT krpa 3 ke aaT paisa art bolo sale caudah wé1T mahaga ats pac ae ai ate mah ‘AEF sarké & hai ated dostéCONSONANTS ka 1 kal qa aaa gimat kha TAT khana @ kha vara khayal i ga aTAT gana ga aa galat 4gha ghar aca sara cabi ® cha ‘BTA chatr aja aT jo aza ‘et zaror ajha iB jhath Zta 2a terha Ztha «Et thik da = dar za ag bari @dha Te dhdi = rha WaT8 parhai ™na rer karan Tta am tin atha aT tha ada ado adha at dho na aT nak pa ‘Tae panjabi & pha fz phir % fa FE flat aba aT bis 4 bha I bharat ama aT ma aya 1 yah Tra ae rat ala are lal ava ae vah wSa arrarat $abas usa ‘ara basa sa a= saral zha feed hindi EA skal ara bagi il rakho AI sakht ATT Jaga att bagica aT magh AMAT aca = kuch amt gj aa nazar aH samajh art market "1S path ‘HST anda its bhir @ ghang 32 derh ara ramayan are sat ‘ara sath fat vides avat adha ‘freer nikalnd FF dpar a4 saphal ah sdf wa ab art abhi ita hima a samay a car a kal fa ravi ave asa aft psi 7 das ale vah The Hindi script and sound system — xxiDOUBLED CONSONANTS seat amma reat = uttar wie seiteummid ry aT kuttd TT zr cappal aa fae ziddi fersit gata paccis adt weit rassi asi unnis ull gussa cammac dill batti Note: Transcriptions of the Hindi sounds on the recordings are given at the beginning of the Key to the exercises.Credits Front cover: © Photosindia.com RM 3 / Alamy Back cover: © Jakub Semeniuk/iStockphoto.com, © Royalty-Free/Corbis, © agencyby/iStockphoto.com, © Andy Cook/iStockphoto.com, © Christopher Ewing/iStockphoto.com, © zebicho - Fotolia.com, © Geoffrey Holman/iStockphoto.com, ‘© Photodisc/Getty Images, © James C. Pruitt/iStockphoto.com, © Mchamed Saber — Fotolia.com Credits 1lam Pratap In this unit you will learn how to: > greet and identify people » ask and answer ‘yes/no’ questions » ask people how they are » use adjectives la Pratap, from London, meets his Delhi host yi 01.01 aed | A rart Z 1 Fat ag aH tt 2? tS amar € | AWE | ae aaT TA | ame a | Haw at? oft et, fea, # ote 21 gar arg attr Z 2 oft adi, ¥ sts wat @ farceart 2 | srar, at ferqeaet 2 ft at sar ag wet oT @ 2 Pratap namaste. mai Pratap hi. kya ap Kamala ji hai? Kamala jihd, mai Kamala hi. namaste. yah larka Raj hai.vu Pratap Raj Pratap Raj Pratap Raj QUICK VOCAB amet a a aT a tt ce tat 7 wget" z a ‘afear a ft at wat fegert aT a Ee amet oi ae rar refer namaste Raj. tum thik ho? Jihd, Sukriya, mai thik hi. kya dp dgrez hai? a 1ai dgrez nahi hai, hindustan ha. acchd, dp hindustant hai! Jihad. kya vah gar japani hai? nahi, vah japani nahi hai, vah Maruti hai namaste hello mat | ha am kya question matker 4p you (formal) fi respect marker hai are Jiha yes yah this larka boy hai is ho are Sukriya thank you grez English Jinahi no nahi not hindustani Indian accha good, realy?, | see! ha yes vah it, that gar car tum you (familiar) thik all right Japani Japanese maruti: Maruti (make of car) 41.8 ra77 Z 1am Pratap 3Pratay Hello, lam Pratap, Are you Kamala ji? p ys Kamala Yes,'m Kamala, Hello. This boy is Ra. Pratap Hello Raj. Are you OK? Raj Yes, thank you, Im OK. Are you English? Pratap No, Im not English, Im Indian, Ral Oh, youre Indian! Pratap Yes. Is that car Japanese? Raj No, it's not Japanese, it's a Maruti Grammar 1.1 PERSONAL PRONOUNS AND THE VERB ‘TO BE’ 8@ maihi tam we hamhai we are Ze tahai_—_youare (intimate) WE tumho — youare (familiar) ami aphat —_youare (formal) %E% yahhai he, she, it, this is FE —yehai _these, they are;he, she is (formal) FE%_vahhai he, she, it, thatis 3% —vehai those, they are; he, she is (formal) Hindi has a subtle system of honorific’ levels — like French tu/vous, or German du/Sie. There are three second-person pronouns, each with its own verb form as shown in the preceding table: J ti indicates great intimacy and is used in addressing a close loved one or a small child. FF _ tum is informal and casual and is used with a person expecting no formality or deference a friend, child or servant. HTT dp isrelatively formal; it indicates the respect one shows towards equals (and abovel) and is the natural choice in conversations with all people not falling into the previous categories. Both GT tum and a4 ap are grammatically plural but either may indicate several people (numerical plural) or a single individual (honorific plural) The honorific system extends into the third person: when referring to a person whom you would address face to face as ATT dp, use the plural forms # ye / 4 ve. 7 yah and its plural tye refer to a subject that’s nearby, while 4% vah (which is often pronounced ‘vo! and # ve refer to a subject that's more remote - rather like English ‘this’ and ‘that! Unless a specific sense of ‘nearness'is involved, use 4@ / 7 vah/ve.Many speakers say ye for ‘this, he, she, it; these, they, and vo for ‘that, he, she, it; those, they: The honorific system can indicate disdain as welll as respect: to use a lower grade honorific than expected by the person youte talking to can imply severe disrespect. So you must ‘observe the usages of others and learn from them. When in doubt, stick to aT¥ ap! Apr é 1 mai gujarati hd. lam Gujarati, ae wa 21 vah jarman hai. He/she is German. eH ood 21 ham panjabi hai. We are Panjabi. was a? tum dgrez ho? You're English? amy fergeart @ 1 4p hindustani hai. You are Indian. a ard 2 | ve bharatiy hai. They are Indian. (or he/she is Indian) 1.2 QUESTIONS AND ANSWERS Questions expecting a ‘yes/no’ answer are formed by simply prefixing a statement with "IT kyd: waa tum thik ho. You're OK. (statement) aa oH ote a? kya tum thik ho? Are you OK? (question) In speech, a question can be conveyed by a rising tone, as in English: aa? tum thik ho? You're OK? 1b Kamala shows Pratap his room @ 01.02 rat Ee WAT AEA TST S| FAT TAT HAR Teg? erat oft wat 1 far a ar ater 8, aR AEE aT aa ae TST THATET ATT 2 2 rat oft at, we, art aorrfeat art 2 1 wat atte mat ope ti afte dt aetteat & var sear at B 2 are rar él &; af farsa aret aST 2 | xa aga oor HRT aT site aaa eaTATE 2 Pratap yah kamra bahut bara hail kya dasre kamre chote hai? Kamala Jina. si ek kamra chota hai, dasre bare hat. Pratap kya yah bari alma khali hai? : Kamala 4, zarir, doné almariyé Khai hal. 14 a7 € 1am Pratap 5Pratap Kamala Pratap wo QUICK VOCAB aR: agT aT ww Bret fast Ao srerareh art a at aie wet aw a wet 0 afer Faget ast ane earere Pratap Kamala Pratap ‘aur yahd ek mez aur do kursiyé hai. kya pankha nahi hai? pankhd nahi hai; lekin khirki kafi bari hai. bahut acchd. kamrd sdf aur bahut havadar hai. kamra_ room bahut very bara big disra other chota small sirf only ek one,a almari_ cupboard Khali empty, vacant zarir of course dond both aur and yahé here mez table do wo kursi_ chair pankha fan lekin but Khirki window kafi quite sdf clean havadar airy This room is very big! Are the other rooms small? No, Only one room is small, the others are big, Is this big cupboard empty? Yes, of course, both cupboards are empty. ‘And here there’ a table and two chairs Isnt there a fan? There's no fan; but the window is quite big, Very good. The room is clean and very airy.Grammar 1.3 NOUNS Hindi nouns are either masculine or feminine; the gender of every new noun must be learnt. There is no definite article ‘the’; ] ek, the number ‘one, sometimes functions as the indefinite article’a: Masculine nouns are of two types: those ending -d in the singular, changing to -e in the plural; and all others, which are the same in both singular and plural, Masculine type 1 agar larka boy at larke boys arRT kamra room rH kamre rooms Masculine type 2 makan house ‘makan houses aT art areal admi man are adm men ‘aTaHt admi‘man’ derives from Arabic and means ‘descendant of Adam’; compare 3174 madnav'man, human being, derived from Sanskrit and meaning ‘descendant of Manu’ {the progenitor of the world in Hindu belief). Not all nouns ending in -@ are masculine: many Sanskrit loanwords such as #T@1T asa ‘hope and STAT bhdsd language (and names like #41T Kamala) are feminine. A few masculines ending in -d belong to type 2 and therefore don't change in the plural; these are mostly relationship terms like FFA pita father, STAT céicd ‘uncle’ but also THT raja'‘king: Feminine nouns are also of two types: those ending i, or yd in the singular, all changing to -idin the plural; and all others, which add -é in the plural Feminine type 1 agat larkt girl start larkiya girls ofa prati copy afeat copies (of book) fafear ciriya bird fafeat birds Feminine type 2 as mez table ae mezé tables ara mata mother ara, marae mothers Feminine nouns ending -d are of type 2, but shorten the -U to -u- in the plural: 4% baha ‘daughter-in-law, #@tt bahué ‘daughters-in-law. 19 e777 2 1am Pratap 7‘The plural forms of all feminine nouns (and almost no masculine ones) end with a nasal ‘vowel. An ideal way to learn new nouns is to learn singular and plural phrases like the ‘ones shown paired in the paradigm below. And you can usefully add a number: 421 31, 21 F2r AF ek bari mez, do bari mezé. Repeat the phrases, chant them, adopt them! 1.4 ADJECTIVES Adjectives agree with the nouns they qualify. They are of two types: those that inflect (change their endings) and those that are invariable, Inflecting adjectives follow the pattern of ST bard ‘big’ -a masculine singular, -e masculine plural, feminine singular and plural ae SAT bara larka ae at bare larke adt asat bari larki aa aefeat bari larkiya Bret wart chota makan ote aT chote makan ret at chotimez ret at chotimezé Invariable adjectives, of course, remain unchanged: khali kamra Khali kamre al kursi lal kursiyé sundar makaén sundar makan safmez sf mezé One or two adjectives ending marked ‘inv’in the Glossary. 1.5 THE SIMPLE SENTENCE big boy big boys big girl big girls small house small houses small table small tables vacant room vacant rooms red chair red chairs beautiful house beautiful houses clean table clean tables | such as afer barhiya ‘excellent, are invariable; these are A typical sentence begins with the subject and ends with the verb, The question marker 747 kyd usually precedes the subject; the negative 4éI nahi precedes the verb.arr ae af 22 kya yah marti hai? Is this a statue? ae aft wat eva a yah marti nahi hai. patthar hai. It’s nota statue. It’s a stone. The last example shows how a pronoun can be dropped if its reference is entirely clear: [7@] qeaz 3 [yah] patthar hai. Similarly, a verb can be dropped when negated: # atta at [2], aT Z mai amrikan nabi [hi], rasi hd ‘Irn not American, I'm Russian. Word order: note the very important difference in meaning between the following: WE FART TST FI yah kamrd bara hai. This roomis big. ag ast eT 2 yah bard kamra hai, Thisisa big room. The first sentence answers the question 'What is this room like?, and gives the information ‘big’ the second answers the question ‘What is this?; and gives the information a big room EXERCISE 1A Fill the gap with €hd, ho, & hai, or & hai. Then translate. 8 ae area Tara... sar & arecth orfreaTe 2 US, T Hear ASH TAT... | a opt at... FAT aw ata fare a... , Afar ag are fag hex, war ga atts 2 at, Boi | aan ge at atts... 2 ae em ae ce apitar pret... , Afr atta ate cia a dort. aT ATT FATT ? T, to vara at ara ie aT, TT cw we ens vah ddmi panjabi kya ye admi pakistani ... ? Rj, ta accha larké nahi matjarman nahi... risi.... ham log hinda nahi... , lekin yah @dmi hindu Pitar, kya tum dgrez ... ?nahi, maijarman kya tum dono agrez ... ? nahi, ham amrikan Susila gujarati ..., lekin Susil aur Ravi doné panjabi weavanuawna kyd ap Pratap ... ?jihd, mai Pratap 10 kya ve do ddmijarman .. ?nahi, ve agrez... a rare flamPratop 9@ 01.03 EXERCISE 1B Translate this entry from Pratap’s diary. efaare, 4 TART aps ste orerer gare age ae ote Bata aed Bem ree, ae, ate a ars, whe site 0 altar ag are Bon age 8 er Sten B | are At eer 8 Afiow aes eT ware avg 8 ite anita aga qrae 8) Aer eae aret age S| oe win, at aaerfeat rt are), om otét a, afte at pefaat 21 tar adh ¢, Afar act gare 21) ow ahs arf argh ate dtr qe aetna & 1 ravivar, 15 janvari Kamala aur Prakas Kumar bahut acche log hai. tin bacce hai - ek larki, Sangita, aur do larke, Rsi aur Raj. Sangitd bahut sundar hai. Rsi bara hai, Raj chota hai. dadi ji burhi hai lekin bahut acchi hai. makan saf hai aur bagi bahut sundar hai. mera kamra kafi bara hai. ek palang, do almariyé (doné khaii), ek choti mez, our do kursiya hai. pankhd naki hai, lekin kamra havéidar hai. ek safed Maruti gari aur do-tin purani saikilé hal. oO QUICK VOCAB attr 1 4 g44g45 443 1444 grez_English person acchd_ good, nice; really?, Oh, | see! amrikan American almédri_ cupboard @dmi_man, person 4p you (formal) 484 hope aur and ek one,a kamré_ room kaft quite kurst_ chair kya (question marker) Khali empty, vacant Khirki window gart car gujarat? Gujarati cdc patemal uncleaqqaaqargacsaagg*4eadsg i qz 2 2 i qiagaqisas ciriya small bird chotd small Janvari january zariir_of course, certainly jarman German Japani Japanese Hf (cespect marker) jinahi_ no jiha yes thik. all right, OK tin three tum you (familia) td you (intimate) dédi_ grandmother dasra_ other, second do two doné both namaste hello; goodbye nahi not pankha fan panjabi Panjabi patthar stone palang bed pakistani Pakistani pita father purdnd old (of things) prati copy bagica garden acca child bara big bahut very bahd daughter-in-law barhd elderly bharatiy Indian bhds@_ language makan house mata mother manav_ human being maruti_ Maruti (make of car) 14 sar7 ZlamPratap 11marti statue, image mez table ‘mai | yah this, he, she, it yaha here ye these, they; he, she (formal) ravivar Sunday raja king rast Russian larka- boy larki il lal red qjadgraarra a4 log people vah that, he, she, it ve those, they;he, she (formal) Sukriya thank you safed white sdikil bicycle sdf clean sirf only sundar beautiful ham we havadar airy hd yes hindustani Indian hinda Hindu hid am;halis; hai are; ho are eagrg7aaayag”s Lad ov ow ~» @& Test yourself 1. Which of the following may be implied when addressing someone as @ td? Respect, intimacy, disdain, distance, indifference. 2. What does #1 ho mean and when is it used? 3 In the sense ‘he’ or'she; what is the difference between 4 yah and 4% vah? 4 In the sense‘he'or’she; what is the difference between 4@ yah and@ ye? 5 FETS. pahdr” mountain’ and €a rat’‘night'are two words you havent seen before. What would their plurals be? 6 Give the Hindi for: old houses; other people; red bicycles; vacant rooms.What is the difference in meaning between 4& "TS aT @ yah garilal hai and 7% AT aTal @ yah lal garihai? 8 What questions are answered by the two Hindi statements in question 7? 9 How would the question art 44 2? ap kaise ha? be changed when addressing a 10 person as TH tum? Give the Hindi for: old (of things); elderly; clean; white; only; very. 14 TT & lam Pratap 13aaa ate wart Questions and answers In this unit you will learn how to: » ask and answer questions about quality and number » describe things > use adjectives » use conversational conventions 2a Pratap in his Hindi teacher's office jp" wat off anit stag & - ot aefaat ate ots ae | a 4 TTF? Bt ae aa 2 Afaee aect aa 8, eT wa ZL err recat it WBA E 2 wat, frag at | aga aa E site ag aret farara aT & 2 AT ae AT THATT 2 wet ae, ae moat aah 8, TET g | adhyapak ji, yahé kitne vidyarthi hai? abhi caudah hai nau larkiyé aur pei larke. 1%3 Pratap Sarma ji Pratap Sarma ji Pratap Sarma ji w QUICK VOCAB it] att tee at oa dar frava mr aa wert Pratap Sharma ji Pratap Sharma ji Sharma ji yah ‘tic yorself hindi’ kais’ kitab hai? kyé yah acchi hai? +d, buri nahi hai. lekin sasti nahi hai, kafi mahdigi hai. kya ye Sabdkos bhi mahage hai? nahi, bilkul nahi. bahut saste hai. ur vah moti kitab kya hai? kya vah bhi Sabdkos hai? nahi nahi, vah sabdko§ nahi hai, ramayan hail adhydpak teacher Kitna how much/many vidyarthi student abhi at the moment, just now caudah fourteen nau nine pac five kaisa_ of what kind, what like kitab book bura bad Sastd cheap mahaga expensive Sabdkos dictionary bhi also, to0 bilkul quite bilkul nahi not at all mota fat, thick kya what ramayan Ramayan (epic poem) Teacher ji, how many students are there here? At the moment there are 14 — nine girls and five boys. What kind of book is this Teach Yourself Hind? Is it good? Yes, i's not bad. But it’s not cheap, its quite expensive. ‘Are these dictionaries also expensive? No, not at all. They’te very cheap And what is that thick book? Ist a dictionary too? No, ng, i's not a dictionary, its the Rarnayan! 2 war7 He FATA Questions and answersAlthough Pratap doesn't yet know much Hindi, he bravely launches into conversations like this one, building on simple constructions and limited vocabulary. You can do the same! Grammar 2.1 INTERROGATIVE WORDS Interrogative words - often beginning ‘wh'in English - begin with %k in Hindi ar kya what? att kaun who? aerate kaisd/kaisi/kaise of what kind? what like?, how? fra Pratt frat kitnd/kitni/kitne how much, how many? ‘AT kya what’ has a different role here from the ‘yes-no’ question maker role that we met in 1.2. wee? yah kya hai? What is this? qa a? tum kaun ho? Who are you? ate Far & 2 mausam kaisd hai? What's the weather like? frat frardf 22 kitne vidyarthi hai? How many students are there? YH mausam, an Arabic loanword, is the ultimate source of the English word ‘monsoon’, 2.2 AGREEMENT OF ADJECTIVES WITH MIXED GENDERS Aplural adjective qualifying a group of people of mixed gender is masculine: cafe ate aire 4a 21 Rsi aur Sangita lambe hai. Rishi and Sangeeta are tall aa ate eT eat aa 2 RGj aur Kamala duble nahi hai. Raj and Kamala are not thin, With inanimate nouns of mixed gender, a plural adjective agrees with the nearest noun: a arg alk aa tt F 1 ye cappalé aur jate gande hai. These sandals and shoes are dirty. 16a ara at fafgat qart @ 1 ve kagaz aur cit thiyé purani hai. Those papers and letters are old. In the first sentence, 7% gande agrees with masculine plural @ jate; and in the second sentence, ETAT purdni agrees with feminine plural Fatgt cit thiyd. Remember that learning a new noun with an inflecting adjective helps you learn the nouns gender: 4=61 fara acchikitab, TT HFT bard makan, and so on. 2b Pratap’s little problem @ 02.02 wat Ts, TT ar 2 2 aa StH B 7 at, aa iw 2 ai ary Fa Be Bit arsor &, fer ate alte aftr a aft aor 2, afar atta wear et 8 1 wat 2 aur ara & 2 aT ae TATE A? adi, ag ares 2 aif... aeifae as aet e halo Raj, kya hal hai? sab thik hai? ‘hd, sab thik hai. aur dp kaise hat? ‘mai bhi accha hii, Sukriya. Rsi ur Sangita kaise hai? si accha hai, lekin Sangité acchi nahi hai. ky? kya bat hai? kya vah bimar hai? ‘nahi, vah néraz hai kyOki .. kyOki dp yahd hai? ‘acchd? yah bahut buri bat hai! par Sangita kyo paresan hai? halo hello hal condition, state sab everything, all kyo why 2 ware site aaT# Questions and answers W7ara’ bat matter, thing frre bimar ill ant naraz angry, displeased Rie kyoki because er par but qa paresan troubled, upset arg atét malam nahi (I) don't know a na not; isn’t that so? Hello Raj, how'te things? Everything OK? Yes, everything's OK. And how are you? |im well too, thank you. How are Rishi and Sangeeta? Rishi is well, but Sangeeta isnt allright. Why? What's the matter? Is she il? No, she's in a huff because ... because you're here! Really? This is a very bad thing! But why is Sangeeta upset? Ui) don't know. She's girl isnt she? Long vowels in names etc. can be transliterated in at least two ways: ‘Sangeeta’ could be written ‘Sangita’— though here the’ee’ spelling was insisted on by Sangeeta herself! Grammar 2.3 SOME CONVERSATIONAL FEATURES ‘The greetings 744 namaste or THERE namaskar, often said formally with the hands folded in front of the chest, mean ‘Hello, ‘Good morning, ‘Goodbye’ et. The word #Tjffollowing a surname means roughly’Mr'(e.g. WHE ft Sarma ji ‘Mr Sharma’), although its tone is rather more cordial. ji can also be used with first names, both male and female, equivalent in formality to use of the pronoun #7 dp; itis often attached to terms of relationship ~ fratsit pitaji ‘Father, ATaTsT mataji’ Mother’ etc. HT jf also occurs alone, roughly in the sense ‘sir’ (but with either gender), and the loanwords @% sar ‘sir'and 328 maidam ‘madam’ are also common. a@4 sdhab is an alternative to Sf ji, especially with Muslim names ‘ATE bhai ‘brother'is used in addressing males of similar age to oneself; the more formal 4TE TEI bhai sahab is useful in addressing strangers. Similarly af@*t t bahin ji for females. 18At Sri and “ite srimati mean’ MW and Mrs respectively. *T $17 also means ‘lord’ (with a deity): 21 FT Sr krsna'Lord Krishna! aa art 2 2 kya hal hai? means literally ‘What's [your] condition?’ ~ a colloquial alternative to the more literal #17 #4 (#4) & 2 dp kaise (kaisi) hat ?’How are you?’ Honorific usages such as 3117 dp are innately polite, often making equivalents for‘please’ and ‘thank you' redundant. In formal contexts you will hear 374 krpaya please’ and aera dhanyavad ‘thank you, while “1s pliz'please’ and "FT Sukriya ‘thanks’ have a more colloquial ring. #@xaTAT % meharbani hai (lit. itis [through your] kindness’) also means ‘thank you. S51 acchd'good' bears various meanings, depending on tone:’Good!, Really?” ‘Ah, | see! etc. ara Tat malim nahi] don't know (lit. not known’) Is introduced more fully in 4.4 ‘The negative # na after a verb invites confirmation, as in is it not so?'— GH Er eT, + 2 tum thik hho, na? You're all right, aren't you?: It’ like the French nfest ce pas? ‘As well as meaning ‘and; af@ aur means ‘more, else, other’: #& 4 ? aur kaun? ‘who else?’; afte aT aur kya ‘what else/of course’; a#1¢ a7 aur log ‘more/other people’ In this meaning, ai aur is stressed in speech. The position of #¥f bhi ‘also’is essential — it qualifies the word(s) immediately preceding it: ata vt afar 2 1 Rsi bhi hosiyar hai. Rishi too is clever. safe atferre at 2 Rsi hosiyar bhi hai. Rishi is clever too. as well as eg. tall] 2.4 MORE ON ADJECTIVES AND NOUNS Remember that the pronouns a7 dp and @ tum are grammatically plural, even when referring to just one person. So adjectives agreeing with thern must also be in the plural, The question strz 44 (aft) ¥ 2 ap kaise (kaisi) hai?'How are you?’ can, as in English, address one person or a group of people. ‘Adding the pluralizing word 411 fog ‘people' will specify a numerical plural as opposed to an honorific one: am arr aga a2 ham log bahut khus haf. We are very happy. a am 4a at tum log kaise ho? How are you lot? a arr ara 2 ve log pagal hai. They (those people) are crazy. 2 wart aie ATT Questionsandanswers 19A masculine noun of type 1 (see 1.3) will show its -e plural in honorific plurals as welll as numerical ones: thus @ 4% tum larke means both ‘you boy’ and you boys. By contrast, feminine nouns show plural forms in numerical plurals only: arse a tum acche bete ho. You are a good son/good sons. A sr aT tum acchi bet ho. You are a good daughter. WH wat Afeat a1 tum acchi betiya ho. You ate good daughters. EXERCISE 2A.1 02.03 Answer these questions on Dialogue 2a. wat oft ate & 2 2 fart ora site orard & 2 a var -dia anaes fad” vet farce 2 2 e 4 ar wecter wait 8 arava dai fanaa 2 - FIT ae Tae 3? Sarma ji kaun hai? kitne chatr aur chatraé hai? 1 2 3. kya ‘tic yorself hindi’ sastikitab hai? 4 kya Sabdkos mahage hai? 5 ramayan kaisikitab hai - kya vah pati hai? EXERCISE 2A.2 02.04 Translate Pratap’s postcard home. amare 1 34H, aE fet wat aa Ste 2 wat ft res area & oe TT aT Z| Bat ve ora Egat ora sarara Hibs, he a aa at oer argtaat at Bate age gach aeett B feet ae 2 Afar gar ag at 2 - aga eT BT eT warra 8 9% art Aha Sem Bi aat alae aT 2? are 20somvar 16 janvari; nai dilli yahé sab thik hai. Sarmaji acche admi hai, par kafi'sakht hal. ham 14 chatr hai. dusre chatr zyadatar dgrez, jarman ya amrikan hai. do japani larkiyé bhi hai. doné bahut dubli-patli hai! dill sundar hai lekin hava sdf nahi hai - bahut gandi hai. pradisan bahut kharab hai. par dj ‘mausam thik hai. vahé mausam kaisd hai? Pratap EXERCISE 2B.1 Translate, 1 Sangeeta is tal; Risht is tall too. 2 The teacher is strict; he’s crazy too. 3 The new fan is cheap; and it’s good too. 4 These shoes are dirty; the sandals are dirty too. 5 That girls fat; she's beautiful too. 6 These newspapers are good; they’re cheap too. EXERCISE 2B.2 Convert singular to numerical plural, as shown. we TE aTaMT saat 21> vah burhd admidubla-patla hai. aa sree qataaa Z| > ve burhe admi duble-patle hai. ¢ Fg Fen sear wat 2, FA 2 Haar adi sete ew...) ag farava 4a 2 2 Fat ag awat Be? ae Ba ary vet 8, aga HT A We AAT saaTe AEA ao aT 21 me WRT AAT A Mt, ae aIRT ae oT HTB eww aos yah bacca acché nahi hai, bimar hai. ‘mai lambé nahi hd, chota hi. (ham...) vah kitab kaisi hai? ky vah acchi hai? vah mez saf nahi hai, bahut gandi hai. yah nayé akhbar bahut acché nahi hai. yah Sabdko$ sasta hai. hd, aur kafi acché bhi hai. auawna 2 ware ae ATT Questions and answers 21QUICK VOCAB ageaggeereaiy 3 akhbar newspaper adhyapak teacher abhi at the moment, right now gj today aur more, else, other kagaz paper; a piece of paper Kitna. how much/many Kitab book krpayd please (formal) kaisa of what kind, what like, how kaun who kya what kyo why ky6ki because khardb bad khus happy ganda dirty cappal sandal citthi letter, note, chit chatr student chatra female student javab answer Jata: shoe; pair of shoes zyddatar mostly, most dillt Delhi dubla thin; dublé-patlé thin, sight of build dhanyavad thank you na not;is itnot so? namaskar hello; goodbye naya (nae, nai) new naraz angry, displeased nau nine patlé thin par but paresan troubled, upset pic five pagal mad, crazy pradisan pollutionra97743 a agsgagy aag gyre ra aaqaaatts x 423 bahin sister bat matter, thing bilkul completely bilkul nahi not at all bimar ‘il burd bad beta son beti daughter bhar brother bhi also, too mahaga expensive ‘mala nahi [I] don't know meharbani kindness maidam madam mota fat, thick mausam weather ya or ramayan Ramayan (epic poem) Jamba tall, high vidyarthi student Sabdkos dictionary $17 Me; Lord (with deity) Srimati Mrs sakht strict, severe sab everything, all sar sir savél question sasta cheap sahab Mi, sir somvar Monday solah sixteen halo, helo hello hava air hal condition, state hindi Hindi 2 wart re 7aTF Questions andanswers 23Test yourself 1. What two functions are performed by the word 1T kya ? Nowa 24 Fill the gap with the required form of the adjective 431 baya'big, elder’ TATE do... bhdi. 4 ... HTT TAT = lyah... makan khali hai 3... As4T FTE 2 vah ... larki kaun hai? Give the Hindi words for: sister; upset; expensive; ill, thank you. How would you say in Hindi:’My brother is ill and my father is il too? What does 4 na mean in the following question? atv farat # & 4 2 dp Dill se haina ? What form does an adjective take when describing a plural group of mixed gender ? Explain the form of the word 4 kaise in the sentence amt Hf sft 88 & 2 aj Sarmaji kaise hai? Which of the following adjectives inflect (change their form) in the feminine and the masculine plural? aT [dl, StT chotd, 431 accha, Fé mahaga, ATH naraz, AZT mota, iat lamba. What is meant by the following expression? a art & 2 kya hal hai? How do we say’please’in formal Hindi?az y Hat Rooms in the house In this unit you will learn how to: » describe locations ~‘in; ‘on’ etc. » use a fuller range of pronouns » develop conversational skills 3a_Pratap’s mother phones from London @ 03.01 } Pratap Anita Pratap Anita Pratap Anita Pratap 26 Ba St sare 2 grant aetna Ste Ba 7 alk ae wart Fate? forge atm ¢ at tte ag ae it aT aT A wate? fear & a att & — sare site weet, ara oft, SON, AT AST Tare @ | aT H fet wat? at ad at 8, othe wm ret aa pat THT ware afte Gear er) aH der aig Ba? at, wa Bt oe ar ar & atte at oe ae aa AT kaise ho Pratap? tumhari tabiyat thik hai na? aur vah makan kais@ hai? bilkul thik hid md. aur yah ghar bhi burd nahi hai. Kumar parivar kitnd bara hai? sirfpati-patni hai, ‘ya bacce bhi hai? parivar mé kai log hai - Prakas aur Kamala, Dadij, ek larki aur do tarke. accha, kafi bara parivar hail makan mé kitne kamre hai? ‘nau bare kamre hai, aur ek chota. sab kamnr6 mé saman naya hai, ‘aur tumhara kamra? kamre me pankha vagairah hai na? hd, ab mez par nayd pankhd hai. aur fars par nai dari bhi haiW QUICK VOCAB ert tumhara your, yours adiaa’ tabiyat health Sa ghar house, home afar parivar farnily ofan pati husband oat patni wife at kai several % chah six at sara all, whole ana” sdman_ furniture, things ae vagairah and so on, etc. wt ab now wa farg floor at dari floor rug, mat How are you, Pratap? Your health is OK, isnt it? And what's that house like? Pratap |im absolutely fine, Mum. And this house too isn't bad. How big is the Kumar family? Is it just husband and, wife, or are there children too? Pratap There are several people in the family - Prakash and Kamala, Grandma, a girl and two boys. Anita Oh, it's quite a big family. How many rooms are there in the house? Pratap There ate nine big rooms and one small. And the furniture in all the rooms is new. Anita And your room? There's a fan etc. in the room isn't, there? Pratap Yes, there's a new fan on the table now. And there's a new rug on the floor too. Grammar 3.1 SIMPLE POSTPOSITIONS In English, words like in’ and ‘from’ are called prepositions because they precede a noun or pronoun (‘in the house}; in Hindi, they follow a noun or pronoun, so they're 3. ¥¢ # AT Rooms in the house 27called postpositions (#4141 # makan mé). There are five ‘simple’ or single-word postpositions: % mé ‘in = par ‘on’ = @ tak ‘upto,asfaras’ © FT ko ‘toetc. F se ‘by, with, from’ etc. ae gharmé inthe house aa aT Ram ko to Ram 499% ~~ mezpar onthe table aa a ratko at night 444 4% — samay par on time waa basse by bus ara ae djtak until today are & Gram se with ease, easily a@ta# yahétak upto here waa = bharatse from India 3.2 NOUNS WITH POSTPOSITIONS Hindi has two main grammatical cases. In Units 1 and 2, all nouns were in the direct case, which is obligatory for verb subjects. But when a noun is followed by a postposition, it must transform into a different case, known as the oblique case. Thus all the nouns in 3.1 above, shown with postpositions, are by definition in the oblique; but no change is apparent, because the nouns cunningly chosen there are all singular'type 2'nouns (see 1.3), whose oblique singular form is identical to the direct singular. For example, the word "& ghar‘house' remains the same in the following two sentences, although its case changes: in the first sentence it's the subject of the verb and is therefore in the direct case, while in the second itis followed by a postposition and is therefore in the oblique case: ae are 2 | ghar khali hai. The house is vacant. aed ara 21 ghar mé saman hai. There is furniture in the house. Not all nouns are so user friendly. Masculine ‘type I’nouns like #4T kamrd'room| change their final -d toe in the oblique singular (#At kamre): eT rat 2 kamra khali hai. The room is vacant. at 3 ara 21 kamre mé sémén hai. There is furniture in the room. ‘Nouns of all classes change in the oblique plural, which ends in -6 (8t ¥ gharé mé, Fat karo mé} at Far 2 1 gharé mé séman hai. There is furniture in the houses. and Haar 2 kamré mé saman hai. There is furniture in the rooms. The following table gives all the noun types in the direct and oblique cases, singular and plural: 28Pier Cotes fee el aseT lark boy asta larke se from the boy ART kamra room ae kamremé inthe room ae larke boys. weet lark6 se from the boys wat kamre rooms at kamrémé inthe rooms Ca i ae wart makan house ward # makanmé inthe house are admit man avait #t ——admiko——_totheman fee hinda Hindu fer at hindéko =~ tothe Hindu HTH ‘makén houses wart # makéné mé in the houses aren admit men arafirit #1 admiyéko —tothemen fez hind Hindus feqait #7 ——hindudko tothe Hindus ini ea asa larki girl asa larkise from the girl aft marti image aft & mirtimé_intheimage fatear ciniya bird fafgar #t ——ciriyako tothe bird astra larkiye girls agfadi &@ = larkiyése fromthe girls aft Prati copies afeat % ———_pratiyomé inthe copies fateat cys birds fafedt at ciriydko tothe bids a mez table ae mez par on the table ara mata mother rat & mata se from Mother crs mezé tables ast 1 mezopar —_ onthe tables ara mataé mothers aratait & from the mothers Before the oblique plural -6 ending, -d nouns shorten to -u- (fe-Z_hinda > fergait hindud); and -i nouns change to -iy- (aT admi > arf admiyo). 3.9¢ 7 FAT Roomsinthehouse 29wars He ate makan mé kai kamre hai. In the house there are several rooms. Sart oe eae BL divaré par tasviré hai. There ate pictures on the walls. ral oe TB fars par dari hai. There is a rug on the floor acarfat ¥ aa 22 almariyé mé kya hai? What's in the cupboards? Word order: look back to the vital word-order point made in 1.5; then note how the sense ‘there is... fis conveyed through a similar inversion of word order. Compare the following two sentences: asm ran mez par qalam hai. There is a pen on the table. This statement answers the question 4H = #41 % 7 mez par kya hai? ‘What is there on the table? war a2 galam mez par hai. The pen is on the table. This statement answers the question #44 #et @ 2 qalam kahd hai? ‘Where is the pen?” In both Hindi sentences, the answer words (#44 qalam, 3% T mez par) replace the respective question words (#1 kya, ¥ét kahé), You can now extend the pattern: 4 @gt Ha oz, at agt Asi Ge ek barimez par, do bari mez6 par etc. 3b Prakash has lost his glasses po" Raft ot araen & @, fear oft adh ar arate? wr ae 4 sat a ae... A aT Het eT at As qe vat 2 2 a sa otet aoe as att? wat & 1 mere Gert at HE wai frarstt, 3 eet & fare Ber gear 2, aa wet | 4] 2] 34 30Prakag i amar at 21 Rs, o Rsi, tum kahé ho? ‘mai abhi chote bathram mé hii, pita ji. kyo? kya bat hai? tum subah se vahé ho? khair... merd casmd kaha hai re? bari mez par nahi hai? ya us choti almari mé, bare kamre mé? nahi hai. Sayad tumhdre kamre mé hai. nahi pitaji, mere kamre mé sirf meré casmé hai, 6pka nahi. ‘ur tumhari dardz mé bhi nahi hai? Jinahi, meri dardz mé bahut-sari cizé hai, par apka casmé nahi hai. © oh! kahé where? bathram bathroom me in subah morning se since, from vahd there Khair well, anyway mera my,mine pka your, yours casma_ glasses te eh, hey 3.9¢ # HT Rooms in the house 31® par on So us. that are Sayad perhaps aH dardz drawer agi art bahut-sara_ ots of tw ciz thing Rishi, oh Rishi, where are you? {im in the small bathroom at the moment, Father, Why? What's the matter? Have you been there since morning? Anyway .. where are my glasses, eh? Aren't they on the big table? Or in that small cupboard in the big room? They're not. Perhaps they'te in your room. No, Father, in my room there's only my glasses, not yours. And aren't they in your drawer either? No, there are lots of things in my drawer, but your lasses aren't there Grammar 3.3 ADJECTIVES IN THE OBLIQUE CASE Anoun before a postposition must be in the oblique case (3.2) and so must any adjective qualifying it. Inflecting adjectives like 4ZT bard'big, ending in -d, change to -e in the oblique (singular and plural); masculine adjectives not ending in -d do not change. Similarly the feminine ending -i (@$T bari) doesn't change in the oblique. The possessive pronouns 421 mera ‘my, mine, TTT tumhara ‘your, yours (relating to TF tum) and str apka ‘your, yours (relating to 31% Ap) work just like adjectives, agreeing with the thing possessed (Ber arg, At atest mera bhai, meri bahin my brother, my sister’); they're introduced more fully in 6.2: ata He bare kamre mé in the big room ae at F bare kamré mé in the big rooms ware mere makan mé jin my house wart 7 mere makané mé in my houses Pert weet F tumhari almarimé in your cupboard art aerial F tumhari almariyé mé in your cupboards 32arait aig 7 pki mez par on your table arrat ast oe Gpki mez6 par ‘on your tables at RATS lal darvaze par ‘on the red door ara aearsit 9 Jal darvaz6 par on the red doors 3.4 PRONOUNS IN THE OBLIQUE CASE When a pronoun is followed by a postposition (3.1), it must of course take the oblique case (compare English:'tell her’is correct, tell she'is not). Here are the pronouns with their oblique forms # mai > et mujh @ ham > =H ham qu > TF tyh TF tum > 7 tum eZ TT ap > aT ap TE yah > Ais Aye > et in Te vah > us ave > stun wr kun >| Pm is: aH kaun eas IT kya > FRR kis FAT kya > FEF kin Postpositions following pronouns may be written separately or as one word: Ht & mujh se / Het mujhse; ATT AT Gp ko / ATT apko. Averb subject must be in the direct case. Test this rule by identifying the subject in each sentence of Dialogues 3a and 3b. @ 03.03 EXERCISE 3A.1 Answer these questions on Dialogue 3a. 4 cart a2 > 2 Far afar & fat att &, ake a ate By a ware frat at 3 2 ea A ag ad 22 eo wat er area 4 var vet 82 ae Fa 2? 8 aT at Get 22 ae Fate? 3.9 # FAT Rooms inthehouse 331 Pratap kaisa hai? {| 2. Kumar parivar mé kitne log hai, aur ve kaun hai? 3. makan mé kitne kamre hai? kya ve sab bare hai? 4 kamré mé kaisd saman hai? 5 pankhé kaha hai? vah kaisé hai? 6 kya daripuranthai? vah kahé hai? EXERCISE 3A.2 Describe a room, using at least eight sentences based on the format of the descriptions in Dialogue 3a EXERCISE 3B.1 Translate. 1 this big room in this big room The boys are in this big room, 2 those black chairs on those black chairs The clothes are on those black chairs. 3 this dirty floor on this dirty floor There's a rug on this dirty floor. 4 these old tables on these old tables The books are on these old tables. 5 that big garden inthat big garden Theresa car in that big garden. 6 thesenewrooms __inthesenewrooms _ Are there fans in these new rooms? 7 the old city from the old city Those girls are from the old city. 8 this little village from this little village Is that boy from this little village? 9 thiscleankitchen _inthiscleankitchen There's table in this clean kitchen. 10 those tall boys from those tall boys This letter is from those tall boys. EXERCISE 38.2 Using Dialogue 3b as your model, write a short dialogue in which Rishi asks his mother where his new book is Q ouick vocas ab now apka_ your, yours " Gram rest, comfort; ara & Gram se comfortably, easily is oblique of 4& yah in oblique of # ye us oblique of 4& vah un oblique of % ve © oh! ; kapra. cloth; garment aa* sgsadadaqeagecaegesgqqaggasaagsessaray 4 gragena galam pen kala black kis oblique singular of #1 kaun and of IT kya kin oblique plural of MT kaun and of AT kya ko to,0n, at khair well, anyway gav village ghar house, home casa glasses car four ciz_thing chah six tak up to, as faras tabiyat health tasvir picture tujh oblique of & ta tumhard your, yours darvaza door daraz drawer dari floor rug, mat das ten divar wall pati husband patni wife par on parda curtain parivar family fars floor bas bus bahut-sara_ lots of bathram bathroom bharat India mujh oblique of ¥ mar mé in; ¥& mé se from among, out of mera my, mine rasoighar kitchen rat night te eb,hey landan London 3.9¢ 4 FAT Roomsinthehouse 35a vagairah etc, and soon wet vahé there Te" Sahar town, city a Sayad perhaps a samay time arart sdman_ furniture, things ant sara all, whole we subah_morning a se by, since, from, with Test yourself 1. When is the oblique case used? 2. Translate: on the clean table; in these rooms; in this small kitchen. 3 Of which two direct-case words is f° kis the oblique form? 4 Translate:'How many people are there in this family?” 5 What is the word for India in Hindi? 6 Count from one to six. 7 Fill the gap with the required form of the word in brackets: rat ft aga. [arar] art | Sarma ji bahut ... accha] admi hai. ag aga. [ETT] 21 ye mezé bahut ... [purdna] hai. Fa TS. [AST] THATS? kyé RGj... [bard] larka hai? 8 Explain the word 4&4 mujh. What does it mean and when is it used? © 36 In the phrase 3 ¥ ghar mé, what grammatical case is 4 ghar in and why? Translate: to those people; on the big tables; in the small rooms; as far as that house.Who was that handsome man? In this unit you will learn how to: » use the past tense » make comparisons » say you have a cold or fever > use the vocative case -'0 children!’ 4a Sangeeta’s friend Suhas - just a friend? @ 04.01 fevtare at adi, a der aga grat area 2 ve gers aes oH Hoe aT aT BY at gent aren at 8, oc aga omer ara 3 aa ag forth AB Pa a? 3 attr gaa aa #4 — Ser aero, araaed ot. oc ae at ger aT fiat afar ‘fiat ‘afar feat after fiat afarfiat after Pinki Sangita inki Sangita Pinki Sangita Pinki Sani inki Sangit w QUICK VOCAB aft are fag Terr sar 2 eT? Sangita, aj tum klas mé kyé nahi thi? tum kaha thi? ‘mai ghar par thi; Suhds bhi tha. dusre log bahar the. Pratap bhi tha vahé. ‘Suhds ~ vah khabsurat ami? vah kaun hai - dost ya ristedar? ristedar to nahi, vah merd bahut purdna dost hai. yah tumhara dost umr mé tumse kafi bara hai! ‘hd mujhse bara to hai, par bahut pyara adm ha kya vah dill se hai? ya vides se? ve log pahle landan me the - mera matlab hai, bal- bacce bhi the ... parab to Suhas akela hai ur Suhds sirf tumhara ‘dost’ hai kya? hd Pink vah sirf mera dost hai-merd mitr hai frend hail? Klas class tha, th, the, thi’ was, were ghar par at home bahar out; outside Khubstrat beautiful, handsome dost friend ristedar relative to so; as for (see 4.2) umr, umar age pyara dear, lovely Vides foreign country; abroad pahle previously ‘matlab meaning bal-bacce children, family akela alone mitr friend 4 7E TET HTzHT GF AT ? Who was that handsome man? 39Sangeeta, why weren't you in college today? Where Pi were you? Sangeeta was at home; Suhas was there too. The others were out. Oh yes, Pratap was there too, Pinkie Suhas - that handsome man? Who is he ~ friend or relative? Sangeeta Nota relative, he’s my very old friend, Pinkie This friend of yours is quite a lot older (bigger in age)? than you! i E Sangeeta Yes, he is older than me, but hes a very dear man. E Pinkie Is he from Delhi? Or from abroad? : Sangeeta They were in London before — | mean, there was a family with children ... but now Suhas is alone. Pinkie ‘And Suhas is just your friend’? Sangeeta Yes Pinkie, he's just my friend - my mitra, my friend! Grammar 4.1 ‘WAS’ AND ‘WERE’ Unlike the present tense, the past tense of the verb €14T hond 'to be’ distinguishes gender: @ AT vah tha ‘he was, 7% ai vah thi ‘she was' Bar maithé was Hit maithi —\was qa ta tha youwere aa ta thi you were WEA —syahthd this, he, it was ae at yah thi this, she, it was qe av —vahtha that, he, it was wet = vahthi _ that, she, it was eA hamthe we were wat = hamthi —wewere TT — tumthe youwere qi dt — tumthi —youwere amt — apthe —_ youwere amt dt apthi you were ay the they, these were;she 14 ye thi they, these were; she ye 7 was (hon) was (hon) aa vethe they,thosewere;he |@4T ——veth?_—_they, those werershe was (hon) was hon) 40ea wae Har mai kal daftar mé tha. Yesterday | was in the office. arar sft gama #1 cacajfdukan mé the. Uncle was in the shop. at ait ae ae adi aT ma bhi ghar par nahi thi. Mum too wasn't at home. at at tr 31 doné bacce bimar the. Both children were il. atfaat aw oe at goliyd mez par thi. The pills were on the table. Did you notice? aera fad: GaIer “ale” & FAT? Suhass sirftumhara ‘dost’ hai kya? in the dialogue here, #1 kya is colloquially thrown in at the end. 4.2 a T0'SO, AS FOR’ The important little word aT to has two separate functions: (a) as a conjunction meaning’so;, and (b) to lend emphasis to a preceding word or phrase: 4 aT veto ...'as for them..." Itisn't a postposition, so it doesn't affect case, Its two uses are explained separately. a Atthe beginning of a phrase, @T to means’so, or’then’: diem gar 4222 — tokyadukanbandhai? —_—_Sois the shop closed? aan, Tt Tt et accha, to tum landan Ah, then you'te from London? aa? seho? b Following a word or phrase, @T to contrasts that preceding item to some other item in the same context: aarat dt a aT, 1 hand to garam The food was hot, ara ee tha, par cay but the tea was oa a ekdam thandi thi. completely cold. ara sat a aT, Khana acché to tha, The food was good, qe ag sit aT | par mahdiga bhi tha. but it was expensive too. Often the contrasted item or situation is only implied: wa diag ae 92 aT 1 kal to vah ghar par tha. Yesterday he was at home. {t.. but today?) wea ae ae aT TI kal vah ghar par to tha. Yesterday he was at home. {... but he was busy'] wa ae aT aE TI kal vah to ghar par tha. Yesterday he was at home. {... but the others?) This second use of aT to usually carries a subtle nuance; it is to be understood gradually, after seeing more examples 4 3e qa are FIT AT? Who was hathandsomeman? 41