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SEARCH PRESS

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Debbie Shore

SEARCH PRESS
 5 gee ALS

First published in Great Britain 2014

Search Press Limited Acknowledgements

Wellwood, North Farm Road, This one is for my wonderful
Tunbridge Wells, Kent TN2 3DR
photographer husband who puts up
Reprinted 2014 (twice) with the constant hum of my sewing
machine, trips over the endless rolls of
Photographs by Garie Hind
Styling by Kimberley Hind
fabric and picks up the loose threads
that follow me everywhere. Who
Text copyright © Debbie Shore 2013 barely sees me when I’m in sewing
Photographs © Garie Hind 2013
Design copyright © Search Press Ltd. 2013 mode, unless to surface excitedly after
finishing a project demanding it be
All rights reserved. No part of this book, text, photographed NOW! And still creates
photographs or illustrations may be reproduced
or transmitted in any form or by any means the most beautiful pictures you see in
by print, photoprint, microfilm, microfiche, this book, and loves me despite my
photocopier, internet or in any way known or having a head full of notions.
as yet unknown, or stored in a retrieval system,
without written permission obtained beforehand Thank you also to Kimberley Hind,
from Search Press. Elise and Sadie Collie for modelling my

ISBN: 978-1-84448-892-6 PSs OEE UUINE

The Publishers and author can accept no
responsibility for any consequences arising from
the information, advice or instructions given in
this publication.

Readers are permitted to reproduce any of the

items/patterns in this book for their personal
use, or for the purposes of selling for charity,
free of charge and without the prior permission
of the Publishers. Any use of the items/patterns
for commercial purposes
is not permitted without the prior permission of
the Publishers.

Suppliers
For details of suppliers, please visit the Search
Press website: www.searchpress.com.

Printed in China
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Contents
Introduction 8

Useful things 10

Before you start 12

The projects 16
Book Bag, Wet-wipe Sachet Cover, Tote Bag,
Index 96 page 16 page 20 page 22

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Craft Caddy,
page 42 page 46 page 50

Oven Gloves, Notice Board, Pincushion, Slippers, Coat-hanger Tidy

page 68 page 70 page 74 page 76 page 80
 €
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t
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te
E
i

Child’s Apron, Make-up Brush Roll, Peg Bag Pocket Apron,

page 26 page 28 page 32 page 36 page 38

Owl and Pussy Cat, Chicken Doorstop, Padded Coat Hanger, Rosette Headband, Place Mat,
page 52 page 56 page 60 page 62 page 66

Pan Holder, Tea Cosy, Sewing Machine Dust String of Hearts, Tissue Box Cover,
page 82 page 84 Cover, page 86 page 90 page 92
PP RPP
N DD N

Introduction
Have you ever wondered what to do with all those off-cuts
and leftover pieces of fabric after you’ve finished a sewing
project? Maybe you’ve bought some pretty fat quarters
but don’t know what to do with them. It feels wasteful to
throw them away, but they aren’t quite big enough to make
anything useful — or so you think. Here are some quick
and easy projects that are kind to your pocket and to the
environment, all designed to be made with pieces of fabric
less than half a yard long.
Woven fabrics like cotton or polycotton mixes work best
with these projects, but don’t forget to recycle ... the fabric
could equally as well come from an old shirt, duvet cover
or tablecloth as from a fabric store! And don’t forget to
put your own spin on things. There’s no reason why you
couldn't apply a flower or rosette to your tote bag, buttons
to your headband or cross-stitch to your craft caddy!
Hand-sewn items are expensive to buy, but we often
lack the confidence to try making them ourselves. All the
projects in this book are designed to be easy to make, even
if you are a complete beginner, and can be created in just a
few hours for very little money.
Be inspired, get creative, and you will soon be making
beautiful, hand-made gifts that your family and friends will
treasure. And if you can’t bear to part with them they will
add a real designer touch to your home.
 . Z y ‘ ‘ f \ 7 Nee Kona \ 7 “A NS YS AS ye f
~ NA A A A V4 “A wf fp ty V4 uf

Sewing machine: a basic machine is fine as a straight stitch is really all you need for
most of the projects in this book. Embroidery stitches are good for adding decoration,
and zigzag stitch is great for stopping seams from fraying.
Fabric: lots of it! Sewing is an addictive hobby and it’s good to have a large stash at
hand. I’ve used cotton and polycotton mixes in this book, but feel free to experiment
with other materials. Oilcloth is great for kitchen projects as it is waterproof and
wipeable. Save leftover pieces from larger sewing projects, and rummage through the
oddments box in your local fabric store. Keep old clothes, sheets and duvet covers —
often the fabric is fine even when the item itself is no longer wanted.
Threads: a box full of coordinating and contrasting threads is always useful. Don’t be
tempted to buy cheap ones — the better the quality of thread you use, the better the
quality of the stitching.
Buttons: collect all sorts of buttons to decorate your projects — plastic, colourful,
metal, you can never have enough!
Ribbon: a ribbon makes a lovely decorative finish.
Bias-binding tape: | use this in many of the projects to give a neat and contrasting
edge to an item.
Zips: remove zips from old clothes before you throw them away and keep a few in
your sewing box — you never know when you'll need one.
Scissors: sharp dressmaker’s shears that you use only with fabrics are a
must-have in your Sewing box for precision cutting. Small, sharp scissors are
useful for snipping threads.
Pinking shears: these help to stop your fabric fraying, but also give a
decorative edge.
Pins: | use pins with big glass heads as they are easier to see.
Steam iron: make sure it’s clean otherwise it will mark your fabric.
Tape measure: for accurate measuring.
Hand sewing needles: you'll always need these, in various sizes to cope with
different thicknesses of fabric and thread.
Thimble: this will stop you spiking your finger.
Re-positionable fabric adhesive spray: good for holding appliqué and layers of
fabric and wadding in place before sewing — and it won’t stick to your needle!
Seam ripper: a useful little tool for ripping open seams — after all, accidents
will happen!
Wadding: buy hollow-fibre pillows instead of kapok and use the filling as wadding —
much more cost-effective and just as soft.
Pointed wooden tool: good for pushing out corners — saves you reaching for the
scissors and piercing your fabric.
Rotary cutter: this is a must-have for crisp, accurate, sharp, straight lines. Use with
a cutting mat and rectangular ruler.

10
Everything shown here is listed opposite — apart from the cup of tea, even though it’s just as
important! The little heart-shaped pincushion is one of the hearts made in the project on page 90.
ENT VS PSOT
SF FFOF Oe

Before you start

Here are some useful tips before you start sewing:

e Take your time measuring and cutting fabric. If your stitching is wrong OO ee 7 PEE Ba,
you can always unpick, but if you cut your fabric wrong it could cost you i
, A
more fabric. : A
If you’re not too good at sewing in a straight line, put a piece of tape over
the flat bed of your sewing machine to use as a guide.
e Change your machine needle after approximately eight hours of sewing; |
a blunt needle can pucker your fabric. .
Good lighting is essential for successful sewing. Daylight bulbs allow you t

to see the true colours. \

e Always use See SNE) thread. There's a time and place for saving A pees op tape Stee anemone anne
money, but don’t skimp when it comes to thread! Cheap thread can of your machine as shown will help you
break easily and shed fibres into your Sewing machine. sew in a straight line.
e Many fabrics nowadays are pre-shrunk, but if you’re not sure, wash and
dry your fabric before cutting it.
e |roning is an important part of sewing. Your seams will sit better and
you'll have a more professional finish if you iron them as you go. Pre-
ironed fabric is easier to work with.
e Always use sharp scissors, and never use your fabric scissors to cut
paper as it will blunt them.

Some simple stitches

Familiarise yourself with the following stitches and, though really simple
to learn, they will give your Sewing project a neat, professional finish.

APPLIQUE Fee VA ea
Set your sewing machine to a wide
zigzag stitch and test on a piece
of scrap fabric — you may prefer a
narrower stitch. Centre the edge of
the shape under the middle of your pe
satin-stitch foot, and gently guide
it under the foot. Don’t push or pull Se i Aa ee
SATS CUS SOAS A satin-stitch foot has two ski-like bars If you find you’ve sewn just inside your
the way around the shape. underneath that raise the foot up slightly, appliqué shape, use duck-billed scissors
allowing the dense stitches to pass to trim away the excess fabric accurately.
underneath easily.

12
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SLIP STITCH LADDER STITCH TACKING STITCH

| use this for my bias binding. The An invisible stitch used to close Also Known as basting stitch, this
tiny stitches are barely visible. openings from the right side of is a large running stitch used to
the fabric. hold fabric in place temporarily
and then unpicked after machine
Stitching. It is also used to gather
fabric, as in the rosette on the
FRENCH KNOTS headband (page 62).
This stitch results in a little knot that can be used for decoration. It also
makes very good beady eyes, as on the chicken doorstop (page 56).

1 Knot your thread and insert 2 Hold the base of the knot and 3 If you're making several knots,
your needle from the back of gently ease the needle through. take your needle to the next
your fabric. Make a tiny stitch, Stab the fabric in the same spot as position and carry on.
but before pulling the needle you first came through and take
all the way through, wrap the the needle through to the back of
thread around it three or four the work. Pull the thread and it will
times as shown. form a tight knot on the surface.

13

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ViNT RY Ox XT XPOS MSF RINSE FO ae

Bias binding
| only realised after writing this book just how much
bias binding | use, so | thought I’d explain what it is,
why | use it, and how to apply it.
If you look at a piece of woven fabric, the
weave goes up and down, and across.
The up-and-down threads are the warp, and
the across threads are the weft. If you pull
on the fabric, it won’t stretch. Now, turn the fabric
to a 45° angle and pull. It should now stretch. Bias-binding
tape is a woven fabric cut into strips at a 45° angle. This means it
will stretch around curves and, secondly, it won’t fray.
Bias-binding tape is useful for edging curves and gives any item
a professional finish. You’ll see in this book the difference it makes
to projects like the craft caddy, apron, peg bag, oven gloves and
many more. This pretty book bag (page 16) has been
edged with bias binding in a coordinating
colour arid adored with ribbon handles
and buttons for a stylish look.

APPLYING BIAS BINDING ALONG A STRAIGHT EDG E

Bias-binding tape comes in a long strip that is pre-pressed in half, with the raw
edges meeting in the centre.

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eS
Sa

1 With nght sides facing, lay the 2 Sew the tape to the fabric along 3 If you need to trim off a bulky
tape along the edge of the fabric, the pre-ironed crease. hem, now is the time to do it. Then
open up one side and pin the two fold the tape over the edge of the
raw edges together. fabnc and pin. neatly in place.

4 Two choices now: to make the

stitches invisible, slip stitch the
back of the bias-binding tape to
your fabric, or, for speed, carefully
sew along the edge from the right
side using your sewing machine.
 ae BIAS rote AROUND A CIRCLE ~

1 Fold in the end of the bias- 2 Sew along the pre-ironed S) Fold the binding over the
binding tape by about “in (0.5cm), crease, making sure you lineupthe raw edge and pin then stitch in
then pin it to the circle of fabric, stitching at the beginning and end. place, using either slip stitch or
nght sides facing, easing the tape machine stitch.
gently so it doesn’t pucker. When
the end of the tape meets the
beginning, simply lay it over the
folded end.

USING BIAS BINDING WITH PIPING

sad Se “

1 Iron the bias-binding tape flat. 2 Using the zipper foot, sew the 3 Lay the tape on the night side of
Fold it in half and sandwich the two sides of the tape together, close __ the fabric with the two raw edges
piping in the middle. Pin in place. to the piping as shown in the image. __together, as shown, then sew the
tape to the fabric just outside the
previous stitch line.

4 Turn and press. If you wish, you

could topstitch alongside the piping
to secure the seam.

15
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Book Bag youned
What
A piece of cotton fabric
If you’re giving a book as a gift, what a lovely way to dress approximately 3 times the
| width of your book cover
it Up Here is a practical, easy way to carry your holiday whén closadPandatqehetit
reading to the beach, or your text book to college. (5cm) higher
The same size of lining fabric
About 30in (76cm) of
coordinating bias-binding
tape
Two strips of ribbon for
handles, 6in (15cm) each
in length
A length’of ribbon for a
bookmark, 2in (Scm) longer
than your page, and a small
matching bow
Curtain ring
Buttons to embellish

stape |
denne «,
Skule ;
v

1 First, measure your book. Begin

by taking the tape measure all the
way around your book, then add
9in (23cm).
j

2 Next, measure the height of i

your book and add 2in (Scm).

3 Gut both your fabricandthe —

lining to this size. Pin or tack the
lining and fabric together, nght
sides out, with raw edges matching.

4 Apply the bias tape to the shorter edges (see page 14).

5 Fold these edges in by 4in (10cm) and press the folds to mark them.

17
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 6 For the bookmark, thread the
end of the ribbon through a curtain
ring and stitch it in place by hand,
then glue a little bow on top to
cover the stitches.

if Fold the entire piece in half and

' mark the centre point with a pin,
, -then tack the bookmark nbbon to
4 this point.
:
j

8 Refold the ends (see step 5) and

add the remaining bias tapetothe ,
raw edges at the top and bottom.

Add a pocket to the front of the bag for pens

and pencils, or extra pockets on the inside.
This is done by adding an extra strip of bias-
finished fabric, measuring Sin (13cm) wide,
underneath the fold of the cover, before sewing
the sides. Stitch down the centre of this pocket
for smaller items such as business cards.

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 9 Place the cover of the book into
the pockets you've just made, and
mark the position you’d like for the
handles. Make sure the distance
between the sides of the book cover
and the nbbon is equal.

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1 O Sew the ribbon on securely, by stitching

in a cross. Fold short pieces of ribbon and
place them at the ends of the handles,
and cover the stitches with buttons for a
finishing touch.

19

TH eee eee
Wet-wipe What you need
A piece of cotton

Sachet Cover
fabric approximately 12in
(80.5cm) square
24in (61cm) of bias-
binding tape —
Every parent or pet owner knows how useful wet wipes Ribbon and buttons
to decorate
can be when you are out and about for cleaning sticky
fingers or muddy paws! So why not pop the sachet inside
one of these easy-to-make covers and transform it into a
stylish accessory?

Tip
Cotton is ideal, but try other non-stretch
fabrics like felt. The cover at the back in
the picture below was a fabric | felted
myself using brightly coloured yarn and
a felting machine.
 7

I
j
'
i
t
!

j ’

1 Measure the height of your wet-wipe sachet and 3 Measure the centre point of the bound edges, and
i add lin (2.5crn). Measure the width of the packet and sew a nbbon fastening to each one on the wrong side
times it by two. Cut your fabric to this size. of the fabric. Cover the stitching with buttons on the
4 night side.
2 Edge the two shorter sides with bias tape.
Pal

4 Fold the fabric in half widthways and mark the

centre point with a pin at each end; unfold.

5 With the fabric face up, fold both bound edges

together to meet in the middle, at the pin marks,
and pin.

6 Sew across both ends and snip the seam

allowances at the corners for each.

5 — { Turn the cover right side out.

21

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UCHR EEHUCEOAEORABAAROSPOAO RARER ORG)
PUCPPAUGRVAUEELACECAEUD EA RERT PELL VOD TEESE
Tote Bag : ;
eR
Two pieces of patterned
fabric measuring 14in
This handy shopper is stylish as well as eIsee. and has ah Ah) buat
pockets on the front to+elp keep you organised. | used For the pocket, another
curtain-weight cotton as it is durable and helps the ba patterned piece of fabric,
; : : Y 14 x Bin (85.5 x 15cm)
keep Its shape. Two pieces of lining fabric
measuring 14 x 16in
(35.5 x 40.5cm)
Two strips of lining fabric
for the handles, each
measuring 24 x 4in
(61 x 10cm)
14in (85.5cm) of bias-
binding tape for the top of
the pocket

1 First, make the handles. Fold the

long stnps of lining fabric in half
lengthways and press. Then fold
the long outer edges to meet in the
centre, pin, press and sew. These
should now look like two large
pieces of bias binding.

YQ
2 Lay the two main pieces of the
bag flat, nght sides up, and pin
then stitch the handles in place on
each piece. Position the handles
so they are an even distance from
the two outer edges of the bag, and
_ facing inwards towards the fabric,
as shown.

22
py
 3 The pocket is next. First apply
the bias binding across the top of
the pocket (see page 14).

4 Fold under the bottom of the

pocket and press.

S Pin then sew the pocket across

the front of the bag on three sides,
leaving the top, bound edge, open.

6 Sew straight down the front

of the pocket, centrally, to divide
the pocket into two. Make sure you
back-tack at the top for strength.

% Take the lining pieces and sew

the shorter sides to the top of
the bag pieces, making sure the
handles are caught in the seam.
8 Put the front and back pieces of the bag together, 1 @ Do this for all four comers, then cut off the excess
nght sides facing, making sure the seams meet. Pin fabric. This will shape the base of the bag.
then sew all the way round, leaving a gap of around 4in
(10cm) at the bottom of the lining for turning.

9 Before turning, take the bottom corners of the

bag and pinch them open. You will be able to match
the bottom seam to the side seam by feeling the ndge
of the seams and putting them together. Pin and sew
across the comer, 2in (5cm) from the point.

1 1 Turn the bag nght side out,

then hand stitch across the tumming
gap in the lining. As the lining fabric
was longer than the outer pattemed fabric,
when you tum, there will be a little lining
exposed. Use this to make a border across the
top of the bag. Press, and shop!

25
YM ON WM NN NIN NN NN

ULL LLL

Make- UD Bag youtneed

| Wha
= Two rectangles of patterned :
This useful little bag is great for keeping your make-up or = cotton fabric, 10 x 7in =
bathroom bits and pieces tidy. Use fabric that coordinates E Cesc =
; = One long rectangle of z
with your bathroom or bedroom décor, or make one = contrasting fabric, =
to match your favourite suitcase or travel bag for when = 3% x 36in (9 x 91.5cm) 2
; a BS = 8in (20.5cm) zip (you could =
you're on the move. If applying motifs, applique them = make the opening widerby
before you put the bag together (see page 12). = _.using’a longer Zip) =
= REET sc PE

1 First, fit the zip. Take a 9in

(23cm) strip of the long length
of fabric and cut it in half
lengthways. Fit the zip by stitching
one strip to each side of the zip
with nght sides facing.

2 Cut the remaining long strip

in two. Sew one of these lengths to
each end of the zip. If the zipped
section is then a little wider, simply
trim off the excess.
A a ee TY
NX SY VF NY NV VV VV VS

3 Place the zipped section

centrally on top of one of the
patterned pieces of fabric, nght
sides together. Pin then sew it to
the patterned fabric. Start sewing
from the zip, across the top, down
one side and along the bottom,
stopping at the centre bottom. Turn
the bag over and sew around the
other side until your stitches meet
at the bottom of the bag. You will
have a little extra fabric here, but
don’t trim it off yet.

4 Repeat with the other piece of

patterned fabric to make the other
side of the bag.

5) Now sew across the opening at the bottom of the

bag and trim off the excess fabric. Turn the bag the
right way out and press it neatly.

27
This pretty apron will help protect your
child's clothing from cake mixture in the:
kitchen as well as paint splashes! You
could match the fabric to your kitchen
décor or go fora favourite colour or
cartoon character.
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 PUBLICATIONS OF THE PRINCETON EXPEDITION TO
ABYSSINIA
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PUBLICATIONS OF THE PRINCETON EXPEDITION TO

ABYSSINIA BY ENNO LITTMANN A VOLUME I I \l l>. • ( STOMS,
NAMES AND DIRGES OF THE TIGRE TRIBES TIGRE TEXT. &?^ Late
E. J. BRILL Ltd. PUBLISHERS AND PRINTERS i i;\ DEN — 1910.
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r. I. BRI1 I , U \ DEM (hoi LAND).

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TO THE MEMORY OF NAFF Ac CE T M Ä N l/

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 PREFACE. A preliminary report of the Princeton University
Expedition to Abyssinia was published in the Zeitschrift für
Assyriologie und verwandte Gebiete, Vol. XX, pp. 151 — 182. I said
there that under the patronage of Mr. ROBERT GARRET] of
Baltimore, a trustee of Princeton University, whose generosity and
personal interest has advanced Oriental scholarship in America for a
number of years, I was able to undertake an expedition to Abyssinia
in the fall and winter of 1905 — 1 906. An account of what was
accomplished at that time is given in this report. It remains here to
be said on what scheme these Publications will be issued, how the
material published in the present volume was gathered, and what
system of Tigre orthography has been followed. The main object of
these Publications is the study of the Tigre language, and of the
literature and the life of the Tigre tribes in Northern Abyssinia. To
write a grammar of the Tigre language has been my intention since
my student days. But after I had drawn my outline of the forms and
usages of Tigre pronouns and of the forms of the Tigre verbs, all
based on very insufficient material, and written, without the
knowledge of the living tongue, I came to the conclusion that my
goal could be reached only by collecting ample material in original
prose and in verse and by gaining a thorough acquaintance with the
language as it is spoken. I was enabled to do this in Abyssinia as
well as
 XII PREFACE later on in Germany where for two years I
spoke Tigre every clay with Naffac cEtman of Gheleb. The Tigre
texts in prose and verse to be included in these Publications will,
therefore, serve as a foundation for a Tigre grammar and a Tigre
dictionary which I expect to publish within a (c\\ years. Volume I
contains, as is said on the title-page, tales, customs, names and
dirges of the Tigre tribes; Volume II, which is published at the same
time, gives an English translation of the first volume. In Volume III
the Tigre text of 715 Tigre songs, numbering nearly 14000 verses,
will be published, while in Volume IV a translation of, and a
commentary on these songs in German will be found. The
manuscripts of these two volumes are ready; and I hope that the
printing will not take more than a year or year and a half. All this
material was collected mainly with the help of m\' friend Pastor R.
Sundström, formerly of Gheleb, and of my faithful assistant Naffac
wad cEtman. He was one of the most promising young men of all
the Tigre tribes, one of the very few among his countrymen to have
a keen intellect and high moral ideals. He was born at Gheleb in the
year, in which "AzzazI was killed (cf. Vol. II, p. 236), probably 1882.
His father, cEtmän, is a bard, a säbtäy, i.e. a rhapsode; and the boy
used to listen when his father sang the songs of his native country,
and to ask him about poetical expressions or about the lives of the
heroes and the events of which the songs told. Often he asked his
father: "Sin;.: .1 song, but only if thou knowest it entirely; if thou
dost not know it all, I will not hear it!" When Natl. 1 was about 12
years old, he went — against the will of his people who are
Mohammedans - - to the school of Swedish missionary use he was
very eager to
 PREFA« i XIII i. There he finished the courses, for which
generally four or six years are required, within two years. Later on
he became a native teacher ill the Mission School, and finally he u.is
the assistant of Pastor Sundström is his medical work among the
natives. He was always known to be very thorough, faithful and
unpretending; all his spare timehe >pent reading and copying,
sometimes even composing songs of his own. When I was at Gheleb
in November and December [905, Pastor Sundström kindly put the
services of Naff a at my disposal; he was of very great use to me,
and through him I first acquired a working knowledge of Tigre".
When I left, Nafta c told me he wished to go to Europe very much.
In April 1907 he came with Herr Sundstrom and stayed with me for
two years. His services in copying manuscripts, explaining the texts,
collecting words and interpreting them, have been invaluable to me.
At the same time he studied German, Arabic and Italian. He left
Strassburg on April 13., 1909, on his way home, but he disappeared
in the night of April 16., during the passage from Naples to Catania;
how this happened has never been found out. His death is a very
great loss not only to his own nation, but also to European science;
his name will always be connected with the services he rendered to
me and to all those who are interested in Semitic studies, especially
in the study of Abyssinian languages, folklore and poetry. By him
most of the tales published in this volume, all the texts about the
customs of the Tigre tribes, all the names and all the dirges were
collected; a few tales were written down by other pupils of the
Swedish Mission and placed at my disposal. And all this material was
explained and interpreted to me by Naffac, after I had learned to
speak his language.
 XIV PREFACE In spelling Tigre I have followed in the main
the method used by the Swedish missionaries in their translation of
the New Testament, which was published at Asmara in 1902. The
only change I made regards the a vowel. The termination denoting
appurtenance must be spelled -äy (not -ay as in the New
Testament), since the a is long here, and only in rapid speaking,
when the accent is drawn back from the end, sounds as if it were
short, e. g. kaPay for käPäy, but, of course, always käPay(i)t. After
much deliberation and hesitation I decided also to spell all a vowels
when at the end of a word with the fourth vowel of the Ethiopic
alphabet. The case is this: when a word with an a at the end is used
in the context, without an enclitic word following, the a is a short
and closed vowel. But if an enclitic word, e.g. -tfi, -ta etc., -dl, -via, -
bti, -da etc., follows, the accent is put on the -a, and the vowel
becomes long: fagrubTi, gcsd-dl, 3elld-ma, hetd-ta, etc. Since the
natives in their own writings always prefer to write the long ä at the
end, as I have seen from the letters by and to Naffac and from
Other documents, since in many cases the ä has been really long
originally, and since it would be arbitrary the write sometimes a long,
sometimes a short a, as is done in the New Testament. I have
written them all as long vowels. Besides this, attention should be
called to the following facts. The vowels a and n in the last syllables
before a guttural (A, Ö, M, th aie always shortened. The sixth vowel,
generally transcribed 1>\ e, sounds in the last syllables before h and
V like a sh,,it closed i, before 0 and fh like a short open f. I lie s.mic
vowel s,,Unds often like a short open // before or after in .ind re. It"
a word beginning with V, V, lie, or ke, 1 proclitic word with an ,/.
e.g., wa-, /a-, ka-, the I <>!' the proclitic word Is changed t<> ,-,
e.g. Ia\lt<>
 rki.i \' i XV Ifelü, 'la-/jcs>'in^> L Jn-S'in. Besides this, there
are some more rules concerning the pronunciation, especially those
of the so-called sandhi, which will he given more fully in the
grammar. The real pronunciation of Tigr5 can, of course, not be
learned from texts written in Ethiopic characters. For this purpose I
shall publish a transliteration of all the prosetexts and dirges
contained in this volume. Most of the texts have been transliterated
after the dictation of Naflfac. It seemed to me necessary, however,
to use even in this volume a sign for double consonants, viz. w. The
punctuation used here is not absolutely consistent in itself. The sign
:: stands, of course, where we should write a period. The sign I is
always used after interrogative sentences. The sign I corresponds to
our colon, semicolon and sometimes to a comma; it is used i) always
before interrogative sentences; 2) always where we should write a
semicolon; 3) for a comma, if two subordinate clauses come
together, or before a final or consecutive clause if they are placed at
the end of a period. Sometimes \ is used also to emphasize a certain
word, or to distinguish single words, if in speaking a short pause
would be made at the corresponding place. The numbers after the
proper names on pp. 138 — 161 refer to the list in Vol. II, where
these names are translated and interpreted. Since several times new
names were added during the work, or others changed their place, I
had to use the vowels ■ and b after the number in such cases. My
sincere thanks are due to Mr. Garrett, Pastor Sundström and to
Naffac cEtman to whose memory this volumeis dedicated.
Strassburg, January 1910. Enno I.mtmann.
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CORRIGENDA. Although scarcely any of the misprints is apt

to cause serious misunderstanding, because most of them are a
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