NOTES.
This story is a much more elaborate piece of composition than the last, and may be said to exhibit distinct marks of literary style. Its vocabulary is copious and varied, and it makes large use of a device which is employed in Mikir, as in Khasi,[3] to give amplitude to the phrase by duplicating the leading words; nearly every important term has its doublet, with the same meaning, following it.
Āmehàng-kethèk-pèn-āpārā: āmehàng-kethèk, “to see the face,” is equivalent to “being born”; pèn and āpārā, the latter borrowed from the Assamese parā, have the same signification, and the latter is really superfluous. Phàk-lèng, shortened for phàk-belèng, “wild boar”; see the explanation of the term in the notes to No. I, p. [94]. Tiki-kē inghoi-hē: notice that both verbs are given in the negative form; this is unusual.