Pahawh Hmong
Encyclopedia
Pahawh Hmong is an indigenous semi-syllabic
script
, invented in 1959, to write the Hmong language
.
) and a rime
(yu, a vowel, diphthong
, or vowel plus final consonant
). However, the order of these elements is rime-initial, the opposite of their spoken order. (That is, each syllable would seem to be written right to left, if it were transcribed literally into the Roman alphabet.) This is an indication that Shong conceived of the rimes as primary; Pahawh Hmong might therefore be thought of as a vowel-centered abugida
. Tones and many onsets are distinguished by diacritic
s.
The onset k is not written, so that a rime letter (V) written by itself is read as kV. Nor is the rime au (on mid tone) written, so that an onset letter (C) written by itself is read Cau, except following a bare rime, as otherwise these could be read as a single syllable. The absence of an onset, however, is indicated with a null-onset letter
. Again, this is similar to an abugida, but with the roles of consonant and vowel reversed.
For an example of the positional variation, consider the phrase (in RPA orthography) kuv rau tshais rau koj noj "I serve you breakfast". Since the first word, kuv, starts with a k, it is written as the bare rime uv in Pahawh. The word rau, with mid-tone au as the rime, is normally written as a bare onset r, and indeed this is the case for the second instance in this sentence. However, since the first rau follows a bare rime, it cannot be written as a bare onset r, or the combination might be read as ruv rather than kuv rau. Therefore the combination kuv rau is written uv rau rather than uv r, with the rime au made explicit (Smalley et al. 1990:58).
Pahawh has twenty onset letters to transcribe sixty phonemic onsets. This is accomplished with two diacritics, a dot and a tack, written above the onset. However, although there is some scattered similarity between the sounds of the resulting forms, there is no overall pattern to the system. For example, the letter for h with a dot is pronounced th, and with a tack is pronounced pl. The null consonant does not take diacritics in Hmong Daw, but does in Hmong Njua, for two onsets, ndl and ndlh, which only occur in Hmong Njua. (Similarly, Daw d and dh, which do not occur in Njua, are used for Njua dl and dlh, which do not occur in Daw.)
The rimes, in contrast, are over-specified. There are thirteen rime sounds, but twenty-six letters to represent them. One of each pair takes four of the eight tones
, while the other takes the other four tones. Diacritics (none, dot, macron, and trema) distinguish the tones that each rime letter may carry. One of the tones, written -d in RPA, is not phonemic but is a prosodic unit
-final allophone
of the creaky
register
-m. It may be written in Pahawh by changing the dot diacritic to a short stroke, but it is not used by many people.
Shong used the rimes with the values kiab and kab in Hmong Daw for kab and kaab (/káŋ/) in Hmong Njua. However, Cwjmem retains the Daw values for Njua and adds a pipe (|) to the left of kab etc. to write kaab etc.
In addition to phonetic elements, Pahawh Hmong has a minor logographic component, with characters for
Punctuation is derived from the Roman alphabet, presumably through French or Lao, except for a sign introduced by one of Shong's disciples that replaced Shong's , but also includes a native sign for reduplication
and a native cantillation
mark.
The differences are primarily in tone assignment. Bare rimes—that is, rime letters without a tone diacritic—have various values in stage two, but are regularly high tone (-b) or rising tone (-v) in stage three. Likewise, although the pedagogic charts are organized so that each column corresponds to a single tone, the tonic diacritics are scattered about the columns in stage two, but correspond to them in stage three. (Stage 4, which today is only used for shorthand, dispenses with the -v rime letters, replacing them with additional diacritics on the -b rime letters, so that each rime and tone has a single dedicated glyph.)
Pahawh Hmong was the product of a native messianic movement, based on the idea that, throughout history, God had given the Hmong power through the gift of writing, and revoked it as divine retribution.
In 1959 Shong Lue Yang
(Soob Lwj Yaj), a Hmong spiritual leader from Laos, created Pahawh. Yang was not previously literate in any language. An illiterate peasant, Shong claimed to be the Son of God, messiah of the Hmong and Khmu people
, and that God had revealed Pahawh to him in 1959, in northern Vietnam near the border with Laos, to restore writing to the Hmong and Khmu people. Over the next twelve years he and his disciples taught it as part of a Hmong cultural revival movement, mostly in Laos after Shong had fled Communist Vietnam. The Khmuic version of the script never caught on, and has disappeared. Shong continually modified the Hmong script, producing four increasingly sophisticated versions, until he was assassinated by Laotian soldiers in 1971 to stop his growing influence as part of the opposition resistance. Knowledge of the later stages of Pahawh come to us through his disciple Chia Koua Vang, who corresponded with Shong in prison.
Pahawh is not as widespread as RPA romanization for writing Hmong, partially because of the difficulties in typesetting it (as of 2008 it is not supported by Unicode), but it is a source of great pride for many Hmong who do not use it, as in Southeast Asia every respectable language has a script of its own, which RPA does not provide.
Chao Fang, an anti-Laotian government Hmong group, uses this writing system.
when he invented the Cherokee script
, in a process called trans-cultural diffusion. Not only do the forms of the majority of the letters in the oldest stage of Pahawh closely resemble the letters of the local Lao alphabet and missionary scripts such as Pollard
and Fraser
, though they are independent in sound value (much like the relationship between Roman and Cherokee), but the appearance of vowel and tone diacritics in those scripts, which would appear nearly random to the illiterate, may explain the idiosyncratic use of diacritics in early Pahawh. Nevertheless, even if the graphic forms of Pahawh letters derive from other scripts, much of the typology of the script, with its primary rimes and secondary onsets, would appear to be Shong's invention.
The later stages of Pahawh became typologically more like Lao and the Roman alphabet, suggesting that perhaps they influenced its evolution. However, even from the start, Pahawh is "fascinatingly similar […] and fascinatingly different" from the Lao alphabet (Smalley et al. 1990:90). For example, it resembles an abugida
such as Lao where the order of writing does not reflect the order of speech, but with the roles of consonant and vowel reversed. There is an inherent vowel, as in Lao, though only on one tone, but also an inherent consonant. In Lao, tone depends on the consonant; it is modified with diacritics, but the patterns of modification are complex. In early Pahawh, tone depends on the rime and is modified with irregular diacritics. Starting with stage 2, there are two tone-classes of rime, just as in Lao there are two tone-classes of consonant.
Nearly all other scripts invented by illiterates are syllabaries
like Cherokee. However, to represent Hmong as a syllabary, Pahawh would have needed 60×91 = 5460 letters. By breaking each syllable in two in the fashion of Chinese phonetics, Shong was able to write Hmong, in his original version, with a mere 60+91 = 151 letters.
Semi-syllabary
A semi-syllabary is a writing system that behaves partly as an alphabet and partly as a syllabary. The term has traditionally been extended to abugidas, but for the purposes of this article it will be restricted to scripts where some letters are alphabetic and others are syllabic.-Iberian...
script
Writing system
A writing system is a symbolic system used to represent elements or statements expressible in language.-General properties:Writing systems are distinguished from other possible symbolic communication systems in that the reader must usually understand something of the associated spoken language to...
, invented in 1959, to write the Hmong language
Hmong language
Hmong or Mong is the common name for a dialect continuum of the West Hmongic branch of the Hmong–Mien/Miao–Yao language family spoken by the Hmong people of Sichuan, Yunnan, Guizhou, Guangxi, northern Vietnam, Thailand, and Laos...
.
Form
Pahawh is written left to right. Each syllable is written with two letters, an onset (la, an initial consonant or consonant clusterConsonant cluster
In linguistics, a consonant cluster is a group of consonants which have no intervening vowel. In English, for example, the groups and are consonant clusters in the word splits....
) and a rime
Syllable rime
In the study of phonology in linguistics, the rime or rhyme of a syllable consists of a nucleus and an optional coda. It is the part of the syllable used in poetic rhyme, and the part that is lengthened or stressed when a person elongates or stresses a word in speech.The rime is usually the...
(yu, a vowel, diphthong
Diphthong
A diphthong , also known as a gliding vowel, refers to two adjacent vowel sounds occurring within the same syllable. Technically, a diphthong is a vowel with two different targets: That is, the tongue moves during the pronunciation of the vowel...
, or vowel plus final consonant
Syllable coda
In phonology, a syllable coda comprises the consonant sounds of a syllable that follow the nucleus, which is usually a vowel. The combination of a nucleus and a coda is called a rime. Some syllables consist only of a nucleus with no coda...
). However, the order of these elements is rime-initial, the opposite of their spoken order. (That is, each syllable would seem to be written right to left, if it were transcribed literally into the Roman alphabet.) This is an indication that Shong conceived of the rimes as primary; Pahawh Hmong might therefore be thought of as a vowel-centered abugida
Abugida
An abugida , also called an alphasyllabary, is a segmental writing system in which consonant–vowel sequences are written as a unit: each unit is based on a consonant letter, and vowel notation is obligatory but secondary...
. Tones and many onsets are distinguished by diacritic
Diacritic
A diacritic is a glyph added to a letter, or basic glyph. The term derives from the Greek διακριτικός . Diacritic is both an adjective and a noun, whereas diacritical is only an adjective. Some diacritical marks, such as the acute and grave are often called accents...
s.
The onset k is not written, so that a rime letter (V) written by itself is read as kV. Nor is the rime au (on mid tone) written, so that an onset letter (C) written by itself is read Cau, except following a bare rime, as otherwise these could be read as a single syllable. The absence of an onset, however, is indicated with a null-onset letter
Zero consonant
A zero consonant, silent initial, or null-onset letter is a consonant-like letter that is not pronounced, but indicates that a word or syllable starts with a vowel...
. Again, this is similar to an abugida, but with the roles of consonant and vowel reversed.
For an example of the positional variation, consider the phrase (in RPA orthography) kuv rau tshais rau koj noj "I serve you breakfast". Since the first word, kuv, starts with a k, it is written as the bare rime uv in Pahawh. The word rau, with mid-tone au as the rime, is normally written as a bare onset r, and indeed this is the case for the second instance in this sentence. However, since the first rau follows a bare rime, it cannot be written as a bare onset r, or the combination might be read as ruv rather than kuv rau. Therefore the combination kuv rau is written uv rau rather than uv r, with the rime au made explicit (Smalley et al. 1990:58).
| Written order | es | e | s | 0e | 0 | e áus | es# | eŝ | és |
|---|---|---|---|---|---|---|---|---|---|
| Read as | [séŋ] | [kéŋ] | [sau] | [éŋ] | [au] | [kéŋsau] | [séŋséŋ] | [nyéŋ] | [sè’] |
The rimes, in contrast, are over-specified. There are thirteen rime sounds, but twenty-six letters to represent them. One of each pair takes four of the eight tones
Tone (linguistics)
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or inflect words. All verbal languages use pitch to express emotional and other paralinguistic information, and to convey emphasis, contrast, and other such features in what is called...
, while the other takes the other four tones. Diacritics (none, dot, macron, and trema) distinguish the tones that each rime letter may carry. One of the tones, written -d in RPA, is not phonemic but is a prosodic unit
Prosodic unit
In linguistics, a prosodic unit, often called an intonation unit or intonational phrase, is a segment of speech that occurs with a single prosodic contour...
-final allophone
Allophone
In phonology, an allophone is one of a set of multiple possible spoken sounds used to pronounce a single phoneme. For example, and are allophones for the phoneme in the English language...
of the creaky
Creaky voice
In linguistics, creaky voice , is a special kind of phonation in which the arytenoid cartilages in the larynx are drawn together; as a result, the vocal folds are compressed rather tightly, becoming relatively slack and compact...
register
Register (phonology)
In linguistics, a register language, also known as a pitch-register language, is a language which combines tone and vowel phonation into a single phonological system. Burmese and the Chinese dialect Shanghainese are examples...
-m. It may be written in Pahawh by changing the dot diacritic to a short stroke, but it is not used by many people.
Shong used the rimes with the values kiab and kab in Hmong Daw for kab and kaab (/káŋ/) in Hmong Njua. However, Cwjmem retains the Daw values for Njua and adds a pipe (|) to the left of kab etc. to write kaab etc.
In addition to phonetic elements, Pahawh Hmong has a minor logographic component, with characters for
- the numerals 0–10, (hundreds), (myriads), (millions), , , and (billions), though the higher numerals have been dropped leaving a positional decimal system
- arithmeticArithmeticArithmetic or arithmetics is the oldest and most elementary branch of mathematics, used by almost everyone, for tasks ranging from simple day-to-day counting to advanced science and business calculations. It involves the study of quantity, especially as the result of combining numbers...
al signs - periods of time: year, season, month, day, date
- the most common grammatical classifierClassifier (linguistics)A classifier, in linguistics, sometimes called a measure word, is a word or morpheme used in some languages to classify the referent of a countable noun according to its meaning. In languages that have classifiers, they are often used when the noun is being counted or specified...
, lub, which when written out phonetically consists of two very similar letters, and - eighteen clanClanA clan is a group of people united by actual or perceived kinship and descent. Even if lineage details are unknown, clan members may be organized around a founding member or apical ancestor. The kinship-based bonds may be symbolical, whereby the clan shares a "stipulated" common ancestor that is a...
signs. These were never disseminated, but were intended to clarify personal relationships in Hmong refugee camps, where people regularly met strangers of unknown clan. Strict taboos govern the behavior of Hmong men and women from the same clan.
Punctuation is derived from the Roman alphabet, presumably through French or Lao, except for a sign introduced by one of Shong's disciples that replaced Shong's , but also includes a native sign for reduplication
Reduplication
Reduplication in linguistics is a morphological process in which the root or stem of a word is repeated exactly or with a slight change....
and a native cantillation
Cantillation
Cantillation is the ritual chanting of readings from the Hebrew Bible in synagogue services. The chants are written and notated in accordance with the special signs or marks printed in the Masoretic text of the Hebrew Bible to complement the letters and vowel points...
mark.
Second and third stage tones
There are two orthographic systems in use for Pahawh Hmong, the second reduced stage from 1965 and the third reduced stage from 1970 (see history, below). Some Hmong communities consider second stage to be more authentic, while others prefer third stage as more regular. It would appear that stage two is more widespread.The differences are primarily in tone assignment. Bare rimes—that is, rime letters without a tone diacritic—have various values in stage two, but are regularly high tone (-b) or rising tone (-v) in stage three. Likewise, although the pedagogic charts are organized so that each column corresponds to a single tone, the tonic diacritics are scattered about the columns in stage two, but correspond to them in stage three. (Stage 4, which today is only used for shorthand, dispenses with the -v rime letters, replacing them with additional diacritics on the -b rime letters, so that each rime and tone has a single dedicated glyph.)
| Stage Two | Stage Three |
|---|---|
| keem | keeb |
| kee | keev |
| kim | kib |
| ki | kiv |
| kaum | kaub |
| kau | kauv |
| kum | kub |
| ku | kuv |
| kem | keb |
| kev | kev |
| kaim | kaib |
| kai | kaiv |
| koob | koob |
| koov | koov |
| kawb | kawb |
| kaw | kawv |
| kuam | kuab |
| kua | kuav |
| kom | kob |
| kog | kov |
| kiab | kiab |
| kia | kiav |
| kam | kab |
| kav | kav |
| kwm | kwb |
| kwv | kwv |
| kaam | kaab |
| kaav | kaav |
History
In 1959 Shong Lue Yang
Shong Lue Yang
Shong Lue Yang was a Hmong spiritual leader and inventor of the Pahawh script, an semi-syllabary for writing dialects of the Hmong language, as well as the Khmu language...
(Soob Lwj Yaj), a Hmong spiritual leader from Laos, created Pahawh. Yang was not previously literate in any language. An illiterate peasant, Shong claimed to be the Son of God, messiah of the Hmong and Khmu people
Khmu people
The Khmu is one of the largest ethnic groups based in northern Laos. They can also be found in Burma, southwest China , Thailand, and Vietnam, where they are an officially recognized ethnic group...
, and that God had revealed Pahawh to him in 1959, in northern Vietnam near the border with Laos, to restore writing to the Hmong and Khmu people. Over the next twelve years he and his disciples taught it as part of a Hmong cultural revival movement, mostly in Laos after Shong had fled Communist Vietnam. The Khmuic version of the script never caught on, and has disappeared. Shong continually modified the Hmong script, producing four increasingly sophisticated versions, until he was assassinated by Laotian soldiers in 1971 to stop his growing influence as part of the opposition resistance. Knowledge of the later stages of Pahawh come to us through his disciple Chia Koua Vang, who corresponded with Shong in prison.
- The first stage of Pahawh, Pahawh Pa (Pajhawj Paj), common called the source version, had distinct glyphs for all 57 onsets and 91 rimes. Although there were diacritics, there was no relationship between them and the sound values of the letters, and many of the diacritics are unique to a single letter. Among the rimes, there was a strong tendency for letters which differed only in diacritic to share the same vowel and differ in tone. However, this was not absolute. For example, a letter shaped like Ü stood for the rime iaj, while U, differing only in its diacritic, stood for the rime us. Plain U without a diacritic did not occur. Similarly, the letter that, without a diacritic, represents the rime ag, when combined with a diacritic dot represents the onset rh. Thus it can be seen that at this stage the diacritics were integral parts of their letters, with only the beginnings of an independent existence.
- Stage 1 was abandoned after Shong revealed the second stage, with only the occasional glyph showing up when people who know it write using other versions. However, it is not considered obsolete, as people remember Shong's instructions to use this source of all later Pahawh as a sacred script.
- The second stage, Pahawh Njia Dua O (Pajhawj Ntsiab Duas Ob) "second stage reduced version", was the first practical Hmong script. It was taught by Shong in 1965 and is supported today by the Australian Language Institute and Cwjmem (Everson 1999). The consonants are graphically regular, in that each column in the pedagogic charts contains the same diacritic, but are phonetically irregular, in that the diacritics have no consistent meaning. (This situation remained in all later stages.) Tone assignment is irregular, in that the diacritics do not represent specific tones with the rimes any more than they represent specific features with the consonants. For example, the trema sometimes represents the -b tone, sometimes -j, -v, or -g, depending on which rime it is added to. The one exception is the -d "tone", which is actually a prosodicProsody (linguistics)In linguistics, prosody is the rhythm, stress, and intonation of speech. Prosody may reflect various features of the speaker or the utterance: the emotional state of the speaker; the form of the utterance ; the presence of irony or sarcasm; emphasis, contrast, and focus; or other elements of...
inflection of the -m tone. Shong added a specific diacritic for this when Chia, who was familiar with RPA, asked him how RPA -d should be written, but it was treated as extraneous to the tone system, was not included in the rime charts, and was not always taught to Shong's disciples.
| Sounds | Stage 1 | Stage 2 | Stage 3 | Stage 4 |
|---|---|---|---|---|
| Rimes | 91 | 91 based on 26 |
26 | 13 |
| Tones | 7–8 (3–4 diacritics) | 8 (7 diacritics) | ||
| Onsets | 60 | 19×3 | 20×3 | 20×3 |
Pahawh is not as widespread as RPA romanization for writing Hmong, partially because of the difficulties in typesetting it (as of 2008 it is not supported by Unicode), but it is a source of great pride for many Hmong who do not use it, as in Southeast Asia every respectable language has a script of its own, which RPA does not provide.
Chao Fang, an anti-Laotian government Hmong group, uses this writing system.
Origin
Because Shong was illiterate, it is sometimes assumed that he invented Pahawh ex nihilo. However, Shong was acutely aware of writing and of the advantages that it provided; indeed, that was the basis of his messianic movement. It would appear that existing scripts provided his inspiration, even if he did not fully understand them, much as the Roman alphabet inspired the illiterate SequoyahSequoyah
Sequoyah , named in English George Gist or George Guess, was a Cherokee silversmith. In 1821 he completed his independent creation of a Cherokee syllabary, making reading and writing in Cherokee possible...
when he invented the Cherokee script
Cherokee syllabary
The Cherokee syllabary is a syllabary invented by Sequoyah to write the Cherokee language in the late 1810s and early 1820s. His creation of the syllabary is particularly noteworthy in that he could not previously read any script. He first experimented with logograms, but his system later developed...
, in a process called trans-cultural diffusion. Not only do the forms of the majority of the letters in the oldest stage of Pahawh closely resemble the letters of the local Lao alphabet and missionary scripts such as Pollard
Pollard script
The Pollard script, also known as Pollard Miao, is an abugida loosely based on the Latin alphabet and invented by Methodist missionary Sam Pollard. Pollard invented the script for use with A-Hmao, one of several dialects of the Hmong language. The script underwent a series of revisions until 1936,...
and Fraser
Fraser alphabet
The Fraser alphabet or Old Lisu Alphabet is an artificial script invented around 1915 by Sara Ba Thaw, a Karen preacher from Myanmar, and improved by the missionary James O. Fraser, to write the Lisu language. It is a single-case alphabet....
, though they are independent in sound value (much like the relationship between Roman and Cherokee), but the appearance of vowel and tone diacritics in those scripts, which would appear nearly random to the illiterate, may explain the idiosyncratic use of diacritics in early Pahawh. Nevertheless, even if the graphic forms of Pahawh letters derive from other scripts, much of the typology of the script, with its primary rimes and secondary onsets, would appear to be Shong's invention.
The later stages of Pahawh became typologically more like Lao and the Roman alphabet, suggesting that perhaps they influenced its evolution. However, even from the start, Pahawh is "fascinatingly similar […] and fascinatingly different" from the Lao alphabet (Smalley et al. 1990:90). For example, it resembles an abugida
Abugida
An abugida , also called an alphasyllabary, is a segmental writing system in which consonant–vowel sequences are written as a unit: each unit is based on a consonant letter, and vowel notation is obligatory but secondary...
such as Lao where the order of writing does not reflect the order of speech, but with the roles of consonant and vowel reversed. There is an inherent vowel, as in Lao, though only on one tone, but also an inherent consonant. In Lao, tone depends on the consonant; it is modified with diacritics, but the patterns of modification are complex. In early Pahawh, tone depends on the rime and is modified with irregular diacritics. Starting with stage 2, there are two tone-classes of rime, just as in Lao there are two tone-classes of consonant.
Nearly all other scripts invented by illiterates are syllabaries
Syllabary
A syllabary is a set of written symbols that represent syllables, which make up words. In a syllabary, there is no systematic similarity between the symbols which represent syllables with the same consonant or vowel...
like Cherokee. However, to represent Hmong as a syllabary, Pahawh would have needed 60×91 = 5460 letters. By breaking each syllable in two in the fashion of Chinese phonetics, Shong was able to write Hmong, in his original version, with a mere 60+91 = 151 letters.
External links
- Hmong script software - free Unicode and standard fonts
- Omniglot