This volume presents ten Old English texts, beginning with three treatises by Ælfric of Eynsham (c.950–c.1010): his letters to Sigeweard and to Wulfgeat, and his Preface to Genesis. Following these, the five books of Moses are given (Genesis, Exodus, Leviticus, Numbers, and Deuteronomy) along with the first two of the historical books, Joshua and Judges. Together with these is presented a complete index ver­borum listing each wordform and its location in the corpus. Twenty-five illustrations from five different manu­scripts are pres­ented, some showing the manuscript text, and eleven with beautiful vignettes from Genesis and Exodus. Corpus Textuum Anglicorum is a series which presents editions of texts in Old English and in Middle English, as well as works in related languages. The series also includes thematic studies of early English literature, and linguistic and lexical resources.

Yer Ain frae Edward Chisnall is a wark o gravity and humour, aw craftit in the Scots leid. Scots is virile, funny, descriptive, perfect for the soond required o ony dramatic form, novel, or poem. Dig within yersels and thare ye will find the treisur o yer ain culture, and that o the real wirth, oor weans that girn, or greet, or find things tae learn that come frae the hert. The hale faimily o oor history in Scotland is in oor wirds, the craft o wirds, the lauchter that airms ye agin sufferin or haurd days. So, in oor ain tongue, here’s whit Edward haes tae say tae ye, his freends... and it’s cried Yer Ain.

Dizze klassike coming-of-age roman ûndersiket de emoasjes en ûnderfiningen fan in jonge frou, fan har drege en ûngelokkige bernetiid, troch har groei nei folwoeksenens en har ûntdekking fan leafde foar de hear Rochester, de master fan Thornfield Hall. Yn it har eigen meitsjen fan ’e aksje—de fokus leit op ’e stadige ûntjouwing fan ’e morele en geastlike gefoelichheid fan Jane, en alle barrens wurde kleure troch in ferhege yntensiteit dy’t earder it domein fan poëzij wie—bringt Jane Eyre in radikale feroaring yn de keunst fan fiksje. Charlotte Brontë is de “earste his­toa­rikus fan it priveebewustwêzen” neamd en de literêre foarâlder fan skriuwers lykas Marcel Proust en James Joyce. De roman befettet eleminten fan sosjale krityk, mei yn ’e kearn in sterk gefoel fan kristlike moraal, en wurdt troch in soad beskôge as syn tiid foarút te wêzen, sjoen it yndividualistyske karakter fan Jane en de ferkenning fan de roman fan klassisme, seksualiteit, religy en proto-feminisme.

First furthset in 1898, The War o the Warlds is thocht tae be the first “fremmit invasion” tales, an it’s bin ane o the maist influential science fiction novels iver screived. It’s bin fittit fur radio, stage, an screen, an its inspired an influenced mony warks o fiction, takkin in comics an graphic novels. Alangside The Time Machine, The Inveesible Chiel, an The Island o Dr Moreau, Wells’ The War o the Warlds stauns oot as mebbe his maist weel-likit wark.

A collection of contemporary poems in Scots and in English by Sara Clark. Some of them were written originally in English, some in Scots, but all are presented facing their translation, so that readers can choose the language they prefer, or compare the two texts.

There have been ten modern attempts to approach the problem of Scots spelling. In this volume Andy Eagle analyses each of those proposed reforms, all of which have tried to make alterations here and there where they considered it made sense. This study begins with the linguistic reality, analysing the phonemes of Scots and the various graphs traditionally used for them. It then examines the various proposals for refinement of Scots orthography which have been suggested since 1947 when the Scots Style Sheet was published. Comparing and contrasting traditional graphs with these proposals, Andy proposes a sound, natural-looking compromise, aiming toward an inclusive orthog­raphy that serves all dialects, and does not favour any one over any other. Corpus Textuum Scoticorum is a series presenting edi­tions of language and literature of particular interest to Scotland. The series focuses on but is not limited to volumes dealing with the Scots and Scottish Gaelic languages.

For a general introduction to the literary and cultural background of the present translation, and to the Northeast Scots dialect itself, see the introduction to my translation of Carroll's previous book, Ailce's Anters in Ferlielann. As there, I have used a conservative form of the dialect, checking the words and pronunciations against classic literary texts (and this time also against the earlier translation, to ensure consistency). As there too, I have endeavoured to find a specific equivalent for every joke, pun, allusion and other trick of style in the original. The metrical and rhyme patterns of the poems are maintained: as always in poetic translations of any kind, this procedure necessitates some departures from the original wording; and in one instance, namely the sequence of thirteen rhymes on "toe" in the closing section of the White Knight's song, I have assumed the licence to treat Carroll's lines with complete freedom. --Derrick McClure

Jakob Jakobsen’s dictionary was first published in Danish in 1908 as Etymologisk Ordbog over det norrøne Sprog paa Shetland. Its English translation was published in two volumes, in 1928 and 1932 by David Nutt in London and Vilhelm Prior in Copenhagen, and in 1985 it was reprinted in Lerwick by the Shetland Folk Society. Both editions of the book are very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This colour facsimile edition contains the entire text in a single volume. A table of contents has been added to the front matter with added section numbers to help the reader navigate Jakobsen’s introductory material; the section numbers have been added in the margin of the text itself. There were 40 corrections given on an errata sheet in volume I, and 21 corrections given in volume II; all of the corrections have been implemented on the scanned images and so the errata sheets have not been reproduced. Corpus Textuum Scoticorum is a series presenting edi­tions of language and literature of particular interest to Scotland. The series focuses on but is not limited to volumes dealing with the Scots and Scottish Gaelic languages.

A horrifeein tale o fleg that’ll bumbaze an dumfouner its readers. Haud awa frae the licht settins o’t that ye’ve seen in films an gaither yer virr tae gyang intae the psycho­logical grue o Jekyll and Hyde. It’s in Lunnon that the buik is supposedly set, bit ilkie page is drookit in the oorie air o Embro—far Robert Louis Stevenson wis born. Is’t a Freudian fable, a morality parable, or a sexual allegory? Its up tae yersel tae decide.

Lewis Carroll er eit pseudonym: Charles Lutwidge Dodgson var forfattarens eigentlege namn. Han var foreleser i matematikk i Christ Church i Oxford. Dodgson byrja historia 4. juli 1862, då han ferda i ein robåt på elva Isis i Oxford saman med Pastor Robinson Duckworth, med Alice Liddell (ti år) – dottera til Diakon av Christ Church, samt hennar to søstre Lorina (13 år) og Edith (åtte år). Som det kjem fram i diktet i byrjinga av boka, spurde dei tre jentene Dodgson om ei forteljing og motviljeg starta han å fortelje dei den fyrste versjonen av historia. Det er mange referansar halvvegs gøymd igjennom heile boka, som då endeleg vart publisert i 1865. Det er med stor gledje eg tilbyr versjon nummer to av Sigrun Anny Røssbø si nynorske omsetjing som fyrst vart publisert i 2003 under tittelen Alice på Eventyr under Jorda. Denne tittelen tilhøyrer originalt den hand-skrivne versjonen Carroll gav til Alice Liddell Alice's Adventures under Ground, som her har vorte endra til Alice sine opplevingar i Eventyrlandet. Myndigheit for dette kjem frå omsetjinga i seg sjølv: i kapittel X, fortel den Forlorne Skilpadda til Alice; «Come, let’s hear some of your adventures» – her omsett til «Lat oss no få høyra noko av det du har opplevd»; óg i kapittel XII vert ordet «Wonderland» omsett to gongar til «Eventyrlandet»

This weel-kent camin-o-age novel howks inno the feelins an ongauns o a young wumman, frae her wersh an coorse bairnhood, frae her growin intae adulthood an her brierin luve fur Mr. Rochester, the maister o Thornfield Haa. In its screivin o the inbye thochts o action—the spotlicht is on the slaw unfauldin o Jean's ethical an itherwardly awaurness, an aa the happenins are peintit wi a heichtened pouer that wis aince the warld o poetry—Jean Eyre transmogrifeed the airt o screivin. Charlotte Brontë his bin caaed the “first historian o the intimmers o thocht” an the literar forebear o screivers like Marcel Proust an James Joyce. The novel hauds swatches o social critique, wi a strang feelin o Christian vertue at its mids, an is thocht bi mony tae be aheid o its time gien the unique natur o Jean an the novel’s dellin intae classicism, sexuality, reeligion, an proto-feminism.

Der mekhaber fun "Alises Avantures in Vunderland" iz geven Lewis Carroll, der psevdonim fun Charles Lutwidge Dodgson fun Oksforder Universitet in England. Dos bukh iz tsum ershtn mol dershinen in yor 1865, un fun demolt on iz es ibergezetst gevorn oyf a sakh shprakhn iber der velt. Di ershte iberzetsung fun dem bukh oyf yidish hob ikh farendikt in yor 2012 (Zur-Os Farlag, Yerusholaim). Evertype git yetst aroys di dozike oysgebeserte oyflage. Beshas iberzetsn oyf yidish, iz mayn tsil geven tsu blaybn getray tsu dem englishn moker: tsu dem siper-hamayse, tsu di heldn un zeyere kharakters; un der hoypt ibertsulozn di tifkayt un dem gayst fun dem bukh. Fundestvegn hot men badarft tsupasn di shpas-lider, di vertlekh, di idyomen, un beiker Lewis Carrolls vertshpiln, tsu der yidisher shprakh un tsu dem lebns-shteyger vos iz bakant tsu di leyeners. Vayl yidish iz geven farshpreyt iber mizrekh-Eyrope, zenen faran in der shprakh vertlekh un oysdrukn vos shpiglen op di yidishe iberlebungen in der gegnt in di frierdike yor­hun­derter. — Adina Bar-El.

דער מחבר פֿון אַליסעס אַװאַנטורעס אין װוּנדערלאַנד איז געװען לואיס קאַראָל, דער פּסעװדאָנים פֿון טשאַרלס לוטװידזש דאָדזשסאָן פֿון אָקספאָרדער אוניװערסיטעט אין ענגלאַנד. דאָס בוך איז צום ערשטן מאָל דערשינען אין יאָר 1865, און פון דעמאָלט אָן איז עס איבערגעזעצט געוואָרן אויף אַ סך שפּראַכן איבער דער וועלט. די ערשטע איבערזעצונג פֿון דעם בוך אױף ייִדיש האָב איך פֿאַרענדיקט אין יאָר 2012 [צור־אות־פֿאַרלאַג, ירושלים]. Evertype גיט יעצט אַרױס די דאָזיקע אױסגעבעסערטע אױפֿלאַגע. בשעת איבערזעצן אױף ייִדיש, איז מײַן ציל געװען צו בלײַבן געטרײַ צו דעם ענגלישן מקור: צו דעם סיפור־המעשה, צו די העלדן און זײערע כאַראַקטערס; און דער הױפּט איבערצולאָזן די טיפֿקײט און דעם גײַסט פֿון דעם בוך. פֿונדעסטװעגן האָט מען באַדאַרפֿט צופּאַסן די שפּאַס־לידער, די װערטלעך, די אידיאָמען, און בעיקר לואיס קאַראָלס װערטשפּילן, צו דער ייִדישער שפּראַך און צו דעם לעבנס־שטײגער װאָס איז באַקאַנט צו די לײענערס. װײַל ײדיש איז געװען פֿאַרשפּרײט איבער מיזרח־אייראָפּע, זענען פֿאַראַן אין דער שפּראַך װערטלעך און אױסדרוקן װאָס שפּיגלען אָפּ די ייִדישע איבערלעבונגען אין דער געגנט אין די פֿריערדיקע יאָרהונדערטער.

It gud se Karal tap-a-tap buk de ina wahn neda langwij, bot ina dis ya kies ya, it beta fi di langwij. Jamiekan Kriyuol, wa piipl uu lov it kaal Jamiekan Patwa, a di langwij ina Jamieka alangsaid Ingglish, di langwij wa muos a di Patwa wod dem kom fram, bot fi ierz ya nou piipl maak it out fi bi wahn bad wie fi chat Ingglish. A onggl roun 40 ier abak piipl wa stodi langwij rekagnaiz se Jamiekan Patwa a wahn ful langwij ina itself. Jamiekan Patwa, wa spred woliip chuu wi myuuzik, de aal uova di worl an a wahn langwij wa wi lov woliip, wa shou uu wi bi an dat wi proud a we wi kom fram. Duo it de bout fi ova 300 ier ya nou, an bout 2.8 miliyan piipl a yaad chat it, an uova 1.8 miliyan muor abraad, stil muos a di taim a jos chat piipl yuuz it fa. Rait ya nou dem a du woliip a sitn fi tiich piipl uu chat Jamiekan Patwa fi riid an rait it tu. Frejrik Kyasidi did kom op wid wahn wie fi rait it fraa ina di 1960z an no tuu lang ago di Jamiekan Langwij Yuunit did chienj it op likl bit, an a it wi yuuz fi du dis ya buk ya nou. Wi put iin wahn likl sitn fi elp piipl uu waahn fi riid di buk bot uu no nuo ou fi riid di prapa wie ou it rait.

Forshall and Madden’s 1850 edition of Wycliffe’s Bible has long been out of print. It is very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This facsimile edition contains the entire text in a sturdy binding and will be suitable for students of Middle English as well as those interested in the history of the English bible.

Forshall and Madden’s 1850 edition of Wycliffe’s Bible has long been out of print. It is very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This facsimile edition contains the entire text in a sturdy binding and will be suitable for students of Middle English as well as those interested in the history of the English bible.

Forshall and Madden’s 1850 edition of Wycliffe’s Bible has long been out of print. It is very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This facsimile edition contains the entire text in a sturdy binding and will be suitable for students of Middle English as well as those interested in the history of the English bible.

Forshall and Madden’s 1850 edition of Wycliffe’s Bible has long been out of print. It is very scarce and those rare copies that are available from antiquarian booksellers tend to vary both in condition and in cost. This facsimile edition contains the entire text in a sturdy binding and will be suitable for students of Middle English as well as those interested in the history of the English bible.

Di dozike balibte klasishe fantazye far leyener fun ale eltern hot tsu ton mit a hobit vos hot geheysn Bilbo Bagins, vos iz avekgekhapt gevorn oyf an umgerikhte nesie fun Gandalf dem mekhashef un a khevre draytsn shretlekh. Der Hobit iz a mayse ongefilt mit shpanendiker aventure, untergenumen fun a khevre shretlekh zukhndik nokh drakon-bavakht gold. An umviliker shutef in dem o sakonedikn zukhenish iz Bilbo Bagins, a nit-ambitsyezer hobit vos hot lib bakvemlekhkeyt, vos iz a khidesh tsu zikh aleyn afile tsulib dem eygenem hamtsoedikeyt un bekies vi an araynbrekher. Bagegenishn mit troln, goblins, shretlekh, elfn, un rizike shpinen, shmuesn mit dem drakon Smaug, un gor an umvilik bayzayn bay der Shlakht fun di Finf Armeyen zaynen bloyz a teyl fun di avantures vos trefn zikh mit Bilbo. Bilbo Bagins hot dem eygenem ort tsvishn di reyen fun di umshterbelekhe in beletristik far kinder. Geshribn fun Profesor Tolkin far di eygene kinder, hot Der Hobit teykef bakumen kritishe loyb ven ersht aroys fun druk. Itst kent ir dos ershte mol gefinen ot dos bukh in lataynishe oysyes in a prekhtiker iberzetsung fun Berish Goldshteyn. Dos bukh nemt arayn di ale tseykhenungen un kartes fun dem mekhaber.

Old English (or “Englisc”) is the English language as recorded from around the year 700 to 1100. Spoken by King Alfred the Great and Lady Godiva, the Venerable Bede and Edward the Confessor, it is the language of such classics as Beowulf, The Dream of the Rood, and The Seafarer. After 1100 the language went through a period of change so rapid that, by the time two centuries had passed, few could read these old texts. For those interested in learning the oldest variety of English, this translation of Alice’s Adventures in Wonderland may provide a pleasurable study aid: just set the modern text and this one side by side and compare the two. But be careful! In this book, Lewis Carroll’s classic tale has been transported into the distant past, before the English had ever heard of tea, imagined a device as sophisticated as a watch, or even seen a rabbit (a later invasive species). Instead, they drank beer, mead, or (when they could get it) wine; an exceptionally learned scholar might have known how to tell time with an astrolabe; and the most familiar long-eared animal was the hare.

In addition to being the Samuel Johnson of Low German, a linguist nonpareil, and connoisseur of fine art and fine food, Jack Thiessen is a raconteur the way Mozart and John Driedger were musicians. The stories are simply there, and as they mature within him, he draws them up and releases them. Naturally they surface in the Low German dialect, and come garnished with humour. Like halvah and all fine things, they are best savoured slowly. – Jack Thiessen ess nich blooß dee mennischa Samuel Johnson, een Lexigraph sondajlitje, oba uck een resserietenda Feinschmatja enn Sache Konst enn goodet Äte, uck Latjabätjess jenannt. Mozart enn Johaun Driedja säde, “Dee Musitj ess mie enn”, enn soo ess’et mett Jack siene Jeschijchte; hee loagad dee, see woare ella enn bäta, bett hee daut Schlätelwuat finjt, omm dee ruttoolohte, emm Dialekt, Plaut­dietsch, jeschräwe enn mett Spoß utjestraumt. Aum basten sull eena dee lese, soo’s eena Halvah at: langsom enn mett Scheen­jeschmack! — Ernest Braun

“Scouse” is the name of the unique dialect of English spoken in Liverpool. It is a relatively new dialect, dating to the 19th century, showing some influence of speakers from England, Scotland, Wales, and Ireland. The Beatles are perhaps the most famous speakers of Scouse, or at least the first speakers who came to public prominence outside the Liverpool region. This book contains a brief sketch of the orthographic principles used in presenting the Liver­pudlian dialect in this edition. The Scouse translation was first prepared by Marvin R. Sumner in 1990, and is now published for the first time in anticipation of the “Alice 150” celebra­tions being held this year.

Cornu-English is that form of English spoken by the majority of native residents in Cornwall. It has also spread overseas to be spoken in areas of the world where Cornish migrants lived and worked-in such diverse locations as Australia, the United States of America, New Zealand, Mexico and South Africa. It may be said to be one of three major linguistic groups operating within Cornwall, a Celtic territory in the west of the island of the Britain. The three are Cornish, English and Cornu-English. Within Cornu-English, it is necessary to point out that although the broad vocabulary and grammar remain the same there are some variations in accent. These can be graded from east to west, and from north to south. In general, the accent in the west of Cornwall (in West Penwith, in particular) has remained quite distinctive, with some observers believing this is because of the later persistence of the Cornish language there. This edition of Alice's Adventures in Wonderland is translated with a nod towards the Cornu-English accent of mid Cornwall; in particular that found in the working-class china-clay mining villages to the north of St Austell. This accent and locate remain interesting because for many years there were perceived as not being as picturesque as others parts of Cornwall, and so received less immigration and loss of Cornu-English speakers.

Gothic (Gutiska razda or Gutrazda) was a continental Germanic language spoken by the Visigoths and Ostrogoths in many areas (most notably Spain and Italy) throughout antiquity and the early Middle Ages; while Gothic appears to have become functionally extinct sometime in the eighth century, some form of the language may have continued to be spoken in the Crimea until the sixteenth or seventeenth century. The Gothic Bible, translated from a lost Greek exemplar sometime ca. 360 CE by the Gothic bishop Wulfila, represents the earliest substantive text in any Germanic language. Gothic itself remains the only significant representation of the East Germanic branch of languages, which have since died off completely. Other extant works in Gothic include an exegesis of the Gospel of John known as Skeireins, a partial calendar, and some minor fragments. Unfortunately, all extant texts are incomplete, so it remains unknown to what extent the extant fragments are written in idiomatic Gothic, as well as exactly what dialect of Gothic they might represent.

This is the first translation into the Border Scots dialect of Alice’s Adventures in Wonderland. Scots was at its peak as a European language of scholars in the 16th century, but its scope and influence has declined since English became Scotland's formal written language in the 17th century. Border Scots has subsequently become primarily an oral dialect, spoken by more than 100,000 people at home, work and play, but not regularly committed to paper for use in a formal context. Recognizing the oral nature of the dialect was an important step in deciding how this first translation of Alice was to be carried out. Border Scots differs from other Scots dialects in terms of its anglicized and unusual flat vowel pronunciations, earning it the moniker of the “yow an mei” dialect. There was an opportunity to echo this sound in the very name of Ahlice, where the drawn out and flattened first syllable acts as an aural clue to the deep timbre this dialect emits in its spoken form. To further achieve this aural effect the common Scots custom of dropping consonants at the end of words and syllables has also been deployed. In particular, applying it to the progressive participle ending -ing to make it -in flattens the sound to a more authentic Borders’ pitch. Elliot Cowan Smith observed nearly a century ago that the Borders dialect will “pass gradually into oblivion” if its spirit is allowed to be lost. It is hoped that the publication of Ahlice’s Adveenturs in Wunderlaant will kindle the spirit and confidence to record the dialect in print more widely, and establish a future role for it in the development of Borders life.

Lewis Carroll is the pen-name o Charles Lutwidge Dodgson, the screiver o Alice’s Adventures in Wonderland, an a lecturer in Mathematics at Christ Church, Oxford. Dodgson stertit his famous bairns’ tale on 4 July 1862, when, on a bonny simmer’s efternuin, he tuik a lang jant in a rowin boat on the Thames Watter in Oxford, alangside his freen the Reverend Robinson Duckworth, Alice Liddell (ten year-auld) the dochter o the Dean o Christ Church, an her twae sisters, Lorina (aged thirteen), an Edith (juist aicht). Frae the poem at the stert o the buik, it’s plain that thae three wee lassies threipt on at puir Mr Dodgson tae tell thaim a tale. Tho sweirt at the stert, he wycely gied in, an by the en o their day oot, he had gethert thegither the makins o an awfy guid splore aboot a steirin wee lass caad Alice. Spreid richt throu the feenishd wark, furst-published in 1865, are a wheen hauf-hidden references tae the five folk on that boat on that happy day.

The International Phonetic Alphabet is a system of phonetic notation based primarily on the Latin alphabet. It was devised by the International Phonetic Association as a standardized represen­tation of the sounds of spoken language. The IPA is used by lexicographers, foreign language students and teachers, linguists, speech-language pathologists, singers, actors, constructed language creators, and translators. This edition of Alice’s Adventures in Wonderland is written entirely in that same alphabet, with fonts specially designed by Michael Everson.

Lewis Carroll wis the pen-name ae Charles Lutwidge Dodgson, a professor o mathematics at Christ Church, Oxford. His weel-kent story came aboot while he wis oan a rowin trip up the watter ae the Thames in Oxford oan 4 July 1862. Dodgson wis accompanit oan this outin bi the Rev. Robinson Duckworth an three young lassies: Alice Liddell, the ten-year-auld daughter ae the Dean ae Christ Church, an Alice’s two sisters, Lorina and Edith, who wir thirteen an eight. As ye kin tell fae the poem at the stairt, the three lassies begged Dodgson fir a story, an so he went oan tae tell them, wioot a hale loat ae enthusiasm tae begin wi, an early version ae the story that wis tae become Alice’s Adventirs in Wunnerlaun. Acause ae this, there’s a fair few refrences tae the five traivellers in the boat hauf-hidden away throo-oot the text ae the book, which wis published eventually in 1865.

The translator has avoided the temptation to make this translation a "Yiddishized" one, in which the characters live, move, and have their being in a now-vanished traditional Eastern European Jewish world. To do so would be an exercise in nostalgia and would, perhaps, deprive the original of its ageless, fairytale charm. For Alice's world is that of proper, middle class Victorian England, with its manners, morals, prejudices, and idiosyncrasies, and the world she visits is that same world turned on its head, so to speak. In the transliteration from Hebrew to Latin letters, this book makes use of the standardized spelling adopted in 1936 at a conference in Vilna sponsored by the YIVO Institute for Jewish Research. Although there are no capital letters in Yiddish print or script, they are naturally required in a Romanization.

To tackle a translation of the first book into the Caithness dialect of Scots was a challenge. Catherine Byrne met it by imagining how her mother, reading the book aloud, would have sounded—“hearing my mother’s voice in my head”, as she put it in an e-mail to this writer. The result is engaging and amusing, and those familiar with the Caithness accent will recognize the achievement at once. James Miller has outlined the history and the main characteristics of the dialect in the essay written for Jon Lindseth’s accompanying volume on translations. Suffice it to say here that Caithness dialect is a form of Scots but has some unique features that reflect the cultural and political geography of the north of Scotland in the Middle Ages when the county was a frontier zone, the area where Norse and Gaelic societies met.This conjunction has left its mark on place-names and on the common speech of the inhabitants. .

Jack Thiessen is an educated tale spinner. This book contains an entire legacy of Mennonite Short Stories, from bragging to preaching, from laughing out loud to consolation and love and, also, the saddest of tears. One does well in reading a story a day, for a week or a month, for that matter, and enjoying the humour and the wisdom of a community coming alive as never before. — Jack Thiessen ess een jegromda Resserieta. Een gaunzet Oawgoot von Mennonitische Kortjeschichte send enn dissem Buak too finje: von puche bett predje, von loosbrädre bett Troost enn Leew, enn uck de trurichste Trohne. Eena sull aum basten eene Jeschicht aum Dach lese, eene Wätjlang, ooda een Moonatlang, enn doamett den Spoß enn uck dee Weisheit von onse läwendje Jemeenschauft jeneete soo auls niemols verhäa. — Rudy Wiebe

Francis K. Johnson devised Ñspel (pronounced "Ingspell") as a compre­hensive and radical reform of English spelling, because he believes that, in the case of such a magnificently complex and subtle language as English, piecemeal and conservative proposals cause more problems than they solve. Ñspel is largely phonemic, but also has a remarkable conciseness, owing much to the earlier traditions of shorthands. This edition of Alice's Adventures in Wonderland is aimed at highlighting the question of spelling reform and to add an extra charm to the reader's journey, alongside Alice, to Wonderland.

Lewis Carroll ist ein Pseudonym: Charles Lutwidge Dodgson war der wirkliche Name des Autors, und er war Mathematikdozent in Christ Church, Oxford. Dodgson begann seine Erzählung am 4. Juli 1862, als er zusammen mit Reverend Robinson Duckworth und der zehnjährigen Alice Liddell, der Tochter des Dekans der Christ Church und ihren beiden Schwestern, Lorina (dreizehn Jahre) und Edith (acht Jahre) auf der Themse eine Bootsfahrt machte. Wie aus dem Gedicht am Anfang des Buches deutlich wird, baten die drei Mädchen Dodgson um eine Geschichte, und er begann, zunächst widerstrebend, ihnen die erste Version davon zu erzählen. Es gibt immer wieder halb versteckte Hinweise darauf im Laufe des gesamten Buches, das 1865 schließlich veröffentlicht wurde.

Middle English is the name commonly given to the forms of English current from about 1100 to roughly 1500, between pre-Conquest Old English, which is hardly intelligible today without special study, and the early modern English of Shakespeare and his contemporaries. Of course it changed considerably during that period, and different dialects existed in various geographical areas. The form of Middle English used in this translation is for the most part the East Midland and London dialect of writers like Chaucer in the fourteenth century, which is the direct ancestor of our modern standard form of English. It is not hard to read with a little practice, but an extensive glossary has been provided to assist the reader where necessary. Imagining what Londoners of the fourteenth or fifteenth centuries might have made of Lewis Carroll's "Alice's Adventures in Wonderland" provides a historical perspective not only on Chaucer's fourteenth century and Carroll's nineteenth, but on our own time as well.

Ailis's Anterins i the Laun o Ferlies is a translation of Lewis Carroll's classic tale into synthetic Scots. Synthetic Scots is the name given by the poet Hugh Mac­Diarmid to a project that sought to rescue Scots as a serious literary language from the cloying sentimentalism and the music-hall self-mockery into which it had degenerated by the early 20th century. This project was prefigured in the work of writers like Violet Jacob and Marion Angus, Robert Louis Stevenson and George Douglas Brown. Alongside Mac­Diarmid, the project was pursued by Robert Garioch, Alastair Mackie, Alexander Scott and Sydney Goodsir Smith. Ailis's Anterins i the Laun o Ferlies is offered as a contribution to the canon of synthetic Scots texts. Because the original is such a popular and well-loved tale, skillfully crafted in simple, clear and undemanding language, but losing none of its literary excellence for all that, the hope is that Ailis will contribute to making Scots more accessible to both Scottish and non-Scottish readers alike.

Lewis Carroll er dulnefni: Réttu nafni hét höfundurinn Charles Lutwidge Dodgson og var stærðfræðikennari við Christ Church í Oxford. Dodgson hóf söguna 4. júlí 1862 þegar hann var í róðrartúr á Tempsá í Oxford ásamt séra Robinson Duckworth, Alice Liddell (tíu ára) dóttur rektors Christ Church og tveimur systrum hennar, Lorinu (þrettán ára) og Edith (átta ára). Eins og fram kemur í ljóðinu fremst í bókinni höfðu stúlkurnar þrjár beðið Dodgson að segja sér sögu. Hann var tregur til en hóf þó frásögn sem varð fyrsta gerð sögunnar. Margar hálfduldar tengingar til þessara fimm bátsverja má finna víðsvegar í texta bókarinnar sjálfrar sem prentuð var í lokagerð 1865.

Des Wienerische is a ost-mittelbairischer Dialekt, reich aun Lehn- und Fremdwerter ausm Behmnischn, Italienischn, Lateinischn, Ungarischn, Frenzesischn und Jiddischn. Es is a mehrschichtiger Dialekt mit an gehobanan Stü, wiar er am Habsburger-Hof und von de Odelign gredt wurn is (Schön­brunner Wienerisch), ober aa an Oitogsstü, wiar er im Gschäftslebn und bei de eher afocheren Leit bei ihrer Oabeit oder ihre sunstign Aktivitätn Verwendung gfundn hot. De Ibersetzung vom Hans Werner Sokop – de ollererschte auf Wienerisch – is Teu aner traditionelln Mundoat­dicht­ung, zu der insbesondere de berühmtn Autorn Josef Weinheber und H. C. Artmann zöhn. Sokop hot z.B. aa Die Göttliche Komödie auf Hochdeitsch sowie Max und Moritz, Der Struwwelpeter, und Der kleine Prinz auf Wienerisch ibersetzt.

The Northeast dialect of Scots, locally called the "Doric", has a long and distinguished history as the medium of one of the liveliest and most individual local literatures in Scotland. It first emerged in literary form during the Vernacular Revival of the eighteenth century; an outstanding practitioner of the mid-nineteenth century was Lewis Carroll's friend George MacDonald, who, though his lasting renown is mainly founded on his children's books and fantasy stories, wrote many domestic novels set wholly or partly in his Northeastern calf-ground, in which the dialect is skilfully presented. In translating Alice, Derrick McClure has endeavoured to find some kind of counterpart for every literary and linguistic trick in the original: that is an ambitious aim, but any translation above the level of a mere crib is a tribute to its source, and an original of such ingenuity as this book deserves the highest tribute possible, in a translation which pays full attention to all the clever and delightful tricks with which Carroll adorned his text. It is the author's hope that the translation will be read not simply as a linguistic curiosity or a test case for some of the problems of literary translation, but as a not unworthy addition to the corpus of Doric literature and Scots children's writing.

This buk is the furst translation o Alice’s Adventures in Wonderland intae Ulster Scots, a language that comes frae the Lowlans in Scotlan an thin wus brocht intae Norlin Airlan in the early 17th Century. Es it’s a dialect o Scots it haes close links wi standart Inglesh, but thur’s monie differences in baith grammer an vocabulary between the twa languages. The orthography used in this book’s based on the spellins that ir maistly used bae native taakers o Ulster Scots.

Lewis Carroll’s classic Alice’s Adventures in Wonderland has been translated into over a hundred languages, from French to Japanese to Esperanto. In this translation into the rich dialect of the Appalachian Mountains, the translators have treated the story as a folktale, in order to create the sense that the reader is listening as an adult tells the story to a child. The story has been transported from Victorian English to post-Civil-War West Virginia, into an Appalachian setting appropriate for the dialect. The spelling used aims towards a literary ortho­graphy, rather than towards a phonemic respelling of the language entirely, and so it avoids unnecessary “eye-dialect” (funkshun instead of function, and so forth). The sounds of the language used in Alice’s Adventures in an Appalachian Wonderland will certainly be familiar to most readers, but a short glossary has also been included.

Lewis Carroll is a pen-name: da writer’s richt name wis Charles Lutwidge Dodgson, an he wis a lecturer in Mathematics in Christ Church, Oxford. Dodgson began da story apo da fort o July 1862, whin he guid aff in a rowin boat apo da river Thames in Oxford, alang wi da Reverend Robinson Duckworth, wi ten year aald Alice Liddell, da dochter o da Dean o Christ Church, an her twa sisters, thirteen year aald Lorina, an Edith, at wis eight. As we see fae da poem at da begennin o da book, da tree lasses axed Dodgson for a story an, tho at first he wis kinda laith ta dö it, he began to tell dem da first version o da story. He aften smoots in some peerie half-hoidit mention o da five o dem, aa trow da text o da book itsel, at wis published at da lang an da lent in 1865. Dis book is da first owersettin o Alice’s Adventures in Wonderland inta Shetland Scots, a kind o Scots spokken in Shetland at’s been influenced bi da Nort Germanic language Norn, at dee’d oot ida eighteent century. Bein a dialect o Scots, hit’s a closs freend ta standard English, but der a lock o differ atween da twa tongues baith ida grammar an ida wirds. In ony language, der aye different opeenions aboot dialect spellin; da spellin at Laureen Johnson uses here is aafil reglar, an staands weel for da language-shö’s written in her midder tongue for mony a year noo.

Mennonitenplaut (ooda de plautdietsche Dialektgrupp) woat enn Kanada, enne Stäts, Mexiko, Brasilien, Bolivien, Paraguay, Honduras, Belize, Argentinien von ruhm 300,000 Mennoniete jerät. Disse Zohl nemmt enn Dietschlaund too, wiels väle Mennoniete von Ruβlaund kaume nohdem de Sowjet­union utenaunda foll. Mennoniete jeheare too eene relijeese Grupp, woohne uasprinjlijch von Hollaund enn Belgien enne 1500’ Joahre flijchte, wiels see relijees vefoljt worde; mette Tiet muake see sich emm nadapraiβchem Ruhm emm Ooste tusig. Nohäa waundada väle Mennoniete noh Nuadamerika ut—besondasch noh Kanada enn noh dee Stäts—-enn noh Latienamerika—besondasch noh Paraguay enn Mexico—de measchte wohne oppem Laund, habe oba atelje spohnsche Weada enn ähre eajne Sproak oppjenohme.

This buk is the furst translation o Alice’s Adventures in Wonderland intae Ulster Scots, a language that comes frae the Lowlans in Scotlan an thin wus brocht intae Norlin Airlan in the early 17th Century. Es it’s a dialect o Scots it haes close links wi standart Inglesh, but thur’s monie differences in baith grammer an vocabulary between the twa languages. The orthography used in this book’s based on the spellins that ir maistly used bae native taakers o Ulster Scots.

This weeyins’ furst readin book, furst publisht in 1910, is intendet fur early readers, an fur them that teach them. It haes a brev wee vocabulary o jest unner 300 wurds, an presents nine classic yarns: The Wee Rid Hen, The Ginger­bried Weefla, The Oul Wumman an the Pig, The Weefla an the Goat, The Pancake, Chicken Little, The Three Billy Goats Gruff, Wee Tuppens, an Wee Spider’s Furst Web.

The book contains more than ninety illustrations bae the artist Frederick Richardson.

This beuk sets oot the first translation o Ailice’s Àventurs in Wunnerland intae Scots (that we aince caa’d “Inglis”). This leid haes cam doun fae Auld North­umbrian, the Auld English that wis spoken fae the Humber tae the Lothians. It’s a near relation o Staunart English, but there’s many a differ in baith grammar an vocabulary. The translator’s uised tradeetional spellins the likes o wis set doun bi Burns, Scott, Slater an many ither, tho wantin the “apologetic apostrophes” ye aft see in thae beuks. This is gaes alang wi maist writins in Scots fae the aichteenth century on, an reads fine tae modren Scots spaekers bred up tae sic tradeetions.

The Low Saxon translation in this book is based on Carroll’s English original, with rare glances at the handling of names and wordplay in Antonie Zimmermann’s German translation.

To the best of my knowledge this edition presents the first translation of Alice’s Adventures in Wonderland into Low Saxon (also known as Low German and by its German name Plattdeutsch). This language is a descendant of Old Saxon, one of the ancestors of English. Middle Saxon (also known as Mittelniederdeutsch “Middle Low German” in modern German parlance) served as the international lingua franca of the Hanseatic Trading League and as such influenced many language varieties along the Baltic and North Sea coasts, especially those of Scandinavia, the Baltic Countries and Northern Poland.

This book is a new edition of the first translation into Swedish, presented for the modern reader. The third translation of Alice into any language, Emily Nonnen’s 1870 version was originally published in a spelling typical of the nineteenth century. In preparing this edition, the spelling has been modernized according to the rules of current Swedish orthography.

This edition presents the first translation into German of 1869 for the modern reader. The translation by Antonie Zimmermann was, in fact, the first translation of Alice into any language. It was originally published in a Fraktur typeface, and was written in a spelling typical of the nineteenth century. In preparing this edition, the spelling has been modernized with care and according to the rules of proven German orthography.