{"id":4603,"date":"2011-07-13T12:09:38","date_gmt":"2011-07-13T04:09:38","guid":{"rendered":"https:\/\/pinyin.info\/news\/?p=4603"},"modified":"2018-08-28T14:50:10","modified_gmt":"2018-08-28T06:50:10","slug":"the-where-and-why-of-missing-second-tones","status":"publish","type":"post","link":"https:\/\/pinyin.info\/news\/2011\/the-where-and-why-of-missing-second-tones\/","title":{"rendered":"The where and why of missing second tones"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" width=\"121\" height=\"182\" src=\"https:\/\/pinyin.info\/news\/news_photos\/2011\/07\/zhong1234.gif\" alt=\"image of 'zhong' written with 1st, 2nd, 3rd, and 4th tone -- with the 2nd-tone one in light gray instead of black text\" title=\"zhong1234\" style=\"widthL 121px; height: 182px; float: right;\" class=\"alignnone size-full wp-image-4625\"\/>My <a href=\"https:\/\/pinyin.info\/news\/2011\/pinyins-never-used-letter\/\">previous post<\/a> mentioned that not all tonal permutations exist in the real world. For example, modern standard Mandarin has <span class=\"py\">zh&#333;ng<\/span>, <span class=\"py\">zh&#466;ng<\/span>, and <span class=\"py\">zh&#242;ng<\/span>, but doesn&#8217;t have <span class=\"py\">zh&#243;ng<\/span>. I did not, however, get into any of the reasons for the absence of second-tone <em>zhong<\/em>. <\/p>\n<p>Fortunately, my friend James E. Dew, who is much more qualified than I to discuss such fine points of linguistics, was kind enough to send in the explanation below. Jim used to teach the Chinese language and linguistics at the University of Michigan; and for many years he directed the Inter-University Program (a.k.a. the Stanford Center) in Taipei. He is also the author of <a href=\"http:\/\/www.smcbook.com.tw\/shop2\/product_info.php\/info\/p12493_6000-Chinese-Words-A-Vocabulary-Frequency-Handbook-------------.html\/XTCsid\/3508aaba6d3dc5390f9eec1923738218\"><em>6000 Chinese Words: A Vocabulary Frequency Handbook<\/em><\/a> and coauthor of <a href=\"http:\/\/www.cheng-tsui.com\/store\/products\/classical_chinese\/classical_chinese_traditional_characters\"><em>Classical Chinese: A Functional Approach<\/em><\/a>. <\/p>\n<p style=\"border-top: 2px dotted green; margin-top: 2em; padding-top: 2em;\">Most simply stated, Mandarin syllable shapes with unaspirated occlusive initials and nasal finals don&#8217;t occur in second tone. This can be restated a bit less opaquely for those who have not studied Chinese historical phonology, as follows:<\/p>\n<p><strong>Syllables that begin with unaspirated stops <em>b<\/em>, <em>d<\/em>, <em>g<\/em>, or affricates <em>j<\/em>, <em>zh<\/em>, <em>z<\/em>, and end in a nasal <em>n<\/em> or <em>ng<\/em>, as a rule don&#8217;t have second-tone forms.<\/strong> There are a few exceptions, such as <em>b&eacute;ng<\/em> (<span lang=\"ZH-CN\">&#29997;<\/span> \/ &#8220;needn&#8217;t&#8221;) and <em>z&aacute;n<\/em> (<span lang=\"ZH-CN\">&#21681;<\/span> \/ &#8220;we&#8221;), which were new words formed by contraction &#8212; from <em>b&uacute;y&ograve;ng<\/em> and <em>z&aacute;m&eacute;n<\/em>, respectively &mdash; after the tone class split described below took place.<\/p>\n<p>This came about because when Middle Chinese (of Sui-Tang times) <span class=\"py\"><em>p&iacute;ngsh&#275;ng<\/em><\/span> <span lang=\"ZH-CN\">&#24179;&#22768;\/&#24179;&#32882;<\/span> split into <span class=\"py\"><em>y&#299;np&iacute;ng<\/em><\/span> <span lang=\"ZH-CN\">&#38452;&#24179;\/&#38512;&#24179;<\/span> (modern Mandarin &#8220;first tone&#8221;) and <span class=\"py\"><em>y&aacute;ngp&iacute;ng<\/em><\/span> <span lang=\"ZH-CN\">&#38451;&#24179;\/&#38525;&#24179;<\/span> (M &#8220;second tone&#8221;), syllables with aspirated initials went into the new <span class=\"py\"><em>y&aacute;ngp&iacute;ng<\/em><\/span> class, while those with unaspirated initials all fell into the <span class=\"py\"><em>y&#299;np&iacute;ng<\/em><\/span> (M first tone) group, thus leaving no unaspirated syllables with nasal finals in the modern Mandarin second tone class.<\/p>\n<p>An interesting corollary to this rule is that among Mandarin &#8220;open&#8221; syllables (those that end in a vowel) with the above-listed initials, almost all of the second-tone syllables derive from Middle Chinese <span class=\"py\"><em>r&ugrave;sh&#275;ng<\/em><\/span> <span lang=\"ZH-CN\">&#20837;&#22768;\/&#20837;&#32882;<\/span>, and their cognates have stop endings in the southern <span>dialects<\/span> that preserve <span class=\"py\"><em>r&ugrave;sh&#275;ng<\/em><\/span>, as illustrated by the Cantonese examples given below.<\/p>\n<div style=\"float: right; width: 40%; border: 1px solid gray; padding: .5em;\">For those who like to pronounce what they read, Cantonese <em>r&ugrave;sh&#275;ng<\/em> syllables have level tones, either high, mid or low. In the Yale romanization used here, high tone is marked with a macron (e.g., <span class=\"py\"><em>d&#257;k<\/em><\/span>), mid tone is unmarked, and low tone is signified by an <em>h<\/em> following the vowel. A double &#8220;<em>aa<\/em>&#8221; sounds like the &#8220;<em>a<\/em>&#8221; in &#8220;father,&#8221; while a single &#8220;<em>a<\/em>&#8221; is a mid central vowel. Thus <em>baht<\/em> sounds like English &#8220;but&#8221; and <span class=\"py\"><em>d&#257;k<\/em><\/span> sounds like English &#8220;duck.&#8221;<\/div>\n<table lang=\"ZH\">\n<tr>\n<th style=\"width: 4em;\">&nbsp;<\/th>\n<th>Mandarin<\/th>\n<th>Cantonese<\/th>\n<\/tr>\n<tr>\n<td>&#25300;<\/td>\n<td>b&aacute;<\/td>\n<td>baht<\/td>\n<\/tr>\n<tr>\n<td>&#30333;<\/td>\n<td>b&aacute;i<\/td>\n<td>baahk<\/td>\n<\/tr>\n<tr>\n<td>&#34180;<\/td>\n<td>b&aacute;o<\/td>\n<td>bohk<\/td>\n<\/tr>\n<tr>\n<td>&#21029;\/&#21035;<\/td>\n<td>bi&eacute;<\/td>\n<td>biht<\/td>\n<\/tr>\n<tr>\n<td>&#20271;<\/td>\n<td>b&oacute;<\/td>\n<td>baak<\/td>\n<\/tr>\n<tr>\n<td>&#21338;<\/td>\n<td>b&oacute;<\/td>\n<td>bok<\/td>\n<\/tr>\n<tr>\n<td>&#31572;<\/td>\n<td>d&aacute;<\/td>\n<td>daap<\/td>\n<\/tr>\n<tr>\n<td>&#24503;<\/td>\n<td>d&eacute;<\/td>\n<td>d&#257;k<\/td>\n<\/tr>\n<tr>\n<td>&#25973;\/&#25932;<\/td>\n<td>d&iacute;<\/td>\n<td>dihk<\/td>\n<\/tr>\n<tr>\n<td>&#27602;<\/td>\n<td>d&uacute;<\/td>\n<td>duhk<\/td>\n<\/tr>\n<tr>\n<td>&#26684;<\/td>\n<td>g&eacute;<\/td>\n<td>gaak<\/td>\n<\/tr>\n<tr>\n<td>&#38307;\/&#38401;<\/td>\n<td>g&eacute;<\/td>\n<td>gok<\/td>\n<\/tr>\n<tr>\n<td>&#22283;\/&#22269;<\/td>\n<td>gu&oacute;<\/td>\n<td>gwok<\/td>\n<\/tr>\n<tr>\n<td>&#24613;<\/td>\n<td>j&iacute;<\/td>\n<td>g&#257;p<\/td>\n<\/tr>\n<tr>\n<td>&#26997;\/&#26497;<\/td>\n<td>j&iacute;<\/td>\n<td>gihk<\/td>\n<\/tr>\n<tr>\n<td>&#38598;<\/td>\n<td>j&iacute;<\/td>\n<td>jaahp<\/td>\n<\/tr>\n<tr>\n<td>&#22846;\/&#22841;<\/td>\n<td>ji&aacute;<\/td>\n<td>gaap<\/td>\n<\/tr>\n<tr>\n<td>&#32080;\/&#32467;<\/td>\n<td>ji&eacute;<\/td>\n<td>git<\/td>\n<\/tr>\n<tr>\n<td>&#31680;\/&#33410;<\/td>\n<td>ji&eacute;<\/td>\n<td>jit<\/td>\n<\/tr>\n<tr>\n<td>&#33738;<\/td>\n<td>j&uacute;<\/td>\n<td>g&#363;k<\/td>\n<\/tr>\n<tr>\n<td>&#35258;\/&#35273;<\/td>\n<td>ju&eacute;<\/td>\n<td>gok<\/td>\n<\/tr>\n<tr>\n<td>&#27770;\/&#20915;<\/td>\n<td>ju&eacute;<\/td>\n<td>kyut<\/td>\n<\/tr>\n<tr>\n<td>&#38620;\/&#26434;<\/td>\n<td>z&aacute;<\/td>\n<td>jaahp<\/td>\n<\/tr>\n<tr>\n<td>&#28580;\/&#27901;<\/td>\n<td>z&eacute;<\/td>\n<td>jaahk<\/td>\n<\/tr>\n<tr>\n<td>&#38296;\/&#38392;<\/td>\n<td>zh&aacute;<\/td>\n<td>jaahp<\/td>\n<\/tr>\n<tr>\n<td>&#23429;<\/td>\n<td>zh&aacute;i<\/td>\n<td>jaahk<\/td>\n<\/tr>\n<tr>\n<td>&#21746;<\/td>\n<td>zh&eacute;<\/td>\n<td>jit<\/td>\n<\/tr>\n<tr>\n<td>&#22519;\/&#25191;<\/td>\n<td>zh&iacute;<\/td>\n<td>j&#257;p<\/td>\n<\/tr>\n<tr>\n<td>&#30452;<\/td>\n<td>zh&iacute;<\/td>\n<td>jihk<\/td>\n<\/tr>\n<tr>\n<td>&#31481;<\/td>\n<td>zh&uacute;<\/td>\n<td>j&#363;k<\/td>\n<\/tr>\n<tr>\n<td>&#28609;\/&#27978;<\/td>\n<td>zhu&oacute;<\/td>\n<td>juhk<\/td>\n<\/tr>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>My previous post mentioned that not all tonal permutations exist in the real world. For example, modern standard Mandarin has zh&#333;ng, zh&#466;ng, and zh&#242;ng, but doesn&#8217;t have zh&#243;ng. I did not, however, get into any of the reasons for the &hellip; <a href=\"https:\/\/pinyin.info\/news\/2011\/the-where-and-why-of-missing-second-tones\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[43,4,12,106,28,95,32,138,20,127,105],"tags":[748,747,749],"class_list":["post-4603","post","type-post","status-publish","format-standard","hentry","category-cantonese","category-china","category-chinese","category-hanyu","category-languages","category-linguistics","category-mandarin","category-philology","category-pinyin","category-tonal-languages","category-tone-marks","tag-james-e-dew","tag-james-erwin-dew","tag-jim-dew"],"_links":{"self":[{"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/posts\/4603","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/comments?post=4603"}],"version-history":[{"count":35,"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/posts\/4603\/revisions"}],"predecessor-version":[{"id":7900,"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/posts\/4603\/revisions\/7900"}],"wp:attachment":[{"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/media?parent=4603"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/categories?post=4603"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pinyin.info\/news\/wp-json\/wp\/v2\/tags?post=4603"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}