Organizational Patterns of English and Foreign Texts for Language Teaching : A Contrastive Analysis

The purpose of this paper is to analyze the organizational patterns of imaginative English and foreign texts in an English speaking community of a mixed cultural literary work. A contrastive list of foreign English text in Galsorthy's Quality and the standard English texts was used as the data. The data were then analyzed according to the organizational patterns of sound systems, grannmatical structures, vocabulary system, and cultural features. The analysis suggests that foreign English texts offer a source of systematic preliminary study of language. The conversations in the work of literature provides the leamers with ample apractice to recognize the standard of language correctness and the non-standard language variations.

changes to the most fashionable place in the West End of London.Because only the younger German deals with the customers, it is through this character that Galsworthy makes up dialogues displaying twenty foreign English-speaking texts.For them, the making of boots is an ideal and an art; therefore, the boots are utilitarian and aesthetic masterpieces.They last "terribly long", and their beauty is "mysterious and wonderful".However, the big firms of boot makers furnish new competition and their trade diminishes.They have to give up part of their shop to a new firm.This blow brings death to the elder German, but the younger refuses to compromise his superior quality boots with the new competitors' and this, too, sends him to his death of slow starvation.
Galsworthy makes use of his character, the younger German, to speak of a language bearing not only the character's own voice but he also brings with him his established knowledge of his native community and society.Such communication will not be difficult to follow when it deals with the predictable use and usage of English as a foreign language, but it also makes things difficult when the native speaker and the foreigner do not share the native speaking ccmmunity's knowledge and culture.The younger German does not have any difficulty in his linguistics expressions with his custorners but he encounters great difficulty in meeting the social expectation of the new big firms which wash away his once 'big and beauty' shoe store and even brings his life and his brother's to an end.

COINTRASTIVE ANALYflS
Galsworthy shapes his fictitious dialogues of a foreigner in an English speaking community by a creation and selection of word choices in contextual linguistics and cultural demands to fulfill managerial and artistic idea in writing a short story.The character holds a German origin, manages to communicate in English mixed with the native background.
Lado (1960) observes that individuals tend to transfer the forms and meanings, and the distribution of forms and meanings of their native language and culture to the foreign language and cultureboth produc- tively when attempting to speak the language and to act in the culture, and receptively when attempting to grasp and understand the language and the culture as practiced by natives.
Kurnlu, Orlqunizutlotutl I'utternt ol'I)nglish and Foreign Texts lor Language 31 Contrastive analysis clears up various features of linguistics across cultures and provides insights into the linguistics and cultural problems.Differences or bias towards the standard rules of language use and usage are often defines as 'errors' (Brown, 1980; Corder, 1973: Dulay, 1982;   Wilkin, 1978).Errors are noticeable deviations from the adult grammar of a native speaker reflecting the interlanguage competence of the learner.'fhey signify the learner's capability and performance; and provide insights to the researcher evidence of how language is learned and acquired.Contrastive analysis helps determine the likely errors of learn- crs; and, as a matter of fact, selections of literary work will supply teachers and researchers with attributive data so that all possible sources of errors can be enumerated and accessed as preliminary practice for the students.
Galsworthy creates twenty foreign English-speaking texts in conver- sational tone as written spoken-language.Galsworthy's object of getting into the business of rnaking up conversations in Quality is to achieve a literary as well as linguistics effects; therefore, he is apt to chose the pattems and arranges thern to suit the legitimate artistic needs.Galsworthy, in this case, uses German language and culture background for the two German irnmigreu:ts in an English setting.Such patterns and arrangements arising fiom an author's specialized style are used as sample problems effective for language teaching contrastive analysis.The twenty foreign English-speaking quoted texts from the short story are paired and analyzed with the standard English and contrasted to their sound systems, grammatical structures, vocabulary systems, and cultural features (Lado 1960).The following is a contrastive table of the foreign English text and the standard English texts: Table 1 An Orthographical Contrast between the Original Utterance (Ll Speaker Speaking Engtish) and the Reconstructed Version of an English Native Speaker's Utterance.
p.40) 16.Kuntiu, ()ryuni:tllonal I'ullcnrs of English and Foreiga Texts for ktnguage 33 The above table is a two-column chart of an orthographical represen- t;rtion of the original utterance of a foreign English text (the German slroemaker speaking English) and the reconstructed version of the standard English utterance.The data in this selection hint organizational l)atterns of sound systems, gammatical stfuctures, vocabulary systems, itnd cultural features:

SOI.INDSYSTEMS
The linguistics and cultures, and interlingual contrastive analysis in l.ado (1960), Brown (1980), Dulay (1982), Wilkins (1978), and Corder 0973) between the L2 utterance and antara L2 standard, the level of crrors made by the German immigrant in John Galsworthy's Quality is identified and catagorized into: ( l) Standard mathematical catagories, analysing errors as enors of addition, omission, substitution, and ordering ; (2) levels of language, analysing phonology or orthography, lexicon, grammar, and discourse; (3) levels of eruor consistenc$ analysing the systematic order of the errors.

(lomments
The contrastive analysis indicates that there are at least seven rlirnensions of variation based on the error mathematical standard identi- l'ication in Galsworthy's creation of interlanguage in Quality and based on llrown (1980), Dulay (1982), Wilkins (1978), and corder's (1973) linguis- tic error catagory, the above elrors can be catagorized as pronunciation ;rncl otthography errois.The seven interlanguage enor catagories reflect thc stages of pronunciation and spelling error consistency of the foreign linglish utterance in Galsworthy's Quality: Data of pronunciation and orthography effors are: l.Initial consonant [d-] substituting initial consonants [t-] and [d-]; ').S{id-consonant [-d-] substituting mid-consonants [-t-], [-d-], and [-q-]; and The contrastive analysis between the interlanguage created in Quality is constrasted with the linguistic system of the German language.Wilkins ( 198?) observes thatL2 errors especially the pronunciation or orthography are mostly affected by the mother-tongue.The following items will help illustrate the German language rules: (1) a German song Surabaya- Johnny [1] (Appendix 1); (2) a German consonant chart (Appendix 2) and English consonant chart (Appendix 3); and (3) German and English pronouncing dictionaries.
Contrasting the findings in the interlanguage elrors in John Galsworttry's Quality and the mothef-tongue language rules in the lyric of Surabaya-Johnny, the charts of the German and English consonants, and the German and English pronouncing dictionaries, the errors influenced by the mother-tongue can be detected as follows: TIIE USE OF INITIAL CONSONANTd-: The initial consonant d-is used to substitute the initial consonant t-Wilkins (1978:191) and Robins (1992) point out that the German language contrast between voiced plosive is neutralized at the final position.
However, the position of the initial consonants d-and tbelong to two different consonants.The error is not caused by the mother-tongue interference but it is more to Galsworthy's infamiliarity of the German phonology system.
The initial consonant d-is a substitute for the initial consonants th- which are pronounced as [d-] or [?-] in English, but is substituted with the initial consonant [d-] in Galsworthy's interlanguage.The German conso- nant chart in Duden (1974) does not have [d] dan [?], therefore the consistent substitution of [d-] is a systematic mother-tongue interference The Use of Mid Consonant -d- Mid-consona"ntd -is used as a substitute of mid-consonant -tin the English words is not an interference of the mother-tongue, because the German phonology is famiiiar with the mid-consonantd -.
trn German the contrast between voiced and voiceless plosives is neutralized in final position, only voiceless plosives occuring irrespec- tive of the rest of the phonological environment.Thus, while English has the contrast of found and fount (/faund/ and /faunt/), German has only ltl in such position; Bund, bundle, and bunt, mottled, are both pronounced /buntl, though they are differentiated in other case forms, Bundes /bundes/ and /buntes/ (R.obins 1992:124).
Based on the above rules, the mid-consonants -tancl -d-exist in German pronunciation and orthography.The interlanguage in Galsworthy "beaudifuf' has one possible pronunciation, i.e. /-dJ and not l-t-|.Therefore, the phonological error of -d-is not categorized as an interference of the mother-tonguel2].
The mid-consonant -dis used as a substitute of the mid-consonant -th-in which is pronounced as [-6-] or [-?-].The German phonology system does not have [-d-] and [-?-], therefore the substitution is catagonzed as interference of the mother tongue -d-.Besides the Kurnia, Organizutional Pattenn of English and Foreign Texts fttr language 37 intcrt'crence of the mid-consonsnt -d-; a vocabulary interference as in the rrsc of code switch in the word "brudder" for "brother", The German word "brother" is "Bruder".The substitution is systematic in order to give thc meaning of solidarity in the discourse.
The addition of rnid-consonant -d-in data 2C is inserted between the cunsonant clusters [-rt] dan [-r?].This mother-tongue interference on the phonology and orthography system of the German language in order to Irrrrction the "stimmlos stark" of the final consonant *t (Duden, 1974).
'l'hc above points show a pattern of substitution, i.e. the omission of the consonants [t], [q] and [d], either in initial, rniddle, or final position and are srrbstituted by the consonant [d] either in initial, middlv, or final position.
'l'he substitution of the consonants [t], [q], and tdl by [d] has pre- systematic consistency, because there are lapses when the writer/speaker crrn write or pronounce their correct forms.
Data of pronunciation and orthography errors of the consonant t'luster [-rt] has undergone an addition of the consonant [d], which results rrr the consonant cluster [-rdt].The existing pattern is catagorized as rrrathematical standard of addition and the consistency of the existing crror is systematic, because the speaker always makes the same pattem ol' error.
'l'he Use of Final Consonant [d]   The final consonant -d used as a substitute of final consonamt -t in the English words should be pronounced as final consonant [-t], because tlre German uses that system.In German, the contrast between the voiced plosives is neutralized in the final position, and voiceless plosives can be anywhere neglecting their phonological environments.Such a case is true in the words Hund, Geld, and Mund in Surabaya-Johnny are pronounced as final consonant -t: [h?nt], [gelt], dan [m?nt].This means tlrat German has a final ltl except when those final consonants are affected by plural forms: [hunden] and [rnunden].Mother-tongue interfercnce dominates the case of final consonants -t and -d.Wilkins reports the case as "...in German there is no contrast between /d/ and ltl in frnal position.Final plosives are always lpl. /t/, and lkl and never lbl, lN, and /gl" (1978:191).The use of final -t dan -d is also found in Surabaya- Johnny, e.g.Gott, mit, Wort dan Hund, Mund, Geld and pronounced as the final consonant [-t] as [got], [mlt], [vort] and [hunt], [munt], [gelt].Such errors have high consistency of systematic effor in phonology and orthography.Galsworthy's consistency with the type of error because he gives the impression of "looking foreign" giving stress on the "local color" to the German immigrant and to the reader of the short story.
Final consonant -d is used to substitute the English letters -th which should be pronounced [d] or [q], however, Galsworthy substitutes it with the consonant -d.This means that the letter -d in 'wid' should be spelled as [-wit] because the German language has a phonological pattern of using voiceless plosives at the final position (Wilkins, 1978:191).The error is categorized as systematic phonological interference of the mother- tongue because the German does not have consonants as [q] and [d] (see Chart 1: the German consonants).

Connments
The initial consonant b-is a substitute of the initial consonant p-, which should be pronounced as [p-] in English.Other use of initial b-in the song lyric ofSurabaya-Johnny "bis", "betrogen" and in Duden (1974) "ballem", "Bu?" is pronounced [b-].The error is not a mother-tongue interference because the neutralized plosives occur only in the final position.Such error pops out because of Galsworthy's infamiliarity of the German phonology system.Data of pronunciation and orthography of the initial consonant [b-]   substituting initial consonant [p-] shows an activity of substitution, by undergoing an omission of voiceless initial consonant [p-] and therby substituted by its voiced counterpart [b-].The level of consistency is systematic because there are repetious occurances.
1.9 The use of initial consonant [g-] to substitute initial consonant [k-]: greaked (7) for creaked gomes (13) for comes Note Initial consonant [k-] not substituted by initial consonant [g-]: can (10, 18), could (16), quickly (18) for pair Kurniu, Organizutitnul l'atlerns o! English and Foreign Texts for Language 39 ('omments The initial consonant g-in data 6 is a substitute of the initial consonant t'-in which is pronounced as [k-] in English.In German the initial consonant gis pronounced as [g-] as it is in Surabaya-Johnny "Gott", "(icld" and in Duden (L974) "glbe", "ging".Galsworthy has made the s;rme mistake as he did in data 3A,, and 5.Such mistakes are caused by ( lllsworthy negligence of the German language system.Data of pronunciation of the initial consonant [g-] substituting the irritial consonant [k-] shows a substitution pattern.The level of consistcncy is presystematic because there are lapses when the writer/speaker rrrc not consistent with the pattern [ZC1][3]; I.10.The use of initial sound/letter [?-] to substitute initial sound/letter lh-l: 'ave (7,12) for have 'urds (12) for hurts 'ad (L7) for had Note: Initial glottal fricative [h-] not substituted by initial glottal stop [?-]: he (12) ('ornments A reader without the knowledge of German language will be helped to realize something of the sound of the words 'ave, 'urds and 'ad are pronounced more readily with a glottal stop [?-] occuring initially like the German words arm /?'arrn/ -poor; essen /?esen/ -eat; or ass /?as/ate ( R.obins, 1982:xxi,162

Comments
The initial sybilant z-acts as a substitute of the initial sybilant s-is a mother-tongue interference.The pronunciation of the initial sibilant [z-] in German as also seen in the song Surabaya-Jonny: "sechzetm', "sagtest", and "See" are pronounced as [zegtse:n], [za:ktest], dan [ze:].The initial sibilant "s-" which is spelled as "z" in Galsworthy's Quality "zend" dan ,,zame,, is a mother-tongue interference.The pronunciation guidelines in Universal Langenscheidt (1998) directs that "...initial letter o's" is pro- nounced as "z" in Indonesian, except when used in clusters as in sp-or st-.Whereas the 'oz" is pronounced as "ts", as in "zu" [tsu:] and "z:wei" [tsvai]." The mother-tongue interference of the use of initial sibilant "z-" as a substitute for the initial sibilant "s-" is a rnixture of phonology and orthography system of the English and German language' Gaisworthy's mix-up interference of the German and English language shows his disorganized knowledge of the phonology and orthography system of both languages.
The initial sibilant [z-] substitutes initial sibilant [s-].Such error is categorized as substitution with pfesystematic consistency because there are lapses when the writer/speaker can pronounce or spell correctly' 2.2.The use of final fricative [-fl to substitute final fricative [-v]: lofe ( 13) haf (13) for love for have Note: Final fricative [-v] not substituted by final fricative [-fl: 'ave (7, 12)

Comments
The final fricative -f substituting the finai fricative -v in the English "love" is pronounced [lav] and "have" is pronounced [haev].Galsworthy spelled them out as "lofe" pronounced [lafl and "haf'pronounced [haefl' The error is not a rnother-tongue interference because the final fricative -f is pronounced [-fl and final fricative -v is pronounced [-v].Galsworthy's error is similar with his earlier errors.
The final fricative [-fl substitutes final fricative [-v].Such error is categorized as substitution with presystematic consistency because the writer/speaker can pronounce or spell the correct forms.
The initial fricative [v-] substitute the initial fricative [f-]' Such enor is categorized as substitution with presystematic consistency because the writer/speaker is not consistent with this kind of error.
The following table shows the distribution of the foreign English sound and orthography systems as compared to the standard English sound and orthography systems.Contrastive error analysis of Galsworthy's Quality is based on the analysis of the analysis of te enors in the interlanguage by contrasting it with L2 and Ll (the mother-tongue) detects the following phenomena: 1.Consistent error of substitution and addition with presystematic errors of phonology or orthography of the target language; and 2. Interference of the mothef-tongue phonology and orthography errors are inconsistent with the mother-tongue rules.
Based on the above two findings, it seems that Galsworthy deliber- ately creates the errors.He mixes up the distribution and use of the phonology and orthography systems of the interlanguage and the standard language.The contrastive study of comparing English and the mother- tongue rules show Galsworthy's language competence and acquisition: it is not a German immigrant learning English but it is more likely that an Englishman learning German.He is rnore acquainted with the English language system than to German language system.GRAMMATICAL S"IRUCTL]RES Ttre grammatical structure of the foreign English and the standard English texts shows systematic pattems of form and meaning.Among the devices used in the foreign English text, there is only one problern that requires consideration.It is the use of singular and plural form: (7) "Id [They] shouldn'd 'ave greaked."(12) "Id 'urds [They hurt] you dere, dose big virms 'ave no self- respect.Drash!" (16) "Yes, he was a good man, he made a good bood [good boots]; but he is dead.He could not ged over losing de oder shop.Do you wand any boods?Id's a beaudiful biece [of leather]."(19) "I will make a vresh model.Your food [feet] must be bigger." From the observation of the above four cases Galsworthy tends to use a singular form for a plural meaning."Id" and "a good bood" represent "a pair of good boots"; however, "boods" represents "two (or more) pairs of boots".The singular noun of "food" represents the plural noun of "feet" because when people grow, they grow both of their feet instead of the growth of one foot only.
The consideration of a pair of boots and a pair of feet as one unity and not separated as two single members of a unit constructs a Kurniu, Org,attizational Patlerns of English and Foreign Texts for language 43 rystcmatic pattern that is influenced by the German grammatical sffucture r()n(:ept of "boots"."Stiefel" can both be "boot" or "boots" as in "Deine Stre:(cl ist schcin" -"your boot is good" or "Deine Stiefel sind schcin" -"your boots are good".The case ofsingularity and plurality of"bood" for "lrtxrt" and "boots" can be catagonzed as a mother-tongue interference, lrccause the singular and plural noun in German "Stiefel" remains the r.rrrrrc.Meanwhile, the singular form of 'foot' "Fuss" cannot be catagorized ir: u mother-tongue interference because it undergoes a plurality form of 'lcct' "F?sse".Galsworthy seems to generalize the singular and plural lor rn of both nouns. \, ( X ]ABfII"ARY SYSTEIVIS From the whole of his short story, Galsworthy, like other writers, ,,'rrsciously or unconsciously selects certain words as well as the previous tlt'vices in the choice of sound systems and grammatical structures.His irlt('rnpts of such constitution of dictions help him in giving strong rrrrlrlcssion to the aesthetic elements of a literary work, Such is not only ;r nratter of what word choice is appropriate but also why takes the risk ,rl using the selection" This insight of word choice constitutes thc aspects ,l lirrm, meaning, and distribution.Among the use of vocabulary in the contrastive analysis of ( illsworthy's Quatity, the most spectacular is the word "brudder" ( l), (20) rrr which the English word is 'brother'. Robins (1992:221,242) secs that lrrrglish and German belong to one group of West Germanic languagcs in tlrirl they show similarities in meaning of many words such as hand-lJand, lrlc-Leben, summer-Sommer, and give-geben.The word "bruddcr" shtlws ..uch similarities in: Form.The form used to the writing of the word choice brother its "trludder" is non-German and non-English.The correct written lbrrn in lrrrglish is "brother" and in German'oBruder".The lower case letter ol' "brudder" shows the form of writing English nouns which is dilibront lrom the capital letter used in all German nouns.Meaning.The meaning of "brudder" both in English and Gcrmun is rlrc same, a male member of a family of the same parents."Brother" cun cither be a younger brother or an elder brother.It has the meaning ol' u singular noun.This meaning is intended to show that the two Gennult r lnmigrants are brothers.
Distribution The distribution of the word "brudder" is important in the short story.When Galsworthy mentions "brudder"n he means it is the elder brother, who deals with the making of the boots, and not the younger brother, who deals with the customers.These two people look the same to their customers, and to recognize who is who is from the expression of the word "brudder".Galsworthy's choice of using "brudder" instead of addressing him with his own name is to give a stronger solidarity emphasis of the two German immigrants.
CTJTIT]RAL FEATT]RF.S The ability to describe cultural features is parallel the ability to describe the language as language and culture intertwined to one another.
Galsworthy makes use of two German boot makers to embody aesthetic work of art.He adores art so highly that he even uses capital A for art.
The boots are his medium to speak out the cultural insight established in the boot makers.How powerfully the characters stick to their concept of art results in the lcng suffering struggle of their tragic end.
The pattern of culture manifests in the dimensions of form, meaning, and distribution (Lado, 1960).The form describes the function of identification that it represents.The meaning determines a particular distinction and grouping of a sociai scale.The distribution involves various time cycles, space locations, and positions related to other patterned units of distributions.The possible cultural features occur in Quality is the patterned concept of "boots" observed from two different culturesthe German immigrants' and the new firm's: Form. "Bood" or "boods" and "boots" have slightly different forms.
They are coverings for the feet, ankles, and often the legs below the knees.To the German boot-rnakers they are made of genuine patent leather but to the new firms, they are not necessarily made of genuine leather.
Meaning.The fine "bood(s)" are made for outdoor walking.They symbolize the work of art for the German.They are "Soul of Boot" as if they had been worn "a hundred years", and have the quality of magic shoes.The boots are "mysterious and wonderful".They sell themselves and last "terribly long".It needs quite a time to finish a pair, and for this art, they starve themselves to death.To the new firms, boots are just ordinary boots.They mean business and needs advertisement to excel sale.The growth of the new firms means the death of an Ardt.Kurniu, Organiz.utionalPatrcrns of English and Foreign Texts for I'anguage 45 Distribution The old artistic work of 'oboods" which are sold in two lrttle shops let into one when people still belief in Art.These masterpieces llst too long a time that it also needs a long time to finish one pair.As big firms furnish new competition, new ways and strategies of making and sclling ready-made boots diminish the "Soul of Boot".It results in the loss ol'competition by letting one shop go to the new firm which in a way ends rup the tife of one of the makers and succeeded by the other.ll I The song tells a story about a young woman who was deceived by a man called Surabaya-Johnny.She tells hirn how unfair he is towards her.Listening to what she says, he smokes his pipe.This makes her angry.When she first met him, he told her that he has a regular job at a railway station in Burma.Later the woman realizes that the man she loves is a sailor, whose narne is taken from a sea- port, Surabaya.He loves her and leaves her (The song was sent by George Russell, Fukuoka Prefecture, Munakata City, Japan to Fabiola Kurnia, enclosed in a letter dated 24 July 1999).l2l The possibility of the error is Galsworthy unfamiliarity with th German system of phonologY.l.llThe plosives [b] and [g] cannot be generalized because they occur only in the initial positions; whereas the plosive [d] occurs in initial, middle, and final positions.

Conclusion
Linguistic studies and literary studies in contrastive elror analysis on the twenty foreign English text in Galsworthy's Quality offers a source of systematic preliminary study of language.Concentration and attention on the styles of the author in creating conversations on the basis of aesthetic work of literature at the levels of sound systems, grammatical structures, vocabulary systems, and cultural features gives learners ample practice to recognize the standard of language correctness and the non-standard language variations.The contrastive analysis of the twenty written spoken-English text shows that there are systematic, pre-systematic substitution and addition of the orthographical and phonological pattern of the interlanguage where mother tongue interference dominates the most cases.The grammatical structures shows varieties of the singular and plural construction of 'paired' nouns as single units as contrasted to the English and German counterparts.The vocabulary systems shows strong string of solidarity in the form, meaning, and distribution of the word "brudder".The cultural features enable the readers to see the different conception of boot-making at the level of aesthetic art work and as a mere trade of business.
Linguistic and literary work do not operate on the same ground or the same way; but within the subject-matter of each, they provide some common ground and opportunities for useful linguistics a4d culfural operation profitable for foreign language practice.In the part of literature, the writer's skill displays his knowledge of linguistics and cultural back- ground.Galsworthy exposes his skilis in German linguistics and cultural views.The control over these fields is an index to show how much German or how rnuch English his language and cultural knowledge is.In Quality, the result of the contrastive analysis of the twenty foreign English texts is in the question of "how much Galsworthy knows about the Gemran language" is more significant than the question of "how much the younger Gerrnan imrnigrant knows about English"" RffiMENCAS Bnch, David.1996.Critical Linguistics as Cultural Process.In James, Joyie (Ed.),The kmguage Cuhwre Cannection.Singapore: SEAMEO RELC.l)rulcrr Das Aussprzcheworterbuch:Der Grosse Duden Band 6. 1974.tr : r r rrus Universal Langenscheidt (Indonesia-Jerman; Jerman Indonesia).I ( ,l( )l{.Surabaya Johnny I was young, God, just sixteen, You came out of Burma.
You said I ought to go with you, you would take care of everything.
I asked what yr-rur job was.You said, as sure as I'm $tanding here, you had something to do with the railroad and nothing to do with the sea.
You said a lot, Johnny, Not a word was true, JohnnY.You lied to me, Johnny, from the very first hour!I hate you so, Johnny, the way you stand tlrere grinning, Johnny.
Take that pipe out of your mouth, you dog! Surabaya Johnny, why are you so mean?Surabaya Johnny, my God, I love you so muchl Surabaya Johnny, why am I not happy?
You have no heart, Johnny, and I love you so!At first every day was Sunday.
That was, until I went with you.
But then, after only two weeks, nothing about me was right for you any Appendix 1 Srr rubaya-Johnny l, lr warjung, Gott, erst sechzehn Jahre.

'l able 2 Foreign
Contrastive Ilistribution of the Sound Systems of the Foreign English l'ext and the Standard English Text 5) | l It is an art! 2. "I will ask my brudder."(p.6) | 2. I will ask my brother.3.