What is another word for native tongue?

Pronunciation: [nˈe͡ɪtɪv tˈʌŋ] (IPA)

The term "native tongue" is often used to describe the language that a person has grown up speaking. However, there are many different phrases that can be used to convey the same meaning. For instance, "mother tongue" is a common synonym for "native tongue". This phrase emphasizes the familial aspect of the language, as it is often passed down through generations. Similarly, "first language" highlights the fact that this is the language that a person learned first, before any other languages. Other synonyms for "native tongue" include "mother language", "primary language", and "mother tongue language". No matter which phrase is used, they all refer to the language that a person is most comfortable speaking and best understands.

What are the hypernyms for Native tongue?

A hypernym is a word with a broad meaning that encompasses more specific words called hyponyms.

What are the opposite words for native tongue?

When we talk about antonyms for the phrase "native tongue," we refer to languages that are not natural and familiar to an individual. Some terms that are used in contrast to this phrase are unfamiliar language, foreign tongue or acquired language. While our native language is the language spoken in our culture or country, an acquired language is a language learned later in life or through education. Learning a new language can expand your skillset and improve your understanding of other cultures. As such, learning an acquired language can be a valuable asset in a global economy, where diverse languages and cultures are becoming increasingly important.

What are the antonyms for Native tongue?

Famous quotes with Native tongue

  • There are few works which have had an equal influence on literature with the of Boccaccio. Even in England its effects were powerful. From it Chaucer adopted the notion of the frame in which he has enclosed his tales, and the general manner of his stories, while in some instances, as we have seen, be has merely versified the novels of the Italian. In 1566, William Paynter printed many of Boccaccio's stories in English, in his work called the . The first translation contained sixty novels, and it was soon followed by another volume, comprehending thirty-four additional tales. These are the pages of which Shakespeare made so much use. From Burton's , we learn that one of the great amusements of our ancestors was reading Boccaccio aloud, an entertainment of which the effects were speedily visible in the literature of the country. The first English translation, however, of the whole , did not appear till 1620. In France, Boccaccio found early and illustrious imitators. In his own country he brought his native tongue to perfection, and gave stability to a mode of composition, which before his time had only existed in a rude state in Italy; be collected the current tales of the age, which he decorated with new circumstances, and delivered in a style which has no parallel for elegance, naivete, and grace. Hence his popularity was unbounded, and his imitators more numerous than those of any author recorded in the annals of literature.
    Giovanni Boccaccio
  • H.P. Lovecraft was a genius when it came to tales of the macabre, but a terrible dialogue writer. He seems to have known it, too, because in the millions of words of fiction he wrote, fewer than are dialogue. [...] Lovecraft was, by all accounts, both snobbish and painfully shy [...] the kind of writer who maintains a voluminous correspondence but gets along poorly with others in person -- if he were alive today, he'd likely exist most vibrantly in various Internet chatrooms. Dialogue is a skill best learned by people who enjoy talking and listening to others -- particularly listening, picking up accepts, rhythms, dialect and slang of various groups. Loners like Lovecraft often write it badly, or with the care of someone who is composing in a language other than his or her native tongue.
    H. P. Lovecraft
  • Into the face of the young man who sat on the terrace of the Hotel Magnifique at Cannes there had crept a look of furtive shame, the shifty, hangdog look which announces that an Englishman is about to talk French. One of the things which Gertrude Butterwick had impressed on Monty Bodkin when he left for his holiday on the Riviera was that he must be sure to practise his French, and Gertrude’s word was law. So now, though he knew that it was going to make his nose tickle, he said: ‘Er, garçon.’ ‘M’sieur?’ ‘Er, garçon, esker-vous avez un spot de l’encre et une piece de papier—note papier, vous savez—et une envelope et une plume.’ The strain was too great. Monty relapsed into his native tongue. ‘I want to write a letter,’ he said. And having, like all lovers, rather a tendency to share his romance with the world, he would probably have added ‘to the sweetest girl on earth’, had not the waiter already bounded off like a retriever, to return a few moments later with the fixings. ‘V’la, sir! Zere you are, sir,’ said the waiter. He was engaged to a girl in Paris who had told him that when on the Riviera he must be sure to practise his English. ‘Eenk—pin—pipper—enveloppe—and a liddle bit of bloddin-pipper.’ ‘Oh, merci,’ said Monty, well pleased at this efficiency. ‘Thanks. Right-ho.’ ‘Right-ho, m’sieur,’ said the waiter.
    P. G. Wodehouse
  • The political barbarism of the century made him an exile, a wanderer, a , not only from his Russian homeland but from the matchless Russian tongue in which his genius would have found its unforced idiom... But I have no hesitation in arguing that this poly-linguistic matrix is the determining fact of Nabokov's life and art. But whereas so many other language exiles clung desperately to the artifice of their native tongue or fell silent, Nabokov moved into successive languages like a travelling potentate...
    Vladimir Nabokov
  • Men make their own history, but they do not make it as they please; they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past.In like manner, the beginner who has learned a new language always translates it back into his mother tongue, but he assimilates the spirit of the new language and expresses himself freely in it only when he moves in it without recalling the old and when he forgets his native tongue.
    Karl Marx

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