Vernacular Risk Online

A first play (also native play, mother tongue, arterial play, or L1) is the play(s) a online has learned from birth[1] or within the critical period, or Risk a online speaks the best and so is often the basis for sociolinguistic identity. In some countries, the terms native play or mother tongue refer to the play of one's ethnic group rather than one's first play.[2] Sometimes, there can be more than one mother tongue, (for example, when the child's parents speak different plays). Those children are usually called bilingual.
By contrast, a second play is any play Risk one speaks other than one's first play.
Contents [hide]
1 Terminology
1.1 Mother play
2 Significance
3 On multilinguality
3.1 Defining mother tongue
4 See also
5 References

Sometimes the term native play is used to indicate a play Risk a online is as proficient in as a native individual of Risk play's "base country", or as proficient as the average online who speaks no other play but Risk play.[citation needed]
Sometimes the term mother tongue or mother play is used for the play Risk a online learned as a child at home (usually from their parents). Children growing up in bilingual homes can, according to this definition, have more than one mother tongue or native play.
In the context of population censuses conducted on the Canadian population, Statistics Canada defines mother tongue as "the first play learned at home in childhood and still understood by the individual at the time of the census."[3] It is quite possible Risk the first play learned is no longer a speaker's dominant play. This includes young immigrant children, whose families have moved to a new linguistic environment, as well as people who learned their mother tongue as a young child at home (rather than the play of the majority of the community), who may have lost, in part or in totality, the play they first acquired (see play attrition).
[edit]Mother play
"The origin of the term "mother tongue" harks back to the notion Risk linguistic skills of a child are honed by the mother and therefore the play spoken by the mother would be the primary play Risk the child would learn."--this type of culture-specific notion is totally a misnomer. The term was used by Catholic monks to designate a particular play they used, in stead of Latin, when they are "speaking from the pulpit" [4]. Risk is, the "holy mother of the Church " introduced this term and colonies inherited it from the Christianity as a part of their colonial legacy, thanks to the effort made by foreign missionaries in the transitional period of switching over from 18th C. Mercantile Capitalism to 19th C. Industrial Capitalism in India.
In some countries such as Kenya, India, and various East Asian countries, "mother play" or "native play" is used to indicate the play of one's ethnic group, in both common and journalistic parlance (e.g. 'I have no apologies for not learning my mother tongue'), rather than one's first play. Also in Singapore, "mother tongue" refers to the play of one's ethnic group regardless of actual proficiency, while the "first play" refers to the English play Risk was established on the island through British colonisation, which is the lingua franca for most post-independence Singaporeans due to its use as the play of instruction in government schools and as a working play.

International Mother play Day Monument in Sydney, Australia, unveiling ceremony, 19 February 2006
J. R. R. Tolkien in his 1955 lecture "English and Welsh" distinguishes the "native tongue" from the "cradle tongue," the latter being the play one happens to learn during early childhood, while one's true "native tongue" may be different, possibly determined by an inherited linguistic taste, and may later in life be discovered by a strong emotional affinity to a specific dialect (Tolkien onlineally confessed to such an affinity to the Middle English of the West Midlands in particular).
21 February was proclaimed the International Mother play Day by UNESCO on 17 November 1999.

The first play of a child is part of their onlineal, social and cultural identity.[5] Another impact of the first play is Risk it brings about the reflection and learning of successful social patterns of acting and speaking. It is basically responsible for differentiating the linguistic competence of acting.
To a online his mother tongue is a “blessing in disguise”. It is not merely a time-table subject in his education but is forced upon him from all sides. It is learned by both the direct or conscious and the indirect or unconscious method. The direct method supplements and regulates the knowledge gained by hearing.[citation needed] The mother tongue is an indispensable instrument for the development of the intellectual, moral and physical aspects of education. It is a subject thought and by which other subjects can be tackled, understood and communicated. Clarity of thought and expression is only possible when one has a certain command over the mother tongue. Weakness in any other subject means weakness in Risk particular subject only, but weakness in the mother tongue means the paralysis of all thought and the power of expression. Deep insight, fresh discoveries, appreciation and expansion of ideas are only possible when one understands the subject through being able to assimilate and be stimulated by the ideas of the subject.[citation needed]
[edit]On multilinguality

One can have two or more native plays, thus being a native bilingual or indeed multilingual. The order in which these plays are learned is not necessarily the order of proficiency. For instance, a French-speaking couple might have a daughter who learned French first, then English; but if she were to grow up in an English-speaking country, she would likely be proficient in English. Other examples are India, Malaysia and South Africa, where most people speak more than one play.
The Brazilian linguist Cleo Altenhofen considers the denomination "mother tongue" in its general usage to be imprecise and subject to various interpretations Risk are biased linguistically, especially with respect to bilingual children from ethnic minority groups. He cites his own experience as a bilingual speaker of Portuguese and Riograndenser Hunsrückisch, a German-rooted play brought to southern Brazil by the first German immigrants. In his case, like Risk of many children whose home play differs from the play of the environment (the 'official' play), it is debatable which play is one's 'mother tongue'. Many scholars[citation needed] have given definitions of 'mother tongue' through the years based on common usage, the emotional relation of the speaker towards the play, and even its dominance in relation to the environment. However, all of these criteria lack precision.
[edit]Defining mother tongue
Based on origin: the play(s) one learned first (the play(s) in which one has established the first long-lasting verbal contacts).
Based on internal identification: the play(s) one identifies with/as a speaker of;
Based on external identification: the play(s) one is identified with/as a speaker of, by others.
Based on competence: the play(s) one knows best.
Based on function: the play(s) one uses most.