Thropoi Phonology

The phonology of Thropoi is pretty standard, with one or two exceptions.

Consonants


p b t d th k
p b t d θ~ð k

f v w s z sh zh

f v w~ʋ s z ʃ ʒ

m n l r j
m n* l r** j

* <n> is /ŋ/ before k
** <r> is /ɹ/ when not followed by a vowel

Vowels


a á o ó i í
ɐ a ɔ o ɪ i

u ú ü e é ë
u y ʏ ɛ e *

The last vowel is the most interesting. It is generally not pronounced. You could consider it a mix between a glottal stop and a /ə/. For instance, "darëthi" ('my') is pronounced [dɐɹθɪ], [dɐɹəθɪ] or [dɐrəθɪ]. The combination "të ... të" would be [tə ... tə] in most cases.

When a vowel is followed or preceded by an ë, the ë is omitted. E.g. 'mano'+'ëth' > "manoth" ('I have'). When there is a word break in between, the ë remains visually, but is not pronounced. For instance, "atë átallëth" ('and I eat') would be [ɐ:ta:tɐlθ].

Alternatively, you could write the <ë> as <'>. For instance "at' átallëth" or even "at' átall'th".

Thropoi

Thropoi is the (temporary?) name for my new 'artlang' (artistic language). It is derived from the first word that sprang to mind when coming up with this lang, which was "thropos". It means 'bull', though I'm not quite sure what effects that has on the meaning of 'Thropoi'.

Anyhow, let's look at a couple of sentences I assembled:

Anthonos sín darëthi prádo. Tas mano vesem mannin akot shánide. Tasta të tamen të rapu etet nají Frankarërne, jatem ain rutarevt.

It's supposed to mean the following:

Anthony is my friend. He has a great house near the sea. His mother and father went to France, but have not returned.

 Let's disect that, shall we?

• Anthonos - "Anthony" [name, masc. nom. sg., o-base] from Anthonos
• sín - "is" [verb, 3rd sg. act., present simple, indi.] from sín
• darëthi - "my" [pronoun, general possessive sg., consonant-base] from dar
• prádo - "friend" [n., general predicative sg., o-base] from prádo
• tas - "he" [pn., masc. nom. sg., a-base] from tas
• mano - "have" [v., 3rd sg. act., present simple, indi.] from mano
• vesem - "house" [n., neuter acc. sg., c.-base] from ves
• mannin - "big" [adjective, neut. acc. sg., o-base] from manno
• akot - "near" [preposition]
• shánide - "sea" [n., neut. locative sg., o-base] from sháno
• tasta - "his" [pn., masc. poss. sg., a-base] from tas
• të - "and" [conjunction] (always appears in pairs or groups)
• tamen - "mother" [n., fem. nom. sg., e-base] from tamen
• të - "and" [conjunction]
• rapu - "father" [n., masc. nom. sg, u-base] from rapu
• etet - "went" [v., 3rd pl. monovalent, past simple, indi.] from eta
• nají - "to" [preposition]
• Frankarërne - "France" [nm., neut. lative sg., c.-base] from Frankar
• jatem - "but" [conjunction]
• ain - "not" [adverb]
• rutarevt - "have returned" [v., 3rd pl. mon., present perfect] from rutaro

Phew, that's quite a list.

As you might have noticed, Thropoi has a lot of different conjugations: there are 4 genders, 13 cases, 4 numbers and 5 bases (leaving you with 1040 noun-conjugations), 3 tenses, 3 aspects, 4 voices, 8 persons and 8 moods (resulting in 2304 verb-conjugations, although some are impossible).

This is of course on purpose. The aim of this particular lang is purely art; I want to have a language that one can only interpret and produce with a dictionary at hand. Where my other langs are often quite simple, this is a language that is ridiculously complex, just for the sake of it.

Hwong Zheng word order

As there are no affices in Hwong Zheng, word order is very specific. Basically, every sentence is divided as such:

[Subject] [Verb] [Object] [Additionals]

Where the additionals can be prepositional phrases and adverbs.

Adjectives always follow the noun they belong to. A noun and an adjective are often interchangeable.

Only articles can be placed in front of the noun.

When a segment consists of more than two elements, it is closed by repeating the first word.

If, for instance, a noun is followed by two adjectives, the noun is repeated afterwards to close the group. 

If a preposition is followed by a noun with an adjective, the preposition is repeated.

When repeating, the first half of the syllable, i.e. the consonant and semi-vowel, are omitted. In two-syllable words, only the last syllable-half remains.

E.g.:

Rwoung than dzheu 'oung -- Slave dead three (slave) -- Three dead slaves

Shoun ley syuung 'oun -- House near river (house) -- The house near the river

Wou reng zhing 'ou -- With child ten (with) -- With ten children

Ang wou dzyin hieng 'ou pwen myan 'ang -- Man with knife gold (with) clothed black (man) -- A man with a golden knife wearing black

Hwong Zheng Phonology

Hwong Zheng, the Tsang language, is a syllable based language; most words consist out of one or two syllables that follow a consistent pattern:

(C) (J) V (N)

C
p, t, d, k ,g, h
p, t, d, k, g, h

r, f, l, m, s, z
r, f, l, m, s, z

sh, zh, th, ts, dz, tsh, dzh
ʃ, ʒ, θ, ts, dz, tʃ, dʒ

J
y, w
j, w

V
e, a, o, oo, i, ie, uu, ou, eu
ɛ, a, ɔ, o, ɪ, i, y, u, ø

N
n, ng, y
n, ŋ, j

Standard romanisation above, IPA below.

There are no conjugations or affices, nor any way to distict a verb from a noun without looking at its context.

Kyeung Kwey Wou An Mieng

This is my 'altlang' (alternative conlang) Hwong Zheng in action: it's a story about a small king. It's dreadfully moralistic and as such does not completely make sense.

I will tell you more about this language at a later stage; for now, enjoy.

Kyeung Kwey Wou An Mieng ‘Ou ‘Eung

Suun kyeung kwey ryedeng zhing ‘eung lwan pang dong thie poung than ‘ie pye hwan lwoo. Dien sahon dyeng tshong heng pa hon ‘eng rie yon pyien tweun pwen myan ‘eun twahon suun ang wou hakoung ‘ien. Yon kwen an ‘on shuun hon kwondan. Hon pyeng «Dien ang akyang. Dien ang fang tshong zuung. Dzhen poung thie geu myoon ‘ie pyeng dien ang meu than ‘eng.» ‘eng.

Yiepeng, kyeung kwey dzien tshong zhang hieng. Rwoung dan zhang hey yon. Reng pezan wou zhang rie hieng lang rwou shyen zhang adan ‘en. Yon kwen an ‘on shuun hon kwondan. Hon pyeng «Dien zhang hieng an. Shyen adan rie shyen gwen hieng.» ‘eng. Kyeung kada pyeng «Shyen ang fang zuung. Shyen ang akyang. Dzhen shyen meu than.» ‘eng. Hon kawoundan pyeng «Myoon, twahon dien rwoung ‘ahon thyouy an.» ‘eng. Mey yon tyoo an. Dzhen yon pwen myan ‘on thing rie shyen than.

Yiepeng, kyeung kwey dzien tshong dyeng woung. Yon dzien ong tagay ong haylou mwoon ong pay shieng ong syuung tsay. Rwoung woung tyang dan yon dzien ‘an an rie dzhen woung than. Kyan woung yon pezan wou dien ‘an hin rie woung than. Lwing woung yon dzien dien ‘ing koushang yon an rie woung than.

Lwoo, pyan mey ong kyeung kwey ong hon kwondan ‘an tshong than. Yon kwen an ‘on shuun hon kwondan. Hon pyeng «Geu myoon pyeng pyan akyang. Dzhen pyan than. Myoon, twahon pyan ‘ahon thyouy an.» ‘eng. Kyeung kada pyeng «Geu shyen pyeng an. Geu shyen thyouy an. Geu shyen fang zuung hey tse hon. Geu shyen akyang.» ‘eng rie hon kwondan than.

Lwoo, pyan mey kyeung kwey ‘an thsong than. An dan hey yon rie an pezan wou yon rie an koushang yon. Kyeung kwey mayon ‘eung lwan mieng an.

The Little Emperor With No Friends

Really, a long time ago, an emperor of ten got his dead father’s power. He was walking through our city and he saw someone wearing black kill a man with an axe. Because he did not understand, he asked his great advisor. He said: “This man is a criminal. This man did bad things. Therefore Your Loveliness’ father said that this man must die.”

Later, the little emperor wanted a golden sword. A servant gave him the sword. The child played with his sword and the gold fell off this iron sword. Because he did not understand, he asked his great advisor. He said: “This sword is not golden. It is only iron and it only looks golden.” The furious emperor said: “This man does bad things. This man is a criminal. So he must die.” The great advisor said: “Loveliness, killing this servant would not be smart.” But he did not listen. So the one wearing black came and the man was dead.

Later, the little emperor was wanting lots of things. He wanted a tiger and an enormous statue and thousands of dogs and a river of tea. Many servants could not give him what he wanted and therefore many were dead. Many boys with whom he played, won and many were dead. Many girls whom he wanted, did not kiss him and many were dead.

Really, all but the little emperor and the great advisor were dead. Because he did not understand, he asked his great advisor. He said: “Your Loveliness said all were criminals. Therefore, all are dead. Loveliness, killing all was not smart.” The furious emperor said: “You yourself said nothing. You yourself are not smart. You yourself acted bad towards me. You yourself are a criminal,” and the great advisor was dead.

Really, all but the little emperor were dead and the little emperor had no friends. Noone gave him anything and noone played with him and noone kissed him. The sad little emperor had no friends.

Hasmo and Rodas

This is the myth of Hasmo (the god of beauty, youth and nature) and Rodas, his fatal love.

1. Ἁcмο ευzαрιтαтιο αнтрωπωc тeωcκε eрαπzοтα δυнιнου. 
2. Aφαнтεн αмφιαннοнтιο eδeαιι цιδιππει Uтυмαр εн αнтрωπειc. 
3. Διι ποᴧεc, αυт нιc eмεнι δοрιтeрιι ὁι ἑδε δοрιιгε ὡн ὁι. 
4. Διι ᴧeнειεc ὑттαрεcκε, αυт нιc eмεнι. 
5. Aрβαυмεн δεδιοнтιο, αмφιтωнтιο нιтωc φαυнιωc, δυнιнυ 
6. eεκιι αυт eмειнεнι δeυ φeᴧιтαιн υπтα ἑοπωнтιο Рωδαοн. 
7. Aгрιο ὑцεнο, δοрιтαтιι Ἁcмου ειδεтωнтιc, αнтαгεнι мεκεc. 
8. Aφαнтεн αмφιαннοнтιο αιcтωc εκαмβι e ᴧοмιωн αδнαιι. 
9. “Καᴧυ,” φι αнтαгοнтο, “нιтι’ ἑᴧecι’κε.” Cυнαмβωнтιεc 
10. Рωδαc eβαβι e Ἁcмο αυδαcκι cαφтιεc ᴧοгεc мυтεcκε. 
11. Єυтιεc εтαрec гεнεc e Uтυмαр тιδιει καᴧει eцιδιδι οрα e δeα. 
12. Тιδει Рωδαc καcтрιδι αφαнтεн δeαπeнειοнтιο e тιδει “ουнα” αнαᴧeгεтα. 
13. Καᴧει Рωδαc Ἁcмοι eᴧeгι: “Cε φeᴧιω.
14. Єι мε φeᴧιιc, цαтαυн нε δeαπeнειιc?” 
15. Καᴧει Ἁcмο Рωδαοι eᴧeгι: “Cε φeᴧιω.
16. Єι мε φeᴧιιc, цαтαυнгε δeαπeнeω? 
17. Δοрιтαтιιн мε αнтрωπωc тeωcκε φeᴧιιc ποιᴧιтeрιωн? 
18. Καccαрιтαтιιн мε αнтрωπωc тeωcκε φeᴧιιc οιгιтeрιωн?” 
19. Aυт ῾eι нοκтει тeιнтου ὑπнωнтιου αφαнтει βαᴧιцωн ειδι
20. οιοι αнтрωπιc αнтαгεтωнтιι φeᴧου e δeου οιδαтεн δοрιοн καccαрιοнцε. 
21. Ἁcмου ευzαрιтαтιου αнтрωπωc тeωcκε eрαπzοтα ευzαрου.

1. Hasmo, most handsome of humans and gods, was torn apart by loneliness.
2. Wearing a cloak all around, he descended on his vidippis (hippogriff) Utumar (Goodheart) amongst the humans. 
3. He went to the cities, but noone was more beautiful than he, or as beautiful as he.
4. He went to the plains and the seas, but noone was (there). 
5. Having went to the forest, being surrounded by his animal friends, the loneliness
6. left, but the need to be loved stayed, until having gazed at Rodas. 
7. The young farmer (~), most beautiful which Hasmo sees, is herding his goats.
8. Wearing his cloak all around, he walks out of the shadows and slowly comes closer. 
9. “’Day,” says the herder, “nice ‘nd sunny.” Walking together,
10. Rodas smalltalked and Hasmo listens carefully to his soft stories and tales. 
11. They become good friends and Utumar flew every single day up and down.
12. Every time Rodas asks to take down the cloak, and every time he is answered “no”. 
13. One day, Rodas said to Hasmo: “I love you.
14. If you love me, why don’t you take it down?” 
15. That day, Hasmo said to Rodas: “I love you. 
16. If you love me, why would I take it down? 
17. If I were the most beautiful of humans and gods, would you love me more? 
18. If I were the most badlooking of humans and gods, would you love me less?” 
19. But one night he looked under the cloak of the little sleeping god,
20. merely a human driven by love and a need to know if he was beautiful or ugly. 
21. By Hasmo’s beauty, most handsome of humans and gods, he was torn apart. 

Poem: Тεκнαтαιн Тαнαтου

Ι've written a poem in Lurioneski, called Тεκнαтαιн Тαнαтου (The Birth of Death)

---

Καᴧει κοᴧα ᴧeгι δεcποι:
"Cαр! Cαр, cαр! Cαр, гυнα cαрου!
Тε-тε-тεκнαιн тεκнιн гυнα!
Тα-тα-тαнαтαтιн тεκнι!"
Ἁнтрα: "Є, нε κᴧαιοтι, ε.
Καcκιтαтυ цαтιε гнι?
Цαтεн ᴧeгι? Тιc тαнαтι?"
"Тεκнιc, тεκнιc, αυт нε, ουнα,
тεтαнαтι ὡн αнтрωπιc.
Тeειc, παιδο мнι Тαнαтο!"


Ὁ гεгεнοнтιο cαπтεc
cκαzι ειδεтωнтεc ὁπευ:
cмικрεc e παтεтεc φαυнωc,
αнтεc αрαxнεcκε гeει.
Uπтα δeκδυιωc αннωc:
κυнαн, καтοн, υᴧικεc δцαc,
cιнεκαн e φрαтрοн αυтου.
Δυοδeκεc гεгεнι e
ποιεрιδοнтιο αᴧδι
υπтα δeнωc δεδαтα ὁн.

---

One day a maid says to her master:
"Sir! Sir, sir! Sir, our wive!
The giving be-be-birth to a child of your wive!
She gives birth to the most de-de-dead!"
The man: "Oh, don't weep, oh.
What terrible disaster happens?
What do you say? Who dies?"
"The child, the child, but not, no,
has it died like a human.
By the gods, the child is Death!"


He, having become seven,
crushed what was seen by his eyes:
the small and pitiful of animals,
ants and spiders on the ground.
After twelve years:
a dog, a cat, two of his age,
an old woman and his own brother.
He had become twenty and
stopped working
when, after his parents, being given himself.


---

It's something of a trochaic tetrameter: the verse is as such:
καᴧει κοᴧα ᴧeгι δεcποι
cαр cαр cαр cαр гυнα cαрου


Also, both halfs consist out of a 4-3-3 combination: in the first piece, they divide the three direct speeches; in the second piece, three stages of his age.

It's pretty ridiculous, I know.

Tintin

Here!

Tintin is awesome.

Other than that, I wanted to tell you I had translated the first page of "Tintin and the Black Gold" some time ago, but now have scanned the page and actually rewritten the speech bubbles. It looks a bit fake and/or messy, 'cause, well, it is.
Please forgive me.

To go to the page, simply click the link beneath the miniature:

Every Coin

Тιδιε xрεcмιнтε ἱ δακрεн.

Every coin have.3sg back.acc.

Every coin has a backside.

I've come up with my first Lurion proverb. It implies that every fortunate event can (but not necessarily must) be accompanied by a catch. When said to someone who is about to buy something or make some sort of deal, it is a warning that he or she must also look at the consequences and make sure it is not a scam; when someone notices that you or your deeds are not perfect, it can be used as a "that's life" apology.

Because the common people do not often use money, a more 'fitting' and of course more vulgar expression has come into existence: 

Тιδιι zωιc ἱ δακрεн. 

It literally means "Every animal has a backside," but "every animal has a behind / an arse" is obviously implied. In this context, the fortunate event is represented by a productive animal, whereas the catch is the feces and indirectly its food consumption.

However, it can also be used to state that everyone is but a human and therefore has his own flaws. It can be chanted whilst rebelling against an arrogant king; it can be exclamated when one is being punished for a mistake.

Busy

Єυтιε Καтαᴧυ!

And, ευтιε αнιδαᴧυ!, as I will turn 17 tomorrow. (Yay!) I am not planning on doing anything spectacular; we'll go out for dinner sunday and I've invited some of my friends for some movies and games on monday the 25th (busy schedules, I guess).

Cαφтυ ἁπтιφου ειοрι Cтрeπαн ευмοнει πрοрωнтιαн.

Softness pillow.gen cause.3sg Strepa.acc happiness.dat purr.prt.f.acc.

The softness of the pillow made Streepje purr with happiness.

It was Animal Day last week, and I thought my cats needed and deserved a new scratching post. It goes without saying, they were thrilled to bits. While one was sitting on it, the other thought it was an opportune moment to sharpen her nails and set her claws into her sister's behind; an act that was not much appreciated.

Πрοрοιн is of course an onomatopoeia, as well as мαυαιн ('to meow'). Also, the two Faias in cαφтυ ἁπтιφου have some onomatopoeiic value, I guess.

In spite of all the festivities, I think this might be one of the last Katalus. At least for a while. My other hobbies, gaming and gamemaking, are demanding too much time. I'm really getting a feel for online StarCraft 2, I've got one game to finish, one immense project to continue work on, and another to start. Not to mention the new Call of Duty coming out next month. Posting something weekly has appeared to be too much of a hassle. I might be posting irregularly just the same, but I can not make any promises.

Hail cats!

Wow.

Єϝтιε Mεтακαтαᴧυ!


What's that? A new letter?

Λυмοειн ὑπнεειнκε βωειтει ἁϝтιιϝ οφтιтeрιει. Єϝ ουрυ.

Lie.inf sleep.inf-and couch.dat self.gen old.comp.dat. Good life.

"To lie and sleep on a couch older than yourself. That's life." 

It is. Well, the Waua only appears in some dialects, such as the one seen above. It's some proto dialect, as it features unassimilated forms (-οειн instead of -οιн) and ancient noun conjugations (-ιϝ instead of -ου).

I have started writing down my grammar and collecting it all, as it seemed some rules were only on this paper, and other collocations can only be found on that webpage. Also, I have been working out the proto-languages' vowel assimiliation, as well as vowel elision.

Cupboard Utopia

Єтι Καтαᴧυ!

I've been working on some diachronics of some sort; it started with noun conjugations, but I will develop it to a couple of dialects. I'll probably put some of those into my conworld. You might just see something about all this sometime soon.

Δακрι мнεc xтωнc εмοнε οᴧβκε?

Back.dat is.3pl lands happiness.gen wealth.gen-and?

Are there lands of happiness and wealth on the other side?

Noortje was quite jumpy at that moment. Strolling across my table as if I weren't trying to get something done on my pc. I guess she noticed it was almost time for dinner, demanding some extra attention in the meantime.

And yes, both the ευтιε καтαᴧυ and The Sentence were written in a dialect of some sort. This one was created after first applying 'elesion' and then 'contraction'. Well, I haven't worked that out, really.

Afternoon Philosophy

Єυтιε Mεтακαтαᴧυ!

Whoops. Well, it's just that Tuesday is a really busy day for me. On tuesdays, I have to go to school from 8 a.m. to 5 p.m. Of course I could (and should) do it in the two ours either before or after dinner, but when I haven't got plenty of time, it simply slips my mind. Got carried away playing StarCraft 2 and finishing the campaign. So yeah, I just forgot again.

"Eᴧeгι Cωκрαтιc αнтрωπιн мεнοнтιιн cωмαтεн ἑδε ουрιδрεн ἑδε δυεc? Mει αрοιι. Є, ευ.

Say.pst.3sg Sokratis human.acc be.prt.acc body.acc or soul.acc or both.acc? Me.dat is_forgotten.3sg. exclam, good.

"Did Sokrates say that the human is the body, the soul or both? I forgot. Oh, well."

Isn't she just enjoying that postsummer sun? She looks so undisturbable. I can hardly imagine that anything other than that sentence is running through her head.

It features an interesting construction: мει (α)рοιι. It literally means "to me it is remembered" or if negated "forgotten".

Also, ὲ is simply an exclamational thingy. It shows lack of importance or interest.

(For your information, he said it was the soul.)

Mea Culpa

Єυтιε Mεтακαтαᴧυ!


I forgot to post a καтαᴧυ yesterday. Whoops. Mea culpa.

U̔φαрιωc δрοιнтωc αδнα εнιδειc βрαмтαнοнтιωc ὑπнωнтα αнαᴧδοрεтα.

Autumn.adj.gen drop.gen at windows.dat strike.imp.prt.gen sleep.prt.f non-interrupt.pass.3sg.

The sleepster is not being interrupted by the autumn raindrops bombarding the windows.

Yeah, summer has ended and it has started raining again over here. Not that the weather usually is spectacular here in Holland, but still. Arriving at school completely soaked is never pleasant. But luckily, Noortje doesn't seem to care. I really like the word βрαмтαιн, by the way; I think it covers the meaning pretty well. It's a bit onomatopoeic, I guess.

Oh, and to make up for my mistake: another ευтιε καтαᴧυ!

Єυтιε Mεтακαтαᴧυ!


(Ain't that something?)

Єι Cтрeπα ᴧeωнιc мεнeι, αυтрιωн ποιeι нεн.

If Streepje lion be.conj.3sg, other.adv do.conj.3sg nothing.acc.

If Streepje were a lion, she would do nothing different. 

Нεн sounds odd/funny. It's nice and short. "Цαтεн ποιιc?" "Нεн." (or "нεн!", "нεн..?" οр "нὲὲн." depending on the circumstances.) The only thing my cats do more than I, is sleep. Well, that and spending time outside, maybe. 

Cave Felicem

Єυтιε Καтαᴧυ!


This picture is taken after Noortje smelled the whipped cream I had to move around the room, because Streepje was trying to enjoy more of it than the fingertip I gave her.

Цαᴧтε δειнυтωн αцεнοрιεc, καтec οικιεc δυнαc нουтαιн ειнιωн ὡc мαтει.

Although seemingly non-hurt.adj, cats home.adj can kill.inf only.adv their cuteness.dat.

Although seemingly harmless, domestic cats can kill with merely their cuteness.

I really run out on inspiration on this picture, so I made up this completely and utterly serious sentence. 'Cause don't think they can't. They just don't have a reason to. One meow is all it takes.

Verbal Vowel Assimilation (part 2)

Let's take a look at the verb stems alone:

Indi.: мεн-, нοιмε-, οιδα-, παнxο-, δεικн-
Con.: мεнe-, нοιмe-, οιδά-, παнxό-, δεικнύ-
Opt.: мεнε͂ι-, нοιмε͂ι-, οιδᾶι-, παнxο͂ι-, δεικнῦι-

There are five different verb types: verbs without a thematic vowel and ε-, α-, o- and υ-thematic verbs. υ-thematic vowels do not appear in the indicative.

In the coniunctive, the thematic vowel is prolongued. ε>e; α>ά; ο>ό, υ>ύ.
Verb stems without a thematic vowel get an -e- added.

In the optative, -ε͂ι- is added to the verb stem.

Verbal Vowel Assimilation

As a response to yesterday's comment, I will run through the examples given their again, this time with pre- and post-assimilation forms.

If you haven't read seen the TALVAC yet, please 'tab' it as a reference.

The Lurioneski verbs have the following suffices for person and number:

1sg (I) -ω
2sg (you) -ὶc
3sg (he) -ὶ
1pl (we) -ὸмα
2pl (you) -ὶтε
3pl (they) -εc

For instance, "I am" is мεнω and "you are" (pl) is мεнιтε.

However, most verbs also have a thematic vowel, which is either -ε, -α, -ο or -υ.
Ignoring the last one (as it is a rather tricky one), they assimilate as usual, meaning they combine with other vowels (in this case those of the verb suffices).

ε+ω > ω; ε+ὶ > ε͂ι*; ε+ὸ > ω; ε+ε > ε
E.g.: нοιмεὶc > нοιмε͂ιc ("you name"); нοιмεὸмα > нοιмωмα ("we name").

α+ω > ῶ; α+ὶ > ὶ; α+ὸ > ῶ; α+ε > α
E.g.: οιδαω > οιδῶ ("I know"); οιδαὶтε > οιδὶтε ("you know" (pl)).

ο+ω > ω; ο+ὶ > ὶ; ο+ὸ > ω; ο+ε > ο
E.g.: παнxοὶ > παнxὶ ("he eats"); παнxοεc > παнxοc ("they eat");

Got it? Great, 'cause it only gets harder.


The Optative is quite easy. It just puts -ε͂ι- between the verb root and the suffix. But again, the vowels assimilate (when possible).

ε+ε͂ι > ε͂ι; α+ε͂ι > ᾶι; ο+ε͂ι > ο͂ι;
E.g.: οιδαε͂ιω > οιδᾶιω ("may I know"); παнxοε͂ιεc > παнxο͂ιεc > παнxο͂ιc ("may they eat").


The Coniunctive does something tricky. When verbs have a thematic vowel, it lengthens it, causing it to assimilate differently. (When there is no thematic vowel, it simply puts -e- in between.) Let's take the same examples as before, but this time in the coniunctive:

e+ω > eω; e+ὶ > eὶ; e+ὸ > eὸ; e+ε > e

E.g.: нοιмeὶc > нοιмeὶc ("you could name"); нοιмeὸмα > нοιмeὸмα ("we could name").

ά+ω > άω; ά+ὶ > άὶ; ά+ὸ > άὸ; ά+ε > ά

E.g.: οιδάω > οιδάω ("I could know"); οιδάὶтε > οιδάὶтε ("you could know" (pl)).

ό+ω > όω; ο+ὶ > όὶ; ό+ὸ > όὸ; ό+ε > ό

E.g.: παнxόὶ > παнxόὶ ("he eats"); παнxόεc > παнxόc ("they eat");

There is no visual distinction between the indicative 3pl and coniunctive 3pl of a verb (e.g. between παнxοc and παнxοc), as accents are rarely used. They are pronounced differently: [pɐnxɔs] and [pɐnxos] respectively.

(* I changed this one, but the chart still says ε+ὶ > ὶ.)

So there you have it.

Coniunctive and Optative

Єυтιε Καтαᴧυ!

Hell, it's about time.

"Єι καтec тυрαιc, мεнειι ουрυ мου κᴧαccιтeрιεгε."

If cats rule.opt.3p, be.opt.3s life my nice.comp.n-stress.

"If cats would rule, my life would be even nicer."

Today's sentence features the brand new* Optative.

(*When I say new, I mean 'new to you'; also, it's not completely new:)

What used to be the Coniunctive has been split into two modi: the (new) Coniunctive and the  Optative; leaving us with a total of 3 different modi (including the Indicative):

Indicative
мεнω, διc, нοιмι, δεικнοмα, παнxιтε, οιδαc
мεнοнтιι, нοιмωнтιι, παнxωнтιι, οιδωнтιι
The Indicative is used to state facts and other things that seem to be undeniable.

Coniunctive (+ε, +e)
мεнeω, δάιc, нοιмeι, δεικнυοмα, παнxόιтε, οιδαc
мεнeοнтιι, нοιмeοнтιι, παнxοοнтιι,  οιδαοнтιι
The Coniunctive is used to describe possibilities, uncertainties or irrealities.

Optative (+ει)
мεнειω, δαιιc, нοιмειι, δεικнυιοмα, παнxοιιтε, οιδαιc
мεнειοнтιι, нοιмειοнтιι, παнxοιοнтιι, οιδαιοнтιι
The Optative is used declare wishes, goals or unfortunate irrealities .

The katalu sentence is of course an example of the last of the optative's functions. She obviously is well aware that cats don't rule the world, but if they would, life would kick-ass.

Διυ εнтрα Λυрιοнαιc (part 6)

I have redone my lexicon, it is now a neat Excel file, filled with fancy colours, origins and references. I really like it.

Also, I've written another paragraph of Pavsanio's story; this time he has just reached Naupila.

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Єн Нαцπιᴧαн мεᴧᴧω мεтα εκтωc καᴧωc διεн нυгιнтεн e ιω Cαтυрιυ, ἁтει cαтυрec мεнεc "ευтιεcгε αυт нε ἁнεтιεcгε Cαтυр". Єυтαтιιн οιω Φαcтυмαрο Καнοκтια, цαᴧтε οιгιεc нυгιнтεc υxειc нε мει нιтεтαc. Єυмοнιι нαцειει εнтрαмβω οπнοнтιι мeгιεcгε нцαтεc, ἁтειc нαцπιᴧec πeнιδεc καрιzε εмβιрκε мοцει e ᴧeωнεc πφαнтεcκε φαcει. Λecαιι καтιc мeгιι нε ειειδεтωнтιι, ὡнтιι εκрοπтεн αᴧβιεн e мακрεc καнιεc.

In Naupila I seek, after a journey of six days, some humour and go to the Saturiu (Satyrium),  where the comedians are "as good but not as hairy as Satur". I think Fastumaro from Kanoktia is the best, although some jokes about the northerlings are not enjoyed by me. Joyful I walk through the docks, eyeing the very large ships, with which the Naupilans take cinnamon and ginger from the east and lions and elephants from the west. A large cat which I have never seen, passes me, having white fur and black stripes.

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Satur is a βαᴧιцοнтeιc (i.e. halfgod) as well as a мεκαнтεр, what we call a satyre. That is why the comedians are said not to be as hairy. He is the subgod of (dark) humour, infamous for pranking unsuspecting travelers in the woods.

I should continue work on my map, e.g. adding the villages named in Διυ, as well as think about what countries surround the lurionas. I also have an enormous island to toy around with. I will probably create some more daughter languages of Lurioneski as well.

Word Emphasis

I replied to a forum topic on the difference between defining and non-defining clauses; I thought it might be interesting to share.

Παнтιεc ιοᴧтυιн αδυнωнтec δec εκιειн.

All.ADJ dance.INF NEG-can.SUBST must leave.INF.

All who can't dance must leave.

Παнтec ιοᴧтυιн αδυнωнтιεc δec εκιειн.

All dance.INF NEG-can.ADJ must leave.INF.

All, who can't dance, must leave.

Here, the difference is made by switching noun/adjective, as adjectives can most often be omitted. In both sentences the inability to dance results in to the necessity to leave.

Φυαнтω мου ᴧυβрεc παнтιεc ειειᴧεтωнтιεc.

Sell.1SG my books all.ADJ read.PRF.PASS.ADJ.

I'm selling all my books which I've read.

Φυαнтω мου ᴧυβрεc παнтιεc, ἁтεc ειειᴧω.

Sell.1SG my books all.ADJ, which read.PRF.1SG.

I'm selling all my books, which I've read.

The emphasis is often on the last part of the sentence or word group, thus on ειειᴧεтωнтιεc in the third and on παнтιεc in the last sentence.

One could place the emphasis on many different words:
Φυαнтω ᴧυβрεc παнтιεc мου. - I sell all my books (not yours).
Φυαнтω παнтιεc мου ᴧυβрεc. - I sell all my books (but I'm keeping my films).
Παнтιεc мου ᴧυβрεc φυαнтω. - I sell all my books (I'm not just throwing them out).

As you might have noticed, participial constructions are an immense part of Lurion. They're what makes it unique, actually. Well, at least I haven't seen many other languages that use them so frequently.