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.

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)

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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.

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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.


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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:

῾Єxιc ἱππecκε (The sheep and the horses)

I've translated Schleicher's fable, so here it is!

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Βοмнει ἑxιc xεнεн αὡнтιι eειδι ἱππεc, ἑн трαнεcοнтιεн трαнυκрεн ᴧοрδιεн, ἑн φαрεcοнтιεн мeгιεн φαcκεтεн, ἑн φαрεcοнтιεн ἁнδрοн тεᴧxιωн. ῾Єxιc ἱππειc eᴧeгι: "Тυмαр мου мε цεнοрι ειδοнтιιн ἁнδрοн ἱππεc αнтαгοнтιιн." Ἱππec eᴧeᴧεc: "Aυδαтι, ἑxιc. Тυмαрεc нωc нοc цεнοрεc ειδοнтιεc ἁтεн: ἁнδεр, δεcπιc, ποιι xεнου ἑxου мαβιεн ἁннрεн υπтα αυтιει e ἑxιc ἱ нιεн xεнεн." Aαυδοнтιι ἑxιc ᴧeнειεн εнeφυгι.

Hill.dat sheep wool.acc neg-having see.pst horses.acc, one.acc pulling.impf.acc wagon.acc heavy.acc, one.acc carrying.impf.acc big.acc burdon.acc, one.acc carrying.impf.acc man.acc fast.adv. Sheep horses.dat say.pst: "Heart my.gen me.acc hurts seeing.acc man.acc horses.acc driving.acc." Horses say.pst: "Listen, sheep. Hearts our.gen us.acc hurt seeing.acc this.acc: man, master, makes wool.gen sheep.gen warm.acc garment.acc for himself.dat and sheep has no.acc wool.acc." Hear.pf sheep plain.acc in-fled.

On a hill, a sheep that had no wool saw horses, one of them pulling a heavy wagon, one carrying a big load, and one carrying a man quickly. The sheep said to the horses: "My heart pains me, seeing a man driving horses". The horses said: "Listen, sheep, our hearts pain us when we see this: a man, the master, makes the wool of the sheep into a warm garment for himself. And the sheep has no wool". Having heard this, the sheep fled into the plain.

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In case anyone noticed the root-difference between "αυδαтι" and "ααυδοнтιι" - which I somewhat doubt -, he or she might say that either the first should be αυδεтι (from αυδ+εтι instead of αυδα+εтι) or the other ααυδωнтιι (from α+αυδα+οнт+ιι instead of α+αυδ+οнт+ιι). They would ofcourse be wrong, as the first comes from αυδειн (root/stem αυδ) meaning "to hear" and the second from αυδαιн (root αυδα) meaning "to listen". In other words, a small semantical difference is marked by a stemvowel that is only visible in some cases because of vowel assimilation. Interesting, eh?

A Naupilan Prayer

Here is a Naupilan prayer on the god of water, Ἱδοр. It is written with a naupilan accent and in capitals.

ΛAUΔEТAΙC ἹΔΟР ῾UТТAРЄC ΚЄНΙЄC MAРЄCΚЄ EΛΙЄC ῾UΔЄΓXЄCΚЄ ΔЄΔWНТΙΟ CЄUΦНΟН EНΟТWНТΙΟ ЄΓXΙНΟ UΚΙЄΔΙНΟΚЄ ΦAUΔΙНΟΚЄ ΔЄCΠΟ НAC НWC РΙΟРEΙCΚЄ.

Λαυδeтαιc Ἱδοр ὑттαрεc κεнιεc мαрεcκε eᴧιεc ὑδεгxεcκε δεδωнтιο Cευφнοн eнουтωнтιο εгxειнου υκιεδιнουκε φαυδιнουκε δεcπο нαc нωc рιοрeιcκε.

Praise.opt.pass. Hidor seas dark lakes-and light rivers-and give.pf.adj Seufno kill.pst.adj flow.inf.gen freeze.inf.gen boil.inf.gen master ships.acc our return.trans.opt.

"May you be praised, Hidor, who has given the dark seas and the light lakes and the rivers, who killed Seufno, lord of flowing and freezing and boiling, and may you let our ships return."

By the way, the last word shows a new feature/verb-infix I've added to Lurioneski: the 'transitivitiser', -οр-, to indicate causing the action to happen, turning an (often) intransitive verb into a(nother) transitive verb, e.g. ὑδεр φαυdι (the water boils) > ι φαυδοрω ὑδрεн (I boil the water).

An example sentence

I just wrote a sentence which made me feel satisfied for its grammatical and poetical brilliance, if I say so myself:

Uπтα ἁтн εнтрα εн тεκтει тecειοц εнειнει ἱcтε ἱтι, βαᴧтрοц Ἁcмοц αφαнтιοц cιнιтιει мαнει мυцιнтιc cтι.

It is quite hard to translate it, as its word order is impossible in English. If you'd translate it word by word, you would get this:

On which.acc through in roof.dat temple.gen hole.dat light.nom shine.3sg, statue.gen Hasmo.gen cloaked.gen left.dat hand.dat sparrow.dim.nom sit.3sg.

But in normal English, in the most common word order, it would be:

On the left hand of the statue, on which light shines through the hole in the temple's roof, of the cloaked Hasmo sits a little sparrow.

Furthermore, the first half of the sentence shows alliteration almost mirrorshaped. The first letters from the words ἁтн to ἱтι are: H-EE-TT-E-HH. Another peculiarity is the fact that the H is a semi-vowel, the E is a vowel and the T is a consonant.
On top of that, the sentence is like a wrap, consisting of 3 different layers:
A-B-C-B-A, where A is the main sentence (υπтα ἁтн ἱcтε ἱтε), B is adverbial to ἱтε (εнтрα εнειнει) and C says something about εнειнει (εн тεκтει тecειοц).

Moving on, we see 3 genitives. Βαᴧтрοц is the antecedent of ἁтн, and says something about which мαнει. Ἁcмοц says in its turn something about whose Βαᴧтрοц, and αφαнтιοц either about Ἁcмοц or βαᴧтрοц.
The sparrow sits on the left hand, because the right hand is generally the stronger, and therefore left symbolises youth.

All in all, I'm quite fond of this sentence. It took me some minutes to formulate, but it is mostly (brilliantly) arbitrary.

Journey through Lurionas (Story)

I am going to write a story in lurioneski, both to improve my vocabulary and to further work out my conworld and conreligion. It is written by a Karvokan called Παυcαнιο (Pausanio; reference, anyone?) son of Fastizar ("thickface"). I'll post the first few lines here, where he explains why he is making his journey.

Παцcαнιοц Φαcтιzαрοцι Καрцοκαα

by Pavsanio Fastizarovi from Karvoka

Ποιᴧειc мε eκεκαcтрαc цαтαυн мε тαтιεн διεн ποιωнтιεн "ἑδε" ἁυтιεc αнαᴧeгοнтιεc "нε οιδιc?" Ι eαнαᴧeгω "гαр нε οιδω." Mεтα ὡc нε πειнοнтιωc ιнοc, цαᴧтε ῾eι ᴧαнгει ᴧeгοмα, αυтрιωc ᴧυрιοнωc cмικрυ οιδωмα.

(...)

Many had asked me why I did this journey, "or", answering themselves, "don't you know?" I answered "because I don't know." Because they didn't understand, [I said] that we, although we speak one language, know so little of the other luriones.

(...)

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Edit: more paragraphs of this story will be posted under the tag 'diu'.