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<h2 align="center" class="style2">Ithkuil: A Philosophical Design for a Hypothetical Language<br />
<img src="images/masthead.jpg" width="465" height="50" /></h2>
<table width="88%" border="0" align="center">
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<td bordercolor="#CCCCCC" bgcolor="#CCCCCC"><span class="style6"><a href="index.htm">Home</a></span></td>
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<td height="24"><a href="00_intro.html"><span class="style6">Introduction</span></a></td>
<td><a href="04_case.html"><span class="style6">4 Case Morphology</span></a></td>
<td><a href="08_adjuncts.html"><span class="style6">8 Adjuncts</span></a></td>
<td><a href="12_numbers.htm"><span class="style6">12 The Number System</span></a></td>
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<td bordercolor="#CCCCCC" bgcolor="#CCCCCC"><span class="style6"><a href="faqs.html">FAQs</a></span></td>
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<td height="18"><a href="01_phonology.html"><span class="style6">1 Phonology</span></a></td>
<td><a href="05_verbs_1.html"><span class="style6">5 Verb Morphology</span></a></td>
<td><a href="09_syntax.html"><span class="style6">9 Syntax</span></a></td>
<td><a href="abbreviations.html"><span class="style6">List of Abbreviations</span></a></td>
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<td bordercolor="#CCCCCC" bgcolor="#CCCCCC"><span class="style6"><a href="updates.htm">Updates / News</a></span></td>
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<td height="18"><a href="02_morpho-phonology.html"><span class="style6">2 Morpho-Phonology</span></a></td>
<td><a href="06_verbs_2.html"><span class="style6">6 More Verb Morphology</span></a></td>
<td><a href="10_lexico-semantics.html"><span class="style6">10 Lexico-Semantics</span></a></td>
<td><a href="lexicon.htm"><span class="style6">The Lexicon</span></a></td>
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<td><a href="03_morphology.html"><span class="style6">3 Basic Morphology</span></a></td>
<td><a href="07_suffixes.html"><span class="style6">7 Suffixes</span></a></td>
<td><a href="11_script.htm"><span class="style6">11 The Writing System</span></a></td>
<td><span class="style6"><a href="texts.html">Texts</a></span></td>
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<br />
<h2 align="center">Texts</h2>
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<tr>
<td width="20%" class="style7"> </td>
<td width="80%" class="style7"><a href="#hovercraft" class="style32">“My Hovercraft is Full of Eels”</a> </td>
</tr>
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<td class="style7"> </td>
<td class="style7"><a href="#karenina" class="style32">Opening Line from <em>Anna Karenina</em></a> </td>
</tr>
<tr>
<td class="style7"> </td>
<td class="style7"><a href="#duchamp" class="style32">Marcel Duchamp’s Nude Descending a Staircase No. 2</a></td>
</tr>
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<td class="style7"> </td>
<td class="style7"><a href="#greetings" class="style32">Basic Greetings and Salutations</a></td>
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<td class="style7"> </td>
<td class="style7"><a href="#prayer" class="style32">The Lord’s Prayer</a></td>
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<td class="style7"> </td>
<td class="style7 style32"><a href="#dune">The Litany Against Fear from Frank Herbert’s <em>Dune</em></a></td>
</tr>
<tr>
<td class="style7"> </td>
<td class="style7 style32"><a href="#babel">The “Babel” Text (Genesis 11:1-9)</a></td>
</tr>
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<td class="style7"> </td>
<td class="style7 style32"><a href="#schleicher">Schleicher’s Fable</a></td>
</tr>
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<td class="style7"> </td>
<td class="style7 style32"><a href="#seder">The Passover Seder Question & Answers</a></td>
</tr>
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<td class="style7"> </td>
<td class="style7 style32"><a href="#poetry">Kaduatán Song Lyrics and Ithkuil Poetry</a></td>
</tr>
</table>
<p align="center" class="style7"> </p>
<p align="justify" class="style7"> This page presents various texts in Ithkuil including interlinear morphological analyses similar to the examples in previous chapters. Additionally, a few narrative presentations are offered based on presentations the author has given in other venues or formats.</p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="hovercraft" id="hovercraft"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="20" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>For the Monty Python Fans Out There...</strong></p></td>
</tr>
</tbody>
</table>
<blockquote>
<p><br />
<img src="images/text-01.jpg" width="178" height="41" /><br />
<span class="style7"><strong>Tî akt’asalb abjatļud.</strong></span><br />
<span class="style9">1m-PRP STA-‘hover’-OBL-NRM/PRX/M/CSL/UNI-CVY<span class="style8">1</span>/5 STA-‘eel’-NRM/DEL/M/CSL/DCT-SUF<span class="style8">1</span>/9</span><br />
<span class="style7"><em>My hovercraft is full of eels.</em></span><span class="style7"> <span class="style14"><a href="sound_files/hovercraft.mp3" target="_blank">LISTEN</a></span> <a href="sound_files/hovercraft.mp3" target="_blank"><img src="images/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle" /></a></span></p>
</blockquote>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="karenina" id="karenina"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>Opening Line from <em>Anna Karenina</em></strong></p></td>
</tr>
</tbody>
</table>
<p class="style7">The following narrative presents the step-by-step procedure undertaken by the author in translating the opening line of Tolstoy’s <em>Anna Karenina </em>into Ithkuil. It should be noted that I have used the English translation of the sentence instead of the Russian original as my translation source:</p>
<blockquote class="style7">
<p><strong><em>All happy families resemble one another, each unhappy family is unhappy in its own way.</em></strong></p>
</blockquote>
<p align="justify" class="style7"><br />
<strong>STEP ONE: Semantic Analysis of Source Sentence</strong><br />
<br />
Before beginning translation, it is important to carefully analyze the actual meaning of the sentence from a cognitive
standpoint, i.e., what is the cognitive intent of the sentence as opposed to how it reads stylistically? This is
important because Ithkuil must convey the underlying cognitive intent of the sentence. In this sentence, one might
initially interpret the sentence to suggest that there are two different kinds of families, one happy, the other unhappy,
and that happy ones can’t ever be unhappy or vice-versa. But in fact, all families are capable of being happy or
unhappy. Therefore, the Ithkuil translation will reword the sentence to convey that when families are happy, they
resemble one another, whereas when they are unhappy they don’t resemble one another. Secondly, we must analyze
what is meant by the word ‘resemble’. In English, ‘resemble’ refers to similarity in visual appearance or observed
behavior. However, the intent of the sentence is that the similarity of behavior is intrinsic and occurs whether or not
there is anyone available to visually observe it. Therefore, the Ithkuil translation must avoid use of any concept such
as ‘resemble’ to imply visual observation of behavior. The behavior simply <strong><em>is </em></strong>similar or dissimilar, regardless of
whether there is any visual comparison made. The Ithkuil translation will therefore simply distinguish between
similarity in the manifestation/behavior of happiness in families versus dissimilarity in the manifestation/behavior of
unhappiness in families. Finally, in the original sentence, the second clause is syntactically disguised as a co-equal main clause, however, cognitively it is a dependent clause in a contingent relationship to the first half of the
sentence. The “missing” conjunction should be ‘whereas’ or ‘as opposed to’ or ‘while on the other hand’ since it is
being contrastively compared to the first clause. Ithkuil provides a case-frame (the COMPARATIVE) for exactly these kinds of contrastive comparisons. Therefore the Ithkuil sentence will employ such a case-frame when translating the second half of the sentence. So at this point, what we will be translating into Ithkuil reads something like <em>“All</em> <em>families manifest happiness similarly, whereas they manifest unhappiness dissimilarly.”</em></p>
<p align="justify" class="style7"><strong><br />
STEP TWO: Separating the Lexical from the Morphological</strong><br />
<br />
At this point, the original sentence must be analyzed to determine what Ithkuil lexical roots/stems will be necessary,
as opposed to those words/concepts in the original which can be translated via morphological components instead of
lexical roots/stems. We can see we are making a statement about families and are qualifying those families as happy
or unhappy. Therefore it is likely we will need Ithkuil lexemes for ‘family’ and ‘happy/happiness.’ We have
already determined above that we do not need a word for ‘resemble’ and words like ‘all’, ‘one another’, ‘each’, ‘in
its own way’ carry little intrinsic meaning by themselves until they are used in conjunction with the main
participants (nouns and verbs) of the sentence. We know from studying Ithkuil morphology that all of these words
will be handled by morphological, not lexical means when translating. Therefore, we only need two main lexemes: ‘family’ and ‘happy/happiness.’</p>
<p align="justify" class="style7"><br />
<strong>STEP THREE: Analysis/Derivation Using Ithkuil Morphological Categories</strong><br />
<br />
Those who have studied the Configuration and Affiliation categories of Ithkuil morphology might recognize at this
point that the concept ‘family’ is a composite sort of concept, indicating an entity composed of sub-components or
sub-members, each one of whom is a ‘family member.’ Ithkuil tends not to lexify as discrete stems those words that
are gestalt entities comprised of sub-components. Rather it is the sub-components that are lexified into stems and
then morphologically modified via the various Configuration and Affiliation categories. The Ithkuil lexicon
contains the Pattern 1, Stem 1, INFORMAL stem <strong>amm </strong>meaning a nuclear family member, derived from the root <strong>-MM- </strong>referring to the various
sanguine members of a nuclear family (parent, child, mother, father, son, daughter, etc.). A family consists of
various such members, each of whom are not identical in their attributes (e.g., gender, age, personality, talents, etc.).
A gestalt composite composed of non-identical members who are not physically interconnected, is shown by the
AGGREGATE [AGG] configuration in Ithkuil. Likewise, the resulting gestalt entity ‘family’ is more than the sum of
its parts from a cognitive standpoint (i.e., it is capable of participating in events or being described in ways
irrespective of its individual members), therefore it should be placed in the COALESCENT [COA] affiliation. Finally,
the particular sentence being translated talks about families in a timeless cultural sense, describing families in an
archetypal fashion. Such a sense can best be captured by use of the AMALGAMATE [AMG] context in Ithkuil. So far,
the Ithkuil word for ‘family’ we are fashioning has been declined for Configuration, Affiliation, and Context.
However, there are five remaining morphological categories for nominal formatives in Ithkuil. We must consider
each of these:</p>
<blockquote>
<p align="justify" class="style7"><br />
<strong>PERSPECTIVE</strong>: The sentence is comparing every family against every other family, thus it is speaking of each
family as a single discrete entity, not a collective concept. This is reinforced by the use of the word ‘all’ (which in
the Ithkuil translation will appear as the Inclusive suffix [INL] in ninth degree, meaning ‘each/every’). Thus the
correct perspective is the default MONADIC perspective.</p>
<p align="justify" class="style7"><strong>EXTENSION</strong>: Each family is being considered as an entire discrete entity within the context of the sentence,
therefore the default DELIMITIVE extension is appropriate.</p>
<p align="justify" class="style7"><strong>DESIGNATION</strong>: The stem <strong>amm </strong>is in the default INFORMAL designation, as indicated by its syllabic stress pattern (recall from <a href="01_phonology.html">Section 1.3.3</a> that all monosyllabic stems are considered to have penultimate stress from a morphological standpoint).</p>
<p align="justify" class="style7"><strong>ESSENCE</strong>: The sentence refers to all families in the real world, not families in a hypothetical or contrary-to-fact
context, therefore the default NORMAL essence is appropriate.</p>
<p align="justify" class="style7"><strong>CASE</strong>: The word ‘family’ will be the “subject” of a verb complex meaning ‘manifests happy behavior’. The
appropriate semantic role for the subject of a non-causal descriptive state is as CONTENT, shown by the default
OBLIQUE [OBL]case in Ithkuil.</p>
</blockquote>
<p align="justify" class="style7"><br />
The concept ‘happy/happiness’ is given in Ithkuil by the Pattern 1, Stem 2, FORMAL stem <strong>öqtá</strong> which literally means ‘degree of happiness/joy’.
This stem is derived from the root -<strong>QT</strong>- ‘DEGREE OF POSITIVE EMOTIONAL SATIETY/FULFILLMENT’. Qualitative
concepts such as happiness are usually lexified in Ithkuil as a spectrum or range which then takes the Sufficiency
[SUF] or Extent/Degree [EXN] suffix to indicate what particular amount/extent/degree of the quality is manifested,
anywhere from none up to an overabundance. In this case, we will use the [<strong>EXN1/6</strong>] suffix indicating ‘an above-normal
degree of’. Adjectives such as ‘happy’ don’t exist in Ithkuil; their equivalent is usually shown using a verbal
formative declined into either the STATIVE [<strong>STA</strong>] function or the DESCRIPTIVE [<strong>DSC</strong>] function. The choice
between using STATIVE or DESCRIPTIVE function for this translation is subtle. I have chosen [<strong>DSC</strong>] because it
captures more of the sense of describing the nature of the family itself (which is what I think the author was trying to
convey) rather than simply a state they are in. Verbal formatives are complex structures in Ithkuil, inflecting for 22
different morphological categories. So, besides the DSC function, the remaining 21 categories must be analyzed,
as follows:</p>
<blockquote>
<p align="justify" class="style7"><strong><br />
CONFIGURATION</strong>: Conceptually, ‘happiness’ is not a gestalt composite, therefore the default UNIPLEX value is
appropriate.</p>
<p align="justify" class="style7"><strong>AFFILIATION</strong>: The UNIPLEX configuration implies a default CONSOLIDATIVE affiliation, and the uses of the remaining three affiliations are inapplicable to the intended meaning of ‘happiness’.</p>
<p align="justify" class="style7"><strong>PERSPECTIVE</strong>: The sentence is asserted as being true at all times, a “law of nature” about families, therefore the
appropriate perspective is the NOMIC [N].</p>
<p align="justify" class="style7"><strong>EXTENSION</strong>: The state of happiness being discussed is not described as having specific beginning or ending
points, therefore the appropriate extension is PROXIMAL [PRX].</p>
<p align="justify" class="style7"><strong>CONTEXT</strong>: Happiness as an emotional state exists irrespective of opinions, cultural ideas, social conventions, etc.,
therefore, the default EXISTENTIAL context is appropriate.</p>
<p align="justify" class="style7"><strong>DESIGNATION</strong>: The stem is in the default INFORMAL designation, as indicated by its syllabic stress pattern.</p>
<p align="justify" class="style7"><strong>ESSENCE</strong>: The sentence refers to happiness as a real-world state, not in a hypothetical or contrary-to-fact context,
therefore the default NORMAL essence is appropriate.</p>
<p align="justify" class="style7"> <strong>ILLOCUTION</strong>: The sentence constitutes a propositional speech act, an utterance which is either true or false and
can be either believed or disbelieved. Thus, the default ASSERTIVE illocution is appropriate. </p>
<p align="justify" class="style7"><strong>VALENCE</strong>: The state of happiness is being compared between families, implying PARALLEL valence (i.e., one
participant is engaged in or experiencing the same activity or state as the other). However, because the verbal
formative will be carrying the [<strong>SIM1/8</strong>] suffix (meaning ‘very similarly’), the valence relationship between one
family and another is already implied. This means that overtly showing the PARALLEL valence in this sentence is
unnecessary (or at least optional).<br />
</p>
<p align="justify" class="style7"><strong>VERSION</strong>: The utterance describes a non-hypothetical end-in-itself and is not goal-oriented, therefore the default
PROCESSUAL version is appropriate.</p>
<p align="justify" class="style7"><strong>FORMAT</strong>: Their is no incorporated stem in this verb,
therefore the showing of Format is inapplicable.</p>
<p align="justify" class="style7"><strong>MODALITY</strong>: There is no modal or hypothetical content in this sentence, therefore there is no modality.</p>
<p align="justify" class="style7"><strong>LEVEL</strong>: While one might consider translating this sentence using Ithkuil’s EQUATIVE level, its use would imply
that families manifest happiness exactly the same way (as opposed to similarly). This is not the intent behind the
word ‘resemble’ and therefore use of the [<strong>SIM1/8</strong>] suffix (meaning ‘very similarly’) is more appropriate. Therefore,
the default INDETERMINATE level is appropriate.</p>
<p align="justify" class="style7"><strong>CASE-FRAME</strong>: As previously mentioned, the second clause of this sentence will employ the COMPARATIVE
[<strong>CMP</strong>] case-frame to signify a “whereas X” or “as opposed to X” type of relationship.</p>
<p align="justify" class="style7"> <strong>VALIDATION</strong>: Since the statement is not an empirically verifiable statement, but is written as being a truthful
assertion, the implied source of information behind the statement is as an inference on the part of the author based
on his own intuition or feelings. Therefore the appropriate validation is the INFERENTIAL.</p>
<p align="justify" class="style7"><strong>PHASE</strong>: The statement does not refer to any repetitive or iterative situation, therefore the default CONTEXTUAL
phase is appropriate.</p>
<p align="justify" class="style7"><strong>SANCTION</strong>: The statement constitutes an ontologically subjective assertion or allegation expressing an opinion or
belief, potentially subject to challenge or refutation. Therefore, the appropriate sanction is the ALLEGATIVE [<strong>ALG</strong>].</p>
<p align="justify" class="style7"><strong>ASPECT</strong>: The sentence contains no additional aspectual information.</p>
<p align="justify" class="style7"><strong>MOOD</strong>: The sentence is an assertion of an alleged fact, therefore the default FACTUAL mood is appropriate.</p>
<p align="justify" class="style7"><strong>BIAS</strong>: The utterance contains no overtly subjective attitude or bias.</p>
</blockquote>
<p align="justify" class="style7"><strong><br />
STEP FOUR: Assemble the Ithkuil words</strong><br />
<br />
When putting these elements together to render the final Ithkuil sentence, I take the option to separate out some of the suffixes
into affixual adjuncts for the sake of phonetic euphony.
Here then, is the end result, accompanied by the most natural sounding literal translation into English:</p>
<blockquote>
<p align="justify"><br />
<img src="images/text-02.jpg" width="281" height="47" /><br />
<span class="style7"><strong>Mmarnuq<sup>h</sup>a t<sup>h</sup>an-n hwöeqtàdh<strong>ûb</strong>üp öeqtóu’adh<strong>ib</strong>öp.</strong></span><br />
<span class="style9">STA-‘nuclear.family.member’-OBL-NRM/DEL/M/COA/AGG-INL<span class="style8">1</span>/9-IFL</span> <span class="style9"> ALG INF-DSC-</span><span class="style9">‘degree.of.happiness’-NRM/PRX/N/CSL/UNI-EXN<span class="style8">1</span>/6-SIM<span class="style8">1</span>/8-FML</span><span class="style9"> FRAMED-DSC-</span><span class="style9">‘degree.of.happiness’-CMP-NRM/PRX/N/CSL/UNI-EXN<span class="style8">1</span>/1-SIM<span class="style8">1</span>/2-FML</span><br />
<span class="style7"><em>All families are happy in the same way, while being unhappy in their own way.</em></span><span class="style7"> <span class="style14"><a href="sound_files/akarenina.mp3" target="_blank">LISTEN</a></span> <a href="sound_files/akarenina.mp3" target="_blank"><img src="images/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle" /></a></span></p>
</blockquote>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="duchamp" id="duchamp"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>Description of Marcel Duchamp’</strong>s <em><strong>“Nude Descending a Staircase, No. 2”</strong></em></p></td>
</tr>
</tbody>
</table>
<p align="justify" class="style7">Ithkuil’s ability to express subjective, non-linear, and synergistic gestalts as easily as objective, linear, discrete, componential phenomena allows it to describe phenomena such as artistic works succinctly but in great detail. For example:</p>
<table width="98%" border="0">
<tr>
<td width="17%"><img src="images/duchamp-00.jpg" width="178" height="171" /></td>
<td width="83%"><p>-<strong>KKR</strong>- 'OBLIQUE VERTICAL MOTION' </p>
<p><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7">STEM:<strong> okkr</strong></span>- <em>'descend at oblique angle'</em></p>
<p><span class="style7"><strong><img src="images/arrow1.jpg" width="20" height="11" /> i-okkr-a-s</strong></span><span class="style7"><strong><strong> </strong> </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7"><strong><strong> </strong></strong></span></strong><span class="style7"><strong>aukkras</strong></span></p>
<blockquote>
<p><span class="style9">DYN-'descend'-NRM/PRX/M/CSL/UNI-IFL</span><br />
<em>'descends'</em></p>
</blockquote></td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td><img src="images/duchamp-02.jpg" width="118" height="243" /></td>
<td valign="top"><p>-<strong>Q</strong>- 'HIGHER ORDER LIFE-FORM' </p>
<p><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7">STEM:<strong> êq</strong></span>- <em>'woman'</em></p>
<p><span class="style7"><strong><img src="images/arrow1.jpg" width="20" height="11" /> êq-u-tt</strong></span><span class="style7"><strong><strong> </strong> </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7"><strong><strong> </strong></strong>êqutta</span></strong></p>
<blockquote>
<p><span class="style9">STA-'woman'-IND-RPV/DEL/M/CSL/UNI-IFL</span><br />
<em>'imaginary representation of a woman as self-initiator of action'</em></p>
</blockquote></td>
<td><p align="right">-<strong>GV</strong>- 'CLOTHING' </p>
<blockquote>
<p align="right"><img src="images/arrow1.jpg" width="20" height="11" /><span class="style7"> STEM:<strong> ogv</strong></span>- <em>'article of clothing as coverage <br />
(as opposed to fashion)'</em></p>
<p align="right"><span class="style7"><strong><br />
<img src="images/arrow1.jpg" width="20" height="11" /> ogv-ëu-ļ<strong> </strong> </strong></span><span class="style7"><strong><img src="images/arrow1.jpg" width="20" height="11" /> ogvëuļa</strong></span></p>
<p align="right"><span class="style9">STA-'article.of.clothing.as.coverage'-ABE-NRM/DEL/M/CSL/AGG-IFL</span><br />
<em>'without a set of clothing as coverage' <br />
(i.e., 'nude')</em></p>
</blockquote></td>
<td><img src="images/duchamp-03.jpg" width="118" height="244" /></td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td width="28%" valign="top"><img src="images/duchamp-04.jpg" alt="" width="236" height="150" align="top" /></td>
<td width="72%"><p>-<strong>TN</strong>- 'SUPPORTING SURFACE AGAINST GRAVITY' </p>
<p><img src="images/arrow1.jpg" width="20" height="11" /> STEM: <span class="style7"><strong>etn</strong></span>- <em>'stair'</em></p>
<p><span class="style7"><strong><img src="images/arrow1.jpg" width="20" height="11" /> etn-ou’a-lkw- </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7">tnou’elkwa</span></strong></p>
<blockquote>
<p><span class="style9">STA-'stair'-NAV-RPV/PRX/M/ASO/COH-IFL</span><br />
<em>'along the directional vector of an imaginary representation of a staircase'</em></p>
</blockquote> </td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td width="28%" valign="top"><img src="images/duchamp-05.jpg" width="219" height="25" /></td>
<td width="72%"><p><span class="style7"><strong>p - a - l-l</strong></span><span class="style7"><strong>š - i</strong></span> <span class="style7"><strong> </strong></span><span class="style7"><strong><img src="images/arrow1.jpg" width="20" height="11" /> <strong>pal-l</strong><strong>ši</strong></strong></span> <span class="style7"><strong> </strong></span><span class="style9">ITR-SQN-PRG</span></p>
<blockquote>
<p><em>‘in a repetitive series of single manifestations’<br />
</em><em>‘one after the other’<br />
</em><em>‘being in the midst of; ...-ing’</em></p>
</blockquote></td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td width="14%" valign="top"><div align="center"><img src="images/duchamp-06.jpg" alt="]" width="83" height="210" /></div></td>
<td width="86%" valign="top"><p>-<strong>GW</strong>- 'AMBULATION' </p>
<p><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7">STEM:<strong> ogw</strong></span>- <em>'(make) ambulatory bodily movement'</em></p>
<p><span class="style7"><strong><img src="images/arrow1.jpg" width="20" height="11" /> i-ogw-ai-l</strong></span><span class="style7"><strong><strong> </strong> </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7"><strong><strong> </strong></strong></span></strong><span class="style7"><strong>áugwail</strong></span><span class="style7"><strong>a</strong></span></p>
<blockquote>
<p><span class="style9">FRAMED/IFL-DYN-'ambulatory.bodily.movement'-INS-NRM/DEL/M/CSL/UNI</span><br />
<em>'by means of making an ambulatory bodily movement'</em></p>
</blockquote></td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td width="22%" valign="top"><div align="center"><img src="images/duchamp-07.jpg" width="158" height="213" /></div></td>
<td width="78%" valign="top"><p> </p>
<p><span class="style7"><strong><strong> </strong> </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7"><strong><strong> </strong></strong></span></strong><span class="style7"><strong>áugwai-ňs</strong></span><span class="style7"><strong>-amb</strong></span></p>
<blockquote>
<p><span class="style9">FRAMED/IFL-DYN-'ambulatory.bodily.movement'-INS-NRM/<span class="style10">PRX</span>/M/CSL/<span class="style10">COH</span>-<span class="style10">SEP<span class="style8">1</span>/5</span></span><br />
<em>'by means of a tightly integrated set of ambulatory bodily movements'</em></p>
</blockquote></td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td width="22%" valign="top"><div align="center"><img src="images/duchamp-08.jpg" width="168" height="213" /></div></td>
<td width="78%" valign="top"><p> </p>
<p><span class="style7"><strong><strong> </strong> </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7"><strong><strong> </strong></strong></span></strong><span class="style7"><strong><strong>a</strong>ugw<strong>á</strong>i-ňs<strong>-üln</strong>-amb</strong></span></p>
<blockquote>
<p><span class="style9">FRAMED/IFL-DYN-'ambulatory.bodily.movement'-INS-NRM/PRX/M/CSL/COH-<span class="style10">WAK<span class="style8">1</span>/8</span></span><span class="style9">-SEP<span class="style8">1</span>/5</span><br />
<em>'by means of a tightly integrated set of ambulatory bodily movements which combine into a three-dimensional trail/wake behind her'</em></p>
</blockquote></td>
</tr>
</table>
<p align="justify" class="style7"> </p>
<table width="98%" border="0">
<tr>
<td width="22%" height="218" valign="top"><div align="center"><img src="images/duchamp-09.jpg" width="168" height="215" /></div></td>
<td width="78%" valign="top"><p> </p>
<p><span class="style7"><strong><strong> </strong> </strong></span><strong><img src="images/arrow1.jpg" width="20" height="11" /> <span class="style7"><strong><strong> </strong></strong></span></strong><span class="style7"><strong>augwai-k<strong>š</strong>t<strong>-üln</strong>-àmb-u</strong></span> </p>
<blockquote>
<p><span class="style9">FRAMED/IFL-DYN-'ambulatory.bodily.movement'-INS-NRM/PRX/<span class="style10">A</span>/<span class="style10">COA</span>/COH-WAK<span class="style8">1</span>/8-SEP<span class="style8">1</span>/5</span><span class="style9">-<span class="style10">AMG</span></span><br />
<em>'by means of a tightly integrated set of ambulatory bodily movements which combine into a three-dimensional trail/wake behind her, forming a timeless, emergent whole to be considered intellectually, emotionally and aesthetically'</em></p>
</blockquote></td>
</tr>
</table>
<p align="justify" class="style7"> </p>
<table width="98%" border="0">
<tr>
<td width="22%"><div align="center">
<p><img src="images/duchamp-11.jpg" width="174" height="279" /></p>
</div></td>
<td width="78%" valign="top"><p class="style7"> </p>
<blockquote>
<p class="style7"><strong>Aukkras êqutta ogvëuļa tnou’elkwa pal-lši augwaikštülnàmbu.</strong></p>
<p class="style7"><span class="style9">DYN-'descend'-NRM/PRX/M/CSL/UNI-IFL<strong> </strong> <strong> </strong> STA-'woman'-IND-RPV/DEL/M/CSL/UNI-IFL <strong> </strong> <br />
STA-'article.of.clothing.as.coverage'-ABE-NRM/DEL/M/CSL/AGG-IFL<strong> </strong><br />
STA-'stair'-NAV-RPV/PRX/M/ASO/COH-IFL<strong> <strong> </strong> <strong> </strong> </strong>ITR-SQN-PRG<strong> </strong><br />
FRAMED/IFL-DYN-'ambulatory.bodily.movement'-NRM/PRX/A/COA/COH-WAK<span class="style8">1</span>/8-SEP<span class="style8">1</span>/5</span><span class="style9">-AMG</span></p>
<p><span class="style7">LITERAL TRANSLATION:<em><br />
‘An imaginary representation of a nude woman in the midst of descending a staircase in a step-by-step series of tightly-integrated ambulatory bodily movements which combine into a three-dimensional wake behind her, forming a timeless, emergent whole to be considered intellectually, emotionally and aesthetically.’</em></span></p>
<p>[NOTE: Since I first encountered this painting as a teenager, I've always seen it as representing a woman. It wasn't until after I'd prepared the Ithkuil translation that someone pointed out to me that the original French title uses the masculine word "nu", implying an androgynous figure at best. Nevertheless, I've decided to keep the figure feminine.]</p>
</blockquote></td>
</tr>
</table>
<p> </p>
<table width="98%" border="0">
<tr>
<td width="22%"><span class="style7"><img src="images/duchamp-01.jpg" width="219" height="360" /></span></td>
<td width="78%" valign="top"><p class="style7"> </p>
<blockquote>
<p class="style7"><strong><img src="images/text-03.jpg" width="300" height="49" /><br />
Aukkras êqutta ogvëuļa tnou’elkwa pal-lši augwaikštülnàmbu.</strong></p>
<p><span class="style7"><em>‘An imaginary representation of a nude woman in the midst of descending a staircase in a step-by-step series of tightly-integrated ambulatory bodily movements which combine into a three-dimensional wake behind her, forming a timeless, emergent whole to be considered intellectually, emotionally and aesthetically.’</em></span><span class="style7"> <span class="style14"><a href="sound_files/duchamp.mp3" target="_blank">LISTEN</a></span> <a href="sound_files/duchamp.mp3" target="_blank"><img src="images/Audio_icon.gif" width="19" height="16" border="0" align="absmiddle" /></a></span></p>
<p> </p>
<p><strong>Marcel Duchamp: </strong> <em><strong> Nu descendant un escalier, No. 2 </strong></em><span class="style7"><span class="style9"><strong> </strong><strong> </strong></span></span> — 1912</p>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<blockquote>
<p> </p>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
</blockquote>
</blockquote></td>
</tr>
</table>
<p> </p>
<p align="justify" class="style7"><a name="greetings" id="greetings"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>Basic Greetings and Conversational Elements</strong><strong></strong></p></td>
</tr>
</tbody>
</table>
<p class="style7">This section provides various formulaic statements and responses, both formal and informal, pertaining to some basic conversational elements.</p>
<p class="style7"> </p>
<p class="style7"><strong>Greetings/Salutations</strong></p>
<p class="style7">The formal stem <strong>attá-</strong> is the general stem denoting <em>‘salutation/greeting.’</em> With the addition of the <strong>SSD</strong><span class="style16">1</span><strong>/6</strong> suffix <strong>-ûk </strong>it conveys <em>‘farewell/leavetaking.<em><em>’</em></em></em> The formal stem <strong>edná</strong>- <em>‘peace through fellowship’</em> and the informal stem <strong>edn</strong>- <em>‘goodwill/kindness’</em> are also used in greeting formulas. Many formal and informal phrases are possible using these stems, as shown by the following examples.</p>
<blockquote>
<p class="style7"> </p>
<p class="style7"><strong>Ük<sup>h</sup>u attál.</strong><br />
<em>I bid you greetings.</em></p>
<p class="style7"><strong>Ki attàwîl.</strong><br />
<em>Greetings to you.</em></p>
<p class="style7"><strong>Attál. / Attàwîl.</strong><br />
<em>Hello!/Greetings!/Salutations!</em></p>
<p class="style7"><strong>Ki attàlûk.</strong><br />
<em>Goodbye to you.</em></p>
<p class="style7"><strong>Attàlûk.</strong><br />
<em>Goodbye.</em></p>
<p class="style7"><strong>Ük<sup>h</sup>u ettál.</strong><br />
<em>I bid you welcome.</em></p>
<p class="style7"><strong>Ük<sup>h</sup>u ettàlûk.</strong><br />
<em>I bid you farewell.</em></p>
<p class="style7"><strong>(În-n) ednal kü.</strong><br />
<em>(May there be) goodwill to you.</em></p>
<p class="style7"><strong>(În-n) uhednál.</strong><br />
<em>(May there be) peace through fellowship between us.</em></p>
<p class="style7"><strong>Ük<sup>h</sup>u attál în-n uhednaláň.</strong><br />
<span class="style9">2m/DAT-1m-IND STA-‘greet’-NRM/DEL/M/CSL/UNI-FML EXH RCP-CNF-STA-‘peace.through.fellowship’-NRM/DEL/M/CSL/UNI-COO1/7/FML</span><br />
<em>I bid you greetings and may there be peace through fellowship between us.</em></p>
</blockquote>
<p class="style7"> </p>
<p class="style7"><strong>How Are You?</strong></p>
<p class="style7">The stem <strong>glal</strong> <em>‘state of health/physical well-being’</em> in conjunction with the suffix <strong>-ač</strong> <em>‘acceptably good/well’</em> are used to inquire about one’s well-being. As an affixual adjunct (see <a href="08_adjuncts.html">Section 8.3</a>), the suffix <strong>-ač</strong> functions as a shortcut means of creating various informal expressions.</p>
<blockquote>
<p class="style7"><strong>Ki glawulač? </strong><br />
<em>How are you? </em>(literally:<em> Are you in acceptable health?)</em></p>
<p class="style7"><strong>En-n ki ač.</strong><br />
<em>Hopefully, things are well with you.</em></p>
<p class="style7"><strong>Ti glalač.</strong><br />
<em>I’m doing fine.</em> (literally:<em> I’m in acceptable health.)</em></p>
<p class="style7"><strong>Ti ač.</strong><br />
<em>I’m fine.</em></p>
</blockquote>
<p align="justify" class="style7"> </p>
<p class="style7"><strong>Thanks/Gratitude</strong> </p>
<p class="style7">The “short” form of communicating thanks is <strong>Tô myal</strong>, meaning “my thanks” or more specifically “my offer of gratitude.” This phrase is an informal abbreviated form of the following formal sentences:</p>
<blockquote>
<p class="style7"><strong>Auspal ük<sup>h</sup>u tô myal. </strong><br />
<span class="style9">DYN-‘give.in.exchange’-NRM/DEL/M/CSL/UNI-IFL 2m/DAT-1m/IND 1m-ATT STA-‘offer.of.gratitude’-OBL-NRM/DEL/M/CSL/UNI-IFL </span><br />
<em>I offer you my gratitude.</em></p>
</blockquote>
<p class="style7">or </p>
<blockquote>
<p class="style7"><strong>Uhispal ük<sup>h</sup>u tô myal kô ednaul.</strong><br />
<span class="style9">CPL-CNF-DYN-‘exchange’-NRM/DEL/M/CSL/UNI-IFL 2m-ATT STA-‘goodwill/kindness’-CMM-NRM/DEL/M/CSL/UNI-IFL</span><br />
<em>I offer you my gratitude in exchange for your kindness.</em></p>
</blockquote>
<p class="style7"> </p>
<p class="style7">The above sentences are addressed to one single person. If the addressee is an UNBOUNDED party or an AGGREGATE group of people, then appropriate modifications of Perspective, Configuration, etc., should be made to the personal reference adjuncts within the sentence, e.g., <strong>üp<sup>h</sup>u</strong>,<strong> hük<sup>h</sup>u</strong>, <strong>pô</strong>, etc.</p>
<p class="style7">If the feeling/manifestation of gratitude is more formal, in response to an honor bestowed or to the extent that it leaves the grateful party feeling beholden to the addressee, the formal stem <strong>ömyál</strong> ‘gratefulness/feeling of being honored’ can be used in place of <strong>myal</strong>.</p>
<p class="style7">Variations on the above examples where the stems <strong>asp-</strong> or <strong>osp-</strong> are incorporated into the stem <strong>amy-</strong> are also possible.</p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="prayer" id="prayer"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>The Lord’s Prayer<em></em></strong></p></td>
</tr>
</tbody>
</table>
<p align="justify" class="style7"> </p>
<blockquote>
<p><span class="style7"><strong>Ömmële têhwei elt<sup>h</sup>â'àlôs</strong><br />
</span><span class="style9">STA-'father'-VOC-NRM/DEL/M/CSL/UNI-RPS 1m-GEN-COA-CST STA-'creator.god'-LOC-NRM/DEL/M/CSL/UNI-PLA<span class="style8">2</span>/7</span><span class="style7"><br />
<em>Our father in heaven</em></span></p>
<p class="style7"><strong>în-n imnadh kô adal</strong><br />
<span class="style9">EXH-FAC DYN-'worship'-NRM/PRX/N/CSL/UNI-FML 2m-ATT STA-'name'-NRM/DEL/M/CSL/UNI</span><br />
<em>hallowed be your name</em></p>
<p class="style7"><strong>Îl-lm ¯euč’ane tehwei driocaipšé kû</strong><span class="style9"><br />
EXH-CCL/FAC CPT-DYN-'imbue'-NRM/DEL/M/COA/UNI 1m-ABS-COA-CST STA-'rule'-CPS-NRM/DEL/A/CSL/UNI-UTE<sub>2</sub>/8-RPS/FML 2m-PRP</span><br />
<em>May your kingdom come to exist among us</em> <br />
(Literally:<em> May the [metaphorical] environment which fosters/sustains your rule eventually [metaphorically] permeate us</em>)</p>
<p class="style7"><strong>Ôbartöák în-n ¯aipšalu</strong><span class="style9"><br />
STA-'aspiration'-NRM/DEL/U/CSL/AGG-ATT/2m EXH-FAC CPT-DYN-'be.real'-NRM/DEL/M/CSL/UNI-AMG</span><br />
<em>May your will be done </em> <br />
(Literally: <em>As for your aspirations, may they be made real</em>)</p>
<p class="style7"><strong>Swâ<strong>’</strong>ál elt<sup>h</sup>â'àlöňňôs</strong><span class="style9"><br />
STA-'Earth'-LOC-NRM/DEL/M/CSL/UNI STA-'creator.god'-LOC-NRM/DEL/M/CSL/UNI-CTR<span class="style8">1</span>/2-PLA<span class="style8">2</span>/7</span><br />
<em>on Earth, not just in heaven</em></p>
<p class="style7"><strong>ř uigrawulakkönurň</strong><span class="style9"><br />
SOL STA-'food/drink'-DIR-NRM/DEL/M/CSL/UNI-TPR3/5-AGC1/2-IPT1/9</span><br />
<em>please be one who enables us to eat and drink our critical sustenance</em></p>
<p class="style7"><strong>Iekčawelöň ok<sup>h</sup>ühwei îvyoerduap </strong><strong> ^uhékčeöt <strong> </strong> no.</strong><br />
<span class="style9">DYN-'forgive'-DIR-NRM/DEL/M/CSL/UNI-COO<span class="style8">1/</span>2-IFL </span><span class="style9"> 2:ERG-Referent1:1m/Referent2:2m-1:DAT-1:COA-1:CST <br />
STA-'morally right'-REF-NRM/PRX/U/CSL/AGG-SIM<span class="style8">2</span>/1-IFL<br />
</span><span class="style9">FRAMED-CPL-CNF-DYN-'seek and grant pardon'-FUN-NRM/DEL/U/CSL/UNI-IFL</span><span class="style9"> 1+ua-ERG</span><br />
<em>And forgive us in regard to our moral transgressions in the way we grant and receive forgiveness amongst each other</em></p>
<p class="style7"><strong>uibawet<strong>âmz</strong>iúrön </strong><em><span class="style9"><br />
</span></em><span class="style9">MNF-'unwilled.desire'-DIR-NRM/DEL/U/CSL/UNI-MOT<span class="style8">2/</span>5-NA1<span class="style8">3</span>/5-AGC<span class="style8">1</span>/2-IFL</span><em><br />
‘be one who does not enable desires against better judgement to happen’</em></p>
<p><span class="style7"><strong>uilt<sup>h</sup>alaiň</strong><strong>qàrzön<strong>ö</strong><strong>ň</strong> tehwei</strong></span><span class="style7"><span class="style9"><br />
MNF-'Devil'-NRM/DEL/M/CSL/UNI-OAU<span class="style8">2/</span>8-IMP<span class="style8">1/</span>5-AGC<span class="style8">1/</span>2-COO<span class="style8">1</span>/2-FML</span><span class="style9"> 1m-ABS-COA-CST</span><br />
<em>And deliver us from evil </em><br />
(literally: <em>and be one who enables us to successfully avoid ideas associated with the Devil</em>)</span></p>
</blockquote>
<p align="justify" class="style7"> </p>
<blockquote>
<p align="justify" class="style7">Note that Line Eight could also be written <strong>uibawet<strong>âmz</strong>ìurön</strong>. A different way to translate Line Eight that puts the responsibility for avoiding tempation on us instead of God [I know it’s not how the original reads but personally it makes more sense to me], would be as follows:</p>
<blockquote>
<p align="justify" class="style7"><strong>în-n tihwei arz<strong> </strong>batâmz<br />
</strong><span class="style9">EXH-FAC 1m-AFF-COA-CST IMP<span class="style8">1/</span>5 STA-'unwilled.desire'-NRM/DEL/U/CSL/UNI-MOT<span class="style8">2/</span>5-IFL</span><br />
<em>may we successfully avoid temptations </em>(literally: <em>may we successfully avoid having desires [that are] against our better judgement</em>)</p>
</blockquote>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"> </p>
</blockquote>
<p align="justify" class="style7"><a name="dune" id="dune"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>The “Litany Against Fear” from Frank Herbert’s <em>Dune</em></strong></p></td>
</tr>
</tbody>
</table>
<blockquote>
<p> </p>
<p><span class="style7"><strong>Tei svasuřfal.</strong><br />
<span class="style9">1m-ACT STA-‘fear’-NRM/PRX/M/CSL/UNI-MD07<span class="style8">1</span>/9-NA2<span class="style8">1</span>/5-IFL</span><br />
<em>I must not fear.</em></span></p>
<p class="style7"><strong>Svuic t<sup>h</sup>an-n izadhumsiuţ.</strong><br />
<span class="style9">STA-‘fear’-DER-NRM/DEL/A/CSL/UNI-IFL ASR/CTX/ALG-FAC DYN-‘mind’-NRM/PRX/N/CSL/UNI-AGN<span class="style8">1</span>/9-DEV<span class="style8">2</span>/1-IFL</span><br />
<em>Fear is the mind killer.</em> <br />
(literally: <em> Fear, I allege, <em></em>undoes the mind to maximal effect.</em>)</p>
<p class="style7"><strong>Svac t<sup>h</sup>an-n uitacioxine icai’cók<sup>h</sup>iţe.</strong><br />
<span class="style9">STA-‘fear’-OBL-NRM/DEL/A/CSL/UNI-IFL ASR/CTX/ALG-FAC MNF-‘live’-NRM/DEL/A/CSL/UNI-SIZ<span class="style8">3</span>/3-AGC<span class="style8">1</span>/9-RPS-IFL FRAMED-DYN-‘exist’-COR-NRM/DEL/A/CSL/UNI-CNQ<span class="style8">1</span>/8-DEV<span class="style8">1</span>/1-RPS-IFL</span><br />
<em>Fear is the little death that brings total obliteration.</em><br />
(literally: <em>Fear, I allege, is metaphorically the small undoer of life that utterly undoes existence.</em>)</p>
<p class="style7"><strong>Eixalund te svaloit.</strong><br />
<span class="style9">DYN-‘visualize’-NRM/DEL/M/CSL/UNI-MD10<span class="style8">1</span>/9-IFL 1m-ABS STA-‘fear’-NRM/DEL/M/CSL/UNI-1m/ATT-IFL</span><br />
<em>I will face my fear.</em><br />
(literally: <em>I intend to mentally visualize my fear.</em>)</p>
<p class="style7"><span class="style7"><strong>Uetö ˉqe ˉiočqal ˉič’alaň.</strong></span><br />
<span class="style9">NAV-1m-EFF mi-ABS CPT-DYN-‘vector.motion.over/above’-NRM/DEL/M/CSL/UNI-IFL CPT-DYN-‘pass.through’-NRM/DEL/M/CSL/UNI-COO<span class="style8">1</span>/5-IFL</span><br />
<span class="style7"><em>I will permit it to pass over me and through me.</em></span><span class="style7"><br />
(literally: <em>I will enable it to pass over me and pass through me.</em>)</span></p>
<p><span class="style7"><strong>ˉQe ˉkéi’iulöt’ izap’ala<strong>r</strong>xondü tu sk<sup>h</sup>al ˉqau.</strong><br />
<span class="style9">mi-ABS CPT-FRAMED -‘move.away.from.nearer.point’-PCR-DYN-NRM/DEL/M/CSL/UNI-TPF<span class="style8">1</span>/2-IFL DYN-[incorp.stem: ‘mind’]-‘pursue/track’-NRM/DEL/M/CSL/UNI-BOD<span class="style8">1</span>/5-MD10<span class="style8">1</span>/7-SCH/RPS-IFL 1m-IND STA-‘course’-NRM/DEL/M/CSL/UNI-IFL mi-COR</span><br />
<em>And when it has gone I will turn the inner eye to see its path.</em></span><span class="style7"><br />
(literally: <em>After it recedes I intend to metaphorically track mentally with my eyes its course.</em>)</span></p>
<p class="style7"><strong>ˉKâ’ìuta svelöt’ e uicawîluad.</strong><br />
<span class="style9">CPT-FRAMED -‘move.away.from.nearer.point’-LOC-DYN-NRM/DEL/U/CSL/UNI STA-‘fear’-NRM/DEL/M/CSL/UNI PRS MNF-‘existent.thing’-DEC-NRM/DEL/M/CSL/UNI-SUF<span class="style8">2</span>/1-IFL</span><br />
<em>Where the fear has gone there will be nothing.</em><br />
(literally: <em>In the place where the fear receded to I declare there will be nothing.</em>)</p>
<p class="style7"><strong>Iun-niu ti casexh.</strong><br />
<span class="style9">ITV-CNT 1m-AFF STA-‘exist’-NRM/PRX/M/CSL/UNI-SCO<span class="style8">1</span>/3</span><br />
<em>Only I will remain.</em><br />
(literally: <em>I intend only my existence to continue.</em>)</p>
<p class="style7"> </p>
</blockquote>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="babel" id="babel"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>The “Babel” Text (Genesis 11:1-9)</strong></p></td>
</tr>
</tbody>
</table>
<p class="style7">Here are the first four sentences of the Babel Text:</p>
<blockquote>
<p><span class="style7"><strong>Ai’tilafxup embuliëqtuqh.</strong><br />
<span class="style9">DYN-CTX/ASR/PPS-RCP-‘speak’-NRM/PRX/N/ASO/CST-SIM<span class="style8">1</span>/9-IFL<br />
STA-‘land’-IND-NRM/DEL/M/CSL/UNI-MET<span class="style8">1</span>/6-INL<span class="style8">1</span>/9-IFL</span><br />
<em>All the people of the land spoke the same language.</em><br />
</span>[LITERALLY: <em> Each person in the land spoke language in the same way to one another.</em>]</p>
<p><span class="style7"><strong>Unš ikàkč’êňž çu ˉip’ataspöň usmas îpual Šinar <strong><sup>/</sup></strong>qia aitwapkáň.<br />
</strong><span class="style9">SQT<span class="style8">1</span>/9 DYN-‘journey’-NRM/GRA/U/CSL/UNI-DSG<span class="style8">2</span>/3-FML Col-IND DYN-‘seek’-CPT-NRM/DEL/U/CSL/UNI-DLB<span class="style8">1</span>/5-COO<span class="style8">1</span>/2-IFL STA-‘plain’-NRM/PRX/M/CSL/UNI-IFL STA-[carrier:place.name.]-PAR-NRM/DEL/M/CSL/UNI-IFL “Šinar” mi-LOC DYN-‘reside’-NRM/ICP/U/CSL/UNI-COO<span class="style8">1</span>/5-FML</span><br />
<em>Then wandering from the east they came upon the plain of <em>Š</em>inar and began to dwell there.</em><br />
</span>[LITERALLY: <em>Then wandering they inadvertently found the plain of <span class="style7"><em>Š</em></span>inar and began to reside in it.</em>]</p>
<p><span class="style7"><strong>Ai’tilatunš çu iùktict’awélgümui no aň uok’auqvaludai ˉxhe. <br />
</strong><span class="style9">DYN-CTX/ASR/PPS-RCP-‘speak’-NRM/DEL/U/CSL/UNI-SQT<span class="style8">1</span>/9-IFL
Col-IND FRAMED:MNF-inc.stem:‘stone’-‘block’-OBL-DIR-NRM/PRX/U/ASO/DCT-ROL<span class="style8">1</span>/8-ISR-FNC/IFL 1m+ua/ERG COO<span class="style8">1</span>/5
DYN-inc.stem:‘flame’-‘resiliency’-OBL-NRM/DEL/M/CSL/UNI-SUF<span class="style8">1</span>/9-ISR-IFL ui-ABS</span><br />
<em>Then they said to each other: let us make bricks from stone and fire them to make them strong.</em><br />
</span>[LITERALLY: <em>They then said to each other let us be brick-makers using stone and make them super-resilient by means of fire.</em>] </p>
<p><strong><span class="style7">Öň</span> </strong><span class="style7"><strong>êktict’algui îktalgöň ôňgyé’c.<br />
</strong><span class="style9">COO<span class="style8">1</span>/2 STA-inc.stem:‘stone’-‘block’-NRM/PRX/U/ASO/DCT-ISR-FNC/IFL <br />
STA-‘clay’-OBL-NRM/PRX/U/ASO/DCT-COO<span class="style8">1</span>/2-IFL STA-‘mortar’-PUR-NRM/DEL/A/CSL/UNI-FML</span><br />
<em>And there was stone for brick and clay for mortar.</em><br />
</span>[LITERALLY: <em>And there were batches of stone blocks and there was clay for the purpose of mortar.</em>] </p>
</blockquote>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="schleicher" id="schleicher"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong><a href="http://en.wikipedia.org/wiki/Schleicher%27s_fable" target="_blank">Schleicher’s Fable</a></strong></p></td>
</tr>
</tbody>
</table>
<p class="style7">Florian Bauer of the Ithkuil Facebook group has taken a stab at translating Schleicher’s Fable <a href="schleicher_fable.pdf" target="_blank">here</a>.</p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="seder" id="seder"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>The Passover Seder Question & Answers</strong></p></td>
</tr>
</tbody>
</table>
<p class="style7">I received a special request to translate the traditional Question and Answers from the Jewish Passover Seder dinner. You'll find my translation <a href="ithkuil_seder_questions.pdf" target="_blank">here</a>.</p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"> </p>
<p align="justify" class="style7"><a name="poetry" id="poetry"></a></p>
<table cellpadding="0" width="100%" border="0">
<tbody>
<tr>
<td height="21" colspan="5" valign="top" bgcolor="#cccccc" class="style7"><p><strong>Song Lyrics and Ithkuil “Poetry”</strong></p></td>
</tr>
</tbody>
</table>
<p class="style7">During the period March through June 2014, I wrote lyrics to several progressive-rock songs I composed during late 2013 and early 2014 (music composition is one of my many hobbies). I decided to write the lyrics in Ithkuil in order to explore using the language for (quasi-)poetic purposes, as I’ve long threatened to do. </p>
<p class="style7">It should be noted that I do not consider these song lyrics to be poetry per se, given that the lines are meant to be sung to music, so that syllables are often spread across multiple beats, or several syllables rushed through a single beat, all for a musically aesthetic effect. If this were meant to be real poetry, I would demand a strict meter and specific alliterative scheme, perhaps with room for some sort of rhyme as well.</p>
<p class="style7">Nevertheless, given the nature of the music and the subjects of the songs, the lyrics can be considered poetic in a quasi-verse sort of way. The experience of writing them was very interesting, in that it allowed me to explore the language for use in conveying both metaphorical and psychological imagery.</p>
<p class="style7">I have finished the actual musical production for five of these songs under the name <em>Kaduatán</em>, that is “Wayfarers.”</p>
<p class="style7">Links to YouTube videos of these songs are below.</p>
<p> </p>
<blockquote>
<p class="style7"><a href="https://www.youtube.com/watch?v=tywHuZGyOww"><strong>Kaduatán - <em>Ozkavarkúi</em> (“Guessing Games”)</strong></a></p>
<p class="style7"><a href="song_lyrics_1.pdf" target="_blank">Lyrics with translation and morphological analysis</a></p>
</blockquote>
<p> </p>
<blockquote>
<p class="style7"><a href="https://youtu.be/3uLzdTndP34"><strong>Kaduatán - <em>Uňk’àtân</em> (“Renegades”)</strong></a></p>
<p class="style7"><a href="song_lyrics_3.pdf" target="_blank">Lyrics with translation</a></p>
</blockquote>
<p> </p>
<blockquote>
<p class="style7"><a href="https://youtu.be/Io1AFbHcv-s"><strong>Kaduatán - <em>Îndarna</em> (“Silent Questions”)</strong></a></p>
<p class="style7"><a href="song_lyrics_4.pdf" target="_blank">Lyrics with translation</a></p>
</blockquote>
<p> </p>
<blockquote>
<p class="style7"><a href="https://youtu.be/AAJlr5C8fPA"><strong>Kaduatán - <em>Kšêlmaštöö</em> (“The Clown Song”)</strong></a></p>
<p class="style7"><a href="clown_song_lyrics.pdf" target="_blank">Lyrics with translation</a></p>
</blockquote>
<p> </p>
<blockquote>
<p class="style7"><a href="https://www.youtube.com/watch?v=uuYmkZ-Aomo"><strong>Kaduatán - <em>Ôrödyagzou</em> (“Synaesthesia”)</strong></a></p>
<p class="style7"><a href="Synaesthesia_lyrics_translation.pdf" target="_blank">Lyrics with translation</a></p>
</blockquote>
<p align="justify" class="style7"> </p>
<blockquote class="style7">
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<td height="24"><a href="00_intro.html"><span class="style6">Introduction</span></a></td>
<td><a href="04_case.html"><span class="style6">4 Case Morphology</span></a></td>
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<td><a href="05_verbs_1.html"><span class="style6">5 Verb Morphology</span></a></td>
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<td><a href="06_verbs_2.html"><span class="style6">6 More Verb Morphology</span></a></td>
<td><a href="10_lexico-semantics.html"><span class="style6">10 Lexico-Semantics</span></a></td>
<td><a href="lexicon.htm"><span class="style6">The Lexicon</span></a></td>
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<td><a href="03_morphology.html"><span class="style6">3 Basic Morphology</span></a></td>
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<td><a href="11_script.htm"><span class="style6">11 The Writing System</span></a></td>
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<td width="18%" height="219"><a href="http://www.lulu.com/shop/john-quijada/a-grammar-of-the-ithkuil-language/paperback/product-18708279.html" target="_blank"><img src="images/front_cover-small.png" alt="Cover of Ithkuil Grammar book" width="164" height="212" border="0" /></a></td>
<td width="66%" valign="top"><p class="style7"> </p>
<p class="style7">For those who would like a copy of the Ithkuil Grammar<br />
in book form, <a href="http://www.lulu.com/shop/john-quijada/a-grammar-of-the-ithkuil-language/paperback/product-18708279.html" target="_blank">it is now available!</a> </p>
<p align="right"><span class="style7">And while you’re at it, you can check out the novel I co-<br />
wrote</span><span class="style7"> with my twin brother Paul, <a href="http://www.lulu.com/shop/john-paul-quijada/beyond-antimony/paperback/product-18831117.html" target="_blank">also now available!</a> </span></p>
<p align="right"><span class="style7">(It’s a political thriller/science fiction story that explores the<br />
philosophical implications of quantum physics, and features<br />
Ithkuil as a “para-linguistic” interface to a quantum computer.)</span></p></td>
<td width="16%" valign="middle"><p class="style7"><a href="http://www.lulu.com/shop/john-paul-quijada/beyond-antimony/paperback/product-18831117.html" target="_blank"><img src="images/front_cover-novel.png" alt="Cover of "Beyond Antimony" by John & Paul Quijada" width="149" height="217" border="0" align="top" /></a></p></td>
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<p align="justify" class="style48">©2004-2019 by John Quijada. You may copy or excerpt any portion of the contents of this website for private, individual, or personal use which is non-commercial in nature and not for purposes of profit. Otherwise, you may copy or excerpt brief portions of the contents of this website in published, web-accessible, or commercially distributed articles, papers or webpages for purposes of review, commentary or analysis, provided you give full attribution to the author and this website. </p>
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