Epistle III: Of the Gibberish Language, and the musical quality of Babel
My dearest and most beloved Puey et cet et cet how I love you et cet et cet insert lots of mushy stuff here. Okay, see here, Princess Éfhelìnye is not feeling very well at all. She’s barely slept since you’ve left and she’s been crying like all the time. So she’s trying to dictate a letter to me but I don’t know half the words she’s saying. I’ll try my best, it’s it’s so hard to pay attention. Also she says a lot of sentimental stuff. So you’re her Sun and chocolate and mochi oh something, I don’t know. Akhlísa is the best! Yeah!
Okay, I’d better start writing down for real what she’s saying. I hope she doesn’t read o'er what I just painted.
You asked last time, my beloved Puey (insert mushy stuff here) about what the Gibberish language may be. Qíperakh is a phenomon of Babel which carries several arenæ. Gibberish is usually considered and called magical words, but it is also a form of word play wherein many play and excel but which adult units often forget. Akhlísa rules! Yeah! I think that all of us when we were younger know how to speak in Gibberish, in some ways it is a truncomocated form of Babel, a simplifomofied form of grammar. Words are a part of the dream that defines reality, they form and reform it all the time. Babel words are magic because they are a part of reality. But when Babel words are twisted and transmuted, the are can almost become a game and transcend reality. At least that’s what Éfha is saying. She’s just going on and on.
Here are some words that refer to Gibberish: Fhèrim, fhèriim, magical words, the Gibberish language, Jhejáxoi, ordinary words of Babel as opposed to Gibberish, *Khmefhekhápel, * confusion, the Gibberish language, Khyejáxoi, Gibberish, magical words, Pfhiikatálapu, growls, grumbles, secret words, Gibberish, Qíperakh, magical words, confusion, the Qíperakh language, Qípèrapur, things written in Gibberish, Qíperatàkhta, where Gibberish is written, such as the uxemèpyo place of ritual segregation of children from adults, Qíperis, those who write Gibberish, such as all Children and Traîkhiim, and Thlejáxoi, Gibberish, magical words.
It is telling, so Éfhelìnye is telling, that none of these words’ primary meaning is toa separate type of speaking, but either to its magical affect, such as fhèrim, or its confusing sound, such as khmefhekhápel, or its relationship as a game or dialect of Babel, such as Qíperakh. Indeedee, Qíperakh and its derivamotives are builded off of Qíper and follow the pattern for words pertaining to the other writing systems of Babel: Járqen, Khìxhing, Khlúthoxha, Khmútlhel, Lwúnike, Pènyi, Pwénejhi, Twàrithe, Tyényipe. When the Princess is writing her linguistic tracts on Babel, she says she decides not to all the language fhèrim or khmefhekhápel, since those words could lead to confusion, but rather Qíperakh as if that were its name or something. Okay so there you have it. Khlìjha is a name-o for Babel and Qíperakh for Gibberish. And she just won’t stop talking. I’m just going to sneak out when she’s not looking. I hope she’ll just take a nap. I’m outta here. KARULÁTA RULES!
Puey, I’ve just gotten up from my nap. I don’t know where Karuláta is, but I’m sure she’s just playing outside. I’m not feeling very well right now, so I’ll just conclude this letter with a few notes. I’ll have to write a more detailed portrait of the íjukh, the vocables of Babel, but I do wish to write a few hints of it so that Khrùkhtii and Paloîta can help you in practicing making these sounds.
It is one of the ironies of our lives that my Father forbade all music from my life and so I was innocent of it, and yet I created language, for language and music are entertwined in the same way that the Sun and Moon both must work together, music is the breath of language, and language enlivens music. One always chants or sings Babel, even when one snarls and shouts and cries and speaks, always one is intoning in a chant of sometype. All of our written books are like unto listening to a great space opera, all of our stone tablets dolven with cuneiform, whose authors have long since been forgotten are living hula quires unto us. All of our words for language, such as qthèmlipu also mean ‘language with musick,’ and all of our words for musick, such as fhàxhupa also mean ‘musick with language.’ The musical tonality of language is rather fluid. In terms of grammar there are areonly three musical elements which are important for rhythm and making distinctions in speech, there is the rising musical tone which we call the acute accent: í, é, á, ó, ú, there is the falling musical tone which we call the grave accent,:ì, è, à, ò, ù, and then we have the rising-then-falling musical tone found on diphthongs, which we call the circumflex accent: aû, eû, aî, iî, aê, aô, oâ, iê, oê, eî, oî, uî. All other vowels are considered of a level musical accent. Therefore in the poem of mine which you quoted in your last letter, the line:
Temfhinèxhyeu túxhrejor pú
In order to describe you
Is sung: Middle middle low middle high middle middle high.
And the line:
Qir oâqe jó xhroe xul
For many years
Is sung: Middle Rising-falling middle high middle middle.
Puey, my Prince, mine other self, as you have seen in order to describe language to you I shall have to quote it and then translate it a little unto Qtheûnte, the language of beasts. As I have done above I have written out the Babel using our letters of Khniîxhwa, our simple and elegant phonemic writing system which well represents our twice eleven consonant jàngqi phonemes and our five vowels in their various tones. Boundaries between the words are indicated by the raised circle of jéng, the word separater. Punctation follows our natal ways of writing it, the jáng exlamation mark, the jóng question mark, and the júng period-dash-comma-parenthesis. The jáng is used for the irrealis mood, interjections used as an entire sentence, and exclamations. The jóng is used for interrogive questions which already take a rising tone. And the júng is used for declative sentences, it already looks like a level tone, and it is used to be a dash for parenthetical comments. The first consonant or rising vowel of proper names and the beginning of paragraphs are sometimes written larger than the rest of the word, but this is more a stylistic concern, an æsthetic for the shape and size of the paper. The names for the Father of Paradise, as well as personal pronouns and relative pronouns that refer unto Him are marked with the jíng honorific stroke which I’ve always thought looks a little like a Star. Since the jíng is silent, it is considered a form of punctuation in the Khniîxhwa writing system even though it does not always have to occur at the end of a sentence. When I write out the mews and purrs of the Language of Plantimals, I shall do my best to be consistent for you, for instance the first utterance of a sét sentence and proper names are written a little larger. Here following is an example of such a transcription:
Koaselónge khréxhye Puiyùsejikh Jaraqtuyèpwo †Xhákh qíyatser?
Doth the Father of Paradise now love Puîyus of Jaràqtu?
I am sure that the rest of the Real People who are already native speaks of Babel would object to the idea of using a transliteration system to represent the sounds of Plantimals in order to represetnt the divine language. But as you one mewled to me, Puey, Khn’a kh’i pútam syán’ q’okxh’íram sm’an’ritau th’ritam. I am not entire sure what those mews meant, but I thought about flower milk being spilt upon the flowers of the garden.
Oh Puey, my precious love, how strange it is that you and I have had so very different experiences with language and yet you and I are coming to the best understanding of it. for the rest of the inhabitants of the Dreamtime know that language and music are one and are the very elements of creation, and I who knew no music have discovered how language works, and you who know not how to speak can sing unto tree and beast and field and save us from the war. Every sentence is sung, and every song reflects a part of the greater beauty of the Land of Story. The language that every mortal intones is itself communication with the Spirits of the world who sang Babel in the fields before our first parents Khriîno and Pfhentókha can to be, it is the language of the Dreams of Raven, and of all of the Stars Skydancing and the Æons Skysingers, and the Dark One Our Lord Raven evergiggling. The form of the letters of Khniîxhwa are the selfsame ones that the Prophet once wrote. A mortal knows that the very words he speaks are the original ones, the word spoken by those who had witnessed and nomen part of the creation of the realms from Piifharúkekh, the Ocean of Music. Each Real Person, therefore, contributes to the great understanding of art and existence, either in speaking and signing language itself into being, or playing that same song upon the harp’s strings.
I must lie down now, but I trust that this letter will find you well. I miss you far more than any words can say, oh my reason to create language, oh my beloved Puey Éfhelìnye