This One Gets Silly

http://sites.google.com/site/psalmofdreams/Home/introduction-to-babel-grammar/everyone-wants-to

Epistle X: Everyone Wants to Create A Glyph

Dearest Éfhelìnye,
I rejoice that you and my Sisters are well. I am happy to inform you that the battle was a success, and while the fleet travels outwards closer unto the void, I have had some time to rest and read your letters anew. Paloîta and Khrùkhtii, though, have been anxious to write to you, for since they have no family of their own, being war orphans taken in my Grandfather Pátifhar, my Sisters and I have been as close to family as they have e'er known. Also the Traîkhiim here have been running around and reading your letters and munching on the corners of them and say that they wish to write to you. Uncles Fhèrkifher and Xhnófho also want to greet you, but Xhnófho has fainted from his consumption of peaches and lemons and chocolate, so I think only Fhèrkifher will write to you this evening. I trust that when you receive these letters you will be well. I long to return to you and hold you in mine arms, and then you can read to me aloud all of the words that you have created. I’ll give this sheet of papyrus to Paloîta and Khrùkhtii first.
Puey

May the grace and peace of the deathless Ása be with you now and for ever more,
Holy Empress of Tomorrow
Greetings!

From the hand of Paloîta, although Khrùkhtii is helping also:

Oh enhallowed Éfhelìnye, bride of the ten thousand viceroy kingdoms
This evening as the rainbrella living ships and cadlongry and quinquirenes arise, we wish to discuss with you transliteration systems. Consider the following:

N’niih’erm’mair
Xniÿxerxmaïr
Khniikherkhmair
Khniikhèrkhmair

All of these these are ways to write the name Khniikhèrkhmair, our Prophet. How is that, you ask? The lads and I have been reading the epistles that you have written to Puey, alas that no fair Princess is writing letters to the rest of us, but one should not becry fate, and we have all decided to create our own alphabets for you! What fun! For, at is stands now, there are hundreds of writing systems in the Dreamtime for to represent the Babel language. These writing systems vary from strict alphabets, to syllabaries, and various rune and glyph systems that represent entire syllables, inflexions, and entire words. For instance, if one
Gimme the paper back! You rascally Traîkhiim!

Yo Empress! This we be Fhólus the writing. Listen, Cute Cute, we all very jealous. See hear, you make Entire Language in order to express your love for Puîyos. What what? You make all language just for him! Every word of it! Every sound and cough and giggle! Every letter and scribble and jot! All for love of Puîyos! That too much! You can’t do all for him! That just plain silly. The rest of us, we all want to help. Aîya and I, we the creating our own alphabets all for fun. See, we can make loving loved things for our loved ones too. Right?

[smudges]

AÎYA WAS HERE!

Okay here. Aîya and I and Aîya make our own letters. Lots of glyphs. Complicated, represent entire word and endings. See, this word tsenayánanéfhèyejikh we represent as (burp)Y-é-fhe-Y-(hiccough SNEEZE) wherein the single character (burp) represents the lrànkhus prefix tsena- and the character (hiccough SNEEZE) represents the suffix –ejikh, and another symbology Y represents Y only when Y is used to separate the fhtóte affixes phonotactlesslesslywise, and a syllable É-fhe represents the actual root. See, isn’t this fun, plus these many writing systems, therefore, present no limit of hijinxery for representing Babel to all of the rest of the readers in the worlds. SNEEZE!

Lwa, bairnlings let me have a try at this. When Thiêfhilos was my Master he used to drone on and on upon quite dull subjects, and I think I might have learned the knack of it from him. This is not to imply, my young ones, that Grandfather Thiêfhilos is e'er boring, for one must always honor one’s elders. Ahem. Here we go:
Natheless, historically speaking the glyph-painting and loquent Real People have adopted an alphasyllabic system based upon the twice eleven consonants and the ten vowels of Babel, that is, the rising tones of vowels and the non-rising tone considered as separate vocables. There are three main transcription systems for representing the sounds of Babel, the Fhólus and Aîya’s Hiccough Dance, the Elegant Cuneiform of Paloîta and Khrùkhtii, and the Puey Method. The Fhólus and Aîya method is the oldest system of writing that we have, and it is unfortunate to say, rather clumsy, and some transcribes related too heavily upon the sneezes, taps, and giggles to remind the reader on how to pronounce the preceeding consonant and where to put one’s extra heads and noses and tounges in order to prounce anything write. This first writing system is seldom use anymore, but it is still important to know when reading old historical tracts, especially those concerning recipes for eating one another. After the Traîkhiim Debacle in The Year of the Seven Good Pies, great advances were made in the studies of the Dreamtime. The Elegant Cuneiform System, hight after Paloîta and Khrùkhtii, was used for early copies of The Holy Writ of Khniikhèrkhmair. It is still used today for linguistical tracts even though the Puey Method has largely superceded it. The Elegant Cuneiform system liked to use the special symbols φ, þ,ð,θ, ŋ, ond æ, although vh, th, ng, ond ae couldeble be substituted for them. Just to make everything even more complicated and silly, final E was often transcribed as –ë for no good reason, so that Wthonùkite, that Fragon Prince, could be written as Wθonukidë for reasons which are still obscure. The diphthongs Ae, Ai, Ao, Au, Ei, Eu, Ie, Ii, Oa, Oe, Oi, and Ui were regularly transcribed as as æ, aï, aö, aü, eï, eü, ië, iÿ, oä, oë, oï, ond uï.
Okay ladlings, I’ll let you finish this up while I try to awaken your Uncle Xhnófho. My, I don’t think a peach was grown yet that he won’t gobble down.

By the hand of Khrùkhtii, by the grace of the Immortals
The Elegant Cuneiform System of the two Acolytes is considered an extremely beautiful art. Its main criticism, however, was that it relied too heavily upon special hieroglyphs and its use of the diaresis was done purely for æsthetic reasons and just to confuse scholars and induce them to spend entire lifetimes trying to figure out what the scribe intended, rather than actually representing a whit anything that was originally chanted. The standard Puey System however used in the letters of the Empress in her grammar and khlejaxúqei lexicon is now used in all translations of The Holy Writ of Khniikhèrkhmair after the Betrothal and Coronation, as well as in non-linguistic alchemy tracts. It is thought that this standard transliteration system today, its simplier transcription system, actually cometh closest to representing what the Empress had in mind, in the alphabets and syllables that swirled in her mind as a child in the loneliness of the Forbidden Gardens. Nowadays, et cet, the Standard Puey Methodology is what all children must learn. It has been formally formalized to the following 22 consonants: P, T, K, Fh, Th, S, Jh, Qh, J, Kh, Q, W, R, L, Y, M, N, Ng, Ts, Tlh, Xh, and X, and the 10 tnòntha vowels, I, Í, E, É, A, Á, O, Ó, U, and Ú. It should be noted, however, that in the earliest days of this transcription system, that Fh and Qh were originalwise represented as vh [Khrùkhtii draws a turtle] and qh [Khrùkhtii draws a kitten] and that Tn and Nt were often represented as dn [Khrùkhtii draws a flower] and nd [Khrùkhtii draws a raven].


Wade’s system of writing Þe sounds of Chinese. Þe Standard Puiyusan Writing hath been formerized to Þe following 22 systems for Þe consonants: p, t, k, fh, th, s, jh, qh, j, kh, q, w, r, l, y, m, n, ng, ts, tlh, xh, ond x, ond Þe 10 tnòntha vowels as I, í, e, é, a, á, o, ó, u, ond ú. Hit should be noted, however, Þæt in Þe earliest days of Þis transcripcioun system, because of Þe 80 year used of Þe Khniikhan System, Þæt fh ond qh were originalwise represented as vh ond qh, ond Þæt tn ond nt were manywhen represented as dn ond nd.

Consonental Phonemes
Fhólus and Aîya’s
Insane
Hiccough
Dance
The Elegant
Cuneiform
Of the Acolytes
Paloîta and Khrùkhtii
The Puey Method

What Uncle Fhèrkifher
Actually
hears
P
P
P
Sniff!
D
D
T (but dn, nd in older forms)
Chew!
K
K
K
Hello!
Vh, V’
Vh, φ
Fh (vh in older forms)
Huh?
Th, T’
Th, þ,ð,θ
Th
Bark!
S
S
S
Moo!
J
Zh
Jh
Quack!
Gq, g’
Gh
Qh (gh in older systems)
Well!
Jd, j’
J, tzh
J
Oh!
Hh, h’
X
Kh
Oh.
Kh, k’
Kh, kk
Q
Oh?
W
W
W
Okay.
R
R
R
Ah!
L
L
L
Ur.
Y
Y
Y
Purr.
M
M
M
Mew?
N
N
N
Who
Ng
Ng, ŋ
Ng
Cares?
ß, s’
C
Ts
Let’s
Ll
Ll, kl
Tlh
Dance!
X, zh, z’
Hs
Xh
Burp!
!, ?, *
‘
x
Hiccough!

Vowel Phonemes
Fhólus and Aîya’s
Even more insane
Mad
Hiccough
Dance
Extravagance
Paloîta and Khrùkhtii
Painted
This

No fair
Why did
Puey get a
Princess to
Invent an
Alphabet
For him?
Uncle Fhèrkifher
Had to leave
To help
Xhnófho
Off the deck
I
I (iÿ = ii; in a diphthrong final “i” transcribed as “ï”)
I
What do you do
I:
Î
Í
What an hyper Xhnófho?
E
E (final –ë, in a diphthrong final “e” transcribed as “ë”)
E
What do you do
E:
Ê
É
What an hyper
Xhnófho?
A
A (æ = ae, in a diphthrong final “a” transcribed as “ä”)
A
What do you do
A:
Â
Á
With an hyper
Xhnófho?
O
O (in a diphthong final “o” transcribed as “ö”)
O
Early
O:
Ô
Ó
In
U
U (in a diphthong final “u” transcribed as “ü”)
U
The
U:
Û
Ú
Dawntide?

Here are some examples of the three different alphabets in work:

Fhólus and Aîya try to dance it out:
Seihhyepedil Zha:hhejdihh poe u:payepyer khthelhhendamed khir Zha:hh poe !u!use:ya jdanalwu:wajwa zhmoe khtheisyayedjed adanair amiith Ku:khi khir zhre: Ku:.
Khrùkhtii and Palôita draw out some elegant cuneiformry:
Seïxyepedil Hsâxetzhikk poë ûpayepyer kkÞelxendamed kkir Hsâx poë ‘u’usêya tzhanalwûwazhwa hsmoë kkÞeïsyayetzhed adanaïr amiÿÞë Kûkki hsroë khir hsrê Kû.
Puîyus writes the Princess’ glyphs:
Seikhyèpetil †Xhákhejikh poe’ úpayèpyer qthelkhèntamet qir †Xhákh poe Xuxuséya janalwúwàjhwa xhmoe qtheisyàyejet àtanair amiîthe †Kúqi xhroe qìr xhré †Kú.

Fhólus and Aîya are stomping their hand-feet into paint and dancing out more glyphs:
Zhrir de: hhorna!orjdunda o:lu kihhesaipoinithni hhma:ledim pu:lli hhneuwthaijelo:ngeyedjed hhmalyeyulhha khir zhre: pu:zhmi hhlarodazhwa zhnoe omen Ku:lli skhargqirjdos.
The acolytes look on askance and continue their painting:
Hsrir dê xorna’ortzhunda ôlu ker kixesæpoïniÞni xmâledim pûlli xneüwÞæzhelôŋeyetzhed xmalyeyulxa kkir hsrê pûhsmi xlarodahswa hsnoë omen Kûlli skkarghirtzhos.
Puîyus is the only one not making up hieroglyphs all o'er the place:
Xhrir té khornaxorjùnta’ ólu ker kikhesaipoinìthni khmáletim pútlhi khneuwthaijhelóngèyejet khmalyeyùlkha qìr xhré púxhmi Khlarotàxhwa xhnoe’ òmen †Kútlhi sqarghìrjos.

Fhólus has fainting from the dancing, Aîya continues to hiccough:
Pvharhhekim zhmir pajdegqa:ru !orjdundayohhno !orjdundayudahh Ku:.
Khrùkhtii goes for more ink, Paloîta paints with furious hand:
Pφarxakim hsmir patzheghâru ‘ortzhundayoxno ‘ortzhundayudax Kû
Puîyus stops for a moment to help Khrùkhtii find ink, for he hasn’t figured out that this is a competition yet and should go back to drawing his letters:
Pvhàrkhekim xhmir pajegháru xorjuntayòkhno xorjuntàyutakh †Kú.

Fhólus is down, we repeat, Fhólus is down for the fight:
Hhahhal hhma:lazhmihh !eßoiyepahh Ku:. Thyeprekha sa:noma zhroe khir khthemlipu lwosoiyolhha Ku:.
Khrùkhtii is back with the ink, and Paloîta draws elegant cuneiform:
Xaxal xmâlazhmix ‘ecoïyepax Kû. Þyeprekha sânoma hsroë khir khÞemlipu lwosoïyolxa Kû.
Puîyus pauses to pet some ducklings before drawing out the Princess’ glyphs with only a few changes:
Khàkhal khmálàxhmikh xetsoîyepakh †Kú. Thyèpreqa sánoma xhroe qir qthèmlipu lwosoiyòlkha †Kú.

We’ve lost Fhólus, but Aîya continues to hiccough and dance out their glyphs:
Lwelwa pdohhdithayejdihh deigqayasdekayehhmo khir zhre: Ku: agqus oswo:hhes amiitheyedjihh Ku:. Zhmaiyelo:nge khdengpayedjihh evhuyepahh khir zhre: Ku: agqus zhthelhhorlamad ingallavhayejdihh khdienezhyeu Ku:.
Khrùkhtii draws, but Paloîta spilt some ink:
Lwelwa pdoxdiÞayetzhix deïghayasdekayexmo khir hsrê Kû aghus oswôxes amiÿÞeyetzhix Kû. Hsmæyelôŋë khteŋpayetzhix eФuyepax khir hrsê Kû aghus hsÞelxorlamad iŋallaФayetzhix khdiënehsyeü Kû.
Puîyus pauses and sniffs the flowers that the Princess inclosed in her last letter:
Lwèlwa ptokhtithàyejikh teighayastekayèkhmo qìr xhré †Kú’ aghus oswókhes amiithèyejikh †Kú. Xhmaiyelónge qtengpàyejikh evhùyepakh qìr xhré †Kú’ aghus xhthelkhòrlamat ingatlhavhàyejikh qtienèxhyeu Kú.

Both of the Traîkhiim are gone and none can find them!
Khrekhrella koe zha!otha zhroe !ing Isarayel khir zhre: Ku: pvharhhekim alemedaßer hhnanapvhikhdavhayukhei Avhrahhamonded deiwuhhuki a:gqi:deraßer.
The acolytes faint from the exurtion of creating so many new hieroglyphs!
Khrekhrella koë hsa’oÞa hsroë ‘iŋ Isarayel khir hsrê Kû pΦarxekim alemedacer xnanapΦikhdaΦayukheï Aφraxamonded deiwuxuki âghîderacer.
Puîyus manages to paint the last of the glyphs which the Princess invented
Qrèqretlha koe xhàxotha xhroe xing Isarayel qìr xhré †Kú pvhàrkhekim alemètatser khnanapvhiqtavhàyuqei Avhrakhamontet teiwàkhuki ághítèratser.

From the hand of Khrùkhtii
Actually is occurs unto me, holy Empress of tomorrow, that one could just take the Khniîxhwa writing system which you invented and shift it a little with some of the transliteration tools you mentioned in your earlier letters and then come up with something even more confusing. Paloîta and I have come up with an alphasyllabic system almost identical to the Puîyus Method, the vowels being transcribed the same, but with only a few differences for the consonants:

Jh > ĵ / jh
J > ĝ/ gh
Kh > ĥ / hh
W > ŭ / w
Y > j
Ts > c

Þe following digraphs are retained because they’re pretty:

Qh, fh, th, ng, tlh, xh
Here’s a fun little experiment:

Eiqhor qìr té cenaĥlíĥòntet púr ker eijing xhèra thólojàsŭaor.

Lŭaqujinèpŭo ĥíthaujaceròĵǔan tlháĥùxhriet qìr xhré teiqhatnájaloi ker Xhinar xújèpjer fhiiqtikeijupŭàrnatoa keixhreĝor xú.

Xhnoet sixijéĝaròĵǔan ǔthá qte, “Xhnipíreu! Saoráxeus atlheilùlĥa tepo’ aqhus ĥnexeuthajáxausèmpai keixhreĝor tepo’,” uqte. Es àtlheil xhthiteijèxhjeu xhmir ŭthájèpjer fhuîqloli kekeixhreĝor qlómepakh ǔthá.

Qìr té éĝaròĵŭan ŭthá qte, “Xhnipíreu! Ĥniisixisaoráxeus xhmilpènto xhroe jingontet ĝiengajapònja tieqhaĵĥàĵja ĝirnanóqàjaloi pónexhmi tepo xhmoe jepjer ĥniisixisaoráxeus ĥúlùlĥajing pónexhmi ŭthájeĵuĥ soe thjèpreqa tepoxhreĝor ĥornaxherajaîtlho qé’,” uqte.

Ĝojimùpŭarn †kainoir Xháĥ qoe ĝaê cenaxhmilpentojaxhmiĥòntet ĝiênga saorupŭàrnafham qìr xhré sára.

Eiqhor khyéĝa †qlalaĜàqwo’ eĝaqe, “Fhérmeu! Cènaxú xújèpjer ĥlíĥing kúxhmijùxhŭi. Es ĵpeptijathnemàxhwa peijaxhwa keipeĝos saôr ljáracer xú. Qhaosaorefhtojaîpoin ĥórtùlĥa lyárafham xú kae xú xhmoe.

Xhnipíreu! Qhaĝojimáxeus †Pó xhnoike qhafhafhaljaláxeus teiqhaĥlíĥùlĥa qìr toâ †Pó ĝótexhjeujaipoînaxúng teiqhapúrùlĥa kó’,” eĝaqe.

Sethjepreqajùnjie kúxhreĝor xhrir toâ xherajoĥnojùxhwi †kainoir Xorfhalaîqhor saôr xhmilpentojùlĥajing èxhrepa kekuxhni.

Airejùnjie Fhafhal eitlhi qé fhafhaljalupŭàrneĝet ĥlíĥùlĥa ĥornaxherajùlĥa qìr toâ’ Uîpfha xhnoe xhrir toâ sethyèpreqa kúxhreĝor teiqhaĵĥaĵjajòkhno xhèra Xháĥ.

Now that just being silly. We Traîkhiim are knowing that language just dance and fun. Would it not be fun if we could take these sounds and reduce them unto numbers as the rhythm and bat of the dance?

No, Aîya, because dance is not wellsuited to described the qlàmet the pho-no-mo-tetiξ of language.

Stop writing on my paper, Fhólus. I, we have figured out the most brilliant number scheme. It the best, it superb, for a thousand generations, all remember Aîya and her numbers.
K is Q and Fh is V and Th is five stomps and Jh is six stomps and Qh is a grrrr and Kh is hhhhhhr and Ts is eight stomps and Xh is nine jumps and X is seven stomps, and whenever the musical tone arises you have to hiccough, and we’ll use triangules and belches for all the punctuation.

Aîya, that stupid.

Hush. So Khlìjha is HlI(hiccough)6(stomps)a, and Éfhelìnye is e(hiccough)velInye, and Puîyus is puIyus, and Kàrijoi is qarIjoI, and Khnoqwísi is HnoQwI(hiccough)’SI.

So what symbols do you use for 1, 2, 3, 4, or 6 stomps?

Who would want to do that?


A(hiccough)S w8(stomps)a(hiccough)5(stomps)oyeHlu Qoe teIru9(stomps)Iet peI (belch!).
A(hiccoghs)S toaQIng 5(stomps)I(hiccough)ngoIS lwu(hiccough)wa6(stomps)wayoaHwen (burp!).
A(hiccoughs)S tneIva vyIer toaQIng 9(stomps)5(stomps)ontarn 9(stomps)eme9(stomps)a
9(stomps)noIqe tlhI6(stomps)wayumpul toaQIng lrene5(stomps)a ghalogho (belch!).
9(stomps)noet a(hiccoughs)S SoI6(stomps)Hanunu HleIt qoaQIng tne7(stomps)enar jaQwo
9(stomps)noe Hetya9(stomps)mIteyungpu HrIn (burp!).


Ás wtsáthoyèkhlu qoe teiruxhiet pei!
Ás toaqing thíngois lwúwajhwayoâkhwen!
Ás tneîfha fhyiêr toaqing xhthòntarn Xhèmexha
Xhnoike tlhijhwayùmpul toaqing lrènetha qhàloqho!
Xhnoet áss soijhkhànunu khleit koaqing tnèxenar †Jàqwo
Xhnoe khetyaxhmiteyùngpu khrin!


Aîya, I give you good beads if you never do that dance again.

Here’s a longer one just for the Empress.

eIghor Qir te(hiccough) 8enaHlI(hiccough)Hontet pu(hiccough)r qer eIyIng 9(stomps)era 5(stomps)o(hiccough)loyaSwaor (belch!).
Eighor qìr té tsenakhlíkhòntet púr ker eîying xhèra thóloyàswao .

lwaquyInepwo HI’5(stomps)auya8(stomps)ero6(stomps)wan tlha(hiccough)Hu9(stomps)rIet QIr 9(stomps)re(hiccough) teIghatna(hiccough)yaloI qer 9(stomps)Inar 7(stomps)u(hiccoughs)yepyer vIIQtIqeIyupwarnatoa qeI9(stomps)rejor 7u(hiccough)(burp!).
Lwaquyinèpwo khíthauyatseròjhwan tlhákhùxhriet qìr xhré teighatnáyaloi ker Xhinar xúyepyer vhiiqtikeiyupwàrnatoa keixhrejor xú.

9(stomps)noet SI7(stomps)Iye’jaro6wan w5(stomps)a’ Qte 9(stomps)nIpI’reu. Saora7(stomps)euS atlheIlulHa tepo aghuS Hne7(stomps)eu5(stomps)aya7(stomps)euSempaI qeI9(stomps)rejor tepo. UQte. eS atlheIl 9(stomps)5(stomps)IteIye9(stomps)yeu 9(stomps)mIr w5(stomps)a’yepyer vuIQlolI qeqeI9(stomps)rejor Qlo’mepaH w5(stomps)a{hiccough)(belch!).
Xhnoet sixiyéjaròjhwan wthá qte, “Xhnipíreu! Saôraxeus atlheilùlkha tepo’ aghus khnexeuthayáxeusèmpai keixhrejor tepo,” uqte. Es àtlheil xhthiteiyèxhyeu xhmir wtháyepyer vhuîqloli kekeixhrejor qlómepakh wthá.

QIr te(hiccough) e(hiccough)jaro6wan w5(stomps)a(hiccough) Qte 9(stomps)nIpI(hiccough)reu. HnIISI7(stomps)ISaora7(stomps)euS 9(stomps)mIlpento 9(stomps)roe yIng yontet jIengayaponya tIegha6Ha6ya jIrnano(hiccough)qayaloI po(hiccough)ne9(stomps)mI tepo 9(stomps)moe yepyer HnIISI7(stomps)ISaora7(stomps)auS Hu(hiccough)lulHayIng p(hiccough)ne9(stomps)mi w5(stomps)a(hiccough)ye6uH Soe 5(stomps)yepreQa tepo9(stomps)rejor Horna9(stomps)erayaItlho Qe(hiccough). UQte (burp!).
Qìr té éjaròjhwan wthá qte, “Xhnipíreu! Khniisixisaoráxeus xhmilpènto xhroe yingontet jiengayapònya tieghajhkhàjhya jirnanóqàyaloi pónexhmi tepo xhmoe yepyer khniisixisaoráxeus khúlùlkhaying pónexhmi wtháyejhukh soe thyèpreqa tepoxhrejor khornaxherayaîtlho qé’,” uqte.

joyImupwarn qaInoIr 9(stomps)a(hiccough)H Qoe jae 8(stomps)ena9(stomps)mIlpentoya9(stomps)miHontet jIenga Saorupwarnavam QIr 9(stomps)re(hiccough) Sa(hiccough)ra (belch!).
Joyimùpwarn †Kainoir Xhákh qoe jaê tsenaxhmilpentoyaxhmikhòntet jiênga saorupwàrnavham qìr xhré sára kae wtháyaxhwa.

eIghor Hye(hiccough)ja QlalajaQwo ejaQe ve(hiccough)rmeu. 8(stomps)ena7(stomps)u(hiccough) 7(stomps)u(hiccough)yepyer HlI(hiccough)HIng qu(hiccough)9(stomps)mIyu9(stomps)wI. eS 6peptIya5(stomps)nema9(stomps)wa peIya9(stomps)wa qeIpejoS Saor lya(hiccough)ra8(stomps)er 7(stomps)u(hiccough). ghaoSaorevtoyaIpoIn Ho(hiccough)rtulHa lya(hiccough)ravam 7(stomps)u(hiccough) 7(stomps)u(hiccough) 9(stomps)moe (burp!).
Eighor khyéja †QlalaJàqwo’ ejaqe, “Vhérmeu! Tsènaxú xúyèpyer khlíkhing kúxhmiyuxhwi. Es jhpeptiyathnemàxhwa peiyàxhwa keipejos saôr lyáratser xú. Ghaosaorevhtoyaîpoin khórtùlkha lyáravham xú kae xú xhmoe.

9(stomps)nIpI(hiccough)reu. ghayoyIma7(stomps)eus po(hiccough) 9(stomps)noIqe ghavavalyala7(stomps)euS teIghaHlI(hiccough)HulHa QIr toa po(hiccough) jo(hiccough)te9(stomps)yeuyaIpoIna7(stomps)u(hiccough)ng teIghapu(hiccough)rulHa qo(hiccough). EjaQe (belch!).
Xhnipíreu! Ghajoyimáxeus †Pó xhnoike ghavhavhalyaláxeus teighakhlíkhùlkha qìr toâ †Pó jótexhyeuyaipoinaxúng teighapúrùlkha kó’,” ejaqe.

Se5(stomps)yepreQayunyIe qu(hiccough)9(stomps)rejor 9(stomps)rIr toa 9(stomps)erayoHnoyu9(stomps)wI qaInoIr 7(stomps)orval aIghor Saor 9(stomps)mIlpentoyulHayIng e9(stomps)repa qequ(hiccough)9(stomps)nI (burp!).
Sethyepreqayùnyie kúxhrejor xhrir toâ xherayokhnoyùxhwi †kainoir Xorvhalaîghor saôr xhmilpentoyùlkhaying èxhrepa kekuxhni.

aIreyunyIe vaval eItlhI Qe(hiccough) vavalyalupwarnejet HlI(hiccough)HulHa Horna9(stomps)erayulHa QIr toa uIpva 9(stomps)noe 9(stomps)rIr toa Se5(stomps)yepreQa ku(hiccough)9(stomps)rejor teIgha6Ha6yayoHno 9(stomps)era 9(stomps)a(hiccough)H (BELCH!).
Aireyùnyie Vhavhal eitlhi qé vhavhalyalupwàrnejet khlíkhùlkha khornaxherayùlkha qìr toâ’ †Uîpvha xhnoe xhrir toâ sethyèpreqa kúxhrejor teighajhkhajhyayòkhno xhèra Xhákh.

Isn’t that the most sophistomocated stomping and hiccoughing system in all the worlds?
Aîya to the Empress, hail!