Minstrelsy of the New Year

Even More Translations

Khéxhi
Nineteen

The following poem actually breaks itself up naturally into some smaller stanzas. I would like to think that there is a story to go with these. I could almost imagine someone, perhaps an acolyte or an initiate into the mysteries of the sylvanhood who has eaten nowhat but honey porridge and cheese for a long time, and spends all of his free hours reading histories by candle light.


Ptàxhi xhnoe Xhlàton Jhìthing.[1]

Íng.

Poaqe kiês
Khrinalwos khmaô’
Akekhèsatser
Ximleyòlkha’ Eilònwo
Lyíyatser qìfhis khrin
Xhweîrthna xhmemlìyejikh
Jhpekhoqhàyatser
Xhloeyòlkha’ Eqhùsqii
Qthopayaôngi khrinájhei
Pejor fhànto
Pajeqenkhàyatser khrin
Àkekhes
Ximleyùpwar’ Eîlan?

Honey Porridge and Cheap Cheese

One:

An thou and I, dear ones, lie down
Here
While the Sun accidently warms
Our blood
Although dear thou and I nowhen talk,
Half·heartedly thinking,
While the Sun cherishes, warming
Our blood,
Will thou and I be dear loving ones
In the end
As both of us allow
The Sun to set out to warm
Our blood?


And the words used in the above example are àkekhes those who heat, warm someone or something and Eîl the Sun, the Prime Sun of Glossopoeia, the name for any Cælestial Emperor, and Eqhùsqii is another name for the Sun, and fhànto means end, endings and jhìthing those who are cheap and jhpèkhoqha those who cherish, warm, love someone or something and khmaô those who are here, present, nigh and kiês, kèkies those who lie down, recline and lyí, lyímet those who talk and ptàxhi honey porridge and qènkha, qeqènkha those who permit, allow, let someone or something and qthòpa love, those who love someone or something and xhlàton cheese and xhloê my or our blood, cytoplasm and xhmèmli thos ewho think of, ponder someone or something and xhweîrthna, xhweirthnelínge those who are half full, half-heartedly are or do someone or something and xìmle my or our blood, cytoplasm.


Éng.

Fhafhtònthe
Qir oâqe thìmlulu xhroe yemfhoi
Fhoayájhei púxhni
QlalaKhyeuxiyàqlas
Eqirxùyatser
Xoiqhayengaxóqoayòlkha lyàpya pfho
Káwa xhàxhlan?
Fhlámèfhto tlhèkhar xhroe’
Áyòtya’ éyùtya pónt pae khrin?
Thiperjayájhei khmuthuyepakhàjhwen ker qyoân
Jìnwa sir íkhutakh fheil
Pfhùjha fheil fhúra
Pejor thaôta PetsirFhriîxe
Jhefhaoyèxhyeu khneitàyaloi?
Lrajhusàlwos qòrpro
Khmìto khmeneinàjhwen
Xhwaôptu fheil
Pròyo xhroe’ AinoirKhlór xhroa’ ei?
Xhrexhrépa khréxhye khyi pú
Wthaôyi khli pú?
Ptùtsur eiyájhei
Fhàjhaqot pú
Khnefhaorèxhyeu XauXhlinthakhèthya?


Two:

Can I sit back to back
Too lóng
In the middle
Of the Royal Stars
While
Swift Khnìnthan coffee
Is upon my smacking lips?
Can thou and I, dear ones, spend more
Life and tyme for ourselves?
Will the state of growing pale, to wit, keening, chance to spring
Towards Bealtane
Ør towards life ør decay
As the Agèd Stars come,
Cold at night?
An instances of pain are distant
Doth thinking help
Ør only
Cool the Blessed Stars?
Do I heal more
Than I hurt?
Is it better that
I be dead,
Cooling as the Beloved Stars?


Okay, so the words used in this section are á life and é tyme, both of them prime examples of sound symbolism in Language, and engaxóqoa* lips and eqìrxu thos ewho are in, at, on, in the presence of, near someone or something and fhafhtònthe those who sit back to back to, disagree with someone or something and fhàjhaqa, fhàjhaqot those who are dead, the Dead and fhlám those who are poetick, do, spend, spend tyme, lead, drivë, make, ago someone or something and fhriîxhe heavenly bodies, island planets, stars, volakop, avia; Angels, the Skydancren, Sky Lords, lo, hul, quyλur, č’aska, uvluġIaq, zevle and fhúra rot, decay and jhèfhao those who are cold and jìnwa sir íkh Bealtane, Daphnephoria, the fifth month and káwa Khnìnthan coffee and Khlór who are the Stars, Angels, Skydancren and khmènein those who think, advise, remind someone or something and khmìto, khmìta those who help someone or something, are related to someone or something and khmùthu, khmùthuthu those who grow pale and khnèfhaor those who are cool and khneîta night and Khyeûxi being another word for the Stars, Angels, Skydancren and lràjhus those who are distant to someone or something and lyàpya those who lick, lap, schmack the lips and pfhùjha life, essence and pròyo, proîyo those who cool someone or something and ptùtsu, ptùtsur those who are best, better, preferababel to someone or something and qòrpro, qoîrpro pain, instances of pain and qyoân, qyoâma those who keen, weep formally or loudly and thaôta, thaôteqhe those who come and thìmlu, thìmlulu those who are old, of much age, having existed for a long tyme and thipèrja those who move, hasten, spring and tlhèkhar those who are many, more, much, a word which is fain to take the partitive genitive form of the locative case, and wthaôyi those who hurt someone or something and xhàxhla, xhàxhlan those who are swift and Xhlìnthakh, Xhlinthàrkhu another word meaning the Stars, Angels, Skydancren and xhrèpa, xhrexhrépa those who heal someone or something and xhwaôptu those who are without cause, without reason, by chance, only, merely someone or something.


Áng.

Pejor julùlrot
Pejor plét xhretoyùlkha
Xhríri thielòkhno pú
Koa se sas qhàjhat pú.
Íyai’ ur qoe pú qé
Tratiyàlwos xhnir qé’
Ei xhmúrlùlkha tèqta pfhu kus
Xhthaê xhmuju qé.


Three:

In a wild goose chase
While playing Qhíng playing cards
I left away from the ground
Where I lay.
An they try
To ensure that I return,
‘tis wary smiles
They will receive, friends that they are.

Okay now this stanza employ the words íyo, íyai those who return, and I must say that word does have a rather irregular marked form, doesn’t it, and julùlro, julùlrot wild goose chases, futile journeys, fruitless efforts and plét play, those who play games and qé persons, people, men, somewho, anywho, an impersonal participle of course, and qhàjhat those who lie, are supine, horizontal and tèqta, tetèqta those who are tired, weary and tlhiêl ground, floor, boards and the word tràti which means those who try to do or be someone or something, and when used as a composite modal tràti xhnir X means X tries to … and xhmúrl smilen, those who smile and xhrèto, xhrètor which are Qhíng playing cards and xhríri thos ewho go away, leave, depart and xhthaê, xhthaîyeqhe those who take, receive, grasp someone or something from friends, family, clan.


Úng.

Fhìrem xhthitlhèwomern.
Kòmla tlhir èwim.
Qtiên xhlir xhwoê.
Qoêr xhèmlayant pákhuqei.
Khliên ólu ker khnaîlali.
Theumarlòntrint protlhayàqwa.


Four:

My stomache snarleth.
The mind doesn’t care.
The kitchens chance to be empty.
The bookshelves with parchments are full on purpose. Lines of verse verily are food.
Works of prose it is that are sugary drink.


And the conclusion of this little poem uses the words èwii, èwim brain, mind, soul and fhìrem those who growl, snarl and khliên lines of poetry, verses and khnaîlali food and kòmla which means indifference, apathy and one usually finds it in the expression kòmla tlhir X which means X is indifferent, apathetick, doesn’t care, it doesn’t matter to X and pákh a word for books, parchments and pròtlha works of prose and qoêr those who are full of someone or something, contain someone or something and qtiên those who are empty and theûmarl drinks and xhèmla shelves, bookshelves, bookcases, philxima and xhthitlhèwomern my or our stomache and xhwoê kitchens, pantries, athans, kuk, roduga, slosk, collue, kegyn, iggavIk.

Júxhi
Twenty

Oh my Sister, I’m afraid that the poems coming from the Void become even more ridiculous and confusing.


Kelin’onismós

Éélt éélte kélin’òn
Kalàx-s óóras áq’ousa
Kaloùx-s eniautoús
Epìx q’astéra leuká
Epìx nóóta mélaina.
Palátan su prokúqlei
Ek píonos oíkou
Oínou te népastron
Toroû te kánustron
Kaìx púrna kelin’òx-n
Kaìx lekitítan
Ouk apòteîtai. Póter apíòòmes èè lafh’óómeta?
Ei mén ti nóseis. Ei n’èx méé ouk eásomes
È tàx-n q’unaîka tàx-n ésò katèménan
Miqràx mén esti khr’an’íòs min oísomes.
Alyei pérèx-s ti
Meq’a n’éé ti pérois.
Ánoiq’ ánoiq’e tàx-n túran kelin’óni
Ou q’ar q’érontés semen alyàx pain’ía.

The Swallow Song

The swallow is coming, is coming
Bringing hours of beauty,
Years of beauty
On hir white belly
On hir black back.
Bring on the cake of fruit,
From your fatted house,
And a cup of tea
And a basket of cheese.
And the swallow doth not disdain
White honey bread ør manna ør
honey·porridge, either. Should wee go, ør get somewhat? An you give us somewhat goodly, but an you don’t, then wee won’t let you be. Wee’ll carry away the door and the lintel,
Ør your wife sitting inside.
Shee’s small, wee’ll carry hir easily. But an you give us somewhat,let it be somewhat big.
Open, open the door for the swallow,
For wee are not old men, but childers.

I think you may find the vowel system of this form of Gibberish quite interesting, oh Princess. Like the Hymn to the Earth of Song before us, it seems that the vowels have complex interplay between musical pitch accent and length. Or at least I think so. There are a few óó and èè and éé floating around. Part of me thinks that it may even be possible to create some sort of coherent vocabulary from the example above. For instance hóóra seems to mean something like tyme period, moment, right time, fruit or something like that. Púrnon or lekitítès must mean manna bread. I’m thinking that q’unaîka means concubine or wife, but I cannot be entirely sure.

As far as I can manage it, the poem is about Xhèthifhes, the Sparrow who is one of Our Lord Raven’s dreams. And anything associated with your Uncle on the slightly demented side of the family is going to be less than understandable.

Í’ í’ íri’ oâr Xhethifhesanìngpis
Kokotràyatser tlhusayaxhmikhòqleng
Kokotràyatser áraukaqiyaxhmikhòqleng
Pfhèkoi ptélaloi qir pyáxoi ptèsya.

Fhwíwerathimo’ árnaxa qoe’ uqhanàsta
Xhrir khwiêtha xhrìtsefhu
Qoe tlhutlhùlwu tlhotlhòxhwe qhíkhoweyàswaor
Qoe fhànxhe pormètepol tú!
Xhnoet jhopaingate jhpùqte xhroe’ atlhúlefhel xhroa jaipàyepakh
Qhesémuru so qir oêl xhmàxhre xhroe
Xhnoe ptàxhi so jaiXhèthifhes.

Hee cometh, cometh, going, going on purpose, Sparrow, the Dream, bringing beautiful seasons for friends
Bringing beautiful years to come for friends
On his shining breast, on his back, bottom, tail, back of hand, neck and hand of black, red, and pueyrple.
May you honor them and me by rolling outwards cookies
From the house that acts as parents and older siblings
And chalices, decantren for pouring herbal tea
And baskets filled with cheese!
However honored Sparrow refuses to act to have haughty giggles, through a schadenfroh case of the uncontrollababel giggles, for loaves of honey bread, manna made of xhmàxhre wheat
And honey porridge.
Jáxeyàxhwa khmixhekòyejikh fheil
Jáxeyàxhwa’ engèmejikh fhongújoyájhei poxhaxhni?
Ajenematájajathimo tóxing!
Wtsoâ wthònta xhroe fheil lwért
Fheil tlhatàrpa koaqing xhthètha
Koaqing èxhixe wtháyengit.
Xhthàrlraim wtsaîlru.
Should we men either leave, in general,
Ør take somewhat ør other?
Mayest thou, dear one, honor them and me by giving somewhat to strangren!
Perchance wee shall carry out gates ør lintels
Ør your wife, sitting,inside.
The woman is small.
Khniijhkhuiyénxhayònxhing kexhexhrejoring kepu.
Eiqhorjáxe khmufhoxhemàtejikh kepuxhmi túyalwos
Xhraufhòxhemat khméyoyùlkha aîtú!
Khautlhàmfhamat tlhàmfhamat fhormeyùlkha
Xhethifhesomleiyìngpis
Xhlikìsejet kepusurepyer uwétsi jírn kepu.
They and I shall shyly carry hir, the stranger, easily.
Nonetheless an you bring them and me somewhat
Ør other, bumbly give somewhat big!
Shyly, open, open the door
For the sake of Sparrow, the Dream,
Because they and I are not old men, but we are young childers.

I believe this song is a trick of sorts. An horde of younger children will form a posse against their older siblings who are already married and have children of their own, and the younger siblings will demand sweets or they’ll carry away the new wife or concubine. The only flaw in this theory is that consistently the participles meaning bring and give are those one would use outside the family. So either the children are assaulting strangers, which seems unlikely, or they are being extremely rude to their older siblings.

Heh heh heh.

This gives me an idea. Say, when are you and Puey getting married? You’re quite small. Karuláta and I can easily carry you away and hide you in a jar if Puey fails to meet our demands. I’m sure he’d give us some sweet cakes to have you back.

Anyway, the words used in this poem are ajenája, ajenematája those who give someone or something to strangers and áraûkaqi season, tyme, years now, years from now in the present or past and árnaxa those who go outwards and atlhúlefhel disdain, haughty gigglen and èngem those who assign, allot, take someone or something and èxhixe inside area, those who are inside someone or something and fhànxhe baskets, corbels, pannier, piŝannum, kóphinos, waⁿnabstag, flanischianz and fhongújo which means obligation and as a composite modal fhongújo xhnir X means X is supposed to, should and fhòrme means door and fhòxhe, fhòxhemat those who bear, carry, bring someone or something to friends, family, clan and fhwíwer those who roll someone or something, make someone or something spin and í movement, those who go, come and íri those who go, come, move and jaîpa, one of my favorite words, schadenfreude, silly joy, a case of uncontrollababel gigglen and jhkhuiyénxha those who bear, carry, bring someone or something to strangers and jhpùqte those who act on, do someone or something and jírn young persons, youths and khméyo those who are big and khmìxheko, khmìxheka those who leave, go away and khwiêtha houses, taighean and kòtra, kokòtra those who bring someone or something to friends, family, clan and lwért post, lintel and oâr those who go and pfhèkoi his, hir, thair chest, breast and pòrmet cheese and ptàxhi honey porridge and ptél those who shine, flash, burn and ptèsya those who are black, red, pueyrple and pyáxoi, a rather vague body part, his, hir, their bottom, tail, back of neck, nape, back of hand, nuchal part of the neck, unaji, guia and qhesémur, qhesúmuru honey bread, manna, loaves of honey bread, manna and qhíkhowe herbal tea and tlhàmfha, tlhàmfhamat those who pry someone or something, raise, open, move with a lever and tlhatàrpa your wife and tlhòxhwe, tlhotlhòxhwe decanter for pouring tea and tlhùlwu, tlhutlhùlwu goblets, chalices, grails and tlhùsta, tlhùstar seasons and uqhanàsta delicious things, cakes, cookies and uwétsi, uníwétsi eggs, childers and wthá, well we already have wthá several times in the Fundamento de Babelo don’t we, just the impersonal participle meaning persons, people, men, somewho, anywho and wthònta gates, ports, doors and wtsaîlru another impersonal participle meaning women, femalen, some or any women and wtsoâ those who bear, report, ennoise, carry out someone or something and Xhèfhitlhes which is the word for Sparrow who can be both a bird and also one of Our Lord Raven’s dreams and _xhlìkis* old men, bodaich and xhmàxhre a type of wheat, gbat, cachxis and xhrìtsefhu, a perfectly delicious word feudal mastren; those who are wealthy, rich, plushigher in rank to, outrank someone or something, umialik, act as parents ør older siblings ør cousins to someone or something and oh yes it is a word I quite know well from Fhermáta whoever put her in charge just because she’s older I’ll never know and xhthàrla, xhthàrlraim those who are small and xhthètha those who sit.

Lwóxhi
Twenty one

The next bit of nonsense I think is a xhmoâkhri litany, liturgy, mantra albeit of a very eccentrick type. I have one scrappy version of this poem, but I think it is so hopelessly corrupt that one cannot make sense of it.

Ist non timenn’um khmikh’i[2]
Okin’it sepiritum timor
P’ert qwe etsitium ofh’liwionem qwa khmors ist quasi timor
Timori ofh’sistam meo kontra ikh
Sinam khmeum perkurere animum eum
Eyus aspikiam iter afh’yerit ilye autem ko
Erit khyam khnikh’il ifh’i transierit timor ufh’i
Manefh’o unus ikh.

I take it to mean this:


Xhmoâkhrixing Xhmefhojuxújoyoâpa

Khnólas xhmojuxújor pútlhisa!
Tqorakheqheyaongiyàxhwa’ ewiiyòlkha’ ojuxújoyàxhwa.
Tsuwenetlhayiiliiyùjhwu tatramatixhnayapònya tlhétùjhwu.
Jáxe jhyaêrsejikh eîleni pfhu púxhrejor púyaning.
Pàjetárl púyan wthókh púxhrejor eiyontet xhlíxei púxhrejor ei.
Eiqhor pejor xhnoînguma púxhrejor ei khnìtlheus tsorptùyepakh púyan wtsókekhèxhyeu qtharkhyeyòjhwa púyan.
Koayoxhriesas tèfha khnólya.
Poaqing stàli syaôyejait.


The Litany against Fear

May it be not that I not in fact be afraid ør ashamed!
Fear and pain
be the killer of minds.
Fear is the wee death that, it seemeth,
compleately annihilates.
I for one shall be face to face to whatever fear I may have.
I shall permit it to go past mee and, in clarity, go through mee.
And when it hath passed by mee I shall shly turn, paying attention, with Raven’s Eyen, to set out to see the paths that climb around steep slopes.
And to the place where the fear hath gone, nowhat shall be in sooth..
I, pueyre, shall remain.


And the words used are eîleni darkleness, fear, death, moonrise and èwii, èwim brain, mind, soul and jhyaêrs those who are face to face with someone or something and ojuxújo fair, pain and qthàrthye paths that climb around a steep slope and stàli those who remain, stand and syaô those who are pueyre, only, genuine and tárl permission, pirate license from the Noble Caste; those who permit someone or something and tàtra, tàtramat those who pound finely, gniden crush compleately, destroy, annihilate someone or something and tèfha fear and tlhét fear, those who fear someone or something and tlheûs those who turn to someone or something, pay attention to someone or something and tqòrakh, tqoràkheqhe thoe who kill someone or something and tsòrptu baby blue eyen, Raven blue eyen, those who are baby blue and tsuwènetlha death and wtsókh those who pass, go past someone or something and wtsókekh those who see someone or something and xhlíxei clarity, clearness, those who go through someone or something and xhmefhojuxújo fright, fear and xhmoâkhri litanies, liturgy, mantra and xhmojuxújor tlhir X a composite modal meaning X is afraid, ashamed, X is afraid, ashamed to … and xhnoîngun, xhnoînguma those who go past, pass by, allude to, hint at, are similar to someone or something.

Pítlhe
Twenty two

First we have the jibber-jabber

Qwán’on that khé wáre * wiruln’kininga[3]
Makhn’-a miln’ust * ond month’wárust
Léon’m líth’ost * ond lop’q’eornost

Does it have the words aqhus and stuck in it? I’m not sure. Anyway, this is what I think it means:

Jhaôxhyákh ei tlhóxhàyuqei’ eyàntho se
tlhelkheiyèmpai tlhíyàswaor khnuimèlkhim
xhnoike qliteyèmpai tlhuiyèlkhim
xhnoike khwósu Khwolqayàswaor ker Ólu khnuimèlkhim
xhnoike jhyókh xhmir tlhuî khyefhaoyèmpai tlhir tlhuî.
‘Tis honored to be chanted that among the lords in the story worlds
He himself, the master, was kindest unto men,
The most politely courteous,
The best unto the Real People, the Star Folk
And hee most burned to have fame.

Surely this is planáyo, an epithet or epitaph unto thine illustrious Father, of it not a famous epitome unto some great Emperor of Old; but it could easily be applied unto your Father and great heroes to come.

And the words used in this epitaph are eyàntho lands, world, dreamlands and jhyókh rumor, fame and khnú, khnuîm, an impersonal participle meaning persons, people, men, wihts, somewho, anywho and Khwòlqa ker Ólu Real People, Star Folk, Star Folk, Original People and khwósu those who are best, eggsellent, of the best kind and khyèfhao which means those who are extremely hot and as the composite modal khyèfhao tlhir X means X is extremely hot, X is very eager to … and qlìte those who are polite, politely courteous and tlhèlkhe, tlhèlkhei those who are nice, kind, affababel and the impersonal participle tlhí persons, men, wihts, somewho, anywho and tlhóxha lords, princes, Great Names, dryhten wánax and the impersonal participle tlhuî persons, people, men, wihts, somewho, anywho and xhyákh which means what is said, words, nuclear phrases, words as primordial elements and hylen, gēr, gēryow, geren, words spoken by someone or something, enim, eneg̃, binnighthe, bulcān, bercon, avau.

Xhítlhe
Twenty three

And this is just plain fun and silly. This reminds me of one of the songs that Grandmother Tàltiin used to sing to me to get me to sleep.


Xèrqha xèrqha[4]
Xaxhmarnxhàyujhar
ketlhiyàxhmikhing
Kaqtemetiîlii fhwii.
Tlhemíwa xompèsyo
Xhnoe wtsarlkhèntu qyóyotùpwar keixhli.

Teîlepoar
pejor khyerójo khlormipeyulkhaxùxhwi
kho sqànta sqànta
xaxhmarnxhàyujhar
tqaltiiniiliiyùngpu fhwii.


The wee cute spindly Spider
Kept climbing
Up the spout
Of the tea kettle.
Head·first fell the rain
And chanced to bash the pour one,
Like washing clothing by beating.
‘Twas sunshining
While making all the rain arid
So the wee cute Spider resumed
Kept climbing
Up the spout.

And the words are kàqte, kàqtemet those who are spindly; the Spindly Folk, the Spidren, xotlatlacotick and kètlhi kettlen, tea kettlen and khlòrmipe rain and khyerójo those who make someone or something very dry, arid and qyó, qyóyot those who are poor, unfortunate and sqànta those who leap, climb someone or something and teîl sunshine, solastals, howlsplann which is of course one of the names for thy mother, Xhefhiênil Khnoqwísi, sister to Our Lord Raven, and now one of the holy Regents, and we see tlhemíwa those who fall, go head-first, are precipitous and tqàltiin which is a tpe of spider, raänid, attorcoppa and wtsàrlkhen, wtsarlkhèntu those who beat, bash someone or something with no evil intent, wash clothing by beating and xaxhmèrnxhe, xaxhmàrnxha spouts, guttren, runnels, cascades and xèrqha those who mount, climb someone or something and xompèsyo rain.

Tlhétlhe
Twenty four

Oh Éfhelìnye, I am not entirely sure what the following poem is, but I get the impression that it is an hymn. On one of the sheets of the notebook I stole borrowed from you are words Kan’mon mae p’auaepo which I think must just mean in the words of language, kàrul, songs of joy, hymns, teocuicatl, hüm, onez. It has taken me some time to track down some actual text for this poem, and at last I found three different versions of it. Two of them seemly closely related to each other, at least as closely related as jibber-jabber can be. However, I think that somehow all three of these must be related in some way.


Nu we xh’ulon kh’eriq’ean[5] * kh’eop’onrikes wearn’
Meoton’es meakhte * onn’ kh’is motqethangq
Weork wuln’orp’an’er * swa kh’e wunn’ra q’ekhwas
Eke N’rikhten * or onstealn’e
Kh’e arrest xh’eop * eorth’an fh’earnum
Kheop’on to khrop’e * kh’aliq’ xh’ipenn’
Tha midangearn’ * monkikhn’es wearn’
Eke N’rikhten * ap’ter teon’e
P’irum p’oln’an * p’rea almikhtiq’


Nunq laun’áre n’efh’émus * auqtórem réqni cailéstis
Poténtiam Qreatóris * et konsílium ílyus
P’áqta Pátris q’lóriyai * qwomón’o ílye
Kum sit aitérnus N’éus * ómnium mirakulórum aûqtor etsitit
Qwi primo * p’íliis kh’óminum
Kaîlum * pro kúlmine téqti
N’ekh’inq téram * kústos kh’umáni q’éneris
Omnípotens * qreáwit


Nu xh’ilun kh’erq’an * kh’ep’anrikas uarn’
Metun’as maqti *
enn’ kh’is motqin’angq
Uerk uuln’urp’an’ur *
sue kh’e uunn’ra q’ikh’uas
Eki N’rikhtin *
or astelin’a
Kh’e arist xh’op * aln’a fh’arnum
Kh’efh’en til khrop’e * kh’aleq’ xh’epen
Tha min’ungearn’ * mongqinas uarn’
Eki N’rikhtin * ap’ter tian’a
P’irum p’oln’u * p’rea almeqtiq’

And this is what I think it means in Babel, the Language of the Land of Story.


Qìr pé’ euxéjar xeyéxhoyànwa †Fhúru †Khruníwaxhyayètyikh
lrangenóqhuyùlkha lràneyot pfhu yontet
Xeyéxhoyànwa teiqhafhoasùtya
†Khlaexaôngixing khnófher kae xhnoipe
xeyéxhoyàxhwa teiqhaxhméyùtya teiwàxhmina qthaêt pfhu†Tsenaqriyángpa xhroe qorlíyakh xhroa
khnér tepuxhnixuxhwi

tqaôrm stapùyatser prexhixeyùlkha
khorna xhmir jhyú syeuyaswaorùxhwi †Tèfhel †Tùnthar
sir xháxe pfhiqelòtatser tlherernaniyùlkha tlhóqoas oatlhaxuyèxhyeu
xhmir ámepfhentókhaôxhri †Xhiîqlim †Xhàqhim
Ajaxíjoyatseròkhwoim ker àqlasu †Xhtháring xhmoe’
†Aikhtèrnem áxòyejikh thèrka xhmoe thá.


Now, speaking poesy, all of us, you and I, ought
To begin singing praises unto the Maker, the Protector
Of the heavenly kingdom,
The creativë Measurer’s
might,
His mind’s
intention, being the work
of the Father
of glory,
for the Eternal Starfather,
the author, stablished beginnings for each wonder, for every miracle,
for the Holy Maker first shaped the heavens
as a roof above
for mortal childers,
For the Eternal Guardian
of the photonick living made the mortal realms
in the middle,
making it whole eft.


I suppose, oh Princess, you could use this little hymn as an example of how one repeats the predicate in order to indicate multiple objects. Also you may wish to mention that in this case the first three objects are in the partitive genitive form of the locative case, so I have translated it as begin to sing praises unto although one could translate it as sing some of the praises of.

In fact, my Sister by marriage, in honor of all those boring lessons and all the times that Grandfather Pátifhar used to make me and my Sisters draw diagrams for complicated sentences, I’m writing this hymn again and writing a bit of a literal translation aneath them, just for your joy!

Qìr pé’ euxéjar xeyéxhoyànwa †Fhúru †Khruníwaxhyayètyikh
Now, speaking poesy … to begin singing praises unto the Maker, the Protector
lrangenóqhuyùlkha lràneyot pfhu yontet
of the heavenly kingdom, and
Xeyéxhoyànwa teiqhafhoasùtya
Begin singing praises of the might
†Khlaexaôngixing khnófher kae xhnoipe
the creative Measurer’s and
xeyéxhoyàxhwa teiqhaxhméyùtya teiwàxhmina qthaêt pfhu †Tsenaqriyángpa xhroe qorlíyakh xhroa
beging singing praises of his mind’s intentions being the work of the Father of glory
khnér tepuxhnixuxhwi
ought all of us, you and I
tqaôrm stapùyatser prexhixeyùlkha
author, although/since/because/when/while/provided that/if/an/in the context that stablishing beginings
khorna xhmir jhyú syeuyaswaorùxhwi †Tèfhel †Tùnthar
for each wonder, for every miracle, the Eternal Starfather
sir xháxe pfhiqelòtatser tlherernaniyùlkha tlhóqoas oatlhaxuyèxhyeu
first, although/since/because/when/while/provided that/if/an/in the context that shaped the heavens, to be roof above
xhmir ámepfhentókhaôxhri †Xhiîqlim †Xhàqhim
for mortal childers, the Holy Maker
Ajaxíjoyatseròkhwoim ker àqlasu †Xhtháring xhmoe’
Although/since/because/when/while/provided that/if/an/in the context that the Eternal Guardian of the living
†Aikhtèrnem áxòyejikh thèrka xhmoe thá.
Made mortal realms in the middle, and making it whole afterwards.

And now to give you a list of words used in the poem above. We have aikhtèrnem those who last forever, are eternal, outside of tyme, ter yénion yéni, in sæcula sæculōrum and ajaxíjo Lightlands, the Mortal Realms, Tír na mBeo, eormengrund and ámepfhentókhaôxhri childers of Pfhentókha, mortals, mortal childers and àqlasu thos ewho are in the middle of someone or something and áxo people who are alive, zoetick, maisha, photonick and euxéjar those who praise someone or something, speak poetry and fhoâs might, strength and Fhúru Creator, Maker which is a title for the Heavenly Father, and jhyú admiration, surprise, wonder, burzud and khlaê those who measure someone or something and the composite modal khnèner xhnir X X ought to, and it comes from the word khnér, khnèner goodly, holy deeds; those who do goodly, holy deeds; those who bear, carry light, flammifren, signifren and we have khnòfher those who create creative works and khruwàxhya, khruníwàxhya prophets, protectors, attendants, amphípoloi and lràne, lràneyot those who are heavenly, cælestial, divine, heofonliċ and lrangenóqha, lrangenóqhu viceroy kingdoms, civitas, viceroy kingdoms and oâtlhaxu those who are above someone or something and pfhìqel, pfhìqelot those who craft, forge, shape someone or something and prèxhixe beginning, isil’zha and qorlíyakh glory and qriyángpa his or hir or thair father, a title of respect for an older man, pastar and qthaêt work and the adverbial circumfix sir+ … -(x)e which means nth tyme, that is, sir xháxe means first, and stàpu means those who establish someone or something and syeû miraclen and †Tèfhel is another name for the Heavenly Father, and thá means those who come later, afterwards, eventually, after a while, by-and-by, eft and thèrka those who make someone or something whole and tlherèrnani is a word for Trernanóqha, the Heavens, realm of the Songlords, Nether Ones, Earth Lords, heofon rodor swegl wolcno, ŝamû and tlhóqoas roofs and tqaôrm authors, originators, sponsren; authority, prestige, mamlaka, lētum and tùntha, tùnthar those who are eternal, for ever, outside of tyme, ter yénion yéni, in sæcula sæculōrum and xeyéxho those who praise aloud, sing praises of someone or something and xháqha, xhàqhim those who are hallowed, holy, euphorick, ebullient, hāliġ, ebbum, ellum and xháxe we know, it means once but before sir+ it means first and xhiîqla, xhiîqlim means makren, alchemists; those who craft, make someone or something, Datuval, Kara Majstro and xhmé we know well, it’s the word for intention and xhmìna* mind, intellect, brain, mōd sefa hyge myne ferhð brēosthord mōdsefa mōdgehygd mōdgeÞonc and xhthár guardians, eirēnophúlax.

Lrítlhe
Twenty five

And oh my Sister, I conclude these translations that I can send you with a final hymn. This one is to a place called Amérika, which is obviously not a word in Babel. I think that it must be another name for Qamélo, but I have been able to find no reference to the utterance Amérika in any scroll or book. I was about to put the name Qamélo into the song, but thought better to keep it as close to the original as I could.


Fhafhárukhh khrúje’ Amérikayupwar
Tná pfhu khmírafham pú kae †Xhákhanàxhwa!
Ás thìtar koaqing oât †Khes!
Ás tneûkh keixhrejoring †Khes
Uixèyaloi xhlir úru xhàmayim si!
Xhrir ijótlha fhàqheso pae
Xhmir kí talapaliilwaîtepol
Fhafhárukhh khrúje’ Amérikayupwar
Poe khámim pfhu yoqlengantong †Xhákhanènwe!


May the Starfather succeed in blessing Amérika,[6]
The dreamlands that I love!
Be it that the Dear One stand beside it!
Be it that the Dear one lead it
During the nights with a fire from heaven!
From the whispering mountains, to the fields
To the seas that are ful of white sea foam
May the Starfather succeed in blessing Amérika,
My own esteemed loverly home!


And of course the words used in this hymn are fhàqheso fields and fhárukh, fhafhárukh those who bless someone or something and kháma, khámim homes, home country, domicle, habitit, kwetu, kwenu, kwao, wala and kí seas and tàlapal sea foam, foamfays, aphrós, kEgjEn, gjEkE and thìtar those who stand and tneûkh those who lead someone or something and uîxe nighttime, night and úr, úru fire, light, ha, a and xhàmayim heavens, outerspace, luminiferous æther, sky, welkin, welkin of dance, heofon rodor swegl wolcno, orhnio.
And of course there is the anomalous word Amérika which does not seem to have any meaning at all.

Well, my Princess, my Sister by marriage, I have given you all of the words and poems and utterances that Puey has been able to capture from the swirl and chaos and darkness that lies at the edge of all things.

I look froward to seeing you soon, my dearest Sister. And I sincerely hope that you don’t mind that I’ve already taken all of your stuff, at least all the stuff that Karuláta didn’t take first.

Lots of love!
Bring me presents!

Siêthiyal
[1] Porridge and Cheap Cheese by Ben Garren
[2] The Litany against Fear by Frank Herbert
[3] Epitaph to Beowulf
[4] The Itsy Bitsy Spider
[5] Cædmon’s Hymn
[6] God Bless America

More Translations

Epistle CXXVII: More Songs of the Void

My Dearest Sister, Éfhelìnye

Greetings.

Puey has just sent me a copy of the rather momentous guide that you’ve writ about Mode and Mood and Voice in Babel. I do believe that you’re right in your analysis, for a compleat understanding of Babel Grammar comes not just in learning the meaning and ordering of the various affixes, but in understanding both the Case system and the complex and sometimes baffling interplay of Mode and Mood and Voice.
I am a little concerned though that you have spent a few hundred pages working just on the Passive Voice alone. One almost starts to question the usefulness of the Passive Voice since it seems so complex. But then again, since it seems so utterly ubiquitous in language as we know it, it would be foolhardy to ignore it.

I guess the rules that you’ve dreamt up for the Passive Voice in Babel succeed in being both mind-bending and logical and sense-making and silly all at the same time.

I have managed to detect a few more intonations or songs eminating from the Void of Language, and I shall reproduce them for you as best I can. As to whether or not the translation even comes close to the original, I shall leave in the more capable mind of thee thyself.

Lríxhi
Fourteen

Kùxh’eqáàros-xh’u jh’áàq’un’a-‘ ùthe[1]
Q’nákùxh’eós tsùr kókáàtha tsùrán
Ksáàrathas tyeyèkhwe’ umyáàrtakh’e xh’exh’èlen
Xh’áàkh’ Máànya xh’áàkh’ Mumùya
Jh’iyáqeyeke-xh’u yáàrexh’ kèru
Yárexh’ìra jh’ìyaqeyènxh’a-xh’u qáànyaye
Q’nátìyeìnxha-khwe tùngóqèrónxh’a
Xh’áànguós-xh’u osráàkhrata lyeyèjh’a khwáàq’ata
Kùyuxh’ìmuntheóònxh’a-xh’u lyeyèxh’i
Jh’ùrutnìryinxh’a-xh’u jh’ùyirtnìryike-xh’u
Lyeyèkh’axh’ ksìruxh’khwà kèrù
Q’náàksyekxh’áàkea-khm’a ksóòxh’eáàthase
Rùyujh’áàn’ayetnìrónxh’a-xh’u xh’ìle
Rùyujh’áàn’asetnìrónxh’a-xh’u tyeyèkhwe
Ksùyiryìtha-xh’u jh’àrata thùmya
Jùyireìthata tyèyerèa
Qàyakáàyas-qye tyeyère jh’áàq’un’a
Q’narènál tyeyèkhwe n’áàjaqèa
Kxh’ìruìs-jh’e xh’àyaq’ùyas-jh’e.
Flesh, gnit bone to bone
Thy withered earth
Oh Ancient Mother
Scorcht tearless thou awaitest
The Sky Lord come for to thunder
Rumbling his tonitruant belly
Withholding his urgent seed
Until he shall pierce thee with his shafts
Bequench the burning ær
Rill and pool thy dusts
Fill thy wombs with spiraling jades
Until thy flesh swells up
In the midst of breaking waves
Beclenching for release.

Kùreóòke-xh’u káàróònxh’a-xh’u
Tyèyexh’ìle tùya kxh’ìranxh’a
Q’nátsáàyanxh’a mirùthe sùxh’eóòke-xh’u
Sáàxh’eóònxh’a-xh’u kxh’áàn xh’íìle
Q’náàpóyáànxh’a káàran’akhwa
Khwáàyejh’áàn’eqéèranxh’a-khwe jíìrixh’án
Tyeyéènán nunyáàna nàngáqèránxh’a-khwe’
Ùthe jh’yeqèthelqèranxh’a-khwe’ ùthe
Lyèyekhwèa qáànyátlha kìse.
Thrust forth the Green Child
Ten sandthousand times reborn.
Squeeze him into the ær
Enjeweled by the morn
For to take sweet nurture
At thy breasts
That he might dance again
And once more blow his scents
Aneath the skies.

Now as best as I can guess at the translation, it should be rendered as something like Kàruling tsenakefhtuyèpwo The Hymn of the Earth of Song.


Kàruling tsenakefhtuyèpwo

Xaôtúyaponya
Xhnípe tlhenyiyiyòlkha koe xhraîrupu
Pejor wthènxhe wthènxhe
Xaôtúyaponya
Xhnípe fhóyeiyòlkha koe xhraîrupu
Pejor khàntraja
Xhnéyemai’ Àneta xá’ Àfharim xhmoe
Thìtlhelo quja’ èlwilu quja khwonilùlkha
Tiikhwàlatu Khaûntu xhroe Khàra xhroa
Kórmapònya
Qoe’ ei pejor khaûtlhatlha kúyanetwuring
Khmúratser teiwaqàxhles xhthaurùlkha
Khmiexhàyatser teiwaxhmáyòlkha khnármùlkha kú’
Ess soiqeyélayaîpoin túxhrejor
Teiqha xhlir jhkhùmi kú túyingaxhwa.
The Hymn of the Earth of Song

Oh honored one,
Whose flesh is gnit
To the very bones,
Oh honored one,
Whose flesh is withered
To the earth
Oh Blessed Mother, oh Ancient One,
Parched, tearless
Thou humbly waitest the Lord of the Sky
Who may come
For to cause it to thunder on purpose
Whilst his stormy stomache murmureth
Whilst he denies his energetick Starflower
Until he is fated humbly to pierce thee
With his shafts.
Áss seqheikhéxha fhaxhriyàxhmikh xhthúyel pfhu tú!
Áss sopaingateqha qafhwoyaxhmikhiîlii
Xhnoipe khwiqeyaxhmikhiîlii
Qhiêfhukul jhpufheyùtya túxhrejor!
Khauxhmaiyelónge tlhutserieyòlkha
Khàkhte tlhèwi sae
Xhnoe khmemlònthe toe xhraîrupu
Qir qoâs khwáti xhroe wtsàrfhro pfhu
Xhnoe khyàsekh kei
Xhnoe tsotsòjhwi kei!
May it be that you extinguish the burning ær!
May it be that your speaks of fine dust
Become both small brooks
And small ponds.
Humbly fill thy womb
With spiraling jade
Until thy flesh swell
In the midst of waters that break something into pieces
Until it guards something,
Until it releases something.
Wtherlkhilafhuxhlitei’ ìsixi
Pengàyejikh Tníthirlàxhmikh
Xhnir xán áng tìjhwa!
Papanafhuxhlitei kúyejikhaponya
Qir xhnoâ fhós xhroe
Khmepóker teiqhàjhatis
Eijhefherèxhyeu xhláyutyayòntrin
Toaqing tsèlpie kú’ aqhus
Lweuqayexhyeuyeqrasùngpu kú
Qhoqwiyatserampeinùngpu koe fhìlre xhroe
Qir jhètlhoa khlètlhoa xhroe kúxing!
Respectfully thrust outwards
The Green Child
Of ten sandthousand rebirths
Respectfully squeeze him
Into the cold ær
Whose jewels are the morning
To receive of some sweet nourishment
At your breasts, kin that you are, and
So that he may dance again,
While he would again blow upon his esteemed aromas
Aneath the welkin of dance!

Although I am not at all sure about the interpretation of this hymn, I can at least list the various words used in the song. They are àfhar, àfharim which means those who are ancient and àneta my or our mother and eîjhefher those who receive someone or something from friends, family, clan and èlwilu those who are without, lack, faut someone or something, a funny little word that cannot use the suffix –axúng and can only be used in the Presumptive Mode, and fhàxhri which means air, cold air, e, irri, although in the above poem it was used to mean warm air, fhìlre, fhìlrei smells, odors, aromas and fhós another word meaning air, cold air, e, irri and fhóyei those who wither and ìsixi those who go from, out of someone or something and jhàtis jewels and jhkhùmi shafts of spear, arror, or light, burs of spear, kapung, ksirux, spalun nad jhpùrfhe fine dust and kàrul songs of joy, hymns, a word we know from our Sister’s name, Karuláta, and kèfhtu _earth, tír, terra firma, between sea and heaven, earth of song, caosga, u, kalam, tika, creiza, lauziminiza, badi* and khàkhte jade and khàntraja a word which I think actually sounds like land, earth, dirt and khàra heavens, atmosphere, sky and Khaûn, Khaûntu Lords, Powers, such as the Æons and Stars and Our Heart Raven and khaûtlhatlha thunder clash and khlètlhoa heavens, the sky, welkin, welkin of dance, heofon rodor swegl wolcno, orhnio and khmèmlo, khmemlònthe those who swell, ripen and khmepóker morning, beginning, the first hour and khmiêxha those who refuse, deny someone or something and the onomatopoetick word khmúr murmur and those who murmur, the sound of murmuring and khnárm force, energy and khwàlatu those who await, wait for someone or something and khwáti water and khwìqe ponds and khwònil, khwònila tears, teardrops and khyàsekh those who hold, contain, guard someone or something and kórm those who come and lweûqa those who dance and pàpan those who squeeze, choke, hug someone or something and pén, pènga childers and qàfhwo, qàfhwomet streams, brooks and qàxhles* stomache, a Qhíng’s heart-stomache and qeyéla those who piece someone or something and qhiêfhut which also has the form qhiefhuk- after a suffix, and it is the quantifier for sand, dust, and clay, and qhòqwi, qhòqwiwi those who blow upon someone or something and seqheikhéxha those who extinguish someone or something and thìtlhelo those who wither, are withered, are parched and tlhènyi, tlhènyiyi those who gnit someone or something and tlhèwi those who spiral, coil, twirl and tlhùtserie your abdomen, bowels, womb and tníthirl those who are green and tsèlpie, tsèlpien your breasts, mammaries, bosom, cihuapilchichihualli vakShaHsthalam.h vakShoja bumasta chabDu’ ngech, intermammary sulcus, psténos, maliq’a, m’iskon, laniscal and tsòjhwi, tsotsòjhwi those who release, stop keeping, restraining someone or something and wthènxhe, wthenxhènthe bones and wthèrlkhil those who strike, thrust, drive someone or something with no evil intent and wtsàrfhro those who break someone or something into pieces and xán life, death, birth, rebirth and xhlá nourishment, food and xhmá the Starblossom, seeds, eggs and xhmaîya, xhmaiyelónge those who fill someone or something and xhrùrpa, xhraîrupu* body, flesh and xhthaûr stormcloud, raincloud, cloud and xhthúyel those who shine, burn.

I have found scribbled something at the edge of the poem. At first I thought I could make sense of it since it contained the words xoe! No! and pú I. However, I think that it is just plain Gibberish. This is what I was able to copy.

Q’oxhpux parmaq.
Qokht’aj jikhpux.
Qum’ tuxlux pú.
Xoe! Tuxlux pú.
Romance came.
I was its fool.
There was honor.
There was pain.

I have also found another version of the Hymn to the Earth of Song which goes a little like unto this.

Taix pukh fh’om je

Khomt’uxt’aj mum’lux porq’lij
Yavé qkhaufh’oq’ qul
Xhoxh tiqkh.
T’ameqkhluxtakh xej
Xhokhm’at’ xhixhtakhfh’e
Jajh’mekh q’oxhtáfh’oq’ jh’al jauxéx t’aloxht’i.
Jh’alt’aq qkhomfh’oq’ q’otxex rur.
Jh’uxh xengmei qkhekhqú fh’urq’t’aj xej
Yint’aj pam’ tem
Q’iq t’ut’uqkh tikhmeit’aj lolt’ix.
The Song and the Land are together

Oh Ancient Mother
Your flesh, ground that fire destroys
Is enjoined to the bones.
You are burnt, and
It doesn’t rain on you,
While you await the Sky Lord who came for to shout.
‘Tis as an one experiences an earthquake in the sky.
His stomache of very angry clouds is noisy, and
He denies his urgent life,
Then he shall stab you, using his shafts.
Mut’ meqkh yijh’arq’!
Fh’iqkhtiqmei fh’iqxáxmei je
Fh’ikhjh’okhjaj pukhmeilijé.
Niyatlhmokh t’ingfh’oq’ separmeixé xej
Fh’iqkh lent’aq birorjh’okhjaj xej
Fh’ixujh’jaj xej fh’itlhafh’jaj.
Conquer the burning atmosphere!
May your dreamlands become rivren
And oceans.
May spinning gemstones bring you child, and
May you grow fat, and
Grasp, and be free.
Waxnetlkh pokhmei fh’oq’púfh’oq’
Puqkh xhut’é yiq’oxh’nexh’!
Jh’alt’aq po naq’fh’ojh’mei q’ajfh’oq’
Q’akhé yireinexh!
Ngejh’lijt’aq nim watlh tlhutlhmekh yirujh’nexh
M’aj mixqáx.
M’aj jh’almei fh’ingt’aq xhuxhqáx!
Thrust the blue, yellow, green child
Born ten sandthousand times!
Squeeze and stretch him out
Who hath jewels of morning in the sky.
Proceed, so that he may drink pueyre milch at your
Breasts, and then may he dance again
And then blow again aneath the skies.

Now onto the next poem.

Fhéxhi
Fifteen

Khìlqiqi Fhenísyayòlkha[2]

Fhenísya jinalwos
Wthieyájheiyoâkhwes
Pfháwu póqi xhroe teir?
Tlhàrqha tquî póqi xhroe póxhmi
Plátìyatser túyájheixing
Khlésàlwos qùnot?
Fhìfhine jhèfhao’ ur
Qoe xhónt póxhrejor
Teirájheiyoakhwe?
Xhmaintiimájhei pó
Teiretwuroakhwe?
The Bunny-Kitten Pæon

An I, dear one, were a bunny-kitten
Wouldst dear thou eternally fill up
My bowl?
Would you set my papers, the ones dear I have, in order
In the appropriate places
An they were old?
Would thou dear one
Eternally make my dear water
Fresh and cold?
Wouldst thou eternally and dearly
Make me happy?
Pfhaulefhàrufhein jinalwos
Pfhóror khnènya’ ur qoe jin
Teirájheiyoakhwe?
Tìrlu swár póqi xhroe póxhmi
Ptáratser jinalwos
Khmupùrxhu xhroâqir
Tlhèsyo póqi xhroe teirájhei?
Jhpulayàlwos prilyaloròlkhaxing
Xhmèrir xhnir fhìmfhama
Jhwú jit kexhexhrixing teirájhei?
Xhmaintiimájhei pó
Teiretwuroakhwe?
An I were a male pfhaûlefha kitten
Would you eternally
Make me purr and cry Khnènya?
An I lost my fur, that I have,
At the appropriate tyme
Would you brush away
My pelt?
An a frivolous lass tried
To pull my tail
Would you unyoke dear me from her?
Wouldst thou eternally and dearly
Make me happy?
Ás tnótìngpen jitt teir!
Ás qhuthyimìngpen jit
Pus pus óxing poa teir!
Ás twér jitt teiraiqhor
Ás fhiêqher ur qoe qína teir!
Ás xhùrmat qìfhis jitt teir!
Lrekhqeunáxeus jit
Per xhmèjhetlhe teir!
Ás pajeqoxhwàrnyuma teir
Thúra teir keqoas keqoas tlhìntril jinexhmi!
May it be that you always dearly love me!
May it be that you dearly hold tight to me
Whoever I may me!
May it be that thou dearly grasp me tightly, and
May it be that thou cause an example of light to shine!
May it be that thou nowhen dearly liberate me!
May you dearly lift me
Who am down!
May it be that thou promise
To be near whenever I eam melancholy!
Xhmùmin jinalwos
Aorájheiyoâkhwes jitt teir?
Xhnípeyàlwos tumòtejikh jin
Qluiyájhei keipejos tqáqar pfhu teir?
Xiirametàlwos atsastòkhti póqi
Pajekhrauyájhei teir
Xhyómpiyèlwil?
Xhmaintiimájhei pó
Teiretwuroakhwe?
An I were a light bubble
Would you alwey dearly kindle me?
An dear I were being broken
Would you learn what was wrong?
An the lamp that I dearly have faded
Would you change it
Without a lóng period of tyme from now?
Wouldst thou eternally and dearly
Make me happy?
Xhmaîntiim pó
teiretwúreuyoakhwe!
Xhmaîntiim pó
teiretwúreuyoakhwe!
Xhmaîntiim pó
teiretwúreuyoakhwe!
Xhmaîntiim pó
teiretwúreuyoakhwe!
Xhmaintiimájhei pó
teiretwuroakhwe?
May thou eternally and dearly
Make me happy!
May thou eternally and dearly
Make me happy!
May thou eternally and dearly
Make me happy!
May thou eternally and dearly
Make me happy!
Wouldst thou eternally and dearly
Make me happy?

What a whimsical song that is! Oh, and the lexicals used in the above song are aôr those who kindle someone or something and atsastòkhti light, light bubblen, lamps and fhèsya, fhenísya kittens, bunnies, cute youth of plantimals and one of the names for our dearest sister Akhlísa, and we have fhiêqher those who shine and fhìfhine those who are fresh and fhìmfho, fhìmfhama silly girls, frivolous girls, lasses and jhèfhao those who are cold and jhpùla those who pull someone or something and jhwú those who unyoke, separate, part someone or something and the Relative Pronoun inflexion keqoas keqoas whenever and khìlqi, khìlqiqi pæons, songs of joyful praise or exultation and khlés old things, not new and khmupùrxhu those who brush someone or something and khnènya meowing, mewing; miauler, miauen, miovön, mliau, mīmī, nyā·nyā, miaŭ, miaŭ, those who meow like a cat and khraû those who change, alter, explain someone or something and lrèkhqeun those who lift, raise someone or something and pfhaûlefhar which is a male pfhaûlefha cat, kaz, kisier, neko, māo, caipist, miw, aboj, aboje, miovons, snurons and pfháwi, pfháwu bowls, deep round dishes and pfhóro those who purr like a cat; the sound of purring, a laryngeal ør pharyngeal ør epiglottal trill, ronronner, schnurren, snurön and pláti place for someone or something, place to put someone or something, proper place and prìlyalor my or our tail and ptár those who are timely, seasonababel, goodly, kairós and the Relative Pronoun Inflexion pus pus whoever I or we are and qhùthyi, qhùthyim those who adhere, hold tightly to, stick to someone or something and qín, qína light, an example of light, ha, a and qluî those who understand, learn someone or something and qoxhwàrnyun, qoxhwàrnyuma thos ewho mark, elect, designate, arrange, promise, betrothe someone or something and qùnot which has the form qunok- after a suffix, the quantifier for earth, solids, cereals, food, dry goods, soil, and swár my or our hair, main, fur and thúra those who are near someone or something, who come near someone or something and tìrlu those who lose someone or something and tlhàrqha those who set someone or something in order and tlhèsyo* pelt, fur and tlhìntru, tlhìntril those who are sad, unhappy, melancholy, adust, fo leann·dubh, pruddglwyfus, dreary, szomorú, malgaja, λaki and tnót love as well as those who love someone or something and tqáqar those who do wrong, incorrectly, are broken and tquî paper and túm, tùmot those who are broken, one of those deponent participles o'er which you labored to explain in your last monumental epistle maximus, and twér those who grasp, keep, hold someone or something tightly and wthiê those who fill up, compleate someone or something and xhér, xhùrmat those who deliver, liberate someone or something and xhmaîntii, xhmaîntiim a rather run word meaning those who are happy, joyous, joyful, blithe, whimsical, whimsicoracal, laoven, ĥadûm, vimik, krOm and xhmèjhetlhe those who are down, below someone or something and xhmèrir those who try, attempt someone or something but which is used as a composite amodal, xhmèrir xhnir X X tries to, attempts to and xhmùma, xhmùmin light bubblen, lamps and xhón well you had that as a sample word for water and xhroâqir those who put away, place someone or something away, far and xhyómpi days, any lóng period of tyme now, from now and xiîra, xiîramet those how fade, dim.

I must say that scribbled at the bottom of the page are some lines which I cannot quite interpret.

Xh’ou mep ts’a kh’as-r’r p’etp’lixh’ik memts’ik nyeap we mep p’etxh’mona nrotsneksniri mnat-ts’lep’a-‘ u p’na mnatmrou wo rlet-kh’ek mnatmr-xh’okh’ot u rletweslaxh’m’a xh’m’emset p’mu.

Ote t-xapa’po net-xim n-xepit n’anijh laijomin’yit n’ofh’ufh’ait limlijh n’an’apiste m’ats’e t-xaptefh’aiste nenemithe sem pem.

But I believe that those are just eccentrick ways of spelling out the following.[3]

Ól fhrát ei fhrìmeqhe Thwóyujhwayànwa kus koe fhínefha’ ewimòlkha khaqrènyoim pfho kus xhnípe tlheqàyejikhh khnónexhri qir sèsum khmàqarl xhroe khwànit pfhu keis khmarqhisèthya pejor oê xhnir ókh púsayaxhwa.
Indeed it happens that ‘tis true that I speak of Dreams, who are childers of an idle brain, Dreams who are begotten out of nowhat but vain φantasy, which is thin in substance as ær.

The little ditty-ling above employs the words èwii, èwim brain, mind, soul and fhínefha* childers, offspring and fhrát true things and those who are true and fhrím, fhrìmeqhe those who chant, speak, say someone or something and khaqrènyo, khaqrènyoim those who are idle, lazy and stupid, irresponsibibble, shiftless, silly, lackadaisical, ergaphobes, lap’a, q”iλa, katakontidzeh and khmàqarl which means φantasy and those who are φantastick and khmàrqhis thos ewho are lean, slim, thin and khwànit those who are vain, silly and oê matter, substance, things and ókh ær and thwó dreams and tlhèqa one’s parents; those who beget, give birth to, bear someone or something, walādum.

Now the best that I can tell, the next poem should best be hight after our dear cousin Xataríyona, on the Khatelèstan side of the family.

Jíxhi
sixteen

Xataríyona![4]

Xá Xataríyona Xátar
Tus khwiînaim piî
Khyetlhúqoâxing xhmoe
Jakhnakhyiîkhwo xhmoe.
AîXataríyona’ ás
Toaqing xhuîn tó tlhakhqayèxhyeu!
Pfhúkheuyáxeus teîrtlha tóqi xhroe
Stòkhle tópejo ter xhthèngu!
Khmúng quja lwósoi
Xhnípeyèxhyeu’ épayòlkha
Kùsyequ quja póxing.
Xataríyona!

Ah Xataríyona, Black Rose
With refulgent black hair
Our love acts
In the manner of a temple.
Oh Xátaríyona, may it be that
Thou, dear one, sit, silent.
May rain, falling during sunshine, cleanse
The sorrows thou, dear one, hast, for thou art soaking wet with rain. Although one’s heart was made
To be nomen,
dear I for one have fallen in love at first sight.
Xá Xataríyona Xátar
Tus khwiînaim piî
Xhaêting xhmoe
Jakhnaxhaôrle xhmoe.
AîXataríyona’ ás
Toaqing xhés póxhni tó!
Pfhúkheuyáxeus teîrtlha tóqi xhroe xhloê!
Khmúng quja lwósoi
Xhnípeyèxhyeu’ épayòlkha
Kùsyequ quja póxing.
Ah Xataríyona, Black Rose
With refulgent black hair
Our love acts
In the manner of an altar
Oh Xátaríyona, may it be that
That thou dearly sit with me.
May my blood cleamse the sorrows thou, dear one, hast.
Although one’s heart was made
To be nomen,
Dear I for one have fallen in love at first sight.
Eiqhorlwentametoâqen aiyo khlárt
Qir xomèxhoyeu koxhaxhrejoring
Xhnoe qir eîleni koaqing eingtalínge thú.
Taê Xataríyona
Pajejhpùqte khréxhye pú
Joijhijhìxoxha qlaekhèxhyeu khleit jint
Pejor khnapinthèyajókhh
Khnàrntu túqi xhroe
Khithyùyaxúng púxhni?
Eiqhorlweûqa xhwèqeqhe thú
Panikìyepakh †Puînthe si
Pársatser pársèfhto pfhe thú wtsoîno.
But, alas! the woman is crying
Upon the man’s shouldren,
And in the moonrise darkleness the man lies down.
Oh Xataríyona
Do I do it
In order dearly and humbly to curse thee
When I cannot
in fact understand
the love you have?
Natheless the man dances, lissome,
With chance that cometh from the Heavenly Father,
While going downwards, as he alone can.
Xá Xataríyona Xátar
Tus khwiînaim piî
Jhpèptaxing xhmoe
Jakhnajhkhèrpa xhmoe.
AîXataríyona’ ás
Toaqing pùpwowo tó pwòpfha!
Fhrakoláxeus teîrtlha tóqi xhroe fhònil!
Khmúng quja lwósoi
Xhnípeyèxhyeu’ tuipfhuyòlkha
Kùsyequ quja póxing.
Ah Xataríyona, Black Rose
With refulgent black hair
Our love acts in the manner
Of an offering.
Oh Xataríyona, may it be that
Thou dear one sit, alone.
Let teardrops burn the sorrows thou, dear one, hast.
Although one’s heart was made
To be engaged in being broken,
Dear I for one have fallen in love at first sight.

The above poem uses the words eîleni darkleness, fear, death, moonrise and eîngta, eingtalínge those who lie down and èpa thos ewho take, seize someone or something and fhònil tears, teardrops and fhràkol those who burn someone or something and the complicated word jhìxoxha qlaêkh, jhijhìxoxha qlaêkh those who curse, damn, wish evil upon someone or something which is really just a negative form for jhìxoxha, jhijhìxoxha those who bless, wish goodly upon someone or something and jhkhèrpa love and jhkhèrpa love and jhpèpta offerings and jhpùqte those who act on, do someone or something and khìthyu means ability, capacity and when used as a composite modal khìthyu xhnir X means X can, is able to … and khlárt an impersonal particple meaning women, femalen, ladies, some, any women and khmúng a word for Creation, Dreamtime, all the Dreamscapes but it also means anywhat created, and we have khnàpi, khnapìnthe those who understand, comprehend someone or something and khnàrntu love, those who love someone or something and khwiîna, khwiînaim those who are black of hair, have black hair, are melanocomous, sendilaht, nwetilaht and khyetlhúqoa templen, churchs and khyiîkhwo yet another word meaning love, those who love someone or something and kùsyeqe, kùsyequ those who fall in love with someone or something at first sight and lwènta, lwèntamet those who cry, weep and lweûqa those who dance and lwòsoi his or hir or thair heart and pàniki chance, luck and pars those who go downswirlwards and pfhúkheu those who purify, cleanse someone or something and piî those who are shining, bright, refulgent, resplendent and †Puînthe one of the names for the Heavenly Father, the Starfather, Aigonz the Father of Paradise, and pùpwo, pùpwowo those who sit, sit down and pwòpfha those who are alone and stòkhle rain whilst the sun is out and teîrtlha, teîrtlhai sorrows and thú an impersonal participle meaning men, persons, malen, some, any men and tlhàkhqa those who are silent and tuîpfhu, tuîpfhumet those who are fractured, broken and wtsoîno those who are unique, alone, only and xátar which is a black rose that blossoms under sunlight, and is the root for the name of our dear cousin Xataríyona and we have the word xhaêt which means altars and xhaôrlte yet another word meaning love, those who love someone or something and xhés those who sit, stand, lie, rest and xhloê my or our blood, cytoplasm and xhthèngi, xhthèngu those who are soaking wet from rain and xhuîn those who sit, stand, lie, rest and xhwèqi, xhwèqeqhe those who are nimble, lissome, lithersome and xomèxhoyeu his or hir or their shoulder.

Théxhi
Seventeen

What followen, my dearest Sister by marriage, are a series of related fragments. Once again I am not entire sure of the interpretation of them. I get the feeling that our histories and stories have somehow been filtered or strained through the Void of Language, and have been reassembled in shadows. I suppose one day you will discover why it is that we are called the Real People, but that somewhen there may exist the Fantasy People.


Fhafhel Jí[5]

Tsetsérakh qètwa sir túteka Qlúsejikh ker Khnólu’ ei lwó fhèlpipi fhúloâka xharkuyolkhayòntet Khmimfhári. Jhwíkh jhpakheiqhàyafham ú kae lritseimàxhwa Fhafhelepwo teiqhaxhwuntheqheyàxhwa jhkhèntemat quimayàxhmikh fhúlùtya tei fhúratser khyáyàxhmikh koaqoas khwéjayèfhto teiqhajhyàsqa xhroe pejor eûxhnur Qlús ker Khnólu’ aqhus lyoê. Stànaxing khámim khwaîqa xhmir jhànxhu xhmir khmùlta xhmir wtsiseyòntet pèjhyu poâ xhmoe xhmir Qlús ker Khnólu xhnoike lyoê khwùjhwairl xhmoe qir oêl kùxoi xhroe’ íkh tìjhwa pfhu ker khlòrpi’ esqilpiithayùlkha ker uwasayixhnayajókh qhenthìyaloi. Tèmlo poayeîlwai sèpel tìrim qwùngqot xhalyumàswaor keiyeilwai. Ijára stàna tìrim ker Fhafhel teixing. Fhèlpi lrilwilwíxhi Teixing. Khúl tlhir oâ Fhafhel Jí.


Fhafhel Five

‘Twas the third dawn epoch of the Φantasy People, being ten years now after the war of earth and the Khmimfhári. The project concerning Fhafhel was a dream whom one’s soul formed, a project that yearned for the obtainababel goal that it there prevent another war while creating a place where the Φantasy People and aliens can discuss thair hews peacefully. This place is a rail station, a home, a distant land, for imperial diplomats, hustlren, merchants, and wanderren, this place being for both Φantasy People and aliens, a wrapped bundle composed of fivë myriad tonnes, a spinning top of metal, that is altogether in fact alone in the night. On the one hand this place is dangerous, but on the other ‘tis the last best hope for peace. This is the story of the last floating solar complex, Fhafhel. ‘Tis year number 3771. Fhafhel Fivë is the name of the place.

The poem above does make use of several very interesting words. We have esqilpiîtha metal and eûxhnur those who are peaceful and both fhèlpi years, those who are annual, yearly and fhèlpipi years now, from now and fhúl war, destruction and fhúr those who create someone or something and ijára stories, fiction, talen and íkh tìjhwa five myriads, one starbillion and jhànxhu, jhanínxhu imperial diplomats, ambassadors and jhkhènte, jhkhèntemat those who are in the way of, block, obstruct, thwart, prevent someone or something and jhpakheîqha those who form, build someone or something and jhwíkh dreams and jhyàsqa shades, hews, colors, differences and kháma, khámim homes, home country and khlòrpi tops, spinning tops nad khmùlta, khmunílta conartists, flimflam men, huckstren, hustlren, snake oil salesmen who of course are quite harmless and who will all eventually work for me especially when you and Puey are too busy doing whatever it is that an Emperor and Empress must accomplish and I’ll get my hands on all the criminal elements left and make them swink for me and deliver me toys, toys, toys, toys, and khúl which means names and khwaîqa distant dreamlands and khwéja those who discuss someone or something and khwùjhwarl, khwùjhwaril wrapped bundlen or parcels and khyá place, country and it also means eternal life, everlasting life and I have no idea why those rather disparate ideas are considered the same word but I’m not the lexicographer of the family and kùxoi which means imperial tonnes, weight talents and lrìtse, lrìtseim project, undertaking, venture and lyoê, lyoîsa a rather generick word meaning aliens, non-Xhámi, those of the nations and pèjhyu, peníjhyu rangren, wanderren, rovren and poâ this place which is an actual participle that we usually find in the locative phrase qìr poâ here, and qètwa period, era, epoch and qhènthi night and Qlús ker Khnólu Φantasy People and quîn, quîma those who are another, additional, a second one and qwùnga, qwùngqot those who are best, superior and sèpel hope, those who hope and stàna stations of a transportion system; rail stations, space ports, floating solar complexes, ga and tèmlo those who are dangerous and tír, tìrim those who are final, last and also the name of one of those soldiers of the Blue Tribe of Khnìntha, and tsèrakh, tsetsérakh dawn, the second hour and ùwasu those who are alone, only and wtsìse, wtsiníse merchants, négociant, those who work with thair hands for filthy money and prepare blood sacrifice, tamkārum, tedel, folicio and xhàlyum peace and xhàrka, xhàrku dirt, land, earth and xhwòntha, xhwùntheqhe those who yearn for an obtainababel goal.

I should also note that upon the margins of the page I have found written that it is believed that the word Fhafhel is meant to represent it, if I understand the transcription system for the various dialects of Babel, the sound Fh’afh’el, and the word Khmimfhári is meant to represent Mimfh’ari.

And then again I think that the expression fhèlpi lrilwilwíxhi represents the year number 2258, whatever that is supposed to mean.

The next fragment is even more enigmatick, I would say.


Ei[6] tepuqi kus fhùrten khwalatùyatser eixhrejor lwuqhòyaloi khmolrayulkhayàjhwen qhangpasèxhyeu lwuqhòyaloi qhikhtayùlkha kei. Qúr fhóm xhroe wtsuloîlo xhroa ti fheil oâ koayaloisass sòjhpeka tepuxhrejor kei khnónaxhwa. Qúr xhnoe’ eixhrejor tepu qhangpasoâkhwent pejor qoîrpro’ ei.

Xhrir Jhkhár swìnta Jhkhaqwan xhroe.


‘Tis in the presence of you and me that the future realms are, waiting, in moments of change, to be born in moments of revelations. Nowho gnows either the shape of those future realms ør where it humbly takes you and me, good that we are. You and I only gnow that is it eternally born in an instance of pain.

From Jhkhár quoting Jhkhaqwan.

And this fragment uses the words fhóm forms, shapes and fhùrten future realms,places in a future timeline and jhpèka those who take, accept someone or something good and khmòlra, khmòlreqhe those who change, become different and khwàlatu those who await, wait for someone or something and lwùqho, lwòqhor heartbeats, seconds, moments and qhàngpas those who are born and qhìkhta, qhìkhtai revelations, mystical visions and qòrpro, qoîrpro pain, instances of pain and qúr those who gnow someone or something and swìnta those who quote, cite someone or something and wtsuloîlo another word meaning future realms, places in a future timeline.

And I have it scribbled here, though that Jhkhaqwan may represent the utterance Jhkwan and the word Jhkhár the utterance Jhkar. However, in mine humble opinion the sounds Jhkwan and Jhkar are not really pronouncable. Maybe Jhkhakawan or Jhakawan for the first, maybe Jhekar for the second, but certainly not Jhkwan and Jhkar. They sound like they’re missing something.

Before we leave these rather eccentric bits of barbary I leave you with just a couple more sentences. The first one is a rather enigmatic conditional. It uses the word khlúpu, khlulúpu those who die, perish and the word Tsakhatum.


Utakhiyàlwos Tsakhatumulkha khlulúpu tú.
An you go to Tsakhatum, you will die.
An you go to Ts’kh’an’um, you will die.

One scrap of paper claims that Tsakhatum is meant to represent Ts’kh’an’um which is even less pronouncable than Jhkar.

And finally I find this.

Núts’en p’eláni enálits’ men’raûn.
Nux-ts’en fel-xani in-a lís-xe men’rán.
Fh’ex laû m’ileq’takh xa xh’okh xikh laû khojh’ xikh puxh’.

And this I take to be:

Qlín khyi jaeyingpeningpènafham ó kae xing poa túyaxhwa.
You are the most beautiful woman I for one have ever seen.

And yes, those were all some rather eccentric translations.

Lwíxhi
Eighteen

We now come to another stanza in these series of poems. This one I believe to be completely unrelated unto the ones before. I do find these quite interesting, oh my Sister Princess, in that they mention the coffee such as is made in the Heresy, or what used to be the Heresy, as well as the operas that are sung in the land of Qamélo. We do have what I think may be the original of the poem, or at least as close to the original as one is liable to find within the Void.

Meqmei[7]

Pom’ tuj nitefh’ m’eng fh’otlht’aq
Qaxm’in tajh’t’aq m’ilengpú.
Tlhutlhmekh yujh’ m’ijé xej pá jifh’á
Qkhorwaq’ khum’t’aq yitfh’oq’ num’pú m’ifh’ejtakhm’is.
Reasons, logical thinking

On a hot afternoon, acting alone I traveled
In the center of the city, in the coffee saloon.
I purchase chocolatl to drink and thereabouts I sit,
While watching by the clear window the persons walking.
M’eng porq’t’aq iwu m’ikh jh’akhtakh xej
Xh’anit’loq’ naj q’oxh’fh’oq’ m’eng tiq xej
Tul xej takhm’ip.
Noikhá. Tekh. Khá. Jikhm’at’ ramqú m’ikhutlhmó.
Jiq’aj xé m’ixh’om’fh’élaû qoj jh’aq t’akh m’ifh’uxh’ m’inekhlaû.
They are moving blood in the body of the city, and
A sandthousand times the city’s proceeding heart dreams, and it hopes, and ‘tis afraid to continue.
‘Tis unknown. ‘Tis untrue. ‘Tis unimportant to mee because I lack it. It seemeth I do not gnow that I have it, ør maybe now it seemeth I do not want to think only about it.
Qaxm’in tajh’ nuq’ t’ablakhá Qkhuná?
Yinwij t’afh’ q’akh m’inekhá?
M’ijat’á yafh’wij xh’oqkhmokhmekh jixoixtakhm’ixh’
Tet yinwij xé m’ijh’aûtakhm’ixh’
Jifh’ut’takhm’ixh’ xej qaxm’in tajh’ quxh’meit’aq
Yujh’m’at’ raxh’t’aq najtakhm’ixh’?
Xameriqa’ lut t’oq’ fh’ekhóm m’irúr xé m’itulmó
Jikhm’at’ nuq’íxeq’ lut xej qkham’ xej
Yin khutlhfh’oq’ lut fh’ut’é rur.
M’iqh’el xej m’ixh’om’ xé tlhup q’oq’khom majh’
Xá tlhoi nujh’ jikh. T’akhjaj jiqkhoifhé.
T’um qaxwij xé m’ijh’aû xej
Yinwij m’ilum qaxh’takhm’ixh’ waxléxh’.
Can the Great Starfather inhabit a coffee saloon’s society? Do I want him to inhabit my life?
Do I throw Him out while I cause pain in order to close my mind, while I permit my life to melt,
While I eam lazy, and dream by the chairs of the coffee saloon, by the table for chocolatl?
Because I hope to resemble a girl of a foolish Qamélon story, the story twists its gnuckles into its head for mee, and ‘tis final, and it resembles a lazy story that lacks life. A small wee voice whispren that I gnow it and ask questions, but too much æm I a coward. Today I do not hear.
I permit my spirit to nap, and
I postpone my life while ‘tis tomorry.

I am not at all what the story or song above should mean, but I do like the phrase jikhm’at’ nuq’íxeq’ lut which I think means the story twists its gnuckles ints its head for me. At first it to me was an image suggesting pain and mental anguish when in fact I thought that the poem was saying that there should be effortless lazy ease to the thoughts. But then I think about my life with my Sisters and a little bit of sororal torment just seems more appropriate to my mindset.

Have I mentioned that Karuláta has taken all of your socks? You may not want them back. E'er.

Now as the the interpretation of the Gibberish above, I offer the following translation.

Xhàrnya
Xhmaintèyaxúng
Lweyòyatser jhkhumùyatser
Tsèrmi khmejoyaxúngèthya

Pejor xhóng
Xoatàpti sir íkhèxhyeu
Soawayàqlasing
Qhàkhwír qárngejait
Xolweîmutakh xakafhìyuqei.
Jáxe’ usitìyejikh fharnáto pfhu
Pónexhmi poaqing syétatoa’ ó poa’
Éxai xhmoqoâxaja sae xòqyu xhroe
Xhnoingùnatser ènakh.
One’s Spirit,
Not sudden thoughts
Oozing, being syrup
Like folds of cloth unfolding

Alone,
On a warm afternoon
In the middle of the town
I shyly wander in circles
Towards a Khnìnthan Coffee tavern.
It seems I purchase some hot chocolatl ør other in accordance with the caste system, while sitting therethither,
Watching through stained ani-ani-glass windows
As the people go pass.
Koe’ áqojoyapònya pèfha qé
Koaqing álra súfhaxing
Xhthèteu xhnalwaqàxhlës
Thúl íng tijhwàyepakh
Xhlir sèpel ojuxújo ser
Qoxhnekhompanajókhapònya
Keis khnólyu
Qúneraxúngapònya’
Ópejoxing poa
Keiyatseraxúngekhmit.
Khnólyakh per jáxe
Fhafhákhèsejikh keixhrejorantong.
Lwasqopaingakh thuxhimàtejikh keixhrejoroipil.
They are the blood, the pulse
In the city’s paths
Whose Qhíng heart·stomaches beat
With a sandthousand dreams
With hopes and fears
That, maybe, in fact, are compleately unknown,
That do not exist,
That, maybe, are unimportant
Unto mee
For they are not myne.
Verily I do not in sooth
Gnow, in general, the things of myne.
I eam sorry, but I unlove thinking about
Them now.
Xhnoet ól khréxhye
Jàkhya †Jámàswaor
Oaloxhnayèxhyeu tnafheyùklha?
Pajetlhatlhamájhei púsa
Poaqing kàkhake †Tlhóngu?
Pajetlhatlhamájhei púsa
Poptàqnoma quxhrèrngor †Puinthèyejikh
Púyaxhwa lwaônamat janaxhminayòlkha
Pejor tsòrtu’ oêrafham pú kae
Keyaloisas khlejhiyùthyar eixhrejor pú
Tnèreu plórpe plórpe xoiqhaxháya
Qir qyír qwìtlhim koaqing stúl fhàrxhu
tlhíniyantaràpti xhnir khnaûl wtsaô
Qir tàpa khmàxhapen xhroe
Xhnixhliyèthya xesqinàyaloi
Tsinemòyuqei Qameloyèpwo
Xhnixhliyèthya kus xhlimlùfhra sèpopa’ eixhrejor
Khneutlhèrke jululroyèlwil púxhmi’ ijára
Khneuqhiwàyatser qrákhùlkha khojaqhaiyèthya púxhmi
Jakhna pejor khaîrunu khaqrènyoim khauwamèlwil?
But is therethither
Room for the Heavenly Father
In a society of tea houses?
Do I in fact want
The Starfather in my life?
Do I in fact want
To hurl Him, driving the Heavenly Father away,
As I close my mind
To the pain I cause,
As soon as I eam inclined to permit
My life to flow, plop, plop
In lazy and stupid dreams, on the tea tavern’s stools
Near hot drinks and sweet chocolates
On tablen of marzipan
Like lasses in emotional
Qamélon operas,
Like lasses who are vague,
Hoping that
The tale will twist to mee, without a wild goose·chase, giving mee an end, friend that I am, like a drama
To my
Lazy and stupid,
Lifeless tale?
Khwiifhefhafhayiîlii’ eixhrejor
Xhwàqhunoi khyaîtot
Xhèkhramat xhnèxhyei xhroe kènti xhroa pi púyontet
Thètyuyu qlaêkh kóm pú soe jáxe khlielùyejikh qir tlhínt púxing.
Pajetárlàmpeit óxing poa
Koaqing qléng pú pú
Pejor tuníqreja tyolìmatser
Qir tìrxho qàmla xhroe xing.
A tiny voice
Is a wee whisperer, that
I gnow the answren of these questions
And that
I eam so cowardly that I don’tin fact listen in general
Today.
Perchance I should let
My soul doze
While procrastinating with hope, life,
Until the next sunset.

My, oh my Princess! That was interesting, wasn’t it? Well, I’m going to go ahead and just list the words listed in this translation. We have álra paths, roads and áqojo* blood, cytoplasm and ènakh, enàkhmet, an impersonal participle meaning persons, people, men, somewho, anywho and éxai those who watch someone or something and fhàkhas, fhafhákhas those who gnow a thing, not a person and fharnáto hot chocolatl and fhàrxhu tea bars, tea taverns, teahouse, čičeriya and ijára stories, fiction, talen and íng tìjhwa one myriad, one sandthousand and jàkhya space, room, void and †Jám, one of the names of Aigonz, the Starfather, and jhkhùmu syrup and julùlro, julùlrot wild goose chases, futile journeys, fruitless efforts and kàkhake state of being alive, life and kènti questions and the relative pronoun keyaloisas as soon as, when and khaqrènyo, khaqrènyoim those who are idle, lazy and stupid, irresponsibibble, shiftless, silly, lackadaisical, ergaphobes, lap’a, q”iλa, katakontidzeh and khaûwa, khaûwam life, lives, zuň, gĕ’dĭm·zla and khlèjhi those who let, permit someone or something and khliêlu those who listen to someone or something and khmàxhapen marzipan and khmèjo, khmèjomat those who fold someone or something and khnaûl chocolates, pieces of chocolate, iⁿaⁿigrOm, čĭm and khòjaqha, khòjaqhai plays, dramas and khùnu, khaîrunu stories, talen and khwiîfhefha, khwiifhèfhafha those who whisper someone or something and khwír those who go in circlen, turn around, wander, go astray and khyaêt, khyaîtot those who are small, tiny and lwaôn, lwaônamat those who close someone or something and lwèyo those who ooze, flow out slowly and oalòxhna society and oêr those who make, do someone or something and ojuxújo fear, pain and pèfha pulse and plórpe those who drip, are squishy, slipperly; plop, fizz, tofön, and, say, my Princess Sister by Marriage, didn’t you used to have a cousin with a name like plórpe I wonder whatever became of him perhaps you should find out what he’s doing, not like I care at all, anyway, one also finds the word poptàqnon, poptànoma those who hurl, throw someone or something on a long distance, send someone or something on a journey and the personal pronoun inflexion pú pú which means my soul and †Puînthe, which is another name for the Heavenly Father, and qàmla tomorrow, tomorry, tomorn, the next sunset, Vendémaire, aⁿkityk, amanairis, aχáram, inionghort, minč”a and the impersonal participle qárng which means persons, someone, anyone and qàxhlës which can mean stomache and a Qhíng heart-stomache and qhìwa ggifts to friends, family, clan; friend gifts, clan gifts; those who give someone or something to friends, family, clan and qléng those who doze, nap, numenously nod and qòxhnekh those who are unknown, obscure and qrákh ends, ending and qúner those who are important and quxhrèrngo, quxhrèrngor those who drive away, deter, fright off, scare away someone or something nad qwìtlhim those who are lazy and stupid, lackadaisical; ergaphobes, lap’a, q”iλa, katakontidzeh and qyír dreams and sèpel, now I really love the word sèpel it just sounds like something that it is, and it means hope, those who hope for someone or something and soâwa towns, cities and stúl chairs, stools and súfha towns, cities and syét seats, those who sit and tàpa tablen and tárl permission, those who permit someone or something and the term thètyu qlaêkh, thètyuyu qlaêkh cowards, poltroons, those who are cowardly which merely comes from the term thètyu, thètyuyu those who are cautious, prudent and thúl another word meaning dreams but it also doth mean the Dreamtime, Platonick Reality, Eden, Glossopoeia, the Land of Story and thùxhi, thùxhimat those who ponder, think about someone or something and tlhám, tlhàtlham those who are willing, will, want someone or something and tlhèrke those who twist someone or something and tlhín today and tlhíni drinks, those who drink someone or something and †Tlhóngu which is yet another name for the Father of Paradise, and tnàfhe cafés, tea hice and tnèreu those who flow,d rip,d roop and tsèrmi, tsèrmin folds of cloth, hiding places, secret places and tsìnemo emotions and tsòrtu pain and tùqreja, tuníqreja thos ewho postpone, procrastinate, prokrastadi and tyól, tyòlim world, life, hope and ùsiti those who sell, purchase, buy someone or something in accordance with the caste system and wtsaô those who are sweet, pleasant and xàkafhi Khnìnthan coffee, carcarâ, Dosifasol and xaôt sir íkh the fifth hour, afternoon, nones and xèsqina one’s spirit, Spirits, thoughts and xháya life, zuň, gĕ’dĭm·zla and xhèkhra, xhèkhramat those who gnow someone or something and xhlimlùfhra thos ewho aim for, wander towards, refer to, allude to, are vague about someone or something and xhmaînte sudden thoughts, flash of mind, sudden action and xhmìna* mind, intellect, brain and xhmoqoâxaja windows and xhnèxhyei answren and xhnìxhli girls, lasses, maidens and xhnoîngun, xhnoînguma those who go past, pass by, allude to, hint at, are similar to someone or something and xhóng those who are alone, single and xhthèteu those who gnock, beat, break someone or something without evil intent and xhwàqhunoi his or hir or thair voice and xòlwe, xòlweim tea tavern, tea bar, tea pub, teahouse, čičeriya and xòqyu stained glass.

I do wonder about these little songs from the Void. Is it even possible for one to translate something from Òrator into the Land of Story? Is the Void the remnants of the cold and darkness of Eternal Winter? Is it the chaos whence all other things arise? If the Fantasy People should exist, would they even be able to read Babel and make sense of it, or would they just toss the scrolls out the window and shrug in frustration? I would hope that they would find these pretty good translations, or at least adequate, although they may find it all funny, like when one goes to someone’s house and eats their pie or cake and one knows that they use the same ingredients but it’s just slightly different in a way that one cannot quite indicate. These words, hearing these poems, I would think, would as if hearing through another voice.

I rather like, though how the poem begins with not sudden thoughts and then lets them slowly and syrupily unfold before us, as reflexions almost. I like the stained glass and the marzipan also. Who doesn’t like like marzipan? It gives our language, and our world quite a character. I would think that translating anything into Babel, the language of Glossopoeia, would also involve transforming it into part of our dreams.
And now onto the next.
[1] The Earth Song in Quya by David Adger and Ricardo Pinto
[2] The Hampster Song by Clay Williams
[3] Romeo & Juliet, Act I Scene iv Verse 96·99.
[4] Bathsheba by Jennifer Thomas
[5] Prologue to Babylon Five by J. Michael Straczynski.
[6] Also by J. Michael Straczynski.
[7] Thoughts, by Edith Craig

January Pictures

Tlhìkalet Qhìtamet

One of the earliest sketches that Éfhelìnye wrote:

Tlhìkalet Qhìtamet
Dramatis Personæ

The Childru of the Land:

Puey

Puîyus “Enchanting, Perfumed Divine Love,” Khàtamakh Serqheyewítsa Puîye fhwii Pètwiqhe Piîwii Pípo Pìyufhe Piyufhéyon Piyúfhi Píyufho Pìyuta Ptuî Puî Puînxhe Pùkhwei Pyuwéyon Ailínos Engòmle Fhèlenos Fhífho Fhúfho Jhkhalìkekhaun Kàthweja Khèkatos Khláyelakh Khmàqhonies Khomléle Khòmleya Khòmli Khòmlil Khomlìngqe Khyùlwa Khmàneros Khlìnos Saûral Sùthat Takàsyakhar Thaôs Wtsàtakarng Xhèthyo Ojuxauróxha Qernúnos Khajuptáfha Játanikh Khnaûxi Pratlhoîqha Xhlúkh Xhluntakhlaûselar Eîlpar Tsiîkh Tsiîkher Tsiîkheil Tsiîkhiqan Tsiîyeil Tsiikhèrkhmair, a lad, of the færie folk Xhámi, Warrior Caste, Son of Íngìkhmar, Son of Jàkopar, Son of Seputritwítsa, and Son of Khwofheîlya, the Warrior Lad, the Heir to the Warrior Clan Sweqhàngqu. The story takes place upon his eleventh Starday. Hee likes talking to plantimals and wants to become a candy pirate, pilfer some muffins, and save the Starflower Princess (see below). The formal and archaick form of his name is Puîyos, and the diminutivë is Puîye, which is rendered as Puey.

And the Starflower Princess

Éfhelìnye “My Life, My Beloved,” Kháwa Teîrtlhe Eilyorieyána Stèlyarel Eiyuláriye Kòkhafha Kheyòkhporii Khmelitóte Xhèyol Erstélar Asteranása Áxhneyeméxhe Qhòyeil Eiyàsqrii Éfha Qwasáta Tsetseîlwa Paplínat of the Royal House of Pwéru, Pterúlaxhnafhúna, Spring Bride, Qtelúmastélar, Flower Princess, Mondenkind Khreultarífhing, Moon Maiden, Sinípwo, Skyborn, Somúke, Virginborn, a lass, of the færie folk Xhámi, Royal Caste, the Starflower of the Land, Emperor Kàrijoi and Empress Khnoqwísi’s only Child. For hir entire life shee hath been cloistered in hir Father’s Hidden Gardens and hath dreamt about Puîyus (see above). Shee wants to escape the gardens, paint some paintings, compile the Compleat Babel Grammar and Lexicon, write a story book, and elope with Puîyus (again, see above).

The Other Childru:
The Three Sweqhàngqu Sistren

Fhermáta “Shee Beholds With Wonder” Fhrúla Xhmaràqta Árexéxhe Úkiis Púkiis Stèlwa Fhérma Fhwàna Tesélien from the Clan Khatelèstan of the Clan Sweqhàngqu, a lass, of the færie folk Xhámi, Warrior Caste, daughter of Khmalàqlil and Tesélien of Khatelèstan, foster Daughter of honored Sieur Íngìkhmar, the oldest of the Sweqhàngqu Sistren, and betrothed to Puîyus (see above). Shee likes baking pies and wants to find some fierycrackren.

Siêthiyal “the Siêthiyal Flower” Siêthi among the Clan Sweqhàngqu, a lass, of the færie folk Xhámi, Warrior Caste, Daughter of Íngìkhmar and Khwofheîlya. Shee wants to find the Emperor’s lost toys and possibobbly change the entire Winter Empire’s œcenomick system. Shee likes floppy hats. Shee is the middle Sister. Do not call hir Siêthi.

Karuláta “Song of Joy” Khniêma Kàlyakh Wthekhasarauníya Trìwie Fhèsya Jhaûqru Khèkate Khraîtwe Khlís Khlísa Khniêm Khnitsíweyánii Xhàsyi Xhèyol Elísa’ Elìxhya’ Atrùtone Kàrula Akhlísa “Weeping Maiden who weeps for all,” a lass, of the færie folk Xhámi, Warrior Caste, daughter of Khmaryáta among the Clan Tásel and Kàlewa of the Clan Khatelèstan, foster Daughter of honored Sieur Íngìkhmar, the Dream Enchantress, the youngest of the Sweqhàngqu Sistren, and the last child to have e'er been born. Shee wants to save Puîyus and Éfhelìnye from the prophecy of the Princess’ birth. Shee is the very last child of all Creation.

Other Younglettes:

Xataríyona “Black Xátar Rose” Xeîtei Fhífhien among the Khatelèstan, a rather patient cousin to the Sweqhàngqu childers, and Ìkhnos and Pàlron, older rather dumbcluckish cousins of the Khatelèstan Clan and Eirènwa Fhenelopeîya among the Tásel, a rather peiratical cousin to the Sweqhàngqu childers, and Paloîta Fhloêt Jhworàqta Khwakhtailasàkhna and Khrùkhtii Khráfhi of the family Khróm, two young acolytes under the charge of Grandfather Pátifhar and Princess Ixhúja Tsàlkhat Pípa Fhífha Fhúfha Khmàkha Epóna of the House Pfhaqhaîtsir, the Huntress from the Clockwork Worlds of Khnìntha, the Martian Princess.



The Adults:

The Wizard Priest:

Pápo Pátifhar, Grandfather Pátifhar, “Abracadabra Man,” Thiêfhilos Xàswel Pàswel Tseîrqhus Fhófho Khyenejaróxha Khlámus Pwerpóxiru, a man, of the færie folk Xhámi, Sylvan Caste, wizard khlepìxhopa archsylvan, the Ancient One, the Sorcerer of the Forest, foster Father to Empress Khnoqwísi, former tutor and father·by·marriage to Emperor Kàrijoi, former master to honored Sieur Íngìkhmar, Grandfather to Éfhelìnye the Starflower Princess (see above). Adults call him ‘Thiêfhilos,’ but Íngìkhmar and all childers call him ‘Pátifhar.’ Hee wants to save the Princess from the Emperor’s wrath (see below).

The Librarian Tutor:

Jhakúpa Khrunàlto Khreûyeil Tònxhiin, Great·Nuncle Táto “Doughnuts,” a Tájo Dodo Archæopteryx of the kingdom Khrumaîna, a xhraulairíta scholar, tutor to the Starflower Princess. Hee hath a squamous, violet rainbrella. And hee likes doughnuts. Hee eke wants to save the Princess from the Emperor’s wrath (again, below).

The Concubine of the Sun:

Qtìmine “the Qtìmine Flower” Samájhi among the Otòrfhexes of Pwéru, a woman, of the færie folk Xhámi, Sylvan Caste, Sister to Khwofheîlya, Sister·by·marriage to Sieur Íngìkhmar, dear Auntie to Puîyus and his Sistren, an khuníromu Vestal Virgin of the Sun, one of the Emperor’s concubines.

The Holy Rose Gnight:

Arxhiênakh Sieur Íngìkhmar “Melancholy Blue,” a man, of the færie folk Xhámi, Warrior Caste, Son of Jàkopar Khmàntro the mason and Tàltiin Xhelilamaramaláma, Father of Puîyus and Siêthiyal, foster Father of Fhermáta and Akhlísa, Chieftain of the War Clan Sweqhàngqu, former student to Grandfather Pátifhar, a former reaver, a slayer, a sacker of cities, a killer of wihts, the Sunset·ranger, a trainer of xǒnglóng dinosaurs, gnighted as holy rose gnight by the moonwhite hand of the Empress who gifted him his chryselephantelectrum sword, chief assassin·executioner to most puissant Emperor Kàrijoi. The Father of the Sweqhàngqu, hee wants to ensure the survival of his Clan and his Son’s ascendancy to gnighthood. Don’t call him ‘Íngi.’

The Sun Emperor:

Cælestial Emperor Kàrijoi “the Prodigal One” Kèrjhoye Jhàrlton Púqhi Khyìlyikh Fhìtsarakh, Qhixieqúra, the Winter King, Qhixiêthiin, Lord Winter, Xeîthathiin, Ice Lord, Pyerkèkhqukhaun, Lord of the Pyerkèkhqu tree, Santruqúra, Philosopher King, Khlauselarqúra, Warrior King, Eilaswaqíren, Sun Emperor, Ayanaqíren, Æon King, Tistayókhi who shoots off fierycracker fireworks, august Khniikhaqlaûsa who gives toys to childers, Sómpanaswaqíren, the Dragon Emperor, a man, of the færie folk Xhámi, Royal Caste, Ruler of o'er a starbillion starbillion story worlds of the Dreamtime and an überquadrillion überquadrillion souls, whose reign hath lasted almost one hundred sunmillion years, the Master of Earth and Sea and Sky, the Lord of Prosperity and Health and Life. His only Child is Éfhelìnye. E'er since the death of the Empress hee hath cast his Holy City into qhixiêje, eternal winter, ritual mourning, and nowho but a few slaves have seen him in the last eleven years. Hee hath only seen his Daughter a couple of times. By the Emperor’s leave no new marriages have been celebrated in the last ten years. By the Emperor’s peace no new childers have been born in the last ten years.

And Don’t Forget:

The Moon Empress:

Khnoqwísi “Flutter Light” Euláriya Tsetseîlwa Xhefhiênil Teîl Khmàkhura Xhráqa Khlála Fhufhìnye Fhlóra Khnukeîya Khraîyeil Pìpra Khaliláma Kàlafhen, Qwasiêla, the Moon Empress, of happy and whimsicoracal memory, blessed and creativë be hir name, the Virgin Empress whom no man may name. Shee passed away at the end of Ánger, the Golden Age, at the end of Aláxe, the Great Peace, in the concluding battlen of Tsanyuxòpwe, the Great War, forthwith after shee gave birth to the Starflower Princess. Within days the Emperor disappeared and hath not been seen yet. ‘Tis forbidden to mention the Empress, of happy and whimsicoracal memory, blessed and creativë be hir name.


The Dinosaur:

Stitlhàrkhlo “Boucephalos, Cow Head” a fell xéqrori velociraptor yfeathered quetzal dinosaur, lrináxhe destrier, for Sieur Íngìkhmar. Stitlhàrkhlo likes to eat people.

The Toys:

Tét Xhmaîlaot “Tét the Acceptibobble,” ør “the Acceptibobble Tét” a plush khlèqoi toy pluŝurso icrafted by the hand of the Emperor lóng ago in the days whhen hee made toys for all the good childers of the story worlds. Tét was originally ygiven unto Íngìkhmar in his ladhood, but now hee is the common property of all the Sweqhàngqu Childru, Fhermáta, Puîyus, Siêthiyal, and Akhlísa, although now hee mostly spendeth his tyme with Akhlísa. Hee looks a little like a squid bear, ør a coyotl, ør mayhap a wee dinosaŭrling, ør e’en a platypous.

Tetratríxe Khniqhátui and Qwatríxe Khniqhátui the demented wind up toys who just want to sing and dance for the Starflower Princess (see above) and skin alive anywhom who may take hir attention away from them.

Guest Stars:

Two Rather In-mal-competant Candy Pirates:

Qlèfhus Tsàpel Fhèrke Fhèrkifher of the Family Sonátus, a man, of the færie folk Xhámi, Merchant Caste, an illustrious sky pirate, one tyme initiate into the Sylvan Caste, a former student of Grandfather Pátifhar. And: Xherìngport Khwèntel Ál Xheîmas Qlóxha Qèlreqakh Xhèri Xhnófhe Xhnófho, gamma, of the Qhóng folk, Qhíng Warrior Caste, an illustrious sky pirate, an exile from his people, a Warrior of the Qhóng. Aside from piracy they are eke employed as conartists, flimflam men, huckstren, hustlren, snake oil salesmen, as well as being minions, cronies, lackeys, goons, and henchmen of Oîkhan the Candy Mafiosa. Ek they have managed to offend some ninja spies, some Kháfha magistrates, and somehow taken the wildered Syìplet gold. They work for a mysterious Patron from dreamlands beyond. They’re trying to repay the Candy Mafia er that they’re caught and executed by the Emperor’s decree. They eke have a really, really cheap chariot to sell. What? These are stolen goods? I promise you, ‘tis not how it looks. Wee’ve got to go.

The Ridiculous Runagate Traîkhiim Slaves:

Fhólus Fholúxha of the Clan Xayúkhta Khoyúkhta who was sent by the Tushed Eldren to find a new Empress, and Aîya Àsya, a Child of the Dead.

And the Even More Ridiculous Authority Figures:

The Twin Tùrkhaka Duchesses among the Aûm, Pereluyàsqa and Khnosyaràsqa, formed of Clockwork and Flowers. Qìtien the Acolyte and the Pirate Captain Euqliîna Jórkh who is always hyper and likes to juggle rooster raptors.

The Trickster:

Raven, an Immortal, the Trickster, Jhàsqewa Uréfha, Xhiyèngathiin, the Mythlord, Xèmoir Uîtlhu Uîxu, the Darksome One, Xeqàmathiin, the Darksome Lord, Xám, the Darkleness, Tròmlekhi, the Nightmare, Tùqnu, the Phœnix, Xhnìxhmut, the Obscure One,Tyùkhura, Sleep, Qtúng, Dream, Fhteî, Dreamer, Khlùxasun, Sleeper, Xhnàfhti, the Stormlord, Khnáma, Òrawin, Kúng, Òsqen, Òqhun, Alqòrapa, Koránikos, Íkol, Khanúqhator, Kòxikhos, Qhòlanukh, Kòrwus, Ùqha, Kòraxa, Qweqwaxáwe, Khexemàsqe, Tqànxhem, Khwèqyet, Khnangqilèsyas, Khyèkhla, Fhlórus, Sùngpu, Khlér, Khléri, Raven, Lord Raven, Heart Raven, My Lord Raven, myne heart Raven. Raven’s thoughts are dreams. Hee hath a special interest in the Starflower Princess. Hee eke likes to chase heavenly nymphs, well·zoned sylphs, and various loverly sprites.

And of course:

Jeûr the Qlùfhim Aûm, and the Tánin Automata ,and many Lords and Ladies, and Officren, and Māccuahuitl weilding soldiren, and Æronauts, and Messengren, and Attendants, and Sylvan Priests, and Real People of many different sort, the Emlalàqta, and the Pèrithe, and the Xeriîqe, and the Xhàkhmat, and the Qhíng, and the Kháfha, and the Khlitsaîyart, and the Khmàfhlort, and the Qája, and the Qriî, and the Traîkhiim, and the Ptètqiikh, and the Qlùfhem Aûm, and the Fhlóla, and the Kajúju, and the Xhùqhenoin, and the Xhnatàsti, and the Tlhiqimíkhe, and the Xelòrkhta, and the Jòrfha, and the Fhétha, and the Wthòrthna, and the Khnèrthem, and the Àrkelor Über·Qhíng, and the Fhliî, and the Khòjhwa, and the Sòjhwa, and Pokhexháqa, and the Jongèrya, and the Xhrùmpum, and the Squîsar, and the Sufhàltii, and the Xaxhestàriqhe, and the Qrìkhasat, and the Xhmàsqor, and the Kurkuîlo, and the Fhlùltekh, and the Xhmaûmumum, and the Khnenyènwa, and the Lwàlyas, and the Thùlwu Aûm, and the Jhèngqekh, and the Xhlaûxher, and the Tájo, and the Xhyaîqtekh, and the Syìplet, and many othren, the Seven Castes, as well as various merchants, various princesses needing to be rescued, khmeîlwi chorus girls, sepáto eunuchs, Jhwèsta the Imperial Mad Scientist, and Jhkhaîxhor the Warlord, the Khan from beyond the Quarentine, the Blessed and Creativë Immortals, both Lords of Song and Lords of Noise, the endless Spirits, Wraiths and Ancestors, Raven’s starbillion crystalline Dreams, as well as Kúngapakh the Coryphæus leader of the xhwó hula quire of ravens among othren.

Language:

Khlìjha, Babel, the primal language of the Immortals
The Divine Dialect, Khniîxhwa, of the Prophet.

Scene:

The Glossopoeia, the starbillion starbillion universes of story, of all mythe, ritual, and dream, that encompass all tyme and energy and memory and space ocean, whose mortal dreamlands are ruled by Emperor Kàrijoi. Puîyus and his Clan come from Jaràqtu, a land of gardens, and journey unto Khniîqhekh in the Heart of Winter, to the continent of Khatlhàntikh even unto the festal City Eilasaîyanor and Twiêkes, the Ice Palace.


Tyme:

The Seven Hours of the Day
Upon the First Day of Autumn
The joint Starday for Puîyus and Fhermáta
The Day the Princess escapeth from the Hidden Gardens

All the events in the First Chapter take place
In a single hour
The first hour of dayspring
On the First Day of Autumn
In the day the War of Heaven began
In the Darkness before the Dawn

One a different page, in Puîyus’ fair handwriting:

Khnosòrxhnuxing Jarqtàyejikh Xhrónemat kae
Battle Cry of the Pious Jaràqtun Warrior

Óng xhmir Swaqírenat!
Lruîkh xhmir Ptòtei!
Jhá xhmir Sàfhwe!
Honor to the Emperor!
Filial piety to our Ancestors!
Death to the Barbarians!


Khnosòrxhnuxing Lrafhaîtejikh Xóswajelínge Sweqhàngqu kae
Battle Cry of the Bellipotent Clan Sweqhàngqu

Qhàtiya fhaên xhroe qhùnarn sir fhlá –
Qhìkhrei qhìkhrei qhí pi
Xhnoike wtsí wtsíyaîpoit
Fhieltiqiyàswaor púxing! –

The First Turkey said
– I’m very, very green.
But I’ll be color’d

For Hallowe’en! –