Monday, February 1, 2010

More Translations

Epistle CXXVII: More Songs of the Void

My Dearest Sister, Éfhelìnye


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.


Kùxh’eqáàros-xh’u jh’áàq’un’a-‘ ùthe
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

Xhnípe tlhenyiyiyòlkha koe xhraîrupu
Pejor wthènxhe wthènxhe
Xhnípe fhóyeiyòlkha koe xhraîrupu
Pejor khàntraja
Xhnéyemai’ Àneta xá’ Àfharim xhmoe
Thìtlhelo quja’ èlwilu quja khwonilùlkha
Tiikhwàlatu Khaûntu xhroe Khàra xhroa
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.


Khìlqiqi Fhenísyayòlkha

Fhenísya jinalwos
Pfháwu póqi xhroe teir?
Tlhàrqha tquî póqi xhroe póxhmi
Plátìyatser túyájheixing
Khlésàlwos qùnot?
Fhìfhine jhèfhao’ ur
Qoe xhónt póxhrejor
Xhmaintiimájhei pó
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
Tìrlu swár póqi xhroe póxhmi
Ptáratser jinalwos
Khmupùrxhu xhroâqir
Tlhèsyo póqi xhroe teirájhei?
Jhpulayàlwos prilyaloròlkhaxing
Xhmèrir xhnir fhìmfhama
Jhwú jit kexhexhrixing teirájhei?
Xhmaintiimájhei pó
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
Xhmaintiimájhei pó
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
Xhmaîntiim pó
Xhmaîntiim pó
Xhmaîntiim pó
Xhmaintiimájhei pó
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.

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.



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.

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.


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

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.

[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.


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.


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.

Lweyòyatser jhkhumùyatser
Tsèrmi khmejoyaxúngèthya

Pejor xhóng
Xoatàpti sir íkhèxhyeu
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

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
Keis khnólyu
Ópejoxing poa
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
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

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