Runulodu Yere 1

This next text is a translation of Dirk Elzinga’s version of the Eye-Juggler, with words borrowed from his language.

Text: Runulodu Yere

Text and Translation

Peya runus Tabuninda indanda yereno. Nakemeya nataronda nadurondara, udures elo, eta aŋaka, narunukavas rusurusu eka. Peyas koyo yeredo kuŋino. Zeye luvunen sadurunuse. Sakemeya sataronda sadurunora, udures halo. Sekotas hatato. Saya ranarana sekoteŋe, sadurunu atada hape baŋibaŋi. Tabuninda indaya rinive, samas rinirinive. Nurunen Peyaŋina, naŋakadu sama dimidimi sarana. Nadu sapenda pezes sara. Saya ŋuyanda sama talile duruno hame. Alas ŋuyago Peya durunuseye kodu.

Coyote saw Cottontail’s children’s game. They took their two eyes from their faces with their fingers and tossed them up into the air, and then they (the eyes) came down, and they caught them again and again in their eye sockets. Coyote desired to play this game. His eyes were dark and shiny. He took his two eyes from his face with his fingers and tossed them up into the air. They stopped on a sekota tree. He shook the sekota tree, but his eyes did not come down. Cottontail’s children laughed, they mocked him. Coyote started to move with anger, he started to chase after them. Since he failed to get them, he left. He made new eyes out of sap. And so Coyote’s eyes are like sap (yellowish) now.

Interlinear and Explanation

Peya runus Tabuninda indanda yereno.

Peya
Peya
Coyote
runus
runu=s
eye=LOC
Tabuninda
Tabuni=nda
Cottontail=SRC
indanda
inda=nda
children=SRC
yereno
yere=no
game=COME
Coyote saw Cottontail’s children’s game.

Here is the inalienable possession construction for the possessor::body part, and the alienable possession construction to convey kinship, and the standard way to convey experiencing by seeing using COME with an eye as the attained destination.

The names Peya and Tabuni are borrowed from Dirk.

Nakemeya nataronda nadurondara, udures elo, eta aŋaka, narunukavas rusurusu eka.

nakemeya
na=keme=ya
3PLra=finger=CAUS
nataronda
na=taru=nda
3PLra=face=SRC
nadurondara
na=duronda=ra
3PLra=eye.DU.PL=GO
udures
uduri=s
air=LOC
elo
e=lo
3PLin=UP
eta
e=ta
3PLin=DOWN
aŋaka
aŋaka
and.then
narunukavas
na=runukava=s
3PLra=eye.socket=LOC
rusurusu
rusurusu
repeatedly
eka
e=ka
3PLin=TOUCH
They took their two eyes from their faces with their fingers and tossed them up into the air, and then they (the eyes) came down, and they caught them again and again in their eye sockets.

I mentioned in the short grammar sketch that “number is obligatory only in pronouns and rational animate nouns. All other nouns are neutral in regards to number and can be read as either singular or plural.” There are four exceptions: inanimate nouns that can show number. They are all body parts. They are: runu ‘eye’, sara ‘ear’, kasa ‘hand’, and bana ‘foot’. They have dual forms: duruno (actually durunu with vowel decay), sazara, kagasa, bavana, formed by partial reduplication. They also have plural of the dual forms: duronda, sazanda, kaganda, bavanda. The dual is used when needing to reference the parts as pairs and the plural of the dual is used to reference multiple pairs. The singular is used as the attained destination of an experience, even when the possessor is plural. All three forms appear in this story.

Talking Rock in Kenda Soro 4

Continuing from previously, the final two sentences in Soronen Kidi.

Liya kidenda soronda likehes piŋiranda ebeves sama dimidimi ira.

liya
li=ya
1SG=CAUS
kidenda
kidi=nda
rock=SRC
soronda
soro=nda
word=SRC
likehes
li=kahi=s
1SG=belly=LOC
piŋiranda
piŋi=ra=nda
pain=GO=SRC
ebeves
ebeve=s
sea=LOC
sama
sama
3SGra
dimidimi
dimidimi
with.force
ira
i=ra
3SGan=GO
Because the rock’s words put pain in my belly, I threw it into the sea.

This sentence consists of a single clause starting with a rational animate agent, then an embedded clause with multiple uses of =nda. The embedded clause is kidenda soronda likehes piŋira ‘the rock’s words put pain in my belly’. The first=nda, on rock, marks alienable possession, so ‘the words of the rock’. The second=nda marks an inanimate cause or agent, ‘the words of the rock cause…’. My belly (likehe, actually li=kahi with vowel decay) is the attained destination of the subject, piŋi ‘pain’. And the verb is ra GO, so ‘the words of the rock cause pain to be put into my belly’. And all that is suffixed with another =nda to indicate the origin of the action of the main verb.

This is followed by the attained destination ‘into the sea’ and then the main subject and verb: sama dimidimi ira. Ignoring dimidimi for the moment, this is sama ira, indicating a third person singular rational animate (the rock) acting non-volitionally, in this case being acted upon by the =ya argument. Dimidimi is an adverb conveying the use of force. Adverbs come right before a verb, between the subject and the verb, and thus trigger the use of a pronoun for the verb to attach to. Without the adverb, this would still be sama ira due to the non-volitionality. The equivalent volitional phrase would be sara (sa=ra) and with the adverb sama dimidimi sara. I have no doubt that there are some speakers who would shorten that to sama dimidimera.

Zovalas lirunos kidi venala sapeye.

zovalas
zovala=s
sometime=LOC
lirunos
li=runu=s
1SG=eye=LOC
kidi
kidi
rock
venala
venala
never
sapeye
sa=pe=yi
3SGra=FAIL=CONT
I never saw the rock at any time again.

In the final sentence, we start with another time phrase, this time the indefinite ‘some time’. This is followed by another attained destination: ‘my eye’. Using an eye as an attained destination is the standard way to convey experiencing by seeing. The scene is usually the subject of =no COME. Here it is the subject of =pe FAIL, as the scene has failed to come to the eye. Furthermore, =pe is followed by continuative aspect marker =yi indicating an ongoing situation. This sentence also contains another adverb venala ‘never’ as indicated by its position between the subject kidi and the verb with repeated pronominal subject sapeye. Without the adverb, this would be kidipeyi.

Next text will be the Eye-Juggler, Dirk Elzinga’s version mostly.

Talking Rock in Kenda Soro 3

Continuing from previously, the next two sentences in Soronen Kidi.

Kidido keŋive, “Zodu diya lidu libanaraza seŋipe?”

kidido
kidi=du
rock=GOAL
keŋive
keŋi=vi
question=OUT
zodu
zo=du
indef=GOAL
diya
di=ya
2SG=CAUS
lidu
li=du
1SG=GOAL
libanaraza
li=bana=ra=za
1SG=foot=GO=PATH
seŋipe
seŋi=pe
warning=FAIL
I asked the rock, “Why did you fail to warn me about my foot’s going?”

In this sentence we have a question with a question word, zodu, a combination of the inanimate singular relative clause pronoun zo= wearing its other hat as a general indefinite pronoun and the goal marker =du. Indefinite zo= is the basis of a number of question words. The noun seŋi ‘warning’ is considered speech, and so we have a speech-emitter ‘you’, an audience ‘me’, and then =za to mark indirect speech, which can be anything from an indirect quotation to the bare subject or topic of the speech. Finally, rather than the usual =vi OUT for speech, we have =pe FAIL, as the speech presumably failed to be emitted.

Kideya rusuve, “Ŋeya piŋividu soronen kidi liŋi.”

kideya
kidi=ya
rock=CAUS
rusuve
rusu=vi
reply=OUT
ŋeya
ŋe=ya
SGan=CAUS
piŋividu
piŋi=vi=du
pain=OUT=GOAL
soronen
soro=nen
word=COM
kidi
kidi
rock
liŋi
li=ŋi
1SG=MOVE
The rock replied, “I am a talking rock who causes pain.”

For the reply, more direct speech. The first phrase is an embedded clause marked by =du. Here =du marks an intent, a metaphorical goal. The noun piŋi ‘pain’ is abstract enough to be emitted. Otherwise sensations, physical and mental, tend to use =me IN or =no COME as their main verb. Using =me or =no here would imply that the rock was feeling pain rather than causing pain.

Note also that the animate singular relative clause pronoun is used here in what is not an actual relative clause. These pronouns are also used for indefinite reference and questions. I go back and forth on whether this should be the first person pronoun instead.

Talking Rock in Kenda Soro 2

Continuing from previously, the next two sentences in Soronen Kidi.

Likasaya soronen ŋeŋihe kidilo, sadu sorove, “U! Soronen kidi diŋi?”

Likasaya
li=kasa=ya
1SG=hand=CAUS
soronen
soro=nen
word=COM
ŋeŋihe
ŋe=ŋi=hi
SGan=MOVE=POT
kidilo
kidi=lo
rock=UP
sadu
sa=du
3SGra=GOAL
sorove
soro=vi
word=OUT
u!
u!
hey!
soronen
soro=nen
word=COM
kidi
kidi
rock
diŋi
di=ŋi
2SG=MOVE
I with my hand picked up the rock that could talk, and said to it, “Hey, are you a talking rock?”

The first clause in the second sentence starts out with another example of body part metonomy and with =ya, which only ever attaches to a rational agent. The subject of the first clause is our rock, modified by a relative clause. This is the same relative clause as in the first sentence. It is still potentially a talking rock. It’s identity has not yet been confirmed.

The second clause is an example of speech, using the verb most often used with speech, namely =vi OUT. This is because speech is considered to be sound, and sound is generally emitted by something. The emitter, when indicated, is marked by =ya, because speech is a characteristic of rational animates. The audience is marked with =du, for a goal or not yet attained destination. One doesn’t assume that one’s words have reached a destination.

The third clause is the direct speech. Direct speech is indicated with intonation and a juxtaposition of clauses. The speech starts with the attention-getting interjection u! and continues with a question of identity. Here we lose the relative clause and ask directly if the rock is word-having.

Kideya evi, “La! Soronen kidi liŋi!”

kideya
kidi=ya
rock=CAUS
evi
e=vi
3PLin=OUT
la!
la!
yes!
soronen
soro=nen
word=COM
kidi
kidi
rock
liŋi
li=ŋi
1SG=MOVE
The rock said, “Yes! I am a talking rock!”

And the rock says yes! Identity confirmed. The inanimate plural pronoun refers to speech in general.

Talking Rock in Kenda Soro

Soronen Kidi

Here is the full text of the Talking Rock story, plus an interlinear of the first sentence and an explanation of all that is going on. More sentences will appear in upcoming posts.

Text and Translation

Tili lonos kini ŋamaza lireye, soronen ŋeŋihe kides libana ikanda liye irato baŋibaŋi. Likasaya soronen ŋeŋihe kidilo, sadu sorove, “U! Soronen kidi diŋi?” Kideya evi, “La! Soronen kidi liŋi!” Kidido keŋive, “Zodu diya lidu libanaraza seŋipe?” Kideya rusuve, “Ŋeya piŋividu soronen kidi liŋi.” Liya kidenda soronda likehes piŋiranda ebeves sama dimidimi ira. Zovalas lirunos kidi venala sapeye.

Yesterday, I was going along the shoulder of the land, when I had to stop from coming into contact with my foot against a rock that could talk. I with my hand picked up the rock that could talk, and said to it, “Hey, are you a talking rock?” The rock said, “Yes! I am a talking rock!” I asked the rock, “Why did you fail to warn me about my foot’s going?” The rock replied, “I am a talking rock who causes pain.” Because the rock’s words put pain in my belly, I threw it into the sea. I never saw the rock at any time again.

Interlinear and Explanation

Tili lonos kini ŋamaza lireye, soronen ŋeŋihe kides libana ikanda liye irato baŋibaŋi.

tili
tili
past
lonos
lono=s
day=LOC
kini
kini
land
ŋamaza
ŋama=za
shoulder=PATH
lireye
li=ra=yi
1SG=GO=CONT
soronen
soro=nen
word=COM
ŋeŋihe
ŋe=ŋi=hi
SGan=MOVE=POT
kides
kidi=s
rock=LOC
libana
li=bana
1SG=foot
ikanda
i=ka=nda
3SGan=TOUCH=SRC
liye
liye
1SG
irato
i=ra=to
3SGan=GO=STOP
baŋibaŋi
baŋibaŋi
unexpectedly
Yesterday, I was going along the shoulder of the land, when I had to stop from coming into contact with my foot against a rock that could talk.

Taken in order, the first clause starts with a time period marked with locative =s. The locative is used for attained destinations, locations, and time periods.

The next phrase in the clause uses =za to mark an area, the land’s shoulder, a whole::part noun phrase showing an inalienable possession construct. This is the standard construction for inalienable possession: the whole followed by the possessed part. Inalienable possession is only used for parts of wholes and metaphorical parts of wholes and not for kinship. The shoulder of the land would be the part of the land that gently slopes into not-land, i.e. sea, so the beach.

The final phrase is the subject pronoun, the verbal motion partical, and an aspectual continuative particle all glommed together to make one phonological word showing vowel decay li=ra=yi -> lireye. The continuative is used here to set the scene for the next clause.

The second clause starts with a locative phrase modified by a relative clause. This is the most common type of relative clause, one where the modified noun is the subject of the relative clause. The otherwise inanimate rock uses the animate relative pronoun because of the potentiality (marked on the verb with =hi) of talking. Talking makes a thing a rational animate. Talking here is indicated with soro=nen, word=COM or ‘word-having’. This is a use of =nen for turning a noun into an adjective indicating an attribute. Note the vowel decay.

The next part of the second clause is an embedded clause marked with =nda. The primary use of this particle is to mark a point of origin. The use in this case is to mark a cause or reason, an origin of the action in the main clause. The embedded clause libana ika is using body part metonomy, where a possessed body part stands in for the rational animate possessor. This causes the body part to act like a rational animate, taking rational animate agreement. But, the subject on the verb is the third person animate used for non-volitional action. So the embedded clause is conveying that the reason for the main clause is the non-volitional contact of my foot on a location: the rock that can potentially talk.

The main part of the second clause is the first person singular subject repeated as a third person animate subject, conveying additional non-volitionality. This is attached to the verb ra GO and the aspectual particle =to for stopping. The clause ends with the conjunction baŋibaŋi conveying an unexpected situation.

Kenda Soro Phonology

Phonology

labial dental alveolar palatal velar
nasal stops m n ŋ
oral stops, voiceless p t k
oral stops, voiced b d g
fricatives, voiceless s h
fricatives, voiced v z
rhotics r
laterals l
glides y

All of the consonants can occur initially and medially. Only /n/ and /s/ can occur finally. Consonant clusters allowed medially are /mb/, /nd/, and /ŋg/.

There are five vowels: /ieaou/.

Syllables are generally (C)V, with occasional CVC if the final C is /n/ or /s/. (C)VCCV is allowed with the medial CC being either /mb/, /nd/, or /ŋg/.

Stress is on the first syllable and then every other syllable. It is never on the final syllable. Thus words with an odd number of syllables end in two unstressed syllables. Vowels will change in this environment.

Phonological words have a minimum of two syllables.

Consonant Dissimilation

Some words are partial reduplications of other words. The initial syllable only is reduplicated. If the word begins with a vowel, the first vowel and consonant pair is reduplicated. This triggers consonant dissimilation. If the first consonant of the word is voiceless, then the second voiceless stop or fricative /ptsk/ become the voiced equivalent /bdzg/. Voiceless /h/ does not dissimilate. If the first consonant is already voiced then /bdzg/ become /vrsh/. So, /s/ becomes /z/, and /z/ becomes /s/. Likewise, /l/ becomes /y/ and /y/ becomes /l/. Furthermore, /d/ becomes /r/ and /r/ becomes /d/ with the further development of metathesis so that a word with the pattern rVdVX becomes dVrVX. This metathesis only occurs with /r/ -> /d/. The nasals /m/ and /ŋ/ both dissimilate to /n/. /n/ does not dissimilate.

Some examples:

  • Adjective basa ‘bad’ -> Noun bavasa ‘badness’
  • Adjective poto ‘sick’ -> Noun poboto ‘sickness’
  • Noun runu ‘eye’ -> Dual noun duruno ‘pair of eyes’
  • Noun tutu ‘lesson’ -> Noun tuduto ‘learning’
  • Noun uri ‘wind’ -> Noun udure ‘air’
  • Adjective zeye ‘dark’ -> Noun zeseye ‘darkness’

Vowel Decay

Unstressed vowels are subject to vowel decay. This primarily affects the high vowels /i/ and /u/. /iu/ will lower to /eo/ before a consonant cluster and before a final /s/. They will also decay if they are the final vowel in the two unstressed syllable sequence that occurs at the end of words of three or some other odd number of syllables. Hence duruno above rather than the expected durunu. And tuduto and udure. This decay does not happen if the word is augmented by a particle in some way so that the affected syllable is no longer unstressed or no longer the second unstressed vowel. So sama yanu duruno ‘his wide eyes’, but sadurunu ‘his eyes’.

A second type of vowel decay affecting /i/, /u/, and /a/ happens only when the vowels are in a sequence of unstressed syllables. XCiCa becomes XCeCa and XCuCa becomes XCoCa. Furthermore XCaCi becomes XCeCe and XCaCu becomes XCoCo.

Introducing Kenda Soro

So the new language continues to evolve, and right now it is in a good place. It’s current name is Kenda Soro. First a short grammar sketch. In a few days I’ll post something on the phonology. Grammar is more important!

Kenda Soro rhymes with this, my favorite from Ali Farka Touré.

Short Grammar Sketch

The central idea in the grammar is motion. Clauses are built around a noun in motion (the subject) and everything else is marked in relation to the subject.

Word order is verb final. The primary predicates of the language are all single-syllable particles, so they attach themselves to the end of the subject. All the predicates are intransitive, so other arguments in the clause are all oblique by definition.

Particles

Particles are grammatical words that do not follow the phonological rules. They are single-syllable, and so have to glom onto another word. The primary predicates of this language are all particles. Aside from the single syllable pronominal particles, all other particles act as suffixes and attach to the end of the preceding word. Pronominal particles act as prefixes. A predicate can consist of a pronominal prefix and a verbal suffix with no added material in between.

Motion Particles

There are twelve particles that attach to the end of the noun phrase in motion to convey the type of motion and type of noun. These are: ŋi MOVE, se STAY, ra GO, no COME, lo UP, ta DOWN, me INTO, vi OUT, ka TOUCH, ki BY, pe FAIL, and vu NOT.

MOVE or ŋi marks motion in place, or internal motion (moving one’s limbs, breathing, etc.). It is also used to mark identity, attribution, and location of an animate nouns.

STAY or se marks non-motion, remaining in place. It is used to mark identity, attribution, and location of inanimate nouns.

GO or ra marks motion along a path or in a single direction, to or from a location. Motion is away from the speaker or the deictic center of the clause. The deictic center is the argument with the highest animacy.

COME or no is the equivalent of GO, but the motion is towards from the speaker or the deictic center of the clause. The deictic center is the argument with the highest animacy. COME is often used to express the metaphorical motion of an object to one’s eye or a sound to one’s ear.

UP or lo and DOWN of ta are also equivalents of GO, with the deictic center being the ground. In addition, UP and DOWN also can convey MORE or LESS of an attribute. or the increase or decrease in a non-physical noun (like darkness).

INTO or me marks inward motion, usually by light, sound, air, water, fire, or some sort of mass substance. It is also used for things that are being created.

OUT or vi marks outwards motion, usually by light, sound, air, water, fire, or some sort of mass substance.

TOUCH or ka marks motion with impact or touching. When used with =za it can convey physical possession.

BY or ki marks motion passing by a location or leaving behind a location. This can also negate the possession use of ka.

FAIL or pe marks a failure to move in a direction or to achieve a destination. This negates most of the other motion particles, at least in some contexts.

NOT or vu negates se.

Motion particles can be inflected for aspect: =na for the starting of motion, =to for the stopping of motion, and =yi for continued motion. Continued motion is used to set a scene of background motion and to express continuation of a situation despite an effort to change the situation.

Motion particles can also then have two optional future particles added: =hi for potential future and =zi certain or intended future.

Other Particles

Other particles mark the other noun phrases in the clause. These can mark a motion phrase once the motion phrase has been nominalized.

=s marks location at, on, in, onto, into. It implies that the motion is complete, that is that the subject has finished moving and arrived at a destination marked by =s.

=za marks a path along which a subject is moving. It is also used to mark any position that involves elongation, such as fingers around a grasped object, and thus marks objects held or grasped, and the subject of speech (about).

=du marks a destination that has not been reached, and so conveys motion towards a goal, a direction, the end of a sequence, a purpose or intention, a result, and an audience for speech.

=nda marks location form, a source of motion, a beginning of a sequence, the source or substance something is made from, the stimulus of mental activity, a standard of comparison, or the whole that something is part of.

=ya marks a rational animate cause of motion, and can be considered an animate, volitional version of nda.

=nen is a very general comitative, also used as an instrumental.

Nouns

Since motion is the central idea of the grammar, nouns are divided into groups based on ability to move (animacy) and volition.

  • Things that move of their own volition.
  • Things that move, but without perceived volition.
  • Things that only move when made to do so by an outside entity or force.

Group A includes people and deities. These are the rational animates. Group B includes animals, and certain celestial phenomena. B also includes the wind, flowing water, wildfires, sound, and light. These are all animate, though not rational. And C includes still air, still water, campfires, earth, most landscape items, plants, body parts, objects, and everything else. These are the inanimates.

Since nouns are not marked in any way, membership in the various classes is determined by pronoun usage and which motion particles are used to denote an attribute of the noun, and which source particles can be used.

Rational Animate Animate Inanimate
Pronoun sa= i= ha=
Relative Pronoun ŋe= ŋe= zo=
Motion Particle =ŋi =ŋi =se
Source or Cause =ya =nda =nda

Pronouns

First, a quick list:

Singular Plural Extended Singular Extended Plural
1 (first person singular and exclusive plural) li= ke= liye keye
1+2 (1+2 dual and first person inclusive plural) ŋi= mi= ŋiye miye
2 (second person) di= ŋa= diri ŋari
3 rational animate, volitional sa= na= sama nama
3 other animate, 123 non-volitional i= ya= imba yama
3 inanimate ha= e= hada yeda
relative clause common argument animate ŋe= ma= ŋeda mana
relative clause common argument inanimate zo= za= zoda zaya

Number is obligatory only in pronouns and rational animate nouns. All other nouns are neutral in regards to number and can be read as either singular or plural. That said, nouns that appear to be partially or fully reduplicated will take plural pronoun agreement. Number can also be specified by adding a quantifier to the noun phrase.

Singular refers to a single entity, and plural to more than one entity. The exception is the dual pronoun ŋiye, which acts like a singular even though it refers to two.

First and second person are straightforward. Third person is broken up into three classes: rational animates, other animates, and inanimates. Rational animate nouns have plural marking, and so trigger use of the plural pronouns. Other animate nouns do not, so which pronoun to use depends on the context. With inanimate nouns, again, which pronoun to use depends on context. But, some inanimate nouns are or appear to be partially or fully reduplicated. These always use plural pronouns, even when the subject seems to be singular.

Rational animate nouns will sometimes use the animate rather than the rational animate pronouns. This signals non-volitionality. It is used in imperatives as well.

Adjectives and Quantifiers

Adjectives precede the noun they modify. Basic, non-derived adjectives can be partially reduplicated to indicate intensity or continuation of a process. A noun phrase can consist solely of an adjective.

Quantifiers act like adjectives in that they precede the noun. Quantifiers convey number, but are not used for counting! Some quantifiers also modify adjectives.

Adverbs, Conjunctions, and Interjections

Adverbs go between the subject and the motion particle, triggering a need for a pronominal prefix on the motion particle. Conjunctions go at the end of the clause. Interjections go anywhere.

deŋi & kaŋŋi

A. deŋi=A=O A scratch, dig O
B. kaŋŋi=A=O A pierce, poke O

Deŋi can be seen as a more intense form of kugi, as it involves touching with some force. Kaŋŋi would be even more intense. The etymologies of both these verbs are unknown. Kaŋŋi is used sometimes used with other verbs to add a sense of puncturing, as in:

C. dello-kaŋŋi=S S sprout (piercing the soil)
D. kuppe-kaŋŋi=A=O A throw O through something, piercing it
E. kaŋŋi-kaŋŋi=A=O A kill O (by stabbing or cutting)

Reduplicated deŋi-deŋi=S is the standard, polite way to describe sexual activity. It is intransitive, usually with a plural subject. With a singular subject, a companion an be added with the peripheral phrase marker ne. The other sexual verbs, kugi-kugi=S (referencing manual stimulation), kaŋŋi-deŋi=A=O (A penetrates O), and kaŋŋi-kuno=S (S is penetrated), are not polite and should not be used with people one doesn’t know.

Sentences with deŋi.

Sentences with kaŋŋi.

And that’s it. That’s all 38 verbs in Xunumi-Wudu.

kugi

A. kugi=A=O A touch, rub O
B. gada-kugi=A=O A wash O (with water)

Kugi appears to be derived from an older form of the word kuwu ‘hand’ and some unknown particle. Gada-kugi incorporates the noun gada ‘water’ as an instrument or manner adverb. Another kugi compound is kugi-kenni:

C. kugi-kenni=A=O A shake O
D. kugi-kenni=S S shake

Reduplicated kugi-kugi is one of the verbs used to describe sexual activity.

Sentences with kugi.

Tomorrow: deŋi and kaŋŋi.

kuppe & kenni

A. kuppe=A=O A throw O
B. kenni=A=O A hit O

Kuppe is derived from an older form of the word kuwu ‘hand’ and pe ‘from’. The derivation of kenni is unknown. Both are straightforward.

A reduplication of kuppe is not attested, but kenni-kenni means ‘A beat O’, a logical interpretation of ‘hit and hit’ or ‘hit with some duration’.

Reduplication generally adds a sense of duration to the verb, unless the verb also occurs as an auxiliary. Since, with the introduction of auxiliaries, reduplication no longer productive, some reduplicated forms, such as kadde-kadde, have a less predictable meaning.

Sentences with kuppe.

Sentences with kenni.

Tomorrow: kugi.