Category: T

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jatāsa

jataasa

jatāsa

We’re still on the third sentence of the 18th Conlang Relay Text

samma japēlti mo jaxēxi ja ē ñi jarewēλi ī ñi jahūwi ī ñi jasēþa ñe jawēlrienāl rū jatāsa λi xēþa āñ;

jatāsa means “market square”. The phrase jatāsa λi xēþa refers to a market square named Xēþa or Iron. The combination of the locative preposition rū and the modifier āñ means “around” or “surrounding”.

The tūmse barked at the smoke that twists and breaks and makes a knot like a letter of the interlace alphabet around the Iron market-square.

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jatūmse

jatuumse

jatūmse

We’re on the second sentence of the 18th Conlang Relay Text

sū mamō salōmme ñi matūmse manīsen marēwa;

The word jatūmse refers to a small predator often kept as a pet. So, cat or ferret or dog or some other sort of small predator kept as a pet. In this text, the word has been elevated to animacy (or personhood), making it an actor in the story.

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jatāña

jataanja

jatāña

We’re still on the ninth sentence in the 14th Conlang Relay Text:

se jasāla mo jātaren ja senne jatāña jaxēwa;

and so far we have “Give song for the ātaren tree that gives us …” sentence. The next word is jatāña, which refers to a screen or a trellis or something else (like maybe the intertwined branches of a tree) that filters the light and produces shade. It is modified by jaxēwa, which I will discuss tomorrow.

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antēnnen

anteennen

antēnnen

We’re on this sentence in the 15th Conlang Relay Text:

ewaþ ñaxxa jajāra jaxālāe jatēnnen nā ñe janaren;

antēnnen refers to beauty in movement, or “graceful”. It is also modifying jajāra and the entire phrase jajāra jaxālāe jatēnnen would be “a graceful and harmonious dance”. This is the object of ñaxxa, so a third person plural entity is the agent of this dance. Tomorrow, nā ñe.

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satākken

sataakken

satākken

The first sentence of the 15th Conlang Relay Text:

sere majjārien mo ritākken cī;

ritākken is the 2nd person inflection of the possessed noun meaning “attention, notice, focus”. “Experience with your attention the dancers” would be a decent mostly literal translation. “Pay attention to the dancers” would be better English. The original first sentence was se jatākken mo majjārien cī; which had attention as a regular noun, so whose attention was ambiguous. Also, by having the dancers be the beneficiary, it adhered too closely to English syntax. In the sentence “Look at the dancers”, the dancers are obviously* the object of se: “Experience with your eyes the dancers”. It only makes sense to have the same structure for “Pay attention to the dancers”, despite the fact that English doesn’t do that. But then, that is one of the challenges of having four relationals instead of thousands of verbs.

*Obvious to me, anyway. 🙂

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tēaral

teearal

tēaral

tēaral is also derived from āral and is the word for 110 base 8, or 72 base 10. Unfortunately, few people use this term anymore, preferring the more transparent ōru aþōr (100 and 10).

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antāλa

antaalja

antāλa

The second line of the LCC3 Relay Text:

la jāo pa anhē ja ñi antāoni antāλi rūjapēxa;

There’s only one unfamiliar word, here, and that is antāλi, a stative noun modifying antāoni in the changing refrain. antāλa means “having the qualities of chaos” so “chaotic, wild, unordered”. The first clause, la jāo pa anhē means “this has goodness”. It is followed by the relative pronoun ja, and then the refrain. So, “This is good, that the wild waves move away”.

la liēn sū anālhāri anālri jahāwa ñi antāoni anhūwi rūjapēxa;
la jāo pa anhē ja ñi antāoni antāλi rūjapēxa;

I am at the edge of the stormy sea and the breaking waves move away
This is good, that the wild waves move away

Tomorrow the third line.

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to

to

to

Sentence 6 of the LCC2 Relay Text, concerning a talking rock:

tō tele janūra to makīþa matēnnā jerrasōr tō jāo ñalla ja rā anālhāri mē ānen antāken;

to is used with se to mark an inanimate or involuntary source. makīþa matēnnā jerrasōr “the talking rock’s reply” is therefore the inanimate source for janūra “anger”. tele janūra to makīþa matēnnā jerrasōr is “The talking rock’s reply made me angry…”.

One might ask why se is used here and not ñi since I have just indicated a change of state to angry. But anger is an emotions, and emotional states are expressed with se. A more literal translation of tele janūra to makīþa matēnnā jerrasōr is “From the talking rock’s reply to me: anger”.

The talking rock’s reply made me angry…

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tōkēñ

tookeenj

tōkēñ

We’re still on sentence 4 of the LCC2 Relay Text:

telme jakēña mo makīþa matēnnā ien tō wā terle jasōra xiēn jē jaþīña tōkēñ;

I’m starting this clause with the last word for a reason. Namely, the tōkēñ at the end is related to the tō at the beginning. tō here is essentially the same tō as here, a conjunctive particle meaning “because”. It is not actually required for the sentence to be grammatically correct, but, hey, redundancy is good!

tōkēñ is this particle glommed on to the interrogative mood marker kēñ to ask “why” something. The initial tō here is followed by the clause-level modifier wā which negates a clause, so altogether tō wā … tōkēñ (or wā … tōkēñ) is “why not” or “why isn’t” or “why didn’t”.

telme jakēña mo makīþa matēnnā ien tō wā terle jasōra xiēn jē jaþīña tōkēñ;
I asked the talking rock, “Why didn’t…”

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tiēlen

tieelen

tiēlen

Continuing with the first sentence of the LCC2 Relay Text, concerning a talking rock:

il talōnte tiēlen ñi le rā jahāwekien nō il ñi lerāka jawāna sū jakīþa ja pa antēnnā ōl;

tiēlen is a past imperfective marker. Since ñi generally concerns itself with changes of state or location, it assumes that the change is completed. Here the change is not completed.

“Yesterday…”