jē
We’re on the fifth sentence of the 14th Conlang Relay Text:
se jalāña mo jakō ja senne jakecōna jē anpīña;
I’ve blogged all of these words except for the last two.
jē is one of those prepositions I don’t have a proper definition for or description of. In this context, it generally has something to do with opposition, most of the time anyways.
nā ñe
We’re on this sentence in the 15th Conlang Relay Text:
ewaþ ñaxxa jajāra jaxālāe jatēnnen nā ñe janaren;
nā ñe is a phrase that means “more than”. So the graceful and harmonious dance is more than janaren.
ānen
The second sentence of the 15th Conlang Relay Text:
la sāeþ ānen jaxūnīki honahan wā;
ānen has appeared before as a preposition that when combined with a stative noun makes a clause-level modifier. It also has other functions. For instance, here it combines with the particle wā to mean “without”. In the next sentence, it combines with the particle ēmma to mean “except for”. The object of these phrases appears between ānen and the particles. So, ānen jaxūnīke honahan wā is “without jaxūnīke honahan“, which are the next two words I’ll be blogging.
ānen
Last post for 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;
ānen when followed by a stative noun, here antāken, makes a clause-level modifier that best translates into an adverb. antāken means “physical strength”, making ānen antāken mean “forcefully”.
ñalla ja rā anālhāri mē ānen antāken is “I moved it into the ocean forcefully” or “I threw it into the ocean”.
tō tele janūra to makīþa matēnnā jerrasōr tō jāo ñalla ja rā anālhāri mē ānen antāken;
The talking rock’s reply made me angry that I threw it into the ocean.
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…
mo
We’re on sentence 6 of the Babel text:
il aþ ñi λi ārōn rā āke tō sema mo sarōña jamāonre nīkan jakōnōr ja ōrra ñatta;
mo denotes a beneficiary or experiencer of the relational se. The phrase sema mo sarōña then is se plus a 3rd person singular experiencer, mo, and 3rd person possessed form of “eyes”. This is the standard way of denoting seeing.
“And then the Lord went there to see the city and the tower that…”
λi
Sentence 6 of the Babel text reads:
il aþ ñi λi ārōn rā āke tō sema mo sarōña jamāonre nīkan jakōnōr ja ōrra ñatta;
All the nouns in this sentence have appeared before, and most of the other words as well, except for λi, tō, mo, and ōrra.
So, λi. This is a particle that appears before proper names and uninflected nouns that become titles or proper names by virtue of having λi in front of them. In this and subsequent sentences λi occurs before the noun ārōn, which generally designated the ranking male in the clan, here appearing as a proper name. Thus λi ārōn is a translation of “the Lord”.
sū
This prepositional particle denotes location at, in, or on somewhere. In the Babel text, the phrase sū jekiēn xīnār is a prepositional phrase headed by sū. jekiēn means land, and xīnār is a representation of the proper name Shinar. So sū jekiēn xīnār is “in the land of Shinar”. The second clause (ñatta jamāesa japōññe sū jekiēn xīnār) of the second sentence (il ñatta jarēþa rūānnie il ñatta jamāesa japōññe sū jekiēn xīnār il aþ ñatta āke jamāramma;), therefore, is “they found a plain in the land of Shinar”.
nīkan
nīkan is a preposition meaning “together with”, or “with” as long as it is not an instrumentive reading. nīkan also requires that its object be inanimate. The usual syntax is NP1 nīkan NP2(inanimate). NP1 can be animate. When this happens, nīkan is usually inflected for person. If so, the syntax becomes looser and it is possible to rearrange all the constituents into any order.
The inflections are: nīkanle for first person, nīkanrie for second person, and nīkamma for 3rd person.
In the North Wind and the Sun the next sentence involves marāona nīkamma jalūra jacālle. marāona (NP1) means “wanderer” and was discussed earlier. jalūra jacālle (NP2) was discussed yesterday and means “a warm cloak”. So marāona nīkamma jalūra jacālle is “a wanderer with a warm cloak”.
xiēn jē
This is a preposition meaning “about” or “concerning”.
la þō jatāena xiēn jē anþēŋŋeni;
This story is about an argument.
The titles of many short texts consist of xiēn jē plus a noun phrase. For example, the title of the Kēleni version of the North Wind and the Sun is xiēn jē anþēŋŋeni “Concerning an argument”.