This is the word for perfume. It consists of the base stem –hūñ-, which has to do with odors and flavors, plus the augmentative prefix āl– and the artificiality suffix –Ä«k-.

Sentence #43:
ē tetme ien la jāllōhen jatēwa pa anwīþþēñi rū anekiēni ja la sū anmārwi kiē rū anlāñūi rā malō nū nā ē tetme ien la anwīþþēñi pa anālhūñīki anwetēli;
They told him that at the feast table there were wines from lands that are beyond the known world from valleys nearer to the sun, and they told him there were wines with unknown perfumes.

Sentence #44:
ñi sāen rū sāim pēxa rā jatarūna jawēha jēwāri anhāri ī;
Again he went away from them to the waters of the mirage lakes.

jatarūn jawēha


jatarūn jawēha

This is really two words, but they form a phrase that is used over and over again in the story, so I will discuss them together. jatarÅ«n refers to something that is seen, is in sight, is visible, etc. jawÄ“ha is the inanimate singular of anwÄ“ha which is the attribute “false, deceptive”. Together, jatarÅ«n jawÄ“ha (or jatarÅ«na jawÄ“ha, same thing) refers to a mirage.

Sentence #26:
ē ñi ancālli tō malō aþ ñamma jatōna jaxōsa jōrre aþ ñi sāen rā jatarūni jawēhi nō;
And the sun’s heat came, and he stopped searching for the road and started following mirages.




The fourth line of the LCC3 Relay Text:

se jīxōsa cī ānen anwālte annāra il anpēxeni ī ñi rūjapēxa;

jÄ«xōsa means “a second look at someplace or in some direction because one is searching for something”. As the object of an uninflected se followed by the mood marker cÄ«, this clause implies “Let’s look back” or “Let’s look again”. cÄ« does not actually belong here. It would belong at the end of the whole sentence, but this is poetry. cÄ« here makes it ambiguous as to which clause (this one or the truncated refrain, “(they) move away”) the phrases ānen anwālte annāra, il anpÄ“xeni, and Ä« belong to.

ānen anwālte annāra is composed of familiar words and means “with strong emotion” or “passionately”. So, are we passionately looking back or passionately moving away. Neither clause has an overtly animate participant capable of experiencing anwālte, though since the first line of the poem does contain a first person singular pronoun, and the refrain generally refers to waves, we can mostly assume that ānen anwālte annāra should be parsed with the first clause and its unspoken experiencer rather than with the second.

Tomorrow il anpēxeni.

la liēn sū anālhāri anālri jahāwa ñi antāoni anhūwi rūjapēxa;
la jāo pa anhē ja ñi antāoni antāλi rūjapēxa;
ñi nāra lemōra ñi antāoni antāλi rūjapēxa;
se jīxōsa cī ānen anwālte annāra il anpēxeni ī ñi 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.
All my dreams become the wild waves moving away.
Let’s passionately look back … moving away.




We’re on sentence 7 (the final sentence) of the LCC2 Relay Text, concerning the talking rock.

ilwae sele jarūna wā mo lerōña to jakīþa jatēnnā jē nā;

jarÅ«na means “another sight or glimpse of something” and denotes that one has seen the thing before and is now seeing it again.

sele jarÅ«na “To me: another sight”. ilwae sele jarÅ«na wā is “Never to me another sight”. mo lerōña to my eyes, renaming the beneficiary here. And to jakīþa jatÄ“nnā the source of the sight, the talking rock. And look, it’s got inanimate inflection. No more personhood for that mean ol’ talking rock.

“I never had another sight of the talking rock…”

Tomorrow jē nā and the end of this relay text.