Here is a picture of my cat:
That sounds like a translation challenge! In Kenda Soro:
Xuunu Midu consists of three! documents and a torch.
The following non-ascii characters appear in the torch: ñ (n-tilde) ŋ (eng) ʃ (esh) ʒ (ezh).
Lononne wunnu, taatada deŋgada genne datase. Sejewa yeelele yekeke yeelele deŋga pideli genne monna setasa. Dadannewu sejewali nee yekekeli nee golinnestebo.
Deŋga bududa ceesu lañjawa ceñena gakugesteza xoo yebeda degisteze.
Dadastewa cumona canoba, tene ceñele niikena pee xooʒolinnenosteba nolo dodo. Gakugestewa ceñena soo danna doñjame kundebaya. Yebeda cendo danna daññesa nono.
Ceñena caskujeba, lañja yeejedi soo deŋga yeejedi soo danna seezaya. Yeejena benna kaakadesaya.
Deŋga tonoli noojeze; lañjaka pee yebeda haŋŋido kiidoki dase. Dadastewa cumona gakugestewa ceñena soo doñjamespezaya.
Wospe deŋgada yekekeli cendo tanno.
Xuunu Midu
Congratulations, you are the first person to see my new language, called Xuunu Midu. It is a daughter language, mumblety generations later, of Xunumi Wudu. Nouns have fused with their classifiers and then been reinterpreted to contain noun class markers. Verbs have simplified their auxiliaries into new aspect/tense markers, and the evidentials have fused with the enclitic pronouns and then been simplified into something an 18th century armchair linguist might call decorative.* Pronouns are now explicitly stated when needed. The deictic tags have become a third person animate pronoun set. And consonants and sometimes entire syllables have disappeared leaving behind lengthened vowels.
*I have seen an Aztec grammar that calls evidentials ornamental.
A note on pronounciation. Most letters are more or less IPA. Except, c and j are palatal stops or alveolar-palatal affricates. y is therefore the palatal glide. ñ is the palatal nasal. x is the palatal sibilant ( ʃ ). Long vowels are written double. z is actually an allophone of s (and ʒ of x) but I am writing them separately because in another few generations, after initial s becomes h, they will become separate phonemes.
Anyway, I am going to mix grammar and vocabulary a bit.
Vocabulary
Nouns/Adjectives/Verbs/Time Words
budu mouth
cano think or feel or wonder or otherwise engage in mental activity
caskuje be angry
ceñe adult female person, woman
cumu adult male person, man, becomes cumo in plural
da go
dada travel or wander
data fall, come down
deŋga river
degi be, recline
doñjame watch, observe
gakuge wash (transitive), bathe oneself (intransitive)
goli long time, a long period of time
kaakade help, assist with a task
kiido rock, stone
kunde want, wish, need
lañja mountain
lono day
niike nearby, next, neighbor
nooje change, be changed or altered
pide edge, bank or a river
see talk to, speak to, say to
sejewa finishing, west
seta stop, pause in a journey
taatada rain
tanno flow
tene each with a singular noun; every, all with plural nouns
tono path, road
wospe from then on, since then
xooʒoli beautiful
yebe pool, lake
yeeje spirit, deity
yeele person, adult person
yekeke south
The above may or may not take the following suffixes:
Derivational Suffixes
These are closer to the word stem than other suffixes.
=nne turns a noun or adjective or adverb into a verb or a copula; turns a verb into a noun before adding a noun class marker
=no aspectual suffix for becoming, expanding, or contracting. Used with adverbs nolo/nota for more/less so of a quality
=ññe aspectual suffix for starting. Used with adverb nono
=spe aspectual suffix for failing at an intended task
=stewa turns a verb into an adjective describing something that is in the process of Ving
=wa turns a noun into an adjective of association (of the N)
Tense + Evidentiality + Person suffixes for verbs
=ba recent past + inferred + 3rd person animate or 2nd person plural subject
=baya recent past + inferred + 3rd person animate or 2nd person plural subject + 3rd person animate object
=sa recent past + reported + 3rd person animate or 2nd person plural subject. Also –za
=saya recent past + reported + 3rd person animate or 2nd person plural subject + 3rd person animate object. Also –zaya
=se recent past + reported + 3rd person inanimate subject. Also –ze
=steba current present + inferred + 3rd person animate or 2nd person plural subject
=stebo current present + inferred + 3rd person inanimate subject
=steza current present + reported + 3rd person animate or 2nd person plural subject
=steze current present + reported + 3rd person inanimate subject
=za see =sa
=zaya see =saya
Use of tenses/evidentiality/etc
Recent Past is the default tense. Present will be used when wanting to talk about a current or an imminent happening. There is also a zero marked non-past/present which does not mark evidentiality or person and is used for timeless events and past events continuing into the present and future. That is the base form of the verb, used in auxiliary constructions and so on. Reported is used for facts learned by being told or taught and for indirect speech. Direct is used for eyewitnessed events, events one has participated in, one’s own thoughts and feelings, and for direct speech reports. Inferred is used for supposition, reasoning, and deduction, including the deduction of what other people are thinking and feeling.
Noun Class Markers
These are only used on definite nouns. Indefinite nouns don’t get to have one. A noun can take different noun class markers with a corresponding change in meaning.
=da noun class marker for water
=di noun class marker for a spirit or deity
=ka noun class marker for large things, heaps, mounds, etc.
=ki noun class marker for many large things
=le noun class marker for an adult person
=li noun class marker for abstract nouns, paths, and uncountable or immeasurable things
=na noun class marker for multiple people or spirits, i.e. animate plural
=wu noun class marker for time periods and events
Full Pronouns
benna 3rd person animate plural object pronoun
danna 3rd person animate plural subject pronoun
monna 3rd person animate plural non-volitional subject pronoun
xoo relative pronoun for places, where
Postpositions and Adverbs
ceesu at, among, in an area
cendo towards
dodo marks a subordinate clause
haŋŋido around, to around
genne along a path, up and/or down a river, along an edge
nee via, along, with
nolo more and more
nono start (redundant with =ññe)
pee from. Denotes a source or cause or a standard of comparison
soo marks an object when an object needs to be marked
wunnu while, during. Marks a subordinate clause of scene-setting
Other Grammatical Quirks
Nouns in juxtaposition, particularly if the first noun has no noun class marker, make a whole – part construction. As in Sylvia kuuwu ‘Sylvia’s hand’.
Animate nouns include those denoting people, spirits and deities, and celestial objects (which are also spirits). Everything else is considered to be inanimate.
Word Order
XM is SOV where S is a full noun phrase. It is OSV where S is a pronoun. If S is divided from V by enough other stuff, it will sometimes be repeated as a pronoun just before the verb. Redundancy is good! Most of the times peripheral phrases (marked by postpositions) will come between the subject and the verb. Sometimes they won’t.
Also, particularly for verbs derived from time words, sometimes there is no stated subject.
O is not always marked by soo. Some pronouns are inherently O, so soo would be redundant. Redundancy is good, but not in this case. Also, if O is inanimate, it isn’t always marked because of course the inanimate argument will be the object.
Since the language is OV, adjectives come before nouns, relative clauses come before the relative pronoun which comes before the noun, and there are many postpositional modifiers. It is also strongly suffixing. Auxiliary verbs follow main verbs and aspectual adverbs follow verbs.
=== end of torch ===
And since the LCC7 relay isn’t online anywhere that I can find, here is the translation…
My translation of the previous torch:
As the day was growing*, the rain flowed on the river. Because of the water, those from the west and those from the south stopped at the riverbank as well. Travel to the west and to the south would probably be using for a long time. (take a long time)
At the mouth of the river was the lake where the mountain women bathed.
From Kalin: every sister will probably be more beautiful that the one before. However, the man of the quiet mountain was watching the women, and starting towards the lake and the place the women’s husbands will probably begin to hate.
The sisters spoke with the creator of the mountain and were angry. The spirit of the river helped them.
The river changed course and the men who went towards Quiet Mountain failed to watch the women who were bathing.
And the spirit of the mountain covered the lake all the way to the rocks. After which, the river is flowing only to the south.
*I love this metaphor!
My changes for translation purposes and cultural make-sense-of-it-ness:
During the day, rain fell on the river. Those from the west and those from the south stopped at the riverbank. Travel to the west and to the south takes a long time (inference).
At the mouth of the river was the lake where the mountain women bathe.
The traveling men thought, every woman was more beautiful than her neighbors (inference). They wanted to watch the bathing women. They started towards the lake.
The women were angry and spoke with the mountain spirit and the river spirit. The spirits helped them.
Boulders from the mountain went into the lake and the river’s path changed. The traveling men failed to watch the bathing women.
Since then, the river flows south.
Inavewa was very short-lived. One neat thing it had was a verbal paradigm with a 1st/2nd vs 3rd person distinction. There was also a collective vs separated (not collective) plural. It exists in two documents: A google doc and a google sheet with vocabulary.
Since that was so short, here is the song that convinced me that it really was okay to have multiple ŋ’s in a word.
This is all that exists. Think of it as a look at how I brainstorm. Note that I really do make up body parts very early on in the process. Also, this still has evidentiality, which I discarded for KS. The next language will definitely have to have evidentiality!
This is also where I decided to have an ‘r’ already.
1. The sun shines. HABITUAL
2. The sun is shining. PROGRESSIVE
Light is what moves: sele
Motion is OUT, and from contact with the SRC
Sun is the source: loo
loho=ru sele=vi
Is light, singular, multiple, or collective? Coll.
loho=ru sele=viyi
Tense is non-past
ADV for emphasizing habitual: lena or lenaka
loho=ru sele=viyi lenaka
(actually, can appear in any order)
lenaka lohoru seleviyi
seleviyi lenaka lohoru
etc.
3. The sun shone. Distant PAST
5. The sun has been shining. RECENT PAST PROG
loho=ru sele=viyi (Non-past)
| SG | MULT | COLL | |
| NP | vi | vena | viyi |
| DIR | vela | velana | veleyi |
| INF | vibo | vibona | vibuyi |
| REP | vite | vitena | vitiyi |
loho=ru sele=veleyi
4. The sun will shine. FUTURE
7. The sun will shine tomorrow. FUTURE
loho=ru sele=viyi rerehe (in the future)
loho=ru sele=viyi lanalan (tomorrow)
6. The sun is shining again. ITERATIVE
loho=ru sele=viyi rus (again)
8. The sun shines brightly. adverb
9. The bright sun shines. adjective
loho=ru sele=viyi luluvu
luvu loho=ru sele=viyi
loho=ru luvu sele =viyi
If Subject NP is complex:
luvu sele lohoru ma=viyi
ma=viyi loho=ru luvu sele
10. The sun is rising now. PROGRESSIVE/PATH
loho=ŋi sono (up/head) lala (now)
| cāj | kiga | belly | inside |
| cēm | kima | waist | middle |
| ciēl | kili | face | surface |
| hāl | gala | chest | front |
| hēññ | geŋi | hair | |
| hīñ | giŋi | nose | point |
| hōrr | goro | heel | |
| jāon | ginu | butt | |
| jēt | gite | palm | |
| jōl | gilo | knees | |
| kāc | kake | nails | |
| kāen | kene | flesh | |
| kēm | keme | finger | |
| kīw | kibi | skin | |
| kōλ | koli | neck | |
| kū | ku(vu) | hand | |
| lēŋŋ | leŋe | guts | |
| līw | libi | nerves | |
| lōh | logo | elbows | |
| lōmm | lomo | forearm | |
| māc | make | liver | |
| māll | mala | heart | |
| mān | mana | blood | |
| mōl | molo | womb | |
| mūñ | muŋi | bones | |
| ñām | ŋima | shoulder | next to |
| nīm | nimi | toe | |
| nōm | nomo | wrist | |
| nōs | noso | penis | |
| ŋāk | ŋaka | back | back |
| ōrw | woru | legs | |
| piēx | pizi | teeth | |
| rēx | rezi | urine | |
| rōñ | runu | eye | |
| sār | sara | ears | |
| sātt | sata | body | |
| sērj | seri | navel | |
| sēss | sese | kidneys | |
| sōn | sono | head | top |
| tāk | taka | arms | |
| tāl | tala | vagina | |
| tāwr | taru | mouth | |
| þāk | daka | thigh | |
| þēll | dele | lung | |
| tīrr | tiri | ankle | |
| ūsn | wunu | tongue | |
| ūx | wuzi | anus | |
| wānn | bana | foot | bottom |
| wēr | bere | name | |
| wūn | bunu | sweat | |
| wūt | butu | shit |
11. All the people shouted.
12. Some of the people shouted.
13. Many of the people shouted twice.
thing moving: sound
source: people (all, some, many)
type of motion: OUT
yele = people
animate nouns get explicit plurals: yele, yena, yeliyi
a shout, a cry, a loud noise: rul
yeleyi=ru rulu=veleyi (all at once)
yena=ru rulu=velana (separately)
all = tene + sg
some = peve + mult
many = nana + mult
tene yele=ru rulu=veleyi/velana
peve yena=ru rulu=veleyi/velana
nana yena=ru rulu=velana yene (twice)
14. Happy people often shout.
hanada yena=ru rulu=velana lenaka
15. The kitten jumped up.
16. The kitten jumped onto the table.
yirele = kitten
motion = VIA and up
yirele=ŋela sono tebe=s (onto the table)
17. My little kitten walked away.
No my in this context
yirele=ŋela peze=no (away) liye=pe > lipe (from me (no contact))
18. It’s raining. & 19. The rain came down.
tatara=ŋeleyi (bana)
20. The kitten is playing in the rain.
tatara=nen yirele=ru gire=ŋi
21. The rain has stopped (falling).
tatara=ŋeleyi toro (bana)
22. Soon the rain will stop.
23. I hope the rain stops soon.
tatara=ŋiyi rehe (soon) toro (stop)
diri=me liye=s / les rehe toro tatara=ŋiyi=ru diri=me
24. Once wild animals lived here.
long ago = lilite
wild animals = pake+yi
here = do=s
lived/dwelled = =ye > past.reported = tiyi
dos lilite pakeyi=tiyi (mara=gi (their home))
li / ri / sa / ma / ye
BE/no motion
ye – yena – yigi
la – lana – leyi
bo – bona -buyi
te – tena – tiyi
So back in January, I shared this document with John Quijada. It contains the immediate precursor to Kenda Soro, called Kēpa Sōro. Some changes:
For the particles, I specifically got rid of several and renamed =ko to =nda. This was a big improvement, as I have a tendency to add a new particle anytime I have a new relationship to code.
Otherwise the motion particles and the nouns are more or less the same.
Kēlen is the old language, of course, and it took 20+ years to develop into something more than a few names, words, and phrases.
The New Language started in December of 2012. Here is a timeline:
Sodna-leni (Dec 2012)
This started as an experiment with a small number of verbs encoding different types of motion. Posts tagged for this language.
Sodemadu (Dec 2015)
a better Sodna-leni. Website.
Tessese(ya) (Feb 2016 – Aug 2016)
Then I got fed up with the limitations of a small number of verbs, and created Tesseseya in order to relieve the stress and have some fun. Nuvutani is the first text for an early version of this language. Website.
Xunumi Wudu (Aug 2016-June 2017)
Back to a limited number of verbs (though about 3-4 times as many as Sodemadu) and a better understanding of what I am trying to do. Maybe. Website. Posts tagged for this language.
Xuunu Midu (July/Aug 2017)
an updated XW.
Ciye Sodo (Feb-July 2018)
a better XW.
Inavewa (July 2018)
scrap it all and play a bit
Precursor to KS (Aug 2018)
Kēpa Sōro (Nov 2018)
OK, a limited number of verbs AND the ability to translate into it without too much trouble. Also, allowed ‘r’ in the phonology.
Kenda Soro
a better Kēpa Sōro. See previous posts!
I’ll see over the weekend if I can find some material on the ones that are not on the web.
Kines yenda durondas uduriza ŋera neneno, namas eri neneŋiza bolono. Gareke lires naki, koros sovonda ŋono pezes sarananda andalona. Samas siŋi udures saloziza kuŋino, sovonda tononda runurunu sara. Lohoya mezi menepesena, pobolo tininisena. Uduridu koro vubire taka dimidimi haka, rusurusu haka, satana. Garas yedas satanda bereno.
Soronen andatepe sovoŋe, alas sovo sape, “Ikaro, zosos diŋi? Zosodo lirunuŋi?” Evi, “Ikaro,” alas sarunos tadano sonos zara tininino, saya sanda tudutos bavasavi. Saya ekeges koro satara, koronda kines berenoyi, Ikariya.
People on land see the pair flying through the air, and think they are spirits. They pass by the Gareke islands, and the boy feels more joy the more distance he is from the father. He desires to go higher in the air, and he forgets the father’s path. The sun begins to make the wax soft, and the feathers begin to come apart. The boy’s bare arms hit at the air repeatedly, and he begins to fall. The waters get a name from his falling into them.
The joyless father, now not a father, says,”Ikaro, where are you? Where do I look for you?” “Ikaro,” he said as he sees the feathers that are on top of the waves, and he curses his arts. He puts the boy’s body in the ground, and the land gets its name from the boy, Ikariya.
Kines yenda durondas uduriza ŋera neneno, namas eri neneŋiza bolono.
Gareke lires naki, koros sovonda ŋono pezes sarananda andalona.
Samas siŋi udures saloziza kuŋino, sovonda tononda runurunu sara.
Lohoya mezi menepesena, pobolo tininisena.
Uduridu koro vubire taka dimidimi haka, rusurusu haka, satana.
Apparently a noun can take multiple adjectives, but a verb/motion particle can only take one adverb. Hence the repetition of the verb phrase.
Garas yedas satanda bereno.
Soronen andatepe sovoŋe, alas sovo sape, “Ikaro, zosos diŋi? Zosodo lirunuŋi?”
Evi, “Ikaro,” alas sarunos tadano sonos zara tininino, saya sanda tudutos bavasavi.
Curse is “cover with badness”.
Saya ekeges koro satara, koronda kines berenoyi, Ikariya.
Seresere koro Ikaroŋi, sovoya zame kegevedu sarunuŋi. Sadu sakemekaza seŋipe, mezi esenadu menepes tinines sakemeka. Saya sovonda vubeŋe kegevedu yerenen pabasame. Sotos pesize tininiranda uraŋireŋes nene yalono zoŋi ŋandanen Dedaloŋi. Korodo rondonen sovoŋe, “Ikaro, aŋene tonoza direhe. Ebevedu direhe, yagaranen tumu tininisenahi. Lohodo direhe, tinines sanaluvinahi. Didu tatave, aŋene tonoza ira. Ebeve, loho, nene aŋeneza ira. Liŋakaza ino, aŋene tonoza ira.”
Saya atuvuza tutuve, koro ŋamas nene talile ŋandara aŋaka. Sovo ranarana kasaya koros pezise kanaka. Zaŋi tinininen udures sovolona. Tuvonda atuvuza tuturadu Dedaloŋi. Zoŋi ŋandanen uduriza sara, koronda ŋandas saruno iride hareye.
The boy Ikaro is standing, and watching his father’s work. The danger of touching fails to come to him, and his fingers touch the feathers and soften the wax. He impedes his father’s unusual work with play. After the final feather is placed, Dedalo has a pair of moving, spread-apart wings. The father gives the boy advice, “Ikaro, go via the middle path. If you go towards the sea, its water might make the feathers heavy. If you go towards the sun, its fire might cover the feathers. I command you, take the middle path. Sea, sun, go via the middle of the pair. Follow my back, take the middle path!”
He gives a lesson in flying and then puts a pair of new wings on the boy’s shoulders. The father, with shaking hands, gives the boy a final caress. With moving feathers, the father leaps into the air. Dedalo is like a bird giving a lesson in flying. With moving wings he goes through the air, his eyes looking back at the boy’s wings.
Seresere koro Ikaroŋi, sovoya zame kegevedu sarunuŋi.
Sadu sakemekaza seŋipe, mezi esenadu menepes tinines sakemeka.
Saya sovonda vubeŋe kegevedu yerenen pabasame.
Sotos pesize tininiranda uraŋireŋes nene yalono zoŋi ŋandanen Dedaloŋi.
Korodo rondonen sovoŋe, “Ikaro, aŋene tonoza direhe.
Ebevedu direhe, yagaranen tumu tininisenahi.
Lohodo direhe, tinines sanaluvinahi.
Didu tatave, aŋene tonoza ira.
Ebeve, loho, nene aŋeneza ira.
Liŋakaza ino, aŋene tonoza ira.”
Saya atuvuza tutuve, koro ŋamas nene talile ŋandara aŋaka.
Sovo ranarana kasaya koros pezise kanaka.
Zaŋi tinininen udures sovolona.
Tuvonda atuvuza tuturadu Dedaloŋi.
Zoŋi ŋandanen uduriza sara, koronda ŋandas saruno iride hareye.
This is the story of Daedalus and Icarus, as told by Ovid and retold by my Latin I textbook, with further revisions to fit the language. There will be three parts in total. Published today, Monday, and Wednesday.
Ŋono tili lonos goligoleza liri Keretas maranda ŋono pezes ŋera Dedaloŋi. Samas molonda sanovas zase lakodo yimimino. Lirenda sarazidu goleza samas etede kuŋino, poboho ebeveŋi baŋibaŋi. Evi, “Kineza tadanuza Keretas lasa Minoka tezes, korikori layise gutus. Layeza lireze. Teneteneza Minoka tezes, uduriza saki gutus.”
Vutondo tudutos Dedaloki, saya maramaravanda talilivame. Saya ŋamaŋamas iŋenda siŋes ŋiri tininira. Panaya iŋisiŋi sizininda zome zimivivodo hase. Saya aŋene davas tava davas menepevi, zara tinines tesi bevelime. Dires tondo tuvonda zose nene ŋandaza bolonohi.
For a long time Dedalo, who was very far from home, had been on the island of Kereta. He felt a yearning for the huts where he was born. Over time he became filled with the desire to leave the island, but the seas were blocked. He said, “On the left hand, the land and the waves are held by Mino chief of Kereta, on the right, the sky is open. I will go by sky. On the left hand, Mino holds everything, on the right, he does not hold the air.”
Dedalo passes by unknown arts, he makes a new thing from life. He places feathers shoulder to shoulder from small to tall. It is like the pipes Pana made from different-sized reeds. He covered the middle and low parts with wax, he made a slight curve in the placed feathers. You could believe these were two wings from an actual bird.
Ŋono tili lonos goligoleza liri Keretas maranda ŋono pezes ŋera Dedaloŋi.
Samas molonda sanovas zase lakodo yimimino.
Lirenda sarazidu goleza samas etede kuŋino, poboho ebeveŋi baŋibaŋi.
Evi, “Kineza tadanuza Keretas lasa Minoka tezes, korikori layise gutus.
The coordinating conjunction tezes … gutus is related to the words for left hand and right hand in Kēlen plus the locative =s.
Layeza lireze.
Teneteneza Minoka tezes, uduriza saki gutus.”
Vutondo tudutos Dedaloki, saya maramaravanda talilivamena.
Saya ŋamaŋamas iŋenda siŋes ŋiri tininira.
Panaya iŋisiŋi sizininda zome zimivivodo hase.
Saya aŋene davas tava davas menepevi, zara tinines tesi bevelime.
Dires tondo tuvonda zose nene ŋandaza bolonohi.
Yozonda siŋi yaha medes luŋera. Mede yaha satas ŋelona luŋido zenizeni kumu runuŋe. Luŋeya peretenen mede kigivinda ono davara. Sasataza hara. Saya zimivina, zimenda kerekeremena.
Urinona, inda ŋono zeye oloŋira, lamana tene layisena. Tesi tarataratana, laka kahes Nuvora. Tana reŋirana, keses igaravena. Lakaza tana reŋirayi, inda pezes ŋono pobomo ŋono pidi ŋono perete ŋono muru era. Tana reŋirayi, inda pezes lakara. Medenda medes tanatana Nuvora, ŋiri mede yaha satas oloyo sape. Tana reŋirayi, inda pezes Nuvu ira. Pezes yalata zara Nuvu sazarudu luŋi sareŋe.
Nuvonda nuvume, inda nuvunuvu saruviyi.
The star goes from there to a tall smooth tree. The man expectantly watches the star climb the smooth trunk. The star takes a large piece of bark with a knife. It goes around their body. They start to sing, and from the song they start to make magic.
The wind starts to blow, it makes many dark clouds come, and the whole sky starts to be hidden. A little bit of rain starts to fall and Nuvu goes into the hut. The river starts to flow and it covers the campsite with water. The river flows around the hut and it washes away the many spears, the many baskets, the many knives, and the many mats. The river continues to flow and washes away the hut. Nuvu quickly goes from tree to tree, and he fails to climb the trees’ smooth trunks. The river continues to flow and washes away Nuvu. The star listens to Nuvu’s voice, which is dying away.
Nuvu is changed into an owl and he continues to cry mournfully.
Yozonda siŋi yaha medes luŋera.
Mede yaha satas ŋelona luŋido zenizeni kumu runuŋe.
Luŋeya peretenen mede kigivinda ono davara.
Sasataza hara.
Saya zimivina, zimenda kerekeremena.
Urinona, inda ŋono zeye oloŋira, lamana tene layisena.
Tesi tarataratana, laka kahes Nuvora.
Tana reŋirana, keses igaravena.
Water gara is (here) a part of the river, and so possessed.
Lakaza tana reŋirayi, inda pezes ŋono pobomo ŋono pidi ŋono perete ŋono muru era.
Tana reŋirayi, inda pezes lakara.
Medenda medes tanatana Nuvora, ŋiri mede yaha satas oloyo sape.
Tana reŋirayi, inda pezes Nuvu ira.
Pezes yalata zara Nuvu sazarudu luŋi sareŋe.
Nuvonda nuvume, inda nuvunuvu saruviyi.