This is either the singular form of the attribute annāra, which means everything that is, or a nominalized form of the modifier nāra, which means all of, the whole of. It is more likely the latter, as it means complete thing, whole thing.

Sentence #12:

tere jañūna janāra mo rirōña ē rā jāxīsse hūta pēxa ē rā jāxīsse tēsa pēxa;
You saw complete straightness to the horizon far to the right and to the horizon far to the left.




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

sū mamō salōmme ñi matūmse manīsen marēwa;

The word annīsen is another word I created for the relay. It means “carved or shaped with a knife” and inflected as an animate singular noun, it is modifying matūmse. Of course, since the previous sentence mentioned a statue, this only makes sense.

The next word is a form of anrēwa “awake”, so this sentence is:

“In the young man’s arms, the carved tūmse was awake.” or more literally, “the awake carved tūmse became [so]”.




Continuing with the first sentence of 18th Conlang Relay Text:

ñi jakāellīñ jarēspe sū janūwa ī;

So we have “the kāellīñ was stirring” and then a locative phrase for the location of the kāellīñ. janūwa means “corner”, specifically interior corner like the inside of the elbow or where two walls come together. sū janūwa is “in or at the corner”.

The sentence ends with the particle ī, which, coming at the end of the sentence as it does, signifies that this is not the first time that this has happened.

ñi jakāellīñ jarēspe sū janūwa ī;
The kāellīñ was stirring in the corner again.




We’re on the last sentence of 17th Conlang Relay Text:

tō ñi jarāki rā macūma ōl tō jakērþi tō jāo ñi macūma manōña;

This sentence consists of two clauses connected by tō jāo which denotes that the first clause is a direct cause of the second clause. The first clause is ñi jarāki rā macūma ōl tō jakērþi. Here the instrumentative is naming the inanimate agent of ñi. The object of ñi is jarāki rā macūma ōl “(many) steps on top of the man”, making this clause: “The horses made (many) steps on top of the man” For the second clause it starts “and therefore the man became” manōña. manōña is the animate form of the attribute annōña which means “dead” as in “not alive”. So this sentence is telling us that the thousands of horse trampled the man to death. The end.

That’s the end of the story, as the sentence se jatōrren; indicates.

In full (since it was a short text):
xiēn jē jakērþe japīña;
se macūma; se jakērþe;
il ñamma jacēha ja ñi sāen rā jakērþe ōl nō ā macūma il ñi jakērþe jasērre tō jōrwe ēnne;
ē ñi jakērþe rū macūma pēxa ī ñi sāen mañāka;
ñamma jarāka rū xō ā macūma ānen antānre;
se jarūlōn to jakērþe ī ñi jakērþi ōraen rā xō;
tō ñi jarāki rā macūma ōl tō jakērþi tō jāo ñi macūma manōña;
se jatōrren;

Concerning the bad horse.
The man. The horse.
When the man attempted to get up on the horse, the horse stood upright on two legs
The horse moved away from the man and attacked him.
The man quickly moved away.
The horse gave a loud cry and then thousands of horses arrived.
The horses trampled the man to death.
The end.



We’re on this sentence in the 17th Conlang Relay Text:

il ñamma jacēha ja ñi sāen rā jakērþe ōl nō ā macūma il ñi jakērþe jasērre tō jōrwe ēnne;

When the man attempted ja ñi sāen rā horse ōl nō
then ñi horse jasērre tō jōrwe ēnne.

rā jakērþe ōl nō looks straightforward. plus ōl means “on top of” or “over”. The particle generally emphasizes the “to” denoted by . However, here, is modifying another locative particle rather than a noun or pronoun directly. In this usage denotes that there is physical contact with the object of the phrase, namely the horse. So ñi sāen rā jakērþe ōl nō is “he moved to on top of the horse” or “he got on the horse”.

When the man attempted to get on to the horse,
then ñi horse jasērre tō jōrwe ēnne.

We’ll tackle the last clause tomorrow.




The third line of the LCC3 Relay Text:

ñi nāra lemōra ñi antāoni antāλi rūjapēxa;

nāra is a modifier meaning “all” that generally comes after the noun it modifies. Here it comes before it, likely because of something having to do with meter. Poetry, remember. lemōra will be discussed tomorrow.

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


many or much. This is a modifier denoting quantity. In our sentence:

il ñamma anūri nā ā mūrāna masīrien
il ñamma jalūra rā sāen āñ nō ā marāona;

is modifying the collective anūri or wind. Now we know:

Happening at the same time:
the North Wind is making lots of wind,
the wanderer is causing/doing something.

nīkan and inflections



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”.