anrōllōl
The third sentence of the 2nd Inverse Relay text:
la jalāeþa jarōllōl ewaþ ñi liēþ rā jalāe ālme;
jarōllōl is the inanimate singular form of the attribute anrōllōl which means “covered with snow”. Here it is modifying jalāeþa to make the phrase jalāeþa jarōllōl or “snow-covered mountain pass” or, since this is a la clause, “the mountain pass is covered with snow”.
jalāeþa
The third sentence of the 2nd Inverse Relay text:
la jalāeþa jarōllōl ewaþ ñi liēþ rā jalāe ālme;
jalāeþa is a mountain pass, a good place to cross a range of mountains.
anŋūta
The second sentence of the 2nd Inverse Relay text:
pa jarēþa anŋūta;
Very simple. We already know that jarēþa means “journey”, and pa denotes a whole::part relationship or a thing::attribute relationship and stative nouns are usually attributes, so “The journey is/was …” whatever anŋūta means. It means “difficult” as in “not easy” and “requiring effort”.
pa jarēþa anŋūta;
The journey was difficult.
jīlpēneha
The first sentence of the 2nd Inverse Relay text:
il ñi liēþ rā anālhāri il jīlpēneha;
Earth has seasons due to its axial tilt. On a planet like Earth, jīlpēneha would refer to Spring. On Tērjemar, which has minimal axial tilt, jīlpēneha is planting time, and that time can vary from place to place and plant to plant and maybe occur multiple times in a year. But the poor translator had to come up with something, so:
il ñi liēþ rā anālhāri il jīlpēneha;
We went to the ocean at planting time.
liēþ
Continuing with relay texts, I said I’d do the 17th relay text, but I have changed my mind. I am going to do the Second Inverse Relay text instead. An inverse relay is where some other poor sucker someone else gets to translate a text into your conlang and then you get it and translate it into the next person’s conlang. Anyway, I’ll do the 17th later. Hopefully, after the 18th, which is still going on.
The first sentence of the 2nd Inverse Relay text is:
il ñi liēþ rā anālhāri il jīlpēneha;
The object of ñi here is liēþ, which is the first person exclusive plural pronoun. So the narrator is talking about groups of people, of which the narrator is part of one group and the listener is not part of any group.
rā anālhāri is “to the ocean”, so ñi liēþ rā anālhāri is “We go/went to the ocean”. All that is left is the il phrase, il jīlpēneha, which I will discuss tomorrow.
ī
The fourth line of the LCC3 Relay Text:
se jīxōsa cī ānen anwālte annāra il anpēxeni ī ñi rūjapēxa;
ī is one of those particles that can mean several things. As a conjunction, it means “and also”. As a clause-level modifier, it means “again, also”. If this is the conjunction ī then this sentence has to mean, “Let’s passionately look back in final moments and also (they) move away.” Hmm. If this is the clause-level modifier ī, then the sentence can mean “Let’s passionately look back again in final moments (as) (they) move away.” if ī is modifying the first clause, or “Let’s passionately look back (as) the final (waves) again move away.” if ī is modifying the second clause. Personally, I like the last interpretation, but they are all valid.
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 as the final waves again move away.
anpēxena
The fourth line of the LCC3 Relay Text:
se jīxōsa cī ānen anwālte annāra il anpēxeni ī ñi rūjapēxa;
anpēxena means “last, final”. Here it appears after il, a marker denoting a time phrase, and in the collective, though there is no collective noun in the sentence for it to modify. So, either it is modifying an elided noun like anīli “moments” or it’s doing something else. Since il also acts as a conjunction, (usually a coordinating conjunction, but this is poetry,) let’s see if that makes more sense. If so, and if ī which I will discuss tomorrow can also be parsed with the refrain, then anpēxeni can be modifying the elided “waves”. Of course, putting the object of the relational at the very front of a clause is unusual.
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.
jīxōsa
The fourth line of the LCC3 Relay Text:
se jīxōsa cī ānen anwālte annāra il anpēxeni ī ñi rūjapēxa;
jīxōsa 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 cī, this clause implies “Let’s look back” or “Let’s look again”. cī does not actually belong here. It would belong at the end of the whole sentence, but this is poetry. cī here makes it ambiguous as to which clause (this one or the truncated refrain, “(they) move away”) the phrases ānen anwālte annāra, il anpēxeni, and ī 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.
samōra
The third line of the LCC3 Relay Text:
ñi nāra lemōra ñi antāoni antāλi rūjapēxa;
lemōra is the 1st person possessed form of samōra, “one’s dreams”. The first clause, ñi nāra lemōra is incomplete, “All my dreams (become something).” The second clause, the refrain, is again “the wild waves move away”. Putting these two clauses together usually requires some sort of conjunction or relative pronoun or both. As it is poetry, the juxtaposition of these two clauses leads one to interpret this line as “All my dreams become the wild waves moving away”.
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;
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
Tomorrow, we start line 4.
nāra
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