Translations for the Conlang list

Ras seras sem lahirir.

"Aya! Vlami eserir burgat tauga. Vlami tan pubu burgat ga p serir Vlami taubarini. "

Seras qilawaw.

"Do serdir yavaini, tarna serdir sem do pubirini. "daha do yuan ga tauyuan, tan do taula ga, do tauwan ga."

Seras geyun taukendir tarna tan gerdan semor p menarar rai. Tan belxa qazir yadirdir seras menarjuleinai Seras klintarju tan eras qilaw.

Glossed text

Fen.fentir ga,  kedan.dir  nenoď.cu    wu.zo.lei.ni.      
past.DUP   NOM, ancestor.p village.LOC dwell.HON.PT3.HAB  

Nenoď   ka  kelao  ga.  Tan nenoď   kedan.dir  kelao  ga.
village TOP wicked NOM. GEN village ancestor.p wicked NOM

Long ago the ancestors lived in a village. This village was 
a wicked village. The ancestors of the village were wicked.

The Classical word for 'past' is fen, the Denden word is fentir. In order to add a cultured touch to the narrative, the speaker uses the classical word, but the language is Denden, so the reduplication uses the Denden word. The repetition of kelao is typical for spoken narrative. Kedan is the Southern Colloquial form of Denden Keda, ancestor. There is no difference between female and male ancestors in any Charyan language. The important bloodlines depend on the clan people enter when marrying; whether that's the man's or woman's clan depends on much negotiation between the concerned clans.

Tan nenoď   kedan.dir ta.yavain.yara.lei.nuno burgat.dir. 
GEN village ancestor  NEG.love.DSP.PT3.DUR    god.p

Burgat.dir yavain ga  kedan.dir  wonir.yara.lei.nai.
god.p      love   NOM ancestor.p stop.DSP.PT3.PRF

Tarna ras    Talapita burgat yavain.ju.lei.nuno.
but   3fpLGH Tlapítá  god    love.CRT.PT3.DUR

The ancestors of the village didn't love the gods.
Loving the gods the ancestors had ceased. But they
certainly loved the goddess Tlapítá.

A bit difficult, this one. Of course, these are the village ancestors - and that means they deserve the high grade honorific pronouns at the very least. But they have deserted the gods, and that's so foolish, one can only apply the despising verbal attitudinal suffix to their actions.

Sem  bridam yadir.ze  desh burgat.dir purdir.zo.lei.ni.
Only one    woman.AUG all  god.p      pray.HON.PT3.HAB

Only one venerable woman was still praying to all the gods.

T'udan seras pubir.pubir.yara.lei.ni.
other  3sHGH mock.mock.DSP.PT3.HAB

The others were always mocking her.

Denden doesn't have different words for laugh at and mock - pubir belongs to the same allofam as pubu 'fool' and pu 'coarse'. In this case reduplication of the verb does not indicate experiential aspect but rather a manifoldness of the verb, it is a kind of plural of the verb: more than one kind of mocking was going on.

Seras dos denha.dir purdir.zo.lei.ni tan dos burgat.dir 
3sHGH all day.p     pray.HON.PT3.HAB GEN all god.p

p   seras tan e.seras    burgat tek jerat.zo.lei.ni.
and 3sHGH GEN poss.3sHGH god    oil give.HON.PT3.HAB

She prayed every day to all gods and offered her god
oil.

Sem  seras tan du    denha mozhaz ondan  mozhaz.ini ondan 
only 3sHGH GEN feast day   kill   animal kill.HAB   animal

p   sem  seras tan dot    denha ta.elatet.
and only 3sHGH GEN hunger day   NEG.eat

Only she would kill a sacrificial animal on feast-days for
killing animals and only she would not eat on hungry days.

The construction tan du denha 'of the feast day' is quaint - it is far more standard to say denha tan du 'day of the feast', and this points to a very southern origin of the translator. Ondan is a classical word, with the general meaning of 'animal'. Within the context this can only mean 'sacrificial animal', since it is unlikely that the translator has much knowledge of the liturgical language, Archaic Charyan, and thus settled for the next best (read: ancient) thing.

Denha ta,  seras teshitlo nan.nan, e.seras    tan gigar  lo,   
day   this 3sHGH market   walk.EXP poss.1sHGH GEN danger place

tan teshitlo nan  ga, teshitlo.r seras kelao.dir qazir tan Vlami 
GEN market   walk NOM market.LOC 3sLGH wicked.p  break GEN Vlami 

belxa ga  qir.qir.
stone NOM see.EXP

On this day she walked to the marketplace, a dangerous place for her,
walking to the marketplace, on the marketplace she saw the wicked ones
breaking the stone of Vlami.

Belxa, 'stone' is altar. For the village-dwelling Charyans stones are especially holy. Stones are immensely useful; they give a place to make a small fire for cooking in, for instance.

"Yadir.zi.dir!  Hen  ga? Serdir belxa qazir ga  wonir.hau.
 sister.AUG.p   what NOM 2pfHGH stone break NOM stop.IMP

Vlami tan e.seras    belxa ga  ta.ta.gelaw ga!"
Vlami GEN poss.1sHGH stone NOM NEG.NEG.angry NOM

"Elder sisters! What is this? You must stop breaking the stone and
Vlami, of whom it is his stone, will not be wrath."

Ras   seras sem  lahir.ir.
3pLGH 3sHGH only gay.EXP

They only laughed at her.

"Aya! Vlami e.serir    burgat tau.ga.
 EXCL Vlami poss.1pHGH god    NEG.NOM.
 
"Ha! Vlami is not our god.

Vlami tan pubu burgat ga  p   serir  Vlami taubar.ini. " 
Vlami GEN fool god    NOM and 1pHGH Vlami hate.HAB

Vlami is a fools' god, and we hate Vlami."

Seras qilaw.aw.
3sHGH angry.EXP.

She became angry.

Seras, in the high grade honorific form, is enough to identify our heroine: the other villagers are all fools and thus receive the low grade honorific pronouns.

"Do    serdir yavai.ni, tarna serdir sem  do    pubir.ini.
 1sMGH 2pfHGH love.HAB  but   2pfHGH only 1sMGH mock.HAB

"I have always loved you, but you would only mock me.

Of course, our heroine speaks about herself in the middle grade honorific form: it's terribly bad manners to use the HGH or VHGH form for yourself unless you are very noble, rich or both.

 
"daha do    yuan ga  tau.yuan, tan do    tau.la     ga,
 if   1sMGH do   NOM NEG.do    GEN 1sMGH NEG.honour NOM

 do    tau.wan       ga."
 1sMGH NEG.honorable NOM.

If I don't do what I do, there wouldn't be honour
to me, I wouldn't be respectable.

The difference between la and wan is that la is the honour you have in an abstact sense, while wan is the honour the world accords you. Even if everybody thought you vile and worthless, you could have la a-plenty, but you wouldn't have wan. On the other hand, if you were respectable outward, but are used to pinch the kitten in the dark, you might have wan, but certainly no la.

Seras geyun tau.kendir tarna tan gerdan semor p   menar.ar  rai.
3sHGH take  NEG.use    but   GEN meat   knife and cut.DEL   3sLGH

She took out a knife that hadn't be used for anything but
meat and stabbed her.

Tan belxa qazir yadir.dir seras menar.ju.lei.nai
GEN stone break woman.p   3sHGH cut.CRT.PT3.PRF

She stabbed the women who had broken the stone.

Seras klintar.ju tan e.ras      qilaw.
3sHGH fly.CRT    GEN poss.3pLGH anger

She fled before their wrath.

Verimak

A translation of an English poem by Sally Caves into Teonaht.

tau.sü
NEG.again
Not again

I recognize that the _sü_, 'again', isn't an entirely adequate translation, but it'll have to do.

I

Tan wiha ging tau.arat.hau sü
GEN sun  heat NEG.fear.IMP again 
Don't fear the sun again

ma tan nahaun'per'qiraw qiraw
or GEN winter     anger anger
Or the anger of the angry winter

di    e.di       qinadin quelday.ju  ga
2sMGH poss.2sMGH office  success.CRT NOM
The success you attain in your office

Qinadan is especially a civil service job, in the Imperial government, the most sought after kind. This sentence is sure to grab the attention of every Charyan in the audience.

tan kaulon nahan.ju.moi ga
GEN house  go.CRT.FUT1
The great house you will go to

Kaulon implies a large house, with servants and more than one patio - the kind of place everyone wants. Most people in the city have to content themselves with one or two small rooms in an insula- like building.

e.di       ram   di    ambar.ju.moi.nai
poss.2sMGH money 1sMGH collect.CRT.FUT1.PRF
The riches you will have collected.

It's entirely good form to be nouveau riche in Charya, indeed, it is attainable for most people. It's easy to come by some money, and even easier to spend it, which is the right thing to do with it. So the sentiment expressed in this phrase readily touches the heart of every Charyan.

adim.dir harul p   drai.dir,
boy.p    gold  and girl.p 
The golden boys and girls

The Charyans are known als the Haruldandir, the Golden people, on account of their skin-colour, which is a nice golden-brown-red. This phrase can only mean 'Charyan children', and it seems to imply a lot of them, which, as the Charyans are not very fertile, but like children a lot, is a good thing.

ir  ronyeran.dir tan  yzi'tohas.dir getyun ga
as  cleaner.p    GEN  chimney.p     take   NOM
    
yechan dayun.ju   logh
dust   become.CRT like

will become like the dust chimney-sweeps take

So we needn't fear sun nor winter, but our riches, our high office and our children will become like the dust chimney-sweeps gather? But the office you hold you can bequeth to your children, who can use it as a stepping stone to attain even higher office, the money, when wisely invested, will aid the clan in gaining prestige and security for its members, and children are the joy of your old age. And if you lose everything, you just start again, is what a Charyan would say.

II

tan koruchan.dir mazir tau.arat.hau sü
GEN lord.p       frown NEG.fear.IMP again
Don't fear the frown of the lords again

di    nele    tan nilro'kiraw ghazaw  ga
2sMGH beyond  GEN king'bad    cruelty NOM
You're beyond the cruelty of bad kings;

dheret p   mai     tau.luanotan.hau
meal   and clothes NEG.care_about.IMP
Don't care about meals and clothes

tan di.di     gingtan hyet  logh
GEN 2sMGH.DUP tree    grass like
For you, trees and grass are the same

utaima.zi p   gesen p   manushe 
hat.AUG   and book  and medicine
Crowns, books and medicine

There exists a whole elaborate terminology as regards head-gear (regal and otherwise), but that's a part I haven't investigated yet, so I will try to get away with 'big hat', here. Manushe is medicine, literally 'sweet herb', because medicinal draughts are traditionally heavily sugared to make them more palatable.

d      desh yiman  qoloriar.ju.ini dilogh
this   all  always follow.CRT.HAB  each_other
These certainly always follow upon each other

and  yechan yiman  dayun.ju.ni dayun
and  dust   always become.CRT.HAB
And will always become dust.

III

muanir tan  woya'perin  tau.arat.hau sü
stroke GEN  heaven.fire NEG.fear.IMP again
Don't fear the caress of lightning again.

Strange, these caresses, but it's what I got when looking around for 'stroke'. A bit of poetic license is allowed? There are a lot of stories in Andal about the God of Lightning, Yignis having a good time with the Goddes of Rain, Sheshal.

ma temdem   terinadar arat
or thunder  noise     fear
or the noise of the thunder

tau  arat.hau zunga    ma tan mekinda musama.dir 
NEG  fear.IMP curse    or GEN scorn   scar.p
Don't fear curses or the scars of scorn.

Of course, even when you're dead and gone to one of the Nine hells, you're still quite susceptible to curses and your children won't allow your name to be sullied, so this is a bit of nonsense for Charyans.

e.di       nezirir  p   musir   wonir.ju
poss.2sMGH laughing and weeping finished.IMP
Stop your laughing and weeping 

sheshedan.dir p   qaivan.dir tuoy  qaivan.dir suwonir.ju.ni
suitors.p     and lover.p    young lover.p    give_up.CRT.HAB
Suitors, young lovers and lovers are certainly giving in.

Charyan doesn't distinguish between lovers and loved ones, not even in the sense that the first are sexual and the second not - it's just not in the vocabulary. So, what we have here are suitors, young lovers and lovers... Also, since the next phrase didn't have any separate content, I've been forced to make one Denden sentence out of two Teonaht sentences.

dox yechan yiman  dayun.ini
all dust   always become.HAB
All allways becomes dust.

A Lament under the rain

This was far too beautiful a poem to let pass... It could almost have been written in Charya, and the author of the poem could have counted on a lucrative sinecure at the Imperial Court, overseer of the Imperial Sugar Procuring, or something like that.

Mirilir         tan raygin.gin      tayr 
goddess_of_rice TAN wheat_field.DUP TEG

Wiha cenar chari kal     tau.cenar tau.chari tau.kal,    tayir.nuno
sun  dark  clear distant NEG.dark  NEG.clear NEG.distant sad.DUR

Over the fields of Mirilir,
The dark, clear, distant, not dark, unclear, not distant sun is always sad, 

The tegimentive locative case particle tayr TEG indicates that the sun is all above, but not necessarily touching, the fields, covering them with his rays. The elaborate serial adjective (or stative verb?) construction is typical Southern Colloquial. The word for sun, wiha, is archaic, and therefore indicates that the sun is seen as a deity. Mirilir is the goddess of rice, so mirilir tan raygin is the poetic way of saying rice-fields. The plain version would be razgin or razlyer, raz being one of the 'false friends' Denden has so many of - it really means rice, and is a Barushlan loan. The durative aspect <-za> DUR indicates that the sun is always sad.

Laush.laush laush.nuno, andain.ain zelash
rain.DUP    rain.DUR     bird.DUP   wet-through

lauyé helai widab  laush hye  wau
dhara gray  silver water with ADESS

It drizzles and rains continuously, the birds are soaked
Near the gray fountains, silver with water.

Impersonal expressions like 'it rains' are formed in Denden by just using the verb on itself. The duplication of the verb indicated the delimitative aspect, it rains a bit, it drizzles. Denden does not allow more than one aspect suffix in the aspectual suffixal slot of a verb, and therefore there's a second verb laush 'rain', with the durative aspect. 'A continual dropping in a very rainy day...' The lauyé is a central place in both the Charyan villages and the cities. It's function is comparable to the Nepali dhara, it is the central place or square, where there's a fountain or a well. It is the seat of many local deities, and therefore holy. The reference of lauyé extends beyond the well or fountain itself, to include the square, and this line means that the rain has overflowed the well, which is gray from reflecting the sky, covering the square with water, reflecting the silver clouds. Laush means both 'rain' and 'water'.

Laush per  tau.wonir ilor     ilor
rain  cold NEG.stop  continue continue

Raht  tau.wana.ju        Mirilir aday.yaday              tan.
earth NEG.give_birth.CRT Mirilir male_child.female_child TAN

If the unstopping cold rain continues and continues
the earth won't give birth to Mirilir's children.

The reduplication of ilor 'continue' is not a case of delimitative aspect, since the whole verb is reduplicated, not only the last syllable. The meaning is therefore more like 'continues and continues'. There is a particle daha 'if', but it's use is not necessary in this context, and would have unbalanced the line. The children of Mirilir are of course the rice-plants. I don't know whether the poet knows much about agriculture, but that doesn't matter - no Charyan poet is knowledgeable in that area.

The choice of words, the word-order (especially of the genitive constructions with tan) makes it clear that the poet lived in the south of Charya, probably even in Broi. In that area there's rain season and a dry season, and the rainy season is very, very wet.

Xipu! Manxuri penerar

The text has first been written in Northern Colloquial Charyan, and is not a translation from a Dutch original. No English translation exists and although my intention is to offer this text for translation into conlangs, a good English translation is welcome, too.

About the language:

Northern colloquial Charyan or _Den'naha_ is the language spoken by the ethnic Charyan people in the north of Charya, in Veroi and the region north of that city. There's a map on my website. It is related to Southern colloquial Charyan and Denden. Because of the pre-eminence of Dendan and Classical Charyan as literary language, Den'naha is almost exclusively a spoken language.

About the text and melody:

It is a traditional folksong from the north of Charya. It purports to be sung by the ghost of a young girl who has died because she wasn't married of early enough.

These songs are generally sung by a demdaranzha, a village singer, who has often been trained from the age of six or seven by another singer, from the same village. Singing is most often a sideline for them, despite the enormous effort expended in learning; demdaranzhazha almost always work as herdsmen or as farm labourers. They seldom have a farm of their own, however small. Both men and women can become demdaranzha. There is no different repertoire for male and female demdaranzhazha.

Despite their extensive training most singers know only one melody which is used for all songs; every village claims to have its own melody, but research has determined that are not more than two dozen melodies in the area, at most. Most songs are sung in a tremolo voice. A possible melody is in midi format.

In a broad transcription:

^ up and down
/ up one
\ down one
| up two
! start higher than the default tone (upper voice register)
- start lower than the default tone
V down a lot (as low as you can)
~ trill

A horizontal line below the text marks a sustained syllable.


 ^ /   \  / \    \ /
Xipu! Manxuri penerar
   _                _


 | \      / \       / \  \   ~
Sero t'erneno beryakari yashnar
                              _


           / \      /  \   \ ~ v
Yan t'eheranmamen t'imti esero u?
                               __
                              

!  \    / \      / \   \  |  \
Galla esero ka chenam ye bangu
                             _


  / \  / \      / \     /   \  ~   
"Sero laya", Yudirza yetashmérzo
         _                     _


 -             /   \    / \
P'a ajir avaneranmamen sero
                          _


-  \      /\         /  v
Tima lyn sero lodha manve.
                        __

Some hints as to pronunciation: ' indicates aspiration, x has its IPA valu= e, y is IPA j, except in lyn, where it is i (for no good reason), ng is ng + g, = sh is a palatal fricative, r is an uvular thrill).

I 
Xipu! Manxu.ri penerar
EXCL  plum.p   fall.PRS

Sero  t'e.r.neno   berya.kari yashna.r
1sHGH have.PRS.DUR 10.3       spring.p

Yan t'eheran.ma.men  t'imti e.sero    u!
who ask_for.FUT1.AFF heart  POS.1sHGH EXCL

Galla e.sero    ka  chenam ye  bangu
hair  POS.1sHGH NOM black  and thick

"Sero  laya", Yudirza yetashme.r.zo
 1sHGH pretty sister  says.PRS.FLT

P'a  ajir    avaneran.ma.men sero
ADH  someone court.FUT1.AFF  1sHGH

Tima    lyn       sero  lodha manve.
because beautiful 1sHGH like  cherry-blossom


II

Xipu! Manxu.ri penera.r
EXCL  plum.p   fall.PRS

Sero  t'e.r.neno   berya.deryo relshna.r
1sHGH have.PRS.DUR 10.4        summer.p

Tau ajim      t'eheran.ze.men t'imti e.sero    u!
NEG young.man ask_for.EXP.AFF   heart  POS.1sHGH EXCL

Yudirci        e.sero    t'e.t'e  berya.kari azhemu
younger_sister POS.1sHGH have.DUP 10.3       year

Ye  sera  k'ari     chuam.lei  laya     ajum
and 3sHGH yesterday marry.PRT1 handsome man

P'a ajir    avaneran.ma.men sero
ADH someone court.FUT1.AFF  1sHGH

At'a   sero  ghadza lodha perve=20
before 1sHGH die    like  snowdrop


III

Xipu! Manxu.ri penera.r
EXCL  plum.p   fall.PRS

Sero  t'e.r.neno   berya.loryo raxna.r
1sHGH have.PRS.DUR 10.5        autumn.p

Tautau  ajim t'eheran.ze.r t'imti e.sero    u!
NEG.DUP man  court.PRF.PRS heart  POS.1sHGH EXCL

Naha   tewir.lei    sero  oke    netu
mother lock_up.PRT1 1sHGH behind wall

T'an shemai maizing      weru e.yudirci
GEN  sew    wedding_gown 2    poss.younger_sister

P'a ajir    avaneran.ma.men sero
ADH someone court.FUT1.AFF  1sHGH

At'a   sero  ghadza lodha süve
before 1sHGH die    like  poppy

IV

Xipu! Manxu.ri penera.r
EXCL  plum.p   fall.PRS

Sero  t'e.r.neno   berhasri perhnar
1sHGH have.PRS.DUR 16       winter.p

Ye  tauna ajim t'eheran.ma t'imti esero     u!
and never man  court.FUT1  heart  POS.1sHGH EXCL

Tima    k'ari     yetan t'an sero  ghadza
because yesterday night GEN  1sHGH die

T'an gedel  cravain t'imti esero     reka
GEN  lonely sorrow  heart  POS.1sHGH LOC

P'a tajir  koloranma    sero
ADH no-one imitate.FUT1 1sHGH

Tima    sero  ghadza lodha choive
because 1sHGH die    like  cornflower

V

Ladna.r! P'a t'an wenta e.sero    gihatu
people.p ADH GEN  story POS.1sHGH listen

P'a chuam at'a   tau.chuam.jinu
ADH marry before NEG.marry.POT

Tima    sero  laya      lodha manve
Because 1sHGH beautiful like  cherry-blossom

Sero  lesha lodha perve
1sHGH fresh like  snowdrop

Sero  xixi   lodha süve
1sHGH tender like  poppy

Tarna sero  ghadza lodha choive!
but   1sHGH die    like  cornflower

Lamay'neranmen

The basis of this exercise is the Lamay Neranmen from the Brahir laqa canun tan ryabay. I present three versions: an interlinearized Denden version, the Denden translation from the Teonaht translation, and a Dutch translation of the Teonaht translation.

lamay-neran.men
song-stroll.AMA

The amatory attitudinal qualifier <-men> is necessary because of the tender relations between singer and the person sung-to.

I

E.do    qoi.qoi       sümzi neran.an.men
poss.1s finger.finger tipsy stroll.DELIM.AMA

There exists a separate set of pronouns for use between lovers. Since that set is not used here, the relationship between the the 'I' of the song and 'you', must take place in a brothel - of course, that doesn't mean that the patron doesn't love the courtesan.

Süsü-ü.men      e.di    hod'atahl par
shake.DELIM.AMA poss.2s head'fore over

Matan     e.di    heril héya.ya.men
alognside poss.2s braid glide.DELIM.AMA

Wüwish e.di    yé.yi'zu,      tirme'ar 
dance  poss.2s dimple.DIM'LOC neck'LOC

II

Sung.men e.di    teal     ar, damba.zi
rest.AMA poss.2s shoulder LOC weight.AUG

Yuanei   tiran e.di    yanang.dir tan
pleasure grasp poss.1s breast.pl  TAN

E.do    nahak hya    tan sunane
poss.1s penis smooth TAN saunter

nahak is common word, but not coarse - neither is it refined, Charyans would use paraphrases and metaphors to achieve a refined effect. The same holds for yenu, below.

Nuy.nuy   nanlan bin.y     ar  anyalan 
quick.DUP run    belly.DIM LOC navel

III

Mo   dulane, qoi.qoi       dena    altah
then waver   finger.finger stammer long_for

Raygin     penne tan naina  tupa
wheatfield dive  TAN nestle suddenly

Wheatfields, grain, cornstalks, are all very common similes. Another poem that makes use of related imagery is presented by the poem raygin tan Choibron.

IV

Xoxo  bernus musa   yaraush, bajan.hau
shake hill   stream lavish   come.IMP

E.di    yenu nanah       drai'xux,  bajan.hau
poss.2s cunt turn_around girl'lusty come.IMP

Noteworthy in the last two lines is a possible variance in interpretation In Denden, and certainly in Denden poetry, it is possible that suffixes like the imperative <-hau> IMP apply to all verbs in the phrase. It is equally possible to interpret the imperative as only applying to the verb it is actually affixed to. Both interpretations are valid.

Denden version of the Teonaht translation by Issytra:

Qoiqoi
finger.DUP

I

Qoi.qoi,   sem  qoi.qoi
finger.DUP just finger.DUP
Fingers, only fingers

Neran.men  e.do       qoi.qoi    sümzi
wander.AMA poss.1sMGH finger.DUP tipsy

Barush.weimunes.ar
mountain.forest.LOC
In the forested mountain-tops

tan yerre tan qaivan  e.do
TAN land  TAN beloved poss.1sMGH
Of the countryside of my beloved

Nemre.men    ryabay, qoi.qoi    e.do
separate.AMA grasses finger.DUP poss.1sMGH
Separate the grass, my fingers

  (This is a difficult point. As soon as stalks, blades
  of grass or anything like that is mentioned, a Charyan
  indeed does think of hair, but not on the head.)

ryabay  tan yerre tan qaivan  e.do
grasses TAN land  TAN beloved poss.1sMGH
The grass of the countryside of my beloved.

II

Qoi.qoi    e.do       süsü.men, süsü.men
finger.DUP poss.1sMGH waver.AMA waver.AMA
My fingers, tremble, waver

sümzi, xux-xux
tipsy  lusty.DUP
Tipsily, lustily

matan     heril héya.ya.men
alongside braid glide.DUP.AMA
alongside the braid they glide

e.di       garal tan ryabay       logh
poss.2sMGH hair  TAN grain-stalks alike
Your hair is like wheat on the field


III

Tan chrenla e.di       nezirir wüwish
TAN valley  poss.2sMGH smile   dance
Dancing in the valley of your smile

  (Sally, are T. deluan and liluan cognate? Nice coincidence with
  Dd. _luan_ 'love, to love', too!)

Tan teal     e.di       harul
TAN shoulder poss.2sMGH gold
Towards your golden shoulder

  (White as a colour is not much prized - the poor girls from
  the north of the continent have no chance of becoming famous
  beauties in the capital city of Broi.)

esse.men;    e.di       damba.zi rezet.yi  tiran.men
descend.AMA; poss.2sMGH weighty  bread.DIM take.AMA
Descend; take your weighty buns

  (Hills as an image is strictly used for the mons veneris, but buns can
  be used as an image for breasts, although the typical, very small
  Charyan breads have a bifurcated form which makes them a popular simile
  for the labia.)

IV

Xux.xux  tan di    tan cah.cah    do
lust.DUP TAN 2sMGH TAN harden.DUP 1sMGH
The lust for you hardens me

tarna Qoi.qoi,   sem  qoi.qoi
but   finder.DUP just finder.DUP
But just [my] fingers, just [my] fingers

dulane.men yülish masay   tan e.di       bin.y
waver.AMA  above  thimble TAN poss.2sMGH belly.DIM
Waver above the thimble of your belly

dena.men  tan bay.garir   logh
waver.AMA TAN stick.magic like
Wavering like a magic wand

harul tebi.tebi
gold  smell.DUP
that smells gold

V

Penne.men! Karinzu.men!
dive.AMA   enter.AMA
Dive! Enter!

Xoxo  bernus musa   yaraush
shake hill   stream lavish   
Let the hill shake and stream lavishly, 

bajan.hau, nanah       drai'xux,  bajan.hau
come.IMP   turn_around girl'lusty come.IMP
Come! Wriggle around, my lusty girl, come!

Vingertjes

De vingers, alleen nog maar de vingers
Wandel!, mijn dronken vingers
Door de beboste bergtop
Van het landschap van mijn liefje
Scheid de halmen, o mijn vingers
Van het veld van mijn liefje

O mijn vingers, hoe dansen ze
Dronken, opgewonden
Langs de vlecht naar beneden
Haar lokken korenschoven

In de vallei van je glimlach dansen ze
Naar de richel van haar witte schouder
Dalen af, grijpen vrolijk de stevigte
Van haar gladde heuvels zonder dralen

Mijn liefde voor jou verstijft me, maar
nu de vingers, alleen de vingers
aarzelen boven het kelkje van je buik
Trillend als een wichelroede

Die opeens het verborgen water vindt
Duik nu! Nestel je erin!
Laat die heuvel schudden, met haar overvloedige stromen
Kom, verdiep het leger
O m'n geile meisje, kom!