Translations for the Conlang list
On the conlang mailing
list there regularly are translation exercises for the reader. Great
fun and you get some interesting results. Here are both the exercises
I've done and the exercises I've posted.
This the first paragraph of a story from
Mailei Hallei rainei lhayi gylsin, the Book of Mallei Halla's Left Hand. It has been translated into
e.do keda ga adim etand.alei mo seras andal can hahan.alei.
poss-1sMGH ancestor NOM boy be.PT3 then 3sHGH world though tramp.PT3
When my ancestor was a boy he travelled through the world.
Seras iber tan nevus hahan.alei. Tan nevas ga ke nadul.
3sHGH first GEN west tramp.PT3. GEN west NOM only sand.
He travelled first in the west, The west only had sand.
E seras tan naha hahan.alei. Tan naha ga ke perlas.
then 3sHGH GEN north tramp.PT3. GEN north NOM only snow
Then he travelled in the north. The north only had sand.
E seras tan mudra hahan.alei.
then 3sHGH GEN east tramp.PT3
Then he travelled in the east,
Mudra tan barus ga se.se tan keda tau.tau.gahir.aju.alei.
east GEN mountain NOM high.DUP GEN ancestor not.DUP.climb.CRT.PT3
The mountains of the east were very high, my ancestor certainly could not climb.
Sera mo kisuru.alei tan nyra hahan.alei.nai nan.ini qunaman.ini
3sHGH then decide.PT3 GEN south tramp.PT3.PERF walk.HAB ride.HAB
Then he decided to go to south, walking, riding,
nyra ar tan andal zi.zi oi.zi ga qirez.alei.za.
south LOC GEN world great.DUP city.AUG NOM see.PT2.EXP
In the south he saw the world's greatest city.
Father, what are those lights?
The following text was presented by Fabian and translated into
Father, what are those lights?
That is the city of the Goyanim. They are a strange people. They light
their cities at night, as if the stars weren't sufficient for their needs.
They fight and kill each other, not realising the greater danger beyond
their small world. And they do not hunt each other with bows and arrows.
No, they have strange devices that kill from far away without arrows. And
take care near their strange iron horses they use to travel. They travel
faster than any natural beast ought to, and ignore the strength of the bow
and arrow. Best if you avoid their cities, my son.
Father, what's a city?
Arda, hen pahe wenyi.yi?
father what DST light.DUP?
Father, what are those lights?
Oi tan Goyanim ga. Poim'tau.yidan ga.
city GEN Goyanum NOM. people.NEG.normal NOM.
It is the city of the Goyanim. [they] are a strange people.
Vayn.vayn tau.penan e.ras yunsuru.dir
star.redup NEG.content POSS.3pLGH need.p
the stars do not content their needs
ka ras e.ras wenyi.nyi cenam oi.oi
TOP 3pLGH POSS.3pLGH light.HAB night city.DUP
they light their cities at night.
Gigar.zi e.sar nil andal.yi tau.jonir ka
danger.AUG POSS.3pLGH outside world.DIM NEG.knowledge TOP
The greater danger outside the world not being knowledge,
ras bachanza.nyi ras dilogh, ras nothaz.ini ras dilogh.
3pLGH beat.HAB 3pLGH RFL 3pLGH kill.HAB 3pLGH RFL
they beat each other as a habit, they kill each other as a habit.
ras tau.qenkaz ras dilogh hye berkernan hye belay.
3pLGH NEG.hunt 3pLGH RFL with bow  with arrow 
The don't hunt each other with bow and with arrow
Tau.tau.etand, e.ras dox'tau.yidan ga nothaz tan kal tu.belay.lay
NEG.dup.be POSS.3pLGH thing.NEG.normal NOM kill GEN far without.arrow.DUP
No, no, theirs is a strang thing that kills from far without arrows.
Qurkigar.hau tan e.ras tan afran ga cadrav.dir'dukka
carefull.IMP GEN POSS.3pLGH GEN travel NOM dragon.p.iron
Be careful of their iron dragons that exist to travel.
Danran.ran afran tan danca.ca wuxik.zi
REL-obj.DUP travel GEN animal.dup fast.AUG
Those travel faster than animals.
E.ras oi tau.karinzu ray.zi.zi, anu e.do.
POSS.3pLGH city NEG.go-in good.AUG.AUG son POSS.1sMGH
Not going into their city is best, my son
Arda, hen ga oi?
father what NOM city?
Father, what's a city?
 yunsuru < getyun 'take' + suru
 bent twig.
 Actually, simply a twig. While not exactly
un-warlike, the profession of soldier or hunter is sufficiently
depreciated not to let the words of the tools of the trade enter polite
 There exist no animals that are not natural -
even ghosts are considered natural.
Beginnen kan ick
Irina Rempt posted the Dutch saying Beginnen can ick, volherden
wil ick, volbringhen sal ick, in English I can begin, I want to
persevere, I will succeed.
do fainor yindad.ini, do ilor suru.ni, do quelday.ju.ni
1sMGH begin be-able-to.HAB 1sMGH continue want.HAB 1sMGH succeed.CRT.HAB
There's not much formal difference between verbs and nouns: both
can be pluralized, modified (and there's no formal difference between
adverbs and adjectives in Denden) and both can denote quality or state.
It would be entirely correct to give fainor and ilor
the habitual aspect <-ini> HAB too. The last phrase uses the
certainty aspectivizer, to indicate that success is, well, an undoubted
do fainor.ini yindad.ini, do ilor.ini suru.ni, do quelday.ju.ni
1sMGH begin.HAB be-able-to.HAB 1sMGH continue.HAB want.HAB 1sMGH succeed.CRT.HAB
A more idiomatic way of saying this would be:
fainor ilor quelday ga do etand.ju.ini
begin continuity success NOM 1sMGH be.CRT.HAB
Definitely there will always be to me beginning, perseverance and success.
Where the translation of etand with to be is not
entirely accurate: etand is not much more than a peg to fit
modality, tense and aspect on, and does not have much meaning of itself.
More rethorically put, and more in the direction of the classical language,
fainor ilor quelday ga do yindad suru etand.ju.ni
begin continuity success NOM 1sMGH able want be.CRT.HAB
Beginning, persevering, succeeding I am able to, want to, will attain, certainly.
fainor ilor quelday ga do yindad.ju.ni suru.ju.ni etand.ju.ini
begin continuity success NOM 1sMGH able want be.CRT.HAB
In these two examples etand is needed merely to provide a
perfect parellellism between the first clause and the second clause: it
would not be good style to have three elements in the first and only two
in the second clause.
Carlos Thompson presented two Hangkerim proverbs (translated into
Being a leader will make you and the people around you happy.
mur ga radan dilogh radan.dan radan.tos zimin yuhau
leader NOM human REFL human.DUP human.all happy necessity
Being a leader, a person and all person will necessarily be happy
Commanding doesn't make you a leader.
A short story by Julio Cortazar
Pablo Flores suggested a short story by Julio Cortazar, which he
presented in Spanish. Here's the translation into Denden
Yomu tan pexen
Tan Daine kę ternoberai adan, tan gerawan loroidoxaz adan. Pesne ar
Daine ka shauldan zunganuno p zidaghanonuno. Feinta shauldan
yetsamin'nanin'gasat qishen danran andvain'zimenir tan yal logh tan
gerawan paisanar par penirir. Werubraibrai aday nahan lohe tan Daine.
Daine chui jaharonai tan chakahinyi ga hon ka weru doxazdan nahan lohe
tan Daine nah. Tan kairi denha tan gerawan kę ternoberai adan, tan Daine
loroidoxaz adan. Feinta Daine yetsamin'nanin'gasat sü qishen.
Nribraiapar adan nahan lohe tan Daine nah. Tetarin paisahonuno tan Daine
zipaisan ga tayr beru gerawan semot. Cenam nahané tarna gerawan
taunahanyara tan Daine nah. Pesne ar Daine zunganuno p zidaghanonuno.
Gerawan geyun'yaryuan séor yidenha, tan Daine pesne lohe nayranju.
Karinzu quré shauldan. Tan Daine zipaisan gedrafan. Vayn mayuan.
Yomu tan pexen
subject GEN cloth
I've translated tapestry as literally as possible. Tapestries
are unknown in the Charyan culture, as are all possible connotations.
For the rest, this was a remarkably context-free exercise.
Tan Daine kę terno.berai adan,
GEN daine only eight.ten man
It is possible to pluralize counted nouns, but it is rather
unusual, and in this case would imply that the general has
eighty men and campfollowers, especially since campaigning
soldiers in Charya are almost always followed by spouse and
children and various tradesmen and tradeswomen bent on relieving
the soldiers from their spoils. Most campaigns in Charya
are of the tax-gathering kind, amongst the peasant population
in the mountains. See for some background the story of
tan gerawan loroi.doxaz adan.
GEN enemy 5.1000 man
Pesne ar Daine ka shauldan zunga.nuno p zidaghan.onuno
tent LOC daine TOP 3sVHGH curse.DUR COP cry.DUR
Pesne, tent, is loan from Matraian, pasan, 'tent'.
General is translated by Daine, which is perhaps a bit too
high in rank - especially for one with so few soldiers
under his command. A high ranked official has a right to
the very high grade honorific pronoun, shauldan, which
is derived from the noun shauladan 'advisor'.
Feinta shauldan yetsamin'nanin'gasat qishen
then 3sVHGH proclamation.full.soul write
A shauldan won't simply write a note, but is
more refined than that: therefore, he writes a
yetsamin, which is a word derived from the
official literary language, Den'wenray, Classical
Charyan. Good Denden is often a matter of mixing
in enough Den'wenray.
danran andvain'zimenir tan yal logh
REL dove GEN messenger like
tan gerawan paisanar par penir.ir.
GEN enemy camp over let_drop.DEL
gerawan < southern colloquial gelawan 'soldier'.
Most people will view any soldier as an enemy. It's
those tax-gathering campaigns, again.
Weru.brai.brai aday nahan lohe tan Daine.
2.10.10 child go to GEN daine
Denden hasn't a word for 100: 100 is braibrai
literally ten ten.
Daine chui jahar.onai tan chakahin.yi ga hon ka
Daine easily succeed.PERF GEN battle.DIM NOM after TOP
weru doxazdan nahan lohe tan Daine nah.
two regiment go to GEN daine side
Tan kairi denha tan gerawan kę terno.berai adan,
GEN 3 day GEN enemy only 8.10 man
tan Daine loroi.doxaz adan.
GEN Daine 5.1000 man
Feinta Daine yetsamin'nanin'gasat sü qishen.
then daine proclamation.full.soul again write
Nri.brai.apar adan nahan lohe tan Daine nah.
7.10.9 man go to GEN daine side
Tetarin paisah.onuno tan Daine zipaisan ga tayr beru gerawan'semot.
silent wait.DUR GEN daine army NOM around one enemy-single
Cenam nahan.é tarna gerawan tau.nahan tan Daine nah.
night go.PRT1 but enemy NEG.go GEN daine side
Pesne ar Daine zunga.nuno p zidaghan.onuno.
tent LOC daine curse.DUR COP cry.DUR
Gerawan geyun'yaryuan séor yidenha,
enemy take slow sword dawn
The idiom for dawn is yidenha, literally 'little day'.
tan Daine pesne lohe nayran.ju.
GEN daine tent to go.CRT
Karinzu quré shauldan.
enter see 3sVHGH
A simple juxtaposition of two verbs is just as acceptable
as using a copula: compare zunganuno p zidaghanonuno,
'curse and cry'.
Tan Daine zipaisan gedrafan. Vayn mayuan.
GEN daine army go sun appear
Iddreftel Pálmadhel i themar
A fragment from a play in Draseleq I translated into the Broyan stage language.
Because of the structure of the Broian stage language, which is a real
linguistic corset, I had to put a lot of explicit nuances into the text, that
the original would have left to the audience. Of course, since nobody in a
Charyan audience really understands Broian, these explicit pointers are
necessary to get the story across. Some special effects of the language like
the suffix that indicates whether the other actors on stage can hear the
speaking actor I couldn't use at all!
First I give the running text, followed by interlinear glosses and
Pálmadhel kirasire fenqir t'aya!
udan he yudir carjin
udan udan tan Pálmadhel
fentandan: Pálmadhel kirasire fentan t'aya!
fentandan nahan twa. Pálmadhel afran twa]
Pálmadhel: udan caya t'awe! Ya yu yukirasirebu tiar.
Tirmas yu c'uan.qu t'onahanlous lunda.
[tamrodu] Yojal yu ya na timpogennarlous t'aya.
Yu ya fohun tan foc'enudada an tupalodelus
gennarlous yu ya fohun y shogenang logh
Ya tuyudiryerp ya yu pulandirqu miorafranliur
tulunda. Ya yudiryerp y yu pulandirqu afran
[p'enairouvain gaho twa. Pálmadhel afran twa. Fo nahan twa.
wenisis yaryuan p'aras twa. Fensil nahan twa.
Fensil: Tarmis agurwih tan fo yuafranlous duromis da
foyan pahgedrafan yujindrad sima.
Ünsüth t'awe! Da udan he yudar tan andal
jutupamoiliar kunda! Da adan he yudir arat
niniyalaushliar kunda. Da arat t lengleng qufohun
Ünsüth afranran t'awe! Da atu c'enudafohun pinipini
[Ünsüth nahan twa]
demdarudan: Ünsüth quFensil qunaman namu
udanfiqar tan quÜnsüth qirtin nahantan namu
atur udanfiqar perinper mursha turmadajun namu
atur wayan voyuyan geyan namu
[ wuxik'ik' p'enairouvain p'aras twa. Fensil Ünsüth tan baban twa.
Fensil he Ünsüth tamdoru afran twa. Hápseret nahan twa. ]
Hápseret:- Udir hacakar afranlo tiar. Du foan mamaotand lunda!
Agur kin karin yerir gesad hakar dilogh tupiro
zirhelaiob soimois gugu?
[terhaush] Hacakar tajir qudentan yudunaten t'awe!
Pálmadhel kira.sire fenqir t'aya
Pálmadhel ill.wish play IMPRT
The story of the ill wishing of Pálmadhel!
A play in the old style
nama is the objective sentence-final particle. It indicates that the
utterance is objectively true.
udan he yudir carjin
man and woman list
udan udan tan Pálmadhel (man: husband of Pálmadhel)
yudir Pálmadhel (woman: Pálmadhel)
pal taupal (emperor: no emperor)
foadur Fensil (noble: Fensil)
nudan taunudan (merchant: no merchant)
charka taucharkar (soldier: no soldier)
rachtan taurachtan (farmer: no farmer)
judan taujudan (townsman: no townsman)
pandan taupandan (civil servant: no civil servant)
nirdir Hápseret (extra: Hapseret)
p'up'u Unsuth (fool: Unsuth)
Since the pronouns and some of the verbal forms used by the
actors are determined by their emploi, it is extremely important
to assign an emploi to every part. I didn't want to make everybody
extra, since that would hide some of the nice features of the language.
fentandan: Pálmadhel kira.sire fentan t'aya!
story-teller Pálmadhel ill.wish story IMPRT
Announcer: The story of the ill wishing of Pálmadhel!
t'aya: sentence final particle indicating that what
follows is important to listen to. Gloss: IMPRT
[fentandan nahan twa. Pálmadhel afran twa]
story-teller go NTR. Pálmadhel enter NTR
Exit announcer. Pálmadhel enters.
For the nonce, I consider neither the announcer,
nor Pálmadhel as specially important. Pálmadhel will
have the emploi of woman.
Pálmadhel: udan ca.ya t'awe! Ya yu yu.kira.sire.bu tiar.
man poss.1s EMOT 1s 3s CRT.ill.wish.POT LOVE
Palmadhel: Oh, my man! I could curse him!
Pálmadhel uses the pronouns that belong to the emploi
of udan and yudir. The sentence final particle t'awe
indicates strong emotion.
The prefix <yu~> indicates certainty: The potential suffix
indicates that she desires the possibility. She certainly
wishes that it would be possible that her husband met an ill
fate. The sentence final particel _tiar_ LOVE indicates that
she still loves her husband. Had I chosen _chochu_, the angry
sentence final particle she would have been angry without love,
now love lingers, and that makes the sentence more poignant. Though
perhaps not what the author intended...
Tirmas yu c'uan.qu t'o.nahan.lo.us lunda.
because 3s concubine.ALL SURP.go.PRT.PRF SAD
Because he has turned out to have gone to his concubine!
Second wife would not be that strange in the Charyan context,
where the ideal marriage consists of three people. Therefore I have
chosen the word c'uan, concubine, since there is a tradition
of empresses having an issue with the emperor's concubine.
I have used the suprised prefix <t'o-> to indicate that
Pandamel did not expect her husband to leave her for another. The
sentence final partice _lunda_ indicates her sadness about this.
[tamrodu] Yojal yu ya na timpo.gennar.lo.us t'aya.
noise due_to_this 3s 1s thusly NARR.leave_alone.PRT.PRF IMPRT
[diverse alarums] Due to this I have been left alone in this way.
I have taken this to be an introduction to the rest of the
story, that's why I have chosen for the narrative verbal prefix
<timpo-> and the important utterance sentence final particle
Yu ya fohun tan fo.c'enuda an tu.palodel.us 0.gennar.lo.us
3s 1s night GEN moon.dark LOC NEG.protect.PRF NTR.leave_alone.PRT.PRF
yu ya fohun ralaw. Sho.genang logh 0.nahan.lo.usar ralaw.
3s 1s night AFRAID hole.black LIKE NTR.go.PRT.ALWAYS AFRAID
In a moonless night he didn't protect me and left me alone.
Into a night like a black hole.
This was a very difficult one! All this talk of dark and moonless
nights is pretty frightening, so the entire sentence is finished with
ralaw, which indicates fear. The aspect suffix <-usar> indicates
that the action has begun in the past and continues into the present.
ya yu pulandir.qu mior.afran.li.ur tu.lunda.
1s 3s magistrate.ALL PSTV.go.FUT1.IMM NEG.SAD
If I won't become a widow I won't mind sending him to the judge.
A widow is a remainderd woman - actually, I didn't have a word for
widow and I think it wouldn't be a common word. A woman whose
partner(s) have died is not defined by that fact, and the concept is
not terribly familiar.
Since there is a direct object, afran 'to go' gains a
causative meaning: 'to send'. The first future <-li&rt applies to
actions that will happen within a short time. The suffix
<-ur> adds the notion of immediacy. The positive prefix
<mior-> PSTV implies she views sending him as a food action.
The sentence final particle lunda indicates sadness, as
we've seen before, but it is negated, so she's not sad.
Ya tu.yudir.yerp, ya yu pulandir.qu afran ray.zi t'awe.
1s woman.remainder 1s 3s magistrate.ALL go good.AUG EMOT
If I won't become a widow I'll see that he goes to the magistrate.
In den'broi, I have to state explicitly that is she who sends her
husband to the magistrate. While the language has five degrees of
distance in its spatial deictic system, it is not well endowed with
relational pronouns. Of course, she's rather emotioned by this
statement, therefore t'awe.
[p'enairo.uvain gaho twa. Pálmadhel afran twa. Fo nahan twa.
flower.bird rise NRT. Pálmadhel exit NTR. Moon enter NTR.
Butterflies fly up. Pálmadhel exit. The moon enters.
wenisis yaryuan p'aras twa. Fensil nahan twa.]
lamp slowly cover NTR Fensil enter NTR.
The lamps are slowly covered. Fensil enters.
Broian does not have the category of number. Fensil, by virtue of
his divine status has the emploi of noble. The butterflies are man
wearing large wing-like constructions who act as a curtain
Fensil: Tarmis agur.wih tan fo yu.afran.lo.us
because light.white GEN moon CRT.go.PRT.PRF
duromis da fo.yan pah.gedrafan yu.jindrad sima.
therefore 1s moon.from IMPR.leave CRT.able_to GLAD
Fensil: Now that the white light has departed from the moon I can
escape from it.
tarmis...duromis... because A therefore B. The prefixes
<yu-> indicate certainty. Fensil is glad he can leave, therefore
<sima>: this makes it an escape. He is a noble god, therefore
imperious: <pah-> IMPR. He has the emploi of noble, and
uses the appropriate pronoun da. (Actually, this is a
mistranslation, the Draseleq original meant 'Now the white moonlight
from which I escape has gone'.)
Ünsüth t'awe! Da udan he yudar tan andal ju.tupamoi.li.ar kunda!
Ünsüth EMOT! 1s man and woman GEN world CRT.surpise.FUT1.INCPT DESP
Ünsüth! I'll give those that inhabit the world a surpise.
There is no third person plural as such, and since Fensil doesn't
refer to acting parts of the play, he uses man and woman to indicate
all people. He will certainly <ju-> surprise them. Since he is
a high and mighty god, he despised those inhabiting the world:
therefore the sentence final particle _kunda_ is used. The inceptive
aspect marker <-ar> INCPT indicates that he will shortly
(<-li> FUT1) start and continue into the future.
Da adan he yudir arat nini.yalaush.li.ar kunda.
1s man and woman fear INSLT.engulf.FUT1.INCPT DESP
I will engulf man and woman with fear.
<nini-> is the insulting attitudinal prefix.
Da arat t leng.leng qufohun yerdat.li.ur sima.
1s fear too much.DUP tonight give.FUT1.IMM GLAD
I will immediately give abundant fear tonight.
These sentences I have split in two. the immediate suffix
<-ur> IMM indicates Fensil will start spreading fear
now. He is glad to do so: therefore sima.
Ünsüth afran.ran t'awe! Da atu c'enuda.fohun pini.pini
Ünsüth go.dup EMOT 1s 2s dark.night mad.mad
Go, Ünsüth, go! I will certainly madly tire you in the dark of the
A few cases of reduplication here. Fensil is certain of his
intention, therefore uses the certainty sentence final particle
yaxa. He is not ill disposed towards his steed, therefore uses the
friendly prefix <yarma-> FRIENDLY.
[demdarudan. Ünsüth nahan twa]
singer Ünsüth enter NTR
Singers. Ünsüth enters.
Ünsüth qu.Fensil qunaman namu
Ünsüth GEN.Fensil ride PON
Ünsüth is Fensil's mount.
The ponent sentence final particle <-namu> indicates
an objective truth. There is no difference between verb
and noun, therefore qunaman 'to ride' can be used
for 'mount', since it stands in a nominal relation
to Fensil because of the genitive prefix <qu-> GEN.
udan.fiqar tan qu.Ünsüth qirtin nahan.tan namu
man.courage in GEN.Ünsüth eye go.under PON
Heroes get drowned in Ünsüth eyes.
atur perin.per mursha turma.dajun namu
3s fire.cold blood HSTL.make PON
He turns into cold fire and blood.
I've given Ünsüth the emploi of fool... He is the enemy of the
heroes, therefore the hostile prefix <turma-&rt; HSTL.
atur wayan voyu.yan geyan namu
3s star heaven.FROM loosen PON
He loosens the stars from heaven
[wuxik'.ik' p'enairo.uvain p'aras twa. Fensil Ünsüth tan baban twa.]
quick.DUP flower.bird cover NTR. Fensil Ünsüth on jump NTR
The butterflies are quickly covered. Fensil jumps on Ünsüth.
[ Fensil he Ünsüth tamdoru afran twa. Hápseret nahan twa. ]
Fensil and Ünsüth noise go NTR Hapseret enter NTR.
Making a racket Fensil and Ünsüsth go. Hapseret enters.
Hápseret:- Udir ha.ca.kar mama.afran.lo tiar. Du fo.an mama.otand lunda!
brother 1s.poss.1s RESP.go.PRT LOVE. 3s moon.LOC RESP.stay sad
Hápseret:- My brother has gone. If he would only stay on the moon!
Hapseret is pandan, extra. The possessive affix
<-ca> is an infix when the pronoun is polysysllabic. She loves
her brother, therefore tiar. (This ties in nicely with the Charyan
twin gods, the Brother and Sister of the Kirimany, the divine lovers.
She naturally respects her brother, therefore uses the respectful
prefix <mama->. She's sad he's gone, therefore uses
Actually, this is wrong: Pablo tells ratger a different story about
the brother and sister, asserting that Hápseret is as powerful
as her brother and the only one who can check him in his atrocities.
Agur kin karin
light back come
yerir gesad hakar dilogh tu.piro zir.helai.ob soimois gugu?
but how 1s REFL NEG.flower place.gray.on amuse RHET
How can I amuse myself on this flowerless, gray surface until
the light comes back?
gugu is a sentence final question particle that implies
a rhethorical question.
[terhaush] Ha.ca.kar tajir qu.dentan yu.dunaten t'awe!
sigh 1s.poss.1s nobody GEN.talk CRT.hate EMOT
sighs. I do hate it when there's nobody to talk to!
The first paragraphs of a short story by Nik Taylor, translated from
Watyáisa. Since Nik hasn't yet corrected it, I'm not sure
how well I've done in translating the extremely complicated
Fenfentir ga, kedandir nenoďcu wuzoleini. Nenoď ka
kelao ga. Tan nenoď kedandir kelao ga. Tan nenoď kedan.dir
tayavainyaralei.nuno burgatdir. Burgatdir yavain ga kedan.dir
woniryaraleinai. Tarna ras Talapita burgat yavainjuleinuno.
Sem bridam yadirze desh burgatdir purdirzoleini. T'udan seras
pubirpubiryaraleni. Seras dos denhadir purdirzoleini tan dos
burgatdir p seras tan eseras burgat tek jeratzoleini. Sem
seras tan du denha mozhaz ondan mozhazini ondan p sem seras tan
dot denha taelatet. Denha ta, seras teshitlo nannan, eseras
tan gigar lo, tan teshitlo nan ga, teshitlor seras kelao.dir qazir
tan Vlami belxa ga qirqir.
Ras seras sem lahirir.
"Aya! Vlami eserir burgat tauga. Vlami tan pubu burgat ga p
serir Vlami taubarini. "
"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
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
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
"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."
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
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.
A translation of an English poem by Sally Caves into
I recognize that the _sü_, 'again', isn't an entirely
adequate translation, but it'll have to do.
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-
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
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.
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.
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.
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
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)
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).
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
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
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
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
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
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
The amatory attitudinal qualifier <-men> is necessary because
of the tender relations between singer and the person sung-to.
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
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
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
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
Denden version of the Teonaht translation by Issytra:
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
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.
Qoi.qoi e.do süsü.men, süsü.men
finger.DUP poss.1sMGH waver.AMA waver.AMA
My fingers, tremble, waver
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
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.)
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
that smells gold
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!
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
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!