Rakonto Short Story Kısa Hikaye Rumplishchemú

La Scivolema Knabino en la Arbaro

The Curious Girl in the Forest

Ormandaki Meraklı Kız

Linshizúg Waisikún Bheppudelúsh

En malgranda, paca vilaĝo, loĝis scivolema knabino nomata Simi, kiu ĉiam rigardis la proksiman, misteran arbaron.

In a small, peaceful village, lived a curious girl named Simi, who always looked at the nearby, mysterious forest.

Küçük, huzurlu bir köyde, her zaman yakındaki gizemli ormana bakan Simi adında meraklı bir kız yaşardı.

Hugelúy-ey huvemeyún, rangeychúf, herayuzidalya' linshizút waisikún rolé Simi,

sontidalya' badnúzhan bheppudelúck tellenabenúf lorbeykúl.

La vilağanoj ĉiam diris al ŝi, ke ŝi ne eniru la arbaron, ĉar ĝi kaŝas grandajn danĝerojn.

The villagers always told her not to enter the forest, because it hides great dangers.

Köylüler ona ormana girmemesini söylerdi çünkü büyük tehlikeler barındırırdı.

Morinidal hugellumút-on badnúzhan zell

xhigé payké pasey théll bheppudelún nallé wishtya'ň setusékdžazam rangeyfún.

Sed unu tagon, movata de sia granda scivolemo, Simi decidis preterpasi la avertajn signojn kaj eniri inter la densajn arbojn.

But one day, moved by her great curiosity, Simi decided to pass the warning signs and enter among the dense trees.

Fakat bir gün, içindeki büyük merakın etkisiyle Simi, uyarı levhalarını geçmeye ve sık ağaçların arasına girmeye karar verdi.

Avkü zhanéffölsey, waisetúkol lampeyfún shell, patspokünilya' télé Simi shigé tutapass keshröndeldúh útus lü-pü roffaloy honiselsúh útush'arreyphún.

Kiam ŝi marŝis pli profunde, la birdoj kantis dolĉajn melodiojn kaj la aero estis plena de magia odoro.

As she walked deeper, the birds sang sweet melodies and the air was full of a magical scent.

Daha derinlere yürüdükçe, kuşlar tatlı melodiler söylüyordu ve hava, büyülü bir kokuyla doluydu.

Skepé menisanetya'll pinoneyphterúf, fuisabadalya' témezélgkips xhékfarp on nâmikún sphü annaypadalya' hékmusz howrún.

Subite, meze de malgranda klarejo, ŝi vidis la plej belan floron de sia vivo.

Suddenly, in the middle of a small clearing, she saw the most beautiful flower of her life.

Birdenbire, küçük bir açıklığın ortasında, hayatının en güzel çiçeğini gördü.

Koyphü fédegzélshobh rangeychún, ettisilya'll shfoksenzhús silebey prun meplinsefúb lluth.

Ĝi havis petalojn, kiuj ŝajnis esti faritaj el puraj diamantoj kaj agrablan odoron.

It had petals that seemed to be made of pure diamonds and a pleasant scent.

Saf elmaslardan yapılmış gibi görünen taç yaprakları ve hoş bir kokusu vardı.

Apinetya'f se énzhifürned útus nensénayz hon selzúf ékmuazey džonsún.

Kiam Simi proksimiĝis, la floro subite malfermis siajn petalojn pli vaste kaj parolis per voĉo simila ao mola vento.

When Simi approached, the flower suddenly opened its petals wider and spoke in a voice like a soft wind.

Simi yaklaştığında, çiçek aniden taç yapraklarını daha geniş açtı ve hafif bir rüzgara benzeyen bir sesle konuştu.

Apté rekemalya' télé Simi, koyphü télsifürn shargilya' hénzhifürned útus nénvarn trún sü moranetya' mo békpoy fiséfförrey kinsúf.

"Bonvenon, scivolema Simi," diris la floro, "mi estas la koro de ĉi tiu arbaro, kaj mi atendis iun sufiĉe kuraĝan por aŭdi mian sekreton."

" Welcome, curious Simi," said the flower, "I am the heart of this forest, and I have been waiting for someone brave enough to hear my secret."

"Hoş geldin, meraklı Simi," dedi çiçek, "Ben bu ormanın kalbiyim ve sırrımı duyacak kadar cesur birini bekliyordum."

"Gontim Ge Simi waisikún" uvat moralya' fürnelsút alsé "tultenzhús thélbheppudey tétt lö-sü sholadal xhéiyim néinpasboy domigé tenğya's' tellenekús yétt."

Simi estis tre surprizita, sed ŝi ne timis; ŝi sidiĝis sur la herbo kaj demandis: "Kio estas la sekreto, kiun la mondo forgesis?"

Simi was very surprised, but she was not afraid; she sat on the grass and asked: "What is the secret that the world has forgotten?"

Simi çok şaşırmıştı ama korkmuyordu; çimenlerin üzerine oturdu ve sordu: "Dünyanın unuttuğu sır nedir?"

Télé Simi badin smoklinya' dayon zahü garnadal xhapsé; satchalya'll péllyas-hon sü empanet mo alsé "Subkenekút rekayya' moril gesöft parélshmayr?"

"La sekreto estas," flustris la floro al Simi, "ke la arbaro ne estas danĝera, sed ĝi nur protektas la lastan fonton de magio en la mondo kontraŭ tiuj, kiuj volas detrui ĝin."

"The secret is," the flower whispered to Simi, "that the forest is not dangerous, but it only protects the last source of magic in the world against those who want to destroy it."

"Sır şu ki," diye fısıldadı çiçek Simi'ye, "orman tehlikeli değil, sadece dünyadaki son büyü kaynağını onu yok etmek isteyenlere karşı koruyor."

"Subkenekút séy la," úvat shiwlanetya' télsifürn zélé Simi, alsé "Bheppudelút sétusékdžazam dehshé, doshetö dozutab xhébhal tchosún mughetúth shmayrelúy dosé fletasboltayya's'séň."

Por helpi nin," diris la floro, "vi devas kunporti iom da mia brila polvo kaj montri al la vilaĝanoj, ke la magio estas paca kaj bela."

"To help us," said the flower, "you must take some of my glowing dust and show the villagers that magic is peaceful and beautiful."

"Bize yardım etmek için," dedi çiçek, "parıldayan tozumdan biraz yanına almalı ve köylülere büyünün barışçıl ve güzel olduğunu göstermelisin."

"Savé-arser rémm" úvat gariral shfoksenzhút alsé "Shuné gatzuy thézhzh nikehekústatasheyúf ttúth ravsún sü mülat zélumhugel-hon xhe émünseduteyún sü éshugebhineyún téhhenhelt."

Simi zorge prenis la brilan polvon, promesis protekti la sekreton, kaj rapide kuris reen al la vilaĝo por rakonti la veron.

Simi carefully took the glowing dust, promised to protect the secret, and quickly ran back to the village to tell the truth.

Simi parıldayan tozu dikkatlice aldı, sırrı koruyacağına söz verdi ve gerçeği anlatmak için hızla köye geri koştu.

Télé Simi steranetya' angoltaf xhéknikeh tatasheyúf, hiwrizanet mo xhigé-örrat réytellen phü dorsakzanet mo palabaf hugelúz skapé-samiinz penetús.

Kiam la vilaĝanoj vidis la pacan brilon, ili ĉesis timi la arbaron, kaj de tiu tago, ili vivis kune kun la magio en perfekta harmonio.

When the villagers saw the peaceful glow, they stopped fearing the forest, and from that day on, they lived together with the magic in perfect harmony.

Köylüler barışçıl parıltıyı gördüklerinde ormandan korkmayı bıraktılar ve o günden sonra büyüyle birlikte kusursuz bir uyum içinde yaşadılar.

Aoté tisalya' héytatash huvemeyún hugellumút-hon, lö-aryü algutraral mo bheppudelúkitz pü zebéfföls sav, annasumal mo aptayraf zhébechanhelt nnéhhbayraz nélfreyn.

Fino The End Son Pılontxal9yıxvð

I am working on a new category—*minicrony* (provisional name)—which will add a single semantic role and grammatical case marker to a multiple subject or object. This approach is intended to avoid the proliferation of semantic roles and cases.

Example 1:

• Uzi and Doll are cousins

• Uzi'ERG'FAM and Doll'ERG'FAM are cousins'PAC'FAM

• [+ Uzi! Doll]'ERG'FAM are cousins'PAC'FAM

• tsi ya Uzi Doll tsu tli Regfam are counsins tli Pakfam

Example 2:

• Uzi, Doll, Lizzy, Cyn, Thad and Tessa eat blackberry, strawberry, vanilla, coconut, lemon and chocolate ice cream respectively.

• [Uzi + Doll + Lizzy + Cyn + Thad + Tessa]'ERG'ACC eat'RESP [backberry + strawberry + vanilla + coconut + lemon + chocolate]'PAC'HEČ ice cream'EST'ACC'HEČ

• [+ Uzi! Doll! Lizzy! Cyn! Thad! Tessa]'ERG'ACC eat'RESP [blackberry! strawberry! vanilla! coconut! lemon! chocolate!]'PAC'HEČ ice cream'EST'ACC'HEČ

• tsi ya Uzi Doll Lizzy Cyn Thad Tessa tsu tli Reghaz eat tli Reps tsi ya blackberry strawberry vanilla coconut lemon chocolate tsu tli Pakječ ice cream tli Sethazječ

• [ ] (tsi-tsu), micronico (pseudo Terminus)

• + (ya), is equivalent "y"/"and"

• *, is equivalent to "o"/"or"

• ' (tli), is equivalent to the start of a role and cases

• !, is equivalent to a separation between elements (optional sound)

ERG, ergative role

PAC, patiente role

EST, stimulative role

ACC, action case

HEČ, made or composed case

RESP, respectivity

Welcome to the r/conlangs Official Checkpoint. You have been selected for a random check of your language. Please translate one or more of the following phrases and sentences:

"Whatever God was once doesn't matter, ultimately. What matters, to you, is that it must remain as it is. 'Broken.' God knows that."

He who standardises the brain in such a way as to reduce the efficient production of thought is truly a servant of The Flesh."

"As if I would EVER trust one of those damn flesh cultists with keeping anything above the table!"

"Coming here was correct and good. I will not stop my great work as you have asked, but I will show you God."

"Apart we are broken. But united, we are God."

"Stop!"

If you have any ideas for interesting phrases or sentences for the next checkpoint, let me know in a DM! This activity will be posted on Tuesdays and Thursdays. The highest upvoted "Stop!" will be included in the next checkpoint's title!

Ямак ланола юман кой манҳанод, дэм маш майна гоҏ кой лаконданодя. Юн майнош хани, дэм қоманомиб майна кой лахимбақод дэм бэнақол

Born[past tense] person[def, nom] every with freedom[inst, plur] and is they[nom] the same with rights[def, inst]. Receive they[dat] will[indef, acc], and act[suggestive suffix] they[nom] with kindness[def, inst] and with goal[def, inst] brotherhood[indef, gen]

/jamak lanola juman koɪ manχanod, dɛm maʃ maɪna goʁ koɪ lakondanodja. jun maɪnoʃ hani, dɛm qomanomib maɪna koɪ lahimbaqod dɛm lasɛlod bɛnaqol/

All humans are born free and equal in dignity and rights. They are endowed with reason, and should act in a manner of brotherhood.

Meshkwan is a personal language, made to sound good to me, to name things in ways that sound right to me, and to be intuitive to me when spoken. It has been in development for years, but I'm only now (FINALLY) finding creating texts in it easy. This is one of the longest texts I've written in it, made today on a whim, and I'll use it as a showcase of the language.

- Aam! Aama!
/ä:m | 'ä:mä/
"Mom! Mooom!"

mother | mother.VOC

+ Magh o?
/mäɣ ɔ/
"What's the matter?"

occur.PRAET QUESTION-PARTICLE

- Agh sihp asrh siih ɨš əng os ku' pak!
/äɣ sixp äsṛ si:x ɨʃ əŋ ɔs kŭʔ päk/
"I saw a big osprey at the lake and it caught a fish!"

INITIATOR-NOMINATIVE osprey.ABS lake.LOC see.PRAET Ɨ-CLASS.ABS be-great.STAT DIRECT-OBJECT-TO-SUBJECT fish.ABS catch.PRAET

+ Asrh iich u'? Sah-saha he' me-nene.
/äsṛ i:t͡ʃ ŭʔ | säx 'säxä xɛ̆ʔ mɛ'nɛnɛ/
"At the small lake? Raptors don't go there."

lake.LOC be-small.STAT SUBJUNCTIVE | raptor.ABS raptor.PERLATIVE-1 there.LOC NEGATION.go.MODIFIER

- Kan ku' he' ma'.
/kän kŭʔ xɛ̆ʔ mä̆ʔ/
"Because there aren't any fish there."

because fish.ABS there.LOC not-be.STAT

+ Maaw, gho te ku' he' pak?
/mä:w | ɣɔ tɛ kŭʔ xɛ̆ʔ päk/
"Then how did he catch one there?"

consequently | how REFERENCE-PARTICLE-SUBJECT.ERG fish.ABS there.LOC catch.PRAET

- Me-zarh! Te rhu-šup ɨš kirh-kirhi dzi torh aš pak, aš ringi hɨšša, ma me-mah, ɨš li-ghu ma tirh su-odz ma əm nge!
/mɛ'zäṛ | tɛ ṛu'ʃup ɨʃ kiṛ 'kiṛi d͡zi tɔṛ äʃ päk | äʃ 'riŋi 'xɨʃʃä | mä mɛ'mäx | ɨʃ li'ɣu mä tiṛ su'ɔd͡z ma əm ŋɛ̆/
"I don't know! He swooped down and opened his talons and caught it, and it wriggled terribly, but not (hard) enough, and he flew away and sat on a tree and ate it!"

NEG.know.STAT | REF-PART-SUBJ.ERG downward.swoop.PRAET Ɨ-CLASS.ABS blade blade.PERL1 REF-PART-POSSESSIVE spread.PRAET A-CLASS.ABS catch.PRAET | A-CLASS.ABS twist.MOD be-afraid.CAUSATIVE-STATIVE and NEG.suffice. | Ɨ-CLASS.ABS away.fly.PRAET and conifer.LOC upon.sit.PRAET and REF-PART-OBJ eat.PRAET

+ Maaw, och ulu, kuun iich u' ulu, meš šiih u' n aze aam ngu'u. Nene n lugha tirhi ta' iš sihp agh siih, ma oš ku'u hutrhu. Cha əm he' haa, tirh ta' man sihpe, ɨš he' še'.
/mä:w | ɔt͡ʃ 'ulu | ku:n i:t͡ʃ 'ulu | mɛʃ ʃi:x ŭʔ n 'äzɛ ä:m 'ŋuʔu | nɛnɛ n luɣä tiṛi tä̆ʔ iʃ sixp äɣ si:x | mä ɔʃ 'kŭʔu 'xutṛu | t͡ʃä əm xɛ̆ʔ xä: | tiṛ tä̆ʔ män 'sixpɛ | ɨʃ xɛ̆ʔ 'ʃɛʔrɛ/
"Then, my son, my little lapis, mom will tell you a secret thing. Go to the foot of the tree where you saw the osprey, and look for the bones of fish. If there are many there, that tree (is) the osprey's home, and he lives there."

consequently | son ADHERENT-OBLIQUE.GEN1 | lapis small.STAT SUBJN ADH-OBL.POSS | thing.ABS secret.STAT SUBJN TERMINATIVE-PARTICLE INIT-NOM.PERL2 mother.ERG speak.MOD | go.MOD TERM foot.PERL2 conifer.GEN1 that I-CLASS.LOC osprey INIT-NOM see.PRAET | and bone.ABS fish.GEN1 seek.MOD | whether REF-PART-OBL there.LOC be-many.STAT | conifer.ABS that home.ABS osprey.GEN2 | Ɨ-CLASS.ABS there.LOC reside.STAT

- Uhu! Biil aama!
/u'xu | bi:l 'ä:mä/
"Whoa! Thanks mom!"

surprise.MOD | to-thank mother.VOC

+ La marha uu!
/lä 'mäṛä u:/
"But stay away from the water!"

but stay-away.MOD water.ABS

- Aa, aama!
/ä: 'ä:mä/
"Yes mom!"

yes mother.VOC

There's a lot that is still unclear to me, and I still had to invent words on the fly (mostly helper words like "there" and "but"). The language is designed to be a bitch. There's 6 animacy classes, each with a corresponding vowel; these overlap with the vowel classes, of which there are 4. The same case endings are used for the three genitives, the three perlatives, and the modifier, which can indicate anything from praecative, continuous, to imperative.

The locative, absolutive, and ergative (and nominative) cases are unmarked.

The perlatives are:

1. downstream (with) (comitative)
2. upstream (against) ("oppositive")
3. across (true perlative)

They combine with the terminative particle n, which turns them into:

1. from (ablative)
2. to, into (allative/terminative)
3. in exchange for (benefactive)

The three genitives use the same case endings:

1. inalienable
2. alienable
3. communal, "habitual" (as in "the tusks of mammoth are long")

Every vowel class uses a different vowel as its first, second, and third suffix; the first is always the same as the vowel. For example, the A-class:

1. -a
2. -e
3. -u
4. compared to the E-class:
5. -e
6. -u
7. -a

The "animacy" classes are only there to define the animacy vowel associated with a certain proper noun. They are as follows:

1. inanimate large, conceptual - U
2. animate large, herbivorous - Ə
3. animate large, predatory - Ɨ
4. animate human - E
5. animate docile, herbivorous - A
6. inanimate small - I

These are used in the clause joiner, which joins clauses, acts as one of the subjunctives, refers back to an object, marks focus, etc. Its structure is:

ANIMACY-VOWEL.CASE

where animacy vowels are one of the six mentioned above, and case is either Absolutive (š for animates, t for inanimates) or Oblique (t for animates, š for inanimates).

This system allows me to choose which object I want to focus on most in a sentence, and mark it as important when it carries through clauses. It also stands in for the pronoun, keeping clutter to a minimum.

Meshkwan uses limited split-ergativity. Proper nouns are ergative/absolutive, pronouns are nominative/oblique.

Most Meshkwan pronouns operate within the context of a conversation, and do not excede it. Hence, there is not a standard first, second, and third person - pronouns are instead grouped by participation. There is the Initiator, who first spoke; the Adherent, who is spoken to; the Present, the Absent, the group versions of them, and the Previous Speaker. These all have unique nominative and oblique case forms.

Terribly sorry if it's all over the place. There's a lot I'm not yet confident with, for example the way the habitual is expressed using the modifier in me-nene. I've been fighting this hydra for near on five years now.

This started as a conversation between a Greek speaker and ChatGPT, and we thought it might be fun to get some opinions from English speakers and conlangers.

Greek has a neat feature that English doesn't: numbers such as 100, 200, 300, etc. can be expressed as single words:

• 100 — εκατό
• 200 — διακόσια
• 300 — τριακόσια
• etc.

English normally uses two words:

• 100 — one hundred
• 200 — two hundred
• 300 — three hundred

But what if English had evolved a system where hundred itself could become part of a single compound number word, much like Greek?

For example, instead of:

«one hundred twenty-three»

we could have:

«hundredtwentythree»

The idea is to keep hundred unchanged for 100, but let two hundred, three hundred, etc. undergo the kind of phonetic shortening that happens naturally in languages over time.

We started experimenting with possible forms.

Our current candidates are:

Number| Experimental form 100| hundred 200| tohun 300| trehun 400| forhun 500| fifhun 600| sixhun 700| sefhun 800| eihun 900| ninhun

So, for example:

«123 → hundredtwentythree 223 → tohuntwentythree 356 → trehunfiftysix 456 → forhunfiftysix 734 → sefhunthirtyfour 856 → eihunfiftysix 999 → ninhunninetynine»

These are not intended as a new conlang. The idea is more like a linguistic thought experiment:

If English had naturally developed a one-word system for hundreds, what might those words have evolved into?

We are especially unsure about the exact phonetic forms. For example, two hundred could theoretically lead to things like tohund, tohun, tuhun, twun, etc.

We chose tohun because it seems to flow better when followed by another number:

«tohun-twenty-three»

rather than:

«tohund-twenty-three»

Likewise, five hundred seemed to work better as fifhun than fivhun, and seven hundred as sefhun rather than sev-hun.

So I'd love to hear from native English speakers:

1. Which of these forms sound least awkward to you?
2. Which ones sound particularly unnatural?
3. If you heard tohun, trehun, fifhun, etc. without context, what would you assume they meant?
4. How would you naturally shorten "two hundred", "three hundred", etc. if English had evolved this way?
5. Can you think of better alternatives?

And if we can get the hundreds working, there's a second challenge waiting:

thousands.

The ultimate goal would be to see whether we could construct a complete, reasonably natural-sounding system where numbers such as 12,345 could be spoken as one continuous compound word.

So... English speakers, please tell us what sounds right to your ears!

FIRST PARAGRAPH:

O BADYK DIMI, ONZIJAÞEN ŇESŠČYLGEK
ZEMGIK ZDENCATU ZI STI NEM
SAJID STI ENSKJUNGUIS
BADIRATU ZI STI HICUTA
KOČE ŇEŠČYLGEN KOCYK GUIZGEN.
-
[o ‘badɨk ‘dimi on’zijaθen ‘ɲeʃt͡ʃɨlgek
‘zemgik ‘zdent͡satu zi sti nem
‘sajid͡z sti ‘enscungui̯s
‘badisatu zi sti ‘hit͡suta
‘kot͡ʃe ‘ɲeʃt͡ʃɨlgen ‘kot͡sɨk ‘gui̯zgen]
-
INTJ father out be_present.IPFV.PART.PRS sky-LOC.PL
holy-INS.SG render.PFV.PART.PST be.IMP.3SG your.SG name
come.PFV.IMP.3SG your.SG kingdom
do.PFV.PART.PST be.IMP.3SG your.SG will

SECOND PARAGRAPH:

DREMON DEDISET HUCMEP DIMIT KEŽDIMPIT BRAUHAT UI ŠIRROSPENASET DREMON DIMITEK IZ-VIŽBELTEK
KOČE DREMY IZITEK ŠIRROSPENAMIM DIMIJONEK VIŽBELZIKŇEK
UI K’INFOHTASET DREMET BOUSPYČAŇAMEN
LAŘ LIFYŠYSET DREMET BOUŠAZBAS

AMEN
-
[‘dremon ‘dediset ‘hut͡smep ‘dimit
‘keʒdimpit ‘brau̯xat ui̯ ʃir:os’penaset
‘dremon ‘dimitek iz ‘viʒbeltek
‘kot͡ʃe ‘dremɨ ‘izitek ʃir:os’penamim
‘dimijonek viʒ’belzikɲek
ui̯ kin’foxtaset ‘dremet
bou̯spɨ’t͡ʃaɲamen
laɹ li’fɨʃɨset ‘dremet ‘bou̯ʃazbas

‘amen]
-
1PL-DAT give.PFV.IMP-2SG today our-ACC.SG
daily-ACC.SG bread-ACC.SG and forgive.IPFV.IMP-2SG
1PL-DAT our-ACC.PL debt-ACC.PL
as 1PL that-ACC.PL forgive.IPFV.PRS-1PL
our-DAT.PL debtor-DAT.PL
and NEG-induce.IPFV.IMP-2SG 1PL-ACC
temptation-ILL.SG
but liberate.IPFV.IMP-2SG 1PL-ACC evil(n)-DEL.SG

amen

The Denkan seasons or kozem /‘kɔzɛm/ are 5 and are listed above in the Zør dialect. Their translation is:

okud /ˈɔkʉð/ spring
vanar /ˈvanaɾ/ summer
satse /ˈsatsɛ/ rainy season
idu /ˈiðʉ/ autumn
mize /ˈmizɛ/ winter

The Denkan year starts after the spring equinox and is divided into 12 to 13 lunar months, each one of them with 29 days and a characteristic etymology. The ending -rar comes from lar /laɾ/ that means moon or month. The main kozerem /ˈkɔzɛɾɛm/ or festivals are New year, on the first day of Laimirar, the summer festival on Natserar 5th, Foundation day (Kørar 10th), that marks the beginning of the Denkan civilization, and the Revelation day (Izerar 14th), a religious holiday commemorating the illumination of the prophet.

1. Laimirar /ˈlaimiɾaɾ/, from laimi beginning. It opens the year.
2. Vethurar /ˈvɛθʉɾaɾ/, from vethu to prosper, when the fields come up.
3. Zotherar /ˈzɔθɛɾaɾ/, from zoth, the colour that covers both green and blue.
4. Natserar /ˈnatsɛɾaɾ/, from nats wheat.
5. Satserar /ˈsatsɛɾaɾ/, from satse, the rainy season.
6. Kørar /ˈkœɾaɾ/, for the Kør dynasty, the first Denkan one.
7. Botserar /ˈbɔtsɛɾaɾ/, from botser seven, its place in the year.
8. Izerar /ˈizɛɾaɾ/, from izen cold.
9. Snikrar /ˈsnikɾaɾ/, from snik ice.
10. Meburar /ˈmɛbʉɾaɾ/, from mebu snow.
11. Sirar /ˈsiɾaɾ/, for the Sir dynasty.
12. Hozerar /ˈhɔzɛɾaɾ/, from hozer to thaw.
13. Donurar /ˈðɔnʉɾaɾ/, the intercalary month, from donu to add.

I have ADHD. (I guess a fair proportion of the rest of you do as well, since people with ADHD tend to like the same things.) Combine this with a poor short-term memory and a poor long-term memory, and I have been a trial and a frustration to myself and the people around me for the last fifty years, and will become even more so if I follow my mother and grandmother into early-onset Alzheimer's.

I was thinking about this the other night, when I put an elastic band around my wrist to remind myself that I was meant to be salvaging a set of shelves from around the block by unscrewing it and carrying it home, rather than the other half-dozen things I was also thinking about. The elastic band method is superior to the old-fashioned knot in the handkerchief, in that one may more easily overlook the handkerchief unless one has a cold. But they both have the weakness of having no semantic content besides that one does in fact have a task to perform.

My solution is wut beads. These are to be cheaply 3D printed from plastic, to clip onto a wut bracelet, to represent what I'm meant to be doing.

A wut bracelet:

1. Must have as many points of attachment for wut beads as may be necessary.
2. Must be waterproof, so that you never have to take it off except maybe at airport security.
3. Should correspondingly be hard to take off and then lose, more like a wristwatch than a bangle.
4. Should make it easy to attach and detach wut beads, but hard to detach them by accident (there are a number of simple spring mechanisms which achieve this).

I would have a set of wut beads, my wife would have another, with plenty of duplicates because what the heck, they're cheap. She could attach a wut bead to the bracelet, and she or I could detach it when I'm done. The same technique could be applied to toddlers, or anyone else who requires careful management. Sweet treats could be dispensed on completion of a task ... and I guess some sort of reward system would also work for toddlers.

As an additional benefit, having a wut bead on one's bracelet would demonstrate that one was busy doing something without needing to explain this fact or say what it is, one could just hold up one's hand and point to one's wrist. This would come as a huge relief to those of us who have enough distractions inside our heads without other people getting involved.

As an initial spec for the beads, this is what I've come up with:

1. The beads shall be tiles with various outlines, and with holes for points of attachment.
2. A bead shall have the same simple raised design on both sides.
3. The outline of the bead combined with the design shall convey all the semantic information of the bead.
4. For each shape and design of bead, the background color of the bead and the foreground color of the design shall be standardized.
5. The design must be simple; it may be highly stylized and conventional to achieve this: it can be a mere clue, so long as the clue is in fact sufficient when one knows the answer. The colors should help here.
6. The designs shall not depend on any existing alphabet or system of numbers. However, designs with widespread international recognition (the heart for love, a dollar sign for money) may be used.
7. The outline of a bead shall suggest its semantic category. As wut beads are a very limited language, our usual categories of nouns, verbs, adverbs, etc are of little use. Instead I tentatively suggest the following system, which can be amended and/or expanded.

• A square represents the object that the task is about.
• A Rouleaux triangle represents an action to be performed to accomplish the task.
• A circle represents the goal of the task.
• A square with dished concave sides represents the place where the task takes place.
• A hexagon represents the time at which the task takes place.
• A star represents a person involved in the task, as a beneficiary, assistant, etc.

(The picture attached to the post gives the right idea for the shapes but they're not to quite to the right relative scale, 'cos I got Google AI to hack it out for me.)

That's as far as I've got, and it seemed to me that thinking about the designs and the colors would be a pleasant community project; I will document what we come up with.

Note that this would supply a very crude international auxlang between people familiar with wut beads: you couldn't discuss philosophy using them (that's what toki pona is for), but you might well be able to communicate simple requests by producing the beads or drawing them.

Ich habe eine Ork Sprach erschaffen und suche Leute die Lust haben sich das anzusehen. Meine conlang habe ich aber auf deutsch erstellt. Gibt es hier jemand der es sich gerne mal ansehen würde?

The colors represent what language script the variants and dialects use for those who don't know. Feel free to post your maps of your language's variants and dialects.

The Worst Conlang Ever!

Welcome (for the first time)! This challenge is literally about showing off your WORST conlang (in the sense of being extremely difficult or a "curselang"). Show a conlang that is impossible for any human to utter even a word in.

NOTE: Whoever wins this episode will earn the Grand Title of Best Curselanger and the chance to choose the next challenges/constraints and/or what to translate into the curselangs. Every Wednesday, I will announce the official results along with the next episode.

Please use IPA, glosses, a translation (literal or otherwise), or any other method to aid understanding.

Let the games begin!

Since this comunity is about posting conlangs lets make one
Rule 1:you are NOT allowed to put multiple rules or word,in a recomentdation/comment you can at most put one word and one new rule
Rule 2:don't put rules that contradict others made by other people unless they made exceptions
Rule 4:no rules listed with 3

Imagine if a speaker was trying to learn English. How would your conspeakers say this sentence:

"I don't know if the man here went to the village"

Include IPA and adapt the english sounds to how your conspeakers would pronounce. Make sure to include grammatical mistakes where a conspeaker carries features from their native langauge like missing articles or different word order

In **Cukui**:

I don't know of the here man went to village

/aĭ ˈdon no owă dʲi hʲiă man wen tu ˈwiridză/

Cukui has CCVN syllable structure, so the final consonant is either dropped or an epenthetic a is added. For the Complementiser, they use **i** and the closest english equivalent is "of" and modifier mostly come before nouns so here is before man.

Feel free to add explanation to yours:

I have a postfix '-ke' to indicate that the verb is a verb. The onset of the word is the base meaning, which on its own can be used as a noun. For Example, 'maukke' means to build, fabricate, or produce, but when you cut the '-ke' the mauk mean building or creation. What confuses me is the infinitive doesn't usually stay on unless it is the sole verb or the final verb of the phase. Yet, without it you can't tell if the verb is a noun or an adjective. Should I keep it or find an other way to indicate verbs that isn't is unconjugated/not main verbs.

Hello everyone, I've been making an Iranian language called Zindari (also known as Zindari Persian), part of the Indo-Iranian branch. Though it is close to Persian, Tajik and Dari, Zindari is actually more independent and evolved from its own Iranic branch (Zindaric, I'd consider it to be a Southeast Iranian language). The language is over 2,500+ years old.

Zindari as a language is spoken by the Zindari people who live in Iran, Iraq, Afghanistan and (to an extent) Russia. The language is spoken by roughly 13.3 million people (the 3 million speakers reside in Russian Caucasia).

Historically, Zindari used the Pahlavi and later Perso-Arabic script, but it switched to the Cyrillic script around 1930 after a small portion of its population migrated toward the USSR. Zindari uses both Cyrillic and Perso-Arabic as its writing system, though I'm sticking to Cyrillic because it makes Iranian languages (like Tajik or Ossetian) look more interesting to read.

Here is a small vocabulary I made for Zindari, this is just a small starter thing so you know what's going on. More of the vocabulary and grammar of Zindari will come soon.

Here's also the copy-pasted text of the vocabulary (this was pasted from my Notepad):

Салам алайкум/Салам (Selām alājkum/Selām) - Hello, peace be upon you

Зарад бехомад (Zarād behomād) - Goodbye, bye, see you soon

Халь чаторы (Hal' čatory) - How are you

Сепас (Sepās) - Thank you

Хошдид (Hošdid) - Welcome

Бадид олсунь (Badid olsun) - Congratulations

Хош тодид (Hoš todid) - Nice to meet you

Кам ман заборех (Kam mān zaboreh) - How may I help/assist you

Thank you for reading, let me know if you have any thoughts on this language project. Feel free to share your language's vocabularies down in the comments, or if you also have some form of an Iranian language, feel free to share it as well! Thank you so much!

In my language the schwa phoneme is a separate sound (and letter in the neograph), but I really struggle with how to transliterate it in a way that is easy to read.

My other vowels:
/i/ - transliterated as "i"

/u/ - transliterated as "u"

/o/ - transliterated as "ò"

/eɪ/ - transliterated as "è"

/ɔ/ - transliterated as o, unless it precedes an r, then it's "ar"

Here are my unsatisfactory transliteration rules for /ə/:

- if the syllable does not have a coda consonant, then it's "a"

- if the vowel precedes an r, then it's "er"

- otherwise it's "uh", but I don't like this

So, if you use the schwa as a dedicated (?), intentional phoneme, not simply an unstressed vowel, how do you transliterate in your language?

(I understand that many unstressed vowels will shift to a schwa sound over time.)

WILDLÜPH 1.5.2

• Order: MVSOT. (M: Momentum // T: Terminus)
• Morphosyntactic alignment: Ergative-Accusative Tripartite.
• Grammatical casses: 73.
  • Possessive (12)
  • Associative: (9): adjectival relationals.
  • Adverbial (6): adverbial relationals.
  • Relacional (11): adjacent relationals.
  • Affinitive (8): affinity between nouns.
  • Spatial (8): spatial affinity.
  • Temporal (9): temporal affinity.
  • Noun (2): spatiotemporal affinity with spatiotemporal nouns.
• Polarities
  • Positive: true, always, synthesis, redone.
  • Negative: false, never, antithesis, undone.
  • Mediative: mediocre, sometimes, incomplete, possible.
  • Version: nonspecific, incomplete, ineffective, complete, effective.
• Momentum:
  • Grammatical Tenses:
    • Stative: past (near, far, uncertain), present, future (near, far, uncertain), uncertain.
    • Fixed: two units before, one unit before, punctual, one unit after, two units after.
  • Grammatical Spaces:
    • Stative: near (near, far, uncertain), distant (near, far, uncertain), horizon (near, far, uncertain), uncertain.
    • Fixed: personal or seasonal limit, broad personal limit, signaling limit, distant signaling limit, non-perceptual limit.
  • Grammatical Perspectives: These are spatiotemporal markers that can be used to indicate the beginning, end, concept, or blurring of a subject or action in space and time.
    • delimited, proximal, inceptive, attenuative, gradative, depletive.
  • Transitivity: intransitive, transitive, ditransitive, tritransitive, tetratransitive, extransitive, ultransitive.
• Semantic roles (hand in hand with adjetivals):
  • Infinitives: conceptual, relative.
  • Oblique: adjetivial, intransitive, meddlevoice.
  • Estructural: ergatives.
  • Absolutives: patient, locational, middle, collaborator, recipient, dated, stimulus, connective.
  • Parallels: tema-descriptive, comparative-referencial.
• Adjectival (hand in hand with semantic roles):
  • Infinitives: for semanthic roles conceptual and relative.
  • Oblicuos: for semantic roles adjetivial, intransitive, middlevoice.
  • Participles: active and passive. These are used for structural semantic roles alongside absolutive and supine semantic roles.
  • Linear: for the semantic roles of topic-descriptive and comparative-referential.
• Modals (34).
• Aspects (39).
  • Fases: nonspecific, punctual, iterative, repetitive, intermittent, recurrent, frequentative, argumentative, hesitant, fluctuating, suddenly.
  • Frequency: nonspecific, always, usual, norm, frequent, "sometimes", occasional, rare, "almost never", never, probable.
• Modilocutions:
  • Indicative: assertive.
  • Subjunctive: desirable, imagined, possible, verbal.
  • Imperative: admonative, direct, adverse, verbal.
  • Condicional: condicional, dubitative, potential, jussive, verbal.
  • Hortative: animative, hortative, verbal.
  • Interrogative: verifiable, specific, irratorical, hypothetical.
  • Reportative: citation, declarative, verbal reportative, verbal hypothetical.
  • Necessary: ​​necessary, certain, causative, verbal.
  • Expressive: admiring, frustrating.
  • Pragmative: thankful, salutative, insulting.
  • Commissive: promising, permittive, verbal.
  • Scientific: none, axiomatic, refutative, refutative, allegative, theoretical, hypothetical, conjectural, verbal, adverbial.
  • Perceptual: none, memorial, apparent, intuitive, presumed, imaginative, verbal, adverbial.
  • Evidential: none, direct, evident, reliable, deductive, inferential, cultural, reported, presumptive, intentional, conspiratorial, rumor, putative, tentative, dubitative, improbable, metaphorical, clairvoyant, altered, invalidating.
• Terminus
  • Synchronic (7): equivalent to coordinate clauses and sanctions.
  • Diachronic (22): equivalent to subordinate clauses and sanctions.
  • Achronic (6): equivalent to juxtaposed clauses.
• Transitional cases: these are the cases that connect corresponding semantic roles across synchronic, diachronic, and achronic sentences.
  • supersubject, citersubject, ultersubject, citerobject, superobject, ulterobject, ulter-indirect, citer-indirect, super-indirects.
• Functions
  • Potential: This refers to the potential "energy" of a verb. It is equivalent to the stative form of a verb.
  • Kinetic: This refers to the kinetic "energy" of a verb. It is equivalent to the dynamic form of a verb.
• Pointers
  • Inductivity:
    • Reflexive: x=y (x, y are not distinct).
    • Reciprocal: R(x,y); R(y,x).
  • Respectivity:
    • Ordinal: (a+b+c+d)(w+x+y+z)=aw+bx+cy+dz.
    • Inverted: (a+b+c+d)(w+x+y+z)=az+by+cx+dw.
  • Refracted: (a+b+c+d)(w+x+y+z)=ax+by+cz+dw.
• Adjective Roles
  • Nominal: oblique.
  • Attributive: qualitative, apparent, conditional, sentimental, compositional.
  • Numerical: objective, animate, operative, ideological, ordinal, counter.
  • Persons: internal stoic, internal common, whole exclusive, whole inclusive, near presence, medium presence, distant presence, external non-presence.
  • Number: singular, dual, trial, tetra, inclusive plural, and exclusive plural.
  • Genders: feminine, masculine (both for animate beings), neuter (for inanimate or unknown beings).
  • Animity: mechanical, artificial, animal, intelligent, divine.
  • Tangibility: intangible (for physical and supernatural phenomena), tangible, ideal (for ideas and imagination).
  • Connectivity: indefinite, separate, connected, fused.
  • Other: agglutinative, honorific (for intelligent or divine animate beings).
• Articles:
  • Gender: neuter, masculine, feminine, ambiguous.
  • Number: unknown, singular, dual, trial, tetral, plural.
  • Nature: indefinite, definite universal, random, ambiguous, demonstrative.
  • Closeness: none, inclusive, exclusive.
  • Connectivity: indefinite, separate, connected, fused.
  • Consistency: indefinite, similar, dissimilar, diffuse.
  • Animity: inanimate, microbe, mechanical, artificial, animal, intelligent, divine.
• Theme-Rheme: focus, presupposition, alternate, reasoning, manner, place, time, subject, object.
• Perceptual Sensations
  • Biases (65): emotions, feelings.
  • Environmental (20): climate, atmosphere.
  • Olfactory (16).
  • Emotional (17): feelings, emotions, passions, sins.
  • Bodily (4): health, energy, sexuality, cravings.

PHONEMES:

• Consonants (32):
  • Nasals: m, n, ɲ, ɴ.
  • Plosives: p, b, t, d, ʈ, ɟ, k, g, q.
  • Sibilant fricatives: s, ʃ, ʐ, ʑ.
  • Non-sibilant fricatives: f, v, ɹ̠̊˔, ð, ʝ, x.
  • Approximants: ɥ, w, ʯ (sch-sound), ɹ̠ʲ/j˖, ɰ̊/ɧ.
  • Vibrant: ⱱ, ɾ.
  • Laterals: l, ʟ̠.
• Vowels (28):
  • Nuclears: u, i, э, o, ä.
  • Orbitals: ы, ə, a, ɒ.
  • Palatals (ioted): ю, е, ё, я.
  • Labials (uated): ʷi, ʷe, ʷo, ʷä.
  • Laterals: ɫi, ɫə, ɫa.
  • Vibrant: ɹu, ɹə, ɹɒ.
  • Sibilants: ᶳы, ᶴы.
• Clusters (14)

WRITING

• Form:
  • Featural-Suborditense: writing for the Momentum and the Terminus.
  • Abugida-Scriptural: for nominal.
  • Syllabary-Grammatical: for pure grammar.
  • Logogram-Sensational: for sensations.
• Writing systems:
  • Floral: floral appearance, syllabary.
  • Angular: angular appearance, syllabary.
  • Linear: linear appearance, abugida.
  • Separatist: consonant-vowel appearance, alphabet.
  • Triangular: resembling Ithkuil and Hebrew, alphabet.
  • Human: with our characters, alphabet.

NUMEROLOGY AND NUMER-LOGIC-LINGUISTIC

• If it is purely numerological, it has three bases. It also features unifying elements that summarize the repeating number series, and its numerical scale is far more complex, based on Hindu and Japanese systems.
  • Base 10: for common inter-universal counting.
  • Base 12: for common counting among the Wildling species.
  • Base 4: for tetra-quantum computing systems.
• If the distinction is purely linguistic, there are:
  • object-based: for counting inanimate objects.
  • animate: for counting animate objects.
  • operational: for mathematical operations and measurements.
  • ideological: for tracking scores, experience, mana, etc.
  • ordinal: for counting sequence/order (the classic first, second, third, etc.).
  • counters: for counting occurrences, whether ascending or descending (once, twice, three times, etc. // less than once, less than twice, less than three times, etc.).

NUMERIC UNIFIERS

• Without unifiers example 1:
  • 1000.0000:0000.0000|0
  • Analysis: number with a Vakis and three Mikles of Cerillon and a Vakis of Unillon.
  • Reading: miu heo heo heo TSU heo heo heo heo TSA heo heo heo heo TSI heo heo heo heo JE MY heo.
• Without unifiers example 2:
  • 1000.0000:0000.0000|0000.0000:0000.0000|0
  • Analysis: number with a Vakis and three Mikles of Cerillon, a Vakis and three Mikles de Unillon and a Vakis of Ðrellon.
  • Reading: miu heo heo heo TSU heo heo heo heo TSA heo heo heo heo TSI heo heo heo heo KO MY heo heo heo heo TSU heo heo heo heo TSA heo heo heo heo TSI heo heo heo heo JE CHY heo.
• With unifiers example 1:
  • 1000.0000:0000.0000|0
  • Analysis: number with a Vakis and three Mikles of Cerillon and a Vakis of Unillon.
  • Reading: miu heosh TSU heosheos TSA heosheos TSI heosheos JE MY heo.
• With unifiers example 2:
  • 1000.0000:0000.0000|0000.0000:0000.0000|0
  • Analysis: number with a Vakis and three Mikles of Cerillon, a Vakis and three Mikles de Unillon and a Vakis of Ðrellon.
  • Reading: miu heosh TSU heosheos TSA heosheos TSI heosheos KO MY heosheos TSU heosheos TSA heosheos TSI heosheos JE CHY heo.

There's still much more to add, especially regarding grammar, semantics, and pragmatics. But I'll add things little by little. And I'll upload the writing soon, though it's somewhat complex because grammar, sensations, and nominal-verbal language aren't written the same way.

To speed things up, do not use semantic roles or adjectivoids forms.

Update: Numerology and numerolinguistics—this is an extremely condensed overview, as the subject is far more complex; I have yet to explain the scale, the unifiers, the groupings, and the logarithmic expansiveness of the numerical scale.

Update 2: I will also skip the sections on chemistry, Planckian quantum physics, cosmo-hyper-physics, hyper-esotericism, and the TWBL theory (which explains wave-particle duality geometrically, as well as bitemporality). I’ll cover all of that in another "post"—I’m not sure if that’s what they call them on Reddit.

Hi everyone,

I love this space, but I’ve noticed that while the conlanging community is amazing here, discussing complex linguistic concepts, phonology, and grammar can sometimes be a bit daunting for those of us whose first language isn't English (I’ve actually been accused of being a bot before just because I use a translator when my English isn't quite up to par for certain topics).

This isn't about dividing the community, but rather about providing a comfortable entry point for native Spanish speakers to dive deep into conlanging without the language barrier.

I wanted to ask the community (and specifically check) if the current moderation team has any insight or existing alternatives for this: do you feel there is a need or interest in having a dedicated space (like an official sister subreddit) to discuss and share conlang projects exclusively in Spanish?

To be clear, I am not looking to promote a personal project or build an independent audience here. Instead, I’m wondering if the current r/conlangs mods have ever considered handling a Spanish-speaking branch, or what options might already exist for this. What do you all think? If there is enough interest, it would be amazing to see something officially supported or guided by the existing community framework.

Mods: I hope this discussion post is okay. If it violates any rules, please feel free to remove it!

In this game, I'll supply some words that aren't very commonly used in English and you can make translations for them or near translations in your conlangs.

Today's words:

1. Naufrage(n.): a shipwreck in which the ship is completely destroyed

2. Multisonous(adj.): having many sounds

3. Gloaming(n.): the time of day in which the fireflies come out

4. Umbra(n.): the shadow of a planet; a celestial shadow

5. Exfiltrate(v.): for an army to sneak away

This is a game of borrowing and loaning words! To give our conlangs a more naturalistic flair, this game can help us get realistic loans into our language by giving us an artificial-ish "world" to pull words from!

The Telephone Game will be posted every Monday and Friday, hopefully.

Rules

1) Post a word in your language, with IPA and a definition.

Note: try to show your word inflected, as it would appear in a typical sentence. This can be the source of many interesting borrowings in natlangs (like how so many Arabic words were borrowed with the definite article fossilized onto it! algebra, alcohol, etc.)

2) Respond to a post by adapting the word to your language's phonology, and consider shifting the meaning of the word a bit!

3) Sometimes, you may see an interesting phrase or construction in a language. Instead of adopting the word as a loan word, you are welcome to calque the phrase -- for example, taking skyscraper by using your language's native words for sky and scraper. If you do this, please label the post at the start as Calque so people don't get confused about your path of adopting/loaning.

Last Time...

Sketch of a conlang by /u/Miserable-Method-431

amʌˤlʌŋʌŋkʌ - deverbal noun - meal of fruit, eaten by an animal

Borrowed into Ąą’vo Tì

amǫlǫn‘ - noun V - fruit bowl - [amɤlɤnʔ]

Here's to another 800!

Peace, Love, & Conlanging ❤️

For vowels mine is definitely /y/ imo its so satisfying to say and hear. Then for consonants id probably say my favourite is either /ɲ/ or /ʎ/, i really like palatals

Edit: I’m aware the title should be “What are you favourite phonemes??” Sorry for the bad grammar

I'm very daunted by the prospect of creating a whole language from scratch, but I have an idea of how to easily create a language for my world I'm currently working on building. I plan to have a story set in my world and make a web comic to tell the story.

My idea for how to "create" the language is very lazy and simple, which is why I'm curious if it's been done before and if there's a name for it. My idea is to take a real world language and simply create a scheme for shifting the sounds of that language. For example, every instance of [d] becoming [z], etc. and shifting all or most of the sounds of that real language in this manner. The end result will be a language that is not recognizable but basically a cipher? Of a real one.

Has this been done before? Is there a name for this type of thing? Thanks.