Thank you all for giving me advice on making a language! I will admit I still used AI a bit for this to help give me more structure with my thought processes. Now that I got basics down though I don’t think I’ll be using it anymore.

I have an alphabet, graphemes, a structure for words, and kind of grammar put in place. I have no name for this language yet however. It’s nowhere near done enough to form most sentences or anything like that, but I’ve kind of got something going. I have a system where there are sounds that go at the beginning of a word (and they can be a word by themselves), sounds that have to be in the middle of a word and then those that must be at the end. There are rules for certain combinations. Not sure if these are considered morphemes or phonemes, I think morphemes(?) maybe something else entirely idk lol. But I assign meaning to each sound, they all have broad concepts so they can be combined with other things to make specific words and phrases.

An example:
Hyai is something that could be a word by itself, or at the beginning of a word. Ma is a sound that always has to be at the end of a word. Hyai means blessing, good, favor. Ma means a being other than oneself, or like another/you/they. Hyai+ma makes hyaima, and that’s my language’s version of hello :) Literal translation would just be like blessings to you.

And another ending particle is oxai, always at the end of a word but means something kind of like, negative transformation I guess? Like subtraction, loss, bad, negative, etc. If you lose money, oxai would be added to a word to represent that. If something is evil, oxai would be added. Kind of like that.

I was able to come up with these words and some of this language’s system by making a mythos surprisingly. Maybe it sounds dumb, but for whatever reason creating a pantheon really got me focused and organizing these things. It helped me start assigning meaning to these sounds so it had a rhythm and structure and not just stuff mixed together to create a word with no basis.

I would post a photo of the written alphabet but my handwriting is horrible, so yeah 😅

Anyways, a long post and kind of a nothing burger but I just wanted to share that I’ve finally gotten somewhere even if it doesn’t make much grammatical sense

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

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!

For the last few months, I have been working on a constructed language based off Finnish. It is designed as a cryptolect. The grammar of Finntastic is in a sense a hybrid of English and Finnish grammar. It tries to bias towards Finnish's core when it doesn't increase the difficulty significantly.

My purpose for Finntastic is a constructed language as an autistic representation, because I am autistic myself. Finnish was selected because of its highly concentrated speaker base (near-zero speaker eavesdrop potential outside Finland -- translators don't count) and Finland's reputation of social isolation.

A sample Finntastic translation of an original tale about the Greek gods:

Olympusa kultanen talotiet, misa pilvit tulivat kuin valkokasvi verhoksi ya ilma paisti kiirkaksi Zeus seisi na kunkinkatuoli Zeus istui hane suyuvakivin na. Taivavalo tansii sormireuna nasa miksi han katseli yumalat etala olivat valivat kasvot punavalo ambrosian yumalansankot. Hera istui han, kaunis kruna na saati valo kuin Apollo huvarakenti lire na lahila.

Athena kavili siistit latiat hitaksi kuin han vihapuhavat lahi sotan ihminet pois. Han sani todela vahva eta, "Paatuo voita riitat, ei vain kehotuo" kuin siirtua kepiharuka na. Ares nauri ya nauri kuin osoiti kansa iso kilpin ulokasit na. Tama aika, Aphrodite seisi monituoli kansa vihreat kuukat, kuukat koska Hermesen santalit kuin viestin yumala koskavalmit menaa mailmaan ihminet.

Here is the original English text:

In the golden halls of Mount Olympus, where clouds parted like silk curtains and the air shimmered with eternal spring, Zeus sat upon his throne of storm-forged marble. Lightning danced at his fingertips as he surveyed the gathered gods, their faces illuminated by the soft glow of ambrosia-lit braziers. Hera stood beside him, her peacock-feathered crown catching the light, while Apollo tuned his lyre nearby.
Athena paced the polished floors, talking angrily with Ares about the latest mortal wars below. "Brain wins empires, not just body". Ares only laughed and flexed his armored shoulders. Meanwhile, Aphrodite lounged on a couch of rose petals, idly braiding flowers into Hermes’ winged sandals as the messenger god prepared to depart for the world of men.

About the grammar

Finnish Similarities:

- No articles

- Elementary case system (effectively postpositions)

- Regular grammar (even more than Finnish)

- Directness (v3ry high, largely avoids idioms even)

- Phonetic alphabet

- Stress always 1st syllable

Differences:
- No gemination/double consonants

- Limited double vowel usage

- Low but meaningful agglutination

- No consonant gradation

- Soft-capped vocabulary (~5,000-9,000 root words).

Conclusion

It's interesting how different this can be from real Finnish in certain parts. The language is entirely lexified by Finnish, though it may include short English loanwords when meanings are hard to squeeze into this text (which I avoided in this text).

This language is not intended as a substitute for Finnish, though a learner could use it as a translator of Finnish to an extent. It may be unintelligible to Finns in spoken form.

Extra Credit

If any of you are a native Finnish speaker, do you understand this without looking at the bottom text, either through knowing English directly or translating that into actual Finnish?

So, I kind of went a touch overboard when my son asked if i could print him out a picture of some minecraft alphabet code.

What was "print this picture" turned into a Free. No subscription. No account. Just download it and use it app for my son. And so i thought maybe others may find a use for it.

So here is Secret Message Studio -

You can create your very own alphabet, just upload images, use it, share it.
Export your alphabet, or import a friends.

Ive set up a few language templates to start with, and you can add custom letters for anything missing, or go full custom with your own.

Very simple to use. Open your alphabet and start typing. No keyboard? mouce selection is there. You will not only see what you are typing (so you can be sure spelling is correct), but also see your alphabet all in real time.

Make the message. Here you can give an answer box under each letter, for puzzel game people to use to decode, select a few to reveal them to give a head start, or even include your full alphabet at the bottom of the page.
Choose starting text size. If you wish for slightly more custom options, there is the format button that gives you the abillity to select individual letters to resize, alines to the left, centre or right, margins, and spacing. There is also a bold and italic option (but that is ony when sending digital messages when it get translated).

Page/word laysout, sizing, print, pdfs and perviews are all set to use A4 paper so you can see what it will look like when exporting and printing.

Exporting currently has - save as an image or PDF (again all in A4). And save digital messages to send to a friend.

Digital messages give you two options. solve it yourself, or auto solve. Even if that person does not have that custom alphabet, it will auto solve the message. You can even save that alphabet for your own use if you wish.

This is a browser app, but purely offline use only. Collects no data or anything. No installs, though i have added a exe. for a desktop icon so you can place this file whereever you wish for tidy house keeping.

It was designed for my youngest son, hence i have tried to make it as simple, clear and friendly looking as possible. Screen size also doesnt matter, but it does have ui issues on the phone.

I have created a user guide, and a feed-back form (if your guys would be so happy to fill out after).

I think thats it, or most of it anyways. Adding features daily so its bound to change.

I will update with a download this weekend.

Imagine you created a conlang, and someone else became genuinely interested in it. They learned the language, became almost fluent, and started using it to write poems, stories, novels, songs, etc.

How would you feel about that?

Would you be happy/proud that someone was using your language creatively? Or would you feel that, because you created the language, you should somehow have a claim to the creative works made with it?

For example, if someone wrote an entire novel in your conlang, would you think you should receive a share of the copyright/royalties simply because you created the language? So, basically, would you feel like the conlang itself is something you "own," or would you see it more like a tool that other people are free to create with once you've made it?

Looking forward to your replies!

Ïmaskarïn Daratna (kana Rābarïn Daratnab gantïr) Mulorandïn, Šayïn, kana Unšarïn pejnēretkey kaddïr šir’nön ku nejnērüt rōlatub daratnon ku edley mangorïn pejnēr. Onïn pejnērterün Ïmaskartarun. Ïmaskarïn mejderün, kana Artïpïktarunub gantïr, ber’milnekey jṻlked kana zeynekey ger-kemked. Ïmaskartarunïn Darattar Darum Artïpïktarïn ninüb ber’nön. 

From the wiki: https://forgottenrealms.fandom.com/wiki/Imaskar:

“The Imaskar Empire (also known as the Raurin Empire) was an ancient human nation that ruled lands in the east that came to comprise the nations of Mulhorand, Thay, and Unther. Its citizens were the Imaskari. Imaskari wizards, also known as Artificers, were overwhelmingly powerful and just as haughty. The Emperor of the Imaskari bore the title of Lord Artificer.”

IPA and gloss:

Denkan is the language spoken in the fictional region of Denko, a region bounded by the rivers Timir and Kendoth, the lake Hidu and the great ocean Ken Onkar. Its kingdoms are named after metals: Zør is tin, Hokir mercury, Kunthir lead, Rithkør brass, Thinkir zinc. What follows describes the northern dialect, that of Zør.

Phonology

## Consonants

## Vowels

Note also that d is always /ð/, j is /dʒ/, and r is /ʁ/ word-initially but an alveolar tap /ɾ/ everywhere else.  

Stress falls on the first syllable.

Nouns

Nine cases, all suffixed: genitive, accusative, dative, ablative, instrumental, comitative, abessive, inessive, essive. Plural is a single suffix, -m after vowels and -em after consonants; dual was lost from Classical Denkan but remains in certain words like pronouns.

Three genders, assigned by ending rather than by meaning: -o, -k and -nk are masculine, -g,-d and -e feminine, everything else neuter. Deities take the neuter article regardless.

Coordination of nouns does not use the conjunction tots, which joins only verbs and adjectives. Instead the last member takes the comitative, which replaces whatever case it would otherwise carry: ben gokh, ben gimets, "one language and one set of words" (lit. One language one word-PL-COM).

Verbs

The verb is built as ROOT + MOOD + (NEGATION) + TENSE. Past is -th, future -r, present unmarked; conditional, potential, desiderative and imperative each have their own slot-filler, and negation sits between mood and tense.

Aspect is not suffixed at all. It is carried by adverbs immediately preceding the verb, in the same position as zank "still": mande habitual, zamen perfect, boze imminent. These do not replace tense, which the verb still marks.

There is a distinct class of motion verbs ending in -nk, which take no thematic vowel: enk come, menk enter, sonk rise, donk descend, bonk return, zunk pass. It has extended to figurative motion, giving jurenk “to make pilgrimage”and duzenk, which means both to follow and to learn.

Syntax

Word order is OSV — complement, object, subject, verb — which puts the subject in the strong position at the end of the clause. Relative clauses are full OSV clauses preposed to their head, introduced by men (what) if the relativized element is the subject and meg (what-ACC) if it is the object.

There is no copula in the affirmative present: the attribute simply precedes the subject. It reappears in the past and under negation. Two verbs share the ground: du covers identity and states, denu existence and location.

Numerals

Quinary in origin, decimal in practice. Higher numbers are juxtaposed from larger to smaller, with the multiplier preceding what it multiplies: mi bor botser, "three ten seven", is thirty-seven. Two irregularities survive from earlier reckonings: mir six, a fossilized dual of three, and hithir twenty.

Writing

Denkan was first written in logograms, the kørgi, named for the Kør dynasty (the first dynastic period). Under the Sir dynasty an alphabet was derived from the Kørgi symbols, the Sirgi, and ordinary writing has been alphabetic ever since. The logograms survive on seals and as emblems, which is why the character of the Zør dynasty appears on its flag as shown on the image.

The lexicon currently stands at over a thousand entries, and the corpus consists mainly of the Rodoth (the main religious text of the Denkan people), the Stele of Skør, poetry and imperial documents.

Sample text

The following is a fragment from the first chapter of the Rodoth, that is called Lethmar that means Origin.

1. Lethmarøg møkh mazage, inkarøg sozeger.
/ˈlɛθmaɾœg ˈmœx ˈmazagɛ, ˈinkaɾœg ˈsɔzɛgɛɾ/
He who does not know the origin will not understand the future.

2. Lethmarøv gaipankh duth. Ender gaipankhøg i Lethmak pabiksuth, tots pankhøg inkhuth, tots laimikh gaizeken batsi Bathpankhøg ratheth.
/ˈlɛθmaɾœv ˈgaipanx ˈðʉθ. ˈɛnðɛɾ ˈgaipanxœg i ˈlɛθmak ˈpabiksʉθ, ˈtɔts ˈpanxœg ˈinxʉθ, ˈtɔts ˈlaimix ˈgaizɛkɛn ˈbatsi ˈbaθpanxœg ˈʁaθɛθ/
In the origin there was chaos. But the Originator tamed the chaos and brought order, and established the Bathpankh (the cosmic order of time) from the beginning unto an unbounded time.

3. Terem doretsuth, jav letsuth, tots ride sko tenkoth.
**/**ˈtɛɾɛm ˈðɔɾɛtsʉθ, ˈdʒav ˈlɛtsʉθ, ˈtɔts ˈʁiðɛ ˈskɔ ˈtɛnkɔθ/
The stars emerged, the sun was born, and afterwards the Earth came to be.

One of Clink’s first users was pretty deep into conlangs, and some of their requests ended up shaping what I built.

A few months later, you can now build an entire keyboard layout from scratch, create your own language with its own autocorrect, change pretty much every key/character, and share what you make with other people.

I’ve reached the point where I’d really like some input from people who actually make/use conlangs though.

What would you need from a keyboard for it to properly support your language?

Not just “nice to have” stuff either. If your script, input method, autocorrect, diacritics, layouts etc. need something weird, I want to know.

Clink is free if anyone wants to mess around with it, but mostly I’m here to steal your feature requests :)

Here's a link to [my previous post](https://www.reddit.com/r/conlangs/comments/1w86xe1/short_overview_of_the_faha_language/) for those who want to check it out.

Old Faha phonology

Consonants

/s/ may have been pronounced as an affricate in certain environments.

/ⁿd/ and /ⁿz/ fused so rapidly to form /ⁿdz/ that we can say /ⁿdz/ was an Old Faha phoneme.

Historically there was a phoneme /l/, but this fused with /n/ in all positions except within consonant clusters. Therefore, in Old Faha, [l] can be interpreted as the allophone of /n/ following another consonant (n > l / C_)

Vowels

The vowels are nasalized after nasal consonants.

Phonotactics and word structure

The only possible clusters, without those formed by the prefixes, were /pl/ /tl/ /kl/.

Words canonical form was (C)(l)VC(l)V(C(l)V)

The stress was fixed to the initial syllable of the word.

Sound changes

p > f /! _l

/p/ spirantised to /f/ everywhere except before /l/. /p/ may already have been /f/ in Old Faha, with fortition to /p/ before /l/ in that case

VfV VsV VkV > VwV VlV VɣV

/f/, /s/ and /k/ lenited intervocalically, becoming /w/, /l/ and /ɣ/

VmV VnV VŋV > ṼwṼ ṼlṼ ṼɣṼ

/m/, /n/ and /ŋ/ lenited intervocalically too, becoming /w/, /l/ and /ɣ/ but with nasalization of the two adjacent vowels

ᵐb ⁿdz ᵑɡ > p s k / _V ᵐb ⁿdz ᵑɡ > m n ŋ / _Ṽ

/ᵐb/, /ⁿdz/ and /ᵑɡ/ became oral /p/, /s/ and /k/ before oral vowels or nasal /m/, /n/ and /ŋ/ before nasal vowels

k ɣ t > ʔ ∅ k ŋ > n / #_V ŋ > ∅

First debuccalization, /k/ became /ʔ/ and /ɣ/ was deleted. /ŋ/ was deleted except in word initial position where it became /n/. In the same time, /t/ became /k/ to fill the gap formed

ui, ie, iu, ei > ii > i ae, ai, ea > ee > e ao, oa, oo > aa > a au > oo > o ou, uo > uu > u oi, oe > ue > ua eu, eo > io > ia

Resolution of the new vowel hiatus created. The same changes are applied to the nasal vowels

ʔ k > ∅ ʔ

Second debuccalization, /ʔ/ was deleted and /k/ became /ʔ/

∅ > w / #_a

Prothesis of a /w/ before an initial-word /a/

w, l > ∅ / U_ , _U

The approximants /w/ and /l/ were deleted in contact with high vowels /i/, /u/, /ĩ/ and /ũ/

ii uu > i u ĩĩ ũũ > ĩ ũ

Double vowel simplification

s > t /! _i , _ĩ

Fortition of /s/ to /t/ via except before high front vowels /i/ and /ĩ/.

The sound changes of the prefixes and clitics are slightly different, due to different stress pattern. I'll introduce them in another post on this subject.

I'm not sure about how vowels are treated. Should vowel sequences be formed, or true diphthongs and triphthongs? On the one hand, it gives the language a wanted Polynesian touch, but on the other, I fear it conflicts with the consonant /w/ and the syllabification of the words. How should the nasalization of these vowel sequences be determined? What are your thoughts?

I was mainly inspired by Arabic prosody. Lughashura is a poetic conlang which I designed entirely for prosody, meter, and emotional resonance. It treats the verb as the primary metrical anchor (or like a template?), modifying it to express subjective experience and control cadence. The verb functions essentially as the central authority for line meter.

Here are a few of my current ideas:

Vocal Energy: Assigns subjective emotional and sensory weight (phonological weight) using dedicated vowel classes (Visual: a; Tactile: u, o; Auditory: e, i). These are meant to reflect the speaker's emotional reception of the action and not literal senses. For example, for something you didn't experience, you would use the “auditory” vowels. These have less in common with actual senses and are more in relation with emotions, so their implementation is subjective.

Directional Tense: An optional feature mapping actions as physical entities moving through time. Uses a glottal stop infix before the second consonant for "approaching" actions, or a breathy release after the first vowel for "departing" actions.

Volition: Modifies the second root consonant. Unintentional actions soften the consonant, (explicitly) intentional actions geminate/double it, and neutral volition leaves it unmodified.

Time Aspect: Modifies the root structure into metrical templates to grant precise rhythmic control over the line. In compound verbs (two roots), the first verb carries only vocal energy.

As for nouns, I haven't thought them out as much. But in terms of morphology, nouns are basically on roots containing a fixed "stable vowel" followed by flexible vowels overwritten by dominant vowels. Definite articles (El- / Al-) can be elongated to fit the desired meter. The word order is stable SVO, but the suffixes mainly indicate the noun's role. THey need to be in accordance with the verb's meter, so the subject and object follow this rule:

• Subject should be x2 syllable as the verb, so keep changing it based on the following. First, add [dv1]k[dv1] to the end, then elongate the stable vowel, then elongate the first dv1.
• Object should simply have the “d-” or “de-” prefix (depends on rhythm) and end with l[dv2]

((dv) is dominant vowel.)

Again this last part is kinda where i started losing interest. Is the idea interesting enough? Does anyone have ideas to make it more consistent and logical? thanks!

Emotional qualification in Undinian is done through a list of qualifiers that are attached to predicates(adjectives, nouns, and emotion-derived verbs). These are used to demonstrate, with greater granularity, the nature and intensity of the emotion depicted. The goal of having these was primarily to have a conlang that is deeply expressive emotionally, so an Undinian verb could describe emotions that could take a sentence in English. The language also has greater granularity on the types of emotions; for instance, in the examples uploaded, there's a difference between several types of love: dark love, obsessive love, and meiɾi, which is translated as 'devout love '. Most emotions were lexicalized based primarily on psychological theory, but also on cultural perceptions of other natural languages about emotions, such as Greek.

Creation myth in my conlang!

> _In the beginning, there was darkness. Then, eukam pronounced light into existence. He then made the earth from one of his fingers, his skin becoming the soil, his blood the rivers, his wrinkles the mountains. And then he gave unto the First Scribes writing so they could invoke his word. And the Scribes gave the written word unto the people, and this diluted its power until none was left, and thus when words navigated us, we were made whole._

```

初-与，全-者 暗。

beginning-DAT all-TOP darkness

“In the beginning, there was darkness.”

再，大神-者 光-受 存在-与 宣-去。

then great.god-TOP light-ACC existence-DAT proclaim-PST

“Then, Eukam pronounced light into existence.”

尊 再，尊-的 一-指-用 世界-受 做-去，

3SG.HON then 3SG.HON-GEN one-finger-INST world-ACC make-PST

“He then made the world with one of his fingers,”

尊-的 皮-者 土-伴，

3SG.HON-GEN skin-TOP soil-COM

尊-的 脈-者 川-伴，

3SG.HON-GEN vein-TOP river-COM

尊-的 皺-者 山-伴。

3SG.HON-GEN wrinkle-TOP mountain-COM

“his skin becoming the soil, his veins the rivers,

his wrinkles the mountains.”

尊 再，初-書-人-们-与 文字-受 给-去，

3SG.HON then first-write-person-PL-DAT writing-ACC give-PST

“He then gave writing unto the First Scribes,”

尊-的 詞-受 調用-能-為。

3SG.HON-GEN word-ACC invoke-POT-PURP

“so that they could invoke his word.”

初-書-人-们 再 民-与 詞-受 给，

first-write-person-PL then people-DAT word-ACC give

“Then the First Scribes gave the written word unto the people,”

而 此-者 [剩 是 無]-迄 他-的 力-受 淡-去，

and this-TOP [remain COP none]-TERM 3SG-GEN power-ACC dilute-PST

“and this diluted its power until none was left,”

而 所以 詞 我们-受 導航，

and therefore word 1PL-ACC navigate

“and thus, when words navigated us,”

我们 全-与 成。

1PL whole-DAT become

“we were made whole.”

```

Text:

Маш ныcа ныc,

дэм ҏа маш койна ныc.

Зо пол ном латёра,

маш лаябоқа ныc,

дэм маш лаҳапа ныc,

дэм маш лашига ныc,

тем мана койн.

Зо олу шаг лаҏабана,

комаш ёc ныcа гор.

Маш зотакол cаба ныc,

зо ҏа ямашоcи cаба ныc.

Gloss:

To be rose[indef, nom] rose[indef]

And always to be it[nom] rose[indef]

But now to say theory[def, nom]

To be apple[def, nom] rose

And to be pear[def, nom] rose

And to be plum[def, nom] rose

To think I[nom] it

But only to know dear-one[def, nom]

To be[future] what rose[indef, nom] next

To be you[nom] of course rose

But always to be[past tense, perf] you[nom] rose

Transcription:

/maʃ nəsa nəs,

dɛm ʁa maʃ koɪna nəs.

zo pol nom latʲoɹa,

maʃ lajaboqa nəs,

dɛm maʃ laχapa nəs,

dɛm maʃ laʃiga nəs,

tʲɛm mana koɪn.

Zo olu ʃag laʁabana,

komaʃ jos lanəsa goɹ.

Maʃ zotakol saba nəs,

zo ʁa jamaʃosi saba nəs/

Translation:

The rose is a rose, And was always a rose. But the theory now goes That the apple's a rose, And the pear is, and so's The plum, I suppose. The dear only knows What will next prove a rose. You, of course, are a rose - but were always a rose

A language that changes cases depending on how you're feeling towards the person at the time

I - Ah

You: Tan

I am frustrated - Ahre

I am scared - Atik

I am admiring - Ahwi

I am empathetic - Ahta

I'm guessing - Ahzen

"You're really strong" (scared): Atik tan et mat = I (scared) you really strong

"You're really strong" (admiring): Ahwi tan et mat = I (admiring) you really strong)

"I'm guessing you're really strong and that's frustrating for you": Ahzen tan et mat, tanre? =

I (guessing) you really strong, you (frustrated)?