Example of consonance in poemxample of consonace
Floor plans, the artistry of architecture
2013.06.26 06:30 Jattok Floor plans, the artistry of architecture
For those who love the art of floor plans. Share past designs of structures no longer around, your own creations, modern marvels and everything in between.
2011.01.27 21:56 I_RAPE_CATS Alternative Video Game/Movie/TV series Artwork
READ BEFORE POSTING TO AVOID GETTING BANNED: Post pictures of cartoons/movies that have been redrawn in a different style. A good example would be an image of the South Park characters done anime style. Another example would be turning a Nintendo character into a Disney Pixar art-style. Background by John Loren Icon by unknown artist
2018.07.28 22:19 SinJiMin Terrible Fandom Memes
Subreddit dedicated to terrible memes and cringe from fandoms all across the board
2024.05.19 06:28 adulting4kids Alliteration
Term: Alliteration
Definition: Alliteration is the repetition of the same consonant sound at the beginning of neighboring words.Example: "Sally sells seashells by the seashore."
Freewrite Prompt: The garden gate groaned gently in the gusting wind, while the moonlit meadow murmured melodies to the wandering creatures.
2024.05.19 04:27 mouthofxenu Primarch Names and Etymologies; Part 4 (VII-VIII)
This is part 4 of a list of feminine primarch names and my reasoning for these names.
Please see the below link for an explanation of this project, my methods, and my intent.
I will keep the first post updated with links to the later posts to make referencing them easier.
Link to first post: https://www.reddit.com/PrimarchGFs/comments/1ctd7ot/primarch_names_and_etymologies_part_1_iii/
VII: Regalia Dorn (Rogal Dorn):
This is one I’ve changed my mind on since discovering this subreddit and seeing many people settle on Regalia Dorn. I originally had Rigel Dorn on my list.
I think I deviated too far from the original feel of the name for the sake of preserving the same number of syllables and consonance. Rigel is the name of a star in the Orion constellation. It comes from the Arabic “Rijil Jauzah al Yusra,” meaning “the left foot of Orion.” Rigel therefore means “leg, foot.” I liked the connection with stability since Dorn knows the value of a good foundation. I think I also was trying to avoid having too many names that end in an “A.”
However, Rigel has a very weak connection to the sense conveyed by Rogal. “Rogal” appears to be a combination of “royal” and “regal,” which are doublets for “befitting a monarch.” In this respect, I think the name Regalia Dorn is superior because it too refers to royalty, meaning “royal privileges / powers,” especially in the sense of decorations and outfits indicating high office through their ostentation. Dorn’s gold armor and status as the Praetorian of Terra certainly fits this sense of the word “regalia.”
VIII: Kore Curze [Kor-Ee] (Konrad Curze):
Another literary reference, Konrad Curze is a reference to Joesph Conrad, the author of “Heart of Darkness.” The story is about the search for an ivory trader named Kurtz in the “Congo Free State,” an African colony of Belgium that existed from 1885 to 1908.
This discussion is about to get very serious (discussion of racism, slavery, and human mutilation), so please exercise discretion in reading further. However, I believe this historical context is necessary to understand “Heart of Darkness” and the themes that influenced the character of Konrad Curze.
Belgium’s King Leopold II privately owned the “Congo Free State” and unofficially owned the Congolese people as slaves. As an example of the sub-human manner in which the Congolese people were regarded by Leopold, approximately 300 Congolese people were brought to Belgium and put in a human zoo designed as a fenced-in parody of an African village. Seven Congolese died of illnesses while imprisoned there as the public was allowed to gawk at them.
Leopold’s demands for productivity from the colony resulted in the population being treated worse than animals for the sake of extracting resources such as rubber. Congolese people were shot to death for failing to meet rubber collection quotas. Their hands were then cut off by their executioners to prove the bullets weren’t being “wasted” or stockpiled for a mutiny. The hands of the Congolese became a perverse currency because companies in the colony could offset low rubber production by using the hands as a demonstration the company’s militia “resolved” the low production issues. The companies therefore incentivized their soldiers to harvest Congolese people’s hands by promising to shorten the duration of the soldiers' service abroad based on the number of hands collected. Eventually, soldiers realized they could save ammunition by cutting off the hands of people that were still alive.
In “Heart of Darkness,” Kurtz is an ivory trader that has gone mad from his participation in these atrocities against the Congolese people. Kurtz had wanted to “civilize” the Congolese, indulging in the racist idea that black people required the intervention of white Europeans to lift them out of “barbarism.” Over time, Kurtz grew accustomed to the inhuman treatment of the Congolese people and even started to like it. He managed to create a cult that worshipped him and wished to indulge openly in hurting people for sport, unlike the other colonizers that hid their inhumanity behind more polite motives like seeking profit. Ultimately, Kurtz adopts a nihilistic view of the world where no one has a right to judge his actions because the world allowed all this horror to happen on its own.
Curze is a derivation of Kurtz, combining the name with “curse.” “Cursed” pretty much describes both Konrad Curze and Kurtz. Konrad is, as mentioned above, a reference to the author of “Heart of Darkness,” Joseph Conrad. Conrad is derived from the German name Konrad, which comes from the Proto-West Germanic “koni,” meaning “bold, brave,” and “rad,” meaning “advice, counsel.”
The themes of engaging in atrocities out of spite for the world itself are present in both Curze and Kurtz. Needless to say, this is the grimdarkest of all the primarchs and one a noblebright setting will have to do a lot of heavy lifting the rehabilitate in a manner that is narratively satisfying. I wanted the new name to reflect this shift.
I could not find a feminine alternative for Konrad. Konstance was tempting (I’m fond of Konnie Curze), but I figured if I was going to deviate from the original name’s etymology I should try to tie it to the theme of darkness in a way but with a more positive connotation.
The word “koni” reminded me of the Greek “Kore,” an epithet for the Greek goddess Persephone. Kore means “The Maiden.” Persephone is the daughter of the harvest Goddess, Demeter. The god of the underworld, Hades, kidnapped Persephone and married her, though the relationship appears to be one of the more consensual ones in Greek myth beyond that detail. Demeter withdrew her power over the crops and brought on winter while Persephone was gone. However, Persephone had already eaten food in the Underworld, which bound her to that place eternally. The gods negotiated a compromise with Hades whereby Persephone would remain in the Underworld for part of each year, resulting in winter, and return to the surface for the other part of the year to appease Demeter and bring on the growing season.
Popular modern interpretations of Persephone tend to be of a pretty girl that causes nature to bloom spontaneously around her before mean old Hades captures her and brings on winter. However, the myths are quite clear that Persephone embraced her role as Queen of the Dead.
Persephone is referred to as “dread Persephone” in “The Odyssey,” indicating the sense of horror the character is meant to evoke through her status as Queen of the Underworld. The epithet Kore was a way for worshipers to refer to Persephone without uttering her terrible name. The practice is similar to the Arcadian worship of the goddess Despoina, which literally means “The Mistress.” Despoina was closely identified with Persephone and may be an older goddess the myth of Persephone arose from. The goddess’s real name was either unknown or a secret and worshipers only referred to her as "The Mistress" to avoid taking her name in vain. This is a convention familiar to Abrahamic faiths, which often use variants of “God,” “Lord,” or other euphemisms to refer to their singular god.
I like how both Kurtz and Persephone / Kore go into their own types of darkness and meet two different fates. Kurtz goes into a darkness created by humans and is consumed by it. Persephone is taken into the darkness that awaits us all in the end and accepts it. I felt this corresponded better with a noblebright take on Konrad and his struggle with the clarity of his own destiny.
Thought of the day:
Fear the shadows; despise the night. There are horrors that no man can face and survive.
Feel free to leave a comment on these submissions and this project generally. I look forward to sharing more with you next time~
submitted by mouthofxenu to PrimarchGFs [link] [comments]
Please see the below link for an explanation of this project, my methods, and my intent.
I will keep the first post updated with links to the later posts to make referencing them easier.
Link to first post: https://www.reddit.com/PrimarchGFs/comments/1ctd7ot/primarch_names_and_etymologies_part_1_iii/
VII: Regalia Dorn (Rogal Dorn):
This is one I’ve changed my mind on since discovering this subreddit and seeing many people settle on Regalia Dorn. I originally had Rigel Dorn on my list.
I think I deviated too far from the original feel of the name for the sake of preserving the same number of syllables and consonance. Rigel is the name of a star in the Orion constellation. It comes from the Arabic “Rijil Jauzah al Yusra,” meaning “the left foot of Orion.” Rigel therefore means “leg, foot.” I liked the connection with stability since Dorn knows the value of a good foundation. I think I also was trying to avoid having too many names that end in an “A.”
However, Rigel has a very weak connection to the sense conveyed by Rogal. “Rogal” appears to be a combination of “royal” and “regal,” which are doublets for “befitting a monarch.” In this respect, I think the name Regalia Dorn is superior because it too refers to royalty, meaning “royal privileges / powers,” especially in the sense of decorations and outfits indicating high office through their ostentation. Dorn’s gold armor and status as the Praetorian of Terra certainly fits this sense of the word “regalia.”
VIII: Kore Curze [Kor-Ee] (Konrad Curze):
Another literary reference, Konrad Curze is a reference to Joesph Conrad, the author of “Heart of Darkness.” The story is about the search for an ivory trader named Kurtz in the “Congo Free State,” an African colony of Belgium that existed from 1885 to 1908.
This discussion is about to get very serious (discussion of racism, slavery, and human mutilation), so please exercise discretion in reading further. However, I believe this historical context is necessary to understand “Heart of Darkness” and the themes that influenced the character of Konrad Curze.
Belgium’s King Leopold II privately owned the “Congo Free State” and unofficially owned the Congolese people as slaves. As an example of the sub-human manner in which the Congolese people were regarded by Leopold, approximately 300 Congolese people were brought to Belgium and put in a human zoo designed as a fenced-in parody of an African village. Seven Congolese died of illnesses while imprisoned there as the public was allowed to gawk at them.
Leopold’s demands for productivity from the colony resulted in the population being treated worse than animals for the sake of extracting resources such as rubber. Congolese people were shot to death for failing to meet rubber collection quotas. Their hands were then cut off by their executioners to prove the bullets weren’t being “wasted” or stockpiled for a mutiny. The hands of the Congolese became a perverse currency because companies in the colony could offset low rubber production by using the hands as a demonstration the company’s militia “resolved” the low production issues. The companies therefore incentivized their soldiers to harvest Congolese people’s hands by promising to shorten the duration of the soldiers' service abroad based on the number of hands collected. Eventually, soldiers realized they could save ammunition by cutting off the hands of people that were still alive.
In “Heart of Darkness,” Kurtz is an ivory trader that has gone mad from his participation in these atrocities against the Congolese people. Kurtz had wanted to “civilize” the Congolese, indulging in the racist idea that black people required the intervention of white Europeans to lift them out of “barbarism.” Over time, Kurtz grew accustomed to the inhuman treatment of the Congolese people and even started to like it. He managed to create a cult that worshipped him and wished to indulge openly in hurting people for sport, unlike the other colonizers that hid their inhumanity behind more polite motives like seeking profit. Ultimately, Kurtz adopts a nihilistic view of the world where no one has a right to judge his actions because the world allowed all this horror to happen on its own.
Curze is a derivation of Kurtz, combining the name with “curse.” “Cursed” pretty much describes both Konrad Curze and Kurtz. Konrad is, as mentioned above, a reference to the author of “Heart of Darkness,” Joseph Conrad. Conrad is derived from the German name Konrad, which comes from the Proto-West Germanic “koni,” meaning “bold, brave,” and “rad,” meaning “advice, counsel.”
The themes of engaging in atrocities out of spite for the world itself are present in both Curze and Kurtz. Needless to say, this is the grimdarkest of all the primarchs and one a noblebright setting will have to do a lot of heavy lifting the rehabilitate in a manner that is narratively satisfying. I wanted the new name to reflect this shift.
I could not find a feminine alternative for Konrad. Konstance was tempting (I’m fond of Konnie Curze), but I figured if I was going to deviate from the original name’s etymology I should try to tie it to the theme of darkness in a way but with a more positive connotation.
The word “koni” reminded me of the Greek “Kore,” an epithet for the Greek goddess Persephone. Kore means “The Maiden.” Persephone is the daughter of the harvest Goddess, Demeter. The god of the underworld, Hades, kidnapped Persephone and married her, though the relationship appears to be one of the more consensual ones in Greek myth beyond that detail. Demeter withdrew her power over the crops and brought on winter while Persephone was gone. However, Persephone had already eaten food in the Underworld, which bound her to that place eternally. The gods negotiated a compromise with Hades whereby Persephone would remain in the Underworld for part of each year, resulting in winter, and return to the surface for the other part of the year to appease Demeter and bring on the growing season.
Popular modern interpretations of Persephone tend to be of a pretty girl that causes nature to bloom spontaneously around her before mean old Hades captures her and brings on winter. However, the myths are quite clear that Persephone embraced her role as Queen of the Dead.
Persephone is referred to as “dread Persephone” in “The Odyssey,” indicating the sense of horror the character is meant to evoke through her status as Queen of the Underworld. The epithet Kore was a way for worshipers to refer to Persephone without uttering her terrible name. The practice is similar to the Arcadian worship of the goddess Despoina, which literally means “The Mistress.” Despoina was closely identified with Persephone and may be an older goddess the myth of Persephone arose from. The goddess’s real name was either unknown or a secret and worshipers only referred to her as "The Mistress" to avoid taking her name in vain. This is a convention familiar to Abrahamic faiths, which often use variants of “God,” “Lord,” or other euphemisms to refer to their singular god.
I like how both Kurtz and Persephone / Kore go into their own types of darkness and meet two different fates. Kurtz goes into a darkness created by humans and is consumed by it. Persephone is taken into the darkness that awaits us all in the end and accepts it. I felt this corresponded better with a noblebright take on Konrad and his struggle with the clarity of his own destiny.
Thought of the day:
Fear the shadows; despise the night. There are horrors that no man can face and survive.
Feel free to leave a comment on these submissions and this project generally. I look forward to sharing more with you next time~
2024.05.18 14:11 adulting4kids Prompt Poetry
- Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
- Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
- Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
- Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
- Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
- Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
- Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
- Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
- Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
- Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
- Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
- Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
- Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
- Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
- Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
- Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
- Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
- Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
- Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
- Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.
2024.05.18 12:27 Apodiktis Turning nouns into verbs with specific conjugation
I’m creating an Austronesian conlang and languages from this family tend to have infixes. However I didn’t want to make three syllables long words for basic activities, so I decided to make conjugation based on vowel alternation (or rather syllable ending alternation). Here is an example how it works:
To wish - sara - sura - sivra - sevra - savra
To see - kita - kanta - kinta - kjenta - kjanta
To sleep - tidu - tandi - tindi - tjendi - tjandi
You can see that the only thing which changes is the syllable ending and every other letter remains as it was. (in my conlang syllable can end only with vowel or j /j/, n /ŋ/, v /w/).
First word belongs to the first conjugation which uses „a” as a changeable vowel, but second and third one uses „i” because first consonant is soft. First form is infinitive, second is present active, third is past active, fourth is present passive and fifth is past passive.
And that’s a very good solution for me, because there is still the same amount of syllables and if I make some verbs irregular it will sound more natural.
But there is one problem. When I want to turn a noun into a verb, conjugation won’t work, because nouns aren’t made like verbs, so fist vowel in the noun can be something different from „a” or „i” and it would be too complicated and hard to make special conjugation for every ending (there are 16)
I thought about changing first vowel in noun to „a” or „i” in order to change it to verb, but if I would have three nouns (tari, teri, turi), they would have the same verb form which is very confusing.
Only root is conjugated, so in word bekita (to show) be will remain as it is, but kita will change normally.
Please advice me a good solution for this problem. Thank you for your answers.
submitted by Apodiktis to conlangs [link] [comments]
To wish - sara - sura - sivra - sevra - savra
To see - kita - kanta - kinta - kjenta - kjanta
To sleep - tidu - tandi - tindi - tjendi - tjandi
You can see that the only thing which changes is the syllable ending and every other letter remains as it was. (in my conlang syllable can end only with vowel or j /j/, n /ŋ/, v /w/).
First word belongs to the first conjugation which uses „a” as a changeable vowel, but second and third one uses „i” because first consonant is soft. First form is infinitive, second is present active, third is past active, fourth is present passive and fifth is past passive.
And that’s a very good solution for me, because there is still the same amount of syllables and if I make some verbs irregular it will sound more natural.
But there is one problem. When I want to turn a noun into a verb, conjugation won’t work, because nouns aren’t made like verbs, so fist vowel in the noun can be something different from „a” or „i” and it would be too complicated and hard to make special conjugation for every ending (there are 16)
I thought about changing first vowel in noun to „a” or „i” in order to change it to verb, but if I would have three nouns (tari, teri, turi), they would have the same verb form which is very confusing.
Only root is conjugated, so in word bekita (to show) be will remain as it is, but kita will change normally.
Please advice me a good solution for this problem. Thank you for your answers.
2024.05.17 15:21 MyraDentalClinic Maxillary Central Incisors: Definition, Anatomy, and Common Procedures
Maxillary central incisors are the two front teeth in the upper jaw positioned along the midline of the face. Maxillary central incisors serve a significant purpose in biting, breaking food, and creating the shape of the mouth, making them vital for function and appearance. The visible portion of the tooth above the gum line is called the crown, and the root, which is buried in the jawbone, makes up the maxillary central incisors anatomically. The crown has two mesial and distal sides and a flat incisal edge that helps with biting and chopping food. The incisors are fixed into the upper jawbone by a single root.
Dental crowns are placed over the maxillary central incisors to restore their size, form, and strength in cases of severe decay, fractures, or aesthetic issues. Maxillary central incisors are crucial for tooth alignment and bite function. Braces or clear aligners are examples of orthodontic treatments that are often suggested to treat malocclusions involving them, overcrowding, or misalignment problems.
The maxillary central incisors are prominent teeth in the smile, thus for improved appearance and symmetry, cosmetic operations, including enamel shaping, dental veneers, or teeth whitening are frequently performed on them. Proper oral function and a confident smile depend on maintaining the health and aesthetic appeal of the maxillary central incisors. The preservation of the essential teeth depends upon routine dental examinations and good oral hygiene habits.
There are a few small variations between the permanent maxillary central incisor and the deciduous maxillary central incisor. Approximately 7-8 years old is when the permanent tooth erupts, replacing the deciduous tooth that first emerges in the mouth at 8–12 months of age. The permanent tooth has a longer length than width. The central incisors of the maxilla meet at the midline of the face. It is the mandibular central incisors that do it. The presence of an open bite or diastema depends on where the teeth are positioned. People differ in terms of the size, shape, and colour of their teeth, similar to any other. Teeth appearance is often impacted by systemic diseases, such as syphilis.
submitted by MyraDentalClinic to Teeth [link] [comments]
Dental crowns are placed over the maxillary central incisors to restore their size, form, and strength in cases of severe decay, fractures, or aesthetic issues. Maxillary central incisors are crucial for tooth alignment and bite function. Braces or clear aligners are examples of orthodontic treatments that are often suggested to treat malocclusions involving them, overcrowding, or misalignment problems.
The maxillary central incisors are prominent teeth in the smile, thus for improved appearance and symmetry, cosmetic operations, including enamel shaping, dental veneers, or teeth whitening are frequently performed on them. Proper oral function and a confident smile depend on maintaining the health and aesthetic appeal of the maxillary central incisors. The preservation of the essential teeth depends upon routine dental examinations and good oral hygiene habits.
What are Maxillary Central Incisors?
Maxillary Central Incisors are the two front teeth in the upper jaw that are positioned in the centre of the face. The teeth provide support for dental health and appearance. Maxillary central incisors serve a crucial role in the early phases of digestion by allowing food to be bit and torn. Moreover, they aid in the production of sounds during the speech, particularly the ones involving the enunciation of certain consonants such as the letters “S” and “F.” The symmetry of the smile and the general attractiveness of the face are greatly enhanced by the noticeable visibility of those teeth when smiling. The maxillary central incisors are frequently the focus of different dental procedures because of their position and function. The procedures are intended to preserve the health, alignment, and aesthetic appeal of the teeth, ensuring optimal oral function and an attractive smile.There are a few small variations between the permanent maxillary central incisor and the deciduous maxillary central incisor. Approximately 7-8 years old is when the permanent tooth erupts, replacing the deciduous tooth that first emerges in the mouth at 8–12 months of age. The permanent tooth has a longer length than width. The central incisors of the maxilla meet at the midline of the face. It is the mandibular central incisors that do it. The presence of an open bite or diastema depends on where the teeth are positioned. People differ in terms of the size, shape, and colour of their teeth, similar to any other. Teeth appearance is often impacted by systemic diseases, such as syphilis.
What is the anatomy of Maxillary Central Incisors?
Continue to discover!
https://www.myradental.co.uk/maxillary-central-incisors-definition-anatomy-and-common-procedures/2024.05.17 14:04 Flareon223 What is your one irk from this show?
Everything has it, this show especially. It's a wonderful show, but what is that one 6hing that holds it back most for you?
For me, it is their inability to say a good amount of Japanese words right. And I don't mean the perfect consonant sound for words that sound different, I mean even at the least the emphasis of words. For example, Matsuri. It's a simple and common japanese word. They put so much work into Japanese history and culture but their inability to pronounce some words in an even slightly reasonable way drives me insane. It's almost harder to pronounce those words that poorly. It feels like a level of incompetence that just can't be overlooked because it is less incompetence and more disrespect of the language.
Overall I love the show but this is a pet peeve for me. What's yours?
submitted by Flareon223 to BlueEyeSamurai [link] [comments]
For me, it is their inability to say a good amount of Japanese words right. And I don't mean the perfect consonant sound for words that sound different, I mean even at the least the emphasis of words. For example, Matsuri. It's a simple and common japanese word. They put so much work into Japanese history and culture but their inability to pronounce some words in an even slightly reasonable way drives me insane. It's almost harder to pronounce those words that poorly. It feels like a level of incompetence that just can't be overlooked because it is less incompetence and more disrespect of the language.
Overall I love the show but this is a pet peeve for me. What's yours?
2024.05.17 00:44 muhelen Understanding Vallinam Consonants in Tamil: Preserving the Integrity of Our Language
Tamil, one of the oldest and most classical languages, is rich in its phonetic and scriptural structure. One of the key aspects of mastering Tamil is understanding its consonant classifications: வல்லினம் (Vallinam), மெல்லினம் (Mellinam), and இடையினம் (Idaiyinam). This article focuses on the வல்லின மெய்யெழுத்துக்கள் (Vallinam consonants) and their significance in preserving the purity and integrity of the Tamil language, especially in the context of transliteration and foreign word adaptation.
What are Vallinam Consonants?
Vallinam consonants, or hard consonants, are a fundamental part of the Tamil alphabet. These consonants are pronounced with more force compared to their mellinam (soft) and idaiyinam (medium) counterparts. Tamil comprises six vallinam consonants:
The Importance of Proper Transliteration
When incorporating words from other languages, it is essential to adapt them correctly to fit Tamil phonetics. Improper transliteration not only distorts the pronunciation but also affects the readability and aesthetic of the language. Here are some common mistakes and their correct forms:
To further illustrate, here are a few more examples of proper usage:
Why Should We Care?
Preserving the integrity of Tamil script and pronunciation is not merely an academic exercise; it is about maintaining the cultural and historical richness of the language. Every language evolves, but it is crucial that such evolution respects the foundational rules that define its uniqueness. By adhering to proper transliteration practices, we:
Understanding and correctly using vallinam consonants is a vital aspect of writing and speaking Tamil. Whether you are a native speaker, a learner, or someone involved in transliteration of foreign words into Tamil, being mindful of these rules helps preserve the language’s purity and richness.
In conclusion, let us embrace the responsibility of safeguarding our language by adhering to these simple yet significant guidelines. By doing so, we honor the beauty and complexity of Tamil, ensuring it continues to thrive for generations to come.
submitted by muhelen to tamil [link] [comments]
What are Vallinam Consonants?
Vallinam consonants, or hard consonants, are a fundamental part of the Tamil alphabet. These consonants are pronounced with more force compared to their mellinam (soft) and idaiyinam (medium) counterparts. Tamil comprises six vallinam consonants:
• க் (k) • ச் (ch) • ட் (ṭ) • த் (t) • ப் (p) • ற் (ṟ)These consonants are crucial in maintaining the phonetic structure of the language.
The Importance of Proper Transliteration
When incorporating words from other languages, it is essential to adapt them correctly to fit Tamil phonetics. Improper transliteration not only distorts the pronunciation but also affects the readability and aesthetic of the language. Here are some common mistakes and their correct forms:
1. Starting with Consonants: • Incorrect: ப்ரீத்தி (Preethi) • Correct: பிரீத்தி (Preethi) • Incorrect: ப்ரேமா (Prema) • Correct: பிரேமா (Prema) 2. Ending with Consonants: • Incorrect: கிரிக்கெட் (cricket) • Correct: கிரிக்கெட்டு (cricket) • Incorrect: கோர்ட் (court) • Correct: கோர்ட்டு (court) 3. Class and Glass: • Incorrect: க்ளாஸ் (class) • Correct: கிளாசு (class) • Alternatively, use Tamil words: வகுப்பு (for class), கண்ணாடி (for glass) 4. Words Should Not Start or End with Consonants Alone: • Avoid starting words with a standalone consonant. • Avoid ending words with a vallinam consonant without a vowel sound.Examples and Corrections:
To further illustrate, here are a few more examples of proper usage:
• ப்ளான் (plan) should be பிளான் (plan) • ப்ரொஃபசர் (Professor) should be புரொபசர் (Professor) or better, பேராசிரியர்Adapting these words correctly ensures they align with the natural flow and pronunciation of Tamil.
Why Should We Care?
Preserving the integrity of Tamil script and pronunciation is not merely an academic exercise; it is about maintaining the cultural and historical richness of the language. Every language evolves, but it is crucial that such evolution respects the foundational rules that define its uniqueness. By adhering to proper transliteration practices, we:
• Maintain phonetic consistency. • Enhance readability for native speakers. • Preserve the aesthetic and structural integrity of Tamil.Conclusion
Understanding and correctly using vallinam consonants is a vital aspect of writing and speaking Tamil. Whether you are a native speaker, a learner, or someone involved in transliteration of foreign words into Tamil, being mindful of these rules helps preserve the language’s purity and richness.
In conclusion, let us embrace the responsibility of safeguarding our language by adhering to these simple yet significant guidelines. By doing so, we honor the beauty and complexity of Tamil, ensuring it continues to thrive for generations to come.
- முகிலன் Muhelen (muhelen.com)
2024.05.16 21:57 RevolutionStandard99 A poem about mariage in Cypriot Greek, written using Turkish alphabet by my grandfather in the year 1965 and a few questions about Greek alphabet, it's history and orthography.
My late grandfather has kept a few writings of poetry in Cypriot Greek sung by the natives of Yalya (Γιαλιά), mostly our relatives. Chatismada poetry was mostly sung but sometimes said without melody, in daily interractions, as a means of story telling and for important events (like weddings or at harvesting/threahing time), examples of the first two categories,i have posted before but not of the third. As a result of the attention my last post recieved, i saw that since the last time i visited it the subreddit has aquired some knowledgable members, so i would like to ask a question using the example of the below poem to further illustrate my example. İn my previous posts or comments that made in Greek, i used an orthographic style somewhere in between Greeklish and Turkish trying to use as grammer as correctly as possible, using the afforementioned orthography. One example would be i would use the english "j" or "dj" for what would be "τζ" using the greek alphabet instead of the or using the turkish "ğ" for "γ" , altough this sound is close but not exact as "γ" it is more akin to the silent glossal consonant invetween "α" and "ε" in "αέρα" which i would write as "ağera" instead of the nasal "γ" in "αγάπη". . İ am saying all this because the exteact below is not watered down unlike what i have shared previously and is written completely using the Turkish alphabet and would be almost imposible to decipher, so i would put a trasliteration under every line for this reason i redownloaded Reddit on my phone. The reason i am writing it as it was recorded is that it relates to my question below the poem as it would not make much sense whithout seeing it in its orriginal form. Here it is:
DOBİYİMMAN DİSNİFFİS(Το Ποίημμαν Της Νύφφης)
Ennasasbo miyan fimin neyan (Εννά σας πω μιαν φήμην νέαν) Ennasasbo enan galon biyimman (Εννά σας πω έναν καλόν ποίημμαν) Ofeğos masedogen miyanevloğiyan (Ο Θεός μας έδωκεν μίαν ευλογίαν) Na ehumen myan familyan neyan (Να έχουμεν μίαν φαμίλιαν νέαν)
Ennasasbo miyan alisgân (Εννά σας πω μίαν αλήθκειαν) Ofeğos isdes yenneces din omorsgân (Ο Θεός είς τες γενέτζες την ομορθκειάν) Edogen navrusin efdişan (Έδωκεν να βρούσιν ευτυσ̌άν) Ceda mandilya (Τζαι τα μαντιλιά) Brosdadefgun iyafrobi budin amardiyan (Προστατεύκουν οι ανθρώποι που την αμαρτίαν)
Elada omorfimmu goruğa (Έλα δα όμορφην μου κορούα) Ağeyi digissu bigan (Άε η δικήν σου ποίκαν) Ağeda befgassu sanduca(Άε τα πευκά σου σαντούτζα) Ağeda ğrusafenassu sdolisgâ (Άε τα γρουσαφένα σου στολίθκια) Ceda marmarga su anciya(Τζαι τα μαρμαρκά σου αντζία)
Hade ra omorfimmu goraşa (Χάτε ρα όμορφην μου γορασ̌ά) Aboşeredise yidikissu bedigididan (Αποσ̌αιρετίσε η δικήν σου πεδικότηταν) Edimase donlehossu me aroman (Ετοιμάσε τον λαίχως(?) σου με αρόμαν) Anigse meyeman ibataniyan (Ανοίξε με γιαίμαν η παττανίαν) Ofeğos nasu dogi bolla befgâ(Ο Θεός να σου δώκει πολλά πεθκιά) Cemellicin ağnyan(Τζαι μελλιτζήν αγνιάν)
A little while ago i saw a video on YouTube that talked about the griko language(dialect?) in Southern İtaly and the main thing that caught my attention was the fact that they used the latin alphabet to write Greek in and the manner in which they did so, obviously the orthography was created by a person that was able to use the Greek alphabet, it's main feature was that μου-μας-του etc. Were written adjacent to the noun for inctance "our father" would be written as "ocirimma" or my mother would be "imamammo" . When seeing this the first thing that came to my mind was the records of my grandfather. As a few examples of similarities with the above principle "yidigimmu"(η δικήν μου) could be presented as an example. The thing is Greek written in the Turkish alphabet can be read as entirely different from what it would be using the Greek alphabet, especialy without the use of intonations, while my grandfather had and other relatives that were native Greek speakers don't have the stereotypical Turkish Cypriot accent when speaking Cypriot Greek this i think derives from their proper use of intonation and the ability to use the sounds of θ and ττ(which only exists in a few Turkish dialects) which can be seen from the fact that θ is written as f or s above like in the example of "ofeğos" (ο Θεός). The Greek written in the Turkish alphabet would be uniteligable without a prior knowledge of intonations. This became clear to me when a friend who was trying to learn Greek came to me asking how to know how the accent mark would be placed when writing and when i illustrated the sound difference he wouldn't understand it while it was (mostly) easy for me when i first how to write using the Greek alphabet as i was already well versed in the language as in the above poem it can be seen that those without an intonation merge together like "ceda" (τζαι τα). Making all these points above now i can ask what i want to: How is the written grammar of a language determined when it encounters a writing system, how has the orthography of Greek changed overtime and why is it written in the manner it is and what alphabets has it been written with other than its own throughout history. To me Greek written using the Greek alphabet is superior in its ability to fully transmit what is to be conveyed, is there any pother reason to this other than its richness of letters and the ability to utilise intonation like the interraction of different words with one another?
My other question would be the word lehos, in this case it does not mean throat but was translated to Turkish by my Grandmother as "gerdek" which means the mariage bed, the first intercourse of a maried couple, the below reference of the oppening of a bloody blanket refers to the archaic tradition of showing the villagers blood stained blanket resulting from the bride's hymen being broken during the intercourse prooving her chastidy, this tradition was practiced in Cyprus as it was and still in across Eurasia. İf you know a name for this practice sharing it would be greatly apreciated.Thanks in advance for your patience and wisdom.
With regards.
-RevolutionStandard99
submitted by RevolutionStandard99 to cyprus [link] [comments]
DOBİYİMMAN DİSNİFFİS(Το Ποίημμαν Της Νύφφης)
Ennasasbo miyan fimin neyan (Εννά σας πω μιαν φήμην νέαν) Ennasasbo enan galon biyimman (Εννά σας πω έναν καλόν ποίημμαν) Ofeğos masedogen miyanevloğiyan (Ο Θεός μας έδωκεν μίαν ευλογίαν) Na ehumen myan familyan neyan (Να έχουμεν μίαν φαμίλιαν νέαν)
Ennasasbo miyan alisgân (Εννά σας πω μίαν αλήθκειαν) Ofeğos isdes yenneces din omorsgân (Ο Θεός είς τες γενέτζες την ομορθκειάν) Edogen navrusin efdişan (Έδωκεν να βρούσιν ευτυσ̌άν) Ceda mandilya (Τζαι τα μαντιλιά) Brosdadefgun iyafrobi budin amardiyan (Προστατεύκουν οι ανθρώποι που την αμαρτίαν)
Elada omorfimmu goruğa (Έλα δα όμορφην μου κορούα) Ağeyi digissu bigan (Άε η δικήν σου ποίκαν) Ağeda befgassu sanduca(Άε τα πευκά σου σαντούτζα) Ağeda ğrusafenassu sdolisgâ (Άε τα γρουσαφένα σου στολίθκια) Ceda marmarga su anciya(Τζαι τα μαρμαρκά σου αντζία)
Hade ra omorfimmu goraşa (Χάτε ρα όμορφην μου γορασ̌ά) Aboşeredise yidikissu bedigididan (Αποσ̌αιρετίσε η δικήν σου πεδικότηταν) Edimase donlehossu me aroman (Ετοιμάσε τον λαίχως(?) σου με αρόμαν) Anigse meyeman ibataniyan (Ανοίξε με γιαίμαν η παττανίαν) Ofeğos nasu dogi bolla befgâ(Ο Θεός να σου δώκει πολλά πεθκιά) Cemellicin ağnyan(Τζαι μελλιτζήν αγνιάν)
A little while ago i saw a video on YouTube that talked about the griko language(dialect?) in Southern İtaly and the main thing that caught my attention was the fact that they used the latin alphabet to write Greek in and the manner in which they did so, obviously the orthography was created by a person that was able to use the Greek alphabet, it's main feature was that μου-μας-του etc. Were written adjacent to the noun for inctance "our father" would be written as "ocirimma" or my mother would be "imamammo" . When seeing this the first thing that came to my mind was the records of my grandfather. As a few examples of similarities with the above principle "yidigimmu"(η δικήν μου) could be presented as an example. The thing is Greek written in the Turkish alphabet can be read as entirely different from what it would be using the Greek alphabet, especialy without the use of intonations, while my grandfather had and other relatives that were native Greek speakers don't have the stereotypical Turkish Cypriot accent when speaking Cypriot Greek this i think derives from their proper use of intonation and the ability to use the sounds of θ and ττ(which only exists in a few Turkish dialects) which can be seen from the fact that θ is written as f or s above like in the example of "ofeğos" (ο Θεός). The Greek written in the Turkish alphabet would be uniteligable without a prior knowledge of intonations. This became clear to me when a friend who was trying to learn Greek came to me asking how to know how the accent mark would be placed when writing and when i illustrated the sound difference he wouldn't understand it while it was (mostly) easy for me when i first how to write using the Greek alphabet as i was already well versed in the language as in the above poem it can be seen that those without an intonation merge together like "ceda" (τζαι τα). Making all these points above now i can ask what i want to: How is the written grammar of a language determined when it encounters a writing system, how has the orthography of Greek changed overtime and why is it written in the manner it is and what alphabets has it been written with other than its own throughout history. To me Greek written using the Greek alphabet is superior in its ability to fully transmit what is to be conveyed, is there any pother reason to this other than its richness of letters and the ability to utilise intonation like the interraction of different words with one another?
My other question would be the word lehos, in this case it does not mean throat but was translated to Turkish by my Grandmother as "gerdek" which means the mariage bed, the first intercourse of a maried couple, the below reference of the oppening of a bloody blanket refers to the archaic tradition of showing the villagers blood stained blanket resulting from the bride's hymen being broken during the intercourse prooving her chastidy, this tradition was practiced in Cyprus as it was and still in across Eurasia. İf you know a name for this practice sharing it would be greatly apreciated.Thanks in advance for your patience and wisdom.
With regards.
-RevolutionStandard99
2024.05.15 19:26 JojoDindebut I was "yoked together"
 | https://www.mythicjourneys.org/newsletter_nov06_glossary.html submitted by JojoDindebut to subbredit [link] [comments] The roots of the word syzygy come from the Late Latin, syzygia, and from the Greek word syzygos meaning "conjunction." Syzygy literally means to be "yoked together." Another example from the Turanic-Altaic languages would be the Turkish word "sezgi" that means "sense," implying that one needs more than one idea/image/process linked together before one can achieve sense. This one word has come to syzygistically take on many various yoked although differing meanings. https://preview.redd.it/8iv45j0ckm0d1.jpg?width=2880&format=pjpg&auto=webp&s=6d48b9c1e5a9a85069a31b1516c641f95ef318e3 In Psychology, C.G. Jung used the term to denote "an archetypal pairing of contrasexual opposites, which symbolized the communication of the conscious and unconscious minds, the conjunction of two organisms without the loss of identity." He used syzygy to liken the alchemical term albedo with unconscious contrasexual soul images; the anima in men and animus in women. In Gnosticism, syzygy is a divine active-passive, male-female pair of aeons, complementary to one another rather than oppositional; they comprise the divine realm of the Pleroma (the totality of God's powers), and in themselves chracterize aspects of the unknowable Gnostic God. The term is most common in Valentianism. (Valentinus (c. 100 - c. 153) was an early Christian Gnostic theologian who founded a school in Rome. He was a candidate for bishop, (presumably of Rome) c. 143. When the election fell instead to a candidate who had been a confessor for the faith, Valentinus broke with the Catholic church and developed his Gnostic doctrine.) In Philosophy, the Russian theologian/philosopher Vladimir Solovyov used the word "syuzygy" as either an adjective or a noun to signify "unity-friendship-community." In Astronomy and Astrology, syzygy is a kind of unity, especially through coordination or alignment of stars and planets. In Poetry, it is the combination of two metrical feet into a single unity, similar to elision (the omission of a vowel at the end of one word when the next word begins with a vowel, as th'orient.) Consonantal or phonetc syzygy is similar to the effect of alliteration, where one consonant is repeated throughout a passage, but not necessarily at the beginning of each word. According to Richard Hovey in "The Technique of Rhyme," syzygy employs the use of "repetitions that fall indiscriminately on accented and unaccented places in sufficient number to give unity to a passage by subtly filling the ear with the insistence of a dominant tone color." For poetic examples of syzygy, read the works of Australian poet, novelist and journal editor John Kinsella. We've also included an interesting discussion on syzygy by Arthur Szes. |
2024.05.15 17:23 very-original-user ثِتونج ځوېٓسِنہ ⟨th'Tundj Gwýsene⟩ — How Did We Get Here?
=BACKGROUND=
Gwýsene ⟪ثِتونج ځوېٓسِنہ⟫ ⟨th'Tundj Gwýsene⟩ /θɛˈtund͡ʒ ˈʝyːzɛnɛ/ (or "the least Germanic Germanic language") is a Germanic language descendant from Old English spoken in Nabataea (modern-day Jordan, Sinai, and northwestern Saudi Arabia). It takes place in a timeline where the Anglo-Saxons get kicked out of Britain by the Celts, therefore they sail all the way to Nabataea (I pride myself on my realism here) and settle there. Most of them eventually convert to Islam, and, as a consequence, Arabic becomes elevated to the language of academia, nobility, and poetry."English" as we know it still survives in-timeline as Englisc — basically Middle English with some modifications — spoken as a minority language in southeastern Britain (or Pritani as the Celts call it in-world).
==ETYMOLOGY OF GWÝSENE==
⟨Gwýsene⟩ ⟪ځوېٓسِنہ⟫ is derived from ځوېٓسِن (Gwýsen) + ـہ- (-e, adjectival suffix), the former from Middle Gwýsene جِٔويسّمَن (ɣewissman), a fossilization of جِٔويسّ (ɣewiss, "Geuisse") + مُن (mon, "man"), from Old Gwýsene יוש מן (yws mn, yewisse monn), from Old English Ġewisse monn.
⟨Tundj⟩ ⟪تونج⟫ is loaned from an Arabized pronunciation of Old Gwýsene תנג (tng, tunge) (from which descends the doublet ⟨Togg⟩ ⟪تُځّ⟫ /toɣ(ː)/, "tongue")
The Englisc exonym is ⟨Eizmenasisc⟩ /ɛjzmɛˈnaːsɪʃ/, From Brithonech (in-world Conlang) Euuzmenasech /ˈøʏzmə̃næsɛx/, from Middle French Yœssmanes /ˈjœssmanɛs/ (hence modern in-world French Yœssmanes /jœsman/ and Aquitanian (in-world) ⟨Yissmanes⟩ /ˈiːsmans/), from Middle (High) German \jewissmaneisch (hence modern in-world German *Jewissmännisch** /jəˌvɪsˈmɛnɪʃ/, Saxon Jewissmannisch /jɛˌvɪsˈma.nɪʃ/, and Hollandish Iweesmanis /iˈʋeːsmanɪs/), Ultimately from Middle Gwýsene جِٔويسّمَن (ɣewissman). Doublet of Englisc ⟨iwis mon⟩ /ɪˈwɪs mɔn/ + ⟨-isc⟩ /-ɪʃ/
=PHONOLOGY=
| Consonants | Labial | Dental | Alveolar | Post-Alveolar | Palatal | Velar |
|---|---|---|---|---|---|---|
| Nasal | /m/ | /n/ | ||||
| Plosive/Affricate | /p/ /b/ | /t/ /d/ | /t͡ʃ/ /d͡ʒ/¹ | /k/ (/g/)² | ||
| Fricative | /f/ /v/ | /θ/ /ð/ | /s/ /z/ | /ʃ/ /ʒ/¹ | (/ç/)³ (/ʝ/)³ | /x/ /ɣ/ |
| Tap/Trill | /ɾ/ /r/ | |||||
| Approximant | /w/ | /ɹ/ (/l/)⁴ | /j/ | /ɫ/ |
| Vowels | Front | Central | Back |
|---|---|---|---|
| Close | /i/ /iː/ /y/ /yː/ | /u/¹ /uː/¹ | |
| Near-Close | (/ɪ/)⁵ (/ʏ/)⁵ | ||
| Mid | /e/ /eː/ /ø/ /øː/ | /o/ /oː/ | |
| Open-Mid | (/ɛ/)⁵ | (/ɐ/)⁵ | (/ɔ/)⁵ |
| Open | /æ/ /æː/ | /ɑ/ /ɑː/ |
- Nonnative phonemes
- allophone of /k/ inter-vocalically & /ɣ/ before /ɫ/
- allophones of /x/ /ɣ/ near front vowels
- allophone of /ɫ/ when not near any back vowels and/or velar consonants.
- allophones in unstressed syllables
==EVOLUTION FROM OLD ENGLISH==
The Phonological evolution from Old English to Old Gwýsene are as follows:
- /g/ /j/ => /ɣ~ʝ/
- /h/ => /x/
- /f/ /θ/ /s/ => /v/ /ð/ /z/ word-internally
- /l/ => /ɫ/
- /x/ /ɣ/ => /ç/ /ʝ/ near /i/ /e/ /ø/
- /eo/ /eːo̯/ => /iɔ̯/ /iːɔ̯/
- /æɑ/ /æːɑ̯/ => /iɐ̯/ /iːɐ̯/
- /iy/ /y/ => /ø/
- /iːy̯/ => /øː/
- /ŋk/ /ŋg/ => /kː/ /ɣː/
- /w̥/ /r̥/ /l̥/ /n̥/ => /fː/ /sː/ /ʃː/ /nː/
- /-çt/ /-xt/ => /-ç/ /-x/
- /r/ => /ɹ~ɻ/ post-vocalically
- /iɔ̯/ /iːɔ̯/ => /iɐ̯/ /iːɐ̯/
- /i/ /y/ /u/ => /ɪ/ /œ/ /ʊ/ when unstressed
- /e/ /ø/ /o/ => /ɛ/ /ɛ/ /ɔ/ when unstressed
- /æ/ /ɑ/ => /ɐ/ /ɐ/ when unstressed
- /p/ /t/ /k/ /b/ /d/ => /b/ /d/ /g/ /v/ /z/ word-internally
- /p/ /t/ /k/ /b/ /d/ => /f/ /s/ /x/ /v/ /z/ word-finally
- /wi/ => /wy/ => /yː/
- /ɪ/ /œ/ /ʊ/ => /ɛ/ /ʏ/ /ɔ/
- /ɔ/ => /ɐ/
- /i(ː)/ /u(ː)/ => /y(ː)/ /o(ː)/
- /o(ː)/ /æ(ː)/ /ɑ(ː)/ => /ɑ(ː)/ /e(ː)/ /æ(ː)/
- (/æː/ /uː/ => /i/ /ɑ/ in open syllables)
- /eː/ => /i/
- /iɐ̯/ /iːɐ̯/ => /eː/ /iː/
Gwýsene has 4 main dialect groupings:
1- Southern Dialects
Spoken around in-world Áglästrélz /ˈɑːɣɫɐˌstɾeːɫz/ [ˈɑːʁɫ(ə)ˌsd̥ɾeːɫz]. Speakers of these dialects tend to pronounce:
- /Vm/ /Vn/ /Vɫ/ as syllabic [N̩] [ɫ̩]
- /ɹ~ɻ/ as [ɰ] in non-rhotic accents
- /w/ as [ɥ] near front vowels
- /p/ /t/ /k/ as [pʰ] [tʰ] [kʰ]
- /p/ /t/ /k/ as [b̥] [d̥] [g̊] word-internally
- /ɛ/ /ɐ/ as [ə]
2- Central Dialects
Spoken around in-world Keü-Nüvátra /keʏ ˌnʏˈvɑːtɾɐ/ [kɛɨ ˌnɨˈvɒːtɾɐ]. Speakers of these dialects tend to pronounce:
- /ç/ /ʝ/ as [h] [j]
- /p/ /t/ /k/ as [pʰ] [tʰ] [kʰ]
- /p/ /t/ /k/ as [p˭] [t˭] [k˭] word-internally
- /Vɹ/ /Vːɹ/ as [Vʴ] [Vʴːɹ]
- /ʏ/ /y/ /yː/ as [ɨ] [ʉ] [ʉː]
- /u/ as [ɯ] (though not that common)
- stressed /e/ /ø/ /o/ as [ɛ] [œ] [ɔ]
- /ɑ/ /ɑː/ as [ɒ] [ɒː]
- /æ/ /æː/ as [ä] [äː]
3- Western Dialects
Spoken in in-world Ettúr /ɛtˈtuːɻ/ [ətˈtuːɽ]. Speakers of these dialects tend to pronounce:
- /ç/ /ʝ/ as [x] [ɣ]
- /p/ /t/ /k/ as [p˭] [t˭] [k˭]
- /p/ /t/ /k/ as [b] [d] [g] word-internally
- /b/ /d/ as [β̞] [ð̞] word-internally, instead of /v/ /z/
- /ɹ~ɻ/ as [ɾ~ɽ]
- stressed /e/ /ø/ /o/ as [ɛ] [œ] [ɔ]
- unstressed /e/ /ø/ /o/ as [ə] [œ] [ə]
- /eː/ /øː/ /oː/ as [ɛː] [œː] [ɔː]
Spoken in in-world Ämma̋n /ɐmˈmæːn/ [(ʕ)ɐmˈmæːn]. Speakers of these dialects tend to pronounce:
- /ç/ /ʝ/ as [h] [j]
- /ɫ/ as [l]
- /p/ /t/ /k/ as [p˭] [t˭] [k˭]
- /p/ /t/ /k/ as [b] [d] [g] word-internally
- /b/ /d/ as [b] [d] word-internally, instead of /v/ /z/
- /ɹ~ɻ/ as [ɾ~ɽ]
- /Vɹ/ as [Vː], or [Vɾ] in rhotic accents
- /Vːɹ/ as [Vːː] or [Vː], or [Vːɾ] in rhotic accents
- /ʏ/ /y/ /yː/ as [ɨ] [ɨ] [ɨː]
- /ø/ /øː/ as [ə] [əː] or [ɵ] [ɵː]
- /ɑ/ /ɑː/ as [ä] [äː]
The differing analyses of the Old English sequences /xe͜o xæ͜ɑ/ & /je͜o jæ͜ɑ/ when the change from /e͜o æ͜ɑ/ to /iɔ̯ iɐ̯/ was taking place led to:
- In the south, /i/ was elided into the palatal /ç/ /ʝ/, yielding Modern Southern [χɑ xæ] [ʁɑ ɣæ]
- In the (at the time) North, /i/ was fully pronounced, yielding Modern Central [heː] [jeː]
- [ˈχɑvɱ̩] & [ˈʁɑvɱ̩] in Southern dialects. Used natively in the south and the west and were adopted as the standard forms /ˈxɑvɐn/ & /ˈɣɑvɐn/
- [ˈheːvɐn] & [ˈjeːvɐn] in the Central dialects. Used natively in the center and north and considered nonstandard.
=ORTHOGRAPHY=
Gýsene uses the Arabic script natively alongside a romanization==SCRIPT BACKGROUND==
Since Gýsen use of the Nabataean & then Arabic script preceded the Persians by centuries, the Gýsen Arabic script differs quite a bit from the Indo-Persian system:
- Rasm: Gýsens writing in Nabataean (& carrying over to Arabic) tended to follow Aramaic & Hebrew convention for representing consonants, while the Persian convention was derived from the most similar sounding preexisting Arabic consonants, leading to drastic differences in pointing convention (i‘jām). As Islam spread, the 2 conventions spread in their respective halves of the Muslim World: The Indo-Persian-Derived Eastern convention, and the Gýsen-Derived Western convention:
| (Loose) Consonant ↓ | Western ↓ | Eastern ↓ |
|---|---|---|
| //v// | ⟪پ⟫ | ⟪و⟫ ǀ ⟪ڤ⟫ |
| //tʃ// | ⟪ڝ⟫ | ⟪چ⟫ |
| //p// | ⟪ڢ⟫ | ⟪پ⟫ |
| //f// | ⟪ڧ⟫ | ⟪ف⟫ |
- Vowel Notation: The western convention has a definitive way of expressing vowels when diacritics are fully written, while in the eastern convention diacritics often serve dual-duty due to limitations of Arabic short vowel diacritics.
| Romanization ↓ | Arabic ↓ | Standard Phoneme ↓ |
|---|---|---|
| ä ǀ a | ◌َ | /æ/ (stressed) ǀ /ɐ/ (unstressed) |
| e | ◌ِ | /e/ (stressed) ǀ /ɛ/ (unstressed) |
| o | ◌ُ | /o/ (stressed) ǀ /ɔ/ (unstressed) |
| a̋ ǀ ◌́ | ◌ٓ | /æː/ (standalone) ǀ /◌ː/ (coupled with other vowels) |
| a | ا | /ɑ/ (stressed) ǀ /ɐ/ (unstressed) |
| b | ب | /b/ ǀ /v/ (intervocalically) |
| g | ځ | /ɣ/ ǀ /ʝ/ |
| d | د | /d/ ǀ /z/ (intervocalically) |
| h | ھ | /ç/ |
| w ǀ u | و | /w/ (glide) ǀ /u/ (vocalic) |
| z | ز | /z/ |
| ch | خ | /x/ |
| t | ¹ط | /t/ |
| y ǀ i | ي | /j/ (glide) ǀ /i/ (vocalic) |
| k | ک | /k/ ǀ /g/ (intervocalically) |
| l | ل | /ɫ/ |
| m | م | /m/ |
| n | ن | /n/ |
| tj | ڝ | /t͡ʃ/ |
| - | ¹ع | /Ø/ ǀ /◌ː/ (post-vocalically) |
| p | ڢ | /p/ ǀ /b/ (intervocalically) |
| s | ¹ص | /s/ |
| k | ¹ق | /k/ |
| r | ر | /ɾ/ ǀ /r/ (geminated) ǀ /ɹ/ (post-vocalically) |
| s | س | /s/ ǀ /z/ (intervocalically) |
| t | ت | /t/ ǀ /d/ (intervocalically) |
| y | ې | /y/ (stressed) ǀ /ʏ/ (unstressed) |
| f | ڧ | /f/ ǀ /v/ (intervocalically) |
| ö | ۊ | /ø/ (stressed) ǀ /œ/ (unstressed) |
| - | ء ǀ ئـ | initial vowel holder |
| v | پ | /v/ |
| th | ث | /θ/ ǀ /ð/ (intervocalically) |
| tj | ¹چ | /t͡ʃ/ |
| dj | ¹ج | /d͡ʒ/ |
| dh | ذ | /ð/ |
| j | ¹ژ | /ʒ/ |
| sj | ش | /ʃ/ |
| dh | ¹ض | /ð/ |
| dh | ¹ظ | /ð/ |
| g | ¹غ | /ɣ/ ǀ /ʝ/ |
| v | ¹ڤ | /v/ |
| a ǀ ä | ²ـى | /æ/ (stressed) ǀ /ɐ/ (unstressed) |
| e | ²ـہ | /e/ (stressed) ǀ /ɛ/ (unstressed) |
| 'l- | لٔـ | /‿(ə)ɫ-/ |
| th'- | ثِـ | /θɛ-/ |
- nonnative
- only occur word-finally
=GRAMMAR=
Gwýsen grammar is extremely divergent from the Germanic norm, having been brought about by extremely harsh standardization efforts by the ruling class while backed by academia & scholars. It's heavily influenced by Arabic — being the encompassing liturgical, academic, and aristocratic language during the Middle to Early Modern Gwýsen periods.==PRONOUNS==
\this entire segment will use the romanization only]) The Pronouns themselves have remained relatively true to their Germanic origins, apart from the entire set of Arabic 3rd person pronouns & the genitive enclitics. Gwýsene still retains the Old English dual forms, but they're only used in formal writing:
| 1st Person | Singular | Dual | Plural |
|---|---|---|---|
| Nominative | ih /iç/ | wi /wi/ | wi /wi/ |
| Accusative | mih /miç/ | án /ɑːn/ | ós /oːs/ |
| Standalone Genitive | min /min/ | ág /ɑːɣ/ | ór /oːɹ/ |
| Enclitic Genitive | -min /-mɪn/ | -ag /-ɐɣ/ | -or /-ɔɹ/ |
| 2nd Person | Singular | Dual | Plural |
|---|---|---|---|
| Nominative | thách /θɑːx/ | gi /ʝi/ | gi /ʝi/ |
| Accusative | thih /θiç/ | in /in/ | iw /iw/ |
| Standalone Genitive | thin /θin/ | ig /iʝ/ | iwar /ˈiwɐɹ/ |
| Enclitic Genitive | -thin /-θɪn/ | -ig /-ɪʝ/ | -iwar /-ɪwɐɹ/ |
| 3rd Person Masculine | Singular | Dual | Plural |
|---|---|---|---|
| Nominative | chá /xɑː/ | chama̋ /xɐˈmæː/ | chám /xɑːm/ |
| Accusative | hin /çin/ | chama̋ /xɐˈmæː/ | chám /xɑːm/ |
| Standalone Genitive | his /çis/ | chama̋ /xɐˈmæː/ | chám /xɑːm/ |
| Enclitic Genitive | -his /-çɪs/ | -chama /-xɐmɐ/ | -cham /-xɐm/ |
| 3rd Person Feminine | Singular | Dual | Plural |
|---|---|---|---|
| Nominative | hi /çi/ | chana̋ /xɐˈnæː/ | chán /xɑːn/ |
| Accusative | hi /çi/ | chana̋ /xɐˈnæː/ | chán /xɑːn/ |
| Standalone Genitive | hir /çiɹ/ | chana̋ /xɐˈnæː/ | chán /xɑːn/ |
| Enclitic Genitive | -hir /-çɪɹ/ | -chana /-xɐnɐ/ | -chan /-xɐn/ |
Middle Gwýsene inherited the Old English nominal declension, but due to merging & reduction of (final) unstressed vowels, all endlings were dropped except for the accusative & dative plurals which were later generalized. Middle Gwýsene also dropped the neuter gender, merging it with the masculine & feminine genders based on endings
| Regular Noun Declension | Singular | Plural |
|---|---|---|
| Masculine | - | -an /-ɐn/ |
| Feminine | - | -as /-ɐs/ |
| "Man" (man) ǀ "Bách" (book) | Singular | Plural |
|---|---|---|
| Masculine | man /mɑn/ | menan /ˈmenɐn/ |
| Feminine | bách /bɑːx/ | bitjas /ˈbit͡ʃɐs/ |
| "Tjylz" (child) ǀ "Chänz" (hand) | Singular | (Standard) Plural | (Common) Plural |
|---|---|---|---|
| Masculine | tjylz /t͡ʃyɫz/ | tjyldan /ˈt͡ʃyɫzɐn/ | tjylro /ˈt͡ʃyɫɾɔ/ |
| Feminine | chänz /xænz/ | chändas /ˈxænzɐs/ | chända /ˈxændɐ/ |
Gwýsene has two distinct methods of indicating possession dur to the dropping of the genitive case:
1. A loaned version of the Arabic construct state (present in the standard language, urban areas, and most of the Northern and Western dialects). the Arabic definite article (-الـ) was loaned with its use in the construct state into Late Early Modern Gwýsene as a separate "letter form" [-لٔـ] and prescribed by Grammarians ever since as a "genitive" maker. This method also assumes definiteness of the noun it's prefixed to; it must be prefixed to eneg ("any") for indefinite nouns.
Bách 'lgörel /bɑːχ‿ɫ̩ˈʝøɹɛɫ/ ("the boy's book")
bách 'l - görel book ɢᴇɴ.ᴅғ - boy2. Use of a prefixed fär (equivalent to English "of", cognate with English "for") (present in rural areas and is generally viewed as a rural or "Bedouin" feature). This method does not assume definiteness, and a definite article is required.
Bách färth'görel /bɑːχ ˌfɐɹðəˈʝøɹɛɫ/ ("the boy's book")
Bách fär - th' - görel book of - ᴅғ - boy==ADJECTIVES==
Much like Nouns, adjectives decline for number and gender:
| Regular Adjective Declension | Singular | Plural |
|---|---|---|
| Masculine | - | -an /-ɐn/ |
| Feminine | -e /-ɛ/* | -as /-ɐs/ |
==VERBS==
Gwýsen verbs are the most mangled, both by Arabization and regular phonological development. Gwýsen word order is VSO. Due to pronouns coming after the verb, they merged with the preexisting endings and formed unique endings that were later generalized to standard verb declension (rendering Gwýsene a pro-drop language)
| Present Verb Conjugation | --- |
|---|---|
| Infinitive | -en /-ɛn/ |
| Present Participle | -enz /-ɛnz/ |
| Past Participle | ge- -en /ʝɛ- -ɛn/ |
| Singular Imperative | - |
| Plural Imperative | -on /-ɔn/ |
| 1ˢᵗ singular | -i /-ɪ/ |
| 1ˢᵗ plural | -swe /-swɛ/ |
| 2ⁿᵈ singular | -tha /-θɐ/ |
| 2ⁿᵈ plural | -gge /-ʝʝɛ/ |
| 3ʳᵈ singular masculine | -scha /-sxɐ/ |
| 3ʳᵈ dual masculine | -schama /-sxɐmɐ/ |
| 3ʳᵈ plural masculine | -scham /-sxɐm/ |
| 3ʳᵈ singular feminine | -sche /-sxɛ/ |
| 3ʳᵈ dual feminine | -schana /-sxɐnɐ/ |
| 3ʳᵈ plural feminine | -schan /-sxɐn/ |
As a consequence to the fusional suffixes, the preterite suffixes completely merged with the present ones, so weak verbs need an auxiliary to indicate simple past, which segways us to-
===Auxiliary Verbs===
Most auxiliaries have 2 conjugations: an auxiliary conjugation & a standalone conjugation:
| Sőn ("to be") Conjugations | Auxiliary | Standalone |
|---|---|---|
| Singular Imperative | ső /søː/ | ső /søː/ |
| Plural Imperative | sőn /søːn/ | sőn /søːn/ |
| Singular Subjunctive | ső /søː/ | les-... /ɫɛs-../ |
| Plural Subjunctive | sőn /søːn/ | les-... /ɫɛs-.../ |
| 1ˢᵗ singular | ém /eːm/ | émi /ˈeːmɪ/ |
| 1ˢᵗ plural | synz /synz/ | synzwe /ˈsynzwɛ/ |
| 2ⁿᵈ singular | érs /eːɹs/ | értha /ˈérðɐ/ |
| 2ⁿᵈ plural | synz /synz/ | syngge /ˈsynʝ(ʝ)ɛ/ |
| 3ʳᵈ singular masculine | ys /ys/ | ysscha /ˈyssxɐ/ |
| 3ʳᵈ dual masculine | synz /synz/ | synzchama /ˈsynzxɐmɐ/ |
| 3ʳᵈ plural masculine | synz /synz/ | synzcham /ˈsynzxɐm/ |
| 3ʳᵈ singular feminine | ys /ys/ | yssche /ˈyssxɛ/ |
| 3ʳᵈ dual feminine | synz /synz/ | synzchana /ˈsynzxɐnɐ/ |
| 3ʳᵈ plural feminine | synz /synz/ | synzchan /ˈsynzxɐn/ |
| Auxiliary Declensions | Wesan ↓ | Sőn ↓ | Bín ↓ | Víden ↓ |
|---|---|---|---|---|
| 1ˢᵗ singular | wes /wes/ | ém /eːm/ | bí /biː/ | va̋ /væː/ |
| 2ⁿᵈ singular | wir /wiɹ/ | érs /eːɹs/ | bys /bys/ | vés /veːs/ |
| 3ʳᵈ singular | wes /wes/ | ys /ys/ | byth /byθ/ | véth /veːθ/ |
| dual/plural | wiran /ˈwiɹɐn/ | synz /synz/ | bíth /biːθ/ | va̋th /væːθ/ |
| Singular Imperative | wes /wes/ | ső /søː/ | bí /biː/ | víz /viːz/ |
| Plural Imperative | weson /ˈwezɔn/ | sőn /søːn/ | bín /biːn/ | vídon /ˈviːzɔn/ |
| Singular Subjunctive | wir /wiɹ/ | ső /søː/ | bí /biː/ | víz /viːz/ |
| Plural Subjunctive | wiren /ˈwiɹɛn/ | sőn /søːn/ | bín /biːn/ | víden /ˈviːzɛn/ |
Most of the strong classes remain in Gwýsene, albeit with completely unorthodox ablaut patterns. They've been re-sorted based on patterns that
| Type (Gwýsene) | Corr. Type in Old English | Present stem vowel | Past singular stem vowel | Past plural stem vowel | Past participle stem vowel |
|---|---|---|---|---|---|
| I | VII.c | é /eː/ | í /iː/ | í /iː/ | é /eː/ |
| II | IV | e /e/ | e /e/ | i /i/ | a /ɑ/ |
| III.a | I | ý /yː/ | a̋ /æː/ | y /y/ | y /y/ |
| III.b | III.a | y /y/ | ä /æ/ | o /o/ | o /o/ |
| IV.a | II.a | í /iː/ | í /iː/ | o /o/ | a /ɑ/ |
| IV.b | II.b | a/á /ɑ(ː)/ | í /iː/ | o /o/ | a /ɑ/ |
| IV.c | III.b | é /eː/ | é /eː/ | o /o/ | a /ɑ/ |
| V.a | VI | ä /æ/ | á /ɑː/ | á /ɑː/ | ä /æ/ |
| V.b | VII.a | a̋ /æː/ | i /i/ | i /i/ | a̋ /æː/ |
| V.c | VII.e | á /ɑː/ | í /iː/ | í /iː/ | á /ɑː/ |
=TRANSLATIONS=
==NUMBERS==| Number | Cardinal | Ordinal | Adverbial | Multiplier |
|---|---|---|---|---|
| 1 | A̋n /æːn/ | Föress /ˈføɹɛss/ | Mer /meɹ/ | A̋nfélz /ˈæːnˌveːɫz/ |
| 2 | Twin /twin/ | Áther /ˈɑːðɛɹ/ | Merdén /mɛɹˈdeːn/ | Twýfélz /ˈtyːˌveːɫz/ |
| 3 | Thrý /θɾyː/ | Thryzz /ˈθɾyzz/ | Thrémra̋s /ˌθɾeːˈmɾæːs/ | Thryfélz /ˈθɾyˌveːɫz/ |
| 4 | Fíwar /ˈfiːwɐɹ/ | Fíradh /ˈfiːɹɐð/ | Fírmra̋s /ˌfiːɹˈmɾæːs/ | Fíwarfélz /ˈfiːwɐɹˌveːɫz/ |
| 5 | Fýf /fyːf/ | Fýfedh /ˈfyːvɛð/ | Fýfmra̋s /ˌfyːvˈmɾæːs/ | Fýffélz /ˈfyːfˌfeːɫz/ |
| 6 | Sysj /syʃ/ | Sysjedh /ˈsyʃɛð/ | Sysmra̋s /ˌsysˈmɾæːs/ | Sysjfélz /ˈsyʃˌfeːɫz/ |
| 7 | Sévan /ˈseːvɐn/ | Sévadh /ˈseːvɐð/ | Sévmra̋s /ˌseːvˈmɾæːs/ | Sévanfélz /ˈseːvɐnˌveːɫz/ |
| 8 | Éht /eːçt/ | Éhtadh /ˈeːçtɐð/ | Éhmra̋s /ˈeːçˈmɾæːs/ | Éhtafélz /ˈeːçtɐˌveːɫz/ |
| 9 | Nygan /ˈnyʝɐn/ | Nygadh /ˈnyʝɐð/ | Nygamra̋s /ˌnyʝɐˈmɾæːs/ | Nyganfélz /ˈnyʝɐnˌveːɫz/ |
| 10 | Tőn /tøːn/ | Tődh /ˈtøːð/ | Tőmra̋s /ˌtøːˈmɾæːs/ | Tőnfélz /ˈtøːnˌveːɫz/ |
بېث نيٓھ ثِوېٓنتِر ڝِٓلز، پِٓث ڝۊٓمسخى ستارم سنِوى. ڝۊم وِثنَن خُٓمسمين وِٓرم، برآثَرمين. سَلٓم! ڝۊم ھېذ، سېځّ ءَنز شّيٓڧ، ڧرِس ءَنز درېھّ. بېثِّس خُطَّمين. ھِپّسوى وِتِر، ءَنز زۊٓثِن، ءَنز مِٓلخ، بېثِّس ڧِرش ءُٓسڧرى ثِکآ. ءوٓ، ءَنز براث وِٓرم!
Byth ních thʼwýnter tjélz, véth tjőmscha starm snewe. Tjöm withnän¹ chósmin wérm, bráthärmin². Säläm³! Tjöm hydh, sygg ænz ssjíf⁴ ⁶, fres⁵ änz dryhh⁶. Bytthes⁷ chottämin⁸. Hevvswe weter, änz zőthen⁹, änz mélch, býtthes fersj ósfrä¹⁰ thʼká. Ó, änz brath!
be.3.ꜱɢ.ᴘʀᴇꜱ near ᴅꜰ-winter cold , ꜰᴜᴛ.3.ꜱɢ come-3.ꜱɢ.ᴍᴀꜱᴄ storm snowy . come.ɪᴍᴘ.ꜱɢ in house-1.ꜱɢ.ɢᴇɴ.ᴄʟ warm , brother-1.ꜱɢ.ɢᴇɴ.ᴄʟ . Welcome ! come.ɪᴍᴘ.ꜱɢ hither , sing.ɪᴍᴘ.ꜱɢ and dance.ɪᴍᴘ.ꜱɢ , eat.ɪᴍᴘ.ꜱɢ and drink.ɪᴍᴘ.ꜱɢ . be.3.ꜱɢ.ᴘʀᴇꜱ-that plan-1.ꜱɢ.ɢᴇɴ.ᴄʟ . have-1.ᴘʟ water , and beer , and milk, be.3.ꜱɢ.ᴘʀᴇꜱ-that fresh from ᴅꜰ-cow . Oh , and soup !
/byθ niːç θə‿ˈyːnzɛɹ tʃeːɫz veːθ ˈtʃøːmsxɐ stɑɻm ˈsnewɛ/
/tʃøm wɪðˈnæn ˈxoːsˌmɪn weːɹm ˈbɾɑːðɐɹˌmɪn/
/sɐˈɫæm tʃøm çyð syʝʝ‿ɐnz ʃʃiːf fres‿ɐnz dɾyçç/
/ˈbyθθɛs ˈxottɐˌmɪn/
/ˈçevvswɛ ˈwedɛɹ ɐnz ˈzøːðɛn ɐnz meɫχ ˈbyθθɛs feɹʃ ˈoːsfrɐ θəˈkɑː/
/oː ɐnz bɾɑθ/
- the words for “in” and “on” merged to än, which was kept for “on”.
- Gwýsens tend to use “brother” as an informal form of address.
- Säläm is only used by Muslim Gwysens. Christian Gwysens prefer Pastos /pɐsˈtos/ (from Ancient Greek ἀσπαστός).
- comes from Old English hlēapan.
- comes from old English fretan.
- Drykken & Ssjípan are within a class of verbs that have a differing imperative stems than the usual inflected stems due to sound changes. In this case the usual stems are Drykk- & Ssjíp-, while the imperatives are Dryhh & Ssjíf. In the central and Low Northern dialects this particular /k/ => /ç/ is not present, and the imperative stem is also Drykk.
- contracted from of Byth thäs (“that is”).
- from Arabic خُطَّة.
- from Latin zȳthum.
- contraction of old English ūt fra (“out of”).
2024.05.15 12:12 Beginning_Fix2047 When parents refuse to accept their children 'as they are' and instead stage/fake milestones
GOO GOO GA GA! UH OH! BA BA BA!
Huh? What do you mean you can't understand me, I'M TALKING! 😆🤦🏼
First it was the staged 'omg she rolled over! Wow! No we totally didn't forcefully tuck and position one of her arms underneath her so that her body would naturally 'roll' itself over! No way man, nu-uh!' (still no clue the purpose of that stunt 🤷♂️)
Now we have people trying to pass off normal young baby 'babbling' as actual 'omg first words!'🤦🏼 Why?! Seriously, what's with the obsession of trying to make people believe that your baby is a megamind special prodigy superman eistein child? WHY CAN'T YOU JUST ACCEPT THEM AS THEY ARE?? There is nothing wrong with a baby 'just' babbling, that's still a good achievement! Why pretend it's something else? What's wrong with a baby 'just' babbling? Nothing! It's normal! Why is the baby and their natural development not good enough for you just as they are?
Stop making the baby perform for the camera. Leave her alone. Let her grow and develop at her own pace, in the privacy of her own home, away from the camera.
But hey, maybe you legitimately cannot tell the difference being a 'babble' and a 'spoken word' - never fear, we're here to help!
*** Baby 'babbling' - a young baby will start to play with vowel and consonant combinations to make different sounds, gain attention, express themselves and yes, even mimic very basic sounds they are subjected to
For example - the very basic sound combination 'uh-oh'. If you lay a baby down and say 'uh oh' right in their face over and over and over until they are ready to perform for the camera, coupled with some good ol' repeated pokes to the mouth...yes, the young baby might very well produce a basic 'babble' that just barely resembles 'uh-oh'. This is simply an example of a very young baby 'babbling'. You can tell how many times they filmed and refilmed it. And with the mother poking at the baby's mouth, they kept doing it till she made a random noise that was [barely] similar to an 'uh oh' sound. It was barely a mimic of the sound, they clearly kept at it till she made a sound that they could use for their video
*** Baby 'talking'/'first words' - at their own pace, most babies will eventually speak a complete word. A baby 'babbling' is in no way the same as a baby 'talking' - there is a very clear difference between a babble and a fully formed word.
If you're unable to distinguish the difference between a baby 'babbling' and a baby 'talking' and speaking a fully formed word, you may want to contact your child's paediatrician and explain that you can't tell the difference between a barely there babble and a spoken word - they can most likely point you in the right direction so that you can seek out some assistance and education for yourself. It's OK to ask for help 👍
BABA MABA UH OH GOO DA BA.....oh, sorry, I mean 'Stop exploiting your child for views and money, thanks'
submitted by Beginning_Fix2047 to Assholeswhoexploit [link] [comments]
Huh? What do you mean you can't understand me, I'M TALKING! 😆🤦🏼
First it was the staged 'omg she rolled over! Wow! No we totally didn't forcefully tuck and position one of her arms underneath her so that her body would naturally 'roll' itself over! No way man, nu-uh!' (still no clue the purpose of that stunt 🤷♂️)
Now we have people trying to pass off normal young baby 'babbling' as actual 'omg first words!'🤦🏼 Why?! Seriously, what's with the obsession of trying to make people believe that your baby is a megamind special prodigy superman eistein child? WHY CAN'T YOU JUST ACCEPT THEM AS THEY ARE?? There is nothing wrong with a baby 'just' babbling, that's still a good achievement! Why pretend it's something else? What's wrong with a baby 'just' babbling? Nothing! It's normal! Why is the baby and their natural development not good enough for you just as they are?
Stop making the baby perform for the camera. Leave her alone. Let her grow and develop at her own pace, in the privacy of her own home, away from the camera.
But hey, maybe you legitimately cannot tell the difference being a 'babble' and a 'spoken word' - never fear, we're here to help!
*** Baby 'babbling' - a young baby will start to play with vowel and consonant combinations to make different sounds, gain attention, express themselves and yes, even mimic very basic sounds they are subjected to
For example - the very basic sound combination 'uh-oh'. If you lay a baby down and say 'uh oh' right in their face over and over and over until they are ready to perform for the camera, coupled with some good ol' repeated pokes to the mouth...yes, the young baby might very well produce a basic 'babble' that just barely resembles 'uh-oh'. This is simply an example of a very young baby 'babbling'. You can tell how many times they filmed and refilmed it. And with the mother poking at the baby's mouth, they kept doing it till she made a random noise that was [barely] similar to an 'uh oh' sound. It was barely a mimic of the sound, they clearly kept at it till she made a sound that they could use for their video
*** Baby 'talking'/'first words' - at their own pace, most babies will eventually speak a complete word. A baby 'babbling' is in no way the same as a baby 'talking' - there is a very clear difference between a babble and a fully formed word.
If you're unable to distinguish the difference between a baby 'babbling' and a baby 'talking' and speaking a fully formed word, you may want to contact your child's paediatrician and explain that you can't tell the difference between a barely there babble and a spoken word - they can most likely point you in the right direction so that you can seek out some assistance and education for yourself. It's OK to ask for help 👍
BABA MABA UH OH GOO DA BA.....oh, sorry, I mean 'Stop exploiting your child for views and money, thanks'
2024.05.15 11:34 Kinboise Chrambi Sound Changes, Tonogenesis and More
In my last post about reverse liaison I drafted up the Chrambi language. Here's more about it.
Modern Chrambi descended from Old Chrambi, descended from Proto-Gidung. Proto-Gidung is a non-tonal language with a sesquisyllabic structure (CV)CV(C), and is ancestral to Chrambi, Kyeng and Zjeng languages. The minor syllable develops into a initial cluster in Old Chrambi, making it monosyllabic. Modern Chrambi is tonal, and does not allow initial clusters. Chrambi is written in Simliengx Small Script, and the orthography reflects Old Chrambi pronunciation. The word ‘Chrambi’ originally means ‘the real’.
Since the sound change list will be long, I'll present some examples first:
submitted by Kinboise to conlangs [link] [comments]
Modern Chrambi descended from Old Chrambi, descended from Proto-Gidung. Proto-Gidung is a non-tonal language with a sesquisyllabic structure (CV)CV(C), and is ancestral to Chrambi, Kyeng and Zjeng languages. The minor syllable develops into a initial cluster in Old Chrambi, making it monosyllabic. Modern Chrambi is tonal, and does not allow initial clusters. Chrambi is written in Simliengx Small Script, and the orthography reflects Old Chrambi pronunciation. The word ‘Chrambi’ originally means ‘the real’.
Since the sound change list will be long, I'll present some examples first:
- ɡidũɡ > ɦdʲuŋ > (ɦ)cʰœ̌ŋ (face; Gidung)
- ɟa gãpi > ɖʐa ɦᵐbi > ʈʂʰə̌mbì (the Chrambi)
- ɟa sĩdos > ɖʐa n̥ʲoh > ʈʂʰə̀ɲcʰœ́ (the wall)
- ʔõbɨ̃d > ʔmɨn > (ʔ)mên (bottle)
- tãsũt > ʔⁿdzunʔ > ⁿdzún (moon)
- lũɟib > ɦɳʷiw > (ɦ)ʂǒw/(ɦ)ɻǒw (sun)
- cõʔal > ʔŋaɦ > (ʔ)ŋâ (fragrant)
- sɨ̃sid > ⁿtsʲiɦ > (n)tɕə̂j (an isolated piece of land)
Proto-Gidung
Vowel
- Vocal: i, ɨ, u, e, o, a ⟨i, y, u, e, o, a⟩
- Nasal: ĩ, ɨ̃, ũ, ẽ, õ, ã ⟨in, yn, un, en, on, an⟩
Consonant
- Voiceless Plosive: p, t, c, k, ʔ ⟨q⟩
- Voiced Plosive: b, d, ɟ ⟨j⟩, ɡ ⟨g⟩
- Fricative: s
- Approximant: l
Proto-Gidung to Old Trambi
- After nasal vowel: b, d, l, ɟ, ɡ > m, n, n, ɲ, ŋ
- After nasal vowel: p, t, c, k > ᵐb, ⁿd, ᶮɟ, ᵑɡ
- After nasal vowel, but not at coda: s, ʔ > ⁿdz, ŋ
- Nasal vowels merge with their vocal counterparts
- CiCV(C), CuCV(C) > CCʲV(C), CCʷV(C)
- CVCV(C) > CCV(C)
- Cluster-initially: p, t, c, k > ʔ
- Cluster-initially: b, d, l, ɟ, ɡ > ɦ
- At coda: ᵐb, ⁿd, ᶮɟ, ᵑɡ > mʔ, nʔ, ɲʔ, ŋʔ
- At coda: b, d, l, ɟ, ɡ, s > w, ɦ, ɦ, j, ɦ, h
- At coda: c > jk
- Palatals to retroflexes: c, ɟ, ɲɟ, ɲ > ʈʂ, ɖʐ, ᶯɖʐ, ɳ
- sm, sn, sl, sɳ, sŋ > m̥, n̥, l̥, ɳ̊, ŋ̊
- sᵐb, sⁿd, sⁿdz, sᶯɖʐ, sᵑɡ > ᵐp, ⁿt, ⁿts, ᶯʈʂ, ᵑk
- Word-medially: s > z
- ss, ɦs > s, ɦz
Old Crhambi
Pre-Onset
- ʔ, ɦ, s
Onset
- Nasal: m̥, n̥, ɳ̊, ŋ̊, m, n, ɳ, ŋ
- Pre-nasalized: ᵐp, ⁿt, ⁿts, ᶯʈʂ, ᵑk, ᵐb, ⁿd, ⁿdz, ᶯɖʐ, ᵑɡ
- Stop: p, t, ʈʂ, k, ʔ, b, d, ɖʐ, ɡ
- Fricative: s, z
- Approximant: l
Vowel
- Vowel: i, ɨ, u, e, o, a
Coda
- Short: ∅, p, t, jk, k, ʔ, mʔ, nʔ, jŋʔ, ŋʔ
- Long: m, n, ŋ, h, ɦ, w, j
Old Chrambi to Chrambi
Tonogenesis
Initial determines high/low, and coda determines short/long, static/dynamic.- High initials:
- m̥, n̥, l̥, ɳ̊, ŋ̊
- ʔm, ʔn, ʔl, ʔɳ, ʔŋ
- ᵐp, ⁿt, ⁿts, ᶯʈʂ, ᵑk
- ʔᵐb, ʔⁿd, ʔⁿdz, ʔᶯɖʐ, ʔᵑɡ
- p, t, s, k, ʔ
- ʔp, ʔt, ʔs, ʔʈʂ, ʔk
- sp, st, sʈʂ, sk
- sb, sd, sɖʐ, sɡ
- Low initials:
- ɦm, ɦn, ɦl, ɦɳ, ɦŋ
- ɦᵐb, ɦⁿd, ɦⁿdz, ɦᶯɖʐ, ɦᵑɡ
- ɦp, ɦt, ɦʈʂ, ɦc, ɦk
- b, d, z, ɖʐ, ɡ
- ʔb, ʔd, ʔɖʐ, ʔɡ
- ɦb, ɦd, ɦz, ɦɖʐ, ɦɡ
- Short codas: ∅, p, t, jk, k, ʔ, mʔ, nʔ, jŋʔ, ŋʔ
- Long static: h
- Long dynamic: ɦ, j, w
| Short | Long Static | Long Dynamic | |
|---|---|---|---|
| High | ə́ (5) | á (55) | â (53) |
| Low | ə̀ (1) | à (11) | ǎ (13) |
Initials
(C) means that the consonant is pronounced if the preceding syllable has no coda, and dropped otherwise.- m̥, n̥, l̥, ɳ̊, ŋ̊ > (m)pʰ, (n)tʰ, tʰ, (ɳ)ʈʂʰ, (ŋ)kʰ
- ᵐp, ⁿt, ⁿts, ᶯʈʂ, ᵑk > (m)p, (n)t, (n)ts, (ɳ)ʈʂ, (ŋ)k
- ʔp, ʔt, ʔs, ʔʈʂ, ʔk > (ʔ)ɓ, (ʔ)ɗ, (ʔ)ts, (ʔ)ʈʂ, (ʔ)k
- ʔb, ʔd, ʔɖʐ, ʔɡ > (ʔ)ɓ, (ʔ)ɗ, (ʔ)ʈʂ, (ʔ)k
- ʔC > (ʔ)C
- sp, st, sʈʂ, sk > p, t, ʈʂ, k
- sb, sd, sɖʐ, sɡ > p, t, ʈʂ, k
- ɦC > (ɦ)C
- ɳ > ʐ
- Initially: b, d, z, ɖʐ, ʐ, ɡ > pʰ, tʰ, s, ʈʂʰ, ʂ, kʰ
- Otherwise: b, d, z, ɖʐ, ʐ, ɡ > w, l, l, ɻ, ɻ, ∅
- Before ʲ or i: t, tʰ, ɗ, ⁿd, n, l> c, cʰ, ʄ, ᶮɟ, ɲ, j
- Before ʲ or i: k, kʰ, ᵑɡ, ŋ> c, cʰ, ᶮɟ, ɲ
- Before ʲ or i: ts, tsʰ, ⁿdz, s, ɹ> tɕ, tɕʰ, ⁿdʑ, ɕ, ʑ
Codas
- h, ɦ > ∅
- mʔ, nʔ, jŋʔ, ŋʔ > m, n, jŋ, ŋ
2024.05.15 05:41 PassageFinancial9716 Power without any tensing
I have gotten a lot better singing over my passaggio, but it is still hard to have any power without sounding tense, even though I don't even feel anything going wrong or any tightness. I'm not sure if this is just matter of slowly improving the muscles involved in my mixed voice, and it is just a matter of time. I don't have a particularly low voice, but it feels sort of heavy, especially after having warmed up. I've been (trying to) sing for about 2 years and I've always disliked how I've sounded in this area.
I think my big issues right now are pitch stability for the duration of the note (especially when the onset is a consonant or closed vowel) and badly tensed tone. I think with being lyrical I lose a lot of my pitch stability which I think can be improved singing more slowly first.
https://imgur.com/a/new-3-MRSZ3pF (first few seconds I should have edited out)
https://imgur.com/a/new2-t97IUGQ
Bonus:
https://imgur.com/a/new-4-JCpWSjZ I think I can get a better tone slightly below my passaggio like I did here on a less powerful vocal, but I seem to lose some support very easily and the vibrato, for example, suffers.
submitted by PassageFinancial9716 to singing [link] [comments]
I think my big issues right now are pitch stability for the duration of the note (especially when the onset is a consonant or closed vowel) and badly tensed tone. I think with being lyrical I lose a lot of my pitch stability which I think can be improved singing more slowly first.
https://imgur.com/a/new-3-MRSZ3pF (first few seconds I should have edited out)
https://imgur.com/a/new2-t97IUGQ
Bonus:
https://imgur.com/a/new-4-JCpWSjZ I think I can get a better tone slightly below my passaggio like I did here on a less powerful vocal, but I seem to lose some support very easily and the vibrato, for example, suffers.
2024.05.14 23:26 Pflynx Wilkowm tå de westfuylske språk!
Westphalian
The westphalian language (not to be confused with the real world westphalian dialect group) is an ingvaeonic language spoken in, well, westphalia. It developed closely with the anglo-frisian languages, though is not one in itself, merely sharing some commonalities with the branch.
Phonology: (i tried to display this in a table, but reddit sucks, so take a list instead)
Consonants
m,n,ŋ,
p,b,t,d,k,g,
f,v,s,z,ʃ,x,h,
ɹ,j,[ɰ],
ɾ,l
Vowels
ɪ,ʏ,ʊ,
ø:,
ə,
ɛ(:),œ,ɔ(:),
a(:)
There are also 4 diphthongs! Those being /eɪ̯/, /aɪ̯/, /œʏ̯/, and /oʊ̯/.
Grammar:
The grammar is quite simplified from its Proto-West-Germanic origins, with nouns having 4 total stems they could be. Those being (using PG derivative terminology) the a-stem, ō-stem, n-stem, and r-stem. The r-stem, though, only contains seven kinship terms. Whilst the a-stem and ō-stem are direct descendants from PG, the n-stem is more of a combination stem of multiple stems ending in *-n. Nouns in westphalian are divided into two genders, common and neuter.
In terms of cases, nouns (and adjectives) can only inflect for two, those being the nominative and objective. The genitive is maintained though, in pronouns. Apart from that, nouns (again, and adjectives), also inflect for the numbers singular and plural.
I will move on to adjectives first, as it is an easier bridge from nouns. Adjectives only have one inflection pattern, instead of the multiple stems nouns could have, and this inflects for all the same things as nouns, but also strong/weak inflection, the predicative, and positive/comparative/superlative. Standard stuff.
Verbs also only have one weak inflection pattern left, though there are still some strong verbs that have different inflection patterns, the vast majority are weak verbs, which inflect using the same pattern. This pattern inflects for a few things, let's begin with person. It inflects for 1PS, 2PS, 3PS, and a general plural form. In terms of tenses, there is the present and past tense (more can be expressed using auxiliaries, this is just what they inflect for). Moods consist of the indicative, subjunctive, and imperative. Apart from that, they also have an infinitive, and a present and past participle.
Examples:
"Welcome to the westphalian language!"
Wilkowm tå de westfuylske språk!
/ˈvɪl.koʊ̯m tɔː də ˈvɛst.fœʏ̯ɰ.ʃə sprɔːk/
"The cold winter is near, a snowstorm will come. Come in my warm house, my friend. Welcome! Come here, sing and dance, eat and drink. That is my plan. We have water, beer, and milk fresh from the cow. Oh, and warm soup!"
De selte winter is neh, een sneastuyrm skoll kuymen. Kuym in mijn werm huys, mijn frent. Wilkowm! Kuym heer, sing en dans, eed en drink. Dat is mijn plan. Wij hebben wader, ber, en meelk frisk von de koo. Oh, en werme suyp!
/də zɛɰtə ˈvɪn.təɹ ɪs neɪ̯ - eɪ̯n ˈsnɛː.stœʏ̯ɹm ʃɔl ˈkœʏ̯.mən - kœʏ̯m ɪn maɪ̯n vɛɹm hœʏ̯s - maɪ̯n fɾɛnt - vɪɰkoʊ̯m - kœʏ̯m heɪ̯ɹ - zɪŋ ɛn dans - eɪ̯d ɛn dɾɪŋk - dat ɪs maɪ̯n plan - vaɪ̯ ˈhɛ.bən ˈvaː.ɾəɹ - bɛɹ - ɛn meɪ̯ɰk fɾɪʃ vɔn də kɔː - oʊ̯ - ɛn vɛɹmə sœʏ̯p/
submitted by Pflynx to germlangs [link] [comments]
The westphalian language (not to be confused with the real world westphalian dialect group) is an ingvaeonic language spoken in, well, westphalia. It developed closely with the anglo-frisian languages, though is not one in itself, merely sharing some commonalities with the branch.
Phonology: (i tried to display this in a table, but reddit sucks, so take a list instead)
Consonants
m,n,ŋ,
p,b,t,d,k,g,
f,v,s,z,ʃ,x,h,
ɹ,j,[ɰ],
ɾ,l
Vowels
ɪ,ʏ,ʊ,
ø:,
ə,
ɛ(:),œ,ɔ(:),
a(:)
There are also 4 diphthongs! Those being /eɪ̯/, /aɪ̯/, /œʏ̯/, and /oʊ̯/.
Grammar:
The grammar is quite simplified from its Proto-West-Germanic origins, with nouns having 4 total stems they could be. Those being (using PG derivative terminology) the a-stem, ō-stem, n-stem, and r-stem. The r-stem, though, only contains seven kinship terms. Whilst the a-stem and ō-stem are direct descendants from PG, the n-stem is more of a combination stem of multiple stems ending in *-n. Nouns in westphalian are divided into two genders, common and neuter.
In terms of cases, nouns (and adjectives) can only inflect for two, those being the nominative and objective. The genitive is maintained though, in pronouns. Apart from that, nouns (again, and adjectives), also inflect for the numbers singular and plural.
I will move on to adjectives first, as it is an easier bridge from nouns. Adjectives only have one inflection pattern, instead of the multiple stems nouns could have, and this inflects for all the same things as nouns, but also strong/weak inflection, the predicative, and positive/comparative/superlative. Standard stuff.
Verbs also only have one weak inflection pattern left, though there are still some strong verbs that have different inflection patterns, the vast majority are weak verbs, which inflect using the same pattern. This pattern inflects for a few things, let's begin with person. It inflects for 1PS, 2PS, 3PS, and a general plural form. In terms of tenses, there is the present and past tense (more can be expressed using auxiliaries, this is just what they inflect for). Moods consist of the indicative, subjunctive, and imperative. Apart from that, they also have an infinitive, and a present and past participle.
Examples:
"Welcome to the westphalian language!"
Wilkowm tå de westfuylske språk!
/ˈvɪl.koʊ̯m tɔː də ˈvɛst.fœʏ̯ɰ.ʃə sprɔːk/
"The cold winter is near, a snowstorm will come. Come in my warm house, my friend. Welcome! Come here, sing and dance, eat and drink. That is my plan. We have water, beer, and milk fresh from the cow. Oh, and warm soup!"
De selte winter is neh, een sneastuyrm skoll kuymen. Kuym in mijn werm huys, mijn frent. Wilkowm! Kuym heer, sing en dans, eed en drink. Dat is mijn plan. Wij hebben wader, ber, en meelk frisk von de koo. Oh, en werme suyp!
/də zɛɰtə ˈvɪn.təɹ ɪs neɪ̯ - eɪ̯n ˈsnɛː.stœʏ̯ɹm ʃɔl ˈkœʏ̯.mən - kœʏ̯m ɪn maɪ̯n vɛɹm hœʏ̯s - maɪ̯n fɾɛnt - vɪɰkoʊ̯m - kœʏ̯m heɪ̯ɹ - zɪŋ ɛn dans - eɪ̯d ɛn dɾɪŋk - dat ɪs maɪ̯n plan - vaɪ̯ ˈhɛ.bən ˈvaː.ɾəɹ - bɛɹ - ɛn meɪ̯ɰk fɾɪʃ vɔn də kɔː - oʊ̯ - ɛn vɛɹmə sœʏ̯p/
2024.05.14 22:18 dollartreerat The Evolution of Corinian Conjugation (Part 1?)
It's been a while since I've posted here (maybe 2 years?) but I'm back and ready to share a little something I've been working on with Corinian, my conlang. After being spread wayyy too thin over hundreds of half-assed conlangs, I thought it'd be nice to scrap everything and work on a conlang that's actually used in my main world's plot.
I usually like making posteriori conlangs, but you might be able to tell there's a sprinkle of Ibero-Romance in here. Either because I like the Ibero-Romance languages or its the sense of impending doom plaguing my mind as my Spanish final nears. Who knows, really.
Background: So, just a bit of background. Corinian is based off the Modern High Corinian variety, which descended from Early High Corinian. Between Early High Corinian and Modern Corinian, it's verb conjugation changed a lot.
Above are only the perfective conjugations. Early High Corinian also had a set of imperfectives, as shown below:
The imperfective aspect was only used in the presence of specific adverbs. An example:
Split-Marked-Nominative Alignment
The proto-language had a split-ergative alignment, but was corrupted in Early High Corinian so that certain verbs triggered a marked-nominative alignment while others stuck to the prototypical nominative-accusative alignment.
Generally, everything was prototypically NOM-ACC except for stative and reflexive verbs.
I'll focus on using a 1SG subject/actor and a 2SG object.
Types of Infinitives
Early High Corinian had several "types" of infinitive suffixes that followed the phonological rules of the root. It also had fusional "reflexive infinitives" which denoted that the verb required a reflexive pronoun.
Reflexive infinitives have an "open" and "closed" form depending on if the verb has a direct object or not.
With Early High Corinian's alignment, TAM, and infinitive types in mind, I'll throw out a few examples of some typical patterns found in Early High Corinian. Then I'll get into how they evolve.
Verb Type Matrix
Early High Corinian does not have polypersonal agreement so there's not much of a difference between the conjugation of transitive and intransitive verbs. By "not much," I mean there still are minor differences between transitive and intransitive verb conjugation in Modern Corinian. I'll use a 1SG subject/actor, 2SG object, and look at three ambivalent verbs: distrèc "to want (protoypical NOM-ACC)," dirantrèc "to make blue (Marked-NOM)," and checrèlc "to like (Marked-NOM; reflexive)."
Root of distrèc: dis- /dis-/
Root of dirantrèc: diran- /dirɐn-/
Root of checrèlc: chec- /tʃek-/
Finite (Prototypical NOM-ACC; distrèc "to want")
Finite Reflexive (Mixed alignment; checrèlc "to like")
Nonfinite Reflexive (Mixed alignment; checrèlc "to like")
Hopefully I've explained Early High Corinian's complex conjugation system well, and I'm happy to be back here conlanging again! I'll eventually go over how Early High Corinian evolved into Modern Corinian and the grammatical changes it experienced. See you soon!
submitted by dollartreerat to conlangs [link] [comments]
I usually like making posteriori conlangs, but you might be able to tell there's a sprinkle of Ibero-Romance in here. Either because I like the Ibero-Romance languages or its the sense of impending doom plaguing my mind as my Spanish final nears. Who knows, really.
Background: So, just a bit of background. Corinian is based off the Modern High Corinian variety, which descended from Early High Corinian. Between Early High Corinian and Modern Corinian, it's verb conjugation changed a lot.
- Proto-Coric (predecessor) > Early Corinian varieties > Modern Corinian
| Tense | 1SG | 2SG | 3SG.M, 3SG.F, 3PL, 1PL, 2PL |
|---|---|---|---|
| Past | -in | -in | -in |
| Present | -a, -Ø (used in reflexives) | -us | -ra |
| Future | -ura | -urse | -ura |
| Tense | 1SG | 2SG | 3SG.M, 3SG.F, 3PL, 1PL, 2PL |
|---|---|---|---|
| Past | -uzèc | -uzèc | -uzèc |
| Present | -tèc | -tusèc | -tarèc |
| Future | -orèc | -orsèc | -orèc |
Eu pazia aubàgi-atèc. 1SG.NOM repetitively run -1.PRES.IMPFV /eu pazjɐ ɐubadʒɐtɯk/Compared to the perfective (no adverb):
Eu aubàgi-atèc 1SG.NOM run -1SG.PRES.PFV /eu ɐubadʒɐtɯk/Ultimately, the imperfective aspect would be lost and merge with the perfective in Modern Corinian. Simple stuff, but it gets worse so for the sake of my sanity I'll only be focusing on the perfective present in Modern Corinian.
Split-Marked-Nominative Alignment
The proto-language had a split-ergative alignment, but was corrupted in Early High Corinian so that certain verbs triggered a marked-nominative alignment while others stuck to the prototypical nominative-accusative alignment.
Generally, everything was prototypically NOM-ACC except for stative and reflexive verbs.
| Person and Number | Nominative/Unmkd. accusative (ABS) | Accusative/Marked nominative | Reflexive |
|---|---|---|---|
| 1SG | eu | qui | -co |
| 1PL | fo | hom | -na |
| 2SG | ma | ne | -ma |
| 3SG.M | què | quèl | -clèi |
| 3SG.F | qui | quèl | -clèi |
| 3PL | bran | feis | -vis |
Types of Infinitives
Early High Corinian had several "types" of infinitive suffixes that followed the phonological rules of the root. It also had fusional "reflexive infinitives" which denoted that the verb required a reflexive pronoun.
| Infinitive type | Vowels/semivowels | All other consonants | /n/, /s/, /ʃ/, /z/, /ʒ/, /l/ | /m/ |
|---|---|---|---|---|
| Simple Infinitives | -rc | -rèc | -trèc | -prèc |
| Reflexive Infinitives | -rèlc | -rèlc | -trèlc | -prèlc |
With Early High Corinian's alignment, TAM, and infinitive types in mind, I'll throw out a few examples of some typical patterns found in Early High Corinian. Then I'll get into how they evolve.
Verb Type Matrix
Early High Corinian does not have polypersonal agreement so there's not much of a difference between the conjugation of transitive and intransitive verbs. By "not much," I mean there still are minor differences between transitive and intransitive verb conjugation in Modern Corinian. I'll use a 1SG subject/actor, 2SG object, and look at three ambivalent verbs: distrèc "to want (protoypical NOM-ACC)," dirantrèc "to make blue (Marked-NOM)," and checrèlc "to like (Marked-NOM; reflexive)."
Root of distrèc: dis- /dis-/
Root of dirantrèc: diran- /dirɐn-/
Root of checrèlc: chec- /tʃek-/
Finite (Prototypical NOM-ACC; distrèc "to want")
Eu dis -a ne. 1SG.NOM want-1.PRES.PFV 2SG.ACC /eu disɐ ne/ "I want you."Finite (Marked-NOM dirantrèc; "to make blue")
Qui diran -a ma. 1SG.NOM.MARKED make.blue-1.PRES.PFV 2SG.ABS /ki diranɐ ma/ "I make you turn blue."Nonfinite (Prototypical NOM-ACC; distrèc "to want")
Eu dis -a dis -trèc ne. 1SG.NOM want-1.PRES.PFV want-INF 2SG.ACC /eu disɐ distɾɯk ne/ "I want to want you."Nonfinite (Marked-NOM; dirantrèc "to make blue")
Eu dis -a diran -trèc da ma. 1SG.NOM want-1.PRES.PFV make.blue-INF DAT 2SG.ABS /eu disɐ dirantɾɯk da ne/ "I want to make you turn blue."The "dative" da is only used with the direct object of a nonfinite ergative-absolutive verb. Da is only every used in situations like this, as the true dative rec is used more frequently.
Finite Reflexive (Mixed alignment; checrèlc "to like")
Qui chec-Ø -co ne. 1SG.NOM.MARKED like-PRES.PFV-1SG.REFL 2SG.ACC /ki tʃekko ne/ "I like you."You might notice here that the marked nominative and the prototypical accusative are both used here. Early High Corinian also has this third type of pronominal alignment.
Nonfinite Reflexive (Mixed alignment; checrèlc "to like")
Eu dis -a chec-rè -co ne. 1SG.NOM want-1.PRES.PFV like-INF-1SG.REFL 2SG.ACC /eu disɐ tʃekɾɯko ne/ "I want to like you."Part 1/? Done
Hopefully I've explained Early High Corinian's complex conjugation system well, and I'm happy to be back here conlanging again! I'll eventually go over how Early High Corinian evolved into Modern Corinian and the grammatical changes it experienced. See you soon!
2024.05.14 14:40 Xenapte Wackiest sound relations between close languages?
 | You've read the post about wackiest sound shifts known. Now, why don't we have something wackier by comparing how the same sound in a proto-language evolves differently between its descendants? submitted by Xenapte to linguisticshumor [link] [comments] Some rules to note:
https://preview.redd.it/9uxk1vt30e0d1.jpg?width=1080&format=pjpg&auto=webp&s=c0e325308a64ce0bf088b6b7b299a8f6a26b0c1e |
2024.05.14 14:29 adulting4kids Poetry Course Week Three and Four
Week 3: Limericks and the Art of Humor
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.
submitted by adulting4kids to writingthruit [link] [comments]
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.
2024.05.14 06:29 adulting4kids Consonance
Term: Consonance
Definition: Consonance is the repetition of consonant sounds within nearby words in a sentence or phrase.Example: "The ship has sailed to the farthest shores."
Freewrite Prompt: The old house stood stoically against the storm, its walls echoing the crashing waves of the relentless sea.
2024.05.14 05:26 stlatos PIE *kVs > Germanic kVs as Optional
https://www.academia.edu/119041827
Grimm’s Law with Verner’s Law explain many consonant shifts in Germanic regularly, but some exceptions exist. Thurneysen’s Law concerns, in part, voicing dissimilation of nearby fricatives and has been interpreted as either irregular or due to unknown changes in Gothic, not of PGmc. date. In this framework I will attempt to add another type of dissimilation of fricatives, also at a distance and irregular, and necessarily of PGmc. date. Many, not all, PIE *kVs appear as Gmc. *kVs, likely due to regular *k > *x then optional *xVs > *kVs in PGmc. Also, *kVz might also be included, depending on the timing of *d > *t, *zd > *st, etc. (*kizdno-, below). This would be dissimilation of [+continuant] in fricatives, or similar changes in whatever system is accepted. Examples:
*kus-ne/ye- ‘kiss’ > H. kuwas-, G. kunéō, Ps. kṣulawul, Gmc. *kusja- > E. kiss, ON kyssa
*H2ak^- ‘sharp’ (in many names of bladed objects, etc.)
*H2ak^si-() ‘axe’ > G. axī́nē , L. ascia
*H2ak^si-wo-? > *H2ak^wisyo- > Go. aqizi, ON øx, OHG acchus, E. ax(e)
*kwa(H2)t(h)o- > Skt. kvath- ‘boil’, Go. hvaþō ‘foam’
*kwa(H2)so- > OBg kvasŭ ‘leaven / fermented drink’
*kwa(H2)s(e/i)yo- > L. cāseus ‘cheese’, *kwasja-z > ON Kvasir ‘a wise Van formed from the spit of gods, killed by dwarves who mixed his blood with honey to ferment into Mead of Poetry’
*kizd- ‘pine (sap) / turpentine pine’ >>
*kizdaH2- > Skt. cīḍā- ‘turpentine pine’
*kizdimo- > *kīḷima- > Skt. kilima-m ‘kind of pine’, A. kíilum ‘turpentine’ (*zd > ḷ after RUKI, as Vedic)
*kizdno- > Gmc. *kizna- > OE cén ‘fipine/spruce’, OHG kén
*H2ag^sulo- > ON öxull, OHG ahsala ‘shoulder’, NHG Achsel ‘armpit’, OE eaxl, E. axle
*H2ag^su- > *H2ak^su- > *aH2k^us-?, OHG uochisa \ uochsana , OE ócusta \ óxta \ óxn ‘armpit’
These are likely related to ‘axle’ < *H2ag^- ‘drive’, but the optional metathesis seems likely limited to Gmc., well after *gs > *ks, etc., *k > x, especially since the same type of metathesis produces *H2ak^wisyo- in a word certainly < *H2ak^- ‘sharp’. When several nearly identical roots vary only in having *k > k in Gmc., a specific change there is preferable to looking for several new roots with only evidence from one branch. Removing ‘axe’ from ‘sharp’ also seems misguided, and attempts to explain this in a reasonable manner would surely have found the common *kVs before now, if tried at all. Manaster Ramer’s idea that Go. aqizi comes from a compound with *-k^g- seems less likely due to the other cases with irregular *k > k all occurring before s, which shows that a sound change is responsible, not an individual explanation for each. Previous attempts to separate all these sets of words since *k > k is not regular do not seem needed if the specific environment *k-s is considered for all these. For example, Kloekhorst said, “The formal as well as semantic similarity to Gr. kunéō ‘to kiss’ (*ku-ne-s-) and OHG kussan ‘to kiss’ is striking. Nevertheless, the Hittite verb cannot be cognate to both, since Gr. k- does not regularly correspond to OHG k-.” Once might be coincidence, but with 5 good examples, the support for this change (or lack of change) seems sufficient. Separating nearly identical words because *k seems to become k shows that a search for only what is clearly regular and a dependence on what is already known as regular has hindered the growth of historical linguistics.
Several other words, less clear, might show that *k-k > k-k could be included:
Li. kaĩras \ kaĩrias \ kairỹs ‘left’, kairė̃ ‘left hand’, Gmc. *kaika- > ON keikr ‘bent backwards’, Dan. kei ‘left hand’
An even less certain case of *x-x > *k-x might be:
*xux- > *kux- > OE cohhetan ‘blusteriot/cough’, Dutch kuch, E. cough
Though this seems to be onomatopoeia within Gmc., thus *xux- has no outside evidence, languages with [x] often have words for ‘cough’ start with this, like:
Khw. xaf-, NP xaf-, Os. xuf-
Though uncertain, such speculation is only possible due to good evidence for *kVs > kVs. The sporadic nature of Thurneysen’s Law seems matched by, at least, this change in all of Gmc., making its nature and scope as PGmc. in age more likely. That these changes were optional need not be evidence they did not exist at all. Any attempt can only lead to absurdities and chaos, all unneeded.
Buck, Carl Darling (1949) A Dictionary of Selected Synonyms in the Principal Indo-European Languages, The University of Chicago Press, Chicago
Kloekhorst, Alwin (2008) Etymological Dictionary of the Hittite Inherited Lexicon
https://www.academia.edu/345121
Manaster Ramer, Alexis (2024, draft?) If Not a Perfect Etymology of the Germanic 'Axe', At least A Dead Ringer for One v
https://www.academia.edu/118943826
Whalen, Sean (2023) Pashto k- entries by Georg Morgenstierne
https://www.reddit.com/Pashtun/comments/128y1hh/pashto_k_entries_by_georg_morgenstierne/
Whalen, Sean (2024a) Cretan Elements in Linear B, Part Two: *y > z, *o > u, LB *129, LAB *65, Minoan Names (Draft)
https://www.academia.edu/114878588
Whalen, Sean (2024b) Proto-Indo-European Options for *g^hdh(iy)es ‘yesterday’, Greek i- / e- (Draft)
https://www.academia.edu/115010109
Whalen, Sean (?) Indo-European Alternation of *H / *s as Widespread and Optional (Draft)
Woodhouse, Robert (2000) The origin of Thurneysen's law: a detailed analysis of the evidence
https://www.academia.edu/9232685
submitted by stlatos to HistoricalLinguistics [link] [comments]
Grimm’s Law with Verner’s Law explain many consonant shifts in Germanic regularly, but some exceptions exist. Thurneysen’s Law concerns, in part, voicing dissimilation of nearby fricatives and has been interpreted as either irregular or due to unknown changes in Gothic, not of PGmc. date. In this framework I will attempt to add another type of dissimilation of fricatives, also at a distance and irregular, and necessarily of PGmc. date. Many, not all, PIE *kVs appear as Gmc. *kVs, likely due to regular *k > *x then optional *xVs > *kVs in PGmc. Also, *kVz might also be included, depending on the timing of *d > *t, *zd > *st, etc. (*kizdno-, below). This would be dissimilation of [+continuant] in fricatives, or similar changes in whatever system is accepted. Examples:
*kus-ne/ye- ‘kiss’ > H. kuwas-, G. kunéō, Ps. kṣulawul, Gmc. *kusja- > E. kiss, ON kyssa
*H2ak^- ‘sharp’ (in many names of bladed objects, etc.)
*H2ak^si-() ‘axe’ > G. axī́nē , L. ascia
*H2ak^si-wo-? > *H2ak^wisyo- > Go. aqizi, ON øx, OHG acchus, E. ax(e)
*kwa(H2)t(h)o- > Skt. kvath- ‘boil’, Go. hvaþō ‘foam’
*kwa(H2)so- > OBg kvasŭ ‘leaven / fermented drink’
*kwa(H2)s(e/i)yo- > L. cāseus ‘cheese’, *kwasja-z > ON Kvasir ‘a wise Van formed from the spit of gods, killed by dwarves who mixed his blood with honey to ferment into Mead of Poetry’
*kizd- ‘pine (sap) / turpentine pine’ >>
*kizdaH2- > Skt. cīḍā- ‘turpentine pine’
*kizdimo- > *kīḷima- > Skt. kilima-m ‘kind of pine’, A. kíilum ‘turpentine’ (*zd > ḷ after RUKI, as Vedic)
*kizdno- > Gmc. *kizna- > OE cén ‘fipine/spruce’, OHG kén
*H2ag^sulo- > ON öxull, OHG ahsala ‘shoulder’, NHG Achsel ‘armpit’, OE eaxl, E. axle
*H2ag^su- > *H2ak^su- > *aH2k^us-?, OHG uochisa \ uochsana , OE ócusta \ óxta \ óxn ‘armpit’
These are likely related to ‘axle’ < *H2ag^- ‘drive’, but the optional metathesis seems likely limited to Gmc., well after *gs > *ks, etc., *k > x, especially since the same type of metathesis produces *H2ak^wisyo- in a word certainly < *H2ak^- ‘sharp’. When several nearly identical roots vary only in having *k > k in Gmc., a specific change there is preferable to looking for several new roots with only evidence from one branch. Removing ‘axe’ from ‘sharp’ also seems misguided, and attempts to explain this in a reasonable manner would surely have found the common *kVs before now, if tried at all. Manaster Ramer’s idea that Go. aqizi comes from a compound with *-k^g- seems less likely due to the other cases with irregular *k > k all occurring before s, which shows that a sound change is responsible, not an individual explanation for each. Previous attempts to separate all these sets of words since *k > k is not regular do not seem needed if the specific environment *k-s is considered for all these. For example, Kloekhorst said, “The formal as well as semantic similarity to Gr. kunéō ‘to kiss’ (*ku-ne-s-) and OHG kussan ‘to kiss’ is striking. Nevertheless, the Hittite verb cannot be cognate to both, since Gr. k- does not regularly correspond to OHG k-.” Once might be coincidence, but with 5 good examples, the support for this change (or lack of change) seems sufficient. Separating nearly identical words because *k seems to become k shows that a search for only what is clearly regular and a dependence on what is already known as regular has hindered the growth of historical linguistics.
Several other words, less clear, might show that *k-k > k-k could be included:
Li. kaĩras \ kaĩrias \ kairỹs ‘left’, kairė̃ ‘left hand’, Gmc. *kaika- > ON keikr ‘bent backwards’, Dan. kei ‘left hand’
An even less certain case of *x-x > *k-x might be:
*xux- > *kux- > OE cohhetan ‘blusteriot/cough’, Dutch kuch, E. cough
Though this seems to be onomatopoeia within Gmc., thus *xux- has no outside evidence, languages with [x] often have words for ‘cough’ start with this, like:
Khw. xaf-, NP xaf-, Os. xuf-
Though uncertain, such speculation is only possible due to good evidence for *kVs > kVs. The sporadic nature of Thurneysen’s Law seems matched by, at least, this change in all of Gmc., making its nature and scope as PGmc. in age more likely. That these changes were optional need not be evidence they did not exist at all. Any attempt can only lead to absurdities and chaos, all unneeded.
Buck, Carl Darling (1949) A Dictionary of Selected Synonyms in the Principal Indo-European Languages, The University of Chicago Press, Chicago
Kloekhorst, Alwin (2008) Etymological Dictionary of the Hittite Inherited Lexicon
https://www.academia.edu/345121
Manaster Ramer, Alexis (2024, draft?) If Not a Perfect Etymology of the Germanic 'Axe', At least A Dead Ringer for One v
https://www.academia.edu/118943826
Whalen, Sean (2023) Pashto k- entries by Georg Morgenstierne
https://www.reddit.com/Pashtun/comments/128y1hh/pashto_k_entries_by_georg_morgenstierne/
Whalen, Sean (2024a) Cretan Elements in Linear B, Part Two: *y > z, *o > u, LB *129, LAB *65, Minoan Names (Draft)
https://www.academia.edu/114878588
Whalen, Sean (2024b) Proto-Indo-European Options for *g^hdh(iy)es ‘yesterday’, Greek i- / e- (Draft)
https://www.academia.edu/115010109
Whalen, Sean (?) Indo-European Alternation of *H / *s as Widespread and Optional (Draft)
Woodhouse, Robert (2000) The origin of Thurneysen's law: a detailed analysis of the evidence
https://www.academia.edu/9232685
2024.05.13 23:17 ICraveCoffee7 Phrases in ɥugʊke / Proto-Minelic
Recently, my boyfriend ('daklos', Redwoood) and I ('gɥehæfilos', Orange Fish) have found ourselves inspired by the concept of Clongcraft, and have started a Minecraft world together in which we can't speak any existing languages. Over the past few weeks, a proto-language of sorts has arisen. Here are some short examples:
ım ib mɥʊn • I eat a berry. (lit.: 1psg.seed.consume)
se saok omo ta se • You gather deepslate. (lit.: 2psg.stone.black.give.2psg)
ım xixi æma • I make a banner. (lit.: 1psg.write.craft)
We use this language and Minecraft world as a way to strengthen our relationship. We each made custom keyboards on KBD Maker (IOS app), and are now really starting to get far with the language. I'll try to keep y'all updated with new developments!!
edit: got deleted coz it didnt have enough content so here i am explaining its grammar lmao
It is in SOV word order, with adjectives placed after nouns and reduplication to indicate plurals.
ım ib los mɥʊn • I eat a red berry. (lit.: 1psg.fruit.red.consume)
se dak-dak ta se • You gather many trees/a lot of wood. *(lit.: 2psg.tree.tree.give.2psg)
While a simple alphabetical orthography has developed, we also use banners as an ideographical writing system. "ib", the word for fruits and seeds, is represented by a banner with a red dot in the middle. We also don't have a word for "yes", so say "ejdæ", which means "good", or say "uh-huh". We don't have enough verbs yet, but I predict a system of repeating the verb in the question will also arise as a form of "yes" or "no".
The language in its current state, Proto-Minelic, has around 22 consonants and eight vowels. They are as follows:
/m l n ŋ ɲ j ɥ f p t d b k g x s c h/ [q `]*
/ʊ u ı i æ a o e/
*i don't have access to the IPA rn, but [q] is the palatal version of /k/ and [`] is the glottal stop
TLDR we are cavemen in Minecraft. one REALLY loves copper and wasted 20 kabilkion coal on a full inventory of ingots and the other one is me.
submitted by ICraveCoffee7 to conlangs [link] [comments]
ım ib mɥʊn • I eat a berry. (lit.: 1psg.seed.consume)
se saok omo ta se • You gather deepslate. (lit.: 2psg.stone.black.give.2psg)
ım xixi æma • I make a banner. (lit.: 1psg.write.craft)
We use this language and Minecraft world as a way to strengthen our relationship. We each made custom keyboards on KBD Maker (IOS app), and are now really starting to get far with the language. I'll try to keep y'all updated with new developments!!
edit: got deleted coz it didnt have enough content so here i am explaining its grammar lmao
It is in SOV word order, with adjectives placed after nouns and reduplication to indicate plurals.
ım ib los mɥʊn • I eat a red berry. (lit.: 1psg.fruit.red.consume)
se dak-dak ta se • You gather many trees/a lot of wood. *(lit.: 2psg.tree.tree.give.2psg)
While a simple alphabetical orthography has developed, we also use banners as an ideographical writing system. "ib", the word for fruits and seeds, is represented by a banner with a red dot in the middle. We also don't have a word for "yes", so say "ejdæ", which means "good", or say "uh-huh". We don't have enough verbs yet, but I predict a system of repeating the verb in the question will also arise as a form of "yes" or "no".
The language in its current state, Proto-Minelic, has around 22 consonants and eight vowels. They are as follows:
/m l n ŋ ɲ j ɥ f p t d b k g x s c h/ [q `]*
/ʊ u ı i æ a o e/
*i don't have access to the IPA rn, but [q] is the palatal version of /k/ and [`] is the glottal stop
TLDR we are cavemen in Minecraft. one REALLY loves copper and wasted 20 kabilkion coal on a full inventory of ingots and the other one is me.
2024.05.13 22:32 Beneficial-Sleep-294 I MADE A NEW CONLANG!!!!
So, we all know Latin, the language of the Federal Union of Italia. Well, imagine Latin but it evolved as an Italo-Dalmation Language, based in Tuscany, which kept geminate consonants. Sounds crazy? Well I made a conlang that I think might look like this hypothetical language. I call it, Toscano!
It is heavily conjugated, and I think that possibly, due to sound change, the tenses of habere may be added to the end of infinitives to conjugate the future and conditional. Along with this, I think it would probably be head first and loses the neuter gender, however it would still be kept in some “mixed gender” nouns. It would add vowels to the end of words for easier pronunciation.
Now that I have explained a bit, let’s give examples:
Io sono d’Italia e lavoro a Roma. “I’m from Italy and I work in rome” Il Impero Romano è il migliore. “The Roman Empire is the best” Mangiamo la pasta oggi! “We are eating pasta today!”
Isn’t it crazy, I truly believe that in some universe, this might be a real language! Signing out now, bye!
submitted by Beneficial-Sleep-294 to linguisticshumor [link] [comments]
It is heavily conjugated, and I think that possibly, due to sound change, the tenses of habere may be added to the end of infinitives to conjugate the future and conditional. Along with this, I think it would probably be head first and loses the neuter gender, however it would still be kept in some “mixed gender” nouns. It would add vowels to the end of words for easier pronunciation.
Now that I have explained a bit, let’s give examples:
Io sono d’Italia e lavoro a Roma. “I’m from Italy and I work in rome” Il Impero Romano è il migliore. “The Roman Empire is the best” Mangiamo la pasta oggi! “We are eating pasta today!”
Isn’t it crazy, I truly believe that in some universe, this might be a real language! Signing out now, bye!
2024.05.13 14:31 Ill_Atmosphere4209 people that got 1/42 for the last p&c question in S1 (V52)
i just realized why it's wrong. i think we all used 6C5 to choose gaps for the vowels (or consonants, I'm going with vowels for the sake of explaining bc it's the same thing.) but using 6C5 means you're not accounting for the gaps between each consonant because, for example, if you choose the outer gaps then the consonants in the middle wouldn't have gaps between them. the only possible ways to arrange it is CVCVCVCVCV or VCVCVCVCVC, so instead of multiplying with 6C5 you actually multiply with 2. so there's 600 cases and 600/76500 = 1/126
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