Oaths and Lies – A Lukokish Example Text

This example text, translated into my imaginary language Lukokish, is part of the first scene from Usëvzan îars irlïrz, a classic Lukokish mejëiç novel written by Têla Öete in 1362 (139 years ago from the present, so comparable to something written in 1874). The mejëiç novel, a uniquely Lukokish invention, is composed of dialog and audible speech alone. There is no prose description or narration, no explanation of who’s talking, no record of what people are thinking – nothing except dialog spoken aloud. Mejëiç novels are usually printed with speech by different people in different colors. But still, it is a challenge for the author of such a novel to effectively convey who’s speaking, let alone a whole story! This particular example lets me show the style of Lukokish novels, while also showing how both high-class Jaeve and low-class peasants would talk.

Usëvzan îars irlïrz, usually translated as Oaths and Lies (though a more accurate translation would Making Oaths and Then Lying), is a good example of a typical classic Lukokish novel. It focuses on a Jaeve man (the Jaeve are the nobility of Lukok) and what he does to save his family’s honor, while also pursuing love and a place in life. Many of its features, including love between Jaeve and non-Jaeve, honor of a family, conflict between Reason and Beauty (in this case epitomized by the two lead characters), coincidences conveniently explained by divine favor, etc. are traditional Lukokish themes. But it also includes more modern elements, which were beginning to be introduced in Lukokish literature in the mid-1300s. Peasant revolts, which only truly began around this time period, figure prominently into the story. The government’s new regulations are also important. Additionally, one of the central characters is tremendously deceptive, with the author even intending to have him deceive the reader! Having such an unreliable main character was unusual in Lukokish literature when Têla Öete wrote this book.

Têla Öete, like most Lukokish writers, was Jaeve. She came from the Öete family, who were fairly rich and had lands in central Lukok, so they were close to the capital Nêleru. For this reason, Têla was familiar with what was going on in Lukok, since she would hear news from the capital. Hearing of peasant revolts and related problems probably helped inspire Usëvzan îars irlïrz.

painting of Têla Óete

Painting of Têla Öete as a 15-year-old. The clothing, furniture, carpet, etc. are all representative of high-class Jaeves

Têla wrote eight published novels, six of which were mejëiç. This one was her third published story. All of her mejëiç novels were quite popular, as this genre was becoming more fashionable during this time period, but her normal novels were not well known. Today, Têla’s work is still popular among mejëiç enthusiasts, particularly because very few Lukokish writers are producing novels of this genre anymore.

Têla's signature

Têla’s signature

I first wrote this scene’s English translation, then translated it back into Lukokish, making adjustments to the English as necessary – I do not flatter myself that I can write a story in straight Lukokish! I also wrote a detailed interlinear and literal translation, so you can see some of the unique ways that Lukokish expresses things. Finally, I’ve added many extra notes to explain important concepts or implications, note literary techniques, and point out particularly interesting language uses. However, there are still many quirks of speech that I didn’t point out – look at the interlinear/literal translation to see more. Also, please don’t feel like you have to read all the notes 😉 You can certainly understand the story, at least the basic idea of it, without looking at the notes.

The English, Lukokish, notes and interlinear/literal translation are below. Additionally, I’ve written an English “translation” of the rest of this scene and part of the next; you can leave a comment or contact me if you’re interested in reading it. Please also feel free to contact me if you’re curious as to the general plot of the story – I could work it all out and give you a synopsis. (I have the basic idea of the story in my head, but I don’t have some of the vital details figured out yet.)


“Sh! Who’s there?”1

“It is I, Lord Lumëan Töreşv.2 I must speak to you!”

“What, you again? Be gone!”3

“Remë Ränolet,4 stay, listen to me, please! I have come three varalï5 from the hills in the snow and wind, and I must talk to you! I have only to state two things and ask one other. Please6 come out and speak to me!”7

“I told you, go! It is late at night,8 it is no time for talking!”

“Sir,9 please, for the love of God,10 come out and speak to me!”

“Foolish boy!11 I will come out and speak to you, but don’t expect me to do anything for you. – Well, what is it?”

“Sir, you know the first thing I have to say, as well as I do.12 I am lord of these lands, but I cannot keep control of them.13 You peasants all hated my father, but he was stern to you, so you obeyed him. Then he died and I became lord, and you threw me out because I was gentle and could not stop you.”14

“Because you were gentle! Good grief!15 Your father trained you,16 Lumëan Töreşv,17 and so we all knew that you would be the same as him. Besides, you are young! You can have your own path.”18

“My own path…God save me!19 Well, listen – I am lord, but I cannot hold these lands. But I must hold them for the honor of my family, because I am the heir and it is my duty.20 If you peasants throw me out and I am forced to neglect my duty, it would be the shame of my sisters, my cousins, my nephews and nieces21 – it would be a shame to the Töreşv!”22

“Yes, and a shame to you, you neglect to add!”23

“God knows that is not my primary thought!24 – But see, I have stated my first point.25 I am lord, but I cannot hold these lands, yet26 I must for the honor of my family. And now I come to my second point….27


“Şş! Eà ävnë?”1

“Âle Lumëan Töreşv meà kîdi.2 Nïvet meçèt dös meşanenäska!”

“I:a, mevèt lènvska? Dikëçë çê veşrè!”3

“Remë Ränolet,4 ditrè çê, dvîr evè divël vlël, nmet di! Mevè dö çê kivaralï kös5 nizok kosuskçurï lètôik kosmìl konënlla vêlôik, dvîr nïvet dös vlël meşanenäska! Ataï ma idàdçe mevè dêsek vlël äîre atà kïnïçe dêçë. Nmet di,6 mevèt dirê çê, nïve meçëv di!”7

“Nïvet meçèt dö, diçë çê veşrè! Meön meşïksmä,8 atvlëltu mejïmel ärv vävmäevë!”

“Muïr Ränolet,9 nmet di, Kèşun vävok,10 dirê çê, nïve meçëv di!”

“Melòme ûrëmä!11 De:me mevè dêrê çê nïvet meçèt dê, de:me mevè dë kovèt vävôik mejëv dekèt. – Aissë, eà ävnë?”

“Muïr Ränolet, eàet skuìd kîesöst mevèt di eveëm neseäds szûr mevè neseäds.12 De:me eulùr jäesan ärv kîesej mevè kîdi, de:me dvîr elëv dös de asemerşz.13 De:me edëvutet mevöt ekenoï kîdo, mevöt ëäns, du zër, de:me ezl meevë sëukeëntmä kêvöt êaltëa, ezl nïevë mevöt durê işiz. Mnaam meevë duçë eulùr meve kîdö, ta eve mevöt döçë mêran ta meve sekkarmä sekmarmä dvîr evöt dös du du:sek in.”14

“Ta mevet sekkarmä! Kiûne:rë vävok!15 Ezl atçsöï nïvet, Lumëan Toreşv,17 medëvutëv duçë enêru,16 ezl eevë mevet kîdë mevïl ëäns dukë eveëm. Te:ne:, mevet marmä! Kiazinan kervet ulaok meazinëv dös.”18

“Kiazinan kerve…Keşundûjï!19 Aissë, merêekomëv di – de:me eulùr meve kîdi, de:me esan ärv meve dös de asemerşz. De:me ta nîërz dös meşanenäska kêdïn kermetêrezet vävtëa, ta dvîr enivöçë kîdi eve menivöçëzis di oman.20 Ed eve mevöt ekenoï kîdo dârçë mêran dvîr enivöçëziset meve di:mçë mêran dâr mle, ed dvîr atrën kerlentaïet, kerşitïet, kerzetïet, kersudinïet21 – ker-Töreşv dâr ëlëu!”22

“Dâr, atrën kervet, meçëv dia mej dökër!”23

“Eşaet mejölat mejâk ëmäv kîdöv Keşun di eveëm!24 – Aissë mesmëv di, edoka idlo meç dö.25 De:me eulùr meve kîdi, de:me esan ärv meve dös de asemerşz, de:me de:me26 nîërz dâr meşanenäska kodïn kermetêrezet vävôik. Edokaet metlo meve dê joserëur….27


1 Remë’s wording of “who’s there,” eà ävnë, literally means “what thing?” and reveals his lack of education. An educated Lukokish person would say ötò ävnë di? “what person exists?”, avoiding the use of a sentence fragment, and also keeping from potentially offending the listener by referring to him or her with the dummy noun. These kinds of small differences in speech are generally very important in mejëiç novels.

2 A Lukokish reader can get a great deal of information from this name alone! First of all, Lumëan uses the title âle, a third-person term of address, in order to refer to himself. Âle would usually not carry honorific connotations, but since it’s in the third person despite the fact that Lumëan is talking about himself, it means “lord.” At the same time, it is quite humble, since a lord would usually be referred to, and would usually refer to himself, with the honorific third-person term ulùr. So from this one word, Lukokish readers can tell that Lumëan is a lord, but is being unusually humble, also taking into consideration the fact that Remë must be low-class (they’d know this from his use of eà ävnë). Secondly, Lumëan is clearly male, since -ëan is a male gender postfix. Finally, Lumëan’s surname Töreşv is important. It is a surname belonging to one of the 21 noble Jaeve families, so we know that Lumëan is Jaeve (though he is already almost certainly Jaeve if he is a lord). Also, we can guess that Lumëan lives somewhere around Sètsol, because this is the hometown of the Töreşv. Since the Töreşv were at this point a fairly prestigious but rather poor noble family, we can also guess that Lumëan probably has a lot of pride in his family but not much money or power. Additionally, the Töreşv had ties with Laguina, so he has a higher possibility of being under suspicion for treason – something that will come into play later in the story. As you can see, for a Lukokish author, choosing the right family for a Jaeve character is very important!

3 More sentence fragments on the part of Remë, further demonstrating his low social class and level of education. High-class and/or educated people still use sentence fragments in conversation, but they would certainly be more careful when talking to somebody above them, as Remë is doing. Also, it is unusual for anybody educated to give a command without making clear who they are speaking to, as Remë is doing.

4 The name Remë Ränolet confirms any remaining doubts the reader might have about his social class. Remë is a name meaning “egg,” and it is quite common among peasants but rare in higher-class circles. Ränolet is a common low-class surname. All in all, Remë has a rather bland, generic peasant’s name.

5About 1.4 miles.

6 Note the Lukokish phrase for “please,” nmet di. It is composed of a noun that has lost all other meaning, nm, and a d* that carries the meaning of “please.” If you were asking for a future favor, for example, if Lumëan was asking Remë to talk with him tomorrow, you would use d* in a soon or future tense.

7Note Lumëan’s multiple uses of verb conjunctions. Uneducated Lukokish speakers still use these conjunctions, but they are more common in the mouths of educated speakers.

8Meön meşïksmä “it is late at night” is literally “night is far to the right,” since time in Lukokish goes from left to right.

9Again, a great deal is communicated by how Lumëan addresses Remë. He uses a normal second-person address, muïr, which does not imply any particular honor, but he uses Remë’s surname afterwards, which does. A lord would usually speak to his vassal with muïr alone, or with muïr accompanied by the peasant’s first name. In this way, Lumëan is treating Remë with more honor than a lord usually would, but he is certainly still not going all-out – Lumëan retains his pride despite his desperation.

10The general Lukokish belief today, as it was in Lumëan’s time, is that God (Keşun) is far away from humans, being too holy to care for their comparatively foolish affairs. So Lumëan is, by Lukokish standards, being quite bold to invoke the name of God in this way, and this is only the first time he does so during this scene. Readers generally agree that this is meant to show how desperate he is. (Do note that the expression Keşundûjï! “God save us!” is common in Lukokish, but besides this, Lukokish rarely make casual references to God.)

11Note that Remë doesn’t inflect ûrëmä “foolish,” further evidence of his lack of education. He also calls Lumëan a boy, which is a bit of an insult since Lumëan is an adult (if a young one).

12 Note the metaphor Lumëan uses in the Lukokish: they both know this fact tall-ly. By Lukokish thinking, knowledge and understanding stacks up, so if you have a lot of knowledge or understand a fact very well, it’s tall.

13 Another metaphor: “drawing a circle around something” for “keeping control.” To Lukokish, control is much like encircling or surrounding something.

14First of all, Lumëan must be at least 18 to become lord, since this is the age of legal adulthood in Lukok. (Okay, I know that looks like I just borrowed that age from the American system, but there’s a reason why it’s 18! You see, the Lukokish use a base-6 number system, and 18 would be represented as 30 – a nice, even number. That’s why. By the way, that’s the legal age of adulthood – who people informally consider an adult varies from place to place and social class to social class in Lukok. Some give ages as low as 14; the highest age is 24, another even number in base-6.) Secondly, now the reader would know why Lumëan is feeling desperate (even without being aware of further reasons that are revealed later on), because a lord would be in a dire situation if his peasants threw him out. Not only would he not be able to earn a living, he would bring shame to himself and his family. Lumëan is especially vulnerable because he is young and unestablished. In addition, again, Lumëan frequently uses verb conjunctions. Finally, note his use of the past tense to relate this episode: it perfectly shows his status as a Jaeve, but a lower-status one. Jaeve usually use past tense (as opposed to recent tense) only for long-ago or historical events, and the lower class a Lukokish speaker gets, the more likely they are to use past tense for less long-ago or historical events. Lumëan uses this tense for his deposition and the events leading up to it, which are historical for him…but higher-class Jaeve would consider them minor enough for recent tense.

15 Literally “for the purpose of foolishness” – Remë is insulting Lumëan’s idea more than anything else here. It is a common expression with Remë throughout the story, as he is always criticizing things. It is also fairly common in the mouth of his daughter, Tïma, whom Lumëan will soon reveal that he is in love with. This is just one indication of how Tïma shares many personality traits with her father – interesting, because while Lumëan loves Tïma’s personality, he is always at odds with her father! These sorts of paradoxes go unquestioned in most classic Lukokish novels, but in Usëvzan îars irlïrz, Têla Öete went a bit out of the box and had her characters actually discuss the problem of Lumëan appreciating Tïma but not Remë. This is just one of the small, innovative twists that made Têla Öete such a popular writer.

16 Literally “your father gave you words.” This has a stronger meaning than just “your father trained you” – it means that Lumëan’s father shaped his worldview and way of thinking and speaking.

17 It is rather impolite for Remë to address Lumëan with his straight name, even his full name, without using any titles. Even friends will usually use titles when directly addressing each other, and they certainly would if they were having as important a conversation as Lumëan and Remë are!

18 This comment shows just how much Remë doesn’t understand the life and responsibilities of a young Jaeve man, particularly one with four sisters, as Lumëan is later revealed to have. The fact is that Lumëan was obligated to serve as lord, and even if he couldn’t do this, he would have to provide for his sisters somehow, and even if he didn’t have sisters, he would still have to pursue a respectable Jaeve occupation – he could never just do whatever he wanted unless he wanted to bring shame upon himself and his family. Lukokish peasants, on the other hand, are generally much freer. They still have obligations of maintaining the family honor, but this mostly consists of not becoming criminal, immoral or extremely poor.

19 Lumëan, on the other hand, knows perfectly well that he can’t do what he wants, and in frustration appeals to God to see the sorry state of the world and save it. Keşundûjï is a frequent exclamation with Lukokish facing trouble or seeing problems in the world, as he is.

20 Literally, “the heirship grasps me tightly.” To Lukokish, duty holds and restricts, but do note that this is generally not considered bad – many writers argue that duty is necessary for restricting the wildness of emotions and will, and that the limitations it imposes are helpful for self-control and happiness (because, after all, you can’t have everything anyways).

21 Look at the interlinear to get a better feeling for the different familial terms Lumëan uses. He must use two different terms for “cousins,” one for those on his mother’s side and one for those on his father’s side, as Lukokish distinguishes between most relatives on the two sides. But there is just one term for “nephews and nieces” – one of the family roles where relation to the father or mother is not distinguished.

22 Lukok has a strong culture of honor and shame. Among Jaeves, maintaining the honor of one’s general family is of utmost importance, certainly above personal comfort or happiness. In the lower classes, the main problem is not so much maintaining the honor of your general family, but your own honor and that of your immediate family. A major shame could easily affect a family materially, too. If Lumëan had the shame of being deposed from his role as lord, it could mean that his sisters and cousins were not able to marry as well, because then the prospective spouses would have to associate themselves with the shame of being deposed. Then they might have to marry poorer or otherwise less desirable men, which would further shame the family, and so further shame Lumëan for bringing such trouble, and on and on…

23 This is completely true, even as it shows the more individualistic focus of the lower classes. Remë is full of such truthful, critical and pointed observations. He is not always understanding, careful or polite, but he is shrewd and not easily fooled by flattery or nice manners. These are all traits he shares with Lumëan’s love Tïma (though Tïma, admittedly, is generally a bit more diplomatic). Lumëan, on the other hand, is rather dreamy and tends to see things more poetically than they really are. Many non-Lukokish critics have complained that people with such disparate personalities as Lumëan and Tïma could never get along so well. But the fact is that the union of poetic dreaminess and sharp observation of fact is a huge motif in Lukokish literature, because it’s supposed to represent the harmony of Reason and Beauty. According to one Lukokish critic, Nazëan Viru:, more than half of Lukokish literature deals in some way with conflict and harmony of Reason and Beauty. Usëvzan îars irlïrz, with Tïma representing Reason and Lumëan representing Beauty, is among this body of literature.

24 Literally, “God knows that is not my heaviest thought!” In Lukokish metaphor, heavy thoughts are more memorable and present, while light thoughts are easily forgotten.

25 Literally, “I have said my first line.” In Lukokish metaphor, an argument is a drawing, and a point in an argument is a line.

26 Lumëan uses the more colloquial and less high-class expression de:me de:me here to say “X but Y yet Z” (de:me X de:me Y de:me de:me Z). He is becoming less and less careful and slipping more into colloquial speech as he becomes more agitated, probably especially because he is about to declare his love for Tïma.

27 As things stand now, this story would appear to the reader as a (most likely appealing) mixture of old tropes and newer elements. Lumëan is an almost textbook young and dreamy, yet honorable symbol of Beauty, an image that will be further enhanced by his declaration of love. Remë is a bit more interesting with his bold insults and sharp criticisms. But after discovering in the next section that he had tried to protect his daughter by not allowing her and Lumëan to marry, readers would probably write him off as a typical restrictive-out-of-worry father type. The whole idea of peasants rebelling against their Jaeve lord, on the other hand, especially with the added twist of the lord then trying to negotiate with his vassals, would be quite novel. Considering the rest of the book, both Lumëan and Remë end up being a lot more fleshed-out and interesting. After this initial setup, the story skips forward ten years to find Lumëan as a broken and disillusioned wanderer, shadowed by a enigmatic and deceptive magician sidekick, Dimenç, whom he trusts utterly. (Much of Lumëan’s inner conflict has to do with regaining his true sense of Beauty, while avoiding the twisted and ugly side of Beauty represented by Dimenç.) Before this jump ahead in time, Remë and Tïma have several interactions, showing how much Tïma, despite Lumëan’s aversion to him, loves, respects and takes after her father. Then, after the jump, Remë is dead, but Tïma so often refers to him or acts like him, and Lumëan’s reminisces to Dimenç so often include him, that he continues to be important. All this reveals him to be a shrewd thinker and a loving parent and husband.

Interlinear & Literal Translation

“Şş! Eà ävnë?”
shh! def.ACC-dummy.noun what?
Shh! What thing?

“Âle Lumëan Töreşv meà kîdi.
title.male.ACC Lumëan Töreşv def.NOM-dummy.noun be-d*.pres.
Lord Lumëan Töreşv the thing is.

Nïvet meçèt dös meşanenäska!”
def.DAT-you.male def.NOM-mouth-my d*.pres.could pres.very-should-adv!
To you my mouth must talk!

“I:a, mevèt lènvska? Dikëçë çê veşrè!”
what, def.NOM-you.male again-adv? d*.pres-imp.cont-away go I-def.COM!
What, you again? Be going away, I command!

“Remë Ränolet, ditrè çê, dvîr evè divël vlël, nmet di!
Remë Ränolet, d*.pres-stop go, and.share.sub def.ACC-I d*.pres-back.to talk, please d*.pres!
Remë Ränolet, stop, and listen to me, please!

Mevè dö çê kivaralï kös nizok kosuskçurï lètôik kosmìl konënlla vêlôik,
def.NOM-me d*.recent go indef.POSTP.verbal-varalï three for.distance-indef.POSTP.verbal def.POSTP.verbal-hills from-def.POSTP.verbal def.POSTP.verbal-snow def.POSTP.verbal-wind in-def.POSTP.verbal,
I went for three varalï from the hills in snow and wind,

dvîr nïvet dös vlël meşanenäska!
vconj.subject def.DAT-you.male d*.pres.could talk very.pres-should-adv!
and to you must talk!

Ataï ma idàdçe mevè dêsek vlël äîre atà kïnïçe dêçë.
indef.ACC-dummy.nouns two only-indef.ACC def.NOM-me d*.soon-down talk vconj.verb indef.ACC-dummy.noun more-indef.ACC d*.soon-away.
Two things only I will state and a thing more ask.

Nmet di, mevèt dirê çê, nïve meçëv di!”
please-my d*.pres, def.NOM-you.male d*.pres-towards go, def.DAT-me def.NOM-mouth-your.male d*.pres
Please, you come out, me your mouth talk to!

“Nïvet meçèt dö, diçë çê veşrè!
def.DAT-you.male def.NOM-mouth-my d*.recently, d*.pres-away go I-def.COM!
You my mouth told, go away I command!

Meön meşïksmä, atvlëltu mejïmel ärv vävmäevë!”
def.NOM-night very.pres-right-def.NOM, indef.ACC-talking def.NOM-time this for-def.NOM-pres.neg!
The night is far to the right, talking this time is not for!

“Muïr Ränolet, nmet di, Kèşun vävôik, dirê çê, nïve meçëv di!”
title.you.male.sub Ränolet, please-my d*.pres, God for.the.purpose.of-def.POSTP.verbal, d*.pres-towards go, def.DAT-me def.NOM-mouth-your.male d*.pres!
Mr. Ränolet, please, for the purpose of God, come out, to me your mouth speak!

“Melòme ûrëmä! De:me mevè dêrê çê nïvet meçèt dê,
def.NOM-boy stupid-def.NOM! but def.NOM-I d*.soon-towards come def.DAT-you.male def.NOM-mouth-my d*.soon,
Stupid boy! I will soon come out, to you my mouth will speak,

de:me atd mevè dë kovèt vävôik mejëv dekèt.
but indef.ACC-act def.NOM-me d*.soon.subcls def.POSTP.verbal-you.male for-def.POSTP.verbal def.NOM-brain-your.male d*.pres.neg-up.
but that I will soon do something for you, your brain do not think.

– Aissë, eà ävnë?”
well, def.ACC-dummy.noun what?
Well, what thing?

“Muïr Ränolet, eàet skuìd kîesöst mevèt di eveëm neseäds szûr mevè neseäds.
title.you.male.sub Ränolet, def.ACC-dummy.noun-my indef.POSTP.acc-one of-indef.POSTP.acc def.NOM-you.male d*.pres know tall-COMP.equal vconj.object.d*.verb def.NOM-me tall-comp.equal.
Mr. Ränolet, the first thing you know as tall-ly as I know it tall-ly.

De:me eulùr jäesan ärv kîesej mevè kîdi,
but def.ACC-title.extra.honor.him def.POSTP.acc-place this of-def.POSTP.acc def.NOM-me be-d*.pres,
Lord of this place I am,

de:me dvîr elëv dös de asemerşz.
but vconj.subject def.NOM-it d*.pres.could d*.pres.neg draw.circle
but it I cannot draw a circle around.

De:me edëvutet mevöt ekenoï kîdo, mevöt ëäns, du zër,
but def.ACC-father-my def.NOM-you.pl def.NOM-peasants be-d*.pres.subcls, def.NOM-you.pl all, d*.past hate,
My father you who are peasants, all of you, hated,

de:me ezl meevë sëukeëntmä kêvöt êaltëa, ezl nïevë mevöt durê işiz.
but so def.NOM-him recent-stern-def.NOM def.POSTP.adj-you.pl relating.to-def.POSTP.adj, so def.DAT-him def.NOM-you.pl d*.past-towards obey
but he was stern to you, so him you obeyed.

Mnaam meevë duçë eulùr meve kîdu, ta eve mevöt döçë mêran
then def.NOM-him d*.away def.ACC-title.extra.honor.him def.NOM-me be-d*.past, because def.ACC-me def.NOM-you.pl d*.recent-away exert.force
then he died, lord I became, me you pushed away

ta meve sekkarmä sekmarmä dvîr evöt dös du duvsek in.”
because def.NOM-me pres-gentle-def.NOM pres-young-def.NOM vconj.subject def.ACC-you.pl d*.pres.could d*.past d*.recent.neg-down do.something.
because I am gentle and young and you I could not stop.

“Ta mevet sekkarmä! Kiûne:rë vävok!
because def.NOM-you.male pres-gentle-def.NOM! indef.POSTP.verb-foolishness for.the.purpose.of-indef.POSTP.verb

Because you are gentle! For the purpose of foolishness!

Ezl atçsöï nïvet, Lumëan Toreşv, medëvutëv duçë enêru,
so indef.ACC-words def.DAT-you.male, Lumëan Toreşv, def.NOM-father-your.male d*.past-away add,
Words to you, Lumëan Toreşv, your father gave,

ezl eevë mevet kîdë mevïl ëäns dukë eveëm.
so def.ACC-him def.NOM-you.male be-d*.soon.subcls def.NOM-we.exclu all d*.past-imp.ongoing.
so him you will be we all knew.

Te:ne:, mevet marmä! Kiazinan kervet ulaok meazinëv dös.”
besides, def.NOM-him young-def.NOM! indef.PREP-road def.POSS-you.male indef.PREP.verb-on def.NOM-foot-your.male d*.pres.could.
Besides, you’re young! On a road of your own your foot can walk.

“Kiazinan kerve…Keşundûjï!
indef.PREP-road def.POSS-me…God.save.us!
Road of my own…God save us!

Aissë, merêekomëv di – de:me eulùr meve kîdi, de:me esan ärv meve dös de asemerşz.
well, def.NOM-ear-your.male d*.pres – but def.ACC-title.extra.honor.him def.NOM-me be-d*.pres, but def.ACC-place this def.NOM-me d*.pres.could d*.pres.neg draw.circle
Well, your ear listen – the lord I am, but this place I cannot draw a circle around.

De:me ta nîërz dös meşanenäska kêdïn kermetêrezet vävtëa,
but because vconj.sub.obj.verb d*.pres.could pres.very-should-adv def.PREP.adj-honor def.POSS-family-my for.the.purpose.of-def.PREP.adj,
But do that I must for the purpose of the honor of my family,

ta dvîr enivöçë kîdi eve menivöçëzis di oman.
because vconj.subject def.ACC-heir be-d*.pres def.ACC-me def.NOM-heirship d*.pres grasp.tightly.
because the heir I am, me the heirship grasps tightly.

Ed eve mevöt ekenoï kîdo dârçë mêran
if.then def.ACC-me def.NOM-you.pl def.ACC-peasants be-d*.pres.subcls d*.pres.hypo-away force
If me you who are peasants force away

dvîr enivöçëziset meve di:mçë mêran dâr mle,
vconj.sub def.NOM-me d*.pres.subcls.hypo-away force d*.pres.hypo cause,
and cause me to force away my heirship,

ed dvîr atrën kerlentaïet, kerşitïet, kerzetïet, kersudinïet – ker-Töreşv dâr ëlëu!”
if.then vconj.sub indef.ACC-shame def.POSS-sisters-my, def.POSS-mother.side.cousins-my, def.POSS-father.side.cousins-my, def.POSS-nephew.or.nieces-my – def.POSS-Töreşv d*.pres.hypo create!
then you a shame of my sisters, my cousins on my mother’s side, my cousins on my father’s side, my nephews and nieces – the Töreşv would create!

“Dâr, atrën kervet, meçëv dia mej dökër!”
d*.pres.hypo, indef.ACC-shame def.POSS-you.male, def.NOM-mouth-your.male d*.pres.subcls def.NOM-brain d*.recent-stop!
Yes, a shame of you, your mouth mentioning your brain forgets!

“Eşaet mejölat mejâk ëmäv kîdöv Keşun di eveëm!
indef.comp.ACC-dummy.noun-my very.recent-heavy-indef.comp.ACC def.NOM-thought that be-d*.pres.subcls.neg God d*.pres know!
That that thought of mine was not recently heavy, God knows!

– Aissë mesmëv di, edoka idlo meç dö.
well def.NOM-eye-your.male d*.pres, def.ACC-line one-def.ACC def.NOM-mouth d*.recent
Well your eye see, the first line my mouth said.

De:me eulùr meve kîdi, de:me esan ärv meve dös de asemerşz,
but def.ACC-me def.NOM-lord be-d*.pres, but def.ACC-place this def.NOM-me d*.pres.could d*.pres.neg draw.circle,
I the lord am, but this place I cannot draw a circle around,

de:me de:me nîërz dâr meşanenäska kodïn kermetêrezet vävôik.
but but vconj.sub.obj.vb d*.pres.hypo pres.very-must-ADV def.verb.POSTP-honor def.POSS-family-my for-def.verb.POSTP.
but must do that for the purpose of the honor of my family.

Edokaet metlo meve dê joserëur….
def.ACC-line-my two-def.ACC def.NOM-me d*.soon just.next.moment-ADV.tense
The second line I am just about to draw….

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.