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On 2/2/2014 11:47 AM, Puey McCleary wrote:
> The history of Tirëlat I find quite interesting.  I find all of the
> languages of that world to be fascinating.  I especially like the name
> "Jarda" for a language.  I will admit that I have some fondness for Chispa
> (though I may not be spelling that right).  I do hope there are some fuzzy
> creatures around that still speak it.  I wish there were a novel in English
> about this world so that I could keep straight all of the different
> inhabitants thereof.  I have the impression that Mice People, Faeries, and
> Dragons all live thereabouts together in quite a fantastical land.

I've spelled it both "Chispa" and "Cispa". I'd use "Chispa" these days.

It's a set of connected worlds, and it's still possible that one of the 
Impossible Gates connects to the home of the Mizarian rat-people. I 
haven't ruled that out, but I'm focusing on the Sangari and Zireen 
mainly. In the background the "Elvish" worlds still exist, but I haven't 
done anything with them in a long time. Visitors from those worlds do 
show up from time to time. There certainly are dragons though, all sorts 
of them, both friendly and hostile, some as small as bats and others 
bigger than polar bears.

I do keep going back to Jarda every now and then and I've been thinking 
of making an Utau voicebank for it.

> But, getting back to Tirëlat, its development reminds me a little of some
> of the history of my language.  About the time of 2001 or 2002 or so,
> Khlìjha had no passive voice at all, and I was quite happy with that.
>   However, the language just started developing one out of the nuts and
> bolts that already existed in the language.  The word "xhnípe" which was
> intended to mark the progressive aspect was taking upon itself some of the
> duties of the passive voice.  In the end, where before the language only
> had a single voice, in a year or so it ended up with five different ones.
>   The result of this unplanned multiplication of voices is that there are
> many irregularities and complications which I would never have planned, but
> which I would never now remove from the language.  It can be sometimes
> annoying when a causative construction and a passive construction  collide,
> and deponent verbs are sometimes more trouble than they seem worth.  But in
> the end it gives the language its own flavor.
>
> Now I'm feeling a little nostalgic for Chispa though ...

It's interesting that you bring up the passive voice. Tirelat has had a 
place for voice in the verb suffix structure, and I've used it 
occasionally. I don't think it's occurred to me before to use it in word 
derivation, but trying to translate "No one knows what it's like to be 
hated" made me look for creative ways to get it all to fit. The first 
thing I came up with is "fjuŋarudin", but I didn't like how it repeated 
"-din" from the previous line, so I looked further and ended up with the 
more memorable "fjuŋaruŋa". I really like how that word turned out, and 
it's just standard Tirëlat morphology.

fjuŋa-ru-ŋa
hate-PASSIVE-thing

Unfortunately, now I've got both "Let It Go" and "Behind Blue Eyes" 
simultaneously playing in my mind. "My love is vengeance that's never 
free. Don't let them in, don't let them see!"

It's interesting how languages change in small and big ways just from 
using them. I didn't do many translations in the early days of Tirëlat 
since I didn't want too much influence from English, but the nice thing 
about song translation is that the most direct translation usually 
doesn't work, so you're forced to think carefully about how to word 
things. Often the translation ends up being more idiomatic and "in 
character" that way (building a language seems to be much like playing a 
character in some ways).

Another reason I've been reluctant to do translations is the evidential 
system, but actually I've found that gives me more flexibility in some 
ways. There may be more than one way to express roughly the same idea, 
but one fits better than the others in context.

Herman