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'''Cuam''' (''shlản Củam'') is an [[Verse:Irta|Irtan]] Southeast Asian language in the [[Cuam-Flei]] family. Its loanwards are mainly from Middle Chinese, Mon-Khmer and [[Far East Semitic]]; more recently it has borrowed from French and modern Chinese languages. Cuam is official in Cuamland (''Fâimh doill-Chủam'').
'''Paang''' (''rhư nténg Pa{{cvla}}ng'') is a classical language of Hmøøhian author Tsayfuan's fantasy world. It is a monosyllabic tonal language with initial consonant mutations. It is inspired in-universe by Talmic and Æ, and I was actually inspired by Insular Celtic and Southeast Asian languages.


Cuam is inspired by Irish, Thai and Hmong.
Paang poetry uses the Vietnamese lục bát meter, which Tsayfuan took from Æ poetry.


Cuam-Flei is believed to have come from the Middle East, and have undergone tonogenesis after incorporation in the Southeast Asian sprachbund. Some linguists connect the name Cuam to the PIE root *ķoy-m- via an old substrate language closely related to [[Azalic]], which would make it cognate with the word "home".
== Todo ==
* May liberally steal vocab from Celtic
** ''miền'' 'to desire'
** ''riêmh'' 'never'
** ''ciên'' 'old; distant'
** ''ciến'' (clf. ''ô{{cvla}}gh<sup>L</sup>'') 'age; distance'
** ''fiển'' (clf. ''lló<sup>L</sup>'') 'soldier'
** ''téng'' (clf. ''rhư''<sup>N</sup>)  'language'
** ''biêdh'' 'food'
** ''rhiền'' (clf. ''ngiềbh'') 'path'
** ''rhiên'' (clf. ''lló<sup>L</sup>'') 'maiden'
** ''gần''<sup>L</sup> 'without'
* ''Tol Kiền'': the creator god


==Phonology==
== Phonology ==
The romanization in this article was invented by Dómhnail Ó Loingsigh.
Initials: /k kʰ χ ŋ ŋ{{v-}} ŋʰ ɣ
t tʰ θ n n{{v-}} nʰ ð
p φ f m m{{v-}} mʰ v
j r r{{v-}} l ɬ w ʍ s h ʔ/


Initials: all Irish single consonants plus prenasalized stops and sh(n/l/r)-; allow br dr gr fr cr bl dl gl fl cl; p- only occurs in borrowings; stops are +asp/-asp like in Scottish Gaelic (dl- is not allowed and is a source of mid-class l-)
Nuclei: /i e ɛ a ɨ ə u o ɔ iə ɨə uə/


shm- is only used in so-called ''shm''-reduplication which has a different meaning than the English one
Finals: /{{ng}}{{tiebar}}m n {{ng}} r k{{tiebar}}p t k j ð ɨ{{nsyll}} w/


Séimhiú should have different outcomes from Irish (th dh should be /tsh ts=/)
Tones: a à a{{cvla}} á ả = mid low fall high rise


In unmutated words, all Irish unmutated initials + séimhiúed initials are permissible
<g c ch ng hng nc gh
d t th n hn nt dh
b p f m hm mp bh
j r rh l lh w wh s h 0
i ê e a ư ơ/â a u ô o ia/iê ưa/ươ ua/uô
mh n ng r b d g i dh gh u>


séimhiúed words can't séimhiú again, but when they get urúed it manifests as prenasalization:
My romanization spells /kʰ/ as ''k'' in certain names.
 
* ''**CV-(initial) > (lexically séimhiúed initial)''
* ''**-n CV-(initial) > n:(initial) > nC (prenasalized initial)''
 
Vowels: all combos of +-pal x vowel allowed in Irish (assuming broad final) but they sound more like Scottish Gaelic versions (á is not backed etc.)
*''a ea u i o eo á eá é ao(i) í ó eó ú iú ia ua'' (written ''a ea u i o eo aa eaa ee ao ii oo eoo uu iu ia ua'')
 
Allowed finals: -b -d -g -dh (-j) -imh (nasalization + -j) -bh (-w) -mh (nasalization + -w) -m -n -il -r
(after short vowels written -bb -dd -gg -ddh -immh -bbh -mmh -mm -nn -ill -rr)
 
* -mhail (nasalization + l) -mhar (nasalization + r) in loans: ''némhar némhar'' 'to plot/scheme' (from Irtan Icelando-Sinitic)
 
Tones are essentially the same as in Thai. "Live syllables" (non-checked) have 5 possible tones: áM áL áF áH áR (mid low falling high rising, as in Thai). "Dead syllables" (open short vowel or stop final) have fewer possible tones.
 
The following is a minimal set for all 5 tones:
*Mid: ''laa'' /lāː/ [l̪ˠaː˧] 'white'
*Low: ''làa'' /làː/ [l̪ˠaː˨˩] 'loud'
*Falling: ''lâa'' /lâː/ [l̪ˠaː˥˥˩] 'fruit'
*High: ''láa'' /láː/ [l̪ˠaː˧˥] 'easy'
*Rising/Dipping: ''lảa'' /lǎː/ [l̪ˠaː˨˩˧] 'vase, jar, ceramic jug'
 
== Orthography ==
Cuam uses an sbugida derived from the Far East Semitic abugida. Far East Semitic loans are written as in the original.
 
It uses 4 tone marks, like Thai does, but they're named after Far East Semitic numbers:
* ''deodh chádd'' - tone B
** ''chádd'' is not actually a cognate of Hebrew אחד but a cognate of עשתי in Hebrew עשתי עשר 'eleven'.
* ''deodh thỉan'' - tone C
* ''deodh shlàd'' - high tone
* ''deodh arr-fámh'' - rising tone
 
== Grammar ==
=== Nouns ===
Cuam has absolute and construct states, like Semitic languages.
Absolute state is sometimes a floating mutating morpheme that marks gender (marks absolute state, construct state doesn't mutate). Sometimes absolute state manifests as a separate preposed word or syllable which may or may not mutate the word itself. (absolute state comes from a preceding classifier)
 
1-10: leddh, nàn, feỏ, tlùdd, dâimmh, án, ciûr, shnản, shleiddh, fáoil
 
''leM'' is used as an indefinite article like Vietnamese ''một''
 
=== Pronouns ===
cûd = I, ùmh = thou, gaè = we (du incl)
 
==Diachronics ==
Some "possible" syllables should be disallowed bc of historical sound change, like unasp stop initial + nasal coda + 2nd tone syllables in Mandarin
 
Before having mutations, Cuam had long, short and ultrashort vowels. Mutations come from preceding ultrashort syllables that are lost.  
 
After Cuam gained mutations, it underwent the medieval Sinosphere register/tone split like most other languages in the Sinosphere, resulting in mutation depending on tone. Early Modern Cuam had a very complex system of mutations and tonal ablaut, which Modern Cuam simplified to a finite set of noun genders by analogy.
 
==== Tone diachronics ====
Middle Cuam (before the tone split) had 3 tones, like Middle Chinese, marked in the native script as unmarked, tone 1 and tone 2.
 
Consonant classes (séimhiú didn't change the consonant class while urú did)
* Mid: *k- series, glottal stop
* High: *kh- series, voiceless fricatives, shR-
* Low: *g- series, voiced fricatives, resonants
** g- series became kh- for tones 0, 1 and entering tone; g- for tone 2
 
{| class="wikitable"
|+Tone chart
!class
!ending
!unmarked (tone A)
!''deodh chádd'' (tone B)
!''deodh thỉan'' (tone C)
|-
|mid
|dead
| style="background: #fa4" |low
| -
| style="background: #ff3" |fall
|-
|mid
|alive
| style="background: #f66" |mid
| style="background: #fa4" |low
| style="background: #ff3" |fall
|-
|high
|dead
| style="background: #fa4" |low
| -
| style="background: #ff3" |fall
|-
|high
|alive
| style="background: #6fc" |rise
| style="background: #fa4" |low
| style="background: #ff3" |fall
|-
|low
|dead (short vowel)
| style="background: #cfa" |high
| style="background: #ff3" |fall
| -
|-
|low
|dead (long vowel)
| style="background: #ff3" |fall
| -
| style="background: #cfa" |high
|-
|low
|alive
| style="background: #f66" |mid
| style="background: #ff3" |fall
| style="background: #cfa" |high
|-
|}
(Later borrowings can have other initial + tone combinations)

Latest revision as of 16:29, 2 May 2023

Paang (rhư nténg Pa̍ng) is a classical language of Hmøøhian author Tsayfuan's fantasy world. It is a monosyllabic tonal language with initial consonant mutations. It is inspired in-universe by Talmic and Æ, and I was actually inspired by Insular Celtic and Southeast Asian languages.

Paang poetry uses the Vietnamese lục bát meter, which Tsayfuan took from Æ poetry.

Todo

  • May liberally steal vocab from Celtic
    • miền 'to desire'
    • riêmh 'never'
    • ciên 'old; distant'
    • ciến (clf. ô̍ghL) 'age; distance'
    • fiển (clf. llóL) 'soldier'
    • téng (clf. rhưN) 'language'
    • biêdh 'food'
    • rhiền (clf. ngiềbh) 'path'
    • rhiên (clf. llóL) 'maiden'
    • gầnL 'without'
  • Tol Kiền: the creator god

Phonology

Initials: /k kʰ χ ŋ ŋ̊ ŋʰ ɣ t tʰ θ n n̊ nʰ ð p φ f m m̊ mʰ v j r r̊ l ɬ w ʍ s h ʔ/

Nuclei: /i e ɛ a ɨ ə u o ɔ iə ɨə uə/

Finals: /ŋ͡m n ŋ r k͡p t k j ð ɨ̯ w/

Tones: a à a̍ á ả = mid low fall high rise

<g c ch ng hng nc gh d t th n hn nt dh b p f m hm mp bh j r rh l lh w wh s h 0 i ê e a ư ơ/â a u ô o ia/iê ưa/ươ ua/uô mh n ng r b d g i dh gh u>

My romanization spells /kʰ/ as k in certain names.

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