Verse:Irta/Judeo-Mandarin/Filichdiș: Difference between revisions

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Learăgüsiș forms are extremely marked: they're considered archaic and poetic at best, and deliberately "overusing" them is used for evoking certain Ăn Yidiș literary works, or e.g. in neopagan/new-religious-movement material. These forms, including case forms and synthetic verb forms, are best preserved in Munster Irish, but in Ăn Yidiș they were almost completely lost by Proto-Ăn Yidiș times. Ăn Yidiș writers during the Learăgüs 'Awakening' period recreated these forms by cognatizing older Irish or Munster Irish forms.
'''''Filichdiș''''' or '''''Ăn Fhilichdiș''''' 'the poetic language of the ''filí'', the highest rank of Classical Irish poets' is a special register of Ăn Yidiș which uses inflectional morphology derived from older Irish, most often Classical Irish (like most Irish bardic poetry) but sometimes from Old and Middle Irish. It is a poetic register mainly used
* for imitating Irish poetry
* in translations of Biblical poetry or vaguely medieval-European fantasy
* in experimental and speculative fiction for a variety of effects


The Yăhuaș translation of the Tanakh (which was made post-Learăgüs) uses Learăgüsiș for the poetic passages that use archaic/archaizing language in Biblical Hebrew (such as Ha'azinu and the Song of the Sea):
These forms, including case forms, preposed possessive pronouns, and synthetic verb forms, are best preserved in Munster Irish, but in Ăn Yidiș they were almost completely lost and replaced with analytic constructions. Ăn Yidiș writers during the Learăgis 'Awakening' period recreated these forms by cognatizing (creating hypothetical Ăn Yidiș cognates of) older Irish or Munster Irish forms, at first to imitate Irish bardic poetry. Filichdiș works written during the Learagis period can be nigh-impenetrable for a modern reader who doesn't know Old and Middle Irish, the most notorious of which is ___ by ___. Colloquially, the term Filichdiș is often used for the most difficult versions of this register, or as "it's Greek to me", like Eleazar Kallir's piyyut Atz Kotzetz (''Și Filichdiș/loșăn Oz Guziz'').
== Samples ==
 
Sometimes Old or Middle Irish morphology is directly borrowed:
* שעינ`פאט ''șeyņfăd'' 'I will sing' from Middle Irish 1sg future ''-fat''
* ''ră-bo e'' 'he was, he became', from the Old Irish absolute form ''ro.bá'' of the perfect of ''at.tá''. (The conjunct form ''.roba'' survives naturally in the ''răv'' 'jussive' and ''răv'' 'dependent form of ''bhă''' forms of the auxilliary, cognate to Irish ''raibh''.) Forms derived from Old Irish absolute/deuterotonic forms are sometimes used to imitate Biblical Hebrew waw-consecutives to which they are syntactically similar (in that they can't be negated or subordinated); see the Song of the Sea example below.
 
The Yăhuăș translation of the Tanakh uses toned down Filichdiș for poetic passages. The translation made the Filichdiș register somewhat less marked (and more like a standard suite of archaisms) for the speakers that came after it, however. In Modern Ăn Yidiș poetry, a limited number of features from Filichdiș are common.
 
Filichdiș often uses possessive pronouns similar to older Irish possessive pronouns rather than inflected forms of the preposition ''tăģ'' 'of'. However, even in Filichdiș, Hebrew and other non-native loans are not allowed to take possessive prefixes (the same is true of Modern Hebrew). Standardized Filichdiș possessive pronouns use both prefixes and suffixes, like in Salish languages:
* ''măL-chnov'' 'my bone', emphatic ''mă-chnov-să''
* ''dăL-chnov'' 'your bone', emphatic ''dă-chnov-să''
* ''(ăL-)chnov-șăn'' 'his bone' (proscribed ''cnov-șăn'')
* ''(ăH-)cnov-șă'' 'her bone'
* ''or(n)-cnov'' 'our bone', emphatic ''or(n)-cnov-ņă''
* ''văr(n)-cnov'' 'your bone', emphatic ''văr(n)-cnov-șă''
* ''(ăn-)cnov-săn'' 'their bone'
 
''-chd'' is a Filichdiș cognate of the native abstract noun suffix ''-f'' (both from ''-cht'').
 
== Samples (Translations) ==
=== From "The Call of Cthulhu" ===
=== From "The Call of Cthulhu" ===
In the elder time chosen men had talked with the entombed Old Ones in dreams, but then something had happened. The great stone city R’lyeh, with its monoliths and sepulchres, had sunk beneath the waves; and the deep waters, full of the one primal mystery through which not even thought can pass, had cut off the spectral intercourse. But memory never died, and high-priests said that the city would rise again when the stars were right. Then came out of the earth the black spirits of earth, mouldy and shadowy, and full of dim rumours picked up in caverns beneath forgotten sea-bottoms. But of them old Castro dared not speak much. He cut himself off hurriedly, and no amount of persuasion or subtlety could elicit more in this direction. The size of the Old Ones, too, he curiously declined to mention. Of the cult, he said that he thought the centre lay amid the pathless deserts of Arabia, where Irem, the City of Pillars, dreams hidden and untouched. It was not allied to the European witch-cult, and was virtually unknown beyond its members. No book had ever really hinted of it, though the deathless Chinamen said that there were double meanings in the Necronomicon of the mad Arab Abdul Alhazred which the initiated might read as they chose, especially the much-discussed couplet:
(Use cases and Old Irishisms as much as possible)
 
“That is not dead which can eternal lie,
And with strange aeons even death may die.”
=== Song of the Sea ===
<poem>
אָשִׁ֤ירָה לַּֽיהֹוָה֙ כִּֽי־גָאֹ֣ה גָּאָ֔ה
ס֥וּס וְרֹֽכְב֖וֹ רָמָ֥ה בַיָּֽם:


Canfă d'Ășéym, măr dă-bhuay șe gu głuřvăr!
''Ņichnél nă Yăzúrim h-Orsi șa zeantă ză chol fyul is fil in iřă săm bith, ărsă Castro. Șe cruth o că gu zerăv --- nach dă-dherăv ăn zelăv șu mhünlăthă lă řołtăn e șin? --- ăch ņichnél ăn cruth șin zeantă ză dhavnă. Nuař o nă řołtăn inș ăn oț, efșăr lu torț ruathăr u dăvăn gu dăvăn třin nyav; ăch nuař o nă řołtăn as ăn oț, chan efșăr lu bi byu. Ăch ged nach el șied byu tilăgh, cha bey șied ney egi gu h-emăs.''
Dă-chath șe szech înș ăm mîř îd, ech ăgăs ă-mharăcăch.


עָזִּ֤י וְזִמְרָת֙ יָ֔הּ
These Great Old Ones, Castro continued, were not composed altogether of flesh and blood. They had shape—for did not this star-fashioned image prove it?—but that shape was not made of matter. When the stars were right, They could plunge from world to world through the sky; but when the stars were wrong, They could not live. But although They no longer lived, They would never really die. <!--They all lay in stone houses in Their great city of R’lyeh, preserved by the spells of mighty Cthulhu for a glorious resurrection when the stars and the earth might once more be ready for Them. But at that time some force from outside must serve to liberate Their bodies. The spells that preserved Them intact likewise prevented Them from making an initial move, and They could only lie awake in the dark and think whilst uncounted millions of years rolled by. They knew all that was occurring in the universe, but Their mode of speech was transmitted thought. Even now They talked in Their tombs. When, after infinities of chaos, the first men came, the Great Old Ones spoke to the sensitive among them by moulding their dreams; for only thus could Their language reach the fleshly minds of mammals.-->
וַֽיְהִי־לִ֖י לִֽישׁוּעָ֑ה


Șe mă-nert îs mă-chufd e Ășéym;
=== From the Song of the Sea (Exodus 15) ===
Dă-bhi șe înă shăyrăgh dum.
TODO: display gloss for each word in alt text
{| class="wikitable"
!! style="width: 300px;" | Yăhuăș (Special forms bolded) !!style="width: 300px;" |  Neutral Ăn Yidiș !!style="width: 300px;" |  Irish (An Bíobla Naofa, 1981)
|-
||
<poem>
Bi mi ă șeyņ dă Hășéym
Or '''rug''' e buagh gu proașil!
Ănd ech ăgis '''mharăcăch-șăn'''
'''Dă-țheliģ''' e szech dăm mir.
</poem>
||
<poem>
Bi mi ă șeyņ dă Hășéym
Or reņ e bŗeh buagh gu proașil!
Ănd ech ăgis ăm marăcăch teģ
Reņ e țeliģ szech dăm mir.
</poem>
||
<poem>
Canfaidh mé don Tiarna;  
rug sé an bua le barr glóire!
Chaith sé i bhfarraige
idir each agus charbadóir.
</poem>
</poem>
|-
||
<poem>
Șe '''mă-ņhert''' is '''mă-dhon'''(*) e Yoh;
'''Ră-bo''' e ină yășǘă dum!(**)
Șa '''mă-Zhie''', is bi mi n-oylăch;
Zie tăģ mar, is bi mi n-ordăch.
</poem>
||
<poem>
Șe ăņ ņert tam is ăn șiră tam e Yoh;
Reņ e bi ină yășǘă dum!(**)
Șa Zie tam, is bi mi n-oylăch;
Șa Zie tăģ mar, is bi mi n-ordăch.
</poem>
||
<poem>
An Tiarna mo neart, mo dhán(*);
eisean mo shlánú.(**)
Eisean mo Dhia, agus molfaidh mé é.
Dia m'athar, agus móraim é!
</poem>
|}
(*) an alternate translation of זִמְרָת ''zimråṫ'' (< ''*zimråṫi'') is 'my might', but traditionally it's been translated as 'my song'
(**) Ăn Yidiș 'he is become my salvation'; Irish 'it is he who is my salvation'

Latest revision as of 07:09, 5 January 2023

Filichdiș or Ăn Fhilichdiș 'the poetic language of the filí, the highest rank of Classical Irish poets' is a special register of Ăn Yidiș which uses inflectional morphology derived from older Irish, most often Classical Irish (like most Irish bardic poetry) but sometimes from Old and Middle Irish. It is a poetic register mainly used

  • for imitating Irish poetry
  • in translations of Biblical poetry or vaguely medieval-European fantasy
  • in experimental and speculative fiction for a variety of effects

These forms, including case forms, preposed possessive pronouns, and synthetic verb forms, are best preserved in Munster Irish, but in Ăn Yidiș they were almost completely lost and replaced with analytic constructions. Ăn Yidiș writers during the Learăgis 'Awakening' period recreated these forms by cognatizing (creating hypothetical Ăn Yidiș cognates of) older Irish or Munster Irish forms, at first to imitate Irish bardic poetry. Filichdiș works written during the Learagis period can be nigh-impenetrable for a modern reader who doesn't know Old and Middle Irish, the most notorious of which is ___ by ___. Colloquially, the term Filichdiș is often used for the most difficult versions of this register, or as "it's Greek to me", like Eleazar Kallir's piyyut Atz Kotzetz (Și Filichdiș/loșăn Oz Guziz).

Sometimes Old or Middle Irish morphology is directly borrowed:

  • שעינ`פאט șeyņfăd 'I will sing' from Middle Irish 1sg future -fat
  • ră-bo e 'he was, he became', from the Old Irish absolute form ro.bá of the perfect of at.tá. (The conjunct form .roba survives naturally in the răv 'jussive' and răv 'dependent form of bhă' forms of the auxilliary, cognate to Irish raibh.) Forms derived from Old Irish absolute/deuterotonic forms are sometimes used to imitate Biblical Hebrew waw-consecutives to which they are syntactically similar (in that they can't be negated or subordinated); see the Song of the Sea example below.

The Yăhuăș translation of the Tanakh uses toned down Filichdiș for poetic passages. The translation made the Filichdiș register somewhat less marked (and more like a standard suite of archaisms) for the speakers that came after it, however. In Modern Ăn Yidiș poetry, a limited number of features from Filichdiș are common.

Filichdiș often uses possessive pronouns similar to older Irish possessive pronouns rather than inflected forms of the preposition tăģ 'of'. However, even in Filichdiș, Hebrew and other non-native loans are not allowed to take possessive prefixes (the same is true of Modern Hebrew). Standardized Filichdiș possessive pronouns use both prefixes and suffixes, like in Salish languages:

  • măL-chnov 'my bone', emphatic mă-chnov-să
  • dăL-chnov 'your bone', emphatic dă-chnov-să
  • (ăL-)chnov-șăn 'his bone' (proscribed cnov-șăn)
  • (ăH-)cnov-șă 'her bone'
  • or(n)-cnov 'our bone', emphatic or(n)-cnov-ņă
  • văr(n)-cnov 'your bone', emphatic văr(n)-cnov-șă
  • (ăn-)cnov-săn 'their bone'

-chd is a Filichdiș cognate of the native abstract noun suffix -f (both from -cht).

Samples (Translations)

From "The Call of Cthulhu"

(Use cases and Old Irishisms as much as possible)

Ņichnél nă Yăzúrim h-Orsi șa zeantă ză chol fyul is fil in iřă săm bith, ărsă Castro. Șe cruth o că gu zerăv --- nach dă-dherăv ăn zelăv șu mhünlăthă lă řołtăn e șin? --- ăch ņichnél ăn cruth șin zeantă ză dhavnă. Nuař o nă řołtăn inș ăn oț, efșăr lu torț ruathăr u dăvăn gu dăvăn třin nyav; ăch nuař o nă řołtăn as ăn oț, chan efșăr lu bi byu. Ăch ged nach el șied byu tilăgh, cha bey șied ney egi gu h-emăs.

These Great Old Ones, Castro continued, were not composed altogether of flesh and blood. They had shape—for did not this star-fashioned image prove it?—but that shape was not made of matter. When the stars were right, They could plunge from world to world through the sky; but when the stars were wrong, They could not live. But although They no longer lived, They would never really die.

From the Song of the Sea (Exodus 15)

TODO: display gloss for each word in alt text

Yăhuăș (Special forms bolded) Neutral Ăn Yidiș Irish (An Bíobla Naofa, 1981)

Bi mi ă șeyņ dă Hășéym
Or rug e buagh gu proașil!
Ănd ech ăgis mharăcăch-șăn
Dă-țheliģ e szech dăm mir.

Bi mi ă șeyņ dă Hășéym
Or reņ e bŗeh buagh gu proașil!
Ănd ech ăgis ăm marăcăch teģ
Reņ e țeliģ szech dăm mir.

Canfaidh mé don Tiarna;
rug sé an bua le barr glóire!
Chaith sé i bhfarraige
idir each agus charbadóir.

Șe mă-ņhert is mă-dhon(*) e Yoh;
Ră-bo e ină yășǘă dum!(**)
Șa mă-Zhie, is bi mi n-oylăch;
Zie tăģ mar, is bi mi n-ordăch.

Șe ăņ ņert tam is ăn șiră tam e Yoh;
Reņ e bi ină yășǘă dum!(**)
Șa Zie tam, is bi mi n-oylăch;
Șa Zie tăģ mar, is bi mi n-ordăch.

An Tiarna mo neart, mo dhán(*);
eisean mo shlánú.(**)
Eisean mo Dhia, agus molfaidh mé é.
Dia m'athar, agus móraim é!

(*) an alternate translation of זִמְרָת zimråṫ (< *zimråṫi) is 'my might', but traditionally it's been translated as 'my song'

(**) Ăn Yidiș 'he is become my salvation'; Irish 'it is he who is my salvation'

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