Verse:Irta/Judeo-Mandarin/Filichdiș
Bardiș or Ă Bhardiș 'bardic language' is a special register of Ăn Yidiș which uses inflectional morphology derived from older Irish, most often Classical Irish but sometimes from Old and Middle Irish. It is a literary poetic register mainly used
- for imitating Irish poetry
- in translations of Biblical poetry or vaguely medieval-European fantasy
- for depicting the terrors of the unknown, e.g. in science fiction
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. Bardiș works can be nigh-impenetrable for a modern reader if they don't know Old and Middle Irish.
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.
Even in Bardiș, Hebrew and other non-native loans are not allowed to take possessive prefixes (the same is true of Modern Hebrew).
The Yăhuaș translation of the Tanakh (which was made post-Learăgis), uses toned down Bardiș for poetic passages. The translation made the Bardiș 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 Bardiș are common.
Samples (Translations)
From "The Call of Cthulhu"
(Use cases and Old Irishisms as much as possible)
Ņichnél nă Fyoghăn h-Orsi șa zeantă ză chol fyul is fil in iřă săm bith, ărsă Castro. Șe cruth o că --- 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
| Hebrew | Ăn Yidiș (Yăhuaș) | Romanization (Special forms bolded) | Neutral Ăn Yidiș |
|---|---|---|---|
|
אָשִׁ֤ירָה לַּֽיהֹוָה֙
כִּֽי־גָאֹ֣ה גָּאָ֔ה |
בּעי מ-א שעין׳ טא השם
מאר טא-תֿוֹק ע בֿוֹאג קוֹ פּראָאשיל! |
Bey m'ă șeyņ dă Hășéym |
Bey m'ă șeyņ dă Hășéym |
|
עָזִּ֤י וְזִמְרָת֙ יָ֔הּ
וַֽיְהִי־לִ֖י לִֽישׁוּעָ֑ה |
שע אן נערתּ תּאַם איס א כֿוֹבאכט תּאַם ע יָהּ!
רא-בּאָ ע אינא ישועה טוֹם! |
Șe ăn nert tam is ă chuvăchd tam e Yoh! |
Șe ăn nert tam is ă chuf tam e Yoh! |