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

Verse:Irta/Judeo-Mandarin/Filichdiș (view source)

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 * 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 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 ___ which is often used as a byword for "it's Greek to me" in Ăn Yidiș, like Eleazar Kallir's piyyut Atz Kotzetz (''Șe loșăn ___/loșăn oț guțiț o h-ołn'').
+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 ___ which is often used as a byword for "it's Greek to me" in Ăn Yidiș, like Eleazar Kallir's piyyut Atz Kotzetz (''Șe loșăn ___/loșăn oț guțiț o h-ołn'').
 Sometimes Old or Middle Irish morphology is directly borrowed:
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 * ''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 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.
+The Yăhuaș translation of the Tanakh (which was made post-Learăgis), 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.
-Bardiș often uses possessive pronouns similar to older Irish possessive pronouns rather than inflected forms of the preposition ''tăģ'' 'of'. However, even in Bardiș, Hebrew and other non-native loans are not allowed to take possessive prefixes (the same is true of Modern Hebrew). Standardized Bardiș possessive pronouns use both prefixes and suffixes, like in Salish languages:
+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''