Verse:Irta/Judeo-Mandarin/Filichdiș

Ă Learăgisiș is a special register of Ăn Yidiș which uses inflectional morphology derived from older Irish (most commonly in verbs). 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 Learăgüs 'Awakening' period recreated these forms by cognatizing (creating hypothetical Ăn Yidiș cognates of) older Irish or Munster Irish forms. Learăgüs works can be nigh-impossible to read 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 Learagüsis, 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-Learăgüs), uses (toned down) Learăgüsiș for certain poetic passages (such as the Song of the Sea). The translation made the Learăgüsiș 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 Learăgisis 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 ס֥וּס וְרֹֽכְב֖וֹ רָמָ֥ה בַיָּֽם:	בּעי מ-א שעין׳ טא השם מאר טא-תֿוֹק ע בֿוֹאג קוֹ פּראָאשיל! אנט עך אקיס מֿאַראכּאך תּאַזש, טא־צֿעלאזש ע סזעך טאם מיר׳ איעט.	Bey m'ă șeyņ dă Hășéym Măr dă-thug e buagh gu proașil! Ănd ech ăgis ăm marăcăch taģ, Dă-țhelăģ e szech dăm miŗ ied.	Bey m'ă șeyņ dă Hășéym Ci t'e ney tugăl buagh gu proașil! Ănd ech ăgis ăm marăcăch taģ, T'e răn țelăģ szech dăm miŗ.
עָזִּ֤י וְזִמְרָת֙ יָ֔הּ וַֽיְהִי־לִ֖י לִֽישׁוּעָ֑ה זֶ֤ה אֵלִי֙ וְאַנְוֵ֔הוּ אֱלֹהֵ֥י אָבִ֖י וַאֲרֹמְמֶֽנְהוּ	שע אן נערתּ תּאַם איס א כֿוֹבאכט תּאַם ע יָהּ! רא-בּאָ ע אינא ישועה טוֹם! שאַ מא־זֿיע, איס בּעי מ-א מאָל׳ א בֿאָישאט תּאַזש, שאַ זיע תּאזש מאַר׳, איס בּעי מי נא-אָרטאך.	Șe ăn nert tam is ă chuvăchd tam e Yoh! Ră-bo e ină yășüe dum! Șa mă-Zhie, is bey m'ă moł ă bhoyșăd taģ; Șa Zie tăģ maŗ, is bey mi nă-ordăch.	Șe ăn nert tam is ă chuf tam e Yoh! To șe ney bi ină yășüe dum! Șa Zie tam, is bey m'ă moł ă bhoyșăd taģ; Șa Zie tăģ maŗ, is bey mi nă-ordăch.