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The source of contention centers on the use of two ''Širkattarnaft'' characters, ''yu'' and ''gu''. Whenever they appear, they appear immediately next to the word they modify. If spacing between these special characters and the word they modify is any guide, they can appear both before and after the word they modify. Two other issues surrounding the use of the ''yu'' and ''gu'' characters must also be taken into consideration. Firstly, the ''yu'' and ''gu'' characters initially appear in one litigant's correspondence, only to be later incorporated into the other litigant's texts. The period in which the characters appear also plays an important role in the evolution of the litigants' use of the ''Širkattarnaft'' to indicate mutations. | The source of contention centers on the use of two ''Širkattarnaft'' characters, ''yu'' and ''gu''. Whenever they appear, they appear immediately next to the word they modify. If spacing between these special characters and the word they modify is any guide, they can appear both before and after the word they modify. Two other issues surrounding the use of the ''yu'' and ''gu'' characters must also be taken into consideration. Firstly, the ''yu'' and ''gu'' characters initially appear in one litigant's correspondence, only to be later incorporated into the other litigant's texts. The period in which the characters appear also plays an important role in the evolution of the litigants' use of the ''Širkattarnaft'' to indicate mutations. | ||
The litigants' correspondence can be divided into three stages: the Early Period (EP), the Middle Period (MP), and the Late Period (LP). In the Early Period texts, the ''yu'' and ''gu'' characters first appear sporadically in Sorvin's correspondence, albeit with a considerable amount of irregularity. Subsequent responses from Éro initially start with only the ''yu'' character, and sometimes the words where the character appears coincides with Sorvin's, but there are also many counterexamples. As the texts progress towards the Middle Period, a considerable amount of convergence in the litigants' usage of these characters becomes evident. By the Late Period, the use of the characters gradually fall out of use. Dr. Iyyaħmi | The litigants' correspondence can be divided into three stages: the Early Period (EP), the Middle Period (MP), and the Late Period (LP). In the Early Period texts, the ''yu'' and ''gu'' characters first appear sporadically in Sorvin's correspondence, albeit with a considerable amount of irregularity. Subsequent responses from Éro initially start with only the ''yu'' character, and sometimes the words where the character appears coincides with Sorvin's, but there are also many counterexamples. As the texts progress towards the Middle Period, a considerable amount of convergence in the litigants' usage of these characters becomes evident. By the Late Period, the use of the characters gradually fall out of use. Dr. Iyyaħmi remarks: | ||
<blockquote style="font-style:italic"> | <blockquote style="font-style:italic"> | ||
The gradual evolution of the litigants' usage of the Širkattarnaft indicate the authors had a conscious meta knowledge of the grammar of their language. They were quite aware from the beginning when they began their correspondence that the Minhast script could not reflect the complex phonological changes that occurred when various parts of speech interacted with one another. Think of Sorvin and Ero's ongoing correspondence as a dance: as new partners learning the steps of a new dance, they start out awkwardly, but with time and practice, their moves synchronize, and without further need to concentrate which steps to repeat and how to strategize the next move, they become a unified pair, their dance now becoming a fluid, effortlessly choreographed visual sensation. | The gradual evolution of the litigants' usage of the Širkattarnaft indicate the authors had a conscious meta knowledge of the grammar of their language. They were quite aware from the beginning when they began their correspondence that the Minhast script could not reflect the complex phonological changes that occurred when various parts of speech interacted with one another. Think of Sorvin and Ero's ongoing correspondence as a dance: as new partners learning the steps of a new dance, they start out awkwardly, but with time and practice, their moves synchronize, and without further need to concentrate which steps to repeat and how to strategize the next move, they become a unified pair, their dance now becoming a fluid, effortlessly choreographed visual sensation. | ||
</blockquote> | |||
Just like the dancers, Sorvin and Éro learn the Širkattarnaft and struggle to fit it with the phonology and morphophonotactics of their language during the Early Period. As time passes into the Middle Period, the idiosyncratic patterns of each writer gradually merge into a standard, one mutually and implicitly agreed upon. After all, the adversaries have learned each other's style, becoming adept and fluent in the other's use of the Širkattarnaft. By the Late Period, the use of the "gu" and "yu" characters gradually diminish, the authors now confident that the other can anticipate when a mutation occurs, and what type. "Gu" and "yu" become no longer necessary, as Sorvin and Éro have associated clitic, modifier, case, tense, and number with the appropriate mutation. In spite of their enmity, they had, perhaps unbeknownst to them, helped each other, teaching the other how to communicate in a script ill-fitted to their native language. They cooperated with each other, creating a new system suitable for Vadi.</blockquote> | |||
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