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Swadesh list for Tseer

døludx Tseer
Created byIlL
  • Tseer
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Tseer was a prominent classical language of Talma, second to Windermere; it left a significant influence on Windermere and Skellan. It is the language of the Latlaseekh and other philosophical, historical, and scholarly treatises from Ancient Tseer civilization. It is inspired by Somali, Hmong and Vietnamese.

When the Windermere Empire fell in 1004 fT in the aftermath of the Jeodganite-Ngedhraist Revolt, many Tseeric- and Talmic-speaking peoples newly settled in the land. These Tseeric vernaculars represented variation that already existed in the originally Tseer-speaking area. These Tseeric vernaculars were already separate languages by then, and they came to be associated with different nation-states in Talma.


Wdm and Tseer: like Hebrew and Aramaic?


Compared to Classical Windermere, Classical Tseer has more conservative vowels but less conservative consonants.

Unlike Windermere, Tseer vocalized some laryngeals in clusters, namely *Q and *f. It also merged PLak *ä and *a into /a/.

Vocalized *f, vowels which were colored by *f, and u-umlaut of /a/ and /e/ are the main sources of /ø/ in Tseer.

The laryngeals *X ("far laryngeal") and *H ("near laryngeal") produced breathy vowels, which eventually became nasal vowels. (In Ashanic, *f functions as the far laryngeal.)

  • Nasal vowels merge with nonnasal vowels before m/n/ng/l
  • Final -ng disappears leaving nasalization (as in Skellan)
  • p > f
  • final -g, -w disappear
  • ś, g > kh /x/
  • s- > *θ > t /t/
  • š-, y- > x-
  • t- > dh /D/
  • -s > -x, *s backs to s following ruki; feminine -s becomes -kh
  • c, ć > tx, ts
  • CäC- > CaC-



Classical Tseer has 21 phonemic consonants: Syllable-final v ð are allophones of /b d/, and syllable final b d g are allophones of /p t k/.

m n ng /ŋ/

t th /ʈ/ k ' /ʔ/

b d dh /ɖ/ g

f x /s~z/ kh /x/ h

tx /ts/ ts /tʃ/

v ð /ð/ (only syllable finally)

w r /r̝~ʒ/ l y /j/

  • /x/ is [ʂ] in some dialects
  • b d g = [p t k] word-finally.


Classical Tseer has 10 vowels: 6 oral and 4 nasal.

a e i o u ø /a e i o u ɵ/

aa ee oo øø /ã ẽ õ ɵ̃/

/ɵ/ will be transcribed as /ø/ for convenience.


Classical Tseer had no stress; word boundaries were marked with intonation.


No initial clusters are allowed; also, final -p -t -th -k are forbidden.


Classical Tseer morphology is much like Classical Windermere: nouns have masculine and feminine gender, and verbs inflect for aspect, tense, voice, and gender agreement using prefixes, infixes and reduplication. Like Windermere, Tseer has lost Proto-Lakovic triggers.


I we (inc. du.) thou (m.) thou (f.) he she we (exc.) we (inc. pl.) you (m. pl.) you (f. pl.) they (m.) they (f.)
Full pronouns ree baa khen kheer in eer aari baaba kheekhe kheekher inin inir


Todo: correlatives table

this, that = ti, fi

this/that man = ten, fen; this/that woman = teer, feer

here, there = mid, mif


Like Classical Windermere, each noun has an intrinsic gender, either masculine or feminine. For most feminine nouns, the feminine is marked with -kh or -er (from PLak *-s).

  • atev = son-in-law; atever = daughter-in-law
  • bakhoo = uncle; bakhookh = aunt
  • athaay = lion; athaayer = lioness

Plurals are formed by reduplication with the reduplicant modified for phonotactic or euphonic reasons.

  • athaay 'lion' > a'athaay 'lions'
  • moog 'feather' > momoog 'feathers'

TODO: plural reduplication rules


Verb template



Feminine subject: wa-

Danutx-ir ownakh /da'nutsir ow'nax/ = I loved the girl (male speaker)
Wadanutx-ir ownakh /wada'nutsir ow'nax/ = I loved the girl (female speaker)


  • Passive: haa- (~ Windermere ha-)
  • Reflexive/Reciprocal: ax (~ Wdm )

Verbal number

Pluractionality is used when a verb is done multiple times or done to multiple objects.

Pluractionality: Fe-, FeL-, eeFe- or eeFeL- (cf. Windermere frequentative enFă-)



  • Perfective aspect: unmarked
  • Intensive: tho-, ~ Wdm. thu-
  • Imperfective aspect: le- or reduplication
  • Progressive: oL-, oo- (~ Wdm. ăL-)
  • Imperative: af- (~ Wdm. hef-)




Classical Tseer poetry is based on lines with

  • a prescribed number of syllables
  • a caesura somewhere in the middle
  • the lines rhyme in some rhyme scheme, usually in rhyming couplets (aa) or rhyming quatrains (aaaa).

We use "m+n" to denote a meter of m syllables + caesura + n syllables.

Some meters were:

  • 4+4
  • 4+6
  • 5+5
  • 6+4
  • 4+7
  • 6+5
  • 6+6
  • 7+7