It’s once again been a while. I’ve been busy with a lot of things–mostly my research and lots of international travel! I’ve been in six countries since May!
One of the things I was doing while traveling this summer was attending the Language Creation Conference (the 8th biannual) in Cambidge, UK. My husband Eric and I started off the conference with some musical performances of songs in several conlangs (Gotevian, Tosi, and Rílin). We’d written some Aeniithian music before but wrote several of the pieces for the conference specifically. Eric is a composer and musician, as well as a 3D graphics designer and synth expert, so we jointly designed musical instruments unique to Aeniith cultures. We also designed musical notation systems for each culture and the musical scales that they represent. We performed four songs, two of which can be heard/seen:
, and Ŵatakap Bí Xabhét (Rílin), which has a video that can be seen here.
We also presented a poster that explains a bit about the unique instrument designs (and includes 3D models of them by Eric), musical notations, etc.
Well, it’s been a while! I do want to get back in to posting things here, despite my busy workload. Maybe it’s even better for me to do so because of that workload.
In light the recent catastrophe in Paris, I have been thinking about how the Ríli form expressions of sorrow, sympathy, condolences, etc. Languages often have formalized/idiomized or set phrases for these kinds of expressions, so I thought it was important that Rílin did as well. Rílin culture emphasizes harmony, support, respect, and sensitivity to others’ emotions, so I wanted to make their phrases of sorrow and sympathy reflect some of those values too. All of the words and grammar used herein are extant parts of the Rílin language–I am configuring them in ways that seem appropriate.
Note: the variations on the way of saying ‘you’/’your’ are due to traditional Rílin’s (and Lunauli Rílin) way of distinguishing three levels of formality/familiarity for pronouns and persons (lí at the most familiar and zana at the most formal for ‘you sg.’).
Lilaíkim – ‘I am grieving/mourning/crying’ (this word lilaí also means to weep copiously)
Hestia(tíí)/(tyy)/(taa)ky – Lit. ‘may you recuperate/rest’
Bítapky Démas/Ifinŝas líet/xyet/zanat – ‘May Déma/Ifinŝe embrace/aid thee’ (depending on which goddess you would like to reference)
bí-t-ap-ky Déma-s/Ifinŝe-as lí-et/xy-et/zana-et
/biˈtapky ˈdemas(ɪfɪnʃas) ˈliɛt (ˈxyɛt)(ˈzanat)/
embrace/aid-npst-3sg-irr Déma-erg/Ifinŝe-erg 2sg-abs
I added rivers, a few lakes, and more features. The fortress of Ad Simel Tī is where Dark Designs takes place. Zūr Chi Lār Na means Tower of Death in Tosi and basically is the watch tower for the western seas, in case any force tried to invade from Keta (which no wants to, but the Tosi are nothing if not paranoid). You can see the eastern island that is shared by the Selupa and the Karkin. The Karkin just get the shit end of the island that are plagued by sandstorms and have fewer resources. 😛
Then, in the Rílin forest, you can see the respective regions where the Ríli went after the Flight (post Tosi invasion), with some fleeing north and building underground cities (the Lunauli) and living in the cold mountainous area, and some (the Sunuli) choosing to stay south and fight the Tosi. There is a steppe between the forest and the desert that is a kind of no man’s land but of course the Tosi claim it.
That chasm south of the mountains is filled with a poisonous gas and the Tosi send their really hated enemies there. It also might be kind of sort of haunted.
Unfinished full map
Still needs fresh water bodies, more placenames, etc. And there’s too much ocean at the bottom of the map, hehe. But, it’s a start. Full view here.
I’ve been filling out cultural or customs “gaps” for Gotêvi, trying to balance it out and make it a little more “complete”. Here’s a blurb on traditional wedding customs:
Gotevian Marriage Customs
Marriage in Gotevi is a legal practice rather than a religious one, though religious marriage ceremonies can be held nonetheless. Weddings must be over seen by a magistrate (irftennir) in order to be considered legal. Usually they are held in a public building—some buildings exist constructed specifically for matrimonial purposes. Both parties usually invite their friends to the ceremony, sometimes even the entire neighborhood wherein they live will come, if only to eat and drink for free.
Traditionally, wedding clothing is bright yellow, for both bride and groom. Their clothes are similar in cut and style as well—usually shin-length tunics with long sleeves. The similarity of clothing symbolizes the binding and thus likeness of two people.
First, there is a party with food and drinks and often some type of music. Fervent dancing is traditional; this is perhaps the only case in which tradition suggests unruliness in Gotevian culture. It is considered appropriate that the woman and the man both socialize with their friends of the opposite gender to emphasize the trust of their partner. There are many traditional games played during wedding parties, including lots of gambling, though these are recent developments and are often scorned by the older generations.
After the festivities, the magistrate arrives and the people to be married sign a contract to each other. Everyone attending is technically a witness, but the magistrate’s presence is still required. After this, the couple is tied together facing each other with ribbons by their friends, and they must untangle themselves without any other help. This supposedly symbolizes the fact that now they must rely on each other to get out of trouble and have the ultimate trust in each other.
This is a short melody composed by my husband Eric (who is a professional musician and composer) based on some ideas I had for Gotevian music involving pipes. It’s still in a baby stage and he said he wants to expand on it, but here it is for now! Also see the musical notational system he came up with for Gotevian music.
Commissioned art of a Rílin woman named Silin. (Please click the image to see the full size version! It looks squished when I insert it here.)
Silin is a scount with the Sunulí guerilla militia. She spies on the Tosi encampments and is an expert tracker of the woods. Her home settlement was destroyed in the initial Tosi attack on Rílin border towns, and Silin’s husband and young son were murdered. She wandered for a few years and fled to the northern coast of Elinís̆. It was here she met Tsilu, another Rílin woman who had fled the invasion, and they became friends, and eventually lovers.
I want to write stories about Silin, but I have three WIPs going right now that need to be dealt with first!
In Tosi legend, narēdi (singular narēd /’nare:d/) are fire spirits that seduce zuna (the species that Tosi are) into throwing themselves into lava flows and burning. This is a poem about a narēd. Her name is Sapof (which comes from the Tosi words for “never extinguished”).
This is a short story about a Tosi guy named Kel whose older sister Koma decides to leave and join the war with the Ríli. Because Tosi society is a matriarchy, it’s not common for young men to be living on their own (especially in middle class homes like this one), and he feels abandoned by his sister and worried for her safety. Soon, he finds that the strain of being left alone is aggravating some mental problems he’d had in the past. Problems increase for Kel when he starts to discover some unsettling facts about his family’s past, and discovers that his ancestral home may be haunted by secrets unknown, both figuratively, and maybe literally.
Genre will be fantasy/scifi/paranormal with tinges of romance and adventure. Rating is at M for now just to be safe. Nothing to warrant the rating so far though. CWs for mental illness, mild violence, mentions of death, mild sexual themes, and paranormal scariness.