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
So you’ve all probably seen at least some of my numerous poems written in Rílin, along with their accompanying script. I wanted to explain how the alphabet for Rílin works.
It is pretty simple conceptually. Rílin traditionally uses a phonetic alphabet, where each letter corresponds to a phoneme (distinguished sound) in the language. Rílin has a large phonemic inventory (29 consonants and 13 vowels), so there are as many letters in the alphabet.
In the below image, you can see the IPA symbol for each Rílin phoneme, followed by (in brackets) the Romanized representation (sometimes there are variants available for those times when it is not convenient or possible to use diacritic marks)
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.
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!
More moodboards for places in Aeniith. The Tosi Empire (mostly warm and arid, large, lots of military forts and castles and such, female-ruled society, imperialistic, etc), and the Rílin forests of northern Izoi (same continent mostly): cool, green, good for hiding, and actually toxic to most non-Ríli. The Tosi invaded them anyway for resources but the Ríli will eventually win this long war for their homeland, though not without great cost.
This is a Rílin nezeletŭ, along with its recording. This is called Tímalípin ‘We Remember’. It is, like all nezeletŭ, about the sorrow experienced by those Ríli who were driven from their forest home by the Tosi invaders.