The Itlani Language

Ta Siarelit skankaór Tulgadán ruvyavor u vunit prazhenú “natunizhe sholit kulmaa” onyaven. Idá sheri ta prazheney Seyrán ta Tainaa helistizhe izmuyara. Secha ta prazhen ta shim sholovó vey kayarovó Itlana inseriisyara, ta Itlanit klanashól djurit natunit pevshí onyara.

The Terran author J.R.R. Tolkien once said that his stories were “primarily linguistic in motivation.” That is certainly true of Circle of the Lantern. Although the story highlights the five languages and cultures of Itlán, the Itlani language is its primary focus.

Ta Itlanit shol “drindashól” harvolilu onyara – shol kiín zhoyit tikhodese ta sholit nuvendaa helistizhe disuyara. Ta Itlani shol helistizhe ta shol zhoyit nikha onyara. Ta Hazafazaraay zhoyese fidiritavilyiva vey kilovó vey talvalanit vey prinadimarit shunafyara. Tikhoda faragizhe Yalyenit Damadjit Eüropit Shola onyara. Iidovó fidirinetelya ra-makayaru ruzay idaizhe vutova zhanavit onyaru. Mashrá ta munkakhalú vey ta tugú ta shola zhoyese kadimarit onyaven vutova zhigutferyavu. Ta shol iíz vananyiva kiinizhe onya harvolyara djur-sá.

Itlani is by intention an “artlang” – it is a language that certainly responds to my sense of linguistic aesthetics. The Itlani language is truly the language of my soul. It has manifested itself to me from Realms-Somewhere-Real and exhibits qualities that are both classical and impressionist and of a decidedly Standard Average European feel. I cannot explain these things but such I have found them. As the parameters and the details of the language came to me I recorded them. The language came to be exactly what it was meant to be.

Talvalanit vey Prinadimarit Shol – A Classical and Impressionist Language

TALVALANI: Pilavit fara, zavacharit kiinizhe yalyen ta dralunuda, meresait, dersinatsit, kilurivit omoit drasevolivit kodagoilisa, narenizhe zhigutalit, saizmuit, nalit, adit, kivarizhe ta pelikilova, ta idarudova, halonudova, tayvidudova vey mantaotova. Ta omoudova, ta satebova, ta etallanudova vey kulunatsova kivyara.

CLASSICAL: Of recognized value, serving as a standard of excellence, traditional, enduring, characterized by simple tailored lines, historically memorable, authentic, authoritative, ancient, emphasizing balance, clarity, moderation, principle, and style.  Exhibiting simplicity, restraint, proportion, and universality.

PRINADIMARI: Ta fidiritsurafós shola ta tugilisa harvolivit idarivarudova  ba zambenova intevaya aristavi ta fidiriuvakosa ta kilit yibisha, djurilu kednait fazaraenova korunya – fidiriuvakót sevolivit ta breskit buleaovó vey glavniimarovó  klanadafarya.

IMPRESSIONIST: Depiction of a language by details intended to achieve a vividness or effectiveness more by evoking subjective sensory impressions thereby recreating an objective reality – mode of expression designed to convey subtle moods and impressions.

Kari mu brevit drindadieley zhoya, “Zhoyit gisiú kiriatit puranú ra-onyaren, ruzay danivisú dlinarun kiinú onyaren, onyaven, ba eshkizhe onyaven – zhigutenarun, tikhodarun.” -Gladis-Goldstínay, chadenimit drindadiél

To quote one of my favorite artists: “My canvases are not explicit statements, but hints of things that are, or were, or might have been – of memories, of feelings.” -Gladys Goldstein, multi-media artist

Izmuizhe, ta fidiriuvakós ta Itlanit shola pe Siarelan hazá dazhem ta otavá ta talmasinosa vey ta sevoluchasa zhanyira.

Indeed, the expression of the Itani language on this earthly plane falls somewhere between the modalities of a channeled work and that of a design project.

Ta vanit kednaíf ta Itlanit shola ta mishtarata Drunit shol pilayiva. Ta mishtarat rumbiizhe ta  Itlanit shol mayiva – ta shol ta karfeya Etieylán (Itlán). Ta Itlanit shol seti 9an Bashlataa 1997 enkoshyiva losh ta zhigutferey ta muit Itlanit gadán kiín zhoyese kadimyava feresh. Mashrá ta aulavá ta shol aurizhe vey lastriizhe banchulifyava varvari zar zhiguttayvidín kiinesea pashni rastizhe terpusyavu, mu nuvendait vey mu praykoni.

The original incarnation of the language was known as the Drunit shol or “Purple language.” The name was later changed to Itlani – the language of the Horizon of Refuge. Itlani was first discovered on February 8, 1997 with the recording of the first Itlani word to come to me: feresh, meaning “book.” Over the years the language has developed steadily and consistently due to two recording principles that I adhered to very strictly, one aesthetic and one practical.

Ta muit ta tayvíd Ketasha vey Paraa onyara. Iíd tayvíd zarzari ta drindaudova ba djatnuvendaova vey prundji ta nobshetit mayukova ta shola dlekeshyara. Iíd odnok kiryara u kashá Itlanit itór ta djakese banadjinyara vey ta kulit harvolivit paraova ta eypara ba skankaa klanadafaryara, idakín dralit Itlanit itór onyara. Iíd ta fidiriuvakeynova vey ta chinduova ta shola manukanavyara.  Ta zarit tayvíd idá ta nalsatuda ba ta sonsaunurosa onyara kiinilu ta maú ta sholese, zhoyese danivivit ta sabashlailu,  resh ta chilinudey vey ta nukmenudey dini ta meyradjit sevolan vey imaran ta shola mavdonizhe stranchniyiven vey selamuryiven. Iíd odnokilu vey fazhenú dini ta sholese zaradizhe  fanayizhen vey kumenterivenú zaradizhe inululyizhen. Iíd zar tayvidú zhirasyaren u zarzari ta banadjinúd vey ta aurúd ta shola tebtebyiten. Helistafyaren u ta ish ta shola tretiizhe vey drimalizhe zakelzhenyazha vey u ta shol inu ta krazhniit sheyvesinit iküikhumifay otrinit samyata. Udjatizhe, ta “sevolarór” ta shola ra-onyaru ruzay djurit iküitureg vey ferór.

The first principle is that of Ketásh vey Pará, or “Sound and Meaning.” This principle covers both the artfulness or phonaesthesis of the language as well as the communicative function of the language. This rule indicates that if an Itlani sentence is beautiful to the ear and conveys all the meaning that the speaker or writer intends then it is a good Itlani sentence. This guides the expressivity and rhythm of the language. The second principle is that of Canonicity or the “gatekeeping” function whereby changes to the language, suggested to me in meditation, were carefully filtered and weighed for importance and fitness to the overall design and feel of the language. By this rule, it is difficult for both new features to be added to the language and for existing features to be removed. These two principles help maintain both the beauty and stability of the language.  They ensure that the knowledge of the language will evolve slowly and deliberately and remain free from being overly trifled with at every turn of new taste or fashion. Ultimately, I am not the “designer” of the language but rather its conduit and scribe.

Dini ta Itlanit Hazafazaraan ta Itlani shol klanamá ta adunit Ravzhurit shola onyava. Ta shol ta Itlanit sholnirdioray vey prazhendioray, Rozh-Shpiláv, resh ta drimalín ta keylivasuriafosa vunit isanirit sakafarun maisivit onyava. Tsornitá ta shol 15.600 dinifelenovó dini djurit Gadansalan vey dzoniakova tomak yal rumelarun lafiyara. Argidanit dzoniak, ta Kultugit Dzoniakún ta Itlanit Shola, tsorniizhe lonevirit onyara.

Within the Itlani reality of Realms-Somewhere-Real the Itlani language was a reform of the ancient Ravzhurian tongue that was altered by the Itlani linguist and storyteller, Rozh-Shpiláv for the purposes of the furtherance of his philosophical ideals. At present the language contains 15,600 entries in its Gadansál or primary Lexicon and a forty eight page grammar. A more comprehensive grammar, the Kultugit Dzoniakún ta Itlanit Shola or Comprehensive Grammar of the Itlani Language is presently in production.