Tek Riafa

Setting
Tek Riafa is a fan dialect for Hymmnos/Ar Tonelico, but is also used in a modified way by the people of Ramaine. This page will deal primarily with the Hymmnos version, (though the core differences in the Ramaine version sill be covered.)

Pronuciation
A great deal of Tek Riafa is pronounced in a similar rhythm to japanese, but with an english range of consonants. In other words, words tend to be broken quite sharply into sylables.

Vowels
When used in an emotion word, the vowel sounds are as follows:

Y can be treated as either a vowel or a consonant.

Outside of emotion sounds, for the most part things are similar but there are occasional exceptions:

When followed by a consonant, i is often pronouced ɪ as in 'six'.

With only a few exeptions, adjacent vowels are treated as seperate sylables. Eg: 'Hear' would be pronouced 'heh-ar' rather than 'heer'.

At the end of words, o is often pronounced as əʊ, as in 'no'.

Consonants
C is always soft, G is always hard. J is generally hard.

At the beginning of words, X is pronounced the same as Z, otherwise is is used as in 'six'. eg: 'xix' would be said 'zix'. When placed next to a number or symbol, it is pronouced 'ku' (see below).

When Y follows another consonant, they flow quickly together, so 'dya' would be pronouced very similiarly to 'ja'.

Merged sounds
When followed by a noun, 'Ci' is occasionally shifted into a 'sh'. This is most often seen in pronouns such as 'cienna' (us)', which can be said either as 'see-eh-na' or 'sheh-na' depending upon speed/rhythm.

At the end of words, 'ae' is often merged to may an a sound as in 'hay'. eg: Sukae (soul) would be said 'soo-kay'.

Symbols
In the Hymmnos variant, these are generally the same as in Hymmnos. The Ramaine dialect does not use symbols for the most part.

//, = and : are ignored. Words joined by _ or. are spoken as if there is a space between them.

Emotion Language
An emotion word can be easily identified by the fact it ends in //

They are effectively a matrix, and formed of a number of stages, and consequently able to express complex concepts in a very short period of time.

Stage 1- Emotion
This step contains one or two concepts. They can be split into 2 types: The first, if included, is written as a vowel and contains a general tone. They rarely appear on their own. The second type is more specific and is written as either a single consonant or a collection that makes a particular sound. One special stage one element is xix-, which reverses the meaning of the rest of stage 1.

Stage 2- Intensity/Attitude
Another 2 part step. The optional first part expresses what the singer feels about the emotion:

The second part is essential and expresses the strength of the feeling

Stage 3- Subject/Subject Modifier
These can be layered up quite a way, but generally it's best to make sure it's something pronounceable. r and ch behave differently if there is an r or l in stage two— they will refer to how soon you want the feeling to be fulfilled/end. If you need them twice (you want something to be fulfilled quickly, but only be short lived, you would use a y as well (this is optional if there is no l or r in stage 2.)

Examples
ary// deeply, actively determined (ah-rye)

ikien// more than anything else, helplessly afraid of you (ee-kee-en)

xixunaotz// Not lovingly accepting the death of everything (zix-u-nah-ots)

General Grammar
The majority of Tek Riafa sentences are in SVO form, and for anything not in simple present tense, with a tense code formed much in the same way as the emotion words appended to the front.

Tenses
A tense code can be recognised in the Hymmnos version of the language by its ending in '://'. They are made up of up 3 components, arranged in various orders. The three elements signify the time being spoken about, the permenance/duration of it and finally the nature of the statement, which included commands, potential and obligation. Often this last type is the first to appear in the tense code.

Time Tense Elements
a- always have e- never before o- past i- future (blank)-now

Duraration Tense Elements
ki- This state will continue forever ka- This state will not continue beyond the now ko- This state has ceased in the past (blank)- This state goes on an unspecified time

Note: These refer to the time tense elements in their meaning, particularly with a- and e-. In otherwords, while 'aki://' means 'Always have and always will', 'eki://' means 'Never have and never will'.

Statement Type Tense Elements
rha- order/request

xarha - forbidding

tra- would/conditional

xatra - would not

shra- might

dan - possible

xadan - impossible

din - required/must

xadin - not required

(blank) - simple statement

Examples
cer.adorra (You sing)

o://cer.adorra (You sang)

ka://cer.adorra (You won't sing any more)

ko://cer.adorra (You stopped singing before now)

eki://cer.adorra (You never sang before and you still won't.)

eka://cer.adorra (You never sang before but now you will)

rhaki://cer.adorra (keep singing!)

adin://cer.adorra (You have always been required to sing)

dani://cer.adorra (You can sing in the future)

Passive and reflexive statements
These are rendered by using a 're:' for passive statments or a 'me:' for reflexive, placed before the pronoun but after the tense code (if there is one)

eg:

cen.alidya (I help)

re:cen.alidya (I am helped)

me:cen.alidya (I help myself)

aki://me:cen.alidya (I have always helped my self and I will continue to do so)

Pronouns
Tek Riafa pronouns have both a 'formal' and 'informal' case, though this refers more to power, importace and significance to the speaker rather than to social status. Whether they are subject or object is infered from word order.

There is also a form for places, which translates a little differently:

Cel (Here)

Cella (All around here)

Ciel (The World)

Ciella (Absolutely everywhere)

Which gender of 3rd person pronoun you use for a particular word can vary: There is a hirachy of things to decide which should be used. In order of imporance, it goes:

1) The actual gender of the thing in question. e.g. a girl would take 'ces' or 'cies'.

2) If there is a strong mood you wish to invoke by it, inanimate objects may be personified with a gender.

3) The gender of the owner of the thing in question. e.g. a book belonging to a boy would take 'cet', but if it belonged to a girl it would take 'ces'.

4) If known, the creator of the object's gender.

5) If none of the above are applicable, it will take the neuter 3rd person.

Possessives
There are a number of ways to form a possessive.

The Hymmnos only way is to join the words with a '_' such as 'cen_adra' (my song). The owner preceeds the thing owned.

In a similar format, when the owner is expressed with a pronoun, you can omit the _, but swap the 'e' in the pronoun for an 'a', e.g. 'can adra' (my song).

You can also use the words 'ar' and 'aro' to express ownership, placed between the two words. With ar, the first word owns the second, with aro the first word belongs to the second, i.e.:

Cesren ar rion (girl's star)

Cesren aro rion (girl belonging to star)

Using a possessive with a verb transforms it into a gerund, in other words 'nouning' it, e.g.

Cer adorra (You sing)

Car adorra (Your singing)

Fomality
Used on it's own, the informal case is neutral, however if a formal pronoun or article is used in the same statement as an informal, it strongly implies the informal is either worth less, weaker, subjegated or somehow inferior to the formal. ie:

Cen enviyaci car logia (I witness your actions)

Cen enviyaci ciar logia (I witness your actions, precious one)(More accurately/literally, 'unimportant me witnesses the actions of precious you')

Cien enviyaci car logia (I witness your actions, worthless one)(More accurately/literally, 'Precious me witnesses the actions of unimportant you')

Insult Case
There is also a much less common pair of cases which are actively insulting and regarded as rather course and unsubtle, reserved for objects of utmost contempt and where appropriate, implies that the speaker has set themselves in opposition to the thing in question and intends to fight. It is formed by replacing the 'c-' with 'zux-'. This can be used 'formally' or 'informally', the informal implying general hate and worthlessness, and the formal implying a personal significance to the hatred. These can be translated as colourfully and obscenely as you like, but a clean example for clarity's sake could be:

Zuxer! (You worthless peice of trash, you're going down!) 

Zuxier! (You worthless peice of trash, you're the bane of my existance, bring it on!)

Articles
Articles may be omitted in Tek Riafa, and simply infered by context. However, they do exist and carry an implication of how common the thing in question is, as well as the formality level, and are often used to voice the tone from a pronoun with a noun. They may be used with both nouns and propper nouns, and with a verb it creates a gerund in the same way using a possessive will.

Articles are formed using an appropriate pronoun, prefixed with a letter. The prefix meanings are as follows:

i - The/THIS ONE HERE, with an added implication of that thing being absolutely unique. y - (said 'ay') The/THIS ONE HERE (no article at all) - Inferred from context, no feelings given a - a/some of something not that common, or where not many are relevant to the situation u - a/some of something quite common e - one of something incredibly common

Examples:

Can iciet fillyasur (My unique and precious beloved)

Ycies cesren (This important girl)

Acied avirenje en yced kajo (A precious little bird in the cage, of the few we're talking about)

Ucied falfolin (A precious flower, one of the various flowers there are)

Ecedda falfolinini (Some common flowers, out of the many other flowers)

Icies Asterikos (Asterikos and nobody else, precious and unique)