Hymmnos

Hymmnos is a language created by Akira Tsuchiya for the video game Ar tonelico. By the time of the game (3700 A.D.), it is obsolete as a spoken language and only used for interfacing with ancient machinery in the form of songs. It seems to be a distant descendent of English with influences from Japanese, Sanskrit and German.

It is interesting in that it has a very strong emphasis on communicating the emotions of the speaker.

=Origins=

The Hymmnos language it's a derivation of the language used by the Tsukikanade, the ancient shamans that used magic through spellcasting, but from that language we have only two dialects left: Cult Ciel, which while is still in use, it's mostly forgotten; and Risshizen Tsukuyomi, which has very few speakers, and (still) unknown grammar rules.

After some time, when the first tower of Ar Tonelico was built, the people in charge of the project took the Tsukikanade language and optimized it so it could become a better language for controlling the Tower and its communications. For more details about the story of the individual dialects, go to the dialects section

=Writing=

The writing in Hymmnos is made up from some complicated glyphs, based on the ones that were used in the Sanskrit language, and also, adds number glyphs that look like sound waves.



=Grammar (Standard Hymmnos)=

Basic Structure
Hymmnos was designed with the purpose of stating the emotions of the speaker (or singer), and as such, all the sentences are prefixed by a set of three words called "Emotion Sounds"

Let's take this example:

Was yea ra chs hymmnos mea (I will be glad to turn myself into a song)

The first three words, "Was yea ra", are the Emotion Sounds, and these three words are subdivided in three levels:

Was is Level 1, used for expressing the intensity of the emotion.

yea is Level 2, which it's the emotion itself.

ra is Level 3, which it's used for expressing if you want the emotion to last, or the context where the emotion is being felt.

These are all the known emotion sounds:

The rest of the basic grammar is very simple, since it uses this grammar structure:

Verb-Object-Compound or Object

coming back to the example, chs (to turn into) is the verb, hymmnos (song) is the object and mea (my or myself) is the Compound or Object.

Each sentence can only contain a emotion, so you can't input more than a set of emotion sounds per sentence.

And in Hymmnos, there aren't any verbal times, since these are defined by the context of the sentence.

And by this point, you must be wondering where the subject is...

Well, since the sentences in hymmnos are first person by default, the subject is usually omitted.

Structure with a Subject
But that changes if you want to speak about what someone else is doing. Then, you have to use this structure:

Verb-rre-Subject-Verb-Object-Compound or Object

The "rre" that is before the Subject is the "Subject Definer" (meaning that the noun that it's next to it becomes the subject of the sentence). The first verb in the sentence has the function of saying what you are doing, while the second one is for expressing what the subject is doing. Of course, the sentence is still done in first person, and the Emotion Sounds are only applicable to the speaker. And no sentence can contain more than a subject, so the Subject Definer can be employed only once.

Example:

Wee ki ra hyma rre aquagon pagle wart (I will concentrate myself in hearing the words that aquagon says)

And as a final note for this section, both the subject definer and the first verb are omitted if the subject is a pronoun or if the subject it's used as a object.

Pronouns
The pronouns have two ways to be used: as objects or as subjects, and they change slightly depending on how they are used.

Use of Particles (Prepositions/Postpositions)
If you need to use particles (or as we also know them, prepositions), you just have to put them between the verb and the object, but this it's only used if the action of the verb affects anything that's not yourself.

For example, it´s used here:

Was yea erra melenas tes ar ciel (I will be eternally glad to give my love to this world)

With "tes" (to) being the particle.

But not here:

Was yea ra sonwe hymmnos mea (I will be glad to sing my song)

Adjectives
The adjectives always come before the noun that they are affecting, as we can see here:

Ridalnae sol ciel (Irreplaceable world)

tyui frawr (Small flower)

Negative Form of Verbs
If you want to turn a verb into its negative form, just add "na" before the verb you want to modify.

Example:

Was yea ra chs Hymmnos yor (I am happy because I will turn you into a song)

and modifying it:

Was yea ra na chs Hymmnos (I am happy because I won't turn you into a song)

However, remember that this mechanism also affects nouns, making them the opposite of what they should be.

Example:

yehah (happiness)

And adding the "na" before it:

na yehah (unhappiness, sadness)

Noun phrases indicating ownership
If two nouns are put one in front of other, then the first noun "owns" the second one.

For example:

Aurica forlinden (Aurica's village)

Revatail Ciel (Reyvateil's world)

Its easy if you just image a ('s) being put between both nouns.

Special Character Pronunciations
These characters are either used in Hymmnos Binary, or in special grammar functions that will be elaborated upon in later sections.

Note: The 0 and the 1 used here aren't the same as the ones in the numbers. These ones are used in Hymmnos Binary, and it's use it's signaled by this mark: #x#>>#### (replace the #s with 0s and 1s).

Hymmnos Binary it's used in the execution of the programs of the tower and in some hymns, like this example: 0x010001110.

Numbers

 * nel - 0
 * noi - 1
 * ji - 2
 * dri - 3
 * fif - 4
 * vira - 5
 * ixe - 6
 * hepto - 7
 * octo - 8
 * nei - 9
 * dec/de - 10
 * hec/he - 100
 * kik/ki - 1000
 * mik/mi - 10000

The second form of the decimals is used when combining, in a manner similar to Japanese. For instance, jide is 20 and kik octohe ixede octo is 1868.

Emotion Sounds Keeper Definer Syntax
This structure is for repeating the same set of emotion sounds through various sentences. Even if it's a advanced gramar rule, actually it's very simple. It's used in the following way:

(Emotion Sounds) 0x vvi. (Keeper Definer Start)

・

(Text)

・

1x AAs ixi. (Keeper Definer End)

It means that everything that it's between both lines (0x vvi and 1x AAs ixi) will have always the same set of emotion sounds.

"0x vvi" it's pronounced: "Oku vuvi"; and "1x AAs ixi" it's pronounced: "Iku AAs ixi".

Example:

Was yea erra 0x vvi ("Was yea ra" from here)(starting mark)

chs hymmnos mea (I will be eternally happy to turn into a song)

hymme rre walasye hymma mea (I will be eternally happy that the people hears me)

sonwe anw sol ciel (I will be eternally happy to sing to the world)

rre sol ciel hymma hynne mea (And I will be eternally happy that the world hears me)

1x AAs ixi (until here)(ending mark)

Wee apea ra rre yor melenas (I will be very happy to love you)

It's the same as:

Was yea erra chs hymmnos mea

Was yea erra hymme rre walasye hymma mea

Was yea erra sonwe anw sol ciel

Was yea erra rre sol ciel hymma hynne mea

Wee apea ra rre yor melenas

Binasphere
This is one of the most complicated grammar rules existent in Hymmnos, and it's used to sing two lines of lyrics as if they were one (Binasphere means "two worlds" in Hymmnos, the two worlds being the two lines of lyric combined).

It's used in the following way:

Was yea ra chs hymmnos yor (I will be glad to turn you into a song)

en chsee fwal fwal yor (and then, I shall spread out your wings)

First, we take the two lines, and then, we break up and reorganize them as we want in one line, writing them all in caps and adding a x to the end of the syllables that were part of a broken word. The x isn't added if the syllable was the ending of one of the original words, as we can see below:

=> WAx EN YEx CHx A SEE RA CHS FWx HYMMx AL NOS FWAL YOR YOR

Then we assign them a number: 0 for the syllables from the original first line and 1 for the ones from the original second line:

=> WAx EN YEx CHx A SEE RA CHS FWx HYMMx AL NOS FWAL YOR YOR

0  1   0   1  0  1   0  0   1    0   1   0   1    0   1

Then we have to make the Binasphere Formula for the song. To make it, first we have to write this: EXEC_hymme 2X1/0>>formula

The word formula is replaced with the number string that we got after assigning the 0s and 1s to the syllables. In the example the formula would be: 010101001010101. And thus, the complete formula for the example it's: EXEC_hymme 2X1/0>>010101001010101

The formula is always placed at the end of the song, and a song can't have more than one Binasphere formula. If one wants to use Binasphere again in the same song, then the lyrics have to adjust to the formula that was made first. The => (pronounced Tab) it's used to mark the point where the Binasphere lines start.

And to decipher a Binasphere, it's done like this:

Example taken from EXEC_NULLASCENSION/.:

=> RRHA RRHA GUWO Ax GAx PEx GIS A GAx TIE INNx

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE

CIEL EN INI LA ZAx AR HHA CIEL RRHA RRHA Ax GUWO

GA PEx GAx A TYUNY RA HARx AR CIEL

TES EN YORA INI CHYET WAx SOR GAx LAx TYUNx SYEx LA

FORx GANx ART SA DAL FAYx WASSA RA CIEL

EXEC hymme 2x1/0>>01101010

We have to reassign the formula to its syllables, but since this Binasphere formula it's shorter than the total lines of lyric, we have to keep looping the formula until we reach the end of the song (the / isn't used actually, I'm only using it in the example to mark the places where the formula it's looped):

=> RRHA RRHA GUWO Ax GAx PEx GIS A  GAx TIE INNx

0   1     1  0   1   0   1  0 /  0   1   1

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE

0  1   0   1    0 /   0    1    1   0     1   0

CIEL EN  INI LA ZAx AR HHA CIEL RRHA RRHA Ax GUWO

1   0  /  0  1   1  0   1    0    1   0 / 0   1

GA PEx GAx A TYUNY RA HARx AR CIEL

1  0   1  0   1    0 / 0   1   1

TES EN YORA INI CHYET WAx SOR GAx LAx TYUNx SYEx LA

0  1   0    1    0 / 0    1   1  0     1    0    1 FORx GANx ART SA DAL FAYx WASSA RA CIEL

0 /  0    1  1   0   1    0     1  0

Note: The final loop has to end in the final syllable of the song.

After that, we only have to put the syllables and words together in their respective lines, as its shown by the formula.

This is how the lines look after they have been deciphered:

First line:

Rrha apea gagis gran paul nosaash yanje en ini ar ciel (In this delightful trance, the way will be opened for the eternal goddess to purify this world)

Second line:

Rrha guwo gagis tie inna gatyuny ini ar ciel la zahha (In this trance of hatred, from the inside of my captured mind, I shall purify and make advance this accursed world.)

First line:

Rrha apea ra hartes yora chyet walasye forgandal wassa ciel (In the midst of this trance of delight, your hearts will be chosen from all the people for the festival of the world)

Second line:

Rrha guwo ga gatyuny ar ciel en ini sor gatyunla art sa fayra (In this transient anger, I shall purify this accursed world through the flames of hell)

Emotionless Sentences
Normally, if the sentence doesn't has a emotion sound preceeding it, then it uses the same emotion sounds from the sentence that came before it. But if none of the sentences have emotion sounds (and if the sentences aren't using the Emotion Sound Keeper Definer Syntax), then the Tower can't process it as a spell, and ends processing it as a simple song, used only to convey feelings but not to execute any kind of magic.

Example taken from the EXEC_HARMONIOUS/. lyrics:

Faura yerwe murfan anw sol ciel (The little birds chirp their feelings to the world)

Faura sonwe murfan anw sol ciel ee (The little birds sing their feelings to the people)

Ridalnae sol ciel yanyaue manaf (This irreplaceable world, and these precious lives)

Presia yasra lusye enclone anw omnis (Wish that the light of love would flood from the sun and wrap everything)

Faura selena anw Metafalica (The little birds play the song of hope)

This song was used to convey feelings to a certain someone in the story of Ar tonelico, but not for casting magic or executing functions inside the Tower.

Double Register of Emotion Sounds
Even if writing the Emotion Sounds in a sentence when using the Emotion Sound Keeper Definer Syntax is nonsense, it still can be done. It's only made if you want to make a change in emotion between two parts that continue having the same emotions, since when processing the song, the Tower gives priority to the Emotion Sounds written in a sentence over the ones written for the Keeper Definer Syntax.

Example:

Wee apea ra 0x vvi. (I will be inmersed in happiness)

her ar ciel irs (I'm inmersed in happiness because I exist in this world hyma rre faur sonwe (I'm inmersed in happiness for listening to the singing of the birds)

Was yea erra sonwe hymmnos mea (I will be eternally happy to sing my song)

sonwe sos rre ar ciel (I'm inmersed in happiness singing for the sake of this world)

1x AAS ixi.

As we see, the fourth sentence changes it's emotion, to return to how it was before in the next sentence.

=Grammar (Pastalia Hymmnos)=

(All the information in here was contributed by Lazy, from A Reyvateil's Melody forums)

Word Usage
Words in standard Hymmnos vocabulary can be used in Pastalia sentences, however if a word with similar meaning exists in Pastalia vocabulary, then it's more commonly used. Example: "rawah" (Pastalia) and "frawr" (standard Hymmnos) both mean "flower", but "rawah" is used more often in Pastalia sentences since it makes the Reyvateils feel more "natural" when using a word from their own dialect. The exception is the verbs: Verbs in standard Hymmnos can never be used in Pastalia sentences.

On the other hand, Pastalia words can NOT be used in standard Hymmnos sentences, except in EXEC_over.METHOD and EXEC_with.METHOD songs.

Basic Structure
Pastalia is designed on the concept of expressing as many meanings and emotions as possible with as little words as possible. The most simple case is that a Pastalia sentence only contains one word, which is an "Emotion verb". This type of verb is the basis of Pastalia, no Pastalia sentence can be complete without it. There will be one entire section about emotion verb later, since it's very complex.

For now let's take the most simple example ever:

hEmmErYE/. (I will gladly sing)

As with standard Hymmnos, the subject in sentences are always "I". All Pastalia sentences end with /. Though it actually has the meaning of putting the said sentence into operation, in a similar way to hymn names like EXEC_XYZ/. and such, but for simple understanding let's say it is the normal "dot" at the end of our sentences. If it's WAY too emotional, you can replace "/." with "!" and if it's a question use "?" in place of "/."

All Pastalia sentences must express the speaker's emotion towards the matter mentioned in the sentence, with the exception of the Xc=ABC -> XYZ/. grammar, which will be explained later (it's an advanced grammar). The advantage it has compared to standard Hymmnos is that you can explain multiple levels of emotions at once: your own emotion, emotion towards "you" (the person being spoken to) and emotion towards the world, ALL IN ONE VERB. On the other hand, it cannot express the degree of the emotion and whether you want the emotion to last or not like standard Hymmnos can do with their first and third emotion words.

Object
When you want to add an object, just add it after the verb.

Example: hEmmErYE hymmnos/. (I will gladly sing a song)

This is similar to English, and completely reverse of Japanese.

Particles (Prepositions/Postpositions)
For the cases where particles (better known as prepositions/postpositions in English) must be used, add them after the verb and before the object. This is used in case the result of the verb's action affects something outside from you.

Example: you use a particle when you say "give blessing TO the earth" but not when "sing (a) song". It's a bit complex, different from both English and Japanese, but if you see it a lot maybe you'd get used to it. And both Hymmnos dialects have this rule in common.

Example: lElLYEn ut doodu/. (I gladly give blessing to the earth) ("ut" means "to" or "towards")

hEmEmmLYE sonwe/. (I gladly sing a song) (the particle it's omitted in here)

Emotional Verbs
At a first look, words like hYEmmEr or fOwOrYUn look like crazy strings of letters from someone typing with the Shift key holding and releasing at times. But actually, all emotion verbs are combined of 2 parts.

The first part is the "Base Verb", which has looks like these words: h.m.m.r., f.w.r.n., a.u.k., c.z. Basically, these are two and above lower case letters with a dot "." called "Bank Period" between each character. A base verb is already a verb and has meaning, but it does not contain any emotion (and Hymmnos is all about expressing emotion).

The second part is the "Emotion Vowel", which are those upper case letters you see in emotion verbs. Their function is expressing emotions, and in a rather complex way.

Whenever a base verb has at least one emotion vowel, it becomes an emotional verb. Just replace a bank period with an emotion vowel. All other unused bank periods in the base verb are removed.

From left to right, bank periods are called "bank 1", "bank 2"... The smaller the bank number, the higher degree of emotion. In other words, from left to right, the degree of emotion decreases.

Example: h.m.m.r. (base verb: to sing) + E (emotion vowel: happy) + A (emotion vowel: strength/concentration) = hEmmrA (I gladly sing with my strength) (But my happy feeling is higher than my concentration feeling)

Now add /. to the end and we have the complete sentence hEmmrA/. which means "I will gladly sing with my strength".

When a emotion vowel is repeated, that means that the feeling is multiplied (hEmEmrA means that I'm much more happier than hmEmrA).

"x." is a special verb, known as "Subject Definer" that will come into play later (it's used when the subject of the sentence is not the speaker/singer).

Finally, yes, there are cases when bare base verbs are used in sentences, that's the case when verbs are used as nouns that are, then, used as subject. This is a very annoying advanced grammar that I'll explain much later.

Emotion Vowels
Emotion vowels express the subject's (can be the speaker/singer or someone/something else) emotion state when performing the action of the base verb. They are divided into 3 groups, called "Levels".

Level 1: Emotion vowels that express the subject's own feeling.

Level 2: Emotion vowels that express the subject's feeling towards the target being spoken to (usually "you").

Level 3: Emotion vowels that express the subject's feeling towards the people around this place, or all the people around the world (from now on known as "this world").

Here is a list of all emotion vowels and their meanings:

As you can see, they are mostly the same, except between A and YA/LYA, though that's not hard to remember. Level 1 vowels will not stay the same, however, when used with "x." (the subject definer). Of course I'll explain this, but later...

Now, this is the bad part: Emotion vowels actually DO show the "target" that's receiving the result of the action, provided that the "target" is either "I", "you" or "this world". This is quite hard to explain, let's say...

Example 1:

Standard Hymmnos: Was yea ra chs hymmnos mea.

Pastalia dialect: cEzE hymmnos/.

They both mean "I will happily turn (myself) into a song". The "mea" in standard Hymmnos means "me", the target of the verb "chs" (turn into). But we don't see anything similar in the Pastalia version. That's because the two "E" vowels in the verb cEzE already defines that "I" am the target of the action (but remember, this is different from the normal "I" being the subject in every Hymmnos sentences).

Example 2:

Standard Hymmnos: Was yea ra chs hymmnos yor.

Pastalia dialect: cEzYE hymmnos/.

They both mean "I will happily turn YOU into a song". See the YE? It means the target of the action "turning into" is you. Furthermore, it also mean the objective of the action "turn you into a song" is for the sake of YOUR happiness. So, if we translate them exactly word by word, not shortening anything:

Was yea ra chs hymmnos yor. = With great happiness and wanting this happiness to last, I turn you into a song.

cEzYE hymmnos/. = With happiness and for the sake of your happiness, I turn you into a song.

Each type of Hymmnos has their own advantage in expressing, as I mentioned earlier.

The same case is applied to level 3 emotion vowels as well.

Subject Definer
Time for the "x." to come into play. Remember that I said all Pastalia (and all Hymmnos, regardless of which dialect) sentences have the speaker/singer as the default subject? Well, now any sentence where the speaker/singer is not a subject will begin with the special verb "x.", also known as subject definer. In fact, most Pastalia lines you see in hymns and songs are this type.

Even though it's special, "x." is still a verb with only one bank period and you can insert an emotion vowel there. What it does is to express the speaker's emotion towards the matter mentioned in the sentence.

Example: xE yorr cEzE hymmnos/. (You will gladly turn into a song, and I feel happy about that)

You can only use Level 1 emotion vowels with subject definer. Their meaning is almost the same as when you use them with emotion verbs:

- A means "I feel neutral about that"

- I means "I feel jealous about that"

- U means "I feel sad/worry about that"

- E means "I feel happy about that"

- O means "I feel angry/malicious about that"

- N means "I feel negative/hatred about that"

In other words, there are only 6 subject definers to begin a Pastalia sentence where "I" is not the subject. They are xA, xE, xU, xO, xI and xN (in order from most common to least common).

Subject
Subjects in Pastalia are quite hard to understand, but once you get it you will be able to use it quite easily (unlike emotion verbs which require a lot of time to figure out).

To make things simple, I'll just list out EVERY possible situations of subject that could ever happen through examples. For a person, we'll use Lazy, and for a non-person thing we'll use "lyuma" (star). Finally, for subject definer we'll use "xA" (I feel neutral about...)

Situation 1: The speaker/singer ("I") as the subject [verb]/.

Very simple, no subject definer needed, since "I" is the default subject in all Hymmnos sentences already.

Situation 2: "You", "He", "She" as the subject xA _____ [verb]/.

Check up the pronouns table above and fill the blank with the correct pronoun for your subject.

Situation 3: A particular person or thing as the subject xA rre ______ [verb]/.

Just add the noun you need. In case of noun phrase that indicates ownership... Well I'll explain it later, in next part.

Example:

- xA rre lazy hYEmEmArA/. (Lazy sings happily)

- xA rre lyuma hYEmEmArA/. (The star sings happily)

Situation 4: "That" or "Those" as the subject

xA sorr [verb]/.

Basically the idea of the last sentence is used as the subject in this sentence... Like this (direct example from METHOD_REPLEKIA/. lyrics, but I removed the emotion parts to make it more simple)

xA harr hLYUmLYUmOrO eje/. (She sings (the song of) her heart)

xA sorr kLYUvLYUr du qejyu/. (Her singing covers all people)

There is a faster way to express this though, through an advanced grammar: verb used as subject (known as "clause" in English). I'll explain it later, as always.

Situation 5: "This" or "These" as the subject

[noun or sentence] <-x [verb]/.

This will be explained in the <-x advanced grammar part.

Noun Phrases That Indicate Ownership
Simply put, those are nouns indicating normal things with an owner, kinda like they belong to someone/something else. There are two types of noun phrases: Things belong to person/people (Lazy's star) and things belong to a non-person thing (sound of waterfall, for example).

Type 1: Thing belonging to person/people

Add an emotional vowel infront of it, making sure that its level corresponds to the grade of person/people you are trying to indicate. The type of emotion in the vowel is also the emotion the owner express when owning the thing. For definite ownership, add a level 1 vowel followed by a lower dash "_" and then the owner's name.

Example:

- Alyuma (My star, which I feel neutral about)

- YIlyuma (Your star, which you feel jealous about)

- LYElyuma (People's star, which they feel happy about)

- Ulyuma_lazy (Lazy's star, which he feel sad about)

This is the only different from how it's used in Standard Hymmnos.

Type 2: Thing belonging to a non-person thing

First noun is the "owner", second noun is the thing being owned. Example:

- zalez ale ("sound of waterfall" or "waterfall's sound")

- zodal sechel ("capital of death" or "death's capital")

Just imagine that there is an invisible "'s" inbetween 2 consecutive nouns. You see on the second example, we use "zodal" (which means "death"), a standard Hymmnos word because there is no Pastalia word with similar meaning, so we have to "borrow" the word from standard Hymmnos.

We also have this example from EXEC_over.METHOD_SUBLIMATION/.~lamenza:

vonn papana ("rain of darkness" or "darkness' rain")

Both words are from standard Hymmnos. But like I said, in EXEC_over.METHOD and EXEC_with.METHOD, vocabulary (not verbs, of course) from both languages can be mixed together.

And finally, both types of "ownership" can be mixed together, but of course this can be a bit complex:

ayulsa Asiance_qejyu (People's ideal land of eternity)

Emphasis
Putting "rre" infront of a subject that normally doesn't require it (you, he, she...) will "emphasize" the subject.

Example:

- xA rre herr hYEmmrE/. (He sings, emphasis on "he", to say that it's that person, that "him" and not anyone else)

- xI rre yorr cEzE hymmnos/. (You turn into a song, emphasis on "you", it's "you" and not anyone else who turn into a song)

You can also emphasize the subject "I" by putting subject definer (expressing what you think about your own situation), followed by "rre mea".

Example:

xU rre mea hAmmrA hymmnos/. (I sing the song with all my strength, emphasis on "I", and also express that I feel sad about my own singing)

Passive voice
Simply add "eh" after the emotion verb to change the sentence totally from active to passive voice.

Example: xU rre lazy fYUwrUn lyuma/. (Lazy embraces the star) ---> xU rre lazy fYUwrUneh lyuma/. (Lazy is being embraced by the star)

Unlike in English or Japanese, you don't need a particle to indicate the action's performer (no need to add "by" like English or change "wo" to "ni" like Japanese).

Desirative Form
When you want to say "want to do something" in Pastalia (usually more like "want to be able to do something"), add "aye" after the verb.

Example:

xA rre lazy hYEmmrEaye hymmnos/. (Lazy wants (to be able to) sing a song)

Negative Form
Adding "zz" infront of an emotion verb or a noun means the negative of it.

Example:

hYOmmrU/. (I sing) ---> zz hYOmmrU/. (I don't sing)

arhou (hope) ---> zz arhou (hopelessness, despair)

Quotation
To "quote", put your sentence in :/ and /: (looks like some sort of un-smiley face). The /: replaces the /. at the end of sentence too.

Example:


 * /sYAlE yor/: ("I believe in you")

And
The word "en" can be used the same way as our normal "and". Just use it when you think it fits, or use it in the same way as the comma ","

Bare Verb
As I said, the main element of a Pastalia sentence is emotion verb, but sometimes when the action is being performed without emotion, like a machine, or in unconscious state, you can use bare verb as well, though this is uncommon. Note that if "I" is not the subject, then you still need an emotion vowel for the subject definer.

Example:

xA rre lazy h.m.m.r./. (Lazy sings without any emotion)

Note: The next kind of advanced grammar; and this one are different.

Verb treated as subject
Also known as "clause" in English. Let's say, directly from the lyrics of METHOD_REPLEKIA/. we have these lines:

xA harr hLYUmLYUmOrO eje/. (She sings (the song of) her heart)

xA sorr kLYUvLYUr du qejyu/. (Her song covers the people)

By now you should be able to understand the above 2 sentences.

Now let's say we combine them into 1 sentence... There are 2 situations, "Her singing covers the people" and "Her singing of her heart covers the people".

First situation is very easy, the "clause" doesn't contain the object "eje", and you can combine them to this:

xA harr hLYUmLYUmOrO kLYUvLYUr du qejyu/.

Note that the "xA" expresses the emotion of the main sentence, so if the second original sentence was xU sorr kLYUvLYUr du qejyu/. then the result would be:

xU harr hLYUmLYUmOrO kLYUvLYUr du qejyu/.

Second situation is a pain... I'll just give you the example result first: xA harr h.m.m.r. eje kLYUvLYUr du qejyu/.

If you add in the object "eje", you have to remove the emotion from the "hLYUmLYUmOrO" verb, to prevent mistaking information between the 2 clauses. Why remove emotion vowels from that verb, and not "kLYUvLYUr" verb? Because the latter is the main verb of the sentence, which is more important, and must have emotion.

Another example:

xN rre hLYImLYUmOrO a.u.k. zess quesa/. (Her singing is like thunder)

"a.u.k." is the "to be" verb, and "zess" means "similar to". This is your standard type of comparison sentence, in which "a.u.k." usually has its emotion removed due to it being the "to be" that usually doesn't have emotion, unless it's the main verb in sentence (Example, aEuk lazy/. means "I am (happy to be) Lazy).

Verb Used as Object
What could be worse when you want to say "I embrace her singing of her heart"? Is it fEwrEn harr h.m.m.r. eje/.? No. It is:

fEwrEn x. harr h.m.m.r. eje/.

Yes, the subject definer is used in bare form here as well. This only happen when the "clause" is used as object, and only when the subject of the clause is not "I" so that subject definer has to be used in that "clause".

Another example:

xA rre lazy fEwrEn x. harr h.m.m.r. eje/. (Lazy embraces her singing of her heart)

Even when no object is needed for the clause, you STILL need to remove the emotion vowels for the subject definer AND verb. Example:

xA rre lazy fEwrEn x. harr h.m.m.r./. (Lazy embraces her singing) (This does not mean that Lazy is a "her", we're talking about a particular "her", so please don't be mistaken)

What if it's "I embrace my singing of my heart"?

fEwrEn h.m.m.r. eje/.

But if you want to emphasize the "I" in the object clause:

fEwrEn x. rre mea h.m.m.r. eje/.

One Subject With Multiple Verbs
I'll just give you the example, since this part it's insanely hard:

xA sorr mLYOrArA du sphaela/. (Her singing reflects this world)

xO rre mLYOtOyOyO giz wOsLYI du giz/. (Her singing creates terror, gives birth to terror)

You see, on the second sentence there are two verbs in one sentence, this is not "clause" but just a normal sentence with more than one verb, thus I add the comma "," inbetween the two verbs. You also notice (do you?) that the second sentence seems not to have a subject, after "rre" it jumps right to the first verb. Well, I can only say like this: In case of multiple verbs in a sentence, the last subject is supposed to be implied to this sentence, provided that you add subject definer and "rre" to it.

Xc=ABC -> XYZ/.
The -> is NOT the same as the one in Binasphere. Your standard "If...then..." with a small notice: Both "if" and "then" clause must have the same subject, and that must be the subject from the last sentence.

Example:

aEuk lazy/. (I am Lazy)

Xc=hLYEmYEmArA -> cEzLYE hymmnos/. (If I sing then I will become a song)

When the subject is not "I" then there won't be any subject definer on the Xc= and -> phrases, since that's carried over from the above sentence too.

<-x
There are two uses of "<-x". For the first use, let's take a look at an example from the song MIO:

zz arhou, balduo, ujes, Oqejyu, xA rre <-x aYAuAkN kajya LYAglansee qejyu/.

(Despair, darkness, malicious minds, hated people, THESE are also necessary for our hearts)

Basically, "xA rre <-x" replaces one or a couple of things you just listed out earlier. "xA rre <-x" works like "this" or "these" in English.

However, "<-x" can also be used when you want to replace a phrase, not just nouns. When you replace a phrase, put the phrase in front, then add "<-x". This is in fact the third way to combine 2 sentences that share a phrase.

Maybe an example should be better. When you want to say "I feel sad about the fact that Lazy's happily singing (a song) becomes a star" you have three methods...

- First method: Using "sorr". This forces you to use 2 sentences but also allows you to express a different emotion for each sentence.

xE rre Lazy hYEmmEr hymmnos/.

xU sorr cEzE lyuma/.

- Second method: Treat the phrase "Lazy's singing a song" as a verb.

xU rre Lazy h.m.m.r. hymmnos cEzE lyuma/.

- Third method: Using "<-x".

xE rre Lazy hYEmmEr hymmnos <-x cEzE lyuma

I hope the example is easy enough to understand. Take note that the subject definer in the second method is "xU" while the third method is "xE". They only express either emotion from either original sentence.

The above example is actually complex since the subject of the first sentence is not "I". Another easier example: "My happily singing (a song) becomes a star".

hYEmmAr hymmnos <-x cEzE lyuma/.

Unfortunately, due to the limit of the "<-x" grammar, you cannot express your feeling about the fact in the sentence (so "I feel sad about my..." and "I feel happy about my..." are the same when you use this type of grammar).

Unknown Grammar Mechanisms and Corrupted Pastalia Hymmnos
These are grammar mechanisms that are still unknown, but still posted in here, so if anyone it's interested can help us reach a solution.

xYE and RYE

From the song MIO:

xYE rre qejyu dYEnA ouce LYEqejyu/.

xN rre pupe YUzz tYUrUm naflansee sarsa ut RYEqejyu/.

xYE??? What in the world is it? And RYE? Does it have any relation to LYE?

ygulatiaznouongauvdejuyygulatiaznouongauvdejuy

A line from ee wassa sos yehar. I die upon seeing it.

Awiaa_vamuebyuiujesbOsYlmdnhyungxL YlvO!xL YlvO!!xL YlvOgzavamue!

Awiaa_vamue byui ujes bOsYlm dn hyung xLYI vO! xLYI vO!! xLYI vOg za vamue!

Tons of unknown words and verbs. xLYI? vO? They should, at the very least, spend about 5 minutes adding the translation to the CD insert lyrics...

wAssEzzurgnwAssEkieghlwAssEhiewwAssEzodalsphaela!!

wasse zz urgn wasse kieghl wasse hiew wasse zodal sphaela!!

(Praise for no laments! Praise for kieghl! Praise for sadness! Praise for this dying world!!) ("kieghl" is still an unknown word)

That's how aquagon handled this sentence. Yes, I'm absolutely sure the translation is correct, but seeing that all other lines are Pastalia, this line must be Pastalia as well, not standard Hymmnos, especially with the upper case letters which definitely indicates emotional vowels.

=Dialects=

Hymmnos and the Hymmnos letters are ancient, from the First Era, and they were made just before the father of Sound Science discovered the [Sound Magic]. Though in these times, the language wasn’t called Hymmnos, its name was [Tsukikanade (Moon Playing)], the ancient language the shamans used for their spell-casting verses. Though afterwards, when the Hymmnos language began to be used for optimization on the control of the Tower and its telecommunications, it was necessary to make changes in its format to optimize its functionality, and even so, its basic grammar and vocabulary remained unaltered from its basis, the shamans’ spell-casting verses. From there, the Hymmnos language was spread around the game's world as a general-use language, though every region made their own and subtle changes to the format and vocabulary, and according to history, the vocabulary changed rapidly with the passing of time. In that way, Hymmnos is similar to Japanese, since both have ancient writings, and both developed different dialects for each region. The dialects are called "Notes", which comes from the musical terminology (based on the "twelve notes tuning method"), for easier understanding and recognition.

Currently, these are the Hymmnos dialects that are still in use during the Third Era:

Central Pure Note (Standard Dialect)
It’s called [Central] because, during the First Era, it was called the heart of all the Song Magic in the First Tower of [Ar Tonelico]. That is, to control the Tower, they optimized the chanting lines used for spellcasting, and those optimized lines were called the Central Pure Note. However, even if in theory controlling the Tower was only possible through the use of this dialect, in the practice the Tower could be controlled using any other dialect. After that discovery, the Central Pure Note was chosen as the only format for the World Hymmnos Standard Dialect (called ISO standards in Earth) by the Tower Administration Bureau, based on the Capital of Sol Ciel, [El Elemia]. As a result, all the other [Dialects] were standardized and turned into the Central Pure Note, but after some investigations, it was discovered that they still could add their own words to the standardized Hymmnos, with the only condition being that they had authorization to do so. Because of that, it’s possible to find words from the Central Pure Note and the other dialects mixed up in the songs.

Cult Ciel Note (Ancient Language From Before the First Era)
This dialect is a direct derivation from the ancient [Tsukikanade (Moon Playing)] language, used by the ancient shamans in their spells, and it’s the origin of Hymmnos. In current times it has been mostly forgotten, and there aren’t many remains of its vocabulary and grammar.

Cluster Note (Cluster Area Language)
During the First Era, there was a dialect established and transmitted from generation to generation in a area very far away from Sol Ciel, separated from it by the (Hoshi no Uragawa (Lining of the Stars)). That area was called Sol Cluster, and the dialect established in there was called the [Cluster Note]. However, the Sol Cluster people despised the people from Sol Ciel, and apparently, they created this dialect as a response to the creation of the powerful Pure Central Note. When seen from the standpoint of the Central Pure Note, it’s referred commonly as a [Dialect], and its practical effects are almost the same. Currently, in the surrounding areas of [Ar Tonelico], there aren’t any people that speak or use the [Cluster Note], though probably, somewhere in the world, there is still a colony of people that still use this dialect.

Probably it was created with the purpose of surpassing the falcuties of the Central Pure Note, but since there aren't any speakers and isn't used in Sol Ciel, or in Meta Falss, the exact details are unknown.

Alpha Note (Origin Spell)
In the world there are only 3 [Origin Reyvateils], and inside their minds, they can craft optimized versions of the Hymmnos vocabulary. Thus, these optimized words are called [Origin Spells]. Though this [Alpha Note] has a small problem, if it’s not performed in the area of the Tower that the Origin manages, then it won’t be able to manifest its full power. Because of that, each Origin crafted a vocabulary for their [Note] that adapted to the specifications of their Tower (strictly being some existing words that were picked by the Reyvateils), so they could expand its functions, because the new words activated some dormant functions in the Tower. But that means that they exist only in the Tower that they were crafted in, if it’s used in another Tower, since it doesn’t have the same vocabulary to activate these, or these functions are downright absent, then, these words will become unusable in the other Tower, so this dialect is characteristic because it doesn’t serve to all purposes. (For example: the Chronicle Key Hymn is a Alpha Note, Eolia Genus word, meaning that it was crafted in the first Ar Tonelico Tower, managed by the Origin Eolia, and it’s unusable in the other Towers because these Towers don’t have any of the sealing mechanisms or programs that the hymn needs to be executed).

Ancient Note of Meta Falss (Sacred Language from the First Era)
In the early days of the First Era, around the year 2000 AD; during the sweeping conquests in the name of the holy land [Meta Falss], in that land was created a peculiar dialect. The average power that these words had was much higher than the ones from the Central Pure Note possessed. This great level of power was the reason behind the creation of this Hymmnos dialect, though it’ said that the power was in the land from where it was originated. In this area, there was a very high spiritual ideology, and its investigations and development from the songs of the Tsukikanade language were very prosperous. Hence, for that reason, when they felt that other lands were passing their limits, they got over them little by little, through the training of their bodies and the polishing of their skills, so they could craft stronger songs, and then, they polished and developed these songs. Though, for good or for bad, under the influence of that spiritualism, while the other lands turned the crafting of the songs into a science, and realized the importance of the emotions and breath in the use of the Tsukikanade language, around the year 3000 AD, the culture in Meta Falss wasn’t advancing anymore, and was rapidly going in decadence. Though, thanks to their diplomatic relations with Sol Ciel, they managed to get their dialect registered as one of the ones used in the Song Magic servers, under the name of the Meta Falss Note.

New Testament of Pastalie (Pastalia Dialect)
Approximately around year 3400 AD, in the land of Meta Falss, there was crafted a new dialect. The Song Magic Server called [Infel Phira] is a different server from the [Ar Tonelico] server, and only the Reyvateils connected to that server, called I.P.D.s (Infel-Phira Dependency), are able to use that dialect. Its special characteristic is that is incompatible with the other dialects, because of its grammar and syntax. Because of that, its execution declaration isn’t [EXEC_XXXX/.], but rather it was revised as the more original [METHOD_XXXX/.]. Still, in its practical use still has available some functions from the other dialects, thanks to an emulation system. Inside Infel Phira, the other dialects are translated to the New Testament of Pastalie dialect, though in the outside they can be used as normal, for example: the [Central Pure Note]. Its grammar totally differs from the other dialects made during the First Era, so it’s a pretty good idea to review it.

Readings of the Ancient Stories of the Moon (Risshizentsukuyomi) (Ancient Language From Before the First Era)
It’s an ancient dialect, and it’s the Tsukikanade language itself. For those reasons, isn't considered as a Hymmnos dialect by some. Supposedly, its grammar was based on the unification of [Pronunciation (letters)] and meanings, where each letter had a meaning and effect. Since the extent of its effects are very small, the majority of the Reyvateils don't support (understand or speak) this dialect.

There is no deeper info about its history, grammar and syntax available yet.

Corrupted Pastalia Hymmnos
There isn't any information available yet. Unofficial name.

=Lexicon=

=Reference=

Hymmno Server (Japanese language) Hymmno Dictionary (Japanese language)

=Credits=

Wiki page made and mantained by Shirasagi. Information contributed by aquagon and Lazy.

Don't use without crediting the contributors and the maker of this wiki, or at least putting a link to this wiki.