Hymmnos

Hymmnos is a language created by Akira Tsuchiya for Ar tonelico, a video game series. According to the game world's history, it was formerly a common, spoken language, but has become obsolete by the time of the events in the game's main story (circa A.D. 3700). In modern times, Hymmnos is used only for songs that interface with ancient machinery. It appears to be a distant descendent of English with influences from Japanese, Sanskrit and German.

It's interesting in that it puts a very strong emphasis on conveying the emotions of the speaker.

=Origins=

Hymmnos is derived from a language used by the Tsukikanade, an ancient line of shamans who invoked magic through spell casting. Only two dialects from that language have survived to this day: Cult Ciel, which is still in use even though most of it has been forgotten; and Risshizentsukuyomi, which has very few speakers and grammatical rules that are still unknown to us.

Some time after the first tower of Ar tonelico was built, the people in charge of that project took the language of the Tsukikanade and optimized it for use with controlling the Tower and its communications. More details about the story of individual dialects can be found in the dialects section of this article.

=Writing=

Hymmnos text is comprised of glyphs whose designs were based partly on those used by the Sanskrit language. It also adds a number glyphs that look like sound waves.



According what is currently known about the origins of Hymmnos, each letter has its own power and meaning, which take effect as soon as the letter is pronounced. Those meanings belong to the Risshizentsukuyomi dialect whose grammar remains a mystery, however, so it's not known as to how the connected letters actually work.

The following table lists the effects that each letter is known to have. Letters whose effects are still unknown feature a "-" under Power/Meaning column in order to avoid confusion with the meanings of other letters.

=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 tenses, 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)

Passive Voice
If you want to change a verb to passive voice, you only have to add a "re" before the verb that you want to modify.

Example:

Was ki ra gyuss lir (I'm embracing the light)

And now, adding the "re" to change it to passive voice:

Was ki ra re gyuss lir (I'm being embraced by the light)

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 yor (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 it means that one noun "owns the other". However, there isn't an actual rule for indicating which noun owns what, so it's often necessary to depend on common sense to know it.

For example:

Aurica forlinden (Aurica's village)

Revatail Ciel (Reyvateil's world)

Sarla Mea (My song)

Hyzik yor (Your body)

But there's another way, using the "oz" particle. When it's used, the noun that comes before it it's "owned" by the noun that it's after it,

Example:

Hymmnos oz faura (the song of the little birds) sarla oz soare (the song of prayers)

Position Marking
If you want to indicate that something it's inside, over or in front of something, you have to use the particle "ween" for inside, "won" for over, and "folten" for before and in front of (there isn't a particle for below), and put it before the noun that indicates the position.

Examples:

won dor (over the earth)

ween kapa (inside the water)

folten forlinden (in front of the village)

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 allows a single set of Emotion Sounds to be shared by multiple sentences. Even though it's considered an advanced grammar rule, it's actually very simple; it's used in the following way:
 * (Emotion Sounds) 0x vvi. (Keeper Definer Start)
 * (Text)
 * 1x AAs ixi. (Keeper Definer End)
 * 1x AAs ixi. (Keeper Definer End)
 * 1x AAs ixi. (Keeper Definer End)

What this means is that everything between the two keys, "0x vvi." and "1x AAs ixi.", will inherit the specified set of Emotion Sounds. For reference, "0x vvi" is pronounced "oku vivi" and "1x AAs ixi" is pronounced "iku aas ixi".

Example:
 * Was yea erra 0x vvi. ("Was yea erra" applied from this point)
 * chs hymmnos mea
 * hymme rre walasye hyma mea
 * sonwe anw sol ciel
 * rre sol ciel hyma hynne mea
 * 1x AAs ixi. ("Was yea erra" not applied after this point)
 * Wee apea ra rre yor melenas

The meaning of this passage is as follows:
 * Was yea erra chs hymmnos mea (I will be eternally happy to turn into a song)
 * Was yea erra hymme rre walasye hyma mea (I will be eternally happy that the people hear me)
 * Was yea erra sonwe anw sol ciel (I will be eternally happy to sing to the world)
 * Was yea erra rre sol ciel hyma hynne mea (And I will be eternally happy that the world hears me)
 * Wee apea ra rre yor melenas (I will be very happy to love you)

The important thing to note is that "Was yea erra" was only spoken once, yet it was implicitly used four times.

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), and also, doing this gives more power to the songs, since a song using this has two simultaneous effects.

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 SYE 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 SYE 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, I feel that the way will be opened, for the goddess to purify this world forever)

Second line:

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

First line:

Rrha apea ra hartes yora chyet walasye forgandal wassa ciel (In the midst of this trance of delight, I will love your special persons, because of 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 the hell)

Emotionless Sentences
Normally, if the sentence doesn't have an emotion sound preceding 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 effects, and even if though it can still execute some magic effects, they aren't very strong.

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 executing functions inside the Tower. However, it still contains some Hymmnos lines that are for the use of the effect of this song, since they do contain emotion sounds. The final effect of this song is the fusion of feelings, but since it depends mostly on the feelings of the singer, it didn't to execute too many functions in the Tower.

Double Register of Emotion Sounds
Even though writing Emotion Sounds in a sentence when using the Emotion Sound Keeper Definer Syntax is redundant, it can be done. It's only necessary if you want to indicate a change in emotion over one sentence between two parts that share the inherited emotion, since Towers give priority to explicitly specified Emotion Sounds when processing songs that make use of the Keeper Definer Syntax.

Example:
 * Wee apea ra 0x vvi. (I will be immersed in happiness)
 * her ar ciel irs (I'm immersed in happiness because I exist in this world)
 * hyma rre faura sonwe (I'm immersed 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 immersed in happiness singing for the sake of this world)
 * 1x AAs ixi.

As written here, the emotion associated with the third sentence is "Was yea erra", while all other lines carry "Wee apea ra".

=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")

hEmEmLYEr sarla/. (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")

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

Just imagine that there is an invisible "'s" inbetween 2 consecutive nouns.

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:



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=

The origins of Hymmnos and the Hymmnos script are ancient, and existed before the father of Sound Science discovered the [Sound Magic] in the First Era. It was not yet called [Hymmnos] at that time, but the incantations that all sorts of shamans used, called [Tsukikanade (Moon Chanters)] in those days, became the origins of Hymmnos. Hymmnos was later formalized as a language optimized for control of and communications with the tower, but its grammar and vocabulary sounds are based in the incantations of these shamans. The generic Hymmnos that spread throughout the world from there subtly changed format depending on the region and sect, and the vocabulary also steadily altered as history progressed. Therefore, archaisms, dialects, and so forth also exist in Hymmnos, just as they do in Japanese and other languages.

The dialects are called "Notes", which comes from the musical terminology (based on the "twelve notes tuning method"), for easier understanding and recognition.

These are the Hymmnos dialects that are still in use during the present, the Third Era:

Central Standard Note (Standard Dialect)
[Central] refers to the First Tower [Ar Tonelico], called the core of Song Magic in the First Era. In other words, the incantations optimized to control the Tower are called Central Standard Note. However, this is not to say that only this Central Pure Note can control it, and in practice it is possible to control it using any Note. That is to say, Central Standard Note is nothing more than the format that the tower administration in Sol Ciel's capital city [El Elemia] decided upon as a global standard (like the ISO standard on Earth).

As a result, everything standardized from each [Note] becomes [Central Standard Note], so everything acknowledged in lookups and so forth is all written as Central Standard Note. Central Standard Note and other forms thus often exist mingled together.

Cult Ciel Note (Ancient Language From Before the First Era)
This Cult Ciel Note is itself a refined form of the spells of the shamans, the [Moon Chanters/Tsukikanade], and is the origin of Hymmnos. It has largely been forgotten in modern times, and it can be said that this line of vocabulary scarcely remains.

Cluster Note (Cluster Area Language)
Passed down and established during the First Era in the Sol Cluster region, a region far away from the Sol Ciel region (on the opposite side of the planet), is the [Cluster Note]. From the standpoint of Central Standard Note, it is a [dialect] of sorts, but the practical effect is scarcely different. At present, there are said to be none in the vicinity of Ar tonelico who can use this [Cluster Note], but somewhere in the world, a colony centered on Cluster Note might exist even in the present day.

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

Alpha Note (Origin Spell)
The [Reyvateil Origins], of which there are said to be only three in the world, can put together optimized Hymmnos terms in their own minds. Terms formed like this are called [Alpha Note]. This Alpha Note is somewhat troublesome in that it is unable to produce maximal power if not used with the tower that Origin manages. That is because, in contrast to the way the other [Notes] put together terms that are within the current specifications of the tower (strictly speaking, Reyvateils just pick out terms that are already present), this Alpha Note alone expands the receiving tower's functionality and creates a Hymmnos term to deal with it. In other words, in her own tower exists the functionality to handle that term, but it is an invalid term on other towers lacking this, and is thus naturally not general-purpose.

(For example: the Chronicle Key Hymn is an Alpha Note, Eolia Genus word, meaning that it was crafted in the first Ar tonelico Tower, managed by the Origin Eolia, and is 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 Metafalss Note (Sacred Language from the First Era)
A unique Note invented in the early First Era by the holy land of [Metafalss] that dominated the world back in the time of the 2000s. The power that one woed holds far exceeds the average value for Central Standard Note words. The reason they produced such high-powered Hymmnos terms is said to be in their land. In this land, spiritual ideology thrived more than in other regions, and the study and development of songs through thanks to the Moon Chanters was extensive. For that reason, even as other regions were reaching the limits of song power, they overcame these little by little, training themselves to craft yet stronger songs, then refining and improving them.

For better or worse, the influence of their spiritual ideology meant that even as other regions began studying the songs scientifically, and discovered the importance of the entonation and emotions in the songs, the spiritual thinking of the Moon Chanters lived on even then, and the civilization rapidly started rolling back after entering the 3000s because of that. Though thanks to the diplomatic relations with Sol Ciel, the Metafalss Note came to be registered on Song Magic servers.

New Testament of Pastalie (Pastalia Dialect)
A new dialect created in the land of Metafalss around the year 3400. This was created for [Infel Phira], a different Song Magic server from [Ar tonelico], and only the I.P.D.s(Infel-Phira Dependant), the Reyvateils linked to that server, can use this dialect. Thanks to its special characteristics, its compatibility with the other dialects is almost zero, from grammar to vocabulary. The execution commands are thus also changed into the unique declaration [METHOD_XXXX/.], instead of the [EXEC_XXXX/.] one. However, in practice, other forms are also generally available through emulation. They are translated into New Testament of Pastalie within Infel Phira, but on the user level, it is possible to use [Central Standard Note], for example, without modification.

The grammar differs entirely from the other Hymmnos formed in the First Era, so a separate grammar guide has been prepared. It should be consulted as well.

Moon Singing of the Story Previous to the Notes (Risshizentsukuyomi) (Ancient Language From Before the First Era)
It’s an ancient dialect, and it’s the Moon Chanter 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) Ar Tonelico: A Reyvateil's Melody (English Language] Toukousphere #13 (Information about Binasphere) (Japanese Language) Toukousphere #14 (Information about Risshizentsukuyomi) (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.