Hymmnos

Hymmnos is a language created by Akira Tsuchiya for Ar tonelico, a video game series (also known as Hymnos in the English localization of said games). According to the game world's history, it was formerly a common, spoken language, but has fallen out of use by the time of the main story's events (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.

A defining feature of Hymmnos is that it puts a very strong emphasis on conveying the emotions of the speaker.

Origins

Hymmnos is derived from a language used by the Moon Chanters, an ancient line of shamans who invoked magic through spell casting. Only two dialects from that language have survived to this day: Kurt Ciel, which is still in use even though most of it has been forgotten; and Carmena Foreluna, 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

Currently the are two writing systems in Hymmnos:

The modern one is comprised of glyphs with designs based partly on those used by the Sanskrit language. The appearances of its numeric glyphs are based on square wave patterns.

Hymmnos glyphs. Updated to the 1.1 version (borrowed from http://hymmno-dict.com)

However, it was recently discovered that there is also an ancient writing system, that can also be used to write the Carmena Foreluna (also in the modern Hymmnos script) and Ar Ciela dialects.

Ancient Font. Borrowed from http://hymmno-dict.com

Grammar (Standard Hymmnos)

Note: Standard Hymmnos is the conjunction of all the dialects made during the First Era: Standard Central Note, Kurt Ciel Note, Ancient Metafalss Note, Alpha Note and Cluster Note. This means that words from all these dialects can be used freely in Standard Hymmnos sentences.

Basic Structure

Hymmnos was designed with the purpose of stating the speaker's (or singer's) emotions, so most sentences begin with a set of three words called "emotion sounds".

Let's look at an 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 emotion sounds. They are are subdivided into three levels:

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

yea is Level 2, which names type of emotion being felt.

ra is Level 3, and expresses whether you want the emotion to last, or describes the context in which the emotion is felt.

All known emotion sounds are listed in the following table:

Intensity	Type	Desire to Last or Context
Rrha - Trance state Was - Very much Wee - Fairly Fou - A little Ma - One's presence of mind Nn - Lethargy, unconscious state	i - Impatience yea - Happiness waa - Happiness paks - Excitement, nervouseness num - Nothing ki - Concentration wol - Fervor, rush apea - Immersed in happiness au - Sadness granme - Wishing to protect someone, courage touwaka - Wishful, hiding wishes quel - Earnestness, despair yant - Scared, terrified guwo - Resentment, anger, hatred jyel - Loneliness zweie - Sincerity, hiding decisions	ga - I want this to end soon ra - I want this to last erra - I want this to last eternally wa - It doesn't matter, I will accept the current situation gaya - I never want to go back to how I was before gagis - I'm all right like this

The rest of the basic grammar is very simple. It follows this structure:

(verb) (object) (compound or object)

Returning to our earlier example, chs (to turn into) is the verb, hymmnos (song) is the object and mea (my or myself) is the compound-or-object.

Was yea ra chs hymmnos mea

(Very) (happy) (I want this feeling to last) (turn into) (song) (me)

(I will be glad to turn myself into a song)

Each sentence expresses one emotion, so you can have only one set of emotion sounds per sentence.

There are no verb tenses in Hymmnos; whether a verb refers to a past, present, or future action is implied by the context of the sentence.

By this point, you might be wondering where the subject is. Well, since Hymmnos sentences are first person by default, the subject is usually omitted.

Note: Apparently, the Lv. 2 Emotion Sounds can be used as well as adjectives, nouns and verbs. On the other hand, the adjectives that describe emotions (such "cyue" or "nyasri") can be used as Lv. 2 Emotion Sounds, as well.

Structure with a Subject

If you wish to speak about what someone else is doing, then you have to use the following structure:

(verb) rre (subject) (verb) (object) (compound or object)

"rre" is a subject definer. The noun it precedes becomes the subject of the sentence.

The first verb in the sentence describes what you are doing, and the second verb describes what the subject is doing. The sentence is still told from a first person perspective; emotion sounds apply to the speaker even if the speaker is not the subject. No sentence can contain more than one subject, so the subject definer can only be used once per sentence.

For example:

Wee ki ra hyma rre aquagon pagle wart

(Fairly) (concentrated) (I want this feeling to last) (listen) (subject definer) (aquagon) (talk) (words)

(I will concentrate on listening to the words that aquagon says)

Both the subject definer and the first verb are omitted if the subject is either a pronoun or being used as an object.

Also, the standard Subject-Verb-Object (SVO) grammar structure can be used in sentences devoid of Emotion Sounds. In these cases, the characteristic grammar rule of "the default subject is always I" of Hymmnos is ignored. And there is another form in which the structures are Verb-Object-Subject (VOS, with the subject being generaly separated from the rest of the sentence by a comma) and Verb-Subject-Object (VSO), containing Emotion Sounds and used for telling stories, but aren't very commonly used.

Examples:

(Standard SVO structure in a emotionless sentence. Taken from EXEC_HARMONIOUS/. and EXEC_HARMONIOUS_FUSION/.)

Faura yerwe murfan anw sol ciel

(Little bird) (chirp) (feelings) (to) (world)

(The little bird chirps her feelings to the world).

(VSO structure sentence. Taken from EXEC_HIBERNATION/.)

Was yea ra vit bautifal faura anw dornpica en 1 dyyal nuih bexm

(Very) (happy) (I want this feeling to last) (see) (beautiful) (little bird) (to) (seed) (and) (night of the first day) (come)

(The beautiful little bird saw the seeds, and the first night came).

(VOS structure sentence with Emotion Sounds. Taken from EXEC_HIBERNATION/.)

Rrha cyuie gaya na ieeya crushue anw dornpica, Rhaplanca

(Trance-like) (sadness) (not wanting to go back to my previous state) (doesn't wish to craft) (to) (seeds), (Rhaplanca)

(Rhaplanca doesn't wish to craft the seeds anymore)

Pronouns

Pronouns can be used in two ways: as objects and as subjects. They differ slightly depending on how they are used.

Pronoun	Used as Object	Used as Subject
you you (plural) he / him they / them (masculine) she / her they / them (feminine) us / we	yor yora hes hers has hars mean	yorr yorra herr herra harr harra merra

Use of Particles (Prepositions/Postpositions)

If you need to use particles (or as we also know them, prepositions), you can insert them between the verb and the object. It's only needed if the action of the verb affects something other than yourself, though.

For example, "tes", a particle meaning "to", can be used here:

Was yea erra melenas tes ar ciel

(I will be eternally glad to give my love to this world)

But not here:

Was yea ra sonwe hymmnos mea

(I will be glad to sing my song)

Adjectives

Other than typical adjective lexicons, Level 2 Emotion sounds can also be used as adjectives.

Adjectives always come before the noun they affect, as we can see from these examples:

ridalnae sol ciel

(irreplaceable world)

tyui frawr

(small flower)

Passive Voice

If you want to change a verb into a passive voice, insert a "re" before the verb that you want to modify.

For example, prepending a "re" to the verb of this sentence:

Was ki ra gyuss lir

(I'm embracing the light)

Changes it into a passive voice statement:

Was ki ra re gyuss lir

(I'm being embraced by the light)

Negative Form

If you wish to negate a verb, just add "na" before the verb you want to modify.

For example:

Was yea ra chs hymmnos yor

(I will be glad to turn you into a song)

Can be negated by prepending "na" to the verb:

Was yea ra na chs hymmnos yor

(I will be glad for not turning you into a song)

This mechanism can also affect nouns, making them the opposite of what they would normally be.

For example:

yehah

(happiness)

Can be changed like this:

na yehah

(unhappiness, sadness)

Noun Phrases Indicating Ownership

If two nouns are placed next to each other, then it means that one noun "owns" the other. There isn't an actual rule indicating which noun owns which, however, so the direction of ownership is inferred from context.

For example:

Aurica forlinden

(Aurica's village)

revatail ciel

(Reyvateil's world)

sarla mea

(my song)

hyzik yor

(your body)

Ownership can also be indicated using the "oz" particle. When it's used, the noun that comes before it is "owned" by the noun that comes after it.

For example:

hymmnos oz faura

(song of the little birds)

sarla oz soare

(song of prayers)

Position Marking

If you want to indicate that something is inside, over, or in front of something else, you can insert a position marking particle before the noun that indicates the position. Use "ween" for inside, "won" for over, and "folten" for before and in front of. (There isn't yet a known particle for "below".)

For example:

won dor

(over the earth)

ween kapa

(inside the water)

folten forlinden

(in front of the village)

Special Character Pronunciations

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

Character	Pronunciation
=> >> x 0 1 Xc= -> <-x	Tab Tras Ku O I Xeku Pass (S)pag

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

Hymmnos Binary is used in the execution of the programs within the Tower and in some hymns, like in this example: 0x010001110.

Numbers

• Nel - 0
• Nnoi - 1
• Zi - 2
• Dri - 3
• Fef - 4
• Vira - 5
• Ixa - 6
• Hept - 7
• Oct - 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, zide is 20 and kik octohe ixade octo is 1868.

Numeral Alteration

(Unconfirmed Information)

Apparently, the New Testament of Pastalie dialect has different ways for pronouncing and using numbers, according to KWhazit:

"It has an alternate system for pronouncing numbers than the one normally used. The suggested pronunciation (which sounds close enough to be possibly correct) is ノイ・フェフラ・ノイ (nnoi fefra nnoi). Not only does it sound like what is actually sung, but it makes some logical sense as a shorthand for numbers with many zeroes as well. ノイ (noi) is the usual reading for 1, and フェフ (fef) (without the ラ (ra)) is the usual reading for 4. Putting that together, you have 1, a variation on 4, and another 1. Note that the thousands place, where the first 1 occurs, is the fourth position from the right. Supporting this theory is another note indicating that 5100 (used as the ID# for the Metafalica Hymn Crytal) sounds like ヴィラ・フェフラ・ノイ・トレル (Vira Fefra Nnoi Torel). 5 is ヴィラ, there's that フェフラ (fefra) again, and 3 is ドリ (dri). If we assume that トリル (Torel) is a mishearing of ドリラ (Drira), then we have a clear pattern: Add ラ (ra) to a number n to mean the nth digit from the right. Assuming this holds up, 1,000,000 could be read ノイ・ヘプトラ (Nnoi Heptra, since ヘプト (Hept) = 7), and so on. It would be comparable to writing 14z1 for 1001, 17z for 1,000,000, and so on."

Advanced Grammar Rules

Emotion Sound 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 is used in the following way:

(emotion sounds) 0x vvi. (keeper definer start)

　　・

　(text)

　　・

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".

Here is an example:

Was yea erra 0x vvi. ("Was yea erra" will be applied from this point forward)

chs hymmnos mea

hymme rre walasye hyma mea

sonwe anw sol ciel

rre sol ciel hyma hynne mea

1x AAs ixi. ("Was yea erra" will no longer applied beyond this point)

Wee apea ra rre yor melenas

The meaning of that 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 immersed in happiness to love you)

The important thing to note is that even though "Was yea erra" was only spoken once, it was implied four times.

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. Song servers give priority to explicitly specified Emotion Sounds when processing songs that make use of the Keeper Definer Syntax.

For 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".

Binasphere Chorus

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, this meaning that within the Binasphere Chorus song, there are two worlds contained). Doing this gives more power to the song since a song using this technique can have two simultaneous effects.

Historically, this was developed by the Moon Chanters a little after Hymmnos was standardized halfway during the First Era, in search of methods to make the language even more powerful. Since humans are unable to sing more than one song at once, their Binasphere Chorus method required two simultaneous singers to be executed. Also, it had another fatal flaw: since both singers were humans, no matter how much they tried to sympathize with each other's emotions, they were never be able to reach the synchronization level needed to create a Song Magic. Theoretically, if they had succedeed at their attempts, the songs of the Moon Chanters would have gotten roughly five to ten times more powerful than what they normally were. However, they still would have never be able to compete with Reyvateils that were born afterwards, since their power was only a hundredth of the one the Reyvateils could command with their songs.

Now that we have reviewed its history, let's give a look at the process of turning the following two lines into a single Binasphere Chorus line:

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, take those two lines and break them up however you wish. Individual words may be broken up into multiple pieces, too. Rewrite everything in uppercase characters and on the same line, then mark each word that was broken into more than one piece with an "x" at the end of each fragment, except for the last fragment of each word.

For this example, we've broken up and combined the lines as follows:

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

Notice how word fragments from both the first and second lines are mixed with each other? Assign each fragment a number: 0 for fragments that originally came from the first line, and 1 for fragments that originally came from the second line:

=> WAS 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

Use those numbers to make a Binasphere Formula for this song. Binasphere Formulas look like this:

EXEC hymme 2X1/0>>formula

The word formula should replaced with the string of numbers that we got after assigning 0s and 1s to each fragment. Following our example above, the formula for this case would be:

010101001010101.

And thus, the Binasphere Formula for this example is:

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 you want to use the Binasphere format again in the same song, then your lyrics will have to be adapted to work with the first formula. The => (pronounced "Tab") is used to mark the point at which the Binasphere lines begin:

Let's use the following set of lines from EXEC_NULLASCENSION/. in an example of how to decode a set of Binasphere lines:

=> 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 use the formula to figure out which fragments belong to which lines. Since this Binasphere formula is shorter than the total number of fragments in lyrics, we have to keep looping the formula until we reach the end of the song. (The "/" isn't actually used, but we use it in this example to show where the formula is looping):

=> 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 end of the final loop has to coincide with the last fragment of the song.

After that, we need to put the fragments back together on their respective lines, as indicated by the formula.

This is how the lines look once they've been pieced back together:

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 innna 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)

Note: In theory, it's possible to use the Binasphere Chorus function in Pastalie sentences too, but so far, no more details on this have been revealed.

Emotionless Sentences

Normally, if a sentence doesn't begin with emotion sounds, then it's implied that it has the same emotion sounds as the sentence that came before it. But if none of the sentences in a song 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. It's accepted as a simple song instead, used only to convey feelings without a specific effect to execute. Even though a song without emotion sounds can still invoke some magical effect, the effect wouldn't be very strong.

Here is an example taken from the lyrics of EXEC_HARMONIOUS/.:

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 someone in the story of Ar tonelico, but not for executing functions through the Tower. It still contains Hymmnos lines expressing the thoughts of the singer, though. The end result of this song is the fusion of feelings, but since it depends mostly on the feelings of the singer, the Tower doesn't do much in response to it.

Grammar (New Testament of Pastalie)

(All information in this section was contributed by Lazy, from the forums of A Reyvateil's Melody.)

Word Usage

Words from Standard Hymmnos can be used in Pastalie sentences, thanks to the emulation capabilities provided by Infel Phira, but if a word with similar meaning exists in the Pastalie vocabulary, then it's more commonly used.

For example: "rawah" (from Pastalie Hymmnos) and "frawr" (from Standard Hymmnos) both mean "flower", but "rawah" is used more often in Pastalie sentences since Reyvateils feel more "natural" when using a word from their own dialect.

On the other hand, Pastalie words cannot be used in Standard Hymmnos sentences, except in dual-server songs with the EXEC_over.METHOD or EXEC_with.METHOD prefixes.

Basic Structure

Pastalie is designed on the concept of expressing as many meanings and emotions as possible with as few words as possible. The simplest Pastalie sentences can be formed from just one word, which is an "emotion verb". This type of verb is the basis for the New Testament of Pastalie's design; no sentence can be complete without it. There will be a whole section dedicated to emotion verbs later on, as it's very complicated.

For now, let's look at the simplest example ever:

hEmmErYE/.

(I will gladly sing)

As with standard Hymmnos, the default subject of a sentence is "I". All Pastalie sentences end with /. Although it's actually a syntactical element for putting the given sentence into operation in a similar fashion to hymn names like EXEC_XYZ/., let's say that it is the normal "dot" at the end of each sentence for simplicity's sake. If it's way too emotional, you can replace "/." with "!". If it's a question, use "?" in place of "/."

All Pastalie sentences must express the speaker's emotion towards the matter mentioned in the sentence. The exception to that rule is the Xc=ABC -> XYZ/. syntax, which will be explained in the advanced grammar section.

The main advantage that Pastalie Hymmnos has over the Standard dialect 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 with a single verb. On the other hand, it cannot express the degree of the emotion and whether you want the emotion to last or not, as Standard Hymmnos can with its first and third emotion sounds.

Object

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

For example:

hEmmErYE hymmnos/.

(I will gladly sing a song)

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

Particles (Prepositions/Postpositions)

In cases where particles (better known as prepositions or postpositions in English) must be used, insert them after the verb and before the object. Particles are used when the result of the verb's action affects something other than yourself.

You should use a particle when saying, "give blessing to the earth", for example, but not when saying, "sing (a) song". It's a bit complex and different from both English and Japanese, but you can get used to it by seeing it a lot. This rule is common to both Hymmnos dialects.

Here is an example of using the "ut" particle, meaning "to" or "towards":

lElLYEn ut doodu/.

(I gladly give blessing to the earth)

And an example of when a particle is omitted:

hEmEmLYEr sarla/.

(I gladly sing a song)

Emotion Verbs

At a first look, words like hYEmmEr or fOwOrYUn look like crazy strings of letters from someone typing with the Shift key held and released rapidly. In actuality, all emotion verbs are made from 2 components.

The first component is the "base verb", which look like these: h.m.m.r., f.w.r.n., a.u.k., c.z. It consists of two or more lower case letters with a dot "." called "bank period" in between each character. A base verb is a complete word and has meaning, but it does not contain any emotion (and Hymmnos is all about expressing emotion).

The second component is the "emotion vowel", which are those upper case letters you see in emotion verbs. Their function is to express the emotions associated with the action of the verb.

Whenever a base verb has at least one emotion vowel, it becomes an emotion 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.

For 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 you have a complete sentence, "hEmmrA/.", which means "I will gladly sing with my strength".

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

"x." is a special verb, known as the "subject definer". It's used when the subject of the sentence is not the speaker/singer, and will be explained in a later section.

Finally, there are cases when base base verbs are used in sentences, such as when verbs are used as part of the object or subject, which will be elaborated upon further below.

Emotion Vowels

Emotion vowels express the subject's emotional state when performing the action described by the base verb. (The subject may be either the speaker/singer, or another subject defined in the sentence.) 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 speaker/singer's feeling towards the target being spoken to (usually "you, the audience listening to this story"). This "you" is from the speaker/singer's perspective, which may not be the same as the subject's perspective.

Level 3: Emotion vowels that express the speaker/singer's feeling towards the people of the world (from now on known as "this world").

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

Subject	Audience	World
A - Strength, concentration, doing one's best. I - Pain, agony, fear, feeling of wanting to run away. U - Sadness, worry, (sometimes means caring too). E - Happiness, pleasure. O - Anger, malice. N - Absent-mindedness, relaxation, (sometimes means negative).	YA - Your feeling. YI - Your suffering, your pain, your death. YU - Your sadness, your anxiety. YE - Your happiness. YO - Your anger. YN - Your calmness.	LYA - This world's feeling. LYI - This world's pain, this world's destruction. LYU - This world's sadness, this world's tension. LYE - This world's happiness. LYO - This world's anger, this world's madness, this world's fighting. LYN - This world's calmness, this world's stillness.

As you can see, with the exception of the difference between between A and YA/LYA, they are mostly the same. Level 1 vowels have different meanings when used with "x." (the subject definer), however, and those will be explained in a later section.

In addition to expressing the emotions of the subject, emotion vowels also indicate 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, so let's look at a few examples.

Example 1:

Standard Hymmnos:

Was yea ra chs hymmnos mea.

New Testament of Pastalie:

cEzE hymmnos/.

They both mean, "I will happily turn (myself) into a song". The "mea" in the Standard Hymmnos sentence refers to means "me", the target of the verb "chs" (turn into). But we don't see that in the Pastalie version because the two "E" vowels in the verb "cEzE" already define the subject as the target of the action. (Remember, though, that the subject may not necessarily be the same as the speaker/singer.)

Example 2:

Standard Hymmnos:

Was yea ra chs hymmnos yor.

New Testament of Pastalie:

cEzYE hymmnos/.

Both sentences mean, "I will happily turn you into a song". The "YE" means the target of the action "turning into" is "you (the person listening to this sentence)". Furthermore, it means that the action "turn you into a song" is happening for the sake of "your" happiness. So, if we translate each sentence word for word, we get:

Was yea ra chs hymmnos yor.

(very) (happy) (I want this to last) (turn into) (song) (you)

(With great happiness and wanting this happiness to last, I turn you into a song.)

cEzYE hymmnos/.

(turn into + my happiness + your happiness) (song)

(With happiness and for the sake of your happiness, I turn you into a song.)

Each type of Hymmnos features its own kind of advantage in expression. The same case is applied to level 3 emotion vowels; they, too, can indicate that "everyone" or "the world" is the target of the base verb's action.

Subject Definer

Time for the "x." to come into play. Remember that I said all Pastalie (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 Pastalie 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 Pastalie 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 Pastalie 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)

Advanced Grammar Rules

Function

XXX/. -> YYY/.

This allows you to store an entire phrase as a word. However, it only works for the song in which the function is used. It can make the sentences harder to understand, but also allows to make them shorter

Example:

- colga/. -> cEzE colga sos qOgYIs/. (Ice -> I shall be happy to turn into ice to put an end to you).

Wherever "colga/." might be used from now on, it will mean the same as "cEze colga sos qOgYIs/.".

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 Pastalie (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 it was mentioned before, the main element of a Pastalie sentence is emotion verb, but sometimes when the action is being performed without emotion, like a machine, or in unconscious state, you can use a 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/.

-za Suffix

This suffix turns the verb that preceeds it into a noun, allowing it to be used as a subject or noun. However, unlike the methods discussed before, it also allows the use of Emotion Vowels in it, allowing also more variety in emotional expression. The suffix can be attached to the end of the verb, or separated by a space.

Examples:

- xE harr hLYEmEmErza wEwEjLYEnEcE ut sphaela/. (I'm happy that her joyful singing resounds to the world).

And this other one shows the "-za" separated form the verb by a space (taken from METHOD_IMPLANTA/.)

- wYAfA za rYAfrm 1001 Atitia_qejyu en vYAsk yor/. (My wish is to show you the 1001 good hearts of the people, so you can experience them). (Note: This is general information took from the Settei Book, and there are some instances of the use of -za that haven't been deciphered yet).

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 used in Binasphere Chorus. 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 Pastalie 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

ygulatiaz nouon gauv dejuy ygulatiaz nouon gauv dejuy

A line from ee wassa sos yehar.

Awiaa_vamuebyuiujesbOsYlmdnhyungxL YlvO!xL YlvO!!xL YlvOgzavamue!

Awiaa_vamue byui ujes bOsYlm dn hyung xLYIvO! xLYIvO!! xLYIvOg za vamue!

Tons of unknown words and verbs.

wAssEzzurgnwAssEkieghiwAssEhiewwAssEzodalsphaela!!

wasse zz urgn wasse kieghi wasse hiew wasse zodal sphaela!!

(Praise for no laments! Praise for kieghi! Praise for sadness! Praise for this dying world!!) ("kieghi" 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 Pastalie, this line must be Pastalie as well, not Standard Hymmnos, especially with the upper case letters which definitely indicates emotional vowels.

Grammar (Carmena Foreluna)

This dialect is the direct ancestor of Hymmnos, and was the basis of the development of the Kurt Ciel Note. However, unlike any of the current Hymmnos dialects, it doesn't possess an actual structured grammar, and instead, it's largely dependant on the interpretations of its speakers.

Basically, each letter contains an emotion and a power, which comes in effect as soon as they are pronounced, and by chaining them, the words are formed. This means that this dialect doesn't have a set vocabulary either.

The following table lists the effects that each letter is known to have.

Letter	Power/Meaning	Letter	Power/Meaning
A	Power	N	Nothing, empty, emptiness
B	World, society	O	Evil, wicked, dark
C	Grow/Raise, change	P	Life & Death
D	Darkness, demon	Q	Ignorance
E	Love	R	Life
F	Convey, Transmit, Permeate, Spread	S	Request, wish
G	Destruction, curse, punishment	T	I, myself
H	Fire, heat, passion, love	U	Hatred
I	Holy	V	Joy
J	Unknown/Yet to be known, underworld	W	Mind, soul, heart
K	Creation & Destruction	X	Protection, protect
L	You, Other Person	Y	Light
M	Compassion	Z	God, gods

The words in Carmena Foreluna can range from something as simple as "Xa" (protective power) to something as complex as "zacta" (Oh, God, through your power, bestow growth upon me of power). Also, all the sentences in this dialect are polite requests (since they are prayers), and the more a letter is repeated in a word, the more it intensifies the power of said letter in the overall sentence.

For example:

while "a" means "power", "aaa" means "incredible power".

Also, Carmena Foreluna has a few rules about how the combined letters work, which will be detailed below:

• The more the same letters are put, the more its effects are amplified (the stronger they have to be pronounced)
• Whenever there are vowels between the runes, the power flows from left to right, in this way: Left>Vowel>Right.
• When there aren't any vowels between consonants, it means in pronunciation that there will be a silent short stop, and that the phrase won't have any power. It's merely a modifier, a phrase for fleshing out feelings further. Such phrases can be written however one wishes.
• Capital letters denote reverence. The higher the grade of reverence, the further the original meaning of the original letters can change.

As an example, we have here a sentence used as a prayer by the Tsukikanade since ancient times:

yeerh zacta tyy maarr itt sss
(Oh, God, please bestow power upon me!)

And here, how the words are deconstructed to reveal their complete meanings:

yeerh [action]: Oh Light + through your great love + and to my passionate life
                    y               e e                        r    h

zacta [action]: Oh God + through your power + bestow growth upon me + of power
                  z              a                    c          t       a

tyy [object]: Illuminate me with a shining light.
                         t         y        y

maarr [action]: Oh Compassion + through your great power + to my vivid life
                     m                   a        a             r    r

itt [action]: bestow holy power + to me!
                    i               t t

sss [object]: That is what I wish the most.
                       s        s      s

And by joining the meanings, while eliminating the redundant ones, we get this:

Oh light, through your great love,
Oh God, through your great power,
illuminate me with a shining light,
and bestow power to my passionate life.
Oh, compassion, through your great love,
bestow a holy power upon my vivid life!
These are my greatest wishes.

Which we can simply condense as "Oh God, please bestow power upon me!"

Carmena Foreluna can also be used to deconstruct current Hymmnos words, to learn what their origins were.

For example:

hymme [action]: Through the passionate light + please bestow salvation upon me > with your love.
                            h           y                m        m                     e

Which can also be condensed as "Please, save me through the power of your love", which was the original intent of "singing" for the Tsukikanade.

Ar Ciela

Note: Due to this language still being in development, it will be left incomplete until further information is received from the official Hymmno Server site. Please, excuse us if this causes you problems.

Due to its special traits (detailed below, in the Dialects section), Ar Ciela has two methods in which it can be written, both of which use the Ar Ciela writing system:

Writing Methods

Ar Ciela Public

"Public" here represents the fact that texts written in this method represents only the sounds within human's audible spectrum, and thus only uses 26 letters. To normal people, there is no way to understand those words as there is no additional information needed for deciphering - this method of writing only writes down what human can hear, not the true meanings of the language. This was the method used for writing the lyrics in the Hymmnos Concert CDs' booklets.

Ar Ciela Compartment

Basically, Ar Ciela Compartment is fairly similar to Ar Ciela Public, but it features additional diacritics, named Compartment Codes. Those Compartment Codes explicitly represent the conditions of the sounds which belong to the frequency range inaudible to humans.

Humans cannot write down the Compartment Codes as they are uncapable of hearing them. Furthermore, normal human can also hardly understand the meanings behind those Compartment Codes and cannot make one-to-one correspondences between the written and spoken language. However, for the purpose of scientific analysis, Ar Ciela Compartment is the standard and necessary method of writing the language.

As explained above, Compartment Codes are diacritics that are further added to normal Ar Ciela texts. They are used to represent Ar Ciela's 5 frequency tendencies and 4 amplitude tendencies. It's through those Compartment Codes that the basics of Ar Ciela words are revealed - think of them as the radicals in kanji characters.

Sound frequency from 20000Hz to 600000Hz is broken into five parts, called sessions. For example, if you hear a 100kHz sound that sounds like "a," it could actually be "ka" or "sa" or something else, but your ears cannot distinguish those high frequency sounds.

FMCL

Compartment Codes that represent frequency sessions are called FMCLs.

The five FMCLs are:

Diacritic	FMCL not written down
Compartment Name	session-0	session-1	session-2	session-3	session-4
Corresponding Wave Band Frequency	20kHz~50kHz	50kHz~100kHz	100kHz~150kHz	150kHz~300kHz	300kHz~600kHz

AMCL

The other type of Compartment Codes, AMCL, represents the amplitude tendencies - the shape of the sound wave above 20000Hz, per se. Those amplitudes are vital to recognizing sound pressure made by pronunciation of words, which is necessary for realizing those words. For example, between "ka" and "sa," the former has a shorter and more focused sound, leading to a sharper amplitude than the latter, which is softer and has a more flat sound pressure.

The four AMCL are:

Diacritic			AMCL not written down
Compartment Name	quad	dual	single	half
Corresponding Amplitude Trend	＼＿＿＿	／￣＼＿	＿＿＿＿	／＼

Normally, FMCL are written above the letter, while AMCL are written under them. However, those Compartment Codes are never used with vowels. That is because it is still possible to distinguish vowels even at high frequencies, and the confusion is only caused by the large variety of consonants that become unrecognizable.

Differences Between both Writing Systems

Let's show the differences between both Ar Ciela Public and Ar Ciela Compartment by showing how the words Ec Tisia are written in both ways:

In here, you can see how it looks written in Ar Ciela Public. As you can see, it is written normally like many other languages that use alphabets - including Hymmnos. However, it is still yet impossible to recognize the meaning of this word.

While in the other hand, here is the same phrase written in Ar Ciela Compartment. It becomes Ec[s-4/half] T[s-3/quad]is[s-4/dual]ia (you can get this by typing E%)c $&Ti%(sia on your keyboard, using the official Ar Ciela Compartment font).

Now, using the corresponding table below, you can finally decipher the meaning of the word by breaking it down into letters: "Sympathy + Growth" and "People + Sincerity + Forgiveness + Hope + Power of Emotion" respectively.

Meanings of the Sounds

Ar Ciela is the origin of Carmena Foreluna, thus, the pronunciation of each letter represents a different emotional state (which is converted into H-waves). While sharing similar "randomness" feature with Carmena Foreluna (which means you can freely recognize and translate the letters however you want), once the letters are fused into words, they form a solid meaning. Take Ec Tisia for example. As you can see above, its meaning is really random: "Sympathy + Growth" and "People + Sincerity + Forgiveness + Hope + Power of Emotion." However, once converted into H-wave, the feelings merge together and, as a result, Ec Tisia as a whole means "Forgive everything." That said, the meanings of words are not limited to just a mix of each separate letter's meaning. It was through a long process of mixing, adding and alternating countless emotions that Ar Ciela came to the language of today which we call Hymmnos.

Below is a chart that summarizes all known emotion in each separate letter known up till now. Vowels are not divided according to their frequency, because they require the addition of consonants in order to acquire meaning. Speaking in Wave Science's terms, vowels are not classified - they remain the same regardless of Compartment. To human, the meaning of each vowel might sound varied and only loosely connected, but as for the Planet, she feels that those are one and only unified emotion. Those unified emotions are surrounded by [brackets] in order to distinguish them from humans' derived meanings. That said, it is not possible to for human to alter the words as they please. Words in Ar Ciela are crafted by the Planet herself, and is a synthesized form of emotion, so if you for example replace "A" with "U" or "N" then the meaning of the word will be altered, and it will no longer be Ar Ciela anymore. It is assured that the emotions of vowels and consonants cannot be expressed by words.

	Wave Frequency Band Levels (Each Level Has Emotions Corresponding to their Representative Pronunciation)
	I	II	III	IV	V	VI	VII	VIII	IX
A	[Scalar] Neutrality, Equality, Fairness, Energy, Power of Emotion, Balance, Love
I	[Prayer] Fear, Anxiety, Respect, Hope, Spirit, Kindness
U	[Experience] Aspiration, Envy, Friendship, Cooperation, Friendly Love
E	[Neighbor] Compassion, Restraint, Understanding, Sympathy, Sexual Love
O	[Karma] Hatred, Anger, Sadness, Admonition, Narcissism
N	[Mandala] Emptiness, Comfort, Enlightment, Benevolence
B	Oneself		Neighborhood		Region		World		Love
C		Transformation				Revolution		Growth	Love
D	Evil		Corruption		Darkness			Light	Love
F	Conduction			Influence		Penetration			Love
G	Hell		Destruction		Change		Reincarnation	Cultivation	Love
H	Heat		Flame			Burning		Passion	Love
J	Ignorance	Unknown		Fantasy			Singularity		Love
K	Creation and Destruction (exact frequency bands unknown)								Love
L	Stranger		Neighborhood		Friend		Companion	Trustworthy	Love
M	Serenity			Pity		Salvation			Love
P	Life and Death (exact frequency bands unknown)								Love
Q		Foolishness			Ignorance		Innocence		Love
R	Fomenting					Throbbing		Life	Love
S	Lust	Dependence		Wish	Prayer		Gratitude	Forgiveness	Love
T			Ego	We		People		World	Love
V		Joy					Praise		Love
W			Interior		Spirit				Love
X	Aggression	Defense				Protection			Love
Y	Darkness						Sacred		Love
Z		God	Master			Interior		Ego	Love

Only the known emotions are written in the above table, according to research materials from the Archia Research Institute. Furthermore, their divisions into I to IX are purely for the purpose of researching, they have absolutely no meaning to the actual Ar Ciela language. So, say, if you divide a section - III for example - into 10 smaller subsections, the "feeling" will be divided even further and become much more detailed, bringing forth many more new emotions.

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)
• Kurt Ciel Note (Ancient Language From Before the First Era)
• Cluster Note (Cluster Area Language)
• Alpha Note (Origin Spell)
• Ancient Metafalss Note (Sacred Language from the First Era)
• New Testament of Pastalie (Pastalia Dialect)
• Carmena Foreluna (Risshinzentsukuyomi (Ancient Language from Before the First Era))
• Corrupted Pastalie Hymmnos
• Ar Ciela (Planet Language)

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.

Kurt Ciel Note (Ancient Language From Before the First Era)

This Kurt 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 word 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.

Carmena Foreluna (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. 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, and required entire choruses of people singing in harmony to actually bring about any effects, the majority of the Reyvateils don't support (understand or speak) this dialect.

Corrupted Pastalie Hymmnos

There isn't any information available yet. Unofficial name.

Ar Ciela (Planet Language)

Ar Ciela, commonly known as "Language of the Planet," is not a language used by the humans. This language is used when the Planet wants to express her will and intention, and also when the Planet wants to craft something (comparable to Earth's activities ranging from weather to volcanic eruption to the cycle of life). In such situations, Ar Ciela is used to materialize those wills of the Planet. You can also say that Ar Ciela is the origin of everything that belongs to the Planet Ar Ciel, and was also the initial point for the development of the Carmena Foreluna language, which in turn also served as a predecessor for Hymmnos.

Ar Ciela has a really special trait, that is, you cannot completely comprehend its meaning within just the audible spectrum. That is because, the pronunciation of the language itself becomes H-wave and takes effect in that very form. Human's normal audible range is within 20~20000Hz, but Ar Ciela's pronunciation can easily reach up to 20~600000Hz (30 times higher than the audible spectrum) of H-wave. With such an extensive range like this, necessary sampling rate for recording Ar Ciela would be 1200kHz (in comparison, CD uses 44.1kHz sampling rate).

So what will happen when normal humans listen to Ar Ciela? There is one method through which you can experience this yourself. First, record your speaking or your singing into your computer, then use an audio editor program to cut off all the sound waves that are over 100Hz in frequency. The result will be a big mess of muddy and stuffy voice which is difficult to understand. That is the same effect as when a normal person listens to Ar Ciela.

For example, record your saying the word okaasan ("mother") into your computer. Then, if you cut off the sound waves that are over 100Hz, the word will sound like "ohoohon." Now, you can still tell a few things from this albeit highly distorted word: it has five morae, accent falls onto the 2nd and 3rd morae, and you can also feel where the vowels are. As such, even though in reality that word might even sound similar to something random like "notaahau" (which has no meaning at all), your brain will automatically come to realize that this word is okaasan. However, with Ar Ciela - a completely strange language, you cannot "guess" like in Japanese. For example, take the word Tisia. It's the result of the "cutoff" process mentioned above, and as you can see, there are countless ways to infer the original pronunciation of that word. But certainly, if you could somehow magically become capable of listening to sounds all the way up to 600kHz, you would be able to realize the original and precise pronunciation of that word, and would understand its meaning.

Another example. The Japanese are often known for not being able to tell the difference between /r/ and /l/, so without proper training, Japanese people will have difficulty distinguishing the two English words grass and glass - they both sound "garasu" to them.

As such, when a normal person listens to Ar Ciela, in order for him to be able to recognize the words' true meaning, Ar Ciela has been divided into categories. Furthermore, those categories are also split into dimensional visual subdivisions - that is, subcategories that attempt to visualize Ar Ciela pronunciation in dimensional forms.

Lexicon

A

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
ADDR	n.	アドレス指定	adress designation. (Used only in Server control commands)
a.u.k.	E.v.	be動詞に相当	be	Pastalie
accrroad	v.	あげる　与える	give, send	Central
acra	adv.	きっと、確かに (高い可能性を示す語句)	surely, certainly (Note: Used for expressing something that's highly probable to happen)	Central
adeal
adyya	n.	今日・本日	today	Central
afezeria	v.	祝福する	bless	Central
ag	conj.	そして、～と (and)	and (Note: Equivalent to the English "and")	Pastalie
agldeio	v.		bury, cover
aiph	conj.	もし～ならば	if	Central
aje	adj.	新しい	new	Pastalie
akata	n.	物語	story	Central
ale	n.	音	sound	Pastalie
alefio
alroen	n.	証	Proof, testimony
alroetsue	adj.	贖いの、償いの	of atonement, of recompense	Ancient Metafalss
alroetyye	adj.		of atonement, of recompense
amariare
amme
ammue	n.	音、（音の）波動	sound, sound waves	Kurt Ciel
amyure	n.	懺悔	repentance, conviction, penitence
an	adv.	～と共に	together	Central
annie
anturn
anw	prep.	～を (後ろに来るアルファベットが子音か母音か等、状況によって、最後の発音が変化します。 後ろの単語とつなげて発音した時、より音がきれいに流れる発音を選択してください。)	(direct object marker) (Note: The pronunciation changes depending on if the last letter of the preceeding word was a vowel or consonant. The pronunciation used ("anwa" or "anu") depends on which one the speaker thinks that flows and sounds better with the rest of the phrase)	Ancient Metafalss
apea	E.s. (II)	幸せでぽわー	immersed in happiness	Kurt Ciel
ar	adj.	唯一つの	only, unique	Central
araus	v./n.	取替	exchange
arhou	n.	希望, 恩恵	hope, wish, blessing	Pastalie
arl			(Unknown Meaning)
arrya	n.	矢	arrow	Central
arsye	v.	分け合う	share	Central
art	conj.	～によって	because of, by means of	Central
asyar	v.	溶く	melt into~
ates	v.	受け入れる	accept, receive
aterra	v./n.	受け入れる	accept, receive
au	E.s. (II)	悲しい	sad	Alpha (Eolia)
aulla	v.	開く、開放する、開示する、明かす	open, disclose, reveal	Central
ayulsa	n.	永遠, 永遠に、ずっと続く	eternity, for eternity, continues forever	Pastalie
azl

B

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
badoe	v.		decide, determine
balduo	adj.	暗い、暗黒の、見えない, 闇	dark, of darkness, unable to be seen	Pastalie
bale	n.	玉	ball, jewel	Central
bansh	v.	（荒々しく扉などを）開く	(violently) open (a door etc.)	Central
basilic	n.	大砲 (大蛇。(転じて)大砲)	big snake, (derivative meanings) gun, cannon	Central
bautifal	adj.	美しい、綺麗な	beautiful	Central
beja	v.	汚す	dirty, defile	Kurt Ciel
beng	conj.	以前　（時間的に）前	before (time), ago	Central
bengnuih	n.	夕刻　夕方　黄昏れ	evening, dusk	Central
bexm	v.	（時間が）来る、訪れる	come (time)	Central
biran	v.		continue	Cluster Note
biron	v.	続く	continue	Central
bister	n.	獣　野獣	beast	Central
bnas	n.		authority
boches	n.	口	mouth	Central
boh	adj.	爆発的な、超常的な	explosive, supernatural	Ancient Metafalss
boia	n.		war, battlefield, battle	Cluster Note
brinch	n.	枝	branch	Central
briyante	n.	歓喜の声、喜びの声	voices of delight, voices of joy	Ancient Metafalss
briyua	adj.	喜びの	happy, joyful
burle	adj./n.	青　青い　蒼	blue	Central
byui	conj.	糾弾	blame, cause of

C

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Chronicle Key	n.	ヒュムノス・クロニクルキー	Chronicle Key (a hymn)	Alpha (Eolia)
c.z.	E.v.	変化する	transform	Pastalie
calamila	n.	禍い	catastrophe
cause	v.	呪う、苦しめる	curse, torment	Ancient Metafalss
cecet	n.	盾	shield	Central
ceku	n.	友・友人・同士・同胞	friend, comrade, companion, comrade	Pastalie
celetille	adj.	鮮やかな、新鮮な、美しい、綺麗な	vivid, clear, fresh, beautiful	Central
celle	adv.	天高く	heavenly	Central
cenjue	v.	変化する、変える、変更する (chsより強烈であり、強制力の強いもの。既に「願い」ではなく「使役」。正教語であり一般人は使えない。「na」と合わせることで、「逆言」的な効果を持って強固な意志を表現する。)	change, transform (Note: Has stronger connotations than "chs". This one doesn't mean the "wish" to change, but rather actually changing. It's an orthodox word not used by normal people. If it's preceeded by "na", then it takes the opposite meaning: indicating extreme firmness and determination)	Ancient Metafalss
cerchio	n.	可能性	possibility	Central
cest	adj./n.	真実の、真の、本当の、真実	of the true, true, real, truth	Central
cexm	v.	（人や物が）来る、訪れる	come (person), visit	Central
chamo
chanti	n./v.	褒める、賞讃する、賞賛	praise, reward	Central
chess	n./v.	接吻する	kiss
chiess	n./v.	キスする、口づけする、キス	kiss	Central
chs	v.	～になる (自分自身の形が完全に変わってしまうとき、もしくはモノの例えとして使う場合はこちら。何かと使われることが多い。)	become (Note: Used metaphorically for whenever one wishes to change completely. It has an enormous variety of uses)	Central
chsee	v.	～に変化する (自分や対象物に何かがプラスされる、一部変化する、何かが減るといった、部分的な物理変化を意味する。)	transform into ~ (Note: Indicates increase, partial change or reductions on oneself or in the target. In short, it's used to express partial physical change).	Central
chyet	adj.	選ばれた、特別	chosen, particular, special	Kurt Ciel
cia	n.	空	sky	Pastalie
ciel	n.	空、（意訳で）世界	sky, (translated usually as) world	Central
ciellenne	n.	天空	the skies	Central
cietta	conj.	だって	because, but, although
clalliss	n./v.	色、色をつける	color	Central
clamour	n.	膝	knee, lap	Central
clare	adj.	透明な　透き通った	clear, transparent	Central
clemezen	adj./n.	狂気、気が触れた、狂った	insane, insanity	Central
clyncye	n.	純粋、無色	purity, colorlessness	Kurt Ciel
Clyuue	n.		Name of the Ar Ciel King of Gods
coall	v.	還る	return
colga	n.	氷	ice	Central
colgen	v./adj.	凍った	freeze, frozen
colmask
coree	part.	胸の中の	within my heart
corle	n.	かけら	shard, fragment
corpu	n.	肉体	body, flesh
crannidale	v.	分かち合う	share, (possible alternate translation) believe	Ancient Metafalss
cremia	v./n,	救済	salvation
crown	n.	杯	cup (for beverages)
crudea	n.	苦しみ、苦悩	anguish, suffering	Ancient Metafalss
crushue	v.	紡ぐ	spin (fabric), (translated usually as) craft	Ancient Metafalss
cupla	n.	罪	sin	Central
cyuie	adj.	切ない、悲しい	sad, sorrowful	Central
cyurio	n.	理、秩序	reason, logic, order	Central

D

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
D_CELL	n.	Dセロファン	D-Cellophane. Only used for Server manipulation commands.
d.n.	E.v.	踊る	dance	Pastalie
d.n.g.	E.v.	穿つ	pierce	Pastalie
d.r.s.n.	E.v.	伝えられている	handed down, passed down, passed on	Pastalie
d.s.s.n.	E.v.	解決を求める	accept the atonement	Pastalie
d.z.	E.v.	死ぬ	die	Pastalie
daedu	n.	醜いもの	eyesore, something ugly	Pastalie
daf	part.		for, that
dand	n.	ドア	door	Central
dauan	n.	夜明け	dawn	Central
dauane	adj.	夜明けの	of the dawn	Central
dazua	n./adj.	闇	darkness, dark
dea	part.	~で	with, by means of
deadl	n.		days
deata	v.	裁かれる、裁きをうける、断罪される	judge, convict, administer judgment	Kurt Ciel
deggeez	v./n.	裏切る、背く	betray, disobey, betrayal	Central
degle	v.	壊滅	destroy, overthrow, ruin	Kurt Ciel
dejuy	n.	贖罪	atonement	Pastalia
deleir	n.	災い、禍、災厄	calamity, disaster	Alpha (Eolia)
delij	v.	嫌う、嫌がる、疎む	hate, shun, neglect	Alpha (Eolia)
den	conj.	しかし、でも、けれど、～だが (反対の接続語)	however, but, still, and yet (Note: Connective for opposite sentences)	Central
dend
denera	n.	悪しきもの	evil one	Central
der	prep.	～で、によって	according to, by means of	Ancient Metafalss
desfel	adj./v.	嫌い、厭、厭う、いやがる	hate, dislike, detestable, unpleasant	Ancient Metafalss
Despedia	n.	ヒュムノス・デスペディア	Despedia (a hymn)
dest	v.	滅びる、消滅する	destroy, make disappear, put an end
deu	part.	そして、～と	and
dewee	v.	跪け	kneel
dgal	n.	国	country, land
dha	n./v.		descend, come down
dhezeall	n./adj.	虜囚、虜、捕らわれ人 (囚われの、という形容詞としても使用可)	captive, prisoner, imprisoned	Ancient Metafalss
dia	n.	王、王座、玉座、支配者	king, throne, ruler	Central
dialssa	n.		princess
diasee	n.	神の子	child of God	Ancient Metafalss
didalia	adj.	大きい	large	Kurt Ciel
Dijya	n.		Name of the Ar Ciel God of Mountains and Volcanoes
dilete	n.	神の息吹　神の加護　 (詩魔法の効能は防御とステータス上昇)	God's breath, God's divine protection (Song Magic effects is defense and status increases)	Central
diol
discest	v./n.	偽る・偽装する・騙す・偽り (動詞・名詞同形で使用可)	lie, cheat, trick	Central
dius	adj.	尊い、神々しい	divine, sacred, precious, valuable, sublime, solemn, noble	Kurt Ciel
diviega	n., adj.	聖なる剣、(転じて)偉大なる叡智	sacred sword, (derivative meaning) great wisdom	Kurt Ciel
dje	n.	体	body
dn	p.	～で ( 手段。byに相当)	(instrument/location/cause/time marker) (Note: Used to indicate means. Equivalent to the English "by").	Pastalie
donaty
doodu	n.	大地	ground, earth	Pastalie
dople	v.	排除する	remove, exclude, reject	Central
dor	n.	大地、大陸	ground, continent	Central
dorn	n.	木	tree, wood	Central
dorna
dornpica	n.	木の実	nut, fruit, seed	Kurt Ciel
dorre	n.		land, earth
dorzee
dralee	v./n.	供物	Offer, offering
drone	v.	ダウンロード、取り込む	download, take in	Central
dsier	n.	欲望	desire	Central
du	p.	～を	(direct object marker)	Pastalie
dyldea	n.		day, days
dyya	n.	日（英語のDay） (『一日』や『その日』など時間や期間を表す為に用いる。『何日目』の場合はdyyalを参照)	day (Note: Used only for phrases such as "one day" or "that day". For phrases with aa definite number of days, "dyyal" is used instead)	Central
dyyal	n.	～日目	days (counter suffix)	Central

E

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
El	n.		Region, country. (Example: El Elemia)
EXA_PICO	n.	エクサピーコ	Exa Pico
eazas	adj.	互いに (愛し合う→hartes eazasのように、動詞の後に付けて使う)	mutually (Note: It can be attached to the end of a verb, like this: "hartes eazas" -> "mutual love")	Central
echrra	v.	共鳴する	resonate	Central
ede	pre.		in, at
ee	v.	偉大なる、讃える	exalt, praise	Ancient Metafalss
eetor	n.	向こう側	other (side/person)	Central
eje	n.	心、気持ち	heart, mind, feeling	Pastalie
ekouolga
elle	prep.	～から、～よりの、～より (fromに近い意味を持つ単語)	from, out of (Note: It's similar in meaning and use to the English "from")	Central
elna
elye	adv.	未だ、まだ	hitherto, yet	Pastalie
en	conj.	そして、～だから、～ために (英語のandです)	and, because, for (Note: Direct equivalent to the English "and")	Central
enclone	v.	包み込む	wrap up	Ancient Metafalss
endia	v.	止める、終わらせる	stop, end	Ancient Metafalss
ene	v.	思う、感慨深くなる	think, feel deeply	Kurt Ciel
enegd	v.	痺れる	become numb	Central
enerel	adv.	ずっと	always, forever	Kurt Ciel
enesse	n.	想い	emotion	Kurt Ciel
engassya	v.	よこせ！奪う	Go and snatch away!	Central
engua	n.		predestined, inevitable, unchangeable
enllia
ennala	v.		wished	Cluster Note
ennalte	v.		wishing
enne	n.	祈り、願い（いい意味）	prayer, request (with good intentions)	Central
enrer	adv.	常日頃から、いつも	always, usually	Kurt Ciel
enter	v.	～に入り込む	enter ~	Central
envied	adj.	愚か	stupid, idiotic
enw	conj.	～しながら	while doing ~	Central
eodeal
erlla	pre.	もっと	very. a lot
erphy	n.	思い出	memory, remembrance
erra	E.s. III	永遠にこのままでいたい	I want this to last eternally	Central
ess	prep.	～で (英語のin相当)	(instrument/location/cause/time marker) (Note: Equivalent to the English "in")	Pastalie
et	adj.	大きい	large	Central
eta	v.	食べる	eat	Central
etealune	n.	永遠、永久	eternity	Ancient Metafalss
etealuear
eterne	n.	永遠、永久	eternity	Alpha (Eolia)
ettdy
eux	n.	目	eye	Central
exec	v.	実行する	execute, put into practise	Central
ewle	adj.	長い	long
exali	adj.	眩しい	radiant, dazzling

F

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Fou	E.s. I	ちょっと	A little	Central
f.p.n.	E.v.	降りしきる	downpour	Pastalie
f.r.l.	E.v.	怯える	be frightened	Pastalie
f.s.	E.v	囁く	whisper, murmur	Pastalie
f.w.r	E.v.	受け入れる	accept	Pastalie
f.w.r.n	E.v.	包みこむ	surround, enfold	Pastalie
faf	adj.	怖い	scary, frightening	Kurt Ciel
faja	v.	進む (主に普通に進む場合はこちら。集団で移動する場合はZahha)	advance, make progress (Note: It's used for indicating the advancing of an individual or small groups. For the advancing of large groups, "Zahha" it's used instead).	Kurt Ciel
faiy	adj.	刹那の	momentary, transient
falfa	n.	安寧	peace
famfa	v.	はばたく	fly, flap wings	Central
fanalea	adj.	高らかに	loudly, sonorously
fandel	adj.	数多の、幾多の	many, in great numbers	Ancient Metafalss
fane	n.	慈愛	affection, kindness, love	Central
fao	n.		miracle
fari	conj.		yet, however
fatee	n.		Father (as in God)
fatele	n.	父	father	Ancient Metafalss
fatere	adv.	さもなくば・そうしなければ～でしょう	if not ~ then probably ~	Central
fau	n.	鳥 (「小」鳥ではない)	bird (Note: not used for small birds)	Ancient Metafalss
faura	n.	小鳥、幼い鳥	small/baby bird	Ancient Metafalss
fayra	n.	火、炎	fire, blaze	Central
fedyya	n.	明日 (未来の意味でも使用可)	tomorrow (Note: Can also mean "future")	Central
fee	n.	風	wind
ferda	v.	宿る	dwell, live in	Ancient Metafalss
fernia	v.	微笑む	smile	Kurt Ciel
fetala	n.		father
fhau	n.	光	light
fhauri	adj.	光の	~ of light
fhyu	n.	風	wind	Central
Filament	n.		Name of the Ar Ciel Goddess of Death and Poverty
firga	n.	過去	past
firle	v.	感じる	feel, sense	Ancient Metafalss
firanzia	n.	世の終焉	end of the world
fitouva
flare	v.	浮かぶ　浮く	float, suspend (in the air)	Central
flip	v.	ひっくり返る、フリップフロップ転送コマンド	reverse, command for flip-flop conversion	Central
flip	n.	引き替えに	in exchange	Kurt Ciel
fluy	n.	泉、湧水	spring, well	Central
focs	adj.	深い	deep, thick
fogabe	v.	許す	forgive, allow, pardon	Central
folten	prep.	前　 （位置、方向を指す）	before (position/direction), in front of	Central
forgandal	Con.	なぜならば！	Because of...!	Kurt Ciel
forlindel	n.	村長の一族	head family of a village	Kurt Ciel
forlinden	n.	村	village	Kurt Ciel
foul	n.	不思議、神秘	wonder, miracle, mystery	Kurt Ciel
fountaina	v./adj.	覆う、満たす、埋める (覆うような、など、量や規模を表す形容詞としても同形で使用可)	fill up, cover, hide (Note: It can also be used as an adjective to indicate the amount and scope of something)	Central
fowrlle	v./n.	慰める、癒す、慰安	comfort, heal, relaxation	Central
frawr	n.	花	flower	Central
frawrle	n.	春	spring (season)	Kurt Ciel
frissoner	v.	震える	shiver	Central
frreie	v.	解き放つ	release
fs	n.	そよ風 (Eをつけると意訳で「ささやき」)	breeze (when it has an "E" emotion vowel in front, its meaning changes to "whisper").	Pastalie
ftt	v.	消える	vanish	Central
fuluaa	v.		come true (wish)
fulual	v.	叶う	come true (wish)	Central
fusya	v.	包む	wrap	Central
futare	n.	未来	future	Central
fwal	n./v.	翼, 進める, 運ぶ	wing, advance, transport	Kurt Ciel
fwilla	n.	雫	drop, droplet
fwillra	n.	羽、羽毛、ひとひら (fwalは翼、fwillraは羽や羽毛のひとひら)	feather, plumage, petal (Note: contrary to "fwal", which means "wings", "fwirlla" only refers to the feathers and plumage)	Kurt Ciel
fyatomes

G

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
g.k.n.	E.v.	たべる	eat	Pastalie
g.v.w	E.v.	戦う	fight, battle	Pastalie
g.w.f.r.	E.v.	裁く	judge	Pastalie
g.w.n.	E.v.	導く	lead, guide	Pastalie
ga	E.s. III	はやく脱したい	I want this to end soon	Central
gaedurltea
gagis	E.s. III	自分はどうなってもいい	I don't mind whatever may happen to me	Ancient Metafalss
galado	v.		resound, echo, reverb
gallido
ganna	adj./n.	固い、頑なな、堅牢な、石、岩 (物質・精神両方の意味で「カタイ」ものの表現に使用可。名詞としては石や岩も指す。	strong, stubborn, solid, stone, rock (Note: It's normally used to indicate the hardness of a material or the stubbornness of a mind. As a noun, it means "rock" and "stone")	Central
garlden	n.	街	town	Central
gasar	n.	ぬいぐるみ	doll, stuffed animal	Pastalie
gat	n.	呪い	curse	Central
gatyunla	n.	呪いの地、地獄	cursed land, hell	Kurt Ciel
gatyuny	n.	呪い	curse	Kurt Ciel
gaunji	v.	苛む	torment, torture
gauto	n.	暗い空、曇天、暗い曇	dark skies, cloudy skies, dark clouds
gauv	n.	罪、咎	sin, blame
gauzewiga	v.	絶望する	despair	Ancient Metafalss
gaya	E.s. III	二度と先の状態に戻りたくない	I never want to go back to how I was before	Central
geeow	n./v.	誓い、誓う、決意(する)	oath, vow, resolve	Central
getrra	adj.	汚れた	dirty, impure	Central
gfine	n.	時間	time
gfowi
gigeadeth	adj./n.	鋼鉄の、鉄 (形容詞・名詞同形で使用可)	steel, iron (Note: It can be used both as an adjective and a noun)	Central
gidiu
giue	n.	体	body
giz	n./v.	恐怖	fear, dread, terror
gkgul	adj.	ひび割れた	cracked	Pastalie
glansee	adj.	神々しい、偉大な (LYAをつけると意訳で「神」)	divine, exalted (Note: adding "LYA" before it changes its meaning to "God").	Pastalie
glasden	adj.	最高	highest, supreme, most	Ancient Metafalss
goa	conj.	～だけ (only)	only ~ (it's used in the same way as the English "only")	Pastalie
gool	adj.	飢えた	starved, thirsty	Central
got	v.	手に入れる	get, obtain	Kurt Ciel
gott	v	離れろ！退け！（汚い感じ）	Get off! Go away! (dirty feeling)	Central
govan	adj.	激しい	violent, excited, vehement, intense
govaz	n.	許嫁	fiancee	Kurt Ciel
gral	adj.	全て	all of, entire	Pastalie
gran	v.	幕を開ける	open the curtain	Kurt Ciel
grandee	n.	守護者	guardian	Ancient Metafalss
grandus	v.	護る	defend, protect	Ancient Metafalss
granme	E.s. II	心に勇気を抱く　護りたいと想う	Wishing to protect someone, courage	Central
grave	n.	山奥、建物などの奥	mountain recesses, interior (of a building, etc.)	Kurt Ciel
grlanza	v.	踊る	dance	Central
grow	adj.	傲慢	insolent, arrogant
grrena	adj./n.	緑　緑色の　碧 (名詞としても使用可. 植物という意味の緑は指さない)	green (Note: It can be used both as a noun and adjective. As a noun, it's used for non-green plants)	Central
grruw	v.	育つ	raise, grow up	Central
grruwa	v.		raise, grow up
guard	n.	守り、防御	protection	Central
guatrz	n.	怒り、憎悪	anger, hatred	Central
guaysu	v.	うつむく	hang one's head (in shame, etc.)	Central
guol	v.	（扉などを）閉じる	close (a door, etc.)	Central
guwo	E.s. II	怒る　憤り	anger, resentment	Central
gyaeje	n.		enemy, nemesis
gyaje	n.	過ち	error, mistake	Central
gyajlee	n.	罪人	criminal, sinner	Kurt Ciel
gyas	n.	悪霊、悪い成分	evil spirit, bad component	Central
gyen	v.	紡ぐ、（魔法を）生み出す	spin, craft, create magic	Kurt Ciel
gyenel	n.	魔導士（紡ぐ者）	wizard (crafter)	Kurt Ciel
gyengyat	v.	飲み干す、むさぼり食う	devour, lustfully eat	Kurt Ciel
gyuss	n.	抱擁	embrace, hug	Central
gyusya	v.	支配する	rule, control	Central

H

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Harmonius	n.	ヒュムノス・ハーモニウス	Harmonious (a hymn)	Central
Haibanation	n.	ヒュムノス・ハイバーネション	Hibernation (a hymn)
h.k.t.t	E.v.	抱擁する、抱きしめる	embrace, hug	Pastalie
h.l.s.s.	E.v.	嘆く	grieve, sigh	Pastalie
h.m.m.r.	E.v.	謳う	sing	Pastalie
h.p.p	E.v.	想う	think, feel	Pastalie
h.p.ps.	E.v.	思いを馳せる	have (someone) on one's mind	Pastalie
h.r.n.t.	E.v.	旅をする	go on a journey	Pastalie
h.w.s.s.	E.v.	成長する	grow, mature	Pastalie
haf	v.	持っている、所有する、手に取る	have, own, hold	Central
hagol	v.		pass, go by
haliyer	v.		honour, respect
handeres	n./v.	敗北(する)、負け	defeat, loss	Central
hao	adj.	上、上位、高位、上級	above, superior	Central
harmon	v.	（多数で）合わせて～する	do ~ together (in great numbers)	Central
harphe	n.	朝	morning	Pastalie
harr	pro.	彼女（主語定義）	she	Central
harra	pro.	彼女ら（主語定義）	she (plural)	Central
hars	n.	彼女ら	her (plural)	Central
hartes	v.	愛する	love	Kurt Ciel
harton	n.	愛	love	Central
has	n.	彼女	her	Central
hasyu	n.	魚	fish	Central
heath	adj.	灼熱の　高温の	scalding hot	Central
heathe	adj.		scalding hot, fervorous (possible typo of "heaathe")	Cluster Note
heaathe	adj.		scalding hot, fervorous (possible typo of "heathe")
heetha	adj./n.	健やか、健康	health, healthy	Central
heighte	v.	傷つける	injure, wound	Ancient Metafalss
hellei	E.s. II		(unknown meaning)
henderos	n./v.		defeat, loss	Cluster Note
her	pro.	これ、この	this	Central
here	adv.	ここ	here	Central
herea	v.		hate
herr	pro.	彼（主語定義）	he	Central
herra	pro.	彼ら（主語定義）	he (plural)	Central
hers	n.	彼ら	him (plural)	Central
hes	n.	彼	him	Central
hieg	adj./v.	悲しむ、悲しみの	sad, to be sad	Central
hiegle	adj./v.		sad, to be sad
hierle	adj./v.	悲しむ、悲しみの	sad, to be sad	Ancient Metafalss
hiew	n.	哀しみ、悲哀	sadness	Pastalie
hiewi	adj.	つらい、悲しい	heart-breaking, sad	Pastalie
hiralg	n.	渇き	thirst
hopb	n.	心（事象として表現する場合）	heart, mind (when presenting it as a phenomenon)	Kurt Ciel
Horus	n.		Name of one of the Ar Ciel Gods of Life.
houd	v.	抱く	embrace, hug	Central
how	conj.	~のように	how, like ~
hueaf	adj./n.	無駄な、くだらない、徒労	futile, useless, worthless, waste of effort	Central
hyear	int.	さあ、やあ、ねえ（呼びかけ語句） (呼びかけや感嘆。非常に軽く発音するとほとんど「や」にしか聴こえない)	hey, you (to get someone's attention) (Note: Used both for admiration and calling. It can be pronounced as "hyear" or "ya", but generally, "ya" is the only way used because of being faster to pronounce)	Central
hyma	v.	（言葉を）聞く	listen (to words)	Central
hymma	n.	小鳥 (語源は「奏でる者」でhymmeから来ている。)	small bird (Note: This word originally meant "music player", and it originated from "hymme").	Central
hymme	v./n.	謳う、奏でる、共鳴する (名詞的使い方をする場合もある。その場合は、波動、波など、形のない振動を指す。)	sing, play (a instrument), resonate (Note: It can be also used as a noun. In that case, it would mean "waves", "waving", and "vibration of formless things").	Central
hymmne	n.	波動、調べ、メロディ (hymmnosよりも軽い、意味的にも浅いもの。)	sound waves, tune, melody (Note: Has lighter connotations than Hymmnos. It actually is used for talking about songs in a more superficial form).	Central
hymmnos	n.	詩、ヒュムノス	song, Hymmnos	Central
Hymmnosphere	n.		Name of the Ar Ciel Goddess of Songs and Creation
hynne	n.	声	voice	Central
hyzik	n.	肉体、体	body	Alpha (Eolia)

I

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Implanta	n.	ヒュムノス・イムプランタ, 神の大樹, 実	Implanta (a hymn); God's Tree in the myths of Metafalss, fruit, seed
i	E.s. II	焦り	impatience	Central
iasien	n.	朝露	morning dew	Kurt Ciel
ides	n.	過去	past	Central
idesy	adj.	過去の	of the past	Central
ieeya	n.	希望	hope, wish	Central
iem	n.	今	now	Ancient Metafalss
iemma	n.		current state
infel	n.	愛 (infel yor で「ありがとう」という意味に)	love ( Note: "infel yor" means "thank you")	Ancient Metafalss
inferiare	adj.	親愛なる	beloved	Ancient Metafalss
inferia	v.		love, cherish Note: Most likely, doesn't have the same meaning as the Inferia that gives its name to the global disaster from 700 years ago.
ini	v.	初期化する、清純化する	initialize, purify	Kurt Ciel
innna	n.	（精神世界的な）中、心の中	inside (of the Soulspace), within one's heart	Kurt Ciel
iqwayes	v.		leave behind, part with
irdeshen	n.		past
irea	adj./n.	銀	silver
irs	v.	いる、存在する	exist	Central

J

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
j.d.r.	E.v.	囚われる	aprehend, capture	Pastalie
j.l.j.	E.v.	とらわれる、固執する、はまる	capture, adhere, take in	Pastalie
j.l.r.	E.v.	我に返る、正気に戻る	calm down, return to one's self	Pastalie
j.w.	E.v.	託す	entrust	Pastalie
j.z.t.	E.v.	発動する、実行する	execute, invoke	Pastalie
jam	adv.	一緒に	together	Central
jambea	n.	足	foot, leg	Central
jass	v.	求める	seek, request, wish for	Central
jastil	v.	いくぞ！	Come!, Let's go!
jefea	adj.	悼ましい	lamenting, grieving
jenega	n.		enemy, rival, opponent
jenge	n.	敵	enemy, rival, opponent	Kurt Ciel
jenhah	n.	不幸、災い	disaster, misfortune	Kurt Ciel
jepgle	adj.		foolish, idiotic
jesta
jouee	n.	神の力	God's power	Central
json
jue	n.	水	water
juelicc	v.		support, aid
Juklizda	n.		Name of the Ar Ciel God of the Sun
jyel	E.s. II	寂しい	loneliness	Central

K

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
k.f.k.k.	E.v.	嘲笑う	sneer, ridiculize, scorn	Pastalie
k.r.	E.v.	戯れる、じゃれ合う	play, frolic	Pastalie
k.v.r.	E.v.	覆う	cover, wrap	Pastalie
k.v.n.r.	E.v.	挑む・挑戦する	challenge, defy	Pastalie
kailya	n.		mercy, compassion
kajya	adj.	必要	necessary, needed	Pastalie
kapa	n.	水	water	Kurt Ciel
karf	pro./n.	その	that, these
kearrier	n.		fear
keen	v.	輝く	shine	Central
keenis	n.	輝き	radiance	Central
keg	n.	枝	branch	Pastalie
khal	v.	護る	protect, defend	Central
ki	E.s. II	真剣、集中	concentration, focus, seriousness	Central
kiafa	v.	聴く	hear, listen	Ancient Metafalss
kiakkya	n.	なかよし	friend (possible typo of "kyakkya")
kiala	adj./n.	金	gold, golden
kieghi			(unknown meaning)
kierre	n.	刻、瞬間	instant, moment	Ancient Metafalss
kieta
kil	v.	殺す	kill	Central
kirrag	adv.		honestly, earnestly
kix			(Unknown meaning)
kl
knawa	v.	知る	know	Central
kneet	adj.	遅い、遅れて、手遅れ	late, be late, be too late	Central
koffl	v.	飲む	drink
kohiniku
konla	n.	愛	love
koora	n.	小川	stream	Central
kouf	n.	ため息	sigh	Pastalie
ks	v.	暗示を掛ける	give a hint	Kurt Ciel
kuhle	n.	毒・毒薬	poison	Central
kvvia	n.	後悔	regrets, repentance
kvyeire	n.	終わり, 終焉	end, ending
kyakkya	n.	なかよし	friend (possible typo of "kiakkya")
kyll	v.	切る、切られる	cut, detach

L

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Linca	n.	ヒュムノス・リンカ	Linker (a hymn)	Central
l.k.k.	E.v.	見上げる	look up at, admire	Pastalie
l.l.n.	E.v.	祝福する	bless	Pastalie
l.n.c.a.	E.v.	繋がる	tie together, connect	Pastalie
la	pre.	それこそ　（強調する為のに 詞母音の前）	*that* (used to emphasize, in front of a vowel sound)	Central
laa			(Unknown Meaning)
lamenza	n.	嘆き	lament, grief	Ancient Metafalss
lamenzeo	adj.	嘆きの	~ of laments, ~ of grief
lapo	v.	出逢う	meet (by chance), rendezvous	Kurt Ciel
lasnatine
lasye	n.	少年	boy, young man	Central
lau	E.s. II	慄く	fear, dread
lautyca	v.	零れてゆく	fall down
layy	adj.	嘘、虚構	lie, false, imaginary
leaff	n.	本、書物、絵本	book, books, picture book	Ancient Metafalss
leat	v.	奏でる (謳う（hymme）に近いが、こちらの方が更に比喩的に使われる。)	play (instrument) (Note: It's very similar to the "singing" meaning of "hymme", but it's used in a much more figurative manner)	Central
lehaw	v.		save
lequera	n.	善きもの	Gooddoer, good person	Kurt Ciel
Lere	n.		Name of one of the Ar Ciel Goddess of Souls and Matter
lhasya	v.	繋がる	connect, tie together
li	pre.	それこそ　（強調する為のに 詞　子音の前）	*that* (used to emphasize, in front of a consonant sound)	Central
liera
linen	v.	語る	talk, recite	Kurt Ciel
lir	n.	光	light	Alpha (Eolia)
lirle	n.	夏	summer	Kurt Ciel
Listea	n.		Name of the Ar Ciel God of Weapons and Battle
llizz	adv.	～かもしれない、ひょっとすると、もしかしたら	possibly, maybe, perhaps	Central
lof	n.	場所	place	Kurt Ciel
lonfa	n.	魂	soul
longhel
longherna	n.		stone, rock
lornya	n.	はちみつ	honey
loss	adj.	失なわれた、死なった	dead, lost
lulurnya	n./adj.	喜び	joy, happiness
lurrea	v.	慄く	fear	Ancient Metafalss
lusye	n.	光	light	Ancient Metafalss
lyafre	n.	蝶	butterfly	Kurt Ciel
lyrnya	adj.	安らぎ	gentle, peaceful
lyuma	n.	星 (LYAをつけると意訳で「澪の御子」)	star, planet (Note: if it has a "LYA" before it, the meaning changes to "Maiden of Mio")	Pastalie

M

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Ma	E.s. I	平常心	presence of mind	Central
Metafalica	n.	ヒュムノス・メタファリカ	Metafalica (a hymn), Song of Hope (to Mir), Song of Creation, Utopia	Ancient Metafalss
Meta	n.		Middle-sized mountainous region (Example: Meta Falss).
m.a.m.	E.v.	存在する	exist	Pastalie
m.f.l.	E.v.	覆いつく	cover, shroud	Pastalie
m.n.g.	E.v.	飲み込む	drink, understand, learn	Pastalie
m.r.r.	E.v.	映す	reflect, project	Pastalie
m.t.y.y.	E.v.	作り出す、生み出す	create, give birth to	Pastalie
maen	n.	満月	full moon	Pastalie
mahin	n.	手	hand	Central
manac	n.	真名、魂の名前、御魂名	true name, name of soul	Kurt Ciel
manaf	n.	命、生命	life, existence	Ancient Metafalss
manafaln	n.	転生	reincarnation	Kurt Ciel
manafeeze	v.	生きる	live	Ancient Metafalss
marfo	adj.	愛しい	beloved, dear
Maoh	n.	マオ	Rhaplanca's partner in the myths of Metafalss.	Ancient Metafalss
marta	n./adj.	母	mother, motherly	Ancient Metafalss
maun	n.	瞼	eyelid	Kurt Ciel
maxim	adj./adv.	最も	most, extremely	Central
maya	n.	魔法、超自然	magic, supernatural	Kurt Ciel
mea	n.	私	me (object)	Central
mean	n.	わたしたち	us (object)	Central
meaql	adj.	優しい	gentle
melenas	v.	愛してる、大好きです (人生においてかけがえのない人にしか使わない。)	to love, to be very fond of (Note: It's used only to talk about the most irreplaceable person to the speaker)	Kurt Ciel
melifan	n.	歴史	history	Ancient Metafalss
melvaz	n.	花嫁	bride	Kurt Ciel
memora	n.	記憶	memory	Central
meo	n.	理想	ideal, dream	Central
merra	n.	わたしたち（主語定義）	us (subject)	Central
merfa	adj./n.	無垢な, 無垢な願い	pure, pure wishes
meryu	n.	記憶 (Aをつけると「夢（見る方）」に意訳する。)	memory (Note: if it's preceeded by an "A" emotion vowel, then its meaning is changed to "dream")	Pastalie
meso	v.	散らかす	scatter, leave untidy	Central
messe	v.	伝える	report, transmit, convey	Central
metafalya	n.		hope
meycray	v.		reach
milra	n.		fragrance
mirie	n.	温かさ	warmth
missea	n.		mission	Cluster Note
morto	n./v.	死　死ぬ	death, die	Central
mortoa
murfan	v.	想う	feel, think	Ancient Metafalss
murfanare	n.	想い	feeling, thought	Ancient Metafalss
mutrk	n.	温かさ	warmth

N

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Nn	E.s. I	無気力状態	lethargy	Central
n.e.g.	E.v.	祈る	pray
n.d.n.	E.v.	伏せる	lay, put down, hide	Pastalie
n.m.l.	E.v.	染まる	dye, color	Pastalie
n.t.n.	E.v.	続く	continue, go on	Pastalie
na	adv.	否定、～ではない	no, not, negation	Central
naa	adv.		cannot	Sol Cluster
naave	conj.	だから～	because ~	Pastalie
nafa	adj.	優しい	easy, gentle	Pastalie
nafan	adj.	優しく	kind, tender	Pastalie
naflansee	n.	幸せ	happiness, good fortune	Pastalie
naja	v.	後退する、さがる、逃げ去る、立ち去る	escape, retreat, disappear, leave	Kurt Ciel
ne
near	n.	命、生命	life	Central
neath	adj.	灼熱	red hot, scorching
nedle	v.	必要とする	need	Alpha (Eolia)
neee	v.	呼ぶ	call out	Central
neen	conj.	あまりに～すぎる	much more than excessive	Kurt Ciel
neia	v.	近づく、近寄る	approach, draw near	Central
nene	adj.	分からない	not understand	Kurt Ciel
nepo	v.	潤う	moisten	Central
nasya		(Unknown Meaning)
nepsogre
netvear	v.	諦める、挫ける、挫折する	give up, abandon, be discouraged	Central
nezz	n.	鼻	nose	Central
nha	v.	入れる、召喚する (物理的ではない、魔法的な場合に使用する。)	let in, summon (Note: It isn't used to refer to a physical phenomenon, rather, it's for situations were magic is being used)	Kurt Ciel
nhaf	adj.	茫然と	surprised, dazed
nille	v.	似ている、類似、似る	resemble, resemblance, be alike	Central
nnoini	adv.	初めて、初めての (イニ（初期化）とノイ（１）に由来する)	first (Note: Combination of "Nnoi" (1) and "Ini" (Initialize))	Central
noce	n.	自然	natural, spontaneous	Kurt Ciel
noes	n.	自分自身	oneself	Central
noese	n.		oneself
noglle	adj./n.	黒、黒い	black	Central
noime	v.		bestow, grant
nor	pre.	か	or, either
nooge	v.	寝る	sleep	Kurt Ciel
nosaash	n.	女神	goddess	Kurt Ciel
nozess	v.	無にする、なくす	lose, get rid of, waste	Central
nuboisu	n.		destroy, annihilate
nuih	n.	夜	night	Central
num	E.s. II	無	nothing	Central
numori
nun
nx	n.	次	next	Central
nyamo	n.	鳴き声、にゃも	Nyamo, meowing
nyamonyas	n.	ともだち	friend
nyanyas	adj.	かわいい	cute, lovely, darling
nyasri	adj.	悲しい、しょんぼり	sad, downhearted	Kurt Ciel
nyasri	E.s. II	悲しい	sad	Ancient Metafalss
nyasyamorina	adj.	とてもしあわせ	very happy

O

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
ocurp	n.	河口	river's mouth
ogbl	v.	渦巻する	coil into~
olo	n.	夜	night	Pastalie
omga	adj.		holy, sacred
omn	adj.		own
omness	n.		life, existence
omni
omnis	adj.	全てを	everything (direct object)	Ancient Metafalss
oriye	n.	耳	ear	Central
ordirga
orn	adj.	唯一つの	only, sole, unique
orviclle	n.	問題、障害 (na orviclle:無問題=大丈夫)	problem, question, obstacle (Note: na orviclle can mean "no problem" or "it's okay").	Central
oter	pre.	~から	out from ~ (note: only used in Hymmnos Spells)
oucc	adv.	一緒に	together	Pastalie
oure	pre.	何よりも	more than anything	Central
ousye	v.	襲い掛かる、降りかかる	launch an attack, fall onto	Alpha (Eolia)
ouvyu	n.	廃墟	ruins	Pastalie
ouwua	adj.	たくさんの	a lot, many, much	Pastalie
oz	pre.	～の（所有の助詞） (英語のofと同義（文脈によっては必ずしも必要ではない）	of (possessive article) (Note: Equivalent to the English "of", though depending on context, it isn't always necessary)	Central

P

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Paja	n.	ヒュムノス・パージャ	Purger (a hymn)	Central
Phantasmagoria	n.	ヒュムノス・ファンタスマゴリア	Phantasmagoria (a hymn)	Alpha (Eolia)
p.s.w.t.	E.v.	掴む・獲得する	seize, adquire	Pastalie
pagle	v.	話す　喋る	talk, speak with	Central
pak	v.	（未来が）開く	open (the future)	Central
paks	E.s. II	ドキドキ	excitement, nervouseness	Central
pakz	v.	分ける	divide, separate	Kurt Ciel
papana	n.	雨	rain	Kurt Ciel
papas	n.	信じること	belief
papulipua	v.	困る	worry, bother
parce	n.	証拠、証	evidence, proof	Central
parge	v.	切り離す (魔法的な場合) (物理的ではない、魔法的な場合に使用する。)	to cut loose (in the case of magic) (Note: It isn't used to refer to a physical phenomenon, rather, it's for situations where magic is being used)	Kurt Ciel
parith	adj./n.	正直、素直	honest, sincere	Kurt Ciel
parlre	adj.		left behind, remaining
pasherin
Pastalia	n.		Song of Revolution	Ancient Metafalss Note
pat	v.	解放する	release, set free	Kurt Ciel
paul	v.	感じる	feel, sense	Kurt Ciel
pauwee	n.	力の子	child of power	Ancient Metafalss
pauwel	n.	力	power	Ancient Metafalss
pawr	n.	力	power, strength
pbidia
pecee	v.	(卵が)孵る、孵化する	hatch (egg), incubate	Central
phira	n.	種	seed, kind	Ancient Metafalss
phiz	n.	身体	body	Kurt Ciel
phyue	n.	おめでとう	congratulations	Central
pic	v.	気づく、はっとする	realize, take aback	Central
pikca	n.	果物、実	fruit, nut	Pastalie
pilt	v.	気づく	realize	Kurt Ciel
pipel	adj./n.	筒　筒状の	pipe, cylindrical	Central
pipit	adj.	僅かな	only, merely, a little	Pastalie
pirtue	n.	精霊	spirit, ghost	Ancient Metafalss
piterne
pitod	adv.	側に、共に、一緒に	beside, together	Kurt Ciel
plargamera	n.		humankind, people
plina	n.	緑（植物） (植物を指して言う場合の『緑』)	greenery (plants) (Note: Used only for talking about green plants)	Central
poe	n.	種	seed, kind	Pastalie
polon	n.	孤独	loneliness, solitude	Kurt Ciel
pomb	v.	生む、産み出す	give birth, create	Central
pono	n.	卵	egg	Central
pop	n.	泡	bubble	Pastalie
porter	v.	着る　身に着ける　身に纏う	wear (clothes)	Central
prasrity	n./v.	繁栄、栄える	prosperity, prosper	Central
presia	adv.	～します様に、～どうか…して下さい	may it be so, would you please do ~, please ~	Ancient Metafalss
prooth	n.	血	blood	Kurt Ciel
pruna	adj.	可笑しい	funny
ptrapica	n.	宝	treasure	Kurt Ciel
ptrapile	n.	秋	autumn	Kurt Ciel
pupe	n.	涙	tear, teardrop	Pastalie
pyuf	v.	目指す	head for, head to

Q

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
q.g.s.	E.v.	終る	end, finish	Pastalie
q.l.s.	E.v.	激しく揺らす	shake tremendously	Pastalie
qafl
qejyu	n.	人々、人間 (Eをつけると意訳で「恋人、妻、旦那」 YEをつけると意訳で「家族、身内」 LYEをつけると「人類皆兄弟」的な意味になる。)	people, humanity (Notes: Preceeded by an "E" emotion vowel, the meaning changes to "lover" and "wife/husband". Preceeded by an "YE" emotion vowel, the meaning changes to "family, relatives, friends". Preceeded by an "LYE" emotion vowel, the meaning changes to "the grand family of humankind".)	Pastalie
qoga	n.	終わり、終焉	end, ending
qraffa	n.	葉	leaf	Pastalie
quals	v.	再生	revive, resurrect
quale				Cluster Note
quel	E.s. II	切に想う　必死	earnestness, desperation	Central
quen	v.	生み出される	give birth, create	Central
quesa	n.	大地を揺らすもの、(転じて)雷鳴、稲妻	thing that shakes the earth, thunder, lightning	Central
quivale	n.	冬	winter	Kurt Ciel
quive	n/v.	沈黙　黙る　静寂	silence, quietness	Kurt Ciel
quowjaz	n.	正義	justice, righteousness	Kurt Ciel
qwitte			(Unknown meaning)

R

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Re=Nation	n.	ヒュムノス・リネイション	Re-Nation (a hymn)	Central
Replekia	n.	ヒュムノス・レプレキア	Replekia (a hymn)
Rig=Veda	n.	ヒュムノス・リグヴェーダ	Rigveda (a hymn)	Ancient Metafalss
Rrha	E.s. I	トランス状態 (自分の気が正気か否かもわからないくらいトランス状態の時に使う。もっとも、これを使うときは、これ以外の想音を使おうと思えるほど冷静ではないので、自然とこれが口から出てくる。)	trance state (Note: Used only for a trance state in which the emotions of the singer aren't really expressed. Naturally, when this emotion sound is used, it doesn't show the same calm and composure of the other emotion sounds, and it flows by itself from the mouth of the singer)	Central
Ru	N.	意志	Will (Note: It was taken from the story "dhezeall" written by Kurogane, and was later on used as the name for the Antibody Brain).
r.f.m	E.v.	見る	see, watch	Pastalie
r.f.r.m	E.v.	認識する、知る	know, recognize	Pastalie
r.l.t.y.	E.v.	甦る	revive, resurrect, rebirth	Pastalie
r.w.	E.v.	助ける、救う	help, rescue	Pastalie
ra	E.s. III	このままでいたい	I want this to last	Central
race	n./v.	首飾り（巻きつける）	(wreathe a) necklace, to wreath	Central
raklya	v.	涙する	cry, weep	Kurt Ciel
rana	v.	駆ける	run, dash	Central
rannef	n.	謝礼	reward	Central
rasse	v.	エールを送る	to yell	Central
raudl	n.	姿、形、フォーム	form, shape	Pastalie
rawah	n.	花	flower	Pastalie
re	pre	～される（受身の助詞）	(passive verb prefix)	Central
reen	v.	聴く	hear, listen	Central
repoear	n.	感謝	thanks, gratitude	Central
reta	pre.	どうか～	Please...	Pastalie
rete	n./v.	忘れる、失念する、忘却	forget, forgetfulness, oblivion	Kurt Ciel
retera	v.		forget
revatail	n.	レーヴァテイル	Reyvateil (an artificial life form)	Ancient Metafalss
reveris	n.	夢魔　悪夢　迷夢	dream demon, nightmare, delusion	Central
revm	n.	夢	dream	Central
Rhaplanca	n.	ラプランカ	a goddess from Meta Falss' mythology, and Maoh's partner	Ancient Metafalss
ridalnae	adj.	かけがえのない	irreplaceable	Ancient Metafalss
rifaiah	adj.	甦りの	~ of revival
rifaien	v.	甦る	resurrect, revive	Ancient Metafalss
rinc	v.	同期する	synchronize, feel the same
rinnoze	v.		reunite, rejoin, unite, join
riomo	v.	(物、状態、状況を)与える　齎す	to give a, to present a (thing, condition, state)	Cluster
rippllys	n./v.	返事をする、応答する、返事、応え	reply, answer	Central
riura	n.	表情、顔	face, facial expression
rivire	n.	川	river	Central
riya	n.	誠実	sincerity
rol	conj.	～のように	as if, like	Central
rosa	n.	薔薇、バラの花	rose, rose petal	Central
roon	n.	館	mansion
rooshellan	n.	ゆりかご	cradle
rre	pre	（主語定義）	(subject marker)	Central
rriulia
rudje	adj./n.	赤　赤い　紅	red, scarlet, crimson	Central
ruinie	v.	破壊する	destroy	Central
ruinien	n.	破壊	destruction
rum	n.	炎	flame
ryewa	adj.	生い茂った	overgrown	Pastalie
ryusse	n.	旅行、旅	journey, trip	Kurt Ciel
ryushe	v.	旅に出る	depart on a journey

S

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Sol=Fage	n.	ヒュムノス・ソルフェージ	Solfege (a hymn)
Sphilia	n.	ヒュムノス・スフィリャ	Sphilia (a hymn)
Sublimation	n.	ヒュムノス・サブリメーション	Sublimation (a hymn), sublimation (as in disappear)
Suspend	n.	ヒュムノス・サスペンド	Suspend (a hymn)	Central
s.l.	E.v.	信じる	believe, trust	Pastalie
s.l.y.	E.v.	与える	give, award, convey	Pastalie
s.n.k.k.	E.v.	芽吹く	bud (plant)	Pastalie
s.s.w.	E.v.	言う、告げる、語る	say, speak, inform	Pastalie
sa	n.	業　カルマ	karma	Central
saade
saash	n.	神	God, gods	Central
sabl	n.	砂	sand	Central
sacra	n.	血	blood
Saki	n.		Name of the Ar Ciel Goddess of Salvation and Life
Salapator	n.		Name of the Ar Ciel Goddess of Love and Downfall
salavec	n.	生け贄 捧げ物	Sacrifice	Ancient Metafalss
sallogna	v.	寝転ぶ　横たわる　横になる　横にする	lie down, stretch, rest	Central
sanctum	n.	箱舟	ark	Central
sapon	v.		remember, recall
sar	n.	空 (語呂の問題で、同じ単語が何度も頻出してしまうため、ファンタスマゴリアのためにシュレリアが紡いだワード。)	sky (Note: Word crafted by Shurelia for Phantasmagoria, because of the problem that represented the use of "ciel" given its two meanings).	Alpha (Eolia)
sara	n.	草	grass	Central
sarla	n.	詩	song	Ancient Metafalss
sarr	n.	陽光、輝き	sunlight, radiance	Pastalie
sarrifis	v.	（生贄を）捧げる	offer (a sacrifice)	Central
sarryfy	v.		offer (a sacrifice)	Cluster Note
sarsa	n.	雨	rain	Pastalie
sash	v.	散らす	scatter
sashel	n.		God
Sasya	n.		Name of the Ar Ciel Goddess of Knowledge and Civilization
sasye	n.	少女	girl, young woman	Central
savath	v.	飛び散る、ほとばしる	fly around, scatter, surge, gush out	Kurt Ciel
sechel	n.	都市	city	Pastalie
sefanl	n.	森	forest	Pastalie
selena	v.	奏でる	play (a instrument)	Ancient Metafalss
sephaje	n.	創世	creation of the world
sev	conj.	～の時に	at the time of ~, when ~	Pastalie
shazra	n.	荊の蔓、茨、棘 (棘を持つ植物)	thorny vine, thorn, thorny shrub (Note: Used only for plants that have thorns)	Central
sheak	n.	太陽	sun	Kurt Ciel
sheaken	n.	左	left
shefac
shefra	n.	創世	creation of the world
Shelanoir	n.		Name of the Ar Ciel Goddess of Plants, Forests and Life
shell	n.	殻（の中）	(inside a) shell
shellan	n.	鳥かご、籠、檻、ケージ	birdcage, cage, basket, pen	Ancient Metafalss
shelle
shen	n.	光	light	Central
shyfac	v.		tie, unite to
shyun	adj./n.	哀しみ	sadness, grief
sguela	adj.	大切な	precious, important
sial	adj.	少しの、ちょっとの	a bit, a little	Central
siance	n.	聖域、尊い場所、理想郷	holy land, sanctuary, utopia	Pastalie
siann	n.	光 (LYAをつけると意訳で「焔の御子」)	light (Note: if it's preceeded by a "LYA" emotion vowel, its meaning changes to "Maiden of Homura")	Pastalie
sielp	n.	せせらぎ	brook, murmur	Central
sik	v.	離れる	leave, move away from	Kurt Ciel
siss	v.	消す	erase, put out, eliminate
skit	n.	契約、約束	promise, vow	Kurt Ciel
slep	v.	眠る	sleep	Central
slepir	v.	眠らせる、(活動を)停止させる	put to sleep, stop (an activity)	Ancient Metafalss
so	conj.	そんなに、それほど	in such a way, so much
soare	n.	詩, 祈り	song, prayer
sol	v.	（日の光が）輝く、燦々と照りつける (ただし、sol cielという熟語でこの世界「ソル・シエール」を指す。ただし標準律では世界を指すときに「ar ciel」といい、「sol ciel」とは言わない。この世界をsol cielと言うのはあくまで古メタファルス律のみ。)	(daylight) shines, shine down brilliantly (Note: However, the phrase "Sol Ciel" refers to the region of the first Ar tonelico tower, and was to be used as the name of the world. It's because there was already a phrase in Central Standard Note for this world, "Ar Ciel", that "Sol Ciel" ended becoming only the name of the region of the first tower. That region owes its name to the Ancient Metafalss Note.)	Ancient Metafalss
Soleire	n.		Name of the Ar Ciel God of Skies and Wind
Soma	n.		Name of the Ar Ciel Goddess of Violence and Catastrophe
sonwe	v.	歌う	sing	Ancient Metafalss
sor	pro.	それ	that	Central
sorrc
sorr it	conj.	それ	it's that way
sorra it	conj.	それ?牢獄?	in those ways,
sos	conj.	～ために	for, because of, for the sake of	Central
sosar	n.	魔術、魔力 (mayaという魔法を現すヒュムノス語もありますが、そちらよりも、より呪文に特化したイメージです。(mayaは神秘的なニュアンスを含んだ言葉。maya=ミラクル。sosar=ソーサリー…みたいな位置づけ。)	magic, magical power (Note: Even if the magic that manifests through Hymmnos is called "maya", actually the spells have a much more specialized image. "maya" has a nuance of miracles made by the power of the gods, while sosar... its more similar to standard sorcery).	Central
spaha	n.		country	Cluster Note
sphaela	n.	世界	world	Pastalie
sphilar	n.	精神、心	mind, spirit	Ancient Metafalss
spiritum	adj./n.	魂　魂の	soul, of the soul	Central
spitze	n.	自由	freedom	Central
ssvid	v.	生き凌ぐ	outlive
stel	v.	取る、奪う、盗む (強引に取る場合。負の行動としての取る。)	take, steal, snatch away (Note: Used when one takes something from other person by force. Used usually by the one that lost the stolen thing)	Central
stelled	v.	取り合う、奪い合う (強引に取り合う場合。負の行動としての取る。)	compete, struggle for (Note: Used for fierce battles or competitions. Used usually by the loser.)	Central
stellod	v./n.		compete, struggle, hegemony
stelo
swant	v.	助ける、救う	help, save, rescue	Central
syalea	n.	決意	decision, resolve
syana	n./v.	木霊、木霊する	echo, resound
syast	v.	集う、集結する	congregate, gather	Central
syearr
syeary	n.		wish, ply
syec	n.	深淵、深いところ (物理的ではない、主に「心」やメンタル、精神世界の表現語として使う。)	abyss, depths (Note: Not used to refer to a physical abyss, but rather to a mental one. This word is usually used to represent the Soulspace).	Kurt Ciel
syezo	n.	スープ	soup
synk	v.	重なる	overlap, pile up	Central
syunaht	v.	消え去る、消し飛ぶ	disappear, scatter away, vanish away	Kurt Ciel

T

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
t.h.s.	E.v.	外に出る	go outside	Pastalie
t.k.d.	v.	届く	reach	Pastalie
t.n.	v.	止める、やめる	stop, end	Pastalie
t.n.m.n.	v.	(種を)まく、植える	scatter (seeds), (to) plant	Pastalie
t.r.m.	v.	展開する、咲かせる、実現する	develop, make bloom, realize	Pastalie
tafane	adj.	輝く	glittering, sparkling
talam	adj.	東雲色	dawn's color	Pastalie
talfato	v.		meet by chance/fate
tanta	v.	舞う	dance	Central
tapa	n.	水	water	Pastalie
tarfe	v.	止まる、留まる	stop, halt	Central
targue	conj.	たとえ〜だとしても	even if ~ is the case	Pastalie
tasim
tasyue	v.	捧げる	offer, sacrifice	Ancient Metafalss
tatakafria	n.	命たち、全ての命	existences, beings, lives (possible typo of "tatakaria")
tatakaria	n.	命たち、全ての命	existences, beings, lives (possible typo of "tatakafria")
tea
tek	v.	行く	Go	Central
ter			(Unknown Meaning)
terrfa	v./n.		fear, dread
terrma	n.		husband
tes	conj.	～に、～へ	at ~, to ~	Central
teyys	v.	留まる、残る、居る、居座る (英語のstayと同義)	halt, remain, exist, stay (Note: Equivalent to the English "stay")	Central
ther	conj.	あれ、あの	that	Cental
tictim	v.	操る、操作する、意のままにする	control, operate, do as one pleases	Cental
tie	v.	捕まえる・拘束する	catch, restrain	Kurt Ciel
tie	conj.	～に対して（対象を特定・指定する）	in regards to... (specifying a subject)	Pastalie
tienar	adv.	止まらない	without stopping, without end
tilanta	v.	流れこむ	flow into
tim	n.	時	time
titia	n.	善意、善性	good will, innate goodness of man	Pastalie
titil	n.	小物	small things, accesories	Kurt Ciel
titilia	adj.	小さい	small, little, tiny	Kurt Ciel
toe	adj.		be over, stand over
tonelico	n.	神木	divine tree, (possible alternate meaning: tower)
tou	conj.	～に	at ~, in ~, to ~	Central
touwaka	E.s. II	心に希望を秘める　望む（第Ⅱ想音）	wishful, hiding wishes in my heart	Central
toya
trina	v.	気づいて	notice, become aware of
ttu	conj.	～するために	in order to do ~	Pastalie
ture	n.	絆	bonds
tussu	n.	変化	change	Pastalie
tyui	adj.	小さな	Small, little, tiny	Pastalie
tyuss	adj.	優しい	tender, kind

U

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
U-TA	n.	「詩」	Song (emphasized)
ubiestobo	v.		kill, murder
ubitio	v.		love
ubititoe	adj.		beloved
ugi	v.	決める	decide	Kurt Ciel
uje	adj.	残酷	cruel, evil
ujes	n.	悪意	ill will	Pastalie
unloee	v.	平伏す	prostrate before	Central
urgn	n.	嘆き	grief, lamentation	Pastalie
urnaa			(Unknown Meaning)
urr	v.	(見えなかったものが)顕れる、体現(する)、具現化(する)	(something unseen) appears, manifests, incarnates	Central
urrmie	n.		daughter	Cluster Note
ut	conj.	～に、～へ (to)	at ~, to ~ (Note: Equivalent to the English "to")	Pastalie
uteu	v.	まどろむ	doze off	Kurt Ciel

V

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
VIENA	n.	ヒュムノス・ヴィーナ	Viena (a hymn)
v.a	v.	生む、紡ぐ	produce, craft	Pastalie
v.s.k	v.	体感する、実感する。経験する	sense physically, feel, experience	Pastalie
v.t	v.	生きる	live	Pastalie
vallne
vaffa	v.	掃う	clear away, sweep away
vale	n.	ベッド	bed
valwa	v.	浄化する	purify	Central
vamue			(unknown meaning)
van	conj.	～であっても、しようとも	even if ~, even should ~ happen	Ancient Metafalss
varda	n.	大樹	big tree	Ancient Metafalss
vega	n.	ここ、この	here, this	Pastalie
vege	n.	そこ、その	there, that	Pastalie
vianchiel	n./adj.	無垢の、穢れなき、清らかな、美しい	pure, undefiled, clean, beautiful	Ancient Metafalss
vie
viega	n.	刃、剣	blade, sword	Ancient Metafalss
viela			(Unknown Meaning)
vigiga	n./adj.	冷たく	cold
vinan	n./adj.	白,　白い	white	Central
vine	n.	酒・果実酒・葡萄酒 (酒精の代名詞)	alcohol, liquor, wine (Note: general pronoun for alcoholic beverages)	Central
viss	v.	読む、読み取る	read, read between the lines	Central
vit	v.	見る	see, watch	Kurt Ciel
viuy	adj.	暗く翳した	darkened
vl	conj.	～から, ～に	since, from, in
vonn	n./adj.	闇	dark, darkness	Central
vurumely	v.		respond, answer	Cluster

W

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
Was	E.S.I	とても強烈に（第一想音）	very intensely	Central
Wee	E.S.I	かなり（第一想音）	fairly	Central
w.f.	v.	～したい	want to do ~	Pastalie
w.h.h.	v.	感じる	feel, sense	Pastalie
w.n.s.	v.	訪れる, 響く	visit, echo	Pastalie
w.r.l	v.	目指す	aim at, have an eye on	Pastalie
w.r.m.	v.	照らす	shine on, illuminate	Pastalie
w.s.	v.	与える	give	Pastalie
w.s.s	v.	讃える	praise	Pastalie
w.w.j.n.c.	v.	共鳴する	resound, sympathize	Pastalie
wa	E.S.III	どちらでもない　今、有るがままの状況を受け入れる（第Ⅲ想音）	it doesn't matter - I will accept things the way they are now	Central
waa	E.S.II	嬉しい(第Ⅱ想音)	happy	Ancient Metafalss
waath	v.	再生する	revive, rebirth	Central
waats	adj.	大切な	important	Central
wael	n./v.	喜び	joy, delight	Central
waglialre
walaen	n.	人生	(human) life	Kurt Ciel
walaka	v.	歩く	walk	Central
walasye	n.	人間	human, people	Kurt Ciel
walphish	n.	人魚 (第一紀に海に住んでいた神)	mermaid, merman (Note: A god/dess that used to live in the oceans during the First Era)	Kurt Ciel
warce	v./n.	祝福(する)、祝い	bless(ing), celebration	Central
ware	conj.	～の時に、～の中で	during ~, in the middle of ~	Central
warma	adj.	温かい	warm	Central
wart	n.	言葉	word	Central
wasa
wasara	adj./n.	豊か	abundant, abundance	Central
wase	adj./n.	強烈な	strong, intense	Kurt Ciel
wassa	n.	祭典	festival, feast	Kurt Ciel
wassee	v.	讃える	praise
watt	v.	びっくりする	surprise, scare	Kurt Ciel
waze	conj.	多	too much
wazx	v.		continue, go on
we	conj.	～よりも	even more than ~	Central
weak	n.	月	moon	Central
weaken	n.	右	right
weal	adj./E. s. II	喜び	happy, glad
weareqye	n.		wish
wearequewie	v.	望む、願う、希望する	wish, desire, pray, request for, hope for	Ancient Metafalss
weel	v.	叶って！	Come true!, Be realized!	Central
ween	conj.	～の中に、中で（状態を表す助詞） (英語のinと同義（文脈によっては必ずしも必要ではない）)	inside of ~, in ~ (particle to indicate current condition) (Note: Equivalent to the English "in", though it's not always necessary, depending on the context)	Central
wefa	adj.	暖かな	warm, mild
werllra	n.	涙、雫	tear, drop	Ancient Metafalss
werlwe	v.	泣く、涙する	cry, shed tears	Ancient Metafalss
whai	conj.	なぜ～　なのだろう	why	Central
whalt	conj.	何	what
wharn	n.	腕	arm	Central
whou	conj.	～する者	who, person who ~	Central
wi	conj.	その、そこの	that, the one there	Central
wiaa			(unknown meaning)
wiene	n.	音色	melody, tone, timbre
willie	adj.	弱い、儚い	weak, transient	Central
wim	n.	娘	girl, daughter	Central
windiling	n.	風の精	spirit of the wind
wirtamarls	n./adj.	静か	peace, silence
wis	v.	～である	be, is	Ancient Metafalss
wol	E.S.II	猛進、熱血（第Ⅱ想音）	fervor, rush	Central
won	conj.	～の上（表面）に（状態を表す助詞） (英語のonと同義)	above (on the surface) of ~ (particle to indicate current condition) (Note: Equivalent to the English "on")	Central
woth			(Unknown meaning)

X

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
x.	E.v.	(主語動詞)	(subject marker)	Pastalie
x.y.n.	E.v.	傷つく	hurt, injure	Pastalie
xactin
xaczor
xava	n.	傷	wound
xe	conj./v.	給え (より塔に尊敬の感情を明確に伝えたい場合に使用する。 例：xe khal(護り給え) あまり常用される単語ではない。)	please (used before a verb), bestow, grant, receive (Note: Used when someone wants to state a feeling of great respect for the tower. Example: xe khal (please, protect me) It's not a daily used word)	Cluster
xel	conj.	～から（時間）	since ~ (time)
xest	v.	変換する	change, transform	Kurt Ciel
xevxl	n.	絶望	despair
xl	conj.	～の時から	ever since ~	Central
xorg	adj.	傲慢な	proud

Y

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
y.m.q.	v.	実る	bear fruit, ripen	Pastalie
y.y.	v.	癒す	heal, cure	Pastalie
y.z.t.	v.	願う	wish, desire, request	Pastalie
yaha	v.	笑う	laugh, smile	Central
yanje	adv.	ずっと、永遠に	forever, eternally	Central
yant	E.s.II	恐慌状態（第Ⅱ想音）	frightened, scared	Ancient Metafalss
yanwe	v.	大事にする	treat with care	Central
yanyaue	adj.	大切な	important, valuable	Ancient Metafalss
yart	v.	出逢う	meet (by chance), come across	Central
yaserwe	v.	リラックスする、安らぐ	relax, feel at ease	Central
yasra	adj.	優しい、穏やか	gentle, kind, calm, quiet	Ancient Metafalss
yassa	v.	クリアする、達成する	clear, achieve	Central
yatse	v.	（肯定的な感情を）与える	give (positive emotions)	Central
yea	E.s.II	嬉しい（第Ⅱ想音）	happy	Central
yeal	n.	線、紐	line, beam, wire, string	Kurt Ciel
yeeel	adj.	遠い	far, distant	Kurt Ciel
yehah	n.	幸せ	happiness, good fortune	Central
yehar	v.	解放する、解き放つ	deallocate, unleash, release	Ancient Metafalss
yeharr	n.		happiness
yerwe	v.	鳴く	chirp, bark, purr	Ancient Metafalss
yesse	v.	育む	bring up, raise
yestidi
yetere	adv.	そうすれば～	if so, in that case	Central
yor	n.	あなた	you (object)	Central
yora	n.	あなたたち	you (plural object)	Central
yorr	n.	あなた（主語定義）	you (subject)	Central
yorra	n.	あなたたち（主語定義）	you (plural subject)	Central
yos	adv.	貴方が、貴方の	your, yours	Central
yosyua	v.	～を慰める	comfort, console, amuse	Central
yubene
yuez	adv.	互いに	mutually, reciprocally	Central
yulun	v.	とかす	dissolve, homogenise
yura	n.	バランス	balance	Central
Yurishica	n.		Name of the Ar Ciel Goddess of Fire and Civilization

Z

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
z.z.x.	v.	絶望する	(to) despair	Pastalie
zadius	n.	憎悪	hatred	Ancient Metafalss
zaffur	v.	対抗、あがき	struggle, oppose
zahha	v.	進む、進行 (騎士隊のように、大勢で行軍するときに用いる。勇敢な様。)	advance, improve (Note: Used for the marching of a great number of people, such as knight company. Has heroic connotations).	Kurt Ciel
zaarn	n.	海原	sea, ocean
zahia
zalez	n.	滝	waterfall	Pastalie
zarle	v.	(雨が)降る、降り注ぐ	fall (rain), downpour	Central
zarnn	n.	嵐	storm, tempest
zas
zash	adj./n.	痛い、苦痛	painful, pain, agony	Central
zassyen	v.	泳ぐ	swim	Central
zauve	n./adj.	怜悧な	clever, sagacious	Kurt Ciel
zayea	adj./adv.		last, final
zayyo
zeeth	n.	鎖	chain, chains	Central
zenva	v.	飛び越える、超越する	jump over, clear, transcend	Central
zess	adv.	～ように	like ~	Pastalie
zethpa	v.	斬りつける	cut, slash	Central
zetsfy	n.	残酷	cruelty, harshness	Kurt Ciel
zixxa	n.	意地	attitude, disposition, spirit
zodal	n./v.	死せる、死の	death, die, of death	Ancient Metafalss
zodaw	n.	死	death	Ancient Metafalss
zuieg	n./adj.	権力、権限	(political) power, authority, influence	Alpha: EOLIA
zweie	E.s.II	決意を心に秘める　真摯（第Ⅱ想音）	hiding determination in the heart, sincerity, earnestness	Central
zwihander	n./v.	勝利(する)、勝ち	success, win, triumph, victory	Central
zz	adv.	否定	negation, denial, un-	Pastalie

Bonus: Hymmnos Spells

And as a small extra for this, here are some of the Hymmnos Spells that the humans can use to interface with the Tower:

Ar tonelico Download Spell

This is the spell used for downloading Hymn Crystals in the Reyvateils that are connected to either Ar tonelico, Sol Marta or Harvestasha. It comes in two versions:

Version 1 (used in Ar tonelico 1)

Fou paks ra exec hymmnos (hymn name)

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos (hymn name)

enter (Reyvateil's hymn code)

Translation:

Fairly nervous, I shall execute the song (hymn name)

I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song (hymn name)

into (Reyvateil)

Example

Fou paks ra exec hymmnos PAJA

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos PAJA

enter MISYA_FEHU_EOLIA_ARTONELICO

Translation:

Fairly nervous, I shall execute the song Purger

I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song Purger

into Misha Artsellec Lune.

Version 2 (used in Ar tonelico 2 and 3)

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos (hymn name)

enter (Reyvateil's hymn code)

Translation:

I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song (hymn name)

into (Reyvateil)

Example

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos METAFALICA

enter FRELIA_ANSUL_SOLMARTA

Translation:

I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song Metafalica

into Frelia.

Ar tonelico Uninstall Spell

This is the spell used for extracting some items that are installed in a Reyvateil that can't be taken out by other means (such as the D-Cellophane):

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec na drone (binaries)

oter (Reyvateil's hymn code)

Translation:

I will be happy to turn you into a song,

and into the wings you carry.

Execute the extraction of this target

out from (Reyvateil)

Example

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec na drone 0x11000101101

oter FRELIA_ANSUL_SOLMARTA

Translation:

I will be happy to turn you into a song,

and into the wings you carry.

Execute the extraction of this target

out from Frelia.

Infel Phira Download Spell

This is the spell used to download Hymn Crystals that are used to control Infel Phira into the IPD Reyvateils. However, this will be explained more in depth, given that this spell is more complex:

cEzYA hymmnos

(Hymn Crystal ID#) --x tArm azit tn='(Hymn Name)'

es tn=>sol.infel-phira.mea

Translation:

I will be happy to turn you into a song.

Extract and expand the song (hymn name) out from the Hymn Crystal (ID#)

and upload it into me, the one that resides inside of Infel Phira.

Example

cEzYA hymmnos

#5100 --x tArm azit tn='METAFALICA'

es tn=>sol.infel-phira.mea

Translation:

I will be happy to turn you into a song.

Extract and expand the song Metafalica out from the Hymn Crystal #5100

and upload it into me, the one that resides inside of Infel Phira.

Explanation

cEzYA hymmnos = New Testament of Pastalie direct equivalent to the "Was yea ra chs hymmnos yor" line from the Ar tonelico download spell.

#5100 = This is the ID tag under which the Hymn Crystal is recorded in the Infel Phira database. It's required for security purposes.

--x = This indicates the way of transference, indicating that the transference of feelings is from a Hymn Crystal to a Reyvateil. There are two other indicators: c (--c), which indicates that the transference is from an Hymn Crystal to other Hymn Crystal, and r (--r), which indicates that the transference is from a Reyvateil to a Hymn Crystal.

tArm = Emotion Verb for "realize" and "expand". Bare form: "t.r.m.".

azit = The format of the emotions that are going to be recorded in the Hymn Crystal or downloaded in the Reyvateil. No further details are known about this.

tn='METAFALICA' = Declares the feelings of the song being extracted from the crystal or Reyvateil as the definition of the "tn" variable.

es tn=>sol.infel-phira.mea = Orders the transference of whatever is stored in the "tn" variable to the recipient of the feelings, identified by the set phrase "sol.infel-phira.mea".

Infel Phira Uninstall Spell

Similar to the Ar tonelico Uninstall Spell, with the difference that it can only be used by IPDs.

cEzYA hymmnos.

#9990 --r mAtyy trix tn=b 0x11000101101

es tn=>sol.infel-phira.mea

Translation:

I will be happy to turn you into a song.

Using the Hymmnos Spell #9990, store a target in binary form into the "tn" variable.

and then, realize its materialization out from me, who resides inside of Infel Phira.

Reference

• Hymmnoserver (Japanese language)
• Red HamsterX's English Hymmnoserver
• hymmno-dict (Japanese language)
• A Reyvateil's Melody forum (English Language)
• Toukousphere #13 (Information about Binasphere) (Japanese Language)
• Toukousphere #14 (Information about Carmena Foreluna) (Japanese Language)
• KWhazit's METHOD_IMPLANTA/. translation Includes theories about the Hymmnos numerals used in the Pastalie dialect (English).

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.