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 By the time of the game (3700 A.D.), it is obsolete as a spoken language and only used for interfacing with ancient machinery in the form of songs.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

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

Contents 1 Origins 2 Writing 3 Grammar (Standard Hymmnos) 3.1 Basic Structure 3.2 Structure with a Subject 3.3 Pronouns 3.4 Use of Particles (Prepositions/Postpositions) 3.5 Adjectives 3.6 Passive Voice 3.7 Negative Form of Verbs 3.8 Noun phrases indicating ownership 3.9 Position Marking 3.10 Special Character Pronunciations 3.11 Numbers 3.12 Advanced Grammar Rules 3.12.1 Emotion Sounds Keeper Definer Syntax 3.12.2 Binasphere 3.12.3 Emotionless Sentences 3.12.4 Double Register of Emotion Sounds 4 Grammar (Pastalia Hymmnos) 4.1 Word Usage 4.2 Basic Structure 4.2.1 Object 4.2.2 Particles (Prepositions/Postpositions) 4.2.3 Emotional Verbs 4.2.4 Emotion Vowels 4.2.5 Subject Definer 4.2.6 Subject 4.2.7 Noun Phrases That Indicate Ownership 4.3 Advanced Grammar Rules 4.3.1 Emphasis 4.3.2 Passive voice 4.3.3 Desirative Form 4.3.4 Negative Form 4.3.5 Quotation 4.3.6 And 4.3.7 Bare Verb 4.3.8 Verb treated as subject 4.3.9 Verb Used as Object 4.3.10 One Subject With Multiple Verbs 4.3.11 Xc=ABC -> XYZ/. 4.3.12 <-x 4.4 Unknown Grammar Mechanisms and Corrupted Pastalia Hymmnos 5 Dialects 5.1 Central Pure Note (Standard Dialect) 5.2 Cult Ciel Note (Ancient Language From Before the First Era) 5.3 Cluster Note (Cluster Area Language) 5.4 Alpha Note (Origin Spell) 5.5 Ancient Meta Falss Note (Sacred Language from the First Era) 5.6 New Testament of Pastalie (Pastalia Dialect) 5.7 Moon Singing of the Ancient Story (Risshizentsukuyomi) (Ancient Language From Before the First Era) 5.8 Corrupted Pastalia Hymmnos 6 Lexicon 7 Reference 8 Credits

[edit] Origins

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

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

[edit] Writing

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

Also, according to the info that's known currently about the origins of Hymmnos, each one of the letters have their own powers and meanings, which enter in effect as soon as the letter is pronounced. However, this is part of the Risshizentsukuyomi dialect, and since the Risshizentsukuyomi grammar it's still a mystery, is still unknown how the connected letters actually work. Also, the effects of some of the letters are still unknown (these ones are marked with a - under Power/Meaning to avoid confusion with the rest of the meanings of the letters). Below is a table containing all the known powers of the letters:

Letter	Power/Meaning	Letter	Power/Meaning
A	Power	N	Nothing, empty, emptiness
B	World	O	Evil, wicked, dark
C	Grow/Raise	P	-
D	Darkness	Q	Ignorance
E	Love	R	Life
F	-	S	Request, wish
G	Destruction, curse, punishment	T	I, myself
H	Fire	U	Hatred
I	Holy	V	Joy
J	Unknown/Yet to be known	W	Mind, soul, heart
K	-	X	Protection, protect
L	-	Y	Light
M	Compassion	Z	God, gods

[edit] Grammar (Standard Hymmnos)

[edit] Basic Structure

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

Let's take this example:

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

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

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

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

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

These are all the known emotion sounds:

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 will never feel like that again gagis - I'm all right like this

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

Verb-Object-Compound or Object

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

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

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

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

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

[edit] Structure with a Subject

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

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

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

Example:

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

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

[edit] Pronouns

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

Pronoun	Used as Object	Used as Subject
you you (plural) he they (masculine) she they (feminine)	yor yora hes hers has hars	yorr yorra herr herra harr harra

[edit] Use of Particles (Prepositions/Postpositions)

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

For example, it´s used here:

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

With "tes" (to) being the particle.

But not here:

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

[edit] Adjectives

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

Ridalnae sol ciel (Irreplaceable world)

tyui frawr (Small flower)

[edit] Passive Voice

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

Example:

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

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

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

[edit] Negative Form of Verbs

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

Example:

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

and modifying it:

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

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

Example:

yehah (happiness)

And adding the "na" before it:

na yehah (unhappiness, sadness)

[edit] Noun phrases indicating ownership

If two nouns are put one in front of other, then it means that one noun "owns the other". However, there isn't an actual rule for indicating which noun owns what, so it's often necessary to depend on common sense to know it.

For example:

Aurica forlinden (Aurica's village)

Revatail Ciel (Reyvateil's world)

Sarla Mea (My song)

Hyzik yor (Your body)

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

Example:

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

[edit] Position Marking

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

Examples:

dor won (over the earth)

kapa ween (in the water)

forlinden folten (in front of the village)

[edit] Special Character Pronunciations

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

Character	Pronunciation
=> >> x 0 1 Xc= ->	Tab Tras Ku O I Xeku Bas

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

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

[edit] Numbers

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

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

[edit] Advanced Grammar Rules

[edit] Emotion Sounds Keeper Definer Syntax

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

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

　　　　・

　　　(Text)

　　　　・

　　1x AAs ixi. (Keeper Definer End)

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

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

Example:

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

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

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

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

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

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

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

It's the same as:

Was yea erra chs hymmnos mea

Was yea erra hymme rre walasye hyma mea

Was yea erra sonwe anw sol ciel

Was yea erra rre sol ciel hyma hynne mea

Wee apea ra rre yor melenas

[edit] Binasphere

This is one of the most complicated grammar rules existent in Hymmnos, and it's used to sing two lines of lyrics as if they were one (Binasphere means "two worlds" in Hymmnos, the two worlds being the two lines of lyric combined), and also, doing this gives more power to the songs, since a song using this has two simultaneous effects.

It's used in the following way:

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

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

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

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

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

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

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

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

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

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

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

Example taken from EXEC_NULLASCENSION/.:

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

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE

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

GA PEx GAx A TYUNY RA HARx AR CIEL

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

FORx GANx ART SA DAL FAYx WASSA RA CIEL

EXEC hymme 2x1/0>>01101010

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

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

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

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE

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

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

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

GA PEx GAx A TYUNY RA HARx AR CIEL

1 0 1 0 1 0 / 0 1 1

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

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

FORx GANx ART SA DAL FAYx WASSA RA CIEL

0 / 0 1 1 0 1 0 1 0

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

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

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

First line:

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

Second line:

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

First line:

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

Second line:

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

[edit] Emotionless Sentences

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

Example taken from the EXEC_HARMONIOUS/. lyrics:

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

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

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

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

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

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

[edit] Double Register of Emotion Sounds

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

Example:

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

her ar ciel irs (I'm inmersed in happiness because I exist in this world)

hyma rre faur sonwe (I'm inmersed in happiness for listening to the singing of the birds)

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

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

1x AAS ixi.

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

[edit] Grammar (Pastalia Hymmnos)

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

[edit] Word Usage

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

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

[edit] Basic Structure

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

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

hEmmErYE/. (I will gladly sing)

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

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

[edit] Object

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

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

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

[edit] Particles (Prepositions/Postpositions)

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

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

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

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

[edit] Emotional Verbs

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

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

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

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

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

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

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

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

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

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

[edit] Emotion Vowels

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

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

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

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

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

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

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

Example 1:

Standard Hymmnos: Was yea ra chs hymmnos mea.

Pastalia dialect: cEzE hymmnos/.

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

Example 2:

Standard Hymmnos: Was yea ra chs hymmnos yor.

Pastalia dialect: cEzYE hymmnos/.

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

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

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

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

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

[edit] Subject Definer

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

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

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

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

- A means "I feel neutral about that"

- I means "I feel jealous about that"

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

- E means "I feel happy about that"

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

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

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

[edit] Subject

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

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

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

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

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

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

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

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

Example:

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

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

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

xA sorr [verb]/.

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

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

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

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

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

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

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

[edit] 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)

[edit] Advanced Grammar Rules

[edit] 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)

[edit] 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).

[edit] Desirative Form

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

Example:

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

[edit] 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)

[edit] 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")

[edit] 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 ","

[edit] Bare Verb

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

Example:

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

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

[edit] 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).

[edit] 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/.

[edit] 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.

[edit] Xc=ABC -> XYZ/.

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

Example:

aEuk lazy/. (I am Lazy)

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

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

[edit] <-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).

[edit] Unknown Grammar Mechanisms and Corrupted Pastalia Hymmnos

These are grammar mechanisms that are still unknown, but still posted in here, so if anyone it's interested can help us reach a solution.

xYE and RYE

From the song MIO:

xYE rre qejyu dYEnA ouce LYEqejyu/.

xN rre pupe YUzz tYUrUm naflansee sarsa ut RYEqejyu/.

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

ygulatiaznouongauvdejuyygulatiaznouongauvdejuy

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

Awiaa_vamuebyuiujesbOsYlmdnhyungxL YlvO!xL YlvO!!xL YlvOgzavamue!

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

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

wAssEzzurgnwAssEkieghlwAssEhiewwAssEzodalsphaela!!

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

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

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

[edit] 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 Pure Note (Standard Dialect)
• Cult Ciel Note (Ancient Language From Before the First Era)
• Cluster Note (Cluster Area Language)
• Alpha Note (Origin Spell)
• Ancient Meta Falss Note (Sacred Language from the First Era)
• New Testament of Pastalie (Pastalia Dialect)
• Moon Singing of the Ancient Story (Risshinzentsukuyomi (Ancient Language from Before the First Era))
• Corrupted Pastalia Hymmnos

[edit] Central Pure 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 Pure 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 Pure 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 Pure Note], so everything acknowledged in lookups and so forth is all written as Central Pure Note. Central Pure Note and other forms thus often exist mingled together.

[edit] Cult Ciel Note (Ancient Language From Before the First Era)

This Cult Ciel Note is itself a refined form of the spells of the shamans, the [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.

[edit] 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 far side of the planet), is the [Cluster Note]. From the standpoint of Central Pure 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 Pure Note. Probably it was created with the purpose of surpassing the faculties of the Central Pure Note, but since there aren't any speakers and it isn't used in Sol Ciel, or in Meta Falss, the exact details are unknown.

[edit] 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.)

[edit] Ancient Meta Falss Note (Sacred Language from the First Era)

A unique Note invented in the early First Era by the holy land of [Meta Falss] that dominated the world back in the time of the 2000s. The power that one woed holds far exceeds the average value for Central Pure 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 Tsukikanade 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 Tsukikanade 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 Meta Falss Note came to be registered on Song Magic servers.

[edit] New Testament of Pastalie (Pastalia Dialect)

A new dialect created in the land of Meta Falss 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 Dependency), the Reyvateil linked to that server, can use this dialect. Thanks to its special characteristics, its compatibility with other languages is almost zero, from grammar to vocabulary. The execution commands are thus also revised into the unique declaration [METHOD_XXXX/.] rather than [EXEC_XXXX/.]. 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 Pure 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.

[edit] Moon Singing of the Ancient Story (Risshizentsukuyomi) (Ancient Language From Before the First Era)

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

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

[edit] Corrupted Pastalia Hymmnos

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

[edit] Lexicon

Hymmnos	Word class	Meaning (J)	Meaning (E)	Dialect
a.u.k.	E.v.	be動詞に相当	be	Pastalia
accrroad	v.	あげる　与える	give, send	Central
acra	adv.	きっと、確かに	surely, certainly	Central
addya	n.	今日・本日	today	Central
afezeria	v.	祝福する	bless	Central
ag	conj.	そして、～と	and	Pastalia
aiph	conj.	もし～ならば	if	Central
aje	adj.	新しい	new	Pastalia
akata	n.	物語	story	Central
ale	n.	音	sound	Pastalia
alroen	n.	証	Proof, testimony
alrotsue	adj.	贖いの、償いの	of atonement, of recompense	Ancient Meta Falss
ammue	n.	音、（音の）波動	sound, sound waves	Cult Ciel
an	adv.	～と共に	together	Central
anw	prep.	～を	(direct object marker)	Ancient Meta Falss
apea	E.s. (II)	幸せでぽわー	immersed in happiness	Cult 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	Pastalia
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
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 the eternity, continues forever	Pastalia
balduo	adj.	暗い、暗黒の、見えない, 闇	dark, of darkness, unable to be seen	Pastalia
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	gun, cannon	Central
bautiful	adj.	美しい、綺麗な	beautiful	Central
beja	v.	汚す	dirty, defile	Cult 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
biron	v.	続く	continue	Central
bister	n.	獣　野獣	beast	Central
boh	adj.	爆発的な、超常的な	explosive, supernatural	Ancient Meta Falss
brinch	n.	枝	branch	Central
briyante	n.	歓喜の声、喜びの声	voices of delight, voices of joy	Ancient Meta Falss
burle	adj./n.	青　青い　蒼	blue	Central
byui	conj.	糾弾	blame, cause of	Pastalia
ChronicleKey	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	Pastalia
cause	v.	呪う、苦しめる	curse, torment	Ancient Meta Falss
cecet	n.	盾	shield	Central
ceku	n.	友・友人・同士・同胞	friend, comrade, companion, comrade	Pastakua
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	change, transform	Ancient Meta Falss
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
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	become	Central
chsee	v.	～に変化する	transform into ~	Central
chyet	adj.	選ばれた、特別	chosen, particular	Cult Ciel
cia	n.	空	sky	Pastalia
ciel	n.	空、（意訳で）世界	sky, (translated usually as) world	Central
ciellenne	n.	天空	the skies	Central
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
clemenzen	adj./n.	狂気、気が触れた、狂った	insane, insanity	Central
clyncye	n.	純粋、無色	purity, colorlessness	Cult Ciel
colga	n.	氷	ice	Central
colgen	v./adj.	凍った	freeze, frozen
crannidale	v.	分かち合う	share	Ancient Meta Falss
cremia	v./n,	救済	salvation
crown	n.	杯	cup (for beverages)
crudea	n.	苦しみ、苦悩	anguish, suffering	Ancient Meta Falss
crushue	v.	紡ぐ	spin (fabric), (translated usually as) craft	Ancient Meta Falss
cset	adj.	真実の	true, of truth
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
Dia	n.	王、王座、玉座、支配者	king, throne, ruler	Central
d.n.	E.v.	踊る	dance	Pastalia
d.n.g.	E.v.	穿つ	pierce	Pastalia
d.r.s.n.	E.v.	伝えられている	handed down, passed down, passed on	Pastalia
d.s.s.n.	E.v.	解決を求める	accept the atonement	Pastalia
d.z.	E.v.	死ぬ	die	Pastalia
daedu	n.	醜いもの	eyesore, something ugly	Pastalia
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	Pastalia
deata	v.	裁かれる、裁きをうける、断罪される	judge, convict, administer judgment	Cult Ciel
deggeez	v.	裏切る、背く	betray, disobey	Central
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	however, but, still, and yet	Central
denera	n.	悪しきもの	evil one	Central
der	prep.	～で、によって	according to, by means of	Ancient Meta Falss
desfel	adj./v.	嫌い、厭、厭う、いやがる	hate, dislike, detestable, unpleasant	Ancient Meta Falss
Despedia	n.	ヒュムノス・デスペディア	Despedia (a hymn)
dewee	v.	跪け	kneel
dgal	n.	国	country, land	Pastalia
dhezeall	n.	虜囚、虜、捕らわれ人	captive, prisoner	Ancient Meta Falss
diasee	n.	神の子	child of God	Ancient Meta Falss
didalia	adj.	大きい	large	Cult Ciel
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
discest	v.	偽る・偽装する・騙す・偽り	lie, cheat, trick	Central
dius	adj.	尊い、神々しい	divine, sacred, precious, valuable, sublime, solemn, noble	Cult Ciel
diviega	n., adj.	聖なる剣、(転じて)偉大なる叡智	sacred sword, (derivative meaning) great wisdom	Cult Ciel
dje	n.	体	body	Pastalia
dn	p.	～で	(instrument/location/cause/time marker)	Pastalia
doodu	n.	大地	ground, earth	Pastalia
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
dornpica	n.	木の実	nut, fruit, seed	Cult Ciel
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)	Pastalia
dyya	n.	日（英語のDay）	day	Central
dyyal	n.	～日目	days (counter suffix)	Central
eazas	adj.	互いに	mutually	Central
echrra	v.	共鳴する	resonate	Central
ee	v.	偉大なる、讃える	exalt, praise	Ancient Meta Falss
eetor	n.	向こう側	other (side/person)	Central
eh	conj.	によって	by, according to, by means of	Pastalia
eje	n.	心、気持ち	heart, mind, feeling	Pastalia
elle	prep.	～から、～よりの、～より	from, out of	Central
elye	adv.	未だ、まだ	hitherto, yet	Pastalia
en	conj.	そして、～だから、～ために	and, because, for	Central
enclone	v.	包み込む	wrap up	Ancient Meta Falss
endia	v.	止める、終わらせる	stop, end	Ancient Meta Falss
ene	v.	思う、感慨深くなる	think, feel deeply	Cult Ciel
enegd	v.	痺れる	become numb	Central
enerel	adv.	ずっと	always, forever	Cult Ciel
enesse	n.	想い	emotion	Cult Ciel
enne	n.	祈り、願い（いい意味）	prayer, request (with good intentions)	Central
enrer	adj.	常日頃から、いつも	always, usually	Cult Ciel
enter	v.	～に入り込む	enter ~	Central
enw	conj.	～しながら	while doing ~	Central
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	(instrument/location/cause/time marker)	Pastalia
et	adj.	大きい	large	Central
eta	v.	食べる	eat	Central
etealune	n.	永遠、永久	eternity	Ancient Meta Falss
eterne	n.	永遠、永久	eternity	Alpha (Eolia)
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	Pastalia
fou	E.s. I	ちょっと	A little	Central
f.p.n.	E.v.	降りしきる	downpour	Pastalia
f.r.l.	E.v.	怯える	be frightened	Pastalia
f.s.	E.v	囁く	whisper, murmur	Pastalia
f.w.r	E.v.	受け入れる	accept	Pastalia
f.w.r.n	E.v.	包みこむ	surround, enfold	Pastalia
faf	adj.	怖い	scary, frightening	Cult Ciel
faja	v.	進む	advance, make progress	Cult 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 Meta Falss
fane	n.	慈愛	affection, kindness, love	Central
fatele	n.	父	father	Ancient Meta Falss
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	bird	Ancient Meta Falss
faura	n.	小鳥、幼い鳥	small/baby bird	Ancient Meta Falss
fayra	n.	火、炎	fire, blaze	Central
fedyya	n.	明日	tomorrow	Central
ferda	v.	宿る	dwell, live in	Ancient Meta Falss
fernia	v.	微笑む	smile	Cult Ciel
fhyu	n.	風	wind	Central
firle	v.	感じる	feel, sense	Ancient Meta Falss
firanzia	n.	世の終焉	end of the world
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
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...!	Cult Ciel
forlindel	n.	村長の一族	head family of a village	Cult Ciel
forlinden	n.	村	village	Cult Ciel
foul	n.	不思議、神秘	wonder, miracle, mystery	Cult Ciel
fountaina	v.	覆う、満たす、埋める	fill up, cover, hide	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)	Cult Ciel
frissoner	v.	震える	shiver	Central
fs	n.	そよ風	breeze	Pastalia
ftt	v.	消える	vanish	Central
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	Cult Ciel
fwillra	n.	羽、羽毛、ひとひら	feather, plumage, petal	Cult Ciel
g.k.n.	E.v.	たべる	eat	Pastalia
g.v.w	E.v.	戦う	fight, battle	Pastalia
g.w.f.r.	E.v.	裁く	judge	Pastalia
ga	E.s. III	はやく脱したい	I want this to end soon	Central
gagis	E.s. III	自分はどうなってもいい	I'm all right like this	Ancient Meta Falss
ganna	adj./n.	固い、頑なな、堅牢な、石、岩	strong, stubborn, solid, stone, rock	Central
gasar	n.	ぬいぐるみ	doll, stuffed animal	Pastalia
gat	n.	呪い	curse	Central
gatyunla	n.	呪いの地、地獄	cursed land, hell	Cult Ciel
gatyuny	n.	呪い	curse	Cult Ciel
gauv	n.	罪、咎	sin, blame
gauzewiga	v.	絶望する	despair	Ancient Meta Falss
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
gigeadeth	adj./n.	鋼鉄の、鉄	steel, iron	Central
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	divine, exalted	Pastalia
glasden	adj.	最高	highest, supreme, most	Ancient Meta Falss
goa	conj.	～だけ	only ~	Pastalia
got	v.	手に入れる	get, obtain	Cult 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	Pastalia
govaz	n.	許嫁	bride, fiancee	Cult Ciel
gral	adj.	全て	all of, entire	Pastalia
gran	v.	幕を開ける	open the curtain	Cult Ciel
grandee	n.	守護者	guardian	Ancient Meta Falss
grandus	v.	護る	defend, protect	Ancient Meta Falss
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.)	Cult Ciel
grlanza	v.	踊る	dance	Central
grrena	adj./n.	緑　緑色の　碧	green	Central
grruw	v.	育つ	raise, grow up	Central
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
gyaje	n.	過ち	error, mistake	Central
gyajlee	n.	罪人	criminal, sinner	Cult 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	Cult Ciel
gyuss	n.	抱擁	embrace, hug	Central
gyusya	v.	支配する	rule, control	Central
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	Pastalia
h.l.s.s.	E.v.	嘆く	grieve, sigh	Pastalia
h.m.m.r.	E.v.	謳う	sing	Pastalia
h.p.p	E.v.	想う	think, feel	Pastalia
h.p.ps.	E.v.	思いを馳せる	have (someone) on one's mind	Pastalia
h.r.n.t.	E.v.	旅をする	go on a journey	Pastalia
h.w.s.s.	E.v.	成長する	grow, mature	Pastalia
haf	v.	持っている、所有する、手に取る	have, own, hold	Central
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	Pastalia
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	Cult 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
heetha	adj./n.	健やか、健康	health, healthy	Central
heighte	v.	傷つける	injure, wound	Ancient Meta Falss
hellei	E.s. II		(unknown meaning)
her	pro.	これ、この	this	Central
here	adv.	ここ	here	Central
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
hierle	adj./v.	悲しむ、悲しみの	sad, to be sad	Ancient Meta Falss
hiew	n.	哀しみ、悲哀	sadness	Pastalia
hiewi	adj.	つらい、悲しい	heart-breaking, sad	Pastalia
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)	Cult Ciel
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）	hey, you (to get someone's attention)	Central
hyma	v.	（言葉を）聞く	listen (to words)	Central
hymma	n.	小鳥	small bird	Central
hymme	v.	謳う、奏でる、共鳴する	sing, play (a instrument), resonate	Central
hymmne	n.	波動、調べ、メロディ	sound waves, tune, melody	Central
hymmnos	n.	詩、ヒュムノス	song, Hymmnos	Central
hynne	n.	声	voice	Central
hyzik	n.	肉体、体	body	Alpha (Eolia)
Implanta	n.	ヒュムノスイムプランタ, 神の大樹	Implanta (a hymn); God's Tree in the myths of Meta Falss
i	E.s. II	焦り	impatience	Central
iasien	n.	朝露	morning dew	Cult 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 Meta Falss
infel	n.	愛	love	Ancient Meta Falss
inferiare	v.	親愛なる	beloved	Ancient Meta Falss
ini	v.	初期化する、清純化する	initialize, purify	Cult Ciel
innna	n.	（精神世界的な）中、心の中	inside (of the Soulspace), within one's heart	Cult Ciel
irs	v.	いる、存在する	exist	Central
j.d.r.	E.v.	囚われる	aprehend, capture	Pastalia
j.l.j.	E.v.	とらわれる、固執する、はまる	capture, adhere, take in	Pastalia
j.l.r.	E.v.	我に返る、正気に戻る	calm down, return to one's self	Pastalia
j.w.	E.v.	託す	entrust	Pastalia
j.z.t.	E.v.	発動する、実行する	execute, invoke	Pastalia
jam	adv.	一緒に	together	Central
jambea	n.	足	foot, leg	Central
jass	v.	求める	seek, request, wish for	Central
jefea	adj.	悼ましい	lamenting, grieving
jenhah	n.	不幸、災い	disaster, misfortune	Cult Ciel
jouee	n.	神の力	God's power	Central
jue	n.	水	water	Pastalia
jyel	E.s. II	寂しい	loneliness	Central
k.f.k.k.	E.v.	嘲笑う	sneer, ridiculize, scorn	Pastalia
k.r.	E.v.	戯れる、じゃれ合う	play, frolic	Pastalia
k.v.r.	E.v.	覆う	cover, wrap	Pastalia
k.v.n.r.	E.v.	挑む・挑戦する	challenge, defy	Pastalia
kajya	adj.	必要	necessary, needed	Pastalia
kapa	n.	水	water	Cult Ciel
keen	v.	輝く	shine	Central
keenis	n.	輝き	radiance	Central
keg	n.	枝	branch	Pastalia
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 Meta Falss
kieghl			(unknown meaning)
kierre	n.	刻、瞬間	instant, moment	Ancient Meta Falss
kil	v.	殺す	kill	Central
knawa	v.	知る	know	Central
kneet	adj.	遅い、遅れて、手遅れ	late, be late, be too late	Central
koora	n.	小川	stream	Central
kouf	n.	ため息	sigh	Pastalia
ks	v.	暗示を掛ける	give a hint	Cult Ciel
kuhle	n.	毒・毒薬	poison	Central
kvvia	n.	後悔	regrets, repentance
kvyeire	n.	終わり, 終焉	end, ending
kyll	v.	切る、切られる	cut, detach
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	Pastalia
l.l.n.	E.v.	祝福する	bless	Pastalia
l.n.c.a.	E.v.	繋がる	tie together, connect	Pastalia
la	pre.	それこそ　（強調する為の冠詞　母音の前）	*that* (used to emphasize, in front of a vowel sound)	Central
lamenza	n.	嘆き	lament, grief	Ancient Meta Falss
lapo	v.	出逢う	meet (by chance), rendezvous	Cult Ciel
lasye	n.	少年	boy, young man	Central
layy	adj.	嘘、虚構	lie, false, imaginary
leaff	n.	本、書物、絵本	book, books, picture book	Ancient Meta Falss
leat	v.	奏でる	play (instrument)	Central
lequera	n.	善きもの	Gooddoer	Cult Ciel
li	pre.	それこそ　（強調する為の冠詞　子音の前）	*that* (used to emphasize, in front of a consonant sound)	Central
linen	v.	語る	talk, recite	Cult Ciel
lir	n.	光	light	Alpha (Eolia)
lirle	n.	夏	summer	Cult Ciel
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	Cult Ciel
lonfa	n.	魂	soul
loss	adj.	失なわれた、死なった	dead, lost
lurrea	v.	慄く	fear	Ancient Meta Falss
lusye	n.	光	light	Ancient Meta Falss
lyafre	n.	蝶	butterfly	Cult Ciel
lyuma	n.	星	star, planet	Pastalia
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)	Ancient Meta Falss
m.a.m.	E.v.	存在する	exist	Pastalia
m.f.l.	E.v.	覆いつく	cover, shroud	Pastalia
m.n.g.	E.v.	飲み込む	drink, understand, learn	Pastalia
m.r.r.	E.v.	映す	reflect, project	Pastalia
m.t.y.y.	E.v.	作り出す、生み出す	create, give birth to	Pastalia
maen	n.	満月	full moon	P