User:Bukkia/sandboxII

Skālit

Rȳs Skālit ī rȳs ul dī pik dī trāvdōmcā Landyn dī bulim pōbultsēd tū o stā sty, Ingylān dī ov tū o le. Skālit tyxup rok smel ǵa, "tyci lēdqārtsēd o" rȳs ul kāǵ fa ī rȳs row sōl, rȳs rȳs ob dī dīn enēm fa ā. Rȳs ńikqem ab ńikńo kakreś sōl.

Ul rȳs kāǵ fa, ul rȳs kakreś fa vol ā ī ul rȳs ka fa, rȳs Skālit wūprīc ńīm, rȳs dī ńim wū fakāǵ ī rȳs dī ńīm faǵi tsū pīǵ lo. Rȳs kāǵ fa "Nā, tyk ul dī gybvran wa ta āl fa dī ńīm, prīc par le tȳn la qem ta il. Qem nanqem fakāǵ.

Ul āk stȳ, rȳs dī gybvran rȳs tykcin nār snāsy vorkēsy tokāǵ dī reskīnvran par ta ńīmkreś fa ȳt ul rȳs dī pāp snā maj ī do nafaēor. Tȳn la qem ta āl fa kap, prīc par le tȳn la qem dī svūk ta il.

Skālit xūcmor kam ab gōtsēd śi sver sty. Rȳs bō sty, rȳs rȳs dī roksmel fe plyply can ā ī drug dēdē rȳs og fut bāv ro. Rȳs ul rȳs dī mod xūcmor dī ńakmā tāvīd pīǵ sty. Ul tāvīd fapiǵ fa ī dē la ā vīdsar fa. Tȳn la can y fī, y ǵy y us. Tȳn la tācinska y pūcinska ād ȳ plymā tȳn la py stā. Ńakmā tȳn la śhārcin suksuk ād a ńakmā tȳn la ǵancin suksuk ād. Ńakmā tȳn la kȳ suksuk ād a ńakmā tȳn la dy suksuk ād.

Ul rȳs kāǵ fa, rȳs nū xūcmor ab nat sver nec ā ī rȳs nārmeś fut uś fa ā. Ul rȳs ka fa, rȳs wū le fut xūc ōb ī rȳs ul kāǵ fa, rȳs fransyxēp xūc ab sver sty. Ul rȳs kāǵ fa, rȳs nat sver nec ā, prīc par le nār xēp nat naīs. Rȳs ul kāǵ fa, rȳs qo xēp snā maj ā.

"Qo xēp" ul āh fa "Do nakraor. Ma qo xēp wūcin snā maj lo?"

"Prīc par le ul qo xēp ul dī co un ēm" rȳs rikāǵ fa.

Ul rȳs ka fa, rȳs wū kāǵ fa vol ī rȳs rȳs dī ugkȳt dī faētān tokāǵ fa kōm. Ul faētān dī ńak cā snā maj, prīc par le ul faētān la rȳs dī arpāp ab ta tośe maj. Tȳn krābmarmor bā rā mar sōl ī tȳn Skotlān tsu nah. Tȳn krābmarmor a tȳn krābmarmor bā dōb nat mar sol nah, prīc par le tȳn mēcin Ingylān dī bōl krābunbimmeśbyl Pōtsmyt dūbim fa pos. Tsēd o le tȳn Pōtsmyt dūbim fa, tȳn nārmeś tonis fa ī tȳn krābbim tojan fa ī tȳn tobejlāxmor bly fa. Tȳn lāxdūunqum la gu sōl ī tȳn mā tryk sōl. Tȳn dīn ńikcinbā piǵ fa kra, tsēd o le tȳn Lāw tsu dī resvran qum fa. Nanvran snā, rȳs nārmeś wūcin dūbim ȳt rȳs nārmeś no sōlǵīv sty. Ul Skālit kāǵ fa, rȳs armām dī faētān vyqum fa nec ā.

"Nā, rȳs plyply as mo smel ǵa" Skālit kāǵ fa "ī rȳs rȳs dī qā tsāl ǵīv saw fa, tsēd o le Pōtsmyt sōlǵīv".

Skālit dī argybvran kō ta mīlfē fa ī tȳn la mē tanden ug fa. Tyk tandē tsāl dīn dī naov skotlāwvran faēor. Tȳn la tȳn Bil ńīmkreś fa. Bil Wiljym dī ov kȳskytkȳt ȳt tȳn la tȳn mēcin Bil ta ńīmkreś fa. Bil fakīn tȳn dī pāp ud i vid tȳn dī mām ud śinēm fa. Tȳt ta mī sōl, tȳn rokvranśter mēcin bly fa ro ā. Tȳn rokvranśter fave nat bly fa kra a tȳn fatosarmor bā mar sty.

Ul Skālit dī mām nat snā maj ī ul rȳs rȳs ab tyk prīc par ka fa.

"Ul dī mām polskavran" rȳs kāǵ fa "Dōb dā, do nafave, prīc par le Brajtyn rȳs dī gybmeś ȳt rȳs dī mām i pāp Polska tsu. Tȳn la tykmeś ńiktsēd sōlǵīv. Rȳs dī mām Doiclān ta a Polska mo dī meś tsu nah ī rȳs tyk prīc par ve doicvran. Tyk drug xēp ul dī cō stā sty.

Ul Skālit ka fa, rȳs rȳs dī cō un dī ńik xēp fave xēp pos lo. Rȳs ul topiǵ fa, cin bā le ul īw for.

"Yg nā" rȳs kāǵ fa "ȳt qem la ul dī cō no stā sty.

Ul la rȳs dī xēp ra fa, skotxēp, lāwxēp, doicxēp i polskaxēp.

"Qem la mēcin vo" ul rȳs kāǵ fa.

"Nā, ingyxēp jē ē sty".

"Yg dā" ul kāǵ fa. Ul tyk skotlāwdoicpolskaingyjūnvran Skālit rȳs dī tsūsē ńīm e fapiǵ fa ī ul rȳs ka fa "Skālit ho, ma tsu lo?".

Rȳs de mī fa. Ul mī, rȳs ul dī ka nat tośe fa ā. Dān ńo le ul ka rikreś fa kra, rȳs ul topiǵ fa ī rȳs ul rikāǵ fa:

"Ul tykmeś tsu" rȳs kāǵ fa "ul Landyn tsu".

Do ā le Kris Rowsej ta lā fa.

In educational syllabicated transcription:

Skā∙lit

Rȳs Skā∙lit ī rȳs ul dī pik dī trāv∙dōm∙cā Lan∙dyn dī bul∙im pō∙bul∙tsēd tū o stā sty, In∙gy∙lān dī ov tū o le. Skā∙lit ty∙xup rok smel ǵa, "ty∙ci lēd∙qār∙tsēd o" rȳs ul kāǵ fa ī rȳs row sōl, rȳs rȳs ob dī dīn e∙nēm fa ā. Rȳs ńik∙qem ab ńik∙ńo ka∙kreś sōl.

Ul rȳs kāǵ fa, ul rȳs ka∙kreś fa vol ā ī ul rȳs ka fa, rȳs Skā∙lit wū∙prīc ńīm, rȳs dī ńim wū fa∙kāǵ ī rȳs dī ńīm fa∙ǵi tsū pīǵ lo. Rȳs kāǵ fa "Nā, tyk ul dī gyb∙vran wa ta āl fa dī ńīm, prīc par le tȳn la qem ta il. Qem nan∙qem fa∙kāǵ.

Ul āk stȳ, rȳs dī gyb∙vran rȳs tyk∙cin nār snā∙sy vor∙kē∙sy to∙kāǵ dī res∙kīn∙vran par ta ńīm∙kreś fa ȳt ul rȳs dī pāp snā maj ī do na∙fa∙ē∙or. Tȳn la qem ta āl fa kap, prīc par le tȳn la qem dī svūk ta il.

Skā∙lit xūc∙mor kam ab gō∙tsēd śi sver sty. Rȳs bō sty, rȳs rȳs dī rok∙smel fe ply∙ply can ā ī drug dē∙dē rȳs og fut bāv ro. Rȳs ul rȳs dī mod xūc∙mor dī ńak∙mā tā∙vīd pīǵ sty. Ul tā∙vīd fa∙piǵ fa ī dē la ā vīd∙sar fa. Tȳn la can y fī, y ǵy y us. Tȳn la tā∙cin∙ska y pū∙cin∙ska ād ȳ ply∙mā tȳn la py stā. Ńak∙mā tȳn la śhār∙cin suk∙suk ād a ńak∙mā tȳn la ǵan∙cin suk∙suk ād. Ńak∙mā tȳn la kȳ suk∙suk ād a ńak∙mā tȳn la dy suk∙suk ād.

Ul rȳs kāǵ fa, rȳs nū xūc∙mor ab nat sver nec ā ī rȳs nār∙meś fut uś fa ā. Ul rȳs ka fa, rȳs wū le fut xūc ōb ī rȳs ul kāǵ fa, rȳs fran∙sy∙xēp xūc ab sver sty. Ul rȳs kāǵ fa, rȳs nat sver nec ā, prīc par le nār xēp nat na∙īs. Rȳs ul kāǵ fa, rȳs qo xēp snā maj ā.

"Qo xēp" ul āh fa "Do na∙kra∙or. Ma qo xēp wū∙cin snā maj lo?"

"Prīc par le ul qo xēp ul dī co un ēm" rȳs ri∙kāǵ fa.

Ul rȳs ka fa, rȳs wū kāǵ fa vol ī rȳs rȳs dī ug∙kȳt dī fa∙ē∙tān to∙kāǵ fa kōm. Ul fa∙ē∙tān dī ńak cā snā maj, prīc par le ul fa∙ē∙tān la rȳs dī ar∙pāp ab ta to∙śe maj. Tȳn krāb∙mar∙mor bā rā mar sōl ī tȳn Skot∙lān tsu nah. Tȳn krāb∙mar∙mor a tȳn krāb∙mar∙mor bā dōb nat mar sol nah, prīc par le tȳn mē∙cin In∙gy∙lān dī bōl krāb∙un∙bim∙meś∙byl Pōt∙smyt dū∙bim fa pos. Tsēd o le tȳn Pōt∙smyt dū∙bim fa, tȳn nār∙meś to∙nis fa ī tȳn krāb∙bim to∙jan fa ī tȳn to∙bej∙lāx∙mor bly fa. Tȳn lāx∙dū∙un∙qum la gu sōl ī tȳn mā tryk sōl. Tȳn dīn ńik∙cin∙bā piǵ fa kra, tsēd o le tȳn Lāw tsu dī res∙vran qum fa. Nan∙vran snā, rȳs nār∙meś wūcin dū∙bim ȳt rȳs nār∙meś no sōl∙ǵīv sty. Ul Skā∙lit kāǵ fa, rȳs ar∙mām dī fa∙ē∙tān vy∙qum fa nec ā.

"Nā, rȳs ply∙ply as mo smel ǵa" Skā∙lit kāǵ fa "ī rȳs rȳs dī qā tsāl ǵīv saw fa, tsēd o le Pōt∙smyt sōl∙ǵīv".

Skā∙lit dī ar∙gyb∙vran kō ta mīl∙fē fa ī tȳn la mē tan∙den ug fa. Tyk tan∙dē tsāl dīn dī na∙ov skot∙lāwvran fa∙ē∙or. Tȳn la tȳn Bil ńīm∙kreś fa. Bil Wil∙jym dī ov kȳ∙skyt∙kȳt ȳt tȳn la tȳn mē∙cin Bil ta ńīm∙kreś fa. Bil fa∙kīn tȳn dī pāp ud i vid tȳn dī mām ud śi∙nēm fa. Tȳt ta mī sōl, tȳn rok∙vran∙śter mē∙cin bly fa ro ā. Tȳn rok∙vran∙śter fa∙ve nat bly fa kra a tȳn fa∙to∙sar∙mor bā mar sty.

Ul Skā∙lit dī mām nat snā maj ī ul rȳs rȳs ab tyk prīc par ka fa.

"Ul dī mām pol∙ska∙vran" rȳs kāǵ fa "Dōb dā, do na∙fa∙ve, prīc par le Braj∙tyn rȳs dī gyb∙meś ȳt rȳs dī mām i pāp Pol∙ska tsu. Tȳn la tyk∙meś ńik∙tsēd sōl∙ǵīv. Rȳs dī mām Do∙ic∙lān ta a Pol∙ska mo dī meś tsu nah ī rȳs tyk prīc par ve do∙ic∙vran. Tyk drug xēp ul dī cō stā sty.

Ul Skā∙lit ka fa, rȳs rȳs dī cō un dī ńik xēp fa∙ve xēp pos lo. Rȳs ul to∙piǵ fa, cin bā le ul īw for.

"Yg nā" rȳs kāǵ fa "ȳt qem la ul dī cō no stā sty.

Ul la rȳs dī xēp ra fa, skot∙xēp, lāw∙xēp, do∙ic∙xēp i pol∙ska∙xēp.

"Qem la mē∙cin vo" ul rȳs kāǵ fa.

"Nā, in∙gy∙xēp jē ē sty".

"Yg dā" ul kāǵ fa. Ul tyk skot∙lāw∙do∙ic∙pol∙ska∙in∙gy∙jūn∙vran Skā∙lit rȳs dī tsū∙sē ńīm e fa∙piǵ fa ī ul rȳs ka fa "Skā∙lit ho, ma tsu lo?".

Rȳs de mī fa. Ul mī, rȳs ul dī ka nat to∙śe fa ā. Dān ńo le ul ka ri∙kreś fa kra, rȳs ul to∙piǵ fa ī rȳs ul ri∙kāǵ fa:

"Ul tyk∙meś tsu" rȳs kāǵ fa "ul Lan∙dyn tsu".

Do ā le Kris Row∙sej ta lā fa.

Original text:

The comeback

Fausto Ruiz got off the boat at the port of the city where he had been born fifty years ago, and to which he had not returned for twenty years. He walked along the seafront, surprised by how much his hometown had changed, and also by how much of it he could still recognise. There were lots of new buildings up on the hills around the city now, buildings which he didn’t recognise. Yet many of the old buildings along the sea were exactly the same as he remembered them, although many of the old shops he remembered were there no more.

He walked away from the port and into the centre of the city. He walked up the main road and saw how all the shops had changed, but that there was still one small café there which was the same as it had been when he was young and famous. He walked into the café and sat down at one of the tables. He recognised the owner of the café behind the bar as well as the waiter who was working there. They both looked much, much older. Fausto felt certain that he didn’t look as old as they did, even though they were all twenty years older now.

Fausto sat at his table and waited for the waiter to come to him. He sat there for ten, fifteen, twenty minutes. Half an hour passed and the waiter continued to ignore him. Fausto raised his arm and shouted to the waiter, then to the owner of the café behind the bar, but it was useless. They didn’t come and ask him what he wanted. They were ignoring him.

Angry, Fausto got up and walked out of the café, slamming the door behind him. Such ignorant people, he thought. Now I remember why I left this town twenty years ago and why I never came back.

He walked along the main street as far as the main square in the town and when he arrived at the main square he remembered the other reason why he had never come back. In the main square of the town there was the theatre. As he looked at the theatre, Fausto Ruiz had a terrible memory of what had happened there twenty years ago.

Twenty years ago, Fausto Ruiz had been the most famous singer in the world. He had sung in all of the most famous opera houses in the world. He had sung in London, New York, Moscow, Buenos Aires, Tokyo and Sydney. Everywhere he went, people paid large sums of money for tickets, then when they saw him sing they clapped and applauded and cheered for hours. When he was at the height of his fame, Fausto Ruiz decided to come back to his home town and to sing in a triumphant concert in the theatre on the main square of the town.

The concert was announced and all the tickets sold out within a few hours. The evening of the concert, thousands of people crowded into the theatre to see the legendary Fausto Ruiz sing in the theatre of his hometown.

There was silence as Fausto walked onto the stage. Then he began to sing one of his best-known songs. And at the end of the song, there was just silence. Nobody clapped, nobody applauded, nobody cheered. Fausto waited, very surprised for a moment, then started to sing another song. At the end of this song, there was silence for a moment, then the people began to boo and to hiss. Fausto tried to cover the noise of the booing and hissing by singing another song, very loudly this time. But it got worse. The louder he sang, the louder the boos and hisses became. Then someone threw a tomato at him. Then someone else threw a rotten orange at him. Then someone else threw an old shoe at him. Soon, there was a rain of rotten fruit and vegetables and smelly old shoes falling down on the great Fausto Ruiz. Fausto was angry. Fausto was furious. He stormed off the stage and out of the theatre. He left his hometown that night, and he said that he would never, ever go back there ever again.

But twenty years later, Fausto Ruiz changed his mind. He was getting old now, he thought, and he wanted to go back home again, to see the town where he had grown up. But in the café, he realised that perhaps not much had really changed. He decided to walk into the theatre. As he walked in he saw the man selling tickets in the box office. It was the same man from twenty years ago. Fausto said hello to him but the man said nothing and ignored him. "Still the same" thought Fausto. He walked into the theatre and got up onto the empty stage. He thought he could hear the terrible booing and hissing of that night twenty years ago.

He felt sad, and left the theatre and decided to go and visit the house where he had been born fifty years ago. He walked all the way across the town, expecting to be recognised by people. When he got close to his old house he walked through the park where he had played as a small child. He saw some men there, the same age as he was, and thought that he remembered them. They were people who had been his friends when he was at school. He walked over to them to say hello, but they too ignored him. He walked past the old shops near his house. They hadn’t changed. There were still the same people there, all of whom ignored him.

He was so angry and so disappointed now that he began to shout as he walked along the streets. "I am the great Fausto Ruiz!!! The greatest singer the world has ever heard!!!" Nobody took any notice of him. He continued "Don’t you know me??? Don’t you recognise me???" Nobody took any notice.

When he finally reached his old house he at least had a pleasant surprise. Outside the house, there was a statue, and it was a statue of himself. "Finally!" thought Fausto. "Somebody has recognised my genius! They put up a statue of me ... and they never even told me!"

Fausto went to have a closer look at the statue. There was some writing at the bottom of the statue. "Fausto Ruiz" it said "Singer". Fausto was disappointed that it said only "singer" and not "the greatest singer in the world", but at least it was a statue. There was some more writing. He looked carefully at it. There was his date of birth, fifty years ago. And then there was something else. It was the date of his death. And the date was yesterday.

by Chris Rose