Qihep texts

Main article: Qihep

This is a list of some examples of texts in Qihep. Most of them are translations from other languages, and some of them are original texts.

The texts are usually presented with their original text in Qihep script, their official trascription in Latin alphabet, the educational syllabicated version and a traslation in English or the original English text.

Lord's prayer

Qihep script	Transcription	Syllabicated trascription
	ul la dī pāp, ma kōpdīn stā ma dī ńim ā śkedskyt des ma dī horvranmeś qin des ma dī wiś ā skyt des kōpdīn stā dī do i grūn stā dī do tykcin ma ul la tykbultsēd pām kreś fa si ī ma ul la dī smūś vorkreś si ul la ul la dī smūśmor mēmcin vorkreś fa ī ma ul la togrēxkȳt to pē mūh yt ma ul la śluk ud vrīskyt si āmen	ul la dī pāp, ma kōp∙dīn stā ma dī ńim ā śked∙skyt des ma dī hor∙vran∙meś qin des ma dī wiś ā skyt des kōp∙dīn stā dī do i grūn stā dī do tyk∙cin ma ul la tyk∙bul∙tsēd pām kreś fa si ī ma ul la dī smūś vor∙kreś si ul la ul la dī smūś∙mor mēm∙cin vor∙kreś fa ī ma ul la to∙grēx∙kȳt to pē mūh yt ma ul la śluk ud vrī∙skyt si ā∙men

Babel text

Qihep script:

Transcription:

1. tsāl dīn dī vranvran mē xēp rā xēp ī tȳn la mēm dum nūt sōl
2. tsēd o le tȳn la xīs ud qin sty tȳn la Śinār lān stā dī sbēnlān qum fa ī nārmeś rā sōlǵīv fa kōm
3. ī tȳn la drug tȳn la rā kāǵ fa "ma la qin si ul la trojsās skyt fa si ī ul la qem la pīr ō qōc fa si" tȳn la sās ā skām fa dī trojsās i kāx ā skām fa dī trojkāx rā nūt fa
4. ī tȳn la rā kāǵ fa "ma la qin si ul la byl i qem dī fīp kōpdīn fut dūbim fa pos dī fītrojkȳt tsel vor le ul la dī ńīm snāsy bly fa ī ul la ā nat fut rasjēq fa"
5. ī Pō rā dōlqin fa tȳn vran dī denden troj sty dī byl i fītrojkȳt piǵvor fa le
6. ī tȳn rā kāǵ fa "ma la piǵ fa si tȳn la mē vranvran ī tȳn la mē xēp xēp sty tȳn la do skyt ǵa kōm ī ńakmē tȳn la fut fajan fa kra tȳn la do skyt fa vol dī do ā le tȳn la skyt fa ā"
7. "ma la tyk prīc par qin si ul la dōlbim fa si ī ul la tȳn la dī xēp obmiś fa si tsel vor le tȳn la drug tȳn la dī xepsvūk nat fut enēm fa pos"
8. ī Pō tȳn la ńik lān to rā rasjēq fa ī tȳn la byl dī trojtān jan fa
9. tyk byl ā Bābēl rā ńīmkreś fa prīc par le Pō tsāl dīn dī xēp tykmeś rā obmiś fa ī Pō ńik vran ńik lān to tykmeś ud rasjēq fa

Syllabicated transcription:

1. tsāl dīn dī vran∙vran mē xēp rā xēp ī tȳn la mēm dum nūt sōl
2. tsēd o le tȳn la xīs ud qin sty tȳn la Śinār lān stā dī sbēn∙lān qum fa ī nār∙meś rā sōl∙ǵīv fa kōm
3. ī tȳn la drug tȳn la rā kāǵ fa "ma la qin si ul la troj∙sās skyt fa si ī ul la qem la pīr ō qōc fa si" tȳn la sās ā skām fa dī troj∙sās i kāx ā skām fa dī troj∙kāx rā nūt fa
4. ī tȳn la rā kāǵ fa "ma la qin si ul la byl i qem dī fīp kōp∙dīn fut dū∙bim fa pos dī fī∙troj∙kȳt tsel vor le ul la dī ńīm snā∙sy bly fa ī ul la ā nat fut ras∙jēq fa"
5. ī Pō rā dōl∙qin fa tȳn vran dī den∙den troj sty dī byl i fī∙troj∙kȳt piǵ∙vor fa le
6. ī tȳn rā kāǵ fa "ma la piǵ fa si tȳn la mē vran∙vran ī tȳn la mē xēp xēp sty tȳn la do skyt ǵa kōm ī ńak∙mē tȳn la fut fa∙jan fa kra tȳn la do skyt fa vol dī do ā le tȳn la skyt fa ā"
7. "ma la tyk prīc par qin si ul la dōl∙bim fa si ī ul la tȳn la dī xēp ob∙miś fa si tsel vor le tȳn la drug tȳn la dī xep∙svūk nat fut e∙nēm fa pos"
8. ī Pō tȳn la ńik lān to rā ras∙jēq fa ī tȳn la byl dī troj∙tān jan fa
9. tyk byl ā Bā∙bēl rā ńīm∙kreś fa prīc par le Pō tsāl dīn dī xēp tyk∙meś rā ob∙miś fa ī Pō ńik vran ńik lān to tyk∙meś ud ras∙jēq fa

The Ant and the Grasshopper - Ań i pejūǵ

Qihep script:

Transcription:

Ań gōtsēd o jy rā mar sty tȳn cāx bȳtsēd vor epīkvor fa le. Pejūǵ tsāl bultsēd on pej rē. Pejūg ań ū ka fa "ma wūprīc jyjy mar sty lo mā cāx ā mo qum fa ro". Ań rikāǵ fa "ma up bȳtsēd o enēm fa kra". Pejūǵ nat enēm fa ī tȳn nu pej fa kōm ī ań nu mar fa kōm. Bȳtsēd rā dūqin fa ī nev bim fa. Prīc par le tȳn caxnēccum sty pejūǵ ań dī dōm bim fa ī tȳn ka fa "ma ul ńakqem kreś fa ul caxvor fa le lo". Ań ka fa "ma wū ar gōtsēd o skyt sōl lo". Pejūǵ rikāǵ fa "ul ta pej sōl". Ań tyk prīc par kāǵ fa "dōb dā ma mo tsā si"

Syllabicated transcription:

Ań gō∙tsēd o jy rā mar sty tȳn cāx bȳ∙tsēd vor e∙pīk∙vor fa le. Pej∙ūǵ tsāl bul∙tsēd on pej rē. Pej∙ūg ań ū ka fa "ma wū∙prīc jy∙jy mar sty lo mā cāx ā mo qum fa ro". Ań ri∙kāǵ fa "ma up bȳ∙tsēd o e∙nēm fa kra". Pej∙ūǵ nat e∙nēm fa ī tȳn nu pej fa kōm ī ań nu mar fa kōm. Bȳ∙tsēd rā dū∙qin fa ī nev bim fa. Prīc par le tȳn cax∙nēc∙cum sty pej∙ūǵ ań dī dōm bim fa ī tȳn ka fa "ma ul ńak∙qem kreś fa ul cax∙vor fa le lo". Ań ka fa "ma wū ar gō∙tsēd o skyt sōl lo". Pej∙ūǵ ri∙kāǵ fa "ul ta pej sōl". Ań tyk prīc par kāǵ fa "dōb dā ma mo tsā si"

English:

An ant was warking hard to gather the food for the winter. A cicada sang all day ong. The cicada asked the ant: "Why are you working so hard? You can find much food now!" The ant answered: "I can gather food for the winter". The cicada didn't understand and began again to sing and the cicada began again to work. The winter came and it snowed. Because she was starving, the cicada went to the ant's house and asked "Would you give me something to eat?" The ant answered "What did you do all summer long?". The cicada answered "I used to sing". The ant thus said: "Well, dance now!".

The Fox and the Grapes - Ew i el

Qihep script:

Transcription:

Caxnēcim ew ǵe el rā piǵ fa tȳn yp rē yt tȳn qem nat fanēm kra. Dān o le tȳn vēbim sty tȳn mī fa "ul qem nat wiś qem nat smēl fa". Fatsel ā nat dūbim fa kra dī tȳn la obstātān vīnkreś fa sōl.

Syllabicated transcription:

Cax∙nēc∙im ew ǵe el rā piǵ fa tȳn yp rē yt tȳn qem nat fa∙nēm kra. Dān o le tȳn vē∙bim sty tȳn mī fa "ul qem nat wiś qem nat smēl fa". Fa∙tsel ā nat dū∙bim fa kra dī tȳn la ob∙stā∙tān vīn∙kreś fa sōl.

English:

A hungry fox saw some grapes but he could not reach them. While he was going away, he thought "I don't want them, they are not mature!" Many of those who cannot reach their goal, usually blame the circumstances.

The Scorpion and the Frog - Sxȳr i grah

Qihep script:

Transcription:

Rā ē sxȳr wa le, qem pibrēg stā sty ī qem pi ycbim fa vol. Qem grah piǵ fa ī qem grah ka fa: "ul ma vorka, ma ul śpom fa si, ul pi ycbim fa nec". Grah rikāǵ: "Nā, ul ma fut śpom fa fōr, ma ul fut xȳr fa fōr". Sxȳr tyk prīc par kāǵ fa: "Ul ma fut xȳr fa fōr, xup ul la fut cum fa fōr. Ul ma nat xȳr fa vol". Grah i sxȳr ygmēskyt fa ī sxȳr qem dī ogcō an yp fa. Dān o le qem la pi dī py stā stȳ sxȳr grah xȳr fa. Xocim grah sxȳr ka fa dān o le qem la bāccum sty: "Ul ma wūprīc ta xȳr fa lo". Sxȳr rikāǵ fa: " Ul ta snā ǵa ul la fu ta cum fa ā yt ul drugcin bā nat kīn fa pos. Ul sxȳr ī tyk ul dī sōcincūv".

Syllabicated transcription:

Rā ē sxȳr wa le, qem pi∙brēg stā sty ī qem pi yc∙bim fa vol. Qem grah piǵ fa ī qem grah ka fa: "ul ma vor∙ka, ma ul śpom fa si, ul pi yc∙bim fa nec". Grah ri∙kāǵ: "Nā, ul ma fut śpom fa fōr, ma ul fut xȳr fa fōr". Sxȳr tyk prīc par kāǵ fa: "Ul ma fut xȳr fa fōr, xup ul la fut cum fa fōr. Ul ma nat xȳr fa vol". Grah i sxȳr yg∙mē∙skyt fa ī sxȳr qem dī og∙cō an yp fa. Dān o le qem la pi dī py stā stȳ sxȳr grah xȳr fa. Xoc∙im grah sxȳr ka fa dān o le qem la bāc∙cum sty: "Ul ma wū∙prīc ta xȳr fa lo". Sxȳr ri∙kāǵ fa: " Ul ta snā ǵa ul la fu ta cum fa ā yt ul drug∙cin bā nat kīn fa pos. Ul sxȳr ī tyk ul dī sō∙cin∙cūv".

English:

Once upon a time there was a scorpion, he was on the bank of a river and wanted to cross it. He saw a frog and asked her: "Please, help me, I must cross the river". The frog replied: "No, If I help you, you will sting me". The scorpion thus said: "If I sting you, we both will die. I will not sting you". The frog agreed with the scorpion and he jumped on her back. While they were in the middle of the river, the scorpion stung the frog. The suffering frog asked the scorpion, while they were drowning: "Why did you sting me?". The scorpion replied: "I knew we would die, but I couldn't do otherwise. I'm a scorpion, that's my nature".

The King and the God - An Indoeuropean fable - Tanhorvran i pō

Qihep script	Transcription
	Rā ē tanhorvran wa le, tȳn den nat ug yt tȳn tanden ug des. Tȳn pōńāvran ka fa: "Ul tanden ug fa des" Pōńāvran tanhorvran kāǵ fa: "Ma Welunos pō vorka nec" Tanhorvran pō vorka fa: "Ma ul tośē fa si, Welunos pāp ho!" Welunos pō kōpdīn ud dōlqin fa ī tȳn kāǵ fa: "Ma wū ka sty lo?" "Ul tanden ug fa des" "Do faē fa si!" Do ā le posim Welunos pō kāǵ fa. Tanhorvran dī āńresvran tanden tyk prīc par ug fa.
Syllabicated transcription	English
Rā ē tan∙hor∙vran wa le, tȳn den nat ug yt tȳn tan∙den ug des. Tȳn pō∙ńā∙vran ka fa: "Ul tan∙den ug fa des" Pō∙ńā∙vran tan∙hor∙vran kāǵ fa: "Ma We∙lu∙nos pō vor∙ka nec" Tan∙hor∙vran pō vor∙ka fa: "Ma ul to∙śē fa si, We∙lu∙nos pāp ho!" We∙lu∙nos pō kōp∙dīn ud dōl∙qin fa ī tȳn kāǵ fa: "Ma wū ka sty lo?" "Ul tan∙den ug fa des" "Do fa∙ē fa si!" Do ā le pos∙im We∙lu∙nos pō kāǵ fa. Tan∙hor∙vran dī āń∙res∙vran tan∙den tyk prīc par ug fa.	Once upon a time there was a king, he has no child but he wanted a son. He asked a priest: "May I have a son" The priest told the king: "You need to pray to the god Welunos" The king prayed to the god: "Hear me, father Welunos!" The god Welunos came down from heaven and said: "What are you asking for?" "I want a son" "Let it be so!" said the powerful god Welunos. The wife of the king thus bore him a son.

A walk in the night - Pūnōbim

Transcription:

Ūj nār pū o ta lēdbȳ sty yt tȳn cīn xō nōbim rē. Tȳn dī meśtsel te bā vid yt tȳn lu nat ta tobrin ǵa, tȳn tȳn dī tsel dūbimvor le. Kōpdīn vȳlsē ī tȳn śter la tȳn xub piǵ sty kra. Byl tā te ī qem piǵ nat fro sty. Qār nat ta eś ǵa ī śter ply tsaltācin fatā sty, Śōnpōśter kōpdīngrāf xub dōl stā sty a qem tāimtāim fatā sty. Tȳn Alcīn ygvidygvid nat piǵ sōl ī tȳn nis fa, tȳn nār śōnśōn tā grāf fapiǵpiǵvor le.

Syllabicated transcription:

Ūj nār pū o ta lēd∙bȳ sty yt tȳn cīn xō nō∙bim rē. Tȳn dī meś∙tsel te bā vid yt tȳn lu nat ta to∙brin ǵa, tȳn tȳn dī tsel dū∙bim∙vor le. Kōp∙dīn vȳl∙sē ī tȳn śter la tȳn xub piǵ sty kra. Byl tā te ī qem piǵ nat fro sty. Qār nat ta eś ǵa ī śter ply tsal∙tā∙cin fa∙tā sty, Śōn∙pō∙śter kōp∙dīn∙grāf xub dōl stā sty a qem tā∙im∙tā∙im fa∙tā sty. Tȳn Al∙cīn yg∙vid∙yg∙vid nat piǵ sōl ī tȳn nis fa, tȳn nār śōn∙śōn tā grāf fa∙piǵ∙piǵ∙vor le.

English:

It was freezing cold that night, but he kept on walking along the street. His destination seemed so far away but he didn't lose his hope in reaching his target. The sky was very clear, and he could see a lot of stars over himself. The lights of the city were far away from there, so they were not a disturbance to the sight. The moon hadn't risen yet, and the stars shone very brightly. Venus was low on the horizon but gave a beautiful strong light. He wasn't habited to see the Milky Way so clearly and stopped a moment to admire that wonderful strip of light.

A dangerous situation - Tofārim mostātān

Transcription:

Tofārim mostātān

Śōn nat snā sty tȳn wū skyt fa ro. Mostātān plyply tofārim sty yt tȳn ńakqem skyt nec ā. Tȳn nasvūkim oś kōm, mēm tȳn ā tȳn in nat epiǵ fa des. Napik la ir met tȳn fe stā sty ī tȳn la faxēp sty, tȳn la ǵo udipim vid. Tȳn mē cē tsē sty ī tȳn qo vran ki na ebej kra. Tȳn toir vidmī kra, tȳn la tȳn wū skyt fa fōr, tȳn la tȳn fanēm fa fōr. Trojkȳt ā le fanatrojoh la pōlnatroj fa a xup vybim no ē sty. Gomē vybim tȳn dī napik gy stā sty a goxup drug ti stā sty. Tȳn goxup vybim to nasvūkim oś fa kōm ī tȳn lu sty, tȳn tȳn la dī prēt ńak svūk ō nat eru fa.

Tsīm nat bōl ī tȳn vybim śe dūbim fa. Śōn vybim pyr dān o le tȳn qem trojkȳt to qin sty dī bōl fauńskytsy ycmūhośoh. Tȳn krāxcācā am og śe mas fa, tsēd o le tȳn trojkȳtxep tofapiǵ sty. Ycmūhośoh trojkȳtxeo gygy nis fa ī napik ebejmor la vydōlqin fa. Tȳn dī men typtyp sty. Wō ebejmor ycmūhośoh vydōlqin fa lo? Tȳn ty xup ra fa kra yt tȳn la māmā sna ē sty. Tȳn naluim cūv kōm yt dōbfoim le ebejmor la trojkȳt nat unqin fa.

Napik ebejmor la trojkȳt dī drug ti bim fa ī tȳ na la nārmeś ōpīk fa ī Śōn vēbegcīn mīgȳb fa kom. Tȳn meś dōbdōb snā, tyk tȳn dī lān ī natjēētān ir qēm boj ńo tsed bā ē sty, tȳn snā sty tȳn wū bim fa nec. Tȳn ńak fār giskyt nec, tȳn tȳn dī epik dūbimvor fa le yt tȳn snā, tȳn fatoskyt kra ā.

Nacāk le plyply tofārim udmīkȳt tȳn dūqin fa. Tȳn ycmūhośoh vynēm fa ro. Eēkmor woroh ta vēnēm fa kap yt Śōn sōośoh woroh se dōbdōb mekkōm pos. Tykcin le tȳn la tȳn sna fut epiǵ fa kap yt fauńskytsy ycmūhośoh ō le tȳn ebejgrāf ir cas on dūbim fa kra. Mostātān fut dōbdōb fōr, nanmē tȳn fut epiǵ fōr, dān o le tȳn ycmūhośoh vynēm sty. Ī wū fut faē fa fōr lo, ȳcmūhośoh ir pirpicin fut tse sty fōr?

Śōn tȳn dī tomīgȳbkȳt rimīgȳb kōm. Dȳrdȳr mē kimet stā ī tȳn qem aǵtrav yc yd ō jē dūbim fa kra. Dān o le tȳn dȳrdȳr fut dūbim fa, tȳn dī tūr ā nat śak rē ro. Pōlbūltsēd on le tȳn nū ebejgrāf fut dūbim fa ro.

Nacāk le tȳn śē fa, ebejmor la oś sty ā. Tȳn la wū bim sty lo? Tȳn śē fa, tȳn la drug ȳr trojkȳt bim sty ā. Dōbfoim le tȳn tȳn la dī xēp dōb enēm pos. Tȳn enēm fa, tȳn la pōlcas on fut mār fa. Tȳk dān o le tȳn vēbeg nec. Tȳn tȳn dī tsāl eg i sań epik fa ī tȳn trojkȳtxep topiǵ fa. Tȳn ju.

Syllabicated transcription:

To∙fār∙im mo∙stā∙tān

Śōn nat snā sty tȳn wū skyt fa ro. Mo∙stā∙tān ply∙ply to∙fār∙im sty yt tȳn ńak∙qem skyt nec ā. Tȳn na∙svūk∙im oś kōm, mēm tȳn ā tȳn in nat e∙piǵ fa des. Na∙pik la ir met tȳn fe stā sty ī tȳn la fa∙xēp sty, tȳn la ǵo ud∙ip∙im vid. Tȳn mē cē tsē sty ī tȳn qo vran ki na e∙bej kra. Tȳn to∙ir vid∙mī kra, tȳn la tȳn wū skyt fa fōr, tȳn la tȳn fa∙nēm fa fōr. Troj∙kȳt ā le fa∙na∙troj∙oh la pōl∙na∙troj fa a xup vy∙bim no ē sty. Go∙mē vy∙bim tȳn dī napik gy stā sty a go∙xup drug ti stā sty. Tȳn go∙xup vy∙bim to na∙svūk∙im oś fa kōm ī tȳn lu sty, tȳn tȳn la dī prēt ńak svūk ō nat e∙ru fa.

Tsīm nat bōl ī tȳn vy∙bim śe dū∙bim fa. Śōn vy∙bim pyr dān o le tȳn qem troj∙kȳt to qin sty dī bōl fa∙uń∙skyt∙sy yc∙mūh∙oś∙oh. Tȳn krāx∙cā∙cā am og śe mas fa, tsēd o le tȳn troj∙kȳt∙xep to∙fa∙piǵ sty. Yc∙mūh∙oś∙oh troj∙kȳt∙xeo gy∙gy nis fa ī na∙pik e∙bej∙mor la vy∙dōl∙qin fa. Tȳn dī men typ∙typ sty. Wō e∙bej∙mor yc∙mūh∙oś∙oh vy∙dōl∙qin fa lo? Tȳn ty xup ra fa kra yt tȳn la mā∙mā sna ē sty. Tȳn na∙lu∙im cūv kōm yt dōb∙fo∙im le e∙bej∙mor la troj∙kȳt nat un∙qin fa.

Na∙pik e∙bej∙mor la troj∙kȳt dī drug ti bim fa ī tȳ na la nār∙meś ō∙pīk fa ī Śōn vē∙beg∙cīn mī∙gȳb fa kom. Tȳn meś dōbdōb snā, tyk tȳn dī lān ī nat∙jē∙ē∙tān ir qēm boj ńo tsed bā ē sty, tȳn snā sty tȳn wū bim fa nec. Tȳn ńak fār gi∙skyt nec, tȳn tȳn dī e∙pik dū∙bim∙vor fa le yt tȳn snā, tȳn fa∙to∙skyt kra ā.

Na∙cāk le ply∙ply to∙fār∙im ud∙mī∙kȳt tȳn dū∙qin fa. Tȳn yc∙mūh∙oś∙oh vy∙nēm fa ro. E∙ēk∙mor wor∙oh ta vē∙nēm fa kap yt Śōn sō∙oś∙oh wor∙oh se dōb∙dōb mek∙kōm pos. Tyk∙cin le tȳn la tȳn sna fut e∙piǵ fa kap yt fa∙uń∙skyt∙sy yc∙mūh∙oś∙oh ō le tȳn e∙bej∙grāf ir cas on dū∙bim fa kra. Mo∙stā∙tān fut dōb∙dōb fōr, nan∙mē tȳn fut e∙piǵ fōr, dān o le tȳn yc∙mūh∙oś∙oh vy∙nēm sty. Ī wū fut fa∙ē fa fōr lo, ȳc∙mūh∙oś∙oh ir pir∙pi∙cin fut tse sty fōr?

Śōn tȳn dī to∙mī∙gȳb∙kȳt ri∙mī∙gȳb kōm. Dȳr∙dȳr mē ki∙met stā ī tȳn qem aǵ∙trav yc yd ō jē dū∙bim fa kra. Dān o le tȳn dȳr∙dȳr fut dū∙bim fa, tȳn dī tūr ā nat śak rē ro. Pōl∙būl∙tsēd on le tȳn nū e∙bej∙grāf fut dū∙bim fa ro.

Na∙cāk le tȳn śē fa, e∙bej∙mor la oś sty ā. Tȳn la wū bim sty lo? Tȳn śē fa, tȳn la drug ȳr troj∙kȳt bim sty ā. Dōb∙fo∙im le tȳn tȳn la dī xēp dōb e∙nēm pos. Tȳn e∙nēm fa, tȳn la pōl∙cas on fut mār fa. Tȳk dān o le tȳn vē∙beg nec. Tȳn tȳn dī tsāl eg i sań e∙pik fa ī tȳn troj∙kȳt∙xep to∙piǵ fa. Tȳn ju.

English original text:

A dangerous situation

Sean didn't know what to do. The situation seemed too risky. But he was thinking that he had to do something. He began to move quietly. He didn't want to be noticed. His enemies were talking at a few meters from him, and they seemed enough distracted. He had only a knife and couldn't fight against five people. He could barely imagine what they would have done to him if they caught him. The building had been half destroyed by bombs, but there still were only two ways out, one right in front of his enemies and the other one on the other side. He silently moved towards the other exit, hoping to not draw their attention with any noise.

The room was not big, and he quickly reached the exit. Sean was about to go out, when he noticed a big armoured truck that was coming towards the building. He quickly hid himself behind a pile of rubble, keeping an eye on the door. The truck stopped just in front of the door, and many enemy soldiers got out. His heart was beating wildly. How many soldiers were getting out of the truck? He could count twelve of them, but they were surely more. He began to feel lost, but, luckily for him, the soldiers didn't get in the building.

The enemy soldiers gathered on the other side of the building and Sean started to plan an escape route. He knew very well the area, this was his land and even if only a few things were as they had been before the war, he knew where to go. He should face some dangers to reach his mates, but he knew he could do it.

Suddenly he had a very risky idea. He might steal the truck. The driver had certainly taken the keys with him, but Sean knew very well how to get a vehicle started without any keys. He would have been noticed right away, but with an armoured car he would reach his lines in a few hours. It should have been better if nobody had notice him taking the truck. And what might happen if the truck had been low in fuel?

Sean started to rethink his plans. The forest was only one kilometre away and he could reach it quickly even slithering in the grass of the fields. Once in the forest, it would have been impossible to follow his traces. In less than half a day, he would have reached the new front line.

Suddenly he heard the soldiers moving. Where were they going? He heard them going in another building nearby. Luckily, he could understand very well their language. He understood that they were about to be busy for half an hour. It was time to escape. He gathered his strenght and all his courage and watched the door. He was ready.

Scarlett - Skālit

Transcription:

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 tobroj" 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.

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 to∙broj" 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.

English original text:

Scarlett

Here's Scarlett, in the garden of a friend's house in London on a sunny summer morning, the kind of mornings that are unusual in England. Scarlett is twelve years old ('Thirteen in November,' she tells me), and is trying to understand the world around her. She asks questions about everything, all the time.

I tell her that I want to ask her a question, and I ask her why she's called Scarlett, and what the name means, and if it comes from anywhere in particular, and she says: 'No, it's just a stupid name my parents chose because they liked it. It doesn't mean anything.'

I wonder if her parents named her after the heroine of a favourite film, perhaps, but then again, I know her dad and this sounds unlikely. I think they probably chose it just because they liked the sound of it.

Scarlett is worried about changing school after the summer. She worries that she's too short for her age and that the other children at the school will make fun of her. She shows me some pictures of the school she is at now and her classmates. I look at the picture and it shows children of all heights and shapes and sizes. Some are tall, some are short, some are fat and some are thin. Some are black and some are white, and most of them are somewhere in between. Some have red hair and some have blond hair, some have long hair and some have short hair.

I tell her not to worry about the new school, tell her that she'll be OK, and ask her about the new subjects she'll be studying. She tells me that she's worried about learning French, and I tell her not to worry, that it isn't a very difficult language. She tells me that she already knows five languages.

"Five languages!" I shout. "That's impossible! How do you already know five languages?"

"Because I've got five languages in my body," she says.

I ask her what she means, and she starts to tell me the story of her family. Some of the story I already know. I've already heard stories about her grandfather. He was from Scotland; he was a sailor, but not a very good sailor, so he only got as far as Portsmouth, a big navy town on the south coast of England, not very far from Scotland at all. When he got to Portsmouth, he stopped there, left the navy and became a boxer. He lost fights and drank a lot. However, he still managed to see the world by meeting a woman who came from Laos. Nobody really knows how this woman had ended up in Portsmouth, but she still lives there, and I tell Scarlett that she should try and find out her grandmother's story.

"No, she's too old now," says Scarlett, "and anyway, she's lived in Portsmouth nearly all her life."

Scarlett's grandparents were only together long enough to produce a son – probably one of the only Scottish-Laotians in the world. They called him Bill, which is usually short for "William", but his name was just "Bill". Bill inherited his father's personality and his mother's looks, so the only thing he thought he could do was become a rock star. He never really managed to become a rock star, though, so now he works as a graphic designer.

I don't know Scarlett's mum, so I ask her to tell me about her mum.

"My mum's Polish," she says. "Well, not really, because she was born in Brighton, but her mum and dad are from Poland. But they've lived there, like, for always. But I know that her mum was from somewhere that was Germany and then became Poland, so she's really German, I suppose. So that's another language that I've got in my body."

I ask Scarlett if she can actually speak all the languages that she says she has "in her body", and she looks at me like I'm stupid.

"Of course not!" she says. "But I've still got them in me!"

We count up her "languages": Scottish, Laotian, German, Polish.

"That's only four!" I tell her.

"No, there's English too!"

"'Of course there is," I say. And then I look at Scottish–Laotian–German–Polish–English Scarlett, with her name that comes from nowhere, and I ask her: "And you, Scarlett, where are you from?"

She thinks for a long time – such a long time that I think perhaps she hasn't heard my question. But then, before I can repeat it, she looks up and at me.

"I'm from here," she says. "I'm from London."

by Chris Rose

The comeback - Riqin

Transcription:

Riqin

Fausto Ruis krāb ud rā vybim fa, tȳn byl dī krābunbimmeś stā sty, tȳn tykmeś qoty rok ońo gyb fa ī tȳn tykmeś xupty rok on nat riqin maj. Tȳn bōlbāccīn xo nōbim sty. Tȳn dī byl ta drugbly ǵa ī do tȳn ba sty ȳt tȳn qem la tosnā sty kra ī do jē tȳn ba sty. Tȳn qem a nat tosnā sty kra dī mā nū trojkȳt la ē sty ȳt mā as trojkȳt la bōlbāc xo no ē sty, qem la vidmēm sty. Tȳn qem la unūmuk sty dī mā as sryńmeś la nat ē ǵa.

Tȳn krābunbimmeś byltopy bim fa. Tȳn mēūxcīn xo nōbim sty, tsēd o le tȳn topiǵ sty, cin bā le ńik sryńmeś ta drugbly ǵa. Smo kahmeś no ē sty, tsēd fe le tȳn jūn i snāsy sty, qem no mēmvid sty. Tȳn kahmeś unbim fa ī tȳn xū ōw fa. Tȳn kahmeś dī ēmmor i tykmeś mar sty dī toūlmor tosnā fa. Tȳn la xup artsēd fe asas vid sty. Fausto sna sty, tȳn tykcin as nat vid sty ā, natjēētān le xupty rok saw ǵa.

Fausto xū ōw fa ī tȳn toūlmor cak fa kōm. Tȳn tykmeś ty i tyqo i xupty cascā on cak sty. Pōlcas saw ǵa ī toūlmor tȳn nafatomī rē. Fausto ńoqol ādef ī tȳn toūlmor hāru fa. Tȳn ēmmor jē uptsēd hāru fa ȳt do nafanūtor. Tȳn la nat qin fa. Tȳn la tȳn nat ka, tȳn wū tryk sty des. Tȳn la tȳn nafatomī sty.

Ēńim Fausto ig fa ī tȳn kahmeś vybim fa, dān o le tȳn trojkȳtxep udbejwor sty. "Tyk vranvran ślekīn" tȳn mī fa "Mo le ul unūmuk fa, ul tyk byl ud wūprīc xupty rok ońo vēbim fa ā ī ul wūprīc nat riqin maj ā.

Tȳn mēūxcīn xo mēūx toemeś to nōbim. Dān o le tȳn mēūx toemeś dūbim fa, tȳn unūmuk fa, tȳn wū drug prīc par nat riqin maj. Tokīnmeś toemeś stā. Tsēd o le tȳn tokīnmeś topiǵ sty, Fausto Ruis nu unūmuk fa, wū nārmeś xupty rok ońo faē fa.

Xupty rok ońo le Fausto Ruis ā dīn dī plyply snāsy pejmor ā tomī sōl. Tȳn dīn dī plyply snāsy tokīnmeś la yl ta pej fa, tȳn Landyn ā, Niūjōrkysiti ā, Maskyva ā, Buenosajres ā, Tōkiō ā i Sidni ā stā dī tokīnmeś yl ta pej sōl, tȳn qem bim sty dī ńikmeś le vranvran quim unbimoh la sryńnēm sōl. Dān śi le tȳn la tȳn dī pejekīnkȳt piǵ fa, tȳn la tȳ de ta klāp sōl. Tsēd o le tȳn tȳn dī snāsytān dī fīp dūbim fa, Fausto Ruis abce fa, tȳn gybbyl fu ta riqin fa. Tykmeś le tȳn vēl pejekīnkȳt byl dī tokīnmeś yl fu ta pej fa des.

Pejekīnkȳt ā ta rū fa ī ńik unbimoh ā ir cas sī frinkreś fa. Qur la vran tokīnmeś pejekīnkȳt dī ān o bim fa. Tykmeś le tȳn la vēlvēl Fausto Ruis fu ta piǵ fa ro, tsēd o le tȳn gybbyl vor pej sty.

Ńikvran ta nasvūk sty, dān o le Fausto tokīnxubemeś unbim. Tȳn tȳn dī plyply snasy pejkȳt pej kōm. Dān o le pejkȳt kraj fa, nanvran klāp sty. Ply basy Fausto cak fa ī tȳn drug pejkȳt pej kōm. Tyk pejkȳt dī kraj o le ńikvran no nasvūk sty ȳt tȳn la uptsēd bū i būśī kōm. Fausto row fa, tȳn bū xupsvūk fa ā ī tȳn drug pejkȳt vīvī pej kōm. Ȳt do plyply śle sty. Dān o le tȳn vīvī pej sty, vranvran mēmcin vīvī bū sty. Tȳk dān o le ńakvran tȳn tomat kē fa, drug ńakvran tȳn tow ran kē fa ī drug ńakvran tȳn as būf kē fa. Kō le tow plod la i ūr la i as ślesnōsim būf la klōjpād kōm. Ēńēńim Fausto tokīnxubemeś i tokīnmeś favybim fa. Tȳn bul ud nār ān o vēbim fa ī tȳn kāǵ fa, tȳn tykmeś nat fu ta riqin maj vol.

Ȳt Fausto mīcin xupty rok śi drugskyt fa. Tȳn mo asbly sty i tȳn dōm riqin fa des, tȳn tȳn dī gybbyl piǵvor fa. Ȳt tsēd o le tȳn kahmeś stā sty, tȳn toenēm fa, mā dō la faēor nat drugbly ǵa. Tȳn abce fa, tȳn tokīnmeś unbim fa. Dān o le tȳn unbim sty, tȳn unbimohmeś ā stā sty dī unbimohmor piǵ fa. Unbimohmor mēm vran xupty rok ońo fe. Tȳn tȳn eh fa ȳt tanvran nanqem kāǵ fa ī tȳn tȳn nafatomī fa. "Tȳn no mēm" Fausto mī fa. Tȳn tokīnmeś unbim fa ī tȳn tokīnxubemeś unbim fa. Tȳn mī sty, tȳn xupty rok ońo dī fabōim bū śe sty kra.

Tȳn ȳń cūv fa, ī tȳn tokīnmeś ud vybim fa. Tȳn abce fa, tȳn tȳn dī gybdōm yrpiǵ fa vol. Tȳn nār dōm un qoty rok ońo gyb fa. Tsēd o le tȳ tȳn dī as dōm yrbim sty, tȳn dȳrlān ycbim fa nec. Tȳn tykmeś dē bā ta ēh sōl. Tȳn ńakmā tanvran piǵ fa, tȳn la mēmmā rok tȳn fe smel ǵa ī tȳn mī sty, tȳn tȳn la tosnā fa kra ā. Tȳn tȳn la to bim fa, tȳn tȳn la ehkāǵvor fa ȳt tȳn la jē tȳn nafatomī fa. Tȳn as srynmeś la xo tȳn dī dōm yr nōbim. Srynmeś la nat drugbly ǵa. Vranvran jē nat drugbly ǵa ȳt tȳn la jē tȳn nafatomī fa.

Tȳn ply ēńim i abēhsy cūv sty ī tȳn cīn xo ēńhā fa kōm: "Ul vēl Fausto Ruis, tsāl dī wa śē maj dī vēlvēl pejmor". Nanvran tȳn toenēm fa. Tȳn ēńhā rē: "Ma la ul nat snā lo? Ma la un nat tosnā sty lo?" Nanvran do toenēm fa.

Dān o le tȳn tȳn dī as dōm he dūqin fa, tȳn ā ilcin ba fa. Tȳn ā vidsar dī sāsvīd wa dōm vy ē sty. "He dā" Fausto mī fa "ńakvran tȳn dī pōs enēm fa kra. Tȳn la sāsvīd sāsfaskyt fa ī tȳn la ul natjē kāǵ maj".

Fausto yrbim fa, tȳn sāsvīd dōbdōb piǵvor fa. Lākȳt sāsvīd dī dōl cā stā sty. "Fausto Ruis" do ā le lā fa "Pejmor". Fausto abēhsy cūv fa, prīc par le "Pejmor" ā lā fa a nat "Dīn dī dōbdōb pejmor" ā lā fa ȳt toni le tȳn sāsvīd skyt fa. Drug ńakqem ā lā fa. Tȳn qem hentopiǵ fa. Tȳn dī gybbultsēd ē, qoty rok ońo le. A drug ńakqem ē sty, tȳn dī cumbultsēd ē sty. Xup qārtsēd ońo le.

Do ā le Kris Rowsej ta lā fa.

Syllabicated transcription:

Ri∙qin

Fa∙u∙sto Ru∙is krāb ud rā vy∙bim fa, tȳn byl dī krāb∙un∙bim∙meś stā sty, tȳn tyk∙meś qo∙ty rok o∙ńo gyb fa ī tȳn tyk∙meś xup∙ty rok on nat ri∙qin maj. Tȳn bōl∙bāc∙cīn xo nō∙bim sty. Tȳn dī byl ta drug∙bly ǵa ī do tȳn ba sty ȳt tȳn qem la to∙snā sty kra ī do jē tȳn ba sty. Tȳn qem a nat to∙snā sty kra dī mā nū troj∙kȳt la ē sty ȳt mā as troj∙kȳt la bōl∙bāc xo no ē sty, qem la vid∙mēm sty. Tȳn qem la un∙ūm∙uk sty dī mā as sryń∙meś la nat ē ǵa.

Tȳn krāb∙un∙bim∙meś byl∙to∙py bim fa. Tȳn mē∙ūx∙cīn xo nō∙bim sty, tsēd o le tȳn to∙piǵ sty, cin bā le ńik sryń∙meś ta drug∙bly ǵa. Smo kah∙meś no ē sty, tsēd fe le tȳn jūn i snā∙sy sty, qem no mēm∙vid sty. Tȳn kah∙meś un∙bim fa ī tȳn xū ōw fa. Tȳn kah∙meś dī ēm∙mor i tyk∙meś mar sty dī to∙ūl∙mor to∙snā fa. Tȳn la xup ar∙tsēd fe as∙as vid sty. Fa∙u∙sto sna sty, tȳn tyk∙cin as nat vid sty ā, nat∙jē∙ē∙tān le xup∙ty rok saw ǵa.

Fa∙u∙sto xū ōw fa ī tȳn to∙ūl∙mor cak fa kōm. Tȳn tyk∙meś ty i ty∙qo i xup∙ty cas∙cā on cak sty. Pōl∙cas saw ǵa ī to∙ūl∙mor tȳn na∙fa∙to∙mī rē. Fa∙u∙sto ńo∙qol ād∙ef ī tȳn to∙ūl∙mor hā∙ru fa. Tȳn ēm∙mor jē up∙tsēd hā∙ru fa ȳt do na∙fa∙nūt∙or. Tȳn la nat qin fa. Tȳn la tȳn nat ka, tȳn wū tryk sty des. Tȳn la tȳn na∙fa∙to∙mī sty.

Ēń∙im Fa∙u∙sto ig fa ī tȳn kah∙meś vy∙bim fa, dān o le tȳn troj∙kȳt∙xep ud∙bej∙wor sty. "Tyk vran∙vran śle∙kīn" tȳn mī fa "Mo le ul un∙ūm∙uk fa, ul tyk byl ud wū∙prīc xup∙ty rok o∙ńo vē∙bim fa ā ī ul wū∙prīc nat ri∙qin maj ā.

Tȳn mē∙ūx∙cīn xo mē∙ūx to∙e∙meś to nō∙bim. Dān o le tȳn mē∙ūx to∙e∙meś dū∙bim fa, tȳn un∙ūm∙uk fa, tȳn wū drug prīc par nat ri∙qin maj. To∙kīn∙meś to∙e∙meś stā. Tsēd o le tȳn to∙kīn∙meś to∙piǵ sty, Fa∙u∙sto Ru∙is nu un∙ūm∙uk fa, wū nār∙meś xup∙ty rok o∙ńo fa∙ē fa.

Xup∙ty rok o∙ńo le Fa∙u∙sto Ru∙is ā dīn dī ply∙ply snā∙sy pej∙mor ā to∙mī sōl. Tȳn dīn dī ply∙ply snā∙sy to∙kīn∙meś la yl ta pej fa, tȳn Lan∙dyn ā, Ni∙ū∙jōr∙ky∙si∙ti ā, Mas∙ky∙va ā, Bu∙e∙nos∙aj∙res ā, Tō∙ki∙ō ā i Sid∙ni ā stā dī to∙kīn∙meś yl ta pej sōl, tȳn qem bim sty dī ńik∙meś le vran∙vran qu∙im un∙bim∙oh la sryń∙nēm sōl. Dān śi le tȳn la tȳn dī pej∙e∙kīn∙kȳt piǵ fa, tȳn la tȳ de ta klāp sōl. Tsēd o le tȳn tȳn dī snā∙sy∙tān dī fīp dū∙bim fa, Fa∙u∙sto Ru∙is ab∙ce fa, tȳn gyb∙byl fu ta ri∙qin fa. Tyk∙meś le tȳn vēl pej∙e∙kīn∙kȳt byl dī to∙kīn∙meś yl fu ta pej fa des.

Pej∙e∙kīn∙kȳt ā ta rū fa ī ńik un∙bim∙oh ā ir cas sī frin∙kreś fa. Qur la vran to∙kīn∙meś pej∙e∙kīn∙kȳt dī ān o bim fa. Tyk∙meś le tȳn la vēl∙vēl Fa∙u∙sto Ru∙is fu ta piǵ fa ro, tsēd o le tȳn gyb∙byl vor pej sty.

Ńik∙vran ta na∙svūk sty, dān o le Fa∙u∙sto to∙kīn∙xub∙e∙meś un∙bim. Tȳn tȳn dī ply∙ply sna∙sy pej∙kȳt pej kōm. Dān o le pej∙kȳt kraj fa, nan∙vran klāp sty. Ply ba∙sy Fausto cak fa ī tȳn drug pej∙kȳt pej kōm. Tyk pej∙kȳt dī kraj o le ńik∙vran no na∙svūk sty ȳt tȳn la up∙tsēd bū i bū∙śī kōm. Fa∙u∙sto row fa, tȳn bū xup∙svūk fa ā ī tȳn drug pej∙kȳt vī∙vī pej kōm. Ȳt do ply∙ply śle sty. Dān o le tȳn vī∙vī pej sty, vran∙vran mēm∙cin vī∙vī bū sty. Tȳk dān o le ńak∙vran tȳn to∙mat kē fa, drug ńak∙vran tȳn tow ran kē fa ī drug ńak∙vran tȳn as būf kē fa. Kō le tow plod la i ūr la i as śle∙snōs∙im būf la klōj∙pād kōm. Ēń∙ēń∙im Fa∙u∙sto to∙kīn∙xub∙e∙meś i to∙kīn∙meś fa∙vy∙bim fa. Tȳn bul ud nār ān o vē∙bim fa ī tȳn kāǵ fa, tȳn tyk∙meś nat fu ta ri∙qin maj vol.

Ȳt Fa∙u∙sto mī∙cin xup∙ty rok śi drug∙skyt fa. Tȳn mo as∙bly sty i tȳn dōm ri∙qin fa des, tȳn tȳn dī gyb∙byl piǵ∙vor fa. Ȳt tsēd o le tȳn kah∙meś stā sty, tȳn to∙e∙nēm fa, mā dō la fa∙ē∙or nat drug∙bly ǵa. Tȳn ab∙ce fa, tȳn to∙kīn∙meś un∙bim fa. Dān o le tȳn un∙bim sty, tȳn un∙bim∙oh∙meś ā stā sty dī un∙bim∙oh∙mor piǵ fa. Un∙bim∙oh∙mor mēm vran xup∙ty rok o∙ńo fe. Tȳn tȳn eh fa ȳt tan∙vran nan∙qem kāǵ fa ī tȳn tȳn na∙fa∙to∙mī fa. "Tȳn no mēm" Fa∙u∙sto mī fa. Tȳn to∙kīn∙meś un∙bim fa ī tȳn to∙kīn∙xub∙e∙meś un∙bim fa. Tȳn mī sty, tȳn xup∙ty rok o∙ńo dī fa∙bō∙im bū śe sty kra.

Tȳn ȳń cūv fa, ī tȳn to∙kīn∙meś ud vy∙bim fa. Tȳn ab∙ce fa, tȳn tȳn dī gyb∙dōm yr∙piǵ fa vol. Tȳn nār dōm un qo∙ty rok o∙ńo gyb fa. Tsēd o le tȳ tȳn dī as dōm yr∙bim sty, tȳn dȳr∙lān yc∙bim fa nec. Tȳn tyk∙meś dē bā ta ēh sōl. Tȳn ńak∙mā tan∙vran piǵ fa, tȳn la mēm∙mā rok tȳn fe smel ǵa ī tȳn mī sty, tȳn tȳn la to∙snā fa kra ā. Tȳn tȳn la to bim fa, tȳn tȳn la eh∙kāǵ∙vor fa ȳt tȳn la jē tȳn na∙fa∙to∙mī fa. Tȳn as sryn∙meś la xo tȳn dī dōm yr nō∙bim. Sryn∙meś la nat drug∙bly ǵa. Vran∙vran jē nat drug∙bly ǵa ȳt tȳn la jē tȳn na∙fa∙to∙mī fa.

Tȳn ply ēń∙im i ab∙ēh∙sy cūv sty ī tȳn cīn xo ēń∙hā fa kōm: "Ul vēl Fa∙u∙sto Ru∙is, tsāl dī wa śē maj dī vēl∙vēl pej∙mor". Nan∙vran tȳn to∙e∙nēm fa. Tȳn ēń∙hā rē: "Ma la ul nat snā lo? Ma la un nat to∙snā sty lo?" Nan∙vran do to∙e∙nēm fa.

Dān o le tȳn tȳn dī as dōm he dū∙qin fa, tȳn ā il∙cin ba fa. Tȳn ā vid∙sar dī sās∙vīd wa dōm vy ē sty. "He dā" Fa∙u∙sto mī fa "ńak∙vran tȳn dī pōs e∙nēm fa kra. Tȳn la sās∙vīd sās∙fa∙skyt fa ī tȳn la ul nat∙jē kāǵ maj".

Fa∙u∙sto yr∙bim fa, tȳn sās∙vīd dōb∙dōb piǵ∙vor fa. Lā∙kȳt sās∙vīd dī dōl cā stā sty. "Fa∙u∙sto Ru∙is" do ā le lā fa "Pej∙mor". Fa∙u∙sto ab∙ēh∙sy cūv fa, prīc par le "Pej∙mor" ā lā fa a nat "Dīn dī dōb∙dōb pej∙mor" ā lā fa ȳt to∙ni le tȳn sās∙vīd skyt fa. Drug ńak∙qem ā lā fa. Tȳn qem hen∙to∙piǵ fa. Tȳn dī gyb∙bul∙tsēd ē, qo∙ty rok o∙ńo le. A drug ńak∙qem ē sty, tȳn dī cum∙bul∙tsēd ē sty. Xup qār∙tsēd o∙ńo le.

Do ā le Kris Row∙sej ta lā fa.

English 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 two months ago.

by Chris Rose