Hymmnos Language

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

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


Origins

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

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

Hymmnos text is comprised of glyphs whose designs were based partly on those used by the Sanskrit language. It also adds glyphs for representing numerals that resemble sound waves in appearance.
Hymmnos glyphs. Updated to the 1.1 version (borrowed from http://hymmno-dict.com)

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

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


Grammar (Standard Hymmnos)

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

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

Let's look at an example:

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

The first three words, "Was yea ra", are emotion sounds. They are are subdivided into three levels:

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

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

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

All known emotion sounds are listed in the following table:
Intensity 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

Type

* 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

Desire to Last or Context

* 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. It follows this structure:

(verb) (object) (compound or object)

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

Was yea ra chs hymmnos mea
(Very) (happy) (I want this feeling to last) (turn into) (song) (me)
(I will be glad to turn myself into a song)

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

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

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

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

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

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

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

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

For example:

Wee ki ra hyma rre aquagon pagle wart
(Fairly) (concentrated) (I want this feeling to last) (listen) (subject definer) (aquagon) (talk) (words)
(I will concentrate on listening to the words that aquagon says)

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

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

Examples:

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

Faura yerwe murfan anw sol ciel
(Little bird) (chirp) (feelings) (to) (world)
(The little bird chirps her feelings to the world).

(VSO structure sentence. Taken from EXEC_HIBERNATION/.)

Was yea ra vit bautifal faura anw dornpica en 1 dyyal nuih bexm
(Very) (happy) (I want this feeling to last) (see) (beautiful) (little bird) (to) (seed) (and) (night of the first day) (come)
(The beautiful little bird saw the seeds, and the first night came).

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

Rrha cyuie gaya na ieeya crushue anw dornpica, Rhaplanca

(Trance-like) (sadness) (not wanting to feel this again even) (doesn't wish to craft) (to) (seeds), (Rhaplanca)

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


Pronouns

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

* you
* you (plural)
* he / him
* they / them (masculine)
* she / her
* they / them (feminine)
* us / we


Used as Object

* yor
* yora
* hes
* hers
* has
* hars
* mean

Used as Subject

* yorr
* yorra
* herr
* herra
* harr
* harra
* merra

Use of Particles (Prepositions/Postpositions)

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

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

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

But not here:

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


Adjectives

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

ridalnae sol ciel
(irreplaceable world)

tyui frawr
(small flower)


Passive Voice

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

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

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

Changes it into a passive voice statement:

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


Negative Form

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

For example:

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

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

Was yea ra na chs hymmnos yor
(I will be glad for not turning you into a song)

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

For example:

yehah
(happiness)

Can be changed like this:

na yehah
(unhappiness, sadness)


Noun Phrases Indicating Ownership

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

For example:

Aurica forlinden
(Aurica's village)

revatail ciel
(Reyvateil's world)

sarla mea
(my song)

hyzik yor
(your body)

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

For example:

hymmnos oz faura
(song of the little birds)

sarla oz soare
(song of prayers)


Position Marking

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

For example:

won dor
(over the earth)

ween kapa
(inside the water)

folten forlinden
(in front of the village)

[edit] Special Character Pronunciations

These characters are used in either Hymmnos Binary or in special grammar functions that will be elaborated upon in later sections.
Character
* =>
* >>
* x
* 0
* 1
* Xc=
* ->
* <-x

Pronunciation


* Tab
* Tras
* Ku
* O
* I
* Xeku
* Pass
* (S)pag

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

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


Numbers

* Nel - 0
* Nnoi - 1
* Ji - 2
* Dri - 3
* Fef - 4
* Vira - 5
* Ixe - 6
* Hept - 7
* Oct - 8
* Nei - 9
* Dec/de - 10
* Hec/he - 100
* Kik/ki - 1000
* Mik/mi - 10000

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

(Unconfirmed Information)

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

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

This structure allows a single set of emotion sounds to be shared by multiple sentences. Even though it's considered an advanced grammar rule, it's actually very simple. It is used in the following way:

(emotion sounds) 0x vvi. (keeper definer start)
　　・
　(text)
　　・
1x AAs ixi. (keeper definer end)

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


Here is an example:

Was yea erra 0x vvi. ("Was yea erra" will be applied from this point forward)
chs hymmnos mea
hymme rre walasye hyma mea
sonwe anw sol ciel
rre sol ciel hyma hynne mea
1x AAs ixi. ("Was yea erra" will no longer applied beyond this point)
Wee apea ra rre yor melenas

The meaning of that passage is as follows:

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

Was yea erra hymme rre walasye hyma mea
(I will be eternally happy that the people hear me)

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

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

Wee apea ra rre yor melenas
(I will be immersed in happiness to love you)

The important thing to note is that even though "Was yea erra" was only spoken once, it was implied four times.
[edit] Double Register of Emotion Sounds

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

For example:

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

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

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

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

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

1x AAs ixi.

As written here, the emotion associated with the third sentence is "Was yea erra", while all other lines carry "Wee apea ra".
[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 though they were one. (Binasphere means "two worlds" in Hymmnos, the two worlds being the two lines of lyrics combined.) Doing this gives more power to the song since a song using this technique can have two simultaneous effects.

Let's look at the process of turning the following two lines into a single Binasphere line:

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

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

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

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

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

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

=> WAS EN YEx CHx A SEE RA CHS FWx HYMMx AL NOS FWAL YOR YOR
0 1 0 1 0 1 0 0 1 0 1 0 1 0 1

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

EXEC hymme 2X1/0>>formula

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

010101001010101.

And thus, the Binasphere Formula for this example is:

EXEC hymme 2X1/0>>010101001010101.

The formula is always placed at the end of the song, and a song can't have more than one Binasphere formula. If you want to use the Binasphere format again in the same song, then your lyrics will have to be adapted to work with the first formula. The => (pronounced "Tab") is used to mark the point at which the Binasphere lines begin:


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

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

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE

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

GA PEx GAx A TYUNY RA HARx AR CIEL

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

FORx GANx ART SA DAL FAYx WASSA RA CIEL

EXEC hymme 2x1/0>>01101010

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

=> RRHA RRHA GUWO Ax GAx PEx GIS A GAx TIE INNx
0 1 1 0 1 0 1 0 / 0 1 1

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE
0 1 0 1 0 / 0 1 1 0 1 0

CIEL EN INI LA ZAx AR HHA CIEL RRHA RRHA Ax GUWO
1 0 / 0 1 1 0 1 0 1 0 / 0 1

GA PEx GAx A TYUNY RA HARx AR CIEL
1 0 1 0 1 0 / 0 1 1

TES EN YORA INI CHYET WAx SOR GAx LAx TYUNx SYE LA
0 1 0 1 0 / 0 1 1 0 1 0 1

FORx GANx ART SA DAL FAYx WASSA RA CIEL
0 / 0 1 1 0 1 0 1 0

Note: The end of the final loop has to coincide with the last fragment of the song.

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

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

First line:

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

Second line:

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

First line:

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

Second line:

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

[edit] Emotionless Sentences

Normally, if a sentence doesn't begin with emotion sounds, then it's implied that it has the same emotion sounds as the sentence that came before it. But if none of the sentences in a song have emotion sounds (and if the sentences aren't using the Emotion Sound Keeper Definer Syntax), then the Tower can't process it as a spell. It's accepted as a simple song instead, used only to convey feelings without a specific effect to execute. Even though a song without emotion sounds can still invoke some magical effect, the effect wouldn't be very strong.

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

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

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

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

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

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

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

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

Words from Standard Hymmnos can be used in Pastalia sentences, but if a word with similar meaning exists in the Pastalia vocabulary, then it's more commonly used.

For example: "rawah" (from Pastalia Hymmnos) and "frawr" (from Standard Hymmnos) both mean "flower", but "rawah" is used more often in Pastalia sentences since Reyvateils feel more "natural" when using a word from their own dialect. The exception is the verbs: verbs from Standard Hymmnos can never be used in Pastalia sentences.

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

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

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

hEmmErYE/.
(I will gladly sing)

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

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

The main advantage Pastalia Hymmnos has over the Standard dialect is that you can explain multiple levels of emotions at once: your own emotion, emotion towards "you" (the person being spoken to), and emotion towards the world, all with a single verb. On the other hand, it cannot express the degree of the emotion and whether you want the emotion to last or not, as Standard Hymmnos can with its first and third emotion sounds.
[edit] Object

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

For example:

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

This is similar to English, and the reverse of Japanese.
[edit] Particles (Prepositions/Postpositions)

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

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

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

lElLYEn ut doodu/.
(I gladly give blessing to the earth)

And an example of when a particle is omitted:

hEmEmLYEr sarla/.
(I gladly sing a song)

Emotion Verbs

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

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

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

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

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

For example:

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

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

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

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

Finally, there are cases when base base verbs are used in sentences, such as when verbs are used as part of the object or subject. This is a very annoying, advanced grammatical rule that will be explained later.
[edit] Emotion Vowels

Emotion vowels express the subject's emotional state when performing the action described by the base verb. (The subject may be either the speaker/singer, or another subject defined in the sentence.) They are divided into 3 groups called "Levels".

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

Level 2: Emotion vowels that express the speaker/singer's feeling towards the target being spoken to (usually "you, the audience listening to this story"). This "you" is from the speaker/singer's perspective, which may not be the same as the subject's perspective.

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

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

* A - Strength, concentration, doing one's best.
* I - Pain, agony, fear, feeling of wanting to run away.
* U - Sadness, worry, (sometimes means caring too).
* E - Happiness, pleasure.
* O - Anger, malice.
* N - Absent-mindedness, relaxation, (sometimes means negative).

Audience

* YA - Your feeling.
* YI - Your suffering, your pain, your death.
* YU - Your sadness, your anxiety.
*YE - Your happiness.
* YO - Your anger.
* YN - Your calmness.

World

* LYA - This world's feeling.
* LYI - This world's pain, this world's destruction.
* LYU - This world's sadness, this world's tension.
* LYE - This world's happiness.
* LYO - This world's anger, this world's madness, this world's fighting.
* LYN - This world's calmness, this world's stillness.

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

In addition to expressing the emotions of the subject, emotion vowels also indicate the target that's receiving the result of the action, provided that the target is either "I", "you" or "this world". This is quite hard to explain, so let's look at a few examples.

Example 1:

Standard Hymmnos:

Was yea ra chs hymmnos mea.

Pastalia dialect:

cEzE hymmnos/.

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

Example 2:

Standard Hymmnos:

Was yea ra chs hymmnos yor.

Pastalia dialect:

cEzYE hymmnos/.

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

Was yea ra chs hymmnos yor.
(very) (happy) (I want this to last) (turn into) (song) (you)
(With great happiness and wanting this happiness to last, I turn you into a song.)

cEzYE hymmnos/.
(turn into + my happiness + your happiness) (song)
(With happiness and for the sake of your happiness, I turn you into a song.)

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

XXX/. -> YYY/.

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

Example:

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

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


Emphasis

Putting "rre" infront of a subject that normally doesn't require it (you, he, she...) will "emphasize" the subject.

Example:

- xA rre herr hYEmmrE/. (He sings, emphasis on "he", to say that it's that person, that "him" and not anyone else)

- xI rre yorr cEzE hymmnos/. (You turn into a song, emphasis on "you", it's "you" and not anyone else who turn into a song)

You can also emphasize the subject "I" by putting subject definer (expressing what you think about your own situation), followed by "rre mea".

Example:

xU rre mea hAmmrA hymmnos/. (I sing the song with all my strength, emphasis on "I", and also express that I feel sad about my own singing)
[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)


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] -za Suffix

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

Examples:

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

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

- wYAfA za rYAfrm 1001 Atitia_qejyu en vYAsk yor/. (My wish is to show you the 1001 good hearts of the people, so you can experience them).

(Note: This is general information took from the Settei Book, and there are some instances of the use of -za that haven't been deciphered yet).
[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 Standard Note (Standard Dialect)
* Cult Ciel Note (Ancient Language From Before the First Era)
* Cluster Note (Cluster Area Language)
* Alpha Note (Origin Spell)
* Ancient Metafalss Note (Sacred Language from the First Era)
* New Testament of Pastalie (Pastalia Dialect)
* Moon Singing of the Story Previous to the Notes (Risshinzentsukuyomi (Ancient Language from Before the First Era))
* Corrupted Pastalia Hymmnos


[edit] Central Standard Note (Standard Dialect)

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

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


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

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

Cluster Note (Cluster Area Language)

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

However, the Sol Cluster people despised the people from Sol Ciel, and apparently, they created this dialect as a response to the creation of the powerful Central Standard Note. Probably it was created with the purpose of surpassing the faculties of the Central Standard Note, but since there aren't any speakers and it isn't used in Sol Ciel, or in Metafalss, the exact details are unknown.
[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 Metafalss Note (Sacred Language from the First Era)

A unique Note invented in the early First Era by the holy land of [Metafalss] that dominated the world back in the time of the 2000s. The power that one woed holds far exceeds the average value for Central Standard Note words. The reason they produced such high-powered Hymmnos terms is said to be in their land. In this land, spiritual ideology thrived more than in other regions, and the study and development of songs through thanks to the Moon Chanters was extensive. For that reason, even as other regions were reaching the limits of song power, they overcame these little by little, training themselves to craft yet stronger songs, then refining and improving them.

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

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

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

Moon Singing of the Story Previous to the Notes (Risshizentsukuyomi) (Ancient Language From Before the First Era)

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

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

Example of a Risshizentsukuyomi sentence (there aren't grammar guides, but some songs have used it already and they have translations attached. Example taken from Xa Ziqt Wac s)

ssa wee res sog yyu nnh, rrrryy... Xa Ziqt wac sss (The power for me to imprison evil people, the light of mine, the divine protection and divine growth of Gods, all are laid upon the foolish me!)

Note: The translations for this dialect are only rough, since each letter is equivalent to a complete word, and it would be impossible to give a 100% accurate translation because of that.
[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

(高い可能性を示す語句)
surely, certainly

(Note: Used for expressing something that's highly probable to happen)
Central
adyya n. 今日・本日 today Central
afezeria v. 祝福する bless Central
ag conj. そして、～と

(and)
and

(Note: Equivalent to the English "and")
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
alroetsue adj. 贖いの、償いの of atonement, of recompense Ancient Metafalss
ammue n. 音、（音の）波動 sound, sound waves Cult Ciel
an adv. ～と共に together Central
anw prep. ～を

(後ろに来るアルファベットが子音か母音か等、状況によって、最後の発音が変化します。後ろの単語とつなげて発音した時、より音がきれいに流れる発音を選択してください。)
(direct object marker)

(Note: The pronunciation changes depending on if the last letter of the preceeding word was a vowel or consonant. The pronunciation used ("anwa" or "anu") depends on which one the speaker thinks that flows and sounds better with the rest of the phrase)
Ancient Metafalss
apea E.s. (II) 幸せでぽわー immersed in happiness 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 (大蛇。(転じて)大砲) big snake, (derivative meanings) gun, cannon Central
bautifal adj. 美しい、綺麗な beautiful Central
beja v. 汚す dirty, defile 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
boches n. 口 mouth Central
boh adj. 爆発的な、超常的な explosive, supernatural Ancient Metafalss
brinch n. 枝 branch Central
briyante n. 歓喜の声、喜びの声 voices of delight, voices of joy Ancient Metafalss
burle adj./n. 青　青い　蒼 blue Central
byui conj. 糾弾 blame, cause of Pastalia
Chronicle Key n. ヒュムノス・クロニクルキー Chronicle Key (a hymn) Alpha (Eolia)
c.z. E.v. 変化する transform Pastalia
cause v. 呪う、苦しめる curse, torment Ancient Metafalss
cecet n. 盾 shield Central
ceku n. 友・友人・同士・同胞 friend, comrade, companion, comrade Pastalia
celetille adj. 鮮やかな、新鮮な、美しい、綺麗な vivid, clear, fresh, beautiful Central
celle adv. 天高く heavenly Central
cenjue v. 変化する、変える、変更する

(chsより強烈であり、強制力の強いもの。既に「願い」ではなく「使役」。正教語であり一般人は使えない。「na」と合わせることで、「逆言」的な効果を持って強固な意志を表現する。)
change, transform

(Note: Has stronger connotations than "chs". This one doesn't mean the "wish" to change, but rather actually changing. It's an orthodox word not used by normal people. If it's preceeded by "na", then it takes the opposite meaning: indicating extreme firmness and determination)
Ancient Metafalss
cerchio n. 可能性 possibility Central
cest adj./n. 真実の、真の、本当の、真実 of the true, true, real, truth Central
cexm v. （人や物が）来る、訪れる come (person), visit Central
chanti n./v. 褒める、賞讃する、賞賛 praise, reward Central
chess n./v. 接吻する kiss
chiess n./v. キスする、口づけする、キス kiss Central
chs v. ～になる

(自分自身の形が完全に変わってしまうとき、もしくはモノの例えとして使う場合はこちら。何かと使われることが多い。)
become

(Note: Used metaphorically for whenever one wishes to change completely. It has an enormous variety of uses)
Central
chsee v. ～に変化する

(自分や対象物に何かがプラスされる、一部変化する、何かが減るといった、部分的な物理変化を意味する。)
transform into ~

(Note: Indicates increase, partial change or reductions on oneself or in the target. In short, it's used to express partial physical change).
Central
chyet adj. 選ばれた、特別 chosen, particular 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, (possible alternate translation) believe Ancient Metafalss
cremia v./n, 救済 salvation
crown n. 杯 cup (for beverages)
crudea n. 苦しみ、苦悩 anguish, suffering Ancient Metafalss
crushue v. 紡ぐ spin (fabric), (translated usually as) craft Ancient Metafalss
cupla n. 罪 sin Central
cyuie adj. 切ない、悲しい sad, sorrowful Central
cyurio n. 理、秩序 reason, logic, order Central
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./n. 裏切る、背く betray, disobey, betrayal Central
degle v. 滅ぼす destroy, overthrow, ruin
dejuy n. 贖罪 atonement Pastalia
deleir n. 災い、禍、災厄 calamity, disaster Alpha (Eolia)
delij v. 嫌う、嫌がる、疎む hate, shun, neglect Alpha (Eolia)
den conj. しかし、でも、けれど、～だが

(反対の接続語)
however, but, still, and yet

(Note: Connective for opposite sentences)
Central
denera n. 悪しきもの evil one Central
der prep. ～で、によって according to, by means of Ancient Metafalss
desfel adj./v. 嫌い、厭、厭う、いやがる hate, dislike, detestable, unpleasant Ancient Metafalss
Despedia n. ヒュムノス・デスペディア Despedia (a hymn)
dewee v. 跪け kneel
dgal n. 国 country, land Pastalia
dhezeall n./adj. 虜囚、虜、捕らわれ人

(囚われの、という形容詞としても使用可)
captive, prisoner, imprisoned Ancient Metafalss
diasee n. 神の子 child of God Ancient Metafalss
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./n. 偽る・偽装する・騙す・偽り

(動詞・名詞同形で使用可)
lie, cheat, trick Central
dius adj. 尊い、神々しい divine, sacred, precious, valuable, sublime, solemn, noble 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 (

手段。byに相当)
(instrument/location/cause/time marker)

(Note: Used to indicate means. Equivalent to the English "by").
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）

(『一日』や『その日』など時間や期間を表す為に用いる。『何日目』の場合はdyyalを参照)
day

(Note: Used only for phrases such as "one day" or "that day". For phrases with aa definite number of days, "dyyal" is used instead)
Central
dyyal n. ～日目 days (counter suffix) Central
eazas adj. 互いに

(愛し合う→hartes eazasのように、動詞の後に付けて使う)
mutually

(Note: It can be attached to the end of a verb, like this: "hartes eazas" -> "mutual love")
Central
echrra v. 共鳴する resonate Central
ee v. 偉大なる、讃える exalt, praise Ancient Metafalss
eetor n. 向こう側 other (side/person) Central
eje n. 心、気持ち heart, mind, feeling Pastalia
elle prep. ～から、～よりの、～より

(fromに近い意味を持つ単語)
from, out of

(Note: It's similar in meaning and use to the English "from")
Central
elye adv. 未だ、まだ hitherto, yet Pastalia
en conj. そして、～だから、～ために

(英語のandです)
and, because, for

(Note: Direct equivalent to the English "and")
Central
enclone v. 包み込む wrap up Ancient Metafalss
endia v. 止める、終わらせる stop, end Ancient Metafalss
ene v. 思う、感慨深くなる think, feel deeply 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
engassya n. 生け贄 sacrifice
enne n. 祈り、願い（いい意味） prayer, request (with good intentions) Central
enrer adv. 常日頃から、いつも always, usually 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

(英語のin相当)
(instrument/location/cause/time marker)

(Note: Equivalent to the English "in")
Pastalia
et adj. 大きい large Central
eta v. 食べる eat Central
etealune n. 永遠、永久 eternity Ancient Metafalss
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

(主に普通に進む場合はこちら。集団で移動する場合はZahha)
advance, make progress

(Note: It's used for indicating the advancing of an individual or small groups. For the advancing of large groups, "Zahha" it's used instead).
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 Metafalss
fane n. 慈愛 affection, kindness, love Central
fatele n. 父 father Ancient Metafalss
fatere adv. さもなくば・そうしなければ～でしょう if not ~ then probably ~ Central
fau n. 鳥

(「小」鳥ではない)
bird

(Note: not used for small birds)
Ancient Metafalss
faura n. 小鳥、幼い鳥 small/baby bird Ancient Metafalss
fayra n. 火、炎 fire, blaze Central
fedyya n. 明日

(未来の意味でも使用可)
tomorrow

(Note: Can also mean "future")
Central
fee n. 風 wind
ferda v. 宿る dwell, live in Ancient Metafalss
fernia v. 微笑む smile Cult Ciel
fhyu n. 風 wind Central
firle v. 感じる feel, sense Ancient Metafalss
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./adj. 覆う、満たす、埋める

(覆うような、など、量や規模を表す形容詞としても同形で使用可)
fill up, cover, hide

(Note: It can also be used as an adjective to indicate the amount and scope of something)
Central
fowrlle v./n. 慰める、癒す、慰安 comfort, heal, relaxation Central
frawr n. 花 flower Central
frawrle n. 春 spring (season) Cult Ciel
frissoner v. 震える shiver Central
frreie v. 解き放つ release
fs n. そよ風

(Eをつけると意訳で「ささやき」)
breeze (when it has an "E" emotion vowel in front, its meaning changes to "whisper"). 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
fwilla n. 雫 drop, droplet
fwillra n. 羽、羽毛、ひとひら

(fwalは翼、fwillraは羽や羽毛のひとひら)
feather, plumage, petal

(Note: contrary to "fwal", which means "wings", "fwirlla" only refers to the feathers and plumage)
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 Metafalss
ganna adj./n. 固い、頑なな、堅牢な、石、岩

(物質・精神両方の意味で「カタイ」ものの表現に使用可。名詞としては石や岩も指す。
strong, stubborn, solid, stone, rock

(Note: It's normally used to indicate the hardness of a material or the stubbornness of a mind. As a noun, it means "rock" and "stone")
Central
garlden n. 町 town
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
gaunji v. 苛む torment, torture
gauv n. 罪、咎 sin, blame
gauzewiga v. 絶望する despair Ancient Metafalss
gaya E.s. III 二度と先の状態に戻りたくない I never want to go back to how I was before Central
geeow n./v. 誓い、誓う、決意(する) oath, vow, resolve Central
getrra adj. 汚れた dirty, impure Central
gigeadeth adj./n. 鋼鉄の、鉄

(形容詞・名詞同形で使用可)
steel, iron

(Note: It can be used both as an adjective and a noun)
Central
giue n. 体 body
giz n./v. 恐怖 fear, dread, terror
gkgul adj. ひび割れた cracked Pastalia
glansee adj. 神々しい、偉大な (LYAをつけると意訳で「神」) divine, exalted

(Note: adding "LYA" before it changes its meaning to "God").
Pastalia
glasden adj. 最高 highest, supreme, most Ancient Metafalss
goa conj. ～だけ (only) only ~

(it's used in the same way as the English "only")
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 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 Metafalss
grandus v. 護る defend, protect Ancient Metafalss
granme E.s. II 心に勇気を抱く　護りたいと想う Wishing to protect someone, courage Central
grave n. 山奥、建物などの奥 mountain recesses, interior (of a building, etc.) Cult Ciel
grlanza v. 踊る dance Central
grrena adj./n. 緑　緑色の　碧

(名詞としても使用可. 植物という意味の緑は指さない)
green

(Note: It can be used both as a noun and adjective. As a noun, it's used for non-green plants)
Central
grruw v. 育つ raise, grow up Central
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
gyenel n. 魔道士 wizard, mage, sorcerer
gyengyat v. むさぼり食う devour, lustfully eat
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 Metafalss
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 Metafalss
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）

(呼びかけや感嘆。非常に軽く発音するとほとんど「や」にしか聴こえない)
hey, you (to get someone's attention)

(Note: Used both for admiration and calling. It can be pronounced as "hyear" or "ya", but generally, "ya" is the only way used because of being faster to pronounce)
Central
hyma v. （言葉を）聞く listen (to words) Central
hymma n. 小鳥

(語源は「奏でる者」でhymmeから来ている。)
small bird

(Note: This word originally meant "music player", and it originated from "hymme").
Central
hymme v./n. 謳う、奏でる、共鳴する

(名詞的使い方をする場合もある。その場合は、波動、波など、形のない振動を指す。)
sing, play (a instrument), resonate

(Note: It can be also used as a noun. In that case, it would mean "waves", "waving", and "vibration of formless things").
Central
hymmne n. 波動、調べ、メロディ

(hymmnosよりも軽い、意味的にも浅いもの。)
sound waves, tune, melody

(Note: Has lighter connotations than Hymmnos. It actually is used for talking about songs in a more superficial form).
Central
hymmnos n. 詩、ヒュムノス song, Hymmnos Central
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, 実 Implanta (a hymn); God's Tree in the myths of Metafalss, fruit, seed
i E.s. II 焦り impatience Central
iasien n. 朝露 morning dew 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 Metafalss
infel n. 愛

(infel yor で「ありがとう」という意味に)
love (

Note: "infel yor" means "thank you")
Ancient Metafalss
inferiare adj. 親愛なる beloved Ancient Metafalss
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
jastil v. いくぞ！ Come!, Let's go!
jefea adj. 悼ましい lamenting, grieving
jenge n. 敵 enemy, rival, opponent
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 Metafalss
kieghl (unknown meaning)
kierre n. 刻、瞬間 instant, moment Ancient Metafalss
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 Metafalss
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 Metafalss
leat v. 奏でる

(謳う（hymme）に近いが、こちらの方が更に比喩的に使われる。)
play (instrument)

(Note: It's very similar to the "singing" meaning of "hymme", but it's used in a much more figurative manner)
Central
lequera n. 善きもの Gooddoer, good person 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 Metafalss
lusye n. 光 light Ancient Metafalss
lyafre n. 蝶 butterfly Cult Ciel
lyuma n. 星

(LYAをつけると意訳で「澪の御子」)
star, planet

(Note: if it has a "LYA" before it, the meaning changes to "Maiden of Mio")
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), Song of Hope (to Mir), Song of Creation, Utopia Ancient Metafalss
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 Pastalia
mahin n. 手 hand Central
manac n. 真名、魂の名前、御魂名 true name, name of soul Cult Ciel
manaf n. 命、生命 life, existence Ancient Metafalss
manafaln n. 転生 reincarnation Cult Ciel
manafeeze v. 生きる live Ancient Metafalss
Maoh n. マオ Rhaplanca's partner in the myths of Metafalss. Ancient Metafalss
marta n./adj. 母 mother, motherly Ancient Metafalss
maun n. 瞼 eyelid Cult Ciel
maxim adj./adv. 最も most, extremely Central
maya n. 魔法、超自然 magic, supernatural Cult Ciel
mea n. 私 me (object) Central
mean n. わたしたち us (object) Central
melenas v. 愛してる、大好きです

(人生においてかけがえのない人にしか使わない。)
love, very fond of

(Note: Used to talk about the most irreplaceable person to the speaker)
Cult Ciel
melifan n. 歴史 history Ancient Metafalss
melvaz n. 花嫁 bride
memora n. 記憶 memory Central
meo n. 理想 ideal, dream Central
merra n. わたしたち（主語定義） us (subject) Central
merfa adj./n. 無垢な, 無垢な願い pure, pure wishes Pastalia
meryu n. 記憶

(Aをつけると「夢（見る方）」に意訳する。)
memory

(Note: if it's preceeded by an "A" emotion vowel, then its meaning is changed to "dream")
Pastalia
meso v. 散らかす scatter, leave untidy Central
messe v. 伝える report, transmit, convey Central
mirie n. 温かさ warmth Pastalia
morto n./v. 死　死ぬ death, die Central
murfan v. 想う feel, think Ancient Metafalss
murfanare n. 想い feeling, thought Ancient Metafalss
mutrk n. 温かさ warmth Pastalia
Nn E.s. I 無気力状態 lethargy Central
n.d.n. E.v. 伏せる lay, put down, hide Pastalia
n.m.l. E.v. 染まる dye, color Pastalia
n.t.n. E.v. 続く continue, go on Pastalia
na adv. 否定、～ではない no, not, negation Central
naave conj. だから～ because ~ Pastalia
nafa adj. 優しい easy, gentle Pastalia
nafan adj. 優しく kind, tender Pastalia
naflansee n. 幸せ happiness, good fortune Pastalia
naja v. 後退する、さがる、逃げ去る、立ち去る escape, retreat, disappear, leave Cult Ciel
near n. 命、生命 life Central
nedle v. 必要とする need Alpha (Eolia)
neee v. 呼ぶ call out Central
neia v. 近づく、近寄る approach, draw near Central
nene adj. 分からない not understand Cult Ciel
nepo v. 潤う moisten Central
netvear v. 諦める、挫ける、挫折する give up, abandon, be discouraged Central
nezz n. 鼻 nose Central
nha v. 入れる、召喚する

(物理的ではない、魔法的な場合に使用する。)
let in, summon

(Note: It isn't used to refer to a physical phenomenon, rather, it's for situations were magic is being used)
Cult Ciel
nhaf adj. 茫然と surprised, dazed
nille v. 似ている、類似、似る resemble, resemblance, be alike Central
nnoini adv. 初めて、初めての

(イニ（初期化）とノイ（１）に由来する)
first

(Note: Combination of "Nnoi" (1) and "Ini" (Initialize))
Central
noce n. 自然 natural, spontaneous Cult Ciel
noes n. 自分自身 oneself Central
noglle adj./n. 黒、黒い black Central
nor pre. か or, either
nooge v. 寝る sleep Cult Ciel
nosaash n. 女神 goddess Cult Ciel
nozess v. 無にする、なくす lose, get rid of, waste Central
nuih n. 夜 night Central
num E.s. II 無 nothing Central
nx n. 次 next Central
nyanyas adj. かわいい cute, lovely, darling
nyasri adj. 悲しい、しょんぼり sad, downhearted Cult Ciel
nyasri E.s. II 悲しい sad Ancient Metafalss
olo n. 夜 night Pastalia
omness n. 生命 life, existence
omnis adj. 全てを everything (direct object) Ancient Metafalss
oriye n. 耳 ear Central
orviclle n. 問題、障害

(na orviclle:無問題=大丈夫)
problem, question, obstacle

(Note: na orviclle can mean "no problem" or "it's okay").
Central
oter pre. ~から out from ~ (note: only used in Hymmnos Spells)
oucc adv. 一緒に together Pastalia
oure pre. 何よりも more than anything Central
ousye v. 襲い掛かる、降りかかる launch an attack, fall onto Alpha (Eolia)
ouvyu n. 廃墟 ruins Pastalia
ouwua adj. たくさんの a lot, many, much Pastalia
oz pre. ～の（所有の助詞）

(英語のofと同義（文脈によっては必ずしも必要ではない）
of (possessive article)

(Note: Equivalent to the English "of", though depending on context, it isn't always necessary)
Central
Paja n. ヒュムノス・パージャ Purger (a hymn) Central
Phantasmagoria n. ヒュムノス・ファンタスマゴリア Phantasmagoria (a hymn) Alpha (Eolia)
p.s.w.t. E.v. 掴む・獲得する seize, adquire Pastalia
pagle v. 話す　喋る talk, speak with Central
pak v. （未来が）開く open (the future) Central
paks E.s. II ドキドキ excitement, nervouseness Central
pakz v. 分ける divide, separate Cult Ciel
papana n. 雨 rain Cult Ciel
papas n. 信じること belief
parce n. 証拠、証 evidence, proof Central
parge v. 切り離す (魔法的な場合)

(物理的ではない、魔法的な場合に使用する。)
to cut loose (in the case of magic)

(Note: It isn't used to refer to a physical phenomenon, rather, it's for situations were magic is being used)
Cult Ciel
parith adj./n. 正直、素直 honest, sincere Cult Ciel
pat v. 解放する release, set free Cult Ciel
paul v. 感じる feel, sense Cult Ciel
pauwee n. 力の子 child of power Ancient Metafalss
pauwel n. 力 power Ancient Metafalss
pecee v. (卵が)孵る、孵化する hatch (egg), incubate Central
phira n. 種 seed, kind Ancient Metafalss
phyue n. おめでとう congratulations Central
pic v. 気づく、はっとする realize, take aback Central
pikca n. 果物、実 fruit, nut Pastalia
pilt v. 気づく realize Cult Ciel
pipel adj./n. 筒　筒状の pipe, cylindrical Central
pipit adj. 僅かな only, merely, a little Pastalia
pirtue n. 精霊 spirit, ghost Ancient Metafalss
pitod adv. 側に、共に、一緒に beside, together Cult Ciel
plina n. 緑（植物）

(植物を指して言う場合の『緑』)
greenery (plants)

(Note: Used only for talking about green plants)
Central
poe n. 種 seed, kind Pastalia
polon n. 孤独 loneliness, solitude Cult Ciel
pomb v. 生む、産み出す give birth, create Central
pono n. 卵 egg Central
pop n. 泡 bubble Pastalia
porter v. 着る　身に着ける　身に纏う wear (clothes) Central
prasrity n./v. 繁栄、栄える prosperity, prosper Central
presia adv. ～します様に、～どうか…して下さい may it be so, would you please do ~, please ~ Ancient Metafalss
prooth n. 血 blood
pruna adj. 可笑しい funny
ptrapica n. 宝 treasure Cult Ciel
ptrapile n. 秋 autumn Cult Ciel
pupe n. 涙 tear, teardrop Pastalia
q.g.s. E.v. 終る end, finish Pastalia
q.l.s. E.v. 激しく揺らす shake tremendously Pastalia
qejyu n. 人々、人間

(Eをつけると意訳で「恋人、妻、旦那」 YEをつけると意訳で「家族、身内」 LYEをつけると「人類皆兄弟」的な意味になる。)
people, humanity

(Notes: Preceeded by an "E" emotion vowel, the meaning changes to "lover" and "wife/husband". Preceeded by an "YE" emotion vowel, the meaning changes to "family, relatives, friends". Preceeded by an "LYE" emotion vowel, the meaning changes to "the grand family of humankind".)
Pastalia
qoga n. 終わり、終焉 end, ending
qraffa n. 葉 leaf Pastalia
quel E.s. II 切に想う　必死 earnestness, desperation Central
quen v. 生み出される give birth, create Central
quesa n. 大地を揺らすもの、(転じて)雷鳴、稲妻 thing that shakes the earth, thunder, lightning Central
quivale n. 冬 winter Cult Ciel
quive n/v. 沈黙　黙る　静寂 silence, quietness Cult Ciel
quowjaz n. 正義 justice, righteousness Cult Ciel
Re=Nation n. ヒュムノス・リネイション Re-Nation (a hymn) Central
Replekia n. ヒュムノス・レプレキア Replakia (a hymn)
Rig=Veda n. ヒュムノス・リグヴェーダ Rigveda (a hymn) Ancient Metafalss
Rrha E.s. I トランス状態

(自分の気が正気か否かもわからないくらいトランス状態の時に使う。もっとも、これを使うときは、これ以外の想音を使おうと思えるほど冷静ではないので、自然とこれが口から出てくる。)
trance state

(Note: Used only for a trance state in which the emotions of the singer aren't really expressed. Naturally, when this emotion sound is used, it doesn't show the same calm and composure of the other emotion sounds, and it flows by itself from the mouth of the singer)
Central
r.f.m E.v. 見る see, watch Pastalia
r.f.r.m E.v. 認識する、知る know, recognize Pastalia
r.l.t.y. E.v. 甦る revive, resurrect, rebirth Pastalia
r.w. E.v. 助ける、救う help, rescue Pastalia
ra E.s. III このままでいたい I want this to last Central
race n./v. 首飾り（巻きつける） (wreathe a) necklace, to wreath Central
raklya v. 涙する cry, weep Cult Ciel
rana v. 駆ける run, dash Central
rannef n. 謝礼 reward Central
rasse v. エールを送る to yell Central
raudl n. 姿、形、フォーム form, shape Pastalia
rawah n. 花 flower Pastalia
re pre ～される（受身の助詞） (passive verb prefix) Central
reen v. 聴く hear, listen Central
repoear n. 感謝 thanks, gratitude Central
reta pre. どうか～ Please... Pastalia
rete n./v. 忘れる、失念する、忘却 forget, forgetfulness, oblivion Cult Ciel
revatail n. レーヴァテイル Reyvateil (an artificial life form) Ancient Metafalss
reveris n. 夢魔　悪夢　迷夢 dream demon, nightmare, delusion Central
revm n. 夢 dream Central
Rhaplanca n. ラプランカ a goddess from Meta Falss' mythology, and Maoh's partner Ancient Metafalss
ridalnae adj. かけがえのない irreplaceable Ancient Metafalss
rifaien v. 甦る resurrect, revive Ancient Metafalss
rinc v. 同期する synchronize, feel the same
riomo v. (物、状態、状況を)与える　齎す to give a, to present a (thing, condition, state) Cluster
rippllys n./v. 返事をする、応答する、返事、応え reply, answer Central
rivire n. 川 river Central
riya n. 誠実 sincerity
rol conj. ～のように as if, like Central
rosa n. 薔薇、バラの花 rose, rose petal Central
rre pre （主語定義） (subject marker) Central
rudje adj./n. 赤　赤い　紅 red, scarlet, crimson Central
ruinie v. 破壊する destroy Central
ruinien n. 破壊 destruction
rum n. 炎 flame
ryewa adj. 生い茂った overgrown Pastalia
ryusse n. 旅行、旅 journey, trip Cult Ciel
Sol=Fage n. ヒュムノス・ソルフェージ Solfege (a hymn)
Sphilia n. ヒュムノス・スフィリャ Sphilia (a hymn)
Sublimation n. ヒュムノス・サブリメーション Sublimation (a hymn), sublimation (as in disappear)
Suspend n. ヒュムノス・サスペンド Suspend (a hymn) Central
s.l. E.v. 信じる believe, trust Pastalia
s.l.y. E.v. 与える give, award, convey Pastalia
s.n.k.k. E.v. 芽吹く bud (plant) Pastalia
s.s.w. E.v. 言う、告げる、語る say, speak, inform Pastalia
sa n. 業　カルマ karma Central
saash n. 神 God, gods Central
sabl n. 砂 sand Central
sacra n. 血 blood
sallogna v. 寝転ぶ　横たわる　横になる　横にする lie down, stretch, rest Central
sanctum n. 箱舟 ark Central
sar n. 空

(語呂の問題で、同じ単語が何度も頻出してしまうため、ファンタスマゴリアのためにシュレリアが紡いだワード。)
sky

(Note: Word crafted by Shurelia for Phantasmagoria, because of the problem that represented the use of "ciel" given its two meanings).
Alpha (Eolia)
sara n. 草 grass Central
sarla n. 詩 song Ancient Metafalss
sarr n. 陽光、輝き sunlight, radiance Pastalia
sarrifis v. （生贄を）捧げる offer (a sacrifice) Central
sarsa n. 雨 rain Pastalia
sash v. 散らす scatter
sasye n. 少女 girl, young woman Central
savath v. ほとばしる surge, gush out
sechel n. 都市 city Pastalia
sefanl n. 森 forest Pastalia
selena v. 奏でる play (a instrument) Ancient Metafalss
sephaje n. 創世 creation of the world
sev conj. ～の時に at the time of ~, when ~ Pastalia
shazra n. 荊の蔓、茨、棘

(棘を持つ植物)
thorny vine, thorn, thorny shrub

(Note: Used only for plants that have thorns)
Central
sheak n. 太陽 sun Cult Ciel
sheaken n. 左 left
shefra n. 創世 creation of the world
shell n. 殻（の中） (inside a) shell
shellan n. 鳥かご、籠、檻、ケージ birdcage, cage, basket, pen Ancient Metafalss
shen n. 光 light Central
sial adj. 少しの、ちょっとの a bit, a little Central
siance n. 聖域、尊い場所、理想郷 holy land, sanctuary, utopia Pastalia
siann n. 光

(LYAをつけると意訳で「焔の御子」)
light

(Note: if it's preceeded by a "LYA" emotion vowel, its meaning changes to "Maiden of Homura")
Pastalia
sielp n. せせらぎ brook, murmur Central
sik v. 離れる leave, move away from Cult Ciel
siss v. 消す erase, put out, eliminate
skit v. 約束する promise
slep v. 眠る sleep Central
slepir v. 眠らせる、(活動を)停止させる put to sleep, stop (an activity) Ancient Metafalss
so conj. そんなに、それほど in such a way, so much
soare n. 詩, 祈り song, prayer
sol v. （日の光が）輝く、燦々と照りつける

(ただし、sol cielという熟語でこの世界「ソル・シエール」を指す。ただし標準律では世界を指すときに「ar ciel」といい、「sol ciel」とは言わない。この世界をsol cielと言うのはあくまで古メタファルス律のみ。)
(daylight) shines, shine down brilliantly

(Note: However, the phrase "Sol Ciel" refers to the region of the first Ar tonelico tower, and was to be used as the name of the world. It's because there was already a phrase in Central Standard Note for this world, "Ar Ciel", that "Sol Ciel" ended becoming only the name of the region of the first tower. That region owes its name to the Ancient Metafalss Note.)
Ancient Metafalss
sonwe v. 歌う sing Ancient Metafalss
sor pro. それ that Central
sorr it conj. それ it's that way
sorra it conj. それ?牢獄? in those ways,
sos conj. ～ために for, because of, for the sake of Central
sosar n. 魔術、魔力

(mayaという魔法を現すヒュムノス語もありますが、そちらよりも、より呪文に特化したイメージです。(mayaは神秘的なニュアンスを含んだ言葉。maya=ミラクル。sosar=ソーサリー…みたいな位置づけ。)
magic, magical power

(Note: Even if the magic that manifests through Hymmnos is called "maya", actually the spells have a much more specialized image. "maya" has a nuance of miracles made by the power of the gods, while sosar... its more similar to standard sorcery).
Central
sphaela n. 世界 world Pastalia
sphilar n. 精神、心 mind, spirit Ancient Metafalss
spiritum adj./n. 魂　魂の soul, of the soul Central
spitze n. 自由 freedom Central
ssvid v. 生き凌ぐ outlive
stel v. 取る、奪う、盗む

(強引に取る場合。負の行動としての取る。)
take, steal, snatch away

(Note: Used when one takes something from other person by force. Used usually by the one that lost the stolen thing)
Central
stelled v. 取り合う、奪い合う

(強引に取り合う場合。負の行動としての取る。)
compete, struggle for

(Note: Used for fierce battles or competitions. Used usually by the loser.)
Central
suwant v. 救う、助ける save, rescue, help Central
swant v. 助ける、救う help, save, rescue Central
syalea n. 決意 decision, resolve
syast v. 集う、集結する congregate, gather Central
syec n. 深淵、深いところ

(物理的ではない、主に「心」やメンタル、精神世界の表現語として使う。)
abyss, depths

(Note: Not used to refer to a physical abyss, but rather to a mental one. This word is usually used to represent the Soulspace).
Cult Ciel
synk v. 重なる overlap, pile up Central
t.h.s. E.v. 外に出る go outside Pastalia
t.k.d. v. 届く reach Pastalia
t.n. v. 止める、やめる stop, end Pastalia
t.n.m.n. v. (種を)まく、植える scatter (seeds), (to) plant Pastalia
t.r.m. v. 展開する、咲かせる、実現する develop, make bloom, realize Pastalia
tafane adj. 輝く glittering, sparkling Pastalia
talam adj. 東雲色 dawn's color Pastalia
tanta v. 舞う dance Central
tapa n. 水 water Pastalia
tarfe v. 止まる、留まる stop, halt Central
targue conj. たとえ～だとしても even if ~ is the case Pastalia
tasyue v. 捧げる offer, sacrifice Ancient Metafalss
tek v. 行く Go Central
tes conj. ～に、～へ at ~, to ~ Central
teyys v. 留まる、残る、居る、居座る

(英語のstayと同義)
halt, remain, exist, stay

(Note: Equivalent to the English "stay")
Central
ther conj. あれ、あの that Cental
tictim v. 操る、操作する、意のままにする control, operate, do as one pleases Cental
tie v. 捕まえる・拘束する catch, restrain Cult Ciel
tie conj. ～に対して（対象を特定・指定する） in regards to... (specifying a subject) Pastalia
tim n. 時 time
titia n. 善意、善性 good will, innate goodness of man Pastalia
titil n. 小物 small things, accesories Cult Ciel
titilia adj. 小さい small, little, tiny Cult Ciel
tonelico n. 神木 divine tree, (possible alternate meaning: tower)
tou conj. ～に at ~, in ~, to ~ Central
touwaka E.s. II 心に希望を秘める　望む（第Ⅱ想音） wishful, hiding wishes in my heart Central
ttu conj. ～するために in order to do ~ Pastalia
ture n. 絆 bonds
tussu n. 変化 change Pastalia
tyui adj. 小さな Small, little, tiny Pastalia
tyuss adj. 優しい tender, kind Pastalia
ugi v. 決める decide Cult Ciel
uje adj. 残酷 cruel, evil
ujes n. 悪意 ill will Pastalia
unloee v. 平伏す prostrate before Central
urgn n. 嘆き grief, lamentation Pastalia
urr v. (見えなかったものが)顕れる、体現(する)、具現化(する) (something unseen) appears, manifests, incarnates Central
ut conj. ～に、～へ

(to)
at ~, to ~

(Note: Equivalent to the English "to")
Pastalia
uteu v. まどろむ doze off Cult Ciel
VIENA n. ヒュムノスヴィーナ Viena (a hymn)
v.a v. 生む、紡ぐ produce, craft Pastalia
v.s.k v. 体感する、実感する。経験する sense physically, feel, experience Pastalia
v.t v. 生きる live Pastalia
valwa v. 浄化する purify Central
vamue (unknown meaning)
van conj. ～であっても、しようとも even if ~, even should ~ happen Ancient Metafalss
varda n. 大樹 big tree Ancient Metafalss
vega n. ここ、この here, this Pastalia
vege n. そこ、その there, that Pastalia
vianchiel n./adj. 無垢の、穢れなき、清らかな、美しい pure, undefiled, clean, beautiful Ancient Metafalss
viega n. 刃、剣 blade, sword Ancient Metafalss
vinan n./adj. 白,　白い white Central
vine n. 酒・果実酒・葡萄酒

(酒精の代名詞)
alcohol, liquor, wine

(Note: general pronoun for alcoholic beverages)
Central
viss v. 読む、読み取る read, read between the lines Central
vit v. 見る see, watch Cult Ciel
viuy adj. 暗く翳した darkened
vl conj. ～から, ～に since, from, in
vonn n./adj. 闇 dark, darkness Central
Was E.S.I とても強烈に（第Ⅰ想音） very intensely Central
Wee E.S.I かなり（第Ⅰ想音） fairly Central
w.f. v. ～したい want to do ~ Pastalia
w.h.h. v. 感じる feel, sense Pastalia
w.n.s. v. 訪れる, 響く visit, echo Pastalia
w.r.l v. 目指す aim at, have an eye on Pastalia
w.r.m. v. 照らす shine on, illuminate Pastalia
w.s. v. 与える give Pastalia
w.s.s v. 讃える praise Pastalia
w.w.j.n.c. v. 共鳴する resound, sympathize Pastalia
wa E.S.III どちらでもない　今、有るがままの状況を受け入れる（第Ⅲ想音） it doesn't matter - I will accept things the way they are now Central
waa E.S.II 嬉しい(第Ⅱ想音) happy Ancient Metafalss
waath v. 再生する revive, rebirth Central
waats adj. 大切な important Central
wael n./v. 喜び joy, delight Central
walaen n. 人生 (human) life Cult Ciel
walaka v. 歩く walk Central
walasye n. 人間 human, people Cult Ciel
walphish n. 人魚

(第一紀に海に住んでいた神)
mermaid, merman

(Note: A god/dess that used to live in the oceans during the First Era)
Cult Ciel
warce v./n. 祝福(する)、祝い bless(ing), celebration Central
ware conj. ～の時に、～の中で during ~, in the middle of ~ Central
warma adj. 温かい warm Central
wart n. 言葉 word Central
wasara adj./n. 豊か abundant, abundance Central
wase adj./n. 強烈な strong, intense Cult Ciel
wassa n. 祭典 festival, feast Cult Ciel
wassee v. 讃える praise
watt v. びっくりする surprise, scare Cult Ciel
waze conj. 多 too much
we conj. ～よりも even more than ~ Central
weak n. 月 moon Central
weaken n. 右 right
weal adj./E. s. II 喜び happy, glad
wearequewie v. 望む、願う、希望する wish, desire, pray, request for, hope for Ancient Metafalss
weel v. 叶って！ Come true!, Be realized! Central
ween conj. ～の中に、中で（状態を表す助詞）

(英語のinと同義（文脈によっては必ずしも必要ではない）)
inside of ~, in ~ (particle to indicate current condition)

(Note: Equivalent to the English "in", though it's not always necessary, depending on the context)
Central
wefa adj. 暖かな warm, mild Pastalia
werllra n. 涙、雫 tear, drop Ancient Metafalss
werlwe v. 泣く、涙する cry, shed tears Ancient Metafalss
whai conj. なぜ～　なのだろう why Central
whalt conj. 何 what
wharn n. 腕 arm Central
whou conj. ～する者 who, person who ~ Central
wi conj. その、そこの that, the one there Central
wiaa (unknown meaning)
wiene n. 音色 melody, tone, timbre
willie adj. 弱い、儚い weak, transient Central
wim n. 娘 girl, daughter Central
windiling n. 風の精 spirit of the wind
wis v. ～である be, is Ancient Metafalss
wol E.S.II 猛進、熱血（第Ⅱ想音） fervor, rush Central
won conj. ～の上（表面）に（状態を表す助詞）

(英語のonと同義)
above (on the surface) of ~ (particle to indicate current condition)

(Note: Equivalent to the English "on")
Central
x. E.v. (主語動詞) (subject marker) Pastalia
x.y.n. E.v. 傷つく hurt, injure Pastalia
xava n. 傷 wound
xe conj./v. 給え

(より塔に尊敬の感情を明確に伝えたい場合に使用する。例：xe khal(護り給え) あまり常用される単語ではない。)
please (used before a verb), bestow, grant, receive

(Note: Used when someone wants to state a feeling of great respect for the tower. Example: xe khal (please, protect me) It's not a daily used word)
Cluster
xel conj. ～から（時間） since ~ (time)
xest v. 変換する change, transform Cult Ciel
xevxl n. 絶望 despair
xl conj. ～の時から ever since ~ Central
xorg adj. 傲慢な proud
y.m.q. v. 実る bear fruit, ripen Pastalia
y.y. v. 癒す heal, cure Pastalia
y.z.t. v. 願う wish, desire, request Pastalia
yaha v. 笑う laugh, smile Central
yanje adv. ずっと、永遠に forever, eternally Central
yant E.s.II 恐慌状態（第Ⅱ想音） frightened, scared Ancient Metafalss
yanwe v. 大事にする treat with care Central
yanyaue adj. 大切な important, valuable Ancient Metafalss
yart v. 出逢う meet (by chance), come across Central
yaserwe v. リラックスする、安らぐ relax, feel at ease Central
yasra adj. 優しい、穏やか gentle, kind, calm, quiet Ancient Metafalss
yassa v. クリアする、達成する clear, achieve Central
yatse v. （肯定的な感情を）与える give (positive emotions) Central
yea E.s.II 嬉しい（第Ⅱ想音） happy Central
yeal n. 線、紐 line, beam, wire, string Cult Ciel
yeeel adj. 遠い far, distant Cult Ciel
yehah n. 幸せ happiness, good fortune Central
yehar v. 解放する、解き放つ deallocate, unleash, release Ancient Metafalss
yerwe v. 鳴く chirp, bark, purr Ancient Metafalss
yetere adv. そうすれば～ if so, in that case Central
yor n. あなた you (object) Central
yora n. あなたたち you (plural object) Central
yorr n. あなた（主語定義） you (subject) Central
yorra n. あなたたち（主語定義） you (plural subject) Central
yos adv. 貴方が、貴方の your, yours Central
yosyua v. ～を慰める comfort, console, amuse Central
yuez adv. 互いに mutually, reciprocally Central
yura n. 力のバランス balance of power
z.z.x. v. 絶望する (to) despair Pastalia
zadius n. 憎悪 hatred Ancient Metafalss
zaffur v. 対抗、あがき struggle, oppose
zahha v. 進む、進行

(騎士隊のように、大勢で行軍するときに用いる。勇敢な様。)
advance, improve

(Note: Used for the marching of a great number of people, such as knight company. Has heroic connotations).
Cult Ciel
zalez n. 滝 waterfall Pastalia
zarle v. (雨が)降る、降り注ぐ fall (rain), downpour Central
zarnn n. 嵐 storm, tempest
zash adj./n. 痛い、苦痛 painful, pain, agony Central
zassyen v. 泳ぐ swim Central
zauve n./adj. 怜悧な clever, sagacious Cult Ciel
zeeth n. 鎖 chain, chains Central
zenva v. 飛び越える、超越する jump over, clear, transcend Central
zess adv. ～ように like ~ Pastalia
zethpa v. 斬りつける cut, slash Central
zetsfy n. 残酷 cruelty, harshness
zodal n./v. 死せる、死の death, die, of death Ancient Metafalss
zodaw n. 死 death Ancient Metafalss
zuieg n./adj. 権力、権限 (political) power, authority, influence Alpha: EOLIA
zweie E.s.II 決意を心に秘める　真摯（第Ⅱ想音） hiding determination in the heart, sincerity, earnestness Central
zwihander n./v. 勝利(する)、勝ち success, win, triumph, victory Central
zz adv. 否定 negation, denial, un- Pastalia
[edit] Bonus: Hymmnos Spells

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


edit Ar tonelico Download Spell

This is the spell used for downloading Hymn Crystals in the Reyvateils. It comes in two versions:


[edit] Version 1 (used in Ar tonelico 1)

Fou paks ra exec hymmnos (hymn name)

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos (hymn name)

enter (Reyvateil's hymn code)


Translation:


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

I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song (hymn name)

into (Reyvateil)
[edit] Example

Fou paks ra exec hymmnos PAJA

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos PAJA

enter MISYA_FEHU_EOLIA_ARTONELICO


Translation:


Fairly nervous, I shall execute the song Purger

I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song Purger

into Misha Artsellec Lune.
[edit] Version 2 (used in Ar tonelico 2)

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos (hymn name)

enter (Reyvateil's hymn code)


Translation:


I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song (hymn name)

into (Reyvateil)
[edit] Example

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec drone hymmnos METAFALICA

enter FRELIA_ANSUL_SOLMARTA


Translation:


I will be happy to turn you into a song,

and into the wings you carry.

Execute the download of the song Metafalica

into Frelia.
edit Ar tonelico Extraction Spell

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

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec na drone (binaries)

oter (Reyvateil's hymn code)


Translation:


I will be happy to turn you into a song,

and into the wings you carry.

Execute the extraction of this target

out from (Reyvateil)
[edit] Example

Was yea ra chs hymmnos yor,

en chsee fwal fwal yor.

Exec na drone 0x11000101101

oter FRELIA_ANSUL_SOLMARTA


Translation:


I will be happy to turn you into a song,

and into the wings you carry.

Execute the extraction of this target

out from Frelia.
edit Infel Phira Download Spell

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


cEzYA hymmnos

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

es tn=>sol.infel-phira.mea


Translation:


I will be happy to turn you into a song.

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

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


[edit] Example

cEzYA hymmnos

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

es tn=>sol.infel-phira.mea


Translation:


I will be happy to turn you into a song.

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

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


[edit] Explanation

cEzYA hymmnos = Pastalia dialect direct equivalent to the "Was yea ra chs hymmnos yor" line from the Ar tonelico download spell.

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

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

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

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

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

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