Some More High Valyrian Inflection

Another season of Game of Thrones is in the books, which means that this blog will go back to discussing grammar—this time with Valyrian added to the usual Dothraki posts (though I will mention that the Dothraki posts have not disappeared. There’s more there yet!).

This week I wanted to talk a little bit more about verbs. I spent a lot of time on the verb conjugation paradigm, and am reasonably pleased with how it came out. We’ve already gotten a look at the present indicative tense, so let’s jump to the past. There are two main tenses that occur primarily in the past: the perfect and the imperfect. Each tense has a stem modification in addition to personal endings, but the stem modification for the imperfect is predictable. The perfect displays patterns of predictability, but is not 100% predictable based on the shape of the root.

To start with, let’s look at the imperfect. The imperfect tense is used primarily to set up action in the past. It focuses on a specific action in the past that is viewed internally (i.e. is viewed as not yet having been completed). In a sentence like “He was talking to some lady when her dragon lit him on fire”, the verb “was talking” would be in the imperfect in High Valyrian. The imperfect tense is associated with the -il suffix (by the way, pay careful attention to my use of the word “suffix” there. I’ve seen “infix” thrown around, but such an analysis is inaccurate) plus the e set of personal endings. Here’s what the imperfect looks like with a consonant-final stem. Below I’ll use the verb pāsagon, which means “to trust” or “to believe”.

Person/Type Imperfect Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person pāsilen pāsilin pāsilon pāsiloty
Second Person pāsilē pāsilēt pāsilō pāsilōt
Third Person pāsiles pāsilis pāsilos pāsilosy
Imperative  
Infinitive
Participle

The imperfect has no associated participle, and no stand-alone infinitive or imperative.

When a verb stem with a final vowel is put into the imperfect, the vowel of the suffix -il coalesces with the vowel of the stem to produce a long vowel. As our example, I’ll use the verb bardugon, which means “to write” (coined in honor of Leigh Bardugo, author of Siege and Storm, which just came out [plug!]. You may remember her from such Dothraki words as lei).

Person/Type Imperfect Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person bardīlen bardīlin bardīlon bardīloty
Second Person bardīlē bardīlēt bardīlō bardīlōt
Third Person bardīles bardīlis bardīlos bardīlosy
Imperative  
Infinitive
Participle

As you can see, the tense isn’t that difficult to get a handle on. The only wrinkle is figuring out whether a stem is consonant- or vowel-final, and then what the result is if the stem is vowel-final. Here’s a summary (using the first person singular active indicative as an example):

  • pās-agon “to trust” → pāsilen
  • bardu-gon “to write” → bardīlen
  • keli-gon “to stop” → kelīlen
  • mije-gon “to lack” → mijīlen
  • nekto-gon “to cut” → nektēlen
  • penda-gon “to wonder” → pendēlen

The above should be fairly intuitive. Moving on to the next tense, the perfect probably enjoys much greater use than the imperfect. The perfect tense focuses on an act that has been completed. By definition this action will have occurred in the past, but it can often be used with present relevance (what is often called an anterior). In English you can actually use the simple past in just this way. For example, if someone offers you food but you’re full, you can say, “I’ve eaten”. This is the English perfect, and it’s fairly standard. You could also say, “I ate”—even better if you add “already”. Think of the High Valyrian perfect as both of those uses rolled into one, but without needing the word “already”. Using our example above, the verb “lit” would be in the perfect in High Valyrian.

In the perfect, it’s not enough to simply know whether the stem ends with a consonant or vowel to figure out what the perfect will look like. Most of the time it has a -t or -et suffix, but this isn’t always (or exclusively) the case. Here’s what our two example verbs look like in the perfect. First, pāsagon.

Person/Type Perfect Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person pāstan pāsti pāston pāstoty
Second Person pāstā pāstāt pāstō pāstōt
Third Person pāstas pāstis pāstos pāstosy
Imperative    
Infinitive pāstagon
Participle  

What a tasty verb… And now bardugon.

Person/Type Perfect Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person bardutan barduti barduton bardutoty
Second Person bardutā bardutāt bardutō bardutōt
Third Person bardutas bardutis bardutos bardutosy
Imperative    
Infinitive bardutagon
Participle  

Again, the endings are fairly simple (the same as the present tense endings), it’s just figuring out the stem. Here are some examples of perfect stems (again using the first person singular) and their associated infinitives:

  • gaom-agon “to do” → gōntan
  • henuj-agon “to exit” → hembistan
  • māzi-gon “to come” → mastan
  • pikīb-agon “to read” → pikīptan
  • pygh-agon “to jump” → pȳdan
  • qanem-agon “to sharpen” → qanēdan
  • rāpūlj-agon “to soften” → rāpūltan
  • rij-agon “to praise” → riddan
  • rȳb-agon “to hear” → ryptan
  • sik-agon “to bear” → sittan
  • tat-agon “to finish” → tetan
  • urne-gon “to see” → ūndan
  • verd-agon “to arrange” → vēttan

A lot of the major patterns are contained in that list along with a couple of the more bizarre ones.

At this point, I think it’s more than possible to put a few sentences together. I’ll see what else I have time to put out in the coming months. Until next time, geros ilas!

Mhysa

And now its watch is at an end (it being season 3)! Good show, D&D! I know there haven’t been many seasons, but this was by far the best. That said, it’s understandable if as a viewer you felt this finale was a little anticlimactic after last week’s showstopper. There’s absolutely no event that could top the horror of the Red Wedding (well, except for the event that many thought would happen last night that didn’t. If you don’t know what I’m talking about, you’ll have to wait till next season [or read A Storm of Swords]). Instead of trying to do that, they tried to tie up as many story lines as possible and set the table for next season, and I thought they did a good job. But there was also some fantastic stuff in this episode that it’s easy to forget about upon reflection.

Certainly at the top of my list was the Small Council scene. Tywin Lannister is, as you know, my favorite Song of Ice and Fire character, and you can’t ask for more than Joffrey being Joffrey and Tywin being Tywin at the same time. There’s rarely more electricity in the room than when someone publicly threatens Tywin Lannister. What genius! At the various premiere events I’ve been to, I have yet to run into either Charles Dance or Jack Gleeson, but I’d love to shake both of their hands. The quality they bring to their work and the life they’ve imbued in their characters is, for me, one of the highlights of the show. Game of Thrones is filled with twists, action and some great special effects, yes, but for me some of the most fun I have watching the show is witnessing the verbal repartée between characters with massive egos—one of the same reasons I enjoy watching Downton Abbey so much, in fact.

Since we’re in King’s Landing, I also wanted to tip my cap to Lena Headey. Cersei is an extremely unsympathetic character if you read the books. Some of the things she does have been left out of the show, but they’ve added some new scenes which really help to round Cersei out—and one of them came in “Mhysa”. I thought it was a lovely scene with her and Tyrion, and it adds a little something extra to this whole Joffrey question (i.e. how does the worst person ever come to be the worst person ever? What went wrong?). Not even she is blind to how awful Joffrey is, and yet he is her son. Lena Headey does a good job conveying just how tough that is.

Also I actually like that the reunion of Cersei and Jaime is a bit overshadowed and understated. It’s not a triumphant return, but also theirs is not the best relationship. It’d feel a little weird to be cheering that reunion like it’s Ross and Rachel (and before anyone comments, yes, I recognize that a good chunk of America was not cheering for that reunion [I was among them], but I don’t know how many would be familiar with Florentino and Fermina). I think the scene laid the groundwork for what’s going to become of their relationship rather well.

Another book comment. I like that the scene with Davos was allowed to play out. In the book, as I recall, that’s one of those chapter enders that George R. R. Martin is fond of: Davos is being carried away to be executed, and to save himself he pulls out a slip of paper and begins to read. You don’t know what or why; you have to wait until it’s explained later. Bleh. I’m a busy man. I’ll take my answers now, thank you.

As I’ve been watching this season with friends, I can say with confidence that Ramsey Bolton is a crowd favorite. He introduced acquitted himself quite well this season, what with his little horn and his sausage from this episode. That’s classic mirth-making. Ditto to Arya and the Hound. I hope we get a few more good scenes out of that pairing next season.

Before getting to the scene in Yunkai, I’d also like to mention a point of discussion that came up in regard to the “Wolf King” bit. This is something from the books, but we all found it to be quite a bit more awful than we were imagining—and I think this reaction has been a common one on the net. I think one thing that’s surprising is both my friend and I had the exact same reaction, which is that we thought the wolf head thing would be a lot cleaner than it actually was—but, realistically, there’s no reason it should have been. It should have been shoddy work, and, indeed, the wolf head should have looked like it didn’t fit on their properly. Still, when we read and imagined the season, we somehow imagined precision tailoring: a perfect fit for the wolf head, neat stitching… It’s comical, if you think about it, how unrealistic that expectation was. My friend contends this is on account of the fact that unless something is described in vivid detail (in the books it’s just an anecdote related by Salladhor Saan), our imaginations probably aren’t going to try to shock or horrify us. After all, such a thing isn’t pleasant. Thus, we get the Nutcracker Mouse King version of Robb with a wolf head in our imagination.

The season ends in Yunkai with some darling little dragons. I’m quite certain that if my cat had wings, she’d be Drogon. At first Missandei addresses the crowd (one wonders how many could actually hear. What did they do in the old days without sound systems…?):

  • Bizy sa Daenerys Targarien, Jelmazmo, Dorzalty, Dāria Sikudo Dārȳti Vestero, Muña Zaldrizoti. Sa va zer sko enkat jiva derve.
  • “This is Daenerys Targaryen, the Stormborn, the Unburnt, the Queen of the Seven Kingdoms of Westeros, the Mother of Dragons. It is to her you owe your freedom.”

The astute reader will note that this isn’t actually pure Low Valyrian, but rather a mix. Dany’s name and titles are done in High Valyrian, and everything else is done in Low. This was intentional.

Next, Dany says a good portion of the following:

  • Dāervose jevosy yne enkot daor. Jemot ziry tepagon koston daor. Dāerves jevys tepagon yne sytilībos daor. Jemēle mērī sytilības. Lo ziry arlī jaelāt, jemēlo syt ziry mazemagon jemo bēvilza. Tolvies jemys.
  • “You do not owe me your freedom. I cannot give it to you. Your freedom is not mine to give. It belongs to you and you alone. If you want it back, you must take it for yourselves. Each and every one of you.”

If there’s a controversial bit in that translation, it’s the choice of verb and tense in lo ziry arlī jaelāt—i.e. “if it again you want”. There are a couple of ways I could’ve gone. One would be, for example, to use the verb emagon, “to have”, in the subjunctive. I felt that was too hypothetical. This translation I felt was more direct (i.e. using the indicative rather than the subjunctive and using the verb for “to want”), and I liked it better for the content. It was a choice, though, so feel free to skewer me in the comments.

After that, Dany commands her dragons to fly with sōvētēs (all three of them—hence, the plural command), and she asks her Unsullied to let her pass by saying Ynot rebagon. I know you’re probably looking at that and you’re all like, “Whaaaaa…?” so let me explain. Permissive commands (“let me pass”, “let him speak”, “let my dragon roast him like Roseanne Barr”, etc.) are done differently from other commands. The verb in the imperative is actually gaomagon, but it’s pretty much never used. Instead what you have is gaomagon in the imperative preceded by a verb in the infinitive (the main verb of the sentence) preceded by an agent in the dative. Thus instead of it being something like, “Pass to me”, it’s “Let me pass”.

Oh, and a note since folks have asked, the lyric in that final chant was based on the last speech Dany gives, but was altered for the choir. I don’t think you can necessarily recover any of the text at this point. I haven’t checked, though. I didn’t write it and wasn’t involved with it.

Now to close the discussion of this season: Talisa’s letter. Before getting into the issues, let me just give you the whole thing. Here it is in High Valyrian:

Muñus jorrāeliarzus,

Olvie hen embraro tolmiot nykēlot avy ivestragon issa. Nykēlo syt ūndon daor luo valzȳro ñoghossi ōressiks. Dārys issa vestris, se prūmio ñuho konir drējior issa. Ȳghāpī īlōn rāelza, kesrio syt lanta iksan, rūso zȳhosy gōvilirose zijo syt pyghas lue prūmie. Vīlībāzma ajomemēbza, yn aderī, mōrī, aōt māzīli se hēnkirī īlvi biarvī manaerili.

And here is the original English, written by Cat Taylor:

Dearest mother,

So much news I have to give you from over the seas. I find myself held by the arms of a husband I never expected to have. They say he is a king and of my heart that is true. He holds us safe, for now I am two, with his child beneath the heart that beats for him. The war rages on, but soon, when it is all over, we shall come to you and celebrate together.

Okay. The Valyrian’s all there, so those who are interested can work on it. For those who were interested in the letter specifically because of the theory that Talisa was a Lannister spy (if you’re unfamiliar with this theory, go here for a full breakdown), obviously you can now see that the letter reveals that, in fact, she was not—or, at the very least, that she was actually writing a letter to her mother. You might be able to say it was a code, but if you go back to the letter that Arya saw from a Lannister spy, that doesn’t make much sense, since Arya had no trouble (a) reading it (i.e. presumably it was in Common), and (b) judging its content. In reality, all the letter does is point up the fact that there really is no actual evidence for Talisa being a Lannister spy.

That said, the original video was very clever (even though it misses some obvious things. Everyone from Essos has an accent? What about Varys?), and I felt that revealing the contents of the letter right after episode 7 would have pretty much torpedoed the theory (though note that the author of the video says at the end that the theory was a joke. Others thought it quite plausible). Conspiracy theories are fun when they’re about television shows (Who shot Mr. Burns? Who killed Laura Palmer? Who is Number One?), so it’s no fun to have someone with inside knowledge rain on everyone’s parade.

Plus, if fans can have fun generating conspiracy theories, can’t I have fun teasing? I’m probably never going to get another chance!

But, yeah, the Lannister spy theory would’ve been a tremendous break from canon, I think. And even though they’ve broken from canon before (and will again), there are certain lines that they can’t cross, and that’d be one of them. Plus, I’d expect much better of Tywin. Plant a random girl in Robb’s army of thousands and expect that not only will he run into her, but he’ll fall in love with her? There’s way too many variables in that plan for someone as awesome as Tywin.

Anyway I guess that does it for season 3. The first season, Game of Thrones was just getting its feet, and the second was building an audience. This season, I thought, was superb, and I would not be surprised to see it garner some serious attention when the Golden Globes and Emmys roll around. I contributed to the first two seasons, but I’m really proud of the performances in this season. Wonderful, wonderful work.

And, to close the chapter on this season, I’ve got two words, and two words only.

JACOB

ANDERSON

Kastāmiro Daomior

Now, I’m not a superstitious man, but there was no word for “rain” in High Valyrian when I went to the dictionary to translate the title of tonight’s episode. After creating it (and the verb “to rain”) it brought the official word total of High Valyrian up to 666:

Click to enlarge.

Click to enlarge.

Admittedly, even knowing what was coming, that was pretty harsh—even harsher than hearing it from Roy Dotrice. So well played, D&D!

But leaving the bad, let’s get to the best part of the episode: the adonis Jacob Anderson fighting like a lajak. Dude is awesome. The only thing more I could’ve wanted from this episode is to see that scene continue. It was a little 1960s Batman, but I’ll take it. I was mightily entertained.

Unfortunately there’s no good news for the High Valyrian in this episode. What I sent was, apparently, altered, so I’m not sure, on first blush, what they’re saying. First, Jorah says a line in English that was to be Dany’s in High Valyrian. Then Dany says…something (I’ll get to it; need to rewatch that bit), and Grey Worm says:

  • Odaban sko ydras drejikydho.
  • “I think he is telling the truth.”

That’s translated as “I trust him”. Same intent, really, so no big deal. I did, however, recommend strongly that he say “this one” instead of “I”. What I should have done is simply translated it how I wanted to and sent it to them (noted for the future). Perhaps they’re suggesting he’s in the process of developing some agency (clearly true), but I never took the use of “this one” as anything more than a linguistic pattern—just something that happens on account of the idiolect spoken by the Unsullied—or perhaps even just a way of showing deference. Of course if it was the latter, perhaps this is a way of unassimilating himself. There’s a thesis in here somewhere, I swear!

Okay, back to Dany’s lines. Let me try and figure out what she’s saying, and then I’ll see if I can figure out where it comes from… Ahh! Okay, I’ve got it. First, here’s the line as I delivered it (it’s split into two parts, but it was written as one line):

  • Lo jention mirre nūmāzme ēza, iderenna qopsa verdagon issa.
  • “If leadership is about anything, it’s about making hard choices.”

If you go and listen, this line was split at the comma, and each half was translated as (respectively): “You are a leader now” and “Do you trust him?”

So, first, let me just comment on the writing here. I like the scene as it actually appears in the episode much better than what’s written. First, Jorah wouldn’t actually have that much of a footprint on this scene if he didn’t have the line that was originally in Valyrian (i.e. “You command the Unsullied. What do you think?”). It also changes the dynamic a bit. Jorah’s going to Grey Worm as an ally, more than anything else. Almost as if he’s a Vulcan, or something: Grey Worm can tell no lies. So if Grey Worm thinks the plan is a bad idea and Daario’s leading them into a trap, it must be true. I like that better than Dany asking him, so kudos there. Furthermore, I also like the idea of Jorah addressing him in English, and then Dany kind of coming back to him in Valyrian. It makes it look less like he’s suddenly learned to understand Common (even though the dialogue, as written in the show, would make it seem like he does. How else could he understand the plan well enough to comment? All Daario was doing was pointing at a map—and that only slightly).

Second, I also like the change to Dany’s lines. The lines as written are much more didactic—like Dany’s teaching him how to be an individual. As it’s written, it’s more like Dany is simply acknowledging his agency and giving Grey Worm the opportunity to step up and be a part of the conversation. The result is an exchange that’s less paternal (or maternal) and more empowering, in my opinion.

Of course, I could easily have translated the actual lines if they’d asked (seriously, what else do I do? Translating for Game of Thrones is cake! It’s a treat I give myself after a long day of doing hard work on Defiance). They didn’t. Perhaps they thought there wouldn’t be enough time or I was too busy. Whatever it was, though, there’s no match between the lines and the subtitles. Even so, the direction of the scene didn’t change, so it’s not at all an implausible course of events (i.e. if you just read the subtitles or just listen to the Valyrian, it shouldn’t be a surprise what happens).

For the sake of completion, here’s the other line from this episode:

  • Jentys Dovaogēdyro syt iksā. Skoros otāpā?
  • “You command the Unsullied. What do you think?”

I know there’s not a lot of Valyrian in this episode, but perhaps it’ll help to fill in some holes.

Also, to return to an earlier topic, I was waiting for this episode to air to say anything about Talisa’s letter. The point is, I think, now moot, but I believe the subject deserves its own post. So bear with me; it’s late and I have to be on my game tomorrow. I’ll put up Talisa’s letter soon (perhaps before the post accompanying the last episode of the season).

Some High Valyrian Inflection

As many will have noticed, there’s no new episode of Game of Thrones this week. There’s also no new episode of Defiance, for fans of the Syfy show. In fact, there’s not much on TV this weekend except for sports. The reasons is evident, though it seems that networks are only catching on this year. This Monday is Memorial Day in America.

Now ordinarily, one would think that since it’s a long weekend, people would be gearing up to go home and watch TV—and that’s often true. But as a holiday, Memorial Day is all but guaranteed to have the best weather of any American holiday throughout the year. The weather may be nice on certain holidays in certain parts of the country on any given year, true, but Memorial Day is just about guaranteed to have great weather in every part of the country every single year. As a result, families use this time to get together and go outside. And while sporting events work great for such weather (you can drop in and drop out, catch a play while getting something to drink, etc.), sitting down for a serious drama seems to be at odds with the gorgeous weather outside. Consequently, American networks decided to bow to the weather and take a week off.

Personally, I couldn’t be happier! This time of the year I often find myself out of town on the weekends (maybe not every weekend, but some weekends), which means that I have to miss a live airing of Game of Thrones, which is just not cool. This year I don’t have to worry! As with last year, I traveled up to the Bay Area for BayCon and also to visit with family (and with Shubert’s). And since there’s no Game of Thrones or Defiance, I can really enjoy the weekend!

While we take a breath as we prepare for the final two episodes of Game of Thrones, though, I thought I’d put up a couple of inflectional paradigms from High Valyrian. The hope is that these can be used as a general reference for the future. There’s been some excellent and fruitful discussion in the comments section of this blog, but as anyone who’s a regular commenter is well familiar with, it’s kind of hard to keep track of who said what when, and so I’m sure I’ve made some mistakes (misreading comments, saying comment x is incorrect when I really meant comment y, etc.). These paradigms I promise will be 100% correct (unless they need to be changed in the future [joking (kind of)]).

Starting with the verbs, those who’ve been following along will know that there are basically two types of verb stems in High Valyrian: those that end in a consonant and those that end in a vowel. In High Valyrian, a stem can end with any consonant or vowel, but those that end in vowels have paradigms which are quite similar to one another, and those that end in a consonant have paradigms that are quite similar to one another (in both instances, though, there will be variation in the perfect, which is the part of the paradigm most likely to be irregular). Here I want to give you the most regular versions of each paradigm so that you’ve got a base line to go off of. Let’s start with the easy one: consonant-final stems. As an example, I’ll use manaeragon, which means “to raise” or “to lift”.

Person/Type Present Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person manaeran manaeri manaeron manaeroty
Second Person manaerā manaerāt manaerō manaerōt
Third Person manaerza manaerzi manaeros manaerosy
Imperative manaerās manaerātās  
Infinitive manaeragon
Participle manaerare, manaerarior

A couple of comments on the table above. The (dark) grayed out part of the table are forms that don’t exist (there are no subjunctive participles or infinitives or imperatives). Where one form stretches across singular and plural, it means there’s no distinction. In the case of the participles, those are adjectives with regular adjective endings, and the first is used with a lunar or solar class and the latter with a terrestrial or aquatic (i.e. those specific adjective endings conflate lunar and solar into one class and terrestrial and aquatic into another). You’ll undoubtedly be able to glance at the table and pick out some patterns. Bear those in mind as we move to the next paradigm—this one for limagon, which means “to cry”.

Person/Type Present Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person liman limī limaon limaoty
Second Person limā limāt limaō limaōt
Third Person limas limasi limaos limaosy
Imperative limās limātās  
Infinitive limagon
Participle limare, limarior

Aside from the subjunctive, the tables should look quite similar (probably because the stem ends in -a), so it may prove instructive to do another vowel-final paradigm that should help to describe the rest of it. Here’s sōvegon which means “to fly”.

Person/Type Present Active Tense
Indicative Subjunctive
Singular Plural Singular Plural
First Person sōven sōvī sōvion sōvioty
Second Person sōvē sōvēt sōviō sōviōt
Third Person sōves sōvesi sōvios sōviosy
Imperative sōvēs sōvētēs  
Infinitive sōvegon
Participle sōvere, sōverior

And with that, one should be able to figure out the rest. If you’re looking for something to hang your hat on, if you have a consonant-final stem, the first person plural present active indicative will always end in -i, and for a vowel-final stem, it will always end in , regardless of the vowel in the stem. If you’re trying to fill out the rest of the vowel-final forms, yes, the first person plural and second person singular are identical with i-final stems, and in the subjunctive, the final o and u of o- and u-final stems both become v.

Since we’ve devoted a lot of space to verbs, I’d like to wrap up with a couple common noun paradigms. You’ll notice that a lot of names of Valyrian origin end in -ys. This is how nouns and names of that type decline. I’ll use the word loktys, “sailor” as an example (a solar noun of the second declension class. Most [but not all] words of this class are solar).

Case Singular Plural Paucal Collective
Nominative loktys loktyssy loktyn loktyr
Accusative lokti loktī loktyni loktyri
Genitive lokto loktoti loktyno loktyro
Dative loktot loktoti loktynty loktyrty
Locative loktȳ loktī loktynny loktyrry
Instrumental loktomy loktommi loktyssy loktyrzy
Comitative loktomy loktommi loktymmy loktyrmy
Vocative loktys loktyssys loktyssy loktyrzy

It might prove instructive to refer to the first declension lunar paradigm revealed last week and compare it to this one. Pay particularly close attention to the singular and plural numbers, and note where cases are conflated and where they aren’t. This is what defines declension classes in High Valyrian.

Oh, and since it doesn’t fit anywhere else but I feel like mentioning it, verb stems never end in a long vowel or diphthong, and you’ll run into the following diphthongs in High Valyrian: ae, āe, ao and āo. There are also some on-glide diphthongs which can serve as the nucleus of a single syllable: ia, , io, , ie, , ua, , ue and .

I hope you enjoy the week off from Game of Thrones! Come next week, things are going to start to get messy. Geros ilas!

Tȳni Trēsi

Didn’t I tell y’all there would be some Dothraki this season? Ta da! There it is!

If I may come to things out of order, I thought the VFX of the White Walker dying were outstanding. Must be pretty satisfying to stab something and then have it turn to ice, fall and shatter that way. Pretty cool! Of course, Sam should’ve retained his knife (what was he so afraid of? He killed it! No way you can come back from that!), but the action north of the wall has been replete with horror movie tropes, so it is fitting. For those who remember the specific action of the book better than I do, though, what was up with those birds?! I don’t remember that from the book. And why would they have been so excited about this encounter as to opposed to the others that we’ve seen in the series already? There were no crows in those scenes (or, at least, no literal crows). Oh, and one more question: Isn’t it a bit of a coincidence that that White Walker is the exact same White Walker we saw in the season 2 finale?

I thought the scenes surrounding and during Tyrion and Sansa’s wedding were done very well. Reading those scenes initially, it was so frustrating how much Tyrion wants to convey to Sansa that he’s not a bad guy, and how miserably he fails to do so. I thought they captured that aspect of the books quite well in the scenes we saw here.

There has been a bit of controversy in some corners regarding the scenes on Dragonstone. I would like to go on record saying I thought they were fine. I have no complaints, and found everything to be in keeping with what ought to have been expected.

In today’s scene from Slaver’s Bay, we’re introduced to Daario Naharis, who looks nothing like I thought he would. You know who does look cool, though: Prendahl na Ghezn (played by Ramon Tikaram). Dude looks awesome! He’s even got the blue hair! (If there was any glare on your screen, you might not have noticed it, but his hair was dyed blue, I can assure you.) Alas, his role is a bit short-lived… It’s too bad. Honestly, I hope I see more of him in some other feature. He looks like a leading man, to me.

The main scene begins with Mero leading Prendahl and Daario into Dany’s tent. There is an exchange where Mero is even more insulting than Kraznys, and he provokes the incredible, invincible and indomitable Jacob Anderson, a.k.a Grey Worm, a.k.a Torgo Nudho, who says:

  • Nya dare, beza unehtelas jaa engo ozy?
  • “My queen, shall this one slice out his tongue for you?”

And for those keeping track, yes, that is a Dothraki-style hiatus there with jaa, in addition to Dothraki-style post-vocalic h in unehtelas, both of which he nails, because Jacob Anderson is a Golden God.

Anyway, Dany responds in High Valyrian:

  • Bisi vali īlvyz zentyssy issi.
  • “These men are our guests.”

The word vali was cut due to length, I’m guessing, but the result would still be grammatical (it would just mean “These ones [probably animate] are our guests”). If the form of the possessive adjective looks odd to you, then you’re really keyed in to the phonology of High Valyrian. As I mentioned somewhere at some point in time, adjectives in High Valyrian have a different form depending on whether they come before or after the noun they modify. In this case, the full form would be īlvyzy. The final y drops out if the adjective precedes the noun it modifies, though, and the z devoices unless the next word begins with a voiced sound. Since “guests” is zentyssy, then, the form of the adjective is īlvyz and not īlvys.

After many more insults and a scene between the three Second Sons, we see Missandei bathing Daenerys. Though this scene was, of course, planned, this bit of dialogue was added by Dan Weiss very late in the game (he asked for the translation in mid-September). Personally I think it’s kind of a meta joke since this is literally the only Dothraki that appears in the entire season. What he did was he gave me the English line and asked if I could get athjahakar (the Dothraki word for “pride”) at the end of the sentence. Ultimately this is how I did the translation:

  • Zhey Drogo ast me-Dothraki thasho h’anhaan ven anha ray yol mehas. Me azh maan atjakhar.
  • “Drogo said I spoke Dothraki like one born to it. It gave him great pride.”

Those who know Dothraki will note that this line features the (somewhat) rare invocative use of zhey (i.e. bringing to the listener’s attention a person who hasn’t yet appeared as a topic of discussion). You’ll also note that athjahakar is misspelled. Indeed, this little exchange was supposed to reveal that Dany was never as good at Dothraki as she is, of course, with High Valyrian or Common. And the specific word is a call-back to episode 103, I think it was, where Dany’s handmaiden Jiqui (or Zhikwi) Irri is shown teaching Dany Dothraki by teaching her to say the word athjahakar.

Looking at the above Dothraki line, you’ll note that Dany mangles it pretty badly. That was the intention, but personally I think Emilia went a little too far. Neither Dany nor Emilia was ever that bad! Of course, if Dany hasn’t really been speaking Dothraki much, I can see her getting out of practice (perhaps Jorah is the only one that speaks to the Dothraki now [or, actually, now Missandei can too]). She puts together a rather grammatically complex sentence, though. Pretty impressive for a second language learner!

Second Sons was a little light on language, so to add some girth to this, here’s the full declension for vala, the High Valyrian word for “man”:

Case Singular Plural Paucal Collective
Nominative vala vali valun valar
Accusative vale valī valuni valari
Genitive valo valoti valuno valaro
Dative valot valoti valunta valarta
Locative valā valoti valunna valarra
Instrumental valosa valossi valussa valarza
Comitative valoma valommi valumma valarma
Vocative valus valis valussa valarza

Oh, also I wanted to mention that the word for “son” from our title comes from Twitter user @Tracee2ez, who was my 3,000th Twitter follower! The word is trēsy, which is nicely symmetrical with the word for “daughter”, which is tala. Both are lunar words, but tala is first declension, and trēsy second. There are a number of dualities that work this way, where two words which are intended to be in some sort of semantic relation to one another differ either solely in declension class or gender, but in systematic (or semi-systematic) ways. This word, then, turned out to be quite the fortuitous coining, since I already had the word for “daughter”.

Also, for those in the Bay Area, I will be at BayCon this Sunday. If you’re in the area, stop by and say M’ath!

Oh, and one more also (consider this a public service announcement): The penultimate episode of this season of Game of Thrones will not be airing a week from yesterday! I guess due to a ratings slump on Memorial Day, HBO is skipping a week, and episode 309 will air on June 2nd. Perhaps I can put together a post next week trying to answer some questions. Or I can take a break and enjoy the weekend. We’ll see.

Fonas chek!

Gryves se Riña Litse

Yesterday was George R. R. Martin’s episode for season 3 of Game of Thrones. Many wondered if Martin would write the episode from season 3 (if you don’t know which that is, you will by the end of the season), and in case you didn’t find the information elsewhere, he specifically did not want to. He said it was tough to write once, and he didn’t want to go through that again.

There was quite a bit of character development this episode, which was important, but which, I gather from the internet, might have seemed not as exciting to some. Not every episode can have wall-to-wall action (though I would note that the dragons were quite entertaining this episode!), but I really liked some of the conversations and developments from this episode. For example, a short scene, but the conversation between Sansa and Margaery was great (“Yes, dear. My mother taught me.” Rolling). Tywin’s little lecture to Joffrey was priceless, of course. It was also nice to see some vulnerability and passion from Melisandre (something we see in the books, albeit later on).

I would also like to draw a comparison that I don’t believe anyone else has ever drawn. In fact, if someone has drawn this comparison already and you can show me the link, I’ll coin a word for you in either Dothraki or High Valyrian (depending on what makes the most sense). Ready for this? Here it is. The rise and fall of Theon Greyjoy (and what will eventually become of that once we get into his book 5 arc) reminds me a lot of Willie Loomis from the original Dark Shadows. The parallels are many. Not that I think George Martin was inspired by the character (they’re not that much alike in the particulars), I just find it to be a fitting comparison. If you have Netflix, I recommend giving the series a try. It’s way over the top, and the effects are terrible. It’s delicious.

(UPDATE: It has been noticed! I wasn’t the first! Check out this post on Tumblr. Props go to Atrox for being the first to point it out!)

There wasn’t a whole lot of Valyrian in this episode, but there was some. It first comes up with Robb and Talisa. Talisa’s writing a letter to her mother and Robb asks her if it’s in Valyrian. There she replies with something I didn’t write, and which Robb repeats as ga (sounded to me like she actually says dha. Anyway have good ears?). I didn’t actually intend for there to be a simple word for “yes” in High Valyrian, but of course there ought to be in Volantene. So whatever it was that was said, let’s say that’s it. Later she says “hello” in Valyrian: rytsas. Robb is then supposed to mispronounce it, but he actually mispronounced it better than I intended (I intended ristas). The vowel change, though, probably sounds amusing enough.

Regarding the letter, the text of it was written by Cat Taylor (Dave and Dan’s assistant) and translated by me. The shot of it is quite pretty; the art department did an awesome job! Ideally it should be in Valyrian glyphs, but I guess it didn’t seem worthwhile to create an entire writing system for what ultimately is kind of a throwaway shot. Though I do have the text of it (in both English and High Valyrian, which is what it’s written in), I don’t think I should put it up right now. I’ll put it up when the season’s done with, but there’s been a lot of creativity amongst fans regarding Talisa, and so I think this should remain a mystery for the time being. It isn’t gibberish, though, I can assure you.

Later in Yunkai we get some more Valyrian from Dany, but none from conlang demigod Jacob Anderson! When I was first doing the scripts, it was like, “Yeah, whatever.” Now, though! They should have him narrate the entire series in Valyrian! What a linguistic adonis!

Anyway, Dany gives some orders to Grey Worm (who does not respond! What a missed opportunity! He could’ve at least said, “By your royal leave, my gracious queen and valorous liberator, of whom the heavens shall sing for a million shining eternities!”). These are they:

  • Va oktio remȳti vale jikās.
  • “Send a man to the city gates.”

Next:

  • Belmurtī ivestrās kesīr pōnte jiōrinna se pōjon obūljarion mazōrīnna. Lodaor hēnkos vējose hae Astaprot Yunkai botilza.
  • “Tell the slavers I will receive them here and accept their surrender. Otherwise, Yunkai will suffer the same fate as Astapor.”

And that actually does it.

Oh, except for one thing. When Grazdan mo Eraz wanders away from Dany et al., he mutters something. For this, D&D asked me to just come up with something—anything that sounded particularly vile. And so I came up with this (which I won’t translate):

  • Inkan undagho buna gundjabo jorydrare evi rungo pulgarinko…

I don’t know how much of that he actually gets through (I made it extra long so it would sound like he was trailing off and saying more). That’s Astapori Valyrian, in case you’re wondering; I didn’t have time to do a complete treatment of Yunkish Valyrian just for this line. There’s at least one word in there that could be unique to Yunkai, though.

Also, an important note for regular commenters on this blog. A couple days ago something happened (unfortunately, I still don’t know what) that resulted in one of my blog posts being deleted along with all its comments—plus a dozen or so others. It wasn’t a post I was editing or working on, nor was it the most recent post. The comments, though, were recent comments. I worked with someone to restore an earlier version of the database, and the post is back, along with most of its comments. There are still a number of comments that aren’t back, though. We are working to restore them exactly as they were. Even if that doesn’t work, though, I do have a record of every comment, so at the very least I will be able to restore them myself (likely under my own login, but I’ll give the appropriate credit along with the original post date). I apologize for the mishap—especially since some of the best material on this blog has been in the recent batch of comments. I’d love to say that it won’t happen again, but since I don’t know what caused it and failed to replicate the problem, I just don’t know if I can say that. At the very least, I now know I can restore the blog, and that it appears to be backed up regularly.

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