text:
The Lyrics of Henry VIII/What remedy what remedy (Unattributed)

[ff. 108v-110r]

What remedy what remedy such is fortune what remedy such is fortune what remedy.

A thorne hath percyd my hart ryght sore. Which daly encressith more and more. 5 thus withowt comfort I am forlore what remedy what remedy such is fortun what remedy

Bewayll I may myn aduenture. To se the paynes that I endure                                                10 Insaciently withowt recure what remedy what remedy such is fortune what remedy.

O my swet hart whome I loue best whos vnkyndnes hat me opprest                                             15 for whih my hart ys lyk to brest what remedy what remedy such is fortune what remedy

Textual Commentary
“What remedy what remedy” is a complaint of love bewailing the lack of remedy for the pain the courtly lover feels (following the tradition). While the phrase “what remedy” has some resonance in the early Tudor lyric, at a tournament held 2 March 1522—two days before the Schatew Vert entertainment, and thematically related to it by the common focus of amorous desire (see Hall 631; Streitberger, Court Revels, 112–13)—a close variant of it, “sance remedy,” saw courtly application in the motto of Anthony Browne. Elements of Browne’s device on that day, broken spears set over a broken heart, has parallel in lines 4–5 of this lyric, as does that of Henry VIII. For the details of the Schatew Vert entertainment and its relation to lyrics in H, see the commentary to Cornish’s “Yow and I and amyas” (H 35).

 * 1   What remedy   See the commentary, above, and cf. Henry’s “Withowt dyscord” (H 49.23) and Cornish’s “My loue sche morneth for me” (H 21.26); echoed below (l. 11).

 * 4   percyd my hart   See the device of Browne, in the commentary, above, and note.     thorne . . . hart   Cf. Sidney’s “The Nightingale so soone as Aprill bringeth” (Englands Helicon; also Palgrave’s Golden Treasury 1.XLVII): “my thorne my hart inuadeth” (ll. 12, 24).

 * 5   encressith  Increases.

 * 11 Insaciently   In an insatiate or unsatisfied manner (OED “insatiately” adv ).     withowt recure  without remedy; cf. the unattributed “My thought oppressed my mynd in trouble” (H 72.14).

 * 16 brest  Burst.

The unattributed “What remedy what remedy” is through-set for three voices. Illuminated capitals are provided for the final stanza only.

This piece is indexed in Robbins Index & Suppl. 98.5, Boffey, and Ringler MS TM42. It is reprinted in Flügel Anglia 251, Stevens M&P 419–20, and Stevens MCH8 80.

Texts Collated
H1,2,3 (ff. 108v–110r).

 * 4   ryght] so H3

 * 12 what(1)] what what H1, what H2,3

 * 17–18 what ~ remedy.] in H1,2,3 the text is jointly underlaid stanzas 3 and 4.


text:
The Lyrics of Henry VIII/Wher be ye (Unattributed)

[ff. 110v-112r]

Wher be ye my loue my loue and where be ye gone I am so sad to make me glad yt is but you my loue alone alone yt is but you my loue alone alone

Yower company makes me so mery from care and from all mone. but when ye mysse no Ioy it is but you my loue alone alone alone it ys but you my loue alon alon

when ye be hens with yor absence my myrth and Ioy is gone me to comfort is no resort. but you my loue alone alone alone it ys but you my loue alon alon

The tyme passyng to daunce or syng to swage sum what my mone Is nothing no comforting but yow my loue alone alone

Thus with my care with yor welfare crist kepe you from yor'' fone And god aboue kepe yor loue for you haue myne alone for you haue myne alone.

Textual Commentary
In this lyric, the speaker bemoans the absence of a lover. The speaker notes that there is no comfort in the lover’s absence—even in pastimes akin to those proposed by Henry in “Pastyme with good companye” (H 5)—save for that of the lover’s company.

 * 11 ye mysse   You are missed, absent.

 * 22–3 The tyme passyng / to daunce or syng   Cf. Henry’s “Pastyme with good companye” (H 5.5–6).

 * 24 swage  Assuage.

 * 31 fone  Foes.

“Wher be ye” is through-set for three voices, in all but the last two stanzas, which are underlaid following the completion of the second and third stanzas of the first voice (f. 111v). The second and third stanzas are presented under the same music, with the last two lines of each presented singly, to be shared by the stanzas’ first five lines.

This piece is indexed in Robbins Index & Suppl. 4058.3, Boffey, and Ringler MS TM2037. It is reprinted in Flügel Anglia 251–52, Flügel Neuengl 137, Stevens M&P 420–21, and Stevens MCH8 80–81.

Texts Collated
Texts Collated: H1,2,3  (ff. 110v–112r, ll. 1–21 H1,2,3).

 * 6   alone alone] a lone alone alone. H3

 * 9   so mery] mery H3

 * 13 alone alone] alone alone alone H1,2, alone alone alone alone. H3

 * 18 substitute  but when ye mysse H3

 * 19 substitute  no Ioy it is H3

 * 20–21 provided from 13–14

 * 28 repeated from 27

 * 35 repeated from 34

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/


text:
The Lyrics of Henry VIII/QUid petis o fily, Pygott

[ff. 112v-116r]

QUid petis ofily mater dulassima baba. O pateri ofili michi plausus oscula da da.

The moder full manerly and mekly as a mayd lokyng on her lyttill son so laughyng in lap layde so pretyly so pertly so passyngly well apayd ful softly and full soberly vnto her swet son she said qid petys.

I mene this by mary or makers moder of myght full louely lookyng on or lord the lanterne of lyght thus sayng to or sauior this saw I In my syght this reson that I rede you now I rede it full ryght. Qid petes

musyng on her maners so ny mard was my mayne saue it plesyd me so passyngly that past was my payn. yet softly to her swete son'n'' me thought I hard sayn now gracius god and goode swete babe yet ons this game agyne. Qid petes

pygott

Textual Commentary
The sole vernacular religious song in H, this lyric is a moralization of an episode in which the Virgin plays with the Son as a child. The alliteration in the verse suggests an earlier style than the other lyrics in H, and certainly a style prior to its setting here by Pygott. The first few lines are present in Skelton’s Phyllyp Sparowe: “Quid petis filio, mater dulcissima? Ba ba!” (l. 1091).

 * 1–4 Gloss: “What are you seeking, O Son? Sweetest mother, kiss, kiss.  O Father, O Son.  Give me kisses of liking” (from Stevens M&P 421); spoken by the Virgin.

 * 7   pertly   Openly, without concealment, smartly, sharply (OED  adv. 1, 3).     apayd  satisfied, contented, pleased (OED v 1).

 * 13 reson  Statement, narrative, or speech (OED n.1 3.a).

 * 15 mard  Marred.     mayne   Physical strength, force, or power (OED I.1.a).

 * 18 ons  Once.

In “QUid petis o fily” both the Latin burden, the first stanza, and the English verses are through-set for four voices; the remaining text is underlaid. This piece contains notes relating to the music on f. 114v (bottom) and f. 115r (top), and is ascribed to “pygott” (f. 116r).

“QUid petis o fily” is indexed in Robbins Index & Suppl. 3438.3 and Ringler MS TM1570. It is reprinted in Chappell Account 384, Flügel Anglia 252–53, Flügel Neuengl 121, Rickert 63–64, Stevens M&P 421, and Stevens MCH8 82–85.

Texts Collated
H1,2,3,4 (ff. 112v–116r, ll. 1–9 and 14–19 H3, ll. 1–9 H4), CPet (inside front cover, ll. 1–3)

 * 1   substitute  o mater o fili pets CPet;     ofily] ofili qid petes ofili H2,4

 * 2   mater] me CPet

 * 3   O pater] quid petis H1;    ofili] ofili o pater ofili H2,4

 * 4   da da.] dada da da. H4

 * 5   The ~ mayd] omit H1,3

 * 6   lokying ~ son]  omit H1,4;     layde] layd so laughyng in lap laid H2, ~ in ~ H3

 * 7   apayd] apayd so passyngly well a payd^ H2, a payd so pa passyngly well apayd. H4, apayed so pretyly so pertly ~ apayd. H3

 * 8   ful ~ soberly]  omit H3;     said] said she H3, saide vn to her son sa H2

 * 9   petys.] petes^ ofily. H4

 * 12 thus sayng to]  sayng H2

 * 14 petes] petes / Qid petys ofili / Qid petys ofily H1, petes ofili. H2

 * 17 sayn] her sayn H2, her sayne H3

 * 19 petes] petis ofili. / Qid petes ofili H2


text:
The Lyrics of Henry VIII/My thought oppressed my mynd in trouble (Unattributed)

[ff. 116v-120r]

My thought oppressed my mynd in trouble my body languisshyng my hart in payn my Ioyes dysteres my sorows dowble my lyffe as one that dye wold fayne my nyes for sorow salt ters doth rayne. 5 thus do I lyue in gret heuenes withowte hope or comfort of redresse.

My hope frome me is clene exiled exiled for euer which is my payne my payne with hope hath me begyled                                      10 begyled am I and can not refrayne refrayne I must yet in dysdayne in dysdayn I shall my lyfe endure endure alas withowt hope of recure.

Oftyme for death for soth I call                                                 15 in releasse of my gret smert for death ys endart principall of all the sorowes within my hart a payne it is hens to depart yet my lyfe is to me so greuus                                                  20 that deth is plesur and nothyng noyus

Thus may ye se my wofull chance my chance contrarious from all plesure from all plesure to gret penance of penance and payne I am right sure                                      25 riygt suere to haue no good auenture good auenture in me to haue place nay nay for why ther ys no space

Textual Commentary
Akin to Fayrfax and Woodville’s “Svmwhat musyng” (H 73), this lyric is a lament, outlining in great detail the anguish of the speaker’s pain. As with the manner in which this song is presented (as noted above), the poetic style (especially the method in the second and fourth stanzas) is remniscent of the lyrics extant in the earlier Fayrfax MS (LFay).

 * 5   nyes   Eyes.

 * 11 without hope of recure   Without hope of remedy; cf. the unattributed “What remedy what remedy” (H 69.11).

 * 17 endart principall   The principal “ender” (as suggested by textual variants in the second and third voices) or terminator.

 * 21  noyus Causing annoyance, vexatious, troublesome (OED “noyous” a).

 * 22 my wofull chance   Cf. Fayrfax and Woodville’s “Svmwhat musyng” (H 73.12).

 * 26 auenture   Fortune, chance.

The unattributed “My thought oppressed my mynd in trouble” is through-set, in its entirety, in three voices. As with “I loue vnloued suche is myn aduenture” (H 74), and as noted by Stevens (M&P 422), the manner in which this the song is presented is reminiscent of the lyrics extant in the earlier Fayrfax MS (LFay).

This piece is indexed in Robbins Index & Suppl. 2272.5, Boffey, and Ringler MS TM1074. It is reprinted in Flügel Anglia 253–54, Stevens M&P 422, and Stevens MCH8 86–89.

Texts Collated
H1,2,3 (ff. 116v–120r).

 * 3   dowble] dowbbe H1, dowlle H2, dowble H3

 * 5   ters] tees H1, ters H2,3;     doth] do H3

 * 7   of] off H1,2, of H3;     redresse.]

 * 9   exiled] exilide H1, exiled H2, exiled H3

 * 10 begyled] begyled hath me be giled H1, by giled ~ H2, bygyled ~ be gyled H3

 * 13 omit H3

 * 16 off] off H1, of H2,3

 * 17 endart] endar H2, thender H3

 * 18 all the] all H3

 * 19 hens to] to H2;     depart] depart hens to depart H2

 * 20 is]  it H1, is H2,3

 * 23 chance] wofull chance H2, channce H3

 * 26 no good] no goode H2, good H3

 * 27 good] no good H2


text:
The Lyrics of Henry VIII/Svmwhat musyng (Fayrfax / Woodville)

[ff. 120v-122r]

Svmwhat musyng and more mornyng in remembryng the unstedfastnes this world beyng                                     5 of such walyng me contraryng what my I gesse

I fere doutles remedyles                                             10 is now to cese my wofull chance for vnkyndnes withowtyn les and no redresse                                    15 me doth avance

with dysplesance to my greuance and no surance of remedy                                              20 lo in this trance now in substance such is my chance willyng to dye.

Me thynk trewly                                     25 bowndon am I and that gretly to be content seyng playnly fortune doth wry                                    30 all contrary from myn entent

my lyf was lent to an entent it is nye spent                                        35 welcum fortune yet I ne went thus to be shent but she is ment such ys her went                                   40

Textual Commentary
Certainly more in keeping with the general tone of the lyrics in LFay, “Svmwhat musyng” remains one of the few moralising or meditative works in H. Attributed to Anthony Woodville, Lord Rivers, who wrote the words while imprisoned in Pontefract prior to his beheading in 1483, the lyric suitably meditates upon the fickleness of fortune and the unsteadfastness of this world. A moralized version exists in the The Gude and Godlie Ballatis, though it was condemned and excised from the 1586 edition (see James [Mitchell, ed.]); see also BL Additional MS 18,752 [f. 28r]). A lyric with similar tone is the unattributed “My thought oppressed my mynd in trouble” (H 72).

 * 6   walyng   Wailing.

 * 11 cese  Cease.

 * 12 my wofull chance   Cf. the unattributed “My thought oppressed my mynd in trouble” (H 72.22).

 * 14 withowtyn les   Without release.

 * 21 trance   State of extreme apprehension or dread, but also a stunned or dazed state (OED n.1 1, 3.a).

 * 22 in substance   In reality, in essence.

 * 30 wry  Swerve, turn (OED v.2 2).

 * 36 welcum fortune   See the title to this lyric’s moralized version, listed above.

 * 37 went  Thought, supposed (OED “wend” v.2).

 * 38 shent  Ruined, brought to destruction; also, put to shame (OED v.1 1, 3).

 * 39 she is ment   She had it in mind the whole time (Stevens M&P 94).

 * 40 went  Path, way, course of action or plan (OED 1,3).

“Svmwhat musyng” is through-set in three voices. While not attributed in H, LFay and Wells ascribe it to Fayrfax. The text of the lyric has been ascribed to Anthony Woodville, Lord Rivers (see commentary above). In H and LFay, it appears complete, set for three voices with a text of eight line stanzas that are complete only when all voices are taken into account. The fragments of Wells, CFitz, and NYDrex compose the better part of another witness; the exact details of this grouping, and a dispelling of concerns regarding other lost witness fragments of this lyric, are noted by Fallows (“Drexel Fragments,” 5–6, 15–16). Robbins (Index & Suppl. 3193.5) notes that a witness appears in LVes (f. 170v), but this editor has been unable to locate that witness from Robbins’ directions.

Indexed in Robbins Index & Suppl. 3193.5 and Ringler MS TM1452. Reprinted in Arber 180, Chronicles 209, Flügel Anglia 254–5, Hearne 214, Percy 2.46, Ritson 149, Stafford Collection #9, Stevens M&P 361–2 and 423–24, Stevens MCH8 90–94, and Turner 3.465.

Texts Collated
H1,2,3 (ff. 120v–122r), LFay1,2,3 (ff. 33v–35r), Wells1,2,3 (ff. 1r–2r, ll. 28–40 Wells1, ll. 9–40 Wells2), CFitz (f. 1r, ll. 1–9, 22–23), NYDrex (f. 1r, ll. 1–19)

 * 1   omit H3, LFay2, Wells3

 * 2   mornyng] omit H1, LFay1, NYDrex, moryng H2,3

 * 5   omit Wells3

 * 6   omit H3, LFay2, Wells3

 * 7   me contraryng]  omit H1, LFay1, NYDrex, me contraryng H2

 * 9   I fere doutles] omit H1, LFay1, NYDrex, I fere doutles H2

 * 10 remedyles] omit H1, LFay1, Wells3, NYDrex, remedyles H2

 * 11 is now to cese] omit H1, LFay1, NYDrex;     is now] is now to cese H2, now LFay2

 * 12 my wofull chance]  omit H1, LFay1, NYDrex, my wofull chance H2

 * 13 omit H3, Wells2,3

 * 14  omit H3, LFay2, Wells3

 * 15  omit H3, LFay2, Wells3

 * 16 avance^] auance. H2, a vaunce^ LFay1,3, omit H3, LFay2, Wells3

 * 17 omit Wells2

 * 18 omit Wells3     my] me NYDrex;     greuance] grete grevance LFay2, gret grevance LFay3

 * 20 omit Wells2

 * 21 trance] tance H1,2, trance H3, trance LFay1,2,3, Wells3;    lo in] in Wells3

 * 23 such ~ chance] such chance. H2;     chance] daunce LFay1,2,3, d. . . Wells2

 * 26 bowndon am I] omit H1, LFay1, bowndon am I H2;     am I] were I LFay3

 * 27 and that gretly] omit H1, LFay1, and that gretly H2;     that gretly] gretely LFay3, grettly Wells3

 * 28  omit H3, LFay2, Wells3

 * 29 seyng playnly]  omit H1, LFay1, Wells1, seyng planly H2;     playnly] planly H2,3, playnly LFay2,3, Wells2

 * 30 fortune] for time LFay2

 * 31 omit Wells1–2

 * 32 from] fro H1, from H2,3, for LFay1,2,3, to Wells1,2, from to Wells3

 * 33 my lyf was lent] omit H1, LFay1, Wells1

 * 34  omit H3, an] one Wells1,2

 * 36 welcum fortune] welcum fortune welcum fortune H2, well cum fortune well cum fortune LFay1, well on forton well cum fortune Wells1, well cum forton well com forton Wells2

 * 37 omit H3, LFay2, Wells3;     yet] ye H1,3, yet  H2, LFay1,3, yit Wells1,2

 * 38 omit H3, LFay2, Wells3;     shent] spent LFay1,3

 * 39 but she is ment] omit H1,3, LFay2, Wells3, but she is ment H2,3;    is] it LFay2,3, Wells2,3

 * 40 went^] wone^ LFay1,2,3, wone. Wells1,2, mone^ Wells3


text:
The Lyrics of Henry VIII/I loue vnloued suche is myn aduenture (Unattributed)

[ff. 122v-124r]

I loue vnloued suche is myn aduenture and can not cesse tyl I sore smart but loue my for that feruent creature whose vnkyndnes hath kyld myn hart From her loue nothinge can be reuert                                      5 but leue in payne whyls I endure and loue vnloued such ys myne aduenture.

Textual Commentary
“I loue vnloued suche is myn aduenture” is a lyric dealing with unrequited love and the consequent pain. Along with Henry’s “Pastyme with good companye” (H 5), this lyric was incorporated into a sermon given in the king’s hall by the Royal Almoner, March 1521; see the commentary to “Pastyme with good companye.”  Songs in the same rhetorical tradition include “I loue vnloued I wotte nott what loue may be” (Oxford, Bodleian Rawlinson C.813 ff. 45r–46r), Wyatt’s “I loue louyd and so doth she” (LDev f. 6r), and “I love loved and loved would I be” (LFay ff. 28v–30r).

 * 1    loue vnloued   Cf. Amour’s words to Pucell in Hawes’ Comforte of Louers: “full lytell knoweth ywys / To loue vnloued what wofull payne it is” (ll. 755–56; see also Hawes’ Pastime of Pleasure ll. 2188, 4046), and its near echo “Full lytell it ywys / Knowe ye I gesse / What payne it is / To loue vnloued” (Thomas Feylde, Cotrauerse Bytwene a Louer and a Iaye ll. 145–48).

 * 5    reuert   Recover, recuperate; also, to return to a person or party after estrangement or separation (OED “revert” v 1.b, 4.a).

 * 6    leue  Live.

The unattributed “I loue vnloued suche is myn aduenture” is through-set in three voices. As with “My thought oppressed my mynd in trouble” (H 72), the manner in which this the song is presented is remniscent of the lyrics extant in the earlier Fayrfax MS (LFay).

This lyric is indexed in Robbins Index & Suppl. 1329.5, Boffey, and Ringler MS TM667. It is reprinted in Flügel Anglia 255, Stevens M&P 424, and Stevens MCH8 92–94.

Texts Collated
H1,2,3 (ff. 122v–124r).

 * 7    and loue] and H2


text:
The Lyrics of Henry VIII/Hey troly loly lo (Unattributed)

[ff. 124v-128r]

Hey troly loly lo mayde whether go you. I go to the medowe to mylke my cow than at the medow I wyll you mete. to gather the flowers both fayer and swete.

Nay god forbede that may not be                                     5 I wysse my mother then shall vs se.

Now yn this medow fayer and grene we may vs sport and not be sene. and yf ye wyll I shall consent. how sey ye mayde be ye content                                   10

Nay in goode feyth I wyl not melle with you. I pray you sir lett me go mylke my cow. why wyll ye nott geue me no comfortt. that now in the feldes we may vs sportt.

Nay god forbede that may not be. 15 I wysse my mothyr than shall vs se.

Ye be so nyce and so mete of age. that ye gretly move my corage. syth I loue you loue me agayne. let vs make one though we be twayne. 20

Nay In goode feyth I wyll not mell with you Ye haue my hert sey what ye wyll. wherfore ye muste my mynde fulfyll. and graunte me here yor maydynhed or elles I shall for you be ded. 25

Nay In goode feyth I wyll not

Then for this onse I shal you spare. But the nexte tyme ye must beware how in the medow yet mylke yor cow. adew farewell and kysse me now. 30

Nay in goode fayth I wyll not melle with you.

Textual Commentary
“Hey troly loly lo” is a lyric in two voices, male and female, representing an exchange between a maiden (ll. 2–6, 11–6, 21, 26, and 31) and a suitor / seducer (ll. 1, 7–10, 17–20, 22–5, and 27–30), who is ultimately rejected. The final words of the seducer have potentially dark overtones. For its employment of the first line, cf., in H, Cornish’s “Trolly lolly loly lo” (H 33; see also corresponding notes and commentary) and “Hey troly loly loly” (H 55).

 * 1   Hey troly loly lo   See commentary, above.

 * 11 melle  Mill has sexual connotations; see Merry Report’s discourse on milling in Heywood’s Play of the Wether (ll. 720 ff.; also Lancashire, “Sexual Innuendo in the Reeve’s Tale” 163–5).

 * 17 nyce  Coy, but also with potential sexual connotations (OED “nice” a 5.a, 2.a).     mete   Meet, mild but also suitable (OED “meet” a 4, 3).

 * 18 corage   Sexual vigour and inclination, the desire to love, the amorous spirit; see Henry’s “The tyme of youthe is to be spent” (H 19.10, note).

 * 24 mynde  Purpose, intention (OED “mind” n.1 II.7.a).

The unattributed “Hey troly loly lo” is through-set in three voices. The verses of the burden undergo modification in their repetition.

This piece is indexed in Robbins Index & Suppl. #2034.5 and Ringler MS TM1103. It is reprinted in Chappell Account 384–85, Chambers Lyrics 62–63, Chambers Verse 43–44, Flügel Anglia 255, Padelford 84–86, Stevens M&P 424–25, and Stevens MCH8 95–98.

Texts Collated
H1,2,3 (ff. 124v–128r).

 * 1   Hey ~ you.] omit H1, Hey ~ you. H2, ~ you H3

 * 2   I ~ cow] omit H3,  I ~ cow H1, ~ the medow ~ cowe H2

 * 5   be^] be^ that may not be. H1, be ~ H2,3

 * 6   se.] se. I wysse my mother then shall vs se. H1,2, ~ then ~ H3

 * 11 Nay ~ you.] omit H1, Nay ~ you. H2, ~ fayth ~ you^  H3

 * 12 I ~ cow.] omit H3

 * 14 now in] in H2,3

 * 15 not be^] be that may not be. H1,3, notbe^ ~ H2

 * 16 se.] se.  I wysse my mothyr than shall vs se. H1, se.  ~ then ~ H2, se^ ~ H3

 * 21 Nay ~ you] I pray you sir let me go mylkmy cows H1, Nay In goode feyth I wyll not mell with you H2, C Nay ~ wyll H3

 * 22 Ye ~ hert] omit H3, Ye ~ hert H1,2

 * 24 maydynhed^] maydynhed^ yor maydynhed. H1,2,3

 * 25 I shall for you be]  for you I shalbe H2,3

 * 26 Nay ~ not] I pray you sir let me H1, Nay ~ not H2,3

 * 29 cow.] cow. yor cow. H1, ~ cow^ H2, cow^ ~ cow^ H3

 * 30 now.] now.  adew fare well and kysse me now^ H1, ~ now. H2,3

 * 31 Nay ~ you.] I pray you sir let me H1, Nay ~ feyth ~ H2, Nay ~ you. H3


text:
Salute, Jonathan!

Chapters
/Preface/ -- Chapter 1 -- Chapter 2 -- Chapter 3 -- Chapter 4 -- Chapter 5 -- Chapter 6 -- Chapter 7 -- Chapter 8 -- Chapter 9 -- Chapter 10 -- Chapter 11 -- Chapter 12 -- Chapter 13 -- Chapter 14 -- Chapter 15 -- Chapter 16 -- Chapter 17 -- Chapter 18 -- Chapter 19 -- Chapter 20 -- Chapter 21 -- Chapter 22 -- Chapter 23 -- Chapter 24 -- Chapter 25 -- Chapter 26 -- Chapter 27 -- Chapter 28 -- Chapter 29 -- Chapter 30 -- Chapter 31 -- Chapter 32 -- Chapter 33 -- Chapter 34 -- Chapter 35 -- Chapter 36 -- Chapter 37 -- Chapter 38 -- Chapter 39 -- Chapter 40 -- Chapter 41 -- Chapter 42 -- Chapter 43 -- Chapter 44 -- Chapter 45 -- Chapter 46 -- Chapter 47 -- Chapter 48 -- Chapter 49 -- Chapter 50 -- Chapter 51 -- Chapter 52 -- Chapter 53 -- Chapter 54 -- Chapter 55 -- Chapter 56 -- Chapter 57 -- Chapter 58 -- Chapter 59 -- Chapter 60 -- Chapter 61 -- Chapter 62 -- Chapter 63 -- Chapter 64 -- Chapter 65 -- Chapter 66 -- Chapter 67 -- Chapter 68 -- Chapter 69 -- Chapter 70 -- Chapter 71 -- Chapter 72 -- Chapter 73 -- Chapter 74 -- Chapter 75 -- Chapter 76 -- Chapter 77 -- Chapter 78 -- Chapter 79 -- Chapter 80 -- Chapter 81 -- Chapter 82 -- Chapter 83 -- Chapter 84 -- Chapter 85 -- Chapter 86 -- Chapter 87 -- Chapter 88 -- Chapter 89 -- Chapter 90 -- Chapter 91 -- Chapter 92 -- Chapter 93 -- Chapter 94 -- Chapter 95 -- Chapter 96 -- Chapter 97 -- Chapter 98 -- Chapter 99 -- Chapter 100

The Occidental Language by the Direct Method with Vocabulary Notes
This section introduces an alternative reading of the same story, with a focus on increasing the reader's understanding of vocabulary via notes on etymology (word history and makeup) and related words, particularly in English and Latin. For example, the word scrir (to write) contains a note illustrating its relationship to the English words scripture (Occidental scritura) and inscription (Occidental inscrition).

Chapter 1 (with notes) —- Chapter 2 (with notes) —- Chapter 3 (with notes) —- Chapter 4 (with notes) —- Chapter 5 (with notes)

Grammatical overview in English with examples from the story
This section will contain an overview of the grammar of Occidental explained in English using examples from the story, and thus contains spoilers. The grammatical overview is recommended for those who have already completed the story and want a second look at what they have learned, or teachers using the story to teach Occidental to others.

For the time being, please see the grammatical overview written by Dr. F. Haas in 1956.

 * Grammar (overview)
 * Pronunciation
 * Accent
 * Articles
 * Nouns
 * Adjectives
 * Pronouns
 * Numbers
 * Verbs
 * Adverbs
 * Prepositions
 * Conjunctions
 * Syntax
 * Word formation (general + word composition)
 * Word formation (prefixes)
 * Word formation (suffixes)

Chapter by chapter vocabulary practice on Memrise

 * Chapter by chapter vocabulary practice, chapters 1 to 21

Symbols used in the book
Some symbols are used in the book to explain new words quickly. Some of them are:
 * ↔ The two words are opposites. big ↔ small
 * · An interpunct, used to show the makeup of a word. For example: the English words inter·nation·al and one·up·man·ship.
 * → A right arrow, used to show the relation and progression from word to word. For example: the English words scribe → scripture → scriptural.

title: Salute, Jonathan!


text:
Salute, Jonathan!/Capitul 1

Contenete - Capitul 1 - Capitul 2 - Capitul 3

Unesim may (1 may)
Un mann sta in un cité. Li mann scri un jurnale. Li mann vide un cité.

Esque li mann sta in un cité? Yes, il sta in un cité.

Esque li mann sta in...un mann? No, il ne sta in un mann. Il sta in un cité.

Esque li mann sta in un tren? No, il ne sta in un tren. Il sta in un cité. Li mann sta in un cité.

Esque li mann scri un jurnale? Yes, il scri un jurnale.

Esque li jurnale scri li mann? No, li jurnale ne scri li mann. Un jurnale ne scri. Un mann scri. Li mann scri li jurnale.

Esque li cité vide li mann? No, li cité ne vide li mann. Un cité ne vide. Un mann vide. Esque li mann vide li cité? Yes, li mann vide li cité.

U sta li mann? Il sta in un cité. Quo li mann scri? Il scri un jurnale. Quo li mann vide? Il vide un cité. Il sta in un cité, e il scri un jurnale, e il vide un cité.

Esque li mann sta in un jurnale? No, il scri in un jurnale. Esque li mann vide un mann? No, il ne vide un mann; il vide un cité.

Li mann es grand. Li mann es bon, e li mann es inteligent. Il pensa. Il pensa pri li cité. Il pensa: “Quo es li cité? Esque li cité es bon? Esque li cité es grand?”

Esque li mann scri un cité? No, il ne scri un cité; un cité es grand. Il scri un jurnale; un jurnale ne es grand.

Esque li jurnale pensa pri li mann? No, un jurnale ne pensa. Un mann pensa. Il pensa pri li jurnale, e pensa pri li cité.

E il scri in li jurnale. Il scri pri li cité. Il scri: “Li cité es bon, e li cité es grand.”

Il pensa: “Li cité es bon”; il pensa que li cité es bon. Il pensa: “Li cité es grand”; il pensa que li cité es grand. Il pensa pri li cité, e il pensa pri li jurnale.

Quo es li jurnale? Li jurnale es u li mann scri; il scri in li jurnale. In li jurnale, li mann scri pri li cité. In li jurnale, li mann ne scri pri li tren; li mann sta in li cité, ne in li tren. Il ne pensa pri li tren; il pensa pri li cité, li cité Munich.

Quo es li cité? It es Munich. U es Munich? It es u li mann sta. U es li mann? Il es in Munich.

Yes, Munich es un grand cité, e un bon cité. Li mann pensa que Munich es un bon cité, e il pensa que it es un grand cité. Li mann es inteligent. Il di: “Salute, Munich!” Il es un bon mann!

Li mann sta e pensa: “U es li tren?” Il vide...il vide li tren! Il pensa: "Li tren!" Nu il ne pensa pri li jurnale e ne pensa pri li cité; il pensa pri li tren!

Tri (3) verbes + verbe "es"

 * Verbes in a: sta, pensa
 * Verbes in i: scri
 * Verbes in e: vide
 * Verbe "es": es

esque

 * esque = ?
 * Un mann sta in un cité.
 * Esque un mann sta in un cité?

·esim

 * un = 1
 * un·esim
 * du = 2
 * du·esim
 * tri = 3
 * tri·esim

 * May 2019 es 2019.05.
 * Unesim may es 2019.05.01.
 * Duesim may es 2019.05.02.
 * Triesim may es 2019.05.03.

li, un

 * li = 1
 * Un mann sta in un cité. Li mann scri in un jurnale. Li mann vide un tren. = 1
 * un = +1
 * Un mann sta in un cité. Un mann scri in un jurnale. Un mann vide un tren. = 3

pri

 * Li mann pensa pri Munich.
 * Li mann scri pri Munich.
 * Li mann scri: "Yo vide un tren!" Il scri pri un tren.

Vocabularium

 * bon: 👍
 * cité 🏙
 * es
 * esque
 * grand
 * in
 * it
 * inteligent 🧠
 * jurnale 📝
 * li
 * mann 👨🏻
 * no ↔ yes
 * pensa: 💭
 * pri
 * que
 * quo
 * salute 👋
 * scri 🖋
 * sta 🧍
 * tren 🚂
 * u 🗺 🤷♂
 * un = 1
 * vide 👀
 * yes ↔ no
 * di 🗣

Di:

 * c = k
 * capitul: kapitul
 * scri: skri
 * ci, ce: tsi, tse
 * cité: tsité

Paroles videt
(Code)

 * bon: 8
 * capitul: 2
 * cité: 43
 * di: 1
 * e: 11
 * es: 28
 * esim: 1
 * esque: 13
 * grand: 9
 * il: 42
 * in: 21
 * inteligent: 2
 * it: 3
 * jurnale: 24
 * li: 76
 * mann: 42
 * may: 2
 * munich: 7
 * ne: 15
 * no: 8
 * nu: 1
 * pensa: 23
 * pri: 14
 * que: 4
 * quo: 5
 * salute: 1
 * scri: 22
 * sta: 17
 * tren: 9
 * u: 6
 * un: 42
 * unesim: 2
 * vide: 15
 * yes: 4

|1

title: Salute, Jonathan!/Capitul 1


text:
Salute, Jonathan!/Capitul 2

Contenete - Capitul 1 - Capitul 2 - Capitul 3

Duesim may (= 2 may)
Nu li mann es in li tren. Il ne es in Munich; il es in un tren. Il viagea. Il pensa: "Nu yo viagea de Munich a Vienna. It es un bon viage. Yo ama viages."

Il pensa pri Munich. Il pensa: “Nu yo es in li tren, ma yer yo esset in Munich. E nu yo scri un jurnale in li tren, ma yer yo scrit un jurnale in Munich. E nu yo pensa in li tren, ma yer yo pensat in Munich. Yer yo pensat pri Munich in Munich, e nu yo pensa pri Vienna in li tren. Nu yo es in li tren, ne in Vienna. Ma yo pensa e scri pri Vienna.”

Esque li mann nu pensa in Munich? No, il nu ne pensa in Munich. Il pensa in li tren. Yer il pensat in Munich. Il di: “Salute, tren!”

Li mann es in li tren, e il viagea a un cité. Li cité ne es Munich; Munich es li cité de yer. Li cité es Vienna; Vienna es li cité de hodíe.

Li mann pensa pri Munich e Vienna. Il pensa: “Munich esset li cité de yer, e Munich esset bon. Nu it es hodíe, e yo es in un tren; li tren es bon. Esque Vienna va esser bon?”

Li mann pensa pri Munich: Munich esset li cité de yer. Il pensa in li tren: il es in li tren hodíe. E il pensa pri Vienna: Vienna va esser li cité de deman.

E il pensa: “Munich esset grand. Li tren es grand. Esque Vienna va esser grand?”

E il pensa: “In Munich yo scrit in un jurnale. In li tren yo scri in un jurnale. Esque in Vienna yo va scrir in un jurnale? Yes, deman in Vienna yo va scrir in un jurnale. Yo ama jurnales.” Li mann pensa mult (il pensa mult = il pensa e pensa e pensa), e il scri mult. Yes, il es un inteligent mann. Inteligent mannes scri mult, e pensa mult. Il es Jonathan; Jonathan es un inteligent mann.

Il scri: “Yo es Jonathan. Yo es in un tren. Yer yo stat in Munich; deman yo va star in Vienna.”

Il pensa, e scri: “Li tren...it es bon, ma old. It ne es nov; it es old. Esque in Munich li trenes es old? Yes, li trenes de Munich es old. Ma li trenes de Munich es bon, e yo ama li trenes de Munich. Yer yo amat li tren in Munich, e hodíe yo ama li tren nu, e deman yo va amar li tren in Vienna. Yo ama trenes!”

Jonathan scri: "Munich es un bon cité e un old cité, e Vienna es un bon cité e un old cité. Munich e Vienna ne es nov, ma es bon. Munich e Vienna es old, ma bon cités. Li cités ne es nov, ma bon. Yo ama cités!"

Jonathan pensa, que li duesim die de viage es bon. Il di: “Hodíe esset un bon duesim die de viage. Yo ama viages!”

yer, hodíe, deman

 * yer = unesim may (05.01)
 * hodíe = duesim may (05.02)
 * deman = triesim may (05.03)

-t

 * scri: hodíe yo scri, yer yo scrit
 * pensa: hodíe yo pensa, yer yo pensat
 * vide: hodíe yo vide, yer yo videt

va -r

 * scri: hodíe yo scri, deman yo va scrir
 * pensa: hodíe yo pensa, deman yo va pensar
 * vide: hodíe yo vide, deman yo va vider

esser

 * verbes in i: scri, scrit, va scrir
 * verbes in e: vide, videt, va vider
 * verbes in a: pensa, pensat, va pensar
 * verbe esser: es, esset, va esser

de, a

 * De Munich a Vienna:
 * Munich → Vienna
 * De Vienna a Munich:
 * Munich ← Vienna

Vocabularium

 * ama
 * deman (yer → hodíe → deman)
 * hodíe (yer → hodíe → deman)
 * mult
 * nov
 * nu
 * old
 * va
 * viage
 * viagea
 * yer ↔ (yer → hodíe → deman)

Di:

 * g = g
 * grand: grand
 * grammatica: grammatica
 * gi, ge: ji, je
 * viage: viaje
 * inteligent: intelijent

|2

title: Salute, Jonathan!/Capitul 2


text:
Salute, Jonathan!/Capitul 3

Contenete - Capitul 2 - Capitul 3 - Capitul 4

Duesim may (= 2 may)
Jonathan sta in Vienna: li cité de Vienna. Jonathan pensa que Vienna es bon, e que Vienna es bell. Jonathan ne pensa que Vienna es desbell; il pensa que Vienna es bell. Il di: “Vienna es un bell cité! Yo va scrir pri it!” E il scri in li jurnale pri Vienna. In li jurnale il scri: “Mi triesim die es tre bon! In li duesim die yo stat in Munich. Ma nu yo sta in Vienna: Vienna ne es Munich. Munich e Vienna es du cités; Munich ne es Vienna e Vienna ne es Munich. Yo sta in Vienna e li cité es tre bell. Yo ama Vienna; li cité ne es desbell. Quam bell es Vienna! Ma yo have un problema.”

Quo? Jonathan have un problema? Quel problema? Nu il ne vide li jurnale; il vide li cité e pensa. Il pensa mult pri li problema.

Li problema de Jonathan es que il ama Vienna, ma il ne have témpor.

Il pensa: “Hmm. Nu it es sett (7) horas. Ye deci (10) horas li tren departe. Deci (10) horas minus sett (7) horas es tri (3) hores. Tri hores ne es mult témpor por un bell cité! Yo ne have témpor. Haver témpor es bon, ma yo ne have it! Scrir un jurnale es bon, ma yo ne have témpor por scrir it! Quo far in Vienna?”

Il pensa: "Yo ne have mult témpor. Quo far - scrir un jurnale, o manjar, o vider li cité? Quo yo va far?"

Il pensa plu, e di: “Yo have un bon idé! Un moment...yo pensa. Mi tren departe a deci (10) horas. Esque hay un tren plu tard, a deciun (11) horas, o decidu (12), decitri (13), deciquar (14) o deciquin (15) horas?"

Il vide…yes! Hay un tren quel departe a deciquin horas. Nu Jonathan es felici.

Jonathan di: “Deciquin (15) minus sett (7) es ott (8). Nu yo have ott hores de témpor! Quo yo va far?”

Il di: “Yo save! Yo va manjar un bifstec. E yo va trincar un bir. Un moment...no, yo va trincar du bires, o tri bires. Bon idé!”

Nu Jonathan trinca un bir in Vienna, e manja un bifstec. Il es felici. Il di: “Quam yo es felici! Yo ama li cité de Vienna. Quam yo ama viages!”

Verbes

 * Li ínfinitive de un verbe es -r. Pensa = pensar, scri = scrir, manja = manjar, have = haver.
 * Jonathan pensa: "quo manjar?" e il manja un bifstec.
 * Jonathan pensa: "haver témpor es bon!" Il ne have témpor.

de

 * Jonathan pensa: mi tren va departer. = Li tren de Jonathan va departer.
 * Jonathan scri in un jurnale. Il scri it; it es li jurnale de Jonathan.

hay

 * hay = es
 * Esque hay un mann in li tren? Yes, hay un mann; it es Jonathan.
 * Esque hay un jurnale in li bifstec? No, ne hay un jurnale in li bifstec.

plu tard

 * It es 10 horas. Plu tard, it va esser 11 horas.
 * Jonathan esset in Munich. Plu tard, il esset in Vienna.
 * Jonathan pensat: "Yo va manjar." Plu tard, il manjat.

ye
Ye = a
 * Ye deci horas = a deci horas

1) quel?

 * Jonathan ama un tren. Quel tren Jonathan ama? Jonathan ama li old tren.
 * Jonathan vide un cité. Quel cité Jonathan vide? Jonathan vide li cité de Vienna.

2) quel

 * Jonathan es in un old tren. Jonathan ama li tren. Li tren quel Jonathan ama es old.
 * Jonathan vide Vienna. Vienna es un cité. Li cité quel Jonathan vide es Vienna.

quam

 * Li tren es tre, tre old. Jonathan di: "Quam li tren es old!"
 * Li bifstec es tre, tre bon. Jonathan di: "Quam li bifstec es bon!"
 * Jonathan have un grand, tre grand problema. Jonathan di: "Quam mi problema es grand!"

hor, hora
hora hor = 60 minutes. Un hor = 60 minutes, du hores = 120 minutes. 6:00 es six horas e 2:00 es du horas. 6:00 minus 2:00 es quar hores.
 * It es six horas: 6:00
 * It es du horas deci: 2:10

quam
quam = !

 * Li tren es bell. Quam bell es li tren!
 * Jonathan es inteligente. Quam inteligent il es!

Departer

 * Li tren departet de Munich. Plu tard, li tren esset in Vienna.
 * Tri hores plu tard, Jonathan va departer.

Un, du, tri...

 * 1: un
 * 2: du
 * 3: tri
 * 4: quar
 * 5: quin
 * 6: six
 * 7: sett
 * 8: ott
 * 9: nin
 * 10: deci
 * 11: deciun
 * 12: decidu...

Vocabularium

 * bell
 * de
 * departer
 * desbell: ne bell
 * die = 24 horas
 * far
 * felici
 * have
 * hay
 * hor
 * hora
 * idé
 * manjar
 * mi
 * minus
 * moment: ne mult témpor
 * plu tard
 * problema
 * quam
 * quel
 * save
 * témpor
 * tre: mult
 * trincar

Di:

 * qu = k w
 * que: k w e
 * (que ≠ ke)
 * quel: k w el
 * quo: k w o
 * quin: k w in
 * hay: hay
 * (hay ≠ ay)

|3

title: Salute, Jonathan!/Capitul 3


text:
Salute, Jonathan!/Capitul 4

Contenete - Capitul 3 - Capitul 4 - Capitul 5

Quaresim capitul (4.esim capitul)
U es Jonathan? Esque il sta in Vienna? No, il sta in un diferent cité. Il sta in Bistritz. Quo es Bistritz? It es un cité in Rumania. Nu comensa li viage in Rumania.

Jonathan scri in su jurnale: “Li unesim may yo esset in Munich. Li duesim may yo esset in Vienna. Poy yo esset in Budapest. Budapest esset bell. Ma yo ne havet témpor in Budapest. Yo videt li strade in Budapest. In Budapest yo pensat: ci fini li west, e ci comensa li ost. Budapest es diferent.”

Il pensa un poc plu pri Budapest. Il pensa: “Yo es un person quel veni de Anglia, de London. Yo parla anglés, nam li persones in Anglia parla anglés. Ma in Budapest yo ne parlat con li persones in anglés; yo parlat in german. Mi german ne es bon, ma li persones in Budapest ne parla anglés. Noi parlat in german. It es interessant que li persones in Budapest parla german.”

Nu Jonathan pensa pri su viage. Il pensa: “Yo esset in li muséo in London. In li muséo esset libres pri un altri land. Yo leet li libres. In li muséo esset cartes pri un altri land. Yo videt li cartes. Li libres e li cartes dit que li altri land es lontan, ma interessant. In li altri land es mult persones, mult diferent persones.”

Nu Jonathan pensa plu pri su viage. Il pensa: “Yer yo esset in Klausenburg. Yo manjat in Klausenburg. Li nómine del manjage esset “paprika hendl”. It es tre bon, li manjage in Klausenburg. Li hotel esset bon, ma yo ne dormit bon. Ma li land es tre bell! In li tren yo videt mult borgos e mult castelles. Un cité es plu grand quam un borgo, ma li borgos es tre bell. Un castelle es plu grand quam un hotel, e plu bell quam un hotel! Borgos es minu grand quam cités, ma ili es bell, e hoteles es minu grand quam castelles.” Jonathan scri plu in su jurnale: “Bistritz es un interessant loc. Bistritz es un old loc, plu old quam altri locs. Anc mi hotel in Bistritz es old, plu old quam altri hoteles. In li hotel yo dit mi nómine: “Yo es Jonathan Harker” e ili dit me: “Benevenit al hotel.” In li hotel yo videt un lettre por me. Nu yo va leer mi lettre.”

Jonathan lee su lettre. It di:

“Mi amíco. - Benevenit. Dormi bon. Yo es in Bukovina, ples venir a Bukovina. Esque li viage de London esset bon? Mi land es tre bell. Benevenit a mi land.

Vor amico, DRACULA.”

Jonathan lee li lettre e pensa pri su amico Comto Dracula. Qui il es? Il ne save. Ma su amico es interessant. Anc li borgo Bistritz es interessant. Jonathan es felici, e pensa pri su amico. Poy il dormi.

plu quam, minu quam

 * plu quam: >
 * Jonathan es plu grand quam un jurnale. = Jonathan > jurnale (Jonathan es grand, li jurnale ne es grand)
 * Manjar un bifstec es plu bon quam ne manjar un bifstec. = Manjar un bifstec > Ne manjar un bifstec (Manjar un bifstec es bon, ne manjar un bifstec ne es bon)
 * minu quam: <
 * Un dom es minu grand quam un castelle. = dom < castelle (Un castelle es grand, un dom ne es grand)
 * Manjar un jurnale es minu bon quam manjar un bifstec. = manjar un jurnale < manjar un bifstec (Manjar un bifstec es bon; manjar un jurnale ne es bon)

plurale (-s, -es)
Li plurale es -s, anc -es.

 * -s:
 * Un libre. Du, tri, quar...libres
 * Un loc. Du, tri, quar...locs.
 * Un cité. Du, tri, quar...cités.
 * -es:
 * Un mann, un hotel, un land, un person. Du, tri, quar mannes, hoteles, landes, persones.

del
de + li = del.

su
il, it -> su
 * Jonathan lee un lettre. It es li lettre de Jonathan. It es su lettre.
 * Li cité have un muséo. It es li muséo del cité. It es su muséo.

ili

 * Un mann es il. Du, tri, quar...mannes es ili.
 * Un libre es it. Du, tri, quar...libres es ili.
 * Un mann e un libre es ili.

vu, vor

 * Jonathan manja un manjage. Un person di: "Vu manja. Esque vor manjage es bon?" (vor = de Jonathan)
 * Jonathan pensa pri Dracula. Il pensa: "Dracula, vu es un bon mann. Vor land es tre bell."

altri

 * Jonathan veni de Anglia. Il ne veni de Rumania. Rumania es un altri land. (= Rumania ne es Anglia, it es un altri land).

lontan

 * Jonathan es in li tren hodie, il esset in li tren yer, il va esser in li tren deman. Rumania es lontan.

Vocabularium

 * altri
 * amíco
 * anglés, Anglia
 * angl·és
 * Angl·ia
 * benevenit
 * (bene·veni·t)
 * borgo: un ne grand cité
 * carte
 * castelle
 * ci
 * comensar
 * comto: un mann quel have un castelle
 * diferent: ≠
 * dormir
 * german, Germania
 * german
 * German·ia
 * hotel
 * ili
 * land
 * lettre
 * libre:
 * loc
 * lontan
 * muséo: un grand dom quel have old libres e cartes
 * nómine
 * ost
 * parlar: 💬
 * person
 * strade
 * su
 * un poc: ne mult (1, 2, 3 = un poc)
 * veni
 * west

Di:

 * ss = s
 * esset: eset
 * interessant: interesant
 * vocale (a, e, i, o, u) + s + vocale = z
 * muséo: muzéo
 * quaresim: quarezim

|4

title: Salute, Jonathan!/Capitul 4


text:
User talk:Zdrowyjaty

Welcome
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--Pi zero (discuss • contribs) 05:55, 20 July 2019 (UTC)

title: User talk:Zdrowyjaty


text:
Salute, Jonathan!/Capitul 5

Contenete - Capitul 4 - Capitul 5 - Capitul 6

Quinesim capitul (5.esim capitul)
Quaresim may (= 4 may)

Hodie Jonathan va viagear a Comto Dracula. In li hotel il vide li hotelero, e vide un lettre de Comto Dracula in li manu del hotelero. Il di al hotelero in german: "Salute, ples dar me li lettre." Li hotelero da le li lettre.

Poy il questiona in german: “Quo es li lettre? Quo Dracula scrit in li lettre?” Ma li hotelero di: “Yo ne parla german, yo ne parla german.” Jonathan pensa: “Strangi! Yer yo parlat con li hotelero in german, e nu il di que il ne parla german! Pro quo?” Il questiona li hotelero: “Esque vu save qui es Comto Dracula?” ma nu li hotelero ne parla.

Jonathan pensa: “Strangi! Yo parlat con li hotelero in german. Il deve parlar german, ma il di que il ne parla it! Yo deve questionar le plu, ma yo ne have témpor. Yo deve departer.”

Nu Jonathan es in su chambre in li hotel. Pos un hora il deve departer. Ma vi! Un old fémina venit a su chambre.

Li old fémina: “Pro quo tu departe? Ples ne departer! Hodíe ne es un bon die! It es un mal die, un die con mal coses!”

Jonathan: “Yo es bon, yo ea vider un amíco. Ples ne parlar pri mal coses.”

Li old fémina: “Esque tu ne save que hodíe es li die de Santo George? Ye decidu (12) horas li mal coses va venir! Esque tu save u tu ea?”

Jonathan: “No no, old fémina, omnicos es bon. Yo es bon, e hodíe ne va venir mal coses.”

Li old fémina: “Ples ne departer! Ples ne departer!”

Jonathan: “No, yo deve departer. Ples ne plorar.”

Li old fémina: “Vi un crucifixe. Li crucifixe es por te.”

Jonathan: “Ah...li angleses ne ama crucifixes...ma mersí. Ples ne plorar.” Jonathan pensa: “In Anglia noi ama cruces, ma ne crucifixes. In Rumania li persones ama crucifixes, ne cruces.”

Nu li old fémina ea e Jonathan es sol in su chambre. Il pensa: “Ti loc es strangi! Un old fémina qui da crucifixes! Ma yo deve departer.”

a, al

 * a
 * Jonathan esset in Anglia e eat a Rumania.
 * al (a + li = al)
 * Jonathan parlat al hotelero in german, ma li hotelero dit que il ne parla german.

cose

 * coses:
 * mann, hotel, cruce, crucifixe, angleso, santo...
 * ne es coses:
 * pensar, plorar, vi, ma, ples...
 * Ili have un, du, li...: un mann, du hoteles, un crucifixe, tri anglesos, li santo...ili es coses.
 * Ili ne have un, du, li...: pensar, plorar, vi, ma, ples...ili ne es coses.

·ero
Un mann in un hotel es un hotelero. Jonathan ea al hotel e parla al hotelero.

qui
Por persones: quel o qui
 * Un old fémina quel da crucifixes
 * Un old fémina qui da crucifixes

dever
dever + infinitive de un verbe
 * Jonathan ne have témpor; il deve departer.
 * Ma li hotelero save german; il deve parlar german!

tu
Li fémina es old, e Jonathan ne es old: li fémina di tu a Jonathan. Jonathan ne di tu al fémina.

ples
ples + infinitive de un verbe
 * Li fémina ne ama que Jonathan departe. Li fémina di: ples ne departer!
 * Jonathan pensa que li hotelero deve parlar german. Il di: ples parlar german!

vi
Vi = vide, it es
 * Vi un fémina = Vide, it es un fémina.
 * Vi un hotel = Vide, it es un hotel!

·ese, ·eso, ·esa
-eso = un mann qui veni de un land.
 * Jonathan veni de Anglia (Angl·ia); il es un angleso (angl·eso).

Por un fémina: ·esa.

Por un person (mann, fémina, o ne save); ·ese

le
il → le
 * Jonathan vide li hotelero: il vide le.
 * Li hotelero da Jonathan li lettre: il da le li lettre.
 * Jonathan questiona li hotelero pro quo il ne parla german. Il questiona le.

omnicos

 * Omnicos es bon = ne hay un mal cose (hay deci coses, e deci coses es bon)
 * Omnicos es mal = ne hay un bon cose (hay deciquin coses, e deciquin coses es mal)
 * Yo save omnicos = ne hay un cose quel yo ne save

Vocabularium

 * anglese
 * chambre
 * cose
 * cruce, crucifixe
 * (cruc·e)
 * (cruc·i·fixe)
 * dar
 * dever
 * ear: ear ⟷ venir
 * fémina: mann ↔ fémina
 * hotelero
 * le
 * ma
 * mal: bon ↔ mal
 * manu
 * mersí
 * omnicos
 * ples
 * plorar: 😢
 * pro quo
 * questionar
 * santo
 * strangi
 * tu
 * vi

|5

title: Salute, Jonathan!/Capitul 5


text:
Salute, Jonathan!/Capitul 6

Contenete - Capitul 5 - Capitul 6 - Capitul 7

Quinesim may (5 may) – Li Castelle.
Hodíe Jonathan va ear al castelle de su amíco Comto Dracula. Li viage al castelle comensa nu. Jonathan sta avan li coche e atende li cochero. “U es li cochero?” il pensa. “Ah, vi li cochero – il parla con li hotelero. Pri quo ili parla? Yo ne have témpor e yo deve departer.”

Jonathan vide circum li coche, e vide mult persones. Li persones parla mult, ma il ne comprende li persones. Jonathan pensa: “Pro quo ili es trist? Yo ne es trist. Yo pensa que ci es un strangi loc, ma yo ne es trist.” Il vide que li persones parla, e move li manus. Il vide lor manus...quo ili fa con lor manus? Ah! Nu il comprende. Ili move lor manus quam un crucifixe. Lor manus ne es crucifixes, ma quande ili move li manus, lor manus es quam crucifixes.

Li cochero veni. Nu comensa li viage. Jonathan sede se in li coche. Anc li altri persones sede se in li coche. Jonathan vide li land circum le, e pensa que it es bell. Hay mult árbores. In ti land hay mult pomes, e mult prunes, pro que hay mult pomieros e prunieros. Il di: "Mmm! Li pomieros es tre bell, e yo vole manjar lor pomes." Il vide anc pires, pro que hay mult pirieros in ti land. Il di: “Tre bon! Li pirieros es tre bell, e yo vole manjar lor pires. Yo ama li árbores del forest." Ma li coche continua, e continua...it es un coche tre rapid! Pro quo li coche ea rapidmen? Il vide li via, quel ne es un bon via; it es old. Ma li coche ea rapidmen! "Esque li coche deve ear rapidmen si li via es old e ne es un bon via?" il pensa. Li cochero ama ear rapidmen, il pensa.

Nu li coche ea in un forest. Lontan il vide montes. Li montes es tre grand, e anc li forest es tre grand. Jonathan pensa pri li montes in Anglia. Il pensa que li montes in Anglia es tre micri, plu micri quam li montes in Rumania.

Circum li coche Jonathan vide, de témpor a témpor, altri persones. Ili es persones de ti-ci land. Ti-ci land have diferent persones quam li persones in ti-ta land Anglia. Li persones in ti-ci land vive in li forest, ma li persones in ti-ta land, Anglia, vive in li grand cités. E il pensa pri li cruce e li crucifixe. Yes, li persones in ti-ci land, Rumania, ama crucifixes, ma li persones in ti-ta land, Anglia, ama cruces.

Quel hora it es? It es six horas. Quande Jonathan sedet se in li coche it esset li matine. Plu tard venit midí. Midí es 12 horas. Poy venit pos-midí; pos-midí es li témpor pos 12 horas. Ma nu it es vésper. Quo es vésper? Vésper es li hora quande li sole ne es alt, ma bass. Nu li sole es tre bass.

Quande Jonathan esset in li coche ye midí, it esset calid. Ye midí Jonathan pensat: “Yo cale! Yo deve trincar!” Ma nu, quande it es six horas, li sole es bass, e it ne es calid; it es frigid. Nu il pensa: “Yo frige! U es li sole?” Quande Jonathan cale, it es calid, e quande il frige, it es frigid. Jonathan ne vole caler, ma il ne vole anc friger. Il ne amat esser calid, ma nu il ne ama esser frigid.

Jonathan di denov: “U es li sole?” e il di: “Quande va finir li viage? U es li castelle de mi amíco Comto Dracula?”

se

 * Jonathan sede se = Jonathan sede Jonathan.

ti, ti-ci, ti-ta
Quande Jonathan es in Anglia, Anglia es ti o ti-ci, e Rumania es ti o ti-ta.
 * Jonathan in Anglia: "Yo pensa pri un land. Ti land es Anglia."
 * Jonathan in Anglia: "Yo pensa pri un land. Ti land es Rumania."
 * Jonathan in Anglia: "Yo pensa pri un land. Ti-ci land es Anglia."
 * Jonathan in Anglia: "Yo pensa pri un land. Ti-ta land es Rumania.

Quande Jonathan es in Rumania, Anglia es ti o ti-ta, e Rumania es ti o ti-ci.
 * Jonathan in Rumania: "Yo pensa pri un land. Ti land es Anglia."
 * Jonathan in Rumania: "Yo pensa pri un land. Ti land es Rumania."
 * Jonathan in Rumania: "Yo pensa pri un land. Ti-ta land es Anglia."
 * Jonathan in Rumania: "Yo pensa pri un land. Ti-ci land es Rumania."

Jonathan es in li hotel e pensa que su hotel es bon, ma il pensa que li altri hotel es plu bon. Il pensa: "Ti-ci hotel es bon, ma ti-ta hotel es plu bon."

·iero
Un ·iero es li árbor de un cose.

men
Adjective: rapid. Adverbie: rapidmen
 * Jonathan es rapid. Il ea rapidmen.
 * Jonathan es inteligent. Il pensa inteligentmen.

Ma on posse parla sin -men si on vole: Jonathan ea rapid, Jonathan pensa rapid, Jonathan scri bon.

Vocabularium

 * árbor
 * atender
 * avan
 * caler
 * calid
 * circum
 * coche
 * cochero
 * comprender
 * con
 * de témpor a témpor
 * denov
 * finir ↔ comensar
 * forest
 * friger
 * frigid
 * lor
 * matine
 * midí
 * mover
 * pire
 * piriero
 * pom
 * pomiero
 * pos-midí
 * prun
 * pruniero
 * rapid
 * seder, seder se
 * sole
 * trist: trist ⟷ felici
 * vésper
 * via: un long strade

|6

title: Salute, Jonathan!/Capitul 6


text:
Salute, Jonathan!/Capitul 7

Contenete - Capitul 6 - Capitul 7 - Capitul 8

Settesim capitul (7.esim capitul)
Li coche ea, e ea; it continua ear. Jonathan vide mult coses ex li coche. Il es in li coche, e li coses ne es in li coche; il vide les ex li coche. Il vide cruces, mult cruces. Jonathan questiona li cochero: “Esque yo posse descender del coche?” Li cochero: “No. Hay mult canes. Vu ne posse.” Jonathan: “Quo? Hay mult canes?” Li cochero: “Yes. E anc ex li coche, vu va vider mult canes.” Li cochero ride. Jonathan pensa: “Pro quo il ride?”

Nu it es nocte; ne hay sole. Li coche ea plu e plu rapidmen. Li persones in li coche di al cochero: “Ea plu rapid!” Jonathan pensa: “Pro quo ear tam rapidmen?” Jonathan vide tre grand montes ex li coche. Jonathan vide que li persones in li coche es tre excitat; ili parla mult. Li persones in li coche di excitat: “Ea plu rapid!”

Nu li coche halta. Ili es in un passe inter li montes. Jonathan save, que ci il va vider li coche por ear a su amíco Comto Dracula ma...u es il? Avan Jonathan es li via, e solmen li via. Li persones in li coche es felici. Ma Jonathan ne es felici. “Pro quo venir ci u ne hay li coche por ear a mi amíco Dracula?”

Li cochero parla a un person in li coche: “Noi ha esset rapid. Noi ha venit ci con un hor de avanse.” Li cochero parlat con un micri voce, ma Jonathan audit le. Jonathan pensa: “Pro quo it es bon har venit ci con un hor de avanse?”

Nu li cochero parla a Jonathan con un grand voce. Il di: “Jonathan, li Herr (german: li Senior) ne va venir ci hodíe. Il va ear a un altri cité, li cité Bukovina. Fórsan deman li Herr va venir ci. Fórsan yes, fórsan no. Yo ne save. Noi deve departer.”

Jonathan es trist e pensa: “Pro quo li Senior Dracula ne es ci? Pro quo yo deve departer?”

Ma, quo es to? Li cavallos es excitat. Anc li persones in li coche es excitat. Jonathan vide, e ta il vide un altri coche, plu grand, con quar cavallos. Li nov coche es plu rich, e plu grand quam li coche in quel Jonathan sede se. Li quar cavallos es nigri, e tre grand. In li nov coche Jonathan vide un altri cochero. Li altri cochero es grand, e alt, e have un barbe. Li barbe e li fort manus del cochero fa Jonathan pensar que il es un tre fort mann. Ma Jonathan ne posse vider li visage del altri cochero.

Li altri cochero di: “Tu ha venit ci rapidmen, mi amico.”

Li cochero: “Ah...li anglés Herr volet ear rapidmen...”

Li altri cochero: “Yo save, que tu volet ear a Bukovina. Yes, yo save to quo tu pensa. Yo es plu inteligent quam tu. Da me li bagage del anglés senior.”

Li cochero da li bagage de Jonathan al altri cochero. Li altri cochero es tre fort; Jonathan vide que il es fort quande il vide su manus. Li altri cochero prende li bagage con su fort manus, e tre rapidmen li cose es finit.

Nu Jonathan sede se in li altri coche. Hodíe ha esset un long die por Jonathan. Ma nu comensa li altri viage.

har
Har + altri verbe + -t
 * Jonathan es in Rumania. (nu il es in Rumania)
 * Jonathan esset in Rumania. (nu il ne es in Rumania)
 * Jonathan ha esset in Rumania. (il esset in Rumania, e il nu es in Rumania)

-t quam adjective
Un verbe in -t es anc un adjective.
 * Li viage excita Jonathan. Il es excitat.
 * Il haltat li coche. Li coche es haltat.
 * Il continuat li viage. Li viage es continuat.

Vocabularium

 * avanse
 * bagage
 * barbe
 * can
 * cavalle (cavall·o, cavall·a)
 * continuar
 * descender
 * ex
 * excitat
 * verbe: excitar
 * fórsan
 * fort
 * haltar
 * har
 * inter
 * nigri
 * nocte
 * passe
 * rich
 * rider
 * to
 * trist
 * u
 * visage

|7

title: Salute, Jonathan!/Capitul 7


text:
History of wireless telegraphy and broadcasting in Australia/Topical/Biographies/Patrick John Golden

More than 150 key articles relevant to Patrick John Golden, mainly from the NLA's Trove Digitised Newspapers have been transcribed for ease of reference here: Patrick John Golden - Transcriptions and Notes