⠕ Features of the Hymmnos grammar

Hymmnos, described as the "language of emotions", has, as its most prominent feature, a sentence structure that focuses on expressing the speaker's feelings. Because it is focused on the speaker's feelings, statements nominally flow from a first-person perspective. As with so many other things, perhaps it will be easiest to understand how Hymmnos differs from other languages by looking at an example:

Was yea ra chs hymmnos mea
Emotion Sound verb object object
great, enjoyable happiness
(I am delighted)
become song me

This sample sentence means "I am delighted to express myself through song," conveyed with an expression of genuine joy by the speaker.

⠕ Emotion Sounds

The first three words in a phrase comprise an Emotion Sound; the meaning of these three words are described in this section.

[first : degree]-[second : nature]-[third : desirability]

▼ First word
The first word in an Emotion Sound describes the degree of the speaker's emotion.
Rrha trance-like
Was very much
Wee reasonable
Fou a little
Ma discretionary
Nn reluctant

▼ Second word
The second word describes the emotion being conveyed.
i impatient
yea happy
waa happy
paks excited, nervous
num nil
ki focused, concentrating
wol fervourous
apea blessed, bathed in happiness
au sad
granme wanting to protect, brave
touwaka hopeful
quel eager, desperate
yant fearful
guwo angry, resentful
jyel lonely
zweie determined, sincere

▼ Third word
The third word describes how desirable the speaker finds the context of the emotion.
ga I want this to stop
ra I want this to continue
erra I want this to continue forever
wa I can tolerate this
gaya I never want this to happen again
gagis I am indifferent

<Effects of Emotion Sounds>
Even when speaking the same core sentence, the meaning conveyed by a speaker whose emotional state is cool and collected may be wildly different from the meaning conveyed by a speaker who indicates seething anger. Some Hymmnos used to control Towers have different effects depending on the Emotion Words with which they are spoken. For example, a command used to open a door may receive a faster response if the emotional context with which it is delivered indicates desperation rather than calmness.

⠕ Prescriptive syntax

In the example above, although the word for "me" was used as a noun, it was not an indicator of narrative perspective. The nominal form of Hymmnos is first-person, which is logical because it is a language primarily centred around conveying the emotions of its speaker. However, structures do exist that allow statements to be expressed in terms of second- and third-person narrative perspectives, and these will be discussed shortly.

General sentence structure

[Emotion Sound]-[verb]-[compound] [VC]
[Emotion Sound]-[verb]-[object]-[compound] [VOC]
In our example sentence, "Was yea ra chs hymmnos mea," the Emotion Sound is "Was yea ra," the verb is "chs," the first object is "hymmnos," and the variable component is another object, "mea".

Compounds may be any structure satisfying [nil/O/VC/VOC], which means that sentences may be infinitely long, provided they continue to make use of nested compounds.

External-perspective sentence structure

[Emotion Sound]-[verb]-rre-[subject]-[verb]-[compound]
[Emotion Sound]-[verb]-rre-[subject]-[verb]-[object]-[compound]
In this case, the sentence structure is [VSV'C/VSV'OC].

The first verb, [V], indicates the speaker's action, and the second verb, [V'], indicates the subject's action.

"rre", the subject identifier

Because Hymmnos does not nominally have an explicit subject, it has need of a special subject-identifier; this identifier is "rre".

When "rre" appears before an object, that object becomes the subject of the sentence. However, regardless of any shifts in subject, the sentence's Emotion Sound is relative only to the speaker.

Pronoun alternatives to "rre"

Subject-form pronouns may be used in place of a "rre-[subject]" component. Hymmnos's pronouns extend those found in English by accounting for gender and quantity.

Pronoun Object form Subject form
you yor yorr
you (plural) yora yorra
he hes herr
they (masculine) hers herra
she has harr
they (feminine) hars harra

This may be obvious, but no sentence may contain more than one subject, so "rre" or its equivalents may appear only once, precluding changes of focus in compounds.

Historically, non-first-person sentences were not part of standard Hymmnos; it was not until the formation of Central Standard Note that "rre" formally became part of the language to further its communicability.

⠕ Persistent Emotion Sounds definition syntax

This section describes a structure that allows an Emotion Sound to be applied to an arbitrarily large collection of sentences. This is important because it prevents a speaker from having to continually express their emotions before every sentence in a series of related statements, such as a stanza in a hymn.

 Ma num ra 0x vvi. [Emotion sound ("Ma num ra") BEGIN]
    [any number of sentences in Hymmnos]
  (Hymmnos sentence)
    [any number of sentences in Hymmnos]
 1x AAs ixi. [END]

This means that, between the statements "0x vvi." and "1x AAs ixi.", every sentence will bear the Emotion Sound "Ma num ra". 0 and 1 are, of course, binary flags; as qualified numbers, "0x" is pronounced as "o ku", and, likewise, "1x" as "i ku".

⠕ Variations on Emotion Sounds
Emotionless sentences

Emotion Sounds, and, optionally, the initial verb, may be omitted from sentences, even when they are not part of a persistent Emotion Sound sequence, leading to [VC/VOC].
When Hymmnos is spoken in this manner, it will not be processed by Towers, making it little more than a spoken, though highly melodious, language.

Emotionless sentences may adopt a subject other than the speaker if they are presented in [SVC/SVOC] format. (In this case, the "rre" is optional)

Overriding Emotion Sounds

Although sentences expressed within the context of a persistent Emotion Sound sequence already bear Emotion Sounds by definition, it is possible to explicitly change the Emotion Sound associated with a specific sentence by prefixing it with another; explicitly specified Emotion Sounds always take priority. Doing this saves the speaker the trouble of ending one persistent sequence for a single sentence, only to have to begin another sequence immediately afterwards.

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