janKipo wrote:Errrh, shouldn't this be in the musi section?
The poetic styles that you mentioned may work, actually. Maybe the invariable initial stress can get me somewhere in meter styled poems? I never tried that. Syllabic poem structure are what got me into this tp spin-off, however: since I write mostly haiku and tanka, simple yet ridiculously long words like kepeken butcher the whole poem because they take up three spaces, leaving only two syllables for the rest of my creative brain to try to fill in the first line of a haiku, for example. That's assuming somehow I used kepeken incorrectly. If I go grammatically correct, though, it'll all get screwed up because I'd have to split my words to convey my meaning. There is simply no way to express "Use your head (o kepeken e lawa sina)" or something of the like in seven or five syllables, for example. My system needs more thinking in this aspect too: cases and stuff aside, kepeken and a few other monsters are usually used as verbs. That means I have to shorten them too... aaah, pain in the monsi. No one said that conlanging was easy, huh?So, you're having trouble with tp poetry. Are you sure you are using the right forms? A language determines its poetry to a large extent:I used to lecture for an hour and a half and scarcely ever got away from iambs. Greeks, with the full weight of their IE heritage, have to go for dactyls -- and have enough virtually meaningless particles to carry it off. Romans not so much, despite "Pubs" Maro's best efforts. tp. with its mixture of iambs, dactyls and meaningful monosyllables, doesn't lend itself to classic Western forms. So something else is recommended. But assonance and rhyme are embarrassingly easy (so much so that vile doggerel rears its ugly head -- bad puns are easy, too). Semantic parallelisms are hard because of the limited vocabulary -- we have yet to figure how to say most things one way, let alone two. As you might expect, syllable based forms work pretty well: haiku and its ancestors. And, of course, there is always free verse.
I'm quite aware of the fact that nobody wants to learn another tp, especially ones with inflections, so I wasn't even hoping for its adoption. Besides, poetry that happens in Vegas-err, my head stays in my head, so basically this overcomplicated tp is esentially my own tp code that only I will understand. I just felt like it was an unconventional idea that would be interesting to some people. For observation, of course.As to the proposal taken seriously, all the usual objections apply: it's complex, not simple; changing words increases the difficulty in learning by at least an order of magnitude (probably more, since tp is very easy now); cases complicate structural rules --- especially if case allows words to break free from positional function markers. And so on.
I guess you might have already guessed that I am a conlinguist? (Yes, it's spelled conlanger. I know. However, conlinguist is waaay more euphonious) I just love tinkering with the inner structure of languages, making them work like I want them to. For example, a polysynthetic version of English is sitting around in the margins of various papers gathering dust strewn on my desk. Obviously, I make a lot of languages of my own, none turning out quite the way I want them to.That being said, the proposals look like they might build into a rather interesting language, another spin-off from tp in a novel direction (there are already a handful of spin-offs), and, as such, I, as a member of the Language Creation Society, encourage you to develop it. Because, yes, some of those moves are a lot of fun (almost as good as putting clicks in Mohawk).
Tp and tp spin-offs complete each other. One cannot exist without the other...But always remember, it ain't toki pona.
Users browsing this forum: No registered users and 2 guests