The Song of Leaving

A well-known work in classical mërèchi, which has been extensively studied.

The text

níltë pëdélamnö

délap'da míri,
lóp'a pëdélam'da.
édla, ëlérü,
hró riba d'ésö'fa,

hró riv ësóp'fa?

kímo pëfóram'fa,
làtemi ùngë
élaten p'àssim'r,
kímo pëfóram.

In the reformed orthography:

nílte pedélamno

délapda míri,
lópa pedélamda.
édla, eléru,
rhó ríba désofa,

rhó rív esópfa?

kímo pefóramfa,
látEmi Únge
élatEn pássimr,
kímo pefóram.

Interlinear text

níltëpë-déla-m-nö
songACT. PTleaveACT. PT-of
songof leaving

déla-p-damíri,
leavePRES.2ND PSagain
you leaveagain,

-p-apë-déla-m-da.
watchPRES.1ST PSACT. PTleaveACT. PT2ND PS
I watchyou leaving.

édla,ëlérü,
goodbye,farewell,

hróribad-ésö-fa,
whythusshouldCOP.1ST PP
whyshould we be thus,

hrórivësó-p-fa?
whyalwaysCOP.PRES.1ST PP
whyalwaysare we?

kímöpë-fóra-m-fa,
foreverACT. PTpartACT. PT1ST PP
foreverare we parting,

làtem-iùn
tree-like3RD PS INAN.POSS.
like a treeits

élat-enp-àss-im-r,
leafPL.ACT. PTloseACT. PT3RD PS
leaveslosing,

kímöpë-fóra-m.
foreverACT. PTpartACT. PT
foreverparting.

Conclusions

This text may well represent the first appearance in the corpus of the later form of the active participle (and sometimes gerund), the circumfix pë...im (shortened to p...m in the presence of vowels). Experts are divided on whether this text or the chant of goddesses, àn tylchàn, which also uses this form, came first.

The pë...im form exhibits remarkable flexibility, being used in some circumstances as a gerund (cf. níltë pëdélamnö, in which the gerund takes the genitive marker), in others as an active participle (kímö pëfóram), and in yet others as the imperfective of the verb, taking a pronomial suffix as if it were a verb form (pëfóram'fa).

Words which first appear in this text:

We also note that this text uses the obligative mood prefix -d, as first set forth in the early classical verb tense documents, but without the ending -p as demonstrated there.

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Last updated: 4/22/2002