Firesof athvezhvenari! Happy New Year! 2014 was a pretty swell year for Dothraki, as it saw the publication of Living Language Dothraki, the official introductory guide to the language, but onward we ride!
To start the new year off, I thought I’d go back and do a post I’ve been wanting to do for some time. A while back, Monserrat Vargas asked me for a translation of the famous Star Trek phrase “To boldly go where no man has gone before” into High Valyrian, as she intended to get it tattooed. I provided the translation here, and shortly thereafter, she got it tattooed—and sent me the pictures! Since I had her on the line, though, I decided to turn her new acquisition into an interview.
You see, I, like the majority of Americans, do not have any tattoos. (A poll quoted here says about 23% of Americans have tattoos, as of 2010.) This is not something that’s likely to change, as I can’t imagine getting a tattoo, and my wife is opposed. Unlike the majority of people who actively do not want to get tattoos, though, I think tattoos are the absolute coolest things in the world. I have opinions about what makes a good tattoo, and how much is too much, for my aesthetic tastes, but in general, I find tattoos fascinating and, well, badass. Nothing’s tougher than a tattooed biceps.
Because of this fascination, I’m always curious as to why those with tattoos get them, why they chose the tattoos they chose, etc. In the case of Monserrat Vargas, the choice is doubly interesting—not merely because she decided to get a tattoo in High Valyrian, but because this was her very first tattoo! I’m not certain, but I think that may be a first, for my languages (as far as I know, everyone else who had something tattooed in one my languages already had other tattoos). To learn more about why she made this decision and what went on behind the scenes, I conducted an interview with Monserrat Vargas over e-mail, which is copied below (with pictures!). Enjoy!
Q: Is this your first tattoo? If so, why did you decide to get a tattoo? If not, why did you decide to get your first tattoo? (Feel free to go into the meaning, but I’m also curious why you thought a tattoo was the way to go.)
A: Yes, this was my very first tattoo. I’ve always known that I wanted tattoos. They do tend to get a bad rap because they’re so permanent and that’s an intimidating thought. But to me, they’ve always represented the wearer at their deepest—most honest—level. I wanted my tattoos to be a visual representation of who I am. However, I also wanted it to be subtle. Truly an art piece. Everyone chooses how best to express themselves—I chose tattoos! The decision to FINALLY get my first tattoo was made because I was about to embark on a new stage of my life. I was leaving my hometown of Los Angeles, California to move to Seattle, Washington. It felt right to get my first tattoo as a tribute to my hometown. It would be the ultimate reminder of family and friends!
[Note: I didn’t know you lived in LA! But now that you’re gone, I’m going to be in Seattle this April for Norwescon. We should meet up!]
Q: What’s your connection to Star Trek—and what’s your favorite instantiation of the series?
A: I’ve been a huge fan of Star Trek from a very young age. It inspired my love for the stars and most especially for the science-fiction genre. Of course I love TOS (Star Trek: The Original Series). That was how I discovered Star Trek and that’s a bond that can’t be matched. But, as sacrilegious as it may be to say, I especially loved Enterprise because I was old enough to catch the real time broadcasts as opposed to discovering it via re-runs. It was always such a thrill to be a part of their next, great, space adventure!
Q: You kind of answered this already, but why this quote in particular? And then why around your ankle?
A: “To boldly go where no man has gone before.” The quote that encompasses and defines Star Trek. This was a quote that followed me as I grew up. It became more than a symbol for the show—it became a value I chose to live by. It encouraged me to not do things just because they’ve always been expected and done. To genuinely consider new, and even scary, possibilities. It’s what gave me the courage to pack up and leave the home I’ve always known. The choice in placement… I’ll be answering that part of your question in question 7.
Q: Who did the lettering? It’s gorgeous! Did you do it?
A: The lettering is intended to be Elvish from Lord of the Rings. I say “intended” because there are some slight modifications that needed to be made. When you get a tattoo you can’t just tell the artist, “I want this!” Certain alterations need to be made. What looks good on paper won’t necessarily translate well to skin. I researched heavily before I got my tattoo and I finished my journey at Ink Monkey Tattoo in Los Angeles (on the corner of Venice and Lincoln). I came across artist Juan Ramón Solano (goes by Ramón). He’s a magician when it comes to line work and lettering. When I saw his portfolio I knew I was in good hands.
Q: I’ve always been curious. A tattoo artist, in effect, has to be able to do every type of art—and well—in order to reproduce others’ drawings. And furthermore, they have to do it without making a mistake. So, like…how? How nervous are you of the tattoo artist making a mistake? Can you get your money back if they do make a mistake?
A: You’re putting a permanent piece of art on your body, of course you’re going to be scared that something’s going to go wrong! But you do your best to mitigate that fear beforehand. You REASEARCH, RESEARCH, RESEARCH. I can’t stress that enough! Do NOT go into some random beach tattoo parlour, do NOT make this choice when you’re inebriated. Do NOT make this choice unless you are ABSOLUTELY sure it’s what you want. If you interview with an artist and you’re not comfortable, don’t do it. There was an artist I interviewed with whose portfolio was promising and seemed capable—but their station was a mess! That immediately drew me away. There were establishments I didn’t even consider for more than a minute because the entire place was a mess. If you sense a tiny bit of unease, red flag that place and walk away.
When I walked into Ink Monkey it was immediately welcoming. The atmosphere was clean, professional, and fun. Ramón sat me down and we talked at great length about what I wanted and what options I had. We worked together on reworking the idea in my head into something that would complement me. He knew I was nervous so he thoroughly explained every part of the process and repeated himself as he began every step. He attended to my needs and helped keep me calm and happy. We build a bond of trust between artist and canvas.
He actually did make a slight mistake! Sometimes no matter what you do—mistakes happen. But Ramón handled it like a pro! In the word nēdenkirī what he thought was an n was actually the rī. Ramón immediately realized his mistake—confirmed with me that it was a mistake—and set it right. He mixed an ink color that perfectly matched my skin tone and broke the line between the two letters. When he was done, you couldn’t even tell that there had ever been a mistake! When mistakes do happen, any reputable tattoo artist has methods in place to correct it and make sure you walk away absolutely thrilled with your decision. There are even tattoo artists whose portfolio consists of fixing the shoddy work of other (less talented) tattoo artists!
Q: And, of course, the top question on the mind of anyone who’s never gotten a tattoo: On a scale of 1 to 10 (10 being most), how much did it hurt?
A: In regards to pain, that depends on the location of your tattoo. If you get it in a location with more fatty tissue or muscle to cushion you, it will hurt less. But if you get it somewhere where there’s very little to cushion the bone, then be prepared for it to sting! Since I got my tattoo on my ankle, I was in quite a bit of pain! The WORST bit was closer to the heel. I was handling it like a champ until he got to that part. Ultimately, it’s a needle piercing just underneath your skin. If you can’t handle a shot—then I’d rethink a tattoo. In answer to your question I started out with a 6/10 but it definitely ended with an 8/10!
Q: Any ideas for another tattoo if you’re getting one?
A: As far as other tattoos I plan to get… Now that’s where this gets pretty dorky. I got the tattoo around my ankle because this tattoo will be part 1 of a 3 part tattoo. This part is a matrimony of 3 television/book series that I deeply enjoy (Lord of the Rings, Game of Thrones, Star Trek), all represented in a way meant to represent my love of language.
Part 2 (which I’ve already gotten as of July) is a representation of my love of music. It is located on my other ankle and it’s a musical arrangement containing pieces from Harry Potter, Star Wars, and Doctor Who.
The final part—which is still in the planning stages—will represent my love of symbolism in art and it will be an homage to some of my favorite video games (Gears of War, Bioshock, and World of Warcraft) that will be located between my shoulder blades. Thus turning myself into a visual representation of a Triforce. The ULTIMATE homage!
[Note: As a ten year WoW player, it’d better be the Horde emblem you’re getting, and not the Alliance!]
Thank you for taking the time and sharing your photos, Monserrat Vargas! Your tattoos are awesome! You’re a lajak tawak in my book.
Coming soon: The Dothraki Haiku Competition. Maybe now that Living Language Dothraki has come out, we’ll see even more challengers trying to knock Qvaak off the throne!
So back when I announced the annual Dothraki haiku contest, I thought it would be fun to see if anyone could do something with High Valyrian. Then this thing basically became all about High Valyrian. Yikes!
All right, so let’s deal with that first. Since Japanese originally used mora counting for its haiku, I thought it would be cool to do that for High Valyrian, since it also had long and short vowels. Clearly I did not think this through. High Valyrian words are way too big for a haiku. The form just doesn’t make sense. If anything, one should only pay attention to syllables. That might make haiku possible for High Valyrian; it just makes the practice a little less interesting. Haiku seem to work very well for Dothraki, but it’s just not going to work for High Valyrian.
In discussing this with my wife, she had an idea: What about limericks? Kind of sillier, but I think it could work, because three of the lines are usually quite longer. I think of the classic limerick as being 9-9-5-5-9 (syllable count) with an AABBA rhyme scheme. However true limericks often will have more syllables than that (or fewer, as the case may be), which I think would suit High Valyrian quite well.
So this is what I want to try. Those who were trying to do High Valyrian haiku, try a limerick. Give it an AABBA rhyme scheme and try to make the B lines shorter, but there will be no strict syllable counts. We all know what limericks sound like, so you should try to make it sound like that. Use the heavy syllables to your advantage. If you want, you can have long vowels count for more than one syllable, if it makes sense in your schema, but you’ll be in charge of coming up with that schema (the poem itself will, essentially, argue for a meter). Anyway, once you’ve tried it out, if you think it’s doable, I’ll announce a separate High Valyrian limerick contest at some point in time later on. You’ll have more time than the Dothraki haiku contest, since the form is longer and a bit more complicated. Let me know what you think in the comments.
Now, unfortunately because of new work that has come up, I’m not going to be able to review as many submissions as I wanted to. If you’re new here, go check out the comments on the announcement post, because there’s some great material there. For this post, first let’s look at Joel W’s Valyrian haiku:
The intended meaning is “Smoke and ash will come with the winds”. Very elegant! I like the use of the coordination strategy to stretch out the second line (i.e. lengthening the last vowel of ñuqir). Very well done! Technically it should be jelmȳssi, but that doesn’t change the mora count. Also the second line is one mora short if you discount codas. If you count the final r of ōrbar, though, it works, so I will count it. I like it! This is probably my favorite High Valyrian offering of the bunch.
This is another good one from Zhalio:
Valyria, yn vēzos
That is “Valyria fell before, but the sun continues to rise”. That’s the literal translation. Discounting final consonants, that does work. Nice job! In the comments, Mad Latinist suggested that it should be ropetas? It should not: ropatas is correct. This is because the stem is ropa-, not rop-. Easy mistake to make, though.
Honorary mentions go out to Zhalio and Joel W who tried to translate the Pater Noster, despite lacking most of the necessary words! You can see Zhalio’s translation here, and Joel W’s translation here. I don’t have time to review them, but will look into coining some of that vocabulary.
And before leaving Valyrian, I definitely want to mention Mad Latinist’s opening to the Dæneryd, which sounds like an awesome subject for an epic poem. Mad Latinist wrote up this post on his LiveJournal discussing and presenting two lines he wrote in epic Graeco-Roman hexameter in High Valyrian. The form is, indeed, much better suited to High Valyrian than a haiku is, and the result is incredible. The lines are here:
Ābre se zaldrīzī bone ivāedan hen Essot jitte
ēlī Pento se Dothrakoti Embraro rȳ ondoso vējo…
He didn’t attempt a fluent English translation, but I will: “Dragons and that woman I sing, from Essos sent / First through Pentos, then the Dothraki sea, by the hand of fate…” Sounds awesome. Sounds like something that should be attempted after the series has completed (I promise High Valyrian will have enough words to handle it at that point). It’d require GRRM to sign off on it, but wouldn’t that be awesome? After all, all the old myths are told and retold; they’re not made up whole cloth. Daenerys would be an outstanding subject for an epic poem (or I’m assuming. I too don’t know how it ends). You can hear Mad Latinist’s friend pronounce it here (good reading!).
If there is one quibble I’d have, it’s with ivāedan. Since the oblique applicative is being used, it should be standing in for some sort of adpositional phrase which is appropriate to the oblique applicative. Unfortunately if you want to say something “about” something, the postposition you’d use is bē, which is technically a locative postposition, so it should probably be uvāedan (and the cases would have to change accordingly). But maybe you could get away with ivāedan.
Okay, enough Valyrian. On to the Dothraki!
Let’s start with Hrakkar’s:
Chaf hol she mae noreth
Me davra hrazef
The intended meaning is, “She is beautiful, wind blew on her hair, she is a good horse”. Of course, “she” is just a translation choice; it could be “he” or “she” in Dothraki. There are a couple of things that need fixing. First, zheanalat is the infinitive; it should be zheanae. Next, the possessor comes after the thing it possesses, so it would be noreth mae, but also since “hair” is inalienably possessed, it should be moon, or just not expressed. I might also have used vi instead of she for “through her hair”. So it would be Chaf hol vi norethaan, which would indeed be seven syllables. It’s debatable, though. She is supposed to serve as the locative preposition that “makes sense”, so it could work here. In the last line, it should be hrazef davra (noun-adjective word order), but otherwise this is pretty good! I like it!
Here’s The Majesty’s submission:
Lirof mra lekhofaan
Noreth nem jesa
I think the intended meaning is “Trying to turn a great piece of writing into a great language is hair being pulled”. I’ll give you an A for effort here, The Majesty, but this doesn’t really work. Neither kis nor notat can be used in that way. But you did get the message across! Yeah, I gave up on trying to translate the prologue for the first book after sentence one.
Next we have Zhalio’s entry:
Vosma mra noreth anni
A good translation of this is “The stallion is stronger, but my hair has more bells in it”. A nice one! Two things are standing in the way of this one being great, though. The first is that “hair” is inalienably possessed, so it should be noreth anhoon. That’d put it one syllable over, but you could do vosm’mra (it is poetry, after all). Second, adjectives follow nouns, so it should be ayena ale. I could see how you’d get a determiner reading for this, though. If you were to put it in front, I would say it has to be ale ayeni—maybe alikh ayeni, “a surplus of bells”. The content is terrific, though, and I really like the use of mra here as “have”. Ordinarily it’s just mra qora which is kind of used as “to have”, but it makes sense to use it with noreth here. Great job!
Now we move to Qvaak. This year Qvaak did a cycle of poems switching between High Valyrian and Dothraki. It was a bold attempt! You can see the whole thing here. I’ll only discuss the two Dothraki haiku here.
First, it begins with this:
Mra qevir noreth
My translation is, “In the forest, hair clings to one’s face: a gift of the spiders.” My only complaint is with the punctuation: I would’ve used a colon rather than a semi-colon. Otherwise, this is good Dothraki! Excellent choice of adding the inchoative -o suffix to fenat (an invention of Qvaak’s; wholly appropriate). I might also have said azho qosaroon, given where it comes from. Otherwise, very good—and certainly a feeling we all know, if you’ve ever run into a spiderweb.
But, of course, no poem with spiders in it is going to win the Mawizzi Virzeth! No, that honor goes to this haiku:
finis adakh me.
My translation is “The treasure of the wastes is the bones of men whom it has devoured.” Qvaak translated this as “desert”, but there actually is a Dothraki word for “desert”: zelatha (inanimate, Class A). I think it’s also the mark of a good poem when the translation doesn’t do the original justice, and I think that is the case with this poem. I like that on account of the relative clause the subject is forced to go last. Gives it kind of a stinger at the end. Also, if you wanted to switch to “desert”, it’d be an easy fix: Just change it to masar zelathi. I like it the way it is, though. Very nice!
Here’s my rendition of it:
And, yes, this means that, three years running, the Mawizzi Virzeth goes to the evidently unbeatable Qvaak.
You’re a machine, Qvaak! A soulful, artistic machine. Hajas, zhey Qvaak!
Thank you to all who submitted haikus this year, and thank you to all those who ventured into Valyrian territory. Let me know what you think about my idea and we’ll see about starting up another competition. A different option might be two do a hexametrical couplet like Mad Latinist did, but I thought this might be too difficult. Thoughts? I’m open to either. Mad Latinist’s was outstanding.
Well, it’s that time again. It’s been another year, and now I’m thirty-three. It’s been a heck of a year. I presented at TED and El Ser Creativo, did a really epic season of Game of Thrones that got totally shafted by the Golden Globes, the first season of Defiance, Thor: The Dark World, and picked up a couple new projects. What I didn’t do was get to 4,000 Dothraki words. Things have really slowed down on that front. Having a bunch of stuff to work on is outstanding, but it does mean that I’m not able to expand the languages as much as I’d like to, or give them as much attention as I’d like to. I haven’t forgotten about anything, I can assure you, it’s just going to take more time for me to get things settled.
Consequently, there’s not a lot of new material to work with for this year’s Dothraki haiku competition—which begins right now! I’ve thought a lot about expanding to include Valyrian, so here’s what I’ll say. I will allow Valyrian haiku, but they won’t compete directly with the Dothraki haiku. If there are a sufficient number of submissions, I’ll make Valyrian a permanent member of the haiku competition. For now, though, Valyrian is an expansion language, and Valyrian compositions will not be accepted for the coveted Mawizzi Virzeth.
Now, let’s see if I can come up with something of my own:
Vezh chak karlina
Ma frakhoki vash kashi
Okay, that should be figure-out-able, but I won’t lie: it’s a little tricky.
This year’s challenge word is noreth, “hair”. Because I like it. Again, the challenge word is not required, but if you wanted something to give you a jump start (in case you can’t think of a theme ex nihilo), try using the challenge word. It’s got kind of a strange shape (and was likely inspired by the Moro word ndreth, which is the plural of ereth, which means “clothes”).
And here are the rules, reposted from last year:
For the purposes of this contest, a haiku is 17 syllables long, with the syllable counts for each line being 5, 7 and 5, in that order. If you need to fudge, we’ll set up a separate category for haiku that are 17 syllables, but maybe don’t hit the right line numbers.
Also (and this is important), since this is Dothraki, we are definitely going by syllable count, not mora count. Regarding syllable-counting, in Dothraki, a syllable is defined as a vowel plus one or more consonants on either side. A syllable cannot contain more than one vowel, which means that a word like kishaan is trisyllabic, not disyllabic.
If it helps, you may or may not contract the various prepositions that contract. So, for example, mr’anha (two syllables) is the usual way of saying “inside me”. For your haiku, if you wish, you can separate the two out, i.e. mra anha (three syllables). You can also drop purely epenthetic e vowels (so the past tense of “crush”, kaffe, can be rendered as kaff’). Feel free to play with word order and drop pronouns, as needed, bearing in mind that such language is figurative, and the reader will still need to be able to figure out who’s doing what to whom.
For Valyrian: Long vowels count as two mora, and a vowel with a coda counts as two mora, but a syllable will not have more than two mora. So a long vowel plus a coda consonant will still be two mora, for the purposes of the poem. Try doing this with mora, instead of syllables, and see how it goes. This will make it more like a real Japanese haiku. If you need a particular word in a particular number/case combination or a verb in a particular conjugation, please let me know and I’ll give it to you.
Addendum: Rising diphthongs count as two mora (i.e. ae and ao); falling diphthongs count as one (e.g. ia, ua, ue, etc.). Also, word order is certainly freer in poetry than it is in everyday speech, but the rules about adjectives still apply (i.e. you use the short forms if the adjective appears directly before the noun it modifies; otherwise they’d take their full forms). And, finally, word-final consonants are extrametrical. Thus if a word ends in -kor, that counts as one mora, not two.
Shieraki gori ha yerea! Fonas chek!
Or, I suppose, a new English script, depending on how you look at it. Way back at the beginning of this year, long-time Dothraki lajak Qvaak put together a new script for writing Dothraki. Those who’ve followed the blog a while will remember Qvaak also put together another script for Dothraki that’s based heavily on the romanization system. That one was pretty cool, but this one is quite a bit different. Take a look.
Pretty wild, huh? The above is the text from one of Qvaak’s haikus, which says:
The script itself is actually derived from the roman alphabet (as should be clear with some of those characters, at least), but letters have been enlarged and shrunk and arranged into glyphs (and then into word blocks) in clever ways. Essentially the way it works is the glyph is based around the vowel of the syllable in question (that’s the big boxy part). The initial consonant is put in the middle and the coda consonant is placed on the lower right. The extra lines are either giving you information about word groupings or punctuation, or they’re there for decoration (to get rid of the blank space).
To get a handle on the system, here are all the consonants:
Here are some ligatures for syllable that start with a consonant and approximant:
And these are nasal ligatures:
And now if you’d like a complete introduction to the system, this is Qvaak explaining exactly how it works:
Also, if you’re going to be in Southern California next week, I’m going to be doing a conlang workshop at WyrdCon. I’m also going to be on a panel with my colleagues from Syfy and Trion, Brian Alexander (writer for Defiance) and Trick Dempsey (creative lead for the Defiance game). Hope to see you there!
So this one kind of slipped under the radar.
If you point your browser over to JoinTheRealm.com, you’ll be able to create a custom sigil à la Game of Thrones for your own house. You can choose your colors, your sigil, your house name, your house motto—the whole bit—and share it with friends.
But if you take a moment, you may notice something else. If you go to the upper left-hand corner of the screen and select “Change Language”…
Yep. You can go through the entire app in Dothraki. I translated the whole thing—even the copyright info down at the bottom.
In fact, if you want to try to include some salty language in your sigil, you’ll even get to see a custom “Nah, you can’t do that” message.
I could literally sit with something like this all day and never get tired of coming up with custom sigils, but this is my first:
Those who remember this discussion may know what that means at a glance.
I don’t know if the comments will allow you to post images, but if there’s a way you can share, let’s see some sigils! I’ll probably be doing more as the weeks, months and years progress.
Update: And one just for me:
The time has come to call a close to this year’s Dothraki haiku competition. Nice job this year! Too good, in fact. It was really hard to choose a winner. I’d feel more conflicted if winning came with any sort of prize. Thank goodness it doesn’t!
I received eleven haiku, all intriguing. Since there were so many, I’m going to choose one from each author to discuss. First, from our newest Dothraki reader, Meghan, we have a haiku from which came the title for today’s post. Here it is:
Ez qoy asshekhi.
Which translates to:
The palomino gallops.
Found today’s blood.
Very, very nice! Meghan basically just started working with Dothraki, like, a few weeks ago, and already she’s putting together long strings of text—and using one of my favorite words (qahlan) that rarely sees the light of day. Athdavrazar, zhey Meghan! The best haiku paint a picture, and this one paints a good one.
Next we have a haiku from Hrakkar:
Fonat ma adakhalat
And the intended translation is:
The lions are ready
To hunt and to eat
This is close, but there are two issues (one my fault. Sorry!). Here the verb hethkat should be used, in which case it should be hethki not hethke. Next, though I gave everyone the adjective hethke, I never gave the verb, and never said how you’d say “ready to” or “ready for”. That’s my bad there. In fact, you say hethkat ki. So if you wanted to say “they’re ready to hunt and eat”, you’d say hethki k’athfonari ma k’athadakhari. Of course, the last three words would be way over seven syllables, so that wouldn’t work. I really like this idea, though. After all, the Dothraki Sea is a place where horses and lions roam. It stands to reason that the lions would hunt those horses the way lions in our world hunt zebras. That’d be pretty cool to witness.
Next we have a poem from ingsve:
“Hethkas she oakah” ma
“Hethkas she khado”.
And my attempt at a translation is:
The scouts’ motto
“Be ready in your soul” and
“Be ready in your body”.
Very clever! It took me forever to figure out what was intended by the first line, and I eventually needed to seek out ingsve’s help. Turns out he was using an off-brand word for “scout”. I’ve got tihak for “scout” (in the literal sense: someone who serves as a lookout), and I’d probably use that for the “boyscout” version of “scout”. Using oakah for this version of “mind” is interesting (I translated it as “soul”, but the original calls for the English word “mind”). Nice work!
Next is a haiku from Zhalio, which is brilliant:
Vo sanneyos vort
Zhavvorsoon fin nem azh.
And this is the translation:
Don’t count the teeth
Of the dragon that was given (you).
Say “thank you”.
In High Valyrian. Ha! I gathered he’d try to work that in, and he did it well. This is a great version of the English phrase “Don’t look a gift horse in the mouth”, and works perfectly. I was also quite pleased to see the correct usage of the negative imperative. And, adding to its worth, I think it sounds better in Dothraki than any translation I can muster in English, which is just awesome. You can hear Zhalio reading it aloud here (brother got some bass in that voice! Nice reading!).
Alas, there can be only one winner, and this year, as with last year, our winner is Qvaak. He did it again. Here’s his winning haiku:
Rhaesh ath hethka.
Oqoe ven vash memof
And my translation:
The dry land is ready.
A great noise reverberates like a stampede
From the sky.
Worthy of Eliot. An initial draft of this poem had a grammar error, and when he fixed it, it called for a radical reorganization of the syntax of the second line. The result harkens back to the old days of Dothraki, with the verb in initial position. Furthermore, by putting memof, the subject of the sentence, at the end, there’s a curious type of enjambment (if that’s even the right term in this case) which allows one to read memof asavvasoon as a single noun phrase. In fact, memof is the subject, and the phrase asavvasoon modifies the verb phrase. Semantically, though, the great noise (memof) actually is coming from the sky (asavvasoon), so it’s still semantically felicitous. Just awesome. There’s been a decent amount of material written in Dothraki, but this may be the best thing ever composed. And for that, Qvaak has earned this year’s Mawizzi Virzeth: The Red Rabbit!
That’s two years in a row, zhey Qvaak! I think we’re going to need to start giving you a handicap of some kind…
Thanks so much to everyone who submitted haiku! It was a tough choice this year, and you did incredible work. I’m already looking forward to next year. I also think that (regarding the experiment) I’m going to keep the challenge word as optional only. If it were a requirement, we wouldn’t have seen some incredible haiku (e.g. Zhalio’s), and I wouldn’t want to inhibit that. So I’ll include a challenge word as a possibility to get folks jumpstarted, but it won’t be a requirement. Thanks again for the incredible work!