Appendix:Mozarabic kharjas

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Introduction
This is an attempt to present a critical corpus of the Mozarabic kharjas. Commentary, transcriptions, and translations from various scholars are cited and reproduced faithfully, with minor cosmetic changes such as the insertion of line-breaks. The numbering follows that of Corriente. All pre-1988 analyses of the kharjas in Arabic script are excluded since they were, on the whole, based on highly inaccurate manuscript readings, a problem only rectified when Jones published the facsimiles.

Each section contains a list of Romance words from the kharja in question that are agreed upon by at least two of the cited sources. All such words have been subjected to a further layer of scrutiny. They must be plausible on all the following grounds:


 * Grammatical- they should fit with the surrounding words in a way that is consistent with general Ibero-Romance grammar.
 * Lexical- they should have been inherited into one or more of the other Romance languages of Iberia, or at the very least another Romance variety further afield.
 * Palaeographical- they should be based on direct manuscript readings or, failing that, on highly plausible emendations.
 * Phonological- they should represent plausible evolutions from their Latin etyma.
 * Semantic- they, along with the phrases that they constitute, should fit with the theme of the poems that they are found in.

All 'comments' sections, as well as all notes that are not quoted from a source, represent original work.

Style of presentation
Corriente capitalizes elements that he interprets as Romance; similarly, Sola-Solé italicizes them. Jones and Stern simply gloss non-Romance (that is, Arabic) words in their commentary.

Stern uses a simplified transcription system that omits diacritics (e.g. ⟨t⟩ for ⟨ṭ⟩).

A rightward-facing arrow (→) is used to indicate modifications or phonetic interpretations of the manuscript readings.

Description of poem
Poem 22 Min mawridi 'l-tasnīm by Muhammad ibn ‘Ubāda.

Translation of final strophe
Many a maiden has continued to complain of someone who is unjust —

Alas for the one who is tied to the rope of someone who is not helpful —

When she has seen him delay fulfilment of his promise while she is smitten with passion;

She has sung, when the only hope has been to go out to him:

Kharja
⟨mn // yā nwāmn dlj // fānt myb // ḏī nxt // ən nwn šnwn kārš // (f/b)yrym tyb // grmy əwb // lgrt⟩

→ ?fən/mū? sīdi Ibrāhīm // yā ?nwāmni? dalji // fānta mīb // ḏī nuxti // in nūn ši-nūn kāriš // (f/b)īrīmə tīb // (gar mī  ūb/gari mi ūb) // ləgar-ti

Corriente (1993: 284)
→ ⟨miw sīdī 'brāhīm // yā nwāmin dalji // fānta myb // ḏy nḫti // 'n nwn šnwn kārš // fyrym tyb // ḡrmy 'wb // lqrti⟩

→ MEW sídi abráhim // ya+ NWÉMNE DÓLČE // VÉNT+ A(D)MÍB // DE NÓXTE // O NÓN ŚI NON KÉREŚ // VIRÉM+ A(D)TÍB // GARRÉ(D)ME ÓB // liqáRTE

Mi señor A., nombre dulce, ven a mí de noche, o no, si no quieres, vendréme a ti, dime donde encontrarte.

Convincing Romance words

 * ven-t(e) a mib de nohte - 'come to me at night'
 * si non queres - 'if you do not want [to]'
 * gar(re) me - 'tell me'
 * ob - 'where'

Comments
Jones' ⟨?fən/mū?⟩ can be read as two equally plausible Romance words (ven, meu). It is difficult to decide between them with any confidence.

Corriente's nuemne 'name' is implausible from a Romance perspective; diphthongization would hardly be expected for Latin nōmen, and no such form as *nuemne or *nuembre appears to be attested in medieval Ibero-Romance. One possible emendation would be to remove the initial ⟨n⟩, as Jones aludes in the footnote. The resulting form would correspond well to Old Spanish uemne and Old Riojan uamne (Glosas Emilianenses) = Latin hŏminem.

Corriente's viré-m(e) is difficult to justify on phonological grounds. While virei does exist in Galician-Portuguese (= Latin venīre + habeō), it reflects a regular western loss of intervocalic /n/. Evidence of the same change in Mozarabic would have to be found for Corriente's reading to be acceptable.

Description of poem
Poem 102 Wa-laylin ṭaraqnā by al-A'mā.

This is another poem with a simple structure (AA B B B AA etc.) and one metrical pattern that can be applied throughout: –̆ – –̆ ‿ – – –̆ ‿ – – –

The muwaššah is reminiscent of the wine poems of the classical Arabic poet Abū Nuwās, particularly in the first two stanzas. Vocalization is sparse throughout the text of the poem.

Translation of final strophe
There is many a maid who has become smitten by love of him,

Attributing that to his refusal to meet her and his disdain,

And has proclaimed as she has sung:

Kharja
⟨əmān əmān yālmlyḥ gār // brqy nw qrš yāllh mt(t)ār⟩

→ amānu amānu yā 'l-malīḥ gāri // bərqəy nū(/tū) qariš bi-'llāhi məttāri

Assuming the reading nū: '... why, by God, do you not kill me [and put me out of my misery]?'

Corriente (1993: 30)
⟨'mān 'mān yālmlīḥ ḡār // brqy nw qrš yāllah mttār⟩

→ amáni amáni ya+ lmalíḥ GÁRRE // PORQÉ TÚ QERÉŚ balláhi MATTÁRE

¡Gracia, gracia! Hermoso, di: ¿Porqué tú quieres, pardiez, matar?

Convincing Romance words

 * gar(r)e - 'say, tell'
 * porque - 'why'
 * queres - 'you want'
 * mattare - 'to kill'

Description of poem
Poem 124 Dam'un safūḥun by al-A'mā.

Translation of final strophe
I have no escape from him, whatever the circumstance

— a lord who speaks false and is harsh and haughty;

he has left me in thrall to sorrow and madness,

and has then sung half-tipsy, half-teasing:

Kharja
→ (miu 'l-ḥabībʌ / mū al-ḥabībʌ) anfərmə ḏī mū a̱mār // ?kārū? šənār // yənqīse (?bənqīse/bi-nafsi?) ?a mībi? ?kšād? mū ləgār

Corriente (1993: 31)
⟨mw 'lḥbyb 'nfrm ḏy mw 'mār // kārraḏ šnār // ynqys 'm byr kšād mw lḡār⟩

→ MEW alḥabib ENFÉRMO DE MEW AMÁR // KERRÁD ŚANÁR // YA NI(N) QÍŚ+ A(D)+MÍ(B) BÉR KOŚED MEW LOGÁR

Mi amante, enfermo de mi amor, querrá sanar: ya ni quísome ver: ponéos en mi lugar.

Convincing Romance words

 * meu - 'my'
 * enfermo de meu amar - 'sick from my love'

Description of poem
Poem 140 ''Jarrirī faḍla ḏālika 'l-mirṭi

Translation of final strophe
I said, 'Visit — I will be your ransom — the broken-hearted one,

who has spent the night enduring distress caused by love.'

So she sang and then turned away in play

—O wonder at what she said, O wonder—:

Kharja
⟨tn tmtrāy 'lā kn al-šrṭ // ⟩

→ nun ?təmətrāy? illā kun al-šarṭi // an tujammi' xalxāli ma' qurṭi

'...except on the condition that you join my anklets with my earrings.'

Corriente (1993: 31)
⟨tn tmtrāy 'lā kn aššarṭ 'n tjm' xlxāly m' qrṭ⟩

→ NON TE MATRÉY illá KON+ aššárṭi // an tijammá' xalxáli ma' qúrṭi

No te mataré sino con la condición de que juntes mi ajorca con mi zarcillo.

Convincing Romance words

 * None?

Description of poem
Poem 157 Bi-za'mihimū gayyabūk

Translation of final strophe
There was once a young girl who saw the inadvertence of her watcher

And found herself alone with her beloved

And said in a wonderful voice:

Kharja
⟨škārš km bwn myb // (f/b)bjm əḏā 'l-nẓm ḏwk // bkālh ḏā ḥb əlmlwk⟩

→ ši-kāriš ku̱mu̱ būnu̱ mīb // fa-bəjmə(/bəjəm) a̱ ḏā l-naẓmi(/iḏā l-naẓma) ḏūk // bəkālaʰ ḏa ḥabbi l-mulūk

Corriente (1993: 32)
⟨škārš km būn mīb // byjm 'ḏā 'nẓm ḏwk // bkālh ḏā ḥbbi 'lmlūk⟩

→ ŚI KÉREŚ KOMO BÓN A(D)MÍB // BÉYJAME E D+ annáẓm+ ADUK // BOKÉLLA DE ḥább+ almulúk

Si me quieres como (a) hermoso, bésame y por el añazme llévame, boquita de cereza.

Convincing Romance words

 * si queres - 'if you desire'
 * boquella - 'mouth' (diminutive)
 * de - 'of'

Jones (1988: 101–105)
Poem 167 Ajrat lanā min diyāri 'l-xilli by Ibn Baqī

Translation of final strophe
Many a young girl has been treated harshly by love,

and has been emaciated by separation and then by being kept at a distance,

and has pronounced on the separation, singing:

Kharja
⟨nbḏ lyšqh əywn šnl // ḥṣry mw qrhwn brl⟩

→ bəniḏ la-bašqah əyūn šin-əlli // ?ḥṣry? mū qurəjūn bur-əlli

Corriente (1993: 32)
⟨nbḏ lyšqh 'ywn šnl // ḥṣry mw qrḥwn brl⟩

→ BÉNED LA PÁŚKA AYÚN ŚIN ÉLLE // xasrÉYA MEW QORAČÓN POR ÉLLE

Resulta la Pascua (como el) ayuno sin él: perdí (o lástima de) mi corazón por él.

Convincing Romance words

 * vened la pasca - 'Easter (be?)comes'
 * sin elle - 'without him'
 * meu corachon por elle - 'my heart [ ] for him'

Description of poem
Poem 178 Lī admu'un tastahillu by al-Kumayt

Translation of final strophe
When my beloved treated me harshly, my lot was one of confusion,

nor could I conceal it, because of the fear of death in [concealing] it.

So I sang to him openly, as a maiden might sing to him:

Kharja
⟨nwn kā(n/r) ywn ḥlāl // əlā 'l-smrallu⟩

→ nūn kāru yūnə/yəwən xilallu // illā l'-samarallu

I want no [...] friend except the dark-skinned one.

Corriente (1993: 33)
⟨nwn kār ywn ḥlāllu 'lā 'lsmrāllu⟩

→ NON KÉRO YA UN xalÉLLO // illá assamréLLO

No quiero ya un queridillo, sino el morenillo.

Convincing Romance words

 * non quero - 'I want no [...]'

Description of poem
Poem 190 Aflāku 'l-juyūbi

Translation of final strophe
How many a [maiden] with delicious white teeth has complained of love of him,

When she has seen the deep red of his lips and has yearned to kiss them.

She has seen the [white] sides of his neck and has told her mother about him:

Kharja
⟨mmm əy ḥbyb // šljmlh šqrlh // əlql əlb // əbklh ḥmrlh⟩

→ mamma ay ḥabībi // šul-jumallaʰ šaqrallaʰ // əl-?quwallu? əlbu // la-bəkallaʰ hamrallaʰ

Corriente (1993: 33)
⟨mamma 'ay ḥbybi šljmalh šqrlh 'lql 'lb 'bklh ḥmrlh⟩

→ MÁMMA áy ḥabíbi //ŚO+ ljummÉLLA šaqrÉLLA // ÉLLE QÓLLO ÁLBO // E BOKÉLLA ḥamrÉLLA

'Madre, ¡qué amado! Bajo la melenilla rubita, aquel cuello blanco y la boquita rojita.'

Convincing Romance words

 * mamma - 'mother'
 * collo albo - 'white neck'
 * boquella - 'mouth' (diminutive)

Description of poem
Poem 224 Law anṣafa maḥbūbī

Translation of final strophe
Many time a maid has caused my illness

With a voice that has emaciated my body,

Singing to her mother:

Kharja
⟨ktāl my mā əlmh // kkry mā əlmh⟩

→ ki-tālə mī mā a̱lmaʰ // ki-karəyyu mā a̱lmaʰ

Corriente (1993: 33–34)
⟨ktāl my mā 'lmah // kkry mā 'lmh⟩

→ KÍ TALLA(D)ME MA ÁLMA // KÍ KÁR[PE](d)ME MA ÁLMA

Quién me corta mi alma, quién me desgarra mi alma?

Convincing Romance words

 * me - 'me' (dative in this case)
 * ma alma - 'my soul'

Description of poem
Poem 224 Law anṣafa maḥbūbī

Translation of final strophe
How many a heavy-hipped young maid has been kept awake by his absence — She has sung because of her love for him a song of suggestion, in the hope that she might see him with the coming of the dawn:

Kharja
⟨nn drmy mmā // ərāy ḏmnymānā // bwn əbulqāsm // lfāj ḏ mṭrānā⟩

→ nun dərmirəyyu mammā // ə rāyu ḏi manyānā // būn Abū 'l-Qāsim // la-fāja ḏi maṭrānā

Corriente (1993: 34)
⟨nn drmry mmmā // 'rāy ḏmnymānāh // būn 'bulqāsm // lfāj dmṭrānā⟩

→ NON DORMIRÉYO MÁMMA // A(D) RÁYO DE MAÑÁNA // BÓN abulqásim // LA FÁČE DE MAṬRÁNA

No dormiré, madre, hasta la raya del alba: hermoso es A., rostro de amanecer.

Convincing Romance words

 * non dormireyo mamma - 'I shall not sleep, mother'
 * a rayo de manyana
 * bon
 * la fache - 'the face'

Description of poem
Poem 260 Ayya 'ayšin yaliḏḏu maḥzūnu

Translation of final strophe
She has long wrought slaughter with her eyelids,

Though notions of love had had their place

When she has sung and wept because of my absence:

Kharja
⟨km s flywl albyn // nwn mš lfrmš ə mw š(y)n⟩

→ ku̱mu̱ šī fī̱lī̱yū̱lu a̱lyīnu // nūn m(aï)š a̱ddərmiš a̱ mū šīnu

Corriente (1993: 34)
⟨km s flywl 'lbynu // nūn mš lfrmiš 'mw š...n⟩

→ KÓMO ŚÍ ... FILYÓLO ALYÉNO // NON MÁŚ+ A(D)DÓRMEŚ+ A(D) MEW ŚÉNO

Como si fueses hijito ajeno, no duermes más en mi seno.

Convincing Romance words

 * como si - 'as if'
 * filyolo alyeno - 'foreign little boy'
 * non ma(i?)s - 'no more'
 * a meu seno - 'at my bosom'

Description of poem
Poem 260 Ayya 'ayšin yaliḏḏu maḥzūnu

Translation of final strophe
Is there any wrong in love for the one who aspires to it — its memory is the morning, beautiful in its features? Thus it was that she recited, seeking through remembrance of it consolation for her anxiety:

Kharja
→ yā māṭarī 'l-raxīmaʰ // a̱ rayyu ḏī manyānaʰ // būn Abū 'l-Ḥajjāj // la̱-fāja̱ ḏi maṭrānaʰ

'Oh gentle mother...'

Corriente (1993: 34)
⟨yā maṭarī 'lraxīmah arrayu ḏī manyānah būn abū 'lḥajjāj lfāj ḏe maṭrānah⟩

→ ya MÁTRE arraḥíma // A(D) RÁYO DE MAÑÁNA // BÓN abulḥajjáj // LA FÁČE DE MAṬRÁNA

Madre compasiva, hasta la raya del alba, hermoso es A., rostro de amanecer.

Convincing Romance words

 * matre - 'mother'
 * a rayo de manyana - 'in the dawnlight' (lit. 'at ray of morning')
 * bon - 'good'
 * la fache - 'the face'

Description of poem
Poem 280 Man lī bi-ẓabyin rabībi by al-Khabbāz

Translation of final strophe:
How beautiful is the sheltered she-gazelle who has been terrified by absence,

A girl of thirteen, who has wept unceasingly,

Saying to her mother as though she were drunk through her yearning:

Kharja
→ yā mamma mū al-ḥabībi // ?byš? ənə ?maš? tərənāḍi // gār ki-fərayyu yă mammā // ?ənun/nun? †yəjənāl(ə)† ?ləšāḍi?

Description of poem
Poem 281 Qul kayfa ḥālu 'l-qulūbi by Ibn Labbūn

Translation of final strophe
I would ransom [the maiden] who has been treated harshly by her beloved, when he left her

love of him has driven away her sleep through [the] injustice and hostility towards her,

She has continued in her song singing out to her mother:

Kharja
⟨yā mm mw 'l-ḥbyb // bybš ən mn trnāḍ // 'ar kfry yā mmā // ənn yḥnāl llšāḍ⟩

→ (same as previous)

Corriente (1993: 35)
⟨yā mm mw 'lḥbyb // fyš 'n nn trnāḍ // ḡār kfry yā mmmā // 'nn byjnāl 'llššāḍ⟩

→ ya MÁMMA MEW alḥabíbE // FÓYŚE EN+ E(N)NON TORNÁDE // GÁR KÉ FARÉYO ya MÁMMA // E+ (N)+ UN BEYJÉLLO LEŠÁDE

Madre, mi amado se fue y no ha vuelto: ¿Qué haré, madre? Y ni un beso ha dejado.

Convincing Romance words

 * mamma - 'mother'
 * meu - 'my'
 * tornade - 'return'
 * gar que fareyo 'tell [me], what shall I do?'
 * leshade - 'leave behind'

Description of poem
Poem 311 Laḥaẓātun bābiliyyaʰ by al-A'mā

Translation of final strophe
Many a girl with dyed fingers has become a treasure house of beauty

— many a girl who fills one's eyes and from whose radiance the horizons are resplendent.

I visited such a one during the festival, and she sang about me and about her:

Kharja
⟨əlm dyh əšt dyh // dy ḏā 'l'nṣr hqā // yštry mw əlmdbj // ⟩

→ a̱lbə diyyaʰ əštə diyyaʰ // diyya ḏā 'l-'anṣara ḥaqqā // bəštərəyyu mū 'l-mudabbaj // wa-našuqqu 'l-rumḥa šaqqā

Corriente (1993: 35)
⟨'lfā dyh 'šta dyh dyh dy ḏā'l'nṣr ḥqā bštry mw 'lmdbj wnšq 'lrmḥ šqā⟩

→ ÁLBA DÍYA EŚTA DÍYA // DÍYA D+ al'ánṣara ḥáqqa // BEŚTIRÉY MEW almuddabáj // wanišúqq+ arrúmḥa šáqqa

Blanco dia [es] este día, la Sanjuanada, en verdad: me pondré mi traje de brocado y bien quebraré la lanza.

Convincing Romance words

 * alba (albo?) - 'white'
 * esta (este?) - 'this'
 * diya - 'day'
 * de - 'of'
 * vestirey(o) meu - 'I shall put on my [...]'

Description of poem
Poem 311 Laḥaẓātun bābiliyyaʰ by al-A'mā

Translation of final strophe
When I dallied with her between the cushions and the covers,

She bared a body [that gleamed] like water, scratched by my gaze,

and I embraced the moon in a darkness of black hair.

Then she said as she lay between [my] breast-bones and [my] earrings:

Kharja
⟨mn mmrdš yā ḥbyb lā nqr dnyš // al-'lalh .... əṭrṭr m?rtyš⟩

→ nun mi-mərdəš [yā ḥabībī lā] nu-qaru dənīšu // al-gilālah .... əṭrṭr m?rətīšu

Description of poem
Poem 345 Yā nasīma 'l-rīḥi in 'ujti 'alā rabbati 'l-qurṭi by Ibn Ruḥaym

Translation of final strophe
She promised, in fact she swore that she would not move from her promise.

Then she returned, was favourably disposed, showed tenderness, and paid a visit without warning;

And I sipped the honey from her mouth and leaned towards her breasts,

But she complained of that and said to me, 'I ask you in the name of love:

Kharja
→ nūn mi-ṭənkəš [yā ḥabībi lā] nu-qaru dənīšu // [al-gilālaʰ raxṣaʰ] bəštə a̱ ṭūṭā mī rəfīšu

Corriente (1993: 36)
⟨mn mmrdš yā ḥabībi kānqrdnīš 'lḡlālh rxṣh bšt 'ṭwṭā my refyšu⟩

→ NON ME MÓRDAS ya ḥabíbi kanniqarrád EN+ ÉŚO // alḡilála ráxṣa BÍŚTO E(D) ṬÓṬA ME REVÉŚO

No me muerdas, querido, no, que me encojo en eso camisa fina visto y toda me revuelvo.

Convincing Romance words

 * non me mordas - 'do not bite me'

Description of poem
Poem 348 Man lī bi-man sabānī

Translation of final strophe
When she appeared like one with [her riding-breast] reined-in,

Having approached my baggage with tears flowing,

She sobbed out a kin of speech, seeking union with me:

Kharja
⟨ // əlwḥš mnfrāš // bwn bāḥ mā bkālh // (l/ə)wšk tnyrāš⟩

→ amānu yā ḥabībī // al-waḥša mī-fərāš // būn bājə mā bəkālah // li-Wiška nun yərāš

'Mercy, my beloved, you will make me the desolate one [if you go]. Good man, kiss my mouth; you will not go to Huesca.'

Corriente (1993: 36)
⟨'mān yā ḥabyb // 'lwḥšu mnfrāš // bwn bāḥ mā bkālh // lwšk tnyrāš⟩

→ amáni ya ḥabíbi // alwáša ME+N FARÁŚ // BÓN BÉJA MA BOKÉLLA // liWÉŚKA TE+ N+ IRÁŚ

¡Gracia, amado, mío, nostalgia con ello me causarás! Bueno, besa mi boquita y a Huesca te irás.

Convincing Romance words

 * me - 'me'
 * faras - 'you shall make'
 * bon beja ma boquella - 'good (one), kiss my mouth'
 * ma boquella - 'my mouth' (diminutive)

Description of poem
Muwashshah de Yehuda Halewi, Diwan, éd. Brody I, 89–91. Panégyrique en l'honneur d'al-Hassan (Dawid) ibn al-Dayyan.

La première partie du poème consiste en une plainte contre le Temps qui a séparé le poète de ses amis. La deuxième partie contient le panégyrique, basé sur la pensée que la présence de Dawid fait oublier au poète les iniquités du Temps.

Mètre des simts: – – ‿ – – / – – ‿ –  – – – – deux fois

Rimes » » : -eni/-eni//-eni/-eni

Translation of final strophe
Une colombe qui niche parmi les myrtes me regarde, quand je récite mon chant ou me plains de mon Temps. Elle me dit d'une voix piteuse, comme une jeune fille qui chante:

Kharja
→ ⟨b'n sydy b'n // 'lqrdš tntb'n // dšt 'lzm'n // kn flyw dbn 'ldy'n⟩

→ Ven sidi veni //. . . . . . . . . // Dest al-zamēni // con filyo d'Aben al-Dayyēni

Viens, mon seigneur, viens, ....... Tout de suite (?), avec le fils d'Aben al-Dayyan.

Description of poem
Jarcha contenida en otra moaxaja de Yehudá Halevi, del que tenemos otras dies más. Recogida ya en las varias ediciones de su diván, consta de un preludio y cinco estrofas, con un esquema global: 5-ẹ̄nī 8-ẹ̄nī 5-ẹ̄nī 8-ānī + 5-x 8-y 5-x 8-y 5-x 8-y 5-ẹ̄nī 8-ẹ̄nī 5-ẹ̄nī 8-ẹ̄nī.

Se trata de una composición que, a manera de requiebro, ensalza las virtudes de cierto Al-Ḥassan ben al-Daiyan, quien, bajo el nombre de David, es mencionado en la cuarta estrofa. La jarcha, al final de la quinta, está puesta en boca de una paloma que entona la canción de una doncella enamorada. La moaxaja dice:

Kharja
⟨b'n sydy b'n // ('lqrdš/'lqrr 'š) tnt b'n // dšt 'lzm'n // (kn/bn) flyw dbn 'ldy'n⟩

→ ⟨b'n sydy b'n // 'l qr(r) 'š tnt b'n // dšt 'lzm'n // kn flyw dbn 'ldy'n⟩

→ ben sīdī beni // el quriar eš tanto beni // de ešte al-zaméni // kon filio de Ibn-al-Daiyéni

¡Ven, mi señor, ven! El curar (guardarse de) es tanto bien de este tiempo con el hijo de Ibn al-Daiyan.

Corriente (1994: 284)
⟨b'n sydy b'n // 'lqrd'š tnt b'n // dšt 'lzm'n // bn flyw dbn 'ldy'n⟩

→ BÉN sídi BÉNE // EL Q+ EREDÁŚ TÁNTO BÉNE // D+ ÉST+ az-zaménE // BÉN FÍLYO D+ abn+ addayénE

Ven, mi señor, ven, el que heredáis tanto bien de este tiempo, ven, hijo de I. D.

Convincing Romance words

 * ven(e) - 'come'
 * filyo - 'son'
 * d(e) - 'of'
 * est(e) - 'this'

Comments
For line 2, despite Stern's apparent caution, the reading ⟨tntb'n⟩ = tanto bene seems beyond reasonable doubt. It follows that the preceding cluster contains some verb. Corriente identifies the final ⟨š⟩ as a second-person marker referring to the subject of line 1. If this is accepted, then his interpretation of the first part of the cluster as ⟨'lq⟩ = el q(ue) seems plausible. However, while his ⟨rdš⟩ = eredás may be plausible in the context of this line (taking bene to be a noun meaning 'property'), it is not entirely convincing in the context of the overall poem. Judging by the next line, which translates as 'of this time', and judging by the preceding strophe, which speaks of singing or complaining about (the iniquities of) time, one would naturally expect to find a verb meaning 'sing' or 'complain' in line 2. As for Sola-Solé's interpretation of line 2, it is too convoluted to consider here.

For line four, Corriente's ⟨bn⟩ = ben is undermined by the fact that each manuscript twice spells, in line one, what is supposed to be the same word with a vowel after ⟨b⟩, whereas none spell it with a vowel in line four. It should also be noted that Corriente assumes three occurrences of the same command 'come' in one kharja. Stern's and Sola-Solé's ⟨kn⟩ = con seem more convincing on both accounts.

Description of poem
Muwashshah de Yehuda Halewi, Diwan, I, 149–50. Panégyrique en l'honneur d'Abu Ibrahim Ishaq ibn al-Muhajir.

Mètre des simts: – ‿ – – – – quatre fois

Rimes: » » : -na/-xaq//-rad/-xaq

L'introduction — composée de la description d'une couple de cristal — est suivie d'un panégyrique en style conventionnel, dont la kharja est la continuation directe.

Translation of final strophe
Si chaque cœur a le désir de voir (le seigneur, qui est comme) une colline de myrrhe — afin de boire à sa fontaine et entendre ses paroles — on va demander à une devineresse:

Kharja
→ ⟨g'r šyš dbynh // 'dbynš b'lḥq // g'rm knd mbrn'd // mw ḥbyby 'ṣḥq⟩

→ gar si yes devina // y devinas bi 'l-ḥaqq // gar me cand me vernad // meu ḥabībī Isḥāq

Dis, si tu es une devineresse et dis la bonne aventure conformément à la vérité — dis-moi quand me viendra mon ami Ishaq.

Description of poem
Jarcha que se halla en otra moaxaja de Yehudá Haleví. Recogida ya en las varias ediciones de su diván, la moaxaja consta de un preludio y cinco estrofas, con un esquema global: 6-nāʰ 6-aq 6-ad 6-aq + 6-x 6-y 6-x 6-y 6-x 6-y 6-nā̄ʰ 6-a/āq 6-ad 6-a/āq.

Se trata de una composición panegírica en honor de Ishaq ibn al-Muhagir, elogiado igualmente en la moaxaja y jarcha 20 de Mosé ibn Ezra. El encomio va precedido por una parte amorosa. La jarcha, al final de la quinta estrofa, está puesta en boca del pueblo entero que anhela ver al poderoso.

Kharja
⟨g'r š(w/y)š dbynh // 'dbynš b'lḥq // g'rm knd mbrn'd // mw ḥbyby 'sḥq⟩

→ ⟨gr šwš [...]⟩

→ gar šaveš debina // e dibinas bi-al-ḥaq(q) // gar-me k(u)and me bernad // mio ḥabībī Isḥāq

Pues sabes adivinación (cosa divina) y adivinas verdaderamente, dime cuándo vendrá a mí mi amigo Isḥaq.

Corriente (1994: 284)
⟨g'r šwš dbynh // 'dbynš b'lḥq // g'rm knd mbrn'd // mw ḥbyby 'sḥq⟩

→ GÁRRE Ś+ EŚ DIBÍNA // E(D) DIBÍNAŚ balḥaq // GÁRME KÁNDO+M BERNÁD // MEW ḥabíb+ isḥáq

Di, si eres adivina, y adivinas de verdad, dime cuándo me vendrá mi amigo I.

Convincing Romance words

 * All of them.

Comments
For line 1, Sola-Solé commits to the reading ⟨šwš⟩ = saves 'you know'. Accordingly, he is forced to treat the following ⟨dbynh⟩ = debina as a noun meaning 'divination', contrary to the preceding Arabic strophe (which quite clearly speaks of a female soothsayer) and contrary to the sense of the Iberian cognates (Portuguese and Spanish ). He is also forced to interpret the ⟨g'r⟩ in line 1 as the equivalent to Spanish, despite the initial consonant and despite his also conceding that the identically-spelt ⟨g'r⟩ in line 3 means 'say' (< Latin ). Occam's razor favours Stern's and Corriente's reading, needless to say.

Both Stern and Corriente note that the form ⟨brn'd⟩ = vernad is contrary to the rhymes in -rad in the rest of the composition. Strangely, neither of them follows this observation by emending ⟨brn'd⟩ to ⟨bnr'd⟩ = venrad. Variation in futures of this type is certainly found in medieval Ibero-Romance (cf. Old Spanish ponra~porna 'will put'), hence the textual corruption.

Description of poem
Muwashshah de Yehuda Halewi, Diwan, I, 157–8. En l'honneur de Yosef ibn Ferrusiel, connu sous le nom le Cidello.

Mètre des simts: – – – – – – – / – – – ‿ – – deux fois

Rimes: » » : -id/-ra//-id/ra

L'identité du destinataire du poème fut établie grace à 'ingénieuse découvrte de Baer (cf. dessus p. XXI), qui reconnujt dans la kharja le nom de Cidello (= Cid+ello), le sobriquet de Yosef ibn Ferrusiel, un courtisan du roi Alphonse VII. Par la même occasion le grand historien a proposé une belle interprétation des vers espagnols, qui est adoptée ici avec quelques changements. — Le poème fut érit, évidemment, à l'occasion d'une visite de Cidello à Guadalajara.

Translation of final strophe
Des torrents d'huile aromatique ont inondé la Vallée des Pierres (= Wadi 'l-Hijara, Guadalajara), avec les nouvelles du seigneur qui donne ses doux soins au peuple de Dieu. — Vive le prince! — dit-on — Amen! — et on s'exclame en jubilant:

Kharja
→ ⟨dš knd mw sdylh bnyd // tn bwnh 'lbš'rh // km r'yh dšwl 'šyd // 'n w'd 'lḥj'rh⟩

→ Des cand meu Cidello venid // tan bona 'l-bišāra // com rayo de sol esid // en Wādi l-Ḥijāra

Depuis que mon Cidello vient, si bonne est la nouvelle, il se lève comme le rayon du soleil à Guadalajara.

Description of poem
Jarcha conservada en otra moaxaja de Yehudá Haleví. La moaxaja, ya recogida en las varias ediciones de su diván, es calva y consta de cinco estrofas con un esquema: 8-x 6-y 8-x 6-y 8-x 6-y 8-īd 6-ārāʰ 8-īd 6-ārāʰ.

Se trata de una composición panegírica en honor de Yosef ibn Ferrusiel, conocido bajo el nombre de Cidello, personaje judío muy influyente en la corte de Alfonso VI. La jarcha, al final de la quinta estrofa, está puesta en boca del pueblo judío que, jubiloso, celebra la venida del magnate.

Kharja
⟨dš knd mw sdylh bnyd // tn bwn 'bšrh // km r'yh dšwl 'šyd // 'n w'd 'lhġ'rh⟩

→ ⟨...km r'yh dšwl[y y]'šyd...⟩

→ deš k(u)and mio sidel(l)lo benid // tan bona al-bišāra // kom raya de šole yešid // en Wādalḥağāra

Cuand mi señor (mi Cidello) viene ¡qué buena albricia! — como rayo de sol sale en Guadalajara (ár. «Río de las piedras)».

Corriente (1994: 284)
⟨dš knd mw sdylh bnyd // tn bwnh 'lbš'rh // km r'yh dšwl 'šyd // 'n w'd 'lḥj'rh⟩

→ DEŚ KANDO MEW sidÉLLO BÉNED // TAN BÓNA+ lbišára // KOMO RÁYO DE ŚÓL ÉŠED // EN wád alḥajára

Desde que mi C. (= señorito?) viene, ¡qué buena albricia!, como un rayo de sol sale en Guadalajara.

Convincing Romance words

 * All of them.

Description of poem
Muwashshah de Yehuda Halewi, Diwan, I, 163–4. Panégyrique en l'honneur d'Ishaq ibn Qrispin.

Le poème est un panégyrique, mais emploie, comme beaucoup de poèmes de ce genre, le langage de la poésie amoureuse.

Mètre des simts: – – ‿ –  – – – – deux fois

Rimes: » » : -as/-li//-eyu/-ari

Translation of final strophe
La gracieuse gazelle donnerait sa vie pour toi, cette jeune fille qui raconta son histoire: quand son chérubin se leva d'elle et s'est envolé, elle ne put pas retenir ses larmes. elle s'est exclamée d'une voix amère et a confessé son amour devant ses compagnes:

Kharja
→ ⟨gryd bš 'y yrmnl'š // km kntnyr 'amw m'ly // šn 'lḥbyb nn bbr'yw // 'dbl'ry dmnd'ry⟩

→ Garid vos ay yermanellas // com contenir a meu male // sin al-ḥabīb non vivireyu // advolarey demandare

Dites-moi, petites sœurs, comment contenir ma peine! Je ne peux pas vivre sans mon ami, je veux m'envoler le chercher.

Description of poem
Muwashshah de Yehuda Halewi, Diwan, I, 168–9. A Abu Harun Moshe ibn Ezra.

Mètre des simts: – – ‿ – – ‿ – – – – deux fois

Rimes: » » : -lu/-lu

Poème de condoléances adressé à Moshe ibn Ezra à l'occasion de la mort de son frère Yehuda.

Translation of final strophe
Le chant du frère, laissé seul, brûle mon cœur comme du feu. Il chante comme une jeune fille dont le cœur tressaille, parce que le temps de son rendez-vous est arrivé, sans que vienne son ami:

Kharja
→ ⟨bnyd lpškh 'ywn šn'lh // ḫ(s/m)rnd mw qrgwn pwrylw⟩

→ Venid la pasca ayun sin ellu ... meu corajon por ellu

Les Pâques viennent, toujours sans lui, ... mon cœur pour lui.

Description of poem
La moaxaja de Yehudá Haleví, ya publicada en las varias ediciones de su diván, ostenta la misma estructura que la de Ibn Baqí [=kharja A12]. Sin embargo, la rima de las vueltas no es en -li sino en -lu, aunque en la prosodia árabe /u/ e /i/ pueden rimar entre sí.

La composición es un sentido pésame por la muerte de Yehudá ibn Ezra, dirigida a su hermano Moše, con quien comparte el poeta su profunda aflicción. La jarcha, al final de la quinta estrofa, está puesta en labios de Moše ibn Ezra, quien entona la canción de una doncella enamorada que ve llegar el día de la cita y no viene el amado.

Kharja
⟨bnyd lpškh 'ywn šn'lh // k(s/m)rnd mw qrgwn pwrylw⟩

→ ⟨bnyd lpšk 'ywn šn'lh // ksrnd mw grwgn pwrylw⟩

benid la paška e yo on šin el(l)e // kasrando mio qoragon por el(l)o

Viene la Pascua y yo sín él, perdiéndose (está) mi corazón por ello.

Corriente (1994: 285)
⟨bnyd lpškh 'dywn šn'l // km knd mw qrgwn pwr'lh⟩

→ BÉNED LA PÁŚKA AYÚN ŚIN ÉLLO // KÓM KÁNDE(D) MEW QORAČÓN POR ÉLLO

La Pascua result ayuno sin él: ¡cómo arde mi corazón por él!

Convincing Romance words

 * vened la pasca - 'Easter comes'
 * sin ello (elle?) - 'without him'
 * meu corachon por ello - 'my heart [ ] for him'

Comments
The interpretation of ⟨'ywn⟩ is not straightforward. Stern appears to assume it is cognate to Spanish, while Corriente assumes—perhaps less plausibly—that it is the equivalent of Spanish. Sola-Solé splits up the cluster into a strange jumble.

Per Stern, it is possible to resolve the fifth cluster as kmknd, hence Corriente's com canded 'how [my heart] burns'. That reading is plausible in multiple ways, but it requires considerable textual manipulation. Sola-Solé champions the reading ⟨ksrnd⟩ (a hybrid of the readings in manuscripts B and C) and claims that it represents an Arabic verb with a Romance suffix.

Description of poem
Muwashshah de Yehuda Halewi, Diwan, I, 171–2. Panégyrique en l'honneur d'Abu Ishaq Nahman ibn Azhar.

Mètre des simts: – – – – – – – / – – – – – –

Rimes: » » : -ayu/-xaq//-lam//-xaq

Après une brève introduction anacréontique, le poète passe, d'une façon ingénieuse, aux louanges de Nahman; il finit par la strophe suivante:

Translation of final strophe
Mon âme est attirée vers lui, du feu brûle dans mon âme; elle chante des chansons plaintives, comme une biche à son ami, quand il se hâta de s'en aller et l'effraya pars on départ:

Kharja
→ ⟨y' rb km bbr'yw // kn' št 'l-ḫl'q // y' mn qbl 'n yslm // yhdd b'lfr'q⟩

→ Ya rabb com vivirayu // con este 'l-ḫalāq // ya man qabl an yusallim // yuhaddid bi'l-firāq

Mon Dieu, comment pourrai-je vivre avec un tel seducteur! Un tel, qui, avant de saluer, menace déjà de partir.

Description of poem
Jarcha contenida en otra moaxaja de Yehudá Haleví. Recogida ya en las varias ediciones de su diván, consta de un preludio y cinco estrofas, con un esquema global: 7-āyū 6-āq 7-lām 6-āq + 7-x 6-y 7-x 6-y 7-x 6-y 7-āyu 6-ā/aq 7-lam 6-ā/aq.

Se trata de una composición panegírica en honor de cierto Abu Iṣḥaq Naḥman ibn Azhar. La jarcha, al final de la quinta estrofa, está puesta en labios del mismo poeta, quien entona la canción.

Kharja
⟨y' rb km bbr'yw // kn 'št 'lkl'q // y' mn qbl 'n yslm // yhdd b'lfr'q⟩

→ yā rab(b) komo bibreyo // kon ešte al-kal(l)āq // yā man qabl an yusal(l)am // yuhad(d)id bi-al-firāq

¡Oh Dios (mío)! ¿Cómo podré vivir con este impetuoso? ¡Oh quién antes de que sea saludado amenaza ya con irse!»

Corriente (1994: 285)
⟨y' rb km bbr'yw // kn 'št 'lxl'q // y' mn qbl 'n yslm // yrdd b'lfr'q⟩

→ ya rábbi KÓM BIBRÉYO // KON ÉŚTE alxalláq // YA min qábl+ an yisallám // yihaddád balfiráq

Dios mio, ¿cómo viviré con este palomo ladrón? Ya antes de saludar amenaza con separarse.

Convincing Romance words

 * com vivreyo con este - 'how shall I live with this [ ]'

Description of poem
Muwashshah de Yehuda Halewi, Diwan, I, 176–7. Panégyrique en l'honneur d'Abu Ibrahim Ishaq ibn al-Muhajir.

Mètre des simts: – – ‿ – – – / – – ‿ –  –  – ‿ – – –

Rimes: » » : -enu/-enu

Panégyrique en l'honneur d'Abu' l-Hasan ibn Qamniel, courtisanet médecin bien connu, qui avait une grande situation à la cour des princes almoravides.

Translation of final strophe
(Le seigneur) fut élevé au sein de la grandeur, en a bu les délices. Depuis le jour de sa naissance, les colliers de la grandeur ornent son cou. Elle (la grandeur) joue à ses amis un air agréable:

Kharja
→ ⟨flwyl 'lynw // nnmš 'drmyš 'mw š'nw⟩

→ filyol alyenu // non mas adormis a meu senu

Description of poem
La moaxaja de Yehudá Haleví, ya recogida en las varias ediciones de su diván, consta igualmente de un preludio y cinco estrofas, pero su esquema es: 6-ẹ̄nu 10-ẹ̄nu + 6-x 10-y 6-x 10-y 6-x 10-y 6-ẹ̄nu 10-ẹ̄nu.

Se trata de una composición panegírica en honor de Abu al-Ḥasan Meir ibn Qamniel, médico y cortesano famoso, que gozó de envidiable situación en la corte de los reyes almorávides. La jarcha, al final de la quinta estrofa, está puesta en labios del Mando, quien la canta a sus escogidos.

Kharja
→ ⟨flywl 'ly'nw b(n m)š 'drmyš 'mw š'nw⟩

→ filio(l)o alieno ben maiš adormeš e(n) mio šeno

¡Hijo ajeno siempre te duermes en mi seno!

Corriente (1994: 285)
⟨flywl 'lynw // bbṭš 'rdmyš 'mwš'nw⟩

→ FILYÓLO ALYÉNO bibáṭši A(D)DÓRMAŚ A(D) MEW ŚÉNO

Hijito ajeno, pronto duermas en mi seno.

Convincing Romance words

 * filyolo alyeno - 'foreign little boy'
 * adormis a meu seno - 'you sleep at my bosom'

Comments
The interpretation of ⟨bbṭš⟩ is rather vexed. Both Stern and Sola-Solé correct it, to varying degrees, on the model of the similar kharja A18, which has ⟨nwn mš⟩. Corriente accepts the reading as an Arabic bibáṭši, which he translates as 'soon, quickly'. It could just as well reflect a Romance descendant of Latin ; cf. in particular Old Catalan ivaç 'soon'.

Sola-Solé's ⟨'⟩ = e(n) is certainly conceivable, assuming assimilation to the following ⟨m⟩, but unnecessary in light of the fact that the straightforward interpretation a is fine as-is.

Description of poem
Muwashshah de Yosef ibn Saddiq, ''Studies of the Research Institute for Hebrew Poetr, II, 165–6. Poème d'amour.

Mètre des simts: – ‿ – – – / – – ‿ – ‿ – – –

Rimes: » » : -ma/-na

Translation of final strophe
Le jour où le cerf est venu frapper à sa porte, de sa chambre elle éleva la voix et dit à sa mère – je ne peux pas me retenir...

Kharja
⟨kfr' m?mh // myw 'lḥbyb 'št'dy'nh⟩

→ Que faray mamma // meu 'lḥabīb estad yana

Quest-ce que je vais faire, ma mère? Mon ami est devant la porte!

Description of poem
Jarcha contenida en una moaxaja del hispano-judío Josef Ibn Ṣaddiq, muerto en 1149. La moaxaja, tal y como ha sido publicada a partir de un códice único de la Guenizá, es calva y consta de seis estrofas con un esquema: 5-x 8-y 5-x 8-y 5-x 8-y 5-māʰ / 8-nāʰ/'.

Se trata de una composición amorosa. La jarcha, al final de la sexta estrofa, está puesta en labios de una doncella temerosa de la insistencia con que el amigo llama a la puerta, busca consejo y amparo en su madre.

Kharja
⟨kfr' m.mh // myw 'lḥbyb 'št'dy'nh⟩

→ ⟨kfr' m(')mh // myw 'ḥbyb 'št 'd y'nh⟩

ke fare mam(m)a // mio al-ḥabīb ešt ad yana''

¿Qué haré, madre? Mi amigo (es) está a la puerta.

Corriente (1994: 287)
⟨kfr mmh myw 'lḥbyb 'št'dy'n'⟩

→ KE FARÉY MÁMMA // MEW alḥabib EŚTÁ+D YÁNA

¿Que haré, madre? Mi amado está a la puerta.

Convincing Romance words

 * All of them.

Comments
The sense appears to require estad , as Stern and Corriente point out. Presumably the words were blended together somehow.

Sola-Solé's est is contrary to:
 * The use of está, not es, in this context in Ibero-Romance.
 * The fact that the representative of Latin in the kharjas is rather ⟨y'd⟩ = yed, as mentioned in Corriente's footnote; v. also Stern (1953: 36).

Description of poem
Muwashshah de Todros Abulafia, éd. Brody, p. 28, éd. Yellin, p. 15. A Don Isaac ibn Sadoq, conseiller du roi Alphonse le Sage (connu dans les documents espagnols sous le nom de Don Zag de la Maleha).

Mètre des simts: – ‿ – – – ‿ – – ‿ – – / ‿ – – / – ‿ – – ‿ – –

Rimes: » » : -bi/-bi/-bi

Le poème est composé de deux parties, la première érotique et la deuxième panégyrique.

Translation of final strophe
Quand il vient, la ville se revêt de sa gloire; elle se sent transportée de fierté jusqu'aux cieux tout le temps qu'il y séjourne. C'est pour cela qu'elle s'exclame le jour de son départ:

Kharja
⟨ky fr'yw 'w ky šyr'd dmyby // ḥbyby // nwn tytwlgš dmyby⟩

→ Que farayo o que serad de mibi // ḥabībī // non te tolgas de mibi

Que ferai-je, ou qu'en sera-t-il de moi? Mon ami, ne me quitte pas!

Description of poem
La moaxaja de Todros Abulafia, acaso inspirada en la de Ibn Ruhaym, presenta la misma estructura y rima. Se trata, igualmente, de una composición panegírica. Alaba a Don Iṣḥaq ibn Ṣadoq, consejero de Alfonso X, el Sabio, conocido en los documentos castellanos bajo el nombre de Don Zag de la Maleha. La jarcha, al final de la quinta estrofa, está puesta en labios de una ciudad entera que entona, cuando el mecenas la deja, un canto de ausencia.

Kharja
⟨ky fry'w 'w ky šyr'd dmyby // ḥbyby // nwn ty ṭwlgš dmyby⟩

→ ke fareyo o ke šerad de mibi // ḥabībī // non te ṭolgaš de mibi

¿Qué haré o qué será de mí? ¡Amigo mío, no te apartes de mí!

Corriente (1994: 287–288)
⟨ky fr'yw 'w ky šyr'd dmyby // ḥbyby // nwn tyṭwlgš dmyby⟩

→ KE FARÉYO O KE ŚERÁD DE MÍBE // ḥabíbi // NON TE ṬÓLGAŚ DE MÍBE

¿Qué haré o qué será de mí? Mi amado, no te apartes de mí.

Convincing Romance words
All of them.

Index of convincing Romance words

 * a - 'at, to' - A1/17/18/19; H7/14
 * adormis - 'sleep' - H7
 * albo (+alba?) - A14/22
 * alma - 'soul' - A16
 * alyeno - 'foreign' - A18; H7
 * beja - 'kiss' - A25
 * bon, bona - 'good' - A17/19/25; H3
 * boquella - 'mouth' (dim.) - A11/14/24/25
 * c(u?)and(o?) - 'when' - H2/3
 * collo - 'neck' - A14
 * com(o) - 'as, how' - A18; H3/6
 * con - 'with' - H6
 * corachon - 'heart' - A12; H5
 * d(e) - 'of, from, etc.' - A1/8/11/17/19/22; H1/3/16
 * des - 'since' - H3
 * divina - 'fortune-teller' (f.) - H2
 * divinas - 'divine' (v.) - H2
 * dormireyo - sleep' - A17
 * e - 'and' - H2
 * elle - 'the' (m.) - A14
 * elle, ello - 'him' - A12; H5
 * en - 'in' - H3
 * enfermo - 'ill' - A8
 * eshed - 'come out' - H3
 * estad - 'be (stand)' - H14
 * este (+esta?) - 'this' - A22; H1/6
 * fache - 'face' - A17/19
 * fareyo, faras - 'do, make' - A21/25; H14/16
 * filyo - 'son' - H1
 * filyolo - 'little boy' - A12; H5
 * gar(re) - 'say, tell' - A1/5/21; H2
 * la - 'the' (f.) - A17/19
 * leshade - 'leave behind' - A21
 * mamma - 'mother' - A14/17/21; H14
 * manyana - 'morning' - A17/19
 * ma(i?)s - 'more' - A18
 * matre - 'mother' - A19
 * mattare - 'kill' - A5
 * me - 'me' - A1/16/23/25; H2
 * meu, ma - 'my' - A8/12/16/18/21/22/25; H2/3
 * mib(e) - 'me' (post-prep.) - A1; H16
 * mordas - 'bite' - A23
 * nohte - 'night' - A1
 * non - 'not' - A1/13/17/18/23; H7/16
 * o - 'or' - H16
 * ob - 'where' - A1
 * pasca - 'Easter' - A12; H5
 * por - 'for' - A12; H5
 * porque - 'why' - A5
 * que - 'what' - A21; H14/16
 * queres, quer(o) - 'want' - A1/5/11/13
 * rayo (raya?) - 'ray' - A17/19; H3
 * seno - 'bosom' - A18; H5
 * serad, yes - 'be' - H2/16
 * si - 'if' - A1/11/18; H2
 * sin - 'without' - A12; H5
 * sol - H3
 * tan - 'so' - H3
 * te - 'you' - H16
 * tolgas - 'take away' - H16
 * tornade - 'return' - A21
 * ven(e), vened, vernad - 'come' - A1/12; H1/2/3/5
 * vestirey(o) - 'put on' - A22
 * vivreyo - 'live' - H6
 * yana - 'door' - H14