Parimune Etoris
A symposium and repository of semantic roots formed through the exploration of phonetic aesthetics
By Torinne Victoria Edelman
Prologon Codicis
Henceforth this opus shall be periodically and perpetually extended and altered as innately it exists as a creation in progression in simile with life itself. Perhaps even if this necessitates function following form with the intention of exploration through trial and error and beautification through refinement. Metalogistically, every level of this universe of thought conforms to a fractal structure of aesthetics.
From our scientific knowledge, it can be assumed that phonemes are the most basic elements of language that are aesthetically relevant. Therefore this work will consider the aesthetic values of phonemes first, and then focus on morphemes, clauses, sentences, poems/prose, and corpora operis, respectively. From this pattern, the external ends of this hierarchy can be extrapolated.
Ultimately, it is paramount to create a fractal of aesthetics that is internally transcendent. However logical this must be, its growth must be organic. For the automation of a process intended to reveal aesthetics is theoretically impossible. Furthermore, the aesthetics of organics supersedes that of mechanics. Thus embarks this opus magnum towards a goal that is only manifested in its pursuit.
Capitulum Prime: Revelatia Phonemica
The most aesthetic termination for morphemes are vowels and sonorant consonants. From the exemplary root
tor are derived these forms that represent both terminal aesthetics and classical combinations.
Root
Tor
Vowel Terminations
Tora
Torah
Tore
Tori
Toro
Toru
Multi-Vowel Terminations
Torai
Toria
Torio
Primary Consonant Terminations
Toram
Toran
Torang
Toras
Torath
Torax (acta)
Secondary Consonant Terminations
Toral
Torar
Torash
Classical Terminations
Tora
Torica
Toris
Toron
Toros
Torum
Torus
Modern Terminations with Silent E
Torane
Torene
Torine
Torone
Torune
-me, -se, -le, -re
Modern Semantic Terminations
Toreau
Torie
Torinne
Torique
Torita
To elaborate on some of these forms, the primary consonant terminations are generally more aesthetic than the secondary terminations, technically all the classical forms follow previously set rules, and the silent E terminations with the letter N are more aesthetic than those with the letters M, S, L, and R. Additionally, the letter I can be replaced with the letter Y with the same pronunciation between consonants without loss of visual aesthetic value. Phonemes that are aesthetically appropriate in other parts of a morpheme are as follows in general order of aesthetic value:
T
K
Ch (as in CHemical)
Dh (as in feaTHer)
Zh (as in viSion)
Qu
V
Y
W
D
Kh (as in baCH)
J
Ch (as in CHarm alternatively spelled Ti, C, and Tsh)
P
Ph
B
G
Z
Capitulum Secondarium: Revelatia Morphemica
Now that rules of aesthetics concerning phonemes have been formed, the process of building a corpus of morphemes can be commenced. These morphemes are basic roots that are semantically relevant, and will be divided into numerous categories. When these categories are adequately populated, they will form a catalog that can be used as a reference when building conlinguistic vocabularies. Therefore this is the next step in creating a language that is organically aesthetic on multiple levels down to its core phonology.
The following is the notation that will be used to describe various phonemes:
? - A, E, I, O, U
@ - A, Ah, Ai, Ia, Io, + ?
% - I, U, W, Y
$ - M, N, Ng, S, Th, X-Ct (X changes to Ct if followed by a vowel)
# - L, R, Sh
< - T, P, K , Qu, Ch
> - D, B, G
/ - Dh, V, J, Zh, Z
\ - Ph, Ch, Kh
The following are sets of morphemes ordered by aesthetic value within complexity that include the variable symbols and an example of the morpheme:
Set I
? - A
Set II
?$ - Am
?# - Al
Set III
$@ - Ma
#@ - La
%@ - Wa
>@ - Ta
<@ - Da
/@ - Dha
\@ - Pha
Set IV
$?$ - Man
#?$ - Lan
%?$ - Wan
>?$ - Tan
<?$ - Dan
/?$ - Dhan
\?$ - Phan
$?# - Mal
#?# - Lal
%?# - Wal
>?# - Tal
<?# - Dal
/?# - Dhal
\?# - Phal
Set V
$?$@ - Mina
#?$@ - Lina
$?#@ - Mila
#?#@ - Lila
%?$@ - Wina
%?#@ - Wila
>?$@ - Tina
>?#@ - Tila
<?$@ - Dina
<?#@ - Dila
/?$@ - Dhina
/?#@ - Dhila
\?$@ - Phina
\?#@ - Phila
Set VI
?$?$ - Amin
?#?$ - Alin
?%?$ - Awin
?>?$ - Atin
?<?$ - Adin
?/?$ - Adhin
?\?$ - Aphin
?$?# - Amil
?#?# - Alil
?%?# - Awil
?>?# - Atil
?<?# - Adil
?/?# - Adhil
?\?# - Aphil
Set VII
$?$?$ - Minath
#?$?$ - Linath
$?#?$ - Milath
#?#?$ - Lilath
%?$?$ - Winath
%?#?$ - Wilath
>?$?$ - Tinath
>?#?$ - Tilath
<?$?$ - Dinath
<?#?$ - Dilath
/?$?$ - Dhinath
/?#?$ - Dhilath
\?$?$ - Phinath
\?#?$ - Philath
$?$?# - Minar
#?$?# - Linar
$?#?# - Milar
#?#?# - Lilar
%?$?# - Winar
%?#?# - Wilar
>?$?# - Tinar
>?#?# - Tilar
<?$?# - Dinar
<?#?# - Dilar
/?$?# - Dhinar
/?#?# - Dhilar
\?$?# - Phinar
\?#?# - Philar
Sets VIII and IX can be formed by prefixing ? and suffixing @ to set VII respectively. The terminations
ane and
anne are respectable variations of
an in ?$ to ?$($)e and ?# to ?#(#)e form. It is also possible to add certain consonants from the $ and # groups and vowels from the % group to other consonants to create complex phoneme clusters like in
astrix and
apios.
...opus in perpetual state of creation with later capituli to follow periodically
