TEXT: Grammar of
  Sunuz
  Tekumel Netbook #6
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  Revision:  1
  
  © M. A. R. Barker, 1994
  THE THIRD OCTANT:
  Q
  THE TONGUE
  of
  THOSE WHO JOURNEY BEYOND:
  Q
  Q
  Annotated
  for the Use of Students
  PART ONE
  A
  
  The Third Octant
  2
  INTRODUCTION
  umans acquire knowledge
  in four ways: firstly,
  through the senses (i.e.
  physical experience of the
  material world); secondly,
  through 
  reading 
  or
  hearing the speech of
  another (i.e. learning from
  a book or a teacher);
  thirdly, through intuition from the stock of
  genetic imprints shared throughout our
  species (i.e. instincts or possibly race-
  memories); and fourthly, through what is
  termed "scrying" (i.e. serving as vessels for
  leakages through the fabric of the Many
  Planes). To these, some might add a fifth path
  of gaining knowledge: direct communication
  from some greater being (i.e. "a revelation from
  God" -- or Another Power).
  I
  t is to the category of scrying that this
  work pertains. This is distinct from
  thinking, imagining, or meditating. It
  requires that one close the doors of the
  senses, sit in passive and receptive awareness,
  open the gates of the mind, and become a
  ready receptacle for whatever impressions may
  penetrate the "Skin of Reality." This is not
  "meditation" in the usual sense, which
  concentrates upon the self, the ego, the
  seeker's own being (whether to expand or to
  control it). Another type of "meditation"
  includes "prayer" and also ecstatic mysticism:
  an attempt to approach the Divine or to see
  God. These endeavours differ from one
  another, and also from scrying. This last
  focuses neither upon one's self nor upon an
  external goal, such as a divinity. The task of
  the scrier is to open the mind to impressions,
  experiences, and ideas that come unbidden
  from without, willy-nilly, from the Planes
  Beyond. This is not easy. Sitting alone in a
  room, or on a mountain-top, is insufficient. The
  self intrudes; the world of light and colour and
  sense-perception beckons; and the mind
  wavers and betrays the seeker at every step.
  The scrier must be inert and passive, a bowl
  into which tenuous strands of alien experience
  drift and settle from the Planes Beyond.
  Sometimes the bowl is filled to overflowing, and
  at others it remains as empty as the vessel of
  a starving beggar. Patience, striving, and
  perseverance are one's only aids, for this art
  can be mastered neither from books nor from
  the teachings of others. Dangers, too, lie upon
  the scrier's path, and these must be bested or
  avoided if one is not to wander lost and
  languishing through the nullity of the Unending
  Grey.
  L
  earning to scry is not easy. At first, one
  "sees" -- hears, senses -- fragments: a
  colour, a sound, a bit of a landscape, a
  word in some foreign tongue, a half-heard
  musical phrase. As one becomes skilled, more
  and more comes through. Words are joined
  together, landscapes burgeon into elaborate
  scenes; musical notes become melodies. If one
  persists, one's "bowl" fills almost by itself with
  spectacular detail: astronomical events, whole
  periods of history (human and other), stately
  symphonies, dramas of great poignancy, and
  the details of a myriad lives that one could
  never  otherwise know. One can direct one's
  attention as well, seeking certain areas,
  topics, or personalities. It is like picking up a
  book again, or coming back into the theatre
  after intermission to continue watching a play.
  At last one reaches a stage where one can
  walk down any street or turn in at any door on
  the world one is scrying, and all is instantly
  available, known, and consistent. One can
  watch a child playing in front of its gate and
  then return ten years later  to see that same
  child grown, although no more than a moment
  may have passed for the scrier. One can take
  up a book and read from the passage where
  one left off. One can do much more as well, but
  it is not wise to adumbrate too much; dangers
  lurk here for the unwary.
  
  The Third Octant
  3
  S
  crying is a solitary skill. Few who dwell in
  the world of physical sense-perceptions
  can understand. Fewer still believe that
  what the scrier perceives is in any way "real."
  Whether the scrier be an Ezekiel or a
  Nostradamus, he is quickly disposed of with a
  superior smile and a dollop of "icy realism." It is
  usual, indeed, to dismiss a scrier's seeings as
  hallucinations or the results of an over heated
  imagination. Because of this, many would deny
  that they are scrying at all and claim that
  their literary fantasies are just "fiction."
  T
  he question the scrier must ask is: do
  the opinions of others matter, or is it
  enough to scry in solitude, to perceive
  the strange landscapes of the Planes Beyond,
  and to know that one has experienced the
  transcendental and the unique? Scrying is not
  for those who are bound to the world of
  physical perceptions. How can a bird transmit
  the sensations of flight to one whose feet are
  forever fixed in the earth?
  W
  hat, then, is the objective of scrying?
  What is one to do  with the
  perceptions, images, and knowledge
  one has scried? Rarely can one learn anything
  of the "practical" arts: engineering, chemistry,
  astronomy, and the like. Rarely, too, can one
  scry the future or the past. Penetrating those
  veils is a unique talent, vouchsafed only to a
  few seekers here and there across the
  millennia, although fragments do occasionally
  come through: premonitions, precognition.
  Languages, historical events, and esoteric
  wisdom are also beyond most scriers, for the
  Skin of Reality is thicker on this Plane than
  elsewhere, and there are currents and
  confusions that cannot be predicted or
  comprehended. One can only say that, for
  some, scrying is as natural and compelling as
  breathing. For others it is hard work, attained
  after many years of effort. It is all worthwhile.
  Scrying broadens the spirit and expands the
  soul. If we can master it, develop it, explore it,
  regulate and structure it, we could add a great
  deal to the corpus of human knowledge.
  T
  his treatise is neither a text on the
  theory of scrying, however, nor is it a
  teaching manual. It is also not a
  translation of the Sunúz manuscript described
  below; this is beyond this writer's capabilities --
  and probably also beyond those of Dumúz
  Sénjukaz! Instead, what follows is an
  introduction to the language, the script, and
  something of the magical world-view of the
  language. It is intended as a "consciousness-
  raiser": a means of introducing scholars to the
  study of the Pariah Deities. It also offers both
  enlightenment and a warning. If the book
  speaks the truth, then humanity stands in
  mortal danger, and action is desperately
  needed. If it is false -- only a "dream" or an
  illusion -- or if the scried vision be accurate but
  the book's author a charlatan or a deluded fool
  -- then this treatise can be take as fiction: a
  "good read" for the occult-minded. If this
  scried vision be false, then well and good! The
  reader can still enjoy it as a "good read," a few
  hours' pastime. Pray, rather, that this be the
  case, for if the author has scried the
  manuscript correctly, and if it speaks the
  truth, then that will be a very terrible
  denouement indeed.
  
  The Third Octant
  4
  BACKGROUND
  his treatise focuses upon a
  language, an archaic tongue
  described in a single
  manuscript written in a
  second language almost as
  old. Where and when and
  how these languages are
  (were -- will be?) spoken is
  unimportant. It is the content of  the
  manuscript that compels. If this book is in any
  way "real," then humanity is confronted with a
  challenge from across the Many Planes that
  must be faced with all the skill and energy we
  can muster. To do otherwise is to go passively
  to a terrible doom.
  M
  uch of what follows will initially be
  strange to readers unfamiliar with
  the planet Tékumel, far away across
  time and space and the Many Planes. This
  cannot be helped, nor does the author have the
  space to explain. It would take an
  encyclopaedia to set out even the basic facts
  about Tékumel. All that can be done here is to
  include the most essential background
  materials, and ask the diligent reader to seek
  out the various other publications concerning
  Tékumel. Familiarity will come.
  T
  his treatise begins with Sunúz., a
  language proscribed all across the Five
  Empires, a region covering a large part
  of one hemisphere of Tékumel. Sunúz is no
  longer spoken in this or any other area, so far
  as is known. Even its original homeland cannot
  be certainly identified: it is difficult even to say
  whether it was the tongue of a fishing
  community, a mountain tribe, or desert
  nomads. It possesses words for bird snares,
  boats, hunting spears, and other ethnographic
  items, but many of these appear to be
  borrowed from its neighbours, and few are
  definitively from one region or another. The
  importance of Sunúz stems from the fact that
  it often serves as the vehicle for texts relating
  to the "Pariah Deities," of whom more will be
  said below. "Sorcerous" techniques are the
  most frequent topic of the texts extant in
  Sunúz. These incantations, spells, and rather
  strange philosophical concepts are closer to
  "ritual magic" than to any variety of "mental"
  discipline. They contain something of astrology
  and numerology as well, although these
  disciplines are very different from those with
  which we are familiar. It must be said -- and
  emphasised! -- at the outset that Sunúz has
  nothing whatsoever to do with our own
  philosophies or religions. The mages who employ
  Sunúz have never heard of Christianity, the
  Devil, Judaism, Hinduism, Buddhism, or any of
  this world's many other "isms!" Sunúz
  expresses a tradition all its own. That this
  essentially alien corpus has urgency and
  relevance to our lives will become apparent
  below.
  T
  he reason for writing this treatise at
  this time is a new manuscript, found
  some fifteen years ago in the museum of
  the Obsidian Palace in Tsámra, the capital of
  the Empire of Livyánu. Workers cleaning the
  back shelves in one of the cupolas atop the
  building came upon a panel of rotting plaster
  that concealed an alcove. Within, lay this one
  tattered volume, together with implements
  used in the rituals of that Pariah Deity named
  the "One Other." The Livyáni authorities kept
  the manuscript in a sealed vault until last
  year, when the city was looted by
  Mu'ugalavyáni troops following the so-called
  Plague of the White Hand. It was then sold in
  the marketplace as a near-worthless antique.
  It is not known who purchased it, but it
  eventually found its way to the city of Jakálla
  in the neighbouring nation of Tsolyánu, where it
  was acquired by a refugee Livyáni priest, one
  Dumúz ("Brother in the Faith") Sénjukaz
  Chigái. He graciously aided the present writer
  in the investigation of the book and provided
  much of the linguistic material. Why he offered
  this assistance is a matter for conjecture; the
  
  The Third Octant
  5
  Livyáni are notoriously secretive and
  xenophobic. But that is another tale...
  A
  s far as is known, this manuscript is
  the first and only lengthy Sunúz text to
  be intensively studied since the last
  centuries of the Empire of the Priestkings of
  Gánga. Twelve other Sunúz manuscripts are
  known in the Five Empires. Seven of these are
  fragmentary; one is a list of unidentifiable
  names or objects; and the remaining four are
  historical and religious texts of interest but
  little intrinsic value. Monolithic stelae inscribed
  in Sunúz are to be seen in the arid plains of
  Milumanayá, and coins, medals, talismans, and
  other artefacts are occasionally recovered
  from burial sites all across the continent from
  Livyánu eastward to central Salarvyá.
  Rumours of further manuscripts and buried
  libraries persist, together with whispered tales
  of survivals of the worship of the Pariah
  Deities. Most such stories are false, of course,
  but some may hold a modicum of truth. After
  all, the Pariah Deities were worshipped in one
  form or another throughout the Five Empires
  (and beyond) for a score of millennia. Shrines
  of the Goddess of the Pale Bone (called "She
  Who Cannot Be Named" by superstitious folk),
  the One Other, and the One Who Is are found
  from Dlásh in the south (where it is said they
  still hold secret sway) to Ghatón and the
  Lorún tundra in the north, and from Tané in the
  west to the Salarvyáni city of Tsa'avtúlgu in
  the east. Within Tsolyánu itself, a shrine to the
  Goddess Who Cannot Be Named is supposed
  to exist in the labyrinths below old Púrdimal. In
  Mu'ugalavyá, the ruins of Ch'óchi are said to
  conceal another of her temples. In the hot
  lands south of Shényu travellers have reported
  the remains of a huge temple devoted to the
  One Other; it was levelled and sown with salt by
  the Lords of the Latter Times so that nothing
  might ever grow there again. The dark threnody
  of the Pariah Deities' worship also runs
  beneath many of Tékumel's modern societies.
  The One Other plays a small but important
  part in the epic cycle of the god Ksárul, the
  Doomed Prince of the Blue Room, and legends
  of the Dread Goddess are still repeated as
  parables to students in the temples. As
  organised religions, however, the sects of the
  Pariah Deities are now almost completely gone.
  The fifth Tsolyáni Emperor, Trákonel I, "the
  Blazing Light" (139-195 A.S.) obliterated their
  shrines, burned their books, and sent scores of
  their priests to the impaling stake. The worship
  of She Who Cannot Be Named was considered
  the most pernicious of the three, and her
  followers suffered the most. Still, hundreds of
  bone artefacts (knife handles, medallions, and
  small cylinders of unknown use) exist, covered
  with her curling, intricate glyphs and brief
  texts in Sunúz. The One Other may well be
  worshipped by clandestine groups here and
  there, and his circle-and-dot symbol is seen on
  monuments, coins, and tomb-lintels. The third
  of these deities, the One Who Is, never had
  much of a following in the Five Empires,
  although he is popular in the Naqsái lands to
  the south-west of the Five Empires, where his
  temples may still perform the hideous Sacrifice
  of the Null. In view of the ancient and
  widespread worship of these beings, it is
  probable that their sects continue to exist. --
  And who can say what may be found across
  the oceans on the other continents of
  Tékumel?
  F
  ew modern Tekumeláni scholars have
  any idea of the natures of the Pariah
  Deities. Are they monsters, devils,
  demons? Are they depicted in physical form?
  Do they have mythologies, theologies,
  scriptures, services, or eschatologies?  The
  answer to each of these questions is a firm "we
  do not know." If these things existed, they have
  long been hidden away or forgotten. The Pariah
  Deities have no faces, nor do they figure in the
  epics (with the one exception noted above).
  They once were worshipped in imposing temples
  by organised priesthoods, but no images have
  ever been found. Their rites were elaborate and
  complex, but the details are unknown. Their
  adherents employed symbols, talismans, and
  magical diagrammes, but these were not
  included in the symbolic systems of the deities
  who later came to replace them. We lack
  information about their rôles in family life,
  
  The Third Octant
  6
  marriage, birth, death, and all the rest of
  human culture. If they were the subjects of
  artists, sculptors, and miniature painters, if
  their hymns were ever written down, if their
  worshippers ever wrote of them or devoted
  poems to them -- we do not know. So effective
  were their persecutors that almost nothing
  remains. This alone makes this new manuscript
  important.
  T
  he three Pariah Deities are said to
  display very different "personalities."
  She Who Cannot Be Named is hostile
  and fearsome; the One Other appears more
  peaceable and condescending; and the One Who
  Is dwells remote and aloof in a place named
  "The Darkness Below the World," probably a
  cavern somewhere beneath the surface of
  Tékumel. The Pariah Deities (be they gods,
  demons, or interplanar monsters) do share one
  trait, however: they are inimical to all life and
  material substance everywhere. This is not just
  the ferocity of a "monster," or the evil of a
  fallen angel; their objective, whether
  deliberately or coincidentally shared, is the
  extirpation of everything on every Plane they
  occupy! They do not dissemble or compromise.
  Wherever they enter and achieve victory, that
  Plane becomes a void: a nothingness containing
  less physical substance than the lonely
  reaches between the galaxies! They "feed" (to
  use a human analogy) on the fabric of the
  universe itself.
  W
  hy, then, would any human serve such
  inimical beings? The answer lies in
  humanity's penchant for personal
  avarice. The Pariah Deities' payment for
  services rendered is generous, and they keep
  their bargains. Long life, power, glory, wealth,
  sex -- all are lavished upon those who do their
  will. They seem to need assistance from within
  a Plane in order to enter there and conquer it.
  This makes their human followers important to
  them, at least temporarily. Since their
  conquest of a given Plane may not occur for
  perhaps thousands of years, their worshippers
  can feel personally safe for many lifetimes
  before the terrible final denouement. There is
  time to enjoy the fruits of service. After all,
  what does the lifespan of a transitory human
  being matter to the cosmic plan? The Pariah
  Deities have a far more overreaching goal, and
  they have the time, the tenacity, and the
  means to achieve it Their followers may thus be
  likened to those who pollute the sea and the
  air of our own planet without thought for the
  future. Greed and selfishness are motive
  enough;  many would gladly serve any master,
  no matter how monstrous, who will satisfy
  their wilder fantasies.
  T
  he Pariah Deities are neither morbid nor
  grim; they do not seek our deaths as
  individuals; they are not "devils," nor
  "monsters"; they do not prate of death and
  decay, or of tombs and skeletons. They are not
  "demons out of nightmare," nor are they
  "beasts that tear and rend." Indeed, they have
  nothing to do with humanity's petty gods and
  devils, nor with human saints and sinners. They
  are a threat the like of which our world has
  never known and cannot imagine. They are wise
  and ancient, cold and calculating, devious and
  unutterably alien. They are anathema. Their
  "evil" (in human terms) surpasses anything we
  can conjecture. If they succeed, nonbeing --
  nullity, emptiness -- will result for all but
  themselves in the cosmos. Humanity cannot
  hope to destroy them, for they overshadow the
  world as the sun overshadows all of the
  planets put together. Humans are to them as
  ants to a man's boot: one callous step and our
  Skeins are ripped from the Weaver's Loom. They
  would destroy us not because they covet our
  souls, not because they hate us, not because
  they hate God -- but rather because they
  hunger and they do not care...
  I
  s there any hope at all? The unnamed
  author of the present manuscript tells us
  that there is. The Walkers Between the
  Worlds can be driven back from at least a few
  of the Planes they have invaded. This must be
  humanity's sole preoccupation; anything else
  leads to a doomsday we cannot imagine. It is
  this threat addressed by the latter chapters
  of "The Pandects of Those Who Journey
  
  The Third Octant
  7
  Beyond." The author's stated goal is to lead
  the student to proficiency in the techniques
  needed to repel the Pariah Deities. He tells us
  that this has been successful before on
  Tékumel. The Pariah Deities were foiled by small
  human groups called the Heroes of the Age.
  This was attempted not once but several
  times, the latest being only a few Tekumeláni
  years ago. What, then, of our own unsuspecting
  world? That the Pariah Deities have not yet
  emptied it of all substance could be an
  accident: they may not have found it amongst
  all of the richer Planes of Reality. The second
  and more likely possibility is that the "Skin of
  Reality" on our Plane is "thicker" than
  Tékumel's. The walls of our Planar "bubble" are
  like a tree with thick, hard bark, while Tékumel
  is protected only by thin, soft bark. This makes
  "sorcery" (the drawing through and moulding of
  Other-Planar energy) more difficult for us than
  for the Tekumeláni, but it also provides a
  "natural protection" against invaders. The
  Pariah Deities prefer Planes with weaker
  defences. Yet we cannot rely upon this to save
  us from beings so determined and tenacious --
  and hungry. If we take no action, we are as
  doomed as the denizens of the many Planes
  that have already become empty void.
  T
  he first page(s) of the manuscript are
  lost. It begins in mid-sentence with a
  description of the language of the Third
  Octant, the arcane tongue used by the
  followers of the Pariah Deities. This is almost
  impossible to translate: differences in
  terminology and "grammar theory" could not be
  clarified, even by a mentor as perceptive as
  Dumúz  Sénjukaz. The book continues with a
  description of sorcerous concepts and
  techniques that -- hopefully -- can ban the
  Pariah Deities from entering a Plane. These
  latter chapters are protected by a progression
  of Wards and Guards which only an adept can
  penetrate. Sunúz authors concealed their
  wisdom with magic, as well as with ciphers and
  argots. These proved impassable both for this
  writer and for Dumúz Sénjukaz. But, as the
  text says, once one has travelled a way along
  the path, one's feet begin to find their way by
  themselves. It is in this hope that the author
  presents what follows.
  T
  he sorcerous section begins on an oddly
  ironic note. The author claims that he
  himself  was a follower of the Pariah
  Deity called the One Other. He believed that
  the promised invasion of his Plane by the
  Pariah Deities was near at hand, and self-
  preservation led him to reveal the means of
  repelling his own masters from his world! Thus,
  he and his descendants could enjoy the
  rewards of his service while remaining safe and
  secure! He went still farther, however: not only
  did he disclose the mysteries of the Sunúz
  tongue and a method of foiling the Pariah
  Deities, he also divulged other secrets and
  sorcerous techniques as well. Did he suffer a
  change of heart? Was he an apostate who
  switched sides in an effort to save his own
  species? Or was he a selfish coward? We can
  never know. Dumúz Sénjukaz also hinted at yet
  another possibility: perhaps the text contains
  a snare for the unwary, something triggered,
  perhaps, by the very act of reading it. Did the
  author seek to entrap us with a spell that will
  lead to our destruction? To insert such a
  device into a previously safe Plane is in keeping
  with the practices of these sects. Yet the
  author appears to be honest, and Dumúz
  Sénjukaz is a Livyáni, a society renowned for
  its unremitting paranoia and xenophobia. Still
  ... The Pariah Deities have time on their side,
  and it is perhaps foolish to be disloyal to
  forces as puissant as they...
  T
  here are those who demand that all
  such texts be destroyed. The rulers of
  the Five Empires suppressed everything
  relating to the Pariah Deities, including the
  language. The survival of this manuscript in a
  dusty attic is therefore a wonder, if not a plot,
  as Dumúz Sénjukaz suggests. If wrongly used,
  this book contains knowledge sufficient to
  destroy the unwary reader and perhaps much
  more. Yet it also seems to hold the means of
  salvation!
  
  The Third Octant
  8
  E
  nough, then! As the manuscript's
  unnamed author says, "Go wisely and
  well. Obey your instincts and your good
  sense. Perform sorcerous experiments with
  caution. If this book seems to beckon you
  toward pinnacles you would rather not climb,
  to vistas that you do not wish to gaze upon,
  why, then, cast it down and be done! Others will
  come after you, and they may yet succeed."
  A
  THE MANUSCRIPT
  he manuscript consists of a
  sheaf of 73 brownish vellum
  leaves measuring 19.3 cm
  long by 12.1 cm wide by
  approximately 6 cm thick. It
  has no cover, and crumbling
  parchment, binding thread,
  glue, and dirt drift down
  onto the tabletop whenever it is handled. It
  lacks a first leaf and probably two or three
  from the end as well.   There is little doubt of
  its authenticity; were it a forgery, it would have
  to be a very elaborate one indeed. This copy is
  perhaps a thousand years old, although it is
  hard to be certain. It was certainly copied from
  an older recension, probably one that had itself
  been duplicated a dozen times before. The
  present first page bears a marginal inscription
  in the Dúru'ob language, inscribed in the bright
  red ink made from the flowers of the Ja'athéb
  tree. This reads: "The Pandects of Those Who
  Journey Beyond." This title is known from the
  "Universal Bibliography" of Minháris of
  Purdánim, a famed librarian of the First
  Imperium, and it is mentioned again in one of
  the twelve other Sunúz texts: "The Fifth
  Harmonic of True Being."
  T
  he Sunúz text is centrally placed on
  each page. Each of the 8 lines of writing
  measures 
  14.3 
  cm 
  wide 
  by
  approximately 1 cm high. The scribe laid out
  ruled lines of fine graphite as a guide. The ink is
  a rust-red substance that appears to contain
  no corrosive agent. The text is written in a
  large, uncial hand in the variant of the script
  called "The Powerful Composition of Játhk," the
  westernmost of the three common Sunúz
  writing styles. (The other two are "The Canon of
  Poróthk," used in the north, and "The
  Efficacious Penmanship of Dléth," popular in
  the centre and the east of the continent.) The
  variant of Játhk used in the manuscript is a
  late form that employs Engsvanyáli values for
  certain letters (e.g. the use of short /u/ (± one
  of the "lengthener" symbols) to represent the
  vowel /o/, which Sunúz originally seems to have
  lacked). There are also loan-words from both
  Dúru'ob and Engsvanyáli. All of these features
  are exactly what one would expect in this type
  of text.
  S
  unúz is not a member of the Khíshan
  family of languages, the oldest forebear
  of which is Llyáni, the speech of the
  Empire of Llyán of Tsámra. Other Khíshan
  languages include Engsvanyáli, Livyáni,
  Mu'ugalavyáni, Tsolyáni, Salarvyáni, Yán
  Koryáni, and certain minor tongues.
  A
  ll around the margins and between the
  lines of Sunúz text later writers have
  inserted glosses in Dúru'ob, the
  language employed in Livyánu after the fall of
  the Empire of Llyán of Tsámra and before the
  rise of present-day Livyánu. Dúru'ob was
  adopted as a literary language near the end of
  the Engsvanyáli Empire, just before the Time of
  No Kings. Because of its historical position,
  Dúru'ob is often called "The Speech That Came
  Between," although one form or another was
  used for millennia. It has many of the features
  of Llyáni and its daughter-language, Livyáni,
  and it also contains non-Khíshan and
  
  The Third Octant
  9
  Engsvanyáli elements. Dúru'ob texts make up
  about 35% of the collections of the libraries of
  the temples of the Livyáni Shadow Gods. Its
  grammar is difficult, and its script is
  comprised of about 1,700 glyphs representing
  phonemes, syllables, logographs, and abstract
  ideographs. Dialects of Dúru'ob were employed
  as court languages in the fragmented
  principalities of Livyánu until about 2,000
  years ago, at which time the (semi-
  mythological) First Thinker, Dumúz Mélunez
  Chi'úna, ordered its abandonment and the
  introduction of the simpler Engsvanyáli-like
  script used for Livyáni today. This coincided
  with the rise of the monolithic and theocratic
  Livyáni state. Various of the Livyáni
  priesthoods still employ Dúru'ob as a liturgical
  language, and it is said to be spoken in the
  southern city of Dlásh, where it serves as the
  primary vehicle for the rites of the local deity,
  the One of Fears (who may be a form of the
  One Other --?). The Dúru'ob glosses in the
  present manuscript are quite distinct from the
  Sunúz text. They appear to have been written
  by many scribes, in a variety of hands, inks,
  and styles. Dumúz Sénjukaz theorises that
  the book was used as a teaching text in some
  ancient monastery or academy. This could not
  have been an institution devoted to the Pariah
  Deities because of the author's heretical views,
  but rather one where such texts were taught
  as "comparative religion" before the
  proscription banned them forever.
  A
  THE LANGUAGE
  PHONOLOGY
  he phonology, grammar, and
  lexicon of Sunúz are
  significantly different from
  the Khíshan tongues, if later
  accretions are disregarded. E
  ach consonant in the following table is
  considered a unit phoneme, even when
  transcribed with two English letters.
  Other consonant clusters are treated as
  sequences. Voiced and voiceless counterparts
  are placed together in the same box.
  CONSONANTS
  Labials
  Labio-
  dentals
  Dentals and
  Alveolars
  Alveo-
  palatals
  Velars &
  Post-
  Velars
  Glottals
  Stops
  p, b
  t, d
  k, g, q
  ' (glottal
  stop)
  Nasals
  m
  n
  ng (¢)
  Fricatives
  f, v
  th («) dh (δ)
  ss (s|)
  kh (x), gh
  ( γ)
  h
  Grooved
  s, z
  sh (ç) zh (z)
  Affricates
  ts (c), dz (¥)
  tl (¬) dl (Ò)
  ch (N) j
  (¥)
  Liquids 
  and
  Others
  w
  r, l, hl (¬)
  y
  
  The Third Octant
  10
  PRONUNCIATION
  S
  ince Sunúz is a "dead" language modern
  speakers pronounce it according to
  their own phonetic values. Dumúz
  Sénjukaz employs the educated Livyáni dialect
  of Tsámra, while a Salarvyáni or Tsolyáni
  speaker would have a different "accent." The
  following notes are only approximations.
  /p, t, k, b, d, g, m, n, f, v, h, s, z, sh, ch, j, w,
  y/ are probably relatively close to
  English.
  /g/ is always "hard," as in "gun," and never
  as in "gym" -- which would be written
  /jim/.
  /q/ is a back-velar "k," as in Arabic Qur'an
  and never as in "quick."
  /'/ (the glottal stop) is a "catch in the
  throat," as in "oh-oh!" It is understood
  to occur before any otherwise word-
  initial vowel. It also occurs word-
  medially and finally.
  /ng/, is as in "sing," except that it can
  occur at the beginning of a word as well
  as medially and finally.
  /th/ is the "th" of "thin," and /dh/ is the
  "th" of "this"; English uses "th" for both
  sounds.
  /ss/ is a retroflexed "s"; this sound occurs
  in Sanskrit and other Indic languages.
  It is common in Engsvanyáli and its
  daughter-languages but rare in Sunúz.
  /kh/ is a back-velar voiceless spirant, as in
  German "ac h ." /gh/ is its voiced
  counterpart; this sound is found in
  Arabic ("ghain") but does not occur in
  other European languages.
  /sh/ is as in "ship," and /zh/ is the "s" in
  "pleasure" or the "z" in "azure" -- or the
  "zh" in Russian "Zhukov."
  /ts/ is as in "hats"; it can occur initially,
  medially, and finally.  its voiced
  counterpart, /dz/, is as in "rods."
  /tl/ is a voiceless alveo-palatal affricate, as
  in "Nahuatl." It is thus not the "tl" of
  "bottle." Its voiced counterpart, /dl/, is
  approximately as in "muddle."
  /ch/ is the "ch" of "church" (and never as in
  "ach," "c hagrin," etc.!). Its voiced
  counterpart, /j/, is as the "j" or the "dg"
  in "judge."
  /r/ is a single-tap voiced vibrant, as in
  Spanish, rather than the retroflexed
  vowel-like "r" of American English.
  /l/ is a "light" "l," as in "like," rather than
  the "dark" (velarised) "l" of "ball." Its
  voiceless counterpart, /hl/, is as in
  Welsh "Llewellyn."
  T
  he interpretation of the stops is
  problematic. Dumúz Sénjukaz considers
  the contrast between /p/ and /b/, /t/
  and /d/, and /k/ and /g/ to be one of voiceless
  versus voiced, as in Engsvanyáli and Livyáni.
  Yet it is possible that both sets of stops were
  voiceless, and that the contrast was then
  between aspirated versus unaspirated, roughly
  like the difference between the "t's" of "tab"
  and "stab": i.e., phonetic [th] versus [t].
  Melékkish Viú of Khéiris has proposed that the
  contrast was between voiceless and
  glottalised (e.g. /p/ versus /p¯/). He uses this
  argument to explain the presence of
  glottalised stops in Classical Mu'ugalavyáni;
  yet it seems farfetched to claim that this
  feature was a borrowing from Sunúz. Still
  another hypothesis holds that only the
  voiceless stops (/p, t, k, ?/) and /ch/ were
  included in Sunúz' "original" inventory, and even
  the voiced stops (/b, d, g/) and /j/ were ancient
  
  The Third Octant
  11
  borrowings. This is supported by the fact that
  /j/ is indeed a member of the Fourth Octant,
  supposedly all loans from Engsvanyáli and/or
  Dúru'ob. This theory gives Sunúz a very regular
  pattern: all obstruents and fricatives are
  voiceless, and only the nasals, semivowels,
  vibrant, and lateral are voiced.
  VOWELS
  Front
  Back
  High
  i
  u
  Mid
  e
  Low
  a
  PRONUNCIATION
  A
  ccording to the Dúru'ob grammarians,
  these "original" four vowels are: /i/ as
  in English "machine," /e/ as in French
  "fête" (close to English "fate"), /u/ as in
  English "rule," and /a/ as in English "father."
  These are "pure" vowels with no offglide, as in
  Spanish.
  S
  unúz also displays a contrast between
  short and long vowels. The former have
  a duration of one "mora," while the
  latter are held (prolonged) for two. In the
  script, this is represented by a short vowel
  symbol followed by the "Minor Extensor": e.g.
  /e/ + /:/ (a symbol for length) = /h/, /a/ + /:/ =
  /E/, etc. As in many languages that have this
  dichotomy, the short/long contrast is
  accompanied by differences in vowel quality, at
  least as modern speakers utter these
  sounds. Dumúz Sénjukaz, for example, makes
  the short vowels somewhat less tense and
  more centralised. His /i/ is thus phonetically
  the [ι] of "pit" or "pin"; his /e/ is the [ε] of
  "pet" or "men"; /u/ is [υ] as in "put" or "book,"
  or [o], as in "note," or a lower, laxer vowel [Ω]
  (Sunúz has no other /o/), and /a/ is rather like
  the /´/ in "putt" or "up." It seems clear that
  /o/ was not part of the original phonemic
  inventory of Sunúz, but it seems to have been
  taken from neighbouring languages as a "loan"
  at an early date. The long vowels are as
  described in the preceding paragraph, plus the
  length feature: i.e. /i:/, /e:/, /u:/ (possibly /o:/ in
  various loan-words?) and /a:/.
  T
  here are also borrowings from
  Engsvanyáli and/or Dúru'ob: the "Major
  Extensor" in the Fifth Octant allows
  for the vowel /ü/ (as in German "kühl") and
  also for three others which are not always
  phonemic in the Khíshan languages. These are
  /æ/ as in English "at" or "cap"; /Ï/ (also
  represented as /ï/) a central or back
  unrounded vowel found in Turkish and heard in
  an "American cowboy" pronunciation of words
  like "just" as in "he's just (often spelled "jist")
  comin'"; and /ƒ/ as in "awe" or "law." The four
  short vowels of the Second Octant followed by
  the Major Extensor are thus /ü:, æ:, ï:, ƒ:/,
  which are then long. Only /ü:/ is common,
  although all are used in incantations, liturgies,
  etc. The vowels /æ:, Ï:, ƒ:/ may have been
  borrowed from an unidentified stratum --
  perhaps one of the Naqsái dialects? In this
  treatise the Major Extensor is represented by
  "\"; for easy recognition, the four vowels are
  symbolised as /ü\/,  /æ\/, /ï\/, and /ƒ\/. Again,
  the Engsvanyáli vowel /o/ (or /o:/?) is
  represented by /ƒ\/.
  S
  unúz, unlike the Khíshan languages, has
  no formally recognised "diphthongs"
  (e.g. /ai/, /au/, /oi/). Such sequences are
  treated as a vowel + a /y/ or /w/: i.e. /ay/, /aw/,
  /oy/. Other vowel strings are either written as
  sequences (e.g. /ua/, /oa/, /iu/) or have a /y/ or
  /w/ inserted (i.e. /iya/, /uwa/, /iyu/). The choice
  of which of these two conventions to follow
  
  The Third Octant
  12
  seems to have differed from period to period,
  place to place, or even scribe to scribe. The
  present manuscript utilises the first method:
  i.e. /ua/, etc.
  W
  ord stress is phonemic in the
  Khíshan languages, although it is
  not written (any more than it is in
  English: compare "PER-mit" as a noun versus
  "per-MIT" as a verb). There is no evidence of
  this feature in the Sunúz script or in the
  grammar. Dumúz Sénjukaz employs the usual
  Livyáni stress patterns: the "accent" falls on
  the last vowel of a word, unless a long or
  closed syllable precedes. There are exceptions,
  which is why stress (/´/) is phonemic and must
  be written for Livyáni, Tsolyáni, etc. It seems
  better to ignore it in Sunúz, however, since
  there are no "native speakers" left!
  Undoubtedly, Intonational contours existed as
  well, but these cannot be identified for the
  same reason.
  MORPHOLOGY
  ROOTS, STEMS, AND AFFIXES
  R
  oots (monomorphemic units carrying
  lexical meaning) are of a CVC or CVCVC
  pattern (where "C" = one or two
  consonants, and "V" = a long or short vowel).
  No root begins or ends in a vowel. A "word-
  initial" vowel is invariably preceded by a glottal
  stop (/'/). Word-medial sequences of "VV" (i.e.
  two vowels) are rare and are likely to be loan-
  words. Borrowings that end in a vowel in their
  own languages have a final glottal stop in
  Sunúz: e.g. Dúru'ob /shagá/ "pottery cup" and
  Sunúz /saga'/.
  S
  tems consist of a single root, a root +
  affixes, or two roots joined in a
  compound. Almost all stems can occur
  both as nouns and verbs with the relevant
  affixes or in the appropriate syntactic
  environments. This phenomenon is common
  but not universal in English: e.g. "The house is
  large." (noun) and "It houses many people."
  (verb); "He is a man." (noun) and "Man the
  lifeboats!" (verb). Other English stems cannot
  be so employed: e. .g. "I appled." (verb) is not a
  sentence, nor is "The see hurts my eyes."
  (noun). All of these sentences are possible in
  Sunúz. It is thus not useful to list stems as
  "basically" nominal or verbal. Adjectives and
  adverbs are also stems, but most require
  various affixes. Pronouns, demonstratives,
  clitics (a limited class containing items like
  /tuk/ "emphatic": see below), and interjections
  are also stems but cannot be used as verbs
  and have special affix classes and other
  characteristics.
  T
  he usual pattern for affixes is  VC, CV
  or CVC. Verbal infixes of the pattern VC
  also occur; these indicate "tense" (the
  time of the action) and "aspect" (the way the
  action happens). Another affix class is that of
  noun postpositions: like English prepositions,
  except that they occur after the noun as
  suffixes: e.g. /ketep-pu/ "in the house" (lit.
  "house-in"). Pronoun prefixes are used to
  possess nouns, and pronoun suffixes are
  employed as subjects and objects with verbs.
  A small class of "classifiers" is found with
  numerals and demonstratives, specifying the
  shape, etc. of the following noun.
  
  The Third Octant
  13
  NOUNS
  NUMBER: INANIMATE NOUNS
  S
  unúz nouns mostly consist of single
  morphemes, although compounds are
  also found. There is no gender (i.e.
  "masculine" or "feminine").
  ANIMATE AND INANIMATE NOUNS
  A
  nimate nouns (large animals, people,
  demons, gods, and Other-Planar beings)
  are also always singular unless the
  speaker wishes to focus upon their plurality. In
  the latter case, the plural morpheme /-yel/ is
  added to the noun stem before any other
  suffixes: e.g. /wa'a:n/ "man" and /wa'a:n-yel/
  "men." One can also express "men" with /yel/
  and the classifier /-na:s/ "human being": /yel-
  na:s wa'a:n/ ; the difference is perhaps
  between "specific men" versus "men as a
  class."
  N
  ouns denoting inanimate objects and
  abstracts are pluralised only when
  required by the semantic context. The
  suffix /-yel/ is employed: e.g. /cha:n 'unlan-yel/
  "these ideas"  Other inanimate nouns are
  usually treated as singulars": e.g. /tha:k-an
  ketep/ "I see house" = one or more houses. To
  express "plural indefinite houses," one uses
  /yel/ as an adjective stem ("many") + the
  appropriate classifier: e.g. /yel-che: ketep/
  "many-bulky object house."  Since there is no
  "the" in Sunúz, "the house" must be "this
  bulky-object house": /cha:n-che: ketep/; "these
  houses" is "this many-bulky-object house":
  /cha:n yel-che: ketep/.
  THE DISTRIBUTIVE
  A
  n interesting element is the
  "distributive" suffix /-kath/, probably
  originally a classifier. This occurs after
  a stem to indicate that the objects are plural
  but are not all grouped together: they are
  "here and there," "scattered,"  or "spread
  out": e.g. /ketep-kath/ "houses" (scattered
  about here and there, like farmsteads in a
  rural area as contrasted with tightly grouped
  houses in a village).
  POSTPOSITIONS
  S
  unúz 
  expresses 
  "cases" 
  and
  "prepositions" 
  with 
  suffixes:
  postpositions added to the noun stem.
  These follow /-yel/ and /-kath/: e.g. /ketep-pu/
  "in (the) house." Postpositions also follow the
  possessive pronominal prefixes: e.g. /ka-pu/ "in
  me"; see below. Some postpositions are:
  /-a/ "accusative: the noun object of a
  verb": /tha:k-an wa'a:n-a/ "I see (the)
  man." This is largely limited to
  occurrences with animate nouns. It is
  optional with non-sentient animates,
  such as animals.
  /-ba:dh/: "after":  e.g. /kra:n-ba:dh/  "after
  (an) hour"
  /-chu/ "for, for the sake of": /wa'a:n-yel-
  chu/ "for the men"
  /-de:/ "from, away from": /ka-de:/  "from
  me"
  /-e/ "possessive (used with nouns)": -'s":
  /wa'a:n-e ketep/ "(the) man's house"
  /-e:pu/ "toward, to": /wa'a:n-e:pu/ "toward
  (the) man"; /ketep-e:pu/ "toward (the)
  house" After a vowel this suffix is
  /de:pu/: e.g. /ka-de:pu/ "toward me."
  /-hem/ "without:" /ka-hem/ "without me";
  /kan-hem/ "without going." /hem is also
  used as a conjunction: e.g. /hem ka-
  yut-ut 'a:s-ti/ "without my-telling-it
  to-them"
  /-jeth/ "against, contrary to": /pa:l-
  qenmes-jeth/ "against our (inclusive)
  army"
  /-ma:m/ "until, up to": /'asa:sh-ma:m/ "until
  tomorrow"
  /-nakh/  "like, resembling":  /ka-nakh/  "like
  me"
  
  The Third Octant
  14
  /-pu/ "in, into, inside": /ketep-pu/ "in, inside,
  into the house"
  /-sath/ "with, accompanying": /wa'a:n-
  sath/ "with (the) man"
  /-si:/ "on": /ketep-si/ "on (the) house"
  /-tan/ "instrumental: with, by": /saga'-tan/
  "with (the) cup"; /mu:kh-tan/ "with
  (the) knife"
  /-ti:/  "to (dative)": /wa'a:n-tu/ "to (the)
  man"
  /-u:/  "O! (vocative)": /wa'a:n-u:/ "O man!"
  After a vowel this suffix occurs as
  /dhu:/:  e.g. /sa:-dhu:/ "O you
  (singular)!"
  O
  ther locatives are expressed by a noun
  + the "possessive" postposition (/-e/)
  followed by a noun signifying a location:
  e.g. /ketep-e ra:sh/ "under (the) house" (lit.
  "house's under-ness); /ketep-e nyel/ "above,
  over (the) house" (lit. "house's over-ness)";
  /ketep-e khe:l/ "out of (the) house" (lit.
  "house's out-of-ness)"; /ketep-e pur-de/
  "from-inside of-(the)-house. "Such elements
  as /ra:sh/, /nyel/, and /khe:l/ are "stems"; they
  occur as nouns and verbs. E.g. /khe:l-an/ "I
  (am) outside" (verb); /khe:l hekak/ "(The)
  outside (is) cold." Such verbal uses signify
  only a spatial. temporal, etc. link between the
  subject and the verb: "I am in juxtaposition to
  the verbal state of "be-outside." An
  existential relationship requires a verb that
  denotes this: e.g. /demuk khe:l/ "Outside
  exists": "there is an outside." Note also /khe:l-
  e mukid-an/ "I am (live, stay, remain) outside."
  The pronominal possessive prefixes occur with
  locational elements as well: e.g. /ka-nyel/ "over,
  above me." Sequences of two or more
  postpositions are not possible; "from in the
  house" is expressed as /ketep-de: tye:-pu/
  "from the house, its inside."
  ADJECTIVES AND CLASSIFIERS
  A
  djectival complements (e.g. "he (is)
  big") are considered verbs. An
  adjective used to modify a noun, on
  the other hand, consists of a stem + a
  classifier that expresses the shape, size, or
  semantic class of the noun. Classifiers are
  also added to numerals and quantifiers but
  not to demonstratives or other classes: e.g.
  /tyet-che: ketep/ "big-bulky-object house."
  Adjectives do not otherwise "agree" with the
  noun: e.g. /tyet-na:s wa'a:n-e ketep/ "(the) big
  man's house"; /wa'a:n-e tyet-che: ketep/ "(the)
  man's big house"; /dhu:pek-na:s wa'a:n-e tyet-
  che: ketep-pu/ "in (the) old man's big house."
  About forty classifiers are recorded, including
  ones for objects denoting fire, cities and
  towns, words and speech, ropes and snakes,
  amorphous masses (a handful of mud), and
  many more. Some are rather limited: e.g. kings
  and princes, the Words of the Octet of Power
  (only eight in all!),  temples, sacrifices, feasts,
  etc. Examples are:
  /-ba/  "body part": e.g. a hand, face, leg.
  Another classifier, /-la/, is sometimes
  used for body parts that come in
  pairs, such as eyes, lips, hands, etc.
  Still another classifier, /-thu/, is
  employed for body parts that come in
  eights -- ??
  /-che:/ "large, bulky object": e.g. a house,
  boulder, mountain
  /-chen/ "living object": e.g. a land animal,
  insect; a human baby
  /-chum/ "Other-Planar being or object: e.g.
  a deity, demon, magical item
  /-dle:/  "plant object": a tree, vegetable,
  grass
  /-he:th/ "aquatic object": e.g. a fish,
  amphibian, coral, sea-beast, clam
  /-ke'ep/ "time period": e.g. a day, month,
  year
  /-kesh/ "long object": e.g. a spear, stick,
  pen
  /-khi:l/ "bunch of objects": e.g. grape-like
  fruits
  /-khur/ "handful of objects": e.g. pebbles,
  rice, sand, grain
  /-li:s/ "aerial object": e.g. a bird, cloud,
  planet, the sun"
  /-lu/ "money object": e.g. a coin, a gem
  used as money rather than decoration
  /-men/  "abstract object": e.g. a thought,
  idea, verbal action
  
  The Third Octant
  15
  /-na:s/ "human object": e.g. a man, woman,
  child more than four years of age
  /-pa:/  "flat object": e.g. a book, piece of
  paper, board
  /-qu/  "weapon object": e.g. a sword, shield
  /-rul/  "hollow object": a room, cavern,
  tomb, hole, skull, which can also be a
  "body part"; cf. /-ba/, above
  /-sha:m/  "cloth object": e.g. a shawl,
  garment, blanket
  /-sur/  "round object": e.g. a ball, a Másh-
  fruit, a stone
  /-taf/ "unknown object": e.g. something
  whose size, shape or nature is not
  known or seen, an unfamiliar object
  /-va:/ "liquid, water object": e.g. river, sea, a
  container of liquid
  /-yel/ "plural objects": this is used in place
  of the appropriate shape classifier
  when one focuses upon the plurality of
  the object rather than its nature. It is
  also employed for two or more objects
  of different shape groups. See above.
  /-yum/ "dead object": corpse, the Undead,
  rotted wood, dry grass
  T
  he comparative consists of an
  adjective + a classifier + the enclitic
  /tuk/ "emphatic": e.g. /tyet-che:-tuk
  ketep/ "(the) bigger house." The superlative is
  a phrase denoting "... from all": e.g. /tyet-an
  tlom-de:/ "I am the largest" (i.e. I (am) big
  from-all"); /tyet-na:s tlom-de: wa'a:n/ "(the)
  biggest man."
  NUMERALS AND QUANTIFIERS
  S
  unúz employs an "octesimal" numbering
  system: "1, 2, 3, 4, 5, 6, 7, 8" then "8+1,
  8+2, 8+3" through "8+7"; then "2-8, 2-
  8+1," etc. "8-8" thus equals 64, and 8-64 =
  512. The numerals are: /kul/ "one"; /la:p/ "two";
  /shul/ "three"; /'uma:'/ "four"; /wayl/ "five";
  /heret/ "six"; /'eng/ "seven"; /thu:m/ "eight."
  "Nine" is /thu:m kul/, "ten" is /thu:m la:p/;
  "sixteen" is /la:p thu:m/, and "seventeen" is
  /la:p thu:m kul/. There is a special term for "8-
  8" (= 64, the conceptual equivalent of 100):
  /thusu:m/. Thus, /thusu:m kul/ "65"; la:p
  thusu:m shul/ "131" (i.e. 2-64 + 3). The number
  512 (the equivalent of 1,000 in the system) is
  /thulthu:m/. The largest number recorded in
  the texts is 16 /thulthu:m/ = 8,192. Little is
  known about Sunúz arithmetic since no texts
  on this topic have been found.
  N
  umeral stems are employed as nouns
  and verbs, as might be expected. Thus,
  /tha:k-an  kul-a/ "I-see one-
  accusative"; /kul-an/ "I am alone" (lit. "I-one (a
  verb!). A numeral used as an adjectival
  modifier requires the appropriate classifier:
  e.g. /kul-che: ketep/ "one house" ("one-bulky-
  object house"); /shul-na:s wa'a:n/ "three men"
  ("three-human-object man"). /shul-na:s
  wa'a:n-yel/ is also "three men," but it focuses
  on the plurality of the men, while /shul-na:s
  wa'a:n-kath/ specifies that the men are not
  together in a group, but here and there.
  O
  rdinal numbers are constructed with a
  prefix (proclitic?) /chi-/. This precedes
  the numeral. The construction requires
  a classifier if it modifies a noun: e.g. /chi-kul-
  che: ketep/ "(the) first-bulky-object house."
  When an ordinal number comprises two or
  more words, /chi-/ appears before the first of
  them: e.g. /chi-'uma:' thu:m la:p/  "thirty-
  fourth" (i.e. ordinal + 4 units of 8 + 2).
  R
  epetition of a number signifies /X by X/:
  /la:p la:p-na:s wa'a:n/ "men, two by
  two."  "Once," "twice," etc. are adverbs:
  e.g. /kul-e kan-an/ "I go once" (lit. "one-'s I-go");
  /la:p-e kan-an/ "I go twice" (lit. "two-'s I-go").
  "Both," "all three," "all four," etc. are formed
  with a compound of a numeral + /tlom/ "all";
  these function as adjectives:  e.g.  /la:p-tlom-
  na:s jemetl/ "both village-headmen"; /wayl-
  tlom-fa dzü\mir/ "all five-building-object
  fortresses." A compounding element /-atl/
  denotes a group of X": e.g. /thu:m-atl/
  Octant."
  Q
  uantifiers are stems that function as
  nouns and verbs, and also as numerals
  + a classifier. These include /tlom/
  "all"; /tenga:r/ "none"; /yel/ "many" (cf. the
  
  The Third Octant
  16
  classifier/noun-suffix /-yel/, above); /myekh/
  "some"; /betek/ "a few"; /'epep/ "any"; /leq/
  "each, every"; /chewa:r/ "this many"; /vawa:r/
  "that many"; /dika:r/ "as many as"; /chema:r/
  "how many? how much?" Examples: /tlom-na:s
  wa'a:n/ "all (the) men"; /tenga:r-che: ketep/
  "none (of the) houses"; /chema:r-lu besht/
  "how many money-object coins?"
  ADVERBS
  T
  here are two classes of adverbs:. The
  first includes stems with semantic
  content that are identical in structure
  to the noun-verb stems discussed above.
  These occur with the "possessive" suffix as
  verbal modifiers. For example, /me'e:sh-e kan-
  an/ "I go quickly" (lit. "speed-'s I-go"; /me'e:sh/
  "speed"); /jethen-e sakal-af/ "he/she falls
  slowly" (lit. "slow-'s he/she falls); /nik-e hurul-
  an/ "I do (it) well" (lit. "good-'s I-do"; /tuss-e
  hurul-af/ "he/she does (it) badly, evilly" ("bad-
  's he/she-does"); /kul-e kan-an/ "I go alone" (lit
  "one-'s I-go").
  T
  he same structure applies to adverbs
  of method, place, and time, except that
  the "possessive" suffix is rare. Some of
  these items share sound resemblances: e.g.
  /chalay/ "how? which way?"; /chanay/ "this way,
  thus"; /chekem/ "where?" /chiyun/ "why?"; /chul/
  "who?"; /chenem/ "when?"; /ta:kem/ "again,
  another time"; /tetem/ "here"; /turem/ "now";
  /tyul/ "what?"; /vanay/ "that way, thus";
  /vetem/ "there";  /vurem/ "then, at that time."
  E.g. /chalay-e kan-is/ "how do you (singular)
  go?" /chenem-e kan-is/ "when do you (singular)
  go?" /kan-an vetem-e:pu/ "I go (toward) there."
  T
  he second class is small. Its members
  do not function as nouns or verbs. It
  contains such uninflected items as
  /hyep/ "back (returning)"; /kseth/ "very";
  /merit/ "even"; /ne:m/ "really"; /pi:kir/ "quite,
  somewhat";  /ta:s/ "also, too"; /teng/ "not"
  (and also "no!"); and /tenggesh/ "never." Most
  of these precede the element they modify:  e.g.
  /pi:kir va:las/  "quite hot"; /kseth du:r/  "very
  dark"; /ne:m pu'a:th/  "really far"
  PRONOUNS
  T
  here are four sets of personal
  pronouns: (1) independent "emphatic"
  pronouns; (2) "possessive" pronouns
  that occur as prefixes with noun stems; (3)
  "subjects" suffixed to verbs; and (4) "objects"
  suffixed to transitive verbs after the subject
  suffixes.
  I
  ndependent pronouns are employed mainly
  for emphasis. They take no affixes and
  act in apposition to "verbal" subjects or
  objects. They are reminiscent of some English
  speakers who use a "returning pronoun" for
  focus: e.g. "Me, I like that."  In Sunúz, this is
  /'e:n, 'a:sh-an (va:n)/. "I, I-like (that)." /va:n/
  "that" is optional.
  N
  oun possession consists of noun "A" +
  the "possessive" suffix /-e/ followed by
  noun "B": /wa'a:n-e ketep/ "(the) man's
  house." A pronoun, on the other hand is
  prefixed to the noun it possesses: e.g. /'ar-
  ketep/ "his/her house." Possessive prefixes
  differ from the subject and object pronouns
  suffixed to verbs. The independent pronoun for
  "he/she" is /pa:r/, for example; "his/her" is  /'ar-
  /; "he/she" as a verbal subject is /-af/; and
  "him/her" as the object of a verb is /-ap/.
  "E
  quational" 
  (or 
  "copulative")
  sentences are verbal constructions
  and do not use "independent"
  pronouns. A sentence such as "I am a man"
  (/wa'a:n-an/) really says "I (am) man," in which
  "man" is a verb meaning "to be of the quality
  of a man."  Adjectival, adverbial, and locative
  complements are also verbs: e.g. /tyet-an/ "I
  (am) large."; /ra:sh-an/ "I (am) underneath";
  /khe:l-af/ "he (is) outside." Conceptually, it
  may be that Sunúz speakers consider reality
  to be in flux: i.e. either a changing "verbal"
  state or an action. It is futile, however, to
  speculate about the world view of a culture so
  different from our own. The four sets of
  personal pronouns are as follows:
  
  English
  Independent
  Pronouns
  Possessive Prefixes
  Verbal Subject
  Suffixes
  Verbal Object
  Suffixes
  I
  'e:n
  ka-
  -an
  -ash
  you singular
  se:p
  sa-
  -is
  -i:sh
  he, she
  pa:r
  'a:r-
  -af
  -ap
  it*
  tek
  tye:-
  -uth
  -ut
  it*
  kem
  ke:
  -ukh
  -uk
  we inclusive**
  pa:l
  pa:l-
  -u:f
  -upi:l
  we exclusive**
  pa:p
  pef
  -e:f
  -e:pa:l
  you plural***
  sre:p
  se:r-
  -re:s/-e:****
  -resa:l
  they (masc. or fem.)*
  su:s
  'a:s--
  -a:s
  -asa:l
  they (inan.)*
  te'e:t
  ta:-
  -a:th
  -atha:l
  they*
  nikw
  nu:-
  -u:n
  -una:l
  *Animate "he/she" is distinguished from inanimate "it," as are the "they" forms. /kem/ "it" and /nikw/ they" are
  employed for Other-Planar objects and entities whose sex cannot be identified. Interestingly, the Goddess of
  the Pale Bone is referred to as /kem/ and not /pa:r/ "he/she." The One Other and the One Who Is are spoken of
  as /pa:r/, however.
  **/pa:l/ "we (inclusive)" includes the person addressed; /pa:p/ "we (exclusive)" omits the person spoken to: e.g. : /kan-
  u:f svet-e:pu/ "We (including you) go home.," versus /kan-e:p svet-e:pu/ "We (excluding you) go home."
  ***Superiors (e.g. kings, nobles, priests, scholars) are addressed as though plural with /sre:p/, etc.. The singular
  "you" pronoun set is used for Other-Planar entities, demons, and deities.
  ****See under the sections on verbs for the plural imperative suffix /-e:/-/de:/-/e:dh/.
  S
  cattered examples are found of
  pronouns other than the above. For
  example, a "dual" verb subject /-le/ is
  seen in /ghupes-le/ "we (two) arise," found in a
  late text from Laigás. /ghupes/ "to rise, get
  up," may be  a loan-word, possibly from
  Engsvanyáli /chofés/ "float upward?"
  DEMONSTRATIVES
  M
  embers of this very small class are
  similar to nouns. They occur with
  postpositions; 
  and 
  also 
  as
  adjectives (but without classifiers). They do
  not distinguish between singular and plural,
  animate or inanimate, but only between near
  versus far. They cannot occur with the
  possessive pronouns, nor with adjectival
  modifiers of their own.
  D
  emonstratives include /cha:n/ "this,
  these," and /va:n/ "that, those."
  Examples: /cha:n ketep/ "this house"
  (or "these houses"); /va:n wa'a:n/  "that man";
  /va:n wa'a:n-yel/ "those men"; /cha:n-pu/ "in
  this (these)"; /va:n-nakh/ "like that (those)";
  /cha:n-e/ "of this (these)."
  O
  ther-Planar beings, particularly
  deities, are sometimes referred to
  with two special forms: /cha:ch/ and
  /va:ch/. These may be artificial constructions
  that are not used in speech.
  E
  quational 
  sentences 
  with 
  a
  demonstrative subject make special
  use of the stem /demuk/ "be, exist":
  /cha:n demuk ka-kurel-yel/ "These are my-
  books"; /va:n d(al)emuk ke:-dzunggur-yel/
  "Those were its (inanimate) qualities."
  CONJUNCTIONS
  I
  t is convenient to conclude the discussion
  of the minor classes before turning to the
  verb. Conjunctions are not inflected. Some
  are:
  
  The Third Octant
  18
  /'ade:/  "in order to, in order that"
  /'aw/ "and" (connects nouns, etc., within a
  clause): e.g. /wa'a:n 'aw si:mudh/ "(the)
  man and (the) woman"
  /'enu/  "or" (connects either items or
  clauses)
  /'uku:n/  "while"
  /dhe/  "if"
  /kenet/ "then, therefore"
  /nu'ut/ "although"
  /pe'en/ "that" (connects a subordinate
  clause: "he said that he will come")
  /pe/ "and" (connects clauses and
  sentences)
  /sut/ "when"
  /tenggu/ "but (connects clauses and
  sentences)"
  /tengguk/ "but" (contrastive: "not red but
  black")
  /weset/  "because"
  /yay/  "since"
  INTERJECTIONS
  T
  hese include various uninflected items
  employed as interjections or to
  introduce clauses or sentences:
  /'uru:n/ "hail!" (to a deity or Other-Planar
  entity)
  /dhay/ "woe!"
  /lengba'/ "homage! praise! (to a deity,
  etc.). (This is clearly related to the
  Engsvanyáli term /'otulengba/ "all hail!"
  used in the same way. The meaning of
  /'otu-/ is unknown.)
  /nte'/  "?" (introduces a yes-or-no
  question. This is not used when a
  question-word is employed: e.g. /nte'
  je'-af?/ "(Is) he dead?"; compare
  /chiyun kan-af/ "Why does he go?"
  /sitay/ "verily, truly"
  /sye/  or /sye'/ "yes"
  /teng/ "no"
  /tengketme'/ "not so!"
  /tun/ "lo!"
  /vrenum/ "behold! see!
  VERBS
  T
  heoretically, any stem can function as
  a verb. For semantic reasons, many do
  not, or have not yet been so noted in
  the texts. Monosyllabic and bisyllabic stems
  are employed as verbs more frequently than
  polysyllabic literary loan-words from Dúru'ob
  and Engsvanyáli.
  A
  stem employed with no affixes is
  syntactically a noun: e.g. /wa'a:n/
  "man"; /tha:k/ "see."  It may be difficult
  to think of "see" as a noun unless it is
  rendered as a gerund ("seeing") or an infinitive
  (to see"): e.g. "Seeing is easy" or "To see is
  easy." These are the same in Sunúz: /mala:sh
  tha:k/. A possessive pronominal prefix can be
  employed with such a noun, and other noun
  affixes also occur: e.g. /ka-tha:k/  "my seeing";
  /gulum-an tha:k-de:/  "I am tired from-seeing";
  /renek-an tha:k-ut/ "I want to see it" (lit. "I
  want seeing-it"); /renek-af tha:k-ash/ "he
  wants to see me" (lit. he wants seeing-me)."
  VERBAL SUBJECTS
  T
  he shortest verbal construction
  consists of a stem + a subject suffix:
  /tha:k-an/ I see"; /wa'a:n-af/  "He (is)
  (the, a) man"; /tetem-u:f/ "we (inclusive) (are)
  here." When the subject is a noun, the subject
  pronoun does not occur: e.g. /tha:k wa'a:n/
  "(The, a) man sees"; ; /si:mudh-af/ "She (is)
  (the, a) woman." This formation is also
  employed in "impersonal" sentences: e.g.
  /churekh-uth/ "It rains."
  
  The Third Octant
  19
  VERBAL OBJECTS
  T
  ransitive verbs are those that can have
  a direct object: e.g. "I see you"; "I found
  the man." A noun object uses the
  "accusative" suffix /-a/; a pronominal object is
  suffixed to the verb; and a demonstrative
  object requires no affix: e.g. /desep-an wa'a:n-
  a/ "I hit (the) man"; /hurul-an-ut/ "I do it";
  /tha:k-af-ash/ "He sees me"; /desep si:mudh
  wa'a:n-a/ "(The, A) woman hits (the, a) man";
  /numuy-is cha:n!/ "you (singular) drink this!"
  T
  he "object" suffix /-a/ is mostly limited
  to occurrences with animate objects.
  An inanimate object without /-a/ is
  identified by its syntactic position and
  context: e.g. /chughum-an tla:k/ "I eat (the)
  food." If the context requires plural "foods," /-
  yel/ is employed: /tla:k-yel/ "foods."
  A
  n "indirect object" (e.g. "to him") is
  expressed with the postposition /-ti:/:
  e.g. /nelek-an besht wa'a:n-ti:/ "I give
  money to (the, a)  man." This is not the
  directional "to," which is /-e:pu/ (/-de:pu/ after
  a vowel): e.g. /kan-af tekkur-e:pu/ "He goes to
  the city."
  THE DURATIVE
  A
  verbal action or state seen as
  extended through time (i.e. continuing,
  lasting, enduring) is expressed by the
  reduplication of the first consonant-vowel
  (CV) of the stem: e.g. /kan/ "go" and /kakan/
  "going continuously, over a period of time";
  /chuchurekh/ "rain continuously." If a stem
  begins with two consonants, both are
  reduplicated: e.g. /tyet/ "big, large" and
  /tyetyet/ "(be) big over a long period." If the
  stem vowel is long, that of the reduplicated
  portion is the corresponding short vowel: e.g.
  /tha:k/  "see" and /thatha:k/ "seeing"; /ra:sh/
  "below" and /rara:sh/ "remaining below." A
  short stem vowel is frequently omitted before
  a syllable consisting of CVC: i.e. CV-CVCVC
  becomes CV-C(-V)CVC: e.g. /sakal/ "fall" and
  /sasakal/ or /s askal/ "falling over a long
  period, continuously falling"; /renek/  "want"
  and /rerenek/ or /rernek/ "continuously want,"
  "keep wanting."
  T
  he durative expresses such ideas as "he
  is going" (versus "he goes"); "he used to
  go"; "he goes continuously"; "he is gone"
  (i.e. "is in a lasting state of having gone"); and
  "he keeps going." All of these nuances can be
  expressed, of course, with various auxiliaries,
  clitics, and other elements.
  TENSE INFIXES
  T
  ime is seen as a quality inherent in the
  verbal stem, according to Dumúz
  Sénjukaz Chigái. Nouns are "frozen":
  they are fragments of reality that exist at a
  given point of time and space specified by the
  verb of the sentence or by the context. Verbs,
  on the other hand, express temporality. As a
  noun, thus, /kan/ signifies "(the) going"; as a
  verb, it places this action in the temporal
  matrix:  /kan-an/ "I go" occurs in present time,
  a generalised "now." Durative reduplication,
  discussed above, gives a lasting, continuous
  quality to the temporal position of the verb:
  e.g. /slal/ "light, illumination": /demuk slal/
  "light exists, there is light"; /slaslal-uth "it is
  lit"; /slal-uth/ "it is illuminated, alight"; /slal-
  u:p-af-ut/ "he/she lights it (a fire, lantern);
  /slaslal-u:p-af mra:n/ " he/she keeps the fire
  lit."
  T
  o indicate other tenses (i.e. points
  along the temporal continuum), infixes
  are employed. These occur after the
  first consonant (or two consonants) of the
  stem and before the first vowel: e.g. /kan/ "go"
  and /k(al)akan/ "went." There are two position
  classes: /-am-/ "mythic action" may be
  followed by variant forms (allomorphs) of the
  other infixes. Parentheses are used to set off
  infixes in the examples below.
  /-am-/ "mythological action": /k(am)an-af/
  "he goes (in a myth or legend)." Tenses
  within a myth are indicated with
  
  The Third Octant
  20
  compounds of /-am-/ + the other
  infixes: e.g. /-aml-/ "past mythic time";
  /-amn-/ "future mythic time"; /-ameks-
  / "dubious mythic time"; /-amr-/ "near
  past mythic time"; /-ams-/ "mythic
  event that is contrary to fact"; /-amt-
  / "hortative or wish in mythic time."
  N
  ot all possible combinations with /-
  am-/ are attested in the texts. Non-
  mythic tense infixes are listed below.
  /-akh-/ "far past": /sakal/ "fall" and
  /s(akh)akal/ "fell (long ago)." This is
  used to translate the English
  pluperfect (or past perfect): "had
  seen."
  /-al-/ "past": /sakal/ "fall" and /s(al)akal
  "fell"; /tha:k/ "see" and /th(al)a:k/
  "saw"; /wa'a:n/ "be (a) man" and
  /w(al)a'a:n/ "was (a) man"; /t(al)etem-
  an/ "I was here."
  /-ar-/ "near past": /sakal/ "fall" and
  /s(ar)akal/ "fell (recently)." This is used
  to express the perfect or present
  perfect: "has seen."
  /-eks-/ "dubious, conditional": /sakal "fall"
  and /s(eks)akal/ "may (might, could)
  fall (a realisable condition)." In the
  protasis of a sentence with /dhe/ "if,"
  this produces a "conditional" sentence:
  e.g. /dhe th(eks)a:k-an-ut/, vurem
  y(en)ut-an-i:sh/ "If I see it, then I will
  tell you (singular)."
  /-en-/ "future": /k(en)an-an/ "I will go."
  /-it-/ "hortative, wish": /k(it)an-af/ "let him
  go!"; /k(it)an-an/ "would that I might
  go!"
  /-us-/ "contrary to fact": /k(us)an-an/ "I
  would have gone (but I did not)";
  /m(us)ukid-an vetem/ "I would have
  dwelt there" Compare: /v(us)etem-an/
  I would have been there." See the
  appropriate paragraph in the section
  on verbs.
  T
  he infixes also occur in the reduplicated
  syllable of the durative: e.g. /k(al)akan-
  an/ or /k(al)kan-an/ "I was going,
  continued to go"; /th(am)atha:k-af/ "he sees
  (in mythic time)"; /s(en)asakal-a:s/ or
  /s(en)askal-a:s/ "they (masculine or feminine)
  will go on falling."
  THE OTHER-PLANAR SUFFIX
  I
  n some texts, verbs with an Other-Planar
  entity as subject display a suffix /-a:ch/
  immediately after the stem: e.g. /tha:k-
  a:ch-re:s-ut/ "You-(plural) Other-Planar-see-
  it." This suffix is also occasionally employed
  when the object is an Other-Planar being or
  item: /tha:k-a:ch-an-ap/ "I (human) see-Other-
  Planar-him." In longer texts it is usual to find
  /-a:ch/ only with the first verb relating to
  Other-Planar action. Thereafter it is
  understood.
  MODAL SUFFIXES
  M
  odal and derivational suffixes are
  relatively late and also infrequent.
  They may be loan formations from
  Dúru'ob, which has an elaborate set of such
  items. The Sunúz examples show no similarity
  in sound to their supposed Dúru'ob (or
  Engsvanyáli?) counterparts, however.
  /-aydh/ "benefactive": the action is
  performed upon or for the benefit of
  someone else: /hurul-aydh-an-ut se:r-
  chu/ "I do it for-you (plural)"; /hupep-
  aydh-an-ap/ "I seat him" (lit. "I sit-
  benefactive-him"). In this way an
  intransitive verb is changed to
  transitive when it benefits the object.
  /-e:v/ "reflexive" or "medio-passive": the
  action focuses strongly upon the
  actor him/herself:  /tha:k-e:v-an/ "I see
  myself"; /sakal-e:v-an/ "I myself fall";
  /nelek-e:v-an-ut/ "I give it (to) myself."
  /-eve:v/ "reciprocal": plural actors perform
  the action on each other: /tha:k-eve:v-
  u:f/ "we (inclusive) see one another."
  This appears to be an example of
  reduplication: /-e:v/ + /-e:v/.
  /-im/ "passive": a semantically transitive
  verb is made passive: /tha:k-im-an/ "I
  
  The Third Octant
  21
  am seen"; /th(al)a:k-im-af/ "he/she was
  seen." With an intransitive verb, this
  suffix has much the same meaning as
  the "reflexive" above. The sense of
  action directed toward the actor is
  stronger, however:  e.g. /sakal-im-an/ "I
  am fallen, made to fall."
  /-u:p/ "causative": /kan-u:p-an-ap/ "I cause
  him to go"; /tha:k-u:p-af-i:sh/ "he
  causes you (singular) to see." A
  second pronominal object -- "he
  causes you (singular) to see it" -- is
  expressed with a demonstrative, such
  as /va:n/ "that." This affix also
  functions as a "transitiviser," making a
  semantically 
  intransitive 
  verb
  transitive: e.g. /sakal-u:p-an-ut/ "I
  cause it to fall" or "I fell it (as a tree)"
  or "I knock it down"; /mur-uth/ "it
  burns" and /mur-u:p-an-ut/ "I cause it
  to burn, burn it"
  THE PLURAL IMPERATIVE
  A
  command addressed to plural persons
  requires a pronominal subject suffix
  different from that used in a
  statement or a question: /-e:/ instead of /-
  re:s/. This is the only example of this
  phenomenon: e.g. /chughum-e:!/ "you (plural)
  eat!" but /chughum-re:s/ "you (plural) eat." /-
  e:/ occurs with an imperative verb: i.e. gives an
  order.  E.g. /kan-e:!/  go!" The other form, /-
  re:s/, is used in statements and questions:
  e.g. /kan-re:s/  "you (plural) go." When an
  object suffix beginning with a vowel follows a
  plural imperative, the latter displays a variant
  /-e:dh/: e.g. /kwes-e:dh-asa:l/ "you (plural) kill
  them!"
  T
  he structures described above
  complete the description of the Sunúz
  verbal stem. Pronominal subject and
  object suffixes are considered inflectional.
  DERIVED FORMATIONS
  E
  ngsvanyáli and Dúru'ob "derive" nouns
  from verbs by affixing an element to
  the verb stem. In Sunúz, a stem with
  no affixes is considered a syntactic noun.
  Further noun formations are made by following
  a stem with semantic content with an "empty
  suffix" + the nominal affixes.  An "empty
  suffix" only occurs with a preceding stem and
  never by itself. It has only "grammatical"
  meaning (i.e. no semantic content of its own).
  /-kun/ "participial adjective formant: ...
  ing": /mur-kun-che: ketep/ "(the)
  burning-bulky-object house"; /tha:k-
  kun-sur thakel/ "(the) seeing-round-
  object eye"; /sakal-kun-sur shelu:k/
  "(the) falling-round-object stone."
  Passive participles require the
  "passive" suffix /-im/: e.g. /sakal-im-
  kun-sur shelu:k/  "(the) fallen-passive-
  round-object stone"; /mur-im-kun-pa:
  da'ap/ "(the) burn-passive-flat-object
  bread" = "the burnt bread"; /desep-im-
  kun-na:s wa'a:n/ "the hit-passive-
  human-object man" = "the man who
  has been hit"
  /-she:/ "person who performs a verbal
  action": /tha:k-she:/ "(the, a) one who
  sees"; /je'-she:/ "(the, a) dying one";
  /sre:v-she:/ "the one writing"; compare
  /sre:v-ter/ "(professional) writer,
  scribe," just below
  /-tehl/ "instrument used to perform the
  verbal action": /qumes-tehl/ " tool used
  to open (something): key, crowbar";
  /mur-tehl/ "instrument used to burn
  (something): branding iron"; /chughum-
  tehl/ "instrument used to eat: eating
  utensil"; 
  /sre:v-tehl/ 
  "writing
  instrument: pen" (a more common
  word for "pen" is /su'e:r/)
  /-ter/ "person who performs a verbal
  action as a habit or a profession":
  /mü\ng-ter/ "dancer"; /kek-ter/
  "invocator: priest who performs the
  invocation at a ceremony"; /mukid-
  a:ch-ter/ "one who dwells on another
  
  The Third Octant
  22
  Plane"; /sre:v/-ter/ "scribe"; /chupek-
  ter/  "treasurer: one who tallies"
  ("treasure," however" is /nekwa:n/)
  /-la:n/ "place where the action is usually
  performed:  /dhel-la:n/  "temple: place
  where worship is performed"; /mü\ng-
  la:n/ "dancing platform"; /chughum-
  la:n/ "eating place: dining hall"; /mræ\s-
  la:n/ "rotting-place: mausoleum,
  ossuary, cemetery"; /sre:v-la:n/
  "scriptorium" (writing-place)" /chupek-
  la:n/ "treasury": ("counting-place")
  COMPLEX  VERBAL CONSTRUCTIONS
  A
  n inflected verb is followed by a stem
  (i.e. a syntactic noun)  to produce a
  variety of "aspects": equivalent to an
  English verb + an infinitive or a gerund. If the
  subject of the inflected verb is the same as
  that of the verbal noun, then the latter
  requires no subject suffix. On the other hand,
  if the two subjects are different, then the
  verbal noun is possessed by its semantic
  subject. The verbal noun may also occur with
  an object of its own. Examples:
  /'echesh/ "stop ... ing, cease ...ing":
  /'(al)echesh-e:f margha:n-asa:l/ "We
  (exclusive) stopped fighting them"
  /bulun/ "have to, be compelled": /b(al)ulun-
  af chughum-ut/ "He was compelled to
  eat it" (lit. "he was compelled eating-
  it"); compare: /b(al)ulun-af ka-
  chughum-ut/ "He compelled me to eat
  it" (lit. "He compelled my-eating-it")
  /duq/  "try to": /d(al)uq-an hi:zh-ut/ "I
  tried to climb it"
  /fumul/ "stop (someone from ...ing)":
  /f(al)umul-an 'a:r-mihetl-ut/ "I stopped
  him from entering it" (lit. "I-stopped
  his-entering-it"); f(en)umul-af ka-
  py\yel-ut/ "He will stop me from
  descending it" (lit. "He-will-stop my-
  ascending-it")
  /garak/  "intend to" : /g(al)arak-af hikkech-
  ash kwes-ap/ "He intended to help me
  kill him" (lit. "He-intended helping-me
  killing-him"; here two verbal nouns are
  employed with different objects. Other
  ways to express this include:
  /g(al)arak-af hikkech-ash ka-kwes-ap/
  (lit. "He intended helping-me my-killing
  him" and /g(al)arak-af hikkech-ash
  pe'en kwes-an-ap/ "He intended
  helping-me that I-kill-him." All are
  equally correct, according to Dumúz
  Sénjukaz. Sunúz seems to prefer the
  verbal noun construction over two-
  clause formations with /pe'en/ "that."
  /mis/ "be able to, can": /m(en)is-is chuk-
  ut/ "You (singular) will be able to find
  it" (lit. "You (singular)-will-be-able
  finding-it"); /m(al)is-af  tla:p murjun-e
  kawp/ "He was able to smash the
  monster's skull"
  /nuhesh/ "command, order": /n(en)uhesh-
  a:s 'a:r-chemek-ut/ "They will order him
  to attack it" ("They-will-order his-
  attacking-it"
  /peq/ "be about to": /p(al)eq-an kwes-
  asa:l/ "I was about to kill them" (lit. "I-
  was-about-to killing-them")
  /pÏ\r/ "know how to": /pÏ\r-an fathay-ut/ "I-
  know-how-to sing-it (a hymn,
  invocation)"
  /renek/ "want":  /renek-an kan svet-e:pu/ "I
  want to go home." Compare: /renek-an
  'a:r-kan svet-e:pu/  "I want him to go
  home" (lit. "I-want his-going to-home")
  /sish/ "let, allow, permit": /sish-e: ka-beleq-
  ut/ "Allow me to leave it" (lit. "Allow-
  you (plural)-imperative my-departing-
  it")
  /tenmis/ "be unable to": /tetenmis-is
  tha:k-ash/ "You are (continuously)
  unable to see me" (lit. "you-(singular)-
  are-unable-durative seeing-me")
  /wetlap/ "ask, urge, request": /w(al)etlap-
  a:s ka-kwes-ap/ "They urged me to kill
  him" (lit." They-urged my-killing-him");
  /wewetlap-a:s 
  ka-su:l/ 
  "They
  (continuously) ask me to come" (lit.
  "They ask-durative my-coming")
  /zettes/ "begin to, start ...ing": e.g.
  /z(al)ettes-af mÏ\s/ "he began walking";
  
  The Third Octant
  23
  /zettes-u:f myalat/ "we (inclusive)
  begin to sing (a secular melody)."
  SYNTAX
  A
  n analysis of the syntactic patterns of
  Sunúz is not possible. No speakers are
  to be found, and the few available
  texts are written in a stilted, scholarly,
  arcane style that sometimes defies
  translation. Dumúz Sénjukaz believes that
  scholars of the Pariah Deities' sects still
  survive who could clarify many things,
  linguistic and otherwise, were they so-minded.
  (He makes reference, for instance, to the
  Tsolyáni renegade, Méngan hiTirrúne, but
  stories about this mysterious priest are
  probably no more than rumours. No one man
  could possibly have committed all of the vile
  acts that Dumúz Sénjukaz attributes to him!
  But that is another story.) Only the following
  brief description of Sunúz syntax can be
  offered here.
  THE NOUN PHRASE
  T
  he structure of the noun phrase is
  quite rigid: Demonstrative ± Numeral
  or Quantifier ± one or more qualitative
  Adjectives + the Noun head: e.g. /va:n yel-pa:
  mrü\n-pa: kurel/ "That many-flat-object old-
  flat-object book": "Those many old books."  In
  longer phrases there is a tendency to omit all
  but the last classifier: e.g. /cha:n 'uma:' tyet
  muga:r-pa: kurel/ "these four big black books"
  (lit. "this four big black-flat-object book(s)");
  /va:n mekhi:n qepeq-na:s tlusur-yel/ "those
  too-few strong-human object soldiers": i.e.
  "those strong soldiers who are too few for the
  purpose."
  A
  few Adverbs and enclitics precede
  adjectives as modifiers: e.g. /kseth
  kurnay-sur jnæ\p/ "(the, a) very red-
  round-object fruit"; /pezh mræ\s-byen cha:sh/
  "somewhat rotten meat."
  THE VERBAL PHRASE
  A
  verb may be "possessed" by one or
  more Adverbs: /layl-e mamargha:n
  tlusur-yel/ "The soldiers keep-fighting
  hard" (= violently, energetically"); /qepeq-e
  ch(al)irit pa:l-nare:n/ "powerfully spoke our-
  (inclusive) lord." Only pronominal object
  suffixes can occur in a verb phrase; nouns and
  demonstratives are usually separated from
  the verb by the subject and hence must be
  considered tactic blocks of themselves.
  T
  he negatives /teng/ "not" and
  /tenggesh/ "never" are included in the
  verbal phrase: e.g. /tenggesh kan-is
  vetem-e:pu/ "You (singular) never go there";
  /teng peras sa:-tigu:n. tenmis-af margha:n
  pa:l-'utsa:n-jeth/ "Not mighty is their god; he
  cannot fight against our god (a Pariah
  Deity)"; /teng v(al)etem-an/ "I was not there."
  THE DECLARATIVE SENTENCE
  A
  verb with a pronominal subject can
  function as a complete sentence: e.g.
  /kan-is/ "You (singular) go." This can be
  expanded with an object suffix or with a noun
  object: e.g. /hurul-is-ut/ "You (singular) do it";
  /hurul-is haggath/ "You (singular) do (the)
  task"; /tha:k-is wa'a:n-a/ "You (singular) see
  (the, a) man." With an appropriate intonation
  contour, these sentences can serve as
  commands: the suffix /-is/ "you (singular)" is
  used for both statements and for
  imperatives, as has been noted above.
  T
  he following abbreviations will help to
  present the syntax of Sunúz: V = Verb;
  S = Subject; O = Object; IO = Indirect
  Object; L = Locative (e.g. "in the house"); T =
  Temporal (e.g. "today," at night"). Each block
  
  The Third Octant
  24
  can include the modifiers discussed in
  preceding paragraphs.
  T
  he most frequent pattern for a
  sentence having a noun subject is V +
  S ± O. An alternative pattern, S + V ±
  O, also occurs, probably as a stylistic
  "balance shift," as when an English author
  alternates between "he said" and "said he":
  e.g. /ra:chek-yel chichirit dawm/ "(The) priests
  (of deities other than the Pariah Deities)
  (continuously)-speak lie(s)"; /mich-na:s wa'a:n
  luyar nep-lu besht/ "(A) little man has little
  money": (proverb: "the small (= unimportant)
  man has little (= in quantity) money"). Rarely
  does one encounter other patterns (e.g. O + V
  + S, S + O + V, etc.) The rôle of poetry and
  ceremonial speech in Sunúz syntax remains to
  be studied.
  A
  demonstrative subject often (but not
  invariably) precedes the verb (± an O):
  /cha:n desep-ap/ "This (one) hits-him";
  /va:n h(en)elek tyet/ "That (one) will become
  large." Equational sentences with a
  demonstrative subject were noted above.
  A
  n indirect object (e.g. "he gave it to
  him") usually follows any object: V + S
  ± O ± IO: e.g. /teng hl(al)u:r chusutl
  kurel ngali:n-ti:/ "(The) priest did not send
  (the, a) book to-(the) boy." An indirect object
  does sometimes occur in first place in the
  sentence (set off by a comma?) for reasons of
  emphasis: "To him did I give it."
  L
  ocative blocks (e.g. "in the city") are
  more free. They tend to occur after an
  O (and an IO): e.g. /th(al)a:k chusutl
  wa'a:n-a tekkur-pu/ "The priest saw the man in
  the city" (lit. "Saw (the)-priest (the)-man in-
  (the)-city").
  T
  emporal blocks (e.g. "tomorrow," "at
  midday") are most frequent at the
  beginning of a sentence but may also
  occasionally occur after a sentence-initial
  subject, after a verb before an object, or even
  at the end of a sentence: e.g. /dulum-e
  j(al)ekur-an dhel-la:n/ "Yesterday I visited
  (the) temple." Those adverbial temporals that
  grammatically "possess" the verb (like /dulum-
  e/, above) closely precede the verb they
  modify: e.g. /nu:s-e kan wa'a:n tekkur-e:pu/
  "Today the man goes to the city."
  INTERROGATIVE SENTENCES
  "Y
  es-or-no" questions are introduced
  by /nte'/; the word order remains
  the same as for a statement: e.g.
  /nte' vetem-af?/ "Is he there?" /nte' k(al)an-
  is?/ "Did you go?" /nte' teng tha:k-re:s-ap?/
  "Do you (singular) not see him?" /nte'/ may be
  omitted, in which case it is probable that
  there is an unwritten intonational contour
  that carries the question meaning. Judging
  from the spacing between words in
  manuscripts, it is also likely that /nte'/ is
  verbally set off from the rest of the utterance
  by some sort of /,/ juncture.
  U
  tterances containing a "question
  word" (e.g. "how?" "how many?" "what?"
  "who?"  "where?" "why?) do not employ
  /nte'/. They also have a different word order
  from declarative sentences: the question word
  or phrase comes first: e.g. /chiyun kan-is?/
  "Why do you (singular) go?"; /tyul h(en)urul-
  is?/ "What will you (singular) do?"; /chul
  h(ar)urul-ut/ "Who did it?" /chalay kw(al)es-af-
  ap?/ "How did he kill him?"
  I
  n keeping with Sunúz' tendency to use
  stems as verbs wherever possible,
  question words in "equational sentences"
  are grammatically and tactically verbs! E.g.
  /chul-af?/ "Who is he?" (/chul/ "who?" is a verb
  with the subject pronoun /-af/ "he/she"); /tyul
  sa-khet/ "What is your name?" (/tyul/ "what?"
  is a verb, and /sa-khet/ "your (singular) name"
  is the subject); /ch(al)ekem-a:s?/ "Where were
  they?"; /ch(al)iyun va:n?/ "Why was that?"
  Some question words function as adjectives:
  e.g. /chema:r-lu besht renek-is?/ "How much
  money do you (singular) want?" (lit. "How-
  many-money-object money you (singular)
  want?"); /chumen-pa: kurel renek-is tmur?/
  
  The Third Octant
  25
  "Which book do you want to buy? (lit. "Which-
  flat-object book you (singular) want buying?"
  CONDITIONAL SENTENCES
  T
  he protasis ("if"-clause) of a
  conditional sentence usually comes
  before the apodosis ("then"-clause).
  The former is often introduced by the
  conjunction /dhe/ "if," and the latter by
  /vurem/ "then." Either or both conjunction can
  be omitted for stylistic reasons.
  I
  f the condition is almost certain to be
  realised, the verbs of both clauses are
  indicative present: e.g. /dhe tusup tü\l,
  vurem h(en)urul-an-ut/ "If the sun rises, I will
  do it"; /dhe wumesh pa:l-melkur, vurem
  h(en)elek hekay su'un/ "If our Master wills,
  then day will change (into) night."
  C
  onditions that are possible but not
  certain are expressed with the verbal
  infix /-eks-/: e.g. /dhe s(eks)enef-an ka-
  zhæ\th, vurem k(en)ussul-an besht/ "If I sell
  my land, then I will lose money." /dhe shekil-af
  'a:r-dye:n-de:, vurem j(en)e'-af/ "If he gets up
  from his bed, then he will die." If both clauses
  are considered dubious, then /-eks-/ may
  occur in both: e.g. /dhe kh(eks)ech-is sa-sÏ\r,
  vurem j(eks)e'-re:s/ "If you (singular) pick up
  your sword, then you (singular) may die." The
  apodosis may also contain an imperative: e.g.
  /dhe vi:sh-ut vemi:sh se:r-ti:, vurem chughum-
  e:dh-ut/ "If the servant serves it to you
  (plural), then eat it!"
  C
  onditions contrary to fact require /-
  us-/ in the verbs of both clauses: e.g.
  /dhe th(us)a:k-af-ash, g(us)esh-an/ "If
  he had seen me, I would have fled"; /dhe
  l(us)uyar-af je:lun, ch(us)in-af/ "If he had had
  armour, he would have lived"; /dhe me'e:sh-e
  teng b(us)ekkut-af, vetem dz(us)ekh-ap
  tichutl/ "If he had not lain down quickly, then
  the arrow would have struck him."
  e
  SCRIPT
  unúz 
  script 
  is
  remarkably consistent:
  a palimpsest from
  Tsatsayágga displays
  almost the same letter-
  shapes 
  as 
  the
  manuscript described
  here. There are small
  differences between
  written Sunúz and that found on stelae and
  other objects, however.
  A
  n alphabet of 64 letters, is used,
  written from left to right, top to
  bottom.  In addition, one encounters
  about twenty further characters, called
  /taya:kh/. These occur in diagrammes and
  magical inscriptions and apparently have no
  linguistic content. Some Taya:kh are local or
  are limited to specific historical periods. They
  are similar to the Kenemúz of modern Livyáni,
  conveying arcane and sorcerous meanings.
  
  The Third Octant
  26
  The Script of Sunúz
  q
  w
  e
  r
  t
  y
  u
  i
  o
  p
  [
  ]
  \
  q-4
  w-2
  e-2
  r-1
  t-3
  y-2
  u-2
  i-2
  p-3
  ts-5
  dz-5
  q w e r t y u i
  p [ ]
  I -8
  J-8
  K-8
  L-8
  M-8
  N-8
  O-8
  P-8
  A**
  B**
  Q W E R T Y U I
  { }
  a
  s
  d
  f
  g
  h
  j
  k
  l
  ;
  '
  a-2
  s-1
  d-3
  f-2
  g-3
  h-1
  j-4
  k-1
  l-1
  ' (Glottal)-3
  a s d f g h j k l
  '
  sh-1
  gh-4
  hl-5
  C**
  D**
  S
  G
  L : "
  z
  x
  c
  v
  b
  n
  m
  ,
  .
  /
  z-4
  kh
  -2
  ch-3
  v-5
  b-3
  n-1
  m-1
  Minor
  Ext.-3
  Period
  Major
  Extensor-5
  z x c v b n m ,
  . /
  zh-4
  tl-5
  dl-5
  ss-5
  ng-4
  th-4
  dh-4
  ' (Glottal)-3
  Z
  C V B N
  <
  > ?
  1
  2
  3
  4
  5
  6
  7
  8
  9
  0
  -
  =
  1-6
  2-6
  3-6
  4-6
  5-6
  6-6
  7-6
  8-6
  A-7
  B-7
  C-7
  D-7
  1 2 3 4 5 67 8 9 0 - =
  E-7
  F-7
  G-7
  H-7
  ( ) _ +
  Top line: English lower case key names on the keyboard
  Second line: Sunúz phonetic values on the lower case keys + Octant numbers: e.g. "p-3"
  Third line: Sunúz letters on the lower case keys
  Fourth line: Sunúz phonetic values and Octant numbers on the shift keys
  Fifth line: Sunúz letters on shifted keys
  Four samples of Taya:kh are given: A**, B**, C**, and D**
  
  The Third Octant
  27
  Two variants of the glottal stop character occur: that on the single quotation key is the commoner.
  The "period" is only one of the many variants found. A simple dash is also common.
  O
  ccasionally one finds texts running
  from right to left, probably due to
  Engsvanyáli influence.  Characters in
  right-to-left texts are often reversed,
  although not invariably. In addition, two
  Milumanayáni stelae have been discovered,
  written in "boustrephedon" fashion: i.e. running
  from left to right, then back from right to left
  in a zig-zag.
  Letters are not joined to one another,
  although cursive and conjunct forms do occur.
  The present manuscript uses very few of the
  latter, indicating that the book was intended
  as a solemn and important treatise, rather
  than a mere personal account. It seems to
  have been written with a fine brush, a
  technique common until the end of the
  Engsvanyáli era, when reed pens came into
  vogue.
  
  The Third Octant
  28
  PART  TWO
  A
  THE SYMBOLIC SYSTEM
  efore discussing the
  doctrines presented in
  the manuscript, it is
  necessary to offer a brief
  s k e t c h  
  o f  
  t h e
  cosmological system of
  the Pariah Deities. In
  spite of their essential
  alienness, these doctrines form the basis of
  many Tekumeláni schools of thought. It is
  likely that they all arise from one philosophical
  tradition, perhaps dating from the end of the
  Latter Times, before the long night of
  barbarism that was only dispelled by the
  formation of the Empire of Llyán of Tsámra.
  T
  he universe, says the Engsvanyáli
  philosopher Pavár of Gánga, may be
  likened to a great tree extending from
  roots at the beginning of time to its highest
  fronds at the end. The Tree extends along the
  time-line from Creation to the Final Leaf at
  the Terminus. There is nothing before or after
  the Tree, and no possibility of there being
  other, similar "trees."  Pavár does not speak
  of the origin of the universe itself, although
  creations and origins within it are copiously
  discussed. Neither he nor the other sects of
  Tékumel have any concept of one theological
  "God" or of other topics so important to the
  religions of our own Plane. More will be said
  about the "gods" below.
  T
  he trunk of the Tree of Time contains
  those Planes of Existence which are
  primary and most probable. The larger
  branches are those major "bundles" of Planes
  which have split off due to event(s) occurring
  at one or another "decision node." Lesser
  branches are minor time-lines, and these in
  turn are diversified into still smaller Planes as
  they spread farther and farther away from
  the main trunk. The leaves that grow from
  each branch are pocket universes, each with
  its own reality. Some are tiny "bubble-verses,"
  while others are almost as extensive as those
  of the main trunk itself. Each has its own
  specific contents: suns, planets, creatures,
  and all the rest. Some are empty void; others
  are crammed full of matter, like the crowded
  stars of our own Milky Way. Between them lies
  the amorphous void of the Space Between,
  filled with formless, roiling power.
  A
  t this point Pavár's metaphor falters:
  the branches of the Tree of Reality, he
  says,  have a tendency to turn and
  grow back into the trunk or branch from which
  they split. They thus coalesce into the larger
  time-line again. Pavár likens this phenomenon
  to rivulets that wander away from a stream
  only to rejoin it later. Those leaves and
  branches that fail to re-enter the Tree
  become Shadow Worlds: Planes of Unreality
  that eventually become tenuous and dissipate
  into formlessness.
  E
  ach part of the tree -- the trunk, every
  branch, every twig, and even the
  smallest leaf -- consists of an infinity
  of sub-Planes, like the layers of an onion. Each
  of these differs minutely from its neighbours.
  Some "decision node" originally caused them
  to diverge, but not enough to split them into
  separate "bundle"-branches. The difference
  between two neighbouring "layers" may be
  infinitesimal: on one such Plane a fruitfly
  chooses the larger of two melons on which to
  feed, versus another Plane where it lands on
  the smaller. A leaf falls unseen in the forest
  
  The Third Octant
  29
  on one Plane, while on another it stays on the
  tree for yet awhile. The larger branches are
  quite distinct: e.g. a Plane on which humanity
  never existed, versus another on which life did
  not develop at all; versus another where
  humankind dwells in a peaceful galactic utopia,
  versus still others where one of the nonhuman
  races holds sway. An infinity of Planes means
  exactly that: an infinity of possibilities, an
  infinity of realisations, an infinity of nodes and
  layers and branches. The human mind cannot
  conceive of such an infinity; yet we can name
  it, catalogue it, and deal with it to some
  extent.
  U
  nlike certain other doctrines, time is
  not a dimension. In a three-
  dimensional model, temporal duration
  may be considered a fourth dimension; in a
  four-dimensional universe, time can be the
  fifth, etc.. The Tekumeláni disagree; time,
  Pavár says,  is a "piling up," or a "density,"
  according to Súbadim the Sorcerer. Time is
  thus not a dimension in itself but rather the
  "duration" of the multi-dimensional whole. One
  can travel "crosswise" from Plane to Plane as
  far as one wishes, out to the enigmatic
  Pylons, where the Planes begin to drift and
  twist into patterns unbearable to the human
  eye. One can also journey backwards or
  forwards along the Tree's mighty trunk, or
  upon a single branch. Here there are
  limitations, for unguessable reasons: travel
  into the past is limited to about sixty million
  years, while one can visit the future (and there
  is an infinity of futures, requiring careful
  navigation indeed!) as far ahead as one
  wishes, out to the very apex of Time itself, the
  Termination, the end of the sidereal universe,
  where the College of the Undying Wizards sits
  brooding, bathed in the dull bronze light of the
  final sunset of the world. Beyond this none
  can go.
  NEXUS POINTS
  T
  he concept of a multi-planar cosmos is
  not new; philosophers of many places
  and times have postulated it before.
  Their musings would have remained idle theory
  had not someone on Tékumel (or another of
  the "thin-skinned" Planes) discovered the
  means to achieve interplanar (and temporal)
  travel. Some ancient sage developed his
  innate psychic powers and applied the
  techniques of "ritual magic" to open a "nexus
  point" between the worlds. His successors
  contacted and learned from such "Plane-
  travelling" races as the Mihálli, and, to some
  extent, the Chíma. These species possess
  senses different from our usual six, and their
  formulations of dimensionality are alien to
  ours. The "Skin of Reality" -- the barriers
  separating the poly-dimensional "bubble
  worlds" -- is thinner on Tékumel than on our
  own Plane, and it is easier to find and open
  such gateways there. On our own Plane, we
  can make only sporadic use of "nexus"
  doorways, due to the thickness" of the "Skin"
  that separates us from the Space Between.
  Our experiments produce only erratic results,
  but nexus points are almost commonplace on
  Tékumel.
  N
  exus points are not creations of
  human magic but rather naturally
  occurring 
  phenomena: 
  when
  perceptible, they appear as shimmering, dull-
  grey ovals hanging in space. Some are large
  enough to admit three humans abreast, while
  others are too tiny to be entered at all. Some
  open directly into other worlds; others are
  twisted and dangerous, leading to terrifying,
  distorted places where nothing lives -- not life
  as we know it, anyway.. Some are fixed in
  relation to their own Planes, while others
  "drift" in the unimaginable tides of Other-
  Space. Still others are nothing more than
  weak points in the "Skin of Reality" that a
  mage can find and penetrate. Some Planes
  have "barren" regions: "dead zones" where
  nexus points do not exist and interplanar
  energy cannot be employed, even by a highly
  skilled mage. Other areas are fertile, allowing
  power from the Planes Beyond to leak in
  easily, as water seeps through a cloth. Nexus
  points are found on every Plane but do not all
  lead to the same places: some take the mage
  
  The Third Octant
  30
  only a short distance temporally, spatially, or
  across the Planes; others transport the
  traveller halfway across the Multiverse! Often
  one must "hop" from one Plane to a second,
  then to a third, etc., to reach a given
  destination. A nexus point may sometimes
  open of itself and "swallow up" the unwary, as
  examples from our own history attest. Great
  caution is advised: a nexus doorway may open
  into a "safe" location, or into solid rock or the
  heart of a sun! (Fortunately, there are spells
  that let the experienced traveller see what lies
  on the other side of a "door" before venturing
  to open it.)
  T
  he contents and inhabitants of the
  Planes Beyond are as infinitely varied
  as the Planes themselves. One can
  encounter advanced civilisations (some
  peaceful, others ferocious and warlike), empty
  void, planets without air or life, rolling fields
  and forests, mighty beasts, terrible monsters
  (to human eyes), noxious gases, streams of
  blazing lava gushing through canyons of black
  stone -- an infinity! The "heavens" and "hells"
  of the gods exist as Planes in themselves, as
  do the dim lands of ghosts and darkness, and
  those happier Planes called the Isles of
  Teretané, through which the spirit-souls of
  the dead must pass before being reborn into
  yet other incarnations. All exist, and all are
  reachable by those who know the way.
  THE DEITIES AND THEIR SERVITORS
  T
  he "gods" of Tékumel are not "Gods" in
  the theological sense, but rather
  mighty interplanar beings as far
  beyond us as we are beyond the amoeba. The
  three Pariah Deities are similar beings.
  Humankind is rather far down on the list of
  the servitors of the gods; many nonhuman
  races excel us in this or that attribute. (So
  much for human conceit!) We serve the gods,
  and they, in turn, provide assistance and
  rewards. The gods of Tékumel are those of the
  pantheon discovered (or devised?) by Pavár:
  the five Lords of Stability and their five
  Cohorts, who are ever at war with the five
  Lords of Change and their five Cohorts. Each
  of these twenty "deities" has a specific sphere
  of influence and tasks that he or she (or it)
  performs. The "gods" conflict: the Lords of
  Stability seek to keep things as they are, while
  the Lords of Change prefer constant
  alterations and transformations. We have no
  idea of their eventual goals, any more than
  the theologians of Earth can satisfactorily
  explain the existence of "evil" in a universe
  created and ruled by a God who is omnipotent
  and "good." The gods co-exist and conflict; yet
  they co-operate against the greater threat of
  the Pariah Deities. The gods wish to maintain
  the Planes they rule; that of the Pariah
  Deities is to destroy all life and substance,
  leaving nothing, not even an empty void that
  can be entered through a nexus point!
  B
  oth the Pariah Deities and the gods
  have their human (and nonhuman)
  followers. The temples and priesthoods
  of the former are now dust, but the latter are
  thriving institutions. The forces of the gods
  include more than these formidable forces:
  more powerful are the Undying Wizards, who
  travel the Planes to fend off the assaults of
  the Pariah Deities. The epics sing of gentle
  Thómar the Ever-Living; Súbadim the Sorcerer,
  who fishes the River of Souls at the College at
  the End of Time; Qiyór the Many-Tongued;
  Metállja of Salarvyá, who betook himself and
  his followers, the Blasphemous Accelerators,
  to the lost ruins of Ónchash Cháiran in the
  Whispering Desert and to the Crater of the
  Unstraightened City; the warrior Hagárr of
  Paránta; Pendárte of Khéiris, who defeated
  the minions of She Who Cannot Be Named in
  the Citadel of Ebon Light beneath old Ch'óchi;
  Turshánmü the Summoner of Demons;
  ferocious Chirené of N'lüss, and many more.
  These individuals are said to be ordinary
  humans who were chosen by the gods as their
  champions. Small groups of humans have also
  been selected at crucial temporal
  intersections to serve as "Heroes of the Age."
  These defenders have succeeded over the
  millennia, although the invasion at the end of
  the Engsvanyáli Empire was only narrowly
  
  The Third Octant
  31
  defeated, and the Isle of Gánga itself was
  sunk beneath the Deeps of Chanayága. The
  manuscript described in this treatise speaks
  of onslaughts yet to come -- and warns of
  future attacks upon Planes that have never
  yet known such violence. Dumúz Sénjukaz
  believes this to be a reference to the bundle of
  Planes which include our Earth. If this be so,
  then we must admit to being quite unprepared
  to face the ghastly weapons wielded by the
  myrmidons of the Pariah Deities! Compared to
  them, the might of Assyria, the Legions of
  Rome, the Mongols, the Nazis -- all are but
  minor ripples in the pool of history!
  THE FUNDAMENTALS OF MAGIC
  A
  lthough most temple academies teach
  Other-Planar "sorcery," not every
  student has the talent to master it.
  One needs more than just willpower or
  "psychic ability." Meditation without guidance
  is as useless as a cart without a driver. The
  beginner must study magical theory and
  develop those mind-sets that draw power
  from the Space Between. Students say that
  this is like raising one's head and staring into
  the darkness of an attic: one sees unexpected
  shapes and shadows, which one must group,
  "connect," and "bridge."  The resulting
  constructs become energised, as when one
  puts power through an electrical circuit. This
  energy is shaped and moulded by spell
  Gestalts that one learns by rote. Without
  these "circuit-boards," Other-Planar power
  would be as uncontrolled and undisciplined as
  a bolt of lightning.
  S
  ome spells are purely "psychic": mind-
  sets that are memorised, practised,
  and reproduced as swiftly as thought
  itself. Other spells are "ritual," requiring
  incantations, diagrammes, gestures, chalk,
  precious stones and metals, paper, inks, wax,
  and a veritable "wizard's bag" full of odd
  substances. Also needed are a sure hand, a
  good memory, skill in mime and gesture, and a
  modicum of musical talent (in order to
  modulate the voice precisely for incantations).
  I
  n theory, both types of "magic" are
  straightforward. In practice, they are
  complicated by Other Planar factors that
  often cannot be put into human words. For
  example, it is very difficult to open a Nexus
  Point into a nearby "layer of the onion": one
  cannot travel from a Plane where one has just
  wiggled a big toe to one where one did not. The
  experts attribute this to "unattainable
  parabolas within the harmonic progression": it
  is harder to establish an "arc" between two
  nearby Planes than it is to travel halfway
  across the Multiverse to a completely alien
  Plane. Whatever the reason -- and whatever
  jargon one chooses to use -- this seems to be
  a fact.
  S
  pells suck  power through from the
  formless chaos of the Space Between
  the Planes, shape it according to the
  patterns taught by the temples, and manifest
  it on one's own Plane in forms that vary from
  phantasms, to bolts of energy, to the
  creation or transmutation of substances, to
  healing, to the opening of nexus points, to
  almost anything the one can imagine. Spells
  are rarely invented today, however, because of
  unknown limitations on the manipulation of
  the "points" and "connectors" of the Planes
  Beyond.
  T
  he devotees of the Pariah Deities rarely
  employ "psychic" spells. All of the
  techniques 
  described 
  in 
  this
  manuscript are "ritual": they use diagrammes,
  inscriptions, words of power, and the like.
  Much stress is laid upon the arcane meaning
  of written symbols. Some of the concepts
  offered below are not to be found in the spell
  compendia of the other sects. The early
  chapters of the manuscript could serve as a
  useful addition to the syllabus of any temple
  on Tékumel. Invaluable are the "directional"
  orientations; the connections between symbol,
  sound, and esoteric meaning; and the logical
  progression from simple to complex in
  developing the relationships between spell and
  object. All of these techniques would be
  
  The Third Octant
  32
  acceptable, were they not connected with the
  doctrines of the hated Pariah Deities.
  DIRECTIONS
  T
  he earliest scholars of Tékumel
  described the geography of the
  Multiverse in terms of "directions":
  north, south, east, and west. Later authors
  have added others, such as "up" and "down,"
  which are included in this manuscript.
  Khmúish of Ssa'átis successfully argues,
  however,  that all such variants are the same
  four two-dimensional directions "laid on their
  sides and seen from a different point of view."
  He proposes the individual as the centre of all
  measurement: "there is nothing to perceive
  and no perception without a perceptor."
  D
  uring the Latter Times, four more
  directions were added. They are the
  "directions" of Other Space, which
  cannot be conceived of in human terms but
  are perceptible to the nonhuman Mihálli and
  Chíma, from whom they probably arise. They
  are needed to navigate in multi-planar Other-
  Space. Their Sunúz names are /kep/, /per/,
  /'enjeq/, and /sanu:r/. The Engsvanyáli later
  called them /grái/, /chío/, /grél/, and /vráz/.
  The universe is thus measurable in terms of
  our own "flat" directions, plus these four
  Other-Planar "directions," plus time. These are
  the co-ordinates used by such as Wába, the
  Cartographer of Suns, in his famous
  "Almanac," now lost except for a few odd
  pages.
  COLOURS
  E
  ach of the eight "directions" is
  identified with a colour. This concept is
  similar to various archaic Terran
  systems, particularly the nomenclature of
  ancient Meso-America. A direct historical
  connection is possible, in view of the fact that
  Tékumel's human inhabitants are partially
  descended from Maya ancestors. The four
  Other-Planar "colours" are perceptible only to
  such races as the Mihálli, the Chíma, and the
  Hokún. In Sunúz these "colours" are called:
  /'untet/, /'unpur/, /'unway/ and /'unsháp/. The
  meaning of /'un-/ is unknown. Their Engsvanyáli
  names are: /ázh/, /méth/, /mür/, and /hétha/.
  In pictures and manuscripts, these "colours"
  -- which humans cannot see -- are painted as
  follows: /'untet/ = gold, /'unpur/ = silver,
  /'unway/ = copper, and /'unshap/ = iron grey.
  ASTROLOGY
  T
  ékumel's sun, two moons, four planets,
  and Tékumel itself figure into the
  symbolism expressed in Sunúz. These
  celestial bodies are similar in significance to
  those of Terran astrology, although there are
  differences. The sun is heat and energy. The
  innermost planet Ülétl is the counterpart of
  Mercury: i.e. communication and the intellect.
  The orange-red moon Káshi  is not the same
  as our moon but stands more for warlike
  Mars. The green moon Gayél has no exact
  equivalent but symbolises something akin to
  the "Trans-Uranian" planet Lilith: hedonism
  and sensual pleasure. The blue planet Shíchel
  is gentle and beautiful, like Venus. The distant,
  purplish, outer planet Zirúna represents the
  cold, limiting force of Saturn. The rest have no
  precise cognates: blood-red Riruchél, the
  second planet from Tékumel's sun, stands for
  honourable war for the sake of society, and
  societal strength: it thus is similar to Achilles
  or Zeus with an admixture of Jupiter. The
  Terran moon, and the planets Jupiter, Uranus,
  Neptune, and Pluto have no direct
  counterparts. Since there are no stars or
  constellations visible from Tékumel (for
  reasons which cannot be gone into here),
  Tekumeláni astrological relationships are
  based only on aspects between the four
  planets, two moons, and the sun, rather than
  to a "backdrop" of "zodiacal signs." Sunúz
  authors use an eight-equal-house system, as
  might be expected, in which each house
  comprises 45° of the 360° circle. This is still
  favoured in Livyánu today, while the rest of
  the Five Empires prefer a twelve-house
  system. Sunúz astrologers recognise the
  eastern horizon as the Ascendant and also
  
  The Third Octant
  33
  use the Midheaven as an important point, as
  do their Terran counterparts. Tekumeláni
  astrology does not seem to employ "parts,"
  however: e.g. the Part of Fortune. These topics
  are too complex to be gone into here.
  MUSIC AND HARMONICS
  M
  usical "harmonics" or vibrations are
  another feature of the Sunúz
  system. Engsvanyáli writers speak of
  an octave (Chúdduk) in which each symbol
  represents a musical note. In Dúru'ob what is
  presumably the same octave is called
  /chukhúz/, and the writer Mréz Kadái states
  that this structure was "taken from those
  who worship the Pale Lady." Unfortunately,
  musical notation is lacking, and it is thus
  impossible to say what each note represents
  acoustically. In Sunúz these "notes" are
  numbered in progression for the First Octant
  only. Presumably high Octants also have
  musical content.
  Z
  THE OCTANTS
  he worshippers of the
  Pariah Deities divide their
  the 64-letter alphabet into
  eight "Octants" of eight
  symbols each. These are
  basic to the sorcerous
  system, 
  and 
  their
  functions will be discussed
  in detail below. Members of these groups are
  roughly listed in order of their positions in the
  chart of phonemes, but this is not their order
  in Sunúz, which seems to differ from scholar
  to scholar. The names  of the Octants are as
  follows:
  First Octant: "The Tongue of the
  Unmoving Ones": /m, n, r, l, sh, h, s, k/
  Second Octant: "The Tongue of the
  Lesser Ones": /i, e, u, a, kh, w, y, f/
  Third Octant: "The Tongue of the
  Seekers": /p, t, ch, ? (the glottal stop),
  b, d, g/ and the "Minor Extensor."
  These are the letters traditionally
  assigned to the "original" linguistic
  base. Members of the Fourth Octant
  also occur in "native" Sunúz lexemes,
  however, as do some from the Fifth
  Octant as well. Many loan-words must
  thus have been borrowed very early, or
  else belong to non-Sunúz linguistic
  strata that have not yet been
  identified.
  Fourth Octant: "The Tongue of the
  Savants": /q, ng, gh, j, z, zh, th, dh/.
  Fifth Octant: "The Tongue of the
  Adepts": /tl, dl, ss, v, hl, ts, dz/ and
  the "Major Extensor"
  Sixth Octant: "The Tongue of the
  Effectuators": 8 numerals used in the
  octesimal mathematical system, each
  of which also has a "causational"
  symbolic meaning.
  Seventh Octant: "The Tongue of the
  Higher Powers": the Seventh and
  Eighth Octants contain only symbols
  with sorcerous, non-linguistic content.
  Eighth Octant: "The Tongue of Ultimate
  Might": symbols for the deities and
  Other-Planar manifestations
  
  The Third Octant
  34
  THE FIRST OCTANT
  THE TONGUE OF THE UNMOVING ONES
  T
  he First Octant contains sounds and
  symbols related to "the basics of
  being" and to inanimate objects. These
  symbols also represent the four "two-
  dimensional" directions and the "human-
  perceptible" colours. Three sounds of the first
  Octant are fricatives or sibilants:  /s, sh, h/;
  two are nasals: /m, n/; and two are laterals: /r,
  l/. The eighth is the stop /k/. With the
  exception of this last, these sounds can be
  prolonged and modulated to produce various
  lengths, pitches, etc.
  /m/ "The One of Being": continuation or
  prolongation of existence; the Sun; the
  colour pale yellow: i.e. the white-yellow
  glare of midday; and the direction
  West; the first (lowest) note or
  harmonic
  /n/ "The One of Stone": hard objects,
  stones, mountains, minerals; the dark
  brown planet Ülétl; the colour black;
  and the direction North; the second
  note or harmonic
  /r/ "The One of Life": non-animal life,
  including plants, trees, and growing
  things; the colour emerald (or grass-)
  green; the centre: Tékumel itself; the
  directional symbolism of "here"; the
  third note or harmonic
  /l/ "The One Who Flows": water or liquids,
  oceans, seas, pools, lakes, slow rivers;
  the bluish planet Shíchel; the colour
  blue; and the direction South; the
  fourth note or harmonic
  /s/ "The One of Sibilance": fire, flame,
  steam, inanimate things that hiss;
  war and violence; the orange-red moon
  Káshi; the colour orange-red; and the
  direction East; the fifth note or
  harmonic
  /h/ "The One Who Was": non-animal life
  that has died, dead leaves, dry wood,
  rotted stalks; the dim purple outer
  planet Zirúna; cessation, termination;
  the colour dark red-purple: death in
  the Sunúz belief system; and the
  direction "down" or "past" in time; the
  sixth note or harmonic
  /sh/ "The One of Air": wind, air, the sky,
  rapidly flowing water; the scarlet
  planet Riruchél; the colour crimson;
  and the direction "up" or "future" in
  time; the seventh note or harmonic
  /k/ "The One of Command": used in magical
  incantations and diagrammes involving
  inanimate objects: force, action,
  change; the second and larger moon,
  Gayél; light blue-green; sexual activity
  (both male and female), sensuality; /k/
  has no associated direction or colour
  but does represent the highest note
  on the musical or harmonic scale
  THE SECOND OCTANT
  THE TONGUE OF THE LESSER ONES
  T
  he symbols of the Second Octant
  include the four simple vowels: /i, e, u,
  a/, two fricatives: /kh, f/; and two semi-
  vowels: /w, y/. These represent non-sentient
  animal life. Various Tekumeláni creatures are
  mentioned as examples in the texts, and
  Terran animals are added for the sake of
  clarity. In some texts, further musical notes
  are ascribed to this and higher Octants, but
  the present manuscript does not mention
  them.
  /i/ "The One of Greater Life": large
  herbivorous animals: e.g. the Tsi'íl,
  Nráishu, Chlén, etc.; pasturage, meat
  and meat products; deer, elephants,
  moose
  /y/ "The One of Lesser Life: small wild land
  animals: Jakkóhl, Horók, Chnéhl;
  squirrels, otters, foxes
  /w/ "The One Who Comes to Hand":
  domestic animals, e.g. Hmá, Hmélu,
  domesticated Chlén, Küni-birds; dogs,
  cats, sheep, goats, cows
  /e/ "The One of the Heights": aerial
  creatures: e.g. birds, bats, Shánu'u,
  
  The Third Octant
  35
  Gíriku;  eggs and poultry products;
  eagles, chickens
  /u/ "The One of the Deep": aquatic
  creatures: fish, shellfish, sea
  monsters: e.g. Akhó, Feshénga,
  Chashkéri; both river and sea
  products; salmon, tuna, clams,
  oysters
  /a/ "The One of Fangs": large land
  predators: e.g. Zrné, Sró, Gacháya;
  animal bones and teeth; lions, tigers,
  leopards, wolves
  /f/ "The One Who Crawls: insects, spiders,
  centipedes, flies, etc. These include all
  such creatures, even those that swim
  or fly; worms, termites, ants,
  houseflies
  /kh/ "The One Who Writhes: serpents,
  larger 
  worms, 
  eels, 
  lizards,
  underground creatures
  THE THIRD OCTANT
  THE TONGUE OF THE SEEKERS
  T
  his Octant contains further "original"
  Sunúz phonemes: the voiceless stops
  (/p, t, ch, '/), the voiced stops (/b, d,
  g/), and the "Minor Extensor."  Some
  interpretations of the stops have been
  discussed above. This set symbolises humans
  and their relationships, possessions, and
  personal interests.
  /p/  "The One of Plumes": man, virility,
  strength, male children, male sexual
  prowess. The name apparently stems
  from a head-dress of Khéshchal--
  plumes worn by males pictured on the
  stelae.
  /t/ "The One Who Sits": woman, marriage,
  childbirth, female children, female
  sexual prowess. In Sunúz iconography
  women are often shown seated,
  wrapped in a ceremonial shawl, and
  wearing an elaborately carved helmet
  of what appears to be gold. Women
  seem to have ruled the community as
  matriarchs and priestesses, while men
  hunted, fished, fought wars, and
  performed "outdoors" duties.
  /ch/ "The One of Internality": oneself,
  personal goals, interests, and
  ambitions, hunger, thirst, feelings,
  sensations
  /'/ "The One of Externality": personal
  possessions: one's house, money,
  furnishings, clothing, books, tools,
  weapons and armour; rank, position,
  pride, honour
  /b/ "The One of the Other": other persons
  and their possessions, as just above
  /d/ "The One of the Foe": opponents,
  enemies; their possessions and
  dignities
  /g/ "The One of Memory": one's elders, the
  honoured dead, persons in one's past,
  those who are far away (apparently
  both friend and foe)
  /:/ "The One of Desire": persons one
  desires: sweetheart, lover, friend; also
  talismans, amulets, sacred objects
  (images of one's personal deity?)
  THE FOURTH OCTANT
  THE TONGUE OF THE SAVANTS
  A
  t least two members of this Octant
  (/th, dh/) occur in dozens of "original"
  Sunúz lexemes. /q/ and /j/ may also
  belong to this category, while /ng, gh, z, zh/
  are probably borrowings. The set largely
  symbolises human emotions.
  /q/ "The One of Well-being": health, bodily
  conditions, 
  organs; 
  illnesses,
  medicines, drugs, poisons, surgery. As
  with many of the members of the
  higher Octants, both "positive" and
  "negative" aspects of the category are
  included.
  /ng/ "The One of Revelry": food, drink,
  laughter, joy; feasts, overeating and
  indulgence; celebrations, festivals;
  marriage
  
  The Third Octant
  36
  /gh/ "The One of Frolic": games, sports,
  (secular) dancing, hunting, archery,
  falconry, swimming, gambling, etc.
  /j/ "The One of Lusts": sex, love songs,
  sensuous dancing; entertainment
  /z/ "The One of Rage": personal bravery,
  courage; fury, hatred; violence, harm,
  injury, murder; swords, daggers,
  weapons; other means of death
  /zh/ "The One of Utterance": speech,
  words; writing, books, writing tools,
  paper; eloquence, recitation of the
  epics, incantations, ritual speech;
  dialogues, communications
  /th/ "The One of Fears": darkness, night,
  one's own death; depression, worry,
  anguish, pain; the unknown, insecurity,
  uncertainty; the past; falsehood;
  fantasy; dreams; prayer for something
  negative
  /dh/ "The One of Hope": light, daytime,
  warmth; optimism, anticipation,
  conviction; the future; fact, truth;
  meditation, prayer for something
  positive
  THE FIFTH OCTANT
  THE TONGUE OF THE ADEPTS
  M
  embers of this Octant comprise the
  remaining Engsvanyáli and Dúru'ob
  loan phonemes. The set symbolises
  human institutions, their members, and their
  activities.
  /tl/ "The One of Might": kings and queens,
  princes, rulers, judges, officials,
  wealthy persons; palaces, courts,
  public buildings, cities and towns;
  secular ceremonies, pomp and
  splendour; prisons, executions; death
  by assassination or political coup
  /dl/ "The One of Sanctity": priests and
  priestesses, religious scholars, mages;
  temple servitors; temples, altars,
  shrines, holy places; ceremonials,
  rituals, incantations, religious
  symbols, scriptures, sacrifices,
  victims, blood (used in sacrificial
  rites); religious dancing and singing;
  death by sacrifice
  /ss/ "The One of Swords": soldiers, armies,
  warriors; fortresses, battlefields;
  fighting, marching, besieging; weapons,
  armour, shields; military glory, victory,
  defeat; heroism, cowardice; death in
  battle
  /v/ "The One of Skills": craftsmen, artists,
  musicians, dancers (secular), arts and
  crafts; shops, merchandise, materials,
  money, gems, jewellery, profit and loss,
  taxes; transportation, slaves, carts,
  ships, cargo, roads, markets; buying,
  selling
  /hl/ "The One of Lands": farmers, labourers,
  slaves; 
  lands, 
  storehouses,
  farmhouses, villages, rural areas;
  crops, grain, fruits, produce; farm
  tools; planting, harvesting
  /ts/ "The One of Tombs": embalmers,
  professional mourners, gravediggers
  tomb-robbers (!); corpses, dead
  bodies, carrion, unclean things; graves,
  tombs, 
  coffins, 
  sarcophagi,
  mausoleums, cemeteries, ruins,
  tunnels beneath the earth; funerals,
  grieving
  /dz/  "The One of Sails": seamen, sailors,
  fishermen, ships, boats, tackle;
  harbours, voyages; fishing, sailing,
  steering a true course; death by
  drowning
  /\/ "The One of Scrolls": scholars,
  librarians, 
  students; 
  schools,
  universities, academies, laboratories;
  books, scrolls, paper, inks, pens,
  languages, scripts; reading, writing,
  literature, "high" art and music,
  painting, sculpting, and the like; death
  by sorcery
  
  The Third Octant
  37
  THE SIXTH OCTANT
  THE TONGUE OF THE EFFECTUATORS
  T
  his Octant contains the numerals 1
  through 8. Higher numbers are
  constructed of sequences of these.
  Symbolically, this Octant stands for the
  specific powers of sorcery.
  1 "The One of Renewed Life": healing,
  restoring, revivifying; pure air, wind;
  rain; fecundity, birth and rebirth; the
  spring when all is resurrected; creating
  light, beginning; rising, flying, breathing
  2 "The One of Flame": fire, flame, lightning
  and thunder; candle or lantern light,
  the hearth, cooking; setting a fire,
  illuminating, burning; attacking with
  flame or a sharp weapon; causing
  passion; ending by flame
  3 "The One of the Pallid Face:  cold,
  cooling, rigidity, paralysis; decay;
  death by cold or old age; closing,
  shutting down, ending by withdrawing
  energy (one of the primary means by
  which the Pariah Deities exterminate
  all life on a Plane); attacking with cold,
  paralysis, etc.
  4 "The One of Creation": phantasms,
  magically created substances (e.g.
  food and drink); illusions
  5 "The One of Reaching Out": telepathy,
  communicating magically, telekinesis;
  clairaudience, clairvoyance; summoning
  a person or animal, an Other-Planar
  being, or the Undead; visitations,
  ghosts, spirits from the Planes of the
  Dead; sending out one's mind or vision;
  attacking with psychic and mental
  powers
  6 "The One of the Mighty Shield": defence,
  protection against both physical and
  sorcerous attack; shielding, guarding,
  setting a magical sentry to watch;
  using one's mental and psychic powers
  as weapons; protecting oneself
  against demonic attack
  7 "The One of Mastery": controlling,
  dominating, commanding lesser beings
  (e.g. animals); causing physical or
  sexual obedience or compliance; ruling
  demons, the Undead, and beings
  summoned from Other Planes
  8 "The One of Keys": opening nexus points;
  travelling the Planes; going up or down
  the time axis. In order to see what lies
  on a given Plane, a Dúru'ob gloss says,
  one must employ the numeral "5,"
  above.
  THE SEVENTH OCTANT
  THE TONGUE OF THE HIGHER POWERS
  T
  he eight glyphs of this Octant
  symbolise the nonhuman races, the
  powers of the Planes Beyond, etc. They
  are called "the sounds that human mouths
  cannot utter," which implies that they come
  from one of the nonhuman languages, possibly
  Chíma. In "human" Sunúz, this set has no
  linguistic content, however. For convenience'
  sake, they are named here with letters of the
  English alphabet. Four glyphs of this set also
  represent the four Other-Planar directions
  and their associated colours; see above.
  A "The Ones Who Smile": the friendly
  nonhuman sentient races of Tékumel:
  the Chíma, Mihálli, some Hokún, the
  Shén; the cities, lands, and
  possessions of these species. A
  Dúru'ob note in the margin of the
  manuscript gives an alternate title:
  "The One of Distant Friends."
  B "The Ones Who Slay": the hostile
  nonhuman races of Tékumel: the Ssú,
  the Hlüss, some Hokún, the Hlutrgú,
  the Shunned Ones; the cities, lands,
  and possessions of these beings. A
  Dúru'ob note in the same hand as that
  above titles this symbol as "The Ones
  of Eternal Hatred."
  C "The Ones of Might": the great sorcerers
  of Tékumel's Plane. Marginal notes
  warn against summoning mages who
  
  The Third Octant
  38
  are hostile to the Pariah Deities.
  Those who may be called include: Ardzá
  "the Slayer of All," Kakán Tisélma, "the
  Sweet Maiden from the College at the
  End of Time"; Lady Sarvodáya Di'éla,
  "She Who Travels Away (?)," Suribáya
  "the Beauteous" (a demoness or demi-
  goddess whose face resembles a cat);
  Torisú "the Manipulator of Skeins,"
  Thukén "the Wisest One," etc. All of
  these beings either serve the Pariah
  Deities or else are neutral to their
  activities.
  D "The Ones of the Desolate Tombs": the
  dead, ghosts, spirits; the Undead who
  return; the liches and monsters of the
  Catacombs; the Singers of the
  Threnodies (?); the Heroes of the Past;
  those who have gone beyond into the
  Isles of Teretané. These all exist on
  Tékumel's Plane, while the dead of
  Other Planes belong to the categories
  below.
  E "The Minor Minions": beasts, subsidiary
  demons, and less-intelligent or less-
  powerful species from the Planes
  Beyond. The manuscript gives no
  examples, but notes in Dúru'ob supply
  the names of several nonhuman races,
  together with descriptions of their
  Planes and powers: e.g. the Dolél, who
  are like "rapacious funnels" (?); the
  Ma'achnáà, 
  who 
  "wander 
  on
  mountains"; the He'é:sa, who turn their
  victims into "rotting curd"; the
  Nzékkumai, "who eat all there is," the
  "White-Haired Woman," said to be the
  daughter of the warrior Arumél and
  granddaughter of Hagárr of Paránta.
  Some of these are familiar from Llyáni
  or later Engsvanyáli sources, while
  others are unknown outside of this
  manuscript. This symbol also stands
  for the Other-Planar direction /kep/
  and the colour /'untet/ (Engsvanyáli
  /grái/ and /'ázh/).
  F "The Major Minions: the "Great Races,"
  such as the so-called "Silver Suits,
  famed for their technological skills; the
  Tà Kôn Dé, "Who Come Willingly to the
  Isle of Eyes" (the name appears to be
  Aí Chè in origin); the Shrouded Ones of
  Tu'enkáimo, "who frequent ancient
  Nenu'ú with steps of horror"; etc. The
  Dúru'ob commentators add further
  "Lords of Planes" e.g. Chóm the
  Unexpected, "he who dwells where none
  can see"; Lords Áinh Áing and
  Urkaném, of the 26th Plane who are
  supposed to be servitors of the Flame
  God, Lord Vimúhla but appear here
  "because their actions aid the One
  Other"; "the Striped One, who cannot
  be described," the greater He'é:sa.
  "who skulk between the Planes" -- etc.
  Some of the demons listed in "The
  Book of Ebon Bindings" are also
  included here, particularly in the
  Dúru'ob marginal glosses: e.g. Zanátl,
  "Lord of the Forty-Fourth Circle and
  Foe to All Being," Lelmiyáni, "the Sweet
  Singer of Doom," and others who serve
  the Demon Lord Origób. From this it
  appears that certain of the demons
  work for more than one master. This
  symbol also represents the Other-
  Planar direction /per/ and the colour
  /'unpur/ (Engsvanyáli /chío/ and
  /méth/).
  G "The Greatest Sovereigns: the most
  powerful of the Demon Lords: great
  Origób, the Beast Without a Tail, and
  Lord Marássu. The glosses also
  mention Drakhé, "the Viper of Bitter
  Pain (?)," Sangnákht, "the Grey
  Mistress of Dissolution," and two
  others that have been scratched out
  in the manuscript. This symbol also
  signifies the Other-Planar direction
  /'enjeq/ and the colour /'unway/
  (Engsvanyáli /grél/ and /mür/).
  H "The Dwellers in the Dark": these are the
  most feared of all, the special
  followers of She Who Cannot Be
  named. The Dúru'ob gloss says, "None
  knows their semblance, nor their
  substance, nor their essence. So much
  do they adore their Lady that they do
  
  The Third Octant
  39
  not hold back, or stint, or resist her in
  any particular." It is not known
  whether the Dwellers in the Dark also
  aid the One Other or the One Who Is.
  Their glyph symbolises the Other-
  Planar direction /sanu:r/ and the
  colour /'unshap/ (Engsvanyáli /vráz/
  and /hétha/).
  THE EIGHTH OCTANT
  THE TONGUE OF ULTIMATE MIGHT
  T
  he Eighth Octant symbolises the gods
  and actions relating to them. Copious
  notes fill the margins here, intertwined
  with protective symbols, warnings, and
  instructions for performing these rituals very
  carefully.
  I "The One of Opening the Greatest Gate":
  this glyph opens a nexus point to the
  deity and summons him (her, it). This
  is fraught with danger, as many
  marginal notes attest.
  J "The One of Safe Journeying": this
  provides protection for the mage from
  the deity summoned. The seeker must
  use this in conjunction with various
  defensive diagrammes, and Taya:kh.
  Marginal notes in Dúru'ob (and also in
  some other language -- perhaps the
  Naqsái Runes of Sarakhané?) point
  out that protection is not always
  possible, and some summonings have
  resulted in hideous failure.
  K "The One of Dispersing the Foe": this
  "attack" glyph is to be used against
  the enemies of the Pariah Deities: the
  gods of Pavár's pantheon and other
  interplanar beings. In conjunction with
  one of the Effectuators, it can drive a
  hostile deity or great demon back to
  its own Plane. Again, numerous failures
  are recorded in the margins of the
  manuscript.
  L "The One of Seeking Succour": correct
  use of this glyph allows the seeker to
  plead for help, rewards, favours, etc.
  The Pariah Deities are generous, as a
  marginal note declares. Other glosses
  point out that this is not always the
  case when the gods' own objectives are
  different from those of the worshipper.
  M "The One of Ultimate Acquiescence":
  followers are instructed to employ this
  symbol in one final ritual intended to
  allow the Pariah Deities to enter a
  Plane that is ripe for the taking. The
  text states that the time will be known
  to the worshippers, and they must
  first eliminate any hostile Wards and
  Guards, prepare the Way, and ready
  the Plane for extinction. This will result
  in the deaths of the worshippers
  themselves, of course, but the zealots
  of these sects are prepared for this.
  The use of a single glyph for the advent
  of all three of the Pariah Deities
  implies that these beings work in
  concert, rather than independently.
  N "The Lord of Eyes": the dot-in-a-circle
  symbol of the One Other forms a part
  of this glyph. In the manuscript it is
  coloured a shimmering gold: probably
  gold leaf laid over wax. Marginal
  glosses warn against touching this
  and the following two symbols. The
  penalty, according to one Dúru'ob
  gloss, is "to suffer Cha'akób."   What
  this means is not explained.
  O "The Lord of Solitude": "The One Who Is."
  This glyph is painted with a silvery-grey
  ink that has a sheen resembling
  polished steel. A lengthy note in
  Dúru'ob gives instructions for finding
  the lair of this strange being. These
  are probably legendary rather than
  geographic: for example, the seeker is
  told to "pass by the Valley of the
  Seven Moons on the left and enter into
  the Caverns of Korrúo." This cannot
  refer to Tékumel, of course, which has
  only two moons.
  P "The Mistress of the Null": "She Who is
  Not to Be Named" herself. A tiny piece
  of what appears to be yellowed bone
  carved in the form of this glyph has
  
  The Third Octant
  40
  been fastened to the manuscript page
  with some kind of brownish glue.
  Several more warnings and protective
  glyphs surround the goddess' symbol.
  Q
  THE SPELL SYSTEM
  THE OCTANTS AND SPELLS
  he manuscript describes
  the Octants and the
  symbolic system used to
  work spells. Some of these
  are petty enchantments
  designed 
  to 
  summon
  animals, ensorcel one's
  beloved, defeat one's foes,
  and the like. Only a few  powerful spells are
  given, and these are almost all in cipher. Most
  of these enchantments will not work on our
  Plane -- at least not consistently. The "Skin of
  Reality" is too thick here, as noted above, and
  Terran mages lack the training to draw energy
  from the Planes Beyond. This can be remedied
  only through study and discipline. Focusing
  upon the spell, shutting out external
  interference, and reciting the incantation over
  and over will help, but there is no substitute
  for the instruction available in the temples of
  the Five Empires.
  E
  ach of the manuscript's spells
  consists of the relevant glyphs from
  the Octants, a diagramme to serve as
  a matrix, an incantation, substances, and
  gestures that "guide the power along the
  force-lines from the Planes Beyond." Glyphs
  and diagrammes are usually drawn with
  coloured chalks, although higher spells
  demand cinnabar, ochre, lamp-black, powdered
  lapis lazuli, pearl dust, gold and silver inks, and
  "parchment from a virgin Hmélu-beast."
  Several kinds of oil and incense are also
  mentioned. Aside from blood, no unpleasant
  substances are specified in the manuscript.
  Skulls, bones, and the paraphernalia of the
  necromancer of the temple of Sárku are
  absent. As the author says, the spells of the
  Pariah Deities are far beyond any such petty
  concerns.
  A
  spell of the First Octant affects only
  one target: natural substances,
  plants, etc. To create a fire, for
  instance, one chooses  /s/ "the One of
  Sibilance," plus /k/ "The One of Command," plus
  /h/ "the One Who Was," to provide fuel. The
  matrix is a two-dimensional square, oriented
  to the East, the direction specified by /s/.
  This is drawn in orange-red ochre, the colour
  of /s/ and fire, upon a flat surface, using an
  ink made of lamp-black. The oval at the
  bottom of the diagramme indicates "zero": a
  space that cannot be left open lest "power
  spill out." The mage stretches out his arms
  like those of a cross and stands with his feet
  slightly apart. He concentrates on the mental
  image of a flame and cries, /mur-is!/ "burn!" A
  colleague must be ready with kindling or a
  candle, since the sorcerous flame only lasts a
  moment.
  muris
  A
  spell of the Second Octant designed
  to summon a domestic animal is
  shown next. It consists of a pentagon
  
  The Third Octant
  41
  containing /w/ "The One Who Comes to Hand";
  /k/ "The One of Command";  /r/ "The One of
  Life" because of its emphasis on soothing
  green plants and growing things; and the
  numeral 5: "The One of Reaching Out." Since
  the diagramme has five angles ("power
  points," according to one marginal note), a
  fifth glyph is chosen for "balance": /m/ "The
  One of Being," which gives a sense of
  existence, warmth, and sunlight. These
  symbols are drawn in black upon a green
  surface. The invocator then cries /su:l-is!/
  "Come!" and concentrates upon the creature
  summoned. The spell is said to have a range of
  about 100 yards.
  su,lis
  A
  means of telling fortunes is also
  included in the manuscript: "The
  Following of Skeins" as the author
  calls it. The diagramme is named "The Court of
  the Eight Celestial Orbs." This consists of
  eight octagons coloured according to their
  astrological values and marked with the
  glyphs assigned to them in tye First Octant.
  The invocator prepares a set of 24 ivory
  plaques, each inscribed with a glyph from the
  third through fifth Octants. The remaining
  Octants either have little relevance to the
  personal life of a human being, or are "too high
  and too dangerous" to invoke. The glyph /ch/
  "The One of Internality" is extracted and
  placed upon the green glyph for Tékumel. The
  remaining plaques are turned over, and the
  seeker then picks seven of them without
  seeing their glyphs. These are randomly set
  down upon the seven "planets" of the
  diagramme. Each is turned 
  over 
  in
  counterclockwise sequence, starting with the
  blue planet Shíchel (/l/). The invocator then
  reads each combination: e.g. /tl/ "The One of
  Might" in the blue planet's house: "You shall
  dwell in a beautiful and peaceful city"; /ts/
  "The One of Tombs" in the red moon Káshi's
  house: "You will be killed or wounded in battle."
  A marginal gloss refers to a number of tomes
  detailing these readings. The system is
  apparently quite complex: combinations and
  interrelationships between the glyphs, the
  "Planets," and present positions of the
  celestial bodies in the sky (= transits) are all
  combined to provide lengthy "readings."
  S
  pells of the Third Octant concern
  human beings and their relationships.
  The diagrammatic matrix is usually an
  octagon, although simple results may be
  obtained with a hexagon, and complex effects
  with a ten- or twelve-sided matrix. For
  example, to attain the affections or
  compliance of a love-object, one chooses the
  person-symbol for the appropriate sex (i.e. /p/
  "The One of Plumes" or /t/ "The One Who
  Sits"); /:/ "The One of Desire"; /ng/ "The One of
  Revelry" if marriage is  desired; or /j/ "The One
  of Lusts." One may add a place and/or a
  profession from the Fifth Octant: e.g. /tl/ if
  one's beloved lives in a city; /v/ "The One of
  Skills" if he/she owns a shop"; /\/ if the person
  attends a school, etc. From the Sixth Octant
  one may choose the number 2: "The One of
  Flame " to increase passion";  possibly 5: "The
  One of Reaching Out" to summon the target;
  and 7: "The One of Mastery" if an unwilling
  individual must be dominated. The more
  ingenuity one displays in selecting relevant
  glyphs, the more specific and likely the
  outcome. A marginal gloss gives the extremely
  
  The Third Octant
  42
  specific example of a girl who dwells by the sea
  (/l/) and loves pets (/w/)!
  m
  mirisu,
  .
  j
  N
  2
  2
  aleSande
  .
  bexalisaS su,lis
  kade,pu
  T
  he foregoing diagramme is an example
  of such a "love spell." The colours are
  the reds of passion; the centre is
  occupied by two glyphs: a large /ng/ and a /:/;
  the white glyphs in the margins are
  repetitions of those inside, except for two
  (decorative?) periods; and /aleshande/ and
  /mirisu:/ are written at the top and bottom,
  presumably the names of the girl and her
  swain. The incantation /bekhal-is-ash! su:l-is
  ka-de:pu!/ "Love me! Come to me!" is to be
  accompanied by incense (the generic word
  /ne'lekh/ is given) and "soft music, focusing
  upon the eighth note." Whether this was
  successful or not is not recorded in the
  marginal gloss.
  T
  o slay an enemy mage with a bolt of
  freezing cold, one employs the glyphs:
  /p, d, z, tl, dl, \, 3\ and possibly 5. One
  can add further locational glyphs or specify
  one's own defence with the number 6). The
  matrix is again an octagon, but the
  background is a "sorrowful blue," done in
  powdered lapis or an indigo dye. There are also
  other shapes in the background, probably
  denoting protections and wards. The
  invocator must cry /je'-is hekak-de:/ "Perish
  from cold!" and /teng demuk-is!/ "Do not live!"
  d
  p
  z
  C
  V
  ,
  3
  5
  33
  je?is
  hekakde,
  6
  je?is hekakde, teng
  demukis
  M
  ages who are actively moving about
  may have no time to sit down and
  draw spell diagrammes. Substitutes
  can be used for sacrifices and substances,
  but in many cases it is difficult to define a
  specific target: e.g. one expects to face a
  male soldier but instead confronts a woman
  warrior! A dangerous animal turns out to be a
  charging Tsi'íl  (a huge herbivore) instead of
  Zrné  (a large predator)! If one has prepared a
  spell only against the latter, the chance of
  success is diminished. There may also be no
  time for incense, gestures, incantations, and
  the placement of substances. The text
  recommends preparing spells in advance on
  sheets of parchment or vellum and carrying
  them on one's person. To cast them, one need
  only concentrate upon the diagramme and
  pronounce one of the key glyphs of the spell.
  The system appears to be more precise than
  comparable techniques in the Five Empires,
  but it is not as flexible. A real disadvantage,
  too, is the absence of psychic spells, at least
  in this manuscript. It is said that modern
  mages of the Pariah Deities have learned the
  
  The Third Octant
  43
  importance of psychic spells, however, as
  witness the large repertoire rumoured to be
  practised by the renegade, Méngan hiTirrúne.
  T
  o bring forth the Undead, the following
  glyph is used. This is found in Llyáni,
  Dúru'ob, and Engsvanyáli grimoires as
  well, and it is still employed by the Temple of
  Sárku, Master of the Undead. The glyphs and
  the incantation are uniquely Sunúz, however: a
  prolonged ululation by 2 evocators,
  accompanied by drums and gongs, while the
  principal invocator recites /tenggesh je'-e:!
  kherj-e: mræ\s-la:n-de:!/ "Never die (plural)!
  Come forth from the tomb(s)!"  Further words
  and names of helpful demons are added in
  cipher in the margin.
  THE GLYPH OF RAISING THE DEAD
  teNgeS je?e,. xerje,
  mre/sla,nde,.
  T
  he opening of nexus points is effected
  with the "Glyph of the Eight Keys,"
  focusing upon the numeral 8 "The One
  of Keys." Glyphs are added for the type of
  location sought: e.g. /n/ "The One of Stone" for
  mountainous terrain; /r/ "The One of Life" for a
  forest or grassy place; /b/ "The One of the
  Other" if one seeks a comrade; /g/ "The One of
  Memory" to find a person who is lost or dead;
  /:/ "The One of Desire" to seek a beloved; /tl/
  "The One of Might" to travel to a city"; glyph
  A: "The Ones Who Smile," when journeying to a
  Plane occupied by friendly nonhumans, etc. A
  picture, artifact, or mental image of the
  species sought is helpful. Again, the greater
  the precision, the more likelihood of success.
  T
  he incantation is performed by the
  principal invocator, who stands in the
  "House" at the bottom. Two
  subordinates are placed at key points: one in
  the "Eye of the Beast" and the other in the
  "Eye of Seeing" at the top of the diagramme.
  The first recites (hums?) /m/ "The One of
  Being," "in the first note in order to maintain
  juxtaposition to the universe and remain close
  to reality." The second acts as an antiphonal
  response to the invocator's chant. The
  invocator calls out /qumes-e: tsu'un-a! nesay-
  e: ru'us-a! su:l-u:f mejek-pu!/ "Open the Gate!
  Prepare the Road! We (inclusive) come in
  glory!" His subordinate recites the names and
  attributes of the Pariah Deity who will open
  the nexus point. Thuribles of incense and
  "bottles of life fluids" (blood?) are placed at
  specified "power points" in the diagramme. The
  principal invocator must also "perform the
  usual gestures," but these are not further
  described.
  THE GLYPH  OF THE EIGHT KEYS
  qumese, [u?una.
  nesaye, ru?usa.
  su,lu,f mejekpu.
  T
  he manuscript also provides glyphs for
  dispelling the Undead, for the
  revivification of the recently deceased
  persons, and other useful spells. These require
  four or eight evocators.  To dispel the Undead
  
  The Third Octant
  44
  a vat of the oil /'arudh/ is required, into which
  the evocator plunges his hand and scatters
  drops in the direction of the foe. The
  incantation has no apparent meaning:
  /ne'udla:n dzeshqulaynen kurukh na: qa:qu:/. A
  Dúru'ob note in the margin states that this
  incantation "is the gift of the Lord of the
  Thirty-Third Plane." The glyph is said to be a
  more complex form of a mysterious magical
  object (an amulet, talisman, wand?) called
  "The Silver Butterfly," the functions of which
  are not clear. The glyph is shown below:
  THE GLYPH OF DISPELLING THE UNDEAD
  ne?uVa:n
  ]eSqulaynen kurux
  na, qa,qu,
  T
  o revivify a deceased person, one
  employs "The Diagramme of Returning
  in Peace." Glyphs needed include /m/
  "The One of Being"; either /p/ or /t/, depending
  on the sex of the deceased; /q/ "The One of
  Well-being"; /ts/ "The One of Tombs"; the
  number 1 "The One of Renewed Life"; the
  number 6 "The One of the Mighty Shield"; the
  number 8 "The One of Keys"; and glyph D: "The
  Ones of the Desolate Tombs." The incantation
  consists of a hymn: /hyep shu:l-is, sa-dasen-
  de:! teng hlendek je'! ta:kem kherj-is, sa-ni:n-
  de:! pa:l-melkur-e shƒ\n-u:! pa:l-'utsa:n-e
  vemi:sh-u:!/ "Come back, from your grave!
  Death (is) not eternal! Come forth again, from
  your sleep! O slave of our Lord! O servitor of
  our god!" This is sung "with the sixth and
  eighth notes" by four invocators, while eight
  assistants chant (hum?) /m/ and /r/ from
  outside the matrix. They also recite the
  "Names of the Gods" and the "Titles of the
  Lords of Beyond." A male slave is sacrificed if
  the deceased is male, and a female slave if
  female. A golden ewer of sacrificial blood is
  poured over the "House" at the top of the
  diagramme, and drums, cymbals, and bone
  flutes are played. Incense of the type called
  /je'-uruk/ ("Death-?") is burned. Once revivified,
  the person is bathed in sacrificial blood, then
  in pure water, and then in the "oil of the tree"
  (?). Thereafter he or she is warmed, garbed in
  festive vestments with the emblem of the god
  prominent upon them, and fed. When this is
  done, all join in rejoicing. The diagramme is:
  
  The Third Octant
  45
  THE GLYPH OF RETURNING IN PEACE
  hyep Su,lis sadasende,.
  teng Lendek je?.
  ta?kem xerjis sani.nde,.
  pa,lmelkure Sa/nu,.
  pa,l?u[a,ne vemi,Su,.
  S
  till more complex spells require
  choruses of 2, 8, and 16 persons. The
  "One of Opening the greatest Gate"
  uses a matrix of great complexity. It requires
  a choir of 8 principal invocators, 8 antiphonal
  choirs of 4 males and 4 females each, 8
  hierophants and bearers of censers to
  "summon the Null," 8 sacrificial priests and 16
  victims (8 of each sex), 8 groups of 8 male
  ritual dancers, the same numbers of females,
  and 4 Chíma, Mihálli, or Hokún "for perfect
  results!" A note in the margin states that all
  of these can be dispensed with, except the
  principal invocator, one sacrificer, two victims,
  and a chorus of 2 males and 2 females. The
  manuscript gives the words of the incantation
  in cipher "in order to keep fools away": /'ay 'esu
  dla dumende:, nikuande sa:da:ni. 'u:ru neshqu
  niriya:! 'u:ru naruda:ni! 'u: 'enti: 'eusa:mbe:!
  lengba'! lengba'! naruda:ni:!/
  
  The Third Octant
  46
  THE GLYPH OF OPENING THE GREATEST GATE
  ?ay ?esu Va dumende, nikuande sa,da,ni.
  'u,ru neSqu niriya, 'u,ru naruda,ni .
  ?u, '?enti, ?eusa,mbe,.
  leNba?. leNba?. naruda,ni,.
  T
  he spell needed to repel the Pariah
  Deities from one's Plane is similar to
  that just described. The author
  presents a new glyph, one of the Taya:kh, that
  will repel the Pariah Deities. This is to be
  placed in the black oval in the centre of the
  diagramme shown above.
  }
  H
  e then describes a ceremony similar
  to the rites for Glyph M: "The One of
  Ultimate Acquiescence." The ritual is
  complicated, requiring eight invocators, four
  human sacrifices, and a number of special
  substances identified only with ciphers! In view
  of its danger, the author urges the
  participation of all of these personnel. He
  warns against substituting animals for the
  human sacrifices and also against the use of
  "weak, old, or sick persons." Eight sacrifices
  are to be by fire, and eight by the /qü\nü\r/
  "sacrificial dagger." The victims are not to be
  tormented or molested before the ritual, as is
  apparently the case with sacrifices to the
  Shadow Gods, according to the Dúru'ob gloss.
  The incantation consists of words in cipher or
  from some unknown tongue: /'alu'y\t
  senikdeth, ni:miyot, sutheth neka:ndel
  'aqtu'e:dh mi'yæ\nsa/. These are to be recited
  by the chorus, while the principal invocator
  reads passages from the book /tlom je'e:/ "All
  perish!" We must employ this difficult rite if we
  would save our Plane. The author speaks of
  the terror felt by his colleagues, his people, his
  loved ones, and himself, and beseeches his
  
  The Third Octant
  47
  readers to repel the Pariah Deities from
  Tékumel's Plane "so that your world might
  live." "A way exists," he says, "known to the
  greatest hierophants, from whom I have taken
  [stolen?] this spell. It will bar the Dread Lords
  from ingress into your Plane and aid you to
  fend off the Doom of the Void. Join! Unite!
  Work as one, you races and creatures! Else
  are we gone more utterly than a candle that
  gutters out in the wind." When confronted
  with such daunting secrecy and musty
  obscurantism, however, the solution appears
  almost more arduous than the fate the
  Pariah Deities propose for us. Yet, as the
  author says:
  karaslanan ?u[ane jimurcum
  vereGyel.
  k(ar)aslan-an 'utsa:n-e jimur-chum veregh-yel.
  I have learned the hated secrets of the Goddess.
  keksanan du,re,pu weset
  kana,qup.
  k(eks)an-an du:r-e:pu weset ka-na:qup
  I may go to the Dark because of my disclosure.
  teNgu xeneman ?u[a,na tyetmen
  tuk ke,[ulelde,.
  tenggu kh(en)em-an 'utsa:n-a tyet-men tuk ke:-tsulel-de:
  But I shall deprive the goddess of (lit. from) her great victory:
  ke,miheC na,qyelpu
  dusumyelsay.
  ke:-mihetl na:q-yel-pu dusum-yel-say.
  Her entry into the Planes Beyond the Pylons.
  
  PROTECTIVE GLYPHS
  I
  n view of the author's constantly
  repeated warnings of the dangers of
  trespassing into the realms of beings so
  much more powerful than we, it would be
  strange if the manuscript did not include
  glyphs of warding and defence. Many of the
  defensive glyphs given in the manuscript are
  still used today in the temples of the Five
  Empires, and one may question whether this
  section of the manuscript is as old as it
  purports to be. It is possible, of course, that
  these spells are indeed archaic and are so
  efficient that mages have preserved them
  down through the centuries.
  T
  he simplest defensive glyphs require no
  invocation or ceremony but are drawn
  upon the floor, door, etc. of one's
  chamber, always oriented toward the east.
  Others demand incense (of the variety called
  /dzenel/); some call for the invocator to shed
  drops of his own blood upon the diagramme;
  and the highest require censing, incantations,
  and even human sacrifices. Substitutions are
  permitted, and the spells can be inscribed
  upon parchment and carried in phylacteries
  (small boxes or tubes of silver) tied to one's
  upper arms or around one's neck. As the
  author notes, "These need only the sound /k/
  to activate them."
  T
  he 
  most 
  common 
  protective
  diagramme is variously called "The
  Twelve Tangents of the Circle of Dló,"
  "The Variegation of Reality," or "The Sphere of
  Lights." It is found in a Llyáni treatise, in
  Dúru'ob sources, and in Engsvanyáli, from
  whence it is now employed throughout the Five
  Empires. It is as follows:
  THE TWELVE TANGENTS TO
  THE CIRCLE OF DLÓ
  A
  nother common spell of great antiquity
  is that called "The Four Interlocking
  Squares of Djaréva." The invocator
  sits in the very centre and utters /lengba'
  lengba'/ and the names of the deity most likely
  to protect him. Candles set in each of the four
  outer corners of the diagramme, pots of
  incense in the middle of each of the central
  squares, and four antiphonal singers in each
  of the central "aisles" add to the likelihood of
  success. In addition to these persons, two
  individuals can be protected within the outer
  four squares. The spell lasts as long as eight
  hours.
  
  THE EIGHT INTERLOCKING SQUARES OF DJARÉVA
  T
  he spell called the Four Oblongs of
  Surety is probably not as old as those
  just given, but it dates back at least
  to Llyáni times. Its origin is unknown. The
  oblongs are drawn in coloured chalks, although
  powdered green malachite and red cinnabar
  are recommended. The invocator stands in the
  pale green triangle containing /ch/ "The One of
  Internality" in the centre. As many as two
  comrades can be protected in each of the four
  tan squares.
  THE FOUR OBLONGS OF SURETY
  O
  n the margins of one of the last pages
  of the manuscript someone has copied
  the common Glyph of Present Defence.
  This is probably not old, dating perhaps only
  to the age when modern Livyánu was founded,
  but the gloss states that it is efficacious in
  repelling the demon races who serve the
  Pariah Deities. It requires no invocation but
  must be carefully drawn so that no enclosed
  space is left open. It is given below:
  
  The Third Octant
  50
  THE GLYPH OF PRESENT DEFENCE
  S
  everal 
  common 
  modern 
  spell
  diagrammes are omitted from the
  manuscript: e.g. "The Circle of Diodasü
  and the Station of Kelúo," "The Glyph of the
  Demons of the Dark," "The Sign of the Triangle
  of Being Repelled Forever," "The Ovals of the
  Fourth World," "The Chart of Auspicious
  Voyaging," etc. These are available in the
  temples and acadamies of the Five Empires.
  T
  he last glyph provided in the
  manuscript -- in light of the warnings
  given passim  -- is that needed to
  protect oneself against the Pariah Deities.
  This diagramme, named "The One of Safe
  Journeying," is drawn at dawn in powdered
  gemstones and gold dust. It is oriented
  toward the east. A censer of the incense
  called /khe:nuk/ is set at each corner, and
  torches made of the wax of the /jumul/-berry
  tree are lit in front of the chief invocator in
  the circle at the lower left. The invocator sings
  the following words "in the third note": /da:th-
  e: da:th-e:, tyet-chum melkur-yel-u:! teng
  myupel-a:ch-e:dh-upi:l! k(it)an-re:s-upi:l pa:l-
  ru'us-si:! hlendek-e nü\m-u:f-resa:l!/ "Depart!
  Depart! O great Lords! Do not harm us! Let us
  go upon our way! Eternally do we serve you!"
  THE GLYPH OF SAFE JOURNEYING
  
  The Third Octant
  51
  da<e,. da,<e:. tyetcum melkuryelu,. teng
  myupela,ce,>upi,l. kitanre,supi,l
  pa,lru?ussi,. Lendeke nu/mu,fresa,l.
  With this, the manuscript breaks off. The book
  probably lacks only a leaf or two, judging by
  the remains of the binding and sewing. The
  author's message is complete, except,
  perhaps, for a final plea for action against the
  incursions of the Pariah Deities. One could
  also have expected an apology or at least a
  rationalisation of his treachery against his
  masters. It is now left to us to believe and
  act, or disbelieve and risk the terrifying Doom
  of the Null.
  turem reCananut
  NOW I HAVE ENDED IT
  W}W
  
  The Third Octant
  52
  PART THREE
  A
  LOSSARIES
  SUNÚZ-ENGLISH VOCABULARY
  'ade:
  in order to, in order that  Conj
  'a:r-
  his/her  NP
  'a:s-
  their (masc. or fem.)  NP
  'a:sh
  like (verb)
  'alqar
  planet: Zirúna (fifth from
  the sun)
  'arudh
  oil (type)
  'asa:sh
  tomorrow
  'aw
  and  Conj
  'echesh
  stop ...ing
  'e:n
  I  Pron
  'eng
  seven  Num
  'enu
  or  Conj
  'epep
  any  (Num)
  'uku:n
  while  Conj
  'uma:'
  four  Num
  'unlan
  idea, concept
  'uru:n
  hail! (to a deity, etc.)  Interj
  'utsa:n
  deity (one of the Pariah Gods)
  -a
  accusative: object of a verb  Post
  -a:ch
  Other-Planar suffix  VS
  -akh-
  far past infix  VI
  -al-
  past tense infix  VI
  -am-
  mythic action infix VI. See also 
  the section on verbal tenses
  -ar-
  near past tense infix  VI
  -a:s
  they (masc. or fem.)  VSS
  -a:th
  they (inanimate)  VSS
  -af
  he/she  VSS
  -an
  I  VSS
  -ap
  him/her  VOS
  -asa:l
  them (masc. or fem.)  VOS
  -ash
  me  VOS
  -atha:l
  them (inanimate)  VOS
  -atl
  group formant for numbers: e.g. 
  /thu:m-atl/ "Octant"  NS
  -aydh
  benefactive: action performed for
  someone else  VS
  -ba
  body part  Cl
  -ba:dh
  after  Post
  -byen
  amorphous object: mud, meat  Cl
  -che:
  large bulky object  Cl
  -chen
  living object  Cl
  -chu
  for, for the sake of  Post
  -chum
  Other-Planar object  Cl
  -de:
  from, away from  Post
  -dle:
  plant object  Cl
  -e
  possessive: -'s  Post
  -e:/-de:/-e:dh/
  plural imperative suffix VSS
  -e:f
  we (exclusive)  VSS
  -eks-
  dubious, conditional infix  VI
  -en-
  future infix  VI
  -e:pu/de:pu
  toward, to  Post
  -epa:l
  us (exclusive)  VOS
  -e:v
  reflexive: action upon oneself  VS
  -eve:v
  reciprocal: action  VS
  -fa
  building object  Cl
  -hem
  without  Cl; also Conj
  -he:th
  aquatic object  Cl
  -i:m
  passive formant  VS
  -i:sh
  you (singular)  VOS
  -is
  you (singular)  VSS
  -it-
  hortative infix  VI
  -jeth
  against, contrary to  Post
  -ke'ep
  time period  Cl
  -kath
  distributive, here and there  NS
  -kesh
  long object  Cl
  -khi:l
  bunch of objects  Cl
  -khur
  handful of objects  Cl
  -kun
  participial formant  VS
  
  The Third Octant
  53
  -la
  body part objects that come in 
  pairs  Cl
  -la:n
  place of the verbal action  VS
  -le
  we (dual) (rare)
  -li:s
  aerial object  Cl
  -lu
  money object  Cl
  -ma:m
  until, up to  Post
  -men
  abstract object  Cl
  -na:s
  human object  Cl
  -nakh
  like, resembling  Post
  -pa:
  flat object Cl
  -pu
  in, inside  Post
  -qu
  weapon object  Cl
  -re:s/-e:
  you (plural)  VSS
  -resa:l
  you (plural)  VOS
  -rul
  hollow object: room, cavern, 
  tomb, hole, skull  Cl
  -sath
  with, accompanying  Post
  -say
  beyond  Post
  -she:
  person who performs a verbal
  action"  VS
  -sha:m
  cloth object  Cl
  -si:
  on (locative)  Post
  -sur
  round object Cl
  -taf
  unknown object  Cl
  -tan
  with (instrumental), by  Post
  -tehl
  instrument used to perform the
  verbal action  VS
  -ter
  person who performs the verbal
  action  VS
  -thu
  body part objects that come in 
  eights (?)  Cl
  -ti:
  to (dative)  Post
  -u:/-dhu:
  O! (vocative)  Post
  -u:f
  we (inclusive)  VSS
  -u:n
  they (Other-Planar)  VSS
  -uk
  it (Other-Planar)  VOS
  -ukh
  it (Other-Planar)  VSS
  -una:l
  them (Other-Planar)  VOS
  -u:p
  causative, transitiviser  VS
  -upi:l
  us (inclusive)  VOS
  -us-
  contrary to fact infix  VI
  -ut
  it (inanimate)  VOS
  -uth
  it (inanimate)  VSS
  -va:
  liquid object  Cl
  -yel
  plural objects  Cl NS (Num)
  bekhal
  love (sexually)
  bekkut
  lie down
  beleq
  leave, depart, go away from
  besht
  coin, money
  betek
  a few  (Num)
  bulun
  have to, be compelled to
  cha:ch
  this, these  (Other-Planar)   D
  chalay
  how? which way?  Adv
  cha:n
  this, these  D
  chanay
  this way, thus  Adv
  cha:sh
  meat (raw or cooked)
  chekem
  where?  Adv
  chema:r
  how many? how much?  (Num)
  chemek
  attack
  chenem
  when?  Adv
  chewa:r
  this many, much (Num)
  chi-
  ordinal number formant  NP
  chin
  live, life
  chirit
  speak, utter
  chiyun
  why?  Adv
  chughum
  eat
  chumen
  which (of several)? Adv
  chuk
  find
  chul
  who?
  chupek
  tally, count
  chura:n
  planet: Tékumel (third from
  the sun)
  churekh
  rain
  chusutl
  priest (of one of the Pariah 
  Deities); see also 
  /ra:chek/)
  chiyun
  why?  Adv
  da'ap
  bread
  da:th
  go away, depart
  dasen
  grave
  dawm
  lie, falsehood
  demuk
  be, exist
  desep
  hit (with a fist)
  dhay
  woe!  Interj
  dhe
  if  Conj
  dhu:pek
  old (aged)
  dika:r
  as many as  (Num)
  du:r
  dark
  dulum
  yesterday
  dusum 
  Other Planar Pylon
  dye:n
  bed
  dzekh
  hit, strike (missile)
  dzenel
  incense (type)
  dzun
  planet: Ülétl (first from
  the sun)
  dzunggur
  quality, attribute
  dzü\mir
  fortress, castle
  fathay
  sing (a hymn, chant)
  fumul
  stop (someone from ...ing)
  garak
  intend
  gesh
  run away, flee
  ghupes
  arise, get up
  gulum
  tired, fatigued
  haggath
  work, task, job
  hekak
  cold
  hekay
  day
  helek
  change into, become,
  transform into
  hem
  see -hem
  heret
  six  Num
  hikkech
  help
  hi:zh
  climb, ascend, go up
  hlendek
  eternal, eternity
  hlu:r
  send
  hupep
  sit
  
  The Third Octant
  54
  hurul
  do, make
  hyep
  back (returning)  Adv
  ja:'ut
  spell diagramme, matrix
  je'
  die, perish
  je'-uruk
  incense (type)
  je:lun
  armour
  jekur
  visit
  jemetl
  headman of a village
  jethen
  slow
  jimur
  hate
  jumul
  berry: species from which
  wax candles are made
  ka-
  my  NP
  kan
  go
  karslan
  learn
  kawp
  skull
  ke:-
  its (Other-Planar)  NP
  kek
  invoke, recite an incantation
  kem
  it (Other-Planar) Pron
  kenet
  then, therefore  Conj
  ketep
  house
  khech
  pick up, raise
  khe:l
  outside, out
  khem
  deprive, take away
  khe:nuk
  incense (type)
  kherj
  emerge, come forth
  khet
  name
  kra:n
  hour (64 minutes)
  kseth
  very  Adv
  kul
  one  Num
  kurel
  book
  kussul
  lose, suffer a loss
  kwes
  kill
  la:p
  two  Num
  lengba'
  homage! praise!  Interj
  leq
  each, every  Num
  mala:sh
  easy
  maræ\sh
  planet: Riruchél (second
  from the sun)
  margha:n
  fight
  me'e:sh
  speed, quick(-ly, -ness)
  mejek
  glory, splendour
  melkur
  Master, Lord (one of the
  Pariah Deities)
  merit
  even  Adv
  mich
  little, small (in size)
  mihetl
  enter
  mis
  be able to, can
  mÏ\s
  walk
  mra:n
  fire
  mræ\s
  rot
  mræ\s-la:n
  cemetery, mausoleum, ossuary
  mrü\n
  old, ancient
  muga:r
  black
  mu:kh
  knife
  mukid
  be, dwell, live, stay
  mur
  burn
  murjun
  monster, huge beast
  mü\ng
  dance
  myalat
  sing
  myekh
  some  (Num)
  myelel
  planet: Shíchel (fourth from
  the sun)
  na:q
  Plane
  na:qu:p
  disclose, reveal
  ne'lekh
  incense
  nekwa:n
  treasure
  nelek
  give
  neles
  moon (smaller: Káshi)
  ne:m
  really, quite  Adv
  nep
  little (in quantity)  (Num)
  nesay
  prepare, make ready
  neyit
  beautiful
  ngali:n
  boy (over 8 years of age)
  ni:n
  sleep
  nik
  good
  nikw
  they (Other-Planar)  Pron
  nte'
  ? (introduces a question)  Interj
  nu:-
  their (Other-Planar)  NP
  nu:s
  today
  nu'ut
  although  Conj
  nuhesh
  command, order
  numuy
  drink
  nyel
  above, over
  pa:l
  we (inclusive)   Pron
  pa:l-
  our (inclusive)  NP
  pa:p
  we (exclusive)  Pron
  pa:r
  he/she  Pron
  pe
  and (connects clauses)  Conj
  pe'en
  that (clause connector)  Conj
  pef-
  our (exclusive)  NP
  peli:r
  spell, incantation
  peq
  be about to
  peras
  mighty, splendid
  pezh
  somewhat  Enclitic
  pi:kir
  quite, somewhat  Adv
  pÏ\r
  know how to
  pu'a:r
  far
  pur
  inside, interior
  qalü\s
  moon (larger: Gayél)
  qepeq
  strong, powerful
  qumes
  open
  qü\nü\r
  dagger (sacrificial)
  ra:chek
  priest (of a deity other than a 
  Pariah Deity)
  ra:sh
  beneath, below
  renek
  want
  retlan
  end, terminate
  ru'us
  road, way
  sa-
  your (singular)  NP
  saga'
  cup (Dúru'ob /shagá/)
  sakal
  fall (down)
  senef
  sell
  se:p
  you (singular)  Pron
  se:r-
  your (plural)  NP
  shala:kh
  mage, wizard
  
  The Third Octant
  55
  shekil
  rise, get up
  shelu:k
  stone, rock
  shy\n
  slave
  shul
  three  Num
  si:mudh
  woman
  sish
  let, allow, permit
  sitay
  verily, truly!  Interj
  sÏ\r
  sword
  slal
  light, illumination
  sre:p
  you (plural)  Pron
  su'e:r
  pen (writing instrument)
  su'un
  night
  su:l
  come
  su:s
  they (masc. or fem.)  Pron
  sut
  when  Conj
  svet
  home
  sye (or /sye'/)
  yes  Interj
  ta:
  their (inanimate)  NP
  ta:kem
  again, another time  Adv
  taya:kh
  glyph: special magical symbol
  ta:s
  also, too  Adv
  te'et
  they (inanimate)  Pron
  tek
  it (inanimate)  Pron
  tekkur
  city
  teng
  not, no Adv
  tenga:r
  none  Num
  tenggesh
  never  Adv
  tenggu
  but (connects clauses)  Conj
  tengguk
  but (contrastive: not X but Y)
  Interj  Conj
  tenketme
  not so!  Interj
  tenmis
  be unable to
  tetem
  here   Adv
  tha:k
  see
  thakel
  eye
  thu:m
  eight  Num
  thulthu:m
  unit of 8 x 8 x 8 = 512  Num
  thusu:m
  unit of 8 x 8 = 64  Num
  tichutl
  arrow
  tigu:n
  god (not one of the Pariah 
  Deities)
  tla:k
  food
  tla:p
  smash, crush
  tlom
  all  (Num)
  tlusur
  soldier
  tmur
  buy
  tsulel
  victory, be victorious
  tsu'un
  door, gate
  tuk
  emphatic  Enclitic
  tun
  lo!  Interj
  turem
  now
  tuss
  bad, evil
  tusup
  rise (sun)
  tü\l
  sun
  tye:-
  its (inanimate)  NP
  tyet
  big, large
  tyul
  what?  Adv
  va:ch
  that, those (Other-Planar)  D
  va:las
  hot
  va:n
  that  D
  vanay
  that way, thus  Adv
  vawa:r
  that many, much  Num
  vereg
  secret
  vetem
  there  Adv
  vemi:sh
  servant
  vezur
  world
  vi:sh
  serve (food)
  vrenum
  behold!  see!  Interj
  vurem
  then, at that time  Adv
  wa'a:n
  man, male
  wayl
  five  Num
  weset
  because  Conj
  wetlap
  ask, urge, request
  wumesh
  will, resolve
  yay
  since  Conj
  yel
  many  Num
  yut
  tell
  zettes
  begin to, start ...ing
  zhæ\th
  land (agricultural)
  Q
  ENGLISH-SUNÚZ VOCABULARY
  able to, be, can
  mis
  about to, be
  peq
  above, over
  nyel
  abstract object
  -men  Cl
  accusative, object
  -a  Post
  aerial object
  -li:s  Cl
  after
  -ba:dh  Post
  again, another time
  ta:kem
  against, contrary to
  -jeth  Post
  all
  tlom (Num)
  allow, let, permit
  sish
  alone
  kul-e  Adv
  also, too
  ta:s  Adv
  although
  nu'ut  Conj
  amorphous object:  mud, meat
  -byen  Cl
  ancient, old
  mrü\n
  and (connects clauses and
  
  The Third Octant
  56
  sentences)
  pe  Conj
  and (connects items in a
  clause)
  'aw  Conj
  any
  'epep  Num
  aquatic object
  -he:th  Cl
  arise, get up
  ghupes
  arise, get up (from bed)
  shekil
  armour
  je:lun
  arrow
  tichutl
  as many as
  dika:r  Num
  ascend, climb, go up
  hi:zh
  ask (request)
  wetlap
  attack
  chemek
  attribute, quality
  dzunggur
  away from
  -de:  Post
  back (returning)
  hyep  Adv
  bad, evil
  tuss
  be, exist
  demuk
  be, live, dwell
  mukid
  beautiful
  neyit
  because
  weset  Conj
  become, change into, trans-
  form into
  helek
  bed
  dye:n
  begin, start ...ing
  zettes
  behold! see!
  vrenum  Interj
  below, beneath
  ra:sh
  benefactive: act for someone
  -aydh  VS
  beyond
  -say
  big
  tyet
  black
  muga:r
  body part object
  -ba  Cl
  body part objects that come
  in eights (?)
  -thu  Cl
  body part objects that come
  in pairs
  -la  Cl
  book
  kurel
  boy
  ngali:n
  bread
  da'ap
  building-object
  -
  fa  Cl
  bulky object
  -che:  Cl
  bunch of objects
  -khi:l  Cl
  burn
  mur
  but (connects clauses and
  sentences
  tenggu  Conj
  but (contrastive: not X but Y)
  tengguk  Conj
  buy
  tmur
  can, be able to
  mis
  castle, fortress
  dzü\mir
  causative
  -u:p  VS
  cemetery
  mræ\s-la:n
  change into, become,
  transform into
  helek
  city
  tekkur
  climb (ascend, go up)
  hi:zh
  climb (descend. go down)
  py\yel
  cloth object
  -sha:m  CV
  coin
  besht
  cold
  hekak
  come
  su:l
  come forth, emerge
  kherj
  command, order
  nuhesh
  compelled to, have to
  bulun
  conditional infix
  -eks-
  contrary to fact infix
  -us- VI
  count, tally
  chupek
  crush, smash
  tla:p
  cup (of pottery)
  saga'
  (Dúru'ob /shagá/)
  dagger (sacrificial)
  qü\nü\r
  dance
  mü\ng
  dance-platform
  mü\ng-la:n
  dark
  du:r
  day
  hekay
  depart, leave
  beleq
  depart, go away
  da:th
  deprive, take away
  khem
  descend, go down
  py\yel
  diagramme, spell matrix
  ja:'ut
  die, perish
  je'
  dining hall
  chughum-la:n
  disclose, reveal
  na:qu:p
  distributive: here and
  there
  -kath  NS
  do, make
  hurul
  door, gate
  tsu'un
  drink
  numuy
  dubious (conditional) tense
  infix
  -eks-
  VI
  durative verbal action
  reduplicated first 
  CV
  dwell (live, be)
  mukid
  easy
  mala:sh
  eat
  chughum
  each
  leq  Num
  each other (reciprocal)
  -eve:v  VS
  eight
  thu:m  Num
  emerge, come forth
  kherj
  emphatic
  tuk  Enclitic
  end, terminate
  retlan
  energetic, violent, hard
  layl
  enter
  mihetl
  eternal, eternity
  hlendek
  even
  merit  Adv
  every
  leq  Num
  evil
  tuss
  exist, be
  demuk
  eye
  thakel
  fall
  sakal
  far
  pu'a:th
  far past tense infix
  -ar-  VI
  few, a few
  betek  Num
  few (too few)
  mekhi:n  Num
  fight
  margha:n
  
  The Third Octant
  57
  find
  chuk
  fire
  mra:n
  five
  wayl  Num
  flat object
  -pa:  Cl
  flee, run away
  gesh
  food
  tla:k
  for
  -chu  Post
  fortress
  dzü\mir
  four
  'uma:'  Num
  from
  -de:  Post
  future tense infix
  -en-  VI
  gate, door
  tsu'un
  get up, arise
  ghupes
  get up, arise (from bed)
  shekil
  give
  nelek
  glory, splendour
  mejek
  glyph: special magical
  symbol
  taya:kh
  go
  kan
  go away, depart
  da:th
  go down, descend
  py\yel
  go out, emerge
  kherj
  go up, ascend
  hi:zh
  god (one of the Pariah
  Deities)
  'utsa:n
  god (not one of the Pariah
  Deities)
  tigu:n
  good
  nik
  grave
  dasen
  group formant for numbers:
  e.g. /thu:m-atl/ "Octant"
  -atl
  hail! (to a deity)
  'uru:n  Interj
  handful of objects
  -khur  Cl
  hate
  jimur
  have, own, possess
  luyar
  have to, be compelled to
  bulun
  he, him, his
  see pron. chart
  headman of a village
  jemetl
  help
  hikkech
  here
  tetem
  hit (with a fist)
  desep
  hit, strike  (missile)
  dzekh
  hollow object: room, cavern,
  tomb, hole, skull
  -rul  Cl
  homage! praise! (to a deity)
  lengba'  Interj
  home
  svet
  hortative infix
  -it-  VI
  hot
  va:las
  hour (64 minutes)
  kra:n
  house
  ketep
  how?
  chalay
  how many? how much?
  chema:r  Num
  human object
  na:s  Cl
  I, me, my
  see pron. chart
  idea
  'unlan
  if
  dhe  Conj
  illumination, light
  slal
  in
  -pu  Post
  in order to, in order that
  'ade:  Conj
  incantation, spell
  peli:r
  incantation, recite
  kek
  incense (generic term)
  ne'lekh
  incense (type)
  dzenel
  incense (type)
  je'-uruk
  incense (type)
  khe:nuk
  inside, interior
  pur
  intend
  garak
  interrogative: ?
  nte'  Interj
  instrumental stem
  -tehl  VS
  invoke
  kek
  it (inanimate), , it, its
  see pron. chart
  it (Other-Plan.), it, its
  see pron. chart
  job, work, task
  haggath
  kill
  kwes
  knife
  mu:kh
  know how to
  pÏ\r
  large bulky  object
  -che:  Cl
  large
  tyet
  leave, depart
  beleq
  land (agricultural)
  zhæ\th
  learn
  karslan
  let, allow, permit
  sish
  lie down
  bekkut
  lie, falsehood
  dawm
  light, illumination
  slal
  like (verb)
  'a:sh
  like, resembling
  -nakh  Post
  liquid object
  -va:  Cl
  little (in quantity)
  nep  (Num)
  little, small (in size)
  mich
  live (dwell)
  mukid
  live, life
  chin
  living object
  -chen  Cl
  lo!
  tun  Interj
  long object
  -kesh  Cl
  lord, master (secular)
  nare:n
  lose
  kussul
  love (sexually)
  bekhal
  mage, wizard
  shala:kh
  make, do
  hurul
  man, male   
  wa'a:n
  many
  yel  Cl NS (Num)
  Master, Lord (religious:): one
  of the Pariah Deities
  melkur
  master, lord (secular)
  nare:n
  meat (raw or cooked)
  cha:sh
  mausoleum
  mræ\s-la:n
  mighty
  peras
  money
  besht
  money object
  -lu  Cl
  monster
  murjun
  moon (larger: Gayél)
  qalü\s
  moon (smaller: Káshi)
  neles
  mythological action infix
  -am-  VI
  
  The Third Octant
  58
  name
  khet
  near past tense infix
  -ar-  VI
  never
  tenggesh  Adv
  night
  su'un
  none
  tenga:r  Num
  not, no
  teng  Adv
  not so!
  tengketme  Interj
  now
  turem
  number: 8 x 8
  thusu:m  Num
  number: 8 x 8 x 8
  thulthu:m  Num
  Octant
  thu:m-atl
  oil (type)
  'arudh
  old (ancient)
  mrü\n
  old (aged)
  dhu:pek
  O! (vocative)
  -u:  Post
  on (locative)
  -si:  Post
  once
  kul-e Adv
  one
  kul  Num
  open
  qumes
  or
  'enu  Conj
  order, command
  nuhesh
  ordinal number formant
  chi-  NP
  ossuary
  mræ\s-la:n
  Other-Planar object
  -chum  Cl
  Other-Planar suffix
  -a:ch VS
  outside, out
  khe:l
  over, above
  nyel
  own, have, possess
  luyar
  participial actor formant
  -she: VS
  participial adjective formant
  -kun  VS
  passive
  -im/  VS
  past tense infix
  -al-  VI; cf. -akh- 
  and -ar-
  pen (writing instrument)
  su'e:r (or /sre:v-
  tehl/)
  perish, die
  je'
  permit, let, allow
  sish
  person who performs a
  verbal action
  -she: VS
  person who performs a
  verbal action as a
  profession
  -ter  VS
  pick up
  khech
  place where an action is per-
  performed
  -la:n  VS
  Plane (one of the Planes
  Beyond)
  na:q
  planet: Ülétl (first from
   
  the sun)
  dzun
  planet: Riruchél (second
  from the sun)
  maræ\sh
  planet: Tékumel (third
  from the sun)
  chura:n
  planet: Shíchel (fourth from
  the sun
  myelel
  planet: Zirúna (fifth from
  the sun)
   
  'alqar
  plant object
  -dle:  Cl
  plural imperative suffix
  -e:/-de:/-e:dh  
  VSS
  plural suffix
  -yel Cl NS (Num)
  possess, have, own
  luyar
  possessive: -'s
  -e  Post
  powerful, strong
  qepeq
  praise! (to a deity)
  lengba'  Interj
  prepare, make ready
  nesay
  priest (of one of the Pariah
  Deities)
  chusutl
  priest (of a deity other than a
  Pariah Deity)
  ra:chek
  Pylon (one of the great pylons
  at the end of Other-Planar
  space)
  dusum
  quality, attribute
  dzunggur
  question marker
  nte'  Interj
  quick(-ly)
  me'e:sh-e  Adv
  quite, somewhat
  piki:r  Adv
  rain
  churekh
  raise, pick up
  khech
  ready, prepare
  nesay
  really
  ne:m  Adv
  reciprocal action
  -eve:v  VS
  reflexive action
  -e:v  VS
  request, urge
  wetlap
  reveal, disclose
  na:qu:p
  rise (sun)
  tusup
  road, way
  ru'us
  rock, stone
  shelu:k
  rot
  mræ\s
  round object
  -sur  Cl
  run away, flee
  gesh
  scribe
  sre:v-ter
  scriptorium (writing-place)
  sre:v-la:n
  secret
  vereg
  sit
  hupep
  see  
  tha:k
  see! behold!
  vrenum  Interj
  sell
  senef
  send
  hlu:r
  servant
  vemi:sh
  serve (food)
  vi:sh
  seven
  'eng  Num
  she, her, her
  see pron. chart
  since
  yay  Conj
  sing (a hymn, invocation)
  fathay
  sing (a secular melody)
  myalat
  six
  heret  Num
  skull
  kawp
  slave
  shy\n
  sleep
  ni:n
  slow
  jethen
  smash, crush
  tla:p
  small, little (in size)
  mich
  soldier
  tlusur
  some
  myekh  Num
  
  The Third Octant
  59
  somewhat
  pezh  Enclitic
  speak, utter
  chirit
  speed
  me'e:sh
  spell diagramme
  ja:'ut
  spell, incantation
  peli:r
  splendour, glory
  mejek
  start ...ing
  zettes
  stay (be, live, dwell)
  mukid
  stone, rock
  shelu:k
  stop (someone from ...ing)
  fumul
  stop ...ing
  'echesh
  strike, hit (missile)
  dzekh
  strong, powerful
  qepeq
  sun
  tü\l
  sword
  sÏ\r
  take away, deprive
  khem
  tally, count
  chupek
  task, work, job
  haggath
  tell
  yut
  temple
  dhel-la:n
  terminate, end
  retlan
  that (connects a subordinate
  clause)
  pe'en  Conj
  that, those
  va:n  D
  that, those (Other-
  Planar)
  va:ch  D
  that many, much
  vawa:r  Num
  that way, thus
  vanay  Adv
  then, at that time
  vurem
  then, therefore
  kenet  Conj
  there
  vetem
  therefore
  kenet
  they (inanimate),
  them, their
  see pron. chart
  they (masc. or fem.),
  them, their
  see pron. chart
  they (Other-Planar),
  them, their
  see pron. chart
  this, these   
  cha:n  D
  this, these (Other-
  Planar)
  cha:ch  D
  this many, much
  chewa:r  Num
  this way, thus
  chanay  Adv
  thought, idea
  'unlan
  three
  shul  Num
  thus
  chanay, vanay  
  Adv
  time period
  -ke'ep  Cl
  tired, fatigued
  gulum
  to (dative)
  -ti:  Post
  today
  nu:s
  tomb
  mræ\s-la:n
  tomorrow
  'asa:sh
  too, also
  ta:s  Adv
  toward, to
  -e:pu/de:pu  Post
  treasure
  nekwa:n
  treasurer ("counter")
  chupek-ter
  treasury ("counting-place")
  chupek-la:n
  truly
  sitay  Interj
  try to
  duq
  twice
  la:p-e  Adv
  two
  la:p  Num
  unable, be
  tenmis
  under
  ra:sh
  unknown object
  taf  Cl
  until, up to
  -ma:m  Post
  urge
  wetlap
  verily
  sitay  Interj
  very
  kseth  Adv
  victory, be victorious
  tsulel
  violent, energetic, hard
  layl
  visit
  jekur
  vocative: O!
  -u:/-dhu:  Post
  walk
  mÏ\s
  want
  renek
  way, road
  ru'us
  wax (from a sp. of tree)
  jumul
  we (dual) (rare)
  -le VSS
  we (exclusive), us, our
  see pron. chart
  we (inclusive), us, our
  see pron. chart
  weapon object
  -qu  Cl
  well (in a good way)
  nik-e  Adv
  what?
  tyul  Adv
  when
  sut  Conj
  when?
  chenem  Adv
  where?
  chekem  Adv
  which(of several)?
  chumen Adv
  which way? how?
  chalay  Adv
  while
  'uku:n  Conj
  who?
  chul  Adv
  why?
  chiyun  Adv
  will (resolve)
  wumesh
  with (instrumental), by
  -tan Post
  with, accompanying
  -sath  Post
  without
  -hem  Post Conj
  wizard, mage
  shala:kh
  woe!
  dhay  Interj
  woman
  si:mudh
  work, task, job
  haggath
  world
  vezur
  worship
  dhel
  write
  sre:v
  yes
  sye (or /sye'/)  
  Interj
  yesterday
  dulum
  you (pl., you, your
  see pron. chart
  you (sg.), you, your
  see pron. chart
  
SOURCE: textdata/thevault/Empire of the Petal Throne/Tékumel Supplemental/Tékumel Netbook #6 Grammar of Sunúz.pdf