Lesson 22
reremoi seltadni

Labelled sumti
seltcita sumti


22.1
Numbered sumti
namcu sumti

Place structures are normally defined so that the order of places
reflects the normal priority in filling in values.  In "klama", we
care most frequently to know the one(s) doing the going, then the
destination, then the origin, then the route, and finally the mode of
transportation.  (Actually, no formal study of place structure
frequencies has ever taken place - the place orders are a hypothesis
of those frequencies.)

These priorities are not always correct.  At times, it is more
important to know where someone is coming from than where they are
going to.  Moreover, at times, the destination may be obvious, such
that we don't want to waste time identifying it, just as in most
sentences based on "klama", we don't identify the mode of
transportation.  This doesn't mean that there isn't a destination, or
a mode of transportation; these are merely unimportant to the speaker.

The speaker can reorder the place structure using conversion with
selma'o SE.  Using "setese klaa", we can make the place order:
{go-er, origin, destination, route, mode}.  We have effectively
reversed x2 and x3 without really changing the relationship expressed
by the bridi.  Working out the resulting place structure of multiple
conversions is inefficient and can be prone to error.  Alternatively,
we can use "zo'e" to leave the destination blank.

For example, in the Lesson 5 story, we several times inserted a "zo'e"
in the x2 place of "spuda" because we were trying to present a
conversation.  The actual replies were the matter of interest; the
response was obviously to the previous utterance.  "zo'e" says that
the omitted place is omitted, but to some extent calls attention to
the place by filling it in.  We don't on the other hand, require
"zo'e" to fill in trailing places that are being omitted.

Lojban allows us to skip these extraneous places by extending the
sumti tcita principle that was described in Lesson 4.  Five cmavo have
been assigned as sumti tcita which do nothing more than identify which
place number in the normal place structure of the selbri the labelled
sumti fills:

	fa	x1 sumti label	(pa)
	fe	x2 sumti label	(re)
	fi	x3 sumti label	(ci)
	fo	x4 sumti label	(vo)
	fu	x5 sumti label	(mu)

If a selbri occurs with more than five defined places, we can use
subscripts to access the places after the 5th (fu): "faxixa",
"faxize", etc.

Now we can skip the x2 sumti merely by leaving it out and attaching
the "fi" tcita onto the x3 sumti which follows.  If we want to skip
two, or even three places, it takes no extra syllables:

"la rik. klama fu leri karce"
"Rick goes using his car."

This can be very useful in asking and answering questions.  The question:

"la djein. klama le skina fu ma"
"Jane goes to the movie via what mode of transport?"
"How is Jane getting to the movie?"

"go'i fu lera karce"
"Using her car."

Unlike the English, the Lojban is a complete 'grammatical' sentence.
The only ambiguity is in "ra", and it is minimal; plausibility
dictates that the car is not possessed or pertaining to "le skina",
the only other choice given.  (We could have said "le karce po la
djein." or "le la djein. karce" if there was doubt as to whether the
"ra" would be plausibly understood.

Venturing into areas where English rarely can follow, we can scramble
the order of sumti places at will:

"fe le skina fu le karce fa la djein. klama"
"To the movie, using the car, Jane goes."

In English, these structures are found only in poetry.

Note that you need not label every sumti with a tcita just because one
is so labelled.  In our first example above, we did not need to label
"la rik." with "fa", since x1, the default interpretation of the
sumti, is the correct interpretation.

After a sumti has been labelled, the following sumti are presumed to
continue in order from the labelled number.  If there are any place
structure sumti values remaining unspecified when we run out of place
structure, the relationship is unspecified.  We do not cycle around
and start over at x1 (or some other omitted place) without an explicit
marking with "fa" (or the marker for the omitted place).  As with
other sumti with unspecified relationships, the translation is
uncertain, and usually expressed as a non-descript "of":

"fe le skina le zdani le dargu le karce la djein. klama"
"fe le skina [fi] le zdani [fo] le dargu [fu] le karce [?] la djein. klama"
"To the movie, from the house, via the road, using the car, of Jane,
someone goes."

"fe le skina le zdani le dargu le karce fa la djein. klama"
"fe le skina [fi] le zdani [fo] le dargu [fu] le karce fa la djein. klama"
"To the movie, from the house, via the road, using the car, Jane goes."

If we explicitly mark that we are going back to an earlier place, then
any following places that are marked count from the last marked sumti,
skipping any sumti that have already been expressed.  Thus, in the
following, we skip x2 and x5 after "fa la djein.":

"fe le skina fu le karce fa la djein. le zdani le dargu klama"
"fe le skina fu le karce fa la djein. [fi] le zdani [fo] le dargu klama"
"To the movie, using the car, Jane, from the house, via the road, goes."

After assigning x1 to the "la djein.", the following sumti cannot be
x2, since it has already been filled with the tagged sumti "fe le
skina"; it must therefore be x3; the following sumti ("le dargu") must
then be x4.

(It is usually a good idea for the speaker to explicitly mark each
place when he/she scrambles them this drastically; we are merely
presenting a convention that allows interpretation when the speaker is
inconsiderate.)

One way rearrangement might be used is to create an observative with
no 'subject'.  This is merely an observation that the relationship
holds, without attaching particular importance to the x1 sumti:

"klama fa la rik. le skina"
"A go-er (Rick) to the movie!"

Without the "fa" tcita in this example, we would presume upon seeing
the observative that the x1 place had been left unspecified.  'Rick'
would then be treated as the destination, and 'the movie' as the
origin of some unspecified go-er:

"klama la rik. le skina"
"A go-er to Rick from the movie!"

The former, incidentally, provides for VSO (Verb, Subject, Object)
sentence order, not otherwise possible in Lojban.  VSO and VOS orders
(which can also be expressed using the numerical, or 'generic' sumti
tcita - "namcu sumti tcita") are both found as bases for some
languages in the world.  Native speakers from those languages who
learn Lojban would be much more likely to use these types of
re-ordering than English speakers.

What happens if we use the same marker twice on two different sumti?
One convention is to assume that this is in effect making two
independent claims at once:

"[fa] la rik. fa la djein. klama"

is the same as:

"[fa] la rik. klama  .i [fa] la djein. klama"

This convention can be stretched to some confusing limits if used more
than once in a sentence:

"[fa] la rik. fa la djein. klama [fe] le skina fe le zdani fe le zarci"

This could be taken as six separate expressions condensed into one,
with each person going to each place.  More than likely, however, it
will cause the listener to throw up his/her hands in disgust.

One final way in which numbered sumti can be useful is in specified
tanru and sumti descriptions using "be" and "bei".  Just as we used
tcita to skip unnecessary places, we can skip unnecessary
complications in attaching places to descriptions:

") [be'o]} [ku]> cu ninmu"
"le klama be fu le karce cu ninmu"
"The go-er by car is a woman."

When using namcu tcita to label sumti in specified descriptions, use
the same conventions when a later sumti is not marked.  In the
following:

"le klama be fi le zdani bei [fo] le dargu"
"The go-er from the house via the road"

the "fo" on the second specified sumti can be inferred from the prior "fi".

Now let's look at a few more examples:

"ti pikta fo la lemizerABL.  .i xu do djica le nu te tigni" "ti pikta
 .i xu do djica "
"These are tickets to 'Les Miserables'.  Is it true that you want the
state of being performed before?"

"fi mi panci fe le cpina stasu"
" [cu] panci "
"To me, (something is) the odor of spicy soup."

"le palne be fi loi rijno cu se jemna"
") [be'o]} [ku]> cu se jemna"
"The tray of material silver is begemmed."
"The tray made of silver is begemmed."

"ti gusta be fi lo xamsi cidja be'o sanso"
"ti [cu] gusta  sanso"
"This is a restaurant-serving-seafood sauce."

"le gusta be fi lo xamsi cidja be'o sanso cu kukte"
") be'o} sanso [ku]> cu kukte"
"The restaurant-serving-seafood sauce is delicious."

"fo lo panlo cu katna fe le rectu le dakfu"
" cu katna  "
"Into slices is cut the meat using the knife."


22.2
Numbered Sumti Questions
namcu sumti preti

In a complex sentence, a listener may lose track of which sumti are
values for which sumti places.  This may be because you don't hear a
conversion operator, one of the namcu sumti tcita, a terminator on a
relative or abstract clause, or any of several other reasons.  In some
cases, the speaker may be incorrect in place structure usage, or
saying something that sounds implausible.  The best way to query the
role of a sumti in a bridi is to use the namcu sumti tcita question
cmavo, which is "fi'a".

"fi'a" is part of selma'o FA; it may be used anywhere one of the namcu
sumti tcita can be used (or even multiple times in one sentence to ask
the roles of several sumti).  "fi'a" is generally answered by
repeating the questioned sumti, with the appropriate namcu sumti tcita
preceding it:

"A: mi setese klama le zarci le zdani"
"B: go'i fi'a le zarci fi'a le zdani"
"A: klama fi le zarci fe le zdani"
"I go from the market to the house."
"What do the market and the house have to do with this (your going?)"
"from the market, to the house"


22.3
Modal sumti tcita
*** sumti tcita

*** BEGIN SERIOUSLY BROKEN AREA ***

Sometimes the place structure of a sumti does not contain all of the
relevant information needed to evaluate the bridi.  Lojban needs (and
provides for) a way to express such additional information when it is
important.  Let's look at some types of information that we might want
to add to a bridi.

Place structures of brivla are defined so as to minimize the semantic
assumptions being made.  If you look at a table, and you say "ta
jubme", how are you determining that it is a table?

You may be doing so because someone told you that it is a table; in
other words, it is a table according to some authority.

You may be noting its shape is table-like; it is a table in form.

You may observe chairs around it, and decide it is a table because it
is a flat thing with chairs around it; it is a table based on its
surroundings.

You may decide it is a table because it has things piled on it; it is
serving as a support for one or more objects, and is thus functionally
serving as a table.

You may have some picture in your mind of an ideal table.  We may
compare objects to this 'standard table'.  If an object is similar
enough in form and function, we decide that it is a table.

You may use several standards of classification.  By comparing what
you see with chairs, telephones, bookshelves, mirrors, counters, you
may decide to categorize what you see as a table.

You may also decide that it is more table-like than something else,
and is therefore a table; this is a direct comparative sense of
table-ness.

Lojban does not stipulate how you must decide whether something is a
table.  Depending on the circumstances you may want to use one or more
of the above techniques.  Lojban would be imposing assumptions on the
ways people know things, if it limited you to using specific ways of
deciding on whether to assign bridi relationships to sumti.  These
assumptions could easily be culturally biased, and in any case serve
to constrain thought.

The desire to minimize 'metaphysical assumptions' in Lojban has led to
short place structures that do not supply information about how the
speaker is deciding that the bridi relationship is valid.  Sometimes,
however, a speaker wishes to provide this information.

*** hiatus ***

We can return to the tense-based constraints of Lesson 4, and see that
these follow the same pattern:

"le nanmu pe pu [ku] [ku] [cu] klama"
"le nanmu pe pu klama"
"The man who was before, came."

elliptically omits a sumti which is labelled by "pu".  This sumti
defaults in ellipsis to the non-"pu" version of the same person:

"le nanmu pe pu le ca nanmu [ku] [ku] [ku] cu klama"
"le nanmu pe pu le ca nanmu klama"
"The man who was before the now-man, came."

If we explicitly insert a sumti value in the relative clause, we get:

"le nanmu pe pu le ninmu [ku] [ku] [ku] cu klama"
"le nanmu pe pu le ninmu cu klama"
"The man who was before the woman came."

This is the same as:

"le nanmu poi purci le ninmu [vau] [ku] [ku] [cu] klama"
"The man who was before the woman came."

We can use a modal constraining phrase with "pu" (and any other
tense/locator cmavo or compound).  If we use "mo'u" to attach the
phrase "pu le ninmu", we get:

"le nanmu mo'u pu le ninmu [ku] [ku] [ku] cu klama"
"le nanmu mo'u pu le ninmu cu klama"
"The man, before the woman, comes."
"The man comes before the woman does."

The modal phrase can be attached onto other sumti:

"le nanmu [ku] cu klama le zdani mo'u pu le ninmu [ku] [ku]"
"le nanmu cu klama le zdani mo'u pu le ninmu"
"The man goes to the house before (going to) the woman."

We again need to attach a modally-labelled sumti to a sumti in the
place structure in order for the modality to be unambiguous in
meaning.

Let us summarize the properties of sumti tcita (which are also called
'modal operators'):

- to label a sumti, you precede the sumti by an appropriate sumti
  tcita, and close off the label with a usually elidable "ku";

- unless the sumti tcita is a numerical label from selma'o FA, the
  labelled sumti is not taken as part of the place structure;

- the labelled sumti can be any type of sumti construct, including
  quotations, names, numbers marked with "li", abstract clauses using
  selma'o NU, and sumti that have relative clauses attached;

- a labelled sumti may be attached with "pe", "po'u", "po", or "po'e"
  forming a relative clause which restrictively identifies a sumti;

- a labelled sumti may be attached with "no'u" to form a relative
  clause which non-restrictively identifies a sumti;

- a labelled sumti may be used in a modal relative phrase to modally
  constrain a sumti's relationship to the bridi;

- a labelled sumti may be used without attaching it to a sumti, in
  which case it modally constrains the entire bridi relationship; in
  the event of semantic ambiguity, the modal constraint should be
  interpreted with respect to the x1 sumti

- the actual sumti value may be elliptically omitted, leaving only a
  sumti tcita and its "ku";

- a sumti tcita may be used to inflect a selbri in the same manner as
  a 'tense'; the resulting inflection has some similarities to English
  adverbs;

- most sumti tcita cmavo can be directly related to a specific brivla
  in derivation; this provides a memory hook to help the listener
  understand what relationship is being indicated by the tcita.

Let us expand on this last point.  *** need new example *** From
"zmadu" we can derive a cmavo "mau" which is in some way tied to the
relationship "x1 is more than x2 in property x3".  We immediately have
the problem of determining what that tie is.  The sumti tcita is going
to attach a single sumti to a bridi; we need to know which place the
label is trying to indicate.  In the case of "zmadu", of course, the
most useful sumti to attach is the x2 sumti; it leads to the parallel
structures:

"la djan. zmadu la betis. leni nelci la meris."
"John is more than Betty in amount of fondness for Mary."

"la djan. mo'u semau la betis. nelci la meris."
" [cu] nelci la meris."
"John, more than Betty (does), likes Mary."

The sumti attached to "semau" is the x2 sumti of the corresponding
brivla "zmadu".

When the set of modal operators (selma'o BAI) was chosen, it was
determined that most of those operators are most often used to attach
a sumti paralleling the x1 sumti of the associated brivla.  A somewhat
lesser number are used to attach a sumti paralleling the x2 sumti of
the associated brivla.  Much rarer are modals that parallel the x3,
x4, and x5 places.

The set of modals in selma'o BAI is large enough that it was decided
to provide the additional memory hook of marking exactly which place
of the associated brivla parallels the modal sumti.  The place markers
chosen were the conversion operators of selma'o SE.  When a modal
operator is not preceded by a selma'o SE marker, a parallel to the x1
place is presumed to be attached.  When "se" precedes the modal, it is
a parallel to the x2 place which is attached.  "te" indicates the x3
place, "ve" indicates the x4 place, and "xe" indicates the x5 place.

This approach has the additional advantage of allowing more than one
type of attachment to be derived from a single brivla.  We use the
same cmavo as a modal operator, and change/exclude the selma'o SE
place marker.  As we will see below, this is useful in causality and
in expressing superlatives.

THESE CONVERSION MARKERS ARE NOT USED ON TENSE/LOCATION sumti tcita,
which have a special, more complex, grammar.  They also have no
practical meaning on the numeric tcita of selma'o FA, so they are not
allowed there.  (Numeric tcita also cannot be used to directly inflect
a selbri like a tense/location operator, do not have a fixed semantic
meaning independent from the bridi they are a part of, and label only
place structure sumti; they are hence not truly considered to be modal
operators, which never label place structure sumti.)  *** END
SERIOUSLY BROKEN AREA ***



22.4
Causality in Lojban
***

sumti tcita modals are frequently used in expressing causality in
Lojban.  In order to discuss this, though, we must first explain the
different types of causality that can be expressed in Lojban.

We define causality as the set of possible questions that we express
in English as "Why?", and the possible answers to those questions.

Lojban recognizes four major interpretations of "Why?", and can
express at least two more minor interpretations.  These
interpretations are best described through their respective brivla:

mukti	x1 is the motive for action/event x2 to actor x3
krinu	x1 is the reason/explanation/justification for action/state/event x2
rinka	x1 is a direct (physical) cause of x2
nilbi	x1 logically entails/necessitates x2 under rules x3

The two lesser causals are:

te zukte	x1 is the goal/purpose for action x2 by actor x3
se jalge		x1 are circumstances resulting in x2

One could also interpret other brivla, such as "cfari" and "krasi", as
having some value in expressing cause, but these are not considered
part of the Lojban causal system.

Let us give examples of each of these types of causality:

"lenu la djek. goi ko'a se cinri la lojban. cu mukti lenu ko'a klama le ckule
.i lenu ko'a ba na lerci cu te zukte lenu ko'a bajra klama le ckule
.i lenu bajra cu rinka lenu ko'a farlu
lenu ko'a farlu cu krinu lenu ko'a penmi la maikl.
.i la maikl. cu karce bevri ko'a le spita
.i lenu ko'a pu se bevri le spita cu nibli lenu ko'a ca zvati le spita.
.i ra nibli lenu ko'a na ca zvati le ckule
.i lenu ko'a lerci .uu cu jalge lenu ko'a bajra
.i lenu ko'a gleki cu na se krinu lenu ko'a lerci
.i lenu ko'a gleki cu se krinu lenu ko'a penmi la maikl."

"The state of Jack's being interested in Lojban motivates his going to
school.  The state that he will be not-late is the goal of his
runningly-going to school.

The running physically causes his falling.
His falling is the reason he meets Michael.
Michael car-carries him to the hospital.
His being carried to the hospital necessitates his now being at the hospital.
It (also) necessitates his not now being at the school.
His being late (Regret!) results from his running.
His happiness is not justified by his being late.
His happiness is justified by his meeting Michael."


22.5
Causality sumti tcita
*** ke sumti tcita

Each of the causal brivla has a modal operator derived from it, which
is used to insert causal constraints in bridi.  The following should
be clear to you based on the corresponding brivla place structures.

mu'i	mukti	"because (motivation) ..."
ki'u	krinu	"because (reason/justification) ..."
ni'i	nibli	"because (logical entailment) ..."
ri'a	rinka	"because (physical cause) ..."
seja'e	jalge	"because (resulting from) ..."
tezu'e	zukte	"because (goal) ..."

These may each be used to ask "Why?":

"mu'i ma ko'a klama le ckule"
"Why did he go to school? (For what motive?)"

"ki'u ma ko'a penmi la maikl."
"Why did he meet Michael? (What reason/justification?)"

"ni'i ma ko'a zvati le spita"
"Why is he (necessarily) at the hospital?"

"ri'a ma ko'a farlu"
"Why did he fall?  (What physically caused him to fall?)"

"seja'e ma ko'a lerci"
"Why is he late? (How did his being late result?)"

"tezu'e ma ko'a bajra klama"
"Why did he runningly go? (For what purpose?)"

By substituting an appropriate sumti in place of the "ma" in each of
these questions, you can answer them.  (Try it.)  The sumti will
generally be stated as an event or property abstraction.

Each of the cmavo forms used above translate approximately as
"because".  There is no single Lojban word that translates all aspects
of "because"; "ki'u" may come closest in that many things which serve
as motives, goals, entailments, and physical causes can also be
interpreted as part of a reason or justification.

Each of the cmavo is a sumti tcita in selma'o BAI, and has the same
grammar as "mau", "ka'a", and "rai".  In all of the above examples, we
put the causal question at the beginning.  This is not necessary; it
can be put in any place where a sumti is a valid structure, including
before or after any sumti in the place structure:

"ko'a bajra klama mu'i ma"
"He runningly goes for what motive?"

"ko'a ki'u ma penmi la maikl."
"He, by what reason/justification, meets Michael?"

"ko'a zvati ni'i ma le spita"
"He is at (why is this necessary?) the hospital?"

Unlike the comparative and superlative modals, these modals are not
usually connected to a particular sumti with a modal relative phrase.
When the question (or answer) is to be tied to a particular sumti
value, you might use such a phrase:

"ko'a bajra klama le ckule mo'u ki'u ma"
"He runningly goes to the school - why there in particular?

The causal connectives are among the most useful of the modal
operators.  This is because the various manipulations that can be
performed on modal operators all have useful results when applied to
causality.

For example, each of the major causal forms given can be converted
from a "because ..." form to a "therefore ..." form by adding a "se":

semu'i	mukti	"therefore (motivation) ..."
seki'u	krinu	"therefore (reason/justification) ..."
seni'i	nibli	"therefore (logical entailment) ..."
seri'a	rinka	"therefore (physical effect) ..."

You have to think about the place structure of the source brivla to
figure out how to do the same with the two lesser causals:

ja'e	jalge	"therefore (results in) ..."
sezu'e	zukte	"therefore (action) ..."

One English colloquial expression has an exact parallel in Lojban:

"seni'i ma"
"So what?"

also interpreted as:

 "Where does this lead?"


22.6
On nai
me zo nai

The cmavo "nai" is used in several Lojban structures to negate that
structure.  "nai" can be thought of as the combining form of "na".
Unlike "na", "nai" occurs after the structure that it negates.  Modal
operators are among the structures that can be negated with "nai".
The resulting expressions often have direct English counterparts.

Negating a causal "because ..." results in "although ...", or "despite
...".  By using a negated causal, you claim that the bridi
relationship holds, but that the indicated sumti is not the
cause/reason/motive/purpose for this state of affairs.

mu'inai	"although (motivation) ..."
ki'unai	"although/despite (reason/justification) ..."
ni'inai	"although (logical entailment) ..."
ri'anai	"although/despite (physical cause) ..."
seja'enai	"although/despite (not resulting from) ..."
tezu'enai	"although/despite (goal) ..."

Similarly, the "therefore ..." forms can be negated with "nai" to form
"nevertheless".  In this case, the "nai" claims that the
effect/result/action occurs, but is not caused by the state described
by the bridi relationship.

semu'inai	"nevertheless/anyway (motivation) ..."
seki'unai	"nevertheless/anyway (reason/justification) ..."
seni'inai	"nevertheless/anyway (logical entailment) ..."
seri'anai	"nevertheless/anyway (physical effect) ..."
ja'enai	"nevertheless/anyway (results in) ..."
sezu'enai	"nevertheless/anyway (action) ..."

Tense and location can also be negated with "nai":

punai	"not before ..."
canai	"not during/simultaneous with ..."
banai	"not after ..."
vinai	"not at ..."
vanai	"not near ..."
vunai	"not far from ..."



22.7
Reading Text
se tcidu

Read the following.  Attempt to write either a literal or a colloquial
English translation of the text.  At the instructor's option, the
class may be asked to write and exchange questions and answers about
the text as described in Lesson 5.  Our translation is given in the
answer appendix at the end of the book.

lenu vitke lei rarna

la .alis. bacru lu
	mi mu'i lenu .oi mi tatpi leka jmive fadni cu djica lo frica
        vanbi ca le jibni balvi .i do jinvi ma doi rik. li'u

.i la rik. spuda fi lu
	.ie .i mi lifri nelci lenu vitke lo nurma kei ca lenu mi djica
        le frica li'u

.i la .alis. spuda fi lu
	ko ciksi di'u ki'u lenu mi na cafne vitke lo nurma .i ma ckaji
        lo rarna semu'i lenu do nelci ri li'u

.i la rik. spuda fi lu
	mi nelci leka ri melbi .i leka ri cilce cu rinka lenu mi vifne
        binxo .i mi cafne lifri lo fange be fi loi tcadu xabju .i
        .aupei lenu mi'o vitke le lalxu poi berti .i mi pu klama ri ca
        le purci lamji nanca li'u

.i lu .au .ai mi'o klama ca li ze pi'e ci poi se detri ca le ca masti li'u

.i lu .ie .a'o mi'o stali ca pa jeftu ni'i leni klama temci .i xu do
go'i kakne li'u

.i lu mi troci lenu lemi jibri cu na rinka lenu mi'o na klama li'u


.i ca lenu klama le lalxu kei djedi ko'a goi le re prenu cu penmi le
zdani be la .alis.  .i ko'a klama fu le karce po la rik.  .i le klama
temci cu cacra li ci .i ko'a klama fo le dargu poi lamji le rirxe .i
ko'a zvati le lalxu

.i la .alis. bacru lu
	.ue .ui melbi .i lei spati cu zvati roda .i so'i tricu cu
        galtu clani .i le jvinu be fi ti cu vrici .i lei vanbi cu ka
        purdi .i vi ma kacma li'u

.i la rik. danfu zo ti .i la rik. dunda le kacma .i la .alis. cu pilno
le kacma seri'a le pixra .i so'i pixra

.i la .alis. zgana le lalxu .i gleki cusku fi lu
	mi djica lenu limna  .i .aupei do go'i li'u

.i la rik. danfu lu
	le lalxu djacu cu lenku .i mi djica cuxna lenu cadzu klama va
        le vu cmana .i mi'o glare binxo .i baku mi'o limna semu'i lenu
        zabna ke lenku binxo li'u

.i ko'a cu jdice lenu cadzu .i ba lenu ko'a dasni be le cadzu cutci
be'o binxo kei cu jbini lei tricu .i cadzu .i pa ri ponse lo barda
jimca noi dizlo .i la rik. cpare pa le jimca .i la .alis. kansa .i
ko'a ca zutse le jimca noi stizu

.i cadzu .i viska loi rokci .i pisu'o ri jemna gusni ki'u leka lei
marji cu kunra .i la rik. dunda pa melbi rokci la .alis.  .i ra cusku
lu
	.au ko ralte ti semu'i lenu morji levi nu vitke li'u

.i zo .ai

.i nu sanli le cmana ke gapru traji .i jvinu lei dizlo .i nu viska le
vu xamsi zbani .i nu viska leka lo rutni cu cmalu ri'a lenu leka vi
galtu sepli ri cu ve zgana .i le cipni cu diklo lei cnita .i le vifne
vacri cu na kurki se sumne .i la'edi'u rinka leka gleki

.i baku loi dilnu cu jibni klama .i la .alis. viska le dilnu .i ra
terpa lenu lindi carvi .i sutra ke cadzu klama le cnita .i ko'a zvati
le karce ca lenu cfari le carvi

.i le tcima cu carmi .i ko'a ca na zgana seki'u lenu sipna noi nenri
le karce .i ba le xlali tcima ko'a cikna binxo vi le cnita be le kunti
tsani

.i glare .i sudga .i zmadu djica lenu limna .i ko'a ba dasni leri
limna taxfu .i ca la'edi'u ra limna le lalxu .i la .alis. nelci leka
cilmo .i la rik. nelci leka kansa be la .alis. limna

.i mutce le zmadu leni fasnu ca lenu vitke be le lalxu .i mi po'u le
ciska cu na kakne leni cusku ro lei fasnu .i su'o ri na fadni .i se
mupli lenu ko'a facki lo manku kevna po'e le cmana bitmu

.i le jeftu cu fanmo .i ko'a klama le tcadu mu'i leko'a jibri .i ko'a
morji le traji vitke .i ko'a ba jdice lenu kansa .uepei vitke ca le
balvi lamji nanca


Exercise 22-1

This lesson, we would like you to attempt a somewhat more ambitious
essay than in the last one.  Describe an fictional or non-fictional
event or activity that you or someone else participated in, taking
about 20 sentences.  We encourage the use of lots of tanru, and the
instructor should look closely at your choice of descriptors.  You
need not include a conversation, although conversation can make many
writings seem more interesting.  You can, as an option, exchange
writings with other students, in order to test your understandability
and to give you exposure to other writing styles.


22.8
Translation Of Reading Text
se tcidu xe fanva

lenu vitke lei rarna
Visiting Nature

la .alis. bacru lu
	mi mu'i lenu .oi mi tatpi leka jmive fadni cu djica lo frica
vanbi ca le jibni balvi .i do jinvi ma doi rik. li'u

Alice speaks, "I, motivationally because (Complaint!) I am tired of
living-ordinariness, desire some different environment during an
interval of the near-future.  You opine what? O Rick."

Alice says, "Oh, I'm so tired of the same old ordinary thing.  I want
to spend some time soon elsewhere.  What do you think, Rick?"


.i la rik. spuda fi lu
	.ie .i mi lifri nelci lenu vitke lo nurma kei ca lenu mi djica
le frica li'u

Rick replies, "I agree.  I enjoy the event of visiting some (place)
rural at the time of the event of my desiring the different."

Rick replies, "Yeah.  I enjoy visiting some rural place when I want a
change."


.i la .alis. spuda fi lu
	ko ciksi di'u ki'u lenu mi na cafne vitke lo nurma .i ma ckaji
lo rarna semu'i lenu do nelci ri li'u

Alice replies, "Explain this last sentence, justified by the state of
my not-often visiting any rural (place).  What characterizes natural
things such that it motivates the state of your being fond of them
(natural things)?"

Alice replies, "Why?  I haven't often been in rural areas.  What makes
you fond of nature?"

.i la rik. spuda fi lu
	mi nelci leka ri melbi .i leka ri cilce cu rinka lenu mi vifne
binxo .i mi cafne lifri lo fange be fi loi tcadu xabju .i .aupei lenu
mi'o vitke le lalxu poi berti .i mi pu klama ri ca le purci lamji
nanca li'u

Rick replies, "I am fond of its (nature's) beauty.  The property of
its wildness causes the state of me fresh- becoming.  I oftenly
experience (things which are) alien to city-dwellers.  (Your desire?)
Event of we visit the lake which is to the north.  I went there (the
lake) during the past adjacent year."

Rick replies, "I'm fond of nature's beauty.  The wilderness refreshes
me, and I frequently experience things I can't experience in the city.
Hey!  What do you say we visit this lake up north?  I went there last
year."

.i lu .au .ai mi'o klama ca li ze pi'e ci poi se detri ca le ca masti
li'u

"(Desire!) (Happiness!) We go during the Saturday of the 3rd week
which is a date during this month."

"Great!  Let's go on the 3rd Saturday of this month."

.i lu .ie .a'o mi'o stali ca pa jeftu ni'i leni klama temci .i xu do
go'i kakne li'u

"(Agreement!) (Hope!) We remain during one week because of the amount
of going-time.  Is it true that you are thusly able?"

"Fine!  But since it takes a while to get there, I'd like to stay a
full week.  Can you?"

.i lu mi troci lenu lemi jibri cu na rinka lenu mi'o na klama li'u

"I attempt the state of my job not-causing the event of our
not-going."

.i ca lenu klama le lalxu kei djedi ko'a goi le re prenu cu penmi le
zdani be la .alis.  .i ko'a klama fu le karce po la rik.  .i le klama
temci cu cacra li ci .i ko'a klama fo le dargu poi lamji le rirxe .i
ko'a zvati le lalxu

At the time of the event-of-the-going-to-the-lake day, the two people
(they) meet at the house of Alice.  They go in the car belonging to
Rick.  The going-time-interval is, in hours, three.  They go via the
road which is alongside the river.  They are at the lake.

The day arrives when they are to go to the lake.  They meet at Alice's
house.  Using Rick's car, they travel to the lake via the road
alongside the river, taking three hours.  Now they are at the lake.

.i la .alis. bacru lu
	.ue .ui melbi .i lei spati cu zvati roda .i so'i tricu cu
galtu clani .i le jvinu be fi ti cu vrici .i lei vanbi cu ka purdi .i
vi ma kacma li'u

Alice speaks, "(Surprise!) (Happiness!) Beautiful!  Plants are at
everywhere [Translation note - an exaggeration - this really means
everywhere in the universe of discourse].  Many trees are highly-long.
The view from here is varied.  The environment has the property of
garden-ness.  At where is something being a camera?"

Alice speaks, "Wow! It's beautiful!  Plants are all over the place,
and so many of the trees are tall.  And the view varies wherever I
look from here.  It's like a garden.  Where is the camera?"

.i la rik. danfu zo ti .i la rik. dunda le kacma .i la .alis. cu pilno
le kacma seri'a le pixra .i so'i pixra

Rick answers, "Here."  Rick gives the camera.  Alice uses the camera
to physically-cause the pictures.  Many pictures.

Rick answers, "Here," and gives her the camera.  Alice takes many
pictures using the camera.

.i la .alis. zgana le lalxu .i gleki cusku fi lu
	mi djica lenu limna .i .aupei do go'i li'u

Alice observes the lake.  Happily expresses, "I want the event of
swimming.  (Your desire?) You too?"

Alice sees the lake and says, "I want to go swimming.  Do you?"

.i la rik. danfu lu
	le lalxu djacu cu lenku .i mi djica cuxna lenu cadzu klama va
le vu cmana .i mi'o glare binxo .i baku mi'o limna semu'i lenu zabna
ke lenku binxo li'u

Rick answers, "The lake water is cold.  I desiringly choose the event
of walkingly going near the yonder mountains.  We warmly-become.
Afterwards we swim in order for the state of amelioratively cool-
becoming."

Rick answers, "Since the lake water is cold, I'd rather go for a hike
near yonder mountains.  We'll get hot, and then afterwards go for a
nice swim to cool off."

.i ko'a cu jdice lenu cadzu .i ba lenu ko'a dasni be le cadzu cutci ku
binxo kei cu jbini lei tricu .i cadzu .i pa ri ponse lo barda jimca
noi dizlo .i la rik. cpare pa le jimca .i la .alis. kansa .i ko'a ca
zutse le jimca noi stizu

They decide the event of walking.  After the event of they
wearing-the-walking-shoes become, (they are) among the trees.
Walking.  One of them (the trees) possesses large branches which are
incidentally low.  Rick climbs one of the branches.  Alice
accompanies.  They simultaneous (with this accompanying) sit on the
branch which is at.

They decide to go for a walk.  After donning walking shoes, they were
shortly among the trees.  They walk for a while.  One tree has large,
low, branches, and Rick climbs one of them.  Alice then follows, and
together they sit on the branch there.

.i cadzu .i viska loi rokci .i pisu'o ri jemna gusni ki'u leka lei
marji cu kunra .i la rik. dunda pa melbi rokci la .alis.  .i ra cusku
lu
	.au ko ralte ti semu'i lenu morji levi nu vitke li'u

.i zo .ai

Walking.  Seers of rocks.  Some of them (the rocks) gem-ly illuminate
because the property of the material (in them)'s mineralness.  Rick
gives one pretty rock to Alice.  He (Rick) expresses, "(Desire!) Keep
this, thus motivating the state of remembering the here event of
visiting."  "(Intent!)"

They walk on, and eventually spot some rocks.  Some of the rocks
sparkle because of the mineral material in them.  Rick gives an
especially pretty one to Alice and says, "Keep this, so that you will
remember this visit."  Alice says "I will."

.i nu sanli le cmana ke gapru traji .i jvinu lei dizlo .i nu viska le
vu xamsi zbani .i nu viska leka lo rutni cu cmalu ri'a lenu leka vi
galtu sepli ri cu ve zgana .i le cipni cu diklo lei cnita .i le vifne
vacri cu na kurki se sumne .i la'edi'u rinka leka gleki

Event of being standers on the mountain above-extreme.  View of the
low.  Event of seeing the yonder sea bay.  Event of seeing the
property of artifacts being small, physically caused by the state of
the-property-of- here-highingly-apart-from-them (the artifacts) being
the conditions of observation.  The birds are local to the below.  The
fresh air is not bitterly smelled.  This causes happiness.

They stood on the highest mountain top, observing the view of things
below.  They see the distant bay.  Because they are so far up,
everything man-made is seen to be small.  Even the birds are below
them.  The fresh air isn't bitter to smell, causing them to be happy.

.i baku loi dilnu cu jibni klama .i la .alis. viska le dilnu .i ra
terpa lenu lindi carvi .i sutra ke cadzu klama le cnita .i ko'a zvati
le karce ca lenu cfari le carvi

Later, some clouds approach.  Alice sees the clouds.  She is afraid of
the event of lightning rain.  Fast walkers to the below.  They are at
the car simultaneous with the event of initiation of the rain.

Llater, Alice sees some clouds approach.  She is afraid of
thunderstorms, so they quickly descend.  They reach the car just as
the rain starts.

.i le tcima cu carmi .i ko'a ca na zgana seki'u lenu sipna noi nenri
le karce .i ba le xlali tcima ko'a cikna binxo vi le cnita be le kunti
tsani

The weather is intense.  They now not-observe, justifying the state of
sleeping which is incidentally inside the car.  After the bad weather,
they awaken at the beneath of the empty sky.

The storm is intense.  Since they can't see anything, they sleep
inside the car.  Afterwards, they awaken beneath an empty sky.

.i glare .i sudga .i zmadu djica lenu limna .i ko'a ba dasni leri
limna taxfu .i ca la'edi'u ra limna le lalxu .i la .alis. nelci leka
cilmo .i la rik. nelci leka kansa be la .alis. limna

Warm.  Dry.  More desirers of the event of swimming.  They will wear
their swimming garments.  At the time of this, they will swim in the
lake.  Alice is fond of the moistness.  Rick is fond of the property
of together- swimming with Alice.

Now that it is warm and dry, they are more desirous of swimming.
Wearing their swimming clothes, they swim in the lake.  Alice likes
being wet.  Rick likes the togetherness of swimming with Alice.

.i mutce le zmadu leni fasnu ca lenu vitke be le lalxu .i mi po'u le
ciska cu na kakne leni cusku ro lei fasnu .i su'o ri na fadni .i se
mupli lenu ko'a facki lo manku kevna po'e le cmana bitmu

Towards the extreme of the more in the amount of being events during
the visit to the lake.  I who am the writer am not able at the amount
of expressing all of the events.  At least some of them (the events)
were not ordinary.  Exemplifying is the event of they discover a dark
cave integrally belonging to the mountain cliff.

Much happens during the visit to the lake, more than I can possibly
express.  Some events are extraordinary, such as when they discover a
dark cave in the mountain cliff.

.i le jeftu cu fanmo .i ko'a klama le tcadu mu'i leko'a jibri .i ko'a
morji le traji vitke .i ko'a ba jdice lenu kansa .uepei vitke ca le
balvi lamji nanca

The week ends.  They go to the city because of their jobs.  They
remember the superlative visit.  They later decide on the event of
together (Are you surprised?) visiting, during the future-adjacent
year.

Finally, the week is over.  They return to the city because of their
jobs.  But later they decide to visit again the following year,
together.  Are you surprised?

Conclusion

Using Lojban

nu pilno la lojban.

*** very sketchy, needs better wrap-up

By the time the student reaches the end of Part II, vocabulary studies
and exercises should have given her/him familiarity with at least ***
gismu and about *** cmavo.  This knowledge allows for meaningful
dialogues and short readings, as well as exercises requiring more
spontaneous production of Lojban.  In classroom use, bits of Lojban
conversation should start occurring.

Clearly, the main limit to your expressive power in Lojban is the
number of different selbri you can use to express different relations,
and/or convert into description sumti.  Lojban brivla consist of three
groups: about 1350 root words, called "gismu" (/GEES,moo/), an
effectively infinite number of compounds of these roots, called
"lujvo" (/LOOZH,voh/), and for specialized vocabularies (like
scientific terminology), borrowings from other languages called
"le'avla" (/leh,HAHV,lah/).

We won't go into detail into these three word-types, but the terms
appear often in material written about Lojban; it is thus worthwhile
to at least be able to recognize them as types of Lojban brivla -
words that can be used in selbri.  For now, note that all of the
five-letter brivla that have dominated the vocabulary thus far have
been gismu.  The longer words, found mostly in section titles, are
lujvo.  There have been no le'avla in this book.

These three word-types together are enormously powerful, allowing
expression of any relation concept of any language in a Lojban selbri.
However, as a new Lojban learner, you haven't memorized the tens of
thousands of Lojban words needed to match your English vocabulary.

In Lojban, however, you don't need an enormous vocabulary to be able
to carry on quite sophisticated discussions.  By concentrating on the
1350 Lojban gismu and several important cmavo, a relatively small
vocabulary list for a second language, you can take advantage of a
powerful and flexible technique of building selbri, a technique with
more expressive power than any vocabulary list.

6-1

6-7