Received: from spooler by stryx.demon.co.uk (Mercury/32 v2.01); 18 Aug 98 21:32:28 +0000 Return-path: Received: from punt-11.mail.demon.net (194.217.242.34) by stryx.demon.co.uk (Mercury/32 v2.01); 18 Aug 98 21:32:24 +0000 Received: from punt-1.mail.demon.net by mailstore for ia@stryx.demon.co.uk id 903423328:10:26325:6; Tue, 18 Aug 98 06:55:28 GMT Received: from listserv.cuny.edu ([128.228.100.10]) by punt-1.mail.demon.net id aa1026197; 18 Aug 98 6:55 GMT Received: from listserv (listserv.cuny.edu) by listserv.cuny.edu (LSMTP for Windows NT v1.1b) with SMTP id <1.FE9AAC00@listserv.cuny.edu>; Tue, 18 Aug 1998 2:56:00 -0400 Date: Tue, 18 Aug 1998 02:49:32 -0400 Reply-To: SwiftRain Sender: Lojban list From: SwiftRain Organization: chaos is the deeper order Subject: Re: coi X-To: lojban To: Multiple recipients of list LOJBAN Message-ID: <903423308.1026197.0@listserv.cuny.edu> X-PMFLAGS: 33554560 0 1 Y03422.CNM Content-Length: 2770 Lines: 69 Jorge J. Llamb=EDas wrote: >=20 > i go'i i a'o so'i da cilre gi'e mrilu lei da se troci ma'a =20 .ie .i pe'i so'uda ba cilre pulenu zasti lo xamgu ke ctuca cukta .i pe'i ko'a goi le manri ke gerna cukta cu xamgu .iku'i pe'i ko'a na xamgu le cilre ki'u lei mupli cu na drani fi le cilre ni'o=20 mi se cinri le nu mi ciska de mu'i le nu de ctuca le lojbo tadni .i so'idi cu sidbo le ctuca cukta mi .i xu do sidju mi le nu zbasu lo ctuca tutci? .i mu'a ko .a'o catlu ko'e goi la'e zoi kuot.=20 http://www.tiac.net/users/sphere/mungojelly/lojban/crino.html .kuot. .ije cusku le jei ko'e cu drani je xamgu kei fi mi =20 > i do'a zo'o mi do fraxu=20 =20 .i mi cu ta'e dukse clite bau le cnino be mi bangu =20 > i pau le tarmi ma do stidi i xu ty stidi le nu pilno lei sance be lo=20 > jufra i mi na jimpe =20 .i.e'enai le lojbo jimpe pe mi cu na banzu=20 =20 what i am trying to say is that the shapes of various features of the lojbo gerna imply to me shapes for particular moments of poetic expression and thus by extension for the shape/style/form of entire pieces. simple observatives like ".i cpana le cmana .i se ckana le clika" suggest to me a pattern where observatives are used rhythmically to set a scene and then zmadu pluja jufra to describe action within that scene, returning periodically to le sampu to set the ground for a new scene...=20 to give another example, the ability to leave actors, plurals, times etc unspecified suggests to me the style of some chinese poetry -- in particular i think of a book i read which compared many differant translations of a single chinese poem into english, all of them inaccurate in various ways, because of the lack of tense or personal pronouns in the original. i imagine the poem would translate quite easily into lojban. in loi lojbo pemci there is only specified what information you want to specify.=20 =20 (lojban certainly does incline one towards le nu lanli, doesn't it?) =20 > i e'u ko surgau le besna gi'ebabo ra'irgau le nu lojbo =20 .i mi ra'irgau le nu lojbo .ije mi cilre le cnino be mi lujvo =20 ni'o =20 .i mi cu zmadu be le mi pensi be'o kakne le nu cusku bau la lojban .iku'i zbasu le nandu be mi be'o fa le nu mi dukse troci le ka na srera =20 .iku'i pe'i mi ba surla .i ko ba jarco le ka mi srera kei mi .i ma'a ba gleki =20 ni'oni'o =20 .i li repi'ereno ca tcika .ije mi bazi sipna =20 co'o mi'e bret.