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Standard Hymmnos (正純ヒュムノス, seijuu hyumunosu?), also known as First Era Hymmnos (第一紀成語ヒュムノス, Daiichiki Seigo Hyumunosu?), is the conjunction of all the dialects made during the course of the First Era: Standard Central Note, Kurt Ciel Note, Ancient Metafalss Note, Alpha Note and Cluster Note. This means that words from all these dialects can be used freely in Standard Hymmnos sentences. For a more general introduction to the language and its history, please head to the Hymmnos Language article.

Basic Structure[]

Emotion Sounds[]

Hymmnos was designed with the purpose of stating the speaker's (or singer's) emotions, so most sentences begin with a set of three words called Emotion Sounds (想音, souin?).

For example:

Was yea ra chs hymmnos mea
Was yea ra chs hymmnos mea
わす いぇあ ら ちす ひゅむのす ミーァ (wasu yea ra chisu hyumunosu miia - /ɰas/-/jea/-/ɾa/-/tɕis/-/çəmnos/-/miːa/)
(I will be glad to turn myself into a song)

The first three words, Was yea ra (Was yea ra), are emotion sounds. They are are subdivided into three levels:

  • Was (Was) is Level 1, used for expressing the intensity of the emotion.
  • yea (yea) is Level 2, which names type of emotion being felt.
  • ra (ra) is Level 3, and expresses whether you want the emotion to last, or describes the context in which the emotion is felt.

All known emotion sounds are listed in the following table:

Intensity Type Desire to Last or Context
  • Rrha (Rrha) - Trance state
  • Was (Was) - Very much
  • Wee (Wee) - Fairly
  • Fou (Fou) - A little
  • Ma (Ma) - One's presence of mind
  • Nn (Nn) - Lethargy, unconscious state
  • i (i) - Impatience, rush
  • yea (yea) - Happiness
  • waa (waa) - Happiness
  • paks (paks) - Excitement, nervouseness
  • num (num) - Nothing
  • ki (ki) - Concentration
  • wol (wol) - Fervor, rush
  • apea (apea) - Immersed in happiness
  • au (au) - Sadness
  • granme (granme) - Wishing to protect someone, courage
  • touwaka (touwaka) - Wishful, hiding wishes
  • quel (quel) - Earnestness, despair
  • yant (yant) - Scared, terrified
  • guwo (guwo) - Resentment, anger, hatred
  • jyel (jyel) - Loneliness
  • zweie (zweie) - Sincerity, hidden resolve
  • ga (ga) - I want this to end soon
  • ra (ra) - I want this to last
  • erra (erra) - I want this to last eternally
  • wa (wa) - It doesn't matter, I will accept the current situation
  • gaya (gaya) - I never want to go back to how I was before
  • gagis (gagis) - I'm all right like this

The rest of the basic grammar is quite simple. It follows this structure:

(verb) (object) (compound or object)

Returning to our earlier example, chs (to turn into) is the verb, hymmnos (song) is the object and mea (my or myself) is the compound-or-object.

Was yea ra chs hymmnos mea
Was yea ra chs hymmnos mea.
(Very) (happy) (I want this feeling to last) (turn into) (song) (me)
(I will be glad to turn myself into a song)

Each sentence expresses one emotion, so only one set of emotion sounds can be used per sentence.

There are no verb tenses in Hymmnos; whether a verb refers to a past, present, or future action is implied by the context of the sentence.

Having reached this point, it might seem strange that sentences lack a subject. The reason is that Hymmnos sentences are first person by default, and therefore the subject is usually omitted.

Note: Apparently, the Lv. 2 Emotion Sounds can be used as well as adjectives, nouns and verbs. Similarly, the adjectives that describe emotions (such as cyue (cyue) or nyasri (nyasri)) can be used as Lv. 2 Emotion Sounds, as well.

Structure with a Subject[]

If a speaker wishes to speak about what someone else is doing, then they have to use the following structure:

(verb) rre (subject) (verb) (object) (compound or object)

rre (rre) is the Subject Definer. The noun it precedes becomes the subject of the sentence.

The first verb in the sentence describes what the speaker is doing, and the second verb describes what the subject is doing. The sentence is still told from a first person perspective; Emotion Sounds apply to the speaker even if the speaker is not the subject. No sentence can contain more than one subject, so the Subject Definer can only be used once per sentence.

For example:

Wee ki ra hyma rre walasye pagle wart.
Wee ki ra hyma rre walasye pagle wart
うぃ き ら ひゅま るるれ わらーしぇ ぱぐれ わーと (wi ki ra hyuma rurure waraashe pagure waato - /ɰi/-/kʲi/-/ɾa/-/çəma/-/re/-/walaːɕe/-/pagle/-/ɰaːt/)
(Fairly) (concentrated) (I want this feeling to last) (listen) (subject definer) (person) (talk) (words)
(I will concentrate on listening to the words the person says)

Both the subject definer and the first verb are omitted if the subject is either a pronoun or being used as an object.

Also, the standard Subject-Verb-Object (SVO) grammar structure can be used in sentences devoid of Emotion Sounds. In these cases, the characteristic grammar rule of "the default subject is always I" of Hymmnos is ignored. And there is another form in which the structures are Verb-Object-Subject (VOS, with the subject being generaly separated from the rest of the sentence by a comma) and Verb-Subject-Object (VSO), containing Emotion Sounds and used for telling stories, but aren't very commonly used.

Examples:

(Standard SVO structure in a emotionless sentence. Taken from EXEC_HARMONIOUS/. and EXEC_HARMONIOUS_FUSION/.)

Faura yerwe murfan anw sol ciel
Faura yerwe murfan anw sol ciel.
ふぁうら いぇーうぇ むるふぁん あんわ そる しえーる (faura yeewe murufan anwa soru sheeru - /ɸaɯɾa/-/jeːwe/-/muɾɸaɴ/-/aɴwa/-/sol/-/ɕeːl/)
(Little bird) (chirp) (feelings) (to) (world)
(The little bird chirps her feelings to the world).

(VSO structure sentence. Taken from EXEC_HIBERNATION/.)

Was yea ra vit bautifal faura anw dornpica en 1 dyyal nuih bexm
Was yea ra vit bautifal faura anw dornpica en 1 dyyal nuih bexm
わす いぇあ ら ヴぃっと ばてぃふぁる ふぁうら あんわ どぅるんぴか えん のい でぃーある ぬい べずむ (wasu yea ra vitto batifaru faura anwa durunpika en noi diiaru nui bezumu - /ɰas/-/jea/-/ɾa/-/bitQ/-/batiɸal/-/ɸaɯɾa/-/aɴɰa/-/dɯɾɴpika/-/eɴ/-/noi/-/diːal/-/nɯi/-/bedzəm/)
(Very) (happy) (I want this feeling to last) (see) (beautiful) (little bird) (to) (seed) (and) (night of the first day) (come)
(The beautiful little bird saw the seeds, and the first night came).

(VOS structure sentence with Emotion Sounds. Taken from EXEC_HIBERNATION/.)

Rrha cyuie gaya na ieeya crushue anw dornpica, Rhaplanca
Rrha cyuie gaya na ieeya crushue anw dornpica, Rhaplanca
るるら きゅい がや な いーや くるしゅーえ あんわ どぅるんぴか らぷらんか (rra kyui gaya na iiya kurushuue anwa durunpika rapuranka - /ra/-/kʲɯi/-/gaja/-/na/-/iːja/-/kɾɯɕɯːe/-/aɴɰa/-/dɯɾɴpika/-/raplaɴka/)
(Trance-like) (sadness) (not wanting to go back to my previous state) (doesn't wish to craft) (to) (seeds), (Rhaplanca)
(Rhaplanca doesn't wish to craft the seeds anymore)

As an additional note, the usage of the Subject Definer is a relatively recent development intended to make the Hymmnos language understandable to anybody, and it came about as a result of the standardization process that produced the [Central Standard Note] dialect, so it doesn't exist in any of the sentences made prior to its creation.

Pronouns[]

Pronouns can be used in two ways: as objects and as subjects. They differ slightly depending on how they are used.

Pronoun Used as Object Used as Subject
  • you
  • you (plural)
  • he / him
  • they / them (masculine)
  • she / her
  • they / them (feminine)
  • us / we
  • yor (yor)
  • yora (yora)
  • hes (hes)
  • hers (hers)
  • has (has)
  • hars (hars)
  • mean (mean)
  • yorr (yorr)
  • yorra (yorra)
  • herr (herr)
  • herra (herra)
  • harr (harr)
  • harra (harra)
  • merra (merra)

Use of Particles (Prepositions/Postpositions)[]

If any particles (or prepositions, as they are also known) are required, they can be inserted between the verb and the object. It is only needed if the action of the verb affects something other than the speaker though.

For example, tes (tes), a particle meaning "to", can be used here:

Was yea erra melenas tes ar ciel
Was yea erra melenas tes ar ciel
わす いぇあ えーら めれなす てす ある しぇーる (wasu yea eera merenasu tesu aru sheeru - /ɰas/-/jea/-/eːɾa/-/melenas/-/tes/-/aɾ/-/ɕeːl/)
(I will be eternally glad to give my love to this world)

But not here:

Was yea ra sonwe mea hymmnos mea
Was yea ra sonwe mea hymmnos mea
わす いぇあ ら そんうぇ みーあ ひゅむのす みーあ (wasu yea ra sonwe miia hymunosu miia - /ɰas/-/jea/-/ɾa/-/soɴɰe/-/miːa/-/çəmnos/-/miːa/)
(I will be glad to sing my song to myself)

Adjectives[]

Other than typical adjective lexicons, Level 2 Emotion sounds can also be used as adjectives.

Adjectives always come before the noun they affect, as we can see from these examples:

ridalnae sol ciel
ridalnae sol ciel
りだるなーえ そる しぇーる (ridarunaae soru sheeru - /ridalnaːe/-/sol/-/ɕeːl/)
(irreplaceable world)
titilia frawr
titilia frawr
てぃてぃりあ らわ (titiria rawa - /titilia/-/raːɰa/)
(small flower)

Passive Voice[]

If the speaker wishes to change a verb into a passive voice, they must insert a re (re) before the verb that they want to modify. Passive voice is used to indicate when the verb affects the subject rather than the verb being the action the subject carries out.

For example, prepending a re (re) (れ (re - /ɾe/) to the verb of this sentence:

Was ki ra gyuss lir
Was ki ra gyuss lir
わす き ら ぎゅす らいる (wasu ki ra gyusu rairu - /ɰas/-/ki/-/ɾa/-/ɡʲɯs/-/laiɾ/)
(I'm embracing the light)

Changes it into a passive voice statement:

Was ki ra re gyuss lir
Was ki ra re gyuss lir
わす き ら れ ぎゅす らいる (wasu ki ra re gyusu rairu - /ɰas/-/ki/-/ɾa/-/ɾe/-/ɡʲɯs/-/laiɾ/)
(I'm being embraced by the light)

Negative Form[]

If the speaker wishes to negate a verb, they just need to add na (na) (な (na - /na/) before the verb they want to modify.

For example:

Was yea ra chs hymmnos yor
Was yea ra chs hymmnos yor
わす いぇあ ら ちす ひゅむのす よあ (wasu yea ra chisu hyumunosu yoa - /ɰas/-/jea/-/ɾa/-/tɕis/-/çəmnos/-/joa/)
(I will be glad to turn you into a song)

Can be negated by prepending "na" to the verb:

Was yea ra na chs hymmnos yor
Was yea ra na chs hymmnos yor
わす いぇあ ら な ちす ひゅむのす よあ (wasu yea ra na chisu hyumunosu yoa - /ɰas/-/jea/-/ɾa/-/na/-/tɕis/-/çəmnos/-/joa/)
(I will be glad for not turning you into a song)

This mechanism can also affect nouns, making them the opposite of what they would normally be.

For example:

yehah
yehah
いぇはー (yehaa - /jehaː/)
(happiness)

Can be changed like this:

na yehah
na yehah
な いぇはー (na yehaa - /na/-/jehaː/)
(unhappiness, sadness)

Noun Phrases Indicating Ownership[]

If two nouns are placed next to each other, then it means that one noun "owns" the other. There is no actual rule indicating which noun owns which, however, so the direction of ownership is inferred from context.

For example:

Aurica forlinden
Aurica forlinden
おりか ふぉーりんでん (orika foorinden - /oɾika/-/ɸoːliɴdeɴ/)
(Aurica's village)
revatail ciel
revatail ciel
れーヴぁている しぇーる (reevateiru sheeru - /reːbateil/-/ɕeːl/)
(Reyvateil's world)
sarla mea
sarla mea
さるら みーあ (sarura miia - /saɾla/-/miːa/)
(my song)
hyzik yor
hyzik yor
ふぃじく よあ (fiziku yoa - /ɸiʑik/-/joa/)
(your body)

Ownership can also be indicated using the oz (oz) (おず (ozu - /odz/)) particle. When used, the noun that comes before it is "owned" by the noun that comes after it.

For example:

hymmnos oz faura
hymmnos oz faura
ひゅむのす おず ふぁうら (hyumunosu ozu faura - /ɸaɯɾa/-/odz/-/çəmnos/)
(song of the little bird)
sarla oz soare
sarla oz soare
さるら おず そあれ (sarura ozu soare - /saɾla/-/odz/-/soaɾe/)
(song of prayers)

Position Marking[]

If the speaker wants to indicate that something is inside, over, or in front of something else, they can insert a position marking particle before the noun that indicates the position. "ween" is used for inside, "won" for over, and "folten" for before and in front of. (Currently there are no known particles for "below".)

For example:

won dor
won dor
うぉん どーる (won dooru - /woɴ/-/doːɾ/)
(over the earth)
ween kapa
ween kapa
うぃん かぱ (win kapa - /wiɴ/-/kapa/)
(inside the water)
folten forlinden
folten forlinden
ふぉるてん ふぉーりんでん (foruten foorinden - /ɸolteɴ/-/ɸoːliɴdeɴ/
(in front of the village)

Special Character Pronunciations[]

These characters are used in either Hymmnos Binary or in special grammar functions that will be elaborated upon in later sections.

Character Pronunciation
=>

=>

たぶ (tabu)

/tab/

<=

<=

たぶら (tabura)

/tabʔra/

>>

>>

とらす (torasu)

/tɾas/

x

x

ぐ (gu)

/gɯ/

0

0

お (o)

/o/

1

1

い (i)

/i/

Xc=

Xc=

ぜく (zeku)

/dzek/

->

->

ぱす (pasu)

/pas/

<-x

<-x

(す)ぱぐ ((su)pagu))

/((s))pag/

Note: The 0 and the 1 digits used here are not the same as the ones in the numbers. These ones are used in Hymmnos Binary, and their use is signalled by this mark: #x#>>#### (replace the #s with 0s and 1s).

Hymmnos Binary is used in the execution of the programs within the Tower and in some hymns, like in this example: 0x010001110.

Numbers[]

Number Name and Pronunciation
0

0

ねる (neru)

Nell /nel/

1

1

のい (noi)

Nnoi /noi/

2

2

じ (ji)

Zi /dzi/

3

3

どり (dori)

Dri /dɾi/

4

4

ふぇふ (fefu)

Fef /ɸeɸ/

5

5

ヴぃら (vira)

Vira /biɾa/

6

6

いくさ (ikusa)

Ixa /iksa/

7

7

へぷと (heputo)

Hept /hept/

8

8

おくた (okuta)

Octa /okta/

9

9

ねい (nei)

Nei /nei/

10

10

でく/で (deku/de)

Dec /dek/ - /de/

100

100

へく/へー (heku/hee)

Hec /hek/ - /heː/

1000

1000

きく/きぃ (kiku/kii)

Kic /kik/ - /kiː/

10000

10000

みく/みぃ (miku/mii)

Mic /mik/ - /miː/

The second form of the decimals is used when combining them, in a manner similar to Japanese. For instance, jide is 20 and kik octahe ixade octa is 1868.

Advanced Grammar Rules[]

Emotion Sound Keeper Definer Syntax[]

The Emotion Sound Keeper Definer Syntax (想音の保証定義構文, souin no hoshou teigi koubun?) is a structure that allows a single set of emotion sounds to be shared by multiple sentences. Even though it is considered an advanced grammar rule, in practice it is quite simple. It is used in the following way:

(emotion sounds) 0x vvi.
0x vvi.(keeper definer start)
  ・
 (text)
  ・
1x AAs ixi.
1x AAs ixi. (keeper definer end)

What this means is that everything between the two keys, "0x vvi." and "1x AAs ixi.", will inherit the specified set of emotion sounds. For reference, "0x vvi" is pronounced "ogu vivi" (/ogɯ bibi/) and "1x AAs ixi" is pronounced "igu aas ixi" (/igɯ aːs iksi/).

Here is an example:

Was yea erra 0x vvi.
Was yea erra 0x vvi.("Was yea erra" will be applied from this point forward)
わす いぇあ えーら おぐ ヴぃヴぃ (wasu yea eera ogu viviai - /ɯas/-/jea/-/eːɾa/-/ogɯ/-/bibi/)
chs hymmnos mea
chs hymmnos mea
ちす ひゅむのす みーあ (chisu hyumunosu miia - /tɕis/-/çəmnos/-/miːa/)
hymme rre walasye hyma mea
hymme rre walasye hyma mea
ひゅむ るるれ わらーしぇ ひゅま みーあ (hyumu rurure waraashe hyuma miia - /çəm/-/re/-/walaːɕe/-/çəma/-/miːa/)
sonwe anw sol ciel
sonwe anw sol ciel
そんうぇ あんわ そる しぇーる (sonwe anwa soru sheeru - /sonɰe/-/aɴɰa/-/sol/-/ɕeːl/)
rre sol ciel hyma hynne mea
rre sol ciel hyma hynne mea
るるれ そる しぇーる ひゅま ひゅん みーあ (rurure soru sheeru hyuma hyun miia - /re/-/sol/-/ɕeːl/-/çəma/-/çɯɴ/-/miːa/)
1x AAs ixi.
1x AAs ixi. ("Was yea erra" will no longer applied beyond this point)
いぐ あーす いくし (igu aas ikushi - /igɯ/-/aːs/-/iksi/).
Wee apea ra melenas yor
Wee apea ra melenas yor
うぃ あぺあ ら めれなさす よあ (wi apea ra merenasu yoa - /ɰi/-/apea/-/ɾa/-/melenas/-/joa/)

The meaning of that passage is as follows:

Was yea erra chs hymmnos mea
Was yea erra chs hymmnos mea
(I will be eternally happy to turn into a song)
Was yea erra hymme rre walasye hyma mea
Was yea erra hymme rre walasye hyma mea
(I will be eternally happy that the people hear me)
Was yea erra sonwe anw sol ciel
Was yea erra sonwe anw sol ciel
(I will be eternally happy to sing to the world)
Was yea erra rre sol ciel hyma hynne mea
Was yea erra rre sol ciel hyma hynne mea
(And I will be eternally happy that the world hears me)
Wee apea ra melenas yor<br /<>
Wee apea ra melenas yor
(I will be immersed in happiness to love you)

The important thing to note is that even though "Was yea erra" was only spoken once, it was implied four times.

Double Register of Emotion Sounds[]

Even though writing Emotion Sounds in a sentence when using the Emotion Sound Keeper Definer Syntax is redundant, it can be done. It is only required if the speaker wishes to indicate a change in emotion over one sentence between two parts that share the inherited emotion. Song servers give priority to explicitly specified Emotion Sounds when processing songs that make use of the Keeper Definer Syntax.

For example:

Wee apea ra 0x vvi.
Wee apea ra 0x vvi.
うぃ あぺあ ら おぐ ヴぃヴぃ (wi apea ra ogu vivi - /ɰi/-/apea/-/ɾa/-/ogɯ/-/bibi/)
(I will be immersed in happiness)
irs tou ar ciel.
irs tou ar ciel.
いるす とぅ ある しぇーる (irusu tu aru sheeru - /iɾs/-/tɯ/-/aɾ/-/ɕeːl/)
(I'm immersed in happiness because I exist in this world)
hyma rre faura sonwe
hyma rre faura sonwe
ひゅま るるれ ふぁうら そんうぇ (hyuma rurure faura sonwe - /çəma/-/re/-/ɸaɯɾa/-/soɴɰe/)
(I'm immersed in happiness for listening to the singing of the birds)
Was yea erra sonwe hymmnos mea
Was yea erra sonwe hymmnos mea
(I will be eternally happy to sing my song)
sonwe sos ar ciel
sonwe sos ar ciel
そんうぇ そす ある しぇーる (sonwe sosu ar sheeru - /soɴɰe/-/sos/-/aɾ/-/ɕeːl/)
(I'm immersed in happiness singing for the sake of this world)
1x AAs ixi.
1x AAs ixi.
いぐ あーす いくし (igu aasu ikushi - /igɯ/-/aːs/-/iksi/)

As written here, the emotion associated with the third sentence is "Was yea erra", while all other lines carry "Wee apea ra".

Binasphere Chorus[]

The Binasphere Chorus (バイナスフィアーコラース, bainasufiaakoraasu?) is one of the most complicated grammar rules existent in Hymmnos, and it is used to sing two lines of lyrics as if they were one. (Binasphere means "two worlds" in Hymmnos, this meaning that within the Binasphere Chorus song, there are two worlds contained). Doing this gives more power to the song since a song using this technique can have two simultaneous effects.

History[]

This technique was developed by the Moon Chanters shortly after Hymmnos was standardized halfway during the First Era, in search of methods to make the language even more powerful. Since humans are unable to sing more than one song at once, their Binasphere Chorus method required two simultaneous singers to be executed. Also, it had another fatal flaw: since both singers were humans, no matter how much they tried to sympathize with each other's emotions, they were never be able to reach the synchronization level needed to create a Song Magic. Theoretically, if they had succedeed at their attempts, the songs of the Moon Chanters would have gotten roughly five to ten times more powerful than what they normally were. However, they still would have never be able to compete with Reyvateils that were born afterwards, since their power was only a hundredth of the one the Reyvateils could command with their songs.

Structure[]

We will now explain the process of turning the following two lines into a single Binasphere Chorus line:

Was yea ra chs hymmnos yor
Was yea ra chs hymmnos yor
わす いぇあ ら ちす ひゅむのす よあ (wasu yea ra chisu hyumunosu yoa - /ɰas/-/jea/-/ɾa/-/tɕis/-/çəmnos/-/joa/)
(I will be glad to turn you into a song)
en chsee fwal fwal yor
en chsee fwal fwal yor 
えん ちーせ ふわる ふわる よあ (en chiise fuwaru fuwaru yoa - /eɴ/-/tɕiːse/-/ɸɰal/-/ɸɰal/-/joa/)
(and then, I shall spread out your wings)

First, the two lines are split however the speaker wishes. Individual words may be broken up into multiple pieces as well. All words will be rewritten into uppercase characters and on the same line, each word split into two or more pieces will be marked with an "x" at the end of each fragment, except for the last fragment of each word. The mixed up line must also be marked with the Binasphere Line Starter "=>".

For this example, the lines above have been broken and rewritten as follows:

=> WAS EN YEx CHx A SEE RA CHS FWx HYMMx AL NOS FWAL YOR YOR
=> WAS EN YEx CHx A SEE RA CHS FWx HYMMx AL NOS FWAL YOR YOR
たぶ わす えん いぇ ち あ せー ら ちす ふわ ひゅむ ある のす ふわる よあ よあ (tabu wasu en ye chi a see ra chisu fuwa hyumu aru nosu fuwaru yoa yoa - /tab/-/ɰas/-/eɴ/-/je/-/tɕi/-/a/-/seː/-/ɾa/-/tɕis/-/ɸɰ/-/çəm/-/al/-/nos/-/ɸɰal/-/joa/-/joa/)

It might now become noticeable that the word fragments from both lines have been mixed with each other, and that their pronunciation has been changed according to how the fragments were split. Please note as well that the "x" at the end of each fragment is silent due to being part of the Binasphere Chorus encoding program, and thus must never be pronounced. Each fragment will now be assigned a number: 0 for fragments that originally came from the first line, and 1 for fragments that originally came from the second line:

=> WAS EN YEx CHx A SEE RA CHS FWx HYMMx AL NOS FWAL YOR YOR
    0  1   0   1  0  1  0   0   1    0   1   0   1    0   1

Those numbers will then be used to make a Binasphere Formula for this song. Binasphere Formulas look like this:

EXEC hymme 2X1/0>>
EXEC hymme 2X1/0>> formula
えぐぜく ひゅむ じ ぐ い お とらす (eguzeku hyumu ji gu i o torasu - /egdzek/-/çəm/-/dzi/-/gɯ/-/i/-/o/-/tɾas/)

The word formula should replaced with the string of numbers that was obtained after assigning 0s and 1s to each fragment, with each 0 being pronounced お (o - /o/) and each 1 being pronounced い (i - /i/). Following our example above, the formula for this case would be:

010101001010101
010101001010101

And thus, the Binasphere Formula for this example is:

EXEC hymme 2X1/0>>010101001010101.
EXEC hymme 2X1/0>>010101001010101

The formula is always placed at the end of the song, and a song cannot have more than one Binasphere formula. If the speaker wishes to use the Binasphere Chorus again in the same song, then the lyrics will have to be adapted to work with the first formula. The => (pronounced "Tab") is used to mark the point at which the Binasphere lines begin.

Using the following set of lines from EXEC_NULLASCENSION/., we will now provide an example of how lines coded in Binasphere can be deciphered:

=> RRHA RRHA GUWO Ax GAx PEx GIS A GAx TIE INNx
GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE
CIEL EN INI LA ZAx AR HHA CIEL RRHA RRHA Ax GUWO
GA PEx GAx A TYUNY RA HARx AR CIEL
TES EN YORA INI CHYET WAx SOR GAx LAx TYUNx SYE LA
FORx GANx ART SA DAL FAYx WASSA RA CIEL
EXEC hymme 2x1/0>>01101010
=> RRHA RRHA GUWO Ax GAx PEx GIS A GAx TIE INNx
GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE
CIEL EN INI LA ZAx AR HHA CIEL RRHA RRHA Ax GUWO
GA PEx GAx A TYUNY RA HARx AR CIEL
TES EN YORA INI CHYET WAx SOR GAx LAx TYUNx SYE LA
FORx GANx ART SA DAL FAYx WASSA RA CIEL
EXEC hymme 2x1/0>>01101010

The formula must be used to figure out which fragments belong to which lines. Since this Binasphere formula is shorter than the total number of fragments in lyrics, the formula must continously be looped until the end of the song is reached. (The "/" is not actually used, and it is instead a visual marker used in this example to indicate where the formula is looping):

=> RRHA RRHA GUWO Ax GAx PEx GIS A  GAx TIE INNx
    0    1    1   0   1   0   1  0 / 0   1   1

GIS NA GRAN GAx PAUL NOx TYUNY INI SAASH AR YANJE 
 0  1   0    1   0 /  0    1    1    0   1    0

CIEL EN INI LA ZAx AR HHA CIEL RRHA RRHA Ax GUWO 
 1   0 / 0  1   1  0   1   0    1    0 / 0   1

GA PEx GAx A TYUNY RA HARx AR CIEL 
1   0   1  0   1   0 / 0   1   1

TES EN YORA INI CHYET WAx SOR GAx LAx TYUNx SYE LA
 0  1   0    1    0 /  0   1   1   0    1    0  1 
 
FORx GANx ART SA DAL FAYx WASSA RA CIEL 
 0 /  0    1  1   0   1     0   1   0

Note: The end of the final loop has to coincide with the last fragment of the song.

After that, the fragments must be placed back together on their respective lines, as indicated by the formula.

This is how the lines look once they have been pieced back together:

First line:

Rrha apea gagis gran paul nosaash yanje en ini ar ciel
Rrha apea gagis gran paul nosaash yanje en ini ar ciel
(In this delightful trance, I feel that the way will be opened, for the goddess to purify this world forever)

Second line:

Rrha guwo gagis tie innna gatyuny ini ar ciel la zahha
Rrha guwo gagis tie innna gatyuny ini ar ciel la zahha
(In this trance of hatred, I shall tie this curse to the inside of my mind, and then, I shall purify and make advance this world)

First line:

Rrha apea ra hartes yora chyet walasye forgandal wassa ciel
Rrha apea ra hartes yora chyet walasye forgandal wassa ciel
(In the midst of this trance of delight, I will love your special persons, because of the festival of the world)

Second line:

Rrha guwo ga gatyuny ar ciel en ini sor gatyunla art sa fayra
Rrha guwo ga gatyuny ar ciel en ini sor gatyunla art sa fayra
(In this transient anger, I shall purify this accursed world through the flames of the hell)

Note: It is theoretically possible to use the Binasphere Chorus function in New Testament of Pastalie sentences too, but so far, no more details have been revealed on this matter.

Emotionless Sentences[]

Normally, if a sentence lacks emotion sounds at its beginning, then it is implied that it has the same emotion sounds as the sentence that came before it. But if none of the sentences in a song have emotion sounds, neither the sentences are using the Emotion Sound Keeper Definer Syntax, then the Tower cannot process it as a spell. It is accepted as a simple song instead, used only to convey feelings without a specific effect to execute. Even though a song without emotion sounds can still invoke some magical effect, the effect would not be of particular strength.

Here is an example taken from the lyrics of EXEC_HARMONIOUS/.:

Faura yerwe murfan anw sol ciel
Faura yerwe murfan anw sol ciel
ふぁうら いぇーうぇ むるふぁん あんわ そる しえーる (faura yeewe murufan anwa soru sheeru - /ɸaɯɾa/-/jeːwe/-/muɾɸaɴ/-/aɴwa/-/sol/-/ɕeːl/)
(The little bird chirps her feelings to the world)
Faura sonwe murfan anw sol ciel ee
Faura sonwe murfan anw sol ciel ee
ふぁうら そんうぇ むるふぁん あんわ そる しえーる いぇえ (faura sonwe murufan anwa soru sheeru yee - /ɸaɯɾa/-/soɴwe/-/muɾɸaɴ/-/aɴwa/-/sol/-/ɕeːl/-/jeː/)
(The little bird sings her feelings to the people)
Ridalnae sol ciel yanyaue manaf
Ridalnae sol ciel yanyaue manaf
りだるなーえ そる しぇーる やんやうぇ まなふ (ridarunaae soru sheeru yan'yawe manafu - /ridalnaːe/-/sol/-/ɕeːl/-/jaɴjaɰe/-/manaɸ/)
(This irreplaceable world, and these precious lives)
Presia yasra lusye enclone anw omnis
Presia yasra lusye enclone anw omnis
ぷれしあ やすら るーしぇ えんくろぅね あんわ おむにす (pureshia yasura ruushe enkuroune anwa omunisu - /pɾeɕia/-/jasɾa/-/lɯːɕe/-/eɴklowne/-/aɴɰa/-/omnʲis/)
(I wish that the light of love would flood from the sun and wrap everything)
Faura selena anw Metafalica
Faura selena anw Metafalica
ふぁうら せれな あんわ めたふぁりか (faura serena anwa metafarika - /ɸaɯɾa/-/selena/-/aɴɰa/-/metaɸalika/)
(The little bird plays the Song of Hope)

This song was used to convey feelings to someone in the story of Ar tonelico: Melody of Elemia, but not for executing functions through the Tower. It still contains Hymmnos lines expressing the thoughts of the singer though. The end result of this song is the fusion of feelings, but since it depends mostly on the feelings of the singer, the Tower does not do much in response to it.

Phonology[]

The Hymmnos language was developed using the Japanese phonology as its basis, and while it incorporates some words with a similar ortography to ones found in natural languages such as English, Spanish, Latin, Sanskrit, French, Italian or German, it is considerably simple when it comes to the sounds found within it due to not featuring more than approximations for the pronunciations from these languages, as it can be seen in the table below:

Letter Sound Letter Sound
A /a/ N /n/ if followed by a vowel, /ɴ/ if followed by a consonant, /ɲ/ if followed by Y.
B /b/ O /o/
C /k/ and /ɕ/. Changes to /tɕ/ if followed by an H. P /p/
D /d/ Q /kɯ/
E /e/ R /r/ at the beginning of words, /ɾ/ in all other positions, excepting in words like "ra".
F /ɸ/ S /s/. Changes to /ɕ/ when followed by an H or Y.
G /g/ T /t/
H /h/. Changes to /ç/ when followed by an I or Y. U /ɯ/
I /i/. Changes to /ç/ when preceded by an H. V /b/
J /dʑ/. W /ɰ/
K /k/ X /ks/ or /dz/.
L /l/. Y /j/. Becomes a /ʲ/ when preceded by any other consonant excepting the S, in which case it changes to /ɕ/, and the C, in which case it changes to /tɕ/. Pronounced occasionally as /jә/.
M /m/. Z /dz/.

It also bears mentioning that there are words that have exceptional pronunciations that don't follow the phonology from the table above, which have been noted in their corresponding pronunciation field in the Lexicon page.

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