In all the posts discussing our language,the novel theory that shows up by itself is the talk of putting our alphabets in different quadrants of the Cartesian co-ordinates.It seems to me that the very novel theory is the basic and identifying characteristic of our language.
In the above context,it is appropriate to call our language 'TALA-NGA-SUNG',provided we keep 'Un','E' and 'Atiya' out from the list.
Our language seems to be an experiment that tries to decide what different sound might come out if we put the 15 alphabets on the 8 different faces('Sung') of 4 different quadrants.
For example,'Ch(a)' is nutrient,energy or motion according to different contexts.Accordingly,we have 'chaak','che','chin' etc when we start our discussion from the 'Ch(a)' quadrant.
But we calnalso start from 'Che' quadrant.If we do so,we find that 'Che' is paper.So,'Chei' must mean document(not the stick).It is certainly logical because we have the words like 'Cheiraap',which incidentally,means 'Leibaakki documentki institution'.Going further,'Cheiraoba' is the day from which the 'documentation' starts for the society as a whole [Chei-(LA)-Lo] and for the individual citizen [Chei-La-(LO)].With a little innovation,we can say that 'KEI-CHEI' is our term for 'constitution'.
For my part,the journey of trying to understand this novel idea gets its impetus from the discussion of the four terms:
a) AMASUNG
b) AMADI
c) SUNGTAI
d) PAKHANGBA PAAPHAL.
a) In the post entitled,'Continuously creating Angoms and the conceptual underpinning enabling the process',we get a new idea in hand by discussing 'Ahum'.in which,we let 'Hu' decide the relationship between 'A' and 'M(a)'.We are going to deploy the same step here to understand what 'Amasung' means.But before going further,we need to find out what 'Sung' is.For this we need to go to 'Sungtai' from 'Maikei mari sungtai nipaan'.To make our road easier to negotiate,we should start from 'Yentai',which we use in our kitchen everyday.
'Ya' is full of greens,throbbing with life.So,'Yen',in this context,is the 'green' which has been cut down.( For 'Yen',the chicken,the logic goes like this--in 'Ya',an all the cases,primary colours gel into making a single one and that resulting colour adorn most of the animals.But,in case of 'Yen' the primary colours remain as they are).So,'Yensaang' is the 'cut green' whose parts has got life ie,edible.So,'Yentai'is the device which makes the fresh air circulation around the 'cut green' possible.So,'TAI',in this context,is 'air oscillation',meaning air circulation.
From this,we need to deduct that 'TAI' in 'Sungtai' should also mean some form of 'oscillation'.From our daily usage,we know that 'Masung' is a quarter ie,an individual quadrant.So,'Sung' must be the conceptual device that enables us to envision a 'Masung'.So,'Sungtai' is this 'conceptual device in an oscillated state..In my mind,it should mean the process (that is,the oscillated state) which enables us to see and touch the two faces of a 'Masung'.We have 4 nos of 'Masung' and,thus,we have 8 nos of faces.
Are these 8 faces which they call the 'Sungtai Nipaan'?
In modern parlance,'Sungtai' is the 3D version of a two dimensional object.
Going a little deeper it is logical to posit that a two dimensional state of 'Sung' must a 'dead' one because we decide that 'Su' has been endowed with life (that is,they can be seen and touched),forming the term,'Sung'.
From the above discussion,we get a diagram:
So,'Su' is the origin.
When this 'Su' is made to oscillate so that we can see and touch it,we get a 3D model of it.(In the case of 'Sungtai nipaan',we also find each of the eight faces in the 'middle' or the 'origin' of every consequent quarters).
Here,we need to research further to find out if our architects has given names to the eight 'Sungtais'
Now,we are in a position to continue the discussion on 'Amasung'.
AMASUNG(continued):In our context here,if we were to equate 'A' to mean 'Atiya',then the 0-90 degrees quadrant must be the space where the existential human activities take place.Thus,if the relationship of 'A' and 'Sung'('Su' in two dimensional model) is defined by 'M(a)',then the 'Wangbren' line must be Earth's surface.In a conceptual level,it should mean that all the living creature must stay grounded to this line.This line touches the face of the 'Mashung' forming the 0-90 degrees quadrant.
Going further,should we infer that it is in the face of this 'mashung' that Pakhangba's 'face' reside?The reason is that Pakhangbe is of this earth,according to our stories.If it is the case,then Pakhangba's 'tail' also must reside there,as the the 'face' should bite the 'tail'(depicted on Pakhangba Paaphals).
b) The relationship with 'A' and 'Ti' is defined by 'M(a)'.Here,in this context,'Ti' is the power that enables the 'pushing up' and the 'compressing down' by a male penis.
We are using 'amasung' and 'amadi' interchangably.So,we have the following:
Amasung = Amati.
From the above,we can get 2 deductions:
--In the anatomical sense,'Ti' should reside above 'Su' or 'Sung'.
--In the conceptual level,'Su' or 'Sung' can be 'pushed up' and 'compressed down'.
From the above discussion,we get the following diagrams(We are taking the alphabet producing the 'Y(a)' sound as our case study).
From the above diagram,it can be inferred that if the 'Y(a)' is 'pushed up' beyond the line of 45 degrees,it becomes 'Yi'.So,if 'Y(a)' is 'compressed down' below the line of 45 degrees,what it become?
Here,we arrive at the crucial point of our discussion.At this point of our discussion,we fail to re-connect with the logic developed by our architects in trying to answer the above question.
The next option we have in our hands is to look up to our common usage.The terms 'Ku',Lu','Chu' etc,all in their anatomical sense,seems to refer to something signifying 'below'.
So,in the above diagram,if the 'Y(a)' is 'compressed down' below the 45 degrees line,it becomes 'Yu'.Thus,we have a new diagram:
As the 'Pakhangba Paaphal' tells us that the 'face' must meet the 'tail',we have another 'Ya'(the 'Y(a)' which have already traveled towards the -x axis),in yet another diagram:
If we reach this point,we have only to find out the mirror images of 'Yi','Yu' and 'Ya' to complete the whole picture.we have the final diagram below:
In discussing the 'Y(a)' root,it is of utmost necessity to find out how 'Yennaba'(division) comes forth.As of now,it can only be explained in one specific condition.The condition--when 'Su' (origin) and 'Siyayo' (zero) overlap each other.To make the illustration easier,we start from 'Ayomba' or 'Yomsinba'.
Su = siyayo.
From the second diagram above,we infer that a 'Yi 'produces the 'father' who,in his turn,produces the 'kid'.But in the mirror image,the 'kid' 'attacks' the 'father' to produce the 'Yi'.
This is exactly what division means.
COROLLARY:In the post entitled,'Pena' we have already produced the following diagram.
If we do the 'pulling' along,above and below the 45 degrees line,we will get 'sliding' sound.Some of them are given below:
All said and done, I honestly think all the above points I have brought out to the public domain should be put under rigorous scrutiny.
Such a scrutiny will help us in bringing forth a robust synthesis.
CORIGENDUM
In the first diagram of 'Yennaba' depiction,the written word on it was 'Siyayo'.But the written word should be 'Yiyayo'.
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