nophi lue mawha lokue — News from Nowhere, ch. 1: Discussion and Bed (in progress)

William Morris published News from Nowhere in 1890: a Victorian socialist falls asleep after a heated political argument and wakes into a future England that has abolished money, private property, and rule itself, a world built on craft, common land, and work given rather than sold. Its economics already match a ruling Phi settled on its own: canon refuses money, price, and wage as vocabulary, since Phi treats exchange as a gift. This is the book's first chapter, a trial for a longer transmutation still to come. Eleven words were coined: shalimo (alliance), nurako (railway), welamu (elm), tawimo (foolish), pothu (stink), kanelu (err), monelu (amused), kapura (shout), loremi (branch), wakomi (surprise), and ruelami (adventure), favored over compression since a closer transmutation matters more than an economical one. The chapter's own wish, spoken twice on the train and muttered twice more leaving the station, is carried by su, the optative particle already in the grammar, once for the whole passage. The League's pace, the transformation it turns on, the discussion's warmth, and the magnitude of the four's conviction are carried by reshi, moreluki, therua, phirae, noeli, ru kesu, and manolu, all pre-existing words. The chapter's own frame is told as secondhand report, "says our friend," before the narrator steps forward to tell the rest himself, a device that lines up with Phi's reportative evidential almost exactly.

Each block below carries four lines: the Phi sentence, its word-by-word gloss, a back-translation into English, and Morris's own original wording, so a reader can see exactly what the transmutation kept and what it changed.

The report

melu wei mia ti haolu.
friend DAT 1SG REP speak.
(A friend told this to me, and I report it.)
morris: "says a friend"

mua shalimo ta shero reshi thelu shareo to ki nai.
LOC alliance one night fast dialogue discuss PST PFV be.
(Up at the alliance, one night, there had been a brisk, conversational discussion.)
morris: "Up at the League, ... there had been one night a brisk conversational discussion,"

punoa moreluki wireo philo hina so po kelu.
society transform future day what FUT POT become.
(On the morrow of society's transformation, what might happen?)
morris: "as to what would happen on the Morrow of the Revolution,"

soli melu lo newu seroli punoa wireo remo pa therua haolu.
SOME friend PL new mature society future think INCH eager speak.
(Some friends began eagerly to speak their thoughts on the new, fully-developed society's future.)
morris: "finally shading off into a vigorous statement by various friends of their views on the future of the fully-developed new society."

Notes: ti opens the chapter and does the whole frame's work in one word: everything that follows is secondhand, reported rather than witnessed, exactly as the original's recurring "says our friend" means. Phi's evidentiality system rarely gets to show off a use this clean, and no other clause in the block needs its own marking, since none of them is the narrator's own direct-experience stance.

"Up at the League" names a standing body, not a single occasion of meeting it: shalimo (alliance) carries it, a group deliberately bound together by shared cause, coined because a meeting (lona) would only be the event, not the membership. Its pace and the transformation behind it are carried by reshi (fast) and moreluki (transform), neither coined for this text.

The discussion's own timing is carried too: Morris sets the scene "one night," and shero, already at work two blocks later describing the night itself, states it here as a plain temporal adjunct, ta shero, needing no new word or construction. "There had been" is completion at a past reference point, to ki rather than a bare to, the same pluperfect the corpus already uses for "had understood."

"The Morrow of the Revolution" names a specific point, the day after, not a vague future: wireo philo, the journal's own word for tomorrow (literally future day), takes punoa moreluki as its possessor, and its own question survives alongside it: "what would happen" embeds directly, hina needing no complementizer of its own since the gap-word signals the embedding, and so po turns a flat future into the offered possibility the original's "would" actually carries, kelu (become) standing in for a dedicated "happen" the lexicon does not need.

The discussion is reshi thelu shareo, brisk and conversational both: thelu, the dialogue-word, stands before shareo the way one noun qualifies another, so the talk's informality survives beside its pace. The friends who speak are soli (some), not all of them, and what they speak are lo remo, their thoughts, possessed by the very future they concern: newu seroli punoa wireo remo, thoughts of the new, fully-developed society's future, the possessor chain running exactly as deep as Morris's own "their views on the future of the fully-developed new society." The vigor itself changes shading rather than simply existing: pa therua, inchoative eager, marks the discussion's turn into vigor, closer to "shading off into" than a flat completed fact.

thelao, whekai, sheno, and phisu were checked and set aside: none fits "finally," which marks a culmination in sequence rather than a cause, contrast, addition, or example, so the transition is carried by the inchoative aspect instead.

kowela — The council

sheno wi shao himo miona to nai.
ADD two three-group HUM.CLF person PST be.
(For the rest, there were six people.)
morris: "For the rest, there were six persons present,"

thelao lo shia kowela to nai.
CONS PL 3SG council PST be.
(And so, they were a council.)
morris: "and consequently six sections of the party were represented"

ta shao ta himo ru kesu phirae miona mena mawha miona kulo meno to pula.
one three-group one HUM.CLF INTS determined different person DECL.COMP NONE person guide DECL.COMP.CLOSE PST wish.
(Four of them, intensely determined and differing from each other, wished that no one would guide at all.)
morris: "four of which had strong but divergent Anarchist opinions"

shai shareo thena punoa moreluki nai shareo noeli to manolu.
CONC discuss thing society transform be discuss warm PST stay.
(Although the discussion's matter was society's transformation, the discussion stayed warm and good-natured.)
morris: "Considering the subject, the discussion was good-tempered;"

lo miona wiso po ma sheluo.
PL person RECP POT NEG listen.
(They could scarcely listen to each other.)
morris: "if they did not listen to each others' opinions (which could scarcely be expected of them),"

thona lao lona nela thumela thelu lo miona keno to nai lo miona li soli shemu nuawe haolu.
ADVRS BECAUSE meeting COORD teach dialogue PL person custom PST be PL person RESTR SOME moment together speak.
(But, since meetings and lecture-dialogues were these people's custom, they spoke all at once only sometimes.)
morris: "for those present being used to public meetings and after-lecture debates, ... at all events did not always attempt to speak all together,"

nuawe thelu punoa keno nai.
together dialogue society custom be.
(Speaking all at once is society's custom.)
morris: "as is the custom of people in ordinary polite society"

rena melu ru sano kowela miona mua shareo thorui pai maeli meilo.
REL friend INTS know council person LOC discuss beginning NEAR quiet sit.
(The council-member the friend knows very well sat almost silent at the discussion's beginning.)
morris: "One of the sections, ... a man whom he knows very well indeed, sat almost silent at the beginning of the discussion,"

whekai shia pheo laeno shemu muo shareo se natu.
CONTR 3SG POST long moment INTO discuss PASS pull.
(However, after a long while he was drawn into the discussion.)
morris: "but at last got drawn into it,"

shia korua thero to nai.
3SG heart fire PST be.
(His heart caught fire.)
morris: "and finished by"

shia mua shareo lumae ki kapura.
3SG LOC discuss end PFV shout.
(At the discussion's end, he shouted out very loud.)
morris: "roaring out very loud,"

shia lo miona ki thiku nila.
3SG PL person PFV small see.
(He looked down on the others.)
morris: "and damning all the rest"

shia mena lo miona tawimo nai meno haolu.
3SG DECL.COMP PL person foolish be DECL.COMP.CLOSE speak.
(He said the others were foolish.)
morris: "for fools;"

Notes: the original names its faction "Anarchist"; Phi has no such label to give it, since canon already refuses the vocabulary of rule, lord, and throne. So the four are described by what they want rather than what they are called: mawha miona kulo, no one guides, built from the same kulo (guide) canon already uses in the Ring Verse refusal, an interpretation of "Anarchist opinions" rather than a line Morris spells out himself. ru kesu (intensely determined) carries the "strong" half of "strong but divergent," the magnitude of their conviction, not just its direction; phirae (different) marks the four as divergent even from each other, not only from everyone else.

The discussion's good temper carries its whole qualification: shai (although) hangs "Considering the subject" as the concession Morris means it to be, with the subject named from the chapter's own opening, shareo thena punoa moreluki nai, the discussion's matter was society's transformation, and against that weight noeli (warm, the emotional sense, distinct from temperature) and manolu (stay) state that the talk held its temperature. wiso (RECP) marks that the listening in question was reciprocal, each to each; po ma (could scarcely) carries "which could scarcely be expected of them" as a hedge on the group's own self-discipline, not a flat denial. The reason Morris gives for the restraint keeps its own clause: lao lona nela thumela thelu lo miona keno to nai, since meetings and lecture-dialogues (thumela thelu, the teaching's own dialogues) were these people's custom, with keno (custom) doing here what it does for the sleeper's wont two sections later. What they managed is stated at Morris's own exact strength: li soli shemu nuawe haolu, they spoke all at once only sometimes, the restriction and the ruled frequency phrase together carrying "did not always attempt to speak all together" without claiming the fuller restraint Morris never grants them. And the jab at the wider world stands as its own gnomic sentence: nuawe thelu punoa keno nai, speaking all at once is society's custom, punoa (society, the whole civilizational fabric) being exactly the "ordinary polite society" the League outperforms; "when conversing on a subject which interests them" folds into the custom itself, since nobody talks over a subject that bores them.

The one voice that finally rises was not loud from the start: pai maeli meilo (sat near quiet) states the man's near-silence at shareo thorui (the discussion's beginning), pai (near) giving "almost silent" its almost by the same nearness that measures the river against its fullness. rena melu ru sano kowela miona (the council-member the friend knows very well) keeps Morris's own aside, an intimate detail rather than a stranger's outburst, with kowela miona (council-person) carrying "One of the sections," the man standing for his faction exactly as Morris's synecdoche has him stand, and the pre-nominal relative clause working the same way the chapter's other embedded clauses do. whekai (CONTR, however) opens the turn itself, and pheo laeno shemu (after a long moment) gives "at last" its duration, the long twin of the short moment that wakes the sleeper two sections later; se natu (was drawn in) is passive on purpose, since Morris's own "got drawn into it" describes something that happened to the man, not a choice he made.

korua thero, heart-fire, is anger, an established compound, not a new one, and it keeps its own sentence rather than sharing kapura's clause: Morris's own words are just "roaring out very loud," with the anger left implicit in the volume; naming it directly rather than leaving it unspoken is the same choice Phi's own compound already makes. kapura is intransitive, so korua thero cannot stand as its object; each gets its own verb instead, nai for the state and kapura for the act. kapura (shout, roar), coined for this line, names the forceful vocalization itself, an outburst distinct from theisa (loud, a quality any sound can carry) and stronger than haolu (speak) intensified. "Finished by" is not left to context: shareo lumae, the discussion's end, bookends shareo thorui, the discussion's beginning, already marking the man's silence two blocks earlier; the same word lumae already names the sun's own end (west) two sections ahead, so the discussion now has a beginning and an end the same way the day does. "Damning all the rest for fools" is two acts, not one, and stays two sentences: haolu (speak) only carries plain declaration, with no contempt built into it, so the damning itself needed its own verb rather than riding on the word for what he said. thiku nila, small-see, is already in the lexicon as the compound for shame inflicted from outside (shame.json's own cousin-word), and composes cleanly here as the belittling Morris names, lo miona (the others) as its direct object and thiku (small) standing as its manner the same way other adjectives do before other verbs in this chapter. tawimo (foolish), coined as the natural opposite of phue (wise) rather than composed as ma phue (not-wise), keeps the specific charge in the second sentence, since a language of mindful speech deserves its own word for the thing mindfulness is not.

The headcount and its consequence stand as two sentences, matching the original's own structure of a fact and what follows from it: sheno (ADD) opens the census the way Morris's "For the rest" pivots to it, and thelao (CONS, "therefore"), a discourse marker built to link whole sentences rather than parts of one, carries the "and consequently." "Six sections of the party were represented" needs no political vocabulary at all: kowela, council, already names a non-hierarchical body gathered because its members bring different views to it, so calling the six a council states the same thing Morris states, without borrowing his party politics to do it. The meeting-place and the discussion's topic are carried in the block above.

nurako — The railway

kohura ki nai.
noise PFV be.
(There was noise.)
morris: "after which befel a period of noise,"

maeli ki nai.
quiet PFV be.
(There was quiet.)
morris: "and then a lull,"

shia sui maeli lue shalimo to ru noeli pholeni.
3SG DUR quiet ABL alliance PST INTS warm depart.
(During the lull, he took his leave of the alliance very warmly.)
morris: "during which the aforesaid section, having said good-night very amicably,"

shia sonu to nai.
3SG alone PST be.
(He was alone.)
morris: "by himself"

shia kau sorae lumae womu to wepu.
3SG ALL sun end home PST go.
(He went home to the west.)
morris: "took his way home ... to a western suburb"

punoa roe nurako lo miona to ka wepu. ha wepu keno to kelu.
society INS railway PL person PST CAUS go. PROX go custom PST become.
(Society made people go by railway. This going became a custom.)
morris: "using the means of travelling which civilisation has forced upon us like a habit"

shia mua rena phou muila wepu nurako to meilo.
3SG LOC REL BELOW earth go railway PST sit.
(He sat in the railway that runs below the earth.)
morris: "As he sat in ... a carriage of the underground railway"

sheloi reshi wipha miona nela siwe to nai.
MANY fast restless person COORD sweat PST be.
(There were many hurried, restless people, and sweat.)
morris: "that vapour-bath of hurried and discontented humanity,"

nurako to pothu.
railway PST stink.
(It stank.)
morris: "the stinking railway carriage"

shia phea lo miona wipha to nai.
3SG AS PL person restless PST be.
(He, like the others, was restless, unable to settle.)
morris: "he, like others, stewed discontentedly"

shia rena shia mua shareo to ki sahu sheloi tiso remo ki nupira themio.
3SG REL 3SG LOC discuss PST PFV forget MANY sharp think PFV shame reflect.
(In self-reproach, he turned over the many sharp thoughts he had forgotten in the discussion.)
morris: "while in self-reproachful mood he turned over the many excellent and conclusive arguments which, though they lay at his fingers' ends, he had forgotten in the just past discussion"

whekai shia teku korua nupira to ro nai.
CONTR 3SG short heart shame PST HAB be.
(But this brief self-reproach was, for him, habitual.)
morris: "But this frame of mind he was so used to, that it didn't last him long,"

shia korua thero to ro nai.
3SG heart fire PST HAB be.
(He was habitually quick to anger.)
morris: "for having lost his temper (which he was also well used to),"

thelao teku korua nupira to nai.
CONS short heart shame PST be.
(Consequently, a brief self-reproach followed.)
morris: "and after a brief discomfort, caused by disgust with himself"

shia shareo si themio.
3SG discuss IPFV reflect.
(He kept musing on the discussion.)
morris: "he found himself musing on the subject-matter of discussion"

whekai shia korua nuhe to si nai.
CONTR 3SG heart sadness PST IPFV be.
(But he was still unhappy.)
morris: "but still discontentedly and unhappily"

shia wei miso shola su mia wireo punoa ta philo li nila sholo to haolu.
3SG DAT REFL QUOT.COMP OPT 1SG future society one day RESTR see QUOT.COMP.CLOSE PST speak.
("If only I could just see one day of it," he said to himself.)
morris: "\"If I could but see a day of it,\" he said to himself; \"if I could but see it!\""

shia sui haoni ki kamo.
3SG DUR voice PFV arrive.
(While his voice sounded, he arrived.)
morris: "As he formed the words, the train stopped at his station"

womu sio luphore leo rena phelora ma nai suro repha to nai.
home BESIDE river ABOVE REL beautiful NEG be rope bridge PST be.
(His home stood beside the river, above the not-beautiful rope-bridge.)
morris: "five minutes' walk from his own house, which stood on the banks of the Thames, a little way above an ugly suspension bridge"

Notes: the room's own aftermath survives as its own pair of sentences: kohura (noise) and maeli (quiet) name the noise and the lull that follows it, plainly, with no connector between them, since one simply comes after the other. The parting then happens inside that lull, exactly where Morris places it: sui maeli (during the quiet) opens the departure sentence, reusing the lull the previous sentence just named. The parting itself is pholeni (depart), a word whose own meaning already bundles "the farewell spoken" into the moment of leaving, and its manner is ru noeli (very warm), with ru carrying Morris's "very"; noeli belongs to the parting, not to the journey that follows, since travel has no temperature. lue shalimo (from the alliance) names what he leaves, reaching back to the League named at the chapter's own opening, and sonu (alone) states his solitude in its own sentence between the parting and the ride, where Morris's "by himself" sits. His home takes its direction for the first time: sorae lumae, sun's end, is the lexicon's own compositional word for west (the compositional partner to the coined nitho/ronua, north and south), possessing womu the same way nitho ruela (the north path) already does; "a western suburb" narrows to "a home in the west," since Phi has no word for the administrative category and the direction itself carries the image's real weight.

Morris's own aside survives as its own sentences rather than folding silently into the journey: punoa (society) takes ka (CAUS), the causative voice, with lo miona (people) as the ones caused, and the railway rides in roe (INS), the instrument phrase, since "the means of travelling" names the railway as a means, not a location. The habit is the people's, not civilization's, and a Slot 1 cluster describes its own clause's event, which under ka is the causing itself; so the habit stands in its own clause, ha wepu keno to kelu, this going became a custom, keno the word for what a community does by habit. The ride itself then seats him: meilo (sit), inside rena phou muila wepu nurako, the railway that runs below the earth, a relative clause built the same way the corpus already builds a tall wall that arrives at the sky, placing the underground exactly where Morris names it. The vapour-bath keeps its substance in its own sentence: sheloi (many) and reshi (fast, doing double duty as "hurried") for the press of people, wipha (restless) for their discontent, and siwe (sweat), coordinated on with nela, for the heat, without needing a new word for either image. pothu (stink), the coach's own smell, carries its line alone, to marking it past like its neighbors. "Like others" is phea (AS), so his restlessness is not his alone but the whole carriage's, and its back-translation says exactly what wipha's own entry says, restless and unable to settle.

The turned-over arguments keep their own weight: rena, the pre-nominal relativizer already at work in kowela, holds "which... he had forgotten in the just past discussion" as a clause bound to sheloi tiso remo (many sharp thoughts), tiso (sharp) carrying "excellent and conclusive" as a single quality rather than two, and remo used as its own event noun, thought turned over rather than settled, by the same rule that gives every verb its noun. nupira (shame) stands as the manner of the turning-over itself, "self-reproachful," the same way nuawe (together) stands as manner elsewhere in the chapter; "which lay at his fingers' ends" is left out on purpose, an idiom with no clean image to carry across. Morris turns against this mood with a plain "But," and whekai (CONTR) carries the turn; the mood itself is teku korua nupira, a brief self-reproach, with to ro, the taught past-habitual pair, stating "so used to it that it didn't last him long." The same shape repeats for his temper, as Morris repeats it: korua thero, heart-fire, reaching back to the very shout kowela already names, also with to ro; and thelao teku korua nupira, the same brief self-reproach following as consequence, closes the second round. The musing that follows is not the same act as the turning-over: themio (reflect) returns with si (IPFV), an open, unresolved considering rather than a completed one, taking the discussion as its plain object, and whekai ... to si nai states Morris's second turn, "but still discontentedly and unhappily," with the persistence marked by si rather than assumed.

The wish is the chapter's first direct quotation: shola ... sholo preserves the exact words, so the wish keeps Morris's own first person (mia) and its own mood (su, the optative) inside the frame, and wei miso (to himself) names who hears it, the same dative shape the chapter's opening uses for "to me." ta philo (one day, the day-word's own entry example) keeps the wish's real size, one day of the future society, and li (RESTR) before nila keeps its modesty, "could but see," the least thing askable; Morris repeats the wish twice in one breath, and su needs no doubling to carry a wish already marked as one. The arrival lands inside the wish's own sound: sui haoni (during the voice), haoni being the noun haolu's own entry points to for the act of speech, so the train stops exactly as the words are formed, the same coincidence the whole book then walks through. The house takes its place in the world for the first time: sio (BESIDE) and leo (ABOVE), setting womu beside luphore (the river) and above the rope-bridge named again two blocks ahead, and the bridge's ugliness is composed, not coined: rena phelora ma nai suro repha, the rope-bridge that is not beautiful, absence of beauty rather than a granted opposite, the softer carve Phi's own philosophy asks for. "Five minutes' walk" and the Thames by name are left out: canon already refuses clock time as vocabulary, and the river needs no proper name it has not been given anywhere else in the chapter.

shero phelora — The beautiful night

shia mue nurako lokue to thiru.
3SG OUT.OF railway place PST exit.
(He went out of the railway's place.)
morris: "He went out of the station,"

shia korua nuhe to si nai.
3SG heart sadness PST IPFV be.
(He was still unhappy.)
morris: "still discontented and unhappy,"

shia shola su mia thena li nila sholo to si maeli haolu.
3SG QUOT.COMP OPT 1SG thing RESTR see QUOT.COMP.CLOSE PST IPFV quiet speak.
("If only I could just see it," he kept saying quietly.)
morris: "muttering \"If I could but see it! if I could but see it!\""

phoe shia wea luphore laeno thalo theula wipha nela tumoa lue shia to ke lepa.
ANT 3SG TOWARD river long walk UNIV restless COORD heavy ABL 3SG PST INFER fall.
(Before he had walked long toward the river, all the restlessness and the heaviness seemed to fall away from him.)
morris: "but had not gone many steps towards the river before (says our friend who tells the story) all that discontent and trouble seemed to slip off him."

theriko meluna thorui shero phelora to nai.
frost season beginning night beautiful PST be.
(The night of the frost-season's beginning was beautiful.)
morris: "It was a beautiful night of early winter,"

haowu pheo ru sulae lokue tiso nela newai to nai.
air POST INTS warm place sharp COORD fresh PST be.
(After the very warm room, the air was sharp and fresh.)
morris: "the air just sharp enough to be refreshing after the hot room"

howeli lue sorae lumae wea nitho to ki thiku rato.
wind ABL sun end TOWARD north PST PFV small turn.
(The wind had turned a little, from the west toward the north.)
morris: "The wind, which had lately turned a point or two north of west,"

howeli waero nuwi to ki ka kelu.
wind sky clear PST PFV CAUS become.
(The wind had made the sky become clear.)
morris: "had blown the sky clear of all cloud"

li soli phelo thiku neparu thue waero to reshi wepu.
RESTR SOME light small cloud THROUGH sky PST fast go.
(Only a few light, small clouds went swiftly through the sky.)
morris: "save a light fleck or two which went swiftly down the heavens."

lunei limu mua waero kesho to nai.
moon young LOC sky middle PST be.
(A young moon was at the sky's middle.)
morris: "There was a young moon halfway up the sky,"

rena kau womu wepu miona lunei ki nila.
REL ALL home go person moon PFV see.
(The one going home caught sight of the moon.)
morris: "and as the home-farer caught sight of it,"

lunei thoa raelu serao welamu lo loremi to nai.
moon AMONG tall old elm PL branch PST be.
(The moon was among the branches of the tall old elm.)
morris: "tangled in the branches of a tall old elm,"

lokue phelora to ma nai.
place beautiful PST NEG be.
(The place was not beautiful.)
morris: "the shabby London suburb where he was,"

shia rena shia mua whano lokue to po ma halemu.
3SG REL 3SG LOC stand place PST POT NEG remember.
(He could scarcely call to mind the place he stood in.)
morris: "he could scarce bring to his mind"

shia mena shia mua loshi pelowa muila nai meno to phaelo.
3SG DECL.COMP 3SG LOC joyful meadow earth be DECL.COMP.CLOSE PST feel.
(He felt that he was in joyful meadow-land.)
morris: "and he felt as if he were in a pleasant country place--"

thena sheo rena shia to ki sano nulo pelowa muila ru mo loshi to nai.
thing THAN REL 3SG PST PFV know deep meadow earth INTS CMPR joyful PST be.
(It was, truly, more joy-giving than the deep meadow-land he had known.)
morris: "pleasanter, indeed, than the deep country was as he had known it."

Notes: the walk out of the station keeps every beat. The station itself is nurako lokue, the railway's place, a plain possessor compound; the unhappiness repeats in the very words the ride's own last sentence uses, because Morris repeats it too; and the muttering is the same wish in the same exact-words frame, thena (thing) standing for Morris's own "it," with to si maeli haolu (was quietly speaking) carrying "muttering" as ongoing quiet speech, su still needing no doubling for a wish already marked as one. The turn itself takes the grammar Morris's syntax asks for: phoe (before) hangs the whole walk as a dependent clause, before he had walked long toward the river, and what falls is theula wipha nela tumoa, all the restlessness and the heaviness, the section's two mood-words gathered under one quantifier, falling (lepa, the word for leaves from branches, motion surrendered to rather than made) away from him (lue shia). ke (INFER) carries "seemed": the slipping-off is read from appearance, not asserted, which is also all the distance Morris's own re-cite asks for.

The night is winter's: theriko meluna, the frost season, composes the season the calendar lacks a word for, and its thorui (beginning) makes the winter early, the same beginning the discussion had. The air's recovery keeps its cause: pheo ru sulae lokue, after the very warm room, ru lifting warm to hot; the carriage's half of Morris's contrast already stands two sections earlier at its own moment, and the citations split between the two units accordingly, while "just sharp enough" leaves its precise measure to the recovery the sentence itself states. The wind gets its whole sentence back: lue sorae lumae wea nitho (from the west toward the north) with thiku rato (turned a little) for "a point or two," and the clearing is nuwi's own entry speaking, which prescribes caused becoming (ka kelu) for exactly this: the wind made the sky become clear. What survives the clearing is fenced by li: only a few light, small clouds (phelo thiku neparu), crossing the sky fast (thue waero to reshi wepu), so "of all cloud" is carried by the restriction itself, everything but these gone; "down the heavens" travels as through-the-sky, the traversal kept, the downward slope let go.

The moon hangs at waero kesho, the sky's middle, "halfway up"; the one who sees it is rena kau womu wepu miona, the person going home, Morris's "home-farer" given a name built the way the chapter builds its other epithets; and the tree it hangs in is raelu serao welamu, the tall old elm, serao (old) standing against the moon's own limu (young), the same pairing Morris's image turns on. "Tangled in the branches" is thoa lo loremi: among the branches, with loremi (branch) naming the limb itself, since the moon is not in the tree's trunk but caught in what reaches out of it, and thoa (among) carrying the tangle. The shabby suburb takes the same carve as the bridge, lokue phelora to ma nai, the place was not beautiful, and the failure to hold it in mind is po ma (could scarcely), the exact pattern the council's listeners already use, on halemu (remember) with the oblique relative rena shia mua whano lokue, the place he stood in, the preposition keeping its post over a gapped object as canon rules. What he feels instead is framed as feeling, mena ... meno phaelo, so "as if" lives where Morris put it, in experience rather than fact: he felt himself in loshi pelowa muila, joyful meadow-land, the countryside composed from the meadow and the earth; and the comparison closes the paragraph as sheo closes comparisons, ru mo loshi (truly more joy-giving, "indeed" inside ru) than nulo pelowa muila, the deep meadow-land, in the relative clause of what he had known (rena shia to ki sano). London gives up its name as the Thames did, "suburb" stays an administrative category Phi does not keep, and "lately" leaves the wind's turn to the pluperfect that already places it.

luphore — The river

shia mua luphore kerime ki kamo.
3SG LOC river shore PFV arrive.
(He arrived at the river's shore.)
morris: "He came right down to the river-side,"

shia to teku manolu.
3SG PST short stay.
(He stayed a little while.)
morris: "and lingered a little,"

shia leo mulu moru lunei luphore to nila.
3SG ABOVE low wall moon river PST see.
(Over the low wall, he saw the moon's river.)
morris: "looking over the low wall to note the moonlit river,"

luphore pai pheno to nai.
river NEAR full PST be.
(The river was near its fullness.)
morris: "near upon high water,"

luphore kau mola to keru rato.
river ALL island PST bright turn.
(The river swirled, bright, up to the island.)
morris: "go swirling and glittering up to Chiswick Eyot:"

shia rena phelora ma nai suro repha to ma morae.
3SG REL beautiful NEG be rope bridge PST NEG sense.
(He did not notice the not-beautiful rope-bridge.)
morris: "as for the ugly bridge below, he did not notice it"

shia thena to ma remo.
3SG thing PST NEG think.
(He did not think of it.)
morris: "or think of it,"

whekai shia ta shemu mena mua luphore lumae mu luma nai meno to ti phaelo.
CONTR 3SG one moment DECL.COMP LOC river end zero lamp be DECL.COMP.CLOSE PST REP feel.
(But for one moment, so the friend tells it, he felt that at the river's end there were no lamps.)
morris: "except when for a moment (says our friend) it struck him that he missed the row of lights down stream."

shia wei womu ponu to rato.
3SG DAT home door PST turn.
(He turned toward his house door.)
morris: "Then he turned to his house door"

shia muo womu miso to ka koema.
3SG INTO home REFL PST CAUS enter.
(He let himself into the house.)
morris: "and let himself in;"

shia sui ponu tapu lo keru tiso remo nela wireo nila to sahu.
3SG DUR door close PL bright sharp think COORD future see PST forget.
(While the door closed, he forgot the bright, sharp thoughts and the foresight.)
morris: "and even as he shut the door to, disappeared all remembrance of that brilliant logic and foresight"

lue shareo mu thena to manolu.
ABL discuss zero thing PST stay.
(From the discussion, nothing remained.)
morris: "and of the discussion itself there remained no trace,"

li rena se ma norelu soliru to manolu.
RESTR REL PASS NEG form hope PST stay.
(Only an unformed hope stayed.)
morris: "save a vague hope,"

soliru mua nosa loshi ki kelu.
hope LOC now joyful PFV become.
(The hope had now become joy-giving.)
morris: "that was now become a pleasure,"

shia lo shea nela therilu nela hiso nela rena seniku phena philo ki soliru.
3SG PL peace COORD rest COORD clean COORD REL smile kind day PFV hope.
(He hoped for days of peace and rest, and cleanness, and kindness that smiles.)
morris: "for days of peace and rest, and cleanness and smiling goodwill."

Notes: the riverside arrival and the pause both keep their own sentences: kamo takes mua because arrival is an event at a place (canon's own carve), kerime (shore) names the river-side itself, and the lingering is to teku manolu, a short staying, teku standing as manner the way the chapter's other manners do. What he watches is lunei luphore, the moon's river, the possessive doing the work of "moonlit": tonight the river belongs to the moon. Its state and its motion each get a clause: pai pheno (near fullness, pheno's quality noun by the ordinary rule) is "near upon high water," and keru rato (bright turning) carries "swirling and glittering" in one manner-verb pair, the swirl in rato's own rotation and the glitter in keru, with kau mola (up to the island) keeping the water's destination; Chiswick Eyot gives up its proper name the same way the Thames does, but the river island itself stays.

The not-beautiful rope-bridge returns exactly as the house sentence built it (rena phelora ma nai suro repha), and Morris's two denials stay two: ma morae (did not sense) and ma remo (did not think), thena (thing) standing for the bridge the second time as plainly as Morris's "it." The one exception Morris allows gets the fullest sentence in the section: whekai turns it, ta shemu (one moment) bounds it, and ti (REP) re-marks the frame inside it, because Morris himself breaks in here to say "(says our friend)," re-citing his source at the exact moment the story first turns strange; at the second strange beat, the discontent's fall, the seeming itself carries the distance instead (ke), so each of the two carries the mark its own sentence asks for; what strikes the man is felt, not reasoned (mena ... meno phaelo, the grammar's own "feel that"), and its content counts an absence the way the corpus already counts them, mu luma (zero lamps) at mua luphore lumae, the river's end, downstream, the same lumae that already names the sun's end and the discussion's end.

The homecoming is three acts, each with its own verb: wei womu ponu rato turns him toward his own door, the turn-toward pattern rato's entry itself teaches; muo womu miso to ka koema lets him in with nobody's welcome but his own, the causative on a reflexive, he causes himself to enter, which is exactly what "let himself in" says of a man alone at his door; and sui ponu tapu (during the door's closing) times the forgetting the way Morris times it, "even as he shut the door to." What vanishes is lo keru tiso remo (the bright, sharp thoughts), the same tiso remo he turned over in the carriage, now bright with the brilliance Morris grants them at the moment of their vanishing, so keru carries "brilliant... which had so illuminated" on the thoughts themselves rather than as a clause of its own; beside them goes wireo nila, the future's seeing, foresight composed from the same two words as the wish itself, so the man loses the very sight he has just asked for. Then the ledger closes: mu thena manolu (zero things stayed) for "no trace," li rena se ma norelu soliru (only a hope not formed) for "save a vague hope," vagueness as formlessness, and mua nosa loshi ki kelu for the hope's turn into pleasure, loshi being the lexicon's own word for the joy-giving character of things. The days themselves return to the hope's object: lo ... philo, days possessed by all four goods at once, with rena seniku phena (kindness that smiles) giving Morris's "smiling goodwill" its smile back. "Then" is left to sentence order, "right down" to kamo's own promise of completed arrival, "below" to the geography the house sentence already fixed, and "the row" to the counted absence itself; nothing else in the paragraph is dropped, and nothing was coined.

nulae nela remo — Sleep and the waking night

shia nua ha korua muo nuwera ki lepa.
3SG COM PROX heart INTO bed PFV fall.
(With this heart he tumbled into bed.)
morris: "In this mood he tumbled into bed,"

shia phea keno to reshi nulae.
3SG AS custom PST fast sleep.
(As was his custom, he fell asleep quickly.)
morris: "and fell asleep after his wont, in two minutes' time;"

whekai shia whuo keno pheo teku shemu we te nulae.
CONTR 3SG WITHOUT custom POST short moment ALSO CESS sleep.
(But, outside his custom, he woke again a short moment later.)
morris: "but (contrary to his wont) woke up again not long after"

ha kuelo thena soli shemu rena welao nulae miona we wakomi.
PROX curious thing SOME moment REL good sleep person ALSO surprise.
(This curious state sometimes surprises even those who sleep well.)
morris: "in that curiously wide-awake condition which sometimes surprises even good sleepers;"

lo mia mena theula korua ru tiso nai meno phaelo.
PL 1SG DECL.COMP UNIV heart INTS sharp be DECL.COMP.CLOSE feel.
(We feel that the whole mind is intensely sharp.)
morris: "a condition under which we feel all our wits preternaturally sharpened,"

theula lo nuhe kanelu nela lo nupira nela lo holume wei ha ru tiso korua miso na pesa.
UNIV PL sadness err COORD PL shame COORD PL loss DAT PROX INTS sharp heart REFL NEC push.
(All the miserable muddles, and the shames, and the losses insist on pushing themselves at this sharpened mind.)
morris: "while all the miserable muddles we have ever got into, all the disgraces and losses of our lives, will insist on thrusting themselves forward for the consideration of those sharpened wits."

shia mua ha thena tei pai monelu thorui to si ti ruemi.
3SG LOC PROX thing UNTIL NEAR amused beginning PST IPFV REP lie down.
(In this state, so the friend tells it, he lay on until near the beginning of amusement.)
morris: "In this state he lay (says our friend) till he had almost begun to enjoy it:"

shia tawimo nophi shia monelu ki ka kelu.
3SG foolish story 3SG amused PFV CAUS become.
(The tale of his foolishness made him amused.)
morris: "till the tale of his stupidities amused him,"

shia neo miso rena se tiwa lo sima to ru nuwi nila.
3SG FRONT REFL REL PASS tie PL thread PST INTS clear see.
(Before him, he saw the tied threads very clearly.)
morris: "and the entanglements before him, which he saw so clearly,"

lo sima wei shia muo loshi nophi miso pa selomi.
PL thread DAT 3SG INTO joyful story REFL INCH weave.
(The threads began to weave themselves into a joy-giving story for him.)
morris: "began to shape themselves into an amusing story for him."

shia ta nela wi nela ta shao teli haoni ki hea.
3SG one COORD two COORD one three-group bell voice PFV hear.
(He heard one, and two, and three voices of the bell.)
morris: "He heard one o'clock strike, then two and then three;"

pheo thena shia we to nulae.
POST thing 3SG ALSO PST sleep.
(After that, he slept again.)
morris: "after which he fell asleep again."

Notes: the going to bed keeps its mood and its fall: nua ha korua (with this heart) carries the river walk's closing state into the bedroom, and lepa, the same surrendered falling that took the discontent off him, now takes him into bed, which is what "tumbled" is. Morris frames the sleep and the waking as custom kept and custom broken, and Phi has the pair ready: phea keno (as custom) for "after his wont," whuo keno (without custom) for "contrary to his wont," the same noun under two relators. "In two minutes' time" is refused with the rest of clock time and its meaning survives as reshi (fast); the waking stays te on sleep, the particle for ceasing, since waking is only sleep's own ending, now timed by pheo teku shemu, after a short moment.

Morris then widens from the man to everyone, and the grammar follows him: lo mia (we) is the plural first person the lexicon's own entries already write with, and both gnomic sentences stand tenseless, as standing truths. The wide-awake state is ha kuelo thena (this curious thing), its wide-awakeness defined by the sentence that names it: theula korua ru tiso (the whole mind intensely sharp), with "preternaturally" resting on ru, intensity past the ordinary. wakomi (surprise), coined for the state's own habit of arriving unlooked-for, takes rena welao nulae miona (those who sleep well) as its object, we marking "even" them, and soli shemu (some moments) is the ruled way to say sometimes. The muddles keep the agency Morris gives them: nuhe kanelu (sadness-mistakes, a noun set before a noun) with lo nupira and lo holume (the shames, the losses) push themselves (miso ... pesa), insistently (na, the necessity particle "insist on" calls for), at ha ru tiso korua, this same sharpened mind.

The lying-awake carries the chapter's third break-in: Morris says "(says our friend)" here as he did at the missed lamps, and ti re-marks it the same way, riding with to si (kept lying, ruemi) in one particle cluster. "Till he had almost begun to enjoy it" nests two relators the way the corpus already nests them: tei pai monelu thorui, until near the beginning of amusement, the almost living inside pai (near). What amuses him is shia tawimo nophi, the tale of his foolishness, nophi being the story-word of this text's own title, and the tale acts on him through the causative (ka kelu), as Morris has it act. The entanglements are rena se tiwa lo sima, threads that are tied, seen ru nuwi (very clearly) before him, and they weave themselves (miso pa selomi) into loshi nophi, a joy-giving story, for him: the tangle becoming the very kind of thing the reader is holding. The clock's hours stay refused, but the bells they ride on are real sound and stay: ta nela wi nela ta shao teli haoni, one and two and three voices of the bell, counting strikes without naming hours, which is how a sleepless man actually meets the night; pheo thena (after that) returns him to sleep.

The report continues

melu mena shia lue ra nulae we to te nulae meno haolu.
friend DECL.COMP 3SG ABL DIST sleep ALSO PST CESS sleep DECL.COMP.CLOSE speak.
(The friend says that from that sleep he woke once more.)
morris: "Our friend says that from that sleep he awoke once more,"

pheo thena shia thue rena ru wakomi lo ruelami to wepu.
POST thing 3SG THROUGH REL INTS surprise PL adventure PST go.
(After that, he went through adventures that truly surprise.)
morris: "and afterwards went through such surprising adventures"

shia mena lo thena wei lo wemi nela we theula miona se na shane meno remo.
3SG DECL.COMP PL thing DAT PL ally COORD ALSO UNIV person PASS NEC tell DECL.COMP.CLOSE think.
(He thinks they should be told to the allies, and to all people besides.)
morris: "that he thinks that they should be told to our comrades, and indeed the public in general,"

thelao shia mena shia mua nosa lo thena shane meno pula.
CONS 3SG DECL.COMP 3SG LOC now PL thing tell DECL.COMP.CLOSE wish.
(Therefore he wishes to tell them now.)
morris: "and therefore proposes to tell them now."

whekai shia shola mia mena mia miso lo thena shane meno pula sholo haolu.
CONTR 3SG QUOT.COMP 1SG DECL.COMP 1SG REFL PL thing tell DECL.COMP.CLOSE wish QUOT.COMP.CLOSE speak.
("But," he says, "I wish to tell them myself.")
morris: "But, says he, I think it would be better if I told them in the first person, as if it were myself who had gone through them;"

lao mia rena mia shane wemi lo phaelo nela lo wilao sheo theula muila miona mo shelomui thena wei mia so ru mo siloma nela mo woeli nai.
BECAUSE 1SG REL 1SG tell ally PL feel COORD PL long-for THAN UNIV earth person CMPR understand thing DAT 1SG FUT INTS CMPR simple COORD CMPR natural be.
(Since I understand the feelings and the longings of the ally I tell of better than all the world's people do, this will be, truly, simpler and more natural for me.)
morris: "which, indeed, will be the easier and more natural to me, since I understand the feelings and desires of the comrade of whom I am telling better than any one else in the world does."

Notes: the frame that carried the whole chapter invisibly now steps into view: where every earlier sentence rode the opening ti, the handoff is spoken outright, melu mena ... meno haolu, the friend says that, exactly as Morris moves from his parenthetical "(says our friend)" to the full "Our friend says that." The sleep he wakes from is ra nulae, that sleep, the distal pointing back at the very sleep the last section closed on, and what he wakes into is lo ruelami, adventures, coined for the venture the whole book is: the word opens on ruela (path) whole and closes on the same mi as wakomi (surprise), which stands beside it here in the relative clause Morris writes, adventures rena ru wakomi, that truly surprise. The telling he wants is marked with the grammar's own machinery: se na shane, should be told, necessity on a passive, with the audience widening just as Morris widens it, wei lo wemi nela we theula miona, to the allies and to all people besides.

The handoff itself is the chapter's second direct quotation: whekai shia shola ... sholo haolu, but he says, with mia speaking inside the frame, so the friend's own voice performs the passing of the story to the first person; miso (myself) carries "as if it were myself who had gone through them," the teller and the traveler folded into one word. His reason keeps Morris's full shape in one announced sentence: the lao clause first, since I understand (shelomui) the feelings and the longings (lo phaelo nela lo wilao) of the ally I tell of better than all the world's people (sheo theula muila miona mo shelomui), then the promise it grounds, so ru mo siloma nela mo woeli, it will be, truly, simpler and more natural, "easier" carried by simplicity since ease is what simplicity feels like from inside. The frame closes exactly as it opened, but the reportative is gone: from here the account is no longer secondhand. This mirrors the original precisely: the whole book's promise is that a report becomes testimony once the teller turns out to be the very person it happened to.

What the transmutation changed

*Gap log: eleven new words, all cleared of collisions before coining. shalimo (alliance), fricative-open/liquid-bound/nasal-settled, for the League itself, a group deliberately bound by shared cause rather than a single meeting of it; composing it from sila (community) and nolami (bond) would only have restated sila's own definition, so the concept is coined fresh. nurako (railway), nasal-grounded/liquid-rolling/stop-closed, for the iron road a whole novel of Victorian London will need again. welamu (elm), flowing liquid consonants for a tall tree's high branches and rising trunk, because a landscape's own species is nature vocabulary worth a real word. tawimo (foolish), the natural opposite of phue (wise), built with a deliberately different sound rather than composed as ma phue. pothu (stink), the negative-valence partner to whinu (smell, neutral). kanelu (err), whose event noun (a mistake) comes by the ordinary rule. monelu (amused), siora's (joy) narrower, lighter cousin. kapura (shout, roar), a doubled stop opening onto an open, projecting vowel, for the forceful vocalization itself, stronger than theisa (loud) intensifying haolu (speak) could carry. loremi (branch), liquids flowing outward the way a bough leaves its trunk, the vowels tapering from broad o to fine i as bough does to twig, closed by the same family nasal as welamu (elm) and koremu (bark); it stands between bark and leaf in the tree's own word-line, and lepa (fall) already speaks of leaves falling from branches. wakomi (surprise), the open breath of wao (wow) caught by the one stop k at the word's center, the instant between before and after, with kamo (arrive) echoing inside it: surprise as the arrival that never announced itself, in a language where everything else announces before it delivers; coined because the wide-awake night surprises good sleepers here and the whole book's adventures will be surprising from the next sentence on. ruelami (adventure), four syllables for what is vast and worth lingering on: it opens on ruela (path) whole, strides through the held hiatus u.e, and closes on the same settling mi as wakomi, its sibling; the path that stays becomes the road that changes you, coined for the venture the entire book is about to be. Two details compose rather than coin: the suspension bridge, suro repha (rope-bridge), a plain noun-noun compound, since the engineering itself is rare enough in this book that a new word isn't warranted; and its ugliness, rena phelora ma nai (that is not beautiful), absence of beauty rather than a coined opposite, the softer carve Phi's philosophy prefers for a judgment Morris will repeat across the whole book. Everything else composes from existing vocabulary.

The Anarchist faction is described by what it wants (mawha miona kulo, no one guides) rather than labeled, since canon already refuses rule/lord/throne vocabulary, and by how its four members differ even from each other (phirae) with real intensity (ru kesu). Anger is the established compound korua thero, kept in its own sentence since kapura (shout) is intransitive and cannot take it as an object; the damning that follows the shout is thiku nila (small-see), the same compound shame.json already names for shame inflicted from outside, reused here rather than invented. Waking is te (cease) plus sleep, with no separate verb; goodwill arrives through phena (kind), already in the lexicon. The river and the homecoming compose everything they need from words already present: lunei luphore (the moon's river) for "moonlit," wireo nila (the future's seeing) for foresight, rena seniku phena (kindness that smiles) for "smiling goodwill," mu luma (zero lamps) counting the missed lights the way the Tao's pot counts its own emptiness, and the self-admission as the causative on a reflexive (miso ... ka koema, he causes himself to enter). rato (turn), ponu (door), tapu (close), koema (enter), kerime (shore), mola (island), and shemu (moment) were all in the lexicon before this chapter asked for them.

The beautiful night composes four more concepts without a coin: winter is theriko meluna (the frost season), with thorui making it early; the station is nurako lokue (the railway's place); the countryside is pelowa muila (meadow-land), deepened to nulo pelowa muila for Morris's "deep country"; and the home-farer is rena kau womu wepu miona (the person going home). The discontent that falls away gathers the section's own mood-words under theula (all the restlessness and the heaviness), and lepa (fall, the leaf's own surrendered motion) with ke (INFER) says "seemed to slip off him" with the grammar rather than around it. The moon tangled in the elm hangs thoa lo loremi, among the branches, with loremi coined for the limb itself: a tree's reach deserves its own word in a book that will spend chapters under trees, and thoa (among) carries the tangle.

The discussion's warmth is noeli, held rather than merely stated (manolu), and its good temper keeps Morris's full irony: shai (although) concedes the subject's weight, wiso po ma sheluo (could scarcely listen to each other) states what they lacked, lao ... keno grounds their restraint in the custom of meetings and lecture-dialogues, li soli shemu nuawe haolu (spoke all at once only sometimes) claims exactly as much restraint as Morris grants, and nuawe thelu punoa keno nai (speaking all at once is society's custom) lands the jab at ordinary polite society as its own gnomic sentence. The one voice that rises is not loud from the start: pai maeli meilo (sat near quiet) at shareo thorui (the discussion's beginning) marks the only contrast in the passage between silence and outburst, turned by whekai (however) and pheo laeno shemu (after a long moment, Morris's "at last") into se natu (was drawn in), passive because it happened to him rather than by his own choice; rena melu ru sano kowela miona (the council-member the friend knows very well) keeps Morris's own aside rather than trading it for a bare pronoun, the man standing for his section as Morris has him stand. In the opening block, thelu restores the discussion's "conversational" register and lo remo (their thoughts) restores the "views" the friends actually state, possessed by the future they concern.

The railway ride adds no new words but a run of constructions new to the chapter: ka (CAUS) marks civilization's own compulsion, punoa causing lo miona to travel, with the railway as instrument (roe) and the habit in its own clause, keno, the custom the going became; the underground is a relative clause, rena phou muila wepu nurako (the railway that runs below the earth); phea (AS) marks the carriage's discontent as everyone's, not his alone; sio and leo (BESIDE, ABOVE) place the house on the river for the first time; and rena, already at work in kowela, returns twice more, once to hold sheloi tiso remo (the many sharp thoughts) he forgot in the discussion, with nupira (shame) standing as the manner of the turning-over itself, and once to say the bridge is not beautiful. Morris doubles the same self-reproach, once for the forgotten arguments and once for his temper, and both stay, each with the taught past-habitual to ro, the first turned by whekai where Morris writes "But," the second closed by thelao as consequence. The wish is the chapter's one direct quotation, shola ... sholo keeping Morris's first person and the optative su inside it, sized by ta philo (one day) and fenced by li (only); the arrival lands sui haoni (during the voice), inside the wish's own sound. sorae lumae (sun's end), the lexicon's own compositional word for west, gives his home its first direction; the room's aftermath, noise then quiet (kohura, maeli), his warm leave-taking inside the lull (sui maeli, ru noeli, pholeni), and his solitary ride home (sonu) close out the passage's remaining images.

The chapter's reportative frame ("says our friend") is carried by Phi's own ti evidential, opening the account and dropping away exactly when the narrator's promise to speak firsthand is kept. The chapter's central wish, "if I could but see a day of it," said twice in one breath on the train and muttered twice more leaving the station, is carried by su, the optative particle, inside the chapter's one direct quotation (shola ... sholo), needing no coinage of its own. Morris's own line accompanies every block above, so the transmutation's reasoning is checkable sentence by sentence rather than taken on faith, a convention meant to carry forward into every chapter still to come.

The League itself, its pace, and the transformation it turns on are carried by shalimo, reshi, and moreluki; the friends' rising energy, by therua, its own onset marked by the inchoative pa rather than a flat completed fact. The discussion's timing, "one night," is carried by shero; "the Morrow of the Revolution," the specific day after rather than a vague future, by wireo philo taking the transformation as its possessor, with the question anchored to it, "what would happen," embedded directly by the gap-word hina and the speculative so po kelu, no complementizer or coinage needed for either. The friends who speak of it are soli (some), and the society they imagine is newu seroli (new, mature), both of the original's own adjectives kept rather than one dropped for the other. The six persons and the council they formed stand as two linked sentences, thelao carrying the connection.

The waking night composes the rest from what the lexicon holds: lo mia (we) for Morris's turn to the general, nuhe kanelu (sadness-mistakes) for the miserable muddles, phea keno and whuo keno (as custom, without custom) for the wont kept and broken, tei pai monelu thorui (until near the beginning of amusement) nesting relators for "almost begun to enjoy," rena se tiwa lo sima (the threads that are tied) for the entanglements that weave themselves (selomi) into loshi nophi, a joy-giving story, the title's own word; and the refused clock survives as counted sound, ta nela wi nela ta shao teli haoni, one and two and three voices of the bell.

The closing frame steps out of hiding by design: the chapter-long ti gives way to an explicit melu mena ... meno haolu (the friend says that) at the exact moment Morris makes his own frame visible, and the story passes to the first person inside the chapter's second direct quotation, whekai shia shola ... sholo haolu. The handoff's reasoning survives whole: se na shane (should be told) puts necessity on a passive; the audience widens with nela we theula miona (and all people besides); and the final long sentence announces its cause first with lao, the feelings and longings (lo phaelo nela lo wilao) of the ally understood better than all the world's people, before delivering the promise that first-person telling will be simpler and more natural (so ru mo siloma nela mo woeli).

New words coined: the eleven above, and no others; everything else in the chapter composes from vocabulary already in the lexicon.*