Paldet et quaia ton noltoc (my 2nd & final sound poem)

I am only posting this because I feel that I must. But, it will be the only other artifact I put here in this genre, which I, most likely, do not really understand.  Take it as an ornament, a bauble, a bagatelle, a trifle.


Paldet et quaia ton noltoc
poito te demma kenaq ti
duis eth enta nalha
plenka dishent

Nalqa shet belo zu ota
croy esh ed zelbid dekahk di
xuid en belfa nackto
xeqqa kadidt

Ornos indavo pi qleshtah
tues ed natta dohn eth id
Naiva yn sowto cheltis
kli dinnah quif



4.2018 


*

Wow. Google detected some Catalan:



Paldet, which way you do not
Maybe it hurts you kenaq you
two of them
plenka dishent

Nalqa shet belo zu ota
croy esh ed zelbid dekahk di
xuid in belfa nackto
I got a kadidt

Ornos indavo pi qleshtah
t ed ed natta dohn eth id
Naiva yn sowto cheltis
kli dinnah quif

***

More notes, breaking words up, sending them through singly, going by sound, with more phonetic spellings, etc.:

paldet: Danish, paddle
kenaq: Albanian, pleases
kena: Malay, to be hit

plenka: film, Russian - film
dishent: Chinese, low permeability

Nalqa - Bulgarian - pressed (nalgas: Mexican slang for buttocks)
shet - Albanian - sells
bela -  Portuguese - beautiful
zu - German - to

ash - Albanian - ash
zelbid denak - Basque all of them
di - Italian - of
xuid - Hmong - break
belfa - Arabic - thousand
nackto - German - nackt - naked
xeqqa - Kurdish - wrong
kadidt - Hindi - crazy
kadid - Eastonian - what
kadi -  Swahili - card
kad - Lithuanian - when

or nos e nd avo pi klesh ta - Hindi - And on the question of abuse
tues ed natta - tu es et nada - you are nothing
Naiva yn sowto cheltis
kli dinnah quif
last 2 lines are a jumble of sow, child, naive, Naifa, - Arabic and other languages

Diin Ocquonoctua (A Sound Poem)

Poems performed are poems sounded, where the sounding by the voice or by instruments acting as surrogate voices can bring a new sense of power/empowerment to performers and auditors. The further extensions and transformations of voice move it closer and closer to "the condition of music," to the point where words and syntax — the common constituents of language — are obscured, subordinated, or totally abandoned. The push toward such a poetry has long been present at the far limits of the modernist project and with it the recognition of similar processes and works outside of literature as such. Thus Velimir Khlebnikov, early in the game, with reference to a traditional Russian poetry equivalent to his newly minted zaum language:

Spells and incantations, what we call magic words, the sacred language of paganism … are rows of mere syllables which the intellect can make no sense of, and they form a kind of beyondsense [zaum] language in folk speech. Nevertheless an enormous power over mankind is attributed to these incomprehensible and magic spells, a direct influence upon the fate of man. … The magic in a word remains magic even if it is not understood and loses none of its power. Poems may be understandable or they may not, but they must be good, they must be truthful. (Translation from the Russian by Paul Schmidt) - Jerome Rothenberg  http://www.ubu.com/ethno/soundings.html


Illia shanta desit, penui tevit o novo,
ed tues speci kalcho, te diti shangra natta,
spui zezonte kli evi, derche pui tankat,
o te min denta biniavo lor kalaii envo da shakt.
Tues menehesu feldo, finna voiheshu shent
talik ed duo nuesa, shali in teka, oveni.
Biejake tenko polto, te tues indomo valo. 
Henta macanta shela, duo dentika tegant,
ed vena yordo menako, tues adolvo shent
irdi benith duis ordit, puis posheko fultis,
illia shanta edi, es potu timortho dehi.

Totumen deffa hesha, cris et dana bedova,
mortumen fonta kiella, as ed tued id dievi.
Non ak akande, tormo es tues toid esta,
illiia benquo vento, towoor mena casata,
ish ina fulti toworka do esh incomto plekta,
cana bet borno, indui, enduisha sot.
Mena can templa udorphoset, rina, rina quelo
bei endado da calsa de morno, ahasth.
Sot tues fumit a glanta, tezida morno eganta,
suis et a ganta quormosa a benta, banli Chi!
In id indingota plues vanda du ples, fekant.
Tues et odi, beyanka, tiyendha depit tramak.
De do i o se i remaka. Ontov filest eshilla.
Ilies es stilla, tues ed op, enna chaihka,
buenit denno, sot yanga, sed yis, olto benoto.

Dolia ghenata tuos, et id benadi shaldo,
tues yi haddi fenulta, cris toh tokit tondanti.
Shent, illia shantavento, puier dena velago,
pormos dokeh shi dano, quilo quuai na ti.
Jhed!  ig vornosto zenaltis, ed tormo yadi ki
quat el te damma, te damma, tues eth shont.
Beno pir aldon ishentak, khali hedianna,
shentin o feldi fahnka puier codolfto khelid,
Ba damo tenti shistolo, vuquielati, Chi!
Nesto bilendi tamka, tenka di shesh,
volden es ed, ed voldo, vadla do si, si veka.
Belda jhos shesso kanta, illia ganta menoldo,
cando di nestili kloshist, zentus zenalta yot.
Quielpet in dano ve mortoshos, pello polto adiin.
Oquentis kesto i kempo, suyo sha sed tues di!