Dark Slayer

One advantage that the Carpathian healer has over many other shamans is his telepathic link to his lost brother. Most shamans must wander in the dark of the nether realms in search of their lost brother. But the Carpathian healer directly «hears» in his mind the voice of his lost brother calling to him, and can thus «zero in» on his soul like a homing beacon. For this reason, Carpathian healing tends to have a higher success rate than most other traditions of this sort.

Something of the geography of the «other world» is useful for us to examine, in order to fully understand the words of the Great Carpathian Healing Chant. A reference is made to the «Great Tree» (in Carpathian: En Puwe). Many ancient traditions, including the Carpathian tradition, understood the worlds-the heaven worlds, our world, and the nether realms-to be «hung» upon a great pole, or axis, or tree. Here on earth, we are positioned halfway up this tree, on one of its branches. Hence many ancient texts often referred to the material world as «middle earth»: midway between heaven and hell. Climbing the tree would lead one to the heaven worlds. Descending the tree to its roots would lead to the nether realms. The shaman was necessarily a master of movement up and down the Great Tree, sometimes moving unaided, and sometimes assisted by (or even mounted upon the back of) an animal spirit guide. In various traditions, this Great Tree was known variously as the axis mundi (the «axis of the worlds»), Ygddrasil (in Norse mythology), Mount Meru (the sacred world mountain of Tibetan tradition), etc. The Christian cosmos, with its heaven, purgatory/earth and hell, is also worth comparing. It is even given a similar topography in Dante's Divine Comedy: Dante is led on a journey first to hell, at the center of the earth; then upward to Mount Purgatory, which sits on the earth's surface directly opposite Jerusalem; then farther upward first to Eden, the earthly paradise, at the summit of Mount Purgatory; and then upward at last to heaven.

In the shamanistic tradition, it was understood that the small always reflects the large; the personal always reflects the cosmic. A movement in the greater dimensions of the cosmos also coincides with an internal movement. For example, the axis mundi of the cosmos also corresponds to the spinal column of the individual. Journeys up and down the axis mundi often coincided with the movement of natural and spiritual energies (sometimes called kundalini or shakti) in the spinal column of the shaman or mystic.

En Sarna Pus (The Great Healing Chant) In this chant, eka («brother») would be replaced by «sister,» « father,» «mother,» depending on the person to be healed.

Ot ekam ainajanak hany, jama. My brother's body is a lump of earth, close to death.

O pus wakenkek, ot oma sarnank, es ot pus funk, alnak ekam ainajanak, pitanak ekam ainajanak elava. Our healing energies, ancient words of magic, and healing herbs bless my brother's body, keep it alive.

Ot ekam sielanak pala. Ot omboce palaja juta alatt o juti, kinta, es szelemek lamtijaknak. But my brother's soul is only half. His other half wanders in the netherworld.

Ot en mekem ?ama?: kulkedak otti ot ekam omboce palajanak. My great deed is this: I travel to find my brother's other half.

Rekature, saradak, tappadak, odam, ka?a o numa waram, es avaa owe o lewl mahoz. We dance, we chant, we dream ecstatically, to call my spirit bird, and to open the door to the other world.

Ntak o numa waram, es mozdulak, jomadak. I mount my spirit bird and we begin to move, we are under way.

Piwtadak ot En Puwe tyvinak, ecidak alatt o juti, kinta, es szelemek lamtijaknak. Following the trunk of the Great Tree, we fall into the netherworld.

Fazak, fazak no o saro. It is cold, very cold.

Juttadak ot ekam o akarataban, o sivaban es o sielaban. My brother and I are linked in mind, heart and soul.

Ot ekam sielanak ka?a engem. My brother's soul calls to me.

Kuledak es piwtadak ot ekam. I hear and follow his track.

Sa?edak es tuledak ot ekam kulyanak. Encounter I the demon who is devouring my brother's soul.

Nenam coro; o kuly torodak. In anger, I fight the demon.

O kuly pel engem. He is afraid of me.

Molodak ot ainaja komakamal. I break his body with my bare hands.

Toja es molana. He is bent over, and falls apart.

Han ca?a. He runs away.

Al? dak ot ekam sielanak o komamban. I lift my brother's soul in the hollow of my hand.

Al?dam ot ekam numa waramra. I lift him onto my spirit bird.

Piwtadak ot En Puwe tyvijanak es sa?edak jalleen ot elava ainak majaknak. Following up the Great Tree, we return to the land of the living.

Ot ekam ela jalleen. My brother lives again.

Ot ekam wenca jalleen. He is complete again.

To hear this chant, visit: http://www.christinefeehan.com/members/.

4. CARPATHIAN MUSICAL AESTHETICS

In the sung Carpathian pieces (such as the «Lullaby» and the «Song to Heal the Earth»), you'll hear elements that are shared by many of the musical traditions in the Uralic geographical region, some of which still exist-from Eastern European (Bulgarian, Romanian, Hungarian, Croatian, etc.) to Romany («gypsy»). Some of these elements include:

• the rapid alternation between major and minor modalities, including a sudden switch (called a «Picardy third») from minor to major to end a piece or section (as at the end of the «Lullaby»)

• the use of close (tight) harmonies

• the use of ritardi (slowing down the piece) and crescendi (swelling in volume) for brief periods

• the use of glissandi (slides) in the singing tradition

• the use of trills in the singing tradition (as in the final invocation of the «Song to Heal the Earth»)-similar to Celtic, a singing tradition more familiar to many of us

• the use of parallel fifths (as in the final invocation of the «Song to Heal the Earth»)

• controlled use of dissonance

• «call and response» chanting (typical of many of the world's chanting traditions)

• extending the length of a musical line (by adding a couple of bars) to heighten dramatic effect

• and many more

«Lullaby» and «Song to Heal the Earth» illustrate two rather different forms of Carpathian music (a quiet, intimate piece and an energetic ensemble piece)-but whatever the form, Carpathian music is full of feeling.

5. LULLABY

This song is sung by women while the child is still in the womb or when the threat of a miscarriage is apparent. The baby can hear the song while inside of the mother, and the mother can connect with the child telepathically as well. The lullaby is meant to reassure the child, to encourage the baby to hold on, to stay-to reassure the child that he or she will be protected by love even from inside until birth. The last line literally means that the mother's love will protect her child until the child is born («rise»).

Musically, the Carpathian «Lullaby» is in three-quarter time («waltz time»), as are a significant portion of the world's various traditional lullabies (perhaps the most famous of which is «Brahms' Lullaby»). The arrangement for solo voice is the original context: a mother singing to her child, unaccompanied. The arrangement for chorus and violin ensemble illustrates how musical even the simplest Carpathian pieces often are, and how easily they lend themselves to contemporary instrumental or orchestral arrangements. (A wide range of contemporary composers, including Dvorak and Smetana, have taken advantage of a similar discovery, working other traditional Eastern European music into their symphonic poems.)

Odam-Sarna Kondak (Lullaby)

Tumtesz o wake ku pitasz belso. Feel the strength you hold inside.

Hiszasz sivadet. En olenam g?idnod. Trust your heart. I'll be your guide.

Sas csecsemom, kunasz. Hush my baby, close your eyes.

Rauho jone ted. Peace will come to you.

Tumtesz o sivdobbanas ku olen lamt3ad belso. Feel the rhythm deep inside.

Gond-kumpadek ku kim te. Waves of love that cover you.

Pesanak te, asti o juti, kidusz. Protect, until the night you rise.

To hear this song, visit: http://www.christinefeehan.com/members/.

6. SONG TO HEAL THE EARTH

This is the earth-healing song that is used by the Carpathian women to heal soil filled with various toxins. The women take a position on four sides and call to the universe to draw on the healing energy with love and respect. The soil of the earth is their resting place, the place where they rejuvenate, and they must make it safe not only for themselves but for their unborn children as well as their men and living children. This is a beautiful ritual performed by the women together, raising their voices in harmony and calling on the earth's minerals and healing properties to come forth and help them save their children. They literally dance and sing to heal the earth in a ceremony as old as their species. The dance and notes of the song are adjusted according to the toxins felt through the healer's bare feet. The feet are placed in a certain pattern and the hands gracefully weave a healing spell while the dance is performed. They must be especially careful when the soil is prepared for babies. This is a ceremony of love and healing.

Musically, the ritual is divided into several sections:

• First verse: A «call and response» section, where the chant leader sings the «call» solo, and then some or all of the women sing the «response» in the close harmony style typical of the Carpathian musical tradition. The repeated response-Ai Ema Ma?e-is an invocation of the source of power for the healing ritual: «Oh Mother Nature.»

• First chorus: This section is filled with clapping, dancing, ancient horns and other means used to invoke and heighten the energies upon which the ritual is drawing.

• Second verse

• Second chorus

• Closing invocation: In this closing part, two song leaders, in close harmony, take all the energy gathered by the earlier portions of the song/ritual and focus it entirely on the healing purpose.

What you will be listening to are brief tastes of what would typically be a significantly longer ritual, in which the verse and chorus parts are developed and repeated many times, to be closed by a single rendition of the final invocation.

Sarna Pusm O Ma?et (Song to Heal the Earth)

First verse Ai Ema Ma?e, Oh, Mother Nature,

Me tappadak, me pusmak o ma?et. We dance to heal the earth.

Sielanket jutta tedet it, We join with you now,

Sivank es akaratank es sielank juttanak. Our hearts and minds and spirits become one.

Me sivadbin lanaak. We are your beloved daughters.

Pohi es Louna, Ida es Laas. North and South, East and West.

Pide es aldyn es myos belso. Above and below and within as well.

Gondank o ma?enak pusm han ku olen jama. Our love of the land heals that which is in need.

Juttanak teval it, We join with you now,

Ma?e ma?eval. Earth to earth.

O pira elidak wenca. The circle of life is complete.

To hear this chant, visit: http://www.christinefeehan.com/members/.

7. CARPATHIAN CHANTING TECHNIQUE

As with their healing techniques, the actual «chanting technique» of the Carpathians has much in common with the other shamanistic traditions of the Central Asian steppes. The primary mode of chanting was throat chanting using overtones. Modern examples of this manner of singing can still be found in the Mongolian, Tuvan and Tibetan traditions. You can find an audio example of the Gyuto Tibetan Buddhist monks engaged in throat chanting at: http://www.christinefeehan.com/carpathianchanting/.

As with Tuva, note on the map the geographical proximity of Tibet to Kazakhstan and the Southern Urals.

The beginning part of the Tibetan chant emphasizes synchronizing all the voices around a single tone, aimed at healing a particular «chakra» of the body. This is fairly typical of the Gyuto throat-chanting tradition, but it is not a significant part of the Carpathian tradition. Nonetheless, it serves as an interesting contrast.

The part of the Gyuto chanting example that is most similar to the Carpathian style of chanting is the midsection, where the men are chanting the words together with great force. The purpose here is not to generate a «healing tone» that will affect a particular «chakra,» but rather to generate as much power as possible for initiating the «out of body» travel, and for fighting the demonic forces that the healer/traveler must face and overcome.

The songs of the Carpathian women (illustrated by their «Lullaby» and their «Song to Heal the Earth») are part of the same ancient musical and healing tradition as the Lesser and Great Healing Chants of the warrior males. You can hear some of the same instruments in both the male warriors' healing chants and the women's «Song to Heal the Earth.» Also, they share the common purpose of generating and directing power. However, the women's songs are distinctively feminine in character. One immediately noticeable difference is that, while the men speak their words in the manner of a chant, the women sing songs with melodies and harmonies, softening the overall performance. A feminine, nurturing quality is especially evident in the «Lullaiby.»

The Carpathian Language

Like all human languages, the language of the Carpathians contains the richness and nuance that can only come from a long history of use. At best we can only touch on some of the main features of the language in this brief appendix:

1. The history of the Carpathian language

2. Carpathian grammar and other characteristics of the language

3. Examples of the Carpathian language (including the Ritual Words and the Warrior's Chant)

4. A much-abridged Carpathian dictionary

1. THE HISTORY OF THE CARPATHIAN LANGUAGE

The Carpathian language of today is essentially identical to the Carpathian language of thousands of years ago. A «dead» language like the Latin of two thousand years ago has evolved into a significantly different modern language (Italian) because of countless generations of speakers and great historical fluctuations. In contrast, many of the speakers of Carpathian from thousands of years ago are still alive. Their presence– coupled with the deliberate isolation of the Carpathians from the other major forces of change in the world-has acted (and continues to act) as a stabilizing force that has preserved the integrity of the language over the centuries. Carpathian culture has also acted as a stabilizing force. For instance, the Ritual Words, the various healing chants (see Appendix 1), and other cultural artifacts have been passed down through the centuries with great fidelity.

One small exception should be noted: the splintering of the Carpathians into separate geographic regions has led to some minor dialectiza tion. However the telepathic link among all Carpathians (as well as each Carpathian's regular return to his or her homeland) has ensured that the differences among dialects are relatively superficial (e.g., small numbers of new words, minor differences in pronunciation, etc.), since the deeper, internal language of mind-forms has remained the same because of continuous use across space and time.

The Carpathian language was (and still is) the proto-language for the Uralic (or Finno-Ugrian) family of languages. Today, the Uralic languages are spoken in northern, eastern and central Europe and in Siberia. More than twenty-three million people in the world speak languages that can trace their ancestry to Carpathian. Magyar or Hungarian (about fourteen million speakers), Finnish (about five million speakers), and Estonian (about one million speakers), are the three major contemporary descendents of this proto-language. The only factor that unites the more than twenty languages in the Uralic family is that their ancestry can be traced back to a common proto-language-Carpathian-which split (starting some six thousand years ago) into the various languages in the Uralic family. In the same way, European languages such as English and French belong to the better-known Indo-European family and also evolved from a common proto-language ancestor (a different one from Carpathian).

The following table provides a sense for some of the similarities in the language family.

Note: The Finnic/Carpathian «k» shows up often as Hungarian «h.» Similarly, the Finnic/Carpathian «p» often corresponds to the Hungarian «f.»

2. CARPATHIAN GRAMMAR AND OTHER CHARACTERISTICS OF THE LANGUAGE

Idioms. As both an ancient language and a language of an earth people, Carpathian is more inclined toward use of idioms constructed from concrete, «earthy» terms, rather than abstractions. For instance, our modern abstraction «to cherish» is expressed more concretely in Carpathian as «to hold in one's heart»; the «netherworld» is, in Carpathian, «the land of night, fog and ghosts»; etc.

Word order. The order of words in a sentence is determined not by syntactic roles (like subject, verb and object) but rather by pragmatic, discourse-driven factors. Examples: «Tied vagyok.» («Yours am I.»); «Sivamet andam.» («My heart I give you.»)

Agglutination. The Carpathian language is agglutinative; that is, longer words are constructed from smaller components. An agglutinating language uses suffixes or prefixes whose meaning is generally unique, and which are concatenated one after another without overlap. In Carpathian, words typically consist of a stem that is followed by one or more suffixes. For example, «sivambam» derives from the stem «siv» («heart») followed by «am» («my,» making it «my heart»), followed by «bam» («in,» making it «in my heart»). As you might imagine, agglutination in Carpathian can sometimes produce very long words, or words that are very difficult to pronounce. Vowels often get inserted between suffixes, to prevent too many consonants from appearing in a row (which can make the word unpronounceable).

Noun cases. Like all languages, Carpathian has many noun cases; the same noun will be «spelled» differently depending on its role in the sentence. Some of the noun cases include: nominative (when the noun is the subject of the sentence), accusative (when the noun is a direct object of the verb), dative (indirect object), genitive (or possessive), instrumental, final, supressive, inessive, elative, terminative and delative.

We will use the possessive (or genitive) case as an example, to illustrate how all noun cases in Carpathian involve adding standard suffixes to the noun stems. Thus expressing possession in Carpathian-«my lifemate,» «your lifemate,» «his lifemate,» «her lifemate,» etc.-involves adding a particular suffix (such as «-am») to the noun stem («palafertiil»), to produce the possessive (palafertiilam»-«my lifemate»). Which suffix to use depends upon which person («my,» «your,» «his,» etc.) and whether the noun ends in a consonant or a vowel. The table below shows the suffixes for singular nouns only (not plural), and also shows the similarity to the suffixes used in contemporary Hungarian. (Hungarian is actually a little more complex, in that it also requires «vowel rhyming»: which suffix to use also depends on the last vowel in the noun; hence the multiple choices in the cells below, where Carpathian only has a single choice.)

Verb conjugation. Like its modern descendents (such as Finnish and Hungarian), Carpathian has many verb tenses, far too many to describe here. We will just focus on the conjugation of the present tense. Again, we will place contemporary Hungarian side by side with the Carpathian, because of the marked similarity of the two.

As with the possessive case for nouns, the conjugation of verbs is done by adding a suffix onto the verb stem:

As with all languages, there are many «irregular verbs» in Carpathian that don't exactly fit this pattern. But the above table is still a useful guideline for most verbs.

3. EXAMPLES OF THE CARPATHIAN LANGUAGE

Here are some brief examples of conversational Carpathian, used in the Dark books. We include the literal translation in square brackets. It is interestingly different from the most appropriate English translation.

Susu. I am home.

note 2

csitri little one note 3

ainaak enyem forever mine

ainaak sivamet jutta forever mine (another form) note 4

sivamet my love note 5

Tet vigyazam. I love you. note 6

Sarna Rituaali (The Ritual Words) is a longer example, and an example of chanted rather than conversational Carpathian. Note the recurring use of «andam» («I give»), to give the chant musicality and force through repetition.

Sarna Rituaali (The Ritual Words)

Te avio palafertiilam. You are my lifemate.

Entolam kuulua, avio palafertiilam. I claim you as my lifemate.

Ted kuuluak, kacad, kojed. I belong to you.

Elidamet andam. I offer my life for you.

Pesamet andam. I give you my protection.

Uskolfertiilamet andam. I give you my allegiance.

Sivamet andam. I give you my heart.

Sielamet andam. I give you my soul.

Ainamet andam. I give you my body.

Sivamet kuuluak kaik etta a ted. I take into my keeping the same that is yours.

Ainaak olenszal sivambin. Your life will be cherished by me for all my time.

Te elidet ainaak pide minan. Your life will be placed above my own for all time.

Te avio palafertiilam. You are my lifemate.

Ainaak sivamet jutta oleny. You are bound to me for all eternity.

Ainaak terad vigyazak. You are always in my care.

To hear these words pronounced (and for more about Carpathian pronunciation altogether), please visit: http://www.christinefeehan.com/members/.

Sarna Kontakawk (The Warriors' Chant) is another longer example of the Carpathian language. The warriors' council takes place deep beneath the earth in a chamber of crystals with magma far below that, so the steam is natural and the wisdom of their ancestors is clear and focused. This is a sacred place where they bloodswear to their prince and people and affirm their code of honor as warriors and brothers. It is also where battle strategies are born and all dissension is discussed as well as any concerns the warriors have that they wish to bring to the Council and open for discussion.

Sarna Kontakawk (The Warriors' Chant)

Veri isaakank-veri ekaakank. Blood of our fathers-blood of our brothers.

Andak veri-elidet Karpatiiakank, es wake-sarna ku meke arwa-arvo, irgalom, han ku agba, es wake kutni, ku manaak verival. We offer that life to our people with a bloodsworn vow of honor, mercy, integrity and endurance.

Verink sokta; verink ka?a terad. Our blood mingles and calls to you.

Akasz enak ku ka?a es juttasz kuntatak it. Heed our summons and join with us now.

To hear these words pronounced (and for more about Carpathian pronunciation altogether), please visit: http://www.christinefeehan.com/members/.

See Appendix 1 for Carpathian healing chants, including the Kepa Sarna Pus (The Lesser Healing Chant), the En Sarna Pus (The Great Healing Chant), the Odam-Sarna Kondak (Lullaby) and the Sarna Pusm O Mayet (Song to Heal the Earth).

4. A MUCH-ABRIDGED CARPATHIAN DICTIONARY

This very much abridged Carpathian dictionary contains most of the Carpathian words used in these Dark books. Of course, a full Carpathian dictionary would be as large as the usual dictionary for an entire language (typically more than a hundred thousand words).

Note: The Carpathian nouns and verbs below are word stems. They generally do not appear in their isolated, «stem» form, as below. Instead, they usually appear with suffixes (e.g., «andam»-«I give,» rather than just the root, «and»).

agba-to be seemly or proper.

ai-oh.

aina-body.

ainaak-forever.

ak-suffix added after a noun ending in a consonant to make it plural.

aka-to give heed; to hearken; to listen.

akarat-mind; will.

al-to bless; to attach to.

alatt-through.

aldyn-under; underneath.

al?-to lift; to raise.

alte-to bless; to curse.

and-to give.

andasz entolem irgalomet!-have mercy!

arvo-value (noun).

arwa-praise (noun).

arwa-arvo-honor (noun).

arwa-arvo olen g?idnod, ekam-honor guide you, my brother (greeting).

arwa-arvo olen isanta, ekam-honor keep you, my brother (greeting).

arwa-arvo pile sivadet-may honor light your heart (greeting).

arwa-arvod mane me kodak-may your honor hold back the dark (greeting).

asti-until.

avaa-to open.

avio-wedded.

avio palafertiil-lifemate.

belso-within; inside.

bur-good; well.

bur tule ekamet kuntamak-well met brother-kin (greeting).

ca?a-to flee; to run; to escape.

coro-to flow; to run like rain.

csecsemo-baby (noun).

csitri-little one (female).

diutal-triumph; victory.

eci-to fall.

ek-suffix added after a noun ending in a consonant to make it plural.

eka-brother.

ela-to live.

elasz arwa-arvoval-may you live with honor, live nobly (greeting).

elasz jelabam ainaak-long may you live in the light (greeting).

elava-alive.

elava ainak majaknak-land of the living.

elid-life.

ema-mother (noun).

Ema Ma?e-Mother Nature.

en-I.

en-great, many, big.

en jutta felet es ekamet-I greet a friend and brother (greeting).

En Puwe-The Great Tree. Related to the legends of Ygddrasil, the axis mundi, Mount Meru, heaven and hell, etc.

engem-me.

es-and.

etta-that.

faz-to feel cold or chilly.

fel-fellow, friend.

fel ku kuuluaak sivam belso-beloved.

fel ku vigyazak-dear one.

feldolgaz-prepare.

fertiil-fertile one.

fesztelen-airy.

fu-herbs; grass.

g?idno-road, way.

gond-care; worry; love (noun).

han-he; she; it.

han agba-it is so.

han ku-prefix: one who; that which.

han ku agba-truth.

han ku kaswa o numamet-sky-owner.

han ku kuulua sivamet-keeper of my heart.

han ku meke piramet-defender.

han ku pesa-protector.

han ku saa kuc3aket-star-reacher.

han ku tappa-deadly.

han ku tuulmahl elidet-vampire (literally: life-stealer).

han ku vie elidet-vampire (literally: thief of life).

han ku vigyaz sielamet-keeper of my soul.

han ku vigyaz sivamet es sielamet-keeper of my heart and soul.

hany-clod; lump of earth.

hisz-to believe; to trust.

ida-east.

igazag-justice.

irgalom-compassion; pity; mercy.

isa-father (noun).

isanta-master of the house.

it-now.

jalleen-again.

jama-to be sick, wounded or dying; to be near death.

jela-sunlight; day, sun; light.

jela keje terad-light sear you (Carpathian swear words).

o jela peje terad-sun scorch you (Carpathian swear words).

o jela sielamak-light of my soul.

joma-to be under way; to go.

jo?e-to come; to return.

jo?esz arwa-arvoval-return with honor (greeting).

jorem-to forget; to lose one's way; to make a mistake.

juo-to drink.

juosz es elasz-drink and live (greeting).

juosz es olen ainaak sielamet jutta-drink and become one with me (greeting).

juta-to go; to wander.

juti-night; evening.

jutta-connected; fixed (adj.). To connect; to fix; to bind (verb).

k-suffix added after a noun ending in a vowel to make it plural.

kaca-male lover.

kaik-all.

kalma-corpse; death; grave.

ka?a-to call; to invite; to request; to beg.

ka?k-windpipe; Adam's apple; throat.

ka?a-to abandon; to leave; to remain.

ka?a wakeva ov o kod-stand fast against the dark (greeting).

Karpatii-Carpathian.

Karpatii ku kod-liar.

kasi-hand (noun).

kaswa-to own.

keje-to cook; to burn; to sear.

kepa-lesser, small, easy, few.

kidu-to wake up; to arise (intransitive verb).

kim-to cover an entire object with some sort of covering.

kinn-out; outdoors; outside; without.

kinta-fog; mist; smoke.

kod-fog; mist; darkness.

kod alte han-darkness curse it (Carpathian swear words).

o kod belso-darkness take it (Carpathian swear words).

kod jutasz belso-shadow take you (Carpathian swear words).

koje-man; husband; drone.

kola-to die.

kolasz arwa-arvoval-may you die with honor (greeting).

koma-empty hand; bare hand; palm of the hand; hollow of the hand.

kond-all of a family's or clan's children.

kont-warrior.

kont o sivanak-strong heart (literally: heart of the warrior).

ku-who; which; that.

kuc3-star.

kuc3ak!-stars! (exclamation)

kule-to hear.

kulke-to go or to travel (on land or water).

kulkesz arwa-arvoval, ekam-walk with honor, my brother (greeting).

kulkesz arwaval, jo?esz arwa arvoval-go with glory, return with honor (greeting).

kuly-intestinal worm; tapeworm; demon who possesses and devours souls.

kumpa-wave (noun).

ku?e-moon.

kuna-to lie as if asleep; to close or cover the eyes in a game of hide-and-seek; to die.

kunta-band, clan, tribe, family.

kuras-sword; large knife.

kure-bind; tie.

kutni-to be able to bear, carry, endure, stand or take.

kutnisz ainaak-long may you endure (greeting).

kuulua-to belong; to hold.

laas-west.

lamti (or lamt3)-lowland; meadow; deep; depth.

lamti bol juti, kinta, ja szelem-the netherworld (literally: the meadow of night, mists and ghosts).

lana-daughter.

lejkka-crack, fissure, split (noun). To cut; to hit; to strike forcefully (verb).

lewl-spirit (noun).

lewl ma-the other world (literally: spirit land). Lewl ma includes lamti bol juti, kinta, ja szelem: the netherworld, but also includes the worlds higher up En Puwe, the Great Tree.

liha-flesh.

louna-south.

loyly-breath; steam (related to lewl: spirit).

ma-land; forest.

magkoszun-thank.

mana-to abuse; to curse; to ruin.

mane-to rescue; to save.

ma?e-land; earth; territory; place; nature.

me-we.

meke-deed; work (noun). To do; to make; to work (verb).

minan-mine.

minden-every, all (adj.).

moert?-what for? (exclamation).

molana-to crumble; to fall apart.

molo-to crush; to break into bits.

mozdul-to begin to move, to enter into movement.

muoni-appoint; order; prescribe; command.

musta-memory.

myos-also.

na-for.

?ama?-this; this one here.

nelkul-without.

nena-anger.

no-like; in the same way as; as.

numa-god; sky; top; upper part; highest (related to the English word: numinous).

numatorkuld-thunder (literally: sky struggle).

nyal-saliva; spit (related to nyelv: tongue).

nyelv-tongue.

o-the (used before a noun beginning with a consonant).

odam-to dream; to sleep.

odam-sarna kondak-lullaby (literally: sleep-song of children).

olen-to be.

oma-old; ancient.

omas-stand

omboce-other; second (adj.).

ot-the (used before a noun beginning with a vowel).

otti-to look; to see; to find.

ov-to protect against.

owe-door.

paamoro-aim; target.

pajna-to press.

pala-half; side.

palafertiil-mate or wife.

peje-to burn.

peje terad-get burned (Carpathian swear words).

pel-to be afraid; to be scared of.

pesa-nest (literal); protection (figurative).

pesasz jelabam ainaak-long may you stay in the light (greeting).

pide-above.

pile-to ignite; to light up.

pira-circle; ring (noun). To surround; to enclose (verb).

piros-red.

pita-to keep; to hold.

pitaam mustaakad sielpesaambam-I hold your memories safe in my soul.

pitasz baszu, piwtasz igazaget-no vengeance, only justice.

piwta-to follow; to follow the track of game.

poar-bit; piece.

pohi-north.

pukta-to drive away; to persecute; to put to flight.

pus-healthy; healing.

pusm-to be restored to health.

puwe-tree; wood.

rauho-peace.

reka-ecstasy; trance.

rituaali-ritual.

sa-sinew; tendon; cord.

sa4-to call; to name.

saa-arrive, come; become; get, receive.

saasz han ku andam szabadon-take what I freely offer.

salama-lightning; lightning bolt.

sarna-words; speech; magic incantation (noun). To chant; to sing; to celebrate (verb).

sarna kontakawk-warriors' chant.

saro-frozen snow.

sas-shoosh (to a child or baby).

sa?e-to arrive; to come; to reach.

siel-soul.

sisar-sister.

siv-heart.

siv pide kod-love transcends evil.

sivad olen wakeva, han ku piwta-may your heart stay strong, hunter (greeting).

sivames sielam-my heart and soul.

sivamet-my love of my heart to my heart.

sivdobbanas-heartbeat (literal); rhythm (figurative).

sokta-to mix; to stir around.

so?e-to enter; to penetrate; to compensate; to replace.

susu-home; birthplace (noun). At home (adv.).

szabadon-freely.

szelem-ghost.

tappa-to dance; to stamp with the feet; to kill.

te-you.

ted-yours.

terad keje-get scorched (Carpathian swear words).

todhan-knowledge.

todhan lo kuraset agbapaamoroam-knowledge flies the sword true to its aim.

toja-to bend; to bow; to break.

toro-to fight; to quarrel.

torosz wakeval-fight fiercely (greeting).

totello-obey.

tuhanos-thousand.

tuhanos loylyak turelamak sa?e diutalet-a thousand patient breaths bring victory.

tule-to meet; to come.

tumte-to feel; to touch; to touch upon.

ture-full; satiated; accomplished.

turelam-patience.

turelam agba kontsalamaval-patience is the warrior's true weapon.

tyvi-stem; base; trunk.

uskol-faithful.

uskolfertiil-allegiance; loyalty.

veri-blood.

veri ekaakank-blood of our brothers.

veri-elidet-blood-life.

veri isaakank-blood of our fathers.

veri olen piros, ekam-blood be red, my brother (literal); find your lifemate (figurative: greeting).

veriak ot en Karpatiiak-by the blood of the prince (literally: by the blood of the great Carpathian; Carpathian swear words).

veridet peje-may your blood burn (Carpathian swear words).

vigyaz-to love; to care for; to take care of.

vii-last; at last; finally.

wake-power; strength.

wake ka?a-steadfastness.

wake kutni-endurance.

wake-sarna-vow; curse; blessing (literally: power words).

wakeva-powerful.

wara-bird; crow.

wenca-complete; whole.

wete-water (noun).

1. Dark Prince

2. Dark Desire

3. Dark Gold

4. Dark Magic

5. Dark Challenge

6. Dark Fire

7. Dark Dream (in After Twilight Anthology)

8. Dark Legend

9. Dark Guardian

10. Dark Symphony

11. Dark Descent (in The Only One Anthology)

12. Dark Melody

13. Dark Destiny

14. Dark Hunger (in Hot Blooded Anthology)

15. Dark Secret

16. Dark Demon

17. Dark Celebration: A Carpathian Reunion

18. Dark Possession

19. Dark Curse

20. Dark Slayer

21. Dark Peril (coming 2010)

www.originstory.net – Паранормальные романы на английском языке

» into your heart"

"home/birthplace.» «I am» is understood, as is often the case in Carpathian.

"little slip of a thing,» «little slip of a girl"

"forever to-my-heart connected/fixed"

"of-my-heart,» «to-my-heart"

"you-love-I"