Among the writers who appeared on the scene in the years 1918-1940, Viñcas Mykoláitis-Pùtinas stands out. This author and literary researcher of enormous intellect distanced himself from the usual tendency in belles-lettres of basing one's work only on the means of expression of the folk language. He searched out means of expression in the written language. The themes of his works were the deciding factor. In his works he didn't depict the village people, but rather the lives of intellectuals and educated people. In his poetry and prose, which are distinguished by their intellectual quality, there are many abstract nouns. He especially liked verbal abstracts, e.g., tobulýbė 'perfection', buitìs 'manner of life', pólėkis 'flight (of fancy)', būtìs 'being, existence', lūkesỹs 'expectation', geĩsmas 'desire', síelgrauža 'mental distress' (literally 'gnawing at the soul'). He used international words abundantly, e.g. harmònija 'harmony', mirãžas 'mirage', iliùzija 'illusion', ideãlas 'ideal,' hierárchija 'hierarchy', chaòsas 'chaos'. He used just the right adjectives with abstract nouns, e.g., álkanas liūdesỹs 'hungry grief, famished melancholy', klaikì vienãtvė 'dreadful loneliness', nerimastìnga buitìs 'anxious way of life'. His novel, In the shadow of the altars, was the first intellectual psychological novel in Lithuanian literature. The principal hero of this Stendhal type novel, Liùdas Vasãris, a seminary student and later a priest, writes poetry and cannot reconcile priest and poet in himself. Obedience to the will of his parents and the desire to serve his country have led him to the seminary. Vasãris overvalues the contribution of the priestly class to Lithuanian culture and chooses the goal of following in the footsteps of the poet-priests Mairónis, Antãnas Baranáuskas, and others. In the shadow of the altars has quite a few autobiographical features. The author of the book himself had experienced the conflict of poet and priest.
Mykoláitis-Pùtinas graduated from seminary and became a priest, but later gave up the priesthood. It is the aforementioned conflict that makes up the intellectual and emotional core of his novel. The attainment of freedom is the essence of the human being and art is the most authentic expression of this essence. Vasãris comes to understand that the priesthood has isolated his talent from the living sources of art, love for experience, natural communication with other human beings, and spontaneous expression without any moralizing. There arises the irresistible urge to experience life for the sake of creativity, so that his talent, a gift of God, might not be destroyed. He is also distinguished by the disharmony and duality of his personality. He seeks out, analyzes, and investigates scrupulously his inner contradictions, on the one hand from the point of view of his priestly duty and on the other hand from the point of view of the imperative of the poet's vocation. His indecisiveness, his compromising surrender to circumstances, resignation, silent suffering, and rebellious internal discontent reflect typical features of the Lithuanian character.
In the selection given below, from the first part of the novel, Vasãris considers three possibilities as to how he should act with his talent. He has already rejected his girl friend and taken the first vows of priesthood. Although he was firmly determined to become a good priest, he still felt that the source of his poetry was not "the virtues required of a clergyman, but the whirlpool of the world infected with the microbes of sin." He is constantly tormented by the thought of how to reconcile the free flight of poetry with the ideals of the life of a priest. These two lives are irreconcilably contrary to each other. What seems natural, understandable and unavoidable in one seems strange and forbidden in the other. He feels that the environment of the seminary is destroying his poetic talent, arousing discord and the splitting of his soul.
In the selection, one can find a fair number of international words and abstract nouns. Adjectives are used abundantly, especially those with the suffixes -ingas, -iškas and -inis; there are also comparisons, e.g., šáltas kaĩp lẽdas 'cold as ice,' nusitvė́rė kaĩp skę̃stąs šiaudẽlio 'grasped for (it) like a drowning man for a straw'.
Pirmàsis galimùmas bùvo visái mèsti tą̃ poèziją ir̃ visàs tàs svajonès.
Taĩ bū́tų tinkamiáusias ir̃ paprasčiáusias kláusimo sprendìmas.
Bèt Vasãris nùjautė, kàd jìs vargù ar̃ pajė̃gs išsižadė́ti tų̃ vilčių̃, kuriõs ìš daliẽs jį̃ į̃ seminãriją àtvedė.
Seminãrijos gyvẽnimas, tiesà, gerókai jàs apgrióvė, tačiaũ tuo pačiù metù jisaĩ vìs dėlto pamãtė turį̃s tãlentą.
Ir̃ dabar̃ vìsko išsižadė́ti?
Nè, taĩ negãlimas dáiktas.
Antràsis galimùmas siū́lė jám sudẽrinti kūrýbą sù kùnigišku gyvẽnimu.
Bèt kaĩp?
Lig šiõl jám taĩ nepavỹko.
Jìs žinójo ir̃ tikė́jo, kàd Diẽvas yrà visókios tobulýbės, grõžio ir̃ kilniáusios poèzijos šaltìnis.
Bèt kodė̃l visì relìginiai, doróviniai, amžinõsios tiesõs, gė̃rio ir̃ grõžio motỹvai jį̃ palìkdavo šáltą kaĩp lẽdą, õ kūrýbinis lỹrinis susijáudinimas vèsdavo į̃ gyvẽnimo žabángas ir̃ pavojùs?
Õ trečiàsis galimùmas tuõ metù jám bùvo dár tìk pradė́jęs aiškė́ti.
Jõ patiẽs prãktika ródė jám, kàd "kunigãvimas" ir̃ "poetãvimas" yrà dù visái skirtìngi, jéigu nè príešingi, pašaukìmai.
Tàd kám juõs būtinaĩ jùngti?
"Kaĩp kùnigas, àš nè poètas, õ kaĩp poètas, àš nè kùnigas."
Štaĩ fòrmulė, kurià Liùdas Vasãris savè apgaudinė́jo ìlgą laĩką.
Šìto psichològinio sofìzmo, įvairiomìs atmainomìs gyvẽnime ganà dažnaĩ sutiñkamo, jisaĩ nusitvė́rė kaĩp skę̃stąs šiaudẽlio.
Šità iliùzija ìlgus metùs laĩkė jį̃ pavir̃šiuj, jìs "kunigãvo" ir̃ "poetãvo", õ tuõ tárpu kùnigas ir̃ poètas vãrė jamè žūtbūtìnę tarpùsavio kõvą.
Jisaĩ užfiksãvo daũgelį šiõs kovõs momeñtų ir̃ mãnė, kàd kùria poèziją.
Tuõ tárpu jìs rãšė sàvo žuvìmo kròniką, vienur̃ kitur̃ pamárgintą tikrù kūrýbos žíedu - liūdnù jõ tãlento liùdininku.
Pirmàsis galimùmas bùvo visái mèsti tą̃ poèziją ir̃ visàs tàs svajonès. Taĩ bū́tų tinkamiáusias ir̃ paprasčiáusias kláusimo sprendìmas. Bèt Vasãris nùjautė, kàd jìs vargù ar̃ pajė̃gs išsižadė́ti tų̃ vilčių̃, kuriõs ìš daliẽs jį̃ į̃ seminãriją àtvedė. Seminãrijos gyvẽnimas, tiesà, gerókai jàs apgrióvė, tačiaũ tuo pačiù metù jisaĩ vìs dėlto pamãtė turį̃s tãlentą. Ir̃ dabar̃ vìsko išsižadė́ti? Nè, taĩ negãlimas dáiktas.
Antràsis galimùmas siū́lė jám sudẽrinti kūrýbą sù kùnigišku gyvẽnimu. Bèt kaĩp? Lig šiõl jám taĩ nepavỹko. Jìs žinójo ir̃ tikė́jo, kàd Diẽvas yrà visókios tobulýbės, grõžio ir̃ kilniáusios poèzijos šaltìnis. Bèt kodė̃l visì relìginiai, doróviniai, amžinõsios tiesõs, gė̃rio ir̃ grõžio motỹvai jį̃ palìkdavo šáltą kaĩp lẽdą, õ kūrýbinis lỹrinis susijáudinimas vèsdavo į̃ gyvẽnimo žabángas ir̃ pavojùs?
Õ trečiàsis galimùmas tuõ metù jám bùvo dár tìk pradė́jęs aiškė́ti. Jõ patiẽs prãktika ródė jám, kàd "kunigãvimas" ir̃ "poetãvimas" yrà dù visái skirtìngi, jéigu nè príešingi, pašaukìmai. Tàd kám juõs būtinaĩ jùngti? "Kaĩp kùnigas, àš nè poètas, õ kaĩp poètas, àš nè kùnigas." Štaĩ fòrmulė, kurià Liùdas Vasãris savè apgaudinė́jo ìlgą laĩką. Šìto psichològinio sofìzmo, įvairiomìs atmainomìs gyvẽnime ganà dažnaĩ sutiñkamo, jisaĩ nusitvė́rė kaĩp skę̃stąs šiaudẽlio. Šità iliùzija ìlgus metùs laĩkė jį̃ pavir̃šiuj, jìs "kunigãvo" ir̃ "poetãvo", õ tuõ tárpu kùnigas ir̃ poètas vãrė jamè žūtbūtìnę tarpùsavio kõvą. Jisaĩ užfiksãvo daũgelį šiõs kovõs momeñtų ir̃ mãnė, kàd kùria poèziją. Tuõ tárpu jìs rãšė sàvo žuvìmo kròniką, vienur̃ kitur̃ pamárgintą tikrù kūrýbos žíedu - liūdnù jõ tãlento liùdininku.
The first possibility was to completely abandon poetry and all those dreams. That would be the most appropriate and simplest solution to the problem. But Vasaris felt that he could hardly have the strength to give up those hopes, which to some degree had brought him to the seminary. Seminary life, indeed, had practically destroyed them, but at the same time he saw that he had talent nevertheless. And now to give up everything? No, that is an impossible thing.
The second possibility offered him (the chance) to reconcile creativity with the priestly life. But how? Up to this time he had not succeeded. He knew and believed that God is the source of all perfection, beauty and the noblest poetry. But why did all the religious and moral motifs of eternal truth, goodness and beauty leave him as cold as ice, whereas creative lyric emotion led to the traps and dangers of life?
But at that moment the third possibility just began to become clear. His own practice had shown him that being a priest and poeticizing are two completely different, if not opposing vocations. Then why is it necessary to unite them? 'As a priest I am not a poet, and as a poet I am not a priest.' This is the formula with which Liudas Vasaris deceived himself for a long time. Like a drowning man (grasping) for a straw, he grasped for this psychological sophism, rather frequently encountered in various guises in life. For long years this illusion kept him afloat; he acted as a priest and acted as a poet, and at the same time the priest and poet in him were engaged in a desperate struggle. He wrote down many of the moments of this struggle and thought that he was creating poetry. At the same time he was writing the chronicle of his ruin, here and there marked by a true spark of creativity, the sad witness of his talent.
There are four accent classes of the nouns in Lithuanian. The principal criterion for the attribution of a noun to one or another class is its stress pattern in the dative and the accusative plural. Some nouns have a constant stress, e.g., in all cases the stress falls on one and the same syllable. But in the majority of nouns the stress alternates between the ending and the stem.
Accentuation is rather difficult even for native speakers. In colloquial Lithuanian they often shift the stress from the short ending to the stem.
The current four accent classes developed from the earlier two accent paradigms (the barytone (fixed) stress paradigm and the mobile stress paradigm). The shifting of the stress defined by de Saussure's law determined the development of the present Lithuanian accentuation system. According to this law, the stress passes from a short or circumflex (rising) syllabic nucleus to an acute (falling) one.
In dictionaries the accent class is indicated in Arabic numerals: 1; 2; 3; 4; e.g., áuksas 1 'gold'; pir̃štas 2 'finger'; béržas 3 'birch'; ausìs 4 'ear'. Knowing the peculiarities of each accent class, we can locate the stress and use the appropriate accent in all the forms of the noun. Dictionary listings of adjectives, numerals and pronouns provide information on accent class.
The first accent class comprises nouns which in the dative and accusative plural always have their stress on one and the same syllable of the stem.
In two-syllable nouns the stress is always on the first syllable and it is always an acute, e.g., kója 'leg'; žéntas 'son-in-law'. In polysyllabic nouns, one can have either the acute or the circumflex, or the syllable may be short, e.g., vãsara 'summer'; bū́sena 'state, condition'; dìdvyris 'hero'. But when the stress falls on the penultimate syllable only the acute is possible, e.g., saváitė 'week'; varnė́nas 'starling'.
The stress always remains on the same syllable in all the cases in the singular and plural if the noun belongs to the first accent class. This is the most important feature of the first accent class.
| Nom sg | kója 'leg' | žìrnis 'pea' | ãdata 'needle' | lùpena 'peel' | ||||
|---|---|---|---|---|---|---|---|---|
| Gen sg | kójos | žìrnio | ãdatos | lùpenos | ||||
| Dat sg | kojai | žìrniui | ãdatai | lùpenai | ||||
| Acc sg | kóją | žìrnį | ãdatą | lùpeną | ||||
| Inst sg | kója | žìrniu | ãdata | lùpena | ||||
| Loc sg | kójoj(e) | žìrny(je) | ãdatoj(e) | lùpenoj(e) | ||||
| Voc sg | kója | žìrni | ãdata | lùpena | ||||
| Nom pl | kójos | žìrniai | ãdatos | lùpenos | ||||
| Gen pl | kójų | žìrnių | ãdatų | lùpemų | ||||
| Dat pl | kójom(s) | žìrniam(s) | ãdatom(s) | lùpenom(s) | ||||
| Acc pl | kójas | žìrnius | ãdatas | lùpenas | ||||
| Inst pl | kójom(is) | žìniais | ãdatom(is) | lùpenom(is) | ||||
| Loc pl | kójose | žìrniuos(e) | ãdatose | lùpenose | ||||
| Voc pl | kójos | žìrniai | ãdatos | lùpenos |
The second accent class comprises nouns which in the dative plural have their stress on the stem, while in the accusative plural they are stressed on the ending, e.g., dative plural bãtams 'shoes', acc.pl. batùs; dat.pl. pùpoms 'beans', acc.pl. pupàs.
The penultimate syllable has the circumflex or the short intonation. The circumflex or the short stress remains constant, except: in the (a) instrumental singular and (b) accusative plural. If the noun ends in -as, then in addition to the two cases above, the locative singular is also stressed on the ending, e.g., loc.sg. batè 'shoe'. If the noun has -a in nominative singular, then this -a is stressed, e.g., nom.sg. pupà 'bean'.
| Nom sg | pir̃štas 'finger' | vištà 'hen' | laũmė 'witch' | |||
|---|---|---|---|---|---|---|
| Gen sg | pir̃što | vìštos | laũmės | |||
| Dat sg | pir̃štui | vìštai | laũmei | |||
| Acc sg | pir̃štą | vìštą | laũmę | |||
| Inst sg | pirštù | vištà | laumè | |||
| Loc sg | pirštè | vìštoj(e) | laũmėj(e) | |||
| Voc sg | pir̃šte | vìšta | laũme | |||
| Nom pl | pir̃štai | vìštos | laũmės | |||
| Gen pl | pir̃štų | vìštų | laũmių | |||
| Dat pl | pir̃štam(s) | vìštom(s) | laũmėm(s) | |||
| Acc pl | pirštùs | vištàs | laumès | |||
| Inst pl | pir̃štais | vìštom(is) | laũmėm(is) | |||
| Loc pl | pir̃štuos(e) | vìštose | laũmėse | |||
| Voc pl | pir̃štai | vìštos | laũmės |
Demonstrative pronouns refer to:
The demonstrative šìs contrasts with tàs. Both šìs and tàs contrast with anàs which denotes a third object which is farther away than objects referred to by tàs, e.g.,
Demonstrative pronouns can be used both as nouns and as adjectives, e.g.,
When šìs, šì, tàs, tà, anàs, anà are used as adjectives (before a noun), they contribute definite status to the noun.
The pronouns šìtoks, šìtokia, tóks, tokià can also used before nouns as intensifiers, e.g., Šìtokia baisì avãrija 'such a terrible accident'.
The declension of šìs, šì is like that of the personal pronouns jìs, jì. The demonstrative pronouns tàs, tà and tòks, tokià are declined as follows:
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | tàs 'this' | tà | tóks 'such a' | tokià | ||||
| Gen sg | tõ | tõs | tókio | tokiõs | ||||
| Dat sg | tám | tái | tokiám | tókiai | ||||
| Acc sg | tą̃ | tą | tókį | tókią | ||||
| Inst sg | tuõ | tà | tókiu | tokià | ||||
| Loc sg | tamè | tojè | tokiamè | tokiojè | ||||
| tam̃ | tõj | tokiam̃ | tokiõj | |||||
| Nom pl | tiẽ | tõs | tokiẽ | tókios | ||||
| Gen pl | tų̃ | tų̃ | tokių̃ | tokių̃ | ||||
| Dat pl | tíems | tóms | tokíems | tokióms | ||||
| tíem | tóm | tokíem | tokióm | |||||
| Acc pl | tuõs | tàs | tókius | tókias | ||||
| Inst pl | taĩs | tomìs | tokiaĩs | tokiomìs | ||||
| tõm | tokiõm | |||||||
| Loc pl | tuosè | tosè | tokiuosè | tokiosè | ||||
| tuõs | tokiuõs |
The declension of šìtas, šità is exactly like that of tàs, tà. Anóks, anókia and šìtoks, šìtokia have the same endings as tóks, tokià, but the stress pattern is different (always on the same syllable). These pronouns have influenced the declension of the adjectives.
All intrrogative and relative pronouns begin with the consonant k: kàs 'what', 'who'; kóks, kokià 'what kind of'; kurìs, kurì 'which'; katràs, katrà 'which of two'; kelì, kẽlios 'how many', kelerì, kẽlerios 'how many (used with pluralia tantum); keliñtas, kelintà 'which'.
The interrogative pronoun kàs 'who, what' is declined as follows:
| Nom sg | kàs 'who, what' | |
|---|---|---|
| Gen sg | kõ, kienõ | |
| Dat sg | kám | |
| Acc sg | ką̃ | |
| Inst sg | kuõ | |
| Loc sg | kamè |
This pronoun has no plural declension and it may refer to either masculine or feminine nouns or pronouns. Kienõ 'whose', 'of whom', 'by whom' is used to denote possession or as the subject or agent of a passive verbal construction, whereas kõ is reserved for other genitive uses, cf:
Kóks, kokià are declined like tóks, tokià; kurìs, kurì are declined like jìs, jì; katràs, katrà are declined like tàs, tà; kelerì, kẽlerios are declined like kelì, kẽlios; keliñtas, kelintà are declined like regular adjectives.
Kelì and kẽlios are used only in the plural:
| Masculine | Feminine | |||
|---|---|---|---|---|
| Nom | kelì 'how many' | kẽlios | ||
| Gen | kelių̃ | kelių̃ | ||
| Dat | kelíems, keliém | kelióms, kelióm | ||
| Acc | kelìs | keliàs | ||
| Inst | keliaĩs | keliomìs, keliõm | ||
| Loc | keliuosè, keliuõs | keliosè |
When these pronouns introduce a direct question, they are interrogatives:
Kas, kurìs, kurì, kóks, kokià can also be used as relative pronouns. The number and the gender of the relative pronoun are determined by the word to which it refers, but the case of this pronoun is determined by its use in the clause of which it is a part, e.g.:
The relative pronoun kurią̃ is feminine and singular because it refers to suknẽlė which is feminine and singular, but it is in the accusative case because it is the object of the verb nupirkaĩ.
Kokià žiemà, tokià ir̃ vãsara 'Whatever the winter is (like) thus also is the summer'.
Kàs 'someone', 'somebody', 'something' may be used as an indefinite pronoun by itself, e.g., Jám turbū́t pasivaidẽno kàs 'He probably imagined somebody'.
Kàs, kòks and kurìs also may be used in conjunction with nórs, kažì(n) and kaž-. Kas nórs, koks nórs, kuris nórs have the meaning 'someone', 'somebody', 'anybody' 'something', 'some kind of':
Kažkàs, kažkóks, kažkurìs share a common semantic element meaning 'uncertain', someone not known', 'what', 'which', 'what kind of'. The same meaning is shared by the corresponding compound pronouns with the first component kažì(n), e.g., kaži(n) kàs, kaži(n) kóks, kaži(n) kurìs:
Adjectives agree in gender, number and case with words they modify. As attributes, adjectives can be used only with nouns, e.g., pàprastas sprendìmas 'a simple decision'.
There are three gender forms of adjectives in Lithuanian: masculine, feminine and neuter. All adjectives can have masculine forms and the respective feminine forms, e.g., nominative singular masculine liū̃dnas 'sad', kilnùs 'noble'; nominative singular feminine liūdnà, kilnì. The neuter forms can be derived by dropping the -s from the masculine nominative singular, cf.: nominative singular masculine liū̃dnas and neuter liū̃dna; nominative singular masculine kilnùs and neuter kilnù. These forms are generally used in certain impersonal constructions as part of the nominal predicate:
The present tense forms of bū́ti 'to be' are mostly omitted in such sentences.
The qualitative adjectives have degrees of comparison. As in English, there are three basic degrees of comparison in Lithuanian: the positive, the comparative, and the superlative, e.g., positive liū̃dnas 'sad', sunkùs 'difficult', 'heavy'; comparative liūdnèsnis 'sadder', sunkèsnis 'more difficult', 'heavier'; superlative liūdniáusias 'the saddest', sunkiáusias 'the most difficult', 'the heaviest'. Descriptive adjectives can have definite forms, which in addition to their lexical meaning of the quality contribute definite status to the noun they determine, e.g., amžinóji tiesà 'the eternal truth'. Historically, definite forms derived from the blend of adjectival endings with the pronoun jìs 'he', jì 'she', e.g., amžinàsis 'eternal-he', amžinóji 'eternal-she'.
Masculine and feminine adjectives have two numbers: singular and plural.
All adjectives are traditionally classified into three declensions. The easiest way to determine which declension an adjective belongs is by checking the endings in the nominative singular and the nominative plural.
| Declension | Nom.sg.masc. | Nom.pl.masc. | Nom.sg.fem. | Nom.pl.fem. | Stem | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| 1st | -(i)as | -i | (i)a | |||||||
| -(i)a | -(i)os | (i)o | ||||||||
| 2nd | -us | -ūs | (i)u | |||||||
| -i | -ios | (i)o | ||||||||
| 3rd | -is | -iai | (i)a | |||||||
| -ė | -ės | ė |
The declension of masculine and feminine adjectives is quite different. Since early times, feminine adjectives were declined like nouns, but the masculine adjectives have adopted some of the endings of the gendered pronouns, cf.: dative singular masculine liūdnám 'sad' and tám 'that'; locative singular masculine liūdnamè and tamè; nominative plural masculine liūdnì and tiẽ; dative plural masculine liūdníems and tíems.
All adjectives ending in -(i)as (masculine nominative singular) and -(i)a (feminine nominative singular) belong to the first declension. The declension of these adjectives should be compared with that of the first and second declension nouns. The declension of the masculine adjectives differs in the dative and locative singular and the nominative and dative plural from that of the first declension nouns.
The forms of the 1st declension adjectives are as follows:
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | pìktas 'angry' | piktà | žãlias 'green' | žalià | ||||
| Gen sg | pìkto | piktõs | žãlio | žaliõs | ||||
| Dat sg | piktám | pìktai | žaliám | žãliai | ||||
| Acc sg | pìktą | pìktą | žãlią | žãlią | ||||
| Inst sg | piktù | piktà | žaliù | žalià | ||||
| Loc sg | piktamè | piktojè | žaliamè | žaliojè | ||||
| piktam̃ | piktõj | žaliam̃ | žaliõj | |||||
| Voc sg | pìktas | piktà | žãlias | žalià | ||||
| Nom pl | piktì | pìktos | žalì | žãlios | ||||
| Gen pl | piktų̃ | piktų̃ | žalių̃ | žalių̃ | ||||
| Dat pl | piktíems | piktóms | žalíems | žalióms | ||||
| piktíem | piktóm | žalíem | žalióm | |||||
| Acc pl | piktùs | piktàs | žaliùs | žaliàs | ||||
| Inst pl | piktaĩs | piktomìs | žaliaĩs | žaliomìs | ||||
| piktõm | žaliõm | |||||||
| Loc pl | piktuosè | piktosè | žaliuosè | žaliosè | ||||
| piktuõs | žaliuõs | |||||||
| Voc pl | piktì | pìktos | žalì | žãlios |
Adjectives belonging to the 2nd declension are characterized by the ending -us in the masculine nominative singular and the ending -i in the feminine nominative singular.
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | gilùs 'deep' | gilì | saldùs 'sweet' | saldì | ||||
| Gen sg | gilaũs | giliõs | saldaũs | saldžiõs | ||||
| Dat sg | giliám |