Darynese

Luzeo Beronani aeluse r*kaenaimae ño.
Eñlae pasaotrazi, naerylae pilalizi
Elbese binae kis iyadae alpaizae
Alrunaim alaoma raryizase zao.
Alyer irusebin param alozaeru
Binae alpaizaenaim bin alineyil.
Ñaram, aleyilnaimae areos alrunaimeo-alnaeryo
Altitalkul kurase alrunaimae yinake.
Ikelerileo naerae alrunaimae royozaenaimeo nararam,
Alineyilnaimeo-alnaeryo utaopirilae
Ñirorilae alrunaim eyilnaimae areosram,
Zaitrise ilaetraerilae bineo porsil r*kaenaimae ño.
R*kaenaimae ño laemtraesitrora, ñaram
Alyinakenaimeo ilu dorusitrora.

Translation

In beautiful Berona, my tale begins.
Towards new conflict from an old grudge
Move two equally-respected clans.
Blood defiles their hands.
Two misfortunate lovers kill themselves,
Children of two clans.
And, their parents' anger at the time of their deaths,
Is burnt to ashes by their tragedy.
The fear-inducing end of their death-related love and,
Stopped at their children's deaths,
Their parents' ongoing rage
is my three-hour-telling story.
Please listen to my tale, and
Please see the events' birth.

Notes

The play Romeo and Juliet, translated as Romeoram Yulieteram, is surprisingly popular on Daryn. It was one of the first English-language works performed by an all-Darynese cast, and several translations have been done. The one quoted above was the first, done by Ruai Aborin of Kemaryn. Older English-language theatrical works often lend themselves well to the Darynese elberilae-ño (walking story), which has a resemblance to Elizabethan theater in that there's very little reliance on props or set pieces, though painted backgrounds and costumes and makeup may be lavish.

While 'authentic' productions of the play have been done, it's more common to interpret the play as a Darynese period drama. Normally it is set in the time around the rise of the global empire, before the modern Darynese state. Verona (Berona) becomes a fictional city on Daryn, with the Berone clan nominally in charge, and the Montagiye (Montague) and Kapulete (Capulet) clans as other major figures. This was as the teachings of the taomaeyil, monogamy, and the equality-between-the-sexes movement, were gaining favor.

The most notable change in casting is that Montagiye-pailai (Lord Montague) and Kapulete-pailai (Lord Capulet), as well as Berone-pailai (Escalus, the Prince) are all cast and written as women in the translation, to better fit a time period when it would be all but unheard of for a man to hold a civil position. Normally the character of Lady Montague is dropped and Montagiye-pailai is rewritten as Romeo's mother, rather than his father. A problem comes in with the Capulets, since Lady Capulet is both an important character (so cannot be written out or combined with Lord Capulet), and clearly Juliet's mother, not her father. Consequently, given the matrilineal structure of Darynese families, Kapulete-pailai becomes the family head, and Yuliete is her sister's daughter. Since this leaves a need for a first name for Yuliete's mother, at least for casting notes, Aborin whimsically suggests Laedi.

The characters of the friars in Darynese productions have the most flexibility in casting, since the priests of taomae aren't restricted to men only, unlike the Franciscan order. Many productions will cast the best actor, regardless of gender, then just alter the pronouns to fit. The fact that Laoren-saerao (Laurence) is helping Romeo and Yuliete marry, even against their parents wishes could be seen as problematic on Daryn, where even in modern times, an adult helping a younger adult disobey her parents' reasonable request would be unusual, but the commentary Aborin mentioned in her notes stated that she thought Laoren was both looking for the spread of his set of ideas through Yuliete and Romeo and to help the Kapulete and Montagiye clans settle their disputes peacefully.

The overall plot of the play remains unchanged -- the long feud between the Montagiye and Kapulete clans is destabilizing the city. Instead of sending their sons off to other clans to marry, both clans (and unaligned ones, like Berone) are keeping them in the city in case a fight breaks out -- which it does, as there are many bored young men who have been told they are here to fight. Kapulete-pailai has been trying to arrange a young man for Yuliete and hoping that a kin-tie to the Berone clan would help her family finally beat the Montagiye. All of the elders are seen as being too busy with their own games to take care that the children don't do something stupid -- both the fights that kill Merkutio, Paris and Tibalte, and Romeo and Yuliete's marriage and double-suicide. That is seen as the real tragedy -- that no adult is able to guide the younger generation past the passion of youth into the more sensible adulthood.