Hadokai Tubatanona Grammar Structures

The structure of the Hadokai Tubatonona (HT) language is quite a bit different from English. One of the main differences is the object subject verb (OSV) format of the sentences, which is not unheard of in most languages, but it is definitely in the minority. The second major difference is the handling of the primary subject, which is different than all other nouns within the sentence structure.. With this in mind, the idea is that the Tubatonona were very explicitly focused on the creations or outcomes rather than who did it or how it was done.

While I have distinct ideas of how this culture developed producing this unique language structure, and at some point, I will be developing the Tubatonona culture, currently, I am focusing on the language (Hadokai).

Sentence structure is similar to transposing most English structures, though not all of the structures. As you will see when we get to the primary subject and verb, the structure gets complicated by the linking of the primary subject to the verb.

Using the standard symbols used by Chomsky Hierarchy, which allows those that can already understand this notation to do so without the explaination of the symbols.. Those that need a short primer for them, you may read on, otherwise jump down the page to S → Imp | Int | [Cnd] Objs Subjs [Tm] Vbs ClPunc

The symbols and structures for Chomsky makes understanding the way language interacts, and though I have been told that there are flaws in the methodology, I believe it will suffice for these purposes

.The arrow (→) is read as “leads to” or “contains,” which indicates it is defined with the following components. We write a sentence that contains only a subject and a verb thusly: 

 S → Subj Vrb

The pipe symbol (|) indicates “or,” and though it would not make sense, we could define a sentence that contains either a subject or a verb or both: 

 S → Subj | Vrb | Subj Vrb

Square brackets denote an optional part. Adding the object to the previous construct: 

 S → [Obj] Subj | [Obj] Vrb | [Obj] Subj Vrb

Parenthesis denote a set of elements, typically similar in nature in some way. In the following Objs leads to either a pronoun and optional secondary nouns or a primary object. This is followed by an optional secondary object. For instance, “He she and”, “The girls the dogs and”

 Objs → (PNoun [SPNoun] | PO) [SO]

The plus symbol fro appending of one element directly to another element, as in a suffix or prefix.: 

 PV → [primary verb] [VerbSuffixes] [PSAdjSuffixes] [PSPluralInd] [NegSuf] [PVCCAV] [PSCCA]

If we have a recursive phrase, say a prepositional phrase (PP), we can recurse so that one prepositional phrase can include another and another and another. This is done by including the structure being defined in the structure we are defining. With P equivalent to a preposition and PP equivalent to a prepositional phrase, the structure begins to take shape.

In the HT structure, I will not define the preposition, and we will assume we can figure out what a preposition is or should be. Including an adjective and a determiner (a, an, the, etc.), we get:

PP → [PP] Adj Det P

Finally, we have the end, epsilon, or empty, where we need to close the PP. Otherwise, it continues to add more PP ad infinitum. The “ε” added as an “or” condition allows the option to finish the structure.

PP → [PP] Adj Det P | ε

Naturally, the sentence structure (generically) in the Chomsky Hierarchy format is:

S → Imp | Int | [Cnd] Objs Subjs [Tm] Vbs ClPunc

Reading this, we can see that the sentence leads to (is comprised of) an “imperative” OR an “interrogative” OR the group of the following: an optional “condition,” a mandatory object phrase, a mandatory subject phrase, an optional “time” indicator, a mandatory verb phrase, and finally the closing punctuation.

Imp – Imperatives

Int – Interrogatives

Cnd – Optional Conditionals

ObjP – Object Phrase

SubjP – Subject Phrase

Tm – Optional Time indicators

VbP – Verb Phrase

ClPunc – Closing punctuation

Imp

Imp (Imperative) is the word used to emphasize the imperative or command; in English, this would be “Hey!”, “You!”, “Get over here!”. So, technically, this might be a word or a short phrase, but the entire sentence is surrounded by imperative punctuation.

This would be similar in nature to “!Hey!” or “!Stop doing that!”

The structure for imperative (Imp) is defined as the punctuation followed by the imperative phrase followed by the punctuation:

Imp → ImpPunc ImpP ImpPunc | ε

            ImpPunc → aʧ

            ImpP → Objs ImpP | Subjs ImpP | Tm ImpP | Vbs ImpP | ε

We can define a sentence with a single word:

English: You!

HT: aʧ dena aʧ 

Broken down, we see the exclamation word, “de” (as the second person indicator) with the “na” suffix (specifying the singular nature of “de”) and finally the exclamation word, again. It could also be “aʧ deno aʧ” if we were referring to “you” as a group.

Int 

 Int (Interrogative) references the question, query, or interrogative. It is similar to how I sometimes preface a question with “question” like “Question, how do I explain this, so that everyone can understand?”

The structure is similar to Imp but is much more robust and allows for complete sentences within the query, but prefacing it with an appropriate “ya” word.

The punctuation for questions is “yaɪʤ” and will always both open and close the sentence.

Int → IntPunc IntW IntP IntPunc | ε

            IntPunc → yaɪʤ

            IntW → yaba | yabo| yadoh| yapensa| yatuna| yauʧ | yazu | ya + N | ya + V

            IntP → Objs IntP | Subjs IntP | Tm IntP | Vbs IntP | ε

yaɪʤ yazu de bakana yaɪʤ (In English: “When will you create?” in direct translation “?When – second person – create – singular?”)

yaɪʤ (interrogative punctuation) yazu (interrogative word, when de (second person indicator word, either “you” or “you all” depending on the ending suffix on the verb, “na” or “no”) bakana (to create, and the plurality indicator for de. “na” is singular and “no” is plural) yaɪʤ (closing interrogative punctuation)

ClPunc

ClPunc (Closing Punctuation) is currently the only other “stop” character for sentences, and if the sentence is not imperative or interrogative, it must end in the “aʒ.”

 ClPunc → aʒ

               Example: Tu bakana aʒ (first person – create – singular suffix, “I create.”)

Cond

Cond (Conditional) is the conditional word for the sentence, and as you can see by the brackets, it is optional.

The conditionals are words like “if,” “then,” or “therefore.” In HT structure, the conditional conjunctions would be transposed “then-if,” as the outcome is paramount. 

An English example might be, “If you place your hand on the stove, then you will get burned.” In HT, structures are transposed: “Then you will get burned if you place your hand on the stove.”

The conditional can get complicated; however, for this explanation, I am going to keep it simple and then, at the end, touch on the complexities this introduces. The Cond contains the CndConjP (Conditional Conjunctive Phrase). This will contain all of the possible options at some point in the future, but for now, we are showing it as having three conditional conjunction types: Temporal Sequence (having to do with time and sequences that are not reliant upon a conditional action), Logical (used to show cause and effect), and Conditional (used to show the if/then statements), the conditional conjunctions act as the “then” part of the, and the “if” part is played by the SubConj (subordinating conjunction).

Cond → CndConjP | SubConj

               CndConjP → TempConj | LogConj | CondConj

                              TempConj → zuel

                              LogConj → el

                              CondConj →

               SubConj → TempSubConj | LogSubConj | CondSubConj

                              TempSubConj → yazu

                              LogSubConj → ɪm

                              CondSubConj → at

Conditional Conjunctions can get quite a bit more complicated, especially in English. The ability to use a phrase would make the conditional section more robust but a lot more complicated, as it would need to define how the words and phrases are structured, when they can be used, and all of the very minute niceties that would come along with that.

Examples:

Temporal:

English: When the sun rises, then we will go outside. (the sun rising is going to happen, so it is temporal and not reliant upon a condition being met.)

HT: zuel aldavudoh tu geno aʃ yazu ro zuta ʧufa aʒ (literally: Then we go to the good life, area when the day becomes light.)

Logical:
English: There was no light, therefore we could not see.
HT: el tu lininoku aʃ roku rafa vuna aʒ (literally: Therefore we not see, no light there exists.)

Conditional:
English: You can go outside, provided it is light out.
HT:  at aldavudoh ropɪta aʃ  aldavudoh tu gena aʒ (literally: if outside lighter, outside you go.)

Objs

Objs (Objects) is a list of the objects that comprise the object phrases, and is made up of nouns, adjectives, and prepositional phrases. This can get quite a bit more complicated, with recursion and subordinate clauses and a lot of other things I will just gloss over.

HT always starts with the object, the thing, or the idea we’re talking about. For example, using “Jo” for rock. We can add details to it, like “Joalʧa” for the blue rock or “Joalʧaku” for not the blue rock. Objects and their qualities are central to HT.

The Objects are defined recursively, but typical sentences will typically not exceed three deep, but in some cases, they can. In the structure, we see the primary object (PO) first; as HT focuses on objects and outcomes, the primary object is the focus of the sentence. The secondary (SO) objects follow the primary, with the secondary objects defining the recursive nature.

The primary object comes first, but the structure defines it along with any adjective suffixes, the plural indicator, any negation suffixes, as well as both complex compound adjectives (CCA) and prepositional phrases (PP). The rest of the structure should start to be more apparent as you get used to looking at the structures from previous areas.

The primary object is comprised of a noun or a pronoun appended by any suffixes or prefixes. The only one I can think of right now is zu, which is time, so it may not apply, but I have added it here for possible use.

Compound complex adjectives are words used to describe the nouns, and as noted, can be complex, built up from other words that would indicate the attributes of the noun.

The noun phrase comprises the central portion of the object and includes the determiner, if any, the noun, and any adjective phrases and prepositional phrases if needed.

Almost any word can be used as a modifier for other words as long as there is context that indicates the intent.

Objs → (PNoun [SPNoun] | PO) [SO]

            PNoun → (tu | de | no) [+ (fa | fe | fi | fo}]

            SPNoun → PNoun [SPNoun + ConjSuffix] | ε

                               ConjSuffix → ʧe

            PO → [ModPrefixes +] N [+ AdjSuffixes] [+ PluralInd] [+ NegSuf] [CCA] [PP]

                        ModPrefixes → zu | ε

                        AdjSuffixes → AdjSuf [+ AdjSuffixes] | ε

                        PluralInd → na | no | [fa | fe | fi | fo] | ε

                        NegSuf → ku | ε

                        CCA → Adj [+ AdjSuffixes] | ε

                        PP → NP P | ε

                                    NP → [Det] [AdjP] N [PP]

            SO → [ModPrefixes] N [AdjSuffixes] [PluralInd] [NegSuf] [CCA] [PP] [SO] ConjSuffix | ε    

Detailed Descriptions and Modifiers: Objects and subjects can be described in detail, with modifiers for size, color, and more. For example, “Emanresuku” negates the subject “Emanre” in “Emanresuku lona” (Emanre is not the one throwing).

Subjs

Subjs are the actual subjects of the sentence; the primary subject of the sentence is a stand-alone noun without adjective suffixes, plural, complex compound adjectives, or prepositional phrases.

The secondary subjects do not follow the primary subject format. They follow the object format.

Thus, the secondary and subsequent subjects are defined with all of the amenities that would be associated with the noun in question, just as the objects were. Only the primary subject is treated differently.

Notice that in both objects and subjects, the conjunction is denoted by the subsequent object or nouns and not with the primary. “Ball and glove” turns into “ball glove and” when placed in HT order.

The last thing that is different between subjects and objects is the order of placement. In objects, it is similar to English. “this, that, and the other” in HT, it is The other, that, and this.

Subjs → [SS] | PS

            SS → [secondary subject] [+ AdjSuffixes] [+ PluralInd] [+ NegSuf] [CCA] [PP] Conj [SS]| ε

            PS → [primary subject] [+ NegSuf]

 Tm

Tm (Time) can come between the primary object and the primary verb. Time indicators such as “zubava” (which literally means “the past” ) can stand for any of these and more: previously, just prior to now, a moment ago.

English: Resua with Emanre just previously were jumping.

HT: Resuae Emanresu zubava zualno aʒ

We might consider this like the tense portion of the sentence, where the tense of the verbs is non-existent because we specify the tense before the verb. I kind of like that idea.

Time can also be negated, so that the following becomes:

English: Resua with Emanre just previously not were jumping.

HT: Resuae Emaresu zubovaku zualno aʒ

Vbs

Vbs (Verbs) are the verbs and verb phrases and are the most complex structure we have in the sentence.

A lot of this has been somewhat covered in the earlier parts, but this defines the principal part of the “originality” of the language.

The verbs, like the primary subject, use the Secondary Verb first before the Primary verb.

HT: Resua zubava ɪbvie navana dohnair aʒ – literally “Resua sat and ran the house into.”

English: Resua ran into the house and sat.

Or we could say:

HT: Resua ɪbvie navana dohnair aʒ – literally “Resua sits and runs the house into.”

English: Resua runs into the house and sits.

In this sentence, the noun “ɪb” is suffixed with “vi,” turning it into a verb and again suffixed with “e” to denote “with.” The verb “nava” is suffixed with the “na,” indicating a singular subject. Finally, “dohna” is suffixed with “ir,” indicating “within, into, or inside”.

As we look at the structure of the Vbs, we see that the primary verb gets complicated, as it is suffixed with any verb-specific suffixes. It then shifts to suffixes that go with the primary subject, adjectives, plurality indicator, and then the negation.

 Once primary subject suffixes have been applied, we shift to complex compound adverbs for the verb, which are recursive.

Primary subject complex compound adjectives are next, then lastly (and finally) primary subject prepositional phrases.

Vbs → SV | PV

            SV → [secondary verb(s)] [AdvSuffixMods] | ε

                        AdvSuffixMods → [adverb suffix modifiers] [Neg] | ε

            PV → [primary verb] [+ VerbSuffixes] [+ PSAdjSuffixes] [+ PSPluralInd] [+ NegSuf] [PVCCAV] [PSCCA]

                        VerbSuffixes → [primary verb suffixes] | ε

                        PSAdjSuffixes → [primary subject adjective suffixes] [AdjSuffixes] | ε

                        PSPluralInd → [primary subject plurality indicator suffix] [PluralInd] | ε

                        PVCCAV → [primary verb complex compound adverbs] [CCAV] | ε

                        PSCCA → [primary subject complex compound adjectives] [CCA] | ε

                        PSPP → [primary subject prepositional phrases] [NP] [P] | ε

                                    NP → [noun phrase]

                                                Det → [determiner (a, the, an, etc.)]

                                                AdjP → [adjective phrase and any modifiers of adjectives] | ε

                                                N → [noun]

                                                PP → [preposition phrase (recursive)] | ε

                                    P → [preposition]

Complex Sentences and Cultural Nuances: HT sentences can have multiple parts, each following the object-subject-verb order. The language reflects the cultural values, often focusing on tangible aspects (objects) more than the actions or agents (verbs or subjects).

Following OSV in all phrases. One exception to the OSV order is in HT poetry and prose. When developing a flourished writing of any kind, most structural conventions are thrown out the window, regardless of the language, or the structure that language uses.

Let’s look at a couple final example sentences:

HT: “ʤoalʧa Emanresu bakana aʒ”

Here, “ʤoalʧa” (the blue rock) is the object, “Emanresu” (by Emanre) is the subject, and “bakana” (creates) is the verb. The sentence ends with “aʒ,” marking the end of the sentence.

HT: ʤu alʧaku magiroʧaku tuna tunafizavutogaroʧae lolupifozavutogaroʧa aʒ

English: The old gray man, with the old gray woman, juggles quickly with not blue or yellow rocks.

HT: ropensam aldagirodae aʒ

English: In Balance, Brilliance

HT: liniva magomakva dokzezu puraze lini likulinialgibetiir aʒ

English: The vista of a boundless horizon reaching far in the hazy distance.

HT: zubava bana zufova pensam aʒ

English: Inscribe the past and know the future.

This structure shows how HT uniquely structures thoughts, emphasizing outcomes and the tangible aspects of the world. I imagine as I start to define the type of culture, they placed emphasis on the products of their lives.

The concept I am working with is that the Tubatonona were literally tasked with the creation of the mystical items which would maintain balance within this cosmic “sphere” of existence.

Prelude

As I put ink to paper, I carve into the annals of existence the historic context of what is about to unfold—a record, immutable and unyielding, for all to see and know. In dreams, I am as a bird on the wing or a cloud in the sky, an observer from heights unattainable, glimpsing that which defies perception, knowing that which yearns for clarity and resolution. Were it not for an extraordinary gift, these stories, these moments, these words would dissolve, forgotten in the ceaseless tide of time and the collective experiences that shape us all.
Though you may question the hand that writes, know this: it moves not by the will of its owner but as the witness of truths beyond itself. It chronicles not its own perceptions but only that which is—unyielding, unembellished. Bound by edicts that predate the stars, these stories—fleeting instants of time yet timeless in their gravity—are etched into my mind, each a gem whose facets I polish but cannot create, for I am without the power to turn carbon into diamond.
As I wander through the vignettes of existence, a great weight presses upon me, the unseen specter of my charge. An invisible phantom, I am unable to set pen to parchment save for when the truth demands it. I etch these truths, these visions, into permanence, preserving their essence within the boundless vault of eternity, and I offer them now as a gift of clarity to deepen and lift the understanding of what has transpired.
These words hold only the basest truths of what was, what is, and what may yet be. They emerge from a struggle—a quest to discern the tangled threads of the journeys herein. In the waking hours, I live as fully as I am able, but when I lay my head to rest, I traverse the lives of those I am destined to follow, their moments entwined with mine yet held apart. In dreams, I am granted vistas beyond comprehension, privy to knowledge unattainable, sights unseen, and whispers too faint for mortal ears—each as vivid as the sun yet devoid of emotion or care.
The manuscript presented here unfolds as greatness itself—its wings spread like a hawk soaring high, its tale unfurling like sails catching the winds of truth, propelling us across seas of wisdom and experience to lands uncharted. On the shores of the unforeseen lies the future of all, disembarking burdened by fears and regrets that should long since have passed into oblivion.
I ask only for your understanding and acceptance that the words within are unbiased, genuine, and balanced only by the hopes and dreams of the lives they recount. With every curve and line drawn on parchment, I immortalize visions not meant to be seen, whispers of truths unspoken, and the enigmatic echoes of events that remain mysteries even to those who lived them.
The truth I offer must come untainted, discovered by oneself, and shared among kindred souls. It is not mine to keep—it is yours to take. Though I am only the alchemist’s catalyst, stirring the pot in which change brews, the transformation belongs to the base substance itself.
If you are willing, take this journey of words and truth. Partake as you would of a feast, consuming only what nourishes your spirit and fills your heart, for each of us gathers uniquely, harvesting what sustains us, and no other will taste what we each find in this banquet of discovery. This journey, if you allow it, will transform you, lifting you to soar like a bird, to drift as a cloud, carried by the wind toward boundless potential.
The path before you, though inevitably your own, is forged by choice. Walk it with intention, for destiny bows to the direction of your heart.
—RCotD—

“Through time immemorial, reality, the cosmos, the eternal existence we call life, has struggled for balance. The struggle between opposites ensues, creating a battlefield upon which our meager existences are caught in a web of decay and renewal, with no knowledge of the need for balance; these are the domains in which the Cadre of the Dance inhabit. The knowledge of the true need of equality, in form and action, are their struggles.” – RtCotD

“Eclipsed by Time, Yet Everlasting; In Battles Endless Worn Unbroken. In Struggles Forged and Renewal Refined; From Dust to Destiny; In Balance, Brilliance.” – the Hack

Final Official Registration of a Waggoner Family Coat of Arms

The final changes have been confirmed for my coat of arms, they acknowledged the error in the description, where in the dragon had been blazoned in Or and not Argent, and the Oak Tree had no tincture.

The following is the Officially registered coat of arms.

Arms: Per fess azure and vert, issuing from a sun in dexter chief gold a phoenix descending in an arc toward the sinister gules enflamed gold, and issuant from an oak tree uprooted in sinister base gold a dragon ascending in an arc toward the dexter silver, the heads respectant in fess point.

Crest: A phoenix gold and a dragon silver wings endorsed respectant and rising from flames proper.

New England Historic Genealogical Society – Committee on Heraldry

I am not prone to emotional excitement, but this is one item/event that I am truly proud to say has me excited. My search has been 40 years plus in the making, and 30 years plus since I first developed the general concept of the core imagery. It has only been within the last year that I realized that this core imagery really defines my life and decided to attempt to get it registered.

The original idea was much more indicative of the yin-yang, and though the final registered blazon is not as descriptive as I initially intended, I believe that it adheres to the overall structure and intent of my original submission.

Emblazoning MY Registered Coat of Arms.

After months of struggling with the task of crafting an emblazon for my registered coat of arms, I began to understand how difficult the task at hand was. As I was researching techniques for drawing phoenix wings, a small but not insignificant part of my heraldic design, I discovered Monika Zagrobelna, an artist whose skill in both realistic and fantasy art is nothing short of remarkable.

Guided by her tutorials, I was pleased with my own results but found myself in awe of her portfolio. Monika has a unique educational approach; she hones her craft by sharing her knowledge through her blog. Her expertise spans from animal anatomy to the nuances of digital art, and she even explores the relationship between art and technology.

What sets Monika apart is her commitment to anatomical precision. Whether she’s drawing a dragon or a phoenix, her attention to detail adds a layer of authenticity to her creations, making them compelling and believable. And though I never tweet, I found myself compelled to share her amazing talents in a tweet, or do we call them Xs now?

When I approached Monika about doing a commission piece, she took the time to consider the project’s complexities. She suggested a multi-stage process, each with its own set of revisions, to ensure the final piece would align with my vision. From initial sketches to the final colored piece, her approach was both meticulous and thoughtful.

Monika was keen on the project, seeing it as a unique challenge. Her willingness to delve into the complexities of heraldic art speaks volumes about her dedication and versatility. As someone with a background in IT and ultimately in project management, I found her methodical approach not just reasonable, but essential for ensuring that each element of the coat of arms would be historically and symbolically accurate.

This collaboration promises to be a rewarding experience for both of us. For Monika, it’s a chance to broaden her artistic scope. For me, it’s an opportunity to bring a deeply personal and historically significant design to life, transforming it into a cherished heirloom I can pass down to my daughter and display in many ways.

The task, or journey if you will, of bringing something as personal as this to life, is an artistic endeavor that culminates a search that I have been on for many decades. Knowing that the final leg of the journey is in Monika’s vastly more than capable hands sparks a joy in my life rivaled only by the accomplishments of my own daughter, which I suppose all fathers should spark joy by their offspring. As we enter this collaboration, Monika and I, I feel like a child on Christmas morning, filled with anticipation and hope. I truly believe that this year, Monika will be Santa Claus.

I hope you find the final article to be a cohesive and engaging narrative!

Concept Badges for the Blazon

Badges:

Primary Leader: The Primary Leader badge features a lozenge shape divided horizontally, with the upper half colored Azure (blue) and the lower half colored Vert (green). In the left-side corner, a circular shape colored Azure holds a radiant Sun Or (gold) symbolizing leadership and brilliance. On the right-side corner, a circular shape colored Vert contains a fully grown and eradicated Tree Or (gold), representing stability and growth. Extending beyond the lozenge, but not beyond the top or bottom points, are two charges positioned back to back. A Dragon Argent (silver), membered and winged Vert (green), and a Phoenix Gules (red), membered and winged Or (gold), with their wings entwined. The badge is bordered by a twisted border alternating between gold (Or) and silver (Argent), symbolizing prestige and nobility.

Pledge: The Pledge badge is a plain uncolored lozenge, or it can be colored in white, grey, and black. It is divided per fess, with the upper half colored grey and the lower half colored black. In the left point of the lozenge, a circle centered with grey is featured, and in the right point, a circle centered with grey is also displayed. There are no additional charges on the Pledge badge.

Untrained Member: The Untrained Member badge follows the same design as the Primary Leader badge, with a colored lozenge divided horizontally, upper half Azure and lower half Vert. The circles on the left and right points of the lozenge are colored as per the Primary Leader badge. There are no additional charges on the Untrained Member badge.

Trained Members: The Trained Members badge maintains the same design as the Primary Leader badge, with the colored lozenge and circles. However, the badge includes the specific charge associated with the trained member. The charge is centered in the lozenge and colored as described in the Primary Leader badge.

Man-at-Arms: The Man-at-Arms badge features the charge of a Dragon centered in the lozenge, colored as described in the Primary Leader badge. There are no additional charges on the Man-at-Arms badge.

Strategic: The Strategic badge includes the charge of a Phoenix, centered in the lozenge and colored as described in the Primary Leader badge. There are no additional charges on the Strategic badge.

Leadership: The Leadership badge showcases the charge of the Sun, centered in the lozenge and colored as described in the Primary Leader badge. There are no additional charges on the Leadership badge.

Support: The Support badge features the charge of the Tree, centered in the lozenge and colored as described in the Primary Leader badge. There are no additional charges on the Support badge.

From Blossoming Bedlam to Crystalline Calm

Welcome to my digital domain, a garden where the vibrant disorder of Information Technology unfurls in all its chaotic beauty. Amid the dense thicket of data and systems, each individual code, each enigmatic glitch emerges like a seedling amid the wilderness, seemingly chaotic yet harboring the potential for exquisite order under the watchful eye of a skilled gardener.

Our journey through this enthralling maze commences with the many riddles that IT offers. Every challenge is akin to a mysterious plant within this digital garden, seemingly disorderly and untamed yet begging to be understood and nurtured into a symbol of harmony and understanding. As we unravel these enigmas, we traverse the thorny thickets, pruning the wild growth and cultivating paths of logic and clarity amid the thriving wilds.

This cultivation, however, is not a solitary endeavor. The invaluable contribution of our peers — the IT teams — is as essential as sunlight to a garden. Each team member brings their unique talents and wisdom to the collective, helping us navigate through the thicket and transform the wild growth into a beautiful, well-tended garden brimming with harmonious solutions.

As our voyage advances deeper into the dense growth, the chaotic undergrowth reveals an intriguing mystery. The intertwined layers of complexity in IT transform from a wild, unruly forest into a meticulously manicured garden waiting to be admired and understood. There’s always a new path to tread, a new flower to discover. The true charm of IT lies in this journey — the transformation from a blossoming bedlam to a garden of crystalline calm, from bewilderment to comprehension. Welcome to my journey, where the thrill of navigating the digital chaos merges with the joy of nurturing its countless mysteries into pristine understanding.

An Achievement

Symbolism has been an integral part of my life for as long as I can remember. The allure of uncovering my family’s coat of arms, if one existed, has always intrigued me. My father took it upon himself to “send off” for a copy of our supposed coat of arms, but deep down, I have always harbored doubts about our lineage and whether we are truly entitled to such a rich heritage. The image of the coat of arms he received is displayed here. Still, without concrete proof, I find myself hesitant to fully embrace it as a genuine representation of our family’s legacy.

As time passed, my own ideals and beliefs began to take shape within me, and I felt compelled to capture these ideas on paper, translating them into a drawing that held profound meaning for me. Eventually, I immortalized this symbol on my right shoulder through a tattoo. It became a personal emblem, a visual manifestation of my inner convictions. Inspired by this concept, I am now embarking on the creation of a blazon—an official description of the symbol—to ensure its lasting presence for future generations. This endeavor allows me to document the essence and significance of the symbol, preserving its legacy.

The crux of my symbol revolves around the principles of balance, acceptance, and commitment. These ideals resonate deeply within me, guiding my actions and shaping my worldview. However, it is essential to acknowledge the uncertainty surrounding our family’s coat of arms. Without conclusive evidence, I approach this exploration with an open mind, embracing the possibility of uncovering new truths and forging my own interpretation of our ancestral heritage. Through this journey, I strive to honor the quest for authenticity and preserve the essence of my personal symbolism.

“Quarterly Party, first and second Azure, third and fourth Vert, in the first quarter a Sun radiant raised Or, from which to the dexter naissant a Phoenix volant en arrière Gules, descending embowed in an arc to the dexter and extending into the second and briefly into the fourth, the phoenix head fully contained within the fourth quarter and respecting the center point of the quarters, its wings, head, and tail enflamed Or; in the fourth quarter an Oak Tree eradicated Or feuillé, from which to the sinister naissant a Dragon volant en arrière Argent, ascending embowed in an arc to the sinister and extending into the third and briefly into the first, the Dragon’s head fully contained within the first quarter and respecting the center point of the quarters, wings elevated and addorsed Argent, its forelimbs and hindlimbs extended and taloned.”

“Above the shield, a Helm affronté, grilled Argent, mantled Azure and Vert, doubled Or, wreathed of the colours.“

“For a Crest, upon a Torse Or and Vert, a Phoenix Or and a Dragon Argent respectant, addorsed and rising, each from Flames proper.”

“A scroll above the crest bearing the War Cry, ‘With Phoenix Blaze and Dragon Roar!’, in letters Sable, and a scroll below the shield inscribed with the Motto, ‘In Balance, Brilliance’, also in letters Sable.”

“Quarterly Party, first and second Azure, third and fourth Vert“ establishes the foundational structure of the coat of arms. The quarterly division of the shield into four sections represents the division of the depicted domain or attributes. The first and second quarters in Azure, or blue, evoke a feeling of tranquility, stability, and trust. The third and fourth quarters in Vert, or green, symbolize life, renewal, and a deep connection to the natural world.

“in the first quarter, a Sun radiant raised Or, from which to the dexter naissant a Phoenix volant en arrière Gules, descending embowed in an arc to the dexter and extending into the second and briefly into the fourth, the phoenix head fully contained within the fourth quarter and respecting the center point of the quarters, its wings, head, and tail enflamed Or” introduces the prominent element of The sun is often associated with concepts such as life, vitality, enlightenment, and divine power. It represents light, warmth, and the energy source that sustains life. It can symbolize wisdom, clarity, guidance, leadership, transformation, renewal, and immortality. From the Sun, a Phoenix emerges in Gules, or red, the phoenix represents resilience, overcoming challenges, and the triumph of life over death, signifying the cyclical nature of life and the potential for personal growth and transformation, as well as the pursuit of truth and knowledge. The Phoenix extends into the second quarter and briefly into the fourth, with its head facing the center point of the quarters, emphasizing its transformative and guiding influence. The body of the Phoenix lies mostly in the second quarter, alone and without accompaniment, and implies the journeys in life are primarily individual travels. The positioning of the Phoenix indicates openness and acceptance. The flames surrounding the phoenix symbolize its fiery nature and association with regeneration. Fire is often associated with passion, creativity, purification, and purification. The flames represent the transformative and purifying aspects of the phoenix’s nature and signify the beginning of the cycle.

“In the fourth quarter, an Oak Tree eradicated Or, from which to the sinister naissant a Dragon volant en arrière Argent ascending embowed in an arc to the sinister and extending into the third and briefly into the first, the Dragon’s head fully contained within the first quarter and facing the center point of the quarters, its wings elevated and addorsed Argent, its forelimbs and hindlimbs extended and taloned” presents an Oak Tree in the fourth quarter. The oak tree is often associated with strength, endurance, and wisdom. Representing stability, resilience, and grounding. The oak symbolizes longevity and the life cycle, as it can live for many years and produce acorns that grow into new trees. It can also symbolize protection and shelter, as its strong branches provide shade and support. Cladding in Or indicates how precious this symbol is in the cycle of life. From the Oak Tree, a powerful mythical dragon emerges in Argent, or silver, symbolizing protection, wisdom, and guardianship. The Dragon extends into the third quarter and briefly into the first, with its head facing the center point of the quarters, highlighting its role as a powerful guardian figure and representing strength, courage, and guardianship. It can symbolize both destructive and protective forces. In this blazon, the dragon is depicted as volant en arrière (flying backward) with its wings elevated and addorsed (folded back). This may suggest a sense of watchfulness and readiness to defend or protect. The extended forelimbs and hindlimbs with talons indicate the dragon’s ability to grasp and hold onto what it values. The body of the Dragon lies mainly in the third quarter, alone and without accompaniment, and again as the Phoenix implies, the journeys in life are primarily individual travels. The positioning of the Dragon implies openness and acceptance.

“Above the shield, a Helm affronté, grilled Argent, mantled Azure and Vert, doubled Or, wreathed of the colours” introduces the Helm positioned above the shield. The Helm is depicted facing forward (affronté) and features a silver (Argent) grill. The mantling, represented in Azure and Vert, symbolizes drapery and is doubled in Or, emphasizing prestige and nobility. The wreath, made of the colors Azure and Vert, holds symbolic significance, connecting the Helm to the overall symbolism of the coat of arms.

“For a Crest, upon a Torse Or and Vert, a Phoenix Or and a Dragon Argent respectant, addorsed and rising, each from Flames proper” describes the Crest, positioned upon a Torse. The Torse consists of twisted bands in Or and Vert. The Crest features a Phoenix in Or and a Dragon in Argent, depicted facing each other (respectant) and back-to-back (addorsed), both rising. The creatures emerge from proper-colored Flames, symbolizing their transformative nature and power.

“above the crest, a scroll inscribed with the War Cry. ‘With Sun’s Blaze and Dragon’s Roar!’, in letters Sable” refers to a scroll positioned above the Crest. The scroll carries the War Cry, written in Sable (black) letters. The War Cry, ‘With Sun’s Blaze and Dragon’s Roar!’, represents the rallying cry and expression of strength associated with the depicted domain.

“below the shield, a scroll inscribed with the Motto, ‘In Balance, Brilliance’, also in letters Sable” describes a scroll positioned below the shield. This scroll carries the Motto, written in Sable letters, which reads ‘In Balance, Brilliance’. The Motto conveys the principles of harmony, equilibrium, and brilliance that guide the depicted realm.

Each element of the coat of arms holds symbolic significance, representing different qualities, values, and aspirations. The color choices, creatures, and textual elements come together to convey a narrative of strength, transformation, wisdom, and balance. They reflect the essence and ideals of the depicted domain, inspiring a sense of power, resilience, and brilliance.

Registered Blazon

On 18 July, 2023 I was granted a recorded blazon with the Committee on Heraldry of the New England Historic Genealogical Society which was established 3 February, 1864. They are the oldest registrar in the United States.

The submission to the committee was considered too complex and the committee reworked the blazon to simplify it while still keeping with the overall theme I intended. The arms are blazoned in Committee records as follows:

Arms: Per fess azure and vert, issuing from a sun in dexter chief gold a phoenix descending in an arc toward the sinister gules enflamed gold, and issuant from an oak tree uprooted in sinister base a dragon ascending in an arc toward the dexter gold, the heads respectant in fess point.

Crest: A phoenix gold and a dragon silver wings endorsed respectant and rising from flames proper.

There is a mistake in the coloring that I have requested be changed or explained, as the dragon in the original submission should be Argent (silver) and not Or (gold).

The original submission was as the description at the beginning of this post and I will provide it again here. Only the arms and crest were listed in the application, and I will bold them here appropriately.

“Quarterly Party, first and second Azure, third and fourth Vert, in the first quarter a Sun radiant raised Or, from which to the dexter naissant a Phoenix volant en arrière Gules, descending embowed in an arc to the dexter and extending into the second and briefly into the fourth, the phoenix head fully contained within the fourth quarter and respecting the center point of the quarters, its wings, head, and tail enflamed Or; in the fourth quarter an Oak Tree eradicated Or feuillé, from which to the sinister naissant a Dragon volant en arrière Argent, ascending embowed in an arc to the sinister and extending into the third and briefly into the first, the Dragon’s head fully contained within the first quarter and respecting the center point of the quarters, wings elevated and addorsed Argent, its forelimbs and hindlimbs extended and taloned.”

“Above the shield, a Helm affronté, grilled Argent, mantled Azure and Vert, doubled Or, wreathed of the colours.”

“For a Crest, upon a Torse Or and Vert, a Phoenix Or and a Dragon Argent respectant, addorsed and rising, each from Flames proper.”

“A scroll above the crest bearing the War Cry, ‘With Phoenix Blaze and Dragon Roar!’, in letters Sable, and a scroll below the shield inscribed with the Motto, ‘In Balance, Brilliance’, also in letters Sable.”