Sound is primary*

, 聲音是主要的，
Shēngyīn shì zhǔyào de,
Шенґйін шІі жУуУйАао да,

Writing is secondary.
二次寫作。
Èr cì xiězuò.
Еер шІі ксіЕеЕжуОо.

One may even forget the hieroglyphs,
你可以忘記象形文字，
Nǐ kěyǐ wàngjì xiàngxíng wénzì,
НІіІ кЕеЕйІіІ вАанґджІі ксіАанґксіІнґ веЕндзІі,

The main thing is to hear:
主要是聽到：
Zhǔyào shi tīngdào:
ЖУуУйАао ші тінґдАао:
        _______
*Here and below (three in all) are experimental poems. This is a kind of introduction to the author’s inquiry into the nature of the Word. So rhyme and essence are recognized only when one recites the first lines of each stanza; the other lines are for comparing systems of hieroglyphs and sounding-out in international writing based on the Latin alphabet and in Ukrainian writing (the author believes it is perfect, but even more perfect, perhaps, would be a “Ukrainized” Latin-25**).

**Latin-25 looks like this:
   Tut i dali (vsjoqo try) – virci eksperymentaljni. Tse svojeridne oznajomlennja z avtorsjkym doslidxennjam pryrody Slova. Tox ryma i sutj rozpiznajutjsja pry zatcytuvanni lyce percyh rjadkiv koxnoji strofy; inci rjadky – dlja porivnjuvannja system ijeroqlifiv i ozvutcuvannja mixnarodnym pysjmom na osnovi latynytsi j pysjmom ukrajinsjkym (avtor vvaxaje, ctco vono doskonale, ale ctce doskonalicoju, moxlyvo, stala b “ukrajinizovana” Latynytsja-25).