dublinka

In The Monsters and the Critics, a collection of essays by Tolkien, the author observes that "if you construct your art-language on chosen principles", you can write poetry in that language - "in so far as you fix it, and courageously abide by your own rules, resisting the temptation of the supreme despot to alter them".

This led him to write, in the language Qenya, the following:

Man kiluva lómi sangane,
telume lungane
tollalinta ruste,
vea qalume,
mandu yáme,
aira móre ala tinwi
lante no lanta-mindon?

Which apparently means:

"Who shall see the clouds gather, the heavens bending upon crumbling hills, the sea heaving, the abyss yawning, the old darkness beyond the stars falling upon fallen towers?"

This is just one of a number of examples of artificial languages in the history of Poetry. On first sight, even if you are a linguist, the whole enterprise seems to be a road to madness via curiosity and amusement, but in theory it allows new experimental poetry to be constructed. Some times such poetry is successful - I think concrete poetry is one such example, and at other times the whole enterprise is a disaster and dies with it's maker. %^&*%?