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Since at least the Middle Ages, philosophers and philologists have dreamed of curing natural languages of their flaws by constructing entirely new idioms according to orderly, logical principles.

What if, they wondered, you could create a universal written language that could be understood by anyone, a set of “real characters,” just as the creation of Arabic numerals had done for counting? “This writing will be a kind of general algebra and calculus of reason, so that, instead of disputing, we can say that ‘we calculate,’ ” Leibniz wrote, in 1679.

nventing new forms of speech is an almost cosmic urge that stems from what the linguist Marina Yaguello, the author of “Lunatic Lovers of Language,” calls “an ambivalent love-hate relationship.” Language creation is pursued by people who are so in love with what language can do that they hate what it doesn’t. “I don’t believe any other fantasy has ever been pursued with so much ardor by the human spirit, apart perhaps from the philosopher’s stone or the proof of the existence of God; or that any other utopia has caused so much ink to flow, apart perhaps from socialism,”

Quijada began wondering, “What if there were one single language that combined the coolest features from all the world’s languages?”

Solresol, the creation of a French musician named Jean-François Sudre, was among the first of these universal languages to gain popular attention. It had only seven syllables: Do, Re, Mi, Fa, So, La, and Si. Words could be sung, or performed on a violin. Or, since the language could also be translated into the seven colors of the rainbow, sentences could be woven into a textile as a stream of colors.

“I had this realization that every individual language does at least one thing better than every other language,” he said. For example, the Australian Aboriginal language Guugu Yimithirr doesn’t use egocentric coördinates like “left,” “right,” “in front of,” or “behind.” Instead, speakers use only the cardinal directions. They don’t have left and right legs but north and south legs, which become east and west legs upon turning ninety degrees

Among the Wakashan Indians of the Pacific Northwest, a grammatically correct sentence can’t be formed without providing what linguists refer to as “evidentiality,” inflecting the verb to indicate whether you are speaking from direct experience, inference, conjecture, or hearsay.

In his “Essay Towards a Real Character, and a Philosophical Language,” from 1668, Wilkins laid out a sprawling taxonomic tree that was intended to represent a rational classification of every concept, thing, and action in the universe. Each branch along the tree corresponded to a letter or a syllable, so that assembling a word was simply a matter of tracing a set of forking limbs

he started scribbling notes on an entirely new grammar that would eventually incorporate not only Wakashan evidentiality and Guugu Yimithirr coördinates but also Niger-Kordofanian aspectual systems, the nominal cases of Basque, the fourth-person referent found in several nearly extinct Native American languages, and a dozen other wild ways of forming sentences.

he discovered “Metaphors We Live By,” a seminal book, published in 1980, by the cognitive linguists George Lakoff and Mark Johnson, which argues that the way we think is structured by conceptual systems that are largely metaphorical in nature. Life is a journey. Time is money. Argument is war. For better or worse, these figures of speech are profoundly embedded in how we think.

I asked him if he could come up with an entirely new concept on the spot, one for which there was no word in any existing language. He thought about it for a moment. “Well, no language, as far as I know, has a single word for that chin-stroking moment you get, often accompanied by a frown on your face, when someone expresses an idea that you’ve never thought of and you have a moment of suddenly seeing possibilities you never saw before.” He paused, as if leafing through a mental dictionary. “In Ithkuil, it’s ašţal.”

Neither Sapir nor Whorf formulated a definitive version of the hypothesis that bears their names, but in general the theory argues that the language we speak actually shapes our experience of reality. Speakers of different languages think differently. Stronger versions of the hypothesis go even further than this, to suggest that language constrains the set of possible thoughts that we can have. In 1955, a sociologist and science-fiction writer named James Cooke Brown decided he would test the Sapir-Whorf hypothesis by creating a “culturally neutral” “model language” that might recondition its speakers’ brains.

most conlangers come to their craft by way of fantasy and science fiction. J. R. R. Tolkien, who called conlanging his “secret vice,” maintained that he created the “Lord of the Rings” trilogy for the primary purpose of giving his invented languages, Quenya, Sindarin, and Khuzdul, a universe in which they could be spoken. And arguably the most commercially successful invented language of all time is Klingon, which has its own translation of “Hamlet” and a dictionary that has sold more than three hundred thousand copies.

He imagined that Ithkuil might be able to do what Lakoff and Johnson said natural languages could not: force its speakers to precisely identify what they mean to say. No hemming, no hawing, no hiding true meaning behind jargon and metaphor. By requiring speakers to carefully consider the meaning of their words, he hoped that his analytical language would force many of the subterranean quirks of human cognition to the surface, and free people from the bugs that infect their thinking.

Brown based the grammar for his ten-thousand-word language, called Loglan, on the rules of formal predicate logic used by analytical philosophers. He hoped that, by training research subjects to speak Loglan, he might turn them into more logical thinkers. If we could change how we think by changing how we speak, then the radical possibility existed of creating a new human condition.

today the stronger versions of the Sapir-Whorf hypothesis have “sunk into . . . disrepute among respectable linguists,” as Guy Deutscher writes, in “Through the Looking Glass: Why the World Looks Different in Other Languages.” But, as Deutscher points out, there is evidence to support the less radical assertion that the particular language we speak influences how we perceive the world. For example, speakers of gendered languages, like Spanish, in which all nouns are either masculine or feminine, actually seem to think about objects differently depending on whether the language treats them as masculine or feminine

The final version of Ithkuil, which Quijada published in 2011, has twenty-two grammatical categories for verbs, compared with the six—tense, aspect, person, number, mood, and voice—that exist in English. Eighteen hundred distinct suffixes further refine a speaker’s intent. Through a process of laborious conjugation that would befuddle even the most competent Latin grammarian, Ithkuil requires a speaker to home in on the exact idea he means to express, and attempts to remove any possibility for vagueness.

Every language has its own phonemic inventory, or library of sounds, from which a speaker can string together words. Consonant-poor Hawaiian has just thirteen phonemes. English has around forty-two, depending on dialect. In order to pack as much meaning as possible into each word, Ithkuil has fifty-eight phonemes. The original version of the language included a repertoire of grunts, wheezes, and hacks that are borrowed from some of the world’s most obscure tongues. One particular hard-to-make clicklike sound, a voiceless uvular ejective affricate, has been found in only a few other languages, including the Caucasian language Ubykh, whose last native speaker died in 1992.

Human interactions are governed by a set of implicit codes that can sometimes seem frustratingly opaque, and whose misreading can quickly put you on the outside looking in. Irony, metaphor, ambiguity: these are the ingenious instruments that allow us to mean more than we say. But in Ithkuil ambiguity is quashed in the interest of making all that is implicit explicit. An ironic statement is tagged with the verbal affix ’kçç. Hyperbolic statements are inflected by the letter ’m.

“I wanted to use Ithkuil to show how you would discuss philosophy and emotional states transparently,” Quijada said. To attempt to translate a thought into Ithkuil requires investigating a spectrum of subtle variations in meaning that are not recorded in any natural language. You cannot express a thought without first considering all the neighboring thoughts that it is not. Though words in Ithkuil may sound like a hacking cough, they have an inherent and unavoidable depth. “It’s the ideal language for political and philosophical debate—any forum where people hide their intent or obfuscate behind language,” Quijada co

In Ithkuil, the difference between glimpsing, glancing, and gawking is the mere flick of a vowel. Each of these distinctions is expressed simply as a conjugation of the root word for vision. Hunched over the dining-room table, Quijada showed me how he would translate “gawk” into Ithkuil. First, though, since words in Ithkuil are assembled from individual atoms of meaning, he had to engage in some introspection about what exactly he meant to say.For fifteen minutes, he flipped backward and forward through his thick spiral-bound manuscript, scratching his head, pondering each of the word’s aspects, as he packed the verb with all of gawking’s many connotations. As he assembled the evolving word from its constituent meanings, he scribbled its pieces on a notepad. He added the “second degree of the affix for expectation of outcome” to suggest an element of surprise that is more than mere unpreparedness but less than outright shock, and the “third degree of the affix for contextual appropriateness” to suggest an element of impropriety that is less than scandalous but more than simply eyebrow-raising. As he rapped his pen against the notepad, he paged through his manuscript in search of the third pattern of the first stem of the root for “shock” to suggest a “non-volitional physiological response,” and then, after several moments of contemplation, he decided that gawking required the use of the “resultative format” to suggest “an event which occurs in conjunction with the conflated sense but is also caused by it.” He eventually emerged with a tiny word that hardly rolled off the tongue: apq’uxasiu. He spoke the first clacking syllable aloud a couple of times before deciding that he had the pronunciation right, and then wrote it down in the script he had invented for printed Ithkuil:

“You can make up words by the millions to describe concepts that have never existed in any language before,” he said.

Many conlanging projects begin with a simple premise that violates the inherited conventions of linguistics in some new way. Aeo uses only vowels. Kēlen has no verbs. Toki Pona, a language inspired by Taoist ideals, was designed to test how simple a language could be. It has just a hundred and twenty-three words and fourteen basic sound units. Brithenig is an answer to the question of what English might have sounded like as a Romance language, if vulgar Latin had taken root on the British Isles. Láadan, a feminist language developed in the early nineteen-eighties, includes words like radíidin, defined as a “non-holiday, a time allegedly a holiday but actually so much a burden because of work and preparations that it is a dreaded occasion; especially when there are too many guests and none of them help.”

“We think that when a person learns Ithkuil his brain works faster,” Vishneva told him, in Russian. She spoke through a translator, as neither she nor Quijada was yet fluent in their shared language. “With Ithkuil, you always have to be reflecting on yourself. Using Ithkuil, we can see things that exist but don’t have names, in the same way that Mendeleyev’s periodic table showed gaps where we knew elements should be that had yet to be discovered.”

Lakoff, who is seventy-one, bearded, and, like Quijada, broadly built, seemed to have read a fair portion of the Ithkuil manuscript and familiarized himself with the language’s nuances.“There are a whole lot of questions I have about this,” he told Quijada, and then explained how he felt Quijada had misread his work on metaphor. “Metaphors don’t just show up in language,” he said. “The metaphor isn’t in the word, it’s in the idea,” and it can’t be wished away with grammar.“For me, as a linguist looking at this, I have to say, ‘O.K., this isn’t going to be used.’ It has an assumption of efficiency that really isn’t efficient, given how the brain works. It misses the metaphor stuff. But the parts that are successful are really nontrivial. This may be an impossible language,” he said. “But if you think of it as a conceptual-art project I think it’s fascinating.”

But not always. You can easily conjure up mental images and sensations that would be hard to describe in words.

Not really, but if the new language is very different from your own, it may give you some insight into another culture and another way of life.

In conclusion, there is a nested relationship between language and thought. In the interaction processes mentioned above, the role of language changes. Even though the limits of our language are different from the limits of our thinking, it is inevitable that people prioritize concepts in their languages. This, however, does not mean that they cannot comprehend or think about concepts that do not exist in their language.