Stress-determined minimal pairs

It's been clear from the beginning that stress was going to be contrastive in Koa -- indeed, it is in fact the feature that allows predicates to be parsed reliably in a phonological, morphological and syntactic system like this -- but until the language was significantly more developed and I began to use it more regularly it hadn't quite hit home just how necessarily ubiquitous the minimal pairs would be.

I've studied many languages in which stress is phonemic, but never one in which many or most stress shifts in fact result in a well-formed word with a new, often totally unrelated meaning. I'll just dance right past the question of whether this is quite proper in an IAL -- shhhhhh -- and accept it as an interesting poetic boon. What puns and other delightful turns of phrase might be created by a skillful Koa speaker to play off of this characteristic, or what conventions might arise to minimize its effect? Here are just a few of a million possible examples of the phenomenon, marking all stressed syllables and separating morphemes for clarity.

First, stress distinguishes predicates from clusters of particles:

hána "work"
ha-ná "unless"

áina "land, earth"
ai-ná "isn't it?"

láni "sky"
la-ní "to me"

ia-pu-té "they do certainly say that that may be so!"
iápu-te "an expectoration"

Stress often serves to differentiate particle-predicate sequences from predicate-suffix structures:

nána-e "grandmother"
na-náe "doesn't see"

úso-e "sister"
u-sóe "the rivers"

líe-si "purplish"
li-ési "probably the moon"

káka-va "move one's bowels"
ka-káva "the coffee"

Lastly, stress disambiguates predicate-predicate compounds, verbs with object incorporation, and predicates with both an initial particle and a suffix:

suo-kítu "eat liver"
su-óki-tu "finish pouring them"

mai-túni = "feel calm"
ma-ítu-ni = "using me"

kuce-túpo "ride a horse"
kúce-tupo "a riding horse, a horse for riding"
ku-cétu-po "obviously a bunch of deplorables"

No doubt context would also be instrumental in parsing streams of syllables, or resolving ambiguity where stress is misplaced or insufficiently distinct; I really wonder just how much sense could be made of a paragraph of Koa in the absence of stress marking or word breaks, and whether I'm a fluent-enough speaker even to make that assessment. Might be an interesting project for a rainy afternoon someday.