Chlouvānem/Literature: Difference between revisions

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The Toyubeshian Expansion contributed to open the Chlouvānem perspective to different, more exotic, ambiences, and literary works from the era are marked by a newer, renewed impulse towards religious poems and semi-fictional chronicles. Missionaries are portrayed as the main characters, and the spread of the Yunyalīlti faith in the Toyubeshian area is central to the plot of all major works of the time.

This era's works, especially those written in the area near the ~~Lāmiejāya~~ delta (particularly the littoral from Mīdhūpraṇa to Yarañšūna, i.e. the heartlands closest to the Toyubeshian realms and those most colonists and missionaries came from) are often poems not unlike our medieval chansons de geste in their taking roots in a common corpus. The same missionary heroes, peaceful but warriors when needed, are often found in hundreds of different poems by different authors, developing similar themes but in widely different narratives, often including a climax where the heretics come to die because of their inherent weakness, fighting among themselves opening the way for the Yunyalīlti defenders to kill them and bring prosperity to the land.

This era's works, especially those written in the area near the Nīmbaṇḍhāra delta (particularly the littoral from Mīdhūpraṇa to Yarañšūna, i.e. the heartlands closest to the Toyubeshian realms and those most colonists and missionaries came from) are often poems not unlike our medieval chansons de geste in their taking roots in a common corpus. The same missionary heroes, peaceful but warriors when needed, are often found in hundreds of different poems by different authors, developing similar themes but in widely different narratives, often including a climax where the heretics come to die because of their inherent weakness, fighting among themselves opening the way for the Yunyalīlti defenders to kill them and bring prosperity to the land.

Perhaps the most notable work from this time, however, is of a very different nature, the ''Šuḍūkūmi maiva'' (Dead Man's Word). It can be considered Calémere's earliest example of crime fiction. Of unknown author, it is a poem in verse about two monks investigating the death of a man whose corpse had been found by the entrance of their monastery in the Laišakamima mountains (i.e. in the Toyubeshian area), apparently killed by heretic rebels. Three of the four surviving manuscripts, however, have somewhat different endings (the other one stops halfway through the poem), contributing to the halo of mystery surrounding the work, which is, however, considered a landmark work of Chlouvānem literature.

Last but not least, the latter part of the age of the Toyubeshian Expansion was marked by one of the most important events affecting not just Chlouvānem literature, but their whole society: the invention of the first printing press, in the year 5541, by inventor Hulyāchlærimi Taināvi ''Hūyurhūlgin''<ref>Name conventions of the era are somewhat different from today's: this name should be read as "Hūyurhūlgin, son of Tainā, daughter of Hulyāchlærim."</ref> in the city of Tumyāṣrālam on the lower Lāmberah, not far from its confluence with the ~~Lāmyejāya~~ (today episcopal seat of Ājusṝva).

Last but not least, the latter part of the age of the Toyubeshian Expansion was marked by one of the most important events affecting not just Chlouvānem literature, but their whole society: the invention of the first printing press, in the year 5541, by inventor Hulyāchlærimi Taināvi ''Hūyurhūlgin''<ref>Name conventions of the era are somewhat different from today's: this name should be read as "Hūyurhūlgin, son of Tainā, daughter of Hulyāchlærim."</ref> in the city of Tumyāṣrālam on the lower Lāmberah, not far from its confluence with the Nīmbaṇḍhāra (today episcopal seat of Ājusṝva).

==Theater==

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Early capitalism and growing class divisions brought forward the Trembling Years, a period of time lasting roughly between 6180 and 6220 characterized by social instability in all countries of the Chlouvānem world.

While some authors of the time mainly wrote optimist science fiction, assuring their faith in industrial positivism, a growing mass of literature concerned itself with social criticism: struggle of the working class (mainly male, as it was historically the case, but the industrial revolution had brought many females into this class too), environmental problems, perceived heresy towards the Yunyalīlti values, and, most notably, a series of psychological novels. The latter category includes the work of two of the greatest writers of post-Classical Chlouvānem literature: Jauhækūmyāvi Nahinuyāša ''Lañimulca'', native of Līlikanāna, in the Far East, and Lileikhurāvi Yukahināri ''Mæmihūmya'', native of Lāltaṣveya, in the delta of the ~~Lāmiejāya~~.

While some authors of the time mainly wrote optimist science fiction, assuring their faith in industrial positivism, a growing mass of literature concerned itself with social criticism: struggle of the working class (mainly male, as it was historically the case, but the industrial revolution had brought many females into this class too), environmental problems, perceived heresy towards the Yunyalīlti values, and, most notably, a series of psychological novels. The latter category includes the work of two of the greatest writers of post-Classical Chlouvānem literature: Jauhækūmyāvi Nahinuyāša ''Lañimulca'', native of Līlikanāna, in the Far East, and Lileikhurāvi Yukahināri ''Mæmihūmya'', native of Lāltaṣveya, in the delta of the Nīmbaṇḍhāra.

The work of Jauhækūmyāvi Nahinuyāša ''Lañimulca'' can be explained in being aimed at teaching a certain set of values, whose actual nature echoes very well her changing attitudes in life, starting from a more revolutionary phase, embracing proto-communist ideas and in her earlier novels, like ''Birṣų ānat kāmilire lairē'' (the Blue Sky After the Storm, a title that proved so influential to give Calémerian Communist the colour blue as a symbol) or ''Caicehūka ga ñælihų Darkhām'' (Darkhām from Caicehūka Hill<ref>At the time, an industrial area on the outskirts of Līlikanāna.</ref>), moving onwards to social satire and criticism, particularly with respect to the divergence between the upper and lower classes<ref>Note, though, that Nahinuyāša was born in a middle-class family and earned so much during her early part of life to become effectively an upper-class woman.</ref>, (''Merāṭṇe lguñjais'' "Coins in the Stepwell", or ''Menirpārṇam'' "Tomorrow"), both for what concerns material possessions and for social customs, paying particular attention in detailing upper-class parties and the reactions of the serfdom – as in ''Mulkeɂās'' (the Glass). In the latter part of her life, however, she moved to more moral, religious themes, often sounding as a sort of ''mea culpa'', or scapegoat for the excesses of the upper class: these are the most preacher-sounding novels (and short stories) of hers, with verbally violent attacks on what she felt was increasingly an heretic society; notable examples of this attitude are the novel ''Yamye ñæltryāmaha'' (the Foggy Monastery), often considered her masterpiece, some short stories such as ''Ñāmbi mālthusire muhas'' (the Grasshopper's Last Jump) or ''Camimuših'' (Greater Tide), and her unfinished last novel, ''Ñailūlairē'' (Icy Sky).<br/>Modern critics note how her condemnation of the upper class she herself belonged to, however, reveals a huge internal struggle through the obsessive details she used in depicting the object of her despise, from sexual excesses (it is widely agreed on that, as told by historical accounts and mail correspondence, she was an evident nymphomaniac, though she never managed to accept this side of herself) to the perverted delight of commanding people. Despite the sometimes controversial nature of her later work, Jauhækūmyāvi Nahinuyāša ''Lañimulca'' remained one of the most famous novelists of her time, with her funerals, in 6229, having been officiated by then-Great Inquisitor Coreleyāvi Usuvitturæn ''Kalikhūmpan''.

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 The Toyubeshian Expansion contributed to open the Chlouvānem perspective to different, more exotic, ambiences, and literary works from the era are marked by a newer, renewed impulse towards religious poems and semi-fictional chronicles. Missionaries are portrayed as the main characters, and the spread of the Yunyalīlti faith in the Toyubeshian area is central to the plot of all major works of the time.
-This era's works, especially those written in the area near the Lāmiejāya delta (particularly the littoral from Mīdhūpraṇa to Yarañšūna, i.e. the heartlands closest to the Toyubeshian realms and those most colonists and missionaries came from) are often poems not unlike our medieval chansons de geste in their taking roots in a common corpus. The same missionary heroes, peaceful but warriors when needed, are often found in hundreds of different poems by different authors, developing similar themes but in widely different narratives, often including a climax where the heretics come to die because of their inherent weakness, fighting among themselves opening the way for the Yunyalīlti defenders to kill them and bring prosperity to the land.
+This era's works, especially those written in the area near the Nīmbaṇḍhāra delta (particularly the littoral from Mīdhūpraṇa to Yarañšūna, i.e. the heartlands closest to the Toyubeshian realms and those most colonists and missionaries came from) are often poems not unlike our medieval chansons de geste in their taking roots in a common corpus. The same missionary heroes, peaceful but warriors when needed, are often found in hundreds of different poems by different authors, developing similar themes but in widely different narratives, often including a climax where the heretics come to die because of their inherent weakness, fighting among themselves opening the way for the Yunyalīlti defenders to kill them and bring prosperity to the land.
 Perhaps the most notable work from this time, however, is of a very different nature, the ''Šuḍūkūmi maiva'' (Dead Man's Word). It can be considered Calémere's earliest example of crime fiction. Of unknown author, it is a poem in verse about two monks investigating the death of a man whose corpse had been found by the entrance of their monastery in the Laišakamima mountains (i.e. in the Toyubeshian area), apparently killed by heretic rebels. Three of the four surviving manuscripts, however, have somewhat different endings (the other one stops halfway through the poem), contributing to the halo of mystery surrounding the work, which is, however, considered a landmark work of Chlouvānem literature.
-Last but not least, the latter part of the age of the Toyubeshian Expansion was marked by one of the most important events affecting not just Chlouvānem literature, but their whole society: the invention of the first printing press, in the year 5541, by inventor Hulyāchlærimi Taināvi ''Hūyurhūlgin''<ref>Name conventions of the era are somewhat different from today's: this name should be read as "Hūyurhūlgin, son of Tainā, daughter of Hulyāchlærim."</ref> in the city of Tumyāṣrālam on the lower Lāmberah, not far from its confluence with the Lāmyejāya (today episcopal seat of Ājusṝva).
+Last but not least, the latter part of the age of the Toyubeshian Expansion was marked by one of the most important events affecting not just Chlouvānem literature, but their whole society: the invention of the first printing press, in the year 5541, by inventor Hulyāchlærimi Taināvi ''Hūyurhūlgin''<ref>Name conventions of the era are somewhat different from today's: this name should be read as "Hūyurhūlgin, son of Tainā, daughter of Hulyāchlærim."</ref> in the city of Tumyāṣrālam on the lower Lāmberah, not far from its confluence with the Nīmbaṇḍhāra (today episcopal seat of Ājusṝva).
 ==Theater==
@@ Line 125: / Line 125: @@
 Early capitalism and growing class divisions brought forward the Trembling Years, a period of time lasting roughly between 6180 and 6220 characterized by social instability in all countries of the Chlouvānem world.
-While some authors of the time mainly wrote optimist science fiction, assuring their faith in industrial positivism, a growing mass of literature concerned itself with social criticism: struggle of the working class (mainly male, as it was historically the case, but the industrial revolution had brought many females into this class too), environmental problems, perceived heresy towards the Yunyalīlti values, and, most notably, a series of psychological novels. The latter category includes the work of two of the greatest writers of post-Classical Chlouvānem literature: Jauhækūmyāvi Nahinuyāša ''Lañimulca'', native of Līlikanāna, in the Far East, and Lileikhurāvi Yukahināri ''Mæmihūmya'', native of Lāltaṣveya, in the delta of the Lāmiejāya.
+While some authors of the time mainly wrote optimist science fiction, assuring their faith in industrial positivism, a growing mass of literature concerned itself with social criticism: struggle of the working class (mainly male, as it was historically the case, but the industrial revolution had brought many females into this class too), environmental problems, perceived heresy towards the Yunyalīlti values, and, most notably, a series of psychological novels. The latter category includes the work of two of the greatest writers of post-Classical Chlouvānem literature: Jauhækūmyāvi Nahinuyāša ''Lañimulca'', native of Līlikanāna, in the Far East, and Lileikhurāvi Yukahināri ''Mæmihūmya'', native of Lāltaṣveya, in the delta of the Nīmbaṇḍhāra.
 The work of Jauhækūmyāvi Nahinuyāša ''Lañimulca'' can be explained in being aimed at teaching a certain set of values, whose actual nature echoes very well her changing attitudes in life, starting from a more revolutionary phase, embracing proto-communist ideas and in her earlier novels, like ''Birṣų ānat kāmilire lairē'' (the Blue Sky After the Storm, a title that proved so influential to give Calémerian Communist the colour blue as a symbol) or ''Caicehūka ga ñælihų Darkhām'' (Darkhām from Caicehūka Hill<ref>At the time, an industrial area on the outskirts of Līlikanāna.</ref>), moving onwards to social satire and criticism, particularly with respect to the divergence between the upper and lower classes<ref>Note, though, that Nahinuyāša was born in a middle-class family and earned so much during her early part of life to become effectively an upper-class woman.</ref>, (''Merāṭṇe lguñjais'' "Coins in the Stepwell", or ''Menirpārṇam'' "Tomorrow"), both for what concerns material possessions and for social customs, paying particular attention in detailing upper-class parties and the reactions of the serfdom – as in ''Mulkeɂās'' (the Glass). In the latter part of her life, however, she moved to more moral, religious themes, often sounding as a sort of ''mea culpa'', or scapegoat for the excesses of the upper class: these are the most preacher-sounding novels (and short stories) of hers, with verbally violent attacks on what she felt was increasingly an heretic society; notable examples of this attitude are the novel ''Yamye ñæltryāmaha'' (the Foggy Monastery), often considered her masterpiece, some short stories such as ''Ñāmbi mālthusire muhas'' (the Grasshopper's Last Jump) or ''Camimuših'' (Greater Tide), and her unfinished last novel, ''Ñailūlairē'' (Icy Sky).<br/>Modern critics note how her condemnation of the upper class she herself belonged to, however, reveals a huge internal struggle through the obsessive details she used in depicting the object of her despise, from sexual excesses (it is widely agreed on that, as told by historical accounts and mail correspondence, she was an evident nymphomaniac, though she never managed to accept this side of herself) to the perverted delight of commanding people. Despite the sometimes controversial nature of her later work, Jauhækūmyāvi Nahinuyāša ''Lañimulca'' remained one of the most famous novelists of her time, with her funerals, in 6229, having been officiated by then-Great Inquisitor Coreleyāvi Usuvitturæn ''Kalikhūmpan''.