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Chlouvānem/Literature: Difference between revisions
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Archaist literature brought a new kind of novel, that is, the historical one, based exactly on the rediscovery of ancestral legends; the language used, while morphologically not archaïzed, includes many terms of indigenous origin, partly readapted from hapax eirimena of the Lileṃsasarum and partly taken from the wordlists of ancient languages that were being published at the time – Lällshag was already well attested and known, even at the morphological level, but for all other languages only limited wordlists could be compiled, often helped by the study of toponyms and anthroponyms. | Archaist literature brought a new kind of novel, that is, the historical one, based exactly on the rediscovery of ancestral legends; the language used, while morphologically not archaïzed, includes many terms of indigenous origin, partly readapted from hapax eirimena of the Lileṃsasarum and partly taken from the wordlists of ancient languages that were being published at the time – Lällshag was already well attested and known, even at the morphological level, but for all other languages only limited wordlists could be compiled, often helped by the study of toponyms and anthroponyms. | ||
Archaist novels had the source of their plots in whatever ancient legend authors could find. In many cases, they took characters and/or situations from the Lileṃsasarum as a starting point and developed a story from there; some authors travelled through the Plain in search of old legends preserved in the oral tradition of rural villagers, and used those – regularly archaïzed and cast in a pre-Chlouvānem or Ur-Chlouvānem timeframe – as starting points. Some other writers simply cut through this process and wrote their stories from scratch. A side effect of those authors who went searching for local legends is the compilation of a few Legendary Books (''sasaruṃrān naviṣyai''), writing them down for the first time.<br/>Possibly the best known archaist novel today is the magnum opus of | Archaist novels had the source of their plots in whatever ancient legend authors could find. In many cases, they took characters and/or situations from the Lileṃsasarum as a starting point and developed a story from there; some authors travelled through the Plain in search of old legends preserved in the oral tradition of rural villagers, and used those – regularly archaïzed and cast in a pre-Chlouvānem or Ur-Chlouvānem timeframe – as starting points. Some other writers simply cut through this process and wrote their stories from scratch. A side effect of those authors who went searching for local legends is the compilation of a few Legendary Books (''sasaruṃrān naviṣyai''), writing them down for the first time.<br/>Possibly the best known archaist novel today is the magnum opus of Kailnenyāvi Nilāmibayeh ''Hælahaika'', called ''Yunaɂehīkah'' (named after its main character, a name meaning "fulfiller of dreams" that was made up by the author herself from Tamukāyi roots), an adventurous story set in the [[Verse:Chlouvānem_Inquisition#The_Great_Plain|wall of igapós and várzeas]] and with a lot of detail on shamanic and magical practices (some as known at the time, some made up by Nilāmibayeh) of local peoples. | ||
Perhaps the greatest author of the archaist period, however, was playwright | Perhaps the greatest author of the archaist period, however, was playwright Naryekūrdāvi Raišihaidī ''Bandyē'', an eclectic personality who planned every aspect of her plays except for music and dance (which, in most of her plays, were written by Mailhommāvi Raišihaidī ''Egiljiṃhai'', whom she knew through artistic collaboration and later married<ref>Egiljiṃhai's unmarried surname is not known.</ref>). Her works combine the epic themes of "missionary poems" with the plots of archaist literature and, notably, influence from psychological novels: this is especially notable in her last ever play, ''Ghāṇa'' (the Garland), which features as the leading character, ''Maiɂapyam'', one of the finest examples of antihero in Chlouvānem literature, whose struggle in despair and existential crisis - ultimately unresolved - is the implicit driving force of the plot; Nariekūrdāvi Raišihaidī ''Bandiē'' is considered the first to have brought the theme of existential crisis into a literary work.<br/>Apart from that one, her most famous plays include ''Chīcalkah and Sahāmim'', the ''Aɂavāhinīšuketoe'', the ''Haipavanokenīšuketoe'', and ''Kahunanīki nęlte himailila'' (the Four Canoe Paddlers from Kahunanīka). Her plays are among the most appreciated and the most represented in theaters up to the present day. | ||
==Exoticism== | ==Exoticism== | ||