Chlouvānem/Literature: Difference between revisions

The period of time from about 6225 to 6291 and from then to the Nāɂahilūmi era is known as the Consolidation Era (''nalьmālei avyāṣa'') after its most salient historical event: the Consolidation (''nalьmālia'') of 6291, that is, the forming of the Inquisition as a single sovereign country from the myriad of independent states in the Chlouvānem world<ref>Some of these states remained independent for some time afterwards. The Kingdom (today diocese) of Hulitilmāka, for example, didn't join the Inquisition until 6312, 21 years after the Consolidation.</ref>. Literature of the period strongly reflects this thinking and is the first to actually proclaim a form of Chlouvānem nationalism. It is difficult to talk about "nationalism" in such a large and culturally complex context, but the definition that arose was the one of the cultural space of Yunyalīlti religion united by the Chlouvānem language as a Dachsprache – excluding therefore the Yunyalīlti but less Chlouvānemized areas of Qualdomailor, Brono, and southern Greater Skyrdagor.<br/>Meanwhile, during this time period, the Chlouvānem world started growing again, as today's Northwest was conquered from the Western powers that had set up colonies therein; by doing so, Chlouvānem countries also established sovereignty over much of the virtually uninhabited desert areas of the Northwest, that would prove, later in history, to be extremely rich minerary lands. A similar faith of Chlouvānem conquest was followed by the Kāyīchah islands off the coast of eastern Védren, that had been settled first (except for the easternmost ones, settled by Chlouvānem from Lūlunimarta) by Cerian settlers, mostly with Védrenian slaves.

Consolidation Era literature is thought to be of a lesser quality overall when compared to the great novelists of the Trembling Years, but it had, nonetheless, some milestone works. Perhaps the most commonly mentioned is ''Gvęriē kvæloe'' (the Forbidden Gift) by male writer Hānimausāvi Gajrīn ''Klætsplian'' from Perelkaša diocese (Central Plain), mostly a semi-autobiographical personal resistance story, highlighting the ever existant gender discrimination common at the time, which became a banner in the movement for gender equality particularly active the years just preceding and following the Consolidation – while full equality was still far away, there were some huge steps towards gender equality in those years, albeit they'd later be cancelled during the Nāɂahilūmi Era.

Other important works of the era were all less socially critical, talking about Chlouvānem culture instead, with a revival of archaist-era Legendary Books, this time extended to the whole territory of the to-be-Inquisition (something which brought to newer life many themes that were once common in Toyubeshian fairytales), and it was from these collections of legends that took inspiration one of the greatest playwrights of the era, Dalaiganāvi Lækhnitaisa ''Chališiroe''. She was the leading personality of a newer, more hybrid theatrical style, using more Western-style monologues, as well as unconventional uses of music, with real sung arias (an influence of Western opera; this wasn't a complete novelty in Chlouvānem theater, but it had been more of a one-in-a-kind feature) and instrumental drones, as in Chlouvānem classical music, very often accompanying the recited sequences. Musical composers working with her, such as Hælahaikāvi Gudūra ''Daṃdhigulan'', proved to be significant for the later development of ambient music.<br/>Plays by Dalaiganāvi Lækhnitaisa ''Chališiroe'' are very commonly represented today in Chlouvānem-style theaters both in the Inquisition and abroad; some of her most famous works include the "epic comedies" ''Hånia ga prālṣaṃkamikyāyē kvyāta'' (Hånia, the Hero Coated in Prālṣam Flowers<ref>The ''prālṣam'' tree is a common tropical tree not unlike the [[w:Ceiba speciosa|silk floss tree]]. The hero's name is furthermore a talking name, as it means "toucan".</ref>) and ''Pądire lædьla'' (the Missing Chair), and the epic tales ''Oyune kvyāta'' (Hero in the Mirror), ''Māmei lalāruṇa'' (Twelve Lalāruṇai<ref>A domestic, mountable, giant lizard, having in Chlouvānem society a role much like horses in ours.</ref>), and ''Ṣāṭe raikas no'' (Swords and Smoke).