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Classical Era literature provided Chlouvānem culture with some of its most well-known tales and myths. ''Chlærišah Bāḍhmālyam no'' (Chlærišah and Bāḍhmālyam) is probably the most represented in history of all of them, continuously referenced in theater, music, poetry, epic prose, and novels. A classic legend of star-crossed lovers as common among many cultures, Chlærišah and Bāḍhmālyam presents some traits peculiar to Chlouvānem fairytales such as characters being represented as humans or as animals, the latter representation also emerging in the human one as personality traits. The two main characters' talking names represent this quite well: Chlærišah is part-firefly (''jūsa'', but note that the ''chlær-'' root, meaning "light", comes from the Proto-Lahob word for "firefly"), as echoed in her innate leading abilities as well as in her being seemingly uncatchable, while Bāḍhmālyam's name is transparently derived from ''bāḍhmān'', meaning "wolf" - echoed both in his force and his partial isolation from the heart of society. The tale perfectly shows traditional gender roles in Chlouvānem society - the leading class of women (''nailīkā'' or "thinking class") and the working class of men (''paunikā'' or "working class") - but in some way distorts and overrides them in certain scenes, especially during the central part of the story when the characters, now divided, are put to the test by the shapeless demonic Kings: the King of Greed who trials Bāḍhmālyam and the King of Sloth who trials Chlærišah, where the "inverted" roles are implicitely but noticeably shown (in some cases explicitely, such as when referring to Bāḍhmālyam's "feminine intelligence" (''hulunāmitat baragā'')). Overall, the tale is an allegoric representation of human condition and human relations which starts with passional love and then sets lovers apart making them face all moral questions and bad deeds which can break every bond and it is up to the leading characters to face them in order to avoid breaking those bonds, from their love to the whole of society. In the most common of the multiple known endings, Chlærišah and Bāḍhmālyam's love is meant to last forever, being it the representation of natural harmony (the ''[[Verse:Yunyalīlta#Lillamurḍhyā|Lillamurḍhyā]]''), and the two characters themselves representing the multiple components of a single person's mind and behaviour; an alternate, probably post-Classical, ending has both characters (or, in another one, Bāḍhmālyam only) fail to face their last hurdle - the Ghost of Hypocrisy - and end up dying without their souls ever becoming ''paṣlilendevenī'' and therefore completely vanishing. | Classical Era literature provided Chlouvānem culture with some of its most well-known tales and myths. ''Chlærišah Bāḍhmālyam no'' (Chlærišah and Bāḍhmālyam) is probably the most represented in history of all of them, continuously referenced in theater, music, poetry, epic prose, and novels. A classic legend of star-crossed lovers as common among many cultures, Chlærišah and Bāḍhmālyam presents some traits peculiar to Chlouvānem fairytales such as characters being represented as humans or as animals, the latter representation also emerging in the human one as personality traits. The two main characters' talking names represent this quite well: Chlærišah is part-firefly (''jūsa'', but note that the ''chlær-'' root, meaning "light", comes from the Proto-Lahob word for "firefly"), as echoed in her innate leading abilities as well as in her being seemingly uncatchable, while Bāḍhmālyam's name is transparently derived from ''bāḍhmān'', meaning "wolf" - echoed both in his force and his partial isolation from the heart of society. The tale perfectly shows traditional gender roles in Chlouvānem society - the leading class of women (''nailīkā'' or "thinking class") and the working class of men (''paunikā'' or "working class") - but in some way distorts and overrides them in certain scenes, especially during the central part of the story when the characters, now divided, are put to the test by the shapeless demonic Kings: the King of Greed who trials Bāḍhmālyam and the King of Sloth who trials Chlærišah, where the "inverted" roles are implicitely but noticeably shown (in some cases explicitely, such as when referring to Bāḍhmālyam's "feminine intelligence" (''hulunāmitat baragā'')). Overall, the tale is an allegoric representation of human condition and human relations which starts with passional love and then sets lovers apart making them face all moral questions and bad deeds which can break every bond and it is up to the leading characters to face them in order to avoid breaking those bonds, from their love to the whole of society. In the most common of the multiple known endings, Chlærišah and Bāḍhmālyam's love is meant to last forever, being it the representation of natural harmony (the ''[[Verse:Yunyalīlta#Lillamurḍhyā|Lillamurḍhyā]]''), and the two characters themselves representing the multiple components of a single person's mind and behaviour; an alternate, probably post-Classical, ending has both characters (or, in another one, Bāḍhmālyam only) fail to face their last hurdle - the Ghost of Hypocrisy - and end up dying without their souls ever becoming ''paṣlilendevenī'' and therefore completely vanishing. | ||
The first manuscript of Chlærišah and Bāḍhmālyam we know of, today preserved in the Pan-Inquisitorial Library in the Bhūkṛṣam Palace in Līlasuṃghāṇa, was written sometime around 4840 to 4900 by an otherwise unknown Laṃṣānī, daughter of Vīvara, from the city of Vābhiraṇa (today Urṣaṃlāṭhi, | The first manuscript of Chlærišah and Bāḍhmālyam we know of, today preserved in the Pan-Inquisitorial Library in the Bhūkṛṣam Palace in Līlasuṃghāṇa, was written sometime around 4840 to 4900 by an otherwise unknown Laṃṣānī, daughter of Vīvara, from the city of Vābhiraṇa (today Urṣaṃlāṭhi, Bhūsrajaiṭa diocese; not to be confused with multiple other Vābhiraṇa, named after this one, in the Northern Plain and in the Near and Far East). Since then, this tale (and its many versions) has become one of the most widespread artistic subjects in the Chlouvānem realm, and its fame has also spread across the Yunyalīlti world and into Skyrdegan literature and other arts. | ||
==The Golden Age of Poetry== | ==The Golden Age of Poetry== | ||