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Chlouvānem/Literature: Difference between revisions
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==The Classical Era== | ==The Classical Era== | ||
'''Classical Era''' (in Chlouvānem ''lallapårṣire avyāṣa'') is the name given to the period of time, roughly lasting from 4750 to 5000 (i.e. 1670 to 1420 years ago), characterized historically by a level of very high relative prosperity and consolidation and expansion of the Chlouvānem lands (in the Near East, up to the western borders of the Plain, and across the Southern rainforests). Literature of the Classical Era was linguistically characterized by the use of a uniform koiné language across the whole Yunyalīlti religious world: Classical Chlouvānem, mostly based on the earlier major works such as the Lileṃsasarum and most of the Holy Books. The importance of using a common language was greater than ever, as the vernaculars of the various areas had started to diverge, and some Yunyalīlti areas didn't even speak a Chlouvānem language at all.<br/>The only major difference between pre-Classical and Classical Chlouvānem is in the lexicon, as Classical Chlouvānem includes a far greater share of Lällshag loanwords than earlier forms of the languages do. | '''Classical Era''' (in Chlouvānem ''lallapårṣire avyāṣa'') is the name given to the period of time, roughly lasting from 4750 to 5000 (i.e. 1670 to 1420 years ago), characterized historically by a level of very high relative prosperity and consolidation and expansion of the Chlouvānem lands (in the Near East, up to the western borders of the Plain, and across the Southern rainforests). During the Classical Era, the Lällshag civilization ultimately vanished and was absorbed by the Chlouvānem, and the focus of power became a number of independent realms (''sūmārghuṭai''), mostly in the Plain. These realms originally had a Chlouvānemized élite ruling over a mostly non-Chlouvānem population; during the Classical Era, the intermixing of ethnicities that formed the Chlouvānem one expanded to include most of these populations, however their languages became important substrata for the future local vernaculars, and most notably their cultures left marks on regional identities that still characterize those areas today.<br/>The Inquisition during this era deeply influenced the religious matters of the Yunyalīlti world and was therefore an important body, but its sovereignty as a temporal power was only established halfway through the era, in 4826, with the foundation of the city of [[Verse:Chlouvānem_Inquisition/Līlasuṃghāṇa|Līlasuṃghāṇa]] on the shores of Lake Lūlunīkam, meant to be the political seat of the Inquisition. | ||
Literature of the Classical Era was linguistically characterized by the use of a uniform koiné language across the whole Yunyalīlti religious world: Classical Chlouvānem, mostly based on the earlier major works such as the Lileṃsasarum and most of the Holy Books. The importance of using a common language was greater than ever, as the vernaculars of the various areas had started to diverge, and some Yunyalīlti areas didn't even speak a Chlouvānem language at all. Some of the Classical era realms in the Plain occasionally wrote literature in their local languages (none of them related to Chlouvānem), such as Barṇāṣumi, Namaikehi ( bothfrom the upper course of the Lāmberah), and Vādhugarṣi (from an area along the middle Nīmbaṇḍhāra, more or less on the border between present-day Vādhātāraṣa and Raharjaiṭa. However, the vast majority of literature was written in Chlouvānem.<br/>The only major difference between pre-Classical and Classical Chlouvānem is in the lexicon, as Classical Chlouvānem includes a far greater share of Lällshag loanwords than earlier forms of the languages do; Lällshag remained influential also after the fall of its civilization, occupying a middle ground between Chlouvānem and the local languages of the various realms. | |||
Classical literature shows the development of Chlouvānem poetry from a spoken to a written genre, perhaps exactly because of the drift of the local varieties; while attested poetry from earlier times is sparse and often less precise, during the Classical Era various poems were written, helping codify the earliest Chlouvānem metres.<br/>Classical poems are often very long works, written in a mix of poetry and prose, with half-mythical and half-devotional subjects. Mythical subjects are sometimes taken from the Lileṃsasarum, but most commonly they are new in attested history and their use in these poems formed a new corpus of legends that survives in traditional culture up to the present day. Most likely, these subjects weren't just adopted by legends of the people in newly-Chlouvānemized areas, but were written in those exact cultural areas: it is widely accepted, for example, that the ''Yūrdhanehas'' (the Story of Yūrdham) was written by a certain Uruṣāvam, an ethnic Namaikehi, that is, from the central-northern part of the Plain, the mid- and upper Lāmberah valley, an area that was barely even known by the pre-Classical Chlouvānem but was rapidly Chlouvānemized in the space of a few centuries. | Classical literature shows the development of Chlouvānem poetry from a spoken to a written genre, perhaps exactly because of the drift of the local varieties; while attested poetry from earlier times is sparse and often less precise, during the Classical Era various poems were written, helping codify the earliest Chlouvānem metres.<br/>Classical poems are often very long works, written in a mix of poetry and prose, with half-mythical and half-devotional subjects. Mythical subjects are sometimes taken from the Lileṃsasarum, but most commonly they are new in attested history and their use in these poems formed a new corpus of legends that survives in traditional culture up to the present day. Most likely, these subjects weren't just adopted by legends of the people in newly-Chlouvānemized areas, but were written in those exact cultural areas: it is widely accepted, for example, that the ''Yūrdhanehas'' (the Story of Yūrdham) was written by a certain Uruṣāvam, an ethnic Namaikehi, that is, from the central-northern part of the Plain, the mid- and upper Lāmberah valley, an area that was barely even known by the pre-Classical Chlouvānem but was rapidly Chlouvānemized in the space of a few centuries. | ||
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This novel, however, does show the important Western influence on the genre's development: Hælahaikāvi Saṃhajhaidī ''Lajñē'' had travelled to the West on an expedition and had learnt [[Auralian]], at that time the most important Western trade language; modern critics are unanimous in believing that she based various parts of Nimahullē ga Jahībāšin on an early Western novel, ''itfeɣɣats Akseḥr'' (the Isles of Akseḥr<ref>Akseḥr [akˈsɛχr] is the early modern Auralian name for the area nowadays known as Âkošâkik, a country in far western Márusúturon, just south of Evandor.</ref>), itself one of the earliest novels of Auralian literature. It is not as obvious as, for example, early Chlouvānem theater had adapted Skyrdegan works, but quite a few encounters in the Saṃhajhaidī's book are very similar, both in plot and writing, to the Auralian novel's ones. There are, however, various differences, as the psychological dimension, markedly present in the Chlouvānem novel, is almost completely missing from the Auralian source. | This novel, however, does show the important Western influence on the genre's development: Hælahaikāvi Saṃhajhaidī ''Lajñē'' had travelled to the West on an expedition and had learnt [[Auralian]], at that time the most important Western trade language; modern critics are unanimous in believing that she based various parts of Nimahullē ga Jahībāšin on an early Western novel, ''itfeɣɣats Akseḥr'' (the Isles of Akseḥr<ref>Akseḥr [akˈsɛχr] is the early modern Auralian name for the area nowadays known as Âkošâkik, a country in far western Márusúturon, just south of Evandor.</ref>), itself one of the earliest novels of Auralian literature. It is not as obvious as, for example, early Chlouvānem theater had adapted Skyrdegan works, but quite a few encounters in the Saṃhajhaidī's book are very similar, both in plot and writing, to the Auralian novel's ones. There are, however, various differences, as the psychological dimension, markedly present in the Chlouvānem novel, is almost completely missing from the Auralian source. | ||
Historically, the dawn of Chlouvānem-Western contact coincided with a practical end of Chlouvānem (Yunyalīlti) expansion in Márusúturon. The Chlouvānem had been settling in the Hålvaram plateau and in the Dabuke lands to the west, starting a long Chlouvānemization process, especially in the latter area, but except for marginal settlements in parts of the Northeast (modern-day | Historically, the dawn of Chlouvānem-Western contact coincided with a practical end of Chlouvānem (Yunyalīlti) expansion in Márusúturon. The Chlouvānem had been settling in the Hålvaram plateau and in the Dabuke lands to the west, starting a long Chlouvānemization process, especially in the latter area, but except for marginal settlements in parts of the Northeast (modern-day Līnajaiṭa and Maišikota) the borders of the Chlouvānem world around 5950 would remain substantially stable for the next 300 years. | ||
==Archaist literature== | ==Archaist literature== | ||
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The period of time from about 6225 to 6291 and from then to the Nāɂahilūmi era is known as the Consolidation Era (''nalmālei avyāṣa'') after its most salient historical event: the Consolidation (''nalmālya'') 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. | The period of time from about 6225 to 6291 and from then to the Nāɂahilūmi era is known as the Consolidation Era (''nalmālei avyāṣa'') after its most salient historical event: the Consolidation (''nalmālya'') 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 '' | 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 ''Guvęryē væloe'' (the Forbidden Gift) by male writer Hānimausāvi Gajrīn ''Klætspragis'' from Pāriṇavārṭha 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" ''Hånya ga prālṣaṃkamikyāyē vyāta'' (Hånya, 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 | 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" ''Hånya ga prālṣaṃkamikyāyē vyāta'' (Hånya, 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 širēmi'' (the Missing Chair), and the epic tales ''Oyune vyāta'' (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 vrāṣmas no'' (Swords and Smoke). | ||
==The Nāɂahilūmi Era== | ==The Nāɂahilūmi Era== | ||