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Chlouvānem/Literature: Difference between revisions
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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 ''Gvęryē kvæloe'' (the Forbidden Gift) by male writer Hānimausāvi Gajrīn ''Klætspragis'' 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. | 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 ''Gvęryē kvæloe'' (the Forbidden Gift) by male writer Hānimausāvi Gajrīn ''Klætspragis'' 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" ''Hånya ga prālṣaṃkamikyāyē kvyāta'' (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 læjla'' (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 | 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 kvyāta'' (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 læjla'' (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 vrāṣmas no'' (Swords and Smoke). | ||
==The Nāɂahilūmi Era== | ==The Nāɂahilūmi Era== | ||