Nudyatina about poetry

In anticipation of some interesting contraption, which you will learn about a little later, let's just look at the ancient poetic traditions of the different peoples of Orova. Those of them that modern science is aware of, of course. Well, we will not go far to the east - at least for now.

1. Hellenic. There is no need to tell anything here, I think the word "hexameter" speaks for itself to everyone. It was the ancient Hellenes who invented the feet known to us today: iambic, trochee, dactyl and others. But everything, in fact, is not so simple.

Our modern versification is syllabo-tonic, that is, it looks at the number of syllables and stress positions of the verse. Ancient Hellenic was metrical, and in it the rhythmic groups of long and short syllables, repeated in verse, mattered.

Thus, if the dactyl in Retsin is a three-syllable foot with an accent on the first position:

> dug | dactyl | the pit is deep,

then in Old Hellenic it is a foot with the first long syllable (that is, having a long vowel or ending in a consonant), and the second two are short:

> oiō | noisi te | pāsi, Di|os d'ete|leieto | boulē,
sponday | dactyl | dactyl | dactyl | dactyl | spondee

2. Skadinsky. In addition to the borrowed Hellenic metric, there was an older form of versification, now called Saturnian verse. The beauty of it is that no one still can understand exactly how it works: some consider it quantitative (when the positions of long and short syllables matter), some consider it tonic (when the position of stress is important). Analysis of similar verses in related languages does not help much either. You can read more details at least on the same wiki, and the example looks like this:

Postquam avem aspexit in templō Anchisa
sacr(ā) in mēnsā Penātium ordine pōnuntur
immolābat auream victimam pulchram

Quantitatively:
– ∪ ∪ ∪ || – – ∪ || – – – – – x
∪ – – – || ∪ – (∪) – || – ∪ – – – x
– ∪ – – || – ∪ – || – ∪ – – x
Tonically (ancient Skadinsky):
´ ∪ ´ ∪ || ´ ∪ ∪ || ∪ ´ ∪ ´ ∪ ∪
´ ∪ ´ ∪ || ´ ∪ (∪) ∪ || ´ ∪ ∪ ´ ∪ ∪
´ ∪ ` ∪ || ´ ∪ ∪ || ´ ∪ ∪ ´ ∪
Tonically (classic Skadinsky):
´ ∪ ´ ∪ || ∪ ´ ∪ || ∪ ´ ∪ ∪ ´ ∪
´ ∪ ´ ∪ || ∪ ´ (∪) ∪ || ´ ∪ ∪ ∪ ´ ∪
` ∪ ´ ∪ || ´ ∪ ∪ || ´ ∪ ∪ ´ ∪

3. German, Rechan and Bet

I combine them into one, because they all have two things in common:
- sound repetitions (alliterations, rhymes) both inside the line and outside;
is the number of syllables in a verse.

As an example, I can give a couple of lines from a well-known text. The lines in it, as you can see, are held together not by rhymes, but by certain repetitions of sounds, which are italicized and bold.

onchat or xia that song
by wereonmŏ nowen<e>
A Not by design Bojanyu
Bojanŏ bO Vѣsch<i>th
even to whom you want || songs TinRgo
then pstop coughing We-I will merge according to the tree
sirthĕ inòlclod of earth
shizym oplom subŏ clouds

And here is modern Botian poetry, but using their local ancient meters and other things.

Ar y llawr mae cawr y cwm — ar ei draws
Mae dryswch ei godwm
Yn celu yn y cwlwm
Egin-goed Dany troed trwm.

This is the end for now, but for now, stay tuned for updates!

Reading the rubai again

Once upon a time, we uploaded readings of the first three rubai that we translated, and now keep all the rest. Well, their texts, of course.

Zōrīg ud sēzdēn hē - čašm-it wārānīg ast.
Tō sturg ud taftīg hē, bē xandag tārīg ast.
Dard, drō, paččībāgīh ī rēman waxš-it škast,
Bē dušxwārīh mā bāš - dōstān-it nazdīk ast.

Agar dil-it dard kunēd, tō zāyam: ma griy.
Agar frawahr hušk šawēd, tārīg ast - ma griy.
Zi sad, hazār mard amāwandtar hē, e zan!
Fradom xwad-it, farroxīh wind - ud tō pas griy.

Ēr tundīh ī wāzān tō tagīg waxš nihuft,
Ēr kādag ī wad-wāž tō burāg wīr nihuft.
Pērāmōn ī tō sangīg tarāzūg gardēd —
Čē rāy āsn-stī ī tō az abārīg nihuft?

Rubaiyat 4
Rubaiyat 5
Rubaiyat 6

Ballad of Thorstein

Some time ago we already mentioned how, in an amazing way, songs can be preserved for centuries for a very long time, being passed down from generation to generation, and even a changing language is not a hindrance to this. Now we see something even more fun.

Given: a piece of birch bark with the text of the song in Protoruginsky. The song is long, with a lot of verses, so we only give the first verse and the chorus here. But the thing is - there is also a completely modern Viterskaya folk ballad, which is called Torsteins Kvaeri ("The Ballad of Thorstein") with almost completely identical text! See its text below to appreciate the similarity, and don't be too surprised: the spelling of the language is just very ... conservative.

Just think about it: fifteen centuries have passed, and the song is the same as it was. Madness.

On this musical note, we are going to wallow in the snow, and we leave you with a song and a bunch of lyrics.

Original, junior fufark:

ᚢᛁᛚᛁᚦ ᛁᛦ ᚼᛚᚢᚦᛅ ᚬᚴ ᛚᛁᚢᚦ ᚴᛁᚠᛅ ᛘᛁᛦ
ᛁᚴ ᛒᚱᚢᛏ ᛅᚠ ᛏᛁᛅᚱᚠᚢᛏᛅᛏᛁ
ᚴᚬᚾᚢᚾᚴᛦ ᚱᛁᚦ ᚾᚬᚱᚢᛁᚴᛁ
ᚼᛅᚾ ᛏᚬᚴᚢᛅ ᛋᚢᚾᛁ ᛅᛏᛁ

ᚱᛁᚾᛦ ᚬᚴ ᚱᛁᚾᛦ ᚠᚬᛚᛁ ᛘᛁᚾ
ᛅ ᚴᚱᚢᚾᛁ ᚴᚱᚢᚾᛏ ᚬᚴ ᚢᛁᚾ ᛒᛅᚱ ᚱᛅᚢᛏᛅ ᛚᚢᚾᛏ
ᛋᛏᛁᚴ ᛅᛏ ᛏᛅᚾᛋᛅ ᛋᛏᚢᚾᛏ
ᚴᛅᛏᛦ ᛚᛆᛁᚴᛦ ᚠᚬᛚᛁ ᛘᛁᚾ
ᛅ ᚴᚱᚢᚾᛁ ᚴᚱᚢᚾᛏ

Romance transcription:

vil(j)ið éʀ hlýða ok ljóð gefa méʀ
ek brýt af djǫrfutát(t)i
konungʀ réð norvegi
han(n) togva syni at(t)i

rin(n)ʀ ok rin(n)ʀ foli min(n)
á grœn(n)i grund ok vín bar rauða lund
stig at dansa stund
kátʀ leikʀ foli min(n)
á grœn(n)i grund

Modern Viter text:

Vilja tit lýða og ljóð geva mær,
Eg broti av bragdartati.
Kongur ráddi for Nøríki, hann tógva synir átti.

Rennur og rennur foli min
Grønari grund og vín bar reyða lund.
Stig at dansa stund.
Katur leikar foli min
Á grønari grund.

Translation:

Listen, and let there be silence,
I sing about brave men.
The king ruled Norway
He had two sons.

Runs and runs my foal
On the green land - and the wine brought a red mood.
Take a step to dance a little.
My foal plays happily
On green land.

Emed

More drawings!

This time another character we know, Emed. We can’t say anything special about his appearance, but we know that he was a Stur, so... well, look for yourself, in short.

A little more about therianthropy

Continuing the werewolf theme.

We did a little research (= we poked different buttons in the search engine for half an hour) and we would like to share the results with you. In particular, to answer the question: what happened to werewolves in our times?

Not much information is available on this subject, mainly because many people now perceive werewolfism as something of an unpleasant and rather shameful disease. Nobody walks the streets and talks about their sexually transmitted diseases, right? However, there are exceptions, and we will talk about some of them now.

We won’t go too far to the south or east: they have Yashutiya there with her kitsune, and in general the atmosphere is its own and quite specific. Let's look, again, at modern betas. And we immediately see (it’s easy to search on the Internet) that they have at least five villages where entire clans of werewolves live - and they don’t even hide!

  • two in the north of Digitania, one Lorlandian, called Kara (Carragh), the other is Kiyatlandic, Alloa (Alloa, Alamhagh). What is there, that there live people who turn into wolves;
  • two in the south of Digitania, one to the west, Botian - Trevilan (Trefilan), another to the east, Vandian - Tregir (Tregear). In the first there live both wolves and bears (!), and in the second - foxes;
  • the last one on the mainland, north-west Gesia, Duat, is called Trebryvan (Trebrivan, Trabrivan). There are foxes and wolves in it.

What is most interesting is that people from the last two listed villages have a tradition that can be traced back to the twelfth century - the Tregirians take spouses from Trebryvan, and the Trebryvanians, accordingly, vice versa. So that werewolfism is preserved and does not degenerate. And even tens of kilometers of sea don’t stop them, that’s right!

So, finally, I will appeal to all possible werewolves who are reading this text. As you can see, there are people, not too far away, who are not at all worried about the situation they find themselves in - so you too just... don't be afraid to be yourself.

Motley

Abstract: again about our good old characters, whose names we met. Why all of a sudden? Now I will explain.

So, we have already seen such a name (nickname?) as Motley (püstrüjü, quick in Prarechansky). We know about him that he:

  • rechanin, from the Rda clan (the ancient Rechans kept totemic beliefs; red is an irbis, also known as a snow leopard);
  • had something to do with a Stur named Emed, a Geart named Viryaz, a Norman named Lodinn;
  • All.

Now we have found a thing. It seems to be banal: something like a metric book from Hvarsh, a village in Eryakhshara, for the year 328 AD. However, we read the following:

“Berezen: ... was born in a flock of Azura from people (J. masyāyzem), named Motley (J. Sexan), because his hair is not only blond (J. nāğ-ħotayna, "brown-sand"), but also white and black with different strands.

Do not ask: we ourselves do not really understand how a person could get into the tribe of the Eryakhshars and get into the metric book. Again, we continue to look further; in the meantime, keep a rough image of Motley from our artist - how, presumably, he could look.

Ást orðum ofar

News 1: we have again received notes from the werewolf - or rather, some of them ended up in another stack of documents, which the guys sorting them out still couldn’t get their hands on. There will be a translation soon, and then I will refine it and post it.

News 2: musical evening again! Be careful, this thing is quite dark, so if you're not in the mood, it's better to listen to it some other time. The reason for this is simple: a track from the album called Allt þetta Helvitis Myrkur (“All this damn darkness”), which tries to convey all the gloom of the Sneland weather. I think it’s clear how gloomy it is there.

Oh yes - Ást orðum ofar translated means “Love to the words above.”

Glinnarians and religion

Promised post, hooray! A brief and very frisky digression into the Glynar beliefs, pahahaeeee

1. The world was created by one One (literally the One, in claynarya he is Ierthíal) God.
2. For the creation of which he created five smaller ones - there are still disputes about whether to consider them also gods or something like angels - the so-called Higher.
3. All of them correspond to the five elements: fire, water, earth, air and thunder.
4. They were created differently so that everyone would work on some aspect of the created world.
5. When the work was completed, the One invited them to take a closer look at what they had done, and they were horrified - what he had created was very ephemeral, fickle and literally fell to pieces.
6. Then the One breathed the spark of creation into the world and it began to look… well, decent.
7. Agarad (Supreme-thunderstorm) was a little upset because the One could do such things, but he could not, but he did not show it.
6.1. People who are human were invented by Afadar (fire), Alvians - Avetu (air), Dvergians - Igrenna (earth), Gearts - Ilidas (water), Dragars - Agarad (already existed).

8. Some time passed there, Agarad captured several particles of other Higher Ones, which were placed in the so-called Telellair (long history) and imagined himself a demiurge.
9. In particular, it was as a result of his actions that we got the same werewolves and someone else.
10. A war broke out for Telellayr, in which a great many people perished; ended with the fact that Agarad's cuckoo drove off completely, and his experiments acquired an absolutely monstrous character.
11. As a result, he was beaten, tied up, and the rest of the Highest took him to the court to the One.
12. He grunted dejectedly and explained two things:
— the world initially created by the Higher Ones was molded obliquely and crookedly due to the incompleteness of their understanding of the plan; how an artist painting a picture can convey only a part of what he sees in front of him, but far from all;
- and if Agarad did not show off, but did just what he has a soul for, then it would turn out very, very well.
13. As a result, Agarad became completely discouraged and went into eternal exile.

Now we understand why the Glinnarians worshiped first five, and then four. But why eight?

14. The elves and dragars, who communicated with the Higher Ones, eventually realized that each of them (except Agarad) combines two principles, which can be conditionally called male and female. And they manifest themselves in different ways, and sometimes even both together.
15. Therefore, in their view, each of the four was divided into two. For example, Avetu became Avetu proper (who is a man), the lord of the winds, and his wife named Royna, the mistress of the stars. The rest suffered the same fate.

16. From my story, you may have noticed that I describe the Higher Beings as quite real beings, with whom someone communicated there a long time ago. This is true; it is difficult to say how much of these legends and beliefs are embellished and fictional, but the core of this does not change.

17. The exact nature of the Highest is very complex and difficult to describe. These are beings whose consciousness is entirely located in the metaphysical (non-material) layer of space - how to describe it in our physical-materialistic terms?

18. Docking the Supreme with other religions is a separate issue that is worthy of a series of articles, each forty pages long.

Snow

As soon as we arrived at the excavation, we were immediately handed a bunch of different materials, which we have been dismantling all this time. There is a lot of all sorts of strange nonsense, but among it we still found a contraption that we can share with you.

This is a collection of poetic hymns in honor of Royna (who is better known under the title of Talvaerid - Queen of the Stars) - one of the ... entities ? worshiped by the Glinnarians. I thought first of explaining who she is at all, for those who are not particularly in the know, but ... The fact is that the elves there first worshiped five so-called Higher, then four, and then eight at all, so this story is very confused and deserves a separate post. Zear fully supports me and sends you greetings, by the way.

Therefore, I’ll explain better first what kind of hymns. The Glinnarians do not specifically have prayers addressed to their Higher Ones - only to the One God, and even then they are rather late and appeared, probably under the influence of their neighbors. But there are many hymns, for every circumstance of life and for different moods. And the Glinnarians are constantly composing new ones, almost for every life situation, so it’s hardly possible to say how many of them specifically. A lot, a lot, that's for sure.

Therefore, there will be a separate post about religion - tomorrow, maybe - but for now, keep one of the most famous hymns with a prose translation into Retsin.


É Thàlbhaeridh an im Illìn,
Dag lerain bhait an audrann dhin.
Edh ollanannaigh seao far,
Teithasa an thail ailen-shar.

Lartheithien, ai, e baeridh bhín,
Gwadhasa an ná'weilean-chin!
Glinnaune dhù, é Faunfinas,
'lìn an endraunin ailen-ias.


O Star Queen who resides behind the moon,
Your eyes are so clear
And blessed is your hand
Lighting up the stars in the sky.

Firebrand, ah our queen
Who is married to the lord of the winds!
Let's sing to you, O Snow-faced,
A song that will break into the sky.


And as illustrations - views from the windows (and not only) of ours and our friends. Snow is beautiful.

Glynnar letter

Surely many of you have once and somewhere encountered inscriptions made in a strange vertical script, consisting of very similar vertical lines. A considerable number of you also know that this type of writing has been used by the Glinnar elves for countless years. But how does it work? This is what we will look at now!

Let's skip the history of its origin (most likely, it was created by Fodallein in some crazy 10100 BC) and go straight to the principles.

It is read from top to bottom and left to right; its main element is such a slash, as shown below.

Glinnar letter, image No. 1

Let's first understand how the signs corresponding to p, t and c (P, T, To). All of them... are written down by this single line!

Would this line be read as p, t or c, depends on its place of attachment to the previous element. p is attached below everything, t attached in the middle c is attached above everything. Of course, if a word begins with one of these consonants, there will be no previous element there, so a small extra hook is used to indicate the reading:

Glinnar letter, image No. 2

As you can see, p attached to the hook at the bottom, t - on the side of him, and c and is completely located partially above the hook. This should be clear; now let's see what happens if a word starts with a vowel a.

Glinnar letter, image No. 3

Everything is gradually starting to become clearer. The line without a hook with another thing on the right is a; The image above shows how the black line is read depending on where it is attached.

All other consonants work on a similar principle. For example, in the image below we can see readings for b, d, g.

Glinnar letter, image No. 4

The principle is still the same, only the upper part of the corresponding feature differs from that of the voiceless consonants shown earlier. It doesn’t seem that difficult, right? Ha, if only!

Firstly, we still have vowels left. With them everything is much simpler, for each of them there is a separate sign attached to the right to the previous element; if a word begins with a vowel, it is attached to an empty standard line, like a upstairs.

Glinnar letter, image No. 5

We also have f/ph, bh (f, V) th, dh (English) thin and this), ch, gh (X, rec. boohgalter). They all use the trait of their corresponding sound from plosives (p For f, c For ch...) with a small squiggle on the left:

Glinnar letter, image No. 6

Now watch the trick.

Glinnar letter, image No. 7

Instead of writing a separate squiggle on dh and th, we simply connect them. And there are a lot of such ligatures and spellings; some of them are used almost always in writing, some almost never (only by certain authors). Here are two more examples for a better understanding:

Glinnar letter, image No. 8

And, as I already said, there are not two, or three, or even ten such ligatures. That is why this writing is so difficult to adequately represent in digital form (in Unicode, for example), and that is why modern Glinnarians prefer to use romanitsa in correspondence - it is read much more clearly than their madness, and is adequately presented in digital form .