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We didn't write anything yesterday because...

...went to the ballet.

It seems like a completely idiotic excuse, but it's the absolute truth. The classic Glinnar ballet Ar Dharag Inoittha (Dragar Inoitta) was staged in Hveitstad yesterday Saturday. Coincidence? We also decided that no, so we definitely decided to visit it. How we got the tickets is a completely different story and is not relevant.

To be honest, I don’t understand ballet at all. In the opera everything went well, albeit with a terrible creak, but here it doesn’t work at all. And guess what? It was absolutely amazing! It would seem like complete madness: the riot of colors is such that epileptics can hardly watch it, but despite this, you always clearly understand what is happening and can distinguish all the characters.

The process of Inoitta’s transformation from a dragarian to an alva is very beautifully depicted. Fodallein, although shown to be very straightforward, tough and somewhat cruel, evokes genuine empathy and sometimes even sympathy. Well, she dances divinely, how could she do without it.

The only thing I didn’t like was that it was not indicated anywhere that you need to bring your own handkerchiefs. There are a lot of touching scenes where you can’t do without napkins.

And again, before moving on to the main part of the post, let's take a short historical excursion.

==START==
Those of you who have practiced magic professionally may know that at least some unification of the teaching of magical sciences began at the end of the sixteenth century. It was due to the invention of the so-called. automatic enchantments and the subsequent discovery of the phenomenon of magical interference - it is precisely thanks to this abomination that we cannot make several heterogeneous magical processes work locally and simultaneously: they disrupt each other’s work and can lead to completely unexpected results. In short, people SUDDENLY began to understand that magic should have a more serious scientific basis than it had before, and therefore they finally began to listen to other people's opinions.

Before this period, there were a number of large magic schools scattered around the world, and some slightly smaller ones. They all believed that their way of teaching magic was, if not the only correct one, then certainly the best, and somehow they lived like that. On the territory of Orova, the international school/academy of Quijos was especially popular^[1]anti-Orean *kʷyóh₁os "peace, quiet, quiet" - even after all major states began to have their own magical universities, enrollment there almost did not decrease.

They had two fundamental principles: firstly, learning should begin as early as possible and as naturally as a child is taught to talk. Modern science fully shares this principle, but they have a lot of complaints about the second: Quijos apologists believed that:

1) language determines thinking
2) the most clearly pure, “virgin” way of thinking is reflected in the most ancient form of language,

therefore, their students (who were recruited mainly from the territory of Orova, of course) were trained to perform all sorts of invocations, evocations and other spells in their reconstruction of the proto-Orowa. The reconstruction was, however, so good that it has hardly lost its relevance even now.

==END==

In general, we found a couple of examples of Quijos evocations all from the same period. We will give them in classical post-Skadin orthography.

Toh diveh prodhehtim-de petkhoitām. Ioh celsiokh khuhntes goltead-qe.
“Let these two fly across the sky to the previously marked land. I will shelter them from the wind and cold.”

Kerps hmei khuhnteh persoit ei krucheh, volcōis, skukhtih hgneghbhi-qe ins svecs trhgscoch.
“My body will be dissolved by the wind if I harm six of them with blood, hair, skin and nails.”

GUYS I WAS ABLE TO TOUCH A REAL SWORD WITH MY HANDS

uh, to the point. We found a two-handed sword from the fourth (!) century, apparently made somewhere in Lavinavia. The find itself is very strange, because the first two-handed swords began to appear at the end of the 12th century AD, and here, well, this. And even in such a form, as if it had been sheathed about five minutes ago - not a trace of rust or anything like that.

I sketched the base of the blade; Then maybe I’ll draw the whole thing. This squirrel with a hammer is etched into the heel itself, and it looks very stubborn. It doesn’t look like Avalanche motifs, it’s something closer to Beta ones, and even then not completely. A little higher is a notch with silver wire, and here the patterns are typically Avalanche (I’m attaching a photo of a real piece of an ax so you can imagine what it looks like in reality).

Well, apparently the name of the sword is engraved on the blade - Varðveitari, from ancient Lavinavian - “Guardian”. Well, Guardian, let's hope you took good care of your master.

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Unriled: I've always been terribly fond of fencing with one and a half hand swords. Watch the vedo and you will understand.

spoiler: REALISTIC

There are six of us. We used to have names. They will return to us - I believe in it.

We do not remember well what happened before - maybe we were ordinary people. Almost like you.

We don't even know how long ago it was - time has lost all meaning for us.

Wandering in empty space, we see worlds like burning balls, whose light is too bright and hurts the eyes. We still can't peer or see what's going on inside. But we sing to them - and sometimes we hear a light whisper in response, like a distant echo from a deep well.

We hear that you are both like us and different at the same time. But don't worry, our differences aren't that great. Wait a little more - we will explain everything to you.

The story we are telling now is one of the stories of our world. She is somehow connected with us ... and our common hope.

There is little content today because we have been very busy sleeping and eating all day. Now there will be a fairly large post, and a small preface to it (you can skip it, I will note). We will talk in general about the drawing of the dragariyka that I threw.

==BEGINNING OF A BAD TEXT==

As you know, modern historical science is skeptical about the events that took place in the territories of Orova before the third millennium BC. The explanation of the phenomenon is simple: all the sources that testify to this period are almost exclusively Glinnar. There is also Kharassukhum documentation, but since the local dwarves mostly sat in their mountains all this time, they can tell us little about what happened outside the southern part of the Kharas ridge.

It is customary to be wary of Glinnar documents, not because the elves are fond of lying, but rather because they are very fond of relying on their memory. It has repeatedly happened that Alvian historians testified to events that took place hundreds of years before they finally decided to write them down, and it is difficult to say in the end how much the information was distorted by the peculiarities of their perception and the long restructuring of memories.

That is why I want to warn all those who are not familiar with these legends: take them carefully, at your own peril and risk. Of course, there is a historical background in them, but how much myth is here, and how many facts, it is difficult to say.

==END==

So, many of you must know the name of Fodallein Goraetvi, a semi-legendary master of antiquity. He came from the ruling Glinnar South Digitan dynasty and, being the eldest son in the family, founded the so-called. The First Kind is a very respected house of Glinnar, which has not been interrupted to this day. He did a lot of great and small, good and not so good things, but this is not about him, but about his wife.

According to Alvian (and some hints of this are given in Dverzhian) sources, her real name was Ynokhtkhasha (Romanization Onâhţhaşa, Glinnar adaptation Inoytta — Inoitha), and she was a Dragari. But, having met Fodallein, she fell in love with him so much that through a series of multiple transformations of her body, she brought him closer to a completely humanoid one. This, in fact, is quite probable - as is known, dragars, within certain limits, can change their morphology and even genotype. In those days, of course, science (magical and physical) was not yet developed enough to quickly and painlessly turn dragars into almost-humans, as it is now, but ... In short, it could well be, here. They also say that Ynokhtkhasha and Fodallein could even have children - this raises a little more serious doubts in me, but let's omit it.

Ynokhtkhashi also had an Alvian nickname - Ifensea (Aiphensea), "blue-eyed". You already know where I'm going, right? In that drawing, this was literally the only painted part, and experts confirmed that some stylistic features, such as the pose, turn of the head, and the shape of the tail, indicate that this is a drawing of this very Dragariyka.

Her fate was unenviable: not recognizing her on the battlefield, her husband stabbed her with a sword along with their unborn child. And realizing what he had done, he completely went mad and fought until he fell, putting down several dozen enemies.

And finally, the last two stanzas from one of the songs composed in honor of Ifensea.

In the halls of the forest under the rays of the moon
Inoytta sings softly.
Forgotten dreams flicker in the grass,
The sound slowly freezes into ice.

Ages flew around, hid in the shadows,
Disappeared in the plexus of rivers;
Inoytta is spinning on the Volg stones,
She stayed there forever

She stayed there forever.