New words in Ori + examples

Dropping in to note that I am in fact not dead. I have been super busy with stuff related to doing my doctorate! But I am still conlanging, worldbuilding, etc.
#Lextreme2018 and #Lexathon are my continuing daily lexicography conlang project via twitter (https://twitter.com/MintakaGlow). Here are yesterday’s and today’s words, plus example sentences!

Nov 20
Ori: [adj] milon- /’milon/ ‘slow, unhurried; easy; soft’

Nov 21
Ori: [n, inan] pilya-s /’pilʲas/ ‘tear, teardrop’

Examples:

Abbreviation key:

1 = 1st person

2 = 2nd person

3 = 3rd person

nom = nominative

sg = singular

an = animate class

in = inanimate class

adv = adverbial

pst = past tense

perf = perfect aspect

q = question (interrogtive) particle

acc = accusative

pl = plural

hab = habitual aspect

Pilyas eun syolle miloni plecir cyan
pilya-s eun syol-le milon-i plec-ir cyan
tear-nom.sg.in 3sg.an.dat face-loc.sg.in slow-adv fall-3sg.in pst.perf
‘A tear fell slowly down his cheek’

Nasya milonis ti ma?
nasya milon-is ti ma
why slow-nom.sg.an you.are q
‘Why are you being slow?’

Eme! pilyatyin cityin bayalbra lyes
eme  pilya-tyin ci-tyin bayal-bra lyes
alas  tear-acc.pl.in many-acc.pl.in weep-1pl pst.hab
‘Alas! we cried so many tears’

Poem for a narēd

In Tosi legend, narēdi (singular narēd /’nare:d/) are fire spirits that seduce zuna (the species that Tosi are) into throwing themselves into lava flows and burning. This is a poem about a narēd. Her name is Sapof (which comes from the Tosi words for “never extinguished”).

~

the narēd

her bleeding eyes alight

with fires from ancient earth

weaving around the stones

from within a blistering cavern

hotter than the blinded stretches of the deserts

she claims those who gaze on her fiery glory

a death worthy of a queen

how sublime

to burn away

in the eyes of the narēd.

~

Mintaka

Ori needed more declensions?

I decided Ori needs more nouns declensions. 😛

So here are two new celestial class declensions.

2nd declension (celestial)

These nouns often end in -n or -m.

Btw, the -∅ symbol in linguistics means ‘null’ or ‘nothing’. So that means the nom. sg. forms don’t add a suffix.

image

Using Calcurassen’s name as an example (in the singular, of course–there is only one of the God of Justice):

Calcurassen ryintat trulali ‘Calcurassen drinks wine’

Ti-clespes Calcurasseni astere lya. ‘Calcurassen’s jewel is bright’

Murlinis Calcurassene iyuru ‘A raven sees Calcurassen’

Hensapya Calcurassena maroi cyan ‘I gave praise to Calcurassen’

Calcurassenul minim cyan nalemapya peli. ‘By means of Calcurassen, I was able to find justice’

Hestinyal Calcurassenul lya. ‘Hope lies with Calcurassen’

Oa, Calcurassene! Maropye tyeli abarig! ‘Oh, Calcurassen! Give us blessings.’

~

The next declension is also for celestial nouns–most of these ending in vowels.

3rd celestial declension

image

Examples:

Ti-hembe lilya rya. ‘The body of fresh water is small’ (Note that ‘small’ still agrees with embe–it just uses a different celestial (nom sg. suffix, the one from the very first celestial declension I introduced, which is -ya rather than -∅.)

Culleryal caben bellu. ‘The expanse of the world is wide’

Gilupye yalutyin tatyin ti-trahellet ‘Turn your eyes to the meteor shower’

Ok, you get the idea. 🙂

~

Mintaka

Orikrindian pantheon (pt 3)

Next installment of the Orikrindian pantheon. This one focuses on the sea goddess and her half-mortal son.

One thing I want to note is the pervasiveness of the pantheon. These gods are recognized not only in Orikrindia itself, but also across eastern Ei. Some in Quarios also worship these gods, especially Orikrindian immigrants (such as Elucuna, of course). They did, however, originate with the native inhabits of Orikrindia (the island, rather before the “nation” itself was a thing), so they are referred to as gods of Orikrindia in Aeniith itself (as I will continue to call them in meta-documentation too). Worship practices do vary per region. My descriptions here apply to traditional methods in Orikrindia.

~

Lumaya

Lumaya is a goddess who has domain over water. Primarily, she is associated with the sea, although her influence extends over all bodies of water. She is said to be the younger sister of Hestaya and Moltirin.

In Orikrindian depictions, she has pale blue skin and hair of seagrass. Sometimes she takes the form of a seal, and it is for this reason that Orikrindians, unlike some neighbors, do not eat the flesh of certain species of seals.

One of the powers of Lumaya are her eyes, which appear like swirls of abalone and are thought to be able to enchant those who stare into them. This is the origin of Orikrindian belief that gazing into the sea for too long can be dangerous to mental health.

Lumaya has temples by the edges of the sea. They are usually decorated with items that reflect the local maritime life and culture: carved driftwood, sea glass, shells, pearls, and other findings from nearby the temple. The priestesses of Lumaya are known to be “sponsored” by the national navy of Orikrindia.

Prayers to Lumaya are offered especially during certain very strong tides. She is revered by all mariners, who usually have an altar to her in their homes. Since most mariners in Orikrindia are men, this is probably the one female goddess that is worshipped mostly by men in Orikrindia. The devotees of Lumaya are some of the most vocal and open, possibly due to the island nature of Orikrindia as a country. Naval military successes are frequently credited to Lumaya’s blessing.

Epithets: Halumaya (Lumaya the Great, lit. ‘Great Water’), Ti-Hendessaya Cacalsaya (’The Infinite Sea’), Tu-Hemas Heltasye Plesstolsye (’the Lady of the Cerulean Voice’), Co-Lyosyal Tun-Golinorisi ‘The Grief of the Weak’), Syalanyas Culimyenya (’Queen of Journeys’), Tu-Syalanyas Yalunt Tellened (’The Queen of Star-eyes’), Tu-Hemas Estolis (’The Blue Lady’).

Giessembe (demi-god)

This is the child of Lumaya, Giessembe, who has control over bodies of fresh water. He is often depicted as a small child, a demi-god, who was conceived by Lumaya with a mortal man. The story of their meeting and relationship is told in the Ori epic poem Ti-Clespes Endessonisye na Bestini (’The Jewel of the Great Sea and the Earth’).

Giessembe’s name means ‘calm fresh water’, with embe being the word for any general body of fresh water.

In Orikrindian legend, Giessembe was sent to prove himself as an adult divine being, since he was weak as a baby, despite being a half-god. He was challenged by Apyolus, god of fire, to quell the fires of the mighty Cetispeltaya, a volcano whose summit cut through the fabric of the heavens. To accomplish this, he asked his mother to cause the sea to evaporate into clouds above the world, and a great rain fell for ten days without cease, and filled the fresh water streams and rivers. He then called on Moltirin to cause the trees of the forests to lie on their bellies so that his waters could flow freely around the world. Peltas (of the Twin Gods) was asked to make time flow quickly along the rivers so all the waters would surge across the land. Thus was Giessembe able to seep his waters down inside the earth (with the help of Hestaya) and extinguish the mighty volcano from the inside out.

Giessembe used his method of extinguishing the fires as a living hymn and tribute to the gods who had helped him, impressing Apyolus so much that he granted Giessembe the greater powers that were due him as a fully grown demi-god.

Epithets: Tu-Plenis (’The Half’), Tu-Prastanes (’The Clever’)

~

Mintaka

Orikrindian Lore and Legend: The Horn of Ellessia

In the northern-most reaches of Orikrindia is a region called Ellessia. It is one of the six provinces of the county. It is known for its very harsh and cold climate, including bitter sea storms from the northern coast. The people who live there must be not only tough and resilient, but also extremely skilled and knowledgeable about the land and their environment. Along this frigid northern coat was found an ancient artefact, called the Horn of Ellessia. It is a battle horn from eons past, found in the burial tomb of a long-forgotten king.

Soon after the horn’s rediscovery, it went missing. The earl of Ellessia, assuming the horn belonged to some ancestor of his, put out a reward for its recovery. This led to a long and bloody conflict, however.

So great was the reward for the Horn of Ellessia, that many forgeries were made, and various dishonest persons tried to claim the reward money, subsequently ending up in the Ellessian dungeons for their trouble.

In fact, the forgery problem became so widespread, that the earl started to have his men invade the workshops of armorers and craftsmen who were even suspected of forgery. Properties were destroyed, people were injured, and a few even were killed. Thus was the brutality of the Ellessian soldiers.

This continued for a few weeks until a riot broke out in the main city of Ellessia, and even more were killed.

Finally, after much strife, the actual Horn of Ellessia was recovered, by a woman called Ecnasia. She sent a detailed painting of the horn to the earl, and such was her skill and the level of detail in the depiction that there was no doubt she was in possession of the real item. She claimed, via a letter, to have been the original theft of the Horn, and also claimed to have been the one who started giving instruction to various artisans to try and replicate the Horn in an accurate way—but just inaccurate enough that they would be sure to be caught. Thus, she explained, she eliminated many artisans and armorers who were her competitors in the market, as female armorers were not popular in Orikrindia.

Ecnasia agreed to relinquish the desired horn only upon condition that she be given full pardon for her crimes and that no word of her machinations be made public to hurt her business in Orikrindia. The earl, being possessed of cruelty but moreso of greed and a lust for glory to his name, agreed.

The Horn was returned to the earl and Ecnasia returned to her business, short quite a few competitors.

However, 20 years later, the Horn disappeared once again from the palace of the earl, and has not been found since. Rumors surround its disappearance, and people speak of a curse of the ancient king whose grave it was robbed from. No one knows where the Horn May lie today, but few are willing to speak of it for all the strife it caused before.

Mintaka

Working on the pantheon of Orikrindia. This is part 1, the first three members.

~

Orikrindian pantheon

Apyolus– Father God – God of Fire, Lava, Volcanoes, War, Season of Summer, the Sun (Worshipped as Force of Creation, as a Progenitor of all life, a driving mechanism of all living things)

Epithets: Ti-Hasterya Apyasye (The Light of Fire), Ti-Lyaya Iyutreseya (The All-seeing Sun), Yalus (Eye), Tetuya Huseya (First Father), Ti-Hupuse (The Knowing), Yoris (Watcher)

Apyolus is worshipped as a creator of life, a driver of existence. Without Apyolus it is believed all things would be as dead and empty husks, existing the likeness of life but without the crucial spark of consciousness.

The priesthood is Apyolus is all-male and open to those who have fathered at least one child. Their temples tend in be in cities, at the feet of volcanoes, and in the southern most reaches of Orikrindia. In the summer is the Festival of Fire, wherein people make material sacrifices to the fire in hopes of gaining such boons as: fertility/children, health good crops, warmer weather in winter, renewed physical and mental vigor.

Hestaya: Mother Goddess – Goddess of the Mountains, Air, Wind, Cold Weather, Snow, Ice (Worshipped as a stable force in the world, a protector, defender) –

Epithets include: Ti-Nimaya (the Mother), Ti-Nimaya Balnyeya (the Great Mother), Nimaya Coruni (Mother of Stone), Corus Cacalsas (Undying Stone), Crestenya Astersye (Kindler of Light [e.g. lightning via storms])

Prayer to Hestaya:

‘The solidness of the mountain

of stone

of ice

the movement of wind

the forbidding power of storms

the threat of winter

the protective blanket of snow covering the earth,

this our Mother

the Mighty

and the True

the One Who Covers,

The Kindler of Light

The Mother of Stone,

Undying and Eternal

Her light will find you

In the dark

Her stones surround you

Where no enemy can pierce’

Moltirin– Goddess of the Forest:also matron goddess of mysteries, vengeance, the past, memory, rebirth/reawakening, justice, lost things, women who have died in childbirth, dead children, men who have died in battle, storms, and those who have been wronged.

Associated with: birds of prey (especially ravens and vultures and other carrion creatures), wolves, snakes, spiders, vines/plants/trees, the color green/black/grey

Epithets: Ti-Roruya (The Dark), Cyentas Nastas (Wise Aunt), Emas Tin-Mulyurana (Woman of the Forests), Cyeltenalenya (Revenger), Murlinis (Raven)

Moltirin is equally feared and loved. She is the sister of Hestaya, who is married to Apyolus.

She inhabits all forests and is a very mysterious figure, rarely responding to the entreaties of humankind. When she does, though, it is with ferocity and sincerity. Moltirin may take the form of a young or very old woman. Prayers to Moltirin are given by those who have been wronged, those who are lost, who are pariahs, those whose honor has been destroyed (either by themselves or others). She is a protector of women and children, occasionally protecting them via deception or violence. She keeps the souls of those who die within her woods, as well as the souls of the drowned. These spirits are said to wander the places where they died, as it is there that they are with Moltirin.

Devotees to Moltirin often live in forests as hermits or wise women. They, like their goddess, are both feared and respected. Many work as apothecaries as well, specializing in both healing substances and poisons. In Orikrindia, one might visit a Woman of the Woods (as they’re typically called) to procure a less-than-legal concoction for whatever need.

Thoughts on Orikrindian vs Quariosian culture

It’s kind of difficult to me to say what Quariosian culture is, because it’s made up of so many things/people/histories. It is, by nature, multi-faceted. Quarios is, at the time of Elucuna’s arrival, a relatively new state. It was born, politically, of a merger of two countries, Gotêvi and Lomilin. Gotêvi also consisted of several different nations in its southern regions, such as the Teg and Phul peoples. From an early time, then, these two separate nations were not homogenous, but culturally complex. The first rulers to merge the two countries were Queen Inacaporia of Gotêvi annnnd…some other dude whose name I forget, who was the Prince of Lomilin. Anyway, I think they merged the country both via their marriage to each other and also by a mutually agreed upon pact that would combine their states into one. The process, as you could imagine, was not a quick one. It took years to carefully intertwine the countries into one new country, which now covered the whole of the continent. The name Quarios was previously just the name of the continent, but then began to refer to the new country as well.

The port city where Elucuna lands in Quarios, Naeglitan, is a Gotevian city. It is Gotevian in its cultural origins, the language used there is Gotevian (even though Quarios has two official languages, Gotevian and Lomi, only governmental documents, signs, etc. are required to be in both languages). Glohitan is culturally and ethnically Gotevian (the meaning of ethnicity here, is separated from physical identifiers such as skin color, as people in Quarios have differing skin tones/facial features depending on whether their ancestors came from the north or south of the continent–the northerners tend to be darker in tone, but this fact is not as culturally salient for the Gotevians as other factors of their origins may be), but he is multilingual, and speaks to Elucuna in her native Ori. He considers himself a Gotevian, but also a Quariosian. Many inhabitants of Lomilin would likewise say that they are Lomi, but also Quariosian. Members of the other nations of peoples of Gotêvi identify themselves as Teg, or Phul, or whatever, but also Quariosian. Some of these people would also use the word Gotevian to describe themselves, depending on their personal attitude toward the government/majority culture of Gotêvi.

So all of that is what’s behind my thoughts when I think, “What does it mean for Elucuna to be in Quarios? What is this culture she is encountering?” The thing is, her journey is just beginning, and she will come into contact with myriad aspects of Quarios, and will discover how different from each other they can be. She’ll also discover that what she thinks she knows about Quarios may not always hold true–still other elements of her new surroundings will surprise her. For example, I imagine that Elucuna is a skilled knitter and fiber artist. This is a typical kind of skill to teach girls in upper-class Orikrindian homes. She views this activity as deeply feminine and completely hidden from the world of men. In Gotêvi, however, there are artisanal guilds of fiber artists, and many of their members are male. This is something that both surprises and intrigues here. In Orikrindia, men habitually do not devote any thought or attention, and certainly not any admiration, to the private arts of women (when it comes to things like knitting, embroidery, etc., at least). In Gotêvi, I think she would feel almost overly flattered that a man would show interest in her work and her skills, even though to them, it is just a normal amount of respect as one would show to a skilled colleague whose work is interesting or worthy of attention. Perhaps one of these men who compliments her work or shows interest in it is slightly confused as to why she feels so honored that he would talk with her about it, as for him, he talks with his female colleagues all of the time and does not consider it particularly special.

I have all of these scenarios forming in my head about how Elucuna interacts with, and responds to, the differing cultural environments around her. I hope that my writing will hold tight when it comes time to put these ideas into the story.

~

Mintaka

Elucuna in Quarios (pt 3)

Continuation of Elucuna’s first days in Quarios. She and Glohitan meet a strange woman along the road outside of Naeglitan.

We took two amsas (1) to the edge of the city. My meager belongings were strapped onto the young female that was given to me. Glohitan called her Isma. I was unused to riding since it was not an activity considered womanly in Orikrindia, but I managed well enough given my inexperience. The mount was, thankfully, very calm and patient. Glohitan’s walking stick was tied to his back, wrapped in a saffron-colored scarf, and he rode just ahead of me as we made our way down a dark road near the outskirts of Naeglitan.

Continue reading “Elucuna in Quarios (pt 3)”

Poem to Moltirin, Orikrindian Goddess of the Forest

Mystic-Gothic-Sea-Fantasy-Statue-Dark-Forest-1305040.jpg

Poem about the Orikrindian goddess of the forest. I don’t have enough of the Ori language done yet to translate it BUT it still spoke loudly so I had to do it.

Moltirin (known alsois the Orikrindian goddess of forests, mysteries, vengence, the past, memory, and rebirth/reawakening. She is also the matron goddess of lost things, women who have died in childbirth, dead children, men who have died in battle, storms, and those who have been wronged.

the woman of the wood

the threads of days past

she weaves again

a whisper from before

taken up again

bright and vital in memory

damp with energy refound

glowing in the night

alight with vigor

surging forth once more

pulsing in the rain

dancing beneath the arms of trees.

 

and her eyes

lit like lodestones

a stormy blue

and shot through with light

like yesterday

the dust of an eon

settled and reformed

again we have awoken

the woman of the wood.

~

Mintaka

Ideas on Ori names

Playing with an idea that in Orikrindia, there is a kind of superstitious tendency to name a child the opposite of what the parents wish for it to become (maybe just in certain classes or subcultures?). For example, Elucuna’s name essentially means “decider”, and her parents definitely did not intend for her to be deciding much in life. Maybe someone hoping for an outgoing child would name him Pilucya ‘timid’. Kind of like avoidance of a jinx by giving a child too “fortuitous” a name and attracting the attentions of an ill-meaning demon. The Orikrindians do feel quite a bit of discomfort with regard to demons…