On the Cosmogony
reunites the texts of the sagandame that deal with the birth and structure of the cosmos. It's the first part of the Pamfènoe1
, and consists of the following books:
- Estàssatze Which explains the origin of the cosmos within the universe.
- Zizaune Which deals with the Primicerians' decision to descend to the worlds and inhabit them.
- From the sky being Which lists the Twelve and explains their ties with Taura.
- Foundations of the Cosmos About the structure of the Rings of the Sun, the nature of the worlds around it, and Taura's atmospheric and celestial phenomena.
- Natural knowledge On the nature of Taura's natural spirits and living beings.
An allegorical representation of the Cosmos, with the space inhabited by
humans in the center, that of angelical creatures in the upper right corner,
and that of demonic beings to the lower left.
From the Book of Sublime Glass, 21st century; Berbino Library.
is the first text of the revealed corpus, one of the oldest known, and one of the shortest. It deals with the creation of Taura by the Primicerians, explained soberly and with Niari as sole protagonist.
This is only one of the many versions of the creation of Taura that circulated in the Elder Days. Other versions of those prehistoric times were not as popular, perhaps because this is one of the most synthetic ones. In the Peran tradition it was popular the version where the creation was a collective task, with all the gods acting coordinately, comparing it with the setting of a table for a great feast, with an army of servants and butlers laying the tableclothes, the silverware, and the food.
«They arranged Taura like one sets the table for a great lord,
with a grand setting worthy of the feasts to be celebrated there.
They put all the lands, the ocean sea, the pale moon
and the roaring sun, as well as the sky with stars overlaid.
And the world was ready for them.»
This last “and the world was ready for them” has been interpreted in two ways: the first one is that once the gods put Taura as we know it they considered it was ready to be inhabited and enjoyed. The other one derives from the first, but adding the idea that they did so to make Taura their
home and their own
enjoyment, with everyhting inhabiting the world designed and created to serve them.
And it’s here when, from the human point of view, the interpretation becomes scandal, since puts humans as mere tools to help their needs, deeds, and desires. In other word, slaves. Salon of Cinecia, one of the Scholiasts, already warned of the subtle relation that can be established between the metaphor of the table set for feasts that was the creation of Taura, with the fact that we humans are mere puppets of the gods:
«If Men and Dwarves are for them a sort of slaves destined,
from the very moment of their conception, to serve them,
just like our animals are fostered for our enjoyment,
what shall we expect from the gods?»
This interpretation of the world as a prison of which the gods are its jailers, and its creatures are their servants, became to being popular in the 15th century, when the crisis of the Sarden imperial cult and the empire itself were pretty evident3
. People abandoned the cult of the king-emperors in the preceding century, although it was never popular, only a mere state religion. The real cult among the people, the feasts, processions, pilgrimages, and hecatombs, was in a state of decline, even though pilgrimages to caves and forests remained always popular. Religion, understood as the relationship with the sacred, moved from the public to the private sphere during the Sarden Empire’s peak of power. Ironic but understandable when the political power became so absolutist, centralised and pervasive. In a few generations, the whole imperial structure, with its bureaucracy, was unable to give solutions to the different peoples of the empire, and them, returning to their origins amidst the storm that was the Strife of the Twenty-five Schools of Knowledge period, embraced animism.
And it’s in that moment, in the heyday of the Sarden Empire, that the first figures interested in the elder religious texts, appear. Their aim was to collect all the Bredezhanean sacred texts and derive their theoretical and practical elements. Of these efforts, which lasted for centuries and saw various turning points in the Five Councils4
, a new vision of the gods, quite negative, arose. That was a popular belief already, so it was easy to accept. Only a few Maires were saved: Gam Tinoc, Niari and Idachi (the current triad) are the most worshipped and celebrated. Others like Rianame, Isira or Duoc have secondary roles, but still revered as a kind of lesser gods, between the main three and the natural spirits.
It’s in those times, that of the Five Councils (or Twenty-five Schools of Knowledge), that relevant figures (some of them quite picturesque) try to square the circle creating entire theologies, with classifications of all the divine beings here and there, from Ermès and the Twelve to the natural spirit. Salon of Cinecia wrote his Supreme Theology
, the publication of which (c. 1470) is considered the symbolic peak of the imperial crisis. The work is a sort of a biography of the gods, the tartagirans, and the natural deities, all intertwined with a panoply of moralist ideas, blessings, and prohibitions that «would have delighted the most absolutist monarch and the most manipulative religious leader», as Syenna Rinceon points out in her Heavenly Songs
(c. 1490). Salon's work pretended to demonstrate that none of the biographed beings were worthy of worship and that only Ermès should be considered as divine and, therefore, revered. With that work wanted to compete in complexity, length and absurdity works like Maresca’s Verbissima
(c. 1530), an «unfathomable work for being presumptuous in the narrative, mistaken in its approach, and hyperbolic in the theory; only apt to soulless, tasteless beings that only a sociopath or a mentally-derailed person has been able to write», as described by Riam of Laicene in his Annals of the Dynamic School
(1555), or Élime of Zegna’s Spiritological
(c. 1680–1690), a lost work that defended the need of a single sagandamian church and proselytism as the only way to «assure the veracity of the assertions and precepts of the sacred texts», as well as her advocacy that some gods were good and some were bad. Needless to say, none of these works reached the people, and none of these attempts at a classificatory and all-controlling theology were never accepted. With the dead of Festa, the last Sarden monarch, the ideas that put the gods as eminently negative beings had already lost their strength because of a lack of popular worship. Sagandame was an essentially animist belief crowned with the idea of a universal and abstract divinity that one should not have to worry much about.
, also known as Of the Discord
or Of the Dissonance
, is the second oldest text of all the euremegadelanean corpus of sacred texts. Here the protagonists are the Primicerians (modellers of Taura), to the point of finding some dialogue and certain psycological depth in the main actors. Even though it's a small text, just a little longer than Estàssatze
, it has some narrative structure.
On From the sky being
From the sky being
(Na s’èu sediny
, in Hellean), is one of the works made by the Scholiasts from much older texts. The work focuses on the Twelve’s main features, a sort of description of their own personal nature and powers, with some biographical notes in some cases (the most revered Maires). Of the present text, which is the most well known version and the one that was approved by the Five Councils, the beginning (parts #1 i #2) must be considered an addition by the Scholiasts from considerations by philosophers like Élime of Zegna or Pisnamon, which critiziced them negatively, as explained above. The rest of the work is an adaptation of the aforementioned older texts.
It’s important to note that by “gods” these philosophers referred to both the Maires and the Demons (the Vallagonar
of the myths), since they didn’t discern between the ones and the others. To that people those beings were equally nefarious and dangerous, and should be avoided at all costs.
After that cautionary introduction we find the description of the Maires; only them. The rest of the «gods» (the Godly Kings, the Demons, and other spirits) are to be found in other texts, in fact, far from the Cosmogony
. The Scholiasts added to Pamfènoe
the books On the Demons
and On the Godly Kings and the heroes
, works with a more philosophical tone.
And lastly, it’s important to note the Scholiasts’ emphasis on etymologies, since that explains the many etymological footnotes found in the Cosmogony
and throughout the Pamfènoe
. This Scholiasts’ interest in etymology is well-known: they did advanced studies on Mintani, the language of the Primicerians. It was them who started the scientific study of the language and, in fact, of any known Tauran language, thus setting the three classic linguistic sciences: grammar, philology, and etymology.
Knowing that, the School of Rhetoric’s importance within the Twenty-five Schools of Wisdom and its role in the international politics of that time, doesn’t come as a surprise.
Ermès, the Universe, created the Cosmos within Itself, and populated it with fire and air.
Vedu, the Primordial Earth, and Espre, the Primordial Air, wrapped themselves as one.
And thus was created Taura, ready to sustain life.
 The Universe is the Everything and is the Only. It was not created nor will be destroyed, it simply Is. In a begining, out of time and space, the Universe thought the Cosmos, which in the beginning was like a sea of dense and hot foams, of violent storms. When these Primordial Waters6
tamed themselves the Primicerians7
were born from them, them being the soul and consciousness of the Cosmos, being One with the Universe.
 There was neither above nor below, nor space, form or direction. Nothing existed yet, not even time, and no destiny had been chosen yet. Only the Primicerians, alone with the Universe, in their sad calm, with no hope. And then the desire of time and light was born in them, and Time, which flows like a meandering river, appeared. And Light, ignited with innumerable luminaries, filled the emptiness of darkness. Both arisen out from the Primordial Waters, like the Primicerians.
 And this is how the Primicerians modelled the Cosmos, infinite and closed within the Universe, the home of all the Creation. And such began the Intemporal Age, the first of the Creation. Days became longer, years passed away, and many worlds appeared from the Primordial Fire8
, just like curd appears from milk. And among these, Vedu9
, the Primordial Earth, dry soil, barren, lifeless. And around it Espre10
wrapped it, the Primordial Air, dense, hot, humid. They hugged, Vedu and Espre, and together they united in one world, full of life, with earth, water, air and fire. Taura, the world, with Mother Earth and Father Sky.
 Taura, wrapped in a mantle of stars, dancing around the Sun. And among the Primicerians the idea of a companion for Taura arose. It was Niari who had the idea; Niari, unique among the Primicerians, she sank a finger into Taura and, when pulling it out, she dragged a portion, thus creating the Moon, whom she named with her name. And since then Taura and Niari dance together.
 Life permeated everything. The beings were born in Taura, made from the water and the earth, from the air and the fire. Endowed with the consciousness of existing, they were born, lived and died. And thus observed the Primicerians for countless eons. They laboriously corrected the progress of the beings, as does the blacksmith in the forge, molding the piece with the hammer and the anvil, shaping it so that it fulfills the desired function. And they disposed the lands and the seas many times, changing their places, modelling at pleasure. And, sometimes, they warmed up the Inner Skies, the waters flooding everything. At other times they covered Taura with a cold breath, the world a snowy ball. All with a purpose.
 The Primicerians, like blacksmiths, forged the creatures that breathe under the waters and on the lands: the little animals that buzz with fogged wings, the large animals with hardened skin like leather, the animals covered with skin and feathers. They observed how the animals wandered around Taura, and some Primicerians sought to understand them all, eventually finding a way to access their minds and, thus, understanding them and understanding the world as them animals understand it. Thus did the Primicerians did for countless eons, but such work was bundersome and limited, and soon it ceased to give them more knowledge than they already earned.
 The time came when one among them suggested a new idea. It was Gam Tinoc, one of the smartest and most awake Primicerians, gifted with a great imagination and curiosity:
“Why don’t we make us garments with which wrap ourselves up and live among the creatures of the Creation as they do? It’s the only way we can admire all the things in this world that makes us so engrossed, as they do.
Many Primicerians agreed, but others hesitated, since they were afraid of the idea of dressing in mortal bodies, easy to corrupt, that bear many things the Primicerians never heard of which before. Doubt was growing among them.
 And while the Primicerians were still discussing Gam Tinoc’s idea, he descended into the world in the shape of a fiery mountain, larger than any other summit, and settled on the waters of Ocean, the great sea of Taura, which, in that ageless times, was only one, and so was the earth over the waters. And Gam Tinoc stared at the world for a long time, admiring its shape and colours, and its sounds as well, of which the one who charmed him and made him to stay there was that of the water. The spurting water, the flowing water, the water that falls, the water that hits the rocks and strokes the sand by the sea; the sounds closest to the music of Universe. Gam Tinoc then took the form of a vaporous cloud rising high above the mountain with which he had descended from the Sky, and so he wandered all the corners of the world for a long time, and marvelled at all things, big and small, that his brothers were not seeing nor hearing from outside the spheres of the world. In love with that world, he swore to stay there forever, named it Taura11
and made it his home.
 Other voices had arisen among the Primicerians, some of them very sensible and loquacious, but among them one rose up determined and strong, and thus spoke Enuc:
“And would it not be wiser to let the creatures of the world wander alone as they already do, and for us keep being as we are? What need is there to do as they behave when they are like pebbles at the bottom of a lake and we are the Skies above?
The Primicerians hesitated, but a few looked down at the world, and saw Gam Tinoc, jumping from hill to hill, bathing in rivers, diving in lakes, enjoying them as the offspring of the creatures that roam the earth do.
“Look at Gam Tinoc, He-who-everything-touches. He plays as the water, air and earth animals do. He admires the sunsets, and doesn’t find enough time to go after them, doing the round of the world to watch as many as he wants. Isn’t that improper of us? Are we to do such things?
Thus spoke Enuc, and even more loquaciously, and persuaded many Primicerians of the little suitability to descend into the world and do as Gam Tinoc was doing. But many others couldn’t make their eyes off of He-who-everything-touches, and felt a growing curiosity to do as their brother, desiring to descend as well and play with him. And so it was that the Discord took place, dividing the Primicerians between those who wanted to follow Gam Tinoc, those who supported Enuc’s thesis and, lastly, those who feared the consequences of such division and preferred to remain neutral; the latter were represented by Niari, who had not said anything in a long time but whom many considered fair and sensible.
 Since then there was no peace. Niari was being dragged from one side to the other, and thanks to her keen sense of perception she understood like no one the growing danger of the discord among the brothers. Despite that Niari understood and adjudged mourning it, but from Enuc’s emotions and intentions a dark music was coming, and she stope away from him whenever she could. And so it happened that when the Discord reached its peak, when Enuc decided to take the form of an incandescent cloud from which clangours and fires erupted, Niari joined Gam Tinoc’s side, rebelling against Enuc’s desire, which by then was a will: out from his despair he called on his brothers to remain outside Taura’s spheres, but it was all in vain. And once Niari had descended to Taura like a rain of stars, they named her Tiane, Mother Earth, because as soon as she put her feet on it she hugged its dark soil, humid with life, and promised to take care of it ever since.
FROM THE SKY BEING
 Once they gave the Dwarves and Men12
to Taura, Gam Tinoc, Niari and other eminent Primicerians decided to adopt shrouds that would make them recognizable to the human eye. Their appearance was similar to the human figure, but larger and with a more imposing port. Men named them Maires, which means “Great Ones”, because they were majestic and almighty in front of the Mortals, and Dwatves referred to them as “Those of the Thrones of Taura”, since Gam Tinoc explained to them that they, the Maires, had descended to the world and called themselves its regents, the first archons of the Dwarvish and Beran peoples, severe and fearful beings.
Twelve were the Maires, and their names in the proper order are: Gam Tinoc, Niari, Enuc, Ghiseu, Duoc, Rianame, Harc, Mèssare, Idachi, Arence, Àgave and Isira. And they were known as Maccadorim13
, Those of the Thrones of Taura.
 Let them be told in advance some great truths that everybody must know in order to not be deceived by the gods and their arcane words.
That the Maires forged us, the humans, but they’re not the creators of the Cosmos, not even of Taura and Nature, being the entity that created everything, the Divinity, inconceivable and unknowable to us. If we could understand the nature and essence of the Divinity, it would appear to us as something petty and, therefore, it wouldn’t be.
That despite the different nature of the gods, whether we compare them with us or one with each other, that is physical, for the Maires have material bodies, capable of becoming ill, suffer physical damage and, obviously, die.
That in the Cosmos anything that is spiritual has a physical nature, and all that is physical is impregnated with a spiritual essence. The Maires belong to the natural world, not the supernatural, just as we belong to the natural world as well, but the Maires lack a soul, at least in the sense of the soul that we Men and Dwarves share, which has its own particularities.
That the matter of which the Maires’ bodies is made, flows and vibrates in a different way than ours, appearing more ethereal and subtle to our understanding and senses as to how we perceive our own, just like the air seems to us more tenuous than the water or how this one flows better than wood, even though all three belong to nature and their nature is, first and foremost, the same.
That the Maires, as natural beings with powers superior to ours, can mold their owan matter and physical form, doing, when they so desire, their appearance more comprehensible to our senses.
 Gam Tinoc14
is the greatest among all the Maires. He was the first who descended to the world, in the form of the Burning Mountain, and loved everything Taura showed to him, but above all he loved the lands and the waters, with which he often played. For that reason they called him Tinoc15
, the Engineer, and all those who were in his side were known as the Tinochids, Those of the Engineer.
Gam Tinoc chose a shroud that is like the waters of the surging sea, dense and deep, of a dark blue with spots of green and silver. Blue is his skin and green his hair, and goat horns come out his head, and has a tail like a fish. He is without doubt the tallest and most eminent of all the Maccadorim, but during the Elder Days he wasn’t much seen among the Mortals and, we he did, he used to be with the Dwarves, of all the beings that populate the earth the ones he loves most. He likes to carry with him his staff, Rombremàlassa16
, the Cradle-of-storms, a long steel spear with Syenac17
, the Earth Snake, and Marac18
, the Water Snake, one laboured in platinum and the other in antimony, mutually intertwined around the spear. With Rombremàlassa Gam Tinoc hits the bottom of the sea, which no one has seen except him, and thus awakens earthquakes that shake the earth and stir the waters, raising gigantic waves that devastate the emerged land, and blows up the mountains with lightning and fire. And that’s why they call him Hezergaó19
, The One Who Shakes the Earth.
 Following Gam Tinoc descended Niari20
, the Mother of the Moon. She was named Mother Earth21
and Forger-of-life because she promised to take care of the world, which is vibrant with life and therefore so precious to her eyes. In many barren and desolate places she created the right conditions for plants and animals to settle and thrive, and helped Gam Tinoc to create the first generation of humans, which she herself hatched from many eggs and fostered until they matured. She chose has her home the summit of the Amaida, the Great White Mountain in the Intermediate Sea that Gam Tinoc left after he had descended.
Even though she played a minor role in the great events and deeds of the Maires, her shadow and her work were always omnipresent, and her influence on others was pervasive.
Niari took a shroud that is like the Moon’s silvering colour, with pale reflections throughout, of a qhite light but, at the same time, warm, in a manner conformable to the Great Mother. She wears a cloak woven with the starry sky, millions of luminaries in a sea of night, and is crowned with a full moon.
was the last of the Twelve to adopt a shroud, and he did so driven by shame and anger when he realized that Gam Tinoc and Niari created the humans without regard for his opinion. But out of pride he never set foot on Taura, always remaining in the Outer Skies, of which he proclaimed himself ruler. The other Maires accepted him in the Council of the Twelve, and made him its president, although he did not in fact act as such, and the Tinochids did not recognize him any power in Taura and little regard had for him in relation to their matters here. Due to his traps and delusions to humankind many names were given to him, among others: the Old Snake, the One with a Cold Skin, Father of Lies, and Father Death.
Enuc’s shroud is dark, as it fits his severe and fastidious nature: a cloak of cold ash covers him.
, the Sower, with which his lightning fertilizes the earth, is the Lord of the Inner Skies24
, and for that reason he stirs the winds and grows storms. He is also the Cloud-gatherer25
, and many peoples call him with that name when rain is needed. Enuc appointed him Great Lord of the Emerged Lands26
and Judge of the Peoples shortly before he descended to Taura, since he did so with the intention to closely monitor the Tinochids and humans. It was Ghiseu who taught agriculture and the domestication of animals to humans, and was also him who invited them to live in towns and cities, thus beginning urban life among Men, but the Dwarves preferred to dwell underground, closer to Gam Tinoc.
As the Lord of the Inner Skies, the thunder is his main attribute, and of fire and rock his shroud is made, incessantly resounding in a great lightning clangour.
was, of all Gam Tinoc’s brothers, the one who understod and appreciated him the most in his quest for the Knowledge and his love for the Dwarves. When Gam Tinoc was forced to hide in the sea depths it was Duoc who guarded the Book of the Knowledge, giving it to the people of Fifnir to hide it. The Dwarves worship him as son and brother of Gam Tinoc, and refer to him as the God-King, because from him Fifnir’s lineage was originated, the greatest among the monarchs of the Dwarves. Duoc is a master of conspiracies and wise in the art of message encryptation. He learned a lot from Gam Tinoc, becoming his most outmatching pupil, and this is why the Master named him Torrent-of-genius28
. Of all the creatures, bees were their favourites, because they are delicate and sharp, and work hard, and he liked to be named Bee-keeper.
He had the power to take the shape of steam, and thus was his shroud: a thin and steamy layer with which he hides from everything and everyone, and even his brothers and sisters have trouble finding him, and named him, jockingly, XXX, Protector of Spies and Conspirators. Sometimes, though, when angry, he would dress in a whirlwind of bees buzzing without stopping, forcing everyone to run away.
 Rianame is the protector of the black and humid earth that gives life to plants and animals. She’s the protector of gardens, of orchards and of fruit trees. She took care of Irmalne29
, the Gardens of Rest, in the middle of the Adana, where she plowed the land with her plough, Aaa, Cut-of-the-Sky, because Gam Tinoc forged it for her with a stone thrown by Enuc but intercepted by Tormes to prevent it from wreaking havoc. The Gardens of Rest were for the Maires the place to recover and meet in Taura, because there Rēze cultivated laserwort, the plant used to make amarinça30
, the drink the Maires ingested to keep their shrouds in working order.
Rianame’s was a shroud of green and golden, a large mantle of leaves covering her whole body: of autumn leaves below the waist, in a wide skirt that fluttered when walking, young and cheerful like spring breeze, and of tender leaves from the waist up, well girded; but her breasts were bare, and they were like two golden apples, and the colour of ebony were her face and skin, and of golden strands her long hair.
 Harc Tormes, the Battler31
, the Burst-of-the-Sky32
, is of bold temper and prone to destruction. Many peoples consider him the god of war, because battle craves and to fight owes himself, and they name him Destroyerr-of-cities and Enemy-of-all. They also name him the Griffin, for his bravery and courage, and for his roar when he plunges into battle, and also for suggesting to Gam Tinoc and Niari the creation of Bràhava, the Griffin God, gifted with the power of the thunder, to fight against Mauravula, the demon. Other names of his are Born-from-six-mothers and Head-of-goat, because he was reborn from the Little She-Goats, one of the constellations in the sky. He asked Isira to draw in the night sky a griffin so that everyone would remember him, and this is how Bràhava33
, the griffin constellation was created.
Battle-hardened as he is, Harc Tormes’ shroud is a torrent of fire, all flame, and his skin is the colour of bronze. He carries an obsidian sword in one hand and, on his head, a helmet with Azarz feathers, to assure his shroud’s resurrection if he falls in battle.
, the Mare of the Night, she of the Sudden Rage, Rauromé35
, lives in forests and wild lands, where she used to hunt the great beasts that no longer inhabit this world. The Mortal Peoples name her the Fear of the Forest, because all the dark-fur beasts that inhabit the forests are impregnated with her passionate nature. She likes to wander the Great Forest36
in the shape of a dusky mare, and hence her main name. When in the Elder Days there was war she accompanied Tormes in the battlefield: she, haughty and belligerent; he, exultant and fiery. Many Dwarvish and Beran peoples sacrifice to Messare the weapons captured to their enemies.
Her shroud is like the leaves and the bark of trees, which matches her mossy hair, and she’s wrapped in a cloak reminiscent of the furs of wild animals.
, the Oracle, is the Messenger of the Maires, since he is the protector of truth, prophecy and good observation. He has the gift of prophecy, and it’s he who will announce the arrival of the Renovator, when the world will turn upside down to be reborn again, and the Knowledge will be revealed to humankind. It was he who revealed to humans many truths about the Primicerians and their shaping of the Cosmos.
His name was given to him by his sister Rianame when she observed how much the god likes to swim with dolphins, which are the princes of the sea and the heralds of the god. He is, among all the Maires, the one who has more ties to humans, walking among them in the shape of a boy with bronze skin and brown eyes. He chose the calm seas and their islands as his home, and he owes to no one but gives everything if Arence, his aunt, is auspicious.
His shroud is like the sea, with a steel-bluish skin and the hair like sea foam, everything wrapped in a cloud of sulfurous steam.
 Arence has the gift of seeing the future, and he’s the herald that announces death, Lord of Space and Mistress of Time, bearer of luck and opportunity, the Lady of Fate. She is often considered Agave’s sister, and many peoples associate her with births, marriages and the impending death. Among others, she is the patron of sheep sheperds and their herds, and presides over the good health and fertility of domestic animals.
His epithets are masculine and feminine because the shroud with which wrapped herself didn’t show the Dwarves, Men or Elns any sign of her gender, but instead, wanting it, he always appears ambivalent. And ever-changing is the veil that covers her, going from the deepest darkness to the most bursting light, as if Day and Night were colliding again and again in a constant struggle, surrounded by a glittering heat. When she appears like that everybody looks down and covers their faces with the hands, falling to their knees, terrified, for there are no mortal eyes that can stand such vision.
, Arence’s sister, watches over the gift that awaits the Mortals at the end of life. She’s the mother of Mortuary Souls and Queen of the Afterlife, and for that she is named Nàmanne39
, the Death that watches everyone. She protects the liminal regions, which can be found in this world and in the realm of the dead ones, as well as the Estyrian Gates, which give access to the Underworld, the realm of the dead in transit towards resurrection. Àgave has a strong tie with fountains and springs due to their connection with the subsoil, as well as with caves, and mint is the plant that represents her. It is easier to see her, if she wants, in the liminal hours.
Her shroud is an impenetrable darkness and her hair are entangled snakes in a bush of mint. A veil of blackness covers her face, showing only her hands which, delicate and pale, invite mortals to pass into the Afterlife.
is the goddess of dawn, of renaissance and revival, of transformation and inspiration. She is the light that repairs the evil done to the world and spoiled love, and protects and guides the unfortunate ones, those who are lost, and single youth. She is the mother of Idachi and Rianame, and patron of poets and defender of sailors. The star Jevesa is her herald and viceroy, and it was a gift from Gam Tinoc to the goddess for her dedication in protecting humankind, back when Enuc wanted its destruction and the Vallagonar desired its subjugation. Jevesa shines to remind humankind that there’s always hope, and that after the terrible night, the glorious day comes, because Isira is the goddess that impels action, the one who gives breath when everything seems lost. She is the awakening of action and consciousness.
Her shroud is the light of dawn, of saffron skin, and with pink fingers that caress the world. And on her head shines a crown of gold and red like polished coral.
In Mintani, Bhaminadhayvë
“the unveiling, the revelation”. It gave Pamfinauhe
in Malberan, from which Sarden Pamfenoe
derives. In Hellesan, Pamfènoe
. In Old Dwarvish it's Vamnathyve
. The Cosmogony
is the first part of five that make up the Pamfènoe
, the other four being Mythology
, and Praxis
That is “creation”, since it comes from Mintani Ehhadhayvë
“physical creation; forge”. Eghtassadye
in Malberan, which passed onto Sarden as Ehtassaze
and, from that, to Hellean Estàssatze
The Sarden Empire was founded the day of the spring equinox in the year 1292. The imperial cult (the cult to the persona of the emperor, a semi-divinized institution) was implemented, but it began to lose popularity a century after the foundation. That was one of the symptoms of the decadence of the Sarden state, which led to the imperial crisis of the 15th century, of political, economic and religious nature.4.
Sagarmatza (1532), Tares (1628), Gelgela (1781), Labirença (1832) and Midònia (1860).5.
Mentioned, first of all, in the Dwarvish tradition: Zizânule
, from Protodwarvish *uhitsadan
–, from uhi
– (nominal class 10) + tsadan
– “tribulation, disgruntlement”. In Hellesan, Zizaune
In Mintani, Marverähvauhhı
“Primordial Waters”, from mar
“water” + vevrähvauhhı
In Hellesan, Mintanis
, words related to the Hellean root min
In Mintani, Dhirverähvauhhı
“Primordial Fire”, from dhir
“fire” + vevrähvauhhı
From Mintani Vevrezeru
“Primordial Earth”, from vevreru
“first, initial” + ezeru
In Mintani, Hınızamryrë
, a compound of hınıza
“to sow” + mryrë
“vida”, this is “sower of life”.11. Zdhavaramheli
“agglomeration of wonders” in Mintani, which gave Old Dwarvish Tavaraphel
. In Hellesan, Taura.12. Mrådhano
“Men” (race), in Mintani. It gave Hellesan berà
, with the same meaning.13. Mahäghazdhavaramhelim
“those of the thrones of Taura”, in Mintani, which evolved into Old Dwarvish as Magkhathavarim
, from which Maccadorim
is a Hellesan adaptation made in Ressurgentist times.14. Hami
, in Mintani. It passed onto Old Dwarvish as Kami
. In Hellesan is Gam
, alhough the full name of the god is Gam Tinoc
“skillful and inventive; skillful and resourceful”, in Mintani, origin of Tinguki
, which gave Hellesan Tinoc
“cradle of storms”, in Mintani. In Hellesan, Romarumàlaho
is the cult version, and Rombremàlassa
is the traditional, patrimonial form, from Peran Romarumàlassa
The Earth Snake, or Soil Snake, Hyënägu
in Mintani; from hyë
"earth, soil" + anägu
From Mintani Marägu
"Water Snake", from mar
"water (element)" + anägu
The Earth-shaker, from Mintani Ezeragahya
, with the same meaning, through Sarden Hezzergahyon
, in Mintani. Adapted, in Old Dwarvish, as Nithassa
. Despite the resemblance, Hellesan Niare, Niari
and the noun nyare
“moon” come from a Satic root.21. Hyëhami
“mother earth” in Mintani, from hyë
“earth” + ami
“mother”. It gave Old Dwarvish Zigami
, Old Cassardian Kiami
, and Madinesian Hyani
as well as Peran Tiane
. Sardens named her Diana
, influenced by Peran.22. Êhënuhhı
“the thunderer”, in Mintani.23. Hınızahë
“the Sower”, in Mintani, which gave Kinizu
in Old Dwarvish.24. Mihharoromilur
“great lord of the inner skies”, in Mintani.25. Abhälozavrümar
“cloud gatherer”, in Mintani.26. Mihharezerum
“great lord of the emerged lands”, in Mintani.27.
Duoc`s name seems to be a case of pleonasm, since its full form, in Mintani, is Dhuzahë Dhuzaiaunahë
, the second form being a compound of dhuza
“bee” + iauna
“to breed, to raise, to foster” + –hë
(agent), while the former is just dhuza
. But since dhuza
means both “bee” and “to buzz”, we can also interpret Dhuzahë
as “buzz creator; buzzer”. In Hellesan the name of the god is used alone, although its surname
is the epithet “buzzer”, from the verb dunzar
“to buzz”, clearly related to the Mintani word; so: Duoc Dunzadeu
In Mintani, Hröghåra’inihhadhe
“torrent of genius; torrential genius”, from hröghåro
“torrent” + a’inihhadhe
“genius; groovy, terrific”.29. Irınameliner
“gardens of rest”, in Mintani. In Peran it’s Irimmalini
, which gave Hellesan Irmalne
, in Mintani, which gave Hellesan amarinça
. The plant from which it was extratec, laserwort or silphion, is hzrimre
in Mintani; zirimir
in Old Dwarvish, and simbri
in Hellesan.31. Dhulahahë
“the battler” in Mintani. One among many monikers given to the god, this one has given the name with which is known in many languages, but in many others it’s the epithet following the main name; as in Hellesan Harc Tormes
, being Harc
the evolution of Peran Herukas
, from Old Dwarvish Harukaz
. See the note below.32. Iluhærühha
, in Mintani. The main epithet given to the Maire, which became his most used name in many cultures: in Peran it was Herukas
in Hellesan.33. Mraghava
“griffin”, in Mintani. From mra
“thunder” + a’åghava
“power”, this is “thunder power”.34. Midhızarrä
“mare of the night”, in Mintani. Adapted into Peran as Mēnsare
“sudden rage”, in Mintani. From hrahve
“sudden” + romë
The Great Forest or Large Wood as an old-growth forest covering most of Eurede. The Maires named it Mihhıdhaura
, the source of that meaning and of later names in the tongues of Men and Dwarves: it is the Migedaur
of Northern Malberans, Migdr
to the Escaneans. In the Sarden myths it appears as Mazedor
, which passed onto Hellesan as (forest of) Massador
Known as Iphîz
in Old Dwarvish, from Mintani ibhizi
“dolphin”. In Sate we have the root īti–ik
– “dolphin”, from īti
– “spindle”. Note that ‹ch› stands for /k/ in Hellesan, which means the name is pronounced [i'ðaki].38. Aghagnahë
“giver of the gift”, in Mintani; a reference to the role both Men and Dwarves attribute to her: to assure the gift of mortality to them. The name was adapted as Agagbe
in Old Dwarvish, and passed onto Hellesan as Àgave
“death”, in Mintani.40. Êhëziri
, in Mintani. A compound of êhë
– (agent) + zir
“light”, this is “that emanates light”.