'There are those, my dear Ganisundur, who wince at the sound of the cymbal and the rhythmic thrumming of the drum,' said the blessed Rinas when she and her devotees sat to rest beneath an arching palm tree one day, 'those long-eared, fair-eyed, dark-skinned ones who are dazzled by the light and heat of Hulaiya and can only walk in the dim light Reffoh sheds by night. You will see them wince sometimes, or jump up startled at the sound of music or song.'
'Surely that is because they worship that goddess felled by the Death-eye, and so are ever in panic and fear,' one of the disciples said.
'They cannot resort to Hulaiya's light, for Reffoh's failures mean they suffer beneath Hulaiya's glorious day,' another added.
'Perhaps. Perhaps,' said Rinas, and her finger strummed her one-stringed instrument so that it let off a long droning sound, 'or perhaps they cannot wander beneath her glorious light for the same reason that any true lover can't long bear the gaze of the beloved, hmm? Look how they burn up with fervour - is it Hulaiya's light that burns them? Or do they burn as a lover does beneath the beloved's gaze?'
'And what of the sound of song and music, Rinas, why do they jump and wince at it?' Inky Ganisundur asked. The songstress flashed him a gap-toothed smile, and her eyes wrinkled up warmly at the question. She leaned forward and looked at the great man of ink.
'If I were to jump and wince when you played something for me, Ganisundur, why would you think that is?' Asked the older woman.
'Well, I would think I had played badly.' The man of ink said.
'And if I were to jump and wince, but, say, Sinhuldo there seemed to be enjoying it, why would that be?' She pressed on. Ganisundur frowned and scratched his head.
'Well, that would be very strange,' he mumbled.
'Indeed, and yet you find that our long-eared brethren jump and wince, while we of the short ears dance and make merry.'
'But adi, if you winced and I danced,' cried Sinhuldo, 'I would think it is because I am stupid in the ways of song and you are not!' His outburst caused low laughter to ripple across the gathered disciples, and Rinas too laughed.
'Well, I wouldn't quite put it that way, but perhaps you are not far off my dear Sinhuldo. When we make music, we must know who we are singing and playing to. When we sing and play to those who do not know music, it is not like singing and playing to those accomplished in those arts. And when we sing and play to the boisterous small-eared folk, it is not like singing and playing to the sensitive long-eared ones. We must know what effect we intend to bring about in our listeners, and to do that we must know them and adapt our playing to them. Music has great and marvelous power and can leave listeners emboldened and strengthened - or unable to resist the tide of emotion it carries; and just as one may be intoxicated on beer so too can one become intoxicated on music and song. So why do the long eared folk jump and wince? It is because the songster does not know his audience, and so the effect he intended through his music is utterly lost and all his playing is in vain.' There was a long period of silence after this as the disciples sat and digested their master's words.
Thus Spake the Master
'Oh! Adi - what should the intended effect of our music be? Is it to bring happiness?' One disciple asked.
'And is all music happy?' Came Rinas' response.
'Well, no, it's not all happy,' the disciple conceded.
'You have listened to much music - was it happy music or sad music that you have found yourself inclined towards?' Rinas asked. The disciple frowned and cocked his head in thought.
'Hmm, it's difficult to say, adi. The different emotions serve different purposes at different ceremonies and occasions. I certainly could not play a happy song on a sad occasion...' the disciple's brows remained furrowed as his words trailed off and he fell into silent thought.
'Ah,' said Ganisundur, 'but the purpose should be neither, adi. Sad music and happy music and music of all emotions - there is a greater purpose and effect at play, beyond mere emotion.' The songstress looked at Ganisundur and beamed.
'You have savoured the secrets, my dearest Ganisundur; and silence between those who know is speech.' And with that, the knowing songstress rose and strummed her one-stringed instrument a few times, then walked off. Her disciples, many of them nonplussed, all picked themselves up and walked after her. A small shy smile played about Ganisundur's lips as he walked among his comrades and their master began to hum and sing.
Rinas and her disciples sit beneath a palm tree and discuss musical matters.
| 5MP and 5DP | 1MP towards Puppetry | 2DP towards Acting | 2DP towards Inspiration | Next Domain: Art |
5 MP to claim the Art Domain. 1 DP to bestow upon the songsters and artists of the Azumai river valley an understanding of basic musical theory. (+1 towards Music portfolio) 2 DP to bestow title of Songstress II on Rinas. (+2 towards Music portfolio) 2 DP to bestow title of Numinous Dancer II on Rinas. (+2 towards Dance portfolio)
In the days and weeks that followed the coming of the Songs into Meliorem, the realm knew sound as it never had before. Inky songbirds sloughed off the Sirens and flew off into the realm's heavens, releasing trilling sounds that seemed to carry far and wide, and the ocean all about them seemed to breathe and sigh more audibly, its waves charging up the shores with vigorous sound before letting up a laugh and retreating, all coyness and giggles. And the Songs themselves had been making full use of the town that Cadien had erected for them.
While the Songs had no immediate need for it, the bathhouse had been thoroughly explored and prepared for any guests who may come by. Its exterior walls had been painted a deep, sunset orange, while the tiles that made up the roof has been inked a dark green. Inside, the Songs had gotten to work on bringing into being decorative tiles with all sorts of geometric patterns and designs. They were made up of very simple units, for the most part, but the sprawling nature of the whole made it an aweing thing to behold. Pillars were sculpted with flowers and leaves and vines, and the stony forms of nude Songs frolicing them could here or there be spied.
But it was not the bathhouse alone that received such treatment - although it was the first -, and all of the village was slowly made colourful and beautiful, teeming with the vibrant energy of life and activity. The library was painted with calm, reserved hues of brown and deep reds, its walls and shelves sculpted and carved with the forms of lovelorn poets and long-bearded scholars, shy maidens hiding at the foot of this shelf or in that far corner with book in hand or a letter from some secret admirer. And while libraries - as it is known - are meant to be places of quietude and reflection, the Songs that gathered here milled about and found one source of inspiration or another to sing their lyrics to, so that soon it was perfectly normal to walk into the library to find one Song or another reclined upon a great central podium with others sat about reciting poems or singing songs or scribbling away in inspired fits. The central square had quickly found use with impromptu dancing, singing competitions, Songs offering to paint or sculpt the most beautiful and resplendent of their kin; and it was the great arena where the Songmen sought the hearts of the women. It had not been many weeks, and yet none of those poor newborn artists that Cadien had formed from the vestiges of the great flailing tentacle of ink had succeeded in wooing to them any of the women, who were generally dissatisfied with the lack of inspired works the men produced.
'Ah! But can you blame us, poor artists that we are, for the lack of inspiration, or should you blame the muse herself - coy and merciless, unforgiving and distant, displeased with all that we humbly lay down at her feet. Will the husk of my living form please you, lady? Will it be art enough, pray tell?' One had melodramatically declared at one point when one woman had refused an ornately crafted flower of inky gems and natural petals. 'And what is life that you should think it dearer than art? If your corpse is the way to my heart, then better by far is death than life,' had come her pained response, inky tears gushing suddenly from her eyes. 'Ah! She spoke and smote my being with speech - my lady who is out of reach. And though her words have caused my death her tears at once restore my breath; and I shall fight and toil and die so that you'll never need to cry!' And with that, he rushed away on the wing of sighs and moans, reciting verses and lyrics in an attempt to find the key to his muse's frigid heart.
The lady-in-waiting had watched over all this in silence and sighs, and had allowed her Songs to drag her now to the bathhouse, to see their handiwork, and now to the library and the square, and she had praised their good work before returning to her small abode. When she did venture out of her own volition, it was to visit the amphitheatre. There she would sit and watch as numerous Songs with plays they had toiled over for a day or two brought together troupes to rehearse. A few performances had been shown, though the reception was generally lukewarm and audiences were not too impressed - and the lady-in-waiting could not say she was particularly impressed either.
But now a number of promising plays were being shown, and the lady-in-waiting sat waiting as the sets slowly filled up with melodiously murmuring Songs. When there was a respectable gathering, a drummer amongst the orchestra began drumming, and it was followed by a long harmonious vocal note from the musicians, and on the stage a white-clad woman appeared.
'The night was dark when Brin was born / His form was grand, so too his horn / Which on his head a crown was worn!' She declared, and on the stage there appeared a grandly dressed Songman, wearing a singular wooden horn. What followed was an overwrought tale detailing Brin's dissatisfaction, despite the grandness of his horn and the great respect his people afforded him. And so he sought out the Mad Nomad in the Fruit Tree, who bid him journey across the isles to speak with the One Who Soothes All Hearts - and that he must get to her in seven days or tragedy will strike! And so brave Brin set out, but on his way was swallowed by the charging waves and found at the bottom of the ocean the Man of the Sea, who was on a journey to unite the six tiles that held the island above the water. The tiles had been stolen by four mischievous seabirds, and the Man of the Sea could not leave the water and fly after those vile thieving birds.
'If you will aid me, Great-horn Brin, then I will show you the way out of the sea,' the Man of the Sea declared. And so their pact was sealed and Brin was shown the pathway out of the water. But on reaching the shore he reneged on his promise and instead continued his journey to meet the One Who Soothes All Hearts; and when he reached her it was just within the seven day time period the Mad Nomad had set. The One Who Soothes All Hearts welcomed the hero and offered him hospitality and care, and Brin found himself in all ways joyous and at peace. 'I will remain here, with you, for the rest of my days!' He declared. The One Who Soothes All Hearts reacted with great ecstasy, sweeping across the stage now on this side and now on that. 'But!' she cried, 'I must first look into your heart - for only he of unstained heart may stay with me,' she said, and she idled up to Brin and looked into his heart, and on doing so wept inky tears. 'Oh my, oh Brin! Where have you gone and where have you been? - for you've slaughtered me with your one sin.' And with that she let out a great pained cry and collapsed on the ground dead. The horned Brin let out an anguished cry and held the One Who Soothes to him, and he carried her weeping from one side of the stage to the other, and he spoke for long of his broken heart - ah, sinful, blackened thing! - and of his woe and of the joy he never would know. And he determined then to take the body of the one who had brought him joy - if only for a short while - and bury her among his people.
But as they journeyed across the waters, the Man of the Sea spotted the horned Brin and came at him with great rage and fury, and he so smashed Brin that he dropped his beloved and watched her fall to the ocean floor. 'Oh Man of the Sea! Oh Man of the Sea! My heart is broken, of joy I am free; all of your rage and all of your fury can't add to my pain and nothing can cure me!' The teary-eyed Brin cried. 'That is good, betrayer, great thief! You turned your back on me, betrayer, stole my friendship who are my foe!' 'Oh have a heart, Man of the Sea; return, return my love to me.' 'Not until the sea flows over, and all the stars grow dark,' the Man of the Sea rumbled and dramatically exited with the body of the One Who Soothes in his arms. Brin remained alone on stage, and he raised his arms to the heavens and cried out, and then fell to his knees and crumpled into stillness and silence. The musicians in the orchestra hummed dramatically, and a deep bass of finality sounded, and the show came to a close.
There were a few moments of silence following the end of the play, and then a cheer went up and there was clapping and whooping. The lady-in-waiting herself nodded in approval. This was a breakthrough play, there was no doubt about it. All that had been written and performed to date had been about the town here, and the plot generally rotated around a Songman's ultimately successful attempts to woo his muse. This here was something completely different, and the lady-in-waiting could already sense that this was only the beginning of the saga of Brin - for there were already Songs mumbling and asking about what happened next.
'What did you think, my lady,?' A Song seated next to her asked breathlessly, 'it was completely unexpected, don't you think? Who would have ever thought that his unkept promise would catch up to him in such tragic and terrible ways? I was stunned!' The lady-in-waiting glanced coolly at the Song, who winced and coughed. 'S- sorry, my lady,' she said, her bubbling exuberance replaced by a sharp-eyed sobriety. The lady-in-waiting smiled, however. 'No need for all that, now,' she said, reaching a hand out and moving a stray inky strand from the Song's face, 'it's good to stay in-character after all, don't you think?' A mischievous smile played about the lady-in-waiting's mouth, and the Song echoed it and bobbed her head. 'Yes, my lady,' she purred. The lady-in-waiting looked down to the stage where the cast was busy bowing and basking in the crowd's adoration. 'It was a good performance,' she uttered thoughtfully, 'and I like nothing more than a good performance, my dear,' and with that she rose and left the amphitheatre. As she crossed the great square on her way to her abode, a Songman called out to her. 'My lady! My lady!' He cried excitedly, 'here!' She turned as he leapt lithely towards her and, getting on his knees before her, held a little object up to her for inspection. She looked at the thing with raised eyebrows. 'For you, my lady,' he said as she plucked it from his extended hands and turned it this way and that. 'What is it? Some kind of face sculpture?' She asked. The Songman shook his head with a knowing smile and stood up. Turning it around, he brought it to her face. 'No, my lady, it is a mask.' She looked through the eye-slits for a brief moment and then moved his hand and the mask away. 'Oh, very nice,' she said, and made to move off. 'Please, my lady, keep it!' he said desperately. She turned back to him with an irritated sigh and snatched it gracefully. 'Oh very well, I will,' she said, then turned around and hurried off. When she was indoors, she took the opportunity to inspect it. It was not particularly beautiful - though, of course, the features etched onto it were pretty enough -, mostly white and decorated here and there with patterns, the odd ornate tuft hanging off; but there was something about it... she could not put a finger on it, but as she stepped out and looked into a mirror hanging on the wall, holding the mask over her face...
she knew she liked it.
Things are going well in the Song town, and all kinds of artistic innovations are going on. The Songmen have not been successful in wooing the women, however! The lady-in-waiting watches a play in the amphitheatre and it's quite good - the first that's not just about the going ons in the town itself. As she is going back to her abode, a Songman comes over and gives her a mask. She pretends not to think much of it, but when she gets home she looks at it and likes it.
| 1MP and 0DP | 1MP towards Puppetry | 2DP towards Acting | 2DP towards Inspiration | Next Domain: Art |
1 MP to create an epic saga of the Songs, that will be told in plays, songs, poems, sculptures, paintings: The Epic of Great-horn Brin! (+1 towards Acting)
| 0MP and 0DP | 1MP towards Puppetry | 1MP & 2DP towards Acting | 2DP towards Inspiration | Next Domain: Art |
+5 Points to the Lady-in-Waiting 10 in total (~12,000 chars.)
The cityfolk of the Upper Azumai, it is rather safe to say, were not too fond of death. At the heart of everything they did and were lay the constant need to savour all that life held - in many ways, it was a desperate race, a constant endeavour to uncover life's joys and pleasures and taste each and every one. A life well lived, after all, is a life enjoyed to the full. The ancients had declared - and the ancients were in all ways wise - that the eye of death can never bring such joy; when the ghouls consumed your husk at last all happiness was come to an end. And so those cityfolk of the Upper Azumai, as though to prove that ancient declaration true, all sang with a collective spirit: before we'll let that Dead-eye drag us low, we'll perish in the wine cup's afterglow!
The Shade, a deepborn spirit of ink and dirge, had distantly noted the region as it flowed in the sunlit empyrean high above the strange world it had been birthed into. Basking in the mesmerising song of the flowing clouds against the strikes of the sunrays, only the premonition of a truly wondrous song and dance could hope to tear the Shade from such exquisite sight and sound - and the song and dance that reverberated from this small valley nestled away amidst the mountains of the northwestern Hreelcii was just that. And so the song-gripped Shade descended from the coloured heavens and congealed into a swirling ink blot that streaked across the skies and took in the artistic geography of the region - and why, there was a richness to it! This was a land that reverberated with an unstilling song; here, it was all too clear, was a place where the eye of art knew no sleep.
Countless tributaries gushed down from the forested hills and mountaintops into the verdant valley, and there the hushed song of the flowing waters mingled and intermixed into the mighty Azumai; whose song encompassed the whole valley and called to the far mountains and crooned at the rolling skies. And from those skies came squealing zephyrs, their laughter ringing everywhere as they brushed the tops of trees and rained kisses and flirtatious words down; and the trees giggled and sighed and brought their leaves and branches about them in embarrassment and pleasure. All about the great valley forests gave way to bare plains, which then again gave way to jungle and more forest, which gave way here and there to wetland. And at the heart of it all was the great Azumai that snaked its way from the far mountains, through the valley, and to the sea; where it formed up into a complex delta and poured its waters and sediment into a bay of not inconsiderable size.
And there was life aplenty here - that, the airborne Shade could hear. The grasslands were home to herds of strange bovines boasting hides of sharp quills and to sheep that leapt to absurd height; and here and there a flame-headed deer could be spied dashing across the plains and between the hills. The wetlands and the jungles alike were home to all manner of deers and monkeys and blinking leeoli wisps; and there were big cats here and so too on the plains, though no creature could boast the size and magnificence of the winged leons that stalked the grasslands all across the valley. Where verdant hills gave way to rock and mountain, the Shade could hear the lazy, bubbling song of the rock-eating salamander. The shade sighed, a small sound bubbling through its form and escaping into the whirling worldsong in the form of a moan. It rippled gently yet powerfully through all things, brushing and embracing the song of the butterflies and the bees, wetland and jungle snakes, and the jaguars lazing in the trees. Here and there it went breezing by tapirs and tatous slumbering peacefully beneath their armour. Gorillas sat in the thick jungle undergrowth turned their heads, blowing their lips out at the song that tickled their spirits, and great crocodilians bathing on the riverbanks and drifting in the great Azumai drew open their reptilian eyes momentarily before closing them again. Herds of hammerhead landsharks that lazed in and around the Azumai and in the wetlands, as well as packs of their smaller wolflike cousins, observed the passing of the rippling moan with dull resignation and energetic yapping respectively. Falcons and kestrels screeched in union with the flowing song, and high above the glorious harpy eagle rose and rode the canvass of the skies alongside the gentle wave of soulsound.
And yet it was not this life, alone, and the vibrance of the worldsong emanating from it all, that drew the song-lured, deepborn Shade - for it had flowed in the deeps of the world and heard the song of all that dwelled beneath the waves; endless corals teeming with melody, rumbling with canorous song, pulsing and rippling and bursting with musical vitality. Those living things above the ocean waves were beautiful, of that there was no doubt, but they could not hope to match those of the deeps for sheer volume of life. Though be that as it may, the song of the shrimp and the song of the termite alike were a wonder to behold; and beneath the waves or above them was the worldsong a thing to shake and waken souls slumbering in the depths of unsweet, suffocating nescience.
No, it was not the taut strains of the hunting jaguar that drew the Shade, or the nervous airs of the dashing mara in the grass; but it was the collective song emanating from the sapients dwelling here. It was an exquisite, deeply rooted thing, refined over unknown aeons by generation after generation of feasters and revellers and singers and dancers, generation upon generation of inkweavers and performers and musicians. Oh it was a song that constantly praised and saluted the endless beauty of life and clung to the joys contained in that too-often tragic and swift-fleeing thing; a song that hailed the coming of dawn with the sunrays and wept for their passing away when the hand of dusk carried those prancing things into the gaping maw of night.
The Shade slowed in its descent, sighing past solitary branches and congealing at the bank of the great river, where the moans of the flow welcomed the shade of ink & melody. But at that very moment it was no more a shade, but a dark humanoid of broadly masculine form whose surface was a gently shifting kaleidoscope of colours.
The Shade looked around, and found that it had landed amidst a motley band resting beneath the tree, who were staring at the Shade with great wide eyes. They were all disheveled, with long wild hair that reached their shoulders. Some wore pieces of cloth on their heads, kept there by a string of grass, while others had timeworn rags rapped about their foreheads with tufts of hair spilling out above and below. A few had straw sandals on their feet, though most of them were barefoot, and beside a loincloth or shoddy kilt they were largely unclothed. While the majority were seated, there was one man with small bells wrapped about his wrists and ankles standing. Each of them held an instrument of one sort or another - stringed instruments, drums, cymbals, flutes. A few tense moments passed, and no one moved or made a sound, and so an inky hand reached forth and pried a tiny two-stringed instrument from the hands of one of the frozen men. It plucked one string, paused, then plucked the other. Tremors of colour swept through the Shade, and there was a giggle as bright eyes widened and looked at the men gathered about. The Shade kicked the earth and brought the instrument to bear, and its liquid hand swept across the strings to weave into being a high-pitched strumming that brought immediate energy to all those gathered around. Their fear and confusion was immediately swept aside, cymbals sounded and drums were beaten; and alongside that one of the men began to speak slowly and melodiously.
'Oh how fantastic weere the olden daaays. Oh how fantastic weere the olden daaays.'
Then the single standing man began to move, slowly at first. With his movements, the speaker's words became more melodious and transitioned into a dance song. The dancer beat the earth and shook his hands, his bells ringing high and true and his hair spinning beneath the singing sunrays. And the Shade beat its feet against the earth too and swayed with the rise and fall of the singer's voice, strumming the two strings in union with the growing song and dance. And the singer was joined in song by the dancer, and each of the musicians began singing too so that the melody swirled and blossomed before them all.
Oh how fantastic weere the olden daaays! Oh how we frolicked with the bright sunraaays, there in the city where the priestmage praaays. There we once sang out with the god that swaaays! Oh how fantastic weere the olden daaays!
The journey homeward split us on our waaays, there on the boat home singing of bluejaaays. And then the thunders joined our flowing laaays and jealous raindrops leapt to join the spraaays! Oh how fantastic weere the olden daays!
Oh that cruel mem'ry trapped me in its maaaze And all day I think of those far off daaays; The city's gone now, never on my gaaaze Oh bring that joy now, rid me of this craaaze! Oh how fantastic weere the olden daaays!'
As the song rose and the dancer intensified his movements, he began to move off, spinning and dancing his way along a beaten path on the riverbank. The others rose too and went dancing after him, clanging their cymbals and beating their drums still, sending their voices out to the wide heavens. The Shade leapt after them too, his fingers dancing still across the two strings. And they went on like that, unstilling and untiring, for hours; until at last they reached a gathered crowd and silence fell upon them.
The crowd parted and made way as they trundled through, and they found that everyone was gathered about a strange woman, smiling while tears flowed from her eyes. In one hand she held a one-stringed instrument, not dissimilar to one held by a member of the Shade's motley band, and at her side was a small drum. She was strumming the instrument, and from time to time moved her feet here and there and walked about and spun slowly so that the bells about her ankles shifted and clanged and her great ankle-length dreadlocks spun around her as though they were the far-flung arms of the cosmos and she its heart.
At the Heart of the Cosmos
She stopped and her eyes fell upon the tall Shade of shifting colour, eddying melodies sloughing off of it and whirling into nothingness away. She trembled on seeing it and seemed unable to look on it for long, however, though the song that emanated from the Shade seemed to inspire her to heightened fervour and an intensity of tears.
Parvathy Baul sings a love song to Krishna, Kabir Project Sep. 2011
Place your love deep, for a few days, Deep in your secret heart, And don't misspeak a word or phrase Of love for Hulaiya; Speak in hints, with mystery praise So none may hear or know.
When your heartpond stirs with mem'ry And tears fill up your eyes Go and run barefoot in the grass And take your fill of skies; Spark a flame when night arrives And watch smoke surge and rise.
Place your love deep, for a few days, Deep in your secret heart, And don't misspeak a word or phrase Of love for Hulaiya; Speak in hints, with mystery praise So none may hear or know.
Go wade in Hulaiya's river, Bathe to your heart's content; But while you swim take extra care That your clothes not get drenched! Take joy and drench yourself in her But why get your clothes wet?
Place your love deep, for a few days, Deep in your secret heart, And don't misspeak a word or phrase Of love for Hulaiya; Speak in hints, with mystery praise So none may hear or know.
And if you have packed for travel And are going away, When people ask 'where do you go?' Don't be too quick to say! For if you will be going north Point south and say, 'that way!'
Place your love deep, for a few days, Deep in your secret heart, And don't misspeak a word or phrase Of love for Hulaiya; Speak in hints, with mystery praise So none may hear or know.
You may have drunk the beers of spring And beers of Fenn'hamel, But here's a song that lovers sing Its wines they alone drink. How can the ones with broken wings And dry hearts understand?
Place your love deep, for a few days, Deep in your secret heart, And don't misspeak a word or phrase Of love for Hulaiya; Speak in hints, with mystery praise So none may hear or know.1
She continued to strum her strange instrument and beat her drum for a few moments after the last verse left her lips, and then she spread her arms wide and began to turn slowly, causing the bells at her feet to release a great cacophony of sound. The sound of bells mingled with the continued strumming of the one string, and the tearful woman raised her head skyward and let out a melodious pained cry that rose and fell as he spinning grew faster and faster and her great dreads of hair spread further and further.
The Shade trembled and moaned as the spinning grew faster and the strumming quicker and the bells louder and louder yet, beginning to strum at its instrument too. Her cry rose and her spinning reached a climactic constant that caused the world to seemingly erupt when she came to a sudden halt, facing the Shade, and all sound ceased at once. The memory of the awesome sound and the jarring enormity of the silence seemed to mix at once, and the Shade let out a sob and fell to its knees before her, prostrating itself low.
It was only then, when the world had fallen silent and the spell of the song was finally broken, that everyone gathered took a moment to register the odd being among them, giving it a wide berth. There were murmurs, and then the word 'itralla' was mentioned, causing fear to blossom in their hearts and songs. Sticks were brought to bear against the Shade by some, others turned about and put distance between themselves and the strange beast, and others yet - dishevelled and with instruments at hand - looked on with a mixture of curiosity and bemusement. Some of those the Shade had danced and sung with raised their voices in protest, but it did not stop the sticks from landing on its inky form and its melodious cry of pain and fear to rise.
As the blows landed again and again, the Shade looked up at the woman who had been singing. She was observing it with distant eyes, her song now flaring and now quieting. She stepped forward at long last, reprimanding those who beat the Shade.
'But adi Rinaas, if we let this itralla free it consume entire villages and towns and cities!' One of them protested.
'And if he could consume entire villages and towns and cities, what is stopping him from consuming you who have humiliated him?' Came her question. 'Do you think your sticks have beat him down? Your shouts and growls and frightful frown?' She sang.
'Yes adi Rinaas, you must be right!' One of them said, nodding vigorously, 'maybe the sticks and the frowns did it, and when you danced as well that made it cry and fall down! The itralla hate joy!' 'And they hate the Hulaiya's light!' One of them added, pointing at the sun, 'that's why we always light the fires at night!'
'Then consider this, my zealous friend, and mend your way - why is he out among us here if he fears day?' Rinaas sang, her eyes growing distant as her voice gave way to the tune. The members of the impromptu lynch mob frowned at one another, and a few of them mumbled something incoherent and moved off.
'So...' one of those remaining said with brows furrowed in thought, 'this itralla must be especially dangerous because it doesn't fear the light,' he looked down at the Shade and shook his head at it, 'it's good we caught it before it attacked a village.' A few of the others nodded with varying levels of enthusiasm, and the Shade whimpered as the sticks began landing again.
'And would great Hulaiya let evil dwell beneath her sky? Does not corruption cry in pain before her glare and die? So if it walks among us here the reason's one of twain - it may be something good, so then why should you cause it pain? Or it may be Evil great that not even light can tame - think what will be of you, who brought such Evil pain and shame!' The lynchers looked at the Shade with sudden fear and took a few steps back.
'O- oh! F- forgive us!' One shouted, and then joined those who had chosen to wordlessly flee. Rinaas watched them go with an absent-minded smile, and then she turned back to the Shade and extended her hands to i- him. The Shade looked up at her, the little rays that had passed for eyes until now forming up and shifting until there were defined eye-lids and inky lashes, and within them chromatic irises formed and pale sclerae. He took her extended hands in his and placed his forehead upon them in humility and submission to the mistress of lovelorn song and dance, and where he touched her ink slipped and flowed into her, twisting and curling across her arms and neck before concentrating in a tiny spot at the centre of her forehead, just above her brow. There, it formed into the shape of an extended hand.
The woman looked down at him for a few moments more, and then she gripped his hands and pulled him up, and he rose as she bid him and he looked once more into her face - it was not aged, but the creases here and there betrayed that youth had long passed, and the odd streak of white in her dreads sang lowly that the white wave was soon to sweep the black shore for eventide. And yet, for all the death of youth, did the Shade find the resplendence of beauty all in her, and he wept some ink tears and bowed his head once more.
'What is your name, fellow songknower?' She asked him. The Shade brought a finger to where a mouth should have been, and where his finger touched lips formed up and he took a breath, then sighed. 'Mi- mistress,' he trembled, the words coming heavy, 'I- I don't kn- know.' 'Then I will call you Ganisundur, Beautiful Song,' she told him. A smile spread across his newly formed lips and he bowed his head.
'Th- thank you... ah, Adirinaas?' He looked to her questioningly. She laughed - revealing a small gap between her two front teeth - at his confusion, her black eyes twinkling. 'Rinaas hli Awqar is my name; there should be no titles between friends,' she told him, and he smiled timidly and nodded.
'I- I wish to learn,' his grip tightened on her hands slightly, 'to do as you do.' She smiled widely and freed her hands from his, gesturing to all the others who remained. 'We are all learning, Ganisundur,' she began, and then her words picked up tune - erupting from her as though the mere act of speech broke the dams holding her melodies at bay, 'learning never stops! We walk the way to find and weave all of wisdom's dewdrops. Of arrogance we've purged our hearts and never deign to mock the wisdom of the labourer or worker at the dock; the merchant who comes sailing up the Azumai from far may carry words more valuable than all his riches are, and strangers who come bowing low, seeking to learn our ways, may yet in time teach us to dance and great poetic lays,' and with that she began to walk away; and all those dishevelled young men and women - for, indeed, they were all young and looked upon adi Rinaas as disciples did upon their master - picked up their instruments and began to follow in tow.
The Shade - now no longer the Shade, but Ganisundur - stared after them for a few moments, and then he picked up the two-stringed instrument he had dropped and went walking after them.
1 An adaptation of Vipuli Rikhi's translation of Kichhu Din Mone Mone (For a Few Days), as sung by Parvathy Baul.
The Deepborn Spirit of Ink & Dirge, Meghzaal's avatar, travels over the Hreelcii Isles and is attracted to go down and explore it by the beautiful song being emitted by the sapient inhabitants of the Upper Azumai. On descending, he comes across a dishevelled band of travelling musicians and, after some initial fear, they go off singing and dancing together. In time they come across a great mystical singer and dancer, called Rinaas, who has a great following of disciples. She sings and dances before a great mixed group of people, and when she is done they notice the Shade. Some believe it to be a creature known as an itralla and try to beat it with sticks, but Rinaas eventually sees them off. The Spirit converses with Rinaas, who completely assumes his gender and gives him the name Ganisundur, meaning Beautiful Song. He makes known his desire to learn from her, and she more or less - in so many words - accepts him into her band. Then they all set off.
| 4MP and 1DP | 1MP & 3DP towards Wards | 1MP towards Puppetry | 2DP towards Acting | 2DP towards Inspiration | Next Domain: Art |
1 DP to Consecrate Rinaas as a Hero
Of the Open Hand I: The tattoo of the Hand of Ink & Poetry, downside up, lies between this person's brows; alongside the other powers of the hand, her one also protects all those who hear her song from violence or harm and physical harm. The effect of this weakens quickly after her song is over. (+1 to Wards)
3 MP to claim the Wards portfolio.
| 1MP and 0DP | 1MP towards Puppetry | 2DP towards Acting | 2DP towards Inspiration | Next Domain: Art |
Cadien was circling Antiquity, much as he always did. Lost in thought, he did not pay much attention to the portals that drifted by him as he passed, but as he walked by one particular portal he glanced something odd - just in the corner of his eye - that gave him pause. He couldn’t help but notice that there was something rather… off. When he turned his head, he found that the portal was pitch black. Now this may have simply implied an unmodified realm, but something about the portal made him doubt that. He turned and stepped swiftly towards it, scanning it for any oddities before finally placing his hand into it... only to meet a solid surface rather than the amorphous swirl that was the norm for portals.
Ah. It’s not dark, he thought. It’s blocked. He supposed he could not blame a god for blocking off their realm. Some of the gods were, as he had learned secondhand from Neiya and firsthand from Aicheil, obnoxious. So it was perhaps a sensible measure to block the door so that unwanted intruders could not force access. Still, he found himself rather curious as to the god who would seal their realm in what seemed to be solid ink.
His curiosity piqued, he decided that seeking an audience with the owner of this strange, sealed-off realm was in order. And so he rapped his knuckles against the inky surface and spoke. “Hail there! May I come in?”
At his touch, the ink rippled and its colours shifted, and what had been a blank and peaceful barrier began to ripple slowly, and the ripples became more agitated. The surface roiled and turned, whirling now into a small gyre of colour and now bulging and growing outwards until it hovered dangerously, uncertain of whether to plunge or rear itself back in. It hung there, on the verge of bursting, for a few moments more... and burst it did. Ink and song erupted suddenly and violently from the portal, drenching Cadien. The torrent of many-coloured ink flooded the ground all around the portal, and the variegated pool began swiftly expanding while song and poetry fluttered off in the form of inky birds and leaves carried off by some unknown breeze, and little flitting faeries and fluttering butterflies.
Some of those kaleidoscopic oddities fluttered about the Cadien’s head and began to whisper and sing in overlapping feminine tones.
Oh who knocks there, who knocks? Who stands there knocking at the locks? Don’t you see, don’t you know? There’s nothing in this empty box! So who is it that knocks?
What do you come to seek? Perhaps to sneak a silent peek Beyond the great black gate At songs and poems soft and sleek? You’ll not find what you seek! There’s nothing in this empty box! So who is it that knocks?
The fluttering birds circumambulated Cadien’s divine head and flew away, only to be replaced by others who circled once - and only once - then went off on their way; some bursting into a cacophony of melody and verse, while others leapt sighing and dancing into the realms of other gods.
All of this did Cadien bear for a few silent moments, but soon an indignant rage welled up in his chest as he finally wiped away the ink which had splattered him... but he was able to suppress it at the last. “I am Cadien, the god of Perfection,” he breathed. “Could I perhaps inquire as to the owner of this realm?”
Annoyingly, there was no immediate response to his words and the outpouring of ink from the walled up portal continued. The only response to Cadien’s question were the odd inky flyers who continued to flutter and dance and sing about his head. They varied their song slightly, but the general theme continued to be that that there was nothing here, that it was empty and that there was nothing to be found.
Nothing lies here, no one stirs In the empty box The mind blows to bits and blurs And the tongue falls flat Only your tune sings and whirs That’s why you are here! Other singing disappears And your song appears.
“I find that rather hard to believe,” Cadien remarked in response, “considering you are speaking to me right now. And why would this realm be sealed if there was not something inside of it?” But there was no response to his words this time. The birds and butterflies flew off laughing and dancing, and all about Cadien was silence and the gushing inky cascade.
“Hmm…” the god stood still for a moment, deep in thought. Then he took a step back from the portal, and cleared his throat.
“Your words I cannot believe, I don’t know why you'd deceive. An empty box would not lock, An empty box would not talk.”
For a moment nothing happened beyond the gushing of the ink from the obsidian portal and the flow of the growing inky pond across the floor of Antiquity - having now already reached the noticeboard of the gods. The silence dragged on for a few uncomfortably awkward, heavy moments... and then a cacophony of noises - wood being sawed, planks being hammered, bricks being baked and swiftly put up - sounded. The high-pitched shriek of what might have been metal being shaped and drills at work was ear-piercing, and the sound of engines roared and chainsaws rattled as the barrier appeared to be enforced by all means possible. When all of this was done, a suspicious feminine voice spoke out with finality, ‘nobody’s home!’
“I propose a challenge, then,” Cadien suggested to the voice. “If I can break down your barrier, I can come in. Do you accept?” His proposal, however, was met with a cry of fear and the scuttling of feet back and forth… then what was undoubtedly the sound of furniture being moved and jostled around.
‘N-no, please! Please! If you huff and you puff and blow my house down I would be ever so upset!’ The panicking voice cried out.
“Hmm. Very well then,” Cadien shrugged in resignation. “That wasn’t a threat, I should clarify. ‘Twould have merely been a test of your barrier’s integrity. But, if you do not wish for it, then I shall not do it; you have nothing to fear. But anyhow, now! May I please come in?” He asked once more.
He heard the voice behind the barrier sigh with relief. ‘Thank you, kind sir! That is most gallant and gentlemanly of you. But I fear that it would go against all etiquette and propriety to l- let a stranger inside for no good reason and without a chaperone. Is there anything I can do for you? Perhaps I can take a message?’ There was the rustling of paper, what seemed to be quick scribbling back and forth on a page before there was an exasperated groan about ‘these things keep running out of ink..’
“Would you happen to be the owner of this realm?” Cadien asked.
‘Realm, sir?’ The voice asked in response.
“Oh no,” Cadien whispered, and then sighed. “Have you made any attempt to set foot outside this portal after it appeared?”
‘F-foot, sir?’ the voice asked with audibly increasing horror.
“Is there anybody else in there that I may speak to?” Cadien snapped at last.
‘Oh, I will check for you, sir. Just a moment.’ There was once again the sound of scuttling feet, whispering, a number of people muttering and shouting in surprise in the distance, before the skidding and sliding of scampering and running feet. ‘I’m sorry sir, everyone else appears to be asleep. The Lady is not to be disturbed, she is currently at a very delicate point in her… uh, whatever it is she’s doing.’
“And who is this Lady?” Cadien asked.
‘Wh- who is the Lady?’ There was a musical note of dawning realisation, ‘you don’t know the Lady, sir?’ Suspicion had returned. ‘And yet you come knocking at the door! You are surely a miscreant with incredible panache attempting to charm us of our honour! Woe is me!’ Cadien frowned, and once more there was hammering and drilling in an apparent show of reinforcing the barrier even further.
“I am no miscreant, churl. I am Cadien, the god of Perfection. Do you treat all visitors with such suspicion?”
‘You will have to pardon my suspicion, sir, but you are a highly charming individual - perfect, in fact! - attempting to beguile and dazzle your way into this empty box, for no reason at all! You would forgive me if I suspected such a perfectly charming stranger - one with such overpowering words and logic, at that - of some kind of ulterior motive; especially when the Lady is sleeping inside! Oh, the humiliation of it! A stranger getting inside! It’s most irregular! What will the people say of us?’ The voice continued melodramatically for a good while before finally coming to a conclusion, ‘so, please do pardon me sir, but I can’t simply roll the red carpet out for you, as it were.’
Cadien stroked his chin thoughtfully. “Ah,” he said after a moment. “But am I perfectly charming, or merely perfectly mannered? If you turn away all who demonstrate such refinement, then they will stop coming, out of respect for your policy. Then only the brutes and churls will be left, who will not be so easily turned away. Would you rather have them knocking at your door instead of I? I think not. The mere sight of such disreputable figures outside your door will surely tarnish your Lady’s reputation.” He shook his head. “No. Better to let me in. I give you my word that I mean no harm to you or your Lady.” Shuffling and whispering followed Cadien’s words, and a heavy silence descended as though the person behind the barrier was deep in thought... until at last the heaviness could not be retained and a sob sounded.
‘Oh sir! You have frightened me beyond measure! Even now I am imagining all the fiends out there, all your Casanovas and Don Juans and other such incredibly handsome but fast and loose libertines. It’s incredibly frightful - oh! Oh my heart! It’s going to give out, any moment now! Oh! Oh! Sir! I will let you in but you must promise me - you must promise me this. Oh! That you will stand gallantly and boldly against all those vile philanderers who will come knocking at the door!’
“Very well. I promise.” Cadien smiled in triumph.
‘Right! Good! I am relieved! Let me just move all this,’ and for a few moments there was the noise of shuffling and jostling and the removal of the assortment of barriers that had been put up, before that all stopped suddenly. ‘But oh! Oh me!’ The woman cried, ‘how am I to trust your word alone, kind sir?’ Cadien huffed, closed his eyes, and brought his thumb and forefinger to the bridge of his nose for a few moments, before returning to a upright position.
“All I have done is assure you of my own character. If a charming figure surely sought to gain entry via deception, they would have diverted conversation away from themselves and instead plied you with flirtation and flattery. They would have issued false praise and claims of devotion to your Lady, without knowing who she was. But I? I have focused only on what I can speak the truth about. My merits, and my intentions.” He snapped his fingers and hastily materialized his suit of armour around himself.
‘That is all very well, sir, and I am sure you are very honest and sincere, but it remains the case that I do not know you, truly. What is to say you are not an exceedingly cunning and dashing young Romeo who is well-aware of the normal tricks of such young adventurers, and so have refined your art to the highest degree so that naive ladies-in-waiting like poor little me will let you in? Surely you can offer some kind of boon as proof of your sincerity? Something you cannot do without so that even the great beauty and nubile form of my Lady, and her captivating song and dance, will not shake your gallant and pure intentions.’
“I can offer you my cloak?” he suggested. “It is of my favourite colour, and it complements my outfit rather well. I simply wouldn’t be able to leave without it.”
‘But sir!’ The voice on the other side gave out an indignant cry, ‘if I didn’t know any better I would think you are making fun of me!’ There was a huff and the sound of a stamping foot, and then the song of arms being crossed, pouting lips, and furrowed brows slivered through the barrier.
“I would never do such a thing,” said Cadien. “I am the Lord of Perfection. Fashion is a very serious matter to me. I would not freely offer an accessory if I did not hope for its return. Nor would I do so with intention to mock.” There was a gasp the moment he had mentioned fashion, and a great racket as the barrier was dismantled at bizarre speed.
‘Sir! We are experiencing what one could term a fabric crisis, for want of better words. You simply must help us resolve this pressing and, well,’ there was a pause, ‘somewhat embarrassing state of affairs. I assure you that you will be rewarded most handsomely for your assistance!’ And with that, the final lock was removed and the bolt drawn open, causing the barrier of ink to collapse and reveal a world of incredible colour and sound, mesmerising and beautiful beyond words. Colourful Songs took on the form of enchanting young maidens with sweeping hair who leapt about laughing and giggling, birds and little faeries flying about them and singing and reciting poetry in adoration of their perfect forms of colourful ink and dance.
The world itself was a breathtaking sweep of majestic rolling mountains of shifting ink, through which streamed endless rivers and cascades. The skies roiled and shifted like the glorious breath of the cosmos, and wherever the eye fell it found beauty, and whatever fell upon the ear was cause for joy and delight. An inky woman stood by the barrier, covering her shame with her endlessly flowing liquid hair. The fabric crisis she was referring to was all too clear, for all the Songs that laughed and danced across the sensational realm were unclothed. The woman, who Cadien immediately knew to be the troublesome lady-in-waiting, extended her hand to Cadien, inviting him to take her hand and step within.
I hope Neiya doesn’t find out about this, Cadien thought, as he took her hand and stepped inside. As he stepped through, ink rushed about him and he looked back to find the portal slowly sealing up behind him. No doubt it was to ensure that no dangerous villains would take the opportunity to sneak inside. He turned back to the smiling lady-in-waiting and found that she had flushed all kinds of red on contact with the manifestation of manly perfection that he was.
She led him slowly through the realm, and about them the clouds of ink parted and a pathway of rocky red and orange and yellow inks formed beneath their feet as they walked, and it led to a great pavilion furnished with all manner of soft cushions and carpets - though Cadien knew not how they were kept from staining those reclined on them - and as they entered the pavilion graceful Songs approached softly and eased Cadien’s cloak and armour from his athletic, sinewy form. Then the lady-in-waiting led him inside and seated him amongst the biggest cushions where Cadien immediately felt that the acoustics were clearer and that the verses and lays drifted towards him in a relaxing and peaceful manner. Lithe, wide-eyed Songs brought bowls of fruit and sweatmeets and honeyed nuts before him, and he heard the lady-in-waiting say in her sing-song voice that he was the first stranger to ever set eyes upon them, and he the first they ever set eyes on.
Many of these Songs, as the lady-in-waiting called them, gathered about the pavilion and strained to catch a glimpse of Cadien, and he could hear them whispering about ‘the thing of beauty that everyone is whispering and talking about,’ and all about Cadien fair maidens threw themselves and sat and lay adoring every aspect of his form. As they gently delighted in inspecting him, now massaging his shoulder or feeling a bicep or admiring his calves, the lady-in-waiting sat herself on some of the cushions and looked to the god.
‘It is our duty to offer entertainment, but I fear that all my Songs are far too shy to sing and dance before you without something to cover themselves. Are you, perhaps, able to offer them some clothing that will enhance their beauty and hasten our ability to entertain you as you deserve to be entertained?’ The god of Perfection glanced at the lady-in-waiting as he basked in the attention, and then offered a single nod. With a snap of his fingers, each Song was suddenly clad in a low-cut form-fitting dress, in colours that perfectly complemented the hues of their skin, and long silken sashes were draped about their shoulders and tied about their waists. The sudden change drew melodious cries of astonishment and delight from the Songs around the pavilion and across the realm, to Cadien’s satisfaction, and their enticing and lyrical song rose like a great wave about the pavilion and came crashing down to fill the place with a flood of harmonious yet inspirited sound.
Those Songs around Cadien’s throne of cushions threw themselves in his lap and about his shoulders in delight, now planting kisses and now stroking one aspect or another of his perfect physique. And even as those did so, others sat themselves around and began strumming lutes that materialised from the inky ambience and beating drums and playing flutes, and others let loose bursts of exquisite sound in a full-hearted celestial song that called on the souls of those present to rise, awaken, and dance. And many of those Songs leapt up, putting their newly-clothed ripe forms into the twirling dance, and bells about their ankles and wrists gave their every movement a tight tension and emphasis, while whirling sashes leant the illusion of a barrier, distance, mystique.
The singing went on, and the dancing, and jugs full of deep-crimson wine was brought forth and poured into bejewelled goblets. Songs competed to be the ones to bring their cup to the god’s waiting lips. Others raced to plop a grape into his mouth or slice apples that they may be the ones to place the sweet fruit between his perfectly symmetrical lips. And the dance intensified, inundating Cadien with sensory pleasures; the song seeming to only grow ever upwards, ever on the cusp of reaching a climax yet never doing so.
Cadien could not deny that he was enjoying himself, and yet through the haze of pleasure he grasped at though and knew that he had come into this realm with a purpose, and as tempting as it was to lose himself in the beauty that surrounded him he knew he could not. He gently pushed away one of the Songs attempting to kiss him. “My apologies,” he said, glancing at the lady-in-waiting, “you are all very beautiful, and your skills at song and dance are unmatched, but could you withhold such intimate gestures? I have already committed myself to a woman, and she would not think it proper if I were to let things go on like this.”
The lady-in-waiting nodded at his words and signalled for the Songs who were being too intimate to control themselves. They did not refrain from pressing themselves against him, though the kisses decreased considerably and they contented themselves with massaging his knotted muscles and releasing the tension wherever it lay as the dancers continued their graceful stepping and gyrations in synchrony with the music all around, and good foods continued to be served. ‘Even from here I can feel that it has been very long indeed since you simply relaxed and enjoyed some good entertainment, my lord,’ the lady-in-waiting said, ‘pray tell, what are these matters that keep you busy from the good company of dancers and singers who would delight in easing you of all tensions and worries?’
“Interactions with my fellow gods, primarily.” Cadien explained, as he accepted a sip from golden goblet. “Most are pleasant company, but some have been quite rude and churlish. Then there is the plight of my people to consider. And as I said, I have already committed myself to a goddess. I love her, but she is quite possessive - not that I blame her for that, I suppose. Still, it would betray her trust if I fell too deeply into intimate company with others.” He glanced at the lady-in-waiting and found that she was frowning at this and clearly puzzled by some of what he had said.
‘I must say, my lord, your lady’s possessiveness is understandable - but it simply is not right. Women are monogamous by nature, but great men have many lovers - and they can love them all the same, for that is the mark of their greatness. I am sure that your lady will come to understand this with time - the greatest display of love is to allow your beloved to seek happiness in every sense. It does not take from a lady’s joy any if the great pillar and pole of her life is the support of many others. If anything, that is the evidence of his desirability. But I digress! You have said this word many times now - “god.” I have not heard it before. What is it?’
“You do not know what a god is?” Cadien furrowed his brow in confusion. “Hmm. Well, a god is an immensely powerful being, capable of creating life, objects, and all manner of things from nothing. The act I just performed - granting you all clothes - was but a small display of such power. What we are in right now is called a realm. You and all things in it were created by a singular god, and it was that god I came in here to meet.” The lady-in-waiting’s eyes widened as he spoke, and then she looked around as though the god that he had just spoken of would appear out of the ether.
‘Y- you are mistaken my lord! There are none of these powerful and mighty creatures in here. And you say that there are many such gods? And that some are not so good as you?’ Her brows seemed to crease in worry.
“Oh, fear not,” Cadien waved a hand, “your realm may still have a god. They might simply be absent, or hidden. As to the others… a few are unpleasant, yes - I did try to warn you of them. But from most you have nothing to fear. Rest assured, I’m certain that neither they nor your realm’s creator would allow any harm to befall you. And I did agree to stand against the unpleasant ones, did I not?” The crease of worry slowly lifted from the lady’s brows as Cadien spoke, and when he made his confident declaration she flushed crimson and looked away.
‘Y- you did my lord. I thank you for your kindness and generosity in this regard. I see now I was wrong to doubt, you are truly as gallant as you said. We shall have no need to fear while you are with us and protect us.’ The other Songs sat about Cadien nodded in agreement, and though they respected his desire not to be kissed, they continued caressing now his hair - and now his arms -, while staring at him with what appeared to be ever-growing adoration. ‘And you say you have been interacting with these other gods - if you pardon my ignorance, my lord, why do you do so? Is there some great and noble purpose that calls on you to risk life and limb in this manner?’
“Indeed,” Cadien nodded. “It is my own curiosity. I cannot determine which gods mean well and which ones mean ill until I speak with them to ascertain their motives.” Despite his earlier desire, Cadien now found himself sinking further into his beautiful companions’ attentions and returning their caresses, which garnered delighted giggles from them and responses in kind. “Now, should you ever find yourselves in danger, simply think of me, and whisper a message. I will hear it, and if your realm is open, I shall come to your assistance if you need it.” He smiled at the lady-in-waiting, but almost immediately the ripple of worry had returned to her inky visage.
‘Y- you mean that you cannot stay with us? Have we displeased you my lord? Please,’ she paused and swallowed, her glistening chromatic eyes meeting his, ‘do not leave us...’ Her plea caused her anxiety clear, and almost immediately her words were echoed by the others, and one or two held his hands desperately - but with a certain softness that sought neither to cling or force but only to implore -; and their touches and words made no secret of how his departure so soon after his arrival would pain them beyond measure. ‘You promised you would protect us, and we cannot feel safe now knowing that such evil beings exist outside. Please do not leave us to their predations, my lord.’ The songs looked from their worried lady-in-waiting to the majestic god who had blessed them with his presence, and for whom Cadien could see each now betrayed no small degree of growing love and devotion. ‘If we have made you unhappy with us then we will mend our ways, if only you would stay, my lord,’ despite the clear imploration in her words and voice, and on her flushed red face, the lady-in-waiting looked away and attempted to retain what dignity she could before the regal god, ‘protect us, take joy with us, and allow us to joy in your company and hear your tales and serve you in all ways.’ The lady bit her lips and furrowed her brows, bringing a hand to her shoulder as though bracing herself against a blow, causing Cadien to frown.
“It is through no failing on your part that I must leave,” he reassured, which immediately garnered melodious sighs of relief and smiles from the gathered Songs. “I merely have obligations elsewhere. Although…” the frown faded, and he took on a thoughtful expression. “If your creator is indeed absent, then I suppose it would be irresponsible of me to leave such beautiful damsels unattended. Mmm… yes, this is quite the dilemma,” he said as he stroked his chin. “Hmm. I may have an idea. But first, I’m going to need to meet this Lady that you told me of.” At mention of the Lady, a hush overcame the gathered Songs and they looked to the lady-in-waiting, with worry, and the lady too seemed somewhat at pains.
‘The Lady sleeps, my lord. No one ever disturbs her, for her sleeps is a delicate affair. Even we only go by her on tiptoes and barely breathe at all,’ she pursed her lips and sighed, ‘but why is it that you need to meet her so urgently? You have said that you do not know her after all. Is there something that, perhaps in your foresight, you have kept to yourself about our Lady?’ The lady-in-waiting leaned forward slightly, her eyes widening with hope; though her rippling brows spoke of uncertainty and doubt.
“Not at all,” Cadien shook his head. “I merely wish to invite you all to join me in my own realm. It would resolve the dilemma of me needing to leave while you desire after a protector. It seems only fitting to bring such a request to your leader before I do so, however.” The lady-in-waiting perked up almost immediately at his words, and the gathered Songs also looked about themselves excitedly - to travel with their Lady and remain under the protection of Cadien, it seemed, was a prospect that called for delight and excitement. The lady-in-waiting was on her feet almost instantly, and she stepped towards Cadien - and even though her steps were hurried, that essential lithely grace did not fade - and came on her knees before him and placed a kiss on his palm; and where her lips made contact with his skin she blossomed crimson and all her body glowed with it as she looked away.
‘Thank you my lord, to join you and be ever safe, and to frolic and joy in your presence and hear your manful tales, is all we desire.’ Her chromatic eyes peeked shyly up at him, her eyes hovering now on his chiselled jaw and now on the lips that more than a few fortunate Songs had savoured during the earlier entertainment and revelry. She swallowed and cleared her throat, ‘we will have to prepare you, my lord. We will wash you of these ink stains - much as ink, you will be pleased to know, complements your divine form - and we will ready you for approaching our Lady. It may be that your sublime presence will awaken her at last - and what better could she hope to awaken to?’
Cadien nodded his assent at this, and the lady-in-waiting and all her Songs gathered about the god with knowing smiles, stripping him of what clothes he yet wore and leading him gently away.
Had the bath-house where the perfect god was attended to by those enchanting beauties any ligneous beams or treen chattels, it need not be commented on that many lacerations would have been present there when at last the lady-in-waiting led him out, every aspect of him properly cleaned, his body oiled, and in all ways cared for. No marks of the offensive inks that had sprayed him before his entry into the realm were to be found, though looking on his form the lady-in-waiting said once more, ‘your form, my lord, calls out for the artistic touch of ink. It would be…’ she paused and looked away, attempting and failing to hide her reddening face, ‘perhaps you would allow me, sometime…’ she intoned.
“I think not,” Cadien shook his head slightly. “I do not doubt your abilities, but I am satisfied with my form as is.” He shrugged. “Then again, I have a tendency to change my mind. But for now, there is a more pressing matter at hand.” The lady-in-waiting looked like she had been struck, but she bit her lip and hid her face with a hand.
‘S-sorry my lord, of course. I meant no offence,’ her hand slipped from his and she placed it humbly at her side as she led him along the inky path that formed up with each of their steps. Every now and again she glanced at him with furrowed brows as though to check he was not angry with her.
“No harm done,” Cadien said in a reassuring tone as he idly examined his surroundings. The inky clouds of colour drifted past them on wings of song, and every now and again a little fae creature went whizzing by while loosing energetic jingles, or an inky thrush would land on the shoulder of one Song or another and bring forth a full-hearted evensong that purged any thought of gloom and caused the lively Songs to giggle and laugh melodiously and kiss and caress the bird of ink before it fluttered off. One such Song leapt beside the walking god and locked her arm in his, looking up at the far taller being.
‘My lord, you never did tell us what your realm is like. Everyone is so curious! We can’t wait to go and live there with you,’ she released a sigh, ‘can you tell me about it?’ The lady-in-waiting shot the little Song the slightest of irritated glances, her eyes hanging on where she held Cadien for a few moments before turning away and hurrying on.
“My realm? It is a lovely place. An island in the midst of a vast ocean, with a great fortress full of luxurious furniture and tasteful decorations. No doubt I will have to make some alterations to accommodate all of you, so there is more to be added still.” Cadien smiled. “You could consider it to be a… not a blank canvas, but one that is still in progress. Always ready for new additions.” The smaller Song seemed to eat up the talk of luxury and decoration, but perhaps what made her most curious was-
‘A vast ocean, my lord?’ The lady-in-waiting asked suddenly, bringing herself closer and timidly reaching for his free hand again, ‘what is that? And are there other gods in your realm?’
Cadien allowed her to take his hand with a reassuring smile, and the lady blushed crimson and looked at her feet. “An ocean is a large body of water,” he explained. “As for other gods, I am my realm’s sole owner, though others do visit from time to time. Including the goddess that I love. Assuming you do join me there, I would ask that you not disturb her when she appears; she enjoys solitude, and being alone with her own thoughts.”
‘Oh, my lord!’ the small Song cried, ‘that is beautiful! There must be many who love and adore you just as she does. I cannot wait to see her - she must be beautiful for you to love her, and she must have the most beautiful song, and I am sure she dances more wondrously than ever we danced!’
“Many adore me, it’s true,” Cadien agreed as they walked. “But none adore me as much as her. And none adore her as much as I.” There was a wistful tone in his voice. “She is beautiful, but I have never seen her sing or dance. Though such things are charming, she never needed them to draw my attention; her other attributes were enough.” Though the Song seemed stunned by a lover who neither sang nor danced, she appeared to understand immediately what the god meant.
‘That makes sense! For you don’t sing or dance my lord, and yet we all a- ah,’ the Song clamped her mouth shut and tightened her grip about his great arm, ‘and are there goddesses other than her, my lord? Surely they must love you too, and you them? A lord like you must have as many loves as there is ink in the world!’
Cadien frowned and shook his head. “There are many other gods and goddesses, and I consider many of them to be my friends. But I only have one love. She is all I need.” His frown faded. “You do things differently here, and I have no intention of making you change your ways, but outside of this realm, most view love as a competition. A man may only love one woman, and a woman may only love one man. My love believes this too, and I have accepted that.” On what seemed to be a startling revelation for the duo, the lady and the Song let out stunned gasps and for a moment neither seemed able to find their tongue so as to respond. It was the lady that found her tongue first.
‘But my lord, that is simply terrible! What will happen to all of us here who have given ourselves to you? How can you love us also when you will only love one? How can you bear to break so many hearts!’ The Song hanging onto his other arm nodded in agreement with the lady, her colourful eyes glistening at what seemed to be a horrible thought.
‘You said you would take us with you, my lord. We don’t mind how many you love, so long as you love us too,’ she added, smearing away an offensive teary droplet and sniffing back any more.
“Ah, I misspoke. I meant romantic love,” Cadien corrected himself. “There are different forms of love, you see. Love between friends, love between family. I hold love for what I create, and for those who choose to serve me. I am fully prepared to love you all; just not romantically.” The smaller Song’s frown deepened at these words, and she looked to the silent lady who seemed resigned to what, from her manner, seemed a terrible declaration. Perhaps it had never occurred to any of these isolated maidens that such different - and perhaps to them tragic - rules could exist.
‘Are you expected to seal off your heart and fight off every other possibility of love, my lord?’ the Song asked, ‘because that is only what dutiful women may do! Great men should not mimic women!’ the Song blurted at last, ‘it’s only us who are meant to do that - and you are meant to love us all. B- but. But if you can’t love us in your heart then…’ she placed her cheek against his bicep, ‘can we not at least take some joy of your form; surely that is separate from the matters of the heart? Surely your beloved will not deny you that if she loved you as we do?’
Cadien realized he was getting nowhere with this line of logic. His frown returned. “Where are these ‘great men’ of yours, then? Why have I not seen any?” The duo looked to one another and giggled, and then the lady-in-waiting slapped the god lightly on the arm, as though to bring his attention to the obvious.
‘He’s right here, my lord!’ She smiled, and the other Song laughed melodiously in agreement.
“You mean to tell me that I am the only man in this realm?” He asked, tilting his head slightly, and the lady simply nodded.
‘There need only be one, after all,’ she gave him a timid smile, though the other Song had no such inhibitions or shyness, leaping up gracefully and planting a kiss on his cheek, and then somehow managing to hang there hugging his neck for a short period before plopping back down and resuming her embosoming of his arm.
“Hm. There lies the heart of our issue, then. I don’t understand how you even know what men are if you have none, but when you accompany me to my realm, I shall create some for you. You may enjoy their attentions in place of mine.”
‘Will they be like you? With interesting stories and a love for dancing and singing and frolicing?’ The Song asked, her previous qualms forgotten. ‘And will you still love us even when we love them?’
“They will never be as great as I,” Cadien shook his head. “But they will be handsome, and they will be charming. They will dance, they will sing, perhaps even frolic. As for love, I shall love you as a protector and a leader would. They shall love you in all other aspects you require.” The Song opened her mouth to protest once more, but the voice of the lady-in-waiting cut across her, and there was a coldness there.
‘That will suffice, Herraiya.’ She said, and sound seemed to catch in the smaller Song’s mouth, who slowly closed it and contented herself with caressing the god’s arm. The lady then turned her gaze on the god with a small, soft smile, ‘if that is your will my lord, then we will accept it with pleasure. Your happiness is our delight and to see your will done is cause for joy.’
The god’s smile returned, brighter than those that anytime before. “Excellent. I look forward to hearing your songs echo through the halls of Meliorem. Now, let us press on.” The lady-in-waiting’s eyes hung on his smile for a few moments, seemingly dazzled, before she shook herself free and nodded.
They continued onward, making light conversation and joking as they went, and every now and then the Song at his side began rendering harmonious melodies that almost seemed to carry them forth along the ever-forming path of ink. And as the path climbed higher and higher into the inky clouds, there encompassed them a serene, monotone intonation that slowly became a trilling and quavering chant, which was soon transformed into a beatific chorus and strumming.
And the clouds of ink parted to reveal a small inky plateau where no Song wandered, and at the centre of the strange island of ink was a strange feminine figure. As they approached, it was immediately noticeable that her lower body was a miniscule storm of roiling ink, twisting and turning tirelessly on itself, and from her waste upward she seemed perfectly formed except for the odd tear or gash that revealed bubbling ink of variegated tones and colours. She was upright, though reclining backwards on air, her arms slightly spread and elbows bent so that her hands hung up by her hanging head. Her eyes were closed and she did not seem to breathe, though across her black skin golden tattoos shifted and turned, and her straight golden hair seemed to float here and there against any gravitational pull.
After a few sombre moments, the lady-in-waiting turned to Cadien and, wordlessly, presented what was clearly her Lady to him with a small gesture. Cadien looked at the strange sleeping woman with somewhat widened eyes. She was like no other he had encountered in this world; and it seemed clear to him that this was no ordinary sleep. Aside from her bizarre physical appearance, there did not seem to be anything extraordinary about her, though the sounds and songs which emanated from her were a strange mixture of joy and pain. “How long has she been like this?” he asked his companions. The lady-in-waiting brought a finger to her lips in thought, before speaking in a very low voice.
‘I’m not sure, the early days are not so easy to remember - but she was always off in her own world. She used to sing a lot more - and it was something incredible to behold, beyond anything I have seen or felt. But those occasions were very rare, few and far between. I care for her and protect her as I can, and the Songs all help me do that too,’ she paused and sighed, sadness and different shades of blue shimmering across her body, and she added more to herself, ‘but now I see how foolish I was. It was never possible to keep her safe from all the evil gods out there.’
“Does she ever wake?”
The lady-in-waiting looked at him and nodded. ‘Yes my lord, but as I say it has been a long time since she last did. We have never sought to disturb her - she wakes and sleeps as she pleases,’ she whispered.
How strange, Cadien thought, setting his gaze back on the sleeping Lady. This did not strike him as an ordinary sleep by any means. But at the same time, he had never seen this species sleep until now. He stepped closer to her, garnering a nervous gulp from the lady-in-waiting, and placed a hand on her cheek. “It is time for you to wake up,” he told her. Cadien could feel the lady-in-waiting and the other Song staring wide-eyed into his back for a few moments, clearly unsure of what would happen next. A strange stillness settled on the area, and all song seemed to fade. The lady-in-waiting and the Song looked around nervously.
‘My lo-’ the lady-in-waiting made to speak, but almost immediately the world around them seemed to roar and twist and turn, previously peaceful and harmonious inky clouds growing and expanding violently. The inky plateau beneath them rumbled and shook also, and the solid foundations it all stood on seemed to shift suddenly and begin to slip away.
Cadien stepped away from the sleeping Lady and instinctively thrust his fist into the ground, and the ink enveloped his arm up to the elbow. This was not his realm. It was not his home. It was not him. But that did not mean he was powerless. He forced his power and his will into the inky ground beneath him, and suddenly the shaking stopped. “Go!” he shouted to the two Songs standing nearby. “Gather… everyone…” he grunted, as he felt the realm begin to push back against his efforts to control it. “Bring them… here... “ his voice became increasingly strained. “I’ll get us out…” he gasped. The lady and the Song jumped to, looking at their unstable surroundings with fear.
‘B-but my lord, this ha-’ the Song began to protest, but the lady-in-waiting cut her off. ‘We will gather everyone as fast as we can my lord. I’m so sorry, this hasn’t happened in a very long ti-’ and leaving her words trailing off, she grabbed the Song and leapt onto the path, tripping here and there where where ink had collapsed or was flowing profusely. Ink droplets rained everywhere, pelting any yet-solid ground and all on it, and the song of the lady-in-waiting sounded across the turmoil, a siren’s call to safety.
Even as the lady-in-waiting leapt to do as Cadien asked, the god felt the realm rumble and groane against the restraints, and here and there a great simmering mountain of ink formed and spewed its contents like some horrendous volcano. Cadien noted, however, that the sleeping Lady did not seem to stir, though the slightest frown could be spied on her brow as though she had seen something unpleasant or upsetting in a dream. Though Cadien’s efforts meant that the inky plateau was now mostly stable, all around the world of ink swirled and thundered, great inkdrops pelted the plateau and the two figures on it - though where they struck the Lady Cadien was surprised to see the inkdrops simply slipping into her. And soon the world around them was not simply roiling and twisting and thundering and turning, but was sending forth inky tendrils that began to snap and grab at the immobilised Cadien, perhaps having identified him as the foreign element and source of the restraints.
With one arm embedded in the ground, the god of Perfection was forced to kick them away as he waited for the Songs to return. But while he was kicking at them, he noticed that other tendrils had now wrapped about the Lady and were already dragging her into the roiling horror of ink beyond the safety of the plateau ( which even now was fighting and straining against him to lose all form).
The god of Perfection slammed his legs together, and the two appendages merged into a tail, which began to extend as the rest of his body grew in size. His skin took on a violet hue, an extra pair of arms grew from his torso, and a pair of rainbow-feathered wings sprouted from his back. But it was the tail that mattered most, and with it he lashed out towards the Lady, wrapping the tip around her in an attempt to prevent her from being pulled away. Almost immediately the tendrils shrieked at his attempt to foil their mindless action, and they began to twist and turn violently to contest his tai. But it soon became apparent that it was a losing battle, and so the tendrils stopped attempting to pry the sleeping Lady free of the god and instead began enveloping his tale instead. Thicker tendrils joined the fray and encased Cadien’s mighty appendage, tugging to bring him whole into the chaotic whirling wind and ink, and latching around more and more of his form; the tighter he now held onto the Lady, the more tendrils seemed to join in the attempt to fling him from the plateau and envelop the realm in eternal inky chaos.
Cadien cursed inwardly. It was clearly no use, and so he swiftly shifted back to his human form, shrinking out of the tendrils’ grasp and abandoning the Lady to her fate. But his grip on the ground remained steadfast and unyielding. He looked up, steeling himself for further assaults, but the roiling chaos seemed to ease now that the Lady was gone, and though the realm continued to resist his restraints - thundering and pelting the world with inkdrops - there was no longer a targeted assault on the plateau or Cadien. Every now and then the ground attempted to shift beneath him, but a mere strengthening of his hold ensured the ink held; though the longer the Songs took to arrive the more precarious his hold became.
It was only when there seemed no possibility of holding anymore that the ululations and cries of the Songs sounded as they leapt and ran across the collapsing pathway that cut through the inky cloud; somehow managing to maintain their footing and places even as they gracefully leapt over one another and slipped by each other to reach the plateau. They continued flooding in as the lady-in-waiting arrived at last and flung herself by Cadien’s side, her multicoloured eyes searching the place where the Lady had been.
‘M-my lord? Are you well? W-’ she paused and looked around, her face collapsing into anxiety and fear, ‘where is our Lady?’ But Cadien could not respond. The realm tore at his mind and muscles, as it resisted his attempts to hold it together. He could barely spare enough power for what was required next, and he desperately hoped it would not be met with resistance. He raised his free hand and waved it in a circle. Then, he pointed. A portal appeared, leading to a sandy island and to safety.
The Songs let out gasps and cries of relief at the sight, and a few rushed forth before coming to a pause and looking around, unsure. ‘My lady,’ one of the Songs said, looking to the lady-in-waiting with an anxious frown, ‘what of our Lady?’ The lady-in-waiting looked to Cadien, her face the palest white and somehow ashen, but she it seemed to dawn on her that the god was in pain and so she did not say anything. She steeled her face and looked to the one who had spoken.
‘Our lord has opened a door for us at great pain to himself, now is not the time to be churlish. Go!’ The Songs all stiffened at her reprimand and seemed regretful for having wasted time on such doubts when their lord was indeed clearly in such pain, and almost immediately they made for the gateway and flowed through like a great cascade of ink - though, just as they had done on the collapsing pathway, they seemed to slip past and over one another without effort or detriment to each other, truly as though they were flooding through. When the majority had gotten disappeared beyond te gate, the lady-in-waiting placed her hands under Cadien’s arm and helped him up. ‘I’m with you, my lord,’ she uttered.
Cadien’s arm slid out of the ground, completely coated in ink, and in that moment the burden of stabilizing the ground was lifted. Yet he knew just as well that also meant the ground would cease to be stable for both of them. So without wasting any further time, he seized the lady-in-waiting by the waist and dove through the portal; the lady let out a cry of fear, instinctively shutting her eyes and wrapping her arms about the god and did not let go. The plateau went crashing down in their wake.
The two crashed down on the sands of Meliorem. Cadien quickly disentangled himself from her and rose to his feet, just as an inky tendril snaked its way through the portal. With a wave of his hand the portal closed, severing the tentacle at the tip. It fell to the ground, writhed for a bit, then ceased moving and disintegrated back into ink.
With the danger gone, Cadien fell to his knees gasping. Never before had his life been so endangered. Was this what mortals felt when death seemed certain? Could even he have died? It was a sobering thought. He knelt there, immobile, and still in shock at the harrowing experience he had just endured. The Songs circled all about him, asking after him with their harmonious voices, and though they were concerned their very voices soothed him. Not far from him, the lady-in-waiting slowly rolled over and got to her knees, looking to the now closed gateway wistfully for a few moments… and then her attention snapped back to Cadien. Almost immediately she was by his side, whispering soothingly and gratefully, tidying his disheveled white curls and ridding his body of inks and stains where she could, planting reassuring kisses on his shoulder. ‘It’s done, my lord, we’re safe,’ she murmured.
“I could not save your Lady. Forgive me,” Cadien said, unsure of why he was asking forgiveness from a mortal, but did so anyway. His words seemed to shatter whatever attempts the lady-in-waiting had made to keep from thinking about the loss, for almost immediately little drops of light blue ink began to plop onto the god’s arm. ‘I- it’s not your fault, my lord. I should have warned you,’ her tears intensified and she sat back on her knees, wiping the inky streams away only for fresh ones to take their place, ‘it had just been so long since it happened, I didn’t think,’ her brows furrowed deeply and anger flashed across her face, ‘didn’t think!’ she muttered, smacking herself on the forehead again and again, ‘I’m an idiot, it’s my fault. Stupid!’ Her outburst seemed to affect all the gathered Songs, who also began to cry and blubber.
But Cadien shook his head. “If anyone is to blame, it is the god who made such an unstable realm in the first place, and I for accidentally triggering it. It was I who insisted on meeting your Lady, it was I who carelessly approached her, it was I who failed to save her, and it was the god who was supposed to protect you that didn’t prevent any of this from happening.” He shook his head. “Blame whoever you wish, but your Lady was wounded, and in great pain. I did not know her, but if she endured such a cost to keep your realm stable, then I can’t imagine she would wish for you to fall into despair now that you are finally safe.” The lady-in-waiting considered his words for a few moments, then nodde and wiped her tears away.
‘But you’re wrong my lord - and I ask your forgiveness for being so bold, but you are,’ she leaned forward and placed a hand on his cheek, ‘you were as bold as you told us, gallantly put yourself in harm’s way to defend and protect us, and ensured every single one of us made it out safely. You promised to protect us, and you have, and…’ she paused, her eyes softening through the new flow of tears, ‘you will. I have no doubts, my lord.’
The god placed his hand over hers, and nodded. “I will,” he declared. “You all have a home here, if you still wish it.” The lady-in-waiting blushed a light hue of pink through her whitened face of ash and broke off from gazing into the god’s eyes, and then - seeming to remember that he had commanded them not to seek him in any romantic way - reluctantly pulled her hand away from his face. Her eyes swept across the realm, and Cadien did so too. After the experience in the realm of ink, he now found the colours oddly still and everything so… firm, steady, stable. In so many words, so very solid. The lady-in-waiting now gazed in the other direction, and her breath caught as she was struck by the great liquid expanse. Cadien smiled softly at her reaction. After all, this was not a liquid that whirled up into the heavens and down into forever; here too was a certain stability and firmness, a this is my place and I shan’t be moved kind of certainty. It was without a doubt unlike anything she or any of the Songs had ever seen, and it seemed to awe them into silence for a time.
At last the lady-in-waiting managed to snap herself out of it, only for her eyes find themselves hooked onto those of the god. Her breath caught visibly for a few moments before she managed to inhale. ‘I-’ she stopped, eyes wide as she fumbled to remember what he had said, ‘we would be honoured, my lord, if you would suffer our company after all the pain and trouble we have caused you,’ she looked timidly at her knees, which were clothed in the beautiful, ornate fabrics the god had conjured up for them what now seemed like long ago.
“Suffer?” Cadien asked, surprised. “Your company has been nothing if not pleasant,” the lady-in-waiting blushed further and smiled at his response. “Now, I believe I have one more promise to fulfill…” Cadien said, causing the blushing lady to look up questioningly.
‘One more promise, my lord?’ she asked, confused but curious.
The God nodded. “Of course. I offered to create men for you to partner with, did I not?” Though these words caused the gathered Songs to giggle and flush all hues of pink and crimson, the lady-in-waiting did not seem to share in their pleasure and looked away.
‘You did promise that too, my lord. They have known the joy your form brings and would not be denied it again,’ her solemn gaze returned to the god’s face, ‘but I would beg of you to exempt me, for I- I-’ she swallowed and bit her tongue, as though deciding against saying something, ‘for I now find no desire in myself for such joys.’
“What would you desire, then?” Cadien asked, his brows furrowing ever so slightly. The lady-in-waiting seemed taken off-guard by his question, and for a few seconds her eyes widened in embarrassment and her entire body flashed scarlet. She swiftly covered her hands with her face.
‘J- just... I desire whatever you desire, my lord,’ she paused and took a moment to compose herself, ‘though if it is at all possible, my lord, I would like to be able to go back and seek out my Lady once it is safe to do so, if you permit it. I will not be able to rest at ease until I do.’
“A reasonable request, if a return to that realm is in fact possible,” Cadien nodded. He looked around. “Now then, before I fulfill my promise, I do believe this area has gotten rather crowded as is. Allow me to remedy that.” The god began to move, stepping away from the lady-in-waiting and through the crowd of Songs.
He stared out at the sea, then raised a single hand up into the air. A new island rose from the depths. It dwarfed the original island in size, and sent forth a massive ripple in all directions. The Songs cried out in surprise and many leapt back as the great wave came crashing towards the shore, but Cadien raised his other hand and the large wave stopped before reaching the first island, as if it had struck an invisible wall. Eventually, the water settled, and the Songs sang out in admiration and awe.
Then Cadien made gesture again with his hand, and a marble bridge formed between the two islands. A new stone path appeared, connecting the bridge to the main pathway between Meliorem’s gateway and its castle. Then with another wave of his hand buildings of varying sizes and colours began to appear upon the new island, all of them well-decorated and well-furnished. Most of them were residential, but others were communal. There was a bathhouse, much like the one he had been tended to back in the realm of ink. There was an amphitheatre, which served as a place for music and performance. There was a library, with shelves of empty books waiting to be inked. There was a central square - a place for gatherings and festivals in the open air. All these buildings were connected by an organized network of cobblestone roads.
The areas of the island that weren’t covered in roads or buildings were rife with vegetation. Lush green grass sprouted from the ground, followed by fruit trees and bushes. Fruit plucked from these bushes would immediately regrow, ensuring they would never want for food. Not that these beings needed food, of course, but it was a luxury they would surely appreciate.
“Some of you will be permitted to reside within my castle,” Cadien told them. “But the rest shall live here. Do not fear; there will be ample opportunity to visit one another. Now, I hope that your new home is as comfortable as your previous one.” The Songs crowded about Cadien and some leapt out onto the bridge and spread their arms wide to breathe in the sea air. There were melodies of gratitude and songs that begged to be allowed to serve in the fortress - and soon those cries became arguments as this or that Song insisted she would be better up there.
The lady-in-waiting stepped up beside Cadien and frowned at the petty clamouring. ‘That’s quite enough. There is no need for all that. I am sure our lord will provide all of us with ample opportunities to serve him in the fortress. But he has wisely and generously seen to provide us with homes - he has clothed us, housed us, and provided for all our needs. This clamouring is not the way to show our thanks.’ The Songs crowding about the god bent their heads and looked repentant, and then songs of gratefulness and praise rose up, and Songs sidled up to the god and now embraced a leg or an arm or clamboured lithely to place kisses on his shoulders and neck and cheeks; and once they had showcased their gratitude sufficiently they began to flow across the bridge to the new island and their town of divine making. With that, the lady-in-waiting turned to the god. ‘How can we ever hope to thank you, my lord?’
“Good music, good conversation, and good service should all suffice,” Cadien told her. “I’m not all that demanding. This realm has been long overdue for some proper inhabitants anyhow - it’s always just been myself and the occasional visitor, until now.” The lady-in-waiting smiled and nodded at his words.
‘I will do my utmost to fill your realm with all these things and more, my lord. And I will take care of sending Songs up to serve you, and rotating them so that they do not pester you with complaints,’ she looked up at the taller god and shifted a few dishevelled locks off of her face, ‘and we will care for your guests too, and make your honour and generosity the things of ballads and epics, for that is the least we can do.’ She stepped towards the bridge and then paused, looking out to the sea and appearing deep in thought. At last she turning around, a question shining in her eyes, ‘you said not to disturb your beloved, my lord. Does she dwell in the fortress? Is there no way we can serve her too?’ She stepped back towards him and gripped one of his hands with both of hers, her eyes seeming to brighten at the prospect of being useful, ‘is there perhaps anything we can do to deepen her love for you even more, my lord?’
Cadien shook his head. “She does not dwell in the fortress, no. She has her own realm, and we visit each other from time to time. She loves me more than she loves any other,” he spoke with confidence. The lady-in-waiting smiled wistfully at Cadien’s words, and her grip softened on his hand. “But your offer is appreciated nonetheless. Perhaps I will one day have you sing to her. I will ask her which type of music she prefers.” The lady’s smile became a beam at this, and she nodded vigorously.
‘It would be a great honour and joy to sing for the one you have made the sole possessor of your heart, my lord. I will wait on that day with great pleasure and anticipation,’ and with that, her grip tightened about his hand for a few seconds as though she hoped against hope that his touch would not end, and then she sighed and let him go. ‘I will go see to the Songs now and ensure they are well-settled and well-behaved. I look forward to visiting you in your home and attending to you soon, my lord,’ with a graceful curtsy - which was at a loss for neither dignity nor gravitas even in the low cut, form fitting dress the god had chosen to array her -, she took a few steps back, turned around, and began the long walk across the bridge.
As the last of the Songs journeyed across the bridge, Cadien’s gaze shifted to the spilled puddle of ink that the severed tendril left behind. Analyzing it now, he could determine that there was nothing malicious left with in it; it was a material, like any other, malleable and ready to be used. The female Songs had been crafted from the realm of ink, and so the their male counterparts had to be made from the same substance.
The god knelt, placed a hand in the puddle, and focused on the substance. The first thing he did was duplicate it, creating several similar puddles scattered throughout the beach. Then, those puddles began to glow, and from them emerged new Songs. Men, each one adopting their own colour scheme. They were in all ways like their female counterparts, only that their base form was modelled off that of a human male rather than a female. And while he was at it, he bestowed a small modification upon the species as a whole: their form would now appear slightly differently to each mortal they came across. It was nothing major, but adjusted minor aspects of their appearance in line to an individual mortal’s perception of beauty. It would do little to fundamentally change their shape or remodel their body.
These newly-created Songs stared at their bodies with a mixture of awe and wonder. Then, one by one, their gazes fell on Cadien who was the only one who was not like them, as if asking for an explanation. The god merely gestured to the other end of the bridge, where the rest of their kind awaited them.
Cadien comes across Meghzaal’s realm and finds the portal into it blocked. He attempts to get in and, after a very lengthy back and forth with the Lady-in-Waiting who guards it, is allowed in when he promises to protect a mysterious person referred to as ‘the Lady’ and the inhabitants of the realm from evil gods. And if he provides them with clothes.
He finds inside an orgasmic harem, but they are suffering from a lack of clothes and ask him to clothe them; and with a click of his fingers it is done. They see to his every need and desire, presenting him with food and entertainment and pleasant company. Cadien tells these isolated Songs - as they are called - many things about himself and also mentions the other gods, though none by name.
He tells them he will have to leave, but they insist that he promised to protect them, and so he decides to bring them into the safety of his realm which they are all very ecstatic about. But before this, he tells the lady-in-waiting that he must speak to their god. She does not know what gods are and when he explains it to her she assure him that no such being exists here - he is the first god they have seen and who has seen them.
As mention had been made of ‘the Lady’, Cadien asks to speak with her, but he is told she is asleep and no one ever disturbs her. As this Lady appears to be the mistress to whom the Songs look for leadership, Cadien insists he must ask her. And so they bathe Cadien so he is clean and take him to see the Lady.
Along the way they talk some more and Cadien reveals that he cannot love them all as he already has a girlfriend. The Songs don’t see why that is a problem, but Cadien does and promises to make male Songs for them. With that, they reach an inky plateau where an ink-black blonde woman with golden tattoos hangs sleeping in a simmering storm of ink, her body gashed here and there to reveal bubbling ink beneath.
Cadien asks about her, and it becomes clear that the Lady has been asleep for a long time, and never having really spent much time awake in the first place. When Cadien touches her and tells her to wake up, this causes the realm to destabilise and begin collapsing all about them. Cadien stabilises things while the lady-in-waiting gathers the Songs to get out of there, but he is unable to prevent the sleeping Lady from being claimed by the realm.
Eventually the Songs all arrive and they rush through the gateway to Cadien’s realm, with the lady-in-waiting and Cadien the last to leap through as Cadien finally stops stabilising the realm and it collapses all about. Back in his realm, Cadien and the lady-in-waiting blame themselves for what happened, though the lady ultimately offers Cadien comfort and assures him he protected them as he promised.
Cadien then expands his realm, creating an island on which is a town furnished with all their needs. The Songs thank Cadien and rush across the bridge connecting the second island with the first, and things end with Cadien assuring the lady-in-waiting that he will one day have her sing for Neiya, and then he creates male Songs who also rush off to join the females in the town.
Cadien Beginning MP: 5 Beginning DP: 5 -2MP to alter a landscape: Cadien temporarily stabilized a portion of Meghzaal’s realm. -1DP for Cadien to maintain a strong enough grip on the ground to make it more difficult for him to be dislodged (+1 toward Strength portfolio.) -2DP toward creation of a sapient species: the Songs (also known as Sirens, Muses, or Succubi.) -3MP to claim the Strength Portfolio. Ending MP: 0 Ending DP: 2
| 5MP and 5DP | 1MP & 3DP towards Wards | Next Domain: Art |
Consecrate a Hero: The Lady-in-Waiting.
1 MP - Queen of Song I: The Lady-in-Waiting is the effective queen of all Songs, and they defer to her ultimate judgment without argument or complaint, being obedient to an unnatural degree. This allows the more restrained and level-headed Lady-in-Waiting to keep some of the more excitable Songs in line. (+1 Puppetry) 2 DP - Actress II: The Lady-in-Waiting is a masterful actress, capable of putting on marvelous, convincing performances and managing other actors. (+2 Acting)
2 DP to Create a Sapient Species: Songs aka. Sirens, Muses, and Succubi. (+2 Inspiration)
| 4MP and 1DP | 1MP & 3DP towards Wards | 1MP towards Puppetry | 2DP towards Acting | 2DP towards Inspiration | Next Domain: Art |
The shadow watched as the drighina danced, and all about it draug were gathered as though they were so many moths come to the glorious flame. It was not often that the draug found themselves drawn in such great numbers to another's voice, even if that voice was the sublime song of the singing trolls of the ocean waves. And a sea troll, it was known, heard the song that the crashing waves sang every dusk and every dawn and in the moonlight and by morn. But they came by the dozen, those raptured draug - this, after all, was no normal singing sea troll; for on its head sat a shadow.
O trolls, o friends, gather around and let's all praise the moon becrowned with light and radiance divine and all things beautiful and fine. And when you're gathered hear me tell a tale I heard in a seashell: The night was lovely, dark, and deep and all the world seemed fast asleep, when from the blackness of the world an inky tendril stood unfurled. A tendril, friends, from the deeps come, with arms and legs - but mouth yet dumb. Awaken! - eyes that saw the ocean - witness now the fathomless motion of earth and sky and wind and trees; and hear the singing on the breeze. You little god with hand and eye whose greater half is sat on high, come forth on land and sing anew so all on earth may worship you - may worship at the fount of love and worship her who shines above. Come forth you inky thing of song and sing to those who waited long upon your coming and your rise; and sing to her, and fill her skies of moonlit night with all our sighs. We waited long to sing with you since all the gods wandered from view, and everyday thought that the day was come at last when from the bay you'll rise again to sing and dance and all our dance and song enhance. Now then, my friends, that day has come so see as god arises from the inky ocean great and deep where all the gods were long asleep. So there was I, oh dancing friends to witness as the god ascends and 'pon my head he placed his palm and sent a shiv'ring lance of calm within my breast and in the heart to sow therein the seed of art! But calm, o friends, is but a shadow and soon, ah soon, there grew the echo of rocking sound and crashing waves and all that art and passion craves. And oh, I sang, and oh I cried and all the ways of music plied until I sat beneath the shade of what you see above my head. Spoke he, that inky shade of verse in union with the universe - We will walk, oh weed-haired fellow upon your head this ink-stained shadow and near the woods and on the shores will come to you the draug in scores! And why, fair shade, will the draug come sang I while marching to the thrum. They'll come, spoke he with singing free of harsh command or cold decree so that the siren of his voice caused all about to - ah! - rejoice because a dance and song will call upon their coming by nightfall and there beneath our Gibbou's moon will come about a twirl and tune as would bring smoke and wood and cheer and rid the draug of their masked fear; bathed in the light of the night sky where wood will dance, and trolls will fly.
And the draug danced around that singing drighina, their intricately carved pipes smoking and their primitive masks bobbing. They circled about the singing sea troll, now laughing in their musical way, and now erupting into verse to complement the drighina. The smoke increased, and their movements grew lethargic until all about the yet-singing troll they lay sprawled, gushing words without immediate meaning to any but themselves; feeling stripped of the trappings of linguistic form. And ah, it was delightful to behold - as much a delicacy on the ear as the countless herbs and spices of the Mydias were on the tongue and nose.
And as they sat there in the tremors of that drugged poetic stew, gushing melodious feeling so that all about for miles and miles were caught up and captivated by it, there gathered about them an ink of night and moonlight, and rotting hands rose to weave the ink into their smoking pipes. And then there was scratching - grotesque monstrous nail against wood. Carving, carving. Ah, watch the beast make beauty! And once the drugged and blissful draug had carved their masks as intricately and as beautifully as they did their songplant pipes, they looked on them and were happy.
But one of them moaned and wept that his pipe should be the colour of wood and night and light, while his mask - now so beautiful, now art - should be so brown and plain. And so he gripped a loamy stone and mixed it in his hand with seawater until it was a deep brown mixture, and he whispered to the night so that its darkness curled up into the mixture, and he called on the forest so leaves of green fluttered on the breeze. And he crushed them in a rotting fish hand and mixed them in until it all was a paste and left it there for a time, whispering to it and singing and prodding it with his melodious voice until in his hand it was no more a paste and mixture, but purest ink of leafy green and muddy brown. And so, that great artisan let out an ecstatic weeping laugh and sang the ink into his mask so that the intricate carvings and colourful ink interweaved and embraced and sang and danced with each other.
And there, at the centre of the mask's forehead, rose unbidden a perfectly symmetrical hand of green and brown, and seemed to shine for a few moments before it no longer did. And that artisan brought it to his face and felt the ink and carvings move and weave to the shape of his face, and he looked out onto the world in shock and all about the befuddled draug let out muffled cries of surprise. And they knew too that they wanted after just such a glorious mask of art. Under the spell of smoke and song that set their minds flying off to other realms, the draug scratched wood and crushed ink to make new faces to match their beauteous sound.
A drighina has been inspired by a shade which rose from the ocean's depths. This shade is Meghzaal's avatar, which had been forming in the ocean depths for millennia after the collapse of the ink tree and formation of the ink ecosystem near the Ku. The drighina sings a strange song that attracts a number of draug, who smoke their weed (songplant) in their intricately designed pipes while wearing their relatively primitive masks. As they sing and dance, they enter into a stupor and are inspired to carve their masks as beautifully as their pipes. In their stupor, they are able to access ink magicks, and so their masks are not only beautifully carved, but also colourful. These masks, when made in mask-making rituals of this kind, appear blessed and have the symbol of the hand on their forehead. When worn, these masks latch onto the face of the wearer and their visage becomes as beautiful as a) their voice, b) the carving in the mask, c) the inks and colours used and patterns on the mask. Inspired drighina will go around enchanting draug in this way all over Toraan, so that it eventually becomes something of a draug coming of age mass ritual.
| 5MP and 5DP | 5 MP towards Song | 3 DP towards Tattoos/Glyphs | Next Domain: Art |
- 3 MP to unlock the Song portfolio. - 1 DP to grant all draug the ability to go through a coming of age mask-making ritual full of ink, poetry, and song, and plenty of weed. - 1 DP to grant ink glyph blessing to masks made in the draug maskmaking ritual, meaning that the more beautifully inked the mask is, the more beautifully carved, and the more beautiful the song of the draug when making it, then the more beautiful the mask becomes when it is worn and latches onto their face. (+1 DP towards Tattoos/Glyphs Portfolio) - 1 DP to unlock ink magick for the draug, allowing them to do such things as collect, for instance, sun rays or moonlight, or the darkness of the night, or crush leaves or collect bits of wind to use for making ink that has some of the properties of the things gathered - e.g. an ink with sun rays will be quite hot and might shine in the dark etc. good for plants etc. a source of vitamin D. - 1 DP to grant the hand of ink & poetry and the hearteye symbol great power, making it especially attuned at channelling ink magic - e.g. the symbol may be a particularly effective ward against danger if the hair of a guard dog is used in it etc. (+1 DP towards Tattoos/Glyphs Portfolio)
| 2MP and 1DP | Song Port Acquired | 5 DP towards Tattoos/Glyphs | Next Domain: Art |
The Seer saw this: the darkness of the rolling aeons since divine folk last walked the earth had not been kind upon the Sinn Dhein.
With the gods in ancient time they had fought that monstrous conquering race, the ap-Morig, and cast them into the farthest depths of the World Beyond the Veil; and when the gods faded one by one beyond the veil, why then the conquerors of the earth had set their gaze upon their pastures. Wave after conquering wave broke against Sinn Dhein flesh and bone, against the old oak and against the towering guardian mount where gods once dwelled, that stout and ancient Caer Seihdhar. And as the conquerors came and fell, bit by bit the Sinn Dhein broke; and all about and all around the great dark deluge brought them down.
The wyndyn of those ancient days, the glorious bards who smote with words, the feasts and songs, their warrior way; it all was lost and... fell away. And darkness danced upon their grave and laughed out loud and had its day. And he did weep, that sad old Seer who saw this all; who watched his people toil for years to ignorance and darkness thrall. He did not speak then, if you must know, but locked away his tongue so that all the tribes would laugh and think he had bitten it off and could do nothing now but weep. He did not care for their laughter though, he was busy - listening, listening, hearing, seeing. Feeling too and deeply - deeply! - breathing.
How long was it? Well, if you must know - it was long enough for all who laughed above to laugh again below. It is not an easy or short task at all to listen and see all your people's history - it is not easy to carry that burden upon your two narrow and swiftly aging shoulders. You think the Seer is old? He is! But it was not the passing of the seasons that turned his beard white, oh no: it was simply woe, friend.
But man is a cup and can only hold so much woe, so much visions, so much tales, so much memory; and there comes a time when the cup must overflow and the tongue must awaken and speak once more. And when that old unspeaking Seer spoke at last, all between the great old mount and the world-water listened. The spirits in the leaves, those in the pebbles below, the breeze roiled the skies shivered, and all the tribes of the Sinn Dhein - for long asleep, for long in a daze - seemed at once to stir, seemed at once to shake off slumber and open eyes for aeons closed. And the Seer saw then that they were not lost; he had to exhort and continually remind, for indeed the reminder would benefit those who were long asleep.
In those times, before the lad of prophecy was come, the Seer walked among the Sinn Dhein and spoke and taught for generations. And he witnessed the birth of great mountain lairds and their deaths, the coming into the world of the men who would rule the vales, and their going. And none laughed at him, but plenty were those who laughed with him on occasion and more were those who came before him as they would a reclusive and reluctant god who - again and again - forced himself to tread the earth and speak among them.
And in those generations before the lad who would be crowned was come, he taught them many things and worked to pave the way; and so they knew, if nothing else, that they - despite their feuding and their warring - were the Luhaedha Sinn Dhein, and for all their fighting knew that they were but one great and glorious tribe, children of the ancient saffron swordmother of love and war. This too they knew - and perhaps had never truly forgotten, for they took again to it as sunflowers took to the sun at morn - that great kyne brought great honour. And they knew that the great stones and henges and odd groves that dotted the earth all around were the ancient holy sites of their people, where one day they would learn to worship as once they did. They knew of Caer Seihdhar, the great godmountain, and came to know of many of the other gods too, they were often forgetful and so the Seer had to teach them again and again the tales.
The children remembered far better than their stubborn parents and their eyes shone with wonder when the Seer sat them down and swept them away from the world of flesh on a spiritborne journey into the tale within his voice and song. And that voice inspired bardic imitators - for the poetic heritage of the ancient bards had not been utterly extinguished, and the Sinn Dhein were a people who enjoyed the verse and dance. And they loved the dance of swords too, and rebellion was etched into their veins, and so the outlaws of the ancient days were known to roam alone and in bands. Some offered their services to distant clans or allied themselves with them in whatever wars or feuds or raids they had.
And while they learned these things, and while there were matters they had no need to be taught - for who of the Sinn Dhein would forget the name of his tribe? - yet was there much that he could not yet teach them. The holy days and months of the ancients remained a mystery to his kin, as did the times of joy and revelry and song, and the noble traditions of marriage and fosterage were yet too much for them.
Only the lad of prophecy, the one who would be rhig, could bring about those things once more. And that lad was now a man full-formed and mighty, and he had that Sinn Dhein fire and fury which would serve him well when dealing with his stubborn and martial kin. Aye, the lad was ready and the fruit was ripe; the harvest was come now at last. And the time of the fruit harvest was a time of death as much as it was a time of life. The return of their people was on the horizon, but so too were the forces of death and darkness - thus were they always.
The Seer stepped out from the shade of a tree and, with a great flourish, released the great raptor from his hands and sang for it to go off home. In its beak, mistletoe. He watched as the raptor disappeared into the darkening heavens, just as in the distance the great red sun sank beneath Caer Seihdhar. The light was fading now, and the dark was here. But it was for the darkness that a Seer was made.
The Seer is ruminating on how the dark age after the disappearance of the gods saw the near-complete eradication of Sinn Dhein culture and religion. Through an unclear listening and seeing process, he came to know (or he thinks he knows) the Sinn Dhein's history and how they were in their glory days when the gods walked among them, and he has already set about restoring aspects of their religion and culture. But it is a slow and difficult process, and only the lad of prophecy can truly bring it all to completion. The lad of prophecy is now a mighty and fiery man, and so the time for the Sinn Dhein to rise and return to their ancient ways is returned at last. But now death and darkness come, and the affair will not be easy. But it is for the darkness that we have Seers. He has one of Cal's raptors and sends it back to its master with mistletoe.
... And when the night was full and black And not a plant was there And all of Vandengard the Black Had filled the world with fear, When on our earth the troll was come And all the winds were fled, When then the songs and singers, dumb, Thought all was done and dead; Did Cura's eye fill up with tears? Did he then tremble, fall? Or did he, like the god that steers The skies, rise up before the troll? Oh Cura brave! Oh Cura great! Oh Cura of the shouting leg! Oh Cura who wrestled with fate And made it wail and beg! Why, Cura rose when all were down He stood before the horde And he, a king without a crown, Was then a raised and unsheathed sword That brought the wild troll low! That brought him low and made him stone From which a tree burst forth to grow And stands there, still, alone. So when you pass that living rock That marks our Cura's stand And where all plantkind e'en now flock Then fall on face and hand! Yes fall on face and hand and pray In gratitude for dawn of day And Cura! - who showed light the way!
Extract from one of the poems mentioned by Cura when he said, “Listen Phoria, the stories are told by bards who weren’t there, you know? Loonies who have given their sanity to the waves in the sky. You can’t trust them.”
The homeland of the Sinn Dhein boasts many mountainous highland regions, lowland vales, ancient forests full of darkness and mystery, green hills rolling on green hills, and numerous rivers and lakes (known as lochs). Standing freshwater volumes are simply enormous. '
The Sinn Dhein nation will become an elective tribal monarchy. The head of state will be the Bhaenrhig or Rhig, the High Queen or High King. The monarch will be elected for a life-term, upon the death of the previous monarch, by the tribal assembly of the Sinn Dhein, which will be known as the Duthchas. The Sinn Dhein Great Ritual, known as the Hyscadal ('the Bull's Vision'), will be carried out by a Treiwynd in order to ascertain who the rightful monarch is. This will involve sleeping inside a bull-hide in order to have a vision revealing the identity of the new monarch. The Hyscadal will theoretically be able to declare anyone in the realm as monarch.
Following this, the Duthchas will be expected to affirm the person selected by voting for the person selected by the dream. The Duthchas may reject the dream's nominee (though doing so could potentially create rifts and divides that would utterly break the unity of the Sinn Dhein kyne and so would be nearly taboo). If, however, the Duthchas is unanimous in its rejection of a dream's nominee, it will be expected that a second Hyscadal would take place and the Duthchas would be invited to vote for the new nominee.
The Duthchas will made up of representatives of the Sinn Dhein clans, and the monarch will sit as its effective head - though this task may be delegated as necessary. Each clan will have a single representative at the Duthchas, generally its chief. The representative can select an unlimited number of delegates to attend the Duthchas's gatherings and represent the interests of the clan there. For particularly large clans, this system will permit the interests of different parts of a clan to be sufficiently represented. When votes take place, each clan will have a single vote. The Duthchas will not be a legislating body as the Sinn Dhein are governed completely by customary law. Instead, the Duthchas will act as an advisory body to the monarch and vote on non-legislative matters of importance, such as declarations of war.
The Sinn Dhein and their clans have and will have no formal judiciary. The druidic Treiwyndyn will play numerous roles, amongst them that of judge and enforcer of the customary law of their particular settlement, region, or clan.
The monarch first monarch, or any thereafter, may establish a precedent of appointing members to a Priyetcyn (a Private Council). Priyetcyn members will have no formal authority but may be delegated power in certain areas. Their primary function will be to act as the monarch's trusted advisors. Priyetcyn members will generally be selected for their expertise and will not necessarily be members of the Duthchas. Though the monarch may choose to delegate duties to these individuals, the monarch will continue to exercise their full, absolute authority simultaneously, and a direct decision from the monarch would over-ride that of any Priyetcyn member.
The Sinn Dhein are a pastoralist people. Their economic life is built around the herding of cattle, goats, and other such animals. Cattle are the measure of material wealth, and cattle raids are an important aspect of economic life. Money plays no part in their economic and everyday life, and all things are done through bartering. Clans may sell their labour or goods in their possession in exchange for goods or the labour of others or enter into a variety of other agreements that ensure the functioning of life in a largely communal manner free of the trappings of money-based market economies.
Freedom. Independence. Kyne. Valour. The Clan. Honour. Loyalty.
Personal, individual achievement - e.g. displays of valour on the battlefield, conducting great cattle raids, successfully tricking or in some way besting a for etc. - all add to a person's kyne, and to the greater kyne of his clan and people. Great personal kyne is the greatest achievement and greatest honour for oneself and the clan.
To act in such a manner as to lose kyne - for instance, sacrificing one’s freedom and independence, or being bested by a foe, or losing a prize bull etc. While knowing one's limits and surrendering or fleeing when the odds are stacked against one is no dishonour, allowing oneself to accept enslavement, for it to enter one’s heart, to defend one's enslaver or cooperate with them sincerely and in that way betray one's self, nation, and clan; that is the highest dishonour. One such as this deserves contempt and death and has no kyne of which to speak.
The homeland of the Sinn Dhein boasts many mountainous highland regions, lowland vales, ancient forests full of darkness and mystery, green hills rolling on green hills, and numerous rivers and lakes (known as lochs). Standing freshwater volumes are simply enormous. '
The lost religion of the Sinn Dhein is ancient, their foremost ancestors having worshipped a female goddess with a head of saffron during the great age of the gods. Worship did not immediately wane when the gods disappeared, but eventually the world fell into darkness and all was forgotten. Many of the ancient henges and menhirs were brought low, though a number still remain; ancient relics of a bygone age of glory. Now the Seer is come, and he has spoken to the spirits of the world and communed with the long-gone gods. And the gods shall be worshipped anew.
The ancient Sinn Dhein religion is primarily polytheistic, though it also harbours a deeply animistic element due to the belief that spirits occupy all things in creation — animals, plants, rocks, rivers, weather systems, mortal handiwork, even words. The major gods of the lost pantheon are as follows:
Seihdhara - Head of the Sinn Dhein pantheon. The goddess of war, fire, and love (in all its forms, from motherly love to pure lust). She is believed to be the personification of the Sinn Dhein. She is also known as the Iomaethair (the Bear Mother), the Corcaerdhig (the Crimson Goddess), and the Lasaeroi (the Flame Eternal). The bear is considered her chief sacred animal and symbol, and she is believed to have the magical ability to turn herself into a bear at will. Those born with red hair, or who develop it, are believed to have been blessed by her with general martial and sexual prowess. Indeed, the Blood-heads - a group that existed in the olden days and may well come to exist again - were famed for only accepting into their ranks those with red hair. Red hair is a common - almost universal – Sinn Dhein trait. She is often associated with Elder, Hawthorn, and Birch trees, and the Mistletoe.
M'Gruda - God of life, nature, animals, wealth, and the underworld. The Elm and Cedar tree are associated with him.
Daegeyda - The father god and de facto ruler of the gods. After Seihdhara, he is by far the most important of all the Sinn Dhein deities - and for some, he is even more important than the fiery-haired chief-goddess. Also referred to as 'The Daegeyda', he is the god of magick, wisdom, and fertility. His talents and skills, from fighting to craftsmanship to magick, are famed to be endless. He has a magical stave that kills with a single strike from one side and restores life with a blow from the other. It is so big that it can injure more than one person at a time. His cauldron provides an endless supply of food for the gods and his fruit trees are always ready to harvest. Of his two swine, one is always roasting upon a spit while the other is always alive. He has mated with Seihdhara and other goddesses and has numerous children. He is famed for having slaughtered innumerable ap Morig, but in the middle of the war against them, a short truce was called. The ap Morig decided to get rid of the Daegeyda using his weakness for porridge, his favourite food. They concocted a porridge of superhuman proportions, placing it in a massive crater. It is said that they poured in enough milk to satisfy an entire clan for one year, then added enough fat to supply all the Sinn Dhein for two years, and then put enough meal to feed all the Sinn Dhein for three years. For good measure, they threw in a flock of sheep, a herd of goats, and a passel of pigs. The ap Morig challenged and taunted Daegeyda to eat the porridge or die. The great god leaned over the crater in the ground, sniffed at the mixture of ingredients, put one giant finger into the mess and tasted it, and then, to the amazement of the ap Morig, ate the entire thing. Feeling tired by this, he lay down to nap. Frustrated that their plan had failed, they called for a woman to tempt the Daegeyda. If he mated with her, he would die. They hid behind trees to see what would happen. Daegeyda woke briefly to see the young maiden lying beside him and, although he noticed that she was beautiful, he was still sleepy and satisfied from his meal, so he rolled over and went back to sleep. It is believed, however, that the Daegeyda remained largely dormant ever since, still sleeping off the massive meal. If one wanders into the deepest parts of the forests, one can hear his deep, rumbling snores.
Mac Cugail - God of the sky, thunder, wisdom, and Seihdhara's chief consort. He is associated with the Alder tree.
Ducyffel - Goddess of horses, the sea, death, and fertility. Associated with the Pine tree.
H’Mrorrig - Goddess of poetry, music, spring, dance, fire (alongside Seihdhara), inspiration, metalworking, knowledge, and childbirth – the last of which she shares with Seihdhara. Considered the patron goddess of druids (known collectively as Wyndyn, sing. Wynd), and she is sometimes called the Wyndynobhanrhig (the High-Queen of Druids). Often associated with Fir, Silver Fir, Hazel, Willow, and Oak trees. She tends the cauldron of knowledge and intelligence known as Naethinyb. A tryst with the god Braeniyn during his reign produced a son, Raethin, who would become a leading figure in the ap Morig host of his father. After his attempt to slay the smith god Gilbanu failed and led to his own death, the H'Mrorrig mourned her son's death (even though he was of the enemy) with the first keening; a loud, wailing cry of sorrow that has since become an aspect of Sinn Dhein funerary rituals.
Tymhorau and Raithean – The gods of the seasons. They are a couple who are born in spring as children, then become young lovers in summer before becoming each a mother and a father in autumn, and finally wise elderly folk. They die with the coming of winter to be reborn at the midwinter solstice, alongside the sun, and greet spring as children again. They are associated with the Yew and Holly trees.
Woaghbeigh - The horned lord of beasts and the forest. He has the body of a man and the ears and antlers of a stag. He is often portrayed with animals and wears a torc around his neck, which indicates his lofty status. He can shapeshift into the form of a snake, wolf, or stag.
Leignhu - A strong and handsome warrior, god of light, a skilled craftsman, and a magician credited with making many magical weapons, including a sword that can cut through any object. He also owned a lightning spear that always returned to the hand that had thrown it. He is considered the prodigy of the gods, skilled in all things - a smith, a wright, a metalworker, a powerful warrior, a gifted harpist, and an eloquent poet, he is also a magician, a physician, and a musician, and the inventor of a Sinn Dhein version of chess. A grandson of the ap Morig tyrant, Ghaelon, and son of the god Cihnas and Ghaelon's daughter, Aoghne, he would go on to kill his grandfather as prophesied.
Some minor gods include:
Diabcuraim – Guardian god of the well of knowledge and intelligence, the Naethinyb. H’Mrorrig’s husband.
Theia – Goddess of marriage, marital faithfulness, and family.
Eh’Myr – A minor god of catastrophe and defeat. God of Eigen Moor, where the legendary Chief Eigen was ambushed and suffered a terrible defeat that cost him his life.
Feiyin - A minor goddess believed to be High Queen of the faeries. She is a goddess of love and fertility, is associated with the moon, fruit, pastures, and cattle. She is considered particularly important for healers and herbalists, and is believed to be responsible for the body's life force. She is rather vengeful and displays a sadistic pleasure in punishing those who cross her - for instance, anyone who sits on her throne (which appears to normal people as a normal stone, usually located in glens or groves) is in danger of losing their wits, those who sit three times lose their wits forever. It is believed that she was raped by Aeleyl Ulom, an ancient warlord of Clan ap-Entosh. She ripped off his ear trying to protect herself from him and later had her fae soldiers trap him and bring him to her - she tortures him to this day. It is believed that she fell deeply in love with the ancient hero, Dionin, but that her love was unrequited.
Huirdina - The beautiful daughter of the Seihdhara and Mac Cugail. She is the goddess of the moon, stars, hunting, and forests. She represents wildlife and wilderness, and the ability to tame animals. Her sacred animal is the boar.
Fhaenoh - god of the dead and king of the World Beyond the Veil. A solitary figure, he lived with the dead on a rocky isle off the coast of the Sinn Dhein homeland.
Aggrona - The goddess of battle and slaughter. She was defeated by Seihdhara and now serves in the chief-goddess' retinue, carrying out various duties for her.
Cihnas - A minor god who was able to take on the form of a goat when faced with danger. He was the secret love of Aoghne and the father of Leignhu. Cihnas owned a magical cow that was stolen by a great ap Morig tyrant named Ghaulon. Unable to retrieve the cow, Cihnas plotted revenge. A wynd had predicted that Ghaulon's death would come at the hands of the ap Morig's own grandson. To protect against the curse, Ghaelon had locked his daughter, Aoghne, inside a great, deep mound. The maidens who attended her were under orders to admit no man and were forbidden to speak of men to Aoghne. With the aid of a wynd, Cihnas disguised himself as a woman in order to enter the great mound and seduce Aoghne, who would bear him three children. When Ghaelon discovered the trick, he ordered the children drowned. Only one child, Leighnu, survived. He was raised in secret, and when he was grown he travelled to Seihdhara's court to join his father and the other gods. Leighnu would go on to fulfill the prophecy and slew his grandfather during Brae's invasion of the Sinn Dhein homeland with the ap Morig.
Aerameid - A herbalist goddess, she is the daughter of the physician god Diyaneht and the sister of Michlin. Like her father and brother, Aerameid was a gifted healer - causing Diyaneht to become extremely jealous of her and Michlin's talent. When Seihdhara lost her arm in battle, Diyaneht created a new one for her out of silver, gold, and bronze. But Aerameid and Michlin created another arm out of living flesh. It was so lifelike that Seihdhara was able to regain her throne and position as the chief goddess, even though the injury technically made her unqualified for rulership. Jealousy eating at him, Diyaneht killed Michlin, and Aerameid grieved over her brother's grave. While doing so, she noticed hundreds of plants growing among the flowers on his grave and, realising that they had healing properties, began classifying them. It was a monumental mission, for each type of herb had to be picked and sorted in accordance with its medicinal benefits. Just as she was about to finish, the jealous Diyaneht crept up behind her and scattered the herbs to the winds. Aerameid was never able to recover the herbs and so never completed her work. For this reason, the proper uses for the hundreds of healing herbs are unknown to this day, and Wyndyn have had to experiment and exercise their reasoning over the ages in attempts to recreate her lost work.
Diyaneht - The gifted god of healing and medicine, leading healer of the gods, and a god of fertility. He had two children, Aerameid and Michlin, who were also gifted healers. Diyaneht's greatest moments came during wartime. When the day’s fighting ended, he would bathe the wounded warriors in magical waters. He could heal them so well that they would be ready to resume fighting the next day. Dian could even bring his dead kinsmen back to life. Diyaneht made a silver, gold, and bronze hand and arm for his sister, Seihdhara, to replace the one she lost in battle. The new limb was of cunning design, with jointed fingers and a flexible wrist. With it, Seihdhara could continue to engage in combat. But even with this wonderful arm, Seihdhara was ineligible to rule, since the laws of the land required kings to be in perfect physical condition. Diyaneht's children were also talented healers and made Seihdhara an arm of flesh to replace the silver, gold, and bronze arm. It was so lifelike that Seihdhara was no longer considered to have a defect. Diyaneht, however, felt no pride in his son’s work. Instead, he considered it an insult to the fabulous arm he had made and so killed his son in a fit of jealousy. When healing herbs grew upon the son’s grave, his daughter, Aeramid worked to classify them according to their benefit and their use. But Diyaneht's jealousy got the better of him once again. He came in secret and disrupted her work so that the proper uses for the healing herbs would never be known.
Gilbanu - A god of crafting and smithing. He is famed for using supernatural powers to craft unusually powerful weapons. The speed at which he repairs and forges weaponry with his companions is unparalleled. Weapons of Gilbaru's making are mighty weapons possessing incredible magickal properties. He is also a god of healing and is said to offer a mead during Embilc which grants whoever drinks of it immortality.
Maeihroil: The poet-god and the “Divine Youth.” He is worshipped in the cult of the Divine Youth. The cult features extraordinarily handsome young boys on the threshold of manhood, often in love with women they can’t have. They are skilled in the arts of poetry or music, or connected with healing springs Turaemar: A war god of blood and thunder. He carries a great hammer and is known as the Good Striker. His worshipers, it is said, carried out great human sacrifices to him, burning victims alive in huge wicker-man cages or hanging them upside down from sacred trees. His followers may also offer themselves up for sacrifice, thus earning his favour and protection for the sacrificed one's family and tribe and greatly increasing their kyne.
Drechwr - A god of victory. Was defeated by Seihdhara and is now part of her retinue.
Aengillian - The stunning god of youth, young love, and beauty, known for having coyishly rejected Seihdhara's advances, angering her, before seducing her anyway. He carries a magickal sword and dons a cloak of invisibility, and his kisses take wing and fly away. Four in particular, Ceyin, Piyr, Bleyna, and Aethrar, follow him about in the form of birds wherever he goes. He is known to protect young lovers and cultivate their love.
Eirwyn - God of language and eloquence, and also a god of poetry. He is the brother of Daegeyda, the father god, and father of Maeihroil the Divine Youth. Credited with creating the Eirwyncanan and teaching it to the Arwyndyn, who glorify him tremendously even to this day.
Fyldieas- A woodland goddess who drives a chariot drawn by deer and has connections with other animals.
Babaedna - A goddess of mayhem, slaughter, and battlefield confusion who visits battlefields in the form of a crow and sows utter chaos. She is known to whip warriors into a battle-frenzy - sometimes their frenzy is so great that they do not know friend from foe. She forms part of Seihdhara's retinue.
Bellanes - A god of light and the sun. The festival of Beltane derives its name from and honoures him.
Sruthyfinn - The river goddess after whom the river Sradfynn is named. Her sacred animal is the cow. She drowned when she tried to drink from the the Naethinyb so as to gain supernatural wisdom, but did not have the permission of either the H'Mrorrig or Diabcuraim. When Sruthyfinn tried to drink from the cauldron, its waters rose up and chased her towards the sea, eventually swallowing her up and leaving the goddess dead in its wake. The waters formed a river leading from the well to the sea, which was named the Sradfynn in honour of the goddess.
Beryw - God of therapeutic hot springs.
Gwynnud: A minor god and king of the faefolk. He is one of the kings of the World Beyond the Veil. He has a pack of supernatural hounds, known as the hounds of hell. He can be helpful to those he regards as worthy rulers. He is also a bold and furious huntsman, who leads a pack of supernatural creatures, ghosts, and his hounds of hell on the Wild Hunt. His name means Blessed White Mist. He is also known as Gwyn the Hunter, and in this guise he acts as something of a grim reaper; his appearance signals that someone will soon die. As the king of the faefolk, Gwynnud is connected with the seasonal festival of Beltane, where he fights each month of Bultaeg for the right to marry a fae princess.
Braeniyn - A son of the goddess Ducyffel and a mortal named Viryn. He grew up exceptionally fast and was of formidable strength and was such a sight that he came to be known as Beautiful Brae. When Seihdhara lost her arm and became unable to rule, the gods crowned Braeniyn chief of the gods and Rhig of the Sinn Dhein. Though beautiful, Braeniyn was stingy and crude, taxed the cattle and and other animals so that every clan and household ran short of food and drink, and more or less used the gods as his personal servants. Eirwyn, the god of language and eloquence, was forced to fetch firewood for the entire kingdom, while Daegeyda, the great father god, was put to work constructing forts and defences. Braeniyn would bring about his own downfall through his lack of generosity and hospitality. No sounds of music or poetry filled his halls. No feasts or celebrations were held at his court. His guests were offered meagre food and drink. One day a Fili came to visit and suffered greatly. To pay the Braeniyn back, he composed first Sinn Dhein satire. He performed this poem in front of the entire court, describing the paltry food, drink, and shelter, bringing about great shame for the monarch. Finally, the gods rebelled and brought back Seihdhara, forcing Braeniyn from the throne. It is said that it would be Braeniyn, many centuries later, who would return with the ap Morig to wreak vengeance on the Sinn Dhein and the gods. Though now sealed away with them in the underworld, he will rise again in the end days and a final battle will be had.
Oaollabi - A goddess and fairy queen who possesses a magical harp that presages death for those who hear its music. Her rival was Ciora, the goddess of beauty. In one tale, Ciora cast a spell that turned Oaollabi into a blue boar.
Each individual clan has a clan god, who is the personification and guardian of that particular clan. It is not unusual for the clan god to be the progenitor of the clan. The major historical regions of the Sinn Dhein homeland also have patron gods, as do specific sacred locations or locations of historical import, such as places where significant battles occurred (for the gods are still indirectly involved in mortal affairs, and the happenings in the mortal world are a reflection of happenings in the celestial domain). For instance, the patron god of Eigen Moor, where the legendary Chief Eigen was ambushed and suffered a terrible defeat that cost him his life, is Eh'Myr, a minor god of catastrophe and defeat. Forces of nature, such as the sun, the moon, the wind, forests, and so on, are sometimes worshipped as gods in non-anthropomorphic terms (the sacred mountain, Caer Seihdhar, is amongst these). Things such as trees are considered alive and to have souls and shrines may be dedicated to them even though they are not necessarily gods. Various animals - particularly the bear, the animal of Seihdhara - are held sacrosanct.
Temples and religious 'buildings' are considered alien and an insult to the gods who made the stretched out earth and endless skies. The Sinn Dhein strongly favour worshipping in nature beneath an open sky, rather than inside man-made structures of any sort – even worship within the home is frowned upon. The ancient forebears of the Sinn Dhein have constructed stone circles or stone monuments to their gods, and what remain of these ancient structures continue to be a staple of Sinn Dhein worship; they are the only legitimately recognised man-made religious structure. These structures can be exceedingly large and complex, spreading across hills in generally circular patterns. Sacred groves or springs, which are naturally occurring sites considered sacred, are also places where worship and various rituals can take place, though this form of worship is currently lost to the Sinn Dhein. According to myth, such sacred sites and shrines were usually tended to or presided over by a Wynd during the great age when the gods walked the earth.
Sinn Dhein religion will have no centralised clergy or priesthood in the sacerdotal sense. Instead, they will druids known as Wynden (sing. Wynd)). Due to their close association with nature, Wynden will be believed to have control over the weather and shape-shift into animal form – whether this is true will be uncertain, but will be given credence by the Wynd practice of wearing animal skin or horns or feathers during rituals so as to invoke the animal’s power. Wyndyn will be a rather diverse group – young, old, men, women, rich, poor, of esteemed or relatively humble origins. They will come to form what is possibly the most powerful class in Sinn Dhein society, though the enthronement of a high king will no doubt temper this authority, as would the establishment a Duthchas. The Wyndyn will be free to marry – the concept of celibacy already being utterly foreign and ludicrous to the Sinn Dhein peoples. Wyndyn will often marry other Wyndyn or clan lairds. The Wyndyn, according to legends that will be unveiled by the Seer in time, underwent severe persecution after the departure of the gods from the world, either due to foreign peoples invading the Sinn Dhein homeland or for other reasons. This is natural, for anyone seeking to monopolise power would be jealous of the extensive power, influence, religious sway that Wyndyn have, as well as their ability to incite rebellion. In this dark period, sacred sites where Wyndyn generally gathered were attacked and destroyed, and many Wyndyn were slaughtered. One of the most famous such attacks occurred against a large assembly of Treiwynden near the a’Cheimbyc Hills, which was so brutal that the event became known as the Rape at Byc. Still, the Wynden fought and persevered, though ultimately both they and their religion were swept away by the deluge of the dark age.
When re-established by the Seer, Wyndyn will be of two types. These are non-hierarchical; simply different types of Wyndyn who carry out differing duties. The three types are:
Tweiwynden – So-called ‘clan druids’.
Arwyndyn – So-called scholarly druids, they are split into a number of holy orders.
Clan Wynden - known as Treiwyndyn (sing. Treiwynd -, whose expertise and learning will be handed down from one clan Treiwynd to another over generations, will have the greatest interaction with people on a daily basis. Treiwynd instruction, unlike that of Arwyndyn, will be secret and take place in caves and forests. Preserving their newly unveiled ancient tradition, all religious learning will be done orally and in no other way; Treiwynd lore will consist of a large number of orally transmitted ‘books’ learned by heart, and so Treiwyndyn will be known for their astounding feats of memorisation. It can take up to twenty years of instruction for a Treiwynd to complete their studies. Treiwyndyn will be present at births to bless newborns, carry out prophetic and divination rituals and give oracles, and will also be important religious leaders in the clan hierarchy, legal authorities, adjudicators, preservers of clan tradition, lorekeepers, medical professionals, teachers to the young, and - as they were in ancient times - political advisors (indeed, the authority of Treiwyndyn will be such that they will be able to cause feuding armies to turn back and put their weapons aside even against the will of clan chiefs or warlords, and a custom will come to exist that a warrior must hand their weapon to a Treiwynd on demand, even if they happen to be in the midst of battle).
Treiwyndyn will generally be responsible for organising and leading worship at stone circles or monuments as well as sacred groves, and also prepare and offer animal sacrifices and lead various rituals. During legal disputes, a Treiwynd will nearly always the arbiter, or the leading member of a team of arbiters. They will be exempted from military service and from the payment of tribute to the the Rhig, though it would not be unusual for Treiwyndyn to generally accompany armies (particularly if they are marching against enemies of all the Sinn Dhein).
Treiwyndyn, unlike other Wyndyn, will hold great immediate power on the lives of individuals, clans, and the Sinn Dhein nation itself. Treiwyndyn will play a critical role in the selection of a Rhig through a ritual called the Hyscadal (‘the Bull’s Vision’). A ritual from the Sinn Dhein age of gods, heroes, and great Rhigs who ruled the land from mount to shore, this ‘Great Divination Ritual’ will be reinstated once the Sinn Dhein are a united under one Rhig again. Used to determine who the rightful Rhig would be, the Hyscadal requires a Treiwynd to eat of the flesh of a freshly-slain bull before sleeping enwrapped within its yet-bloody hide so as to divine, through dreams, who the rightful Rhig would be. This ritual will usually take place in a cave on Caer Seihdhar. If the Treiwynd does not have a vision, he is sewn within the bull-hide and placed under a high waterfall to aid him in having it. The Treiwynd in question could theoretically see anybody in his vision, from the lowliest shepherd to the most senior members of Sinn Dhein society. Following this ritual, the members of the Duthchas have the opportunity to cast their votes on whether they wish to elect the one nominated by the vision.
Treiwyndyn will also have the capacity to strip a person of their rights, barring them from religious ceremony and all clan matters and so rendering them an outlaw without clan or purpose. The Treiwyndyn must have a legitimate reason when they do this, but they are the only ones capable of doing so.
There will be various holy orders which produce scholarly Wynden - known as Arwyndyn (sing. Arwynd) - dedicated to study and research. They differ from the Treiwyndyn in numerous ways – they, for instance, will have a rich writing tradition. The written language of Arwynden, known as the Eirwyncanan, is a secret language that differs from the spoken Sinn Dhein language. It can also be spoken and, interestingly enough, signed with one’s hands (in fact, it is believed that Eirwyncanan as sign language preceded both the written or spoken language). All works authored by the Arwynden in ancient times were traditionally in this secret tongue, and all their written, spoken, and signed communications to one another will be in it once the Seer re-established them, meaning that their world will be completely inaccessible to laypeople and even other Wynden.
This secret language is believed to have developed during the ancient ap Morig of the Sinn Dhein homeland, during the glorious age of the gods, with the goal of preserving Wynd and general Sinn Dhein lore, magick & spells, law, customs, history, literature, political challenges, and so on. This will undoubtedly mean that the Arwynden will become the powerful arbiters of which customs have been and will be preserved and which ones will simply be allowed to slip from communal memory. The Arwynden do not have a complete monopoly in this regard, however, for their reclusiveness and general lack of participation in daily rituals – left to the Treiwynden – will mean the latter have ample space to contest and challenge Arwynd designs.
During the period of ap Morig occupation, as well as later occupations when the gods left the world, Wynden of all stripes were actively persecuted and active attempts were made to have their books burned. However, the Arwynden of the times were easily able to disperse deep into the Sinn Dhein homeland’s forests, or into the mountains, or to independent clan-lands, preserving the great majority of books. In due time many of these were forgotten in caves or deep in forests, or buried with the dead, though due to some kind of magickal blessing they have survived. It remains for the Seer to travel and gather these important works again.
Interestingly, though the Arwyndyn will only ever correspond with one another in Eirwyncanan, they will correspond with outsiders to their orders in the Sinn Dhein tongue, and will perhaps be the only segment of Sinn Dhein society that will be actively interested in learning foreign languages and corresponding with outsiders.
Human sacrifice was practised by the Sinn Dhein in the past to please and gain the favour of the war of blood and thunder, Turaemar, though it fell out of regular use and was forgotten during the dark age. Both self-sacrifice and sacrifice of others was practised in numerous forms from wicker man burnings to hanging people upside down from trees. This is generally done to gain the kyne of the sacrificed individuals. When a person offers themselves up to be sacrificed, the greater their kyne then the greater the blessing from it. Animal sacrifices are also generally accepted and will become widely practised again, as they were in ancient time.
Wyndyn will generally have the capacity to carry out prophetic, divination, or oracular rituals, gaining inspiration through dreams and various mediums. Wyndyn will sometimes seclude themselves in caves or other very dark places so as to facilitate inspiration and be transported beyond their own mind so as to see into the given god or goddess’ own thoughts. This process of inspiration is all about awe and wonder, and the drive to see into the unknown so as to glimpse even a small ray of the ultimate truth. It is thought that common people are capable of having certain forms of basic premonition through bodily sensations that tell the future. So for instance if one’s mouth is itching, it is a sign that the person will soon be kissed; if one’s ears are suddenly burning hot, someone somewhere is talking about their character.
However, when actively divining, a Wyndyn (and any interested amateur) will have an array of skills and techniques at their disposal, as listed below.
‘The Sight’ is a basic psychic ability present only in females, suspected to flow through the female bloodline from mother to daughter. Though often cryptic and filled with symbolism, the oracles of those with the Rhadharc are taken with absolute seriousness. Treiwyndyn who possess the Rhadarc play an important role in giving children their Faisehd at birth.
While a dream may just be that, sometimes it is far more. As a means of divination, they can come spontaneously, be anticipated, or be induced. A person who believes they have had a prophetic dream can go to a Wynd to have it interpreted. If a Wynd is actively seeking a dream, or someone has come to them seeking to induce a prophetic dream, the dreamer can prepare by mediating, purifying themselves through fasting, and by having an animal sacrifice carried out for them. In some cases, one may enwrap themselves in the hide of the sacrificed animal (as is the case with the Hyscadal). It is also generally good practice to carefully select the location where one decides to sleep. Sleeping in areas like sacred springs, sacred groves, stone circles or monuments – which have greater divine and magickal qualities – is more likely to produce a vision. The time of year is also of relevance, as some part of the year see a greater convergence of the spirit ream on the realm of the living. Moreover, Wynden are generally aware of herbs and can produce concoctions which aid with prophetic dreams – though these can sometimes have strange side-effects.
Shoulder Blade Reading
While the practice of reading entrails is carried out by Wyndyn, reading marks in the shoulder blade of an animal, usually an ox, bear, fox, or sheep, is considered a surer way to see into the future. The lengthy ritual of preparing the bone is passed on from Wynd to Wynd and involves boiling the bone in a special concoction, preparing it, and then reading the marks. Marks can indicate people to be met in future, while holes and indentations could mean death or prosperity depending on their size and location.
Omens are sought for nearly every activity, but are especially important when beginning a journey. The first animal one sees, its posture, what it is doing, as well as the sex, dress, and actions of the first person one meets on the way all foretell one’s chances of success or failure. Moreover, birds are considered especially geared towards foretelling the future. Certain sacred birds, their flight patterns, positions, calls, and other behaviour, are used to divine the future. Depending on these factors, it could mean anything from the imminent arrival of visitors to death and doom for household and clan.
A group of sticks (made from the sacred woods associated with the gods), or bones, or stones, are tossed and read. The resulting pattern can foretell whether a sickly person would be cured, can identify a potential spouse, or foretell the good or bad fortune of a person.
There are numerous other forms of commonplace divination techniques utilised by lay people and Wyndyn alike – these are usually intended to help find love. Things simple as dancing hazelnuts over the fire at Sambane, the pattern in the ashes of the fire on Embilc, or dreaming of one’s love on Beltane. Scrying, or gazing into springs, into fire, or searching for patterns in the clouds, are all common techniques. Young couples in some parts of the Sinn Dhein homeland have a practice where a shovel is positioned on top of a fire and two grains of wild wheat placed on it. As the shovel grows hotter the grains edge towards each other, swell, and grow. Eventually they pop off the shovel - if they do so together, the couple should marry, but if they jump separately then the couple are to go their separate ways.
Sinn Dhein visionary poets or bards, known as Filim (sing. Fili) will carry out some unique roles in Sinn Dhein society. While they will often be mistakenly associated with Treiwyndyn and their forms of magic by foreigners, Filim will in fact be very different. Their role is ultimately not religious, but secular. Their duties include lorekeeping, versecraft, and the memorisation of vast numbers of traditional and contemporary poems. A Fili’s formal training will take anything between seven to twelve years depending on how gifted the individual in question is. The words of Filim wil be understood to be so powerful that they are tantamount to magick.
Amongst the functions of a Fili in Sinn Dhein culture and society will be to praise or satirise. A person who is praised can expect to be remembered as a great hero or a person of valour down through the ages, their kyne permanently enhanced. If satirised, they would be forever infamous. Satire is considered so damning that people have fallen down dead on learning that they had been satirised. Indeed, the satire of a Fili is considered a weapon in itself, having often been employed by warring clans against each other in the past (and where feuds arise, it still is). The satire of a gifted Fili is thus a serious curse on the one being satirised, and to run afoul of these poets is a dangerous thing indeed to a people who value reputation, kyne, and honour above life. Ancient Sinn Dhein tales speak of Filim actually rhyming people and animals to death, and other tales speak of Fili songs that induce sleep, control emotion, and cause sickness or death.
While praise is for the living, Filim are also expected to compose and recite eulogies on worthy heroes (ancient and more contemporary) and their many valorous deeds. They also memorise the genealogies of their patrons and recite poetry honouring and glorifying past and present heroes of their patron’s clan, their acts of glory, and much else about the patron themselves so as to enhance the kyne of the living descendants and clan of the dead.
It has traditionally been the case that those considered noble (clan chiefs or others high within the clan hierarchy, as well as those who occupy positions of power generally within a kingdom or confederation) were the butt of Fili satire due to lack of generosity or hospitality, or due to giving bad advice or engaging in dishonourable conduct. Satire has thus often been a manner of holding powerful figures to account and pressuring them into abiding by customs or their own laws. Indeed, Sinn Dhein leaders since time immemorial have been known to sometimes act against their natural inclinations out of fear of satire. This is the case more widely also, for the threat of being satirised has often ensured that everyday people abided by pledges, kept their word, and generally saw the more immediate benefits of keeping to customary ways and laws.
Despite their immense power, Filim are expected to use their tongues with responsibility. Satirising somebody without a legitimate cause is considered a serious crime carrying severe penalties – for doing damage to someone’s honour and reputation is worse even than murder in Sinn Dhein culture and society.
In many ways, Filim have been the national poets or bards of the Sinn Dhein homeland since time immemorial. The bardic order, the Cumannfil, was formed during the glorious age of the gods and spelled the first truly pan-Sinn Dhein group to emerge that was involved and concerned with the everyday life of lay people (unlike the Arwyndyn holy orders which, while being pan-Sinn Dhein, were anything but involved with the common person). The Cumannfil contributed immensely to the rejuvenation of Sinn Dhein religion and the preservation of their ways and customs when the gods departed from the world, and though in time they were swept away by the deluge of the dark ages, poetry is still quite important to present-day Sinn Dhein (though they do no necessarily understand why). When re-established by the Seer, he will organise the annual Tionilfil, an all-encompassing gathering of poets, musicians of all stripes.
The Trosychyn (sing. Trosych) are those exiled from their clan and clan-lands by the Treiwyndyn and who have effectively become outlaws. Individuals may be outlawed in this manner for many reasons: going against the judgement or command of a Treiwynd (whose word is ultimately final), breaking customary law, refusing pay an eraic, and various other things. Exiled nobles who have clout may often raise armies and fight their way back into society. Such individuals presently exist, even before the re-establishment of ancient Sinn Dhein religion and culture.
Trosychyn tend to live in the wilderness. Usually, those who remain on the wild-lands have an established tacit alliance with a local clan for both their protection and that of the clan. Traditionally these agreements have ensured that Trosychen did not prey on the clan in question and could be called upon to fight with the clan and defend it if necessary. These tacit agreements may also be struck so that the clan has someone who is already outside the law or not associated directly with it to do its dirty work – murder, revenge, raids, targeted killings, and so on. Being outside the law and having been denied the benefits of obeying it, the punishment of the law cannot be enforced against them by those they harm. The only way to get justice in such situations is for the aggrieved party to track down the Trosychen and dispose of them personally.
The elderly generally occupy positions of authority amongst their descendants, viewed as progenitors and akin to chiefs. This is not a formal designation, for each clan has its one clan chief, but one’s age and the number of one’s progeny are a sign of influence and clout (for sons and grandsons are obligated under customary Sinn Dhein law to care for and obey their parents), and one naturally has authority over one's sept. The elderly of the leading clan family (generally the elderly amongst a chief’s extended family) are considered clan elders and have leadership roles in the clan hierarchy, usually as members of a clan council of some kind. The leading family usually does not necessarily dominate these. It is not unusual for elderly folk to predominate these councils due to the general nature of their authority within their social relations.
The young are considered children of the clan as well as of their parents, and all have a responsibility towards them, to educate them, inculcate within them the clan's particular spirit and ways, as well as a general understanding of Sinn Dhein ways, customs, and laws. Thus raising children is generally the equal and primary responsibility of both parents (not just the mother), followed by immediate family, and then the wider clan.
Different Sinn Dhein clans have different laws regarding lineage – some matrilineal and others patrilineal. Where a couple each comes from a lineage background that conflicts with the other’s, agreement regarding lineage must be arrived at and placed in the marriage contract before the marriage takes place. Lineage is particularly important for matters of inheritance (discussed below) and in ascertaining to whose parent’s side the child is primarily related (important, for instance, for knowing who must seek vengeance if a child is killed, to whom the child goes if both parents are no longer present, amongst other things).
Due to fathers (or their equivalent if the biological father is not present) having to climb Caer Seihdhar while their pregnant wife is giving birth, so as to seek out an omen for the newborn's Ainaim (soul-name), couples tend to move near the sacred mountain around the time of birth. Due to this, the various towns at the mountain's foot are renown for their midwives and medicine-men.
In accordance with general Sinn Dhein custom, if a child is born due to rape or seduction, the responsibility for raising the child falls to the seducing or raping party. The father has responsibility for raising the child if the mother is dead, ill, disabled, insane, or exiled from her tribe. An unmarried mother has sole responsibility for the rearing of the child if the father is foreign, or exiled from his tribe. If a woman is impregnated by a man with no income or lands of his own against the wishes of his parents, she is fully responsible for the child. Likewise, if a man impregnates a woman without income or lands against the wishes of her parents, he is fully responsible for the child. Where both parties are landless and without income, and where they carried out the deed against the wishes of both their parents, the child is aborted. Indeed, an unmarried pregnant woman is obliged, according to custom, to either abort or marry. Prostitutes (usually a position occupied by unmarried Treiwyndyn and considered a socially important position) are the exception to this, and they – male or female – are fully responsible for their children. Ultimately, Sinn Dhein custom does not recognise and does not allow for ‘illegitimate’ children. All children are ultimately sons or daughters of the clan and are raised raised by it.
Children must undergo a rite of passage, known as the Galontaith Seihdhara (Journey to the Heart of Seihdhara), a six-month period in which the young person must journey through forests, mountains, and through the land of other clans, so as to make the spiritual and traditional transition into adulthood. The exact age at which this rite of passage is carried out differs by clan, though all Sinn Dhein have generally accomplished it by the age of seventeen. This rite of passage is carried out by both males and females, and it is not unusual for a person undergoing the journey to rid themselves of their virginity along the way.
An interesting custom and institution common to all Sinn Dhein clans is that of foster parentage, in which children of a household within the clan are given away to another. This practice is designed primarily to tighten the links between two families, though it may also be practised due to a family’s inability to care for a child, and payment was in fact involved.
Fostering means that a child, male or female, spends some part of their childhood in the household of another family, learning a trade, how to fight, or how to govern from them. The child can be sent to the foster family at any time once they have reached the age of one year. The child returns to their blood family on completing their Galontaith Seihdhara. During the period of fosterage, the foster family is responsible for the child’s education (facing heavy customary penalties if it is not imparted properly) and is responsible for any harm or injury suffered by the child.
A slightly different species of fosterage exists where a master of a craft takes students in (sometimes for payment, though this is rare). These students are essentially adopted by their masters, though they are not considered heirs. Should a master wish for their adopted student to be considered an heir, a proper adoption ritual not based on the master-student relationship needs to be carried out. Adoption of this latter variety is not too common, though kin (brothers, uncles, grandfathers, and so on) do adopt children if something happened to the parents.
Traditionally, fosterage to renowned warriors was exceptionally important in imparting traditional warrior values and proper training on young Sinn Dhein. Sinn Dhein, depending on clan, begin their training anywhere between the ages of six and nine (naturally developing into partaking in steadily more daring martial activities as they grow) and have traditionally been expected to master, amongst other things, the following skills:-
Dexterity – Proven through various acts, such as juggling swords.
Traditional Sinn Dhein martial arts
The ‘Six Feats’ – Hurling weights, Running, Leaping, Swimming, Wrestling, and Chariot Riding.
The Voice – A traditional clan war-cry that differs by clan. This tends to be rather blood-curdling and freakish. The cries of some clans are masterful imitations of the sounds various animals make, while others still are anything but naturally occurring.
The ‘Three Hielanman’s Skills’ – Hunting, Fishing, and Hawking.
Poetry, Music, Heraldry, Diplomatic skill etc.
Rowing, Swimming, and various water-related skills
Sinn Dhein Chess
Weapons Handling – Archery, slinging, javelin throwing, swordsmanship, sword and buckler fighting, quarterstaff handling etc.
Various other games and sports (for complete list, see Lignsid)
At the end of the first phase of their training, before carrying out their rite of passage into adulthood, warriors have to prove their skill. It differs by clan, but examples include participating in a cattle raid from which they must return with proof of their valour – potentially the head of a cow or bull.[/indent ]
Inheritance is a complex affair, particularly since different clans are bound to have slightly different laws and customs on inheritance. Generally, children have the same rights of inheritance regardless of any other considerations. So, in a patrilineal system, the son of a chief wife and the son of a lesser wife, or the child produced during a temporary marriage, have equal right to inherit. However, exiles and abandoned children who are in every way children of the clan cannot inherit. Children of prostitutes likewise cannot inherit from their non-prostitute parent. Certain land is considered to belong to the clan rather than being personal property. It is granted by the clan to individuals and their progeny for an indefinite period. So while this land can be inherited and split between family members freely, it can never pass out of the clan’s ownership. Land which a person comes to possess, and which is not initially clan land, may pass into the possession of the clan eventually or become generally regarded as part of that clan's patrimony.
Inheritance seeps somewhat into clan succession also, though rituals, in imitation of the way Rhigs are selected, may also affect customary laws of succession.
Three kinds o' men wha fail tae ken wummin: young men, auld men 'n' middle-aged men.
The role of women in Sinn Dhein society is odd and often contradictory, largely due to the fact that different clans have different customs and laws regarding women. On the whole, however, women are free to own land, manage their personal wealth, engage in trade and business, marry and divorce at will, and join in as combatants during war. Wealth accrued by a married woman, as is the case with a married man, is considered to belong to both.
Due to some long-forgotten case of harassment or kidnapping or some such, nearly every clan has a women's code largely meant to keep men of foreign clans from harassing a clan’s women.
The Code of the Women of Ol Mirti:
Don’t blether tae mah breests; you’ll nae be meetin thaim.
If ye dae blether tae thaim, you’ll be meetin mah sword.
Mah sicht oan loue daein' is na.
Keep this in mynd: mah fowk kin kick yer people’s bahookie anyday o' th' week.
It's nae th' size o' yer sword that counts, it's- na, wait… size counts.
Women have historically played important roles as active participants and leaders in major campaigns and wars, the heroic fury of Sinn Dhein women in battle having become the subject of many epics. Invaders in ages past often expressed their awe at the primal power of these ‘savage people’s women’, and theor warriors considered it a great victory to make one of them theirs; often, though not always, ending terribly for the warrior in question.
Largely due to the importance of Seihdhara, goddess of love, clans have tended to be very open about interaction between the sexes, and pre- or extra-marital sexual encounters are normal. This while honourable conduct is important, this has given rise to oddities where, for instance, a warrior successfully wooing an opponent's wife is seen as having earned great kyne, and likewise with other not-so-honourable yet successful conduct.
Wid ye lik' tae be buried wi' mah fowk?
Wid ye lik' tae donder th' tree wi' me? – Some Sinn Dhein marriage proposals
Marriage is of extreme importance for the Sinn Dhein. A person of marriageable age who is not yet married is looked upon strangely and can be expected to be the butt of many jokes. The first Monday of the Sinn Dhein month Kyffel, known as ‘Chalk Monday’, is dedicated to playing tricks and pranks on single people. The custom is to creep up on them and subtly mark their back with chalk – it is best to do this in crowded places. If caught, the perpetrator/s had better run! As Beltane is drawing near at this time, these pranks are meant to remind the single person of their unmarried state and spur them to marry come Beltane.
Marriages among the Sinn Dhein are polygamous. This is largely due to the fact that polyamory is a central aspect of Seihdhara's nature; the goddess enjoys multiple consorts and is not in fact married to any of them. The development of the custom of marriage is attributed to the minor goddess Theia. Multiple wives and multiple husbands are thus not uncommon. Marriages are the primary form of legitimate procreation and are set up, to a great extent, for the protection of children and to clarify the rights of the husband and wife. The protection of property rights of both parties also factors in. Importantly, marriages are also a form of social capital and a way to forge alliances and cement friendships. Of course, they can most certainly be for love, but love is believed to be somewhat distinct from marriage (perhaps no where made more clear than in the fact of the goddess of love being separate from the goddess of marriage). Due to marriage’s focus on procreation, the question of same-sex marriage has never arisen, and will likely never arise, in Sinn Dhein society. Beyond this there is no real recognition of or differentiation between hetero- and homosexual relations; sex is sex.
In this vein, the Sinn Dhein generally tend to be rather libertine. Fun and dalliances are treated light-heartedly and with innocence. However, it is best not to boast or be open about who one has slept with in cases where someone's spouse is involved, as feuds over these matters are by far the most common. It is also a general custom for women not to bear the child of any other than her official husbands – where accidental pregnancies occur, Sinn Dhein have developed a particularly effective abortifacient which has been used since ancient times; Sinn Dhein mythology attributes its origins to Seihdhara. Where a woman has multiple husbands or extra-marital affairs, fatherhood is generally established through a Treiwynd ritual. Indeed, ‘marital faithfulness’ is not measured by whether one engages in various sexual dalliances with other partners, but by whether one only allows one’s spouses to mother or father one’s children.
Funnily, the customs of many clans permit an established spouse to murder, or hurt, the new partner of their husband or wife within the first three days of marriage. A small eraic may result, but this is recognised as one of their customary rights. This is in fact a growing custom, and clans that were not known to practice it have increasingly adopted it. This has led to the development of a practice where newlyweds go away somewhere together for the first few days of their marriage.
Generally speaking, marriage partners have an obligation to take care of each other and to leave something for each other in their wills. If one’s spouse has other partners, no such obligation exists towards those. It is custom for siblings to get married in order of seniority. This puts pressure on older brothers and sisters to marry swiftly so as not to deny their younger siblings. A way around this where an elder sibling does not wish to get married quite yet are so-called temporary marriages that last exactly one year and one day. These are often ‘trial’ marriages that lead to a more permanent union.
Sinn Dhein customary law, with various minor variations, generally recognises the following types of marriage, in order of importance.
A Clan union takes place where numerous members of one clan marry individuals from another clan en masse. It has occurred on a number of occasions in Sinn Dein history and is generally done when two clans wish to merge or cement their alliance.
A common union takes place between partners who bring the same amount of wealth into the marriage. This is the most common form of marriage, and the spouses are considered in all ways equal ‘co-lords’ of their family.
An unequal union takes place where one partner has less property than the other. The poorer spouse effectively comes under the financial protection of the richer one. It is a way for poorer individuals to marry into wealth and ensure the wealth of their progeny.
A propertyless union is a marriage in which each spouse retains their property separately, rather than having it become family property. The rights of children are safeguarded and they inherit as usual.
A flesh union is the mutual consent of the man and woman to share their bodies, but live under separate roofs. Again, the rights of children to inherit are safeguarded.
A war union is a marriage where a defeated enemy’s spouse or spouses are abducted. This marriage is valid only as long as the abductor can hold onto the spouse or spouses. It is practised sporadically during the eruption of clan feuds.
A warrior’s union is a temporary and primarily sexual union contracted for no more than a night. It is often entered into by warriors taking part in a war or conducting a long raid. The rights of any children that come about are protected, but if the marriage was patrilineal the father is required to formally adopt the child, otherwise the child becomes a child of the father’s clan.
A loony union occurs between feeble-minded or insane people. Considered to have been possessed by a spirit, insane people are often paired together. Insane people generally remain in the care of the clan.
Fertile - As procreation is one of the primary purposes of a marriage, infertile or impotent men (jestfully referred to as ‘unarmed men’) and barren women cannot enter into a marriage. A person who discovers their spouse is infertile can immediately dissolve the marriage. Indeed, virginity is looked upon with suspicion and a defect in a potential spouse as it may suggest a lack of ability in the bedsheets. Those who were or are married and have produced children are thus particularly attractive as their fertility is established.
Wealthy - A person without land or cattle (however little) cannot marry, as they bring no wealth to the marriage.
Healthy - A very fat person (measured by waste girth) also cannot marry as they are considered incapable of performing their duties, and it casts doubt as to one’s martial prowess. As a warrior people, the Sinn Dhein are somewhat obsessed with physical prowess, and so being fat is both a disgrace that lessens one's kyne and a punishable offence among certain clans.
Self-sacrificing and Industrious - Generally, an ideal spouse is one prepared to suffer for the sake of the marriage and future children, and industriousness in caring for one’s spouse and children are virtues.
Melodious, Intelligent, Brave, and Attractive - An ideal spouse should have a pleasant speaking voice, be able to sing, and should be clever, crafty, brave, and good looking. While it is not as much of a focus for a woman, being a capable fighter is considered more of a virtue in women than in men (in whom it is a necessity, and one is not praised for doing the bare minimum expected).
Courtship plays an important role in the marriage process for common, unequal, propertyless, flesh, and loony unions. Even though abductions, in the context of war unions, are considered a form of courtship, Sinn Dhein marriages are generally based on consent built over a long or short period of courtship. Only a warrior’s union, if abduction is considered a form of courtship, does not have a courtship process.
Courtship practice differs tremendously by region and clan, and those that exist are more than can be enumerated, however below are two interesting customs.
One interesting custom practiced by clans in the Sinn Dhein east is for the person who has identified a potential spouse to go to their house accompanied by a friend and throw their cap (usually a tam o’ shanter or a tartan hat of some kind) through the door when it is opened. If the cap is thrown back by the potential spouse it means they are not interested. One should be careful not to rush to throw the hat in case the potential spouse is not the one who opens the door – it would be awkward explaining the mistake to one’s potential mother- or father-in-law!
Another interesting custom, practised by clans in the coastal regions, is that of carving lovespoons for one’s beloved. How this absurd custom emerged and spread is not quite clear, though its practice in coastal regions suggests a link to sailors who, while journeying to far off places, would bring spoons back to their loved ones. This practice seems to have caught on with lovers generally. The lovespoons are intricately decorated with things like keys (symbolising the key to the carver’s heart), wheels (symbolising the promise of industriousness and hard work) and beads (for the the number of children the carver would like).
It is common practice for each of the spouses-to-be to pay a discretionary amount of money to their prospective mother- and father-in-law, who then divided it with the clan chief. A base sum of money is then paid annually to one’s in-laws.
Marriages are most commonly held during the feast of Beltane. Due to the great number of marriages that take place during the feast, it is not uncommon for couples to be married in groups. It is also common, just before the ceremony begins, for the family of the bride to ‘kidnap’ her. The groom and his family must then pursue the ‘kidnappers’ and rescue the bride. Where the marriage is matrilineal, the roles are reversed. In some regions it is believed that whoever actually frees the kidnapped bride would themselves marry on the following Beltane.
Both brides and grooms usually wear the traditional tartan of their clan for the wedding ceremony itself. In some clans it is viewed as a sign of good fortune if the bride’s clothes are accidentally torn before the ceremony. The ceremony itself takes place in the open air, often in a place of spiritual significance, such as sacred groves, near sacred springs, or at stone circles, and all those in attendance go barefooted.
Wedding vows are almost universal, but their substance differs greatly between clans. The pledge of Clan Braeg o’ MgIlsen is as follows
Ye cannae possess me, fur a'm mah sole possessor, but while we baith wish 'n' th' gods decree, ah gie ye that whilk ah kin give. You cannae command me, fur a'm free but ah wull serve ye freely a' ye need and th' honeycomb wull taste sweeter comin' from a free hand I pledge tae ye that yers wull be th' name ah greet aloud in th' night and th' een intae whilk ah smile in th' morn I pledge tae ye th' foremaist bite o' mah meat and th' foremaist dram fae mah cup I pledge tae ye mah living 'n' mah dying, baith o' thaim in yer care and tae speak nae tae strangers o' oor griefs this is ma vow tae ye, th' pledge o' an equal tae an equal
As the newlyweds depart the grove or circle, bagpipes are played and milk diluted with water and drops of blood is often sprayed at them in order to ensure a fruitful union. A recent custom that has spread rapidly expects both newlyweds to throw a handful of sweetened nuts to children. It is believed that this simple act of generosity ensures wealth and happiness for many years.
A feast usually takes place immediately following the ceremony and every guest is expected to bring food for this. Donations of food or other forms of wealth by those who are unable to be at the ceremony are also commonplace. During the feast, either the bride or groom can take steps to ensure marital faithfulness by disappearing midway through the feast and giving the other a drink in secret while whispering to them what is believed to be a charm. A wife may say something along the lines of
This is th' charm ah set oan ye, A woman’s charm o' truth 'n' honour: Ye mah plough 'n' ah yer field, 'n' none bit we forever; Yer bairns mines 'n' mah bairns yers, aan oor honour bound
As marriage is essentially a contract, it can be dissolved by either party at any time, though usually there is some kind of grievance that causes it. There is no social stigma associated with divorce as it is viewed as the dissolution of a contract, like the dissolution of any agreement. In cases where there is no particular grievance that has caused the divorce but both parties consented to the divorce, the length of the marriage becomes important in ascertaining how property is to be split. Marriages that have lasted seven years and more see all marriage property divided equally between the parties. Where one party has not consented to the divorce, or the marriage lasted less than seven years, a team of arbiters carries out an investigation to decide how to split the wealth between them.
Marital faithlessness, defined as siring or birthing the child of one who is not one’s spouse, is sufficient grounds for divorce. Marital faithlessness does not automatically result in divorce however; the aggrieved party must halt sexual relations with the guilty one and then begin divorce proceedings. In cases like this, the aggrieved party generally leaves the marriage with all the wealth they came into it with as well as all wealth the couple accumulated over the period of the marriage. Wealth the guilty one entered the marriage with is retained, and any wealth earned or primarily owned by the guilty party’s other spouses is not factored in.
Some clans recognise some very odd grounds for divorce, such as a spouse having bad breath. However, more common grounds are things like a spouse being obese or infertile. Not being industrious, or showing a lack of adequate concern for one’s spouse and children are also widely recognised grounds for divorce. Participating in criminal activity is also a legitimate ground for divorce, and a spouse who becomes an exile can be unilaterally divorced (the exile’s wealth is generally split between the clan, the exile’s family, and the divorcing spouse). If a spouse believes they were seduced into into marriage by trickery or magick, that can also be legitimate grounds for divorce.
Betraying one’s spouse to their enemies is also a grounds for divorce, as is dishonouring them (this is very broadly conceived and can include things like telling lies about one’s spouse, telling strangers about their personal problems and grievances, having one’s spouse satirised by a Fili, and so on). While marital rape is not entirely recognised, physical and mental abuse evidence a lack pf sufficient concern for one’s spouse, and so can be grounds for divorce (however, in cases like this it is less likely for the abused party to initiate a divorce and more likely for them to take personal revenge in some way, which is a customary response to being injured or attacked).
In all these instances, the initial wealth of both parties is retained, but the wealth accumulated in the duration of the marriage is split in a discretionary manner by the arbiter/s. The seriousness of the grounds of divorce translates into a greater share of the accumulated wealth going to the aggrieved party.
In the case of temporary marriages lasting one year and one day, divorce takes place at the end of the determined period by placing the couple back-to-back. By then walking away from one another, thy give their consent to divorce. Each person takes their initial wealth with them, and all wealth earned in the year and day since the marriage goes to whoever actually earned it.
The Sinn Dhein celebrate numerous festivals, many of them local or specific to a clan or region, but there are festivals that are observed by all, such as those celebrating the coming of the new season – Beltane, Sambane, Embilc, and Lignsid – and those celebrating the solstices and equinoxes.
Celebrated on Samonos 1, Sambane marks the beginning of the winter and the Sinn Dhein New Year, and is the festival memorialising the death of the gods Tymhorau and Raithean. Sambane is a reminder that death is the inevitable fate of all, but that death also promises rebirth come Spring. Thus, Semblane is a time to make peace with the inevitability of meeting with death in the end.
On this day, the veil between the realm of the living and that of the dead – the spirit world – is thought to be at its thinnest, and so it is believed that the spirits of the dead can be communed with better than at any other time. Ancestors are remembered and revered – doors are left unlocked so their spirits can enter, meals are prepared for those who have recently passed, and the hearth-fire is kept alight through the night so the spirits can find a place of warmth and light.
However, it is not only the spirit of ancestors that emerge on Sambane. The vengeful spirits of the evil ap Morig also ride out from where they are imprisoned in the deepest pits of the underworld, searching for mortals to possess and ravage. Indeed, it is believed that the spirits of ancestors battle with the ethereal ap Morig, keeping them at bay from their families and clans – and they do so more earnestly the more they are honoured and revered.
Spirits, due to their nearness to the gods, also have knowledge of the future, and so Sambane is a time where divination rituals spike. There are many types, but dancing apple seeds or hazelnuts on a fire are common for those asking about love and health. Some clans have a practice where each member of a household casts a stone into the hearth-fire. If, in the morning, it is discovered to have moved in the ashes, then whoever threw it would not live to see the next Sambane.
Traditionally Sambane, marking the beginning of winter and the darkest part of the year, was also a time of preparation for the coming period of relative inactivity when clans hunker down in the ice and cold and pray they would survive winter. Sambane also marks the end of the growing season, when trees become bare of fruit, and traditionally the full moon preceding it is called the “crimson moon” because herdsmen must slaughter part of their herd to be able to feed the animals through the sparse winter nights. It is not uncommon for wealthy clans to supply clans-folk with enough fodder for all of winter, and this is also a time when clans take their herds and travel to warmer climes where forage is no object.
The hallmark of Sambane is no doubt the clan gathering to light a mighty bonfire. This is believed to dispel ap Morig spirits by both attracting the spirits of ancestors and strengthening them with their warmth and light. Importantly, this unites the clan, ensuring camaraderie and clan identity are preserved, while also providing an opportunity to forgive old wrongs and turn a new page. Some clans have a custom of rekindling every fire in the clan from the bonfire. Around the bonfire a festive spirit reigns, with men and women, young and old, eating seasonal foods and dancing to keep the ap Morig away and aid their ancestors in holding them at bay. Small sacrifices and wishes are often thrown into the fire in the hopes of earning the favour of the gods.
Coming about on Ambanlic 1, Embilc marks the beginning of Spring, the time of picking the trees and moving the cattle to spring's great green pastures. H’Mrorrig, goddess of spring, is honoured in particular during this festival. A celebration of the strengthening light of the sun, Embilc is also a celebration of feminine mysteries – chief amongst them childbirth, of which the H’Mrorrig is goddess. Having experienced rebirth at midwinter, the gods Tymhorau and Raithean emerge as children in with the coming of Spring, and so Embilc is also a celebration of that.
Occurring on Bultaeg 1, Beltane hails the coming of Summer and light, and is the festival of life (both due to the time of year and the fertility of the earth, and life more generally); in this sense it is in many ways the exact opposite of Sambane. It is a fertility festival celebrating the maturation of the gods Tymhorau and Raithean into young lovers and their sexual union, as well as the creative energies and life born from their love-making. These energies are thought to bless the land, animals, and people, bestowing health and fertility on all.
Like Sambane, Beltane is celebrated with great bonfires and revelry. Cattle are driven between the bonfires as a way of blessing and purifying them, and many young couples daringly leap over smaller flames or dance among them to bless and purify themselves also. The daylight hours of Beltane are the most popular time of year to ‘walk the tree’ (that is, get married).
Beltane night is spent, in emulation of the gods, in feverish love-making. It matters little whether the partners know each other, for on that night all women are Raithean incarnate and all men are Tymhorau. It is not mere sex, however, but a blessed union. Women impregnated on Beltane night are forbidden from aborting, and the child is considered not her child, but an actual child of Tymhorau and Raithean. These Beltane-children do not inherit from their human parents and are instead placed in the care of the clan.
Different clans have differing customs with regards to the selection of the so-called ‘Beltane Rhig and Bhaenrhig’. Some clans choose them and have them perform a pageant before the entire clan, while bolder customs have them take up the role of Raithean and Tymhorau more literally before the entire clan. Some clans do not have this custom at all.
On Beltane, as with Sambane, the veil between the realm of the living and that of the spirits is considered to be nearly inexistent. Rather than spirits of the dead, however, it is the nature spirits that roam free on Beltane – not during the night, but during the day. While many of these spirits are believed to be benign, there are also those that are mischievous – doing things like switching the souls of newborns or beguiling people and animals so as to fool them into a limbo between the spirit realm and the realm of the living where one day is equivalent to centuries in the realm of the living. For this reason, many Sinn Dhein use talismans to ward off mischievous spirits on and around Beltane. Sacred woods are used to light the fire as an additional ward, and offerings of wine, milk, and fruits are left outside festival areas to divert and appease any mischievous spirits who might be attracted to the revelry.
Celebrated from Lembiuod 1 to 20, Lignsid marks the end of Summer and the coming of Autumn, and is the fruit harvest festival. Lignsid is known for bringing many regional tribes together to celebrate for the duration of the twenty days, and in ancient times powerful Rhigs were able to bring together all the Sinn Dhein clans from across the realm. From east to west and north to south, hundreds of thousands of people would pack up and make for the designated location of festivities for the year.
The festivities begin with the Bhaenrhig appearing in a tartan cloak, combining all the tartans of the Sinn Dhein clans and slaughtering a great bull. This also represents the wounding of the gods Tymhorau and Raithean who will die at Sambane to be reborn again at the winter solstice and emerge as children in Spring.
The fruiting of trees is treated with great reverence, and fruits are dedicated to the gods and goddesses. With that, the festival erupts into celebration with all manner of massive sporting contests and feats of strength, different clans sending in their best and finest to compete. These annual games are said to have been instituted by the goddess Seihdhara herself and witness an enormous number of pipe bands massing together to release thunderous deliveries of traditional Sinn Dhein music in the opening and closing ceremonies of the festival.
Sporting contests include chariot racing, weight throwing, hurling, caber tossing, stone put throwing, sword duelling, Sinn Dhein hammer throwing, lazy stick tussling, various animal fighting sports, weight-over-the-bar throwing, shinty, wrestling, curling, rowing, swimming, ba game playing, Sinn Dhein foot with the ball, archery, and Sinn Dhein highland dancing. It is also commonplace for clans to pitch teams of one hundred to five hundred clans-folk armed with wooden swords and shields that, once all clan teams have been sorted into one of two or three teams, engage in a massive mock battle with one another. It is commonplace for this annual mock-battle to result in injury, though it is usually nothing serious or permanent (this capacity to practice restraint and not cause as much harm as one can is considered a mark of battle-prowess by Sinn Dhein). Beyond these events, dancing, fighting, and other unruly behaviour characterise the feast.
Lignsid is more than an opportunity to take part in sports, however, for it has been and continues to be a time when Sinn Dhein come together to celebrate their identity as a people and the loyalty of all clans to the Rhig to other clans, as well as an opportunity for general socialising between clans and people who do not often cross paths. For this latter reason, Lignsid is also a very popular time to engage in temporary marriages lasting one year and one day. Marriage or not, however, Lignsid (for obvious reasons) features stupendous levels of sexual activity. Duels between renowned warriors, and disputes over the champion's portion, are also common on Beltane.
Unlike Beltane and Sambane, Lignsid is a water festival, and just as being driven between bonfires on Beltane purifies cattle, on Lignsid they are blessed by being driven through shallows or, in the case of horses, making them swim across a river. Other customs include dressing sacred wells with flowers and the burial of flowers to signify the end of summer.
This is the longest night of the year and occurs around Seihdhos 21 every year. Regional clans tend to gather together to celebrate this night. Many symbols of fire and light are used to encourage the sun to wax stronger once again. On this night, it is believed by Sinn Dhein that Tymhorau and Raithean, who died at Sambane, undergo their rebirth.
This spells one of the two times of year where night and day are in equal balance, and occurs annually around Acagoil 21. However, with the passing of this day, light will begin to eclipse the darkness of night each passing day. The god and goddess Tymhorau and Raithean are both maturing from childhood, but the two have yet to marry and mate (which they will do at Beltane). Raithean journeys across the Sinn Dhein homeland, waking the land from the slumber of winter and leaving flowers where her feet touch the ground. The ground has now thawed and it is time for fruits to begin emergin – thus festivities around this time involve the blessing of trees and woodlands to ensure a bountiful fruit harvest.
Midsummer occurs around Mragin 21 and is the longest day of the year. The sun is at the height of power and so are Tymhorau and Raithean. Tymhorau is the young dashing warrior, strong and virile. Raithean is with child, glowing with fertility and permeating the earth with it. Light and fire are the themes of this festival, including fire wheels being rolled down hills and into lochs, symbolising the sun’s strength. This is an auspicious time for Wyndyn to gather herbs, especially magickal ones. The spirits of nature are believed to be especially active.
Once more, night and day stand equally balanced, but this time night and darkness are waxing mighty. Tymhorau and Raithean were both wounded at Lignsid but will not perish until Sambane. Their power wanes along with the sun. The goddess, heavy with child, reflects the fruits of the harvest in her swollen belly. All around, the animal world prepares for winter and people shore up their defences and fill their stores for the cold, dark nights that lie before them or get ready to move to greener pastures. Deciduous trees erupt into dazzling colour in a final farewell before descending into winter’s dormancy. The crimson moon is near, when herdsmen who do not think they can ensure their herd's survival through winter slaughter a potion of it.
A' things ur Faetid t'wards termination
Being a warrior people, the most honourable death possible for a Sinn Dhein is death in battle. Depending on clan custom, a person who dies may be buried, cremated, or have their ashes buried. Graves contain items needed for the next world, such as weapons to engage the ap Morig in battle during Sambane and to generally defend oneself on the journey to the spirit world, as well as food, wine, clothing, torcs, and other forms of wealth.
While Sinn Dhein believe in rebirth, they believe this is optional and that one who has led a good life may elect to remain in the spirit world for as long as they pleased, even forever. If reborn, Sinn Dhein believe one can return in any form. The spirit world is believed to be a paradise where the dead wear gowns of silver and gold, and gold bands around their waists, torcs on their necks, and jewelled circlets on their brows. They can sally forth on chariots of fire to do battle with the ap Morig on Sambane and carry out various quests in the spirit world to ensure the safety of the realm of the living.
Funeral customs that require cremation include the sacrifice of sheep and oxen so that their fat can be placed on the body. The carcasses are then placed around the dead person’s body, along with jars of honey and oil. Beloved horses, dogs, and other animals are slaughtered and their bodies are piled on top, and the entire thing is set aflame. The dead are addressed and people wail in mourning. Once the fire is extinguished with wine or mead, the remains are taken out and laid in a golden urn, which is then buried alongside food and weaponry inside a burial cist with a cairn or barrow over it.
Clans with customs that require the burial of the body tend to have the body washed and wrapped in a death shroud before laying it out with burning candles around it inside the home for a period of five to seven days. People visit to lament and mourn the dead person and give praise. Three days after the body is laid out, a small feast is held in their honour featuring sporting events. The body has a bowl placed on their chest into which people place food and gold for use on the journey to the next life.
On the morning of burial, a Treiwynd arrives to measure the body so as to ensure their final resting place is fitted to their size. The Wynd also whispers into the ear of the dead person. What it is that the Wynd says is unknown, though people postulate that they whisper instructions on how to get to the spirit world. The person is then buried supine in a burial cist with their weapons and gifts, and a cairn or barrow is built over them.
If the body of a person could not be retrieved for burial, the family of the deceased can approach a Wynd for an assortment of rituals that will ensure the safe passage of the deceased’s spirit to the spirit world.
Ancient Sinn Dhein used wolfhounds, amongst the biggest, if not the biggest, dogs known to them, for war and hunting. Sinn Dhein still use them for these purposes – a wolfhound is a terror on the field! The other major Sinn Dhein breed is the Border Collie, one of the most intelligent dog breeds. Used primarily as a herding dog, its extreme intelligence also makes it exceptional for various military duties.
Bhaenrhig/Rhig - Queen/King, when addressing the monarch Amlwyg - Heir Apparent, when addressing the heir Tywsyg/Tywsygys - Prince/Princess, when addressing a member of the royal family Chief/Laird - When addressing a clan chief Hynaf/Rhaig - When addressing the heir apparent of a clan. Hynaf for males, Rhaig for females. Larwynd - When addressing Wyndyn, regardless of gender or type. His/Her Grace - When referring to the Bhaenrhig and Rhig The High-born - When referring to the heir The Well-born - When referring to a member of the royal family The Much Honoured - When referring to a clan chief/laird The Honoured - When referring to the heir apparent of a clan The Hallowed - When referring to a Wynd of any type
Our Mother's Gift - It is Sinn Dhein tradition that while a mother is giving birth the father (or, where none is present, an uncle, grandfather, or any member of the clan) must leave and climb the sacred mountain, Caer Seihdhar, and seek an omen from Seihdhara. This omen is considered the newborn's Ainaim (soul-name). For instance, if the weather happens to be stormy and the time that of night, the Ainaim may be 'Light in the Night'. If an eagle flies by on a clear day, 'Eagle in Full-Sight'. These Aainaimin are sacred and provide the person with direct connection with the Bear Mother. One without an Ainaim is considered incomplete. Likewise, on birth every Sinn Dhein is given a Faisehd, a warning or prophecy of sorts - e.g. 'you shall die within a week of killing the red-horned ram' or 'do not eat of the fruit of the cherry tree' or 'Be bloody, bold, and resolute; laugh to scorn the power of man, for none of woman born shall harm Macbeth' or 'Be lion-mettled, proud; and take no care who chafes, who frets, or where conspirers are: Macbeth shall never vanquish'd be until Great Birnam wood to high Dunsinane hill shall come against him'. So long as one conforms with their Faisehd (and a person may have more than one, as we see with Macbeth) then they are fine, having greater kyne. One who breaks it, however, does damage to their kyne and may ultimately die. 'Aye, ah broke mah Faisehd laddie. Best coupon th' auld reaver lik' a true hielan man eh?'
Children of the Bear Mother - The Sinn Dhein believe the blood of the war-goddess Seihdhara runs in their veins, most potently in those whose hair is red. In war, it is their ultimate purpose to seek out glory, worthy foes to take-on in single combat, engage in valorous deed, and ultimately attain either death or victory. However, this pursuit of individual honour, greater kyne, and acts of valour can sometimes lead to a certain propensity towards disobedience and insubordination, with acts of individual valour and glory being viewed as far more worthy than following commands to the T. 'Ye hielan men! Les sho they degenerates wha comes tae claim thair bides this day!'
Sinn Dhein Ways and Sinn Dhein Laws - The Sinn Dhein have no official legal system. The law of the land is custom and any disputes arising that do not fall within the remit of established customary law are dealt with via arbitration. Where arbitration over novel problems fails (a very rare occurrence), disputes are ultimately settled through duels between the aggrieved parties so as to avoid family feuds and clan wars. This provides for very swift and cost-efficient administration of justice, and the legitimacy of custom makes for ultimately satisfied disputants (particularly since there is a feeling that the ancient ways have been preserved and authentic Sinn Dhein ways and laws have thus persevered). However, results tend to lack predictability for novel issues or recently-established customs, and the legal system as a whole is utterly decentralised and almost impossible for foreigners to grasp (which is particularly bad for business). 'Wance upon a time thare wis... Sinn Dhein ways 'n' Sinn Dhein laws...'
Wisdom Immemorial - In the class of scholarly druids known as Arwyndyn, the Sinn Dhein have a true boon. They are supposedly privy to knowledge from the times of the ap Morig and teh glorious age of the gods to the present in an unbroken chain - epitomised in the Seer. When they deign to allow the light of all that they know to shine forth onto the Sinn Dhein, wondrous innovations result. However, the Arwyndyn are notoriously reclusive and secretive, there perhaps being no class of people who have maintained absolute secrecy as well as they have. 'Ní féidir lyeat dció a scriosaedh. Ní fiyú é seo.'
Clan Aelric; The Much Honoured Chief Cathaoir of Clan Aelric
Clan Agalvae; The Much Honoured Chief Alasdaer of Clan Agalvae
Clan Agronae; The Much Honoured Chief Braendin of Clan Agronae
Clan ap-Dhugael; The Much Honoured Chief Padraeg of Clan ap-Dhugael
Clan ap-Entosh; The Much Honoured Chief Eoin of Clan ap-Entosh
Clan ap-Fhinnan; The Much Honoured Chief Somhairle of Clan ap-Fhinnan
Clan ap-Fhinnan o' Iwan; The Much Honoured Chief Maol-Choluim of Clan ap-Fhinnan o' Iwan
Clan ap-Filigan; The Much Honoured Chief Dhomas of Clan ap-Filigan
ap-Filigan o' th'Reaches; The Much Honoured Chief Saenlig of Clan ap-Filigan o' th'Reaches ap-Filigan o' Balmaen; The Much Honoured Chief Paedin of Clan ap-Filigan o' Balmaen
Clan ap-Gwynnud; The Much Honoured Chief Oeghan of Clan ap-Gwynnud
ap-Gwynnud o' Caernmowni; The Much Honoured Chief Mathghaemhain of Clan ap-Gwynnud o' Caernmowni ap-Gwynnud o' Caluk; The Much Honoured Chief Faerdorcha of Clan ap-Gwynnud o' Caluk ap-Gwynnud o' Clagduff; The Much Honoured Chief Toirdhealbhach of Clan ap-Gwynnud o' Clagduff
Clan ap-Ilinray; The Much Honoured Chief Riochard of Clan ap-Ilinray
ap-Ilinray o' Dnabree; The Much Honoured Chief Raemonn of Clan ap-Ilinray o' Dnabree
Clan ap-MgGonnal; The Much Honoured Chief Padrhaegin of Clan ap-MgGonnal
Clan ap-MgOllman; The Much Honoured Chief Uaithne of Clan ap-MgOllman
Clan ap-Olaidh; The Much Honoured Chief Tadhfen of Clan ap-Olaidh
Clan Aujvint; The Much Honoured Chief Feillim of Clan Aujvint
Aujvint o' th'Marshes; The Much Honoured Chief Chu-Mhaedha of Clan Aujvint o' th'Marshes Laird-Aujvint; The Much Honoured Chief Bhaethghalloch of Clan Laird-Aujvint
Clan Beltan o' Tymthean; The Much Honoured Chief Kaelin Laenouvor of Clan Beltan o' Tymthean
Clan Braeg; The Much Honoured Chief Connell of Clan Braeg
Braeg o' MgIlsen; The Much Honoured Chief Chae-Caenacht of Clan Braeg o' MgIlsen Braeg o' th'Braes; The Much Honoured Chief Duaidhe of Clan Braeg o' th'Braes
Clan Connacht; The Much Honoured Chief Ainrie of Clan Connacht
Connacht o' Cornams-Crest; The Much Honoured Chief Finghen of Clan Connacht o' Cornams-Crest
Clan Culquown; The Much Honoured Chief Conchobhar of Clan Culquown
Clan Dhaebidhe; The Much Honoured Chief Manghus of Clan Dhaebidhe
Clan Dhonnuil; The Much Honoured Chief Celatus of Clan Dhonnuil
Dhonnuil o' Ronnuil; The Much Honoured Chief Nuahdha of Clan Dhonnuil o' Ronnuil MgDhonals o' Glencove; The Much Honoured Chief Uoltaen of Clan MgDhonals o' Glencove
Clan Dochmar; The Much Honoured Chief Vaughan of Clan Dochmar
Clan Esher; The Much Honoured Chief Kellasdindr of Clan Esher
Rhiglaird Esher; The Much Honoured Chief Ruaidhri of Clan Rhiglaird Esher
Clan Fhaerchar; The Much Honoured Chief Gearalt of Clan Fhaerchar
Clan Ghillmhol; The Much Honoured Chief Rhagnall of Clan Ghillmhol
Clan Ghiuari; The Much Honoured Chief Gealle-Mhuire of Clan Ghiuari
Clan Grantaeg; The Much Honoured Chief Eiraemhon of Clan Grantaeg
Clan Guilibraec; The Much Honoured Chief Eoin of Clan Guilibraec