The following poem
was written by a Nybelmarian sorcerer, Coren FrozenZephyr, who
immigrated to Santharia at an early age. Throughout the poem one can see
Sarvonian myth merge with Nybelmarian belief. The poet laments his dead
love, who appears in the form of a charmingly white
in the poem, and the state of despair he is in. Note that the poem darkens
as it follows the passage of time from day to nightfall.
Detailed comments on this interesting piece were
provided by several famed scholars of the Society of Foreign Poetry in
As the rain
trumpets ‘gainst my sullen frame,
Coursing down to fused streams longing for calm,
To dampen winded paths, to meet Her grace, 
I will miss you always my white, still wind.
Where ithildin casts the grieving firstflame,
Come sweet Aelirel , dance the gentle
Drift through the misty white, up the gloom spread,
And steal me to meet the Injèrán rise.
When the Mari dreams  haze the dying
Sail through the glaze of night never-ending/everlasting,
Stretch your rieuing  call, spread
And fall free to pierce the quiescent charms.
As the grey shade gives way to a dark reign, 
Reeling in passing promises, leaping
To rising shades, to whispering shadows,
I shall dance for you my mellow sea hymn.
Take wing off this gray isle  of ice and
Lurching in dark ecstasy ever-bound,
Roll off these carpets of misty white, up
The sapphire sky to greet the break of day.
Hear my panting prays Oh fair Aelirel!
Your laughter once to break these webs of grief
And hope to disrupt the flows eternal
For something in the soul, for something more!
Your white charming, the last gate fast swaying
Fall free and in a brighter place arise! 
 This is a very ambiguous
reference; it is not clear if the poet alludes to the Lillivear Goddess of Earth
(Ankriss), the Aesteran Goddess of Water (Arlea) or the
Goddess of Dreams and Hopes (Mari). Most
probably the poet himself was also confused. Among his great grief he perhaps
looked for a beacon of hope (the aelirel/his
lost love) but as the tears misted his vision and blurred his judgment, he found
 Lord Coren FrozenZephyr is
known for his dense imagery and deep metaphors, and this line surely illustrates
of his style. The line refers to the gloom of a concrete-coloured dawn.
Aelirels are small, friendly birds of
white plumage that live in forests, plains, and heaths throughout
Aelirels are often viewed as a symbol
of peace, so perhaps we could say that the poet mourns his loss of innocence
instead of taking the literal interpretation of mourning over the death of a
loved one. [Return]
 The choice of words here is
quite interesting: From the many alternatives (“up”, “across” etc.) the author
picked “through”. Could this be taken to imply that the bird is able to get past
the grief around it? [Return]
 We thought it might help to
include a brief extract on Mari, the
Goddess of Dreams and Hopes, for readers who
might not be well-acquainted with Nybelmarian
lore: She is believed to reign over everything of this world and is opposed to a
principle of nothingness and destruction known as "the Unspoken" - which
strangely enough is credited with the task of creating the world on which
Mari, as a goddess of dreams but especially as one of hope, indeed seems to
fit seamlessly here. A more cynical approach might put forward the suggestion
that the only reason a Krean poet chose
Mari was that he was looking for a harmonic,
two-syllable word. [Return]
 Quite an odd word, we feel
this is not a misspelling as some scholars suggest but an onomatopoeic usage of
the bird’s call. This interpretation also unearths a rather intense pun (with
 Notice the curious contrast
in this line: The calmer, seemingly peaceful undertone of ‘quiescent’ is
unsettled with the fiercer, slightly negative connotations of ‘pierce’ as if to
challenge the readers to ponder again where the truth really lies. Here the
tables are turned around; echoing the Krean
belief that deeper truths can only be reached through the bridge of paradoxes
and contrasts. The poet makes a very delicate warning against the deceivingly
gentle appearance of sorrow. Grief is oftentimes such a soothing blanket that we
do not let ourselves lose hold of it after it has served its purpose – even at
the expense of its veil obscuring our view. Most
humans measure the ‘quality’ of one’s affection and remembrance of a lost
loved one by the length of his woe. This was a very alien concept for the
Krean. The Aestera considered it rude
wearing dark garments at funerals or mourn after their loved ones (a quick
glance at the places entry for the
Aesteran trading town of Sah
for instance will provide further illustration). The
Krean believe in life eternal and try
to see through the illusion of death; for them physical death should be viewed
as a transition (a ‘passing away’?) of the soul to a brighter stage of
existence. They grieve instead for the hard times the relatives of the deceased,
the ‘remaining ones’ have to live through. This is again a typically
Krean concept; despite having lived in
Santharia for almost all his adult life it
seems Lord Coren FrozenZephyr could not entirely shake the influences of his
homeland off himself. [Return]
 Here the poem is darkening as
it follows the passage of time from day to nightfall. In contrast, the
aelirel, if anything, becomes even a
brighter symbol: Through the blackness of the night, the
aelirel is a beacon of feathery white
the poet holds onto. Note also that “Greyshade” and “Darkreign” were written
without a capital start and as separate words (unlike the “firstflame” in the
second stanza) to bring out the inherent personification.
 Although the
Great Compendium conducted a thorough
search, it could not come up with any historic or mythical references in
Nybelmarian role. Thus, we feel it would be
safe to claim that this is entirely a figurative island: The isle of grief is
lurching in dark ecstasy as it feeds on the misery of the poor, stranded sailor.
 Once again the hallmark
concluding couplet; for once the poet has managed to restrain himself to ten
syllables and not disrupt the meter of the whole piece. Could the last line
(along with the conclusion of the third stanza) be a very subtle allusion to the
elven poetess Rayne Avalotus’ beautiful poem
“Flower Dreams” (see especially: lines 10-12)? [Return]
No-one quite knows how this rather
random piece turned up at the Great Library of New-Santhala,
but it is believed to be an essay (or an excerpt from an analysis of one
of the poems of the famous Zhunite
writer R. S. Séníshíá) by Dearan Saliador Asaen from the early days of his
imperial officialdom in Zhun.
Man fears what he
cannot understand, and despite his immense struggle, the fear draws him to the
unfathomable like the enticing gleam of a Blue Hunter’s nest. The elated
butterfly  within craves to respond to
the siren's song - the silent song of its own inexplicable nature. Standing bare
feet on the green ground, head bathed in the blithe air, the soul uplifted to
infinite space, he enjoys a perfect exultation; a feeling of invincibility
engulfs him: nothing can befall him in life which nature cannot repair.
I have known myself to stand before the rose fields of Ratheen, unable to move,
to talk; replete to the most remote edges of my soul with an immobilizing bliss.
My essence extends towards the multicoloured mantles of red and pink and white;
as streams meandering towards a river, I’m struck, I’m taken, I’m washed into
them. I am one with the flower fields, I am one with the rolling mountains,
spring passes to summer… I am one. I am whole.
But are the roses not also frightening? Are they not excessive in their sheer
and silent abundance, a force so immutable that he who comes wandering over the
hilltops is struck and saturated with a simple happiness? I stand and stare into
the cities of the roses, their sweet softness an extension of my essence.
Nature, like so much in the complicated lives of the Lillivear, is reflects in
likeness of our subjective reality. The very air we breathe may as well be "a
cordial of incredible virtue" as a toxic vapor suffocating the soul under its
unassailable weight whilst we fluctuate between two opposing poles of emotion.
Nature "fits equally well in a comic or mourning piece" because it is a part of
ourselves, an inseparable part of our own nature. Simply by opening the gates of
the soul to its uncontained and immortal beauty, simply by surrendering to the
currents of the Universal Being circulating through ourselves, we are elevated
to a state of "perfect exhilaration". As the human soul pushes the limits of a
universal paradox, as it is filled with "gladness to the brink of fear", a tiny
parcel of the self may be revealed.
R. S. Séníshíá's evocative style reveals the rejuvenating energy of nature; her
vivid imagery channels the abstract concepts of eternal youth and sanctity into
the mundane life of modern  Zhunites.
When a man surrenders himself completely to the grandness and splendor of
nature, he is "cast off his years" as the snake of its cumbersome slough. Amidst
the deafening silence of the woods, a man finds the greatest, the sweetest
pavane, the voice of God  - his own
beautiful voice. In the woods, in the land of perpetual youth, he is allowed to
remain forever a child, an almost symbolic embodiment of innocence and joy. Only
when he sheds off all judgment and opens himself to the "infinite space
in-between", does he become "a transparent eyeball" – being nothing, seeing all.
Only when he gives away the self, yields all "mean egotism", does he receive the
"universal-self" - a state of godliness strived to by Krath mysticism since the
dawn of time.
The figurative language and flowery imagery may seem at first arrogantly
hyperbolic, but in fact they are very modest understatements of the ecstasy
Séníshíá feels upon uniting with the whole of existence. When we are one with
all there is, all puny human dramas, "acquaintances [...], master or servant"
disappear in the vigorous flow of bliss and exhilaration. In the tranquil
landscape not only do all faith and reason return, allowing us to be the lovers
of "uncontained and immortal beauty", but the self is transformed into an
expression of divine love. Thus, "man beholds something as beautiful as his
nature" as he realizes that nature is a bridge between him and his celestial
 Elated butterfly & sirens: According to Zhunite legend,
there is an island in southern Zyloth where cities of butterflies cover the
rocks like a blanket of flowers. Just like the sailors, they too were enticed by
the sirens’ haunting voices and are unable to move on.
 This essay was written in the nineteenth century b. S.
 Surely this must be either a mistranslation by Santharian
scholars or a terribly careless inaccuracy in reproduction by Zhunite scribes
for it is a now well-known fact that the Krean only worship two deities:
Ankriss, the High Goddess of the Earth and Arlea, the High Goddess of Water.