The Nor'krin are tall and strong, with thick, sandy blonde hair, deep blue eyes, and white skin that turns reddish when they go south from their frost-kissed land; the Janra affectionately refer to them as the Northern giants. They love to run across the snowy plains and up to the peaks, to feel the crispness of the air, and to drink the cold and crystalline waters of the flowing streams.
There are not very many of them; they live nomadic lives, spread out across the snowy North, carrying with them only their clothing, their hunting weapons (a large bow and quiver of arrows, an axe, and a knife), a canteen, and a handful of tools and other miscellanea.
Theirs is a culture of oral tradition and folklore, filled with a richness of symbolic thought. Their thought is expressed by storytelling. Some tell of people and actions full of goodness, love, and wisdom; some are allegories packed with symbolic detail; some are both. The evenings — from the meal onward — are times when the clans gather together, and the oldest member tells tales until long into the night, when the fire has died down to embers and the icy mountain peaks glisten in crystalline blue starlight.
(The language is one which revolves around the oral tradition; its grammar is fairly simple, sufficient for basic expression, but there is an extensive vocabulary fitted to epic poems, great tales, and the transmission of a symbol-filled body of lore)
Their experience of sense is primarily aural, centering around the communication and preservation of their tradition. The other senses all play a part in their knowing about the world around them and its enjoyment, of course, but the ears dominate.
Coming of age is very significant in Nor'krin culture. It is the event upon which a child becomes a full member of Nor'krin community, and appreciates it fully, for it is accomplished in solitude. It is the same for male and female, big and small.
Denuded of all possessions save a hunting knife and the clothing on his back, the child begins a solitary trek, south through the land of the Urvanovestilli and Yedidia, penetrating deep into the thick forests inhabited by the Tuz, until he enters a village, and, coming inside a shop, says, "Blacksmith, blacksmith, find me a task, give me a quest."
There are as many quests as there are questions. Some are easy, some are hard; some are simple, some are complex. Whatever the quest be — be it finding an amethyst in the caves, climbing an immense mountain, answering a riddle, memorizing a book — he leaves the blacksmith shop and does not return until the quest is completed. (It must be said that, though some quests have taken years to complete, recorded history has yet to see a Nor'krin fail. A child leaves the immediate presence of his family, but remains in their prayers; they have great faith, and it is in this faith that they tread securely into the unknown.
Upon the return, the blacksmith begins to ask questions: "What is your name? What is your family? Who are you? What is your story?" — and begins to fashion an iron cross. This cross is at once a cross as any other, and a unique reflection of the person who wears it; no two are alike.
It is with this cross worn about the neck that he returns to his clan, come of age.
Nor'krin greet each other by standing opposite the other, placing the left hand on the other's right shoulder, and lowering the head slightly; the gesture is a sign of respect.
The emotional side of their culture is not as intense or spectacular as many others, but is present and offers an important reflection of what they value. They know a deep sense of respect and appreciation; when they think of others, the first thought is, "This person is an image of God," and there is a feeling of respect. The mountains, the trees, and the streams all bear a magnificence which they appreciate. Nor'krin worship services are filled with awe at the One whose glory is declared by tales, by lives, and by the created order. They are traditional liturgical services, where the place of the homily is taken by long tales and stories, conducted by the eldest members of the clan.
The Nor'krin homeland is named 'Cryona'.
Many wayfarers go south, early in life, to buy equipment; they need only wait, and a blacksmith will forge a pair of iron boots which will last for life.
The people are dark and strong; their eyes shine with power and lightning. The average Tuz male is short, stout, very broad-shouldered, and built like a brick wall; a thick, straight, jet black moustache and a thick, curly beard push out of leathery skin. Women are equally short and stout, but do not have such broad shoulders, being (relatively) more plump and less muscled, and do not have the moustache and beard (usually).
Their buildings are hewn of solid granite, with iron doors. The villages are small and scattered, joined by worn paths passing through the rich, deep green of the forest. It is this forest, fertile and full of beasts, from which the heart of their meal comes. They are more than fond of spicy meat stews and bear jerky. Their beer is dark, thick, and strong, and every house has at least a little bit of khoor, a spiced rum which is occasionally used by the other peoples as a pepper sauce.
The Tuz work hard and play hard. They are often hired for heavy work in the construction of Urvanovestilli palaces, and their work rarely receives complaint. After work is over, they tend towards wrestling and general rowdiness; if they are present, Janra children (and occasionally adults) are tossed about.
For all of their rowdiness, the Tuz do possess a great deal of restraint; even after a couple of beers, they seldom give each other injuries beyond occasional bruises and abrasions, and Janra children do not receive even a scratch. (Most of them rather enjoy being tossed about).
The usual greeting is a crushing bear hug, often accompanied/followed by a punch in the stomach, some wrestling or tossing around, etc; it is generally toned down a bit for children and visitors from afar, but there is always at least a spark of rowdy play.
As much as the Nor'krin are at home in the cold, loving everything that is crisp and chilly, the Tuz love heat. Their land is by far the hottest, but that doesn't stop them from munching on peppers and wrestling around. Blacksmiths' shops and fire and sun-hot iron — these are a few of their favorite things.
The Tuz also build obstacle courses of stone and iron and rope, which the Janra have no end of finding new and inventive ways to use; a slack rope which Tuz climb along the underside of will be walked — or occasionally run — atop by the Janra; jumping shortcuts, backwards or inverted travel, and acrobatic ways of avoiding raw strength moves are common. Tuz, by contrast, have very slow and methodical paths.
They are, indeed, probably the most constant and unchanging of peoples; the process of maturing is a process of becoming more who they are. Their sense of order is also great; they value greatly the gift of being well ruled.
A child, at the age of ten, is presented to the village elders and the various guildmasters. They spend a day talking with the child and his parents, in order to determine his talents, interests, and personality; then they spend another day talking and discussing amongst themselves; then, on the third day, his profession is announced, along with the master to whom he will be apprenticed. The results are sometimes surprising, but always embody a great deal of wisdom, and the selection of a vocation is a gift for which the child is grateful.
Children learn a way of life filled with discipline, tradition, and respect for elders. It is quite simple, not at all ornate when compared to some other philosophies, but it has a power, a solidity to it, and love, faith, honor, friendship, and hospitality are things that they truly live by. Their families and communities are very close, and their friendships are loyal until death. They do not pay as much emphasis on verbal articulation of teaching as a way of life. There is thought, but in its expression, words take a second place to actions. That a life of faith involves discipline is declared very loudly by Tuz hands.
The are very aware of the value of solitude and prayer; it is a common practice to simply leave, taking nothing save clothing and a hunting knife or axe, and go up into the mountains for a few days of solitude, allowing time to pray and to be refocused.
Their language has, in speech, a very heavy, thick, consonantal feel, full of grated 'h's (which is often present in 'k's, 'r's, 'g's, and 'b's). The speech is terse and concrete.
Their experience of sense is also very concrete, centered somewhere between visual and aural. Sight tells what is around and where, and what is happening and where. Hearing tells what is happening, and where, and what is being said.
The emotional side of their culture knows such things as accomplishment, tradition, exertion, and discipline. There is an emotion that comes from a job well done and a challenge mastered; they value it. To have a heritage and respect elders as well as enjoy children brings a feeling of right order. To wrestle around, run, or laugh heartily has a pleasure. To control oneself has a joy. Things such as these are what they feel.
Tuz worship services are be short and sweet, with worship embodying a great deal of fervor.
The Tuz homeland is named 'Rhog'.
The first thing to strike a visitor is the devices. In every house and many shops there is a tinkering room; a large workbench is covered with every imaginable sort of gear, spring, hinge, lever, chain, and shaft; the clock is only the beginning of clockwork. Two nearby cabinets — one filled with tools, one filled with parts and working materials — stand neatly closed; at the touch of a button, a drawer springs out, and shelves slowly slide up.
The craftsmanship of clockwork devices is, along with the study of diverse subjects — theology and philosophy, history and literature, science and mathematics — a hobby that symbolizes the culture. Each piece is created not only for utility, but also for artistic effect. Cuckoo clocks and spring loaded umbrellas, Swiss Army Knives and mechanical pencils, player pianos and collapsible telescopes: mechanical objects such as these fill the land.
The ornate complexity of the devices reflects the ornate complexity of thought. The language, quite possibly the most difficult to learn, allows a speaker to express detailed and nuanced thought in exacting specificity. There are twenty four verb tenses, so that there is (for example) a different past tense for a brief, well demarcated action, and one which occurred over a period of time; there are twenty four other verb forms, which are like verb tenses as to conjugation and construction, but express the verb in an atemporal manner. Their language has much room built in for conjunction and logical connectives, nesting and predicates, as well as subtlety, implication, and allusion.
They have a complex and formal system of etiquette, although it must be said to their credit that they take no offense at a wayfarer who is warm and friendly but does not know their rules; they understand how simple the heart of politeness is.
Their speech is clever and witty, and they are fond of abstract strategy games. They enjoy ornate and complex polyphony, and will spend hours exploring theology and philosophy (two disciplines which they have the wisdom not to separate).
Urvanovestilli culture places a very heavy emphasis on a facet of virtue which they call contrainte. Contrainte is a kind of inner constraint, where order is approached by adjusting conditions inside before conditions outside, and not letting oneself be wrongly controlled by external circumstance. A similar concept is embodied in the words 'moderation' and 'self-control.'
Contrainte enables a man to be free and use that freedom responsibly; it enables a man to have access to drink without getting drunk; it enables him to think constantly without becoming rationalistic. The Urvanovestilli homeland has the richest natural resources in the world, and (with centuries of first rate craftsmanship and efficient work) they are by a wide margin the richest nation in the world. Despite this, they keep a very cautious eye on wealth, so as not to be enslaved by it. Theirs is not a culture of consumption; though some of their interests — art, sculpture, board oriented strategy games, tinkering — generally are pursued in a manner that involves wealth, the bulk — discussions, prayer, dance, imagination, thought — do not. Consumption as a status symbol and waste are both seen as vulgar.
In contrainte is also balance and complement. There is time in solitude and time in community, freedom and responsibility, private and public property, work and rest.
It is in contrainte that an ornate system of etiquette does not obscure love, and elaborate ceremonies do not obscure worship. Just as they do not have their sights set on wealth — they do not look to it for happiness, security, and other things that it can not provide — and are therefore able to enjoy it (among other and greater blessings) without being harmed, so also they set their sights on love and worship, and therefore do not permit rules of etiquette or liturgical forms to make themselves the focus and cause hearts to become cold and dusty.
Contrainte likewise allows them to act efficiently without becoming efficient. Off of work, life takes a calm and leisurely pace; nobody fidgets. It allows them to be very judicious in their use of money, and at the same time very generous; their hospitality is lavish, and it is unheard of for anyone — friend or stranger, native or foreigner — to go hungry in their land.
The single greatest mark of contrainte lies in that, with all of their achievements, they remain open to the gifts of God. Contrainte itself — though they work very hard to cultivate it — is not something that they try to achieve on their own power, but ask for in prayer, expecting to receive as a gift from God. Nor is it set up as the supreme context, the Supra-God to which God must bow down; they know nothing of religion within the bounds of contrainte. Contrainte does not "point to" itself as an object of worship, but rather God; it brings, in worship of God, a desire to grow in faith, hope, and love. It is like being reasonable enough not to be rationalistic.
On the surface, the Urvanovestilli culture appears to be the antithesis of that of the Shal. One is complex, and the other simple; one is rich, and the other poor; in one, people sit and talk for hours; in the other, people sit in silence for hours.
At the very heard, though, they are very much the same; Urvanovestilli, when traveling and visiting the Shal, feel that they are at home; the Shal find the Urvanovestilli to be brothers. They see beyond, rest in God's love, and love their neighbors.
The Urvanovestilli are quiet, patient, temperate, and refined. They are classically educated and cultured; their country is a federation of republics, each one ruled by a senate in a tradition that has remained unchanged for centuries. Tradition is strong, and families remain together; come evening, three or four, sometimes even five generations sit down at one table, eating and drinking, talking and listening, long into the night. There is a great respect for age, but a respect that in no way despises youth; the oldest spend a great deal of time caring for the youngest. Indeed, one of the first sights to greet a visitor who steps inside an Urvanovestilli mansion is often a grandfather or great-grandfather, with a long, flowing white beard, sitting with a child on his knee.
Urvanovestilli names are long and ornate. The full name is rarely spoken outside of formal ceremonies; even Urvanovestilli do not often pronounce thirty syllables to refer to one entity; all the same, each one is considered important. The names are:
Family name: This is the first and foremost of names, and the most cherished; it is the most commonly used.
Maiden name: Among married women, this follows.
Birth name: This is the name given at birth, and is often used within families and when there are several people of the same family present.
Reserve name: This is a very intimate name, which is not always known outside of family and close friends; it is spoken with a great deal of affection and familiarity.
Baptismal name: This name is chosen at baptism by people who know the person well, and given a great deal of prayer; it is used especially in religious contexts.
Regional name: This tells of the city or village a person comes from, carrying with it connotations of regional flavor and culture. It is used primarily in reference to travelers or (occasionally) people far away.
Friend names: These names (some do not have any; a few have ten or eleven; the average is two or three) come according to friends; a friend can bestow a name, and it becomes thereafter formally a part of an Urvanovestilli full name. When such a name is bestowed, it will become the name used primarily by the person who chose it.
The phrases of politeness — those which would correspond to hello, goodbye, please, thank you, you're welcome — are all benedictions; they take innumerable forms and beauties according to the people and situation. Blessing is something which they value; they often speak of good things — friends, virtue, art and music, food and drink — as so many blessings from the heart of the Father.
The traditional greeting is a hand raised, open save that the ring finger bends down to meet the thumb, or (when greeting a child) placed atop the head; the gesture is a symbol of benediction. It is followed by three kisses on alternate cheeks.
In youth, Urvanovestilli are filled with a wanderlust. They voyage to many different places, seeing different nations and lands — as well as the variety of their own cities — and enjoy experiences which provide a lifetime's worth of memories. The wayfaring is never really complete, though, until it becomes the voyage home: the Time sometimes comes after two years of travel and sometimes after ten, but the Spirit always makes it clear. When that Time comes, each Urvanovestilli spends a little longer — perhaps a month — with the people he is visiting, and then leaves, with a very passionate and tearful goodbye.
It is Time to return home, to put down roots, to deepen, to mature; Time to wholly enter into the homeland. From this point on, the Urvanovestilli is no longer a wayfarer. The memories of his travels are cherished and very dear, a set of riches that he will always carry with him, and he will still send blessings, gifts, letters, and occasionally visits to friends in far away lands, but it is no longer time to go here and there; it is Time to grow into family, friends, and city.
Urvanovestilli writings and teaching, the means by which theology and philosophy are transmitted, take many forms — poems, riddles, parables and allegories, personal conversations, to name a few — but the predominant form is a systematic and structured logical argument: point one, point two, point three, subpoint three b, conclusion one... The structure carries allusion, nuance, and beauty; it leaves room for the speaker to make a very beautiful craft of words.
They enjoy being absorbed in thought; it is how they spend a good time of each day. They do not look down on sensation — indeed, they have a great appreciation for what is a very highly developed art, music, and cuisine — but it does not fill their world as it does that of many others. Abstraction and complexities of thought are fundamental to their experience of the world: sensation leads into perception, perception leads into concrete thought, and concrete thought leads into abstract thought. Moments of immersion in the senses are rare, Sensation, being the outermost layer, is governed and enjoyed from within. Its form is generally of aural and visual character; the aural side is shaped by words, and then accommodates the other plethora of sounds, and the visual side is shaped by the forms, the spaces, and the interactions of their devices, and sees something of springs and gears in the world around.
Their faces appear at first glance to be almost expressionless — a faint hint of a smile, perhaps — until you look at their eyes, the first window to the fire and intensity within. Urvanovestilli eyes — whether brown, amber, hazel, grey, or blue — bear an intense, probing gaze; in Urvanovestilli culture, eye contact is almost continual, and reflects a fire, an intensity, a passion, that fills their way of life. It does not take long to be reminded that eye contact is a form of touch; their eyes seem to be looking into your spirit. The gaze, in its intensity, is never cold and calculating, never the chilling, devouring stare of a steel face beyond which lies a heart of ice; at its most intense and most probing, it is the most filled with love, and most easily shows the intense fire within. They can rest — and they know calm and tranquility — but there is a great energy within, an energy that shows itself in their artwork and writings. Those who read their theologians certainly do not fail to notice the depths of wisdom and insight, but what is most striking is their love for God. The passion — of their love for God, for spouse, for family, for their neighbor; of desire to grow in virtue and knowledge, for their work — burns, and their experience of emotion — of discovery, of awe, of appreciation of beauty — is long and intense, complex and multifaceted. This emotion is the other side of contrainte; it is the same virtue that enables them to enjoy wine in temperance, and to be moved to tears by music and theater. It is not a "virtue" of stifling — that would be far too easy, but of control and proper enjoyment. Just as they find abstinence from drink to be too easy, a way of dodging the lesson of moderation, stifling emotion and crushing it would be, to them, a way of dodging the lesson of passions rightly oriented in accordance with holiness and love — not to mention an unconscionable destruction of an integral facet of being human.
Those Urvanovestilli who are the most virtuous, the most filled with contrainte, are nearly always the most passionate.
Urvanovestilli are usually short, but look like very tall in miniature, with clear white skin and jet black hair. The men have a thin and wiry frame, with sharp and angular features. They have flaring eyebrows coming out of a prominent brow, a thin, hooked nose, and tufts of fine hair flaring away from their ears. Skin holds tightly to bones, muscles, and veins, and arms end in long, thin hands with nimble fingers. Their voices are a very soft, almost silent tenor.
The women are somewhat slender, but a slenderness which is graceful and rounded. Their features, as well as their build, bear this slender, graceful, rounded character, and their movements are light and flowing. (If the men know more of passion, the women know more of calm). Their voices are high and clear, with a sound that is like silver, like cold and crystalline water, like clear, light, dry Alsace blanc.
Urvanovestilli worship services are long and complex, with ornate liturgy and ritual. The language is florid and ornate (like that of the liturgy stemming from St. John Chrysostom) and every sentence of the liturgy would embody theological truth. The homilies (although not the only part of the service which varies (much of the liturgy itself changing according to a traditional pattern dictated by a complex algorithm) from week to week) are themselves not that long. They are of moderate length, and differ from the liturgy — which presented different doctrines sentence by sentence — in being a full and well-developed presentation of one single idea, expressed in unequaled detail and eloquence.
The Urvanovestilli homeland is named 'Flaristimmo'.
Urvanovestilli city — Capitello
Capitello is the capital of the Urvanovestilli land, and the classical Urvanovestilli city.
At the very heart lies a cruciform cathedral. It is an immense domed building, the outside in white marble, covered with statues and spires. Inside, all is dark — or so it seems to a person who first steps in.
Someone who steps in first stands in place, seeing nothing really, perhaps a few points of light in the darkness... and then, very slowly, begins to adjust. It is cool inside, and very still. The silence is a silence that can be heard, a very real and present stillness. As he begins to step into the coolness and the silence, he begins to see light — light that had gone unnoticed at first, but as he steps into it, becomes more and more visible. The light is shining through a thousand candles, each one bringing a little bit of light, a little bit of warmth, to what is around it. Then, after the candles become visible, it is seen what they illuminate — mosaics, worked with colored dyes and gold leaf... and faces.
Outside of the cathedral lies an open garden with fountains and statues. Around the garden lies a circle of seven great halls. In clockwise order, beginning south of the cathedral, they are:
Library: This collection, the largest in the world, has at least one copy of all known writings, and a scriptorium in which they are copied and transmitted.
Device museum: This is a clockwork building filled with exemplary devices (and copies in various states of disassembly).
Senate: This building is decorated with arts and crafts from the cities throughout the land; it is a place where senators (two from each city and one from each village) meet to govern the nation.
Mayorship: This is the local senate, the seat from which public affairs are run; the majority of political power is on a local level (the senate being the head of a confederation), vested in the town elders.
Forum: This is an immense amphitheater which hosts a variety of speakers, panels, and open talks. Lecture is the predominant medium and presentation, but poetry and storytelling occur not infrequently. The forum, along with the evening worship services in the cathedral, walking in the garden, attending a concert, or looking through the art museum, is appreciated as an enjoyable way to spend a night out.
Music hall/theater: This hosts concerts and recitals, theatrical performances, operas, dances, pyrotechnic displays, occasional Janra acrobatic performances, dramatic readings, puppet shows...
Art museum: Half of the space is devoted to permanent exhibits, and half to temporary displays. Most of the finest artwork ever produced by Urvanovestilli, and a good deal of the finest artwork from other cultures, may be seen here.
Outside of the seven halls lies what is called "the mélange"; outside of the mélange lie fields, pastures, and vineyards; outside of the farmland lies forest.
The mélange is a large annulus which contains mansions, shops, roads, paths, public squares, gardens, open lots, little forums and theaters, restaurants, and so on. It is where a great deal of life and culture transpires; in the little nooks and crannies, inside the parlors of the houses, a lot transpires.
The Urvanovestilli enjoy going out, but the enjoyment does not come from despising being at home. The parlors, which have the distinction of being within a person's home and hospitality, are lavishly furnished, with couches, chairs, lanterns, some instruments, a liquor machine, some sculpture or paintings, often a fountain or clock or... and people enjoy sitting around, talking, reading, performing music...
Urvanovestilli city: Éliré
Éliré is known among the Urvanovestilli as the city of seashells. While most Urvanovestilli cities are built out of white stone, in ornately embellished classical geometric forms, Éliré is built out of sandy yellow stone, in flowing curves; buildings seem like giant seashells. The artwork and jewelry are crafted from seashells and other treasures from the sea — coral and pearls — and the public squares are filled with fountains and pools, where colorful fish swim about.
The people enjoy swimming, and often meet the dolphin population; they enjoy each other.
Urvanovestilli city: Mistrelli
Mistrelli lies in the heart of the Fog Valley; a shroud of mist cloaks the ground, out of which rise trees and tall buildings with spires and towers. Inside the buildings are all manner of tunnels of tunnels, secret passages, and trapdoors; there are clockwork devices in each one. Throughout the city are spread a handful of entrances to a vast underground labyrinth, of which the better part is known; there are all manner of doors and puzzles inside.
The city is full of rose bushes, climbing up the sides of the buildings, over and around gates; most are yellow, but there are some of every color.
The people take a long time to get to know, and their personalities always have hidden gems. Their study of theology emphasizes mystery and the incomprehensible nature of God; Connaissance, a theologian from Mistrelli, began and ended his magnum opus with the words, "I do not know."
Urvanovestilli city: Fabriqué
Fabriqué is the biggest of Urvanovestilli port cities; it lies on the Tuz border, and is the site where ships — full rigs with multiple masts, many sails, and innumerable ropes — are built. They are polished and ornately carved, well suited for transport and trade as well as a work of art. The crews hired tend to be heavily Tuz — strong and sturdy workers who have no problem tying a rope as thick as a wrist in waves and storm — and set sail to other Urvanovestilli ports and ports around the world, transporting voyagers and cargo to destinations near and far.
The Yedidia culture is a culture of vibrant life. They live in buildings woven out of living trees and plants; the doorways are filled by hanging curtains of leafy vines which softly part as a person passes through.
Their manner of gardening spins out of a wonderful talent for drawing beauty out of the forest; many visitors come for the first time, do not even realize that they have stepped into a garden; they only notice that the forest's beauty is exceptional there.
The Yedidia are very sensitive to the rest of Creation; they speak in a melodic, lilting tongue of the purest song, but even that language is not the one that is closest to them. The first language of every child is that of rocks and trees and skies and seas. They know how tot call birds out of the forest to fly into their hands; they know how to make plants flourish.
They have ears to hear the crystalline song by which the Heavens declare the glory of their Maker. They appreciate the beauty of the created order as it tells of the Uncreate with a power that can not fully be translated into words — and they use the language of Creation to speak of the mysteries of the Creator, whose fingerprints are everywhere in nature.
They look into the great and unfathomable vastness of space; it furnishes the language by which they tell of the great and unfathomable vastness of the Creator. They know the energy, the great fire out of which the sun pours out light and energy; it furnishes the language by which they tell of the energy and great fire in the heart of the Father, offering warmth and light freely and without cost. They dance in the rain, the life giving water poured out from above; it furnishes the language by which they speak of springs of living water come down from Heaven. They admire the beauty of the lilies of the field, which simply rest in the sunlight, rain, and dew showered on them; it furnishes the language by which they speak of resting in the love poured out. Their eyes are not closed when a grain of wheat falls to the earth and dies...
They are sensitive to the silent beauty that is sometimes unnoticed even by the Janra. They enjoy the brilliance of the sun, and the pale blue luminescence of the moon; the gentle warmth of a summer night, and the powerful motion of a pouring rainstorm (and there are few things many Yedidia enjoy more than being thoroughly drenched). They look at the veins of a leaf, the hairs of a caterpillar, the motion of a snail; they listen to the song of birds, the sound of wind whispering amidst the leaves, the splashes of water flowing over rocks; they taste the cold freshness of water, the tartness of lemons, the sweetness of strawberries; they smell the soft fragrance of jasmine, the spice of cinnamon, the freshness after a rain; they feel the velvety softness of a rabbit's fur, the raspiness of a rhubarb leaf, the roughness of bark, the smoothness of a worn stone, the gentle kiss of a summer breeze, the springiness of pete moss, the shimmering heat of fire long into the night, the light tickle of a crawling gecko, the fineness of a child's hair, and the warmth of a friend's face.
They are as intuitive as they are perceptive; the emotions of friends especially, but strangers as well, are quickly understood; be it singing together, a friendly joke, talking, listening, leaving alone, sitting together in silence, holding a hand, giving a hug — they always seem to know.
The Yedidia make wines and incense which even the Urvanovestilli do not come close to. It is, though, the Urvanovestilli who make their garments. Some are short, some are tall; some are slender, some are rounded; they tends towards being fairly short and fairly round, but there is a lot of variety. All, though, have olive skin and dark, shiny black hair; the women wear a long, flowing robe of kelly green, over which cascades of hair fall and spin, sometimes reaching to the waist, sometimes almost touching the ground; the men wear cloaks and tunics of walnut brown. The clothing is soft and light as air; it streams out in the motion and jumps of dance — like their music, smooth, soft, flowing, graceful.
"Dance, then, wherever you may be, for I am the Lord of the Dance, said he." Theirs is a culture full of joy and celebration; it is full of smiles, and always willing to welcome a visitor. Finding something good, they look for someone to share it with.
They are very sensitive to the cycles of nature, of the day, of the phases of the moon, of the seasons in turn. They shape the regular rhythm of their songs, and provide a sense of constancy and regularity, again, which furnishes the language by which they speak of the constancy and regularity of the Creator.
The traditional greeting is a soft and gentle hug, one which often lasts a while (or a butterfly kiss, or...). That touch, as their faces and voices as they speak, bears a great deal of expression: The phrase of greeting used means, literally, "Here is a person in whom I find joy." The words remain the same, but the music of the speech colors it to perfection.
Though each culture has its own drink — even the icy cold water enjoyed by the Nor'krin is appreciated by visiting Janra, who recognize it as a gift given without sowing or reaping — drinks are one of the first things that come to mind when most people hear the word 'Yedidia'.
First of all are their wines. Nearly all of the finest wines are made in their land. Red and white, and a little bit of rose and green, are stored away in caves to age for years, perhaps decades, before being opened to enjoy with friends and memories.
After the wines come cider; it is served hot and well spiced; the spicing is done in many different ways, and gives a wonderful variety to a very soothing drink to warm a cool evening.
There are fruit juices of every color of the rainbow; strawberry, pear, guava, banana, apple, peach, and fig are but the beginning of a very long and flavorful list. There is, though, one strong point of commonality: the fruit is always still attached to the plant a few minutes before it is served.
(the variety of fruit juices is fermented and aged as are grapes to make wine, but that variety of drinks is reserved for very special occasions)
They also enjoy teas and infusions; the trees and herbs provide another spectrum of tastes to sip with friends.
Roots of various plants are sometimes spiced to provide another drink.
Yedidia cuisine varies somewhat from region to region. In some places, it is based on fresh fruit, and in others, on breads, cereals, thick soups and vegetable stews; the latter is spiced, lightly salted, and often has some meat for added flavor. All forms of Yedidia cuisine begin with a small salad (either garden or fruit), have a main course of some form of the local specialties, are followed by a platter with an assortment of breads and fresh fruits, and end with a dessert of cheeses or cured fruit.
Life, to the Yedidia, is one big, long party, and, to the Yedidia, song is the symbol of celebration. They sing in the morning, and sing in the evening; they sing while working, and sing a prayer — hands joined together — before meals. Thought is expressed in song; the first place to look for an expression of their perspective on theology and philosophy is in the verses of their hymns. There are many cherished songs shared across the nation, but there is also much spontaneity and improvisation; their way of speaking/singing is in metered verse, and a wealth of their wisdom is embodied in the rhythm of hymns, regular and dependable as the cycles of nature. The day, the moon, the year — these different cycles are echoed in the structure of verses.
For the beauty of the earth, for the glory of the skies, For the love which from our birth over and around us lies: Lord of all, to Thee we raise this our hymn of grateful praise.
For the beauty of each hour of the day and of the night, Hill and vale and tree and flower, sun and moon and stars of light: Lord of all, to Thee we raise this our hymn of grateful praise.
For the joy of human love, brother, sister, parent, child, Friends on earth, and friends above; for all gentle thoughts and mild; Lord of all, to Thee we raise this our hymn of grateful praise.
For Thy church, that evermore lifteth holy hands above, Offering up on every shore her pure sacrifice of love: Lord of all, to Thee we raise this our hymn of grateful praise.
For Thyself, best Gift Divine! To our race so freely given; For that great, great love of Thine, peace on earth, and joy in Heaven: Lord of all, to Thee we raise this our hymn of grateful praise.
This is my Father's world, and to my listening ears, All nature sings, and round me rings the music of the spheres. This is my Father's world: I rest me in the thought Of rocks and trees, of skies and seas; His hand the wonders wrought.
This is my Father's world, the birds their carols raise, The morning light, the lily white, declare their Maker's praise. This is my Father's world: He shines in all that's fair; In the rustling grass I hear him pass, He speaks to me everywhere.
This is my Father's world, O let me ne'er forget That though the wrong seems oft so strong, God is the Ruler yet. This is my Father's world: the battle is not done; Jesus who died shall be satisfied, and earth and Heaven be one.
The Yedidia are the most alive to sensation; each sense is valued, and each one provides something a little different.
Touch is pre-eminent; it is enjoyed immensely, and they consider it the most informative of senses. Touch tells them of texture and temperature, of moist and dry; by how things respond to pressure, they can feel what is present beneath the surface and what structure it forms; it tells much of emotion. When sensation yields perception, touch provides them with the greatest richness.
Smell is a sense of memories; to walk through an orchard is to remember seasons past. It no less bears a tale of what has happened; each person bears his own distinctive smell, and a place by its smell tells who has passed by. Many different things leave a mark on a placés scent, and to smell is to be told, as if in a far-off memory (indeed, like those that smell mysteriously triggers), what plants are present, what the weather is like and has been, who has passed by, what fruit was picked — though not all of this is perceived all of the time, the fragrance of a place often tells bits and pieces.
Sight is a sense that works by light illuminating all that it shines on (and this is something from which they draw a lesson). It tells of the color, the form, and the beauty of what is around; what is moving and what is still; it tells of what is far away and can not yet be touched. It serves as a guide to what is around, as a guide by which to move and act in an unknown situation, and it bears its own beauty; all of this provides lessons about God and about faith.
The first sound in their mind, and the one they most love, is song. The song of a friend's voice, the song of a bird chirping, the song of a babbling brook, the silent song of silvery blue starlight — all of these are listened to and enjoyed.
The taste of food tells of the time of year and of culture. Drink and food are a kind of art, and its taste tells both of the time of year and how it was prepared.
Yedidia emotions have a fluid character; they are a sensitive people who are easily moved and who show their emotions quickly. Their celebration is filled with smiles and mirth — as is, indeed, much of life. Tears are held to be very precious — in their language, the same word means 'tear' and 'diamond' — and they know tears, not only of sorrow, but also of joy. Tears come to greet both memories and powerful music, and mark as both sign and symbol the most significant events in life — farewell and death, yes, but also a loved one regained, and birth, and marriage. Memories and hopes, also, are precious. They know sorrow, but never bitterness; however deep and angst-ridden the sorrow may be, deeper and more healing is the joy. Farewell is always marked by the thought of, "I will be able to enjoy your presence again;" on many a deathbed has been spoken the words, "We will be brought back together again in the heart of the Father. It will not be long."
Yedidia worship services are filled with songs — celebrations in which everybody participates.
The Yedidia homeland is named 'Syllii'.
Yedidia character: Sylla
Sylla is relatively short and rounded; she has dark, olive skin and soft, brown eyes. Her hair falls down to her waist, and she wears a long, flowing kelly green robe, as is traditional among Yedidia women; more often than not, a chain of flowers rests in her hair. She chooses to go barefoot, so that she can feel the grass, the moss, the earth, and the stones beneath her feet.
The only possession which she carries is a small harp; a slow strum accompanies a soft and gentle song. She also has with her a pet: a milshh: a small, eyeless animal, about two feet long, with brilliant golden fur that is long and soft, two large, pointed ears, eight short, flexible legs ending in large paws, and a shiny black nose which is always sniffing inquisitively. It is both shy and curious, and it is very warm and affectionate; it is usually very calm and sedate, but often becomes very excited when it smells someone familiar.
Fair is the sunlight;
Fairer still the moonlight:
Fairest of all, is the light of thy face.
The Jec life is filled with faith, humility, and simplicity. They live in small rural villages, where farmland — pastures, fields, orchards and vineyards, the village commons — outlies a few houses, some artisan's shops, and a simple church.
They are peasants very much like those chosen to be apostles, and the carpenter who chose them. Farmers, blacksmiths, cobblers — clothed in rough, plainly colored robes, they are the sort of people one could easily overlook in the search for the spectacular. It is calloused hands and dirty fingernails that are lifted up to God in worship, and that continue to worship by placing a yoke on a pair of oxen, gathering firewood, peeling carrots and potatoes, or threshing wheat. There are many who are given great wisdom and knowledge, a faith to move mountains, or who speak in the tongues of men and angels, but they do not bear an otherworldly air or a strange electricity; they appear as men and women like any other, usually harvesting barley or carving wood.
Their thought is expressed in parables, little stories, and proverbs, the first and foremost of which are "Love Yahweh your God with all of your heart, and all of your soul, and all of your mind, and all of your might," and "Love your neighbor as yourself." There is a great sense of community and continuity, carrying the torch passed down by the saints who walked before.
They do not really travel; most are born, live, and die within a few miles of a single point. They do not look down on wayfarers who voyage far and wide to see the height of mountains and the vastness of seas, and enjoy the richness of the visible and invisible artifacts of the variety of cultures, but they pay a lot of attention to what is easy to pass by without noticing. They know their culture, their village, and its people very well.
Jec culture is a culture of the very small. They see the great in the small; in the Law of Love is seen all of virtue and right action; in a tiny shoot pushing out of the ground they see an immense oak whose branches will someday provide shade; in a simple gift, they see the love that gave it. They are fond of the words, "He who is faithful in little is also faithful in much." Piety is given expression in the tiny details of everyday life, to which careful attention is devoted. They search to love God by seeing to the needs of whoever they are with.
Gift giving occupies an important cultural position; each gift serves as a little symbol, a little morsel, of love. The gifts are very simple — poverty does not permit the spectacular — but are given generously. A flower, an apple, a song, a blessing, a handshake, a prayer, a poem, a cup of cold water wood carved into a statue or a whistle, an oddly shaped pebble, a skin of wine, a walk, a story, a patterned candle — all of these are given.
Sight, sound, touch, smell, taste — there is nothing really special about their use of senses. They notice and enjoy little details; there is not much more to say.
The language has simple rules and few words; it is one of the easiest to learn, and bears well the load of talking about everyday matters, about personality and friendship, and about God.
When two Jec meet, one is usually coming to visit the other, and something of this notion of visit and welcome is embodied in the greeting. The visitor comes with one arm outstretched and hand open, saying, "I give you my love." The host clasps the outstretched hand, bowing slightly, and says, "And I return to you mine." These actions are accompanied by a gentle smile.
They are fairly short, with tan skin, brown eyes, and hair that is usually brown (and sometimes black or sandy blonde).
Their emotions are the emotions of being human, the common points of feeling shared across all culture. They know at least something of laughter and peace and passion and tears and awe; if there is one point that runs strong, it is a sense of tradition, community, continuity, and place; they have a sense of unique importance and a part in the great plan (two concepts which are not really separate in their thought).
Jec worship services are simple, without any real distinguishing remarks — no bells and smells, just a week by week liturgical service presenting the Gospel message and embodying worship. The opening words of each service are, "Hear, O Israel, Yahweh your God is one. You shall love Yahweh your God with all of your heart, and with all of your soul, and with all of your mind, and with all of your might. You shall love your neighbor as yourself. Love one another."
The Jec homeland is named 'Tev'.
The language is soft, gentle, simple, and calm. It is spoken slowly, as if it were a lullaby; it has few words: simple, little words with rich and profound connotations; 'Way', 'Tao', and 'Word' are like the nouns which are used.
Even the verbs are rarely verbs which tell of action. Rather, they describe that which is; 'be', 'abide in' 'embody', 'love', 'nourish', 'support', 'is the friend of', 'know', 'receive', 'is from', 'resemble', 'live', are the essential words which a child would learn as one of our children would learn words such as 'walk', 'talk', 'eat'. Just as our language has different words — 'walk', 'run', 'jog', 'sprint', 'mosey', 'trot', for example — which tell of the action of moving by the us of legs, so their language has at least a few different words to tell of being, or understanding, or abiding, or loving. The way of speaking sometimes does not even need verbs; there are more adjectives than adverbs.
The genius of the language is embodied in a flowing prose which is the purest poetry; words with the simplicity of a child. It does not have abruptly ending sentences, but rather slides somewhat like Hebrew; one thought gives form to the next. It has something like the feel of the prologue to John's account of the Gospel, or his first letter; it has something like the feel of a Gregorian chant; there is nothing abrupt in their speech or music. They speak, but even more, they are silent; there is a communion.
The understanding is one which see beyond, which looks at the surface and sees into the depths. They stand dazzled by the glory of the starry vault, and worship the awesome Creator who called them into being; they look at a friend's face and see the person behind.
Their culture is a place of perfect order. It is ordered by things being placed rightly; by God worshiped by man, the spiritual ahead of the physical, being beyond doing.
It is of this that God is known in all of his majesty, that spirituality becomes rich and profound, that there is a right state of being. This brings the lesser things to flourish. Men shine as they reflect the glory of God. That which is physical is enjoyed immensely — the warmth and softness of a friend's touch, the sweetness of a freshly picked orange, the fragrance of a garden of flowers, the sound of a bird's song, the colors of a sunset — all of these things are received gratefully. Being, they do; they tend the garden, and create.
The order flows from resting in the Spirit and from love; there is no one who thinks of order. The truthfulness knows nothing of oaths; the order knows nothing of rules, nor even of honor and morality.
The culture is best understood, not by looking at men, but by looking at God. God gives generously, and they receive and rest in his love.
There are many people in modern society who, when waiting in an office or at a traffic light, become agitated and begin to fidget; they are hollowed out by an excess of doing. The Shal are innocent of such hurry. They act, but it is a doing which flows from being.
Food, wine, music, incense, touch, silence, storytelling, dance, drama, puppetry — it is not often that they all get together to have a celebration (they prize greatly time spent alone with one person, and then extended families and tightly knit communities).
Shal culture does not exactly have greetings as such; their way of thought works differently.
To say 'hello' or 'goodbye' is an action of an instant, in two senses. In one sense, it lasts for an instant; no one says 'hello' twenty times or shakes hands for five minutes. In the other sense, it marks an instant, the instant where absence becomes presence or presence becomes absence.
The Shal do not really think in terms of instants; time is measured and perceived — or, rather, not measured and not perceived — by moments. A friend is present, and he is enjoyed, and then he is absent, and then there is solitude. In the place of a greeting, the Shal have a presence. With the Shal, you never get the feeling that you are alone and there is another person nearby who is also alone; you never get the feeling that there is a close group of friends nearby and they are inside and you are outside. If a Shal is nearby, he is present; indeed, the Shal have a very present touch.
Life, to the Shal, is full of moments. There is a meal with friends, and then there is reflection in solitude, and then there is a beautiful song, and then there is time with a friend, and then there is prayer, and then there is sleep, and then there is work tending to the trees... There is not interruption or haste; a moment lasts as long as it is appropriate for a moment to last.
Their moments of community are profound; their moments of solitude are even more profound. 'Withdrawing' is what they call it; it is a time of stillness, and an expression of a love so profound that all other loves appear to be hate. It is a time of finding a secret place, and then withdrawing — from family, friends, and loved ones, from music and the beauty of nature, from cherished activities, from sensation — into the heart of the Father. It is a time of — it is hard to say what. Of being loved, and of loving. Of growing still, and becoming. Of being set in a right state, and realigned in accordance with the ultimate reality. Of purity from the Origin. Of being made who one is to be. Of communion and worship. Of imago dei filled with the light of Deus. Of being pulled out of time and knowing something of the Eternal.
This withdrawing fills them with an abundant love for other people, and gives them a renewed appreciation for nature and music; it fills them with silence, and fills their words and song.
Their perception of the world is quintessentially tactile. Sight, hearing, and smell all work at a distance; touch perceives what is immediately present. The eyes, ears, nose, and tongue are all organs of sense at one place on the body — more sensitive in some places and less in others, to be sure — and feels all of what is immediately present. Touch provides the physical side of the presence which is so greatly valued.
The emotional side of the culture is filled by peace, in which is embedded joy and contentment. It does not change very much or very quickly — though it encompasses affection, or appreciation of beauty, or a special serenity, or absorption in thought.
Their appearances have the peculiar property of not seeming to be any particular age. If you look, age is not very difficult to judge, but somehow the thought doesn't come up. They have a rounded shape, soft eyes, and warm, soft skin.
Shal worship services are different from the others. They are characterized, not by the presence of words, but by the presence of a profound and penetrating silence where God is imminent. There are a few words, but they are not where the essence lies.
The Shal homeland is named 'Liss'.
The Janra, unlike any of the other cultures, have no homeland; they voyage among the other lands, where they are generally well-liked and warmly received. Their wayfaring is at once literal and symbolic: literal in the sense that they know that they are passing through this earthly country for a better one. They enjoy all of the lands that they visit — they have an informal character, and always seem to be at home — but they know that none of them is really home.
It must be said that they know how to move. They can walk, skip, and run, of course, but that is only the beginning. Trees, buildings, and cliffs are climbed like ladders. Come oceans, rivers, and lakes, they will happily swim. Be it lightly skipping atop a thin wall, or jumping out of a window to grab a tree branch and swing down, or running at top speed through the twisty passages of the Southern mines and caves, they make acrobatics seem another form of walking. Somehow, even flipping through a window or somersaulting under a table, they have an extraordinary knack for barely missing collisions with hard objects; the Urvanovestilli are still debating whether this is the result of skill or luck.
The dances of the Urvanovestilli have a marvelous complexity, and those of the Yedidia are known for their flowing grace, but there is still nothing like the spinning energy of the Janra. The Janra are very adaptible, pulling bits and pieces from other cultures and setting them together in vital new combinations. In some of the dances can be seen bits and pieces — moves of strength that look like Tuz wrestling, or complexity from the Urvanovestilli — and the result is nothing short of breathtaking.
In their adaptibility, they usually speak at least a few words of each language, and usually borrow whatever form of greeting is common in the land they are visiting. They are familiar with the household objects (often enough to use them in new ways). This, combined with a flair for practical jokes, is occasionally enough to annoy the town guards, but (more often than not) their antics leave people laughing, sometimes to the point of tears.
The Janra have a remarkable talent for not remaking God in their image. Their description of Jesus is anything but boring and respectable — a firebrand with a phenomenal knack for offending religious leaders, in the habit of telling respectable pillars of society things such as, "The prostitutes and tax collectors are entering the Kingdom of Heaven ahead of you." — and they are known for an honesty that can be singularly blunt. They know that he passed over scribes and lawyers to call, as disciples, a motley crew of fishermen, tax collectors, and other peasants — one terrorist thrown in to make matters interesting. They are, however, just as cautious not to water him into only being a social reformer who had nothing to say about sexual purity.
For all of their sharpness, for all of their ability to bring forth the most embarrassing Scriptural teaching at the worst possible moment, it must also be said that the Janra have hearts of pure gold. Love and compassion are constantly in their thought and action; they are the first to share their food with a beggar, say hello to the person who is alone, or ask, "Are you hurting?" The accusations brought against them are accusations of having too many quirks, not of being unloving.
Their language is of a force that is not easily translated into writing; of course it has nouns, verbs, adjectives, adverbs, etc. and respects masculine and feminine, but intonation, speed, vocal tension, and other factors tell at least as much; they carry connotation and sentiment, express the level of clarity of understanding the speaker believes he has, and many more things. There are also a number of verbal tics, on the order of two or three dozen ('Eh?' is, however, not included, and apparently perceived to be a mark of general silliness); in a sense, they don't do anything, but in a sense, they add a very nice pepper to the speech.
Janra thought involves a kind of sideways logic, which is part of why their ways of speaking are difficult to describe. They take little bits and pieces from different places, and put them together in unexpected ways, making connections that can be very surprising. They are very good at reading between the lines, and sometimes perceive things which were not intentionally meant to be communicated. Sometimes they borrow manners of speech from other people — conversation, structured argument, metered verse, stories, parables, and so on — but their usual way of speaking has all sorts of sideways jumps and turns, with segues that can be rather odd, and often leaves gaps; these gaps are not a matter of sloppiness, but rather something like a joke or riddle where the hole is intentionally left to be filled in by the listener.
"When it comes to games, never try to understand the Janra mind."
-Oeildubeau, Urvanovestilli philosopher and anthropologist
It is known that Janra sports usually last for at least half an hour, involve a ball, two or more teams, running and acrobatics, and animated discussion. Beyond that, neither the Urvanovestilli's logic nor the Yedidia's intuition are able to make head or tail of them. In general, the teams appear to have unequal numbers of players; the players often switch teams in the course of play; teams are created and dissolved; the nature of the activities makes sudden and radical changes; there is no visible winning or losing. There are occasionally times in the course of play when some intelligible goal appears to be being approached... but then, all players seem to be approaching it in a rather erratic manner (when asked why he didn't do thus and such simple thing and achieve the approached goal by an inexperienced anthropologist, one of the Janra said, "Technically, that would work, but that would be a very boring way to do it," and then bolted back into play: the extent to which game play is comprehensible heightens its incomprehensibility). Late in life, Oeildubeau hinted at having suspicions that, if the Janra believe that they are being watched, they will spontaneously stop whatever sport they are playing, and instead begin a series of activities expressly designed to give any observer a headache.
Janra come in all shapes, sizes, and colors, showing bits and pieces of other races; they tend to be of moderate to tall height and a lithe build. Most are fairly light skinned (although a few are rather dark); a fair number of them have skin spotted with freckles. They have every imaginable color of hair (black, brown, blonde, grey, white, red, tweed, shaven head, etc). and eyes (brown, blue, hazel, grey, amber, purple, etc). They wear loose clothing in a variety of colors, usually quite vivid; red, purple, and green are the most common of solid colors, and patches or stripes of some pattern or the whole rainbow appear not infrequently. Therefore, Al is a pud.
Their sensation of the world is primarily visual, and in a way patterned after their thought; visualizing and visual problem solving comes very naturally to them. They see, as well as beauty, a world to interact with, and parts to rearrange and make something new. Sound and touch serve largely to complement and extend visual image; taste and smell are enjoyed, but do not play a terribly large role. The other side of the coin (to problem solving) is observing and enjoying, which is also very much a part of culture.
Their emotional life has several sides. They carry with them, in their emotions, a little bit of every place and people they visit — the passion and control of the Urvanovestilli, the peace of the Shal, the festivities and music of the Yedidia, the respect of the Nor'krin, the enjoyment of exercise of the Tuz, the common factor of the Jec. Perhaps the most prominent side of all is laughter. Janra are immeasurably fond of banter and practical jokes, and have an uncanny knack for guessing who is ticklish. There is an element of what is carefree, spontaneous, and given to pure enjoyment of simple pleasures; there is also a large element of being immersed in sidethink, and they enjoy greatly the flash of insight when everything fits together. They are curious and enjoy discovery.
There is another side to this emotion which seems paradoxical, but fits perfectly. There is a difference between childlike and childish, and not a trace of childishness is to be found among them. They enter the Kingdom of Heaven as little children — in particular, like one little boy who stood up before crowds of thousands and asked, "Why is the Emperor naked?" Of all the skills people learn as a part of growing up, they know perhaps least of all closing their eyes and using intelligence as a tool to make oneself stupid. They are moved by what goes unnoticed, smiling at the beauty in a single blade of grass, and weeping at the death of a beggar who, homeless, friendless, handicapped and burned, explained that he was unable to drop a knife taped to his defunct hand for self-defense, but was still shot and killed outside of the White House by men entrusted with the responsibility of protecting innocent life.
There are two things to said about Janra worship. The first is that they adapt and participate in whatever is the local manner of worship (as do traveling Urvanovestilli and other wayfarers) — in that regard, they make no distinction between themselves and the peoples that they visit. The second — and this does not stem from any perceived defect in the other forms of worship, but from who they are — is that they hold their own worship services.
These services do not occur at a fixed time and place (though they occur more frequently when Janra are on the road between different locations), but at random intervals and locations, spontaneously. Anyone and everyone is welcome, and children and sometimes adults of other races are usually present.
They are a warm and informal occasions, where anyone can take the lead, and a great many activities are recognized as worship; the Janra have a particularly strong emphasis on the priesthood of the believer and the sacredness of everyday life. People sit in a big circle, and people or groups of people come to the center to present or lead as they wish.
There is no canonical list of activities that are performed at these services, but the following are common.
* Songs. The Janra sing their own songs (often improvised) or those of other peoples; those of the Yedidia are especially treasured. While singing, the people are sometimes still, sometimes swaying, sometimes clapping, and sometimes dancing with their arms.
* Prayer. One person will lead a prayer, or people will pray popcorn style, or...
* Sermons. A theologian or philosopher will preach a sermon.
* Sharing. Someone will share an insight or experience from personal life.
* Dance. The whole assembly will dance, sometimes in a long, snaking line.
* A joke is told. The Janra are fond of laughter.
* Drama. One of a few people will present a dramatic presentation, play, or skit.
* Group hug, usually in whatever is the common greeting of the land.
* Ticklefest. "Blessed are the ticklish, for the touch of a friend will fill them with laughter."
* Silence. This is treasured.
* Reading from the Scriptures.
* Reading or recitation of poetry.
* Juggling and similar activities.
* Instrumental music.
* Non sequiturs.
* Mad libs.
* Impressions and impersonations of various and sundry people.
* Janra-ball. This occurs in a modified form such that members of other races, while still not understanding anything, are capable of participating. (Nobody gets a headache.)
* Eucharist. This is the most solemn and important moment, and occurs exactly once in a service — at the end.
* None of the above. This category is especially appreciated.
Janra character: Nimbus
Nimbus is fairly short and wiry; he has light, almost white blonde hair, deep, intense blue eyes which sparkle and blaze, and a rich, laughing smile. He wears a loose, shimmering two-legged robe of midnight blue, from the folds of which he seems to be able to procure innumerable items of Urvanovestilli make (for example: goggles (waterproof), telescope, silk rope and grappling hook with spring-loaded launcher, climbing/rapelling harness and gear/self-contained, spring-loaded belay), lantern, tool kit (large blade, precision blade, compass, wire saw, corkscrew, ruler, reamer, chisel, pliers, scissors, needle, punch, protractor, file, and sharpening stone), paper pad, mechanical pencil, supply kit (string, pencil lead, chalk, flask of oil, wire, miscellaneous device components (gears, springs, shafts, etc.), cloth), meal kit, tinderbox, mechanical puzzle, mirror, whistle...).
During childhood, he spent a lot of time in the land of the Urvanovestilli, and began to take an interest in tinkering. He has very much his own way of tinkering, from an Urvanovestilli perspective; he is fond of all manner of kludges. The resulting devices have caused his Urvanovestilli mentors to conclude that he is mad (the truth of the matter being that he is not mad, but produces and modifies contraptions in such a manner as to drive any honest Urvanovestilli tinkerer mad). When the city unveiled a new fountain in the public square, he added a pyrotechnic spark; when, in a public ceremony, the mayor celebrated his wife's birthday by presenting a specially commissioned music box, the tune somehow changed from "Happy birthday to you" to "The old grey mare ain't what she used to be."
He does, however, possess a sense of what is and is not appropriate; his practical jokes never take on a mean or spiteful character, and he does possess a strong degree of contrainte. He does appreciate the variety of cultures he visits, and enjoys Urvanovestilli philosophical and theological discussions.
He is, in short, as Janra as any — left-handed and colorful, warm and compassionate, and a heart of solid gold.
A quote: "What? You think _I_ would do something like that? I'm hurt." (generally accompanied by a wide grin)
"Not all flesh is the same: men have one kind of flesh, and beasts have another kind of flesh, fish have another, and birds another still. There are also celestial bodies, and terrestrial bodies; the glory of the celestial is one, and the glory of the terrestrial is another. The sun has one glory, and the moon another, and the stars still another; star differs from star in glory."
I Cor. 15:39-41
"God does not create two blades of grass alike, let alone two saints, two angels, or two nations."
C.S. Lewis, _That_Hideous_Strength_
This world is an exploration of good, a set of musings about cultures not fallen. The variety of cultures exists because of the nature of good.*
Matthew, Mark, Luke, and John all tell the same Gospel, the same message of Jesus Christ, Son of God and Son of Man, crucified for the forgiveness of sins and raised from the dead.
They each, however, present this one Gospel with a distinct flavor; it is with a great deal of wisdom and respect for this one Gospel message that Christian tradition has vigorously resisted attempts to reduce the four books to one single, homogenized account. Matthew emphasizes the Kingdom of Heaven and peace; Mark emphasizes action; Luke provides a physician's account of healing and sensitivity towards the despised; John provides a poetic and mystical account of love and intimacy. It is to faithfully represent this one Gospel that the Spirit inspired the writing of multiple accounts.
Faithfulness to a God of color and vibrancy means anything but a dull, monotonous cookie cut-out series of identical believers; just as a person is most faithfully represented, not by multiple copies of one photograph, but by many different photographs from many different angles, so images of God may faithfully reflect him by being different from each other.
This is why there are different cultures, each with its own emphasis on philosophy and way of life. (Within these cultures, though I have far from described them, should be many different sub-cultures, communities, and individuals. There is a masculine and a feminine side to each culture — or, more properly, each culture recognizes the importance of men who are masculine and women who are feminine). The differences, however, are differences of emphasis, just as the previous analogy spoke of different photographs for the sake of faithfully representing one entity.
It is in this same substance that people of other cultures look at each other and immediately see human beings; the differences are a source of heightened enjoyment between brothers and sisters. It is in this same substance that they love God with their whole being, and love their neighbors as themselves. That there is one God, the Father, the Almighty, Maker of Heaven and earth, of all that is, visible and invisible, that God is holy, possessing all authority and all wisdom, that there is one Lord, Jesus Christ, God from God, Light from Light, Love from Love, the Word made flesh, perfect God and perfect man, crucified for the forgiveness of sins and raised from the dead to be the eldest of many brothers and sisters, that there is the Holy Spirit, a fire of love and energy shooting between the Father and the Son, the new structure of obedience, that the fear of the Eternal is the beginning of wisdom, that God created the sky, the earth, the seas, the plants, the animals, and saw that it was good, and then created man in his image, and saw that it was very good, that the order of the universe is spiritual as well as physical, that God loves man and has given him the Law of Love, that man has as facets cultas and culturas, individual and community, that he created them male and female, faith, hope, love, joy, peace, patience, kindness, gentleness, goodness, faithfulness, self-control — things such as these are the reality unequivocally confirmed by all men. Cultural differences provide richness and variety that enhances understanding between brothers and sisters who love one another.
When a character is developed, with a cultural and personal flavor, do not overlook that which is to be common across all cultures and people, the same identity which holds culture and personal uniqueness.
One brief note, in the interest of clarity to avoid unnecessarily offending people: I am a white, male American who has lived in South-East Asia and Western Europe. I find cultures to be objects of great beauty, but make no pretense to be well-versed in all of them, nor to have included each of them in this world. The absence of some cultures is not meant as a statement of "My culture exists because of Creation and your culture exists because of the Fall;" I tried to envision a world not fallen, and began to create it with a background that certainly includes my theological knowledge, but also includes my cultural background and my own personality. If some members of other cultures would like to make a similar creation based on their knowledge, go for it; if you send it to me, I'll enjoy reading it. I have not, however, myself gone out of my way to include other cultures; I am not ashamed of this. I am grateful to God for the personal and cultural fingerprints that I have left on this creation, and hope that other people, other images of God to whom it is given a slightly different manner of reflecting God's glory, have been able to read it in an atmosphere of mutual respect.
* Careful readers will have noticed some things — ergo, meat eating, rebuke, the Cross (a symbol of redemption from sin), which do not correspond to Eden. The cultures exist, not always as what sinless cultures might have been in Eden, but sometimes what sinless Christian culture might be today, were such a thing possible. To state some things more precisely: it is a world in which physical evil exists, but not moral evil. I would request that the reader overlook the indirect marks of sin, as the cultures were designed around other concerns primarily.