Gods & GoddesSES
Please note that to the majority of Tam'nýer—a''ns, the Gods & Goddesses are viewed as transcendent truth. As defined by Wikipedia 'transcendent truths' are those unaffected by time or space. They define the world, but are not defined by the world. An example of a transcendent truth is "God is good", or "there is no God". Either way, how one looks at things contained by time and space is a result of the transcendent truth.
The Seasons are thought of as Dancing Maids colloquially, as they danced around Tam'nýer—a' they kept life going. They still do keep life going but now in a very different sense.
They are the 'sisters' of VüƑ, the God of Time. In actuality, they are VüƑ's daughters, but he bore them out of a want of loyalty and companionship that family boasts, without the risk of estrangement that a parent and child might have later on. So, instead of raising them, he feigned being their sibling, and they raised each other.
The Dancing Maidens are the ones who keep the planet in bloom, and safe from outlying turmoil beyond the mortals control. They are the barrier that saved the people from not coming to harm when the Gods perished, and upon their duty to protect complete, they enriched the very earth by impregnating Jn's corpse, (the land that is Tam'nýer—a'), with their good will and essence. This explains why the seasons are continuous without fail and provide for the people via crops.
It should be noted that while alive the Maids were not keen on their elder brother, VüƑ, and his relationship with Sùrelï the God of Language. This is because the sisters, in dancing round Tam'nýer—a' also kept watch to all doings, unlike their brother who stowed himself away in his room. In doing so they caught Sùrelï leave VüƑ's room on multiple occasions to lay with Tv'ž (tuh-vuh-juh), the God of Lies. Although, as karma would have it, it was on one of these excursions that the Gods came to destruction, leaving all but VüƑ dead.
Dancing Maiden of Lo'Qît
Sibling(s): Oðæma, Czek'athü, Žraăst'e and Vojshā
Lo'Qît is the Goddess that calls forth the flowers from the earth and tells them it is time to rise. She is the hand that is responsible to tell the animals that it is time to stop sleeping, and that it is time for them to mate. She clears away the snow of her sister Oðæma, and paints Tam'nýer—a' with Czek'athü preciously gathered colours.
It is thought that out of all the seasons, Lo'Qît has the most coveted of responsibilities. It is true that she is the most lighthearted out of all the Dancing Maidens, but this also means that in comparison to her sisters she is also somewhat blind to the sufferings and struggles of others. This is only cemented for some in how she turned her back to Sty-kopös's offering.
She is gaiety and new beginnings, with a touch of naivety as if a newborn babe. Her hair is made of the very blooms that dance on Bók-T'ak's breeze. She is the laughter you hear in the meadows when all alone. Every step is light as a feather to the point that some once rumoured that she dances and paints her season against the flesh of Jn's body to the tune of Pajj'nž's flute.
Autumn, or Czek'athü, is the time of harvest for many. A time that is noted to reveal that all living things have different colours or undergo changes in preparation for Oðæma. This change in colour is something some people refer to as 'true colours' of a tree, or a plant. Consequently, Czek'athü is viewed as a Goddess of needed change and truth, as well as the Autumn season.
With all this taken into account, it makes perfect sense that Czek'athü (autumn) & Praq-huykl' (earth & harvest) are lovers, and the dearest of companions. But it is through their tradition as lovers that really makes one see that they could ultimately not be without the other.
Praq-huykl' is known for sacrificing hir colour into every living thing, be it a creature or a plant. Consequently, after the spring & summer, Czek'athü goes round, diligently collecting the colour back from the trees, as well as the plants and animals that die to give it back to Praq-huykl'. In the meantime, whilst collecting the wide array of colours, Czek'athü, using the skills she learned from her father VüƑ who is notoriously known as “The Weaver”, strings the colours together, attaching them to her hair, so as not to lose any.
This is so that Praq-huykl' may nurture the colours back to their original vivacity and once the time comes, feed this precious commodity back to the plants through hir soil and the roots in time for spring to urge them forth once more.
Dancing Maid of Žraăst'e
Sibling(s): Oðæma, Lo'Qît, Czek'athü and Vojshā
Žraăst'e, (or the summer season), represents Survival & Ferocity to the people. Life is never more plentiful than during the summer months and there is never more colour in the lives of Tam'nýer—a''s people than in summer. But, the weather can be destructive with lightning, torrential rains, hurricanes and geomagnetic storms.
Therein lies a strength and ferocity to life. To living, despite the odds, and flourishing as well as it does, every year, without fail. The Tam'nýer—a''ns view Summer as a trial time as well as a rebirthing of sorts due to this which explains their deity of Summer, Žraăst'e, represents these two things tightly wound together, inseparable.
This reveals one other attachment; Summer also shows what has died and not survived the winter, or could be saved by spring. In opposition to those of us on Earth, Žraăst'e's season (Summer) also represents death by bringing us to this revelation of death. This, however, does not make her a God(dess) of Death.
Because of her ferocity, bordering upon ruthlessness, it is said that when the Gods died and she witnessed Sùrelï fall, Žraăst'e smiled.
Dancing Maiden of Czek'athü
Sibling(s): Oðæma, Lo'Qît, Žraăst'e and Vojshā
Dancing Maid of Oðæma
Sibling(s): Žraăst'e, Lo'Qît, Czek'athü and Vojshā
Children: N—'Ƒëkăs - with Sty-kopös
"Praise to the Cursed Earth. Praise to the Far Off Sky. Praise to the Winter Maiden and the Blessed Blizzard upon which the metal of all is tested."
Oðæma, despite representing winter, is not viewed how we here on Earth personify it. Winter is not alone, a time of struggle or in a shroud. Oðæma is actually a strong female figure, usually depicted in a gown of pelts and feathers. She has long flowing midnight blue and black hair, with four arms and alabaster skin, mimicking the snow. Furthermore, her eyelashes are said to be the long intricate limbs of snowflakes. The reason for her four distinct arms is; one to offer shelter, the second to guide the snow, the third to control the blizzards, and the fourth is to keep her connected to her other sisters so that she is grounded.
Now you may be curious as to what she means to the people of Tam'nýer—a', other than simply winter. Oðæma also represents cunning and resourcefulness born from the trial that the landscape of Tam'nýer—a' presents during her time. I also said that Oðæma, unlike Earth's personification of Winter, wasn't alone, and quite right, she isn't. In a surprising yet very loving partnership, Oðæma is married to Sty-kopös, the God of fire and hunger. Together they have a child, the God of warmth, comfort and wax: N—'Ƒëkăs.
Goddess of Air & Sexual Dalliance
Parent(s): Rhīșña'V & Atharva
Sibling(s): Q'Tam'šmă, Nýer—a', Uu'krieuvan, Sty-kopös, Ižwala', Llunon, W'danzî, Praq-huykl' & Khuavīdistë
Children: Pajj'nž - with Uu'krieuvan
Bók-T'ak is the Goddess of Air, and surprisingly enough, of sexual desire and dalliance. Bók-T'ak is care free, whether she is but walking, skipping (intermittent breezes), or running (wind), makes a difference in every Tam'nýer—a''n life. Ah, but why a goddess of sexual desire and dalliance? Everything she does, is in fact a dalliance of some sort. Bók-T'ak will tease the flowers with a breeze, and break the limbs off trees by furious winds, making her a tempestuous lover. She has no standards, and will flirt with whomever she likes and many at once.
Bók-T'ak is even disliked by Q'Tam'šmă, as Bók-T'ak acts as if no consequence should ever befall her and slept with their brother Uu'krieuvan in an odd incestuous drama. Bók-T'ak also constantly rubs her unending good mood and freedom to grace Nýer—a''s presence whenever she pleases, so you can imagine that the two Goddess' argue quite frequently. When they do, that is when Tam'nýer—a' experiences hurricanes.
God of Fire & Hunger
Parent(s): Rhīșña'V & Atharva
Sibling(s): Q'Tam'šmă, Nýer—a', Uu'krieuvan, Bók-T'ak, Ižwala', Llunon, W'danzî, Praq-huykl' & Khuavīdistë
Children: N—'Ƒëkăs - with Oðæma
Sty-kopös is the God of Fire and Hunger. He is an odd duck among the rest of the Gods and Goddesses. Usually quiet, and oddly affectionate, he only speaks and becomes aggressive when hungry, and when the God hungers, fire breaks out on the lands of Tam'nýer—a'.
Ah, but that's not the interesting part is it? You're here to know how the God of Fire, that literally melts away the snow, became the lover of Oðæma, winter.
Truth be told, Oðæma almost starved her future husband, Sty-kopös. Ages past, before Spring had given birth to the Ãoni people, there was such a winter that took hold of Tam'nýer—a'. The landscape was mostly tundra, and the only race alive at the time was the Tèrre-vănș, but even they were in their infancy. Sty-kopös only breathed when the Tèrre-vănș built fires to keep themselves warm or cook their food, and they only knew how to build fires because Sty-kopös showed them, as a means for survival. It was years until Spring, Lo'Qît, came around, letting life come forth. Flowers budded, snow melted, and grass dried. The first clearings of dead grass could be done so that Sty-kopös could finally feed. However, his recovery was long. Despite this, and his look aside, for he was quite emaciated, the God wanted to show Lo'Qît his gratitude. He combed the lands to find the most beautiful fruit her affect upon the land produced, and picked 3 of the finest examples. He offered them to her along with his devotion as she had saved his life.
However, Lo'Qît had no interest. She was thriving, on her own, and felt no need for anyone but to dance her dance. Anything else would be a distraction, and not permit her to thrive as she so very desperately needed to. Renouncing Sty-kopös, the God scorched all of Trótskarr as his grief overcame him and his hunger burned like no other. Eventually, Lo'Qît passed to her sister Žraăst'e, who in turn burned herself for a need to thrive, fighting with Sty-kopös for land.
In the end, who returned but Oðæma. The God prepped for the worst, hunkering down as the creatures did in preparation to survive her cruetly, but Oðæma had been keeping watch and came to Sty-kopös in her regal furs and feathers, her hair flowing in great waves behind her. “I am sorry,” she said. “I did not realize my selfishness.” With one of her arms, throughout her the rest of her reign, she sheltered Sty-kopös, as he offered her something she had never experienced before; the heat of a fire, the warmth and comfort that it gave. And from their union birthed the God of just that, warmth & comfort: N—'Ƒëkăs.
God of Earth & Harvest
Parent(s): Rhīșña'V & Atharva
Sibling(s): Q'Tam'šmă, Nýer—a', Uu'krieuvan, Bók-T'ak, Ižwala', Llunon, W'daṅzî, Sty-kopös & Khuavīdistë
The God of Earth (nature) appears white, completely devoid of colour as shi bleeds all hir colour, or in hir case "essence", into the plant & animal life shi houses. Of course, following this logic, Praq-huykl' also has no gender as not everything conforms to one or the other. As much as Praq-huykl' is a god of the earth (nature), they are also a god of ambiguity, having no true shape as well.
Therefore, Praq-huykl' can be depicted as someone's favourite flower or animal, essentially whatever they decide to depict Praq-huykl' as can be true to that individual. As to the Humans, Praq-huykl' tends to have a human form, the Khah' tend to embrace Praq-huykl' as every living thing dear to them individually, and so on. This is why Praq-huykl''s shrine in Vojshā's temple near Kwetz is usually decked out in wildflowers, mostly the kind that can be found on the way to the temple.
Of course, being the God of Earth (nature), there is a keen difference between being nature itself and being the earth that the people of Tam'nýer—a' walk on, as that is Jn's body. There is a difference too, that despite walking on and living on Jn's body, Jn's flesh is not the one attributed to the earth used for agriculture, that is Praq-huykl'. Ultimately making Praq-huykl' the god of the harvest and worshiped primarily by those with a green thumb; farmers and horticulturalists.
Goddess of Water, Will and Strength
Parent(s): Rhīșña'V & Atharva
Sibling(s): Q'Tam'šmă, Nýer—a', Uu'krieuvan, Sty-kopös, Ižwala', Bók-T'ak, W'danzî, Praq-huykl' & Khuavīdistë
Lover(s): Q'Tam'šmă (theory)
God of Lightning & Paths
Parent(s): Rhīșña'V & Atharva
Sibling(s): Q'Tam'šmă, Nýer—a', Uu'krieuvan, Sty-kopös, Bók-T'ak, Llunon, W'danzî, Praq-huykl' & Khuavīdistë
Ižwala' is the God of lightning and paths, or rather pathways, as he calls his brother, Sty-kopös the god of fire & hunger, and tells him where to set fire to the earth in order to purge Jn’s body of rot and impurities. This, of course, is an allusion to burning away dead crops, fields and grass to make room for new life and healthier crops. On this note too, it also means that Ižwala' has a rather close bond with Czek'athü (autumn) & Praq-huykl' (earth & harvest).
Though perhaps it should be said that while he did have a close attachment to his sister Bók-T'ak (air & sexual dalliance), Ižwala'’s lover, the Dancing Maiden of Summer Žraăst'e, has threatened to kill her out of jealousy as Bók-T'ak has no qualms or self restraint when it comes to teasing, flirting and being a constant pulsing element as she is everywhere. Thanks to this death threat from Žraăst'e however, is why the air in the summers is so dry, and hardly a breeze can be felt. Bók-T'ak is not subtle, nor does she put up with anyone’s bullshit.
This aside, it probably also explains as to why when Žraăst'e is dancing, and Tam’nýer-a’ experiences its summer seasons that Ižwala' is notably at his most active, joining in his lover’s dance. Due to this, it is thought that when lightning storms occur, it is not only Ižwala' guiding his brother Sty-kopös to burn the rot off of Jn’s body, but also him deflecting his lover’s intense, and deadly passion as they make love.
God of Wood (Trees)
Parent(s): Rhīșña'V & Atharva
Siblings: Q'Tam'šmă, Nýer-a’, Uu'krieuvan, Bók-T'ak, Sty-kopös, Ižwala', Llunon, Praq-huykl' & Khuavīdistë
W'danzî is the god of wood, or as he is more so called, the god of trees. Unfortunately though, there are a couple of things you should know about him before we delve into a little of who he is because W'danzî, whilst being the god of the element Wood, and thus the God of Trees, any text that mentions him can get a bit confusing. Here’s why:
Sometimes trees are described as being W'danzî and vice versa, or trees are referred to as his children. So, if you don’t know this, it’s not difficult to get lost.
While we all know that the land masses that make up Tam’nýer-a’ are parts of Jn’s body, W'danzî, thanks to his trees and their branches, also gained the reference of being the bones of the world or the earth.
With that out of the way we can focus more on the god himself. Being an element, he has many siblings, but there are two gods in particular that W'danzî is closest to above all and those are Praq-huykl’ (the god of the Earth & Harvest) & their lover Czek’athü (the goddess of Autumn & Needed Change). As W'danzî makes up all the forests and jungles, he is in the habit of borrowing his sibling Praq-huykl’’s colours and consequently finds himself to be undressed (the trees & their leaves, mind you) by Czek’athü when she goes around gathering all the colour for safekeeping as the seasons change.
This time is usually W'danzî’s happiest as Czek’athü and him gossip about all the comings and goings of the world, and their family. His relationship with Czek’athü is that of a genuine and deep affection, and one the God of Trees quite needs as he is a bit tormented by his sister Bók-T'ak throughout the year. The way she dances through the trees, singing, whispering, prodding, teasing, and fluttering his fancy only to come and go as she pleases; a case that will never change. Thanks to this though, it always seems that when Uu’krieuvan is taking hi walks under W'danzî’s trees that he is on best behaviour. The trees don’t move, and nature seems to stand still in Death & Reincarnation’s presence, so much so that you might swear you could hear a pin drop, or that the trees are watching.
God of Gems and Minerals
Parent(s): Rhīșña'V & Atharva
Sibling(s): Q'Tam'šmă, Nýer—a', Uu'krieuvan, Sty-kopös, Ižwala', Llunon, W'danzî, Praq-huykl' & Bók-T'ak
Khuavīdistë has an astronomical body, and that’s not an understatement, it’s a legitimate one! Khuavīdistë’s body is frightening as it is beautiful as there is no more flesh, muscle or bone, as it has all been replaced by the consequences of his actions: archery. Khuavīdistë is obviously not an ordinary archer, given his status as a god, and his body which is an amalgamation of different precious stones, in a variety of brilliant colours.
With how all of Tam'nýer—a' is so infatuated and dependent upon water, it might seem strange that there is in fact a goddess for the element of water itself. Now this may sound incredibly strange as a statement, but in truth, Llunon is usually not worshiped as most lovers of water worship Q'Tam'šmă instead as she is the oceans, and forever remains there in stories despite being dead herself. For instance, even the Sk'älik worship Q'Tam'šmă as their creator and consider the ocean Her. So, not only were they made from Q'Tam'šmă, they live in her and all her riches.
This leaves Llunon in a similar predicament as Rhīșña'V. Sometimes forgotten a little or completely despite still carrying such a level of importance. In fact, it used to be that Q'Tam'šmă, due to the sad affair with her children was only the salt in the oceans, for all her tears, and that Llunon offered her better comfort than her husband Nýer—a'. In turn this meant that Llunon and Q'Tam'šmă were lovers, but clearly, over time this has changed drastically, so much so that it isn't even remembered, and ironically, has been washed away.
Llunon still carries heavy significance though, even if she has been mostly unseated by Q'Tam'šmă. In the wake of having so little 'room' to be worshiped as Q'Tam'šmă is all the oceans, Llunon is the water we drink, the element we use to cleanse not only our bodies but our souls. Llunon was also the one who the young Human women gave their menstrual blood to, and held communion with, but again, Q'Tam'šmă has taken up that role with the passage of time.
All in all, Llunon is still the goddess that we willingly take within us, even if we take her for granted. She conforms to all the elements, as she is strength in fluidity, compromise, and truly the unconquerable will. Penetrable but undefeatable. And this is probably why, even with being heavily overshadowed by Q'Tam'šmă that no matter the name attributed to the element, water always means strength.
His face, now little more than a skull, is also a large embedded amethyst looking geode, with eyes made of diamonds the size of a chestnut as his eye sockets are lined with gold blending into platinum. Following his neck it goes out to fluorite coloured shoulders, garnet arms, to citrine hands, with the underside of his nails appearing as rich peridot. His heart floats in a Nyzal ribcage, and is a striking & beating chunk of Jaq'-bû. His sacrum and coccyx are coloured like lapis lazuli, but they hinge to nothing as his bottom half is invisible to the naked eye.
But why does he look like this? Well, as stated above Khuavīdistë is an archer and his lack of flesh and proper bone is thanks to his archery. While you and I may go hunting for animals of the forest to eat, Khuavīdistë hunts the stars. His body is comprised of so many different gems and colours because so many stars that he shot down have exploded or landed on him. Ergo, every single gem and mineral Tam'nýer—a' is blessed with, is thanks to Khuavīdistë shooting at the sky, hunting during true night, knocking the stars out and down to us, blessing us with these beautiful wonders. Though they fall at such a velocity that they embed themselves so deeply into the ground.
No one really knows what his bow is made of, but the reason Khuavīdistë shoots towards the sky in the first place is that he became obsessed with things out of reach, and out of self imposed isolation, as well as determination, Khuavīdistë literally shot for the stars.