This summer I've had the pleasure to work with one of my favorite bands, Corvus Corax to narrate the English version of their album, Masque of the Red Death!
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What is in a name? Or a word? Or a language…? Everything. Words convey thought. Names contain a complex history and connotations of social and political layers. Language reroutes perception and shapes a cultural intellect. One of my enduring ‘issues’ with most current fantasy settings (both in static fiction and RPG) is that the naming conventions are either overtly familiar to modern language speakers, or else are intentionally ‘made up’ so as to appear “exotic”. Without much research into an actual linguistic and cultural root. One of my goals in creating the world of Haros, in which our Blightlands RPG will be set, has been to start with a linguistic foundation when building the features and timeline of the world. I wanted things to be familiar enough. Pronounceable. But not so familiar they were obvious references. The world is 9th century central Europe in feel. There are structures and remnants (physical and political) of a heightened Empire (perhaps 13th Century Europe). But the series of disasters that came with The Blight have caused a reversion to an earlier post iron age culture. The roots of names range from Germanic inspired in the north and west, to Anglicized variations in the south. As I moved east, I delved unto Finno-Ungric, modern Lithuanian, Hungarian, Ukrainian and to the south Romanian with vague Indo-European influence. I don’t claim to be a linguist. I don’t claim to have deep research on the etymology. As the world develops, this will likely occur. I don’t plan to publish or provide a specific translation guide to places/names. I would still like there to be a bit of an alien and unique feel to the world. Being thrust into a realm of almost familiar territories is an effective accomplice to immersion. I would like to think as readers, players and game masters journey through the land they are further convinced of the depth of the world. I hope that the names such as the border town of Fror Arkod (Boar’s Shield), the deep and ancient woods known as Boles Holhwo (Boleas Hollows), the trade town of Dolkei (lake front), and Sesteri Peaks (Three Sisters) facilitate the reality of this journey. And with that, back to fleshing out the Haros Atlas… I’ve played the ¾ tune likely 1,000 times at this point... The lively and sweeping song associated with the “medieval” song Totentanz (or Danse Macabre, but not Saint-Saëns/Liszt version). It is a staple on the mittelalter scene and occasionally makes an appearance into the repertoire of American pseudo-Renaissance ensembles. I haven’t played it publicly with or without a band in over 6 years. When some discussion came up with folk metal band Teshaleh about a ‘bagpipe forward’, and possibly historically sourced piece – Totentanz was a natural choice. The imagery surrounding the inspiring woodcuts is chilling and dark. From the plague years, the underlying message was that death is inevitable, if not imminent. And in the end we are all skeletons. Similar imagery pervades funerary and post mortem customs found through out the world. Aztec, Mexican, Scandinavian, Afro-Caribbean and Indian culture all have images of the dead/ancestors returning in ghastly form. This time of year in a number of ancient cultures is often marked by rituals for the dead. The harvest is under way or finished; the turning of the wheel towards winter begins. November 1 is historically a day of the dead; or a day that the dead come to visit in many cultures. Much like the medieval Totentanz these expressions are not meant to minimize the danger in or fear of death. Instead they are to remind the living that each moment is valuable. And how we choose to live it dictates are experience in the earthly form. In addition to a pipe lead I wanted to write some lyrics to go along with the Totentanz tune. They aren’t finalized but are a sketch to be looked at/worked on by the entire band. I’m not including the notation here, but they correspond to the typical A/A B/B arrangement of the piece. Brett and I decided to work with the medieval source material. The Heidelberg Totentanz as well as some review of the Basel Totentanz. I wanted to put these out there on the Day of the Dead. The Emperor
The Emperor (A/A) My Power Boundless To far Land and Sea I laid waste for Empire Foes Fell to their Knees My Will is no longer Now I’m but a shade. My blade and staff rot As death heeds no crowns. Death (B/B) Lord of Men, On your throne crows now nest Your Sceptre and Crown Are Worthless as Dust For I Death am Emperor Here And now clasp my hand And join in the dance. The Merchant The Merchant (A/A) In Life I traveled To sell wares much prized My coffers bulge And my purse always full Now I feel chilled As a hand reaches out. When in my tombs Gems and gold Are no bribes. Death (B/B) Merchant Man Your gold will Not help you Of riches Death My master needs none! Your skull can rest Atop a pile of coins. As we clasp hands And you join in the dance. The Child The Child (A/A) Dear Mother Where are you? You lay in the streets. I barely crawl yet I am made to walk The smoke blinds my eyes And my toys are lost. A man in black calls And I take his hand. Death (B/B) Weep or you laugh It matters not to me. Your Mother’s arms or teat Would not save you now. Rise from your knees It is time to join the line. And now clasp my hand And Join in this dance. |
John Harford
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