Below you can find the Analysis of the newly found Cárpa'dosían Parchments (read the exact text of the fragments here) done by Arthéos M. Federkiel. This analysis was exclusively printed at the New Santhalian Journal.


n my following elaborations I will use these abbreviations scheme:
Parchment One, Chapter One, Sentence one, Part one: {P I/1/1a}

I. Preliminary Critics concerning the Writings itself

Though of course all original parchments containing the Cárpa‘dosía and other important text fragments are held safely and are cared for in Santhala and therefore are not available for my work I will nevertheless try to do a preliminary investigation on the new texts by comparing them.

The characters differ from parchment to parchment widely. While we see probably the same writer on parchment One and Two, parchment Three and Four differ slightly from One and Two in sizes and thickness of the characters. Other scientific means have to confirm that this maybe a different author whereas it can clearly be seen, that Parchment Five is of totally different origin.

See following example, I have chosen two different words to compare, which occur both in every text fragment, the word for Avá and the word for Aér-ai-chán.

Runes Comparison

Here we can see, that {P III} and {P IV} differ from {P I} and {P II} how the rune for ‚a‘ in Avá is written, the line down is much steeper in {P III } and {P IV} than in {P I} and {P II}, whilst in Aér-aí-chán the runes for ‚ai‘ shows very slight differences how the points are set.

The most obvious is, as already mentioned above, the thickness of the single line, here we see three groups, {P I} and {P II}, {P III } and {P IV} and {P V }.

I assume, that {P V} is of an entirely different age, if you look very closely, you will see that the writing equipement has to be a different one .

Hopefully Santharian Historians will be able to determine the exact age by comparison with confirmed sources soon.

I like to mention that to be able to show you the differences in this journal my dwarven friend Kori Notlek worked on a flat brassen piece of metal and encarved the characters into it VERY thoroughly copying them from the original. This brassen plate was then used for printing as the boxes with the letters.

II. Investigations on the kind of used Words and Sentences

I have of course to rely on the results of the previous step, but own copies of the major known writings helped me here to a great deal.

As already step one showed us we do have to distinct three major groups, {P I} and {P II}, {P III } and {P IV} and {P V }.

a) {P I} and {P II}

{P I} seems quite uniform, though a closer look shows minor differences:

While {P I/1-4} uses a pronounced way of writing the characters when speaking of Avá if mentioned as She or Her, the later paragraphs use it in common sense as she and her. I tried to make this clear by using Capitals and Minors.

There are three words used which are very similar, nothingness, void and emptiness. While {I/3} defines void coming out of nothing, {I/6} calls what follows out of nothing emptiness.

{PII}:Though it has the same way to write the characters as {PI} the writing style is different and resembles more that of {P III} and {P IV}.

What may disturb the reader is the use of another word for star. Whereas Mies'efér (jewelled fire) is common, the author uses „Avá-chor-at-ná“ (Avá weeping, "choran" meaning "to weep"). Maybe we have here the very seldom occuring event that the Styrásh language uses a word from the Thergerim language?

The difference for ‚tear‘ is easier to explain: áe'lón (f) derived from "eye", áe'l, and "sea" (salt water), thyrón, is therefore only used for the salty, watery tears of created beings.

b) {P III} and {P IV}

It is possible to say in general, that the length and elaboration of the sentences in {P II}, {P III } and {P IV} is shorter and less artistic than in {P I}.

c) {P V}

If a comparison with the other parchments should be done at all, then {P V} resembles more {P II}, {P III} and {P IV} than {P I}

It has an internal inhomogenity which I have to mention, it may be of later significance: {PV/8} has far more shorter sentences than {P V/1-7, 9}

III. Further Steps

Any further steps to investigate the texts like there is the question what kind of literature they are belonging to, their place in the contexts of other writings or which older sources might be underlying, who wrote them, in which circumstances, where they written, have they changed during the time they were passed from generation to generation, what was the purpose they were written for or what is it today - all these questions have to be solved in New-Santhala from wiser men than me and that will take quite a long time.

Only onto one piece I will lead your attention, that is Parchment Five. There you can see in an excellent way that there were originally two stories which were edited and bound together in one piece by a later editor or writer of the first story who seemingly wanted to integrate the other (older?) story into his own..

Look at {P V/1-7,9}, they are all quite homogeneously written, but then look at {P V/8}! Quote:

„And Foiros went out to catch one of the jewels of the night. But he managed to catch only one, a tiny blue one. That angered him. So he took some fire of the Injèrá and formed it to a sphere and placed it near his blue star. But the star and his ball of fire were of different essence and tended to splay. So Foiros forced them to rotate around each other, not able to flee each other and not able to join each other. Sometimes, in regular intervals, the big red ball of fire tries to touch the blue little star. Some of the fire leaps over, but that results in melting of the jewel, melting some of the frozen light away and ends in a big outburst of blue light overwhelming the red light coming from the red fire sphere.“

This paragraph isn‘t as fluently written as the other parts.The sentences are shorter and different. The last sentence on the parchment, maybe even the last half sentence of the mentioned paragraph (the "frozen light" contradicts the "jewel" - maybe a notice on the margin slipped into the text while it was copied?) originates again from the editor. Without any doubt: There is a story from elsewhere integrated, maybe one of dwarven or even orcish origin!

IV. Final Conclusions and First Attempts of interpretation

a) Parchment One and Two

{PI/1-3} are without doubt parts of our known Carpà‘dosía whereas {PI/5-6} are yet unknown.

{I/4} However, is not new concerning the content as far as it can be revealed from the few sentences which are readable, but we don‘t have a original of this text, just the summary provided by Artimidor Federkiel.

To judge here if in {P I/5,6} and {P II} are true texts of the original Carpá'dosía is difficult. What speaks for the assumption is the dualism found throughout the whole Carpá'dosía, in the first known original part as well as in the extractions a later copyist did and with which Artimidor Federkiel provided us.

Following examples may support the hypothesis, we have to take especially into account {P I/2} where Avá is shown in her happiness in contrary to the new text where she is called the Sad One {P I/5}:

{Ex 1}:

In the Beginning there was the Origin and the End. For when the Origin arose the End arose also, and when the End arose the Origin arose also, the Origin and the End. {Carpá‘dosía I, The very Beginning, see above}

{Ex 2}:
Therefore the One will dream her Dream forever and though this takes Her but a moment, Eternity is thus thrust on Creation for what the offspring of her Dream may behold of it is Eternity, Eternity and Time, Truth and Mirage, Essence and Accident, both in one and one in both. {Carpá‘dosía I}

{Ex 2}:
Thought, that all Her splendour, Her kindness and Her purity, nay, even the very beauty of Her being, were not complete in themselves, that the sublime and the grand is in need of the lowly and diminutive, that the incomparable requires that which it cannot be compared to. {Carpá‘dosía I}

These three examples, especially {Ex 3} give reason to assume that these hitherto unknown parts might be original.

There are of course a lot more examples of opposite word pairs:

Mortality - Immortality
Time - Eternity
Shape - Essence

And later on the elements are seen opposing each other as well:
só Avásh as the One - sá Mód, the Other of the One (Wind - Earth)
sá Már, the Xeuá between the One and the Other - só Efér as the Xeuá between the Other and the One (Water - Fire)

And of course:

Avá - Coór/Esh-Avá
Ava, spirit in essence - Aér'ai'chanía, matter in essence

And as a consequence: Avá, the Happy One - Avá, the Sad One

It would be easier to decide whether Parchment One is original or not if it wouldn‘t contain the last paragraph {P I/6}.

Here we have a hitherto new thought which has to be discussed in detail from more experts that only one. With this decision will fall the credibitility of Parchment Two, Three and Four as well.

Lets face the current "belief" when and how the stars were made and and what they "are":

The night sky of Caelereth is bright with an abnormally large number of stars. Approximately 3000 stars are visible at one time. Most of them are clustered in constellations, which were named primarily by elves, humans, and dwarves. However, you have to discern between fixed star constellations and those which are being carried in clusters by the Darkwinds in various directions and various speeds. The latter are said to have been torn away from the brightest gem in the universe, the Injèrá, the sun, which was created by the Burning God, Foiros. (Quoted from the Santharian Compendium)

As suggested by Cárpa'dosían myth the moving constellations are considered to be attached to the elements, to the malices, and to the Gods {Greybark and Artimidor Federkiel: The Star Constellations, no year available}

As we see, the above information is not yet proved, the use of "are said" and "are considered" gives room for other interpretations.

b) Parchment Three and Four

If {P2} is confirmed, {P3} and {P4} may find their way into the library as well.

An interesting thought came to my mind when reading parchment {IV/1):

Some of these tiny bits falling down during the time the Rain of Life was falling could have been the creational cause for another myth, the fairies, though this might arise from my (unscientific) wish that these creatures exist.

c) Parchment Five

This is the most mysterious one. I don‘t have another interpretation as that it could be a prophecy, here I wait dearly for the comments of my colleages.

Bard Judith: Urtengor, God of the Forge
Bard Judith: The Mining of the Stars (Myths)
Bard Judith: The Dwarven Clans
Carpá‘dosía, Chapter One (edited by Artimidor Federkiel)
Carpá‘dosía, Chapter Two (only available in elfen tongue so far, requests for a translation direct please to Artimidor Federkiel)
Federkiel, A. (Editor): A summary of the Carpá‘dosía, Chapters 1 to 9 (The Santharian Cosmology)
Federkiel, A.: The World of Aér'aí'chán
Federkiel, A.: The Darkwinds
Federkiel, A., Greybark: The Star Constellations
Federkiel, A.: The Injèrá
Federkiel, A.: The High Goddess Avá the Beautiful
Federkiel, A.: Foiros, God of the Sun
Federkiel, A.: Eyasha, Goddess of Peace
Greybark: The Etherial Void
Mondrakken, Koldar: The Styrásh Runes
Wren: The Four
Wren: The Axhái
Wren: The Elven Clans

V. First Artwork to the Above Speculations

Though it is very doubtful that the new hypothesis will be confirmed by our Santharian historians, it has already inspired an yet unknown artist to do his first artwork on Santharian cosmology.

The Dreaming Avá

Source: Artimidor Federkiel 1999
ESO Starfield
Idea: Talia Sturmwind
Realisation: Focx

I have to mention, that we are able to provide you with this image and the one of Sir A.M.Federkiel in the Santhalan library only through the magic of the two best known mages of Santharia, Xarl Bluestride, Archmage of the White Tower of Ximax, Master of Magic, and Tarquet Galbar, Keeper of the Secret of the Weavers, who provided us with the Encyclopedia of Magical Arts. This display of this image could only be achieved with their admirable engagement and use of their combined magical forces. Thanks to them for the overcoming of their collegal differences and competition.

Written by Talia Sturmwind View Profile