#surdas

[s-historian]

Surdas' work in the Indian folk literature and oral traditions.

Surdas, a prominent figure in Indian literature, made significant contributions to folk literature and oral traditions, particularly through his devotional poetry dedicated to Lord Krishna.

Surdas was born and bred in (1478-1583) he was renowned Indian poet, saint, and musician who made significant contributions to the country's rich folk literature and oral traditions. His works are still widely popular and revered in India, particularly in the northern regions.

Bhakti Poetry:

Surdas was a leading proponent of the Bhakti movement, which emphasized a personal, loving devotion to a deity, often transcending ritualistic practices. His poetry predominantly focused on Lord Krishna, particularly celebrating the divine playfulness and childhood exploits of Krishna in Vrindavan.

Vernacular Language: While Surdas employed Braj Bhasha, a language rooted in the Krishna-centric folk traditions of the region, his poetry is accessible to a wider audience than many classical works. This linguistic choice aligns him with the spirit of folk literature which often uses vernacular languages to reach the masses.

Folk Language: Surdas composed his works in Braj Bhasha, a folk language spoken in the regions of Braj, which includes parts of modern-day Uttar Pradesh and Rajasthan. This helped to popularize the language and make his poetry more relatable to the common people.

Songs and Hymns:

Surdas' poetry includes a vast collection of devotional songs (bhajans) and hymns. These works, celebrated for their emotional depth and simplicity, often depict the intimate relationship between Krishna and his devotees, illustrating themes of love, devotion, and surrender.

Devotional Ecstasy: Surdas' poetry, like many folk songs and ballads, is characterized by a profound sense of devotional ecstasy. This emotional intensity and direct address to the divine are hallmarks of folk traditions.

In conclusion, while Surdas is undoubtedly a towering figure in classical Indian literature, his work also serves as a bridge between the elite and the masses. His poetry's deep roots in folk traditions have contributed to his enduring popularity and influence as well Surdas’ contributions to Indian folk literature and oral traditions are profound, as his devotional poetry bridged the gap between elite and popular culture, resonating deeply with people across different strata of society.

Get The Much More Answer In This Page ( Who Was Surdas ? ) .

[pandaemoniumpancakes]

If it’s here in our hearts that Hari dwells, how can he remain so utterly unconcerned at what we're having to endure? Once there was a time he kept fire from burning trees, but now, how our bodies blaze: why hasn't Nanda's Joy burst from our breasts and cooled us with one of his smiles? Without a second's slackening, unceasingly, our eyes rain a torrent worthy of Indra and our bodies shiver in a fearsome chill. Why doesn't his hand hold the mountain aloft again? Hands! It takes a mirror to see they've got bangles? We're dead from the vexation of it all. How can we live, says Surij, listening to all this yoga? We're women adrift in love's longing.

ㅤ— Surdas, 'The Bee Messenger: 293' in Sur's Ocean: Poems from the Early Tradition, trans. John Stratton Hawley.

[hindikala]

Jagjit Singh - Tum Meri Rakho Laaj Hari Lyrics in Hindi & English with Meaning (Translation) | तुम मेरी राखो लाज हरि | Surdas #JagjitSingh #Surdas #Bhajan Read More: https://hindikala.com/hindi-literature/devotional/hindi-bhajan-songs/jagjit-singh-bhajan-tum-meri-rakho-laaj-hari-lyrics-in-hindi-english-with-meaning-translation-surdas/

[dudissues]

[dia-viller]

Orrin was such a dork

[du-sailarar-nerilia]

The stag does not win by fighting the wolf. No, his victory lies in avoiding the wolf and keeping his herd safe. May the gods grant you victory, as they did me.

- King Larkin of Surda, in a letter addressed to Crown Prince Orrin, enclosed in the King's last will and testament

[nailsinmywall]

eragon (inheritance cycle) ⚔️

[liimonagaci]

Ders çalışırken dogum günümü kutladık ahshshshs üstüne suhsi yedik midem sok ama cokseldiii

[cerseisvintagered]

My favourite kind of totalitarian magic hating high queen Nasuada somewhat immediately after that knife trial thingy that had Jörmundur piss his Victoria‘s Secret lace thong.

[alagaesia-headcanons]

A few times I've expressed how I feel like the later parts of the series really screw over Orrin and treat his character poorly. And I've seen some other people say similar things. But for a long while know, I've been conflicted about how exactly the books disservices him. Because, since writing this character analysis of him, I found that I don't disagree with the actual things he says and does. Like I mentioned there, I think the way his composure crumbles and how he becomes more aggressive and unreasonable makes a lot of sense in the context of what he's going through. He's lost everyone and he turns to drinking as anger and fear eat away at him. I think it works as a character arc, albeit a very sad one. And yet, I still get the feeling of the books doing wrong by Orrin and I've been trying to wrap my mind around why.

I was rereading the scene where Orrin wants to send an envoy to Uru'baen and Roran demands that he doesn't. Initially, I felt like this was one of the few moments where it does feel out of character for him, simply for the story to paint him in an exaggeratedly bad light. But I tried to reason out in what way it maybe could be in character (because I live for that). And it clicked into place. Orrin says it right there! "'But they can see us,' protested Orrin. 'We're camped right outside their walls. It would be... rude not to send an envoy to state our position. You are both commoners; I would not expect you to understand. Royalty demands certain courtesies, even if we are at war.'"

The issue at hand here is that Roran is arguing that sending an envoy to Galbatorix might provoke him to attack them. What Orrin is saying is that, as opposed to Roran and Jormundur, he knows what a king would expect to deal with when under attack, which includes envoys. If it would be perceived as rude and disrespectful to not send one, that insult could just as well be provoke Galbatorix into attacking. It makes perfect sense that, if Orrin sees this as a courtesy a king would feel entitled to, he believes it would be dangerous to risk slighting Galbatorix by failing to do it. Roran tells him, "'I won't let you endanger the rest of us just to satisfy your royal... pride.'" But it seems infinitely more likely that Orrin is attempting to satisfy Galbatorix's royal pride. I do think that not sending an envoy is a bit more sensible because, as Roran says, Galbatorix was born a commoner and likely has his own expectations (though what he goes on to say has flaws), but Orrin is still raising a very fair point by arguing that they should send one. And honestly, given what we see of Galbatorix, I don't think there was any danger of an envoy provoking him either.

But the more important thing about that realization that struck me is that I read that section at least 6 times before it occurred to me. I read it over and over while thinking "Orrin's argument doesn't make any sense, I don't know why he's saying this" before realizing it actually makes perfect sense. And it's because I believe that the true way that the series disservices Orrin's character is through the bias of the other characters and their narrations. This exchange is written in Roran's POV and it's riddled with his derision towards Orrin, his insistence that he's wrong, that he'll get them killed, and his overall very low opinion of him which colors how he sees all of Orrin's acts. And Jormundur shares his distaste and expresses his own.

Out of curiosity, I cut everything but the dialogue (sans 2 irrelevant lines) to see how it would read. It's very different; it shows how Orrin is reasonable at the start and how unwarranted Roran's combative and brazenly insulting response is. It really changes this scene from "Roran heroically saving everyone from the fallout of Orrin's stupid, careless choice," and reveals that it's just an argument- unhelpful and devolving where they both end up making inappropriate mistakes, one after the other.

Of course, there are real issues with Orrin's actions, in this case namely that his very wound up fear and frustration make him intensely volatile, enough that he tries to attack Roran here. That is egregious. But then that's compounded upon by all these other "flaws" perceived by the other characters in such an exaggerated way to the point of being fabricated. Roran sees him as dangerously stupid and vainglorious for wanting to send an envoy, despite putting absolutely no effort into learning his reason. It's just real rich that Roran then thinks, "Orrin was like a yearling mule: stubborn, overconfident, and all too willing to kick you in the gut if you gave him the opportunity." Lmao! Bitch look in the mirror, that's literally you!!!

This kind of depiction epitomizes Orrin's presence through the entire series. Every single POV characters has reason to be against him, starting with Nasuada. As a result of both of their respective positions, she sees him as a potential threat and obstacle to her goals. Through his connection to her, Eragon sees him the same way and Saphira follows suit. And Roran adopts the opinion of his cousin and his commander. So all of the POV characters are adverse to Orrin, but also, so is every single background character.

There is no one to offer or even contemplate a differing opinion in the face of the main characters' unilateral distaste. Once, literally once do we see Orrin talking to another Surdan. He gets a single line in the scene where Nasuada is appointed leader of their combined forces. Never again. We never see him interact with anyone not predisposed against him. None of his advisors, his soldiers, his friends. Every moment of Orrin's life involving the people who'd have a basis to get along with, or even like him go unseen by the entire story. And on the other side, that also means we never get to see how Orrin would interact with anyone without an incentive to work against him. So the narrative's bias against Orrin goes completely uninterrupted and unchallenged. It shows itself virtually every time he's present.

That is why the series feels so unfair towards Orrin, because in order to understand his actual intentions, it demands that the reader consider a perspective that the story refuses to ever provide. It requires ignoring perspectives that narrate everything and then giving a great deal of focus to Orrin's actions in isolation. It sets him up to be misunderstood and disliked because the easiest way to read his story is to follow along with the misunderstanding and dislike all the other characters express. The books actively obscure the true nature of Orrin's character.

[sparklepirate]

Okay Orrin??? And just who the fuck are you????

[sergio-r-pires]

O que é o silêncio? Algo do céu em nós.

Ilya Kaminski - República Surda

[du-sailarar-nerilia]

Old Aberonian bridge crossing a stream near lake Tüdosten

The Roman bridge at Köprüçay River / Turkey (by Andreas).

[juliocesarpedrosa]

Surda edzino?

Edzo suspektis, ke lia edzino iom post iom surdiĝas. Ŝi estis kuiranta ĉe la forno, kaj li en la vivoĉambro demandis: — Edzino, kion vi kuiras por nia tagmanĝo? Nenia respondo. Li demandis denove krie: — Edzino, kion vi kuiras por nia tagmanĝo? Denove nenia respondo. Li iris al la kuirejo, kaj ĉe la pordo li demandis: — Edzino, kion vi kuiras por nia tagmanĝo? Li aŭdis nenion. Li do…

[du-sailarar-nerilia]

Alagaësia Lore And Headcanons Series, Part 2: Human Languages of the Broddring Empire

Given that by the time the books take place, there is really only one human language, most of this post is going to be on the Headcanon side of "Lore and Headcanons". Still, my observations will be based in canon, drawing from place names as well as given names of characters. Where I run out of canon to draw from, I will be taking a lot of inspiration from the history of real-world languages, but not so much as to eliminate the uniqueness of the setting. Or at least I will try.

-Lights

Taxonomy

Human languages of Alagaësia can be roughly split into four distinct families: Broddring, Surdan, Petrovyan and Hadaraki. Of these, the former three show similarities in their grammatical structure (being overwhelmingly synthetic, but non-pro-drop languages) which may indicate that they split away from their ancestor language - a theorized "proto-mannish" - later than Hadaraki, which seems as far removed from them as it is from the Ancient Language. As this post is dedicated to languages of the Broddring Empire, Hadaraki, i.e. the languages of the Wandering Tribes (which never submitted to Broddring authority) will be given their separate post.

The Broddring Language Family

By this term, we understand any and all languages that evolved from the language spoken by the tribe of King Palancar at the time of their arrival in Alagaësia. The name "Broddring" comes from the singular form of the name of Palancar's tribe - Broddringas. Interestingly enough, it seems to be an exonym bestowed by a closely related tribe, translating roughly to "Brother's kin" (from brodor and the kinship suffix -ing).

Archaic Broddring This was the language spoken by Palancar upon his arrival in Alagaësia. While it had already developed the typical grammatical features of the later Broddring languages, its vocabulary was so far removed from theirs as to be completely incomprehensible to a speaker of present-day Broddring. This is due to the fact that after coming into contact with the Elves, Archaic Broddring started adopting (and modifying) words from the Ancient Language en-masse, which would eventually lead to the two languages sharing up to 40% of their vocabulary. The resulting amalgam would become known as...

Old Broddring Language of the early Broddring kings who resided in Ilirea. It had a rich inflection system, with four cases (nominative, genitive, dative and accusative) and three numbers (singular, dual and plural). Despite being different enough from the Ancient Language as to lack its truthsaying and magical properties, it was similar to the point of mutual intelligibility:

OB:       Andumë ond Fíronmas on thaem      sorga              hyll,     lichama    sin      glaese     gelic.

AL:        Andumë un Fíronmas äthr dem        harmra            hyll,     leikrar       theirra  glaere     gelikr.

(similarities illustrated on the sentence "Andumë and Fíronmas at the hill of sorrows and their flesh like glass." spoken by Glaedr in Inheritance.) Given that not only vocabulary, but also parts of grammar seem to have been adopted by the Broddringas, discussions abound among scholars as to whether Old Broddring is Archaic Broddring in an Ancient Language cloak, or the Ancient Language in a Broddring cloak. It was this language that gave rise to the Toskan dialect, an artificial dialect created by Tosk for the purposes of the Religion of Helgrind.

Present-day Broddring Just as Old Broddring is the result of a metaphorical melting pot of Archaic Broddring and the Ancient Language, present-day Broddring is the result of Old Broddring interacting with the rest of the human languages of Alagaësia during the Broddrings' conquest. Again, it borrowed massively, mainly from Aberonian and Old Surdan (more on those below). This was not the case of the conquerors borrowing vocabulary from the conquered, but rather the conquered attempting to speak the conquerors' language and substituting the words they did not know with ones from their own languages. Moreover, as Broddring gradually became the lingua franca of a multi-national kingdom, the number of non-native speakers outgrew that of the native ones. This led to a significant simplification and streamlining of grammar. The number of lexically realized cases was reduced drastically until only two - the subject case and the object case - remained. As a result, the word order became much less flexible and Broddring as a whole became more analytical rather than synthetic. Numbers were reduced to only singular and plural.

The Lost Languages of Surda

By the time of the Fall of the Riders, only the Broddring lanuguage was spoken in Surda. Indeed, the ruling dynasty started by Marelda of Langfeld and continued by the Queen Frida and the Kings Larkin and Orrin was ethnically Broddring. Still, some of the languages of the tribes that first settled Surda and remained there even after Palancar and the Broddrings left for the north survive in toponyms, given names, folklore and old documents.

Aberonian Aberonian seems to be the language most closely related to the unattested proto-surdan language spoken by the first settlers. It survives only in its formal, literary form, preserved by the Arcaena sect (the name of which itself derives from the aberonian word for "secret"). Both its name and that of the current capital of Surda comes from the tribe called Aberati. We can only speculate as to the meaning, but it may be related to the verb aberro, "to wander away". Aberati could therefore be taken to mean "Wanderers", "Explorers" or potentially "Exiles". Many traditional surdan given names have aberonian origin, like that of King Orrin, which derives either from the word orans ("he who prays", i.e. pious) or orum ("gold, golden"). It carries an air of tradition and authority in the surdan public consciousness and prior to Surda becoming a province of the Broddring Empire, her monarchs would swear oaths of office in both Aberonian and the Ancient Language. This tradition would be later revived by Queen Frida, daughter of Lady Marelda and the first Langfeld monarch.

Old Surdan The contemporary of Old Broddring and the source of many of the borrowings that transformed Old Broddring into its present-day form. If little survives of Aberonian, then what we have left of Old Surdan may well be nothing. It originated as a spoken dialect of Aberonian and continued to evolve even as Aberonian fossilised in its literary standard. It would eventually overtake it as the official language of Surda, as it was more familiar to the common folk and was not as strictly policed by scholars and nobles. Today, it only survives in the form of folk songs, nursery rhymes and old government records. Those capable of reading and translating it are few but highly sought after by the Surdan government.

Petrovyan Very little is known of the Petrovyan language, as even the term is most likely not what the speakers themselves called it, only that it does not seem to be closely related to either Broddring or Surdan and Aberonian. It was spoken by a human tribe that landed in Surda but migrated north (possibly as far as Gil'ead), before being pushed back to the site of today's city of Petrovya by the Broddring expansion. By the time of the Rider War, only fragments remain in dialectal expressions, toponyms (like Petrovya itself) given and family names (like that of Marcus Tábor) and local swearwords.

Real World Inspirations

The evolution of the Broddring language was heavily inspired by the real life history of English. The Ancient Language in this analogy is Old Norse, which influenced Old English to such a degree that Middle English is disputed by some scholars to be a scandinavian language (see English: Language of the Vikings by Joseph Embley Emonds and Jan Terje Faarlund). The Surdan language family is based on Romance languages, with Aberonian roughly corresponding to Classical Latin and Old Surdan to the Vulgar Latin-Old French continuum. Petrovyan was inspired by Slavic languages because, well, the name.