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The Curse of Steel: Some Background Notes

The Curse of Steel: Some Background Notes

The setting for The Curse of Steel is a region whose name will translate as The Great Lands (the constructed-language word is probably something like Mortalani). This is a region roughly analogous to western Europe (or north-western Middle-earth, if I’m being honest) which has just about completed its transition to the Iron Age.

The primary inspirations here are Tolkien’s legendarium, and the fantasy of another British author: Michael Scott Rohan. From Tolkien will come the general shape of the world map, and a few pieces of back story. From Rohan will come a more Darwinian approach, in which the divine powers aren’t all so benevolent to humans, and societies are rooted in the long prehistory of a world that wasn’t created for their benefit.

The Peoples

At present I have five “races” (more accurately, hominid subspecies) in mind for this setting.

Elders

The Elders are a very ancient population, ancestral to all the others. Think of these as highly evolved and sophisticated homo erectus.

Elders tend to be shorter and more gracile than humans, but they are strong and quick for their size, and are immune to aging or disease. They are not by nature more intelligent than humans, but they have many ages of traditional wisdom to draw upon, and they have considerable natural talent with magic. Their natural lifestyle is that of intensive hunter-gatherers. When they have the opportunity, they will sometimes maintain small sedentary communities in order to practice more advanced arts and crafts.

The Elders are almost extinct in the mortal world. Most of them departed from the world long ago, to live in the divine sphere with the benevolent gods. Some return from time to time on specific errands, always apparently arriving by sea, so individual Elders and even small groups are sometimes seen.

Smith-folk

The Smith-folk are about as tall as humans, but they are stocky and extremely strong. Think of these as resembling homo neanderthalensis, although with better manual dexterity and more advanced material culture.

The Smith-folk learned advanced crafts from the Elders in ages past and are now known as the best stone-workers, wood-workers, and metal-smiths in the world. They are very clannish and insular. They tend to live in small communities within reach of agricultural society, where they can trade their craft-work for food. When that doesn’t work out, they will often revert to a hunter-gatherer lifestyle (or turn to brigandage).

Sea-folk

The Sea-folk are small hominids, about half the size of humans, not very strong but quick and nimble.  Think of them as homo floriensis who have taken to more advanced tools.

Sea-folk originally evolved on a chain of islands far away on the other side of the world, where they followed an intensive hunter-gatherer lifestyle. Centuries ago they encountered human sea-farers, and took to that life with great enthusiasm, making themselves so useful that every sea-captain sought them out. Today, they can be found in coastal communities everywhere.

Sea-folk are very gregarious, curious and imitative, good at picking up languages and mimicking local customs. They are superb sailors and fishermen, but are also known as thieves and rogues.

Humans

Humans are the default population from which my protagonist and most of her peers and rivals come. They are biologically and sociologically identical to homo sapiens sapiens, modern humans from Earth. They are the most diverse of the peoples of the world, following many lifestyles and living at a wide range of levels of technology.

In ages past, some human populations interacted with the Elders and learned a great deal from them. Transplanted to a minor continent amid the Western Sea, these were among the first to develop an advanced civilization. Today they are great sea-farers, traveling all over the world to trade with the peoples they find. In the Great Lands, they have begun to establish permanent settlements on the coasts, and their relationship with the indigenous peoples is turning greedy and exploitative.

Other humans developed civilization independently and are beginning to establish large empires of their own, but these have generally fallen under the domination of cruel and greedy gods. My protagonist is from a more “barbarian” culture, technically advanced but still at a tribal level of organization. Most human societies in the area where the story takes place are blended from ancient hunter-gathers, farmers who moved into the area in more recent millennia, and a warrior elite who arrived even more recently with their distinctive customs, language, and military technology.

Beast-folk

Beast-folk are the “youngest” of the major hominid subspecies, bred by malevolent gods in the last few thousand years. They have no close analogue in our own prehistory.

Beast-folk were bred to be carnivorous pastoralists, living on herds of horses and cattle on the broad plains east of the Great Lands. They’re also not above eating members of the other four subspecies when opportunity arises. They are larger and stronger than the other peoples, and raised from birth as warriors. They don’t make particularly good soldiers, since their logistical requirements don’t allow them to form large armies. On the other hand, they make excellent raiders and shock troopers.

Beast-folk were created to be destroyers of civilizations, and many of them remain hostile to all outsiders, feared and hated. They are somewhat variable, however; some beast-folk are less necessarily hostile, and a few have even assimilated into human societies.

Final Notes on “Races”

Yes, if you tilt your head and squint, you end up with “elves,” “dwarves,” “hobbits,” “men,” and “orcs,” but I’m hoping to play those themes in a different key, as it were.

One note: when it comes to who can interbreed with whom, humans and the Smith-folk are the ones who have been known to intermarry, while the Elders and the Sea-folk are more biologically distinctive. No one is quite sure whether the Beast-folk can interbreed with any of the others; no one really wants to make the experiment.

Villains

The stories I have in mind are likely to have a variety of villains and conflict-sources. Given that I’m aiming for a pulpy, Conanesque feel, there should be plenty of corrupt kings and evil wizards to go around. On the other hand, the big, world-shaking villains are all going to be gods.

Most spirits and gods are benevolent – or at least not interested in interfering with the mortal world. Occasionally one of the gods decides to be malevolent, emerging onto the mortal plane to pursue their own goals, actively interested in killing, tormenting, or just ruling mortals. The Elders call these malevolent beings the Great Enemies. So far in history there have been three of these:

  • The most powerful of the Great Enemies, a god of deep cold and ice. He fought to preserve the mortal world as a place of quiet, austere beauty, free of the “corruption” of sentient life. Held sway for many thousands, if not millions of years, and was only defeated by the direct engagement of more benevolent gods.
  • A goddess of disease and pestilence, who thought of herself as a champion of the natural world. She sought to protect forests and animal life around the world by using virulent plagues to eradicate sentient life. Opposed by the Elders, and eventually by a brief period of divine intervention.
  • A god of fire, iron, and warfare, who seeks not to eliminate sentient life, but to rule it “for its own good.” Currently active in the world in the present day, not apparently opposed by the Elders or by the benevolent gods.

Okay, that’s a taste of the backdrop. Next time, some notes on the initial draft timeline for the setting. Then I’m going to start working on a new version of the map, which I may also use to set up a worldbuilding-by-simulation exercise to develop the timeline in more detail. More to come over the next few days.

Reviving an Old Project

Reviving an Old Project

I’ve been rather blocked for the past month or so, as witness the lack of updates in this space for about that long. So I’m going to try something that often works for me: turn to one of the other projects that’s currently on the back burner, and see if I can push it forward for a while. By the time I run out of steam on that, I usually find I can turn back to the first project and make progress with it once more.

One of the items I’ve had on the back burner for a while is a novel, possibly first in a series, with the working title of The Curse of Steel. This is a foray into writing Robert E. Howard-style pulp, set in an Iron Age world that’s reminiscent of our own prehistory without being tied to it.

The protagonist is Krava, “the Raven,” a female warrior from a pseudo-Celtic society, kind of a younger Boudica. After a battle against orc-like raiders, in which her father is slain, Krava comes into possession of a magic sword. She soon finds it an uncomfortable weapon to own, one which pulls her into a struggle of ancient magic and foreign gods. Eventually she leads her people in a fight for their freedom and independence, against several more “civilized” nations.

I have maybe 25 kilowords of the first novel down, including a first chapter that I posted here a while back. Unfortunately, I got blocked on that because I couldn’t converge on a consistent picture for Krava’s world beyond her immediate homeland. Back in 2017-2018 I tinkered with several concepts, including a late Stone Age Europe in our own world, and a completely new world map, but none of those quite came together to my satisfaction. I also did some language construction, which will probably be useful eventually.

Yet as often happens, since I’ve left that set of ideas on the back burner for a while, now I think I can clarify and push them forward a bit. I’ve got a plan to develop some back story and a more focused map, enough that I can move ahead with the first novel when time permits. The plan involves some research, and a little worldbuilding-by-simulation, and I’ll be working on that and making posts about it over the next two or three weeks.

“Architect of Worlds” Page Now Active

“Architect of Worlds” Page Now Active

Recently I’ve noticed a big uptick in traffic to posts under the architect of worlds tag. I suspect someone out in the wilds of the Internet has called people’s attention to the project.

I’m up to my eyebrows in other projects at the moment, but today I took a few moments to create an Architect of Worlds page, accessible under the Sharrukin’s Worlds section in the sidebar. If you’re interested in the project, the advantage of that page for you is that it will include links to current PDFs of the completed draft sections. No more having to weed through old blog posts!

Incidentally, I do hope that people who find the material useful will let me know that, and provide any feedback they can as to how well or poorly the system works for them.

New Content Posted to Sharrukin’s Worlds

New Content Posted to Sharrukin’s Worlds

I’ve started building out the Sharrukin’s Worlds section of the site, starting with a section on my planetary-romance setting Tanûr. I’ve retrieved my original article “Building a Better Barsoom” from the Sharrukin’s Archive site, and have now posted that here with some minor edits.

At the moment I’m working on the first Tanûr story as a break from working on the novel, so I may produce some more content for that section over the next few days.

I think I’ll make short announcement blog-posts like this one whenever I add substantive bits of content to the Sharrukin’s Worlds section. For now, at least, until and unless I see a better way to help readers find what they’re looking for there.

Status Report (9 February 2019)

Status Report (9 February 2019)

I’m still plugging away on Twice-Crowned, although I seem to have lost some of my momentum on that project. I may spend a few days working on other items so as to stay fresh, then get back to the novel.

In particular, I’ve taken the first steps to move all of my archived content out of the Sharrukin’s Archive site and into this WordPress framework. For the moment, all I have is a parent page (visible on the sidebar to the right, under the “Sharrukin’s Worlds” link). I plan to hang several child pages from that, each covering a specific project or setting that I have in the process of development. For example:

  • The most recent draft sections for Architect of Worlds
  • Setting notes, maps, and short fiction for the Human Destiny space-opera setting
  • Setting notes, maps, and short fiction for Ancient Greece and the Danassos historical-fantasy setting
  • Setting notes, maps, and short fiction for the Tanûr planetary-romance setting
  • World-building articles I’ve written that aren’t tied to a specific setting
  • Any new projects that rise to the point of active development

This should give interested parties a chance to look at the content I’ve developed without having to dig through months of blog posts. It should also be far easier to maintain than the Sharrukin’s Archive site, which is frankly a royal pain in the nether regions to do anything with. Finally, I suspect this kind of structure might also be a convenient way to collect content on the way to developing books for publication via Amazon or a game-centered platform like RPGNow. Watch this space for further developments.

Game Design Prospectus: The Wars of the Jewels

Game Design Prospectus: The Wars of the Jewels

Still plugging away at Twice-Crowned, with about 20 kilowords down in rough draft and a little more emerging every day or two. That’s still my primary project, and I plan to keep it that way until I really get stuck on something.

Still, my brain has to stay busy the rest of the day, and one chunk of time that I can’t apply to the novel is my daily commute to and from the office. That’s about 45-60 minutes per day total . . . and there’s a single audio-book that I’ve been listening to during that time, over the past many months. At this point, I’ve been through that audiobook so many times that I think I have a lot of passages nearly memorized.

That would be the Silmarillion, by J. R. R. Tolkien.

I’m going to assume that most of my readers are at least somewhat familiar with the book. Even if you haven’t read it, you probably know more or less what place it has in Tolkien’s overall body of work.

The biggest chunk of the Silmarillion itself is the story titled the Quenta Silmarillion, the “Tale of the Silmarils,” the epic history of Middle-earth’s “First Age” that provides deep background to The Hobbit and The Lord of the Rings. The bulk of the Quenta tells the story of Morgoth, the first Dark Lord of Middle-earth, who stole three great jewels from the Elves of Valinor. This theft provoked many of the Elves to follow Morgoth to Middle-earth and fight a centuries-long series of wars against him, which eventually ended in their utter defeat. Only the intervention of the Valar and the Elves who had remained behind in Valinor saved anything from the rack and ruin.

It’s a beautiful story, and I’m quite content with having spent many hundreds of hours of my life reading and listening to it over and over. But my brain sometimes does odd things with the material it encounters . . . and one thing my brain currently seems to be doing is designing a boardgame simulating the epic action of the Quenta.

So that’s what follows: a high-level prospectus for a tabletop game with the working title of The Wars of the Jewels.

The basic design always assumes two players. One player takes the role of Morgoth, while the other takes the role of the High King of the Noldor Elves, whoever that might be at any given time.

The proposed game comes in two levels of play, essentially a basic and advanced game.

The Battle Game can be played stand-alone, with as many as a dozen or so distinct scenarios portraying the various major military campaigns of the First Age. Each scenario provides a fixed order of battle for both sides, possibly with some special rules to reflect specific situations from the original story. The Battle Game involves very traditional wargame mechanics: small chits representing military units and heroes, moving across a hex-grid map that represents most of the region of Middle-earth called Beleriand. The scale of the Battle Game would be about 20-30 miles per hex and no more than 2-3 days per Battle game-turn; most Battle Game scenarios would be no more than 8-10 game-turns long, and some would be much shorter. I would envision even a long Battle Game scenario as something players could complete in a single afternoon or evening session.

The Epic Game is a grand-strategic simulation, portraying the ebb and flow of the whole series of conflicts. Here, the scale is about 40-50 years per Epic game-turn, so that the whole period of conflict between the Noldor and Morgoth can be played out in 12-15 game-turns.

The Epic Game would be the most challenging to design, I think. Right now I’m leaning toward a card-driven scheme, in which both players draw cards from deck of random events, and can either trigger those events or use point values on the cards to carry out actions. The basic mechanic would probably look a lot like some of the card-driven games published by GMT Games.

The two players wouldn’t be entirely symmetrical in the actions they could take. Both sides could probably do things like build up manpower, settle in empty or uncontrolled provinces, build fortresses, deploy heroes, or play a game of influence among the disparate Elven and allied factions. All of those would play into the possibility of a military campaign to be fought at the end of the Epic game-turn, using the Battle Game to determine the course of a war.

The Elves would also have a set of actions involving sending heroes out on Quests. A Quest would require the Elven player to gather a few heroes (how many would depend on the commitment of action points) and then send them through a series of challenges resolved with die-rolls on a set of tables. Quests could be used to rescue heroes currently captive in Morgoth’s dungeons, to kill dragons or Balrogs, or to attempt to sail to Valinor and persuade the Valar to help. One critical Quest would be to try to steal one of the Silmarils back from Morgoth – very difficult and risky, but probably a necessity if the Elves are not very lucky with their military campaigns.

One mechanic would involve manpower. Almost every faction, on either side, would maintain a Manpower score, indicating its current population. Factions of Men or Elves would have to be able to support their current Manpower with controlled provinces – they need land to supply their armies. Elven factions would replace Manpower lost to combat casualties very slowly, but Men would replace lost Manpower fairly quickly (hence giving the Elven player an incentive to set aside lands for Men). Dwarven factions wouldn’t need provinces under their control since they’re based in big underground cities, but their Manpower would be rather severely capped. Orcs have no limits on their Manpower, but they wouldn’t grow naturally, so Morgoth would have to commit actions to build up his Orc armies.

Available Manpower at the start of a Battle Game war would determine the force pool available for each side. Units lost in the course of the war would result in lost Manpower. The overall effect should be that the Elven player will have to worry about every unit lost in the Battle Game, especially the hard-to-replace Noldor Elves. The Elves and their allies will be crippled if they lose all the rich provinces of Beleriand. Meanwhile, Morgoth’s armies should seem nearly inexhaustible.

Another mechanic in the Epic Game would involve politics among the various factions opposing Morgoth. Half of the tragedy of the Quenta has to do with distrust and outright treachery among various factions of the Elves and Men. So in the game, Morgoth will never have to worry about the loyalty of his own armies, and the High King of the Noldor will always be able to rely on his own faction . . . but every other faction of Elves, Men, or Dwarves will be more or less unreliable.

Each Elven or allied faction would probably have a Loyalty score, indicating its current willingness to actively oppose Morgoth in warfare. Factions with high scores will commit all available forces to a war, and will forward-deploy them so as to come at Morgoth more quickly. Factions with lower scores might hang back, or might refuse to send some or all of their soldiers to fight. In a few cases, a faction might even treacherously go over to Morgoth’s side! Meanwhile, if a Silmaril ever comes into play, Morgoth might be able to this system to trigger outright warfare among his opponents, as they fight for possession of the great jewel.

I envision some “chrome” systems, of course. There should be a system keeping track of who the High King of the Noldor is from one Epic turn to the next – what if Fëanor had survived the first years of the conflict? More generally, if an Elven faction loses its current leader, there has to be some line of succession. There should also be a system to generate heroes from the Elven-allied houses of Men each Epic game-turn, and possibly marry one or more of those heroes into the Elven royal houses if certain conditions are met. That’s likely to be on the critical path to Elven victory if they can’t keep Morgoth’s armies contained.

I think that sums up most of my thinking on the subject so far. I can see the whole game in my head, and I begin to think I could design and test it to completion if I had the time. Of course, it would have to be a complex bit of freeware, since there is no way the Tolkien estate will ever license this particular piece of the legendarium for such an application. Yet another creative project that’s never likely to come to fruition – although man, it would be neat to see.

Some More Greek Translation

Some More Greek Translation

Here’s another of the Homeric Hymns in English translation. This time I was a little more free with the translation, to make it fit the needs of my story more closely. Even admitting that, I’m not entirely confident in the translation – ancient Greek grammar is a bear if you’re not experienced with it – but it will do for a rough draft. This is #30 from the canonical list: To Earth the Mother of All.


I will sing of well-founded Earth, Mother of all, most revered,
Who feeds all creatures that walk upon the lands,
That voyage in the paths of the sea, or that fly in the air,
All these are nourished from thy bounty.

From you, O Queen, come fine children and bountiful harvests,
You who grant life to mortals and can take it away.

Happy are the people it pleases you to honor!
Your bounty is there all around them.

Their tilled fields are laden with corn,
Their flocks thrive, their houses are filled with good things,
In good order they rule their cities of fair women,
Happiness and prosperity are with them.

Their sons walk proudly in vigor and delight,
Their daughters dance with joy in garlanded companies,
Playing and skipping across the flowers of soft grass,
All those whom thou honor, revered goddess, with bountiful spirit.

Hail, Mother of gods, Queen of star-filled Heaven,
For this, my song, freely bestow life upon me to uplift my heart.
I shall remember thee, and now another song as well.

Thinking about Danassos

Thinking about Danassos

More forward progress on the rough draft of Twice-Crowned. As of this morning I’ve got just over 17 kilowords down.

I’ve been going back to the beginning of the story, to set up Alexandra’s situation and the reason why she has to flee from her home city to Athens. I think the first section of the novel is going to take place all in a single day, beginning with Alexandra about to succeed to her mother’s throne, and ending with her fleeing for her life with a single companion.

I’m still evolving my novel-writing technique. Decades of being a failed novelist have shown me several approaches that don’t work, at least not for me. Now I think I’m getting somewhere with the strategy of just dumping scenes and bits of business onto the page, with the assumption that I’ll whip the results into a coherent story later. When I work from extensive outlines and world-building notes, I tend to over-think everything.

One result of this strategy is that I don’t always see potential conflicts and themes until I’m already in the middle of them. That seems to be happening here. A bit of explanation may be in order.

This story has always been driven by the idea of writing a “return of the true king” tale, while turning the usual trope on its head. My protagonist is a very young woman who would be pretty helpless in a battle. She has to think her way through situations, calling upon her mental and magical talents, instead of just charging forward with a big shiny sword.

So, how do I get a story set in Classical Hellas, in which a woman has any chance of being a ruling monarch? I mean, that did happen once in a great while – we have the example of Queen Artemisia of Karia – but it was extremely rare.

I did it by setting up an alternate history, based on some of the more sensational interpretations of Bronze Age Greece. It’s not clear whether Minoan Crete or the pre-Greek societies of mainland Hellas were ruled by women, and it’s not very likely. Still, if you go with Robert Graves or Riane Eisler, those societies were probably more gender-egalitarian than the Hellenic culture that followed them. (Admittedly, this would not be at all difficult.) So let’s arrange for a survival of pre-Greek civilization into the Classical era. As I’ve documented elsewhere, what I ended up with was a city founded at the end of the Bronze Age by Minoan refugees, at the site of what we know as Syracuse. Although this city (Danassos) eventually became more or less Hellenic in culture, it remains the most gender-egalitarian society in the Greek world, and it tends toward female rulers.

Meanwhile, Robert Graves gave me one possible model for how a pseudo-Hellenic society might manage female rulership. That’s the idea of a “year-king,” in which the ruling queen selects a different male partner each year. That way, no one man could dominate, and the queen could keep various factions among the people in line by favoring one, then another. At least it might work that way in theory. No doubt, in practice, the system would tend to break down whenever a particularly ambitious year-king came along. Mary Renault’s novel The King Must Die, which is based heavily on Gravesian speculation, does a good job of showing us how such a system might fail.

There’s even some precedent in real-world Greek political structures. In Athens, for example, there was the office of the archon basileus (the “king archon”) who was elected or appointed each year. The archon basileus didn’t have that much of a role in actually governing the city, but he (and his wife) took care of some of the religious duties that had once been carried out by the kings.

So in Danassos, at least in Alexandra’s time, there is a ruling Queen who is essentially a constitutional monarch. She is the foremost religious and legal authority in the city, she has an important role in forming foreign policy, and she presides over meetings of the democratic assembly. Each year, at the spring equinox, she selects a new year-king; no man is permitted to serve more than once. The kingship doesn’t carry a lot of authority, but it’s considered a great honor, especially if the partnership results in the birth of a new member of the dynasty. Meanwhile, the city’s other administrative and military offices are filled by some combination of royal appointment, selection by lot, and democratic election. The whole structure is probably rather baroque; most Greek city-states had pretty complex systems of government.

At the beginning of the story, Alexandra is just days away from becoming the new Queen of Danassos, with all that implies.

So far, so good. It occurred to me, though, that in the real world this kind of monarchy would have rather unsettling implications. Just how does the Queen of Danassos select a king each year? She probably has lots of political implications to think about. Does she select a man from this faction or that one? Which candidate will do the most to support her rule and defend the city from its enemies? What if the best candidate for the city is a man she finds personally repugnant? What if a given Queen just isn’t all that fond of men in the first place? Does the Queen ever get a chance to pick a candidate just because she is attracted to him, or because she loves him? And even if she does, it’s just for a year, and she has to give him up at the next spring equinox.

Are the Queens of Danassos the most powerful women in the Hellenic world, or are they the most expensive prostitutes?

I’m going to have to think about that, while I keep working on the rough draft. There’s some good conflict there, and good potential for character development for my protagonist. There are also a lot of land-mines I’ll have to watch out for.

Status Report (9 January 2019)

Status Report (9 January 2019)

Just a quick post today. I’ve been home from the office with a bit of intestinal crud for the past couple of days, which has not exactly been conducive to getting any writing done either. Still, I’ve managed to get another two or three kilowords down on Twice-Crowned since the weekend. I’m not at all happy with the text as it stands – I’ve got more loose plot threads lying on the floor than you can shake a stick at – but better to get the story roughed out in full, and then go back and start polishing and trimming. The overall shape of the story is working out fine.

I should call out a source that’s been remarkably useful, and will probably continue to be so: a book titled The Seer in Ancient Greece, by Michael Atiyah Flower, published 2008 by the University of California Press. Although my protagonist is not at all a typical Hellene of her time, it’s very good to have a solid understanding of what other manteis did in the real world, and how they interacted with the society and culture around them. Somewhat specialized, but highly recommended if you have an interest in classical Hellenic religious thought.

Watching this blog for the past few days has been a bit surprising. Today has been the busiest day the blog has seen since I reinstated it back in April, and I cannot for the life of me figure out why. For some reason, I’ve suddenly been getting dozens of hits from Facebook, which is odd since I don’t cross-post and don’t even maintain an active account there. Haven’t a clue as to where the hits are coming from, either, and neither Google nor Facebook’s native search engine have been of any help. Not that I’m complaining, to be sure. Still, a small request to any readers who might be coming this way from Facebook: could you leave a comment on this post to indicate where the link is coming from? I’m kind of curious what’s up with that.

Tomorrow, with any luck, I’ll be back on an even keel health-wise and ready to get back to the office. The writing that needs to be done there is piling up too.

Some Greek Translation

Some Greek Translation

The Diana of Versailles, Roman copy of a Greek statue by Leochares

As part of the novel I’m writing, I’ve had occasion to look for a bit of Ancient Greek religious poetry that I could quote in the story. I ended up settling on #27 from the canonical list of the Homeric Hymns, To Artemis. Rather than use an existing translation, I went back to the original Greek text and roughed out my own. Not the easiest job, given how wobbly my Greek is. Still, I’m not too unhappy with the result, and it seems to be within striking distance of the canonical translations I’ve compared it to. Here it is:


I sing of Artemis with the distaff of gold, the terrible one,
Worshipful maiden, huntress of deer, fierce archer,
Own sister to Apollo of the golden sword.

Over the shadowy hills and windy mountain heights
She delights to draw her golden bow
Sending out grievous shafts. The heads of lofty mountains
And the deep-shadowed forests tremble
With the fearful cries of her prey, shaking both the lands
And the seas full of fish: bearing a brave heart
She turns to every side to destroy the family of wild beasts.

Yet when she is satisfied, this archer who pursues the hunt,
Her mind made glad, she sets aside her well-bent bow
And goes to the great hall of her belovéd brother
Phoibos Apollo, in the rich land of Delphi,
To oversee the dance of the beautiful Muses and Graces.

There she hangs up her crescent bow and arrows.
Commanding and setting them in order all around
She leads the dance: with divine voices
They sing of Leto of the lovely ankles, who bore
Immortals supreme in both thought and deed.

Hail to thee, children of Zeus and fair-haired Leto!
I shall remember thee, and now another song as well.


I’ll probably come back to this again when I start polishing up the compete rough draft of the novel, but for now it seems to work well enough.