tlhIngan-Hol Archive: Sat Apr 26 17:49:35 1997
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Notes on Klingon Writing & Literature
- From: Steven Boozer <[email protected]>
- Subject: Notes on Klingon Writing & Literature
- Date: Sat, 26 Apr 1997 19:48:59 -0500 (CDT)
On this week's Voyager episode "Real Life" Tom Paris catches B'Elanna doing
some "escapist reading" on the mess decks. Snatching the PADD from her, he
discovers it to be a "Klingon romance novel" and tries to embarrass her by
reading some of "Warrior Women at the River of Blood" out loud. It didn't,
but it did pique his interest and he said he might read it himself. This
prompted a couple of thoughts.
First, B'Elanna was reading it *in Federation Standard* from a
Starfleet-issue PADD she had apparently downloaded the novel to from the
ship's computer. (Had it been in Klingon, of course, Paris wouldn't have
been able to read it and the scene wouldn't have worked.) But this raises
the question of whether B'Elanna even knows tlhIngan Hol since she was
raised on the human colony of Kesek IV and, as she admitted to Paris in
"Faces," was always ashamed of her Klingon heritage growing up.
Second, this also implies that Starfleet vessels in the 24th century
routinely carry file copies of Klingon literature (and not just the
"serious literature" but "bodice rippers" as well) in their cultural
database for the use and enjoyment of the crew. Boy, things sure have
changed since Kirk's day!
I then got to wondering just how much have we learned about Klingon
literature and other kinds of writing over the years. Looking through my
notes I saw it is more than I thought, so I've written a little summary
article which I'm sharing with the membership. It is in two parts: part 1
will be "official", Paramount-sanctioned canon (including the ST: Klingon
CD); part 2 is simply a list of the semi- and non-canonical pro- and
fan-fiction references I've been able to collect over the years.
Since there isn't much directly relevant to tlhIngan Hol per se, send all
corrections, additions and comments to me off-list please. This is still
very rough, but I wanted some feedback at this time. I hope people will
find these bits and pieces as interesting as I did. De'vam botIvjaj!
--------------------------------------------------
NOTES ON KLINGON WRITING & LITERATURE
"We were like warriors from the Ancient Sagas. There was nothing we
could not do." -- Worf describing the rescue of Picard/Locutus from the
Borg (Way of the Warrior) Martok praised Worf's defeat of five Jem'Hadar
guards in a row at Dominion Internment Camp 371 by saying, "What hero of
legend could have done as well?" (By Inferno's Light) Gowron thought
bloodwine essential to telling a good story. (KCD novel) The traditional
"Story of Kolan and Dula" serves as a warning to all Klingons (KCD novel).
In summary:
Kolan let his father's death go unavenged. No one would marry him.
He died without sons. His house became bankrupt. His name
disappeared with the wind.
The stories of Kahless the Unforgettable are a cornerstone of Klingon
mythology and religion (Birthright II). One of these epic tales relates how
Kahless fought his brother Morath for twelve days and twelve nights because
Morath had lied and brought shame to his family (New Ground). Legend has it
that Kahless fought the tyrant Molor, whom he killed with the first
bat'leth, or "sword of honor" (Rightful Heir, First Born) on the banks of
the River Skral. This event has been commemorated in song:
Ej im-ta fey de-ja I...
Ejadahk-so-tas ghoS va Skral byteek
Empa jaj law-moch jaj-push
Jaj Kayless Molor-mIgh Hohk-chew koo!
In English, this is (from "The Way of the Warrior" novel):
And the blood was ankle deep...
And the River Skral ran crimson red
On the day above all days
When Kahless slew evil Molor dead!
Carrying legend into ceremony, the Kahless-Molor fights are celebrated
annually in the operatic mock fights of the Kot'baval Festival, an annual
celebration held throughout the Klingon Empire (First Born). Some of the
lyrics are:
Nok'tar be'got hosh'ar te'not
("He is asking if anyone else will have the courage to
stand up to Molor.")
Ki'rock Molor, ki'rock
(Worf answers, accepting the challenge)
Ba'jak tu'mo
O'tak tu'ro
Nok'til Kahless. Molor gik'tal
(Kahless sings)
Ni'lot Kahless
The story of "The Forging of the First bat'leth" was never recorded in the
sacred texts of the Kahless legends, but was passed down orally among the
High Clerics of Boreth. The retelling of the story was to be a test of
Kahless' return, as only he and the Clerics would know it. (Rightful Heir)
The story of Kahless and his first bride Lukara is the greatest romance
in Klingon history and the "Defense of Qam-Chee" is considered one of the
most romantic scenes in Klingon literature, as famous as the balcony scene
from Earth's Romeo and Juliet. Quark recreted it in one of his holosuites
for the Lady Grilka: a "thousand years ago at the dawn of the Empire," 500
warriors stormed the great hall at Qam-Chee (a city on ancient Qo'noS from
whence Kahless and his first bride Lukara ruled). The city garrison fled
before them. Only the Emperor Kahless and the Lady Lukara stood their
ground, fighting side-by-side in a bloody bat'leth battle. Afterwards,
Kahless--surrounded by corpses, his shoes dripping in blood--felt romantic.
This (reconstructed) scene features a reenactment of this glorious battle
and the beginning of their legendary romance:
Lukara: MoVas ah-kee rustak.
(Today was a good day to die.)
Kahless: Kosh tomah... ehpaq Lukara kaVeir.
[beginning to feel the fire of the moment]
(The day is not yet over, Lukara.)
Lukara: Ish-tovee chuCH thling nuq?
(Would you kill me too?)
[Kahless advances, Lukara swings her bat'leth, Kahless blocks, and
they stand together, glaring into one another's eyes.]
Kahless: Besh-opar gee urchun omaH te-doQ maugh-shta.
(No, but I would gladly die by your hand if you will
not mate with me this day.)
Lukara: Do-MACH ah chee ghos eh-PAGH?
[grabbing Kahless by the lapels]
(Can you be a victor of the heart as well as the sword?)
Kahless: Meklo boH ka Mech.
(I smell the burning of your blood.)
Lukara: Te-doQ roos ka... Mech-TOH.
(The fire is your doing.)
Later that night, Kahless and Lukara jumped on each other like a "pair of
crazed voles." (Looking for Par'Mach in All the Wrong Places) [Watching the
episode we hear only the Klingon dialogue, but the script provides a
parenthetical translation (presumably to help the actors understand their
characters' emotions and motivation).] Several episodes have revealed
fragments of the legend of Kahless (including "The Story of the Promise"
and "The Fool Who Stood Before the Wind"), but the entire story still
remains to be told.
The Klingon writer K'Ratak was the author of the classic novel "The
Dream of the Fire." Lt Worf gave a leather-bound copy to Data as a going-
away present when it appeared that the android would resign from Starfleet
in 2365. Unfortunately, the characters and subject matter of this novel
were not discussed. According to Worf, "It was in the hands of the Klingons
that the novel attained its fullest growth." Dr Pulaski was somewhat
skeptical, but agreed to postpone that discussion for a later date. (The
Measure of a Man)
Tom Paris once caught B'Elanna reading a Klingon romance novel on the
mess decks, "Women Warriors At the River of Blood." An extract:
Rorg turned his fierce eye upon her and M'Nea felt her heart
begin to quicken even as her hand went to her dagger. She had
intended to plunge it into his throat but something about him
made her hesitate.
Though she thought it was just "escapist reading," B'Elanna told him, "The
Klingons do have what you might call a romantic side. It's a bit more
vigorous than most." Paris thought maybe he'd read it too as he hoped it
would enlighten him about Klingon women. (Real Life) Worf recommended
reading love poetry as a means of luring a potential mate and noted that in
response, a Klingon woman might be expected to roar, throw heavy objects,
and claw at her partner. (The Dauphin). Worf claimed that the art of love
poetry reached its fullest flower among the Klingons. It is often recited
during the Klingon Tea Ceremony. To his embarrassment, Worf once came down
with the childhood disease rop'ngor and performed the Tea Ceremony for
Pulaski as a reward for her silence. The scene ends with the doctor begging
him to recite some of it. Later, there was another discussion about Klingon
love poetry and the bridge crew persuades Worf to enlighten them as to its
quality. He gives them this little snippet (in English as the bridge crew
doesn't understand Klingon):
I hunt in darkness.
The stars my guide.
The memory of you sings in my blood.
I seize the gift.
Carry it to your bower.
And lay at your feet the hearts of my enemies.
They are singularly unimpressed, and Worf mutters something about it
"loosing something in the translation." This poem is at the very end of the
script and was unfortunately not seen in the version broadcast. (Up the
Long Ladder)
We have heard rather more about Klingon poetry (and song). When Kang
died killing the Albino in hand-to-hand combat during a raid of his secret
stronghold on Secarus IV, Kor said that they would write songs about him.
(Blood Oath) The "Basai Master" is a special class of poet. Grilka
complimented Quark by calling him a Basai Master after their successful
first date. Worf was impressed, since he had coached the Ferengi in the
ways of courting Klingon women. (Looking for par'Mach in All the Wrong
Places) Keedera, a renowned 24th century poet and composer of songs, may be
a Basai Master. Gen Martok said he would seek out "Keedera himself" and
tell him of Worf's glorious deeds in defeating seven Jem'Hadar guards in
seven straight matches at Internment Camp 371. He proposed a line in the
song in honor of Bashir (By Inferno's Light):
The healer that bound the warrior's wounds,
So he could fight again.
The GaTH'k (gha'tlhIq in tlhIngan Hol) is an ode of respect. Young Pok
wrote one (which Gowron called "a true GaTH'k") in honor of the old warrior
Ler'at (KCD novel):
Ler'at, House of Tignar. Warrior Son.
At the battle of teh, he killed many men.
At the battle of reth he took many hurts.
His arms were strong to lift the Bat'telh high.
His heart was fierce to keep the enemy afraid.
at teh, at reth, at lagon, at dumath, at negan.
His arms are heavy now with the weight of many battles.
His heart is burdened by the press of many honors.
When he dies, the heavens will shake
with the screams of his comrades.
Warning the dead, Beware! Beware!
A warrior is coming.
The poet G'trok's great poem "The Fall of Kang" is required reading at
Starfleet Academy as a cultural icon worthy of study in the 24th century.
The poem, perhaps but not specified as epic in nature, deals with the ever-
elusive and wearying challenge of higher and higher achievements. It is
well-known enough Federation to be quoted by both Cdr Sisko as well as Dr
Seyetik:
Go honor the valiant who die 'neath your sword,
But pity the warrior who slays all his foes.
Its title subject is presumably the same Kang who once encountered Capt
James T. Kirk a century earlier (Second Sight).
For further insight into Klingon poetic forms, see also Klingon Opera
and the entries on specific Klingon songs. I will post these too if there's
enough interest.
The following entries are from the semi- and non-canonical sources (i.e.
the pro- and fan-novels and stories, officially licensed games, handbooks,
etc.):
FACES OF FIRE
"Ramen'aa" ancient epic poem, written by Kahless. Kiruc quotes from it:
Darkness will come.
Enemies will surround us from all sides.
Their swords are more numerous than the trees of the forest.
But we will not give in.
We will wear faces of fire.
When asked to explicate the phrase "faces of fire," he says that it
means both the quality of determination and skill at deception.
THE FINAL REFLECTION
Inspirational Media official news and propaganda organs of the Empire
THE GARDEN
gwarhai boogeymen from Klingon stories. B'Elanna Torres remembered them
when seeing "the alcove ... suddenly jammed with running figures. They
were all identical, squat and gray, all carrying phaser rifles at port-
arms against armored chests, and no one of them was taller than Torres'
shoulder. They were like the gwarhai of childhood story, she thought,
dazed by the flashing lights and the noise, or the dwarf-armies of human
legend."
SAREK
"The Complete Works of William Shakespeare" Peter Kirk read a copy of
this old Klingon book, in "the original Klingon," while being held
captive at Du'Hurgh on Qo'noS
ANN SCHWADER'S STORIES
(Beyond Diplomacy - Diplomacy & Empire - One Blade, One Blood)
gozhe excrement, shit; Star Academy slang for Inspirational Media, or
propaganda
"Komerex Vrai't" "Truth of Empire," a leading Inspirational Media
publication featuring news and propaganda of the Empire
theora kh'ex "music of dying," a type of song/poem concerning death in
combat, usually with philosophic overtones
THE NU ORMENEL SERIES
"nu Kishai'in" "The Book of War"
orashathnavi the written codes of honor, "the patterns of Challenge," the
social and moral codes by which the Klingons live, there are seven books
in all
THE KLINGON DICTIONARY (KLI-DI)
M.A. Carson's KLI-DI appeared in Southern Star 2-5 (1976-1979). "One of the
purposes of the Dictionary is to supply fan writers with material for Star
Trek stories that contain Klingons." It was "inspired by the Klingonese
terms in Sharon Emily's Star Trek Showcase," which featured adventures on
the Klothar, and included terms from Carson's own stories of Cdr Kel of the
Satir. Others who wrote in this shared fan universe included Becky Hofman
(her Mariah series with Cdr Korax of the Klais), J. Thomas Ross (the
Martina stories), Anna Mary Hall (her saga of Kang), C.A. Wiggins and Ann
Bagley. (All were published either in Star Trek Showcase or Southern Star
in the mid-late 1970s.)
jilek poetic form which subordinates meter to the creation of vivid
images of emotions, normally used only for epic subjects
Pakal fictional character in Klingon literature, the Klingon Robinson
Crusoe: the sole survivor of a space accident, he beamed down to a
primitive world and--by the time (20 years) his normal-space radio
distress call brought help--set himself up as ruler of a primitive
people and organized the conquest of the entire eastern half of the
continent.
LET'S TREK: BUDGET GUIDE TO THE KLINGONS
Defenders of History constantly watch the Talkers of History. Should
anything told by the Talkers be printed, the Defenderes will remove the
threat by any means. Very few survive their wrath.
Line History kept by historians and embellished with the glory of that
Line
Official State History that version which is taught in schools to
children and presented as the totality of Klingon history.
Oral History of tales that never saw print, but were memorized and told
as fables for all to hear. True traditionalists, Klingons preserved this
tradition to the present. This oral history can vbe found at the public
festivals where Talkers of History speak of things not printed in books
to large crowds. Most of these oral historians are frail and crippled,
with only large memories as their prowess. They are constantly watched
by the Defenders of History.
Talkers of History Klingon oral historians, who can be found at the
public festivals where they speak of things not printed in books to
large crowds. Most of these Talkers are frail and crippled, with only
large memories as their prowess. They are constantly watched by the
Defenders of History.
TREKMUSE
Epic Poetry instead of love, the theme is a tale of success in a heroic
undertaking or battle. The subjects are often legendary or historical
but are taken from the present or recent past just as often. Stories of
tragedy or thwarted success are rare, since most Klingons don't like to
hear about such things.
Jang author of Klingon Arts and Literature (a standard text)
"Klingon Arts and Literature" written by Jang. This is "the final
authority on Klingon cultural history." Highly recommended by Academy
instructor Alim in his class on "Klingon Culture".
Love Poetry an ancient tradition of Klingon courtship, usually written by
males as a way of demonstrating that they have the intellect to be
successful in addition to the physical prowess. A traditional measure of
the quality of a love poem is how long the poet can continue to re-use a
repetitive element or phrase without repeating himself exactly--that is,
how many variations he can create on the theme.
-- Voragh
Ca'Non Master of the Klingons