Mara - Slavic Evil Goddess, Witcher (FOR CNC)

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Mara - Slavic Evil Goddess, Witcher (FOR CNC) Marzanna From Wikipedia, the free encyclopedia Jump to navigationJump to search Marzanna Cold, frost, winter, death Letohrádek Kinských - Musaion 712.jpg Effigy of Morana (Death Goddess). Czech Republic. Greek equivalent Hecate, Atropos Roman equivalent Morta Marzanna. Poland. Marzanna Mother of Poland by Marek Hapon Marzanna (in Polish), Marena (in Russian), Morana (in Czech, Bulgarian, Slovene, and Serbo-Croatian), or Morena or Kyselica (in Slovak), Morena (in Macedonian), Maslenitsa[citation needed] (in Russia) and also Mara (in Belarusian and Ukrainian), Maržena, Moréna, Mora or Marmora, Morė (in Lithuanian[citation needed]) is a Slavic goddess associated with seasonal rites based on the idea of death and rebirth of nature. She is an ancient goddess associated with winter's death and rebirth and dreams. In Slavic rites the death of the Goddess Marzanna at the end winter, becomes the rebirth of Spring of the Goddess Kostroma (Russian), Lada, Vesna representing the coming of Spring.[1] Some medieval Christian sources such as the Czech 9th century Mater Verborum compare her to the Greek goddess Hecate, associating her with sorcery. 15th century Polish chronicler Jan Długosz likened her in his Annales to Ceres, the Roman goddess of agriculture (together with another Slavic goddess Dziewanna). In modern times the rituals associated with Marzanna have lost their sacred character and are a pastime – an occasion to have fun and celebrate the beginning of spring. The tradition is usually celebrated around the spring equinox (March 21)[citation needed]. Usually schoolchildren and young people participate in the celebrations alongside local folklore groups and other residents. A procession consisting of men, women and children carries handmade Marzanna (and often also Marzaniok dolls, the male counterpart to Marzanna) to the nearest river, lake or pond. The participants sing traditional songs and throw effigies of Marzanna into the water. Sometimes the effigies are first set on fire, or their clothes are torn. On the journey back to the village the focus falls on the copses, adorned with ribbons and blown egg shells. The procession, still singing, returns to the village. In some locations (e.g. in Brynica – a district of Miasteczko Śląskie), the beginning of spring is then celebrated with a feast. Contents 1 Names and etymology 2 Traditions 2.1 Drowning of Marzanna 2.2 Marzanna and the copse 2.2.1 The effigy of Marzanna 2.2.2 Walking with the copse 2.3 Traditions related to Marzanna and the copse in Silesia 3 Significance 4 Popular culture 5 See also 6 References 7 Sources Names and etymology Marzanna's name most likely comes from the Proto-Indo-European root *mar-, *mor-, signifying death.[2] The Slovak form of the theonym – Ma(r)muriena – suggests that the goddess may have originally been connected to the Roman god of war Mars (known under a variety of names, including Marmor, Mamers and Mamurius Veturius).[2] The connection to Mars is supported by, among others, Vyacheslav Ivanov and Vladimir Toporov, who underline that he was originally an agricultural deity.[3] Other theories claim her name is derived from the same Indo-European root as Latin mors 'death' and Russian mor 'pestilence'. Some authors also likened her to mare, an evil spirit in Germanic and Slavic folklore, associated with nightmares and sleep paralysis. In Belarusian, Polish, Ukrainian and in some Russian dialects the word 'mara' means dream. But Vladimir Dahl says it means 'phantom', 'vision', 'hallucination'.[4] Traditions Morena effigy, Slovakia The tradition of burning or drowning an effigy of Marzanna to celebrate the end of winter is a folk custom that survives in the Czech Republic, Poland, Lithuania, and Slovakia. In the past, the festival was held on the fourth Sunday of Lent. In the 20th century the date 21 March was fixed[5] (20–21 March). The rite involves preparing an effigy in female clothing, and either setting it on fire or drowning in a river (or both). This is often performed during a field trip by children in kindergarten and primary schools.[6] The effigy, often made by the children themselves, can range in size from a puppet to a life-size dummy. This ritual represents the end of the dark days of winter, the victory over death, and the welcoming of the spring rebirth. It concerns the "drowning of Marzanna," a large figure of a woman made from various rags and bits of clothing which is thrown into a river on the first day of the spring calendar. Along the way, she is dipped into every puddle and pond ... Very often she is burned along with herbs before being drowned and a twin custom is to decorate a pine tree with flowers and colored baubles to be carried through the village by the girls. There are of course many superstitions associated with the ceremony: you can't touch Marzanna once she's in the water, you can't look back at her, and if you fall on your way home you're in big trouble. One, or a combination of any of these can bring the usual dose of sickness and plague. — Tom Galvin, "Drowning Your Sorrows in Spring", Warsaw Voice 13.544, March 28, 1999 Drowning of Marzanna Marzanna is also the name used to describe the effigy of the goddess, which was ritually burned or drowned during an early spring rite called Jare Święto in order to hasten the approach of spring. The custom of drowning the effigy of Marzanna derives from sacrificial rites; its function was to ensure a good harvest in the upcoming year. Following the principles of sympathetic magic – as described by James Frazer – it was believed that burning an effigy representing the goddess of death would remove any results of her presence (i.e., the winter) and thus bring about the coming of spring. Marzanna dolls are thrown into the Brynica; Miasteczko Śląskie, 2015 The effigy has usually been made of straw, wrapped in white cloth and adorned with ribbons and necklaces. Traditionally the effigy has initially been carried past every house in the village by a group of children holding green juniper twigs. During this procession Marzanna was repeatedly dipped in every encountered puddle or stream. In the evening the effigy passed to the young adults; the juniper twigs were lit, and thus illuminated Marzanna was carried out of the village, burned, and thrown into water. There is a number of superstitions related to the custom of drowning Marzanna: one cannot touch the effigy once it's in the water or one's hand will wither; looking back while returning home may cause an illness, while stumbling and falling may lead to a relative's death within the coming year. The Catholic Church attempted to forbid this old Slavic custom. In 1420, the Synod of Poznań instructed the Polish clergy: Do not allow the superstitious Sunday custom, do not permit them to carry around the effigy they call Death and drown in puddles. However, both the custom and tradition prevailed. At the turn of the 18th century there has been an attempt to replace it (on the Wednesday preceding Easter) with a newly introduced custom of throwing an effigy symbolizing Judas down from a church tower. This attempt also failed. Today, the custom is celebrated at spring equinox on 21 March, which coincides with the traditional date of Jare Święto. Marzanna and the copse In many parts of the Slavic world the procession to depart the village with a Marzanna effigy, returns home with bouquets of green twigs called gaik (literally: copse). The rite of drowning Marzanna, often conducted together with carrying bouquets of green twigs and branches (dubbed gaik in Polish, literally "copse") was originally performed on the fourth Sunday of Lent, called the White Sunday. The tradition of celebrating it on 21 March only began in the 20th century. Most researchers agree that the custom of carrying the copse (also known as grove, new summer, or walking with the Queen) from house to house was earlier performed much later in the year, probably shortly after Easter. The effigy of Marzanna Details of the ritual vary from region to region. Typically the effigy or doll representing Marzanna is made of straw and dressed in traditional local costume, rags, or even bridesmaid's clothes. Marzanna may resemble a young woman wearing a garland as well as an old crone. Village dwellers carry the effigy away from the village, often singing event-related songs. Jerzy Pośpiech points out that at first only adults participated in the ritual; only when the custom became a fun game did the young join in.[7] Depending on local tradition, the ritual that takes place after the procession reaches its chosen destination can be performed in various ways: sometimes the effigy is first torn into pieces, its clothes ripped off, and then drowned in a lake, river or even a puddle. In some variants of the ritual, the effigy is burned; in others, it is first set on fire and then thrown into water. A number of superstitions (also locally varied) are connected to the ritual, e.g.: the person who last returns to the village after the ritual is sure to die in the coming year. In some locations, a tradition functions in which Marzanna is given a male counterpart – Marzaniok. Walking with the copse Walking with the Copse is a ritual in which pine branches, twigs or even entire small trees (pine or spruce) – adorned with ribbons, handmade ornaments, egg shells or flowers – are carried from house to house. In some variations of the ritual a doll is tied to the top branch; in others, a local girl accompanies the copse (hence "walking with the Queen"). The copse is usually carried by girls, who walk from house to house, dance, sing and extend best wishes to the hosts. Some sources relate that the group also collected donations. Today the ritual often takes the form of bringing a decorated copse to the village after the ritual of drowning Marzanna is completed. This type of a two-part ritual (destroying the effigy and then returning with the copse) had been observed in the Opole region, the western parts of Kraków voivodeship, Podhale, Slovakia, Moravia, Bohemia, Lusatia and Southern Germany (Thuringia, Franconia).[8] In the 19th century Oskar Kolberg noted that the copse had been carried around as a standalone custom (without the prior destruction of Marzanna) around Kraków and Sandomierz, as well as in the regions of Mazovia (on Easter Tuesday) and Lesser Poland (beginning of May or the Green Week).[9] Traditions related to Marzanna and the copse in Silesia The date when the customs of drowning Marzanna and carrying the copse originated in Silesia is unknown. Although the Catholic Church considered these to be pagan traditions, and persecuted them accordingly, the custom nevertheless survived in Silesia even at times when it had been almost extinct in other regions of Poland.[10] Researchers point out that traditionally only women and girls would walk with a hand-made Marzanna; only later was the custom taken over by young adults and children.[7] In some regions – such as around Gliwice and Racibórz – local girls were followed by boys carrying Marzanna's male equivalent – Marzaniok.[11] The effigies were carried around the village. Songs, often improvised, were sung in front of each house, especially if a girl lived in it. Hosts would reward the singers with money or eggs.[10] Afterwards, the singing procession left the village and went to a nearby body of water – a stream, pond, lake or even a puddle. If there was no lake or pond nearby, the effigy was burned; its clothes had been ripped off or it had been pelted with snow or mud.[7] The procession would usually return carrying a copse – a small spruce or pine tree adorned with eggs and ribbons. Nicknamed latko (summer), the copse symbolised the spring and blooming nature. The procession carried it into the village, accompanied by songs and best wishes. Significance Today Marzanna is often perceived as a personification of winter and the symbolic drowning ends this season and returns life. In this interpretation, the copse is used to welcome spring and to affirm the re-awakening of nature. However, modern interpretations simplify the ritual: one example is merging two originally separate rituals and changing the time of the year at which they were celebrated. Moreover, even medieval chroniclers suggested that the custom had already evolved into a light-hearted, fun event and its original meaning had been almost forgotten. Researchers emphasise that Marzanna functioned not merely as a symbol of winter, but also as a Slavic goddess. Marzanna's later association with death (in some regions Marzanna is called Death Crone) trivialized the importance of the goddess, who was the lady of not only death, but also life, and commanded the natural world. Drowning Marzanna in water (an element of high importance in season-related folk celebrations) is understood as the goddess' symbolic descent into the underworld, to be reborn with next winter.[12] Some researchers underline the sacrificial character of this ritual and suggest that Marzanna is sacrificed in order to appease Winter. The authors of Wyrzeczysko propose that Marzanna is sacrificed to the demons of water, whose favour was necessary to ensure a plentiful harvest in the coming year.[13] Celebrating the Copse after Easter – in full spring – performs an individual function in the cycle of rebirth: it announces the coming of spring, a time of joy and song, a time when the Earth bears new fruit. Popular culture A Polish black metal band, Furia, has released an album under the title "Marzannie, Królowej Polski" (To Marzanna, the Queen of Poland). A Russian folk metal band Arkona sings about Марена on their album entitled Lepta. In the 2016 BBC television series Dirk Gently's Holistic Detective Agency holistic assassin Bartine "Bart" Curlish is designated "Project Marzanna" by Project Blackwing. Virginian brewery Devils Backbone brew a 14° Czech style dark lager named in honour of Marzanna, using her Czech name Morana.[14] See also Wikimedia Commons has media related to Morana. Mara (Hindu goddess) Jarilo Martenitsa Maslenitsa Dhumavati Santa Muerte References Szyjewski, Andrzej (2003). Religia Słowian [Religion of the Slavs] (in Polish). Kraków: Wydawn. WAM. ISBN 8373182055. Kempiński, Andrzej M (2000). Encyklopedia mitologii ludów indoeuropejskich (in Polish). Warszawa: Iskry. ISBN 8320716292. Vyacheslav Ivanov, Vladimir Toporov. Indo-European Mythology. / В. В. Иванов, В. Н. Топоров. Индоевропейская мифология. Мифы народов мира, М:Российская энциклопедия, 1994. Мара (Mara) in Explanatory Dictionary of the Living Great Russian Language by Vladimir Dahl. "Polska". Retrieved 12 October 2014. http://www.folklornisdruzeni.cz/vynaseni-morany-v-dolni-lomne Pośpiech, Jerzy (1987). Zwyczaje i obrzędy doroczne na Śląsku (in Polish). Opole: Instytut Śląski w Opolu. pp. 156, 162. OCLC 20139666. Staszczak, Zofia (1964). Śla̜ska forma obrze̜du Marzanny i Gaika na tle porównawczym (in Polish). Opole: Inst. Śla̜ski. Kolberg, Oskar (1963) [Photo-offset reproduction of Vols. 18-19 of the author's Lud, jego zwyczaje, sposób życia... originally published 1885-1886]. Kieleckie [Region of Kielce]. Dzieła wszystkie (in Polish). Wrocław: Polskie Towarzystwo Ludoznawcze. ISBN 8300000062. OCLC 4885472. Dubiel, Ludwik (1958). Niektóre zwyczaje ludowe na Śląsku i ich wykorzystanie w pracy zespołów artystycznych (in Polish). [S. l.]: GM PM. pp. 39–41. OCLC 832512659. Kaczko, Krystyna (2009). "Doroczne zwyczaje i obrzędy" [Yearly rites and customs]. In Bazielich, Barbara (ed.). Ludowe tradycje: dziedzictwo kulturowe ludności rodzimej w granicach województwa śląskiego [Folk traditions: the cultural heritage of autochthonous population within the borders of the Silesian Voivodeship]. Wrocław; Katowice: Polskie Tow. Ludoznawcze ; Muzeum Śląskie. p. 196. ISBN 9788387266080. Kowalski, Piotr (1998). Leksykon - znaki świata: omen, przesąd, znaczenie (in Polish). Warszawa; Wrocław: Wydawnictwa Naukowe PWN. pp. 609–615. ISBN 8301125616. Ciołek, Tadeusz Maciej; Olędzki, Jacek; Zadrożyńska, Anna (1976). Wyrzeczysko: o świętowaniu w Polsce [Wyrzeczysko: on celebrating in Poland] (in Polish). Warszawa: Ludowa Spółdzielnia Wydawnicza. pp. 151–167. OCLC 3482291. http://dbbrewing The Witcher From Wikipedia, the free encyclopedia Jump to navigationJump to search For other uses, see The Witcher (disambiguation). "Wiedźmin" redirects here. For other uses, see Wiedźmin (disambiguation). The Witcher Andrzej Sapkowski - The Last Wish.jpg Cover of the UK edition of the first book. The Last Wish (1993) Sword of Destiny (1992) Blood of Elves (1994) Time of Contempt (1995) Baptism of Fire (1996) The Tower of the Swallow (1997) The Lady of the Lake (1999) Season of Storms (2013) Author Andrzej Sapkowski Country Poland Language Polish Genre Fantasy Publisher superNOWA Published in English by Hachette: UK Victor Gollancz Ltd US Orbit Books The Witcher (Polish: Wiedźmin, Polish pronunciation: [ˈvʲɛd͡ʑmʲin]), is a fantasy series of novels and short stories written by Polish author Andrzej Sapkowski. The series revolves around the eponymous "witcher", Geralt of Rivia. In Sapkowski's works, "witchers" are beast hunters who develop supernatural abilities at a young age to battle wild beasts and monsters. The books have been adapted into a film, a television series, video games, and a graphic novel series. The series of novels is known as the Witcher Saga. The short stories and novels have been translated into numerous languages, including English and Spanish. The books have been described as having a cult following in Poland, and in other Eastern European countries.[1] The video games have been very successful, and as of March 2018, they have sold over 33 million copies worldwide.[2] Contents 1 Books 1.1 The Witcher stories 1.2 Saga 1.3 Standalone novel 1.4 Non-Witcher anthologies 1.5 Spin-offs 2 Setting 2.1 Background 2.2 Major characters 2.3 Geography 2.4 Language 3 Translations 3.1 English translations 3.2 The name "Witcher" 4 Adaptations 4.1 Comic books 4.1.1 Issues 4.1.2 Collections 4.2 Film and television 4.3 Games 4.3.1 Tabletop role-playing games 4.3.2 Video games 4.3.3 Card games 4.3.4 Board game 5 References 6 External links Books The Witcher short stories by the author Andrzej Sapkowski were first published in Polish science fiction and fantasy magazine Fantastyka, beginning in the mid-1980s. The first short story, "Wiedźmin" ("The Witcher") (1986), was written for a contest held by the magazine and won third place. The first four stories dealing with the witcher Geralt of Rivia were originally featured in a 1990 short story collection titled Wiedźmin (The Witcher) — now out of print — with "Droga, z której się nie wraca" ("The Road with No Return"), which is set before the Witcher stories and features Geralt's mother to be. The second published short story collection was Miecz przeznaczenia (Sword of Destiny). Although Ostatnie życzenie (The Last Wish) was published after Sword of Destiny, it replaced The Witcher as the first book since it included all the stories in The Witcher, except "The Road with No Return" (the only story without Geralt). Although new short stories were added to The Last Wish, they took place before those in Sword of Destiny. Although "The Road with No Return" and "Coś się kończy, coś się zaczyna" ("Something Ends, Something Begins", an alternate ending of the Witcher saga about Geralt and Yennefer's wedding written as a wedding gift for Sapkowski's friends) were later published in 2000 in Something Ends, Something Begins and in 2012 in Maladie and Other Stories (Maladie i inne opowiadania) collections, the other stories in those books are unconnected to the Witcher series. In some Polish editions, "The Road with No Return" and "Something Ends, Something Begins" are added to The Last Wish or Sword of Destiny. The Witcher stories Miecz Przeznaczenia (Sword of Destiny) (1992, English edition: 2015) Ostatnie życzenie (The Last Wish) (1993, English edition: 2007) – Note that while The Last Wish was published after Sword of Destiny, the stories contained in The Last Wish take place first chronologically, and many of the individual stories were published before Sword of Destiny. Saga The saga focuses on Geralt of Rivia and Ciri, a child of destiny. Ciri, princess of a recently conquered country and a pawn of international politics, becomes a witcher-in-training. Geralt is drawn into a whirlwind of events in his attempts to protect her. Krew elfów (Blood of Elves) (1994, English edition: 2008) Czas pogardy (Time of Contempt) (1995, English edition: 2013) Chrzest ognia (Baptism of Fire) (1996, English edition: 2014) Wieża Jaskółki (The Tower of the Swallow) (1997, English edition: 2016) Pani Jeziora (The Lady of the Lake) (1999, English edition: 2017) Standalone novel Sezon burz (Season of Storms) (2013, English edition: 2018) – Set between short stories in The Last Wish, but containing a few hints on events which follow the original pentalogy. Non-Witcher anthologies In Polish: Coś się kończy, coś się zaczyna (Something Ends, Something Begins) (2000) – Stories by Sapkowski, including two Witcher stories: "The Road with No Return" and "Something Ends, Something Begins". Maladie i inne opowiadania (Maladie and Other Stories, not to be confused with the English e-book sampler of the same name) (2012) – Stories by Sapkowski, also including "The Road with No Return" and "Something Ends, Something Begins". In English: Chosen by Fate: Zajdel Award Winner Anthology (2000) - English anthology, by SuperNOVA in cooperation with the Silesian Club of Fantasy Literature, included a translation by Agnieszka Fulińska of "The Witcher" short story entitled "The Hexer". The story also appears, with a different translation, in The Last Wish as well as in A Polish Book of Monsters. A Polish Book of Monsters (2010) – English anthology edited and translated by Michael Kandel, with a translation of "The Witcher" short story entitled "Spellmaker". Maladie and Other Stories (2014) – English e-book sampler with a translation of "The Witcher" and "The Edge of the World" short stories, and also the first chapters of Blood of Elves and Baptism of Fire. Spin-offs In 2013, the Polish publishing house Solaris published a collection of eight short stories, Opowieści ze świata Wiedźmina, written by eight Russian and Ukrainian fantasy writers (including Andrei Belyanin and Vladimir Vasilyev) set in the world of The Witcher and/or featuring characters from the saga.[3] In 2017, a similar collection of eleven short stories by eleven authors, chosen through a competition organized in 2016 by the Polish magazine Nowa Fantastyka, was published by SuperNowa.[4][5][6] Setting Background The stories are set on an unnamed Continent,[7] which was settled several thousand years earlier by elves from overseas. When they arrived, the elves encountered gnomes and dwarves. After a period of war between the elves and dwarves, the dwarves retreated into the mountains and the elves settled in the plains and forests. Human colonists arrived about five hundred years before the events in the stories, igniting a series of wars. The humans were victorious, and became dominant; the non-human races, now considered second-class citizens, often live in small ghettos within human settlements. Those not confined to the ghettos live in wilderness regions not yet claimed by humans. Other races on the Continent are halflings and dryads; werewolves and vampires appeared after a magical event, known as the Conjunction of the Spheres. During the centuries preceding the stories, most of the Continent's southern regions have been taken over by the Nilfgaard Empire; the north belongs to the fragmented Northern Kingdoms. The Witcher saga takes place in the aftermath of the first major war between the Nilfgaard Empire and the Northern Kingdoms, with a second war beginning in the middle of the series. Major characters Further information: List of characters in The Witcher series Geralt of Rivia (Polish: Geralt z Rivii), known also as Gwynnbleid (Elder Speech: "White Wolf") and the Butcher of Blaviken,[8] is the protagonist of the series and its adaptations. A witcher, who travels the Continent and makes a living hunting monsters that plague the land. Péter Apor argues that he embodies the "neo-liberal anti-politics" spirit of the Polish popular culture of the 1990s.[9] Yennefer of Vengerberg (Polish: Yennefer z Vengerbergu) first appeared in the collection of short stories, The Last Wish, featuring in the short story of the same name. She went on to appear in numerous other Witcher stories as the "soul mate" of Geralt and is one of the main characters of the Witcher saga.[citation needed] In Polish 2002 film and 2002 TV series she was played by Grażyna Wolszczak. Cirilla Fiona Elen Riannon (known as Ciri, from the name Zireael in the Elder Speech (meaning "Swallow"; Polish: Jaskółka)), also known as the Lion Cub of Cintra, Child of the Elder Blood, and the Lady of Time and Space, is the princess of Cintra, daughter of Pavetta and Duny (also known as the Urcheon of Erlenwald) and granddaughter of Queen Calanthe. She is also Geralt's and Yennefer's adopted daughter, around whom much of the plot is centered. Ciri is a descendant of Lara Dorren and has the Elder blood which gives her access to powers that allow her to cross space and time. Ciri has ashen grey hair and green emerald eyes, a trait that runs in her family.[citation needed] In Polish 2002 film and 2002 TV series she was played by Marta Bitner [pl].[10] Dandelion (Polish: Jaskier) is a poet, minstrel, bard and Geralt's best friend. The Polish word jaskier actually refers to the Buttercup flower (Ranunculus). Some of his more famous ballads were about the relationship between Geralt and Yennefer. By the time of the saga he is already in his 40s though it is said that he appears to be in his 30s and is sometimes mistaken for an elf. He accompanies Geralt in many of the short stories and ends up joining his hansa while searching for Ciri.[citation needed] He is played by Joey Batey in The Witcher TV series.[11] In the 2001 Polish Wiedźmin he was played by Zbyszek Zamachowski. Zamachowski will play the same role in the Polish Pół wieku poezji później ("Half Century of Poetry Later") fan film.[12] Triss Merigold of Maribor, a sorceress and a friend of Geralt and Yennefer. She took care of Ciri for some time and is like an older sister to her. She was member of the Lodge of Sorceresses. Triss is in love with Geralt. The image of Triss Merigold from The Witcher 2: Assassins of Kings appeared as cover girl in the Polish edition of Playboy in May 2011.[13] She also appeared in a live model calendar for the game in Russia.[14] Geography Although no map of the universe created by Sapkowski has been released, several maps have been created by fans. According to Sapkowski, the existing maps are "mostly accurate" and he uses a version created by Czech translator Stanislav Komárek.[15] Kovir&Poviss COA.svg Kovir & Poviss Caingorn COA.svg Hengfors Kaedwen COA.svg Kaedwen Redania COA.svg Redania Mahakam COA.svg Mahakam Aedirn COA.svg Aedirn Cintra COA.svg Cintra Temeria COA.svg Temeria Lyria&Rivia COA.svg Lyria & Rivia Nilfgaard COA.svg Nilfgaard The Continent can be divided into four regions. The Northern Kingdoms (where most of the saga takes place) consists of Aedirn, Cidaris, Cintra, Hengfors League, Kaedwen, Kerack, Kovir and Poviss, Lyria and Rivia, Redania, Temeria and Verden and several minor duchies and principalities such as Bremervoord or Ellander. The Nilfgaard Empire occupies most of the area south of the Northern Kingdoms. The eastern part of the Continent, such as the Korath desert, Zerrikania, Hakland and the Fiery Mountains, is mostly unknown. The book series mentions overseas countries with whom the Northern Kingdoms trade, including Zangvebar, Ofir, Hannu and Barsa.[citation needed] Language Sapkowski created a language for the series known as Elder Speech,[16][17] based on Welsh, English, French, Irish, Latin and other languages. Dialects are spoken on the Skellige Islands and in Nilfgaard. In an interview Sapkowski explained that he wanted the language to be reasonably legible to a reader, to avoid footnotes. As he said: "In my book, I do not want for an orc telling to another orc 'Burbatuluk grabataluk!' to be supplied with a footnote: 'Shut the door, don't let the flies in!'"[18] Translations The stories and novels have been translated into various languages, including Slovak, Czech, Danish, Portuguese, German, Russian, Lithuanian, Estonian, Finnish, French, Spanish, Italian, Bulgarian, Romanian, Ukrainian, Serbian, Swedish, Hungarian, Dutch, Chinese, Georgian, English and Persian.[19] English translations Title Publication date[20] Publisher The Last Wish (Ostanie życzenie) Translated by Danusia Stok 2007 Gollancz 2008 Orbit Sword of Destiny (Miecz przeznaczenia) Translated by David French 2015[21] Gollancz Orbit Blood of Elves (Krew elfów) Translated by Danusia Stok 2008 Gollancz 2009 Orbit Time of Contempt (UK) The Time of Contempt (US) (Czas pogardy) Translated by David French 2013 Gollancz Orbit Baptism of Fire (Chrzest ognia) Translated by David French 2014 Gollancz Orbit The Tower of the Swallow (UK) The Tower of Swallows (US) (Wieża jaskółki) Translated by David French 2016[21][22] Gollancz Orbit The Lady of the Lake (Pani Jeziora) Translated by David French 2017[21] Gollancz Orbit Season of Storms (Sezon burz) Translated by David French 2018[23] Gollancz Orbit