PROPER NAMES

The creators of the “Violemi – The Slave of Delusion” project, already at the stage of preliminary drafts, had intended a close relation between the words and the music. That is why the creation of the world of Arstonaroth ran parallel, taking the intended concept into consideration, in order for the words and musical themes to mutually emphasize each other's meaning. As a result, one can distinguish a group of proper names, both anthroponyms as well as toponyms, which are derived from musical terminology. On the other hand, events described by the music, through the choice of instruments, correspond to the story and influence the whole. It is important to note that the relations between the names and their terminological sources are not always based on etymology but sometimes on association and sounds.

Instruments as characters

The characters in the story have been assigned individual musical themes tied to their personality and role. This method, known and used in music for a long time, not only identifies the individual characters but also accentuates their behavior and emotions.

Violemi – the name of the main heroine – comes from the Italian word viola. This instrument, similar to a violin, often underappreciated but very versatile, relates to the character who is hidden in the background for much of the story, who appears to have no influence on the unfolding events, yet in the finale it turns out that it was she who played the key role. Violemi, a barely visible character, whose life in the court takes place in the shadow of others, is noticed only once she takes the throne and begins making independent decisions. Similarly the viola, usually “covered” by the sounds of other instruments, shows its true tone color and potential in solo themes.

The name of Corren, the brother of Violemi, comes from the horn – corno. In contrast to his quiet and shy sister, the young heir to the throne manifests his presence at every step, and all his actions are immediately noticeable. The character of Corren is depicted musically by a section of eight French horns – perfectly expressing both anger as well as the youth's bitterness. They also convey decisiveness and determination on the battlefield. The deep and resonant sounds characterize the resolute leader, unwavering and self-righteous. Only the progress of events causes Corren to reflect, which in turn leads to doubt and resignation.

Violemi and Corren are part of the Ottarch bloodline. The name of the lineage comes from brass instruments (ottoni) and string instruments (archi), much like the names of the dynasty's individual members. The founder of the house was to be Suonor, the ruler of Stonaria, whose name is derived from the Italiansuono – sound, but because of his untimely death his son, Beglurg (from bugle), became the first Ottarch. Along with his wife Gamlavi (viola da gamba) they begat the future generations of the rulers of Arstonaroth. All male names can be traced to instruments from the first group – they include the bugle, the trumpet (tromba), the horn (corno), the trombone, the tuba, and the saxhorn (sassocorno). Names of female characters are derived from string instruments – the violin (violino), the viola, the cello, the double bass (contrabasso), and the viola da gamba. At the time when the story takes place, Ignecor (corno), the father of the twins, has assumed the throne.

Another important character at the court is Arphato – a loyal servant of the Ottarchs who has spent his whole life in Stonariath. His instrument is the harp (arpa), the great musical “storyteller”. This relates to the function served by the character – Arphato is the narrator, introducing us to the world in which the action takes place and commenting on the events. The melodic line outlined by the harp serves as a gentle background for the themes of the other instruments, at the same time conveying a whole spectrum of emotions – from love and devotion through tenderness to disappointment and lack of understanding. Chaotic, slightly off-key tones also depict Arphato's confusion once he discovers that the values which he had held the most dear mean nothing to others.

The names of supporting characters also reference musical terminology. The name of Glesorn, Corren's closest friend, belongs to a group of woodwind instruments. The English horn (corno inglese) with its deep, somewhat melancholy sound, conveys Glesorn's emotions – the bond with his friend, the infatuation with his friend's sister and the disappointment with himself when he did not have the courage to leave the kingdom along with Corren. Glesorn's name also gives him the direction to follow once he loses his friend – he decides to join the Legnacherian ranks.

Trotto, the leader of Stonaria's armies, the author of the diary from which Corren learns the history of Arstonaroth, received his name through a combination of the words tromba (trumpet) and ottoni (brass instruments). The strong, military sound of these instruments emphasizes the self-control and leadership qualities of Suonor's closest advisor, while the source of his name reveals Trotto's place of birth, since his family came to Stonaria from Ottor.

Another is Arima, a servant girl and Violemi's only friend. Her discreetness and organizational skills allow Violemi to realize her plans and provide support in moments of uncertainty. Despite the fact that Arima stays to the side and seems to be part of the story's background, without her help the actions of the future queen would have been much less certain or maybe even impossible. Her instrument plays a similar role – the marimba is, for the most part, present only in the musical background, but in key moments it moves practically unnoticed into the main melody.

The name of the Legnacherians, the guardians of the kingdom who protect its borders in the Forests of Mist, was created by combining two terms: the Latin Acherontia atropos (the Death's-head Hawkmoth) and the Italian legni (woodwind instruments). The natural, deep tones of the instruments from this group sound just as good solo as they do in sections – much like the Legnacherians, usually stationed in small groups, when threatened (in battle) consolidate their forces. Their special armor makes them appear to people under the influence of hallucinogens as giant moths, which increases the illusion and effectivelly scares off intruders without the need for direct combat and loss of life, at the same time reinforcing the legend about the kingdom's mysteriousness.

Stonarians personal guards of the Ottarchs, get their name from the Italian stonare, a term indicating a deliberate playing out of tune. This relates directly to the history of Arstonaroth as well as to the role played by the Kingdom of Stonaria in its creation. In order to emphasize it, the capital was named Stonariath and the first soldiers to be trained were called Stonarians.

Names of places, geographical names

In contrast to the names assigned to characters, which come mainly from names of instruments, the toponyms are tied for the most part to terminology used in articulation. Names derived from instruments and other concepts are connected to the period before the creation of Arstonaroth or are used in order to emphasize the relations between the present, in which the story takes place, and the past.

Arstonaroth was created by the joining of three kingdoms – Archor (archi – string instruments), Stonaria (stonare – deliberately playing out of tune) and Ottor (ottoni – brass instruments). The choronym was created analogously by combining their names. The unification was the result of a resistance against the hegemonic aspirations of the Kingdom of Dissonabia (dissonanza – dissonance). After a successful escape, the people began to settle the lands to the north, equally dividing the territory between the three former kingdoms – each founded three cities of their own and all of them contributed to build the capital, the monarch's seat of power. In this manner, the history of the kingdom's creation influenced the names of the settlements, while their location was a reflection of the consequences of decisions made.

The people of Archor founded Rabason, Recellon and Nevilon, the Stonarians – Oronos, Nangrandin and Ompilon, while those from Ottor – Trobon, Uban and Etorlan. The tenth city built was Stonariath, drawing its name directly from the Kingdom of Stonaria, while Archor and Ottor were used for the name adopted by the ruling family (the Ottarchs). The eleventh settlement – Legnariath, hidden in the northern part of the Forests of Mist, is a training ground for new Legnacherians and the center for the kingdom's defense system. It also includes a network of forest outposts and watchtowers called chiavers (chiave – literally key, also the clef in music; metaphorically – a key element).

Among the remaining toponyms, connections to musical terminology are most evident in the hydronyms. Moranda, Morosa, Morota, Enomos, Lonta and Sussura – all come from expressive and interpretative terms (such as mormorando, mormoroso – to murmur, to hum, with a closed mouth, mormorato – in a whisper, meno mosso – more slowly, sussurando – whispering). Other geographical terms do not have connections of this sort, aside from the name of a canyon significant to the kingdom due to its strategic location – Onidros, the anagram of the word sordino (mute) – and Lake Nelos, an anagram of a part of the Italian word solenne (solemn).

Interpretative key

The above explanations help to more clearly perceive the relations in Arstonaroth and between its inhabitants. The entire work can be understood without them, but thanks to them the interwoven events and rules governing the behavior of the characters gain more possibilities for interpretation.

Treachery and lies have been present within the kingdom since the beginning, they entered it along with the inhabitants of the Kingdom of Stonaria. And although initially the influence of Suonor lessened the effect of these qualities, as did the need to join forces against a common enemy, with time they began to make themselves apparent in the characters' personalities and began to impact relations within the court (it is telling that the Ottarch family, although it had adopted the name of the other two kingdoms, came from the Stonaria). That is why any scenario that could play out in Arstonaroth would always lead to undermine the harmony and balance in the kingdom.

Although not every character and event from the story has been directly included in the lyrics and some have had their role limited, the presence and significance of most of them have been conveyed through the music. That is why the final outcome may be seen as a simple story, without delving into the meanings, or – in accordance with the intentions of the creators – a parable of sorts supplemented with music in which individual instruments fulfill certain roles in key moments, even if they superficially seem to have been chosen by chance – only due to the aesthetics of sound.