The unified magic of House Rune is then divided into the four Lesser Houses of Firmament (Air), Sun (Fire), Spring (Water) and Dark (Earth). Together they are known as the Sovereign Masteries. The Sovereign Masteries represents the Eighth Mastery and are second only to rune magic in power. Each of the Sovereign Masteries is then further divided equally into Spiritual and Physical Masteries. The Spiritual masteries tend toward mental and emotional manipulation of the world about the magician. The Physical Masteries tend to use and make use of physical objects in the world about the wizard.
Both the Spiritual and Physical Masteries are further divided into the Greater and Lesser Disciplines in each House. Greater Disciplines are known as House Advocate while the Lesser Disciplines are referred to as House Servitor. House Advocate includes Fifth through Seventh Masteries while House Servitor is made up of First through Fourth Masteries. The terms ‘greater’ and ‘lesser’ are somewhat deceptive in that the Lesser Disciplines are the broadest based and most commonly used of the magics. The Greater Disciplines, while more powerful, also tend to be more specialized.
After the Sundering of Time, the Patryns vanished and the Sartan jealousy guarded rune magic from mortal learning. This brought about the loss of any magic greater than Seventh Mastery in any of the realms as now constituted. Rune magic is now unknown among any of the mortal peoples of any realm. It remains a carefully guarded secret.
RUNE MAGIC
Rune magic is the most powerful manifestation of all the magics present in the realms. Rune magic weaves all the elements of the various House Sovereigns into a single magic whole. As such, rune magic touches on the fabric of all creation. It was this rune magic which was the instrument by which the unified creation was sundered into its current parts.
The key to rune (or runic) magic is that the harmonic wave that weaves a possibility into existence must be created with as much simultaneity as possible. This means that the various motions, signs, words, thoughts and elements that go into making up the harmonic wave must be completed as close together as possible. The more simultaneous the harmonic wave structure, the more balance and harmony will be maintained in the wave and the more powerful the magic itself. This is rather like the difference between throwing a warball1 end over end and spiraling it. A wheel which is rolled straight will roll farther than one which is sent wobbling.
To attain this simultaneity, both the Sartan and the Patryns have developed magical languages and structures to convey their magic. Used only for magic, this language is unlike any other used in any of the realms. A second, more traditional language is used for standard communication by both of these races. The rune language is not so much spoken (although that is one element) as it is performed.
The common element in both languages is their simultaneity. Traditional languages are sequential in their structure along single-channel, linear lines. When one reads words on a page, he reads letter after letter, word after word, sentence after sentence to build up a complete thought or meaning of the text. This means he is taking in the message through only one channel or source of experience at a time. When people watch a play, however, they are taking in several channels at one time (the words spoken, the gestures and poise of the actor, the lighting of the scene). One might also get multiple messages over a single channel at one time (seeing the actor, the actor’s chair and the backdrop of the stage all at the same time). The play’s messages are all hitting the audience simultaneously. For this reason the play is said to have simultaneity in its communication of ideas.
The complexity, balance and harmony of magic requires perfection in simultaneous communication of the magician’s harmonic waves. This is generally conveyed through performance of the magic by the magician through words, tones, gestures and motion. In rune magic, the simultaneity is bound up in the concept of a non-linear written language.
The rune languages have evolved into two separate types along the lines of the Sartan and the Patryn cultures. Both operate the runic principles of the universe but their structure and methods are somewhat different.
SARTAN RUNE MAGIC
The Sartan use a hexagonal structure which is generally conveyed through six channels of communication at the same time. This involves the use of runes which are either drawn into or on an object or created in the air through performance art. In performance, the casting wizard is limited to three channels which include sound (auditory with complex harmonics), shape (gestures and dance positioning), mind (telepathic projections). The use of structured runes at the same time (sigla inscribed on objects such as staves, wands, rings, clothing, or any properly positioned object) can communicate the remaining three elements of the pattern.
All Sartan rune structures are built in a hexagonal pattern emanating from the Fountain or Root Rune. This rune is the source of the magic being cast and the point from which all the magical structure springs. The Fountain Rune determines the thrust of the spell structure. In rune magic, this Fountain Rune may be of any type from any of the Houses of magic. In complex spells, then, it is essential in the reading of the spell that one understands which rune is the Fountain Rune. Two separate spells which have identical runes in identical positions may have vastly different effects if they have different Fountain Runes.
ROOT STRUCTURES
Root structures bring the power of magic into the complex of the rune spell. These structures begin with Root itself: a rune which designates the source of magic coming from either Power, Mind, Life, or Death.
This Root Rune or, as it is more often called, the Fountain Rune, is flanked on its lower left side by its Patriarch (the rune preceding it as seen in the illustration). It is flanked on its lower right side by its Matriarch (the rune following the Patriarch for that Root). These support the Root and give direction to the power of magic welling up from the runes below it.
Directly below the Root is the Dom or Master. The top of the Dom borders the bottom of the Root and touches on both the Patriarch and the Matriarch. This rune determines whether the nature of the power called forth will be Spiritual or Physical in nature and completes the Root Structure. Nearly always, other runes connect to the Dom from below to further define and amplify the power of the magic being cast.
The Fountain Rune is flanked on its upper left side by Dawn and on its upper right side by Dusk. These runes determine the amplitude (how much power) and vector (direction) to which the harmonic wave will be applied into the complex where the Root Structure is found.
Between the Dawn and Dusk runes is the Head which completes the Root structure. The head is part of a further complex of runes which transfers the elements of the Root structure into the general harmonic of the magic being called into existence.
THE FOUNTAIN RUNE: CENTER OF MAGIC
The Fountain Rune is both the center of the magical concept which is created when the spell is cast as well as the essential point of perspective from which rune magic is read and understood.
It is crucial to the proper reading of runes that the Fountain Rune be known and located in the structure. Similar rune structures take on completely different meanings when different Fountain Runes are chosen.
Here, by way of example, is a very simple rune structure.
There is no indication of the Fountain Rune. Which rune does one pick? Where does one begin? Here are two possible interpretations of this rune structure.
This is the great secret in rune magic. The location of the Fountain Rune is known only to those who learn its location from the rune’s creator. Much of a wizard’s training involves learning how to determine the Fountain Rune as well as simple rote memory of the locations of such runes. Without a Sartan to teach the location of these Fountain Runes, the chances of understanding our magical writings is negligible.
PATRYN RUNE MAGIC
Little is known about Patryn magic except that which may help identify them. By their magic runes we will know them should any ever be seen entering the Sundered Realms from their place Beyond. Littl
e more is known save by the Patryns themselves.
Like Sartan magic, Patryn rune magic also seeks the perfect balance in the harmonic wave. However, it does not find its balance through symmetry of structure. Patryn rune magic looks for balance in weighted opposites.
The Patryns use a series of interlaced octagons and squares to form the pattern of their magic. Octagons form the Source, Course, and Destiny of Patryn magic. Squares form the Branch, Juncture, and Cascade of the magic. Combinations of these elements create the magic along eight simultaneous channels of thought.
As with Sartan magic, the Fountain Rune is critical to the success of understanding and using the magic.
Patryn magic uses substructures—rather like runes within runes. Runes formed of other runes then imitate the concepts of Root, Stem, or other structures found in Sartan magic in a much more concise way. However, their nature is somewhat erratic and their use, unless carefully balanced, can lead to great lessening of the desired effect.
MAGIC BY REALM
House Rune works the same way in all the Realms. Each realm, however, specializes in a particular magic of the Sovereign Masteries. This is usually indicative of the general division of magic which took place at the sundering of the realms. The magic of House Firmament, for example, would be the primary magic ruling in the Sky realms while House Life would rule primarily in the Sea realms. Only the magic of House Life (that of Arianus) will be discussed here.
LADY OF THE FIRMAMENT
(DISCIPLINES OF THE PHYSICAL MASTERY)
The Lady of House Firmament (Physical Masteries/Transportation and Motion Masters) are currently controlled by the Kenkari Elves of the Tribus Empire. These white-haired, slender creatures have formed the Tribus Empire on the Aristagon Continent. In conquest they have subjugated all of their own continent and are waging wars of conquest on several others. Their powerful magic is physical in nature, requiring the use of objects to channel, contain and direct their powers of magic. Despite their House, they have no powers of telepathy but do manifest telekinetic powers through their magics.
One power the Kenkari Elves have is the ability to weave complex messages into songs. This is an echo of the lost rune languages and a practical application of the more generally known magical languages which create rougher (unbalanced) spells in the magics of the Sovereign Masteries and below. The danger in these is that anyone can sing the song. Humans may be mildly inspired by these songs but to the elves such music communicates broad and deep elven feelings and messages. To gain full communication, the message of the song draws on genetic memories common among the elves—memories which the humans do not possess.
These disciplines utilize two channels to communicate the structure of the magic: verbal/tone (speaking the magic into auditory harmonics) and somatics (physical gestures of form to blend with the harmonics). If an elven wizard cannot speak or move freely, his magic will be crippled.
LORD OF THE FIRMAMENT
(DISCIPLINES OF THE SPIRITUAL MASTERY)
The Vondekar humans know their magic as Vond—the Light—and, more formally, Vondreth—the Given Power. Those who are adept in its use are know as the Kyr-Vondreth (the Light Seers) and, when spoken to are addressed simply either as Vokar (Light-people) or as Kyr (Seer). Some are certainly more adept than others at Vond and its blessing seems to happen without pattern among the people.
The magic of the Vondreth is primarily spiritual in nature and derives its abilities from the manipulation of nature and natural spirit. The Vondreth can effect natural animals and call weather to their aide. They can communicate with and manipulate animals (in this way they handle the dragons). Though they have the capability to construct magic which would allow telepathy, the complexities of such magic with a more advanced mind have long since slipped from their understanding.
The Vokar have no formal schools—all teaching is done by master to apprentice. The Vokar have been aggressive in their magic since the threat of domination by the Kenkari elves. Vokar are used in battle to call natural infestations (plagues, skyrats, tornados, lightning and the like). The Vokar live for today and thrive on life and its pleasures.
The Kyr are far from their brother Vokar. This very disciplined order deals primarily with death. They see life as a punishment through which they must pass in order to gain their final reward in the Hvani (heaven) which is to come. They have developed magics of telempathy but consider feeling empathetic joy and happiness a sin. They also have developed natural magics of transportation in order to assist them in their work of gathering the dead, as well as protections against poisons and disease.
This magic uses two channels to communicate its structure: somatic gestures and mental projections of the concept. Speech is not needed to cast a spell in this mastery. It has earned the name of ‘Silent Death’ from the elves who have learned the hard way just how effective a magic which does not require shouting can be in combat. A bound Kyr is crippled in his magic—but can still make limited mental constructs which will function well to aid his escape.
1 Warball is a game popularized in ancient times and which is still played in a variety of forms in all of the realms. Warballs are generally cylindrical and oblong in shape, they are also generally weighted and balanced for aerodynamic flight when thrown.
ABOUT THE AUTHORS
MARGARET WEIS and TRACY HICKMAN are the New York Times bestselling authors of the Dragonlance® series, The Darksword Trilogy, and the Rose of the Prophet trilogy. With over ten million copies of their novels in print around the world, they are among the bestselling fantasy writers of all time.
Welcome to the Fantastic Worlds of
Margaret Weis & Tracy Hickman
Together Margaret Weis and Tracy Hickman have written over a dozen bestselling books. Their fantasy novels run from the whimsical to the serious, but they all bring sheer delight to their readers … for they always deliver the most satisfying of stories in the most well-drawn worlds with the most intriguing of characters. Let Margaret Weis and Tracy Hickman wrap you in the cloak of their imagination as the following excerpts—including a preview of Elven Star, Volume 2 in The Death Gate Cycle—provide a taste of their range and talent.
THE DARKSWORD TRILOGY
Three volumes of the exciting adventures of Joram, the one man born without magic in a land where everyone has magic. Prophecy said he would change their world forever.
Forging the Darksword, Volume I
Joram is helped—and sometimes hindered—by Simkin, an unusual man with uncommon talents even in this land.
“No, really, ’pon my honor,” Simkin protested, hurt, “I truly do call it Night of the Peacock. But I assure you, I wouldn’t dream of telling her how to copy it… ”
Blachloch picked up his pen and returned to his work as his man drew nearer.
In a flash of color, Simkin changed back to his exotic clothes. Rising to his feet gracefully, he glanced around. “Don’t touch me, lout,” he said, sniffing and wiping his nose. Then, placing the silk in the sleeve of his coat, he looked down at the warlock. “By the way, Cruel and Pitiless One, would you like me to offer my services to this catalyst as guide through the wilderness? Something incredibly nasty’s liable to snatch him otherwise. Waste of a good catalyst, wouldn’t you say?”
Apparently absorbed in his work, Blachloch said without looking up, “So there really is a catalyst.”
“In a few weeks, he’ll be standing before you.”
“Weeks?” The henchman snorted. “A catalyst? Let me and the boys go after him. We’ll have him back here in minutes. He’ll open the Corridors to us and—”
“And the Thon-Li, the Corridor Masters, will slam shut the gate.” Simkin sneered. “Neatly trapped you’d be then. I can’t think why you keep these imbeciles around, Blachloch, unless, like rats, they’re cheap to feed. Personally, I prefer vermin.…”
The henchman made a lunge at Simkin, whose coat suddenly bristled with thorns.
Blachloch moved his hand; both me
n froze in place. The warlock had not even looked up but continued to write in the ledger.
“A catalyst,” Simkin murmured through stiff lips. “What … power … give us! Combine … iron and magic.…”
Raising his head, ceasing to write, though he kept his pen poised, the warlock looked at Simkin. With a word, he removed the spell.
“How did you discover this? You weren’t seen?”
“Of course not!” Lifting his pointed chin, Simkin stared down at Blachloch in injured dignity. “Am I not a master of disguise, as you well know? I sat in his very hovel, upon his very table—a very teapot! Not only did he not suspect me, he even washed and dried me and set me on his shelf quite nicely. I—”
Blachloch silenced Simkin with a glance. “Meet him in the wilderness. Use whatever tomfoolery you need to get him here.” The cold blue eyes froze the young man as effectively as the magical spell. “But get him here. Alive. I want this catalyst more than I’ve wanted anything in my entire life. Bring him and there will be rich reward. Return without him and I will drown you in the river. Do you understand me, Simkin?”
The warlock’s eyes did not waver.
Simpkin smiled. “I understand you, Blachloch,” he said softly. “Don’t I always?”
With a sweeping bow, he started to take his leave, his mauve cape trailing the floor behind.
“Oh, and Simkin,” Blachloch said, returning to his work.
Simkin turned. “My liege?” he asked.
Blachloch ignored the sarcasm. “Have something unpleasant happen to the catalyst. Nothing serious, mind you. Just convince him that it would be unwise for him to ever think of leaving us….”
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