Uree
Uree is the personification of the magnetic field of the Democratic Republic of Aegypiinae homeworld, a major deity in 156 of the the system’s largest religions and a fixture in secular life. While descriptions and characteristics of Uree are as inconsistent as they are lengthy, an extremely general overview understands Uree as a vitality deity. Their position in a given canon is often centered around the cycles of life, the necessity of adaptation, and quests for meaning.
In the deep past, before The Screech, Uree was colloquially synonymous with the whole of the known biosphere. In modern times, this has shifted to identification with the planet itself, although “Avo” continues to be stubbornly used in state documents.
Etymology
“Uree” is an ancient word, possibly the most ancient in the homeworld. It is theorized to be descended from the cries of newborns, begging for food from their parents. There are variants of it in most languages “Eree”, “Ejee”, Ahee” being common ones, but “Uree” has been widely used since the Oscish Invasion of global media.
Important Depictions
“Uree’s Call”
The most enduring of the migratory hymns, and the most adapted and transformed cultural artifact in the known universe, rendering any attempt to summarize its meaning futile.
“How Uree Taught Her[1]Young To Fly”
A classic of Passerine flock poetry, often sung in an abbreviate lullaby form to young of one’s own. The core narrative is simple, and different variations have their own embellishments or melodies. Uree teaches her young to fly by shoving them head-first into the air. [2] Four of them survive this ordeal, each learning to fly and live in their own way as the winds take them to disparate biomes, and so becoming the Four Moons of Avo. The fifth chick fails to adapt quick enough and plummets to the ground, becoming Mt. Geier [3].
The origin of this narrative is clear in its efficiency, explaining two phenomena at once - the moons, and adulthood. It also illustrates one of Uree’s commandments: adapt or die. Certain sections have had a long history as motifs in both propaganda and sedition, the fifth chick canto in particular being used to represent whatever the author’s grievance is with the world that day. It was so common that subversion of the fifth chick morality play has become a genre worthy of another genre of deconstruction in itself. New works generally take a sweeping meta-textual approach.
“Myrion Summer”
An epic work of interactive theater which philichronistically retells the one million years of greenhouse climate on Avo which preceded the modern epoch. In the logic of the art form, Uree is not a principle character in the fiction of the story but is considered an actor who performs through the audience’s collective actions. "Myrion Summer" is officially a banned media in the DRA, and also a cornerstone of the system’s heritage, with its quintennial productions at the Ithica Iniversity amphiptere providing regular tourist boons.
- ↑ Uree's gender is not fixed across all their iterations, but in this tradition they are female
- ↑ Despite persistent racist stereotypes, this is not a model for how modern citizens of the DRA actually rear their young. It is a fable, originating in ages past, and there is great debate as to whether precursors even practiced nest-shoving.
- ↑ Depending on where it is sung, this may be substituted for a local landmark.
R. Ebamac, NCH Eese (talk) 20:51, 30 December 2018 (PST)
