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Expanded with appearances, plus some cleanup
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'''The Ode clade''' is one of the earliest clades on the System, and the subject of much of the canon to date. | '''The Ode clade''', that of [[Michelle Hadje/Sasha]], is one of the earliest clades on the System, and the subject of much of the canon to date. | ||
== Structure == | == Structure == | ||
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=== The first stanza: watchers === | === The first stanza: watchers === | ||
The first stanza was keenly focused on observing the System. This occasionally manifested itself as spying, but just as often played itself out in more innocent ways such as I Have Sight But Cannot See who became a sensorium toolmaker | The first stanza was keenly focused on observing the System. This occasionally manifested itself as spying, but just as often played itself out in more innocent ways such as I Have Sight But Cannot See who became a sensorium toolmaker and [[Speaking|I Cannot Stop Myself From Speaking]] who became a private investigator.<ref>''[[Marsh]]''</ref> | ||
Appears in: | |||
* ''[[Mitzvot]]'' | |||
* ''[[Marsh]]'' | |||
=== The second stanza: historians === | === The second stanza: historians === | ||
The second stanza focused on history. From Qoheleth's shaping of the System's memories from the early days on to [[Hold My Name|Hold My Name Beneath Your Tongue And Know]]'s fixation on tricksters both past and present. | The second stanza focused on history. From [[Qoheleth (cladist)|Qoheleth]]'s shaping of the System's memories from the early days on to [[Hold My Name|Hold My Name Beneath Your Tongue And Know]]'s fixation on tricksters both past and present. | ||
Appears in: | |||
* ''[[Qoheleth]]'' | |||
* ''[[Toledot]]'' | |||
* ''[[Marsh]]'' | |||
=== The third stanza: spiritualists === | === The third stanza: spiritualists === | ||
The third stanza focused on religion and spirituality, returning to the Judaism of Michelle's grandparents and her "vaguely Jewish" upbringing.<ref>''[[Mitzvot]]''</ref> | The third stanza focused on religion and spirituality, returning to the [[Jewry and the System|Judaism]] of Michelle's grandparents and her "vaguely Jewish" upbringing.<ref>''[[Mitzvot]]''</ref> | ||
Appears in: | |||
* ''[[Marsh]]'' | |||
* [[Prophecies|"Prophecies"]] | |||
* ''[[Kaddish]]'' | |||
=== The fourth stanza: fighters === | === The fourth stanza: fighters === | ||
The fourth stanza started out keeping tabs on art and artists throughout the System, but eventually wandered off to do a leftism. | The fourth stanza started out keeping tabs on art and artists throughout the System, but eventually wandered off to do a leftism. | ||
Appears in: | |||
* ''[[April May Yet come]]'' | |||
=== The fifth stanza: entertainers === | === The fifth stanza: entertainers === | ||
The fifth stanza leapt into theatre wholeheartedly, with [[A Finger Pointing|Time Is A Finger Pointing At Itself]] starting the troupe [[Au Lieu Du Rêve]] with her up-tree instances. | The fifth stanza leapt into theatre wholeheartedly, with [[A Finger Pointing|Time Is A Finger Pointing At Itself]] starting the troupe [[Au Lieu Du Rêve]] with her up-tree instances. | ||
Appears in: | |||
* ''[[Nevi'im]]'' | |||
* ''[[Mitzvot]]'' | |||
* ''[[Motes Played]]'' | |||
* ''[[Marsh]]'' | |||
* [[Nasturtiums|"Nasturtiums"]] and [[Columbines|"Columbines"]] | |||
* ''[[Idumea]]'' | |||
* Several smaller works | |||
=== The sixth stanza: caregivers === | === The sixth stanza: caregivers === | ||
The sixth stanza picked up most of Michelle's feelings on motherhood and the role of caregiver that she felt as a teacher. This extended beyond just a parental role: [[Dry Grass|I Remember The Rattle Of Dry Grass]] became a systech, reasoning that that made her the System's mother, in a way.<ref>''[[Marsh]]''</ref> | The sixth stanza picked up most of Michelle's feelings on motherhood and the role of caregiver that she felt as a teacher. This extended beyond just a parental role: [[Dry Grass|I Remember The Rattle Of Dry Grass]] became a systech, reasoning that that made her the System's mother, in a way.<ref>''[[Marsh]]''</ref> | ||
Appears in: | |||
* ''[[Mitzvot]]'' (mentioned) | |||
* ''[[Motes Played]]'' | |||
* ''[[Marsh]]'' | |||
* ''[[Idumea]]'' | |||
=== The seventh stanza: emotives === | === The seventh stanza: emotives === | ||
The seventh stanza leaned hard into emotions and, eventually, therapy within the System. | The seventh stanza leaned hard into emotions and, eventually, therapy within the System. | ||
Appears in: | |||
* ''[[Mitzvot]]'' | |||
* ''[[Idumea]]'' | |||
=== The eighth stanza: conductors === | === The eighth stanza: conductors === | ||
The eighth stanza has played perhaps the largest role in the grand scheme of things, leaning hard into politics and guiding the System along its path. [[True Name|The Only Time I Know My True Name Is When I Dream]] in particular helped keep the System on the path of general anarchy and ensured its continuity and stability by any means necessary. | The eighth stanza has played perhaps the largest role in the grand scheme of things, leaning hard into politics and guiding the System along its path. [[True Name|The Only Time I Know My True Name Is When I Dream]] in particular helped keep the System on the path of general anarchy and ensured its continuity and stability by any means necessary. | ||
Appears in most canon works via True Name and [[May Then My Name|May Then My Name Die With Me]]. | |||
=== The ninth stanza: artists === | === The ninth stanza: artists === | ||
The ninth stanza focused on the arts in various ways, from novelists to game designers, [[Sim artistry|sim artists]] to [[Construct artistry|construct artists]], [[Instance artistry|instance artists]] to [[sensework|sightwrights]]. | The ninth stanza focused on the arts in various ways, from novelists to game designers, [[Sim artistry|sim artists]] to [[Construct artistry|construct artists]], [[Instance artistry|instance artists]] to [[sensework|sightwrights]]. | ||
Appears in most canon works via [[Rye|Dear The Wheat And Rye Under The Stars]], [[Dear|Dear, Also, The Tree That Was Felled]], and [[Warmth In Fire|Which Offers Heat And Warmth In Fire]]. | |||
=== The tenth stanza: "the part that suffers" === | === The tenth stanza: "the part that suffers" === | ||
The tenth stanza was left with much of the mental health and instance problems that Michelle suffered leading up to forking. This is not to say that they were at all unhappy, but neither were they quite as whole as the rest of the clade. | The tenth stanza, originally intended to focus on processing the traumas of the past, was left with much of the mental health and instance problems that Michelle suffered leading up to forking. This is not to say that they were at all unhappy, but neither were they quite as whole as the rest of the clade. | ||
Appears in: | |||
* ''[[Nevi'im]]'' (mentioned) | |||
* ''[[Marsh]]'' (mentioned) | |||
* ''[[Idumea]]'' | |||
== Dandelions == | == Dandelions == | ||
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*** [[Rye|Dear the wheat and rye under the stars:]] | *** [[Rye|Dear the wheat and rye under the stars:]] | ||
**** [[Serene|serene; sustained and sustaining.]] | **** [[Serene|serene; sustained and sustaining.]] | ||
**** [[Dear|Dear, also, the tree that was felled]] | **** [[Dear|Dear, also, the tree that was felled]] (up-tree from Warmth In Fire, which is unable to be shown in this format) | ||
**** [[Warmth In Fire|which offers heat and warmth in fire.]] (down-tree from Dear) | |||
*** What praise we give we give by consuming, | *** What praise we give we give by consuming, | ||
**** [[What Gifts|what gifts we give we give in death]], | **** [[What Gifts|what gifts we give we give in death]], | ||
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*** What is the correct thing to hope for? | *** What is the correct thing to hope for? | ||
*** <s>I do not know, I do not know.</s> (quit<ref>''[[Nevi'im]]''</ref>) | *** <s>I do not know, I do not know.</s> (quit<ref>''[[Nevi'im]]''</ref>) | ||
*** To pray for the end of endings | *** [[End Of Endings|<s>To pray for the end of endings</s>]] (inaccessible, unknown if she quit<ref>''[[Idumea]]''</ref>) | ||
*** is to pray for the end of memory. | *** is to pray for the end of memory. | ||
*** Should we forget the lives we lead? | *** Should we forget the lives we lead? | ||