The Drama of the Moon (Lugu Kava in Werer, Andai Bathala Kisotosy in Atratra) is one of the world’s oldest texts, found in ornamental script in building bases as early as 7,000 BCE, during the mid Sprout Era. Though some later editions have occured, the overall corpus of the story remains surprisingly consistent since its inception, in large part thanks to these building inscriptions.
It’s antiquity, combined with its preservation, remains an important text not only to Lemurian identity as a whole but also the indigenous religions. In particular, it is pivotal to the debate on whereas pre-Austronesian lemurians had an organised religion, as the text identifies multiple personifications of animals and natural phenomena as well as possible rituals.
The Actual Story
Old Moon(1) appointed the Sun Goddess as the ruler of the world. However, he had a soft spot for Prince Kisotosy(2), and as such granted him ownership over the waters. This infuriated Ningal(3), who was given ownership of the Sammangal and as such would not tolerate such insolence. The Sun Goddess, mother to both, took no sides, and so Ningal drove Prince Kisotosy out of the Sammangal.
Prince Kisotosy wondered across the land and waters, and met many friends and lovers. He seduced Prince Wagal and Princess Swagal, aiming to take back his territory, and both of the great birds amassed great armies to strike at Ningal. Ningal appealed to his mother, and the Sun Goddess suggested that both partake in a series of contests to see who was most deserving of the Sammangal.
In the first contest, they were tasked to give humans crops to feed. Ningal gave them the seeds of the Black Sammangal, while Prince Kisotosy gave them those of the Red. While the former filled the bellies of man, the latter proved more versatile at protecting man’s other crops, and as such Prince Kisotosy won the first contest.
In the second contest, both were asked to woe the storm women who feed the land with freshwater. The Ningal, knowing little better, took them by force, while Prince Kisotosy woed them by building great monuments, the origin of the mountains(4). Both were tied, for the waters still flowed.
In the third contest, both were asked to deal with the festering swamp waters. The Ningal, seeing it as an ideal retreat, did nothing, while Prince Kisotosy used the flood waters to stir the swamps and human gardens to drain them into productive cannals. This, he also won this contest.
In the forth context, both were tasked to make a deal with the Walamul(5), who commanded the night armies. Ningal threatened him, Prince Kisotosy seduced him. Thus, once again Prince Kisotosy won.
In the final contest, the enraged Ningal suggested open confrontation. He stroke Prince Kisotosy with his talons, thus winning this trial.
Prince Kisotosy won most of the trials and came to be beloeved by the people, but he still lost the final confrontation. Thus, during the dry season the Ningal occupies the Sammangal, and during the wet season Prince Kisotosy and his descendents swim downriver to the flooded forests.
Meaning
The story for the most part explains the various weather phenomena, the culativation of the Sammangal and the migrations of aquatic mammals from the great lakes to the Sammangal during the monsoon. Prince Kisotosy, as a folk hero, is unambiguously heroic in most readings, using his guile against the violent Ningal. Yet, the antagonist’s right over the Sammangal is still acknowledged, showing that violence sometimes is the answer.
Some comparative mythologists have drawn comparisons to the Egyptian Osyrian Cycle, which similarly pits Horus against Set. However, not only does this story predate the Osyrian cycle, the antagonist is recognised as having legitimate grievances. Nonetheless, it is possible that the Osyrian Cycle might have been influenced by Lemurian traders.
1- The moon in Lemurian indigenous religions is personified as two deities: the Old Moon and Prince Kisotosy. The former appears to be a creator god and sometimes represents the full moon, while the latter represents the moon in general.
2- A multifaceted deity that is at once the personification of the animal kisotosy, the moon and the Lemurian folk hero.
3- Another multifaceted deity, a personification of the Ningal as well as a deity that is revered as a fierce protector and war god, but antagonistic in this story.
4- This likely reflects an early understanding of the rainshadow effect caused by the Lemurian mountain ranges.
5- A personification of both the Walamul, the largest oflying mammal, as well as of the night itself.
