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Palman Culture
Multiculturalism of the Rose Sea—
Gertrude SteinThe Rose Sea Basin culture (Rosa Atlantida) that continues to inform the Palman and Aleixandran (and San Francescan) nationality is a rich tapestry. The Rosa Atlantida culture is one of "wine, wind, life" (Italian: «il vino, il vento, la vita»; Spanish: «el vino, el viento, la vida»; Catalan: «el vi, el vent, la vida»; Portuguese: "o vinho, o vento, a vida"; Galician: «o viño, o vento, a vida»; French: « le vin, le vent, la vie »), elements perhaps best poeticised by Abu-Nuwas (Abou-Novas, Abû-Nuwâs, Abū-Nuwās); expressed poetically, a paradise (paradiso, paraíso, paradís, paradis), where the coast is green with life and the sea azure like the sky. Paradise comes from the Latin paradisus, from Greek parádeisos (παράδεισος), whence the Old Iranian phrase "pairidaeza" for "walled-around" (i.e., an enclosed garden or hortus conclusus like that of Persia to Andalusia). In this verdant garden of Eden, emblematic of the World within Nature, life is watered by rivers, shaded by trees and perfumed by the blooms of flowers. Humans merely sense images. The visual reality humans experiences is a neural interpretation of image (immagine, imagen, imatge, imagem, imaxe, image) formed by the optics of the eye. The dolphin, apricot, palm, and rose are all iconic images found in Palma Riviera's "landscapes between the mountain and the sea" («paesaggi tra la montagna e il mare», «paisajes entre la montaña y el mar», «paisatges entre la muntanya i el mar», «paisagens entre a montanha e o mar», «paisaxes entre a montaña eo mar», « paysages entre la montagne et la mer »). This global (intercultural, multicultural, transnational and international) process is similar to pollination. The integration and differentiation of sights, sounds, smells, tastes, and touches form human reality and identity. We rely on using a language of symbols to recreate our history. These symbols, when generalised, are the fibres of the Rosa Atlantida tapestry. The unity is the "the Star of Atlantis, the People of the Sun" («La stella di Atlantide, la gente del sole»; «La estrella de Atlántida, la gente del Sol»; «L'estrella d'Atlàntida, la gent del Sol»; «A estrela de Atlântida, a gente do sol»; «A estrela de Atlántida, a xente do Sol»; « L'étoile d'Atlantide, les gens du soleil »). A table of more than 100 words in the Romance languages of Palma Riviera (i.e., Italian, Spanish, Catalan, Portuguese, Galician and French) illustrates their interrelation. The vocabulary for comparison were selected because they are symbolic of the Rosa Atlantida culture. That is, the words (parole, palabras, paraules, palavras, paroles) have cultural historical significance to the Palman national identity or multi-ethnic nationality, whether mythologic or gastronomic.
The human species is not only Homo sapiens, but also Homo sentiens, Homo cognoscens, and Homo significans. Humanity (umanità, humanidad, humanitat, humanidade, humanité) not only "discerns" in sapience, but also "senses" in sentience, "knows" in cognisance, and "names" in significance. Naming or signifying is creating and interpreting significance from signs. The significance of a sign is a correspondence of something to something else. The study of signs is called semiotics. In the dyadic model of semiotics, a sign is composed of the signifier and the signified. The signifier is the thing or vehicle of the sign, whereas the signified is the concept of the sign. The defining relation of the sign is its signification, or the association between the signifier and signified. The conception of the signifier, regardless of the sensory perception of it, is merely an image or mental representation of the material (substantive and formative), referent object, event or action. The signified is not referential but relational and structural, i.e. the significance of signs are born from their relations to other signs instead of from references to the material features of the signifiers. Signs can be classified as symbolic, iconic, and indexical. With symbolic signs, the signifier does not resemble the signified, rather their correspondence is arbitrary or conventional (e.g., language). Symbols are signs that communicate as instruments of ideas in a symbolic discourse or a symbolisation and connection in the context of experience. The relation between the symbol that symbolises a reference or idea is defined to be correct. The references refers to a referent is defined to be adequate. The imputed relation between the symbol and referent is defined to be veritable. In the case of iconic signs, the least conventional mode, the signifier is perceived to resemble or are similar to the signified. Lastly, with indexical signs, there is a non-arbitrary and direct mapping between the signifier and signified formed by cause-and-effect. In linguistics, language (linguaggio, lenguaje, llenguatge, linguagem, linguaxe, langage) as the structure of signs is distinguished from tongue (lingua, lengua, llengua, língua, langue) or the system of signs, and speech (parola, habla, parla, fala, parole) or the use of signs. A code is a procedural (not conventional) system of signs. It is what allows encoding and decoding in communication, regardless of the material media that carries the information. According to information theory (IT), a codified message (or signal, i.e. a sign) is any physical quantity that exhibits variation in space or time (i.e., a function) that communicates information from a phenomena. IT is an empiric division of semiotics, as compared to the syntactic, semantic and pragmatic divisions that study structure, signficance and interpreter, respectively.
Within the framework of semiotics, empirics is more similar to the physical world (e.g., Nature) than pragmatics, which is more similar to the social world (e.g., Culture). Food and cooking is an example of the coding (i.e., rule-governed transformation) of Nature to Culture, whereby objects and actions (signs) have symbolism, in the social norms and customs, to the members of a community. The sign of food is signified by cooking, which is signified by fire. Fire as a sign can be signified by the Sun, which is further signified as good in Palman culture. Social differentiation (e.g., class, sex, gender, or sexuality) are determined by verbal (e.g., language) and non-verbal (e.g., appearance, touch, and gaze) social codes, for example. Ideology and texts (e.g., literature, poetry, and lyrics) can also be understood as codes. The imitation of their ideas is analogous to the evolution of genes. Like all communication, the message, which contains significance, requires a medium. With sound (e.g., music or language), the medium is usually air. Sound is a longitudinal wave (vali in Sanskirt) so the particles of air vibrate in the direction of propagation, creating pressure variations to be perceived. As mechanical waves, musical sound vibrates at tones, or superimposed waves of harmonic frequencies. Music (musica, música, musique) is composed of these periodic frequencies. The dominate or fundamental frequency of the tone is the subjective perception of pitch. Humans able to perceive and distinguish musical instruments by a spectral and temporal tone quality called timbre. They receive sonic and acoustic vibrations as aural (neural) stimulation through the external (aerial) conduction (and in combination with internal conduction for the autogenerated sound or voice) that transmits the signal. True to the dichotomous nature of the Rosa Atlantida, besides in the sensation of physical stimuli (studied in the psychoacoustics of psychophysics), is the conflict between signal and noise (constructive and deconstructive interference from the murmuring and braying rut of rumour, and the strepitous clang and crash of alarm). The signal, as a message, could be sound. Noise, conversely, is an undesired signal. In IT, noise reduces the channel capacity, or the maximum information a channel can communicate as output for an input. The message is encoded before and decoded after transmission through the channel. A message of information is transmitted by a transmitter as a signal in transmission. Probabilistic noise contributes to a corruption of the signal received by a receiver in reception for the interpretation of the message. IT measures information, whether the signal or noise, in bits. Entropy measures uncertainty or the mean surprise, which when reduced, information is gained. Communication is possible if and only if it the channel capacity of the system (the maximum quantity of information interpretable with the resolution of uncertainty per unit of time) is greater than the entropy. The signal, in yet another distinguishing dichotomy, is perceived as ordered (i.e., the Apollonian by having significance as according to a language like mathematics), whilst the noise is disordered (i.e., the Dionysian by having no significance). Much of Palman culture is the interpretation of dichotomy and contrast, like that between illumination and shadow (i.e., chiaroscuro, or Italian for "light-dark", with the grey, intermediate penumbra of mutually exclusive states). Essential to this ambivalent synthesis, is dialectic analysis of the dialogue between thesis and antithesis, similar to the scientific testing of a hypothesis.
The duality of signal and noise seems to be about order and disorder when it is seen, in the context of Rosa Atlantida, as a unity of ambiguous significance. Noise is inherent to physical (material and psychical) experience, where humans hear (interpret) both consonance and dissonance. The languages of human music and vocalisation both exhibit or demonstrate a grammar (a technical art of letters, scripts and texts and their dispositive function with arrangement, significance, form and sound). They are implements and instruments of logic for the common communication and representation of concepts (ideas, images, senses, states, facts, affairs, occurrences and events) in a community with gestures of signs and symbols. Of the Palman languages, Italian perhaps best illustrates the symbolic union of signal and noise. Italian originates from the poetic and literary writing authored in Florentine (of which the San Francescan city of Fiorenza was named, itself from fluentia or "flowing" and florentia "flowering" from the Latin -ntia, which is the present active participle -ns, equivalent to the Germanic "-and" and "-ing", and cognate of -nc(i)a, -nc(i)e and "-ncy"). It was developed and formalised in the vernacular of the opus (opera, obra, œuvre) of Dante (a political defender of the civil autonomy of the libre and sovereign city-state government from imperial authority). It became the canonical standard of the ruling classes, i.e. the language of the courts and symposium not the streets. Considering the factors of its creation, Italian is a "artificial, artful, made for the purpose of beauty". Speaking Italian is therefore not solely a linguistic performance but also an acoustic one that nevertheless strikes a "semantic terror" as an anti-language of the rulers, according to Italo Calvino. The high volume or loudness that many Germanic (e.g., English, German and Dutch) language listeners ascribe to Italian speakers is explained by two reasons: (1) a populist revolt against the refinement and eloquence; and (2) a higher speech rate and lower information per syllable, which are coupled as the information rate. Noise, unlike in the northern neighbours of Rosa Atlantida, is perceived as convivial and hospitable, and celebrating life. For example, Palman culture does not stress that "children should be seen and not heard", instead seeing noise (all sound not its opposite mute silence) natural to the vivacity of life.
The arts of music and dance have been uniting, resulting in the peaceful coexistence and multiculturalism (cultural pluralism) of ethnic groups in Palma Riviera. For instance, flamenco (thought to be a Spanish derivative from the Latin flamma for "flame, lowe" and the Hispanic-Arabic fellah mengu akin to a mendicant monk and a wandering peasant, or in French « un paysan errant » of a county), is a distinct fusion of Anadolian, Indic Iranian, Sephardic, and Atlantean styles that occurred in the foundational transcultural interchange of Rosa Atlantida. Related to the infinitive verb morar for "to reside, habit, lodge, demur, live" in the Iberian languages (Galician, Portuguese and Spanish) is the Ladino word moradizo for "transient, migrant, stranger, vagabond, visitor, sojourner or person in temporary transition of residence, habitation and location". As a form of music, it consists of singing (cante) accompanied with dancing (baile), guitar playing (toque), punctuation from triple exclamations of olé (akin to a bold brav(issim)o(-a) and alleged to be descend from the Arabic Allah), and the rhythmic percussion of clapping (palmas), castanets (castañetas), or stomping (zapateado). Music in flamenco unites the folk forms of the sedentary Anadolian and nomadic Indic Iranian peoples, the Persian-Arabic lyrical form, the Jewish and Palmaist synagogue chants and prayers, and the classical Atlantean rhythms and orchestras. Instrumentation reflects the influence of the lute (liuto, laúd, llaüt, alaúde, laúde, luth), from the Arabic ud (عود), and the guitar (chitarra, guitarra, guitare), from the Arabic qithara (قيثارة) and the Latin cithara that itself is from the Greek κιθάρα or kithāra. These instruments (like the mandolin or mandolino, an Italian diminutive of mandola from the Latin pandura and Greek πανδοῦρα or pandoûra that is an analogous lute to the violin from the viol, a cognate of the Spanish vihuela de mano from viola de mà in Catalan, viola da mano in Italian and viola de mão in Portuguese that evolved into the vihuela de arco as the viola da gamba and the viola da braccio, and originates from the Latin vitula and vitellus) are similar to the kora (of a djali, jali, jeli, bard, minstrel or troubadour), 二胡琴 (Sinitic er / ji / n(g)i hu / wu / fu qin / kim / kam for "two-chord, non-Han zither"), 三弦 (for san(g) / sam xian / jin / hien "three chords"), and تار (Persian târ, related to the تنبور or tanbur and the سهتار or se-târ for "three chords", which is superficially similar to ستاره or setâre for "star, asterisk, destiny, fate" and related to the Sanskrit ranga and Persian rang or رنگ for "colour"). The lute is related to the Greek βάρβιτος (bárbitos), Persian بربط (barbat) and Chinese 琵琶 (p(h)i / pei / bi / ti p(h)a / pe / be / ba). In a cultural fusion, the guitar (ʻukulele or kuturere) chord musical instrument became mutual and common in Astronesian and Anadolian cultures. The melodic mode (pole or pale) of flamenco resembles the Phrygian dominant diatonic scale and the Ḥijāz (حجاز) of the Arab maqām (مقام), which was influenced by the Persian dastgāh (دستگاه) modal system. It is common in the Indian ra(a)ga (the harmonic and melodic "colour, tint, pigment, passion, desire, نیاز or niyâz" where the system of Hindustan fused with Persian music and diverged from the Carnatic from the Dravidian kar or "swart", karu or "elevated", karai or "frontier, limit, edge, bank" and nadu and "land", and the Sanskrit nataka or "actor, dancer, drama, representation" and karna or "ear, auricle") with a tha(a)t (parent scale). Highly influential, a rhythm of flamenco even influenced the composition of the Broadway musical West Side Story.
A diatonic scale of seven tones (five whole tones and two semitones in an octave) becomes a major or minor scale when the degree (as nominals or numerals of cardinals or ordinals of importance, precedence, sequence or dependence, not spatial or temporal quality) is assigned as the tonic. It is a heptatonic scale (seven tones per octave), which includes major and minor (natural, harmonic and melodic) scales. The musical modes of the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian respectively correspond and commence at the primary, secondary, tertiary, quaternary, quinary, senary and septenary degrees (relative to the diatonic major scale). Notes outside the diatonic scale are chromatic. In a 12-tone (chromatic scale) system of music, a semitone is the interval between two adjacent tone-heights (perceptual quality of the quantity of frequency) that are represented as notes. The chromatic scale consists of 12 notes. If the temperament is equal, all semitones of the chromatic scale (where a normal enharmonia for the names of notes) have an equal interval of 100 cents (a relation of frequency equal to 21/12, which divides an octave with a rational relation of frequency equal to 2/1 into n = 12 equal parts). An octave, with 12 semitones, is a total of 1200 cents. A chromatic circle models the 12 classes of tone-height in a diagram divided by 30 rotational degrees of arc. They can be represented as a cyclic group of order 12 with four generators (semitones and diapentes of ascension (ascent) or descension (descent) that generate the continuous chromatic circle and discrete cycle of diapentes). This inclusion (subgroup) of the group expresses each element of the group as a product of elements of the subgroup and their inverses. A graphical representation of the tone-heights describes scales (and their order of degrees), modes and chords in a range of an octave gamut. The relation of frequencies for two tone-heights is defined by the exponentiation of two by the arc length (clockwise) divided by the circumference of the circle. Modular arithmetic (with the modulus of 12, with zero as the principal note) permits unambiguous notation. Musical notation indicates the augmentation, diminution and neutralisation of a modification in intonation of tone-height by a semitone.
Musical (temporal and mensural) notation signifies the clef and number of beats (pulses) contained in a measure, with a note value (fractional powers of two for relative duration) equivalent to a beat. Its time is measured as beats per minute, with metre the rhythmic measure of periodic beats (acoustic and discordant interference of frequencies perceived as variation in amplitude) between regular accents. Harmony (concordant consonance and euphony, the opposite of discordant dissonance and cacophony) is the superposition of tonal sound (sonic vibrations and oscillations) frequencies, whilst melody is the linear sequence of harmony and rhythm. The notes of a musical scale can be identified with syllables in the Arabic "Separated Pearls" system. In the system there are major and minor modes of harmony and melody determined by the interval sequence of tones and semitones. The octave degrees of the major scale are the tonic (primary, ﺩ or dāl), supertonic (secondary, ﺭ or rāʾ), mediant (tertiary, ﻡ or mīm), subdominant (quaternary, ﻑ or fāʾ), dominant (quinary, ﺹ or ṣād), submediant/superdominant (senary, ﻝ or lām), and subtonic/sensible (septenary, ت or tāʾ). The octave of a chord of a particular fundamental frequency (harmonic tone) is produced from a chord half in length with double (twin, an integer multiple of two) the frequency. The number of octaves is the binary logarithm of the ratio of two frequencies. An octave (diapason) is an example of a perfect interval such as unison (equal frequencies), diatessaron (five semitones), and diapente (seven semitones). The Pythagorean af(f)ination (scale, accord or temperament of the voice or steven of an instrument) is system of intonation based on the octave and generated by the pure of just diapente (quint or 3/2), which is equivalent to 700 cents in the equal temperament of the chromatic scale. These are the simplest relations other than the unison 1/1 and diatessaron 4/3. The scale is formulated by the products these relations of frequency and their exponents and reciprocals. The system has been attributed to either Pythagoras or Eratosthenes. The system of just or pure intonation (described by Ptolemy) is based on natural number (integer) relations (proportions) of frequencies. Its intervals are members of a harmonic series with a fundamental frequency (a principal partial and reciprocal of its period). With equal temperament, the relation of the interval of two adjacent notes is the duodenary (duodecimal) radix of two, which is equivalent to the duodecimate potency of two. For arbitrary notes, the relation is the potency of this formulation with the exponent the difference of the assigned numbers (degree) for desired and reference notes. This system approximates intervals of the other intonations.
The content of the lyrical and musical form illuminates the cultural imagery of Rosa Atlantida. Authors create in harmonic and poetic language. For example, music as lyrical song can convey the state of saudade. The genres of morna (the feminine of morno, Portuguese for "tepid", as in the French morne for "gloomy"), fado (Portuguese from Latin fatum for "fate", which is related in etymology to the fandango, a Spanish flamenco), and bossa nova (Portuguese for "new trend", the former part a cognate of "boss" for "protuberance, projection") achieve this par excellence. The former two are characterised by their mournful and melancholic yet nostalgic thematic imagery. The instrumentation of the latter two includes the guitar with vocals. The bossa nova style owes an aesthetic debt of gratitude to the music of Impressionism (Impressionismo, Impresionismo, Impressionisme, Impressionnisme), jazz (from the slang jasm, a variant of jism for "spirit" or "energy" as in "funk" and "spark" or the attractive scintillation and seminal ejaculation of fire and light, and perchance from the Arabic jism or جِسْم that means "body"), and samba. Samba is local to Rio da Rosa and the surrounding region, though originating from maritime commerce with (Bantu, Yoruba, Igbo, Wolof and Mandinka) Africa, as the music and dance for the celebration of New Year. The name of samba comes from sambuca, a name for an ancient Anadolian harp. The polyrhythms of samba, played by guitar and drums with call-and-response, are characteristically syncopated and percussive. An adaptation of the musical arc is the berimbau with a chord (filament string, wire or thread) and a resonator (a chamber for resonance) is used in samba. Another complex in structure musical tradition is the fugue, a contrapuntal composition with a thematic subject and multiple voices of a melody (a texture of polyphony, in comparison to a rhythm) that are introduced in an exposition, developed in imitation (repetition of variation), and concluded in a tonic return as sections.
Whilst its name either originates from a style of flamenco or the Portuguese verb tanger for "to touch [a musical instrument]", tango is another example of a music and dance form deriving from different cultures, in particular African rhythms. Tango was born in the impoverished port areas of Málaga and San Francesco. As a couple dance, it grew in popularity in the early 116th century until the military dictatorship banned public gatherings in the late 11650s causing it to decline. Nevertheless, within in the port city piscatorial communities, tango remained a (subversive) venue for political and artistic expression. Queer tango began in 11675 as an underground movement part of the New Wave that, by overturning the prohibition of same-sex couples dancing, usurped the heterosexism and machismo (male dominance over female) of tango. In tango, each partner physically embraces with the other. In queer tango, the sensual and sexual intimacy is maintained but dancers are allowed to exchange the gendered leader (male) and follower (female) roles. As music, which was expanded from its classic to new form, tango is nostalgic in theme (as are the previously mentioned styles). It is instrumented by a typical orchestra of violins (descendants from the Arab rebab or ربابة, comparable to a "gig" and "fiddle"), piano clavier, contrabass, flute, and bandoneons. A similar sized orchestra but a mix of guitars, bass guitar, contrabass, violins, falsetto vocalists, trumpets (clarion, horn, tuba, or buisine), harps, percussion (drum, trump, battery, tambour(ine), tabor or tabla), and dulcimer (psalter(y), from the Greek psaltḗrion or ψᾰλτήρῐον via the Latin psalterium, from which the Persian سنتور or santur) adopted in the son palmano, or Spanish for "Palman Sound" with its canción palmana, that adopted flamenco styles (e.g., zapateado, boleros, and malagueñas) in the pastoral and agrarian communities during celebrations. It also adopted the popular poetic form of copla andaluza (from the metric union of a copula) with lyrics of characters of marginalisation and alienation. Some coastal orchestral and instrumental ensembles include idiophones (marimbas, xylophones and metallophones), under the influence of Astronesian music. The piano and guitar are the most prestigious of the musical instruments of Atlantean music because of the possibility of frisson in their versatile intersections.
Although now a secular and republican state, Palma Riviera was an imperial realm with a state religion before a revolution. The Palman Ecclesia (Chiesa Palmana, Iglesia Palmana, Església Palmana, Igreja Palmana, Igrexa Palmana, Église Palmane) is a monist and monotheistic religion that solely practises Palmaism (Palmaismo, Palmaísmo, Palmaisme, Palmaïsme). Zoroaster (Zoroastro, Zoroastre), for "pure star" from the Greek transcription Zōroastrēs (Ζωροάστρης) of the Old Iranian Zarathustra, founded Palmaism with a written meditation (meditazione, meditación, meditació, meditação, méditation) called The Five Pillars of Wisdom (I Cinque Pilastri della Saggezza, Los Cinco Pilares de la Sabiduría, Els Cinc Pilars de la Saviesa, Os Cinco Pilares da Sabedoria, Os Cinco Piares da Sabedoría, Les Cinq Piliers de la Sagesse). The prologue depicts a glorious sunrise, in which Zoroaster on his mountain top greets the nascent and salient motive of the bright and clear morning sun. With the sun arises the primal conflict, a picture of the greatest problem of humanity: death, the grim and inevitable fact that all life must starve of nutrient energy in the natural and universal condition of entropy, and cease from its original and natal state of existence. This sinister problem is imagined in terms of a conflict of ascent and descent, elevation and depression, certainty and ambiguity, and vitality and mortality. The title of this sagacious book refers to the five fingers (diti, dedos, dits, doigts) of the palm of the divine and human hands (mani, manos, mans, mãos, maos, mains), the unique utensil and important instrument to creation and manufacturing. This and other Palmaist religious texts, as the "digit" signs of tokens (instruction or indication) of teaching (insegnamento, enseñanza, ensenyament, ensinamento, ensino, enseignement), are collectively called the "Bible" (Bibbia, Biblia, Bíblia, Bible), as in the plural diminutive biblía (βιβλία) of the ancient Greek byblos (βύβλος) for "papyrus" or "paper" and for the Phoenician city of Gebal. He is considered to be a prophet (profeta, prophète) whose prophecy was inspired by a divine messenger (messaggero, mensajero, missatger, mensageiro, mensaxeiro, messager) or angel (angelo, ángel, àngel, anjo, anxo, ange). Other spirits (spiriti, espíritus, esperits, espíritos, esprits) include the genie (genio, geni, gênio, xenio, génie) and daemon (demone, demonio, dimoni, daímon, demo, démon), where either may be benevolent or malevolent. The Ecclesia, from Greek ekklesía (ἐκκλησία) synonymous with "church" or "congregation", is catholic, from the antique Greek katholikós (tκᾰθολῐκός) for "universal", as in "general" or "total". An acolyte of Palmaism, and credent of the creator (creatore, creador, criador, créateur) deity named God (Dio/Dea, Dios(a), Déu/Deessa, Deus(a), Dieu/Déesse) as Nature, is called a Palmaist (Palmaista, Palmaísta, Palmaïste). As one of the pillars or chapters with auxiliaries and ramifications, the central and single-most important concept of Palmaism is the unity of uniqueness of God: "there is no god but God".
The Ecclesia is divided into geographic areas called provinces, which, since it was the state religion, reflect those of the republican state (originally the imperial realm) that are administered by a governor appointed by the government (originally as vicereine / viceroy (viceregina / viceré, virreina / virrey, virreina / virrei, vice-rainha / vice-rei, vicerraíña / vicerrei, vice–reine / vice-roi) by the Empress / Emperor). Within provinces are local parishes (parrocchie, parroquias, parròquies, paróquias, paroisses) that control temples in municipalities. The title "priest(ess)" (sacerdote(ssa), presbitero(-a), prete(ssa), sacerdote(-isa), sacerdot(essa), presbítero(-a) prêtre(sse)), depending on the language, comes from the Latin presbyter via the ancient Greek presbúteros (πρεσβύτερος) for "elder" or the Latin sacerdōs for "one who renders a thing sacred". Priests are clerics of the Ecclesia, who learn and study in a seminary (seminario, seminari, seminário, séminaire) or school (scuola, escuela, escola, école) of theology before being ordained as educators (students and professors) in the exegesis (elucidation) of religious texts, law and liturgy. The head of the Ecclesia is the High Priest (Sommo(-a) Sacerdote(ssa), Sumo(-a) Sacerdote(-isa), Summe(-a) Sacerdot(essa), Grand-Prêtre(sse)) who is the chief cleric (a bishop, superintendent or episcopal supervisor) elected by the Synedrion (Sinedrio, Sinedrión, Sinedrí, Sinédrio, Synédrion) and first among equals (primus inter pares) from among the clergy. The Synedrion, from the ancient Greek sunédrion (σῠνέδρῐον) for "council, assembly, synod", is the governing and judicial body composed of clergy appointed as delegates from all communities (the provinces and their parishes, from παρα or para for "vicinity, proximity" and οἶκος or oîkos for "house, domicile") These ecclesiastical communities evolved to civil administrations for government as the elements of regions with districts (territories of jurisdictions) and cities (communes of municipalities).
Ritual prayer service is held in a temple called a synagogue (sinagoga, esnoga, synagoga), from the ancient Greek synagogē (συναγωγή) for "congregation" or "assembly", which is attended by a congregation that is led by a priest with prayers (preghiere, plegarias, pregàries, preces, pregarias, prières) chanted and sung as hymns (inni, himnos, himnes, hinos, hymnes) by a cantor (cantore, cantor(a), chantre(resse)). Incense is used as a sacrificial offering to God that is believed to purify the ambience (ambiente, ambient, ambiência, ambiance). The architecture of synagogues are constructed with art and design combining the organic (human) figurative and abstract geometric. Synagogues are commonly designed to feature at least one dome (cupola, duomo, cúpula, domo, dôme) and (in the hypostyle) numerous arches (arcos, arcs) and columns (colonne, columnas, columnes, colunas, colonnes). Nest boxes (artificial houses for the nests of birds) are installed on the exterior of temples in a cantorial connection of the spiritual with the natural music. A chapel (cappella, capilla, capella, capela, chapelle) is a capital and musical sanctuary for a choir, chorale or chorus led by a sacerdotal priest or chaplain (cappellano, capellán, capelllà, capelão, capelán, chapelain) with the cantor. A priest wears sandals and a garment similar to a tunic. Cantors also receive these vestments, though priests wear a turban (turbante, turbant, turban) and purple sash in addition. The High Priest wears an ornate robe called a kaftan (caffettano, caftán, caftan) and tiara around the turban (mitre). Priests are granted the title "Reverend" (Reverendo(-a), Reverend(a), Révérend(e)) or abbreviated "Rev", whilst the High Priest has the title "Most Reverend" (Reverendissimo(-a), Reverendísimo(-a), Reverendíssimo(-a), Révérendissime). Either are addressed by as "Master" (Maestro(-a), Mestre(-a), Maître(sse)) in speaking. In the spirit of amity, fellow Palmaists refer to each other as a "friend" (amico(-a), amigo(-a), amic(-ga), ami(e)). Since Palmaist religious tradition is based in mysticism, the "professor" (professore(ssa), profesor(a), professor(a), professeur(e)) and "student" (studente, estudiante, estudiant, estudante, étudiant) relationship is vital for the transmission of knowledge in what is termed by the Palmaist theology as a guided and sublime spiritual voyage of body and mind (soul) for illumination (the candour of verity or truth).
A person the Palman Ecclesia considers to embody justice, enlightenment and humanitas, usually a martyr (martire, mártir, màrtir, martyr), saviour (salvatore, salvador, sauveur), liberator (liberatore, libertador, libérateur), or priest who is a spiritual and physical mystic master, is distinguished as a "saint" (santo(-a), sant(a), saint(e); the truncated or apocopic form of santo is san in Italian, Spanish and Galician, and são in Portuguese). A saint, itself from the Latin word sanctus that means "holy" as the person is thought as a "friend of God" and a superior senior (elder) just in virtue and honour (verity, morality, honesty, sincerity, integrity and justice, i.e. a tsadík or צַדִּיק and ṣadīq or صَدِيق; cf. the Persian-Arabic مُصَدَّق or muṣaddaq, mosaddegh for "credible, verified, certified, attested, authenticated, authorised, ratified, sanctioned, approved, accepted"). As such, a saint is also venerated as "Our Lord" (Nostro Signore, Nuestro Señor, Nostre Senyor, Nosso Senhor, Noso Señor, Notre-S(e)i(gn)eur) or "Our Lady" (Nostra Signora, Nuestra Señora, Nostra Senyora, Nossa Senhora, Nosa Señora, Notre-Dame), with a poetic or natural identifier following. These titles reflect the highest adjacency of saints to the sanctity (santità, santidad, santedat, santidade, sainteté) and divinity (divinità, divindad, divinitat, divindade, divinité) of God, the deity (deità, deidad, deïtat, deidade, déité) who accords charity (carità, caridad, caritat, caridade, charité) and felicity (felicità, felicidad, felicitat, felicidade, félicité). Famous identifiers, all in the plural to reflect the infinity of divine creation, include:
Multitudes (Moltitudini, Multituds, Multidões),
Solitudes (Solitudini, Soledades, Solituds, Solidões),
Beatitudes (Beatitudini, Beatituds, Beatitudões, Béatitudes),
Gratitudes (Gratitudini, Gratituds, Gratidões),
Humours (Umori, Humores, Humors, Humeurs),
Mercies (Mercedi, Mercedes, Mercès, Mercês, Mercis),
Desires (Desideri, Desii, Deseos, Desigs, Desejos, Desexos, Désirs),
Graces (Grazie, Gracias, Gràcies, Graças, Grazas, Grâces),
Pleasures (Piaceri, Placeres, Plaers, Prazeres, Praceres, Plaisirs),
Fruits (Frutti, Frutas, Froitas), and
Flowers (Fiori, Flores, Flors, Fleurs).
The universal deity or God of Palmaism is symbolised as the Sun. Palmaist religion is the natural law and cosmic order (symbolised as a solar disc and circular cycle) of a wise truth and sage justice that benefits all sentient beings, with physical existence and spiritual vitality that are mental constructs cognised by the human mind. The light of the Sun is the eye that guards the waters (social bonds of oath, belief and right including obligation, religion, confidence, promise, contract, and covenant) of love. The fire ritual, a holy ceremony celebrating the light (of the Sun or God that nourishes the Earth or life), is held at an altar in the synagogue during services. The isotropic light and flame of radiant fire represents intellect, wisdom and knowledge that contrasts the dark illusions of ignorance. Prayer is accompanied with ritual swaying facing east, where the Sun rises. Major holidays or festivals coincide with seasonal solar events (equinoxes and solstices) and celebrate harmony with Nature. For example, the new year festival celebrating the Earth (water, birth, and life) occurs on the vernal equinox, the harvest festival (thanksgiving) celebrating Nature (the Universe or World) on the autumnal equinox, the midsummer festival celebrating the Sun (fire, light, and day) on estival solstice, and the midwinter festival of lights celebrating the Sky (the night’s stars and Moon, spiritual light in the dark, and the death and memory of relatives with family) on the hibernal solstice. The Earth and Moon depend on the Sun for energetic illumination and radiation. The light of the lunar satellite is a celestial reflection of the supreme and central solar luminary. The major (superior) dominates the day, whilst the minor (inferior) dominates the night for the terrestrial (natural and artificial) mundane. The imagery illustrates the analogy of the global (absolute) and the local (relative) extremes. The idolatry of icons, images and emblematic visual forms at shrines is practised, although the aesthetics of natural (i.e., the physical including mathematics) beauty is supreme and sacred. Since God is worshiped as supreme, Palmaists believe that the Cosmos, everything God created, is pure, just and real (veritable and authentic). This includes Nature, or the environment (ambient and habitat) that human beings (humanity) inhabit in life and civilisation, on the planet Earth (orbited by the satellite Moon) that orbits the star Sun. Palmaism is inherently heliocentric, yet anthropocentric in natural moderation with a covenant (contract) between humanity and God.
Peace, or calm, coy, quiet, tranquility and harmony with Nature (the Earth, its water and life, and the Sun, its fire and light), is essential to the Palmaist religion and the norms of pacific Rosa Atlantida. The core ethic of peace (pace, paz, pau, paix) extends to the coexistence of human beings. Palmaism, as it has been shaped in part by Latin-, Greek- and Semitic-speaking peoples shares the fundamental regard for peace (in Latin pax and Greek eirḗnē (εἰρήνη); the Semitic triconsonantal radix šin/sin-lam(ed)-mem/mim that in Hebrew שלם and Arabic سلم translates to shalom or שָׁלוֹם and salām or سَلاَم, respectively) as making life (vita, vida, vie) whole. Furthermore, central to peace are the ethics of the preservation and celebration of life (cf. the Latin vita and the Greek bíotos or βῐ́οτος). The salute "to life", like the Hebrew lechayím (לחיים) (from cḥayím or חַיִּים, related Arabic ḥayāh or حَيَاة of the het/haʾ-yod/yaʾ- radix, composed of cháy or חַי for "living"; it is the opposite of מָוֶת or mávet and مَوْت or mawt for "death"), is omnipresent and ubiquitous at all Palmaist celebrations. It is similar to pronouncing "to health" (salute, salud, salut, saude, saúde, santé), prosit (Latin for "may it be good"), rata fiat ("[the convention] is ratified"), "dry cup" (Sinitic 乾杯 or gan / gon / kon / kan bei / b(u)i / p(o)e / p(a)i to continue the flow of humid liquid), or nush-e jan (نوش جان, Persian for "nectar of life"; in Persian "existence" is زندگی or zendegi with its opposite مرگ or marg) that figuratively means "live long life" as in the Latin third-person subjunctive present conjugation vivat (viva, visca, vive) to benefit humour or "cheer". The suffix jan (جان, or the colloquial jun or جون), though signifying "life" or "soul", is used as adoration and endearment (in charity, esteem, value, respect and affection), for "beloved, dear, lief, cheer, precious, expensive" like the Arabic habibi (حَبِيبِي, a possessive of the nominal حَبِيب or ḥabīb or the Hebrew cognate חָבִיב or khavív, which is related to the verbal noun form of مَحَبَّة or maḥabba for "love"; cf. the Persian hamdami or همدمی from hamdam or همدم for "companion, comrade"), the Persian دلبر or delbar (from دل or del for "heart, mind, spirit, soul, core, courage, valour", a cognate of Sanskrit hrdaya), and the Latin amatus (amato, amado, amat, aimé) or carus (caro, car, cher).
Society, in coercive and violent conformity, can be a vampiric orc (haematophage and sanguivore), feeding on the symbolic plasma and physical energy that nourishes natural individuality and creativity, which humans "bleed" when forced to suffer. In dishonesty, disrespect and injustice, it deceives with the delusion that labour liberates and work frees the individual from torturous servitude. Contrary to universal human dignity (liberty, equality and solidarity), this social deception is a false justification of oppression that conceals by dissimulation. In the folk iconography of Palmaist pantheism, the hamsa (jamsa, hamsá, khamsa) amulet is used to ward off the external and internal envy (invidia, envidia, enveja, inveja, envexa, envie)—a nithe bale or mean hate of a Nemesis that gnaws, wreaks, and frightens as a vindictive, offensive, deceptive and possessive enemy that intimidates with rancorous and acrimonious enmity, odious and malicious animosity, and the vile resentment and avid fraud that injures as a rapacious insanity of despicable avarice in ferocious and desirous stupidity and vacuous and voracious cupidity—of the evil eye (malocchio, mal de ojo, mal d'ull, mau-olhado, mal de ollo, mauvais œil). More than superstitious, it is a panoptic social construction. In evil faith with a mentality cognisant of the consequences, actors leer (exhaust, transgress and violate) others with the emulation (rival zeal or jealousy of a slim or slight boast) of evil eye for the illusion of significance, though an inauthentic (abusive, extorsive, coercive, deceptive and elusive) delusion. It is thought to be an origin of the not pleasant (offensive, repulsive, destructive, odious, noxious, malicious, pernicious, atrocious, calamitous, injurious, vicious, nefarious, deleterious, venomous, insalubrious, intolerable, dishonourable, disagreeable, detestable, deplorable, abominable, execrable, lamentable, miserable, horrible, terrible and repugnant) sufferance of misery. The invidious gaze (a latent malediction) and boast (an arrogant inflation) of which, according to superstition, is also supposedly averted by the Roman fascinus (a virile and potent phallus of the penis that is the origin of the word "fascinate"), Turkish nazar eye-shaped amulet, Italian corno portafortuna (or cornetto and cornicello as a diminutive of "fortunate horn" in a phallic form for fertility, virility and prosperity in reference to Priapus and Πρῐ́ᾱπος or Príāpos), and Palman anellus (a ring geometrically symbolic of the culus or anus of the natis or nates), through divine protection and talismanic power. The mystical history of the amulet is associated with sky and solar deities (symbolised by a star, lion, or chariot). The dextrous right hand-shaped amulet with an eye at the palm is symbolic in both Arab-Berber Islamic and Northern African Jewish culture, with the Arabic name ḵamsa (خمسة) and Hebrew name khamishá (חֲמִישָּׁה) originating from the numeral "five" of the digits of the lucky right hand, or yāmin (يَمِين) and yamín (יָמִין). The eyes, a corporal interpreter for mental capacity, are considered to be the glass mirror of the soul. The name of the lynx (from the prototypical Indic European for "light, bright"), a feline relative of a lion and panther, is a reference to the luminescence of its reflective eyes. Their vision is symbolic of scientific observation. The tapetum lucidum (Latin for "lucid tapestry") is a retroreflector (a laminal and iridescent film behind the retina that augments light available to the photoreceptors by constructive interference) found in animals with nocturnal vision. It is the cause of the luminous effect and resplendence. The Arabic māshāʾllāh (مَا شَاءَ ٱللَّٰهُ) is an expression of joy and thanks (eulogy, surprise, gratitude, respect, congratulation and appreciation) that literally signifies "what God has willed" (divine determination of volunty and destiny) to provide protection to another person from the peril (periculous and precarious bane, and a flagellum of disgrace, ruin, plague, affliction or perdition) of the evil eye. This malevolence is a source of anxiety or terror (a fright or angst of fear or dread that annoys and fraises in an affray, pavor or timor) for the ego (symbolised in Spanish by zozobrar related to Catalan sotsobrar, Portuguese soçobrar, and French sombrer from the Latin sub and super to signify "to capsize, founder, sink a nautical vessel", itself from the Spanish chapuzar that is related to the timid or pavid pit of desperation and depression, in the sense of to revolve or reverse on a capital head). The Latin phrase or expression noli pati a scelestis opprimi is used to remember (rememorate) the imperative that states do not suffer (let, lease or permit) the oppression of evil persons (criminal, immoral, malignant, malevolent, arrogant, insolent, dishonest and toxic people) in patience the misfortune affixed by the evil eye (עַיִן הָרַע or áyin hará, with the Phoenician ʿyn and Arabic عَيْن or ʿayn as cognates for this symbolic ocular organ).
In the Celtic and Germanic cultures of Atlantis, mystical spirits (fairies and elves) were believed to live in trees. The apotropaic "touch wood" wards a person good omens. Related to signs of premonition and presentiment are the concepts of chance (azzardo, azar, atzar, hasard), destiny (destino, destí, destin), fortune (fortuna, fortune), lot (sorte, sort, suerte), risk (rischio, riesgo, risc, risco, risque), or fate (fato, hado, fat, fado). Chance is conflated with holy fire due to its false cognate in Persian âzar (آذر, alternatively آدر or âdar, the homologue to water and linguistic relative of the Latin atre for the matt black of a hearth, which is without lustre and the antonym of propitious white synonymous of alb, alba, albedo or albor that is pallid and not candid). The flame (in Arabic شُعْلَة or šuʿla, from where the Persian شعله or šo'le originates, which is synonymous to the Turkish alev) of fire is symbolic as the visible vapour of gas in the luminous emission of electromagnetic radiation in the exothermic reaction of ignition and combustion. In Persian, the prosperity and felicity of fortune by the distribution of fate is baxt (بخت). Folk mythology draws from the Hellenic Fates, who were the Moirai (Μοῖραι), the spinners of destiny or moîra (μοῖρα), and the steerers of the vital rudder and rotational wheel of fortune or túkhē (τύχη), which is symbolic of the force and gravity of the Sun's disc. The Fates were daughters of Nyx (Νῠ́ξ or "night, nocturnal") and Erebos (Ἔρεβος or "obscure, sombre" as in the rory dew and mist), who are both primordial progeny of Chaos (dialectal with Cosmos in the universal substance) and whose progeny include Moros (Μόρος or "doom, weird, fate, destiny"), Nemesis (Νέμεσις or "retribution" for hubris like the justice of Dike or Δίκη, distinct from the ordinary and customary justice of the natural law and divine order of Themis or Θέμῐς who organises the communal affairs and habitual assemblies of humanity), Eris (Ἔρις or "discord, conflict" opposite of harmony and concord), Hypnos (Ὕπνος or "sleep" as the personification of dreams and swevens in the slumber of somniculous sopor and dormant hypnosis, which is connected to narcosis of Morpheus or Μορφεύς, as in metamorphosis of phantasm, and alkaloid opium, from ópion or ὄπῐον for "succulent juice, sap, suck", and codia, from kṓdeia or κώδειᾰ for "cotyla, cup, vessel", used for pharmaceutic anaesthesia and analgesia), Thanatos (Θάνατος or "death" that is the mortality of a corpse), Aether (Αἰθήρ or "light" as in the divine air unlike that mortals breathe), and Hemera (Ἡμέρα or "day, diurnal"). The Celtic Morrígan (form mar for "great" or mare for the terror of incubative spirit and phantom in dreams, with the latter for "queen"; it is a false cognate to the marine Morgan) is associated with the divination of fate (mortal death) whose form as a corvid (badb from boud or "victory" and bodvo for "battle, war") is comparable to the ben síd ("woman of the fairy mound") that is similar to a Siren. The Hebrew for the culmination of these concepts of fatal destiny seemingly determined by the constellations of the astral night is mazál (מַזָּל). To wish someone "good luck", colloquial the expression "toi toi toi", which comes from the Hebrew tov (טוב) for "good", is superstitiously used by many Palmans. Similarly, in Turkish, destiny or fate is called kismet (kısmet), coming from Arabic qisma (قِسْمَة) for "determination, distribution, division, dispersion, allocation, separation, partition, portion, fraction, quotient, quota, quotum", much like نَصِيب or naṣīb and which is related to the nominal name قَاسِم or qāsim for "distributor, divisor". In Palmaist belief (credence), God in the sky, which is the celestial domain of the stars (in Turkish yıldızlar, Persian ستارگان or setâregân, Arabic كَوَاكِب or kawākib, and Hebrew כּוֹכָבִים or kokhábim) and the Sun (in Turkish gün, Persian خورشید or xoršid, Arabic شَمْس or šams, and Hebrew שֶׁמֶשׁ or shémesh), is universal Nature and ordains human destiny on Earth with its terrestrial satellite of the Moon (in Turkish ay, Persian ماه or mâh, Arabic قَمَر or qamar, and Hebrew יָרֵחַ or yaréakh). It is an acceptance of irreversible determination.
Within the mystic and missionary wing of Palmaism, food and drink became culinary metaphors for the human relationship with God. Missions established by religious orders were both the centre of the human settlement and spiritual community. Religious orders in the Ecclesia established across Atlantis with military fortifications of burgher castles, which were once monastic but now scholastic and academic, tends to reject both asceticism and hedonism, instead teaching a moderation of these extreme forms. The element of expiation and penitence by an apology (confession and reparation of remorse and rue) for the excuse of transgressions and pardon of individual ethical offence or sin (peccato, pecado, pecat, péché), which are a natural consequence of personal relations (interactions and transactions) for humanity, exists. The process of forgiving is a personal affair whether the party harmed is another human or God, who is compassionate and affectionate in mercy, clemency and grace. The ethics of the catechism (doctrine and dogma) in the Ecclesia teaches that human beings, who have free will, are naturally good (bene, bien, bé, bem, ben), but tend toward evil (male, malo, mal) by doing or being harm when motivated by the egocentric desire for absolute power in a solipsistic corruption of egoism. These states as human behaviours are called virtue (virtù, virtud, virtut, virtude, vertu) and vice (vizio, vicio, vici, vício, vice), respectively. Its paedagogy offers the metaphor of humans as mirrors, which only can reflect an image when directed such that the light emitted by a source (i.e., the goodness of God, or the energy of the Sun that sustains and is absorbed by life through photosynthesis and the water cycle on Earth) is incident. Additionally, the human soul is spiritually compared to the passionate ardour of divine fire, which is naturally constructive (i.e., providing light for living and heat for cooking) but only becomes destructive in fervour when its consumption of fuel is not regulated or controlled. Another central metaphor was that the kitchen symbolised human life and Nature's cycles (cf. the Sufi imagery of the Persian poet Rumi in his Masnavi, Book III, 4159-4211).
Mystics celebrated unity with God by ceremonious libations, ablutions, and oblations—accompanied with the ecstasy of the divine, and therefore physical or natural, pleasures (theia mania or divine and manic madness of a maniac with the inspiration, possession or enthusiasm from the essence of natural substance, the ontic being of οὐσίᾱ or ousíā) including a bacchanal of music, song, dance, orgy (ambiphilic group sexual activities), bread (a symbol for the life cycle), water (a symbol for life), and intoxication (psychotropic and psychoactive annihilation of ego, or Latin for "self", i.e. "I", io, yo, jo, eu, or je) by inebriation from alcohol (wine) and caffeine (coffee and tea) in a spiritual state of mast (Persian مست). Omar Khayyam best expresses the sentiment of this Symposium in the Rubaiyat (rubāʿiyāt or رباعيات is the plural form of rubāʿiyy or رباعی as a poem of quatrains, strophes or stanzas of four verse or two distich, a unit with metre or rhyme in opposition to prose): "A jug of wine, a loaf of bread—and thou". The traditional alcohol (ethanol or ethyl alcohol from the fermentation of fruit and amylum, named from the Arabic اَلْكُحْل or al-kuḥl for the "powder of stibnite", which is a mineral of antimonium from إِثْمِد or ʾiṯmid for stibium used as an ocular collyrium and a decorative or cosmetic mask that is named سرمه or sorme in Persian), excluding principal wine, is its distillations ("brandywine") and fortifications of sherry (e.g., jerez, xerez or xérès of benign wine similar to the Persian شیراز, shiraz, xirax, or chiraz that is possibly related to the Celtic ser and Latin serra for "mountain" that suffers in production a material process of clarification, stabilisation and maturation for consumption at ports and, in Arabic, marsan or مَرْسًى). The Anadolians fermented mexcalli (from metl for "agave" and ixca for "cook, bake", which is related to the bread tlaxcalli, adobe xamitl brick xamixcalli, and oven texcalli) as iztac octli ("white perdition", poliuhqui) from the syrup neuctli ("sap, juice") of agave.
The aqua vitae (from the Latin or in Celtic uisce-beoth, French eau-de-vie and Italian acquavite for "water of life") of aguardiente (Spanish for aqueous and ardent "fire water", which in Portuguese is aguardente, Galician augardente and Catalan aiguardent, from the alcoholic fermentation and distillations of sugar and musts that burns and brands) and similar distilled anise-flavoured liquor of raisins (tincture from Pátrai of Peloponnesian Akhaia, pastis for "paste, pastiche", sambuca, ouzo from the Turkish üzüm for "grape", arak and rakı from the Arabic عَرَق or ʿaraq for "sweat", and absinthe from Latin absinthium and Greek ἀψίνθιον or apsínthion for "wormwood of Artemis" that produces an effect of a louche emulsion, or a heterogenous mixture of two insoluble and immiscible liquids in combination and suspension, with a nebulous, suspicious, dubious, and obscure decadence when mixed with water) are common. The emulsification of aetheroleum (hydrophobic ethereal or essential oil) results in opacity and turbidity similar to limoncello as a concentration of citrus lemon and rectification (successive distillation of alcohol). An emulsion of garlic and oil with salt (named ajolio, alhòli, aiòli, a(l)lioli, aïoli, similar to agliata and a sauce with an acid and an emulsifier of egg from the Balearic city of Ma(h)ó(n) that is named for Magon Baraq of Carthage who was the son of Ḥomilqart or Hamilkas and the brother Ḥannibaʿl and ʿAzrubaʿal). Beer and ale (beverages of malt or radix that are carbonated by fermentation of yeast and bacteria) and soda—the gasification and dissolution of (mineral) water, i.e. caffeinated water with kola, vanilla, cinnamon and citrus, or carbonated water with sassafras (sassifraga, saxifraga, sasafrás, saxífraga, seixebra, saxifrage), anise, liquorice, sarsaparilla (salsapariglia, zarzaparrilla, sarsaparrella, salsaparrilha, salsepareille), ginger and caramel—are common, in addition to cider of apples, mead of honey and punch (from Sanskrit for "five, cinq"). Liquorice confections (of glycyrrhiza) are popular, with its sapor (flavour) reinforced by anise. The substances of alcohol (a toxic excretory consequent or product of the leavening or levitating agent of yeast in the fungal conversion of sugar to carbon dioxide gas) and caffeine (also contained in chocolate) are diuretics (i.e., promote diuresis, or the production of urine and the excretion of water, which in comparison to aquaretics and aquaresis does not retain the electrolytes of sodium and chloride) like lithium.
As Palmaists, Palmans revered sacramental fire as divine due to its association with the Sun or God. Consequentially, the transformations fire creates by calefacient transfer in cooking were venerated. Victuals of food (comestible to eat) and drink (potable beverage) were sacred pleasures (stimulations) of olfaction and gustation, along with vision, audition, and tactition—all the Aristotelian five senses. In Palmaist theology, the senses are symbolised as five horses drawing the "chariot" (a cart with a yoke, or giogo, yugo, jou, jugo, xugo, joug) of the body balanced on the revolving vital axis of the Sun, driven by the mind as "charioteer" whose bilateral symmetry of human anatomy represent the dual Apollonian and Dionysian natures in a unity that is different from the total of its parts. The head (testa, capo, cabeza, cap, cabeça, tête) with the dermal surface and somatic hands are locations of sensory reception organs (sensation and perception that informs conception with memory in cerebral processing). Other arbitrary dualities (binaries) exist that are resolved (reconciled such that a relative gradient is defined for quantity in contrast to an absolute quality) in Palmaist theology with a monism wherein the latter presence (form, substance or dimension) is an absence of the former: mind and body (as in philosophy), cosmos and chaos (as in universal reality), passive and active (as in conduct), past and future (as in time), subjective and objective (as in experience), good and evil (as in ethics), positive and negative (as in physics), light and dark (as in radiation), hot and cool (as in energy), artificial and natural (as in existence), private and public (as in society), mania and melancholia (as in mental affect), and euphoria and dysphoria (as in mental state). Compare this to the dialectic analysis of a thesis and antithesis to form a unity of a synthesis (e.g., Being-Nothing-Becoming, or the system of dialectal materialism that resolves the apparent contrast or conflict of opposition as a "struggle" to produce progress in a coexistence of natural harmony). Cooking has been exalted by Palmaist theologians as healthful and beautiful for the soul (anima, ánima, ànima, alma, âme), or the union of mind (mente, ment) and body (corpo, cuerpo, cos, corps). Palman cuisine in the domestic family and house (with its quality, diversity and creativity) provides sustenance, nutrition, nutriment and aliment as a vital culture.
