In the artisanal villages associated with early Sasnak Morekahs and later cities, apprentices were often trained in their craft through use of a poem which may be sung. Generally this was done as an assistance to learning, as the Sasnak language did not contain a written form until much later in history. What we will be reviewing today is the most famous example of these work poems concerning the traditional Sasnak craft of lacquering.

It should be noted that this is an atypical example for the reason that it was written. What follows below is a version of the song that came much after the period of it's initial composition and the invention of lacquer. Historians speculate that this song in particular was far more popular than other work poems, which are normally restricted in their use to the appropriate artisans, and entered general knowledge. For the reason of historical drift (and the working of Sasnak Lacquer Specialists wishing to protect trade secrets) it is not a comprehensive account of Sasnak Lacquering, which can be considered a lost art.

Samahab, the wise, with heart of flame,

In reverence we sing, and praise your name,

From Snilka's hands, your knowledge unfurled,

A gift of lacquer, cherished in our world.

Here is typical invocation that initiates the memory poem/song. It invokes Samahab, a folk hero who is commonly associated with gaining knowledge from the natural or mystical world and is often elevated to the status of demigodhood or godhood among different Sasnak communities. In this case, Samahab learned the craft of lacquermaking from Snilka, who is sometimes revered as a subdeity of Atook and is associated with forests and trees.

Additionally here is an example of the poetic license taken by professor Chagupit, who must be noted as making excellent use of his tenure.

With Snilka's guidance, they embarked on this quest,

To learn the craft, by poison oak blessed.

Kelkit tool in hand, they approached with care,

Shaving bark, slashing forty gashes, then left with knowledge they would share,

This stanza shows Samahab learning the traditional process of using the Kelkit tool. The Kelkit tool is a long, straight blade typically made of bronze or stone. At the tip, it curls back into a hook shaped scoop that is used to collect Poison Oak sap. The Kelkit is used on the first day to shave the bark of a poison oak tree to remove obstructions, then cut 40 to 50 gashes into the tree's bark. However, it should be noted that on the first day, no sap is collected.

It should be noted that the typical Sasnak lacquer-making process begins at the start of a monsoon season, for reasons that will become evident later in the song. It is unknown why this crucial detail was omitted from the beginning, but it is possibly a lost lyric

In another lost lyric (mentioned obliquely in other period attestations of the process), it is noted that Samahab returns with his companions to a second, third, and fourth grove of poison oak trees on the second, third, and fourth day doing the same process to each. He then returns on the fifth day to the first grove with his bucket, and begins collecting sap of the trees. He collects the sap into a bucket or clay jar, then deepens the cuts, but then stops his companions from cutting too deeply in the trees. Doing so, as Samahab explains in the work poem, would kill the oak trees.

He then collects from the second grove on the sixth day and so on, mixing the old sap with the new sap to keep it fresh. One of his companions gets sap that is noted to be sweet-smelling but acrid-tasting on his hands, and it results in a rash. One can only wonder why they know what it tastes like.

Samahab returned, a bucket full of white sap,

Sweet fragrance rising, yet a treasured mishap,

Over embers, he kindled a fiery blaze,

Boiling and stirring, with skill and daze.

Sap slowly reduced, its color intensified,

'Til 'twas Quartered its volume, the liquid now comprised,

In this part of the poem, Samahab returns with the sap and reduces it by boiling and stirring over a fire. It reduces to a quarter of its volume and turns a dark brown color, and is cleansed of impurities. The next passage concerns some of the additives...

With cassava flour, Samahab graced the brew,

A binding agent, the mixture imbued,

Dry pigments and colors, carefully combined,

Hues of the earth, in harmony entwined.

But caution prevailed, as one companion near,

Tempted to add dyes, a mistake to fear,

Samahab's wisdom, like a guiding light,

"Stay true to the craft, let nature's hues ignite."

Professor Chagupit's poetic skills notwithstanding, this part of the poem is enlightening. Cassava flour and other unlisted ingredients are added to the mixture to assist in a glossy coat and to let the lacquer act as a glue while it cures. It is also at this stage that the song notes to add pigments, which can vary in color. Later lacquers would include mordants made for more exotic colors such as murex red or blue. However, the song specifically cautions against using wet dyes (such as the aforementioned murex colors that had not yet been fixed into mordants). This is because doing so would ruin the volatile lacquer and leave it incapable of curing.

The next passage of the poem has Samahab storing the mixture in jars in a warm, humid place and implores Snilka to watch over it.

As Monsoon's fury waned, Samahab knew,

The time had come, his masterpiece to pursue,

With skilled hands, he sanded the wooden prow,

Smooth as polished pearl, his craftsmanship now.

Then, with reverence, a clear coat he applied,

Lacquer's protective embrace, a sacred guide,

The maturing process of the lacquer takes two to four months, which is approximately the timeframe of the aforementioned monsoon season. Samahab finally begins the actual lacquering process, which ends our direct review of the lyrics. He lays down a transparent coat of lacquer once. In following lyrics, he lets it dry and cure in the sun for a day and then applies an additional coat. It must be noted that lacquer requires a warm, humid environment to appropriately cure, which is perfect for the Sasnak region especially immediately following the monsoon season.

He repeats this process five more times, sanding the layer smooth after each coat, then begins adding a total of 12 colored coats. In traditional Sasnak Lacquering, these coats may be varied in color or painted on to create a design, sometimes in three dimensions similar to modern epoxy art. Powdered electrum or pearl inlay may also be applied on these layers, as the cassava flour and other additives makes the lacquer sticky. This is also a later development.

Most notably, murex mordants, electrum powder, and nacre inlay was applied on the lacquering on an entire ship - the well known Ship of Elomah. This ship was commissioned to be lacquered entirely by the eponymous Elomah at even today would be outrageous expense, and put on display. Previously, the ship was thought to be a myth, until it's prow was discovered and is now on display at the University of Tinar Museum.

Samahab completes his work by adding six more transparent layers to seal the work, and letting it cure one final time for a week. He then thanks and blesses the goddess Snilka for her teachings.

That concludes the presentation on the Hymn of Lacquering. A similar analysis on the Hymn of Hanyil is due in three days. This should be a simple task.