Amaranth and the True Enantiomorph

I’ve recently been thinking on the nature of Anu’s dreaming, on the nature of enantiomorphs, and on the amaranth we see at the end of c0da. It occurred to me that the exact nature of the Amaranth, as well as the origin of the Aurbis, seems to coincide with a very interesting concept: The enantiomorphs we see thought the series are lesser, imperfect versions of the real thing, and fail to achieve the true purpose of airbus in general.

Now, what is the penultimate purpose of Aurbis, of the dreaming? Anyone versed in the metaphysics of TES understands that it’s a dream of sorrow, of loss and mourning. Anu entered the dream because Padomay killed Nir and his children, which shocked him into a coma of self-imposed sorrow. In this state, he reformed the scattered boy parts of his twelve children into a new one. This new world, though beautiful, was still an abomination, and amalgamation of shoddily lopped together “limbs”. Essentially, the corpse of a fetus, a rotting husk of once was.

However, any dream, however vile, implies desire. Pleasant dreams are more immediate fantasies of such wants, but even nightmares, in absence of anything pleasant, imply that far-off state of bliss. As everything in Aurbis is related to Anu’s own subconscious perspective, then, we can consider the dream that is Aurbis to be one implying hope, that hope conveyed through the very absence of it we see in the world.

Again, though, what is this hope? If Anu is mourning the loss of his lover, it is clear that the hope is simply of reunion. He wants Nir back with him, he wants peace with his brother, and most of all, he wants his children to live the life they were meant to.

In Enantiomorphs, then, we see the failed attempts at achieving this goal. In the act of violence between the Warrior and the Theif, the Anuic and the Padomaic, we see a reflection of what was, a perverted reflection of what could be. They always end with the creation of something powerful, of course, so one could say they work to an extent, but that created thing is nowhere near as wonderful of powerful as what Anu truly wants, which is the Amaranth. The created thing in any of these false enantiomorphs is essentially a subgradient of Nirn itself; a rotten, abominable child, a perverted attempt at creating something from an act of violence.

In the Amaranth, then, we see what is truly desired by Anu. It is the true enantiomorph, the true interplay between the Padomaic and the Anuic. When Vivec (the Padomaic force) and Jubal (the Anuic force) come together, they don’t fight or kill one another; instead, they make love, they marry one another. Instead of clashing, as the original brothers did, they unify, and from their interplay is not the maiming of the third participant, the Mage, but rather the creation of it, the Amaranthine Child, the NU-man. This child is the realization of Anu’s desire; it is the reborn Nir, the reborn Twelve Worlds. It isn’t a child made of corpse parts, but an amalgamation of flowers, of living things that grow and thrive.

TL;DR: Anu wants Nir back, wants to be besties with his brother again, and wants his children to be all right. That’s what Aurbis is meant for. Enantiomorphs as we know them aren’t the real thing; they’re acts of hate, and bear no fruit. The true enantiomorph is Amaranth, where the Anuic and the Padmoaic come together and reconcile to create the object of their mutual affection; Nir reborn, the Nu-man.