#Aristocratie

[raisongardee]

"Sans prendre les ménagements qu’un courtisan aurait jugés naturels, même à l’égard d’un souverain déchu de sa puissance, il reproche à Louis XVI la coupable indulgence qu’il eut toujours pour sa "chère noblesse" : "Aujourd’hui, les aristocrates prononcés ne sont bons à rien pour s’être trompés sur tout ; ceux qui sont restés passent leur vie à Paris autour de trois mille tapis verts, et se consolent par la perte de leurs écus de celle de leur existence. […] En tout, la corruption a des effets plus cruels que la barbarie. Les aristocrates ont succombé sous les démocrates pour la raison qui fit tomber les Gaulois et les Romains sous les fondateurs de la monarchie. Règle générale : toutes les fois qu’on est mieux chez soi que dans la rue, on doit être battu par ceux qui sont mieux dans la rue que chez eux. C’est le principe des révolutions et même des conquêtes." On a peine à croire qu’un texte d’une telle violence ait pu être adressé au roi, mais Rivarol n’avait nulle raison de craindre la cour, à laquelle il n’avait jamais été attaché et qui avait provoqué, par ses erreurs, les malheurs dont souffrait la France."

Arnaud Odier, « Rivarol, "le Tacite de la Révolution" », in Renaud Escande (dir.), Le livre noir de la Révolution française, 2009.

[oanthore]

Depuis un siècle au moins, une puissante vague démocratique a profondément transformé le régime de l’art. Désormais, chacun se considère comme détenteur d’une imprescriptible force créatrice et, conséquemment, s’estime en droit de s’exprimer comme artiste. Du même coup, la notion de grand art, en ce qu’elle peut avoir d’aristocratique, se trouve mise à mal, l’idée d’exception qui lui est inhérente se mariant mal à celle de multitude.

Jean-Claude Pinson - Le poème comme forme de vie

[kronieken]

De Erembalden van Veurne

Aanvankelijk zijn er nog eerst die verschrikkelijke voortekenen. De 15de augustus van 1124, rond het negende uur van de dag, etaleert zich een schaduw voor de zon. De inwoners kijken verbijsterd naar de hemel. Eerst beperkt de schaduw zich nog tot de rechterkant van de zon en lijkt het land veranderd in een spookachtig theater. Maar gaandeweg overvalt een bevreemdende en angstaanjagende…

[hcdahlem]

Le rouge et le blanc

En imaginant le destin de deux frères engagés sur des voies politiques opposées, Harold Cobert réussit une fresque éblouissante, pleine de bruit et de fureur sur la Russie de 1910 à 1990. Un tour de force éclairant et éblouissant.

  En deux mots Alexeï et Ivan Narychkine ne sont que des enfants quand la révolution couve en Russie. Mais en 1917, les deux frères, fils d’aristocrates, vont choisir des voies différentes. Entre le rouge, bien décidé à faire triompher le communisme, et le blanc, en faveur d’un gouvernement réformateur et modéré, la guerre va s’engager. Ma note ★★★★ (j’ai adoré) Ma chronique Ivan le terrible,…

[randomnameless]

For some reason though in Hopes, he thinks he understands Faerghus as well as he understands Almyra.

That explains so much lol

We don't hear about "uwu forced marriages uwu" in the Alliance, but there are some books in the shadow Library about someone running away from a marriage (a Daphnel iirc? Claudia?) - and yet, there isn't anything suggesting this marriage was forced/piloted by the Central Church or anything.

Back to Almyra though, we know that like Adrestia, Almyra operates on a consort/harem system - Tiana is the Queen, but Tiana also has to "deal" with the children of her hubby's concubines, who try/tried to ice her son.

Again, pretty sure no Central Church is involved with the system where Papa Claude/Ionius has a myriad of consorts and children as a result.

Or maybe he could have thought his grandparents would never have approved of his mother marrying his father because Church wouldn't have approved it, or maybe Tiana already had a suitor/fiancée back in Leicester?

But

1/ that's just headcanon

2/ there are several good reasons why some people wouldn't be super happy at having the leader of the nation who invades and rampages in your cities every monday as a son-in-law.

You know who should have told him he was full of shit but never does because Naga forbids Claude being challenged in both games? Lorenz.

Lorenz is trying to find a suitable spouse (it's not forced marriage but arranged marriages?) because he thinks of his house's station and future - it's something pretty common for all nobles, and, wait, guess what? The Central Church doesn't have anything to do with Nobles trying to marry other Nobles.

Again, this thing is so ridiculous, coming from Claude, that either, as you said, he thinks he knows Fodlan and Faerghus in particular as well as he knows Almyra (aka a 12 years old orphan knows more about Almyra than him) so it backfires but no one is here to challenge him because Fodlan - or, he is trying to throw pasta at a wall to see if it sticks, and devoted people believe him because they like soggy pasta, idk.

Another reason why the whole "forced marriages" concept (that Rhea haters ate up like pie) is bullshit.

Speaking for Faerghus, since this seems to be an issue players point the finger at Faerghus for, it's just... not true? This NPC does understand there are political implications to his marriage, but he wasn't forced into it and neither was his wife. They married for love.

The only known case of an arranged marriage prospect within Faerghus' known cast is Ingrid, and that's something Ingrid has taken on for herself as well. She knows her lands struggle with crops and that her people go hungry. She's choosing to deal with a non-romantic marriage for her people.

But what about Glenn, you ask? There are two aspects to that:

The marriage was arranged when Ingrid was born, but it's worth noting the marriage was arranged between Gunnar and a childhood friend's son. She wasn't just being married off to just anyone. It was both a childhood friend (who Gunnar clearly had deep trust in)'s son, but also a family member of the royal family's right hand family. But what about the Houses paralogue, you ask? Gunnar wasn't aware of the man's crimes, but as soon as he found out he rejected the proposal. Gunnar cares about his daughter's happiness and wellbeing. The only reason they're searching for a marriage candidate is because Galatea lands desperately need the financial support.

Ingrid is the only case we know of where she's being "married off" (her endings rebuke this entirely anyway because she does end up marrying for love if paired with someone). Nobody else in Faerghus had a marriage forced or politically forced on them (and frankly I still fail to understand how the Church is supposedly at fault for concept of this being the case period anyway). Dimitri, the literal prince and at the time of birth immediate heir to the throne, was never forced to marry. Felix has never been pushed to marry. Sylvain has never been pushed to marry (despite how important it is that they continue that bloodline). Annette, a female, has never been pushed to marry.

In other words, the major political players have never put their kids into arranged marriage with a single exception of necessity for one family (Galatea), and in Rodrigue's case with Glenn, it was done with a childhood friend's lands' welfare in mind. Gunnar could have married Ingrid to anyone at any point, but the most important aspect of it is that when it was arranged without her say so (i.e. at her birth), it was done with the son of a man who Gunnar trusted implicitly.

After Glenn died, Ingrid was plenty old enough to have a say so in who she might be married to. Presumably the issue wasn't pushed on her for a while after Glenn died for emotional reasons, but once they tried again, Ingrid had a say in things. Her father sent her letters specifically for her input. No, she doesn't want to marry for political reasons, but she understands how much her lands need it. Still though, her father won't force her to marry some scumbag. If she tells him she won't marry someone, he accepts that.

In other words, the only argument that can be used for "forced marriages" falls flat on its face. It's not a regular practice in Faerghus. None of the heirs to specific territories are being married against their will. The only instance we know about isn't so extreme that Gunnar is just going for it and picking the best dowry without considering his daughter's happiness and health.

The one time it was decided before she was old enough to give her input, Gunnar didn't need to "consider" marriage prospects and be unsure who to pick, because it was planned between two old friends who trusted each other and presumably felt that their child would be safe with the other family in question.

My biggest problem with people saying this claim is supported is that for the most part, people just take Claude's words in GW at pure face value and assume it's absolute, definite truth when he gives nor has any evidence to back it up (mainly because he blames it on the Church, which still doesn't make sense because such things are out the Church's jurisdiction. No amount of "seeing what the world is like without Rhea" is going to change Faerghus' politics, so even if his claims were true, Claude would have to go talk to every single individual territory within Faerghus to realize the truth if he's that dead set on his view of this, as each territory does its own thing politically).

He brings it up like it's a fact in Faerghus, which as I've said before, he has literally no knowledge whatsoever about Faerghus, and it shows. He doesn't even know extremely basic things, such as the previous king literally dying in the middle of making friends with a foreign land. He knows that Lambert died in Duscur during the Tragedy, and that's... basically the extent of his knowledge and understanding about it. For some reason though in Hopes, he thinks he understands Faerghus as well as he understands Almyra.

It's also annoying because in Fodlan games, a character can just say something - literally anything at all - and it's eaten up immediately and taken at pure face value with no thoughts actually put into questioning its validity. And before anyone says "but Dimitri didn't argue this in Zaharas!" yeah, I'm aware, and I feel that was a huge reason why that chapter, trying to be the "we fight as allies this once" chapter, was a total flop, aside from other things (particularly in the SB/GW department with Dimitri and magically wanting to "talk things over" with someone who had just murdered one of his dearest friends mere hours ago tops in SB, or in GW where politics would demand more from him).

The games have a problem with trying to introduce false concepts through characters who don't know better (i.e. introducing incorrect perspectives that we're meant to understand are just perspectives and not the truth nor fact) but then not refuting those claims, despite the game itself as the story progresses outright denying those things, whether outright or passively (in the latter's case, again, other important political figures having no talks of marriage on the table at all).

In the screenshots, the NPC is aware that politics have to get involved with his marriage, but he wasn't forced to marry and neither was she. Not only does he mention it, but he wants people to know they married for love. He's basically saying he doesn't want people to misinterpret their reasons for marriage (wanting land, wealth, etc).

In Ingrid's case, it was started with that goal in mind, but it started out in safe hands. After that she always had a say in who she might marry, and ultimately didn't marry for political reasons. The one person who was possibly going to marry for political reasons in Faerghus and not out of love ends up not even doing that.

Honestly, in Claude's case, I feel like he was just written with no purpose in mind except to rock the boat unnecessarily, because everything he claims in regard to Faerghus is purely speculation on his part. He knows absolutely nothing about Faerghus (in both games, but his ignorance in Houses isn't malicious, whereas you could argue in Hopes he's attempting to overthrow what he believes are their systems when even if they were, it would still be none of his business) but talks like he's lived there or spoken to its people who make the decisions he claims are happening.

Also, the concept of Dimitri being forced to do this that and the other thing are just... not true? Dimitri is happy to be able to help others and make reforms for his lands. He likes that he's able to have the power to make good change and help people. He knows that you need a certain degree of power to be able to push things in a better direction and to have a voice. By having the most important voice, he can make other voices known that otherwise would not be. When people have no choice but to listen to the king, he can demand that other voices are heard.

Even in his A support with Shez, he believes his happiest moment will be when he dies after dedicating his life to "a peaceful kingdom full of joyous citizens". I get the whole "but he isn't living for himself!" side of things, but this part of this post is specifically about how Dimitri is supposedly "forced" into doing things because he's king; but plain and simple, he wants to be king because by having the highest power in his land, he can make positive change happen

"This bad thing is happening in the Kingdom!" Well now he can change that. He wants to change things in his land for the better, and he understands that his position is a necessity for that. That's why he's so upset when he's "rendered powerless by age" in Houses, i.e. can't ascend the throne yet. He wanted to make change and couldn't. He wanted to do right for the Kingdom, but he couldn't yet.

Basically what I'm saying is that people keep using Claude's Hopes rhetoric as "fact", but literally none of it is. It's all based on the most severe amount of ignorance in both games and him for some reason believing that he knows jack shit about Faerghus. That includes the marriage "issue", which while I'd say it may exist in Adrestia (ex. Bernadetta being planned to marry Ferdinand), does not exist in Faerghus as any sort of "issue".

I don't recall if it's really even present in Leicester? So either... Claude just pulled that argument out of his absolute ass, or he's seeing an issue in Leicester and for some reason assuming his country's politics are every country's politics, which is, again, total ignorance (and he makes no effort to ever found out if any of that is true).

[arcana-greenleaf]

Ok, ok, I hope you don't mind another. Your writing is just amazing and the way you write the characters is just PERFECTION!!

I've had this one idea floating around and I'm itching to share it!

A girl ends up in Volterra after deciding to go on a solo trip. She's mated to either Alec or Demetri or maybe even Felix(I'm open!) BUT the twist is this: she is Aro's great(however far down the line) niece. I'm thinking something about her triggers his memories of his human family(I know Marcus was with his sister but I'm thinking one sibling survived and stayed human).

I'd love for her to be a bookwormish type of girl again, maybe she traveled there to see the historic sites or something and ends up being pulled into something supernatural!

I hope this makes sense! I appreciate all you've done so far! 😭😭😭

Hey hey!! I’m so sorry for the long wait I got super busy with exams, Valentine’s Day, and some family things. Hopefully, this chapter meets your expectations! As a history student, I really enjoyed writing the historical elements hehe. :) I focused mostly on Aro and his long-lost niece because I loved the concept and wanted to establish it properly, but I’m totally open to doing a part two where I explore the romance between the reader and their chosen character. That’s all from me for now and thank you so much for requesting, as always! <3<3

The cobbled streets of Volterra were everything she had dreamed of. Ancient, winding, whispering with the ghosts of the past. Ivy clung to weathered stone, the scent of fresh bread and aged parchment drifted from open-air cafés, and the warm Tuscan sun bathed the city in gold. She adjusted her glasses, brushing a stray curl from her face as she studied the guidebook in her hands. She had spent years dreaming about this solo trip, pouring over history books, sketching maps in the margins of her notebooks. It was an escape and an indulgence in everything she loved. History. Literature. The stories that old places told if one only listened closely enough. And Volterra, one of Italy’s most ancient cities, promised plenty of stories. The city was steeped in history, dating back to the Etruscans. She had always found herself drawn to ruins, to places where the past lingered in the air. This was her chance to walk in the footsteps of scholars and poets, of conquerors and commoners, of those long forgotten yet eternally present in the walls that surrounded her. She had spent the morning exploring the Museo Etrusco Guarnacci, marveling at the funerary urns and their intricately carved lids depicting figures frozen in time.

Now, she wandered aimlessly, allowing the city to guide her. What she never imagined was stepping into a story of her own. The feeling started subtly at first – a prickle on the back of her neck, the uncanny sensation of being watched. She dismissed it as the natural unease of being alone in a foreign place, but the weight of unseen eyes never left her. She glanced over her shoulder more than once, but the bustling streets carried only tourists and locals, none of whom paid her any special attention. Still, the feeling persisted. She chalked it up to paranoia. Or maybe jet lag. She had barely slept the night before, too giddy with excitement. That, combined with the heavy heat, was bound to play tricks on her mind. Her feet led her through the Piazza dei Priori, the heart of the city. She let her fingers trail along the cool stone of an archway, pausing before an iron-wrought gate leading into what she assumed was an administrative building. The emblem above it was an ornate crest that drew her in, the design strangely familiar in a way she couldn’t place. She turned away, intending to continue her exploration, when she collided with something, or rather someone, solid. A chill raced down her spine. The man before her was unnaturally still, his crimson eyes locked onto hers with an intensity that made her breath hitch. He was tall, statuesque, with dark hair and an aristocratic air that made him seem like he had stepped out of a Renaissance painting. “I- ” she began, but the man tilted his head, lips curving in a way that sent every nerve in her body on high alert. “Interesting,” he murmured, his voice a low purr. “You have quite the resemblance to someone.” As he spoke she could feel it – some tether snapping into place, something irrevocable settling in the marrow of her bones. His gaze darkened, nostrils flaring as if drinking in her very essence. She didn’t understand the weight of the moment, but he did. “You should come with me,” he said, voice gentle, but there was no mistaking it for anything but a command. She took a step back. “Excuse me?” Before she could blink, another figure materialized beside the first, this one even more regal, draped in flowing black robes. His skin was translucent, his long fingers steepled in thought as he studied her. “Aro,” the first man murmured, as though she were an offering presented before a king. The second man, Aro, gazed at her in silence. Then as if compelled he reached for her hand. She jerked back on instinct, but something in the way his expression flickered made her pause. “You…” Aro whispered, his voice barely audible. His crimson eyes burned with something she couldn’t name. “I know you.” A cold dread settled in her stomach. “That’s impossible.” Aro’s lips curled into a knowing smile, and in that moment, she knew her fate had already been sealed. She had come to Volterra to touch history. She hadn’t expected history to touch back.

______________________________________________________________

In the hours that followed, she found herself swept away and led through a labyrinth of hidden corridors beneath Volterra. The walls dripped with age and the air was thick with something ancient, something beyond time. She should have been afraid, should have been struggling, screaming, demanding an explanation but instead, she walked in silence, her mind whirring. They finally arrived at a vast chamber where two more men were waiting. The silence in the chamber was suffocating. Aro stood before her, fingers still tingling from the momentary contact with her skin. His expression remained unreadable, though a storm brewed behind his red eyes. He turned slightly, exchanging a glance with Marcus and Caius, who observed the scene with varying degrees of interest. “My dear,” Aro’s voice was soft, almost reverent. “Do you have any idea who you are?” The question sent a shiver through her. “I’m just… me,” she answered hesitantly. “I came here for a vacation, to see the historical sites.” Aro let out a low chuckle, one that didn’t quite reach his eyes. “Ah, fate is truly a fascinating thing.” He stepped closer, tilting his head. “You are more than a tourist. You carry the blood of my family, the last thread to a past long buried.” She shook her head, heart hammering. “That’s not possible.” “Oh, but it is.” His voice was velvet and as he circled her his robes whispered against the marble floor. “Centuries ago, before I chose this life, before immortality, I had a family. A sister.” His eyes darkened. “She did not join me on this path. She remained human. And her bloodline, it seems, has endured the test of time.” The words hit her like a blow. Aro, this ancient, powerful being was claiming her as kin. “You are my descendant, my blood,” he murmured, eyes gleaming. “How extraordinary.” The weight of his words sank in, a dizzying sensation overtaking her. Her entire reality had shifted in an instant. She wasn’t just another tourist. She wasn’t just a visitor admiring Volterra’s beauty. She was tied to something far older, far darker than she had ever imagined. She swallowed hard, the lump in her throat making it difficult to breathe. This had to be a mistake. “I don’t-” She struggled to form the words, to make sense of the impossible. “I don’t understand. How can you be sure?” Aro’s lips curled into something resembling a smile, but there was something almost wistful in his expression. “My dear, I have seen many things in my years but there are certain truths one does not question.” He lifted a pale hand, as if tempted to touch her again but refrained. “When I took your hand, I saw pieces of the past, fragments of what once was. The resemblance alone is uncanny, but the blood… it does not lie.” Marcus, who had been watching in silence, shifted slightly in his throne. His expression was unreadable, yet his eyes bore into her with a depth that made her uneasy. “It has been a long time since Aro has spoken of his human ties,” his voice barely above a whisper. “This is… unexpected.” Caius, on the other hand, did not look as pleased. His lips curled in distaste, his crimson gaze sharp with suspicion. “Blood does not always make one family,” he murmured barely sparing her a glance. “What does it matter? She is human. Fragile.” Aro didn’t seem perturbed by his Caius' dismissiveness. Instead, he clasped his hands together, his eyes still locked onto her. “Oh, but this changes everything, dear Caius. She is the last of my mortal lineage. A thread connecting me to the past I had thought lost forever.” His voice filled with admiration, and it made her stomach twist. The sheer gravity of the situation was suffocating.

This morning, she had been an ordinary traveller exploring the streets of an ancient city, marvelling at its history. Now, she was standing in the heart of something far older, something secret and dangerous. “I- I don’t know what you want from me,” she admitted, voice unsteady. “I’m not… I’m not special.” Aro chuckled, shaking his head as if the very idea amused him. “Oh, but you are, dear one. You are proof that my past did not die with my humanity. You are a living remnant of a life I thought lost to the sands of time.” His gaze softened, something almost warm flickering in his ancient eyes. “And I would see you protected.” Protected. The word rang in her ears like a warning. Her fingers curled into fists at her sides. “Protected,” she echoed warily. “From what?” Aro exchanged a glance with Marcus before answering. “From the world, my dear. And from those who might seek to exploit what you are.” A chill ran down her spine. “And what exactly am I?” Aro stepped closer, his presence both commanding and unnerving. “You are my kin,” he said simply. “And that is not a thing I take lightly.” She searched his face for any sign of deception, for some hint of ulterior motive, but all she found was certainty. Whatever this was, whatever he saw in her, he truly believed it. And that terrified her. Alec and Felix, who had been standing in silent observation after entering the chamber, finally moved. Alec’s curious gaze lingered on her. Felix, on the other hand, exhaled sharply and smirked. “So, what now?” he asked, his deep voice breaking the tension. “Do we add ‘long-lost niece’ to the official Volterra records?” Caius scoffed. “This is a distraction.” Aro only smiled, clearly unfazed by his displeasure. “This is an opportunity,” he corrected smoothly. Then, turning his full attention back to her he gestured toward the grand chamber. “You must be exhausted, my dear. We have much to discuss, but you will need time to process all you have learned.” She hesitated. Was that an order or a suggestion? Her body screamed for rest, for a moment to breathe and process the sheer impossibility of what had happened. But the logical part of her mind, the part that still clung to reason, knew she wasn’t leaving. Not yet. Maybe not ever. With a deep breath, she nodded. “I… I think I need to sit down.” Aro’s smile widened, his crimson gaze gleaming with something unreadable. “Then allow me to extend my hospitality, dear one. You are, after all, family.” And as the doors to the chamber closed behind her, she knew with unsettling certainty that her life would never be the same again.

[ritinja-draws]

Plot twist

Agate was Amemoms subordinate and she respected her highly. And when she died, Agate didn't believe it was because of a traffic incident, so now she is siding with Spinel to get more information about Rakirium and her teacher/boss death.

I don't know guys, but it feels like Spinel is plotting evil planes for the sake of aristocraties, while Agate has somehow different goal in achieving the information. I want to learn more about her.

And, by the way, Amemom looks so pretty, perfect mother and wife, so to say, but I'm quite sure, that once baby Amethio was asleep, she was heading to missions, badass side of her awaking.

[de-gueules-au-lion-d-or]

« Il n’y a plus de conservateurs, parce qu’il n’y a plus rien à conserver. Religion, famille, aristocratie, toutes les anciennes incarnations du principe d’autorité, ce n’est que ruine et poudre. »

P. Drieu la Rochelle, Mesure de la France

[aurevoirmonty]

« Pour maintenir sa suprématie, Sparte devient un camp militaire placé sous la surveillance des éphores. « Les Spartiates, écrit Aristote, perfectionnèrent leur entraînement et leur discipline militaire dans un temps où les autres Grecs négligeaient l'une et l'autre et leur supériorité était celle d'hommes exercés sur des hommes qui ne l'étaient pas. » Les libres citoyens de Lacédémone ne connaîtront jamais de repos. Enchaînés à leur conquête, ils sont voués au prodige permanent ou à la disparition. Le prodige durera près de cinq siècles. Il repose sur l'institution d'une aristocratie militaire proche de la perfection, sur un danger constamment affronté, enfin sur l'acceptation délibérée, renouvelée génération après génération, d'une exceptionnelle destinée. »

Dominique Venner

[niuttuc]

any thoughts on Shilgengar, Sire of Famine?

I'm leaning heavily into Angels with some Aristocrats to go along with the sacrificing.

Alright a free sac outlet in the command zone is sure useful, let's see what we have in the colors, I'll mostly focus on some angels that are easy to miss but might help with the aristocrats plan to overlap the themes.

Seraph of the Scales has killer art and subpar mechanics, but an angel aristocraty deck is pretty much the perfect home for it. It's an ok angel, and three bodies in one for the aristocrats part of the strategy. Angel of invention brings the tokens on ETB, but is in a similar camp otherwise of providing three bodies on an angel.

Requiem angel is... Less than efficient. Six mana is a lot, but the fact you get Spirits even when (non-Spirit) tokens die makes it quite effective when you get down to aristocrats stuff. This is one that's probably better to reanimate than hardcast, sadly when Shilgengar reanimates with finality counters, those creatures will go straight to exile and not die to trigger the Requiem Angel when they next get sacrificed.

I'm a champion of this card in general as the third or fourth best ramp option in white, but it slots naturally here. Is it gonna live the dream often to remove a finality counter from something and that turning out relevant in the long run? Unlikely. But the dream is there, and the fail case is a two drop that ramps you a nonbasic or guarantees a land drop, and is a creature to sac later on. The deck probably could use a creature-based ramp package anyway, with Knight of the White Orchid, Sand Scout and similar to have stuff to do on the curve before the angels. This guy slots in nicely in that package with potential synergy with the deck.

For similar reason that I say the finality counter thing is an unlikely dream for this card, I would recommend AGAINST playing other single-counter removing cards. Hex Parasite, Power Conduit... They appear on the EDHREC page for Shilgengar but they're only good in the unlikely scenario that you do the thing, bring back your entire graveyard, then have several turns when you somehow don't win but don't get your board removed either to start removing finality counters, THEN get your board removed by a destroy effect, THEN can activate Shilgengar AGAIN to bring everything back. This is VERY unlikely and unlike Scholar (or something like Nesting Grounds that just chills in the manabase), these don't provide enough normal play value to justify their spot. Stuff like Eerie Interlude or Lae'zel's acrobatics will be much better at removing finality counters from your entire board if you want to do that while also doubling as protection spells against board wipes.

In somewhat parallel to Requiem Angel, its etb counterpart. Coming in with two bodies by itself, it'll keep making tokens to fuel the engine. Since it doesn't say "one or more", it'll also create as many tokens as you have creatures when you activate Shilgengar to bring back everything. Tokens ready to be sacced and without finality counters. And at base it's a better serra angel that might even draw a couple cards from the mercenaries buffing it.

This one might not be a great fit for the deck, but I'll mention it because I like playing with it. Reshaping a combat step as a surprise is a really good effect that can save your life, and Shilgengar's reanimation is at instant speed so it could also be a source of surprise blood for that. However, whether to play this is mostly reliant on if you can leave up five mana often in your angels deck that likely wants to slam down haymakers. If you have enough stuff you might want to hold at instant speed, either to threaten a Shilgengar activation or an utter end, Windshaper Planetar MAY have a home, otherwise it'll likely disappoint.

Some non-Angel graveyard-filling creatures. Stitcher's Supplier is likely the best of these to consider because it's a 1-drop, so it doesn't take a slot on the curve you could use an angel in, one of the most efficient cards to do the job. Barrowgoyf is a really really good card in general, and body launderer is often pretty slow but can do a good job.

If your deck is aristocrat-y enough, even with Shilgengar in the command zone, you might want some backup sac outlets in case he gets removed, because he'll be a prime target for anything and everything. You wouldn't need as many as most aristocrats decks, because much of the time you can use Shilgengar. But having a couple can't hurt! Of these, Lazotep Quarry can probably slot easily in the manabase but will be very slow at saccing stuff. Altar of Dementia allows you to fill the graveyard and dodges creature wipes. Woe Strider can come back from your graveyard by itself if it gets milled or destroyed. Carrion Feeder/Viscera Seer is gonna slot it nice and low on your mana curve. Warren Soultrader will give you the MOST out of every sacrifice, doubly so if you have some artifact stuff incidentally to take advantage of Shilgengar's blood tokens. The last three are creatures that will get brought back by Shilgengar too, which can be important to keep in mind. Ultimately, it's your call which, if any, of these to include. It will depend on the rest of the deck if you feel you need the backup, if the Aristocrats part of the deck is necessary for it to do things or just an aside.

[pechenlaf]

Okay so back in may I was writing a paper about St. Dmitry of Uglich and False Dmitry I* for my university and i was so passionate about it that i made Eastern Ortodox icon of these two (like the sketch a bit more than the result tho)

*Dmitry of Uglich was the youngest kid of russian tzar Ivan the Terrible, who died or was killed under still unclear circumstances in 1591, aged 8. False Dmitry was the young man aroun the same age as Dmitry who believed what he was miraculously saved Dmitry. Somehow this bisexual ginger man with main character syndrome managed to convince whole Tzardom of Moscow and even Dmitry's mother and became the tzar (he didn't like the title tzar tho, he proclamed himself an imperor lmao) and was mostly liked by his people untill he was killed in aristocraty riot in 1606. AND THAT'S WERE IT STARTED TO GET INTERESTING👀

Before the arising of False Dmitry, "true" Dmitry was basically nobody for general public in Moscowy — he was just another dead kid of a tzar, five of his older siblings also died as kids and nobody remembered or cared about them + firstly his death was proclaimed as "accidental suicide" and victums of suicide couldn't be buried properly there so he wasn't even buried alongside with his father and brothers, even place of his grave was almost forgotten by the 1606 but oh boy. EVERYTHING changed after the murder of False Dmitry. False Dmitry was immediately proclaimed as the traitor of Ortodox church, Antichrist, son of the Devil, and "new Judas" by new tzar while "true" Dmitry was urgently proclaimed as a saint, to oppose the "unholyness" of False Dmitry, and thats that i wanted to capture in this icon — False Dmitry with broken and darkened halo around his head holds the new and bright halo around the head of true Dmitry, because without him Dmitry wouldn't be remembered and proclaimed as saint. (...yeahhhh as you can see i love true and false Dmitrys with all of my heart, they're def my favourite historical figures, x) )

[k-looking-glass-house]

..... Trust me.... The fangirl inside me (burning for every concept based on Maleficent) is trying her best to stay calm.....

Hmmmm if her original design drops.... Be sure we're all doom.... I'll spam you with every piece of content about her !!

Yes, yes and yes.......

*in my original art style now you know why I do edit and don't draw in my art style, doesn't fit Twiwon design (but *_* fits for some tomboy evil fairy princess !!) *

Gaahh I already cried enough in arc. 6... I took a break for arc. 7....because....do you smell it !??

The angst..... Finally after all Yana's trolling.... We have angst..... Huuh....

Now let's be traumatised that Malleus singing humming lullaby (in arc.7) is "his only memory" of his mother....

Yes.... Be traumatised just as I am....

And definitely please..... Maleficia being one of the big 5 mages in Twisted Wonderland.... No waaaayyy she lets her grandson alone....

Took time... But they made it with Lilia and....

And.... If that crow..... Is.... The father.... Nooo way by the great 7, that Queen Maleficia would not bring back his feather *** to Briar Valley, or be wronged by him !! She IS POWERFUL !! She could detect Malleus's overbloat from her kingdom 😩 !

Anyway...

🌸Let's enjoy some soft headcanon:

▪️Mallenoa/noire having her egg would definitely bring it everywhere showing off everyone how perfect it is !! How shiny and beautiful the shell is... That's a mommy dragon for you.

▪️She definitely has swinging mood, from crybaby "Lilia huuuh you'll help me right ?" , to "shrrhhhrrrrggg *hissing* don't touch my baby, I'll kill you !" . Even her husband is not allowed to touch it, let alone Queen Maleficia.

▪️She hoped for the baby to be healthy no matter its gender, but secretly tried to guess it using her flammes and light/shadow movement. Making the maids of the castle scared about such behavior.

▪️She creates nest everywhere.... Dragon instinct I guess.

▪️Sings lullaby to her egg while Lilia is watching (making him also sings lullaby later)

▪️She asks her mother every hours how much time again for her baby to be born. She is very impatient.

▪️She carries her egg around while using her tail... (please be canon ah ah)

▪️She also tells her baby, that she'll teach them how to be evil and mischevious, and how definitely it feels great to bother everyone around.

▪️When she is feeling her baby moving inside, she creates thunder of joy. Making the country worried and causing chaos.

▪️She wanted a rattle made out of precious metal and gems (dragon hello !! "once upon a time" tv serie hello !!). But with the crisis situation, weapons and protection charms were crafting first.

▪️She was scared of being hurt during the hatching process baby/mommy, that one night she came acrossed a mermaid who also had a "baby egg" telling her it doesn't hurt as she would think ! Making her relax since they're different species with related biological system (Sea Coral are their neighboor let me dream that Briar Valley has some mermaids... ) mommies emotional support !!

▪️When her baby would have hatched, she talked with her mother about travelling around the world to speak about fairies, magic, and peace. No more wars or sacrifice even if she's ready to get rid of humans. (She was a good relative of the Queen's Queendom of Roses of that time)

▪️Her mother kept reminding her that while being a egg, she was turbulent and kept kicking her shell, or putting the castle on fire.

▪️She decided of a lot of babies names with her husband. (a looooooong list)

▪️She received lot of baby birth gifts from Briar Valley's aristocratie, but the best gift was a pillow,... perfect to hold the egg and later let the baby sleeps peacefully without being bothered by their horns.

▪️She is called "mistress of all evil" and decided that her baby would be called "the ruler of abyss" , making her laugh "oh oh oh" like the evil fairy she is.

▪️She also wanted a bapteme and blessing for her baby just like the Disney. Making Lilia a bit perplexed and mocking her. But revealing soon after that she wants Lilia's blessing for "her perfect so perfect baby" and taking the role of their nanny. (making Lilia even more disgusted while looking at her shadowy smiling face)

▪️She also wanted the Blue Fairy (Bleue) to be part of her baby blessing. The enchantress (beauty and best fairy yes !) would also have take part of the fest.

.... That's all....

Told you we're doomed.....

Mallenoa Draconia and her egg.... Yes

[joostjongepier]

Wat?   Fischer ziehen ein Netz ein (1657) door Reinier Nooms, Zwei Fischerkutter in stürmischer See (1831) door Louis Charles Verbroeckhoven, Vor Morgate (1840) door J.M.W. Turner, Raddampfer im Sturm (1863) door Louis Mennet, Gewitter über dem Meer (1847) door Anton Melbye, Küstenfischer (1848) door Andreas Achenbach, Ohne Titel (Studie) (1840) door Andreas Achenbach en Brigg und Lodsenboot (1842) door Jean Antoine Théodore Gudin

Waar?   Tentoonstelling Spiegel der Welt – Schlaglichter auf Seestücke aus drei Jahrhunderten in Internationales Maritimes Museum Hamburg, Hamburg

Wanneer?   7 maart 2024

Het Internationales Maritimes Museum Hamburg is groot. Het enorme gebouw telt maar liefst negen etages met werkelijk alles wat met scheepvaart te maken heeft. Van ontdekkingsreizen tot cruiseschepen, van uniformen tot scheepskanonnen, van een gigantisch schip in Lego tot een zeilboot gemaakt van colablikjes. De achtste etage is gewijd aan vier eeuwen schilderkunst over zee en scheepvaart.  Uit deze collectie is een overzichtelijke tentoonstelling samengesteld, die al direct op de eerste etage te zien is: Spiegel der Welt. De expositie is overzichtelijk ingedeeld en begint met het land dat in de zeventiende eeuw de scheepvaart domineerde: Nederland. Het land had meer schepen dan Frankrijk en Engeland bij elkaar. De winsten van de wereldhandel maakten van Amsterdam de rijkste en meest innovatieve stad van de wereld.

Reinier Nooms (ca. 1623-1664) schilderde een werk dat onmiskenbaar zeventiende-eeuws Nederlands is. Driekwart van het schilderij bestaat uit wolken. Daaronder vindt de actie plaats: vissers halen hun netten op. Terwijl de boot links nog in de schaduw van donkere wolken ligt, wordt het scheepje rechts verlicht door de zon die voorzichtig door het wolkendek prikt. Nooms was zijn loopbaan waarschijnlijk gestart als zeevarende. Hij signeerde zijn werk dan ook met met ‘R. Zeeman’. Waarschijnlijk was hij leerling bij de beroemde zeeschilder Willem van de Velde de Oudere. Het Amsterdamse Scheepvaartmuseum wijdde in 2022 een tentoonstelling aan deze schilder en zijn gelijknamige zoon.

Is het werk van Nooms opgebouwd uit slechts een paar kleurtonen, dat van de Belgische schilder Louis Charles Verbroeckhoven (1802-1889) is helder van kleur. Zowel de golven als de zeilen van de schepen lichten prachtig op. Niet alleen de schepen zijn prachtig uitgewerkt; dat geldt ook voor de wolkenlucht en de zee.  In dat opzicht mag Verbroeckhoven zich, hoewel hij zo’n tweehonderd jaar later leefde, plaatsen in de traditie van de zeventiende-eeuwse Nederlandse schilders van zeegezichten.

Vanaf de achttiende eeuw werd de suprematie op zee overgenomen door het Britse Rijk. Nederlanders, Spanjaarden en Fransen moesten in zeeslagen tegen de Engelsen het onderspit delven. Succesvolle buitenlandse schilders werden naar Groot-Brittannië gehaald. Als het om zeegezichten ging waren dat vooral Nederlanders (zoals de eerder genoemde vader en zoon Van de Velde). Hun invloed op latere Britse schilders van zeegezichten was dan ook groot.

Mijn oog valt op een klein werkje van J.M.W Turner (1775-18510. Geen schilderij, maar een werk in potlood en wit krijt. Turner stond bekend als ‘schilder van licht en atmosfeer’ en in dat opzicht is dit werkje een echte Turner. In enkele verstrengelde potloodstreken geeft de kunstenaar de contouren van een schip weer. Met wit krijt laat hij de zon op de branding schijnen en suggereert hij een kustlijn met een gebouw. In 2020 identificeerde historicus Ian Warrell welk voorval Turner hier had vastgelegd. In 1840 had men bij Margate twee schepen van de Oostindië Compagnie moedwillig laten vastlopen in het zand om te voorkomen dat ze hun lading in een storm zouden verliezen. De lading werd gered en de schepen gerepareerd. We zien hier óf de Claudine óf de Westminster.

Door de Franse revolutie veranderde er veel in de schilderkunst van dat land. Kunstenaars verloren met de aristocratie hun mecenassen en moesten zich aanpassen aan de markt. Ontwikkelingen volgden elkaar snel op. De Parijse Salon van 1824 vormde een waterscheiding in de wijze waarop critici naar kunst  keken. Het onderwerp van schilderijen werd ondergeschikt aan het experimentele gebruik van schildertechnieken.

Op het schilderij van Louis Mennet (1829-1875) zien we hoe een raderstoomboot zich een weg baant door de hoge golven. Het kleurenpallet dat de schilder heeft gebruikt voor water en lucht is klein. Deze tonaliteit wordt alleen doorbroken door het rood van het schip. De witte schuimkoppen zijn wollig geschilderd, wat de suggestie geeft van opspattend water. De mensen aan boord worden weergegeven met slechts een aantal willekeurig ogende verfstippen, maar op afstand werkt dit uitstekend.

Bij het bekijken van het schilderij van Mennet, ben ik als landrot blij niet aan boord te zijn. Het doek doet me terugdenken aan een boottocht die ik ooit maakte van Borneo naar het ‘paradijselijke’ eiland Pulau Tiga. Het stormde en de golven waren hoog. Het water was zo wild dat we bij aankomst niet konden aanleggen. Met de bagage boven ons hoofd moesten we naar de kust van het eiland waden. Op het eiland was van het ‘paradijselijke’ niet veel te zien was. Het hele strand lag, als gevolg van de storm, vol aangespoeld hout en andere rommel. De ervaring heeft me geleerd dat ik de zee liever op schilderijen zie dan daadwerkelijk overal om me heen.

In de jaren twintig van de negentiende eeuw ontstond in Denemarken een generatie schilders die sterk beïnvloed was door de Duitse Romantiek. De natuur en het alledaagse leven van vissers gingen het beeld bepalen. Daarbij werd de werkelijkheid vaak geïdealiseerd. Deze Deense ‘Gouden Eeuw’ (althans wat kunst betreft) bereikte tussen 1820 en 1850 zijn hoogtepunt.

Op Gewitter über dem Meer van Anton Melbye (1818-1875) zien we een zeilschip dat in de storm zijn mast is kwijtgeraakt. Het drijft onbestuurbaar op zee. De sfeer van dit werk, maar ook van de andere Deense schilderijen op deze tentoonstelling, is totaal anders dan de werken hiervoor. Er straalt frust van uit, zelfs als er een storm wordt weergegeven. De golven hebben geen witte koppen, maar zijn donker, soms haast zwart. Het schilderij lijkt op te roepen tot existentiële reflectie.

Mede doordat Duitsland niet over een eigen zeemacht beschikte, speelden zeegezichten tot laat in de negentiende eeuw nauwelijks een rol in de Duitse kunst  De vlootpolitiek van keizer Wilhelm II bracht daarin verandering. Zeestukken werden propagandamiddel met nadruk op het militaire aspect. Na beide wereldoorlogen verdwijnt deze militaire dimensie grotendeels, ten gunste van een, soms nogal nostalgische kijk op het verleden.

Andreas Archenbach (1815-1910) schilderde aanvankelijk dramatische zeescènes en scheepswrakken. Later ging hij zich meer toeleggen op het weergeven van het alledaagse leven van vissers en zeelui. Op Küstenfischer  verbeeldt Achenbach de terugkomst van een Nederlandse vissersvloot met zogenaamde ‘Buisen’. De boten zijn aan het aftuigen. Op de meest linkse boot is al een net in de mast gehangen om te drogen. Een groep mensen draagt de vangst in manden aan land.

De tentoonstelling besluit met een aantal tekeningen. Deze variëren van een tamelijk technische werkschets (Andreas Auerbach) tot een volwaardig kunstwerk (Théodore Gudin).

[croquissartoriaux]

Paradox of modern times: Jean-Jacques may have been dressed by the best tailors in the finest clothes and materials, nothing gave him such an aristocratic look as his frayed collars, ragged elbows and holey socks!

#croquissartoriaux #espritbourgeois #aristocratie #tweed #bespoke #cafe #elegance #dapper #menswear #menstyle #style #loafer #gilet #drakes #comic #cartoon #funnysketch

[francaistoutsimplement]

CACA NERVEUX...

(de M. Patrick Reymond)

Un médecin  a piqué un caca nerveux, "passeuh que", dans son rayon d'action, le RN a fait 38 % des voix, et que na ! il pisse par terre et s'y roule dedans.

Il faudrait lui apprendre que dans un état sensé être démocratique, c'est le peuple qui décide, et pas un quelconque juge, arbitre des élégances ou commissaire politique. Mais ce détail a du échapper à ce type, qui gagne plus que 99 % des villageois qui encerclent son cabinet, ceci expliquant cela.

D'une manière générale, le macroniste crétin, c'est le parasite, dans ce cas d'espèce, le médecin, fonctionnarisé par la sécurité sociale, qui se croie autorisé de braire et de donner son avis. De toute façon, toutes les cartes prouve que le vote macroniste est celui des parasites sécessionnistes du pays.

Moi, ce que j'ai constaté, c'est que les plus anti-immigration, sont les immigrés anciens, avec la cause suivante, ils sont directement en concurrence avec eux pour les logements, la formation professionnelle et les emplois. Chose, évidemment, totalement inconnu d'un médecin, qui, s'il a fait des études de médecine, n'a visiblement, aucune culture politique, sinon aucune culture, une intolérance monstrueuse, et une haine dévorante qu'il reporte et projette sur les autres.

Le parti de la haine, c'est l'extrême gauche, et le parti de la haine, c'est la bourgeoisie. Inutile de rajouter bourgeoisie macroniste, c'est synonyme. La bourgeoisie hait donc cette classe ouvrière en plus de la mépriser.

Bravo monsieur le médecin, vous avez fait dégouliner votre bave infecte et haineuse de tous ceux qui ne pensent pas comme vous. Avant de "prendre position" (j'ai dit braire et c'est mieux adapté), essayez de vivre avec 2000 euros par mois.

On en reparle. Cette petite bourgeoisie friande de haine sociale a toutes les caractéristiques de la noblesse de 1788. Elle a mérité le même sort, si elle n'est pas tuée par l'injection covidienne qu'elle n'a pas manqué de se faire faire en masse et à répétition. Ils sont plus méprisables encore que cette vieille aristocratie.

Petite anecdote. J'avais un ami qui avait épousé une femme avec nom à rallonge. Elle avait encore, dans sa bouche, le mot méprisant "gaulois", pour désigner les français, usage venu tout droit du 17° siècle. Elle avait eu quelques ancêtres, d'ailleurs, passés au rasoir.

(Source : http://lachute.over-blog.com/2024/06/caca-nerveux.html)

[let-the-living-beware]

Here is a little tangent about why Diabolik Lovers is a metaphor for how the lower class gets treated by the upper class. So welcome to my Ted talk.

First of I need to specify why and how. We, obviously, have Yui, a girl that didn't come from money joining a wealthy family to aid them in blood. We also can categorize the four families into the different types of wealth.

Sakamaki

They got born into wealth, as the children of an aristocratic family but not like the Tsukinami. After all the Vampires only got real power quite recently, and with that more territory and stuff. So they have wealth as the first generation.

Mukami

The Mukami got adopted into wealth, so they know the struggles of the lower class. However they forgot how it feels and discard the others problem while still being "jealous" of the people that got born into aristocrati aka the Sakamaki/Tsukinami.

Tsukinami

Finally my favourite Lil guys. Well one of them. They got born into a wealthy family, that had been rich for quite some time. After all the Tsukinami family had been the Royal family of the founders for quite some time. So they have long time wealth.

Kino

And Kino is self made wealth. He fought himself up the ladder.

And then there is our queen Yui, representing the lower class. She comes from a family that doesn't come from money and lives a quite simple life. If we can trust the phone she has in the anime because a flip phone wasn't the #1 thing everyone had during the 2010s.

What I think the main metaphor is how Yui gets send there. Like I said in the second paragraph Yui gets send to a rich family for blood. You can also exchange the blood for the term labour, she basically works for them if you wanna see it that way. And she gets treated horribly for it, just like lower class people get treated horribly by most rich people.

They don't care about opinions, safety and similar stuff.