#Diarmuid and Gráinne

[appointmentwithmryeats]

Diarmuid and Gráinne - The story (summarised)

Excerpted from The Translations of Seamus Heaney by Seamus Heaney and edited by Marco Sonzogni. Published by Farrar, Straus and Giroux. Copyright © 2022 by The Estate of Seamus Heaney. Introduction and editorial material copyright © 2022. All rights reserved.

[altblock-tm]

The Pursuit of Diarmuid and Gráinne is one of the funniest pieces of literature I’ve read because it somehow managed to translate the phenomenon where anime protagonists are easy to spot in a crowd into writing

[sadbhkellett]

Last summer, I had the absolute privilege of discussing the elixir of feminism, Irish mythology, and Rossettian aesthetics that make up Katharine Tynan's poetic retelling of Tóraíocht Dhiarmada agus Ghráinne at the Tate Britain. A highlight of 2023!

[labuenosairesfrancaise]

Woodlawn House

Hi guys!!

I'm sharing Woodlawn House. This is the 14th building for my English Collection.

It is in fact an Irish house, built before Ireland became independent.

I had to make some modifications and had no images to copy interiors.

History of the house: The history of Woodlawn goes back before recorded history, with the pre-medieval Diarmuid and Gráinne mound, currently undated.

Originally known as Mota or sometimes Moote, the village was renamed by Lord Ashtown, apparently for the simple reason that his post often ended up in Moate instead of Mota.  The countryside was flat, boggy in places but largely well-suited to farming and was used for tillage up until the 1930s when it was put to pasture.

Forestry is more recent addition to the landscape, with Coilte owning large tracts of the old Woodlawn estate.

Woodlawn House itself is a three storey palladian style country house of about 30,000sq.ft. originally built around 1760 by Frederick Trench, the first Baron Ashtown.  It was extensively remodelled in 1860 by his son the second Baron Ashtown to plans drawn up by James F. Kempster, the local County Surveyor.  It was also the second Baron Ashtown who was responsible for the building of the railway station and ensuring that the railway line passed through the estate as it was being constructed.

The house was finally sold by the fourth Lord Ashtown to Frederick Le Poer Trench in 1947.  The current owner is engaged in planning a complete restoration of the house and estate. 

For more info: https://www.woodlawn-estate.com/

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Distribution

This house fits a 50x50 lot (I think if you lose the woods and entrance it can fit a 50x40 too)

I furnished just the principal rooms, so you get an idea. The rest is unfurnished so you create the interiors to your taste!

Hope you like it.

You will need the usual CC I use:

all Felixandre cc

all The Jim,

SYB

Anachrosims

Regal Sims

King Falcon railing

The Golden Sanctuary

Cliffou

Dndr recolors

Harrie cc

Tuds

Lili's palace cc

Please enjoy, comment if you like it and share pictures with me if you use my creations!

Early access: 07/18/2024

Download: https://www.patreon.com/posts/106463811

[darerendevil]

🔊

Breandán Ó Murchú said that while the media was obsessed with the success being enjoyed by his son Cillian at present, and while that was fine, there was more to it than that.

“There are so many things happening in the world, that we should be sensible about these things and that’s what he’s saying himself as well,” said Breandán.

“We’re very pleased with him and very happy that he’s getting on so well.”

When the news came through, Cillian was at home with his parents. “We were all here, there are four of us and each is as important to us as the other, we were all together and we had a cup of tea and the story came and we were delighted.”

Cillian’s father admitted to not being fond of the fuss or ‘puililiú’ that comes with his son’s fame but recalled his son’s early interest in drama during the interview.

“He was always lively, a lovely little fellow, full of chat, and he always liked to have an adventure going on in his imagination constantly – he was full of spirit and life and imagination.

“He loved being in the company of other children and I’d say he made up a lot of stories and they did a lot of wild things from time to time – he was very mature as a young person and, I’d say, when he was at school he annoyed a teacher or two as he found it difficult to sit still while in national school, you know the way with young lads.”

His early interest was in music and the rhythm of music, his father noticed. “It’s interesting that, as he grew older, he showed an interest in the old ‘Fiannaíocht’ stories about Diarmuid and Gráinne, that surprised me.

"Anything that was exaggerated or larger than life, he enjoyed that, and I suppose there’s a link between that and drama, I don’t know.”

His father recalled that Cillian didn’t seem to be very interested in his studies during the year but when he set his mind to it, he did very well in exams and so on. “He didn’t want to spend all his time studying and when he went to Presentation College, they were very good, there were one or two in particular who noticed his interest in literature and that he had an aptitude for writing.

"When they had a band, they gave Cillian and his friends an opportunity to go on stage, and there were a few people who helped him on, including the author Billy Wall.

“Cillian was lucky to meet him, he was also very interested in history.

“I don’t think he showed an interest in acting until he met Pat Kiernan and the gang in Corca Dorcha. “He told me then that he saw Clockwork Orange on stage and this had an enormous impact on him. “He said somewhere that we didn’t bring him to the theatre when he was young but he forgot that he had three younger siblings and that made it more difficult to go to plays.

“If I was starting again with him, I’d bring him to more plays because it’s clear that he had a deep interest.”

Meeting Pat Kiernan and Enda Walsh gave Cillian the confidence he needed to immerse himself in theatre, his father said. “He got the taste for it and followed his heart, he knew then this is what he wanted to do.

“He didn’t want to do it for publicity or anything, he just wanted to do it right, I must give him that.”

Mr Ó Murchú said that Cillian wanted to do things right and that was something that pleased his father. “That’s something you wouldn’t expect from young people – you know yourself about boys, he’d lose school bags and other things like all young lads but when he put his mind to it, you’d know he wanted to do it right and that helped him enormously.”

When Cillian made his breakthrough with the stage production of Disco Pigs, he was still a Law student in UCC and his parents were getting conflicting advice from different sources saying that he should pursue his career in theatre as he was so obviously talented, while others were saying that he would be foolish to abandon his studies for the stage.

They saw him on stage in his first production, Frank McGuinness’ Observe the Sons of Ulster. “He was very good in that, I thought, though I didn’t think he was better than others in the play or anything like it but we knew he was very serious and then Disco Pigs was a revelation for us because it was on a different level entirely.

“Pat and Enda, it was clear that they were on a different level as they were so creative, himself and Eileen Walsh, the professionalism of that work amazed us and there was no stop to him after that and he met with very nice people who helped him on the road and they helped him.

“We’re very pleased entirely for him, I don’t like to say we’re proud of him because it’s his achievement, not ours,” he said.

“We brought him into the world and we did our best but we don’t see at all that we had a hand in the work that he’s doing at present but we’re not going to lose our wits and neither is he.

“We don’t like to make too much fuss about him, he’s got a job like the sons and daughters of other people and the difference, he gets a lot of publicity. “All the same we’re so happy for him and pleased.”

He said that he and his wife were in an empty cinema when they went to a 5pm screening to see him on the big screen and were very impressed. Mr Murphy is looking forward to seeing Cillian’s newest film, Small Things Like These, which is based on a Clare Keegan book and said that his son learned a lot on the Ken Loach film, The Wind That Shakes the Barley.

“I remember he came home one evening after filming and he was very worried about something that happened during that day’s filming, as if it were something that really happened, and that’s down to how immersed in the work he was and the methods of Ken Loach, that work came from the heart for that movie, I felt.” He said that film allowed people, including Cillian’s mother’s people and his own family who were involved, to talk about that period.

At home, Cillian will talk about anything before he will talk about the movies and while his parents ask him questions from time to time, and he answers them, they don’t want to fuss too much.

As for going to the Oscars, Breandán and his wife don’t intend to travel. “If he’s nominated for a BAFTA, we will go there as it’s closer to home and when he comes home from the Oscars, we will make him a cake.”

[ariadne-mouse]

More googling names from this Candela ep, results from Wikipedia:

The story of Gráinne and Diarmuid is one of a number of instances in Irish mythology of a love triangle between a young man, a young woman and an aging suitor, ...

"Gráinne’s character is always drawn with consistency in the myths. She is a shallow person, wilful, ruthless and passionate, and what in modern terms would be described as a neurotic."

If the mythological source is the inspiration, then it seems she is indeed a bit of a bitch

[oidheadh-con-culainn]

Hello I was just knee deep in your explanations about various aspects of Cú Chulainn and came across this "kissing in medieval irish lit is actually pretty rare? at some point i really want to do more research into any other scenarios in which there is kissing of any kind" in an ask. Could this relevance/ significance of kissing also be applied to the Diarmuid/Grainne tale? I know it's mentioned that Diarmuid kisses Grainne 3 times in front of the Fianna/Fionn. So that's basically not only significant but also kinda uncommon? Is it used to show some form of claim?

so i actually didn't get around to doing further research on this but i know @finnlongman is looking at it right now as a sidetrack to their PhD on friendship and affection. it's early days but they are probably the one to ask!

one thing i've noticed is that certain phrases to do with kissing come up a lot more in late texts though and diarmait+gráinne is pretty late so that might be part of it

[etymology-of-the-emblem]

Failnaught / フェイルノート

Failnaught (JP: フェイルノート; rōmaji: feirunōto) is the Hero's Relic tied to the Crest of Riegan. The name is more modern than you might expect: it was a creation of Hilaire Belloc's 1913 translation of The Romance of Tristan and Iseult, as retold by Joseph Bédier in 1900. In this Arthurian legend, the young knight Tristan defeated Morholt, an Irish warrior sent to King Mark of Cornwall to collect tribute. However, the duel left a poisonous barb in Tristan that was slowly killing him, so he was set in a boat to die at sea. Coincidentally, his craft shored on the beaches of Ireland, and he was saved by the princess Iseult who did not know who he was. He would return to Ireland when his king sought a wife, and would slay a chimerical dragon for the hand of Iseult. Though the princess was able to quickly identify Tristan has the killer of her uncle Morholt, she swiftly forgave him. Before they disembarked to bring King Mark his bride, Iseult's mother gifted her daughter a love potion to be drank by the husband and wife; this would quickly be mistaken as wine by one of the princess's servants, and would be shared with Tristan. Soon, they would elope, and King Mark and the soldiers of Cornwall began their hunt. It is for this premise that Tristan and Iseult is considered the English version of The Pursuit of Diarmuid and Gráinne.

It would be in the wood of Morois that Tristan made his bow Failnaught (or Fail-Not in some translations). In the original French, this name was "l'arc qui ne faut"—the bow that does not fail. As the name suggests, arrows launched from Failnaught always hit their target. In older tales that focus on Tristans' time as a Knight of the Round Table, "l'arc qui ne faut" was not the name of a bow, but referred to a trap to capture man or beast and fill them with arrows. Rather befitting the Master Tactician and his ploys, yeah? And whether or not its intentional, the lord less involved in the primary drama of Three Houses' story uses a Hero's Relic not related to a deity, but to a knight that gets involved in foreign affairs.

Despite his actions, King Mark maintained his respect for his nephew and the woman who should be his queen like he would a father to his children. However, both he and the lovers suffered nightmares of a bleak future; eventually they would peacefully convene and agree to let Iseult marry Mark and Tristan would be exiled. He would take a Brittany princess named Iseult for a wife. Some time later, Tristan would once more be poisoned and needs Iseult of Ireland to heal him. In a blatant reference to the Greek story of Theseus, the Brittany-bound ship was to fly white sails if she was on the ship, and black sails if she did not. When Iseult of Brittany lied to her husband that she sees black sails, Tristan died on the spot. The Queen of Cornwall arrived to find her lover dead, and she herself dies.

Failnaught's combat art, Fallen Star, is hard to connect to the story of Tristan. The Japanese name 落星 (rōmaji: rakusei) isn't too much better but there are a few possible interpretations. Like the localized name, it can be interpreted as "Falling Star". This could refer to the downfall of this pair of star-crossed lovers; though the phrase was coined by Shakespeare for Romeo and Juliet, the relationship between Tristan and Iseult is often considered the progenitor of the trope. Their story predates even similar forbidden romances in the Matter of Britain, those likely being modeled after Tristan and Iseult.

However, the kanji 落 is very flexible in meaning. It is most commonly used in the word 落ちる (rōmaji: ochiru), which typically means "to fall; to come down", but also has around twenty other definitions. Most stand-out is "to fall into (a trap); to fall for (a trick)" relating to the original "l'arc qui ne faut". Other definitions relevant to the story of Tristan and Isolde include "to fall (in love, asleep, etc.)" "to leave (a city, castle, etc.) [some Japanese dictionaries specify as moving to rural areas]; to (be defeated and) flee", and "to decline (of morals, character, etc.)". Additionally, the kanji 星 (rōmaji: hoshi) can refer not only to stars, but the bullseye of a target, but considering the bow fires arrows of light, its likely meant to refer to the former.

This was a segment from a larger document reviewing the name of most every weapon and item in Three Houses and Three Hopes. Click Here to read it in full.

[finnlongman]

Hello, I'm the anon that asked about the Diarmuid and Grainne tale before and you gave such a great answer that I felt like it was safe to maybe send you an ask again? I've read more into the Ulster and Fenian tales and also came across the comparison between Diarmuid/ Grainne and Tristan/Isolde (a lot actually). Does that hold any evidence? Did the Tristan take evolve from Diarmuids story? I was thinking about maybe it up on JSTOR but you're definitely the less intimidating option. Have a great day

So, with the huge caveat that I am not a specialist in fíanaigecht material and also not an expert on Tristan material, this question did come at the only time when I might be able to answer it, because I literally read an article today about this topic. Having said that, I am still extremely not an expert!

First of all, I will say that this has definitely been a topic of discussion in academic scholarship on these texts. What the current consensus is on whether one text is drawing on the other, I can be less confident asserting, because I haven't read a lot of the scholarship on this topic. Although I'm not working on this topic directly, I'm currently looking substantially at the relationship between Arthurian romances and Early Modern* Irish texts (a category to which Diarmait & Gráinne belongs, although I'm working on the Ulster Cycle, so it's not in my corpus), so it's probably something I'll find myself coming back to. It's a very muddy area though -- although Arthurian scholars are often very ready to attribute details to the "Celtic" origins of a story and therefore imply that any similarities mean an Irish or Welsh text is the original blueprint, in this case, the surviving texts are late enough that you get a lot of influence coming back in from French and English sources via the Anglo-Normans and Ireland's general literary contact with the outside world.

When looking for articles on this kind of topic, JSTOR may be able to help, but I tend to find it's a bit limited for Irish material because so many articles and chapters in our field haven't been digitised. Which is a huge disadvantage. However, there are a few ways around this, at least in terms of identifying material (not so much getting access to it). I ran a search for tristan on BILL, the Bibliography of Irish Language & Literature, to see what had been published on the topic recently (but not super recently because BILL tends to be a few years behind with recent publications).

From there, I found Marie-Luise Theuerkauf's 2017 article in The Matter of Britain in Medieval Ireland: reassessments (Irish Texts Society Subsidiary Series 29, ed. John Carey): 'Tristan and early modern Irish romances: James Carney’s Ur-Tristan revisited.' This is a useful place to start. At least, it's where I started while reading today!

In this article, she discusses James Carney's controversial attempts (in the 1950s) to reconstruct an insular "ur-text" of the Tristan story that would have served as the source for later texts. In this study, Carney identifies a number of Irish texts that share motifs with Tristan stories, among them Tóruigheacht Dhiarmada agus Ghráinne. TDG probably dates to the thirteenth or fourteenth centuries, although the earliest manuscript of the text is from the seventeenth century. However, Carney believed that the original story underlying it dated to around 900, and therefore he can count it among his early, pre-Tristan texts.

It's true that there were definitely earlier versions of the story, since the (descriptive) title of one is found in tale lists: "The Elopement of Gráinne with Diarmaid". The text itself is lost, though, so we only have the title. Theuerkauf notes that "this proves that the love triangle story of Diarmaid, Gráinne and Fionn was known at a date anterior to the earliest Continental Tristan texts, we cannot automatically assume that the Aithed Gráinne story in exactly the same way as the Tóruigheacht does." In other words, a lot of the very specific motifs and similarities that the two texts share might be later, so which direction the influence is in becomes very muddy -- does Tristan get it from Diarmaid, or the other way around? Or do they both draw on a shared source? Or are they coincidental/more general folklore motifs from a common stock?

Theuerkauf cautions: "While it may be tempting to focus on the similarities which exist between the Tóruigheacht and Tristan, this focus has tended to lead to an over-simplification of the nature of the source material" and comments that although they're "very much alike in theme, they are often very different in execution or intent". She finishes by concluding that Carney is wrong about most things, if not everything, and introduces for consideration another 15th-century Irish text with close correspondences to the Tristan stories.

Another scholar who has worked on the relationship between the Tristan stories and the Irish material is Raymond J. Cormier. His article "Open Contrast: Tristan and Diarmaid" in Speculum 51/4 is available on JSTOR. I haven't read this one myself yet, but it looks based on Theuerkauf's citations that he tends to be quite critical of the connections between the two; among his criticisms is the fact that the late date of the surviving Irish texts means influences can enter directly from the French material, so shared motifs don't necessarily mean shared sources or Irish origins for those details.

He's also written about connections between Tristan narratives and the Naoise/Deirdre story, so looking at the love triangle motif in another Irish text. I haven't read this article yet, but it's here, if it's of interest (not sure if paywalled or not, sorry, I'm on institutional WiFi right now so it's bypassing all of that!)

Another article that looks valuable on this topic is Joseph Falaky Nagy, "Tristanic, Fenian, and lovers’ leaps" in Diasa díograise: aistí i gcuimhne ar Mháirtín Ó Briain (2009). Unfortunately, I can tell you nothing about this article because this book is not available to me. I have actually just requested that my library buy it because a couple of the other articles in there are relevant to me, but that means I can't advise on its contents yet!

Nagy has another article on the topic, 'The Celtic "Love Triangle" Revisited', in An XIV Comhdháil Idirnáisiúnta sa Léann Ceilteach, Maigh Nuad 2011: Imeachtaí (Dublin, 2015). Again, I have not read this one (although it looks like my library does actually have it), but it's also cited in Theuerkauf's article and sounds like it could be helpful.

I don't know if this answered your question at all, as I feel like the general vibe of what I just gave you was "ehh well they're definitely similar but the question is Why they're similar and that's more complicated" (ain't that always the way). But hopefully it might give you some sources to follow up on. I'm sorry I can't provide direct links to more of these -- the lack of open access and digitised scholarship in this field is a challenge.

*A point of terminology just to clarify in case anyone was confused: 13th-14th century may not sound "Early Modern" if you're used to thinking in purely historical terms, but linguistically, when it comes to Irish material this label tends to start from about 1300 (and obviously, being found in 17th century manuscripts positions this tale more solidly in the early modern period anyway).

[maeve-an-bhanchainti]

the Candlelit Tales episode about Éachdach, daughter of Diarmuid O'Duibhne and Gráinne, is my favorite thing on spotify like nothing in the world makes me feel so many intense emotions at once the way this does

the original story in Duanaire Fionn (The Book of the Lays of Fionn) is also amazing but doesn't have background music

[margridarnauds]

STUDY HARDER.

(Anyway, Tochmarc Ailbe. FINN AND GRÁINNE. TETHNA AND LOM LAINE. THE POEMS OF GEARÓID IARLA. Multiple folkloric variants.)

If people want to call Gráinne as a character manipulative for it, fine, but you can't claim that AND claim a deep respect and/or knowledge for the older material.

[altblock-tm]

I think the thing that really intrigues me about Saber Lancelot is the fact that he so closely associates himself with the fall of Britain that he ignores whatever else he could be

(More ramblings/spoilers for Fate/Zero under the cut)

And I say that because Berserker Lancelot is the fallen knight of the Round Table. It’s clear that he’s associated with the fall of Britain, considering that he’s the shadow from King Arthur’s shining legend and all.

However, Saber Lancelot quite curiously associates himself with the fall too. Despite being a younger version of Lancelot, summoned in his prime as the strongest Round Table knight, he doesn’t feel he deserves the title or respect. Saber Lancelot himself says that it’s he who leads to the downfall of Britain, despite not being a Berserker.

But, as far as I know, no other Heroic Spirit does this.

The best example I can think of right now is Fionn mac Cumhaill. Fionn is summoned in his prime, a long time before the events of the Pursuit of Diarmuid and Gráinne. Because of this, Fionn does not associate himself with the pursuit. (His Interlude admits that.)

(I’m sure there are other and better examples but I can’t think of them rn)

So why is Saber Lancelot different? If he’s supposed to be the peak of the Round Table, why is he so closely linked to its fall?

[mostspecialgirl]

beast tower.

[next]

oc rambling under the cut

I ATE THIS SHIT UP !!!!!!!!

ahem. Sorry. I meant. I think i did a good service to iris’s team. or, i guess, Novekhrys’s team, but WE KNOW WHO’S PULLING THE WEIGHT AROUND HERE !!!!!

okay. There’s actually a bit i want to say about cementing these designs.

Gráinne was an easy design to nail. i’ve wanted her to be loosely sparkledog scene adjacent from the get. and that’s what i did. i dunno if i’m satisfied with her color scheme but she canonically dyes her hair something completely different every so often like ramona flowers so it’s cool to just. Have this for now. i’ve been dying to use that pinterest hairstyle i saw a few weeks back and i finally got a nice opportunity to use it. also i gave her a name. she’s gráinne now. because i used to want to call her diarmuid. any fenian cycle fans in the chat

IRIS!!!! she’s the same as last time i drew her properly BUT like Oh My GOD she looks pretty here i was blown away by my own ability. iris is like. one of my first relicverse oc’s to be made in mind with the fact that the Relicverse Is A Thing so she’s always sort of been a benchmark character for me even moreso than demi or any of the sinai have been. i’m glad to have fully assembled a picture of her leg of ninestrike today seeing as i’ve been teetering back and forth on who exactly should lead it, and who’s fitting for her to serve under. novekhrys should have been the obvious choice from the start and i have no idea how i never saw it

like, are you seeing this???

and MY GOD. this is one of those times SETTING 1000 LOOSE THREADS pays the FUCK off because i needed one more admin and OBVIOUSLY it ONLY MAKES SENSE for it to be Kumbhakarna, seeing as Ravana has long been serving under Novekhrys (shoutouts to ravana i dont draw him enough but hes genuinely one of my favorites to write) and the two of them have always gone through cyclical incarnation hell together. i can’t break up the band. AND. Because of course, Ravana’s contract with Novekhrys making him into the Nameless Asura… That means Kumbhakarna must also have entered a similar deal. but i can’t call them both the nameless asura! sure, i can call him the nameless rakshasa instead BUT !!! BUT !!! I HAVE BEEN IN NEED OF CHARACTERS WHO HAVE INHERITED THE ROMAN GOD TITLES POST-DEVILS MANNER !!! and so, of course, he is MORS!!!!! why is that? of course, because of kumbhakarna’s curse… and because of the Somnus Title… what does that mean for Somnus…? Only time shall tell !!!!! Kuahahahahaha !!!!!!

lastly. of course. novekhrys ainzbury. demiurge’s son-in-law. husband of astaphe and father of lucille. I’M EVER SO GLAD TO BE ABLE TO START LOOPING HIM BACK INTO RELEVANT LORE!!!!!!!!!

I FUCKING LOVE THIS MAN!!!!! I’VE EVEN REINSTATED HIS STATUS AS A DRAGON!!!!!! FUCK IT!!!!!!! GIVE HIM THE WORLD!!!!!!!!

previously, in novekhrys’s lore, he existed at a time where magic was a very contentious existence for me in relicverse lore. and if i’m really coming down to it, he was technically the first proper magic user. it completely slipped my mind until literally like a few weeks ago that i realized he’s a tower master within the mage society. i often find myself forgetting astaphe exists, much like everyone seems to forget about the much less powerful children of the demiurge. But voila. my problem was solved. who better for iris to work under?and obviously, who better to be the much needed FREAK of the unraveling division than the FREAK tower master of the beast tower, the very man who fucked demiurge’s only daughter and had a child with her.

letting the pieces slide together was the most satisfying shit in the world. This is why i write. I live for these moments where all my loose threads come together. Good lord. Good fucking lord. And good god man does him being the beast tower master ever serve as such a great rational support to ravana’s existence. I KNOW my ass was not thinking about that at all back then. But like. Fuck yeah dude.

i tried to base his design off of demonic sect leaders in those cultivation novels combined with his draconic origins and it all worked together nicely. he looks better than ever! or maybehe just has long hair. I love long haired men. And horns. He’s lost a little of his signature “pathetic disheveled shell of a man” but i’ll be sure to draw plenty of that when he ISNT posted up for a beauty shot with his admins.

ALSO. holy HELL has his relationship with hana slotted in PERFECTLY. she’s always received funding from an unnamed tower master, and of fucking COURSE having it be novekhyrs the disciple hunter would only make sense. she’s a rare deviant species. his FAVORITE. and it’s never really made too much sense why hana would ever take any particular interest in expanding her leg of ninestrike and joining the union BUT IT ONLY MAKES SENSE IF IT WAS NOVEKHRYS WHO DRAGGED HER INTO IT. bringing in the Small Rewrite that the beast tower was built upon the remains of Hermes’s NinthSpire, and with enough bullshit backstory on the fly lore drawing inspiration between the old lore links between him and Father and BOOM!!!! he’s got his own ninestrike invitation with absolutely zero conflicting changes to established lore!!!! Oh my god and this is why hana takes the name of ninestrike as her own after novekhrys tells her about the history of the science tower

AND i get to write him again. It’s like christmas morning for me. This is nonsense to you all but this is PURE genius at work. This is why you leave everything 85% done because the remaining 15% will come to save your ass in the future. God Bless the Mage Society !!! Long live the Phenomena White Tower !!!

okayi. Have to sleep now. Seriousky. Im insnae

I have to do eight more drawings in this style cor eaxh division now

[artblock-tm]

So! Most of my followers would not have known this (since I didn’t talk about it on this account), but I’ve been reading the Irish poem The Pursuit of Diarmuid and Gráinne. I just finished it recently, and wanted to share some personal highlights:

-Fionn exhibits SERIOUS maidenless behavior

-I’m still floored that Gráinne put the taboo on Diarmuid right in front of the rest of the Fianna. And the Fianna had to go “sorry bro better do what she says….yeah we’ll miss you good luck bro.”

-It’s so funny that Oísin and Oscar are both seriously against Fionn’s bullshit but are dragged into it anyways

-Fionn somehow keeps finding the STUPIDEST MOTHERFUCKERS to go try and kill Diarmuid. Diarmuid killed 150 people in the span of 3 days by going, “Hey, wanna see a cool trick?” and doing some stunt and each day 50 men died trying to replicate that stunt.

-The. The berry plotline.

-The whole poem emphasized that Diarmuid would never so much as look at Gráinne the wrong way. And then at one point she just randomly drops the bombshell that she’s heavily pregnant. With Diarmuid’s kid. They fucked and there was no mention of it.

-The fact that a group of knights, in attempting to clear their beef with Fionn, gave Fionn some berries and be like “we picked these :) too bad we didn’t see that Diarmuid guy though” and Fionn’s response was “I call BULLSHIT. I can smell Diarmuid’s skin on those berries.” (It’s likely that they, too, have fucked in the past.)

-The fact that Diarmuid was fucking with the chess game between Fionn and Oísin??? Just so Fionn would lose??? And then kissing Gráinne after he was caught??? It’s so petty I love it.

-Skipping to the part where all is forgiven. Apparently the whole thing takes place over 16 years. Which makes a bit more sense with the pregnancy thing but I still feel like there was some character development we skipped over.

-It’s sooo much fun to read about your Irish mythology blorbo after being brutally gored and disemboweled by a boar suffering and about to die while Fionn insults him </3

-Thank goodness Oísin was there to talk shit at his dad for not giving Diarmuid the water! But Diarmuid still died :(

-Gráinne hoping she can mourn her lover but Angus goes “Nope. I’m taking his body off to fairyland so I can bring him back to life every day so we can chat.” And he did. And she had no say in it.

-The ending, unfortunately, was really anticlimactic. Gráinne hyped up all her children and sent them on quests so they could train to avenge their father, but Fionn manages to sweet talk Gráinne into living happily ever after with him. When her kids came to get revenge, Gráinne was like “nah we’re cool now” and the kids went, “oh okay” and it just ended there. The end.

[streetsofsligo]

the pursuit of Diarmuid and Gráinne, an ancient myth

[goblinbugthing]

the fate series have a gratuitous amount of interpretation with Celtic Servants (which is kinda understandable. Must be hard to get those poems translated into Japanese) but I’d definitely say that Fionn and Diarmuid being gay bitches together has some historical roots

for example. Here’s an excerpt from a translation of the poem The Pursuit of Diarmuid and Gráinne. I highlighted the part where Fionn says that he immediately recognizes the smell of Diarmuid’s skin

Which is 1) not a straight person thing to say and 2) Diarmuid picked those berries and held them for like 10 seconds. HOW can Fionn smell his skin on them UNLESS they shared a warrior’s bond. wink wink

also Fionn directly calls Diarmuid hot

yeah. that’s my propaganda

my god, these bitches gay! good for them!