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inthedayswhenlandswerefew · 2 years ago

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Now I’m Covered In You [Chapter 3: Blood Moon]

Series summary: Aemond is a prince of England. You are married to his brother. The Wars of the Roses are about to begin, and you have failed to fulfill your one crucial responsibility: to give the Greens a line of legitimate heirs. Will you survive the demands of your family back in Navarre, the schemes of the Duke of Hightower, the scandals of your dissolute husband, the growing animosity of Daemon Targaryen…and your own realization of a forbidden love?

Series title is a lyric from: Ivy by Taylor Swift.

Series warnings: Language, sexual content (18+), dubious consent, miscarriage, pregnancy, childbirth, violence, warfare, murder, alcoholism, sexism, infidelity, illness, death, only vaguely historically accurate, lots of horses!

Word count: 6.2k.

Link to chapter list (and all my writing): HERE.

Taglist: @borikenlove @myspotofcraziness @ipostwhatifeel @teenagecriminalmastermind @quartzs-posts @tclegane @poohxlove @narwhal-swimmingintheocean @chainsawsangel @itsabby15 @serrhaewin @padfooteyes @arcielee @travelingmypassion @what-is-originality @burningcoffeetimetravel @blackdreamspeaks @anditsmywholeheart @aemcndtargaryen @jvpit3rs @sarcastic-halfling-princess @flowerpotmage @ladylannisterxo @thelittleswanao3 @elsolario @tinykryptonitewerewolf @girlwith-thepearlearring @minttea07 @trifoliumviridi @deltamoon666 @mariahossain

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“I wish you could join us,” Nico says, almost sulks, snow catching in her hair. She’s riding a gorgeous white mare that the Duke of Hightower purchased for her. He’s in no hurry to gift you a horse. King Viserys—epochs ago, on your wedding day, on the blood-orange July afternoon when you looked into Aegon’s glassy, shadow-ringed eyes and knew exactly what sorts of demons you’d be sharing your life with—once promised you an Andalucian for each child you gave your husband. He hasn’t mentioned it since. It’s slipped his mind, most likely; that’s what happens to the king’s notions that concern the Greens. They stumble around in his skull for a while, find a window, jump from the ledge and free-fall into oblivion.

You smile up at Nico with your feet planted firmly on the ground like fertile roots and a hand resting on your belly. Five months along, over halfway there, farther than you’ve ever been before. The season is winter, but you feel like spring. You feel like blossoms unfurling, like ivy scaling walls of frozen stone. “Next year, with any luck.”

“But what if I’m with child by then?”

“Then you’ll get to return the favor and gallantly wave me off as I gallop into the distance, a vision of Boudicca herself.”

“Didn’t that story end with mass murder and suicide?”

“Nico, not everything needs to be said out loud.”

She laughs, raucous and jarring. Horses’ ears go back; crows take flight from stripped trees. It’s Christmas, and that means it’s also boar hunting season. The feast tonight will require a boar’s head to be served—a tradition that dates back to ancient Norse pagans, to faiths of earth and thunder and sea—and the court has assembled to procure one, the men armed with spears, the women riding along to cheer them on, hounds braying and circling agitatedly, servants sprinting around with jugs of wine. “Alas,” Nico says. “I cannot help it. I am Italian.”

Then she reels her mare around and trots off to join the hunting party. Once not so long ago, you had no true friends here. Now you have at least one. Two, if you count Aemond…although you can’t decide if Aemond is a friend. Sometimes he feels like less, other times much more. He grows close and then is far away again, a tide that’s always a few hours from receding. You watch Nico depart with hardly any heartache. Your relative incapacitation will be finished soon enough, your position vindicated. The clock is ticking.

Daeron compliments you as he canters by on Tessarion, heavy hooves leaving impact craters in the snow: “Princess, that’s a lovely gown.” Lavender, purple, the color of royalty, a declaration of your own worth. That’s not something you can rely upon others giving you. You’re between worlds at the moment: neither fully Navarran nor English, not an outsider nor a future queen.

“Thank you, brother. Good luck!”

Daemon reins up beside you, peering down with glittering dark eyes. When anyone ventures too close to Caraxes—whether horse or human—he snaps at them like a wolf. Surely there is no beast better suited to its master. “I think you’d look better covered in red. Isn’t that the color of your people, Navarre?”

“Prince Daemon,” you purr, one hand still on your belly, your victory in progress. “Enjoy the hunt. I know you get restless when you haven’t murdered anything in a while.”

He should quip back, but he doesn’t. He just grins, his gaze locked on yours; and his grin stretches wider until it sends a bolt down your spine like cold lightning. You have the sudden, dreadful impression that there’s a joke you aren’t in on. “You have no idea.”

Caraxes squeals and jerks back his head as Vhagar shoves between you, massive withers and haunches making space where none existed before. Caraxes nips Vhagar’s shoulder, drawing blood; Vhagar snorts in reply, a low rumble like a storm. Caraxes retreats, ears flattened, but Daemon pitches you one last crooked smirk as he leaves, a threat, an oath.

“Perhaps we should serve Daemon’s head at dinner,” Aemond says.

“He certainly looks like a pig to me.”

“You aren’t too disappointed, I hope. To have to stay behind.”

You smile, petting Vhagar’s silky muzzle. She has a white blaze down the front of her face, white stockings like patches of snow on rich spring soil. “It’s temporary.” What was Aemond like on my wedding day? You try to remember. All you can conjure is a vision of him staring at the floor as you linked your trembling hands with Aegon’s and the priest spoke, as if the match was so ill-fated he could not bear to witness it. It took you a year to learn that he didn’t disapprove of you after all. Something else weighed on him that day, something else dragged down his eyes like an anchor moors a ship.

Aegon passes you both on Sunfyre. “I’ll bring you back something, wife!” he vows, swaying drunkenly in the saddle, his chaotic silver hair shagging in his eyes. Fortunately, Sunfyre seems aware of his rider’s limitations; his steps are lithe and cautious, almost timid. His coat is a river of gold beneath grey skies. When Aegon urges the horse to go faster, Sunfyre ignores him.

You turn back to Aemond and raise an eyebrow. “Make sure he doesn’t break his neck?”

“As always.” And then Aemond is gone too.

The king will not join the hunt. He is getting too old for it—although no one would say that aloud—and Queen Alicent, ever-sacrificial, is staying behind in the palace with him, overseeing preparations for the feast. The other royals vanish into the forest: Daeron and Nico, Aemond and Aegon, Daemon and Baela and Rhaena, Jace and Luke, trailed by the rest of the cast of characters, Blacks and Greens alike. Joanna Montford was replaced by Agnes Stafford, who was replaced by Sibylla Beaufort, who was replaced by Cecily Chaucer. There is no shortage of young women whose fathers are rabid to push them into the bed of the man they call the heir to the throne. A servant brings you a cup of apple cider, and you sip it as snowflakes melt into the fur of your coat.

“It’s not personal,” Rhaenyra says. You whirl to see her and Syrax; they have appeared like ghosts, both pale and ethereal, both fearsome without being malevolent. “Prince Daemon’s taunts, I mean. Any of our antagonism. Distrust that swells into hated.” Her hair is long, loose, strands of ivory in the wind. Her eyes—clear water, cool and stoic—flick down to your belly and then back up to your face. She’s a lot like Aemond, you think, seeing the extent of their resemblance for the first time.

“It feels very personal.”

“I could have liked you in a different life,” Rhaenyra counters, like parrying swords. “You have just enough ruthlessness in you. A river, but not a sea. You thirst for freedom. You wear chains called obligation. But when my father named me heir, he painted a target on my back. Even if I renounced my claim, there would always be men willing to take up arms for me. I would always be a threat to Alicent and her children. Just by breathing, just by having blood hot in my veins. Either I will be queen…or I will forever be at the mercy of the Greens. Would you trust your life to the Duke of Hightower, if you were standing between Aegon and the throne?”

“No,” you admit. You can barely bring yourself to trust the Duke now…and you’re on his side.

“And so we are destined to be mortal enemies.” Rhaenyra shrugs; no great loss, she means. “I only wanted you to know that it would have been just the same if you had been sent to England from Portugal, or Sicily, or Castile, or Bohemia, or Genoa, or Naples, or France, or anywhere else for that matter. It’s not about who you are. It’s about what you’ve married into.”

And then she takes off on Syrax, joining her uncle-husband and her eldest sons in the forest, dissolving into a gnarl of branches like tangled threads. You retreat back inside Westminster Palace to do what you do best: watching, wondering, waiting for the future to decide to arrive.

~~~~~~~~~~

When the hunting party returns hours later, Prince Aegon is empty-handed. He’s also soaked to the skin. Water drips from his face, begins to freeze in his hair. He shivers and gripes as servants throw blankets over his shoulders and usher him away towards his bedchamber to be warmed in a bath cloudy with herbs and steam and rose petals. Cecily Chaucer hurries after them, her lovely brows knitted together with girlish concern. Of all Aegon’s mistresses, you like Cecily the best. She’s insatiable; she keeps him so busy that he rarely totters into your bed to paw at you before being reminded that you have been temporarily exempted from your marital duties.

“He fell into a stream,” Nico informs you, in equal parts disapproving and amused. “Aemond and Daeron fished him out like a trout.”

Your eyes scan the group: shaking snow from their hats and their coats, congratulating each other on obstacles jumped and animals killed, Prince Daemon accepting applause from his fellow Blacks for being the attendee to slaughter the requisite boar. A good omen for their side, surely. Servants carry the gigantic, bloodied carcass off to be prepared by the cooks. But one face is missing from the crowd. “Where’s Aemond?”

“Oh,” Nico recalls as she yanks off her gloves by the fingers. “He has something for you.”

“For me?”

“In the courtyard,” she says. Daeron approaches to collect her, taking her hand and kissing the back of it, his large blue eyes bright and adoring. He’s gentler than his brothers, more content, less complicated. And he’s proud of being a Targaryen. He’s growing out his white-blond hair; it’s already longer than Aegon’s. “I think you’ll find it…” Nico grins mischievously. “Perfectly bearable.”

You trudge out to the courtyard through the mounting snow, cold wind tearing at your hair and clawing pieces of it out from under your hat. Aemond is the only other person there…and he’s elbow-deep in a colossal black-furred monster. There is a pile of entrails on the snow beside him glistening like rubies, garnets, rosalines, wine. Servants ferry away bowls full of offal: a lung here, a rope of intestines there.

“What is that?”

Aemond stands and waves at it cavalierly, drops of blood flinging from his leather gloves. “A bear.”

“What am I supposed to do with a bear?”

“It’ll make a fine rug for your bedchamber. You can place it by the fireplace and lie on it on cold nights. Read your books, do your embroidery.”

“It was bold of you to assume you’d be able to find me a Christmas present on Christmas day. Not much room for error.”

“This isn’t your Christmas present.”

“Then what’s the occasion?”

“Congratulations.” He glances at your belly, rounded out like ripening fruit with his brother’s child. A stain of blood like fever rushes into his cheeks. He blushes very rarely, and only ever around you. No one else seems to know that he’s capable of it. “For being over halfway there. It must bring you great relief.”

“Yes, I suppose the Duke of Hightower won’t get to ship me back to Navarre now. In a crate, like an animal that couldn’t be tamed.”

“What a waste that would be.”

You shrug, stepping closer, though mindful not to squash any bear organs beneath your shoes. “I wouldn’t mind being sent home if there was anything for me to go back to.”

Aemond stares at you, alarmed. “You haven’t grown attached to anything here? In nearly a year and a half?”

“Well…there are a few things,” you say, smiling at him. Aemond smiles back. His long silvery hair is secured in a single thick braid, his gaze curious. You try not to imagine what is under his eyepatch; that strikes you as something he wouldn’t want you to think about.

“Vhagar,” Aemond teases.

You laugh. “Yes, mostly Vhagar.” You look up at the grey sky, thick with clouds like steel. “But I miss my family. I miss the heat, the mountains, castles and cathedrals the color of golden sand. I miss riding horses and sparring with my brothers. I miss being understood, being loved. In Navarre I was alive. But in England…ever since I arrived here…it’s like I’m locked up waiting for someone to let me out. But the prison is my own flesh.”

Aemond studies you. “It’s not for much longer,” he says at last, soft and solemn. “And I would change it if I could.”

“In any case, I really can’t go back, I think. It wouldn’t be like it was before. My siblings are marrying and spreading out across Europe. My parents are getting older. And if my husband discarded me for being incapable of producing children, no one else would ever want me. I’d never have my own household. I’d be doomed to be a spinster, forever dependent upon the charity of my parents or my siblings. Either that or in a nunnery. Although, truthfully, Navarre has some beautiful nunneries.”

“You’d make a terrible nun.”

“Because I’m too vicious or too lustful?”

“Vicious, without a doubt. Lustful…I don’t feel qualified to speak on.”

“Depends on who’s in front of me, I suppose.”

You contemplate each other across the gutted bear carcass, snowflakes filling up the space between you instead of words. Again, Aemond’s cheeks flood red. When he wrings his hands together, you notice that they’re shaking. His hair is sopping; beads of melted snow pool along the edge of his jaw, slither down his throat. He could catch his death out here.

You go to him, pull off a glove, and press your bare palm against his forehead and then his cheek: the scarred one, the ruined one. “You’re burning up, Aemond,” you say, worried. “Are you alright—?”

“Fine.” He shies away from your touch. But then, without thinking, he moves to tuck an escaped lock of hair back underneath your hat. As his thumb grazes your face, you feel the warm stripe of bear blood that he inadvertently marks you with. “Goddamn, I’m so sorry—”

“No, that’s perfect.” You smile up at him. “You know I secretly favor red.”

“Princess?” Nico calls from the doorway, and you cross the courtyard to meet her. “You’re still out here? You’re missing a riveting game of Tric-Trac—” She cuts off, her eyes going wide as they skate across your cheeks. “Sweet Jesus, how’d you get blood all over your face?”

You glimpse back at Aemond as you answer. “Carelessness.”

~~~~~~~~~~

You’re weaving ribbons the color of evergreens into Nico’s hair when he comes into your bedchamber, carrying a long thin box made of pink ivory wood.

“Oh, marvelous!” Nico trills, clapping her hands. “What’s inside?”

“Poems, I hope,” you say.

“I hate to disappoint you,” Aemond replies placidly. Half of his hair is pulled back from his face, the rest flowing freely. He’s wearing a dark, rich, jade-like color, just like Nico is, just like the Duke of Hightower and Alicent and Daeron will be. Someone has probably even stuffed Aegon into something green. You are the lone nonconformist in a deep purple like the skin of a plum. In truth, you can’t win. People will gossip no matter what you wear. Red makes them think of what Daemon calls you, of the wasted blood you’ve spilled. Green makes them speak of how you’ve yet to serve their faction properly. Black is out of the question. At least when they see you in purple, your name gets to live in the same sentence as the word royalty.

“Well?” Nico prompts eagerly. “Open it!”

You look at her, apologetic. So does Aemond.

“Oh,” she realizes, then sighs theatrically. “Alright. I understand. I’ll deport myself now. Ciao.”

Only when she’s closed the door behind her does Aemond open the box. The lining inside is crimson velvet. It cradles a sword. You gasp and lift the weapon out of the box by its hilt, then pull off the scabbard. It is lightweight, silvery, perfect. You can see your own reflection in the polished steel. There are shallow engravings down the length of the blade: mountain ranges, twisted oak trees, bridges and cathedrals, the flag of Navarre. You can only see them when you tilt the sword to catch the rage-orange glow from the fireplace.

“I had it custom made for you,” Aemond says, abruptly nervous. “So it wouldn’t be too heavy or too long. The hilt should fit your grasp precisely. I took one of your gloves for measurements.”

“A thief.” You marvel at the sword, twirling it a few times. The blade cuts through the air, soundless, seamless. “Aemond, this is…this is so far beyond what I deserve. Thank you, thank you, thank you.”

“It’s part pleasure, part necessity. You might actually need to protect yourself one day.”

“It’s a shame I’ll only be able to bully you with it under the surreptitious cover of darkness.”

“Just until Aegon is king. He wouldn’t care, I don’t think. He wouldn’t forbid you from training.” He gestures to the blade. “And the engravings are—”

“All things from home.” You beam at him. “From Navarre.”

“That’s what the common people call you, you know. The Princess from Navarre.”

You glide the sword back into its scabbard and return it to the box. “They must hate me. For failing to secure the succession.”

“I wouldn’t assume that.”

You take the pink ivory wood box from Aemond’s hands and place it in the chest at the foot of your bed, your preferred spot for squirreling away valuables. And then you lift out Aemond’s present: a vast tapestry that he helps you unfold to reveal the design of.

“It’s incredible!” he exclaims. “It must have taken you ages!”

“Well, all I’m allowed to do currently is needlework, so I’ve done a lot of needlework. I made one for Aegon too, although I’m not sure what his hobbies are besides drinking and fucking Cecily Chaucer. So his tapestry is mostly landscapes.” You point to various scenes on Aemond’s. “There’s King Arthur and Guinevere…and Sir Lancelot, arriving to ruin them. There’s Beowulf battling Grendel’s mother. There’s Robin Hood…there’s the Rollright Stones and Stonehenge…and in the middle is Saint George slaying a dragon. I made the dragon black, with little white whiskers if you look very closely. And I’ve named him Daemon.”

“They’re from the stories I told you,” Aemond says quietly, examining the tapestry. “On that afternoon back in July. When we took Vhagar out together for the first time.”

“It must have been memorable.” You smile. “And then the border is ivy and roses, mostly green, of course…except for one little red rose I added down here in the bottom corner. And that’s—”

“That’s you,” Aemond says. “Red like Navarre.”

“Yes.” Your voice is suddenly wistful, a little sad. “You’ve made me like the sound of that word again.”

“What? Navarre?”

You nod. “Hushed, gentle…” Reverent? Awed? Protected? Cherished? “Like a prayer. Like a poem.”

You help Aemond refold the tapestry, avoiding his eye. The only sounds are the crackling of the fireplace and the muffled echo of violins and lutes through the palace halls. Outside the window hovers a blood moon, a ruby in onyx, a drop of fury in an ocean of void. He takes his Christmas gift back to his own bedchamber, and then he returns to escort you to the feast.

“Oh, darling,” Alicent says when you sit down beside her at the high table. There are sprigs of holly in her hair, but her dark eyes are glazed and melancholy. They often are. Sir Criston Cole—a knight whose family are vassals of the Duke of Hightower—is her shadow, peering watchfully around the Great Hall. “Be sure to eat plenty of boar…and bread…very good for the baby. But no fish! And not too many vegetables. Here, let me get you some of your apple cider…” Alicent waves to a servant, and they promptly fetch you a full cup.

King Viserys gives you a distracted nod but no other acknowledgement. He is deep in conversation with Jace; Luke is gawping, mildly disturbed, at the severed boar’s head that adorns the table, cherries shoved into the sockets where its eyes were this morning. Rhaena offers you a kind, demure smile. Baela glares at you as she sips her wine. She’s the most war-worthy of any of the Black children; you imagine that Daemon will have a sword and armor waiting for her when the bloodbath begins. Surely she’d inflict more damage than either of Rhaenyra’s docile, dark-haired sons, like skittish lapdogs always looking around for someone to tell them where it’s alright to sit. Baela’s Arabian, Moondancer, is small but remarkably swift and agile. She’s the best jumper of any of the royal horses.

Far from the table, in the midst of dancing nobles, Daemon and Rhaenyra are enmeshed in whispers and caresses: he tilts up her chin, she grasps the small of his back. You feel a yearning, a hollowness beneath where your ribs circle your heart and lungs like a halo. Without thinking, you glance to Aemond. He’s been looking at you too; he pretends he wasn’t and begins sawing through a slab of boar meat with a serrated knife. Daeron is asking him about sparring techniques. The Duke of Hightower is parading Aegon around the hall to pay his respects to the nobility of Southern England, men who will kill and be killed for him one day before too long. Aegon is bleary-eyed and bungling, tripping over his own feet; the Duke is practically dragging him around from his scruff like a kitten.

“Sweetheart, will you dance with me?” Queen Alicent asks Nico, who immediately leaps up from her chair.

“Of course, Your Majesty! It would be my pleasure. It’s a shame that the king cannot join us. It must be difficult having a husband so much older than you are. Nearly your father’s age!”

Everyone at the table stops what they’re doing and gapes at her.

“Oh,” Nico begins haltingly, mortified. “Oh dear. I should not have said that. I cannot express the depths of my remorse.”

King Viserys booms out a laugh, and then Nico is smiling again. “Go on,” he tells her. “Enjoy the festivities. Keep the queen entertained when I cannot.”

As Nico and Queen Alicent descend to join the dance, you remain where you are, where you always are: on the outskirts, inside the glass bowl. But not for much longer, you think gratefully, running your palm over the swell of your belly. You eat as much as you can, but you don’t have much of an appetite. Your hips and ankles ache, your body forever adjusting to a never-before-known burden; there is torsion like a sailor’s knot in your lower spine. When the discomfort refuses to abate, you excuse yourself from the table and make slow, meandering laps around the fringes of the Great Hall, draining cup after cup of apple cider as servants bring them to you. The Duke of Hightower casts you a stern warning of a frown before he resumes wrangling Aegon. Aemond, still at the high table talking to Daeron, follows you with one intent blue eye.

“You can’t honestly believe he’d make a good king,” Daemon says, materializing out of the crowd like a bat at twilight. Enormous Scottish deerhounds—Christmas gifts from King Corlys and Queen Rhaenys beyond England’s northern border—trail after him, growling at you. Daemon flicks his strange, deep-set eyes towards Aegon. “He’s a drunk. He’s an embarrassment. He has no athletic prowess whatsoever. I’m sure you can confirm that from firsthand experience.”

“I can confirm that he hasn’t murdered his first wife yet, surely an attribute by anyone’s calculation.” You watch the Duke tow Aegon from one exchange to another, and for the first time, you wonder what sort of man Aegon would have been without the weight of the throne on his back.

“But of course, it wouldn’t actually be Aegon ruling if the Greens won. It would be Otto…and Alicent…and Aemond.”

Daemon puts great emphasis on this last name. You turn to him, startled.

“Oh, forgive me, have I said something that gets under your skin? Or…rather…into it?”

“I have no idea what you’re talking about.”

Daemon grins, baring his teeth like fangs. “Of course you don’t,” he says. “Tell me, would you happen to know who Otto is planning on marrying him to? I’ve heard rumblings.”

“Someone with parents who have ample soldiers and equipment with which to mutilate you, surely.”

“Helene of Austria.”

“Helene?” The breath evaporates from your lungs, vanishes like brief winter daylight. “The daughter of the Holy Roman Emperor?” It’s an immensely powerful match. It’s a match so ambitious it has rarely even been suggested. You summon triumph to your voice, an arrogant glint to your eyes. “This is very bad news for you.”

“And for you too, I think.”

He knows, you think, terror-stricken, aware you aren’t doing enough to hide it. That I desire my husband’s brother. That I want Aemond. That maybe I even love him. You try to fling some flippant retort at Daemon; you cannot find one, it’s like scratching your fingertips along the bottom of an empty box. Victorious, he swigs his wine and begins to saunter away, panting Scottish deerhounds on his heels. And then you call after him: “It didn’t get you far, did it?”

Daemon halts mid-step and slowly—very slowly—turns back to you. “What?”

“All that Targaryen blood. All that bone-white hair and ferocity, charisma and swordsmanship. King Viserys still chose to reject you as his heir. He still doesn’t trust you to advise him. He still denied you his daughter’s hand in marriage, and you were spineless enough to let him. You left her alone to suffer first. With a husband who couldn’t satisfy her, with a lover who could only give her bastards. And now you expect the world to forget who you’ve always been: reckless, savage, deeply selfish. All those things you stalk around here so proud of are worthless, because you’ll never have what you really want. You’ll never have the throne. And neither will Rhaenyra. You are the same as I am, Daemon. I am an asset and yet a curse to Aegon; you helped win the North for Rhaenyra, but the South will never yield to you. They will fight you with everything they have, every man and horse and blade. But there is one difference between us. When I bear Aegon a son, my curse will be lifted. You will never stop endangering Rhaenyra, her cause, her inheritance, her children, her life. And if she burns, it will be at least half because of you.”

You’ve never seen him truly angry before, you realize now; you’ve never seen him without the undeniable upper hand. His grip rests on the hilt of his sword. “I should—”

“Go on,” you dare him in a fierce whisper, your fingers closing around his wrist. “Slay Aegon’s wife and child in front of all the court. It’s the kindest thing you could do for the Greens. Make yourself more enemies, win us more friends. Everyone suspects that you are a beast already. Prove them right.”

Daemon rips his hand out of yours. “Happy Christmas, Navarre,” he hisses. “If fate is just, it will be your last.” And then he storms away from you, Rhaenyra meeting him at the other end of the hall and speaking with him there—conspiring? inquiring? scolding?—in urgent whispers.

Nico pushes through the throngs of dancing nobles to reach you. “Are you alright?” she asks, a palm laid on your shoulder.

“Fine.” Helene, you think, rubbing the aching curve of your back with one hand, sipping apple cider with the other. They’re both trembling. Beautiful, wealthy, coveted Helene.

“Are you sure? You don’t look good. What did that bleached weasel have to say…?”

But you can’t hear her, because the pain in your spine is now reaching like poison through veins to spread across your belly, to tighten, to clamp down, to gnash with steel teeth like needles, like knives. Your cup tumbles out of your gasp, spilling apple cider across the floor. You yelp in pure shock at how unexpectedly the pain comes. And then you begin to understand what it means. “No,” you plead in a whisper. You stagger backwards until you hit the wall. “No, no, no…”

“What?” Nico asks frantically. People are beginning to notice; heads spin in your direction. Tears are springing from your eyes. Blood is snaking down your legs, slick and hot on the velveteen inside of your thighs. Soon they’ll all be able to see it: your agony, your ruin. The Greens, the Blacks. The Duke of Hightower, Prince Daemon.

Nico doesn’t understand. You don’t know how to tell her. I’ve killed another child. I’ve failed again. You can feel Aegon crawling back into your bed. You can see letters from your mother—so proud at last, so full of praise—shredding themselves into dust. And then it flashes like cannon fire in your mind, not just the loss of an heir but the loss of a life: a name that will never be given, a voice that will never be heard, steps that will never leave imprints in sand or soil or snow.

I have to get out of here. How am I going to—?

An arm circles around your waist, strong, shielding, taking as much of your weight as it can. “Walk with me,” Aemond says. And then he half-carries you through the nearest door and down a passageway, Nico struggling to keep up, chatter exploding at the feast you left behind.

As soon as you cross the threshold into your bedchamber, as soon as you are out of sight of ill-intentioned observers, you collapse to the floor. Your palms and knees bruise against wood; a wail tears from your throat. “Not again,” you sob. “Aemond, I can’t do this again, I can’t—”

Nico says: “Are you sure it’s a…?”

Aemond is kneeling on the floor beside you. He’s helping you pull back the hem of your gown. You see it on his face before you see it on your own skin: there’s blood, a lot of blood, too much for it to be anything but lethal to the child. It’s all over his hands and his clothes; it’s all over the floorboards.

“Oh God,” Nico moans, covering her mouth with both hands. “Oh…oh my God…”

“Get the physicians,” Aemond tells her. “Speak to no one else. Go now. Go!”

Nico rushes out of the room. You can’t stop sobbing. The pain is excruciating, not waves but one continuous, saw-toothed twisting, a feeling like being gutted, like you’re a slaughtered bear and someone has their fingers raking around inside your womb.

Aemond is trying to pull you to your feet. “Come on, I’ll help you get into bed—”

“Aemond, I can’t.”

“Yes you can—”

“I can’t!” you cry out, weeping helplessly. Then he stops trying to lift you and instead sinks down to join you on the floor. You clutch wildly at him—at his forearms and his shoulders and his long silvery hair—and he doesn’t flinch away. He draws you into him, his hands staining you with blood everywhere they land. You don’t care; you don’t want him to stop. You bury yourself in the warmth of his chest, his arms around you like the border of the moon, like a ring.

“Shh,” he soothes through your hair. “Shh, shh. I’m here. I’m sorry. I’m so sorry.”

“Please don’t leave me. Please stay.”

“I’ll stay,” Aemond says, his voice hoarse. “Of course I’ll stay.”

~~~~~~~~~~

Scenes like fragments of a dream, things that later you aren’t sure were real:

The physicians and midwives delivering your dead child, Aemond tilting a cup of strong wine against your lips. Your ladies washing blood off you with dripping rags as Aemond stands with the physicians in the doorway. They think you’re asleep, but you’re not; you’re not awake either. You’re halfway here and halfway not. Parts of the room are foggy, others are as clear as glass, as still water. A physician is telling Aemond that the child was a boy, perfect in every way except the one that matters most. He doesn’t breathe and never will. Too early, too small, beautiful and doomed.

“Don’t tell her that,” Aemond is saying. “Don’t tell her anything unless she asks.”

Now it’s later—two minutes, two hours, it doesn’t matter—and he’s dragging someone into your bedchamber. They’re fighting him, they’re trying to cling to the doorframe so he can’t force them inside.

“Get in there,” Aemond growls.

Aegon replies: “I don’t know what to say to her, what the hell do I say—?”

Your husband is at your bedside, undoubtedly miserable but not in a way that makes you feel like he sees you. There is the scent of wine and sweat drenched with perfume, lemon and lavender. “I’m sorry,” you murmur like a faint wind.

“It was not your fault, wife.” Aegon’s eyes are bloodshot, his shoulders hanging low and limp. “It is a great tragedy, but it was not your fault.” And then he glances at Aemond to make sure he’s done the right thing.

Now your husband is gone, and Aemond is holding a cool cloth to your forehead. He speaks in little more than a whisper. “Tell me what you’re thinking.”

“Just send me back to Navarre,” you say weakly. “I can’t do this. Talk to the Duke. He’ll get the marriage annulled. I know he will. He can find another wife for Aegon, another alliance. He’ll be glad to be rid of me.”

“You aren’t going anywhere.”

“I’m ruined. I’m worthless. Just send me home.”

“You are home,” Aemond insists.

You watch the firelight as it flickers over him, smooth skin, brutal scar. “What happens next?”

“You’ll try again.”

“There’s no point, Aemond.”

“Look at me,” he commands, cradling your face with his hands. “You’ll try again. And again, if you have to. But you will have children. I know you will.”

His voice is breaking. His eye is glistening, tortured. This is how the father should be. This is how Aegon should be. “Aemond, why are you so hurt by this?”

“Because you are suffering,” he says. “And because they’re pieces of you.”

You lose sight of him, float for a while, return again thinking of Aegon and the Duke of Hightower and Daemon and Rhaenyra. “No one here really knows me. No one loves me.”

Aemond is standing beside your bed. “Nico loves you.”

You gaze listlessly up at him and say nothing.

“Aegon loves you, I believe,” Aemond continues, but he won’t meet your eyes. “In his own way.”

Still, you look at him. Still, Aemond doesn’t look back.

Say it, you think, desperate, aching, tears biting in your eyes. Say that you love me too. Even if it’s just as a sister, an ally, a friend. Please, Aemond, just fucking say it.

He doesn’t say it. Maybe he leaves, maybe you are submerged in unconsciousness, maybe both. The memory dissolves around the edges until it is a pool of star-flecked obsidian like the night sky.

But this next part you know with certainty was real, because it is something you can touch, like a millennium-old relic from Egypt or Athens or Babylon. You wake in the morning to find three items on your nightstand: a cup of apple cider, a cup of strong bitter wine for the pain, and a single piece of parchment folded and tied with a red ribbon. You blink confoundedly at it for a while as muted winter sunlight seeps in through the windows, not being able to make sense of it. And then you open the parchment. Aemond has written at the top of the page in his hectic, uneven letters: Ivy. You read his words and all the anguish that went into them—smudges from his own fingerprints, wayward drips of black ink—like falling down the rungs of a ladder.

Scream into me, I’ll be the jar for your fury; I’m starving

for anything that tastes like you. I’ve been counting the lines

on your knuckles, the boards of the floor, wondering if you’ve

figured out that I’d wear fractures and bruises like amethysts

if it means you’d touch me. For seventeen months you’ve been

the ivy on my walls, vines like the needle-width legs of a spider

carving out my past, every last notch and shadow—splitting ribs,

scraping marrow—until there’s no part of me left that can remember

a time other than this, your voice and your wit and the scraps of you

I’ve stitched into me. Ask me what I burn for and I’ll whisper like

the dawn: you growing over my skin until I’m covered, tendrils

twisting down to the bone, everything I was before

ash and myth beneath your hands.

#aemond x you #aemond x y/n #aemond targaryen #aemond one eye #aemond targaryen x reader #aemond targaryen x you

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thebrickinbrick · 10 months ago

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History of Corinthe from its Foundation, part 1

THE Parisians who nowadays on entering on the Rue Rambuteau at the end near the Halles, notice on their right, opposite the Rue Mondétour, a basket-maker's shop having for its sign a basket in the form of Napoleon the Great with this inscription:

NAPOLEON IS MADE

WHOLLY OF WILLOW,

have no suspicion of the terrible scenes which this very spot witnessed hardly thirty years ago.

It was there that lay the Rue de la Chanvrerie, which ancient deeds spell Chanverrerie, and the celebrated public-house called Corinthe.

The reader will remember all that has been said about the barricade effected at this point, and eclipsed, by the way, by the barricade Saint-Merry. It was on this famous barricade of the Rue de la Chanvrerie, now fallen into profound obscurity, that we are about to shed a little light.

May we be permitted to recur, for the sake of clearness in the recital, to the simple means which we have already employed in the case of Waterloo. Persons who wish to picture to themselves in a tolerably exact manner the constitution of the houses which stood at that epoch near the Pointe Saint-Eustache, at the northeast angle of the Halles of Paris, where to-day lies the embouchure of the Rue Rambuteau, have only to imagine an N touching the Rue Saint-Denis with its summit and the Halles with its base, and whose two vertical bars should form the Rue de la Grande-Truanderie, and the Rue de la Chanvrerie, and whose transverse bar should be formed by the Rue de la Petite-Truanderie. The old Rue Mondétour cut the three strokes of the N at the most crooked angles. So that the labyrinthine confusion of these four streets sufficed to form, on a space three fathoms square, between the Halles and the Rue Saint-Denis on the one hand, and between the Rue du Cygne and the Rue des Prêcheurs on the other, seven islands of houses, oddly cut up, of varying sizes, placed crosswise and hap-hazard, and barely separated, like the blocks of stone in a dock, by narrow crannies.

We say narrow crannies, and we can give no more just idea of those dark, contracted, many-angled alleys, lined with eight-story buildings.

These buildings were so decrepit that, in the Rue de la Chanvrerie and the Rue de la Petite-Truanderie, the fronts were shored up with beams running from one house to another.

The street was narrow and the gutter broad, the pedestrian there walked on a pavement that was always wet, skirting little stalls resembling cellars, big posts encircled with iron hoops, excessive heaps of refuse, and gates armed with enormous, century-old gratings. The Rue Rambuteau has devastated all that.

[...] The passer-by who got entangled from the Rue Saint-Denis in the Rue de la Chanvrerie beheld it gradually close in before him as though he had entered an elongated funnel.

At the end of this street, which was very short, he found further passage barred in the direction of the Halles by a tall row of houses, and he would have thought himself in a blind alley, had he not perceived on the right and left two dark cuts through which he could make his escape. This was the Rue Mondétour, which on one side ran into the Rue de Prêcheurs, and on the other into the Rue du Cygne and the Petite-Truanderie. At the bottom of this sort of cul-de-sac, at the angle of the cutting on the right, there was to be seen a house which was not so tall as the rest, and which formed a sort of cape in the street. It is in this house, of two stories only, that an illustrious wine-shop had been merrily installed three hundred years before.

In the time of Mathurin Regnier, this cabaret was called the Pot-aux-Roses, and as the rebus was then in fashion, it had for its sign-board, a post (poteau) painted rose-color. In the last century, the worthy Natoire, one of the fantastic masters nowadays despised by the stiff school, having got drunk many times in this wine-shop at the very table where Regnier had drunk his fill, had painted, by way of gratitude, a bunch of Corinth grapes on the pink post. The keeper of the cabaret, in his joy, had changed his device and had caused to be placed in gilt letters beneath the bunch these words: "At the Bunch of Corinth Grapes (Au Raisin de Corinthe"). Hence the name of Corinthe. Nothing is more natural to drunken men than ellipses. The ellipsis is the zig-zag of the phrase. Corinthe gradually dethroned the Pot-aux-Roses. The last proprietor of the dynasty, Father Hucheloup, no longer acquainted even with the tradition, had the post painted blue.

#lm 4.12.1 #History of the Corinth from its foundations #the brick in brick

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triflesandparsnips · 2 years ago

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I'm not seeing enough deep-dive nonsense about the new Good Omens season 2 poster drop on my dash, and by god that means I must be the one to deliver it.

For those who haven't seen it yet, behold:

...there's a lot in here to go a wee bit feral over, if one was so inclined, and lord knows I love an inclination.

The Obvious Stuff

1. There Was Only One Bed Chair

This is the bulk of the commentary I've seen, and tbh, it's pretty great. "I am bored/busy and ignoring you but also what is personal space, never heard of her, we will not be taking questions at this time."

Notably, however, this is the second time we've seen them back to back-- the majority of the poster art we saw for the first season had them side by side. In both cases they're in a position to face some third thing together-- the difference, perhaps, is that side by side might imply equality of situation, while back to back implies implicit trust that the other won't stab you there.

2. The bookshop

Aw, look at them. Look at it. What a glorious little mess. This is them in London. Arizaphale looks pleased with the situation; Crowley looks bored af but he's also squished up on that one dang chair, so there's a "cat sitting next to you because parallel play and mirroring are the Best Interactions" feel to it.

3. Tea and wine

Arizaphale's got a teacup, Crowley's got a wine glass, this is very Them and indicative of their Vibes. Tbh, I think this is just a nice bit of design work, but it's worth calling out.

4. The outside street

The shop across the way is using a Gothic and reads "GIVE ME" before being cut off. No clue what it means, but it probably means something.

5. The tagline

The previous tagline we got was "Something's going down in the Up" (with that grey feather falling between their black and white wings)-- this tagline reads "Everyday it's a-getting closer."

Easiest interpretation is, oho, we're getting closer to the second season, and gosh there will be some Plot in it. And sure, yes, it works for that too, huzzah. But leaving aside the "it" and what that may mean-- "a-getting" is a fascinating word choice. It evokes similar constructions like, say, the somewhat obscure "Sumer is icumen in" (a song about the changing of the seasons and also encouraging a cuckoo to go lay some eggs in other birds nests if u no wat im sayin eyyyyy)-- and the significantly less obscure protest song "The Times They Are A-Changin'", whose ending stanza is:

The line it is drawn

The curse it is cast

The slow one now

Will later be fast

As the present now

Will later be past

The order is rapidly fadin'

And the first one now

Will later be last

For the times they are a-changin'

Gosh.

Now the Real Fun Starts

This poster is a composite image (as so many ads are), composed of different bits and pieces to form a whole impression -- based on fun stuff like relative pixelation and whatnot, you can often tell what portions of an image were there to start with, and what were specifically added in after the fact. How packed this poster is in tiny details -- which is exactly where I would hide fun hints to things -- is generally a cue for me to take a closer look, and I have been, I think, rewarded.

1. The books with legible titles

Zoom in on Aziraphale's book-- he's reading Charles Dickens's A Tale of Two Cities. The "two cities" in play are Paris and London, and the book is set before and during the French Revolution.

It's the story of a man who had been previously imprisoned in the Bastille for 18 years, and then was released to go live with his daughter -- who he has never met, what with the whole "imprisoned" thing -- in London.

The opening paragraph is:

It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair, we had everything before us, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way – in short, the period was so far like the present period, that some of its noisiest authorities insisted on its being received, for good or for evil, in the superlative degree of comparison only.

The pile of books in the foreground have two visible titles: the topmost one is Jane Austen's Pride and Prejudice (a "novel of manners" that's considered a heavy-hitting romantic classic, and also yes the leads are both prideful and prejudiced and it takes an entire book for them to clear that up) and Robert Louis Stevenson's Treasure Island (a young adult coming-of-age adventure story about a kid who finds himself on an adventure with a bunch of pirates to discover buried treasure).

Of note: A Tale of Two Cities, Pride and Prejudice, and Treasure Island also all have note tabs sticking out of them, and are the only books that have them. This is reminiscent of how Arizaphale studied and referenced Agnes Nutter's prophecies.

Some of the books beneath the window technically have titles, but they appear to be about as pixelated as the rest of that section, and so I suspect they're just part of the scenery.

Similarly, most of the books on the background shelves are like that as well, except:

Joseph Heller's Catch-22 (A satirical novel set in World War II; Wikipedia briefly explains that "the novel examines the absurdity of war and military life through the experiences of Yossarian and his cohorts, who attempt to maintain their sanity while fulfilling their service requirements so that they may return home." The book also coined the phrase "catch-22," which is a situation someone can't escape because of paradoxical rules-- in the case of the book, you can't ask to be evaluated for insanity so that you can be exempt from flying dangerous missions, because "anyone who wants to get out of combat duty isn't really crazy.")

Iain Banks's The Crow Road (and a first edition, perhaps? I haven't read it, but apparently it's a Scottish family drama about a perfect murder against the backdrop of the 1990s Gulf War. Its opening line is "It was the day my grandmother exploded." The phrase "the crow road" is a euphemism, in the book, for death.)

Joseph Conrad's Lord Jim (Sparknotes says it's "the story of a man named Marlow's struggle to tell and to understand the life story of a man named Jim" -- a young man who goes to sea, makes a terrible and cowardly decision while following his leaders, and then spends the rest of his life haunted by it.)

There's at least one extra, partially obscured title:

It appears to read "THE BODY ------ and ------", which makes me wonder if it's an anthology of murder mystery short stories.

Leaving aside the uncertain book, commonalities between many of these books include:

soldiers, war, and the horrors/absurdities thereof

doubles and parallels

death and murder

a young/inexperienced protagonist thrown in with more experienced/weirder folk

fragmented and out of order narratives, sometimes having to be pieced together from multiple viewpoints

...pirates

2. The strange but noticeable inserts

There are several images that have been inserted into the poster that -- unlike the teacup and wine glass mentioned above -- don't seem to make a lot of contextual sense and are therefore, perhaps, extra information. These include:

a. the three lizard boys

b. the broken smartphone

c. the matchbox with the quote on the side

d. the camera

e. this statuette that seems suspicious

f. this record and scroll that seem out of place

g. the clockface with the missing hand (which may be just for the Aesthetic, but whatever, I'm including it)

What do they mean? No clue. I suspect it will become apparent as we get trailers and/or the actual show.

In Conclusion

Uh.

Look. Design teams can do all sorts of things for all sorts of reasons. All of this could mean absolutely nothing.

But.

Using my magical powers of bullshit deduction, I might look at all this, and that grey feather falling from the earlier poster, and say... well... the war's still ongoing, yeah? So maybe... maybe there needs to be a new angel keeping an eye on things on Earth. Or an eye specifically on Aziraphale and Crowley.

And that would look SUSPICIOUS, right? So this is an angel who's maybe... a little bit Fallen. For the sake of the Mission. Like, they've agreed to sin just a lil bit, just enough to justify being thrown out of Heaven, and they're not actively in Hell because they're, oh, just stopping off, or maybe just going really slowly, or maybe they were sent back up from Hell because they were still "too good" and all that Pureness of Spirit was stinking up the place--

Whatever. Point is, they're on Earth, they're very confused, it sure would be nice if these very Established metaphysical elders could give them a few hints about how to get on. We'd then get to enjoy a Guide to Living a Totally Normal Human Life given by these two disaster dorks, plus whatever nonsense is derived from, idk, various extraneous plot shenanigans, probably involving a Murder and maybe a MacGuffin Maltese Falcon.

And most importantly: this new angel? Wow no they couldn't possibly be a spy because again WOW, what kind of angel would deliberately Fall? Wouldn't that require doing the wrong thing to do a right thing? ...okay maybe, but can it really be wrong if it was done by command? ...well, wait, it surely must be wrong because otherwise the mechanism wouldn't have worked-- but then, wait, which thing was the wrong thing--

And Aziraphale and Crowley would watch this bouncing volley of cognitive dissonance with great interest, also possibly while holding hands.

#good omens #season 2 #good omens season 2 rampant speculation

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lesmisletters-daily · 6 days ago

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The Death Of A Horse

Les Mis Letters reading club explores one chapter of Les Misérables every day. Join us on Discord, Substack - or share your thoughts right here on tumblr - today's tag is #lm 1.3.8

“The dinners are better at Édon’s than at Bombarda’s,” exclaimed Zéphine.

“I prefer Bombarda to Édon,” declared Blachevelle. “There is more luxury. It is more Asiatic. Look at the room downstairs; there are mirrors [glaces] on the walls.”

“I prefer them [glaces, ices] on my plate,” said Favourite.

Blachevelle persisted:—

“Look at the knives. The handles are of silver at Bombarda’s and of bone at Édon’s. Now, silver is more valuable than bone.”

“Except for those who have a silver chin,” observed Tholomyès.

He was looking at the dome of the Invalides, which was visible from Bombarda’s windows.

A pause ensued.

“Tholomyès,” exclaimed Fameuil, “Listolier and I were having a discussion just now.”

“A discussion is a good thing,” replied Tholomyès; “a quarrel is better.”

“We were disputing about philosophy.”

“Well?”

“Which do you prefer, Descartes or Spinoza?”

“Désaugiers,” said Tholomyès.

This decree pronounced, he took a drink, and went on:—

“I consent to live. All is not at an end on earth since we can still talk nonsense. For that I return thanks to the immortal gods. We lie. One lies, but one laughs. One affirms, but one doubts. The unexpected bursts forth from the syllogism. That is fine. There are still human beings here below who know how to open and close the surprise box of the paradox merrily. This, ladies, which you are drinking with so tranquil an air is Madeira wine, you must know, from the vineyard of Coural das Freiras, which is three hundred and seventeen fathoms above the level of the sea. Attention while you drink! three hundred and seventeen fathoms! and Monsieur Bombarda, the magnificent eating-house keeper, gives you those three hundred and seventeen fathoms for four francs and fifty centimes.”

Again Fameuil interrupted him:—

“Tholomyès, your opinions fix the law. Who is your favorite author?”

“Ber—”

“Quin?”

“No; Choux.”

And Tholomyès continued:—

“Honor to Bombarda! He would equal Munophis of Elephanta if he could but get me an Indian dancing-girl, and Thygelion of Chæronea if he could bring me a Greek courtesan; for, oh, ladies! there were Bombardas in Greece and in Egypt. Apuleius tells us of them. Alas! always the same, and nothing new; nothing more unpublished by the creator in creation! Nil sub sole novum, says Solomon; amor omnibus idem, says Virgil; and Carabine mounts with Carabin into the bark at Saint-Cloud, as Aspasia embarked with Pericles upon the fleet at Samos. One last word. Do you know what Aspasia was, ladies? Although she lived at an epoch when women had, as yet, no soul, she was a soul; a soul of a rosy and purple hue, more ardent hued than fire, fresher than the dawn. Aspasia was a creature in whom two extremes of womanhood met; she was the goddess prostitute; Socrates plus Manon Lescaut. Aspasia was created in case a mistress should be needed for Prometheus.”

Tholomyès, once started, would have found some difficulty in stopping, had not a horse fallen down upon the quay just at that moment. The shock caused the cart and the orator to come to a dead halt. It was a Beauceron mare, old and thin, and one fit for the knacker, which was dragging a very heavy cart. On arriving in front of Bombarda’s, the worn-out, exhausted beast had refused to proceed any further. This incident attracted a crowd. Hardly had the cursing and indignant carter had time to utter with proper energy the sacramental word, Mâtin (the jade), backed up with a pitiless cut of the whip, when the jade fell, never to rise again. On hearing the hubbub made by the passers-by, Tholomyès’ merry auditors turned their heads, and Tholomyès took advantage of the opportunity to bring his allocution to a close with this melancholy strophe:—

“Elle était de ce monde ou coucous et carrosses

Ont le même destin;

Et, rosse, elle a vécu ce que vivant les rosses,

L’espace d’un mâtin!”

“Poor horse!” sighed Fantine.

And Dahlia exclaimed:—

“There is Fantine on the point of crying over horses. How can one be such a pitiful fool as that!”

At that moment Favourite, folding her arms and throwing her head back, looked resolutely at Tholomyès and said:—

“Come, now! the surprise?”

“Exactly. The moment has arrived,” replied Tholomyès. “Gentlemen, the hour for giving these ladies a surprise has struck. Wait for us a moment, ladies.”

“It begins with a kiss,” said Blachevelle.

“On the brow,” added Tholomyès.

Each gravely bestowed a kiss on his mistress’s brow; then all four filed out through the door, with their fingers on their lips.

Favourite clapped her hands on their departure.

“It is beginning to be amusing already,” said she.

“Don’t be too long,” murmured Fantine; “we are waiting for you.”

#lm 1.3.8

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adorablebanite · 7 months ago

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POV: You/Your Tav and your lover are getting ready for a fancy night out, and your lover gets to choose your outfit. What are they putting you/your Tav in?

Thank you for tagging me @sankttealeaf ! <3 I get so excited about this type of thing. (BTW your dresses for Rue are BEAUTIFUL, I love that they change aesthetic depending on who she’s attending with!) Tagging @vestigialpersonality @aurorawintersnight @demong @that-one-dweeb-girl (no obligation, just in case you want to!) and of course @newtia - I know you were tagged, but I can't not tag you anyway :p

My Durge is “Lady” Destri, (f teifling) and Tav(but not really, more of a pre-game OC) is Lilla (f half-elf), who started out tending wine at Gortash’s manor, then was promoted as his personal secretary. All three of them get along very well with one another (Except for that one time Destri lost to her Urge and tried to kill Lilla, but it's been settled since >.>)

While normally Lilla’s attire is buttoned up, bordering on Edwardian gothic, she tries to be conservative, professional, and more understated than the upper classes when attending her master’s events. She’s not intended to be the center of attention, which perfectly suits her (though she does relish being paraded around as his loyal minion, nonetheless).

Her very first day employed as Lord Gortash’s secretary, they attended Lord Honourbough’s soiree. He bid her to wear an emerald dress, as was the theme. After that, emerald was kind of her colour.

It got blood on it though :(

For the more “private” parties (Such as the Crimson Epoch Gala at the Castle Cazador), Gortash commissions more provocative attire for her:

As far as Lady Destri is concerned, she hates clothes, and often stalks naked - but she can easily look the part if she needs to infiltrate a party. Obviously slinky and sexy is the best way to lure whoever she needs into the shadows. She just pokes a hole in the back with her dagger to accommodate her tail, since she usually discards the dresses right afterward anyway.

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gnosticinitiation · 2 months ago

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Jezebel's Table

(selection)

38. Is it perhaps a new thing to teach human beings how to ejaculate the semen?

39. In which epoch did the human being become converted into an angel by fornication?

40. Human evolution has failed, precisely because of the seminal ejaculation (orgasm). Now what?

41. There was a great reunion of mahatmas in a temple of Asian Tibet, at which all of the great creators of the human being were present.

42. A great son of the fire descended from the infinite space and spoke the following:

43. “My brothers and sisters, we must recognize that human evolution has failed. We, the gods, committed a mistake when creating this humanity. There, in the dawn of life, we wanted to convert these virginal sparks into gods, but the result was demons.”

44. Following this, the great being was enumerating, one by one, all of the prophets who had been sent to help humanity. He was narrating how all of them were stoned, persecuted, poisoned, and crucified by the human species.

45. Upon finishing his discourse, the great son of the light departed from the temple.

46. The major brothers and sisters then consulted the god Sirius in order to try to resolve this gigantic problem.

47. The answer arrived swiftly. It can be synthesized in the following verses:

“And he cried mightily with a strong voice, saying, Babylon the great is fallen, is fallen, and is become the habitation of devils, and the hold of every foul spirit, and a cage of every unclean and hateful bird. For all nations have drunk of the wine of the wrath of her fornication, and the kings of the earth have committed fornication with her, and the merchants of the earth are waxed rich through the abundance of her delicacies.” —Revelation 18:2-3

48. Only a tiny handful of souls will reincarnate in the new Aquarian Age.

49. Millions of human souls, separated from the Innermost, are now sinking into the tenebrous abyss and they will not reincarnate during the new Aquarian Age.

50. “And the great harlot is dressed with the colors purple and scarlet, she is decked with gold, precious stones and pearls, and her chalice is filled with abomination, filthiness and fornication.”

51. This is Jezebel, at whose table the prophets of Baalim eat. The dogs shall eat Jezebel by the wall of Jezreel.

52. Upon the head of Jezebel, she that calls herself a prophetess, is written this name: “Mystery, Babylon the great, the mother of fornications and abominations of the earth.”

From Igneous Rose by Samael Aun Weor

#gnosis #self realization #spiritual awakening #spirituality #gnostic #samael aun weor #consciousness #jezebel #religion #meditation #initiation #spiritual initiation #aquarius #age of aquarius #revelation #book of revelation #baalim #god

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matthew-s-j · 4 months ago

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Kertiana was created by the Four Gods, who were later named the Disappeared as they left Kertiana. The names of these Gods are Lit, Anem, Und and Astrap. The heads of the houses of Rocks, Wind, Waves and Lightning are considered descendants of the Gods.

The events of the series of books "Gleams of Aeterna" unfold on the mainland of the Golden Lands, in the largest kingdom of Talig. Once the kingdom was ruled by the Rakans, but for four hundred years the usurpers — the Ollars - have been on the throne.

The need to choose between loyalty to the Rakans and loyalty to the new dynasty still destroys friendships and family ties in Talig. The undercover struggle between supporters and opponents of the Ollars, has repeatedly led to riots throughout the kingdom.

The most prominent place among the nobility of Talig is occupied by four ancient aristocratic houses - the house of Lightning (Épinay), the house of Rocks (Oakdell), the house of Wind (Alva) and the House of Waves (Prydd).

The chronology in Kertiana is conducted from Creation and, for convenience, is divided into alternating 400–year circles (epochs) - Rocks, Wind, Waves and Lightning. It is believed that the change of the circles is accompanied by wars and cataclysms.

The Kertiana's year consists of 16 months of 24 days, each of which is divided into four weeks, coinciding with the lunar phases. The year begins on the Winter Solstice.

The Golden Lands is one of the continents of Kertiana. The countries Talig, Drieksen, Gayifa, Haunau, Kadana, Aggar and others are located here.

The Kingdom of Talig is divided into regions: province of Épinay, province of Prydda, province of Nador, province of Varasta, Duchy of Neumarinen, Duchy of Canalloa. According to the agreements signed by Francis Ollar and Octavius Ollar - Neumarinen, Canalloa and Marechiara voluntarily joined Talig and have the right to secede from the kingdom at any time. The treaty between Talig and Neumarinen stipulates that in the event of a break in cooperation, the oath given by the subjects of the Duchy of Neumarinen to the King of Talig is also annulled. There is no corresponding article in the treaty between Canalloa and Talig, however, according to Canalloa's traditions, any offense inflicted on Soberano becomes the matter of blood revenge of his subjects.

Wines of Canalloa are considered the best wines on the entire continent. Red wines are called "blood", white wines are called "tears".

"Maiden's tear" is a very dry wine, it has a clear, clean, almost crispy taste (the closest analogue is sauvignon blanc).

"Widow's tear" - it has a very rich bouquet, sometimes too complex (the closest analogue is chardonnay).

"Bad tear" - grapes for this wine aren't just capricious, it's completely unpredictable. The wine master doesn't know what exactly he'll get until the process is completed (the closest analogue is verdelho).

"Black blood" is a mixture of savier lechusa (the closest analogue of Cabernet Sauvignon) and parrise (the closest analogue of shiraz). In the right combination, this wine can be drunk without snacks at all, has a very rich, but also very tough bouquet.

"Dark Blood" is an old, very well-aged savier lechusa (the closest analogue is cabernet sauvignon). This wine has been stored for decades, it has a purple-ruby color. It has a taste of black currant, plum, cherry, vanilla and sometimes cedar or anise.

"Cursed blood" - savier racine (the closest analogue is cabernet merlot) from a seventy-year-old vine. Any surprises can be expected from this wine.

#aeterna #aeterna 2022 #fantasy #sorry for any mistakes #there is no official translation #I translate the names to my taste #so they may be different #отблески этерны #этерна

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haybug1 · 1 year ago

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6 Wines to Toast the End of the Year

As we bid adieu to the end of 2023, we raise a glass with a few fun, festive, and delicious wines we enjoyed throughout the year. This year has been filled with wonderful adventures and crazy experiences that we are pleased to say we survived and came out better on the other side. Cheers to you, to drinking the good stuff, and to appreciating the gift that every day is. Bubbles are always an…

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#everyglassisanadventrue #wineoftheday #Bouchaine #Bouchaine Vineyards #Conundrum Wine #enrico serafino #Epoch Winery #Thacher Winery #Tolosa Winery

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pureanonofficial · 2 years ago

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LES MIS LETTERS IN ADAPTATION - One of the Red Spectres of that Epoch, LM 3.3.2 (Les Miserables 1925)

Any one who had chanced to pass through the little town of Vernon at this epoch, and who had happened to walk across that fine monumental bridge, which will soon be succeeded, let us hope, by some hideous iron cable bridge, might have observed, had he dropped his eyes over the parapet, a man about fifty years of age wearing a leather cap, and trousers and a waistcoat of coarse gray cloth, to which something yellow which had been a red ribbon, was sewn, shod with wooden sabots, tanned by the sun, his face nearly black and his hair nearly white, a large scar on his forehead which ran down upon his cheek, bowed, bent, prematurely aged, who walked nearly every day, hoe and sickle in hand, in one of those compartments surrounded by walls which abut on the bridge, and border the left bank of the Seine like a chain of terraces, charming enclosures full of flowers of which one could say, were they much larger: “these are gardens,” and were they a little smaller: “these are bouquets.” All these enclosures abut upon the river at one end, and on a house at the other. The man in the waistcoat and the wooden shoes of whom we have just spoken, inhabited the smallest of these enclosures and the most humble of these houses about 1817. He lived there alone and solitary, silently and poorly, with a woman who was neither young nor old, neither homely nor pretty, neither a peasant nor a bourgeoise, who served him. The plot of earth which he called his garden was celebrated in the town for the beauty of the flowers which he cultivated there. These flowers were his occupation. By dint of labor, of perseverance, of attention, and of buckets of water, he had succeeded in creating after the Creator, and he had invented certain tulips and certain dahlias which seemed to have been forgotten by nature. He was ingenious; he had forestalled Soulange Bodin in the formation of little clumps of earth of heath mould, for the cultivation of rare and precious shrubs from America and China. He was in his alleys from the break of day, in summer, planting, cutting, hoeing, watering, walking amid his flowers with an air of kindness, sadness, and sweetness, sometimes standing motionless and thoughtful for hours, listening to the song of a bird in the trees, the babble of a child in a house, or with his eyes fixed on a drop of dew at the tip of a spear of grass, of which the sun made a carbuncle. His table was very plain, and he drank more milk than wine. A child could make him give way, and his servant scolded him. He was so timid that he seemed shy, he rarely went out, and he saw no one but the poor people who tapped at his pane and his curé, the Abbé Mabeuf, a good old man. Nevertheless, if the inhabitants of the town, or strangers, or any chance comers, curious to see his tulips, rang at his little cottage, he opened his door with a smile. He was the “brigand of the Loire.”

#Les Mis #Les Miserables #Les Mis Letters #Les Mis 1925 #Les Miserables 1925 #Georges Pontmercy #Les Mis Letters in Adaptation #lesmisedit #lesmiserablesedit #lesmiserables1925edit #silentfilmedit #filmedit #pureanonedits #LM 3.3.2 #long post #HE MAKES ME SO SADDDDD #Luc Dartagnan

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valkariel · 4 months ago

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Enticing

Head: Far Eastern Beauty's Hairpin - jet black / metallic gold Body: Exarchic Coat of Casting - default Hands: Archmage's Hand Runes - ruby red / default Legs: Tights of Eternal Passion - wine red / jet black Feet: Best Man's Gaiters - default / metallic brass

Earring: The Emperor's New Earrings Neck: The Emperor's New Necklace Wrists: The Emperor's New Bracelet Right Ring: Epochal Ring of Casting Left Ring: Facet Ring of Casting

Main Hand: Dark Horse Champion's Rod - soot black / metallic gold Off Hand: --

Fashion Accessory: Fallen Angel Wings Minion: -- Mount: -- Location: Mt. Gulg - The Whtie Gate

Shader: Faeberry Bloom

#ffxiv #ffxiv glamour #ffxiv au ra #ffxiv black mage #eorzea collection #valkariel ilmarë #au ra #raen #black mage #darks/blacks/greys #golds/yellows #reds/oranges/browns #uses mogstation items #no seasonal items #fantasy glamour

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melvinthedepressedrobot · 10 months ago

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URL Music Game 🎶

Make a playlist with each letter of your URL!

Tagged by @artilaz

M - Mr Blue Sky - Electric Light Orchestra

E - Everybody Knows Shit's Fucked - Stephen Paul Taylor

L - Lilac Wine - Katie Melua

V - Violence - The Unlikely Candidates

I - I Don't Like Myself - girli

N - :)

T - That Bitch - Sizzy Rocket

H - High Frequency - Louis III/Lucas Estrada

E - Elle Me Dit - Mika

D - Dick This Big - Todrick Hall

E - Epoch (The Living Tombstone's Remix) - Savlonic

P - Pink (Freak) - Elliot Lee ft girli

R - Rendezvous - Miss Benny

E - Eros & Apollo - Studio Killers

S - Shipwrecked - Alestorm

S - Sparkle - Ayumi Hamasaki

E - Everyday I Love You Less And Less - Kaiser Chiefs

D - Do It All The Time - I DONT KNOW HOW BUT THEY FOUND ME

R - ruin - The Amazing Devil

O - Old Molly Metcalfe - Jake Thackray

B - Barry & Freda - Victoria Wood

O - OFF MY FACE - Måneskin

T - Top Secret - hANGRY & ANGRY

i'm bad at tagging so I'm just picking a random bunch from my activity tab; @bizzarczar @raptorjesus-mf @bluerose5 @writterings @roastedtomatosoup

#jamie's chitchat

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thebrickinbrick · 8 months ago

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What Is To Be Done In the Abyss If One Does Not Converse? Part 1

Sixteen years count in the subterranean education of insurrection, and June, 1848, knew a great deal more about it than June, 1832. So the barricade of the Rue de la Chanvrerie was only an outline, and an embryo compared to the two colossal barricades which we have just sketched; but it was formidable for that epoch.

The insurgents under the eye of Enjolras, for Marius no longer looked after anything, had made good use of the night. The barricade had been not only repaired, but augmented. They had raised it two feet. Bars of iron planted in the pavement resembled lances in rest. All sorts of rubbish brought and added from all directions complicated the external confusion. The redoubt had been cleverly made over, into a wall on the inside and a thicket on the outside.

The staircase of paving-stones which permitted one to mount it like the wall of a citadel had been reconstructed.

The barricade had been put in order, the tap-room disencumbered, the kitchen appropriated for the ambulance, the dressing of the wounded completed, the powder scattered on the ground and on the tables had been gathered up, bullets run, cartridges manufactured, lint scraped, the fallen weapons re-distributed, the interior of the redoubt cleaned, the rubbish swept up, corpses removed.

They laid the dead in a heap in the Mondétour lane, of which they were still the masters. The pavement was red for a long time at that spot. Among the dead there were four National Guardsmen of the suburbs. Enjolras had their uniforms laid aside.

Enjolras had advised two hours of sleep. Advice from Enjolras was a command. Still, only three or four took advantage of it.

Feuilly employed these two hours in engraving this inscription on the wall which faced the tavern:—

LONG LIVE THE PEOPLES!

These four words, hollowed out in the rough stone with a nail, could be still read on the wall in 1848.

The three women had profited by the respite of the night to vanish definitely; which allowed the insurgents to breathe more freely.

They had found means of taking refuge in some neighboring house.

The greater part of the wounded were able, and wished, to fight still. On a litter of mattresses and trusses of straw in the kitchen, which had been converted into an ambulance, there were five men gravely wounded, two of whom were municipal guardsmen. The municipal guardsmen were attended to first.

In the tap-room there remained only Mabeuf under his black cloth and Javert bound to his post.

“This is the hall of the dead,” said Enjolras.

In the interior of this hall, barely lighted by a candle at one end, the mortuary table being behind the post like a horizontal bar, a sort of vast, vague cross resulted from Javert erect and Mabeuf lying prone.

The pole of the omnibus, although snapped off by the fusillade, was still sufficiently upright to admit of their fastening the flag to it.

Enjolras, who possessed that quality of a leader, of always doing what he said, attached to this staff the bullet-ridden and bloody coat of the old man’s.

No repast had been possible. There was neither bread nor meat. The fifty men in the barricade had speedily exhausted the scanty provisions of the wine-shop during the sixteen hours which they had passed there. At a given moment, every barricade inevitably becomes the raft of la Méduse. They were obliged to resign themselves to hunger. They had then reached the first hours of that Spartan day of the 6th of June when, in the barricade Saint-Merry, Jeanne, surrounded by the insurgents who demanded bread, replied to all combatants crying: “Something to eat!” with: “Why? It is three o’clock; at four we shall be dead.”

As they could no longer eat, Enjolras forbade them to drink. He interdicted wine, and portioned out the brandy.

They had found in the cellar fifteen full bottles hermetically sealed. Enjolras and Combeferre examined them. Combeferre when he came up again said:—“It’s the old stock of Father Hucheloup, who began business as a grocer.”—“It must be real wine,” observed Bossuet. “It’s lucky that Grantaire is asleep. If he were on foot, there would be a good deal of difficulty in saving those bottles.”

—Enjolras, in spite of all murmurs, placed his veto on the fifteen bottles, and, in order that no one might touch them, he had them placed under the table on which Father Mabeuf was lying.

#lm 5.1.2 #part 1 #the brick in brick #barricade day #les mierables #lego

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lafcadiosadventures · 1 year ago

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Madame Putiphar Readalong. Book Two, Chapter XXVI, second half.

Pastel Hued Rococo Horror

"La femme d’un charbonnier est plus estimable que la maîtresse d’un Roi.", original illustration by Michele Armajer, second edition of Madame Putiphar.

Putiphar is wrong in her perhaps Rousseaunian suppositions. In Patrick’s case, not all loves are brothers. To prove her wrong he “treats” her with a long and minute translation of the Irish song into french. It is not a love song, but a war ballad (and, it’s a real song, @sainteverge found the original lyrics and you can read them in their translation) it is a long, long history ballad about scottish and irish clans, so long that when Patrick is finally done translating dinner is served. (Nothing against the song itself it’s just hilarious how much of a reach pompadour had to make to fool herself into thinking it was a love song, but admittedly, horniness is a hell of a drug) I can imagine Pompadour desperately trying and failing to bring the mood back to sexy. Her chance finally springs up when dinner is announced and she can bring Patrick’s attention to her outfit

Pomps appologizes for feeling “too lazy”to dress properly, she is still wearing her sheer white robe de chambre, a so called laisse-tout-faire -> don’t need to spell out what is that “tout” which the crotchless, petticoatless and drawersless robe allows to do here. (Borel’s narrator plays the puritan apologizing for mentioning such impudic garments, but he has to, because, in a way that single word sums up the decadence of a whole epoch or something (Borel mentions two linguists here: Pierre Borel, and Ménage. This is fun because Borel has a witty and contrived way of saying the meaning of the expression is obvious: laisse-tout-faire is not a word that will torture the pierre borels and menages of the future, Borel scribbles, while he crafts words and expressions that will indeed torture future translators and linguists. in the best possible ways.)

So: once dinner is announced, they leave the boudoir and step into another room whichis a puzzle in itself. What is it? A salon? A bedroom? Another boudoir? The room is filled to the brim with all kinds of furniture, beds, bookshelves with the latest Enlightenment hits, sofas, a table. The bric-a-brac makes it almost impossible to walk around the table, the rococo horror vacui becomes an impediment to circulation, almost as if it’s designed to trap Putiphar’s intended sacrificial lambs after an intoxicating meal. (only now Patrick begins to envision that Putiphar has some projects for him, yes, even after all her writhing, boob groping and verbal insinuations. He finally notices that he is physically trapped as well. Her plans are basically abduction and sexual assault) There are also no visible doors since they are all covered with gobelins. And even if he could physically escape, he thinks, he could never run away from her resentment. He realizes like Cellini before him, that the queen/pompadour’s sex is a trap where both sleeping with her, or rejecting her are deadly choices, because the power imbalance is too vast. (Patrick has more moral concerns than Cellini, who is basically his diametrical opposite)

Patrick suddenly begins to notice he needs to sit down because he has had too much to drink, and that he is not only trapped, but utterly alone with her. He is scared and disgusted with her secret plotting, and feels guilty and stupid for having accepted her invitation. Feeling tired, heavy, intoxicated and scared, weighted down too by the realization that all his possible choices are potentially deadly, and that he cannot physically leave the horror-vacui roccoco funhouse death trap, he lets Fate chose for him. He will rely on his instinctual responses and puts himself in the hands of God. (or his conscience)

The castle and the witch are trying to eat Patrick alive, Putiphar is in full fledged Hansel and Gretel witch mode, she is pumping wine and aphrodisiacs into Patrick, who drinks and eats as little as he can without being overtly rude. The arousal he felt at the beginning of the chapter is totally gone. Her lies and intentions to get him by force and treachery disgust him. Yet he shows himself bold and spontaneous. This slightly offends her, since she can no longer attribute his codlness to shyness or inexperience. It’s a masks off moment for both of them.

(in terms of form of the novel, Borel includes some Spanish expressions here like vino rancio, and alcahueta. Spanish culture shows up in the form of something delicious, the wine, that Patrick manages to resist, which shows his strength, and to name the royal pimp, perhaps with a less decorous word than what he could have afforded to include in french? Like his use of carajo in Champavert, but not foutre/vit, for example)

She still hopes to seduce him though, she tries the method she uses on Pharao. Like a character in Crébillon’s The Sofa, where a monarch forces guests to tell him stories, (just like in the 1001 nights, but more relevant to our novel about the crimes and power abuses of the powerful, just like the king and Pompadour had Sartine did as we will see) She instead forces dirty gossip of the royal family and all the courtiers into Patrick’s ears. (Borel beings up a connection between the royal pimp, the “alcahueta de la corte” La Gourdan, and Sartine, the head of the secret police. This is historical fact, some of the police reports are still existent, what is questioned and possibly a myth is that Pompadour started this not to control the other courtiers, but to incite a sexual partner that was increasingly harder to please, which sounds of course, too naif to be real. (I’ll include bellow a letter on Gourdan which I’d wager is one of Borel’s source for all of this)

It’s fascinating that, in complete accordance to the rumours, these sexual stories have both an erotic and a punitive function, the courtiers use them for their own amusement, but they also have their pimps work closely with cops to ensure they can wield power through them. (They are basically fapping to police reports. Allegorically fascinating and disgusting) But the stories lack their desired effect. Patrick is neither aroused or amused, he is disgusted. She orders more champagne, but Patrick says he’s not a drinking man. It would be “monstrous” of him not to have any vices, she claims, lacking “passion” would make him inhuman. (note here, how a man who lacks addictions/inclinations that are deemed perverse and thus condemned, because that’s the way Pompadour frames it, is someone who she cannot subjugate by the sartine/gourdan method)

Patrick enjoys things but is addicted to none, and has none of the modern “vices” he doesn’t gamble, he can drink, dance and go to the theatre but he wouldn’t die if he had to do without those things. He is not an addict, he cannot be trapped by vicies like the courtiers The King, Pompadour, Sartine and la Gourdan surveil. Pompadour grows impatient: "Who do you love?", she asks. "I love women". And she continues her guessing game, and is so vain that when Patrick claims to love one women above all the others, who is young, beautiful and noble, she calls him a flatterer since she thinks he means her. Putiphar wants to take Debby’s ring (an old and austere relic) from him and give him a shiny new one. He refuses it since he loves Deborah, she calls her cruel, but insists on the gift, and in making him her lover. He still refuses, he cannot have two loves. He cannot divide the same love in two either (the literary/cultural theme of carnal versus holy love, divided between the angel in the hearth and the mistress) as Pompadour suggests. But Patrick still rejects her. She is indeed insulted by that open refusal, and by Patrick’s mention of Love, that is not what she wants from him. In her rage, she remembers the ace up her sleeve, which she was willing to forget if Patrick had flattered her and accepted to become her lover and her plaything: The murder conviction, his status as a fugitive from the Law. The die is cast. Left with nothing to lose, Patrick dares recall that Pompadour’s father is also someone who evaded the law, but thanks to her power and status, all of that was forgotten. The chief difference is Patrick is actually innocent, but he has no powerful protectors, (and in fact was incriminated by aristocrats) so he’ll have to pay for the crimes of another, while Pompadour’s father was indeed guilty, but given his status he’s safe from the law (once again, the theme of the law as definitely not blind and equal for all) Outraged, Putiphar calls for her men, but Patrick has the last laugh:

“Woah there! messieurs, calm down! Please wait, I still have a word to say to madame,” shouted Patrick! and, taking from the bookshelf a volume of the New Eloisa, he flipped a few pages, and added: “This word I have to say is not mine, it is that of the citizen of Geneva; here it is: “A coalman’s wife is more estimable than a king’s mistress.”

(tr. by sainteverge )

When the lackeys attempt to grab him, Patrick draws his sword. He leaves the palace in his own terms. His attempt at bonding with the aristocracy are forever broken, since it was impossible to have them without degrading himself. It was required of him to cheat on his wife, to have sex against his wishes, to renounce to his citizenship, to adapt his tastes and opinions to those of the ruling class, to accept surveillance by Sartine, and so on. Patrick will probably not survive this book, but he values his integrity higher than his mere survival. He starts (like many other Romantic characters), his own glorious defeat arc, a kalos thanatos, death before living by rules that rot the soul.

***

Here’s an annex on La Gourdan by Théveneau de Morande, (apparently a french spy and blackmailer himself, living in London in the 18th c) found in his compilation of Gourdan’s correspondence for the Jean Nourse 1784-1866 London edition. I would wager Borel read this, not only it is cited in most papers on this subject, and the dates match, but also Morande calling Gourdan The Priestess of Cytherea, -a less popular name for Aphrodite that Borel uses in this very novel- makes me extra confident in this conjecture. Relevant quote on Sartine’s gazette and spying in the high class brothels here:

“(...)il faut que vous sachiez, mylord, que les lieux de débauche de cette capitale ne sont pas simplement comme nos bagnos à Londres : ils sont ici d'institution politique. Celles qui y président, par essence espionnes de la police, tiennent un registre exact de toutes les personnes qui viennent chez elles, et entrent à cet égard dans les détails les plus particuliers qu'elles peuvent apprendre. Vous sentez combien ils doivent être amusants. C'est sous le feu roi, et surtout à la fin de son règne, que cet historique du libertinage de la capitale était fort recherché. On assure que le magistrat chargé de cette partie en dernier lieu (Sartine, according to the footnotes) donnait une attention particulière; qu'il occupait journellement un secrétaire de confiance très-intime à rédiger de ces divers matériaux une gazette galante et luxurieuse, et que le monarque et sa maîtresse (Pompadour) en faisaient leurs plus chères délices. Le lieutenant de police d'aujourd'hui n'a pas cet avantage. Le jeune prince, ami des moeurs, rejetterait avec indignation une chronique aussi scandaleuse; il rougirait des turpitudes qu'on y dévoile. Mais ces archives d'horreurs et d'infamies n'en subsistent pas moins, comme pouvant servir à diriger le ministère dans quantités d'opérations sourdes, à lui fournir le fil de beaucoup de choses et le secret de presque toutes les familles. La dame Gourdan, par l'étendue de son commerce et par ses pratiques distinguées, devait être plus recommandable qu'une autre au gouvernement. C'est ce qui excite la curiosité des amateurs, soit pour découvrir dans son journal bien des gens qu'on ne se doutait pas d'y trouver, soit dans la crainte de s'y voir inscrits eux-mêmes. De quelque manière que le procès tourne, on espère, au surplus, qu'une femme aussi importante ne sera que suspendue dans l'exercice de son ministère et qu'elle le reprendra incessamment. On sait qu'elle a déjà réclamé les bontés des personnages en place les plus éminents ; on dit même Pompadour qui, pour dissiper l'ennui de son auguste amant, avait imaginé cette gazette(...)”

There's also this article on Pompadour and the court's policing of sex, and sexual rumours as a political tool to manipulate the public opinion. It covers some of Borel’s sources (La Bastille devoilé), some of the rhetorical strategies he uses in this chapter, like orientalizing the french despot.

(also thanks to this article I learnt that Les bijoux indiscrets is an allegory of all that policing of sex at Versailles. That makes young Diderot's choice of an oriental setting less about exotism and fantasy -although that is definitely there- and more about making the analogies with the french court less obvious >_>)

@counterwiddershins

#madame putiphar #long post #text post #i just want to add that the 2nd meaning of alcahueta is informer/someone who betrays secret information #relevant to the pimps and spies connection explored in this chapter

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