#King Henry VI Part II

[uwmspeccoll]

Shakespeare Weekend

This weekend we return to The works of Mr. William Shakespear: in ten volumes with the fifth volume published in 1728 by Alexander Pope (1688-1744) and Dr. George Sewell (d. 1726) for Jacob Tonson. Volume Five is made up of King Henry VI Part I, King Henry VI Part II, King Henry VI Part III, and King Richard III. The four plays create a tetralogy that covers the entire saga of the Wars of the Roses, a series of 15th century civil wars fought to determine control of the English throne.  

King Henry VI Part I enacts the loss of England’s French territories and the political momentum spurring on the Wars of the Roses. Part II delves into King Henry’s failings and the rise of the Duke of York. Part III documents the chaos and horror of war and contains one of the longest soliloquies in all of Shakespeare. The volume ends with King Richard III depicting the violent rise and short reign of King Richard III.  

Like Rowe’s earlier collection, scene divisions, stage directions, dramatis personae, and full-page engravings by either French artist Louis Du Guernier (1677-1716) or Englishman Paul Fourdrinier (1698-1758) precede each play.  

Pope’s editions of Shakespeare were the first attempted to collate all previous publications. He consulted twenty-seven early quartos restoring passages that had been out of print for almost a century while simultaneously removing about 1,560 lines of material that didn’t appeal to him. Some of those lines were degraded to the bottom of the page with his other editorial notes.  

View more Shakespeare Weekend posts. 

-Jenna, Special Collections Graduate Intern 

[mrs-starkgaryen]

Favourite Shakespeare's Histories

After my other poll, I am going to be specific. There shall be a battle of the favourites!!

For the love of Shakespeare, please reblog for a better analysis

[gwydpolls]

Shakespeare Genre Battle: Histories

I'm doing all of them. Don't worry if yours isn't in this poll.

I am including some things with disputed authorship, collaborations, and apocrypha just because.

[irate-iguana]

The promised sequel to my previous post:

If anyone wants to help me come up with drag names for these characters, please feel free!

[une-sanz-pluis]

I remember you saying that Margaret of Anjou only gained sympathy from historians in the 20th century, and even during the Tudor dynasty, they were still smearing her.

I have definitely said that, borrowing from a comment made by Katherine J. Lewis on this podcast where she talked about how efforts to canonise Henry VI and cast him as the Tudors' saintly ancestor and benefactor resulted in Margaret needing to be absorb the sins of his regime. Stories like Margaret's involvement in the plot against "Good Duke Humphrey" and her affair with the Duke of Suffolk only emerged in the Tudor era and culminated in Shakespeare's depiction of her in his Wars of the Roses plays (Henry VI, Parts 1, 2 and 3 and Richard III). Shakespeare's version has long shaped the "standard" view of Margaret but the moves to discount his take on the Wars of the Roses have never resulted in a reassessment of Margaret's character. His plays remains the most obvious sources for many of Margaret's "evil deeds" despite no historical precedent for them? For example, Margaret was never at the Battle of Wakefield but she's usually depicted as jubilantly ordering the heaping of indignities on Richard, Duke of York's corpse.

In brief: Margaret has served and still serves as the sin-eater for Henry VI and the Lancastrians (and, by extensions, the Beauforts and Tudors).

[thelastofthebookworms]

The poll about the comedies has already ended but you'll find the tragedies in my 'shakespeare' tag / my pinned post.

I'll made a final poll with the winners for comedy, tragedy 1, tragedy 2 and history when we'll have the results

[orangerosebush]

Recently, I did a re-read of the AF series, and I am working through some thoughts I have on the Fowls and what allowed them to maintain power -- especially in the sense of being landed -- in Ireland after arriving during the Norman conquest in the 12th century.

Colfer establishes that Hugo de Folé and Virgil Butler arrived in Ireland during the first Norman crusades in the 12th century (1169).

“The first record of this unusual arrangement [between the Fowls and Butlers] was when Virgil Butler had been contracted as servant, bodyguard, and cook to Lord Hugo de Folé for one of the first great Norman crusades.” From: Artemis Fowl. By Eoin Colfer.

At once, these origins of the Fowls would make them ambiguously part of the Old English, a term from the modern period (post-1600) used to describe the descendants of the first Anglo-Norman conquerors who largely inhabited the Pale (Dublin and surrounding areas) and surrounding towns. Hugo de Folé and Virgil Butler would have likely been Catholic.

However, the origins of Fowl Manor complicate this.

The original Fowl castle had been built by Aodhán Fowl in the fifteenth century overlooking low-lying country on all sides. A tactic borrowed from the Normans. From: The Arctic Incident. By Eoin Colfer

In the 15th (c. 1401-1500) century, Aodhán Fowl acquired land for Fowl Manor in the Pale (Dublin and its surrounding areas); the estate has remained in the Fowls' possession ever since, which is important to note.

The Fowls' historical proximity to the Pale likely was what allowed them to maintain power over the centuries.

Between the 12th and 16th centuries, the Lordship of Ireland (1177-1542) placed swaths of Ireland under the control of Anglo-Norman lords loyal to the King of England.

However, by the 14th century (1300s), English rule of Ireland beyond the Pale (Dublin and its surrounding areas) was weakening. Beyond the Pale, (Catholic) Hiberno-Norman lords' fiefdoms had a degree of independence from the English, often adopting elements of Gaelic language and culture.

This changes around the 16th century with the Protestant Reformation and the Tudor conquest of Ireland. In 1536, Henry VIII of England decided to reconquer Ireland and bring it under crown control. Charles II, Henry VII's son, made the re-established Church of England even more explicitly Protestant.

Between the 16th and 17th centuries (c.1550s-1620s), Irish land was transferred to a new wave of (Protestant) settlers from Great Britain and Scotland to strengthen the Crown's weakening control over Ireland and Anglicize (and thus "civilize") the island; the land transfer was facilitated through the creation of plantations, such as the plantation of Ulster.

The Old English, which would have included descendants of de Folé and Virgil Butler, were supplanted by the New English, the Protestant landowners introduced by the Tudors in a number of ventures at plantations.

It is important to note the historical nuance that:

There was no equivalent in Ireland to the English Test Act of 1672, and there were plenty of precedents for exemptions to the Act of Supremacy. The legal position of Irish Catholics was, in many practical respects, better than that of English Catholics; many fines and penalties fell into abeyance under Charles [II], and the Catholic hierarchy co-operated openly with the Dublin administration. From James's [James VI and I] accession, the Church's position was obviously improved; priests emerged into the public eye and were allowed salaries, though they were not as yet endowed. Protestant superiority remained, in many areas, axiomatic; Catholics continued to occupy a curiously edgy position of formal inferiority combined with tacit toleration. But the ambiguities of their situation reflected the logic of local conditions just as much as the shifts in central policy. [...] But the 'Test clause in the 1704 [Popery] Act, obliging holders of public office to take sacraments according to the usage of the Church of Ireland, gradually excluded Presbyterians from town corporations even in Ulster. Despite the regium donum and the Toleration Act, their equivocal relationship with the civil power remained, and would provide a key theme in the radicalization of the Irish political world after 1780, when the threat of Catholic disaffection apparently receded. [From: Modern Ireland, 1600–1972. By R.F. Foster]

Still, the Popery Act would have had consequences for the historical Fowls and Butlers as Old English families. Beyond the Test clause in the Popery Act, it also limited Catholics' ability to buy/lease land, as well as limited inheritance from a Catholic to be by gavelkind i.e., divided equally, and thus shrinking with each generation, the estate between all sons, rather than according to Primogeniture.

It begs the question of how Fowl Manor remained in the hands of the family, rather than becoming the estate of a member of the New English.

As anti-Catholic sentiment was largely grounded in the political context of loyalty to the Crown (as opposed to the Pope), certain members of the Old English gentry could have (and did!) find ways to join the wave of the Protestant Ascendancy.

"The Anglo-Ireland of the day in fact encompassed sizable middle and lower classes -- a heterogeneity that Foster finds "exemplified by that quintessential Ascendancy institution, Trinity College: defined by Anglicanism but containing sons of peers, of shoemakers, of distillers, of butchers, of surgeons, and of builders" (Foster 1989, 173). And not all the "Anglo-Irish" were, strictly speaking, "Anglo." Early in Bowen's Court, Bowen's historical account of her family's Cork home, we learn that "Bowen" derives from the Welsh "ab Owen" or "ap Owen" (Bowen 1942a, 33). Other Anglo-Irish men and women traced their ancestry to the Old English and to Catholics who converted to Protestantism in order to reap the accompanying social, political and material rewards. Violet Martin (better known as Martin Ross) descended from the Old English Martins of Ross, who had owned land in Galway and had converted to Protestantism in the eighteenth century (McMahon 1968, 123). As Thomas Flanagan concludes, "there were many ways of being Anglo-Irish" (Flanagan 1966, 59). So what, then, defined Anglo-Irishness? In [R.F. ] Foster's view, it was Anglicanism. Anglicanism "defined a social elite, professional as well as landed, whose descent could be Norman, Old English, Cromwellian or even (in a very few cases) ancient Gaelic. Anglicanism conferred exclusivity, in Ireland as in contemporary England; and exclusivity defined the [Protestant] Ascendancy, not ethnic origin" From: An Anarchy in the Mind And in the Heart: Narrating Anglo-Ireland. By Ellen M. Wolff

And what do we find out in the first book of Artemis Fowl?

"Beside [Angeline] was a facsimile of [Artemis'] father, constructed from the morning suit he'd worn on that glorious day in Christchurch Cathedral fourteen years ago." From: Artemis Fowl. By Eoin Colfer

Christchurch Cathedral (in Dublin) is Anglican in denomination!

I just think it is so cool that across a few sentences from Artemis Fowl and The Arctic Incident, it is possible to situate the Fowl family within a semi-realistic history of Ireland.

[aquitainequeen]

Since John Blackthorne is canonically a fan of the theatre, I decided to find out what he could realistically quote when describing the London theatrical scene to Mariko or Toranaga.

Regrettably he wouldn't be able to reference either King Lear or Macbeth, since they're dated to around 1605-06, so no Ran/Throne of Blood/Akira Kurosawa nods. Alas.

Also, no Henry V (1599), Julius Caesar (1599) or Hamlet (1600-1602) as he's been away from England for about two years. However, he could feasibly quote from Henry VI Parts I, II and III, Titus Andronicus, Richard III, Richard II and maybe Henry IV Parts I and II, depending on when he left to go to sea, as they're all dated up to 1598. (Plus, as @fairy-anon-godmother noted, and most fittingly for how things currently stand between he and Mariko, Romeo and Juliet!!!)

He'd also be able to quote Christopher Marlowe's Dr. Faustus (1592-93). I bet he'd love that play, purely because the main character punches the pope.

[georgescitadel]

Historical figures that have served as inspiration for the women in ASOIAF - George R.R. Martin interview

Interviewer: What women through history have inspired and helped you on your way to creating these female characters that we love?

George: There are some very interesting queens in both English and French history who have, at least partially, inspired the characters in Game of Thrones. Many people have observed that Game of Thrones is based, in part, on the Wars of the Roses and that is certainly true, although I don't do a one-for-one translation. If you go and say “This character is based on that character” you're gonna be partly right, but also partly wrong, because I like to mix and match and throw a few twists, making the characters my own. Certainly, the wife of Edward IV, Elizabeth Woodville, was one of the most interesting queens in English history. She was the mother of the princes in the tower and married secretly. She was a Lancastrian, but she married the Yorkist claimant secretly and that produced all sorts of trouble, and she was in the middle of all that stuff with Richard III. She was fascinating! On the other side, the Lancastrian queen, Margaret of Anjou: she was pretty amazing and definitely hardcore! She was married to the idiot king, Henry VI, and she basically had to command her side after some of the leading Lancastrian supporters were killed in the early parts of the war. If you go back a hundred years before, Isabella, the wife of king Edward II, the She-Wolf of France, she was a pretty amazing one too. She basically got rid of her husband, imprisoned him, and allegedly had him killed by having a hot poker thrust up his ass while he was in captivity and then she and her lover took over and ran the kingdom until her son Edward III rose up against his own mother and imprisoned her. All of this stuff, I play with it, but I can't claim to really have invented any of it. There are some things in history that are just as violent and twisted and bizarre and amazing as anything in my books.

- George R.R. Martin, Supanova Expo

[goodqueenaly]

Do you think Gaemon Palehair really was Aegon II's bastard, or that at least Aegon III believed he was?

Maybe? On a purely practical level, at least, Gaemon being the son of the future King Aegon II does not seem impossible. Aegon the Elder was certainly living in King’s Landing at the time Gaemon was conceived, and if Gaemon’s mother was herself already living in King’s Landing (and there is no indication that she and Gaemon settled in King's Landing after the latter's birth), there was a possibility of the two meeting and conceiving a son. Even if Gaemon was not necessarily that “boy [Aegon fathered] on a girl whose maidenhood [Aegon] won at auction on the Street of Silk”, according to Mushroom’s gossipy report, this alleged patronage in the sex workers of King’s Landing on Aegon’s part may provide an explanation as to how Aegon the Elder could have fathered Gaemon. Gaemon’s pale hair, of course, could easily be read as an inheritance from his father or other Targaryen antecedents: while we don’t have full details on Aegon’s appearance, GRRM’s report that Aegon bore “a strong resemblance to his father” (who himself had a “silver-gold mustache”) certainly suggests that Aegon also had the pale hair common to Valyrian descendants. Too, it may be notable that unlike the would-be king Trystane Trufyre or the Shepherd, Gaemon was pardoned and made a ward of the crown - a rare act of mercy in the twilight of Aegon II’s reign which perhaps indicates some personal investment on the part of the king in Gaemon’s well-being.

At the same time, I would not say Gaemon being Aegon II’s son is a foregone conclusion. While we should certainly consider the fact that the information came under torture, Essie’s admission that Gaemon’s biological father was a Lysene oarsman is at least a possible explanation for both Gaemon’s existence and his pale hair. Likewise, we have no indication that Aegon II thought particularly fondly of the boy; indeed, unlike with Trystane (where it was Aegon himself who knighted the would-be squire king before the latter was executed), Aegon doesn’t seem to have interacted with Gaemon at all, and the passive voice used by Gyldayn to describe Gaemon’s pardon makes it impossible to tell who directed that decision. (Too, Borros Baratheon’s rough treatment of Gaemon at the time of his capture - “carried back to the Red Keep slung over the back of a horse, chained and weeping” - hardly suggests that he knew, or had been instructed to know, that he was dealing with a king’s son.) There is in fact some real-world historical precedent from which GRRM may be drawing for showing mercy on such a figure: when young Lambert Simnel, probably about 10 years old, was proclaimed “King Edward VI” as the figurehead of a failed Yorkist rebellion against King Henry VII, the first Tudor king showed the boy mercy, not only not executing him but actually giving him a position at court (first in the royal kitchens, and eventually as a court falconer). Nor do I read Aegon III’s affection for Gaemon as indicating some secret knowledge of the latter’s supposed royal lineage: not only would Aegon III himself have had no reason to know who Gaemon’s biological father was, but Gyldayn makes it pretty explicit that Aegon’s care for Gaemon came as a direct result of the young king’s sorrow over the (supposed) loss of his own younger brother, Viserys (and to that point, Gyldayn notes that after “Prince Viserys … became King Aegon’s constant companion” following his return, “Gaemon Palehair was cast aside and forgotten”).

Ultimately, I would say the answer doesn’t really matter, both because we’ll probably never get the objective truth on the matter and because the narrative does not really dwell on the question. Gyldayn merely refers to Gaemon as “supposedly a bastard of the missing King Aegon II” and later as a “bastard born of a whore” (and specifically used the last designation to explain why Gaemon “counted for little in the court”); there is, so far as we know, no investigation into Gaemon’s paternal origins, no allusions to his paternity (as compared to, say, Alyn Velaryon, where Willis Fell openly identified him as having “a snake for a sire”), no hints by anyone save his mother as to who might have fathered him. As GRRM himself once noted, “[w]ithout blood tests or DNA, establishing paternity was a lot more hit and miss”, and I think that’s probably the case with Gaemon. Young Gaemon's potential blood connection to Aegon II matters only in the sense that his mother seized upon it (or the idea of it) to present him as a king; if he might have otherwise grown up in obscurity as one of the many lowborn children of King’s Landing, Gaemon was instead, thanks to that claim, subjected to a roller coaster of pseudo-royalty, violent upheaval, courtly semi-protection, and ultimately horrific murder.

[macbooth]

i realise i never actually posted my shakespeare gay sex powerpoint here so i’m gonna share the rankings thumbsupemoji

here’s how much each shakespeare play would get improved by gay sex but WITHOUT the explanations. 

10/10 (the winners)

- love’s labour’s lost - romeo and juliet - a midsummer night’s dream - hamlet - twelfth night - troilus and cressida - coriolanus - the tempest

9/10

- henry vi part 3 - the merchant of venice - julius caesar - pericles, prince of tyre

8/10

- titus andronicus - comedy of errors  - henry iv part 1

7/10

- the taming of the shrew - richard ii (this is only because i saw a boring production once. im sure its actually great gay) - henry iv part 2 - henry v - king lear - antony and cleopatra - cymbeline

6/10

- henry vi part 2 - richard iii - king john - macbeth

5/10

- the merry wives of windsor - as you like it - henry viii

4/10 

- henry vi part 1

3/10

- the two gentlemen of verona - othello (im standing by this one <3)

1/10 (there are no 2/10s)

- measure for measure - the winter’s tale

0/10

- the two noble kinsmen

-8/10

- all’s well that ends well

and an honourable mention to the much ado about nothing rank:

i am open for questions. godspeed

[thecharlestonroyalfamily]

So do you remember the royal consorts portraits going around royal simblr? Well inspired by @funkyllama, @warwickroyals, @thegrimalldis and @trentonsimblr I did my version of it but instead of it being just consorts this gallery also features some of Charleston's most notable rulers! Have a calming drink cause it's a long post!

King Henri & Queen Astrid [ruled from 1382 to 1401]. Founders and the first King and Queen of Charleston.

King Erik ‘the Bloodfist’ & Queen Sigrid [ruled from 1435 to 1448]. Successful war leaders who united the warring Northern Tribes and conquered parts of Nord and Rionnag. They were also both spellcasters.

Queen Sofia [ruled from 1448 to 1549]. The first female ruler of Charleston and also the youngest monarch to ever rule. Changed the succession law to equal. Had 3 husbands during her reign. Was a spellcaster like her parents. She also currently has the longest reign.

Queen Märtha [ruled from 1562 to 1576]. Second wife of King Fredrik. She was a Nordian princess that married Fredrik for political reasons, but the couple ended up actually falling in love. During her reign she convinced Fredrik to return taken territories back to Rionnag and Nord and established Nord as a minority language.

Queen Henrietta [ruled from 1662 to 1677]. First consort with a university education. Established laws for women's equality as well as criminalized marriages for anyone under the age of 15. She was also an excellent spymaster.

Queen Sylvia [ruled from 1732 to 1753]. A known patron of arts she helped funding the construction of Charleston's Opera House. Took over the crown after the death of her husband, King Gustav III and reigned until her death.

Queen Victoria I & Prince Consort Harald. [Ruled from 1834 to 1870]. Victoria I wrote several laws protecting children's rights into action, including work laws and the age of equal consent. Harald was one of the founding members of the Nordic Alliance and served as a representative there during it's first 3 years.

Queen Inga & Sir Arthur Johnson [Ruled from 1887 to 1935]. Queen Inga is the only ruler to have used a veto for their marriage. She took the crown after the death of her first husband King Gustav VI; who famously ordered the Spellcaster Purge. Sir Arthur was the last active duty royal knight, and an important character in stabilizing the nation after the purge and it's resulted conflicts.

King Carl-Gustav IV & Queen Arianne (pictured here as Crown Prince and Princess) [Ruled from 1935 to 1960]. First royal couple to have their wedding televised. Both were well known children's rights advocates and build multiple safe homes for kids around the world. Queen Arianne also founded the Children's Royal Library, a charity organization focusing on giving books to children and raising literacy rates.

King Daniel [Ruled from 1992 to 2004] & Queen Marissa [Ruled from 2004 to 2026]. During his rule Daniel added a third gender option to law and hosted multiple LGBT+ charity events. His wife Marissa continued his work after his passing and was a very vocal supporter of her grandson Henrik's relationship with Michael.

Queen Victoria II & Prince Consort Benjamin [Ruled from 2026 - 2036]. Victoria II abolished the law preventing heirs from marrying foreigners in 2034. She also was an accomplished military general and diplomat. Benjamin was a human rights advocate and an exceptional diplomat who's efforts in the field gained him several medals of recognition, the highest being the Nordic Union Cross of diplomacy.

King Henrik & Prince Consort Michael [Ruled from 2036 - ]. First same sex ruling couple. Henrik legalized spellcasters and set them protection laws. He's also the first spellcaster ruler since The Spellcaster Purge. Michael is a former competitive swimmer and nowadays a patron of Charleston's national swimming team. He served in the military during the Charleston-Salix war and earned the "Heart of Lion" -medal of courage for his actions.

[lovesjustachemical]

Amalgamations that pulled material from one or more plays can count toward seeing a production; use your judgement. If you've only seen one of these, vote for that. If you've seen multiple, but they're tied... I dunno, did you see a production twice, or does throwing in a taped version change things? There are already enough poll options here.

[definesanity]

A Beautiful Song

Voyager was a being ('A girl', she writes) that was not one for many words.

Voyager's handwriting was beautiful: perfectly cursive, yet Vertin did not see much, as it was direct and to the point:

'May I visit?'

The 'Your room' went unsaid; many Arcanists wonder what secrets lie in the illusive Timekeeper's room but, to either amazement or disappointment, it was just that: a room. Stacked documents, here and there, a bed that was yet to be made due to Vertin's sudden bolt out of the room and into the day; and now, a new addition, albeit one Vertin thinks is temporary.

Voyager stood politely, hands clasped in their front, the galaxies upon her stockings and dress shimmering in the gentle light of the room.

Vertin nodded at her. The being from beyond the stars preferred the silence, and Vertin respected it.

Voyager smiled back, before she started to play her violin. It's a familiar song, one Vertin has heard many times. Hearing it in the middle of the night was certainly a surprise, however.

She looked up the songs found on the Voayger spacecrafts, and this one was Greensleeves, a love song from the Tudor period, or thereabouts.

People oft believe it to be related to Henry VIII and his second wife, Anne Boleyn. However, the composition of the original piece was one of Italian origin, that only reached England after Henry's death, which would put it around the time of either Edward VI, Mary I or, most popularly, Elizabeth I.

Nevertheless, it is still associated with Henry VIII due to its themes around the singer wishing for their love to no longer 'cast them aside discourteously'; which is ironic, in the end, due to it being Henry who cast Anne aside in favour of Jane Seymour, leaving Anne to be beheaded for her crimes of adultery, incest and, worst of all, treason against the King of England.

Which, in retrospection, now has Vertin pondering: Did Voyager choose this song for a specific reason?

Voyager played the songs found, or even beyond, the Golden Records on the Voyager I and Voyager II spacecrafts. By that logic, she might have researched it, or guessed the meaning, behind each and every song.

Love was a foreign concept to the Timekeeper. Romantic love, she should specify.

She has experienced parental love from Ms. Tooth Fairy, her treating Vertin like a child. Granted, she did that to every child in the Foundation, but Vertin always felt she was focused more on by the dentist, perhaps out of a lighthearted exasperation on the Toothfairy collector's side. Likewise, Eternity doted on Vertin, treating her as a granddaughter, or something to the effect.

She has experienced the love of both a big and a little sister. Lilya treated Vertin like a younger sibling, with the Russian ace inviting Vertin to ride on the back of her Su-01ве, the two spending free afternoons just flying around The Wilderness.

The little sister is many, one being Mondlicht. The young huntress was grateful for the help the Timekeeper had given her to help defend against the big bad wolves. Recently, the girl had taken to trying to sleep for more than a few hours, Vertin often being the one to place a blanket over the German hunter.

The love of a friend, too; the likes of Horropedia, whom Vertin had since enjoyed the company of. He's a little eccentric, at times, but that adds to his charm. The two watch horror movies together, Horropedia explaining little parts of the movie, and Vertin listening.

The love of a... partner, however...

Schneider was a whirlwind. One that, with her sister and many good friends, was swept away by The Storm. Vertin believes that, in the short time they spent together, the love between two people was there.

Vertin did not know where to place Voyager. Listening again, she could hear the lyrics inside her head:

"You could not wish for anything,

Yet you still had it readily.

Sweet music still I play and sing;

But yet you will not love me..."

Voyager's smile wavered, looking at Vertin with a strange look in her eyes. She appeared... sad.

Did her love not return the same affection...?

Voyager stopped playing, letting go of her violin slowly, it floating and still playing Greensleeves.

The traveller of space gazed at the traveller of time.

A smile danced on the former's lips, that soon gently joined with the latter's lips.

Vertin had never been to space, but was fascinated by it. Yet, she was able to tell that Voyager tasted like star dust.

Vertin had drunk tea before this, but Voyager could still taste the true taste of the Timekeeper's lips.

Voyager let go of the lips of Vertin, the smile now unwavering, eyes glittering like the stars. She had no need for air, and were it not for Vertin's human lungs, she would have continued the caress of their lips forevermore.

Vertin blinked. "Ah."

"Hehe." Voyager giggled, a melodic sound.

With another blink, Vertin then came to a late revelation: It was she who was the Lady Greensleeves.

"...But... why...?" Vertin could never see herself in a light of good, but Voyager could.

"Shh..." she hushed, placing a finger over Vertin's lips, and one over her own.

Vertin faintly heard the violin stopping and playing a new song, but she was still dazed from everything.

'I don't understand,' she thought.

'Do not, then.' a gentle voice whispered back.

'But why?' she questioned.

'Should a reason exist?' the voice questioned back.

'...Am I loved?' she asked the Void.

'Yes. By everyone. Us. Me.' the Void answered back.

Voyager was a mysterious girl of a few words. Outwardly, of course.

Internally? An inner peace of voices, just waiting its chance and moment to be heard...

And the opportunity arrived with the girl with the top hat and beautiful freckles.

Distantly, Voyager heard the chorus:

"Greensleeves was all my joy,

Greensleeves was my delight;

Greensleeves, my heart of gold:

And who but my Lady Greensleeves?"

And vividly, Vertin heard The Chorus.

'Greensleeves, you are my joy,

Greensleeves, you are my delight;

Greensleeves, with a heart of gold:

I am glad to be yours, my Lady Greensleeves.'

[resident-dumb-fuck]

okay because i've seen many different interpretations of this.