#Marie Colomb

[throughaglassdarkly1961]

As bestas (2022), dir. Rodrigo Sorogoyen

[moviemosaics]

The Beasts

directed by Rodrigo Sorogoyen, 2022

[cinemgc]

As bestas (2022, ES-FR)

• Dirección: Rodrigo Sorogoyen

• Guion: Isabel Peña, Rodrigo Sorogoyen

• Cinematografía: Álex de Pablo

• Cast: Marie Colomb

[proustianlesbian]

Véro et Véra ❤️❤️‍🔥.

je l'ai déjà dit dans le post de ma première version de cet édit (en format 1:1), mais je continuerai de flex, marie colomb et daphné patakia, ont toutes les deux cité (et cette version là en particulier) avec des coeurs, je suis trop contente

édit : antony cordier (le réalisateur de la série) l'a aussi repost, mdrr je sais qu'il n'y aura pas de saison 3 mais le ship est validé ☝️ !!

[ehohadele]

i love you french novel for children <333

[gacougnol]

Denise Colomb (1902-2004)

Deux bateaux à quai côte à côte dont le 'Joseh Marie d’Nez'

Cap Sizun, Bretagne, Finistère, Audierne

1950

[chic-a-gigot]

La Mode nationale, no. 3, 1 février 1886, Paris. Toilette de visite. Bibliothèque nationale de France

Très belle toilette en grosse faille gris ramier. La jupe plissée en éventail; la tunique drapée au tablier qui recouvre presque complètement le jupon, droite derrière et retournée sur le drapé du devant, en revers Louis XIV, formant godets. De larges bandes de broderies perlées et passementées coupent de côté en quilles toutes droites. Le corsage, à pointe et tout uni, n'a d'autres garnitures que le petit revers de la manche et la double bande brodée posée en plastron.

Pour chapeau, une capote Marie Stuart avec passe formant pointe et calotte très haute et froncée. Cette capote, tout en velours gris, est garnie en aigrette d'une colombe. Elle est attachée par des brides très étroites. Le modèle de ce costume si vraiment parisien nous a été donné par l'ancienne maison Chevreux-Aubertot, 7, boulevard Poissonnière.

—

Visiting ensemble. — Very beautiful ensemble in large woodgrain gray faille. The fan-pleated skirt; the tunic draped with the apron which almost completely covers the petticoat, straight behind and turned over the front drape, in Louis XIV reverse, forming godets. Wide bands of beaded and trimmed embroidery cut sideways into straight quilles. The bodice, pointed and plain, has no other trimmings than the small cuff of the sleeve and the double embroidered band placed as a bib.

For hat, a Marie Stuart greatcoat with peaked brim and very high, gathered crown. This hood, all in gray velvet, is trimmed in the egret of a dove. It is attached by very narrow straps. The model for this truly Parisian costume was given to us by the old Chevreux-Aubertot house, 7, boulevard Poissonnière.

[anotherhumaninthisworld]

I decided to try this but for the girlies instead.

Are you sure want to click on ”keep reading”?

For Pauline Léon marrying Claire Lacombe’s host, see Liberty: the lives of six women in Revolutionary France (2006) by Lucy Moore, page 230

For Pauline Léon throwing a bust of Lafayette through Fréron’s window and being friends with Constance Evrard, see Pauline Léon, une républicaine révolutionnaire (2006) by Claude Guillon.

For Françoise Duplay’s sister visiting Catherine Théot, see Points de vue sur l’affaire Catherine Théot (1969) by Michel Eude, page 627.

For Anne Félicité Colombe publishing the papers of Marat and Fréron, see The women of Paris and their French Revolution (1998) by Dominique Godineau, page 382-383.

For the relationship between Simonne Evrard and Albertine Marat, see this post.

For Albertine Marat dissing Charlotte Robespierre, see F.V Raspail chez Albertine Marat (1911) by Albert Mathiez, page 663.

For Lucile Desmoulins predicting Marie-Antoinette would mount the scaffold, see the former’s diary from 1789.

For Lucile being friends with madame Boyer, Brune, Dubois-Crancé, Robert and Danton, calling madame Ricord’s husband ”brusque, coarse, truly mad, giddy, insane,” visiting ”an old madwoman” with madame Duplay’s son and being hit on by Danton as well as Louise Robert saying she would stab Danton, see Lucile’s diary 1792-1793.

For the relationship between Lucile Desmoulins and Marie Hébert, see this post.

For the relationship between Lucile Desmoulins and Thérèse Jeanne Fréron de la Poype, and the one between Annette Duplessis and Marguerite Philippeaux, see letters cited in Camille Desmoulins and his wife: passages from the history of the dantonists (1876) page 463-464 and 464-469.

For Adèle Duplessis having been engaged to Robespierre, see this letter from Annette Duplessis to Robespierre, seemingly written April 13 1794.

For Claire Panis helping look after Horace Desmoulins, see Panis précepteur d’Horace Desmoulins (1912) by Charles Valley.

For Élisabeth Lebas being slandered by Guffroy, molested by Danton, treated like a daughter by Claire Panis, accusing Ricord of seducing her sister-in-law and being helped out in prison by Éléonore, see Le conventionnel Le Bas : d'après des documents inédits et les mémoires de sa veuve, page 108, 125-126, 139 and 140-142.

For Élisabeth Lebas being given an obscene book by Desmoulins, see this post.

For Charlotte Robespierre dissing Joséphine, Éléonore Duplay, madame Genlis, Roland and Ricord, see Mémoires de Charlotte Robespierre sur ses deux frères (1834), page  76-77,  90-91, 96-97, 109-116 and 128-129.

For Charlotte Robespierre arriving two hours early to Rosalie Jullien’s dinner, see Journal d’une Bourgeoise pendant la Révolution 1791–1793, page 345.

For Charlotte Robespierre physically restraining Couthon, see this post.

For Charlotte Robespierre and Françoise Duplay’s relationship, see Mémoires de Charlotte Robespierre sur ses deux frères (1834) page 85-92 and Le conventional Le Bas: d’après des documents inédits et les mémoires de sa veuve (1902) page 104-105

For the relationship between Charlotte Robespierre and Victoire and Élisabeth Lebas, see this post.

For Charlotte Robespierre visiting madame Guffroy, moving in with madame Laporte and Victoire Duplay being arrested by one of Charlotte’s friends, see Charlotte Robespierre et ses amis (1961)

For Louise de Kéralio calling Etta Palm a spy, see Appel aux Françoises sur la régénération des mœurs et nécessité de l’influence des femmes dans un gouvernement libre (1791) by the latter.

For the relationship between Manon Roland and Louise de Kéralio Robert, see Mémoires de Madame Roland, volume 2, page 198-207 

For the relationship between Madame Pétion and Manon Roland, see Mémoires de Madame Roland, volume 2, page 158 and 244-245 as well as Lettres de Madame Roland, volume 2, page 510.

For the relationship between Madame Roland and Madame Buzot, see Mémoires de Madame Roland (1793), volume 1, page 372, volume 2, page 167 as well as this letter from Manon to her husband dated September 9 1791. For the affair between Manon and Buzot, see this post.

For Manon Roland praising Condorcet, see Mémoires de Madame Roland, volume 2, page 14-15.

For the relationship between Manon Roland and Félicité Brissot, see Mémoires de Madame Roland, volume 1, page 360.

For the relationship between Helen Maria Williams and Manon Roland, see Memoirs of the Reign of Robespierre (1795), written by the former.

For the relationship between Mary Wollstonecraft and Helena Maria Williams, see Collected letters of Mary Wollstonecraft (1979), page 226.

For Constance Charpentier painting a portrait of Louise Sébastienne Danton, see Constance Charpentier: Peintre (1767-1849), page 74.

For Olympe de Gouges writing a play with fictional versions of the Fernig sisters, see L’Entrée de Dumourier à Bruxelles ou les Vivandiers (1793) page 94-97 and 105-110.

For Olympe de Gouges calling Charlotte Corday ”a monster who has shown an unusual courage,” see a letter from the former dated July 20 1793, cited on page 204 of Marie-Olympe de Gouges: une humaniste à la fin du XVIIIe siècle (2003) by Oliver Blanc.

For Olympe de Gouges adressing her declaration to Marie-Antoinette, see Les droits de la femme: à la reine (1791) written by the former.

For Germaine de Staël defending Marie-Antoinette, see Réflexions sur le procès de la Reine par une femme (1793) by the former.

For the friendship between Madame Royale and Pauline Tourzel, see Souvernirs de quarante ans: 1789-1830: récit d’une dame de Madame la Dauphine (1861) by the latter.

For Félicité Brissot possibly translating Mary Wollstonecraft, see Who translated into French and annotated Mary Wollstonecraft’s Vindication of the Rights of Woman? (2022) by Isabelle Bour.

For Félicité Brissot working as a maid for Louise Marie Adélaïde de Bourbon, see Mémoires inédites de Madame la comptesse de Genlis: sur le dix-huitième siècle et sur la révolution française, volume 4, page 106.

For Reine Audu, Claire Lacombe and Théroigne de Méricourt being given civic crowns together, see Gazette nationale ou le Moniteur universel, September 3, 1792.

For Reine Audu taking part in the women’s march on Versailles, see Reine Audu: les légendes des journées d’octobre (1917) by Marc de Villiers.

For Marie-Antoinette calling Lamballe ”my dear heart,” see Correspondance inédite de Marie Antoinette, page 197, 209 and 252.

For Marie-Antoinette disliking Madame du Barry, see https://plume-dhistoire.fr/marie-antoinette-contre-la-du-barry/

For Marie-Antoinette disliking Anne de Noailles, see Correspondance inédite de Marie Antoinette, page 30.

For Louise-Élisabeth Tourzel and Lamballe being friends, see Memoirs of the Duchess de Tourzel: Governess to the Children of France during the years 1789, 1790, 1791, 1792, 1793 and 1795 volume 2, page 257-258

For Félicité de Genlis being the mistress of Louise Marie Adélaïde de Bourbon’s husband, see La duchesse d’Orléans et Madame de Genlis (1913).

For Pétion escorting Madame Genlis out of France, see Mémoires inédites de Madame la comptesse de Genlis…, volume 4, page 99.

For the relationship between Félicité de Genlis and Louise de Kéralio Robert, see Mémoires de Madame de Genlis: en un volume, page 352-354

For the relationship between Félicité de Genlis and Germaine de Staël, see Mémoires inédits de Madame la comptesse de Genlis, volume 2, page 316-317

For the relationship between Félicité de Genlis and Théophile Fernig, see Mémoires inédits de Madame la comptesse de Genlis, volume 4, page 300-304

For the relationship between Félicité de Genlis and Félicité Brissot, see Mémoires inédites de Madame la comptesse de Genlis, volume 4, page 106-110, as well as this letter dated June 1783 from Félicité Brissot to Félicité Genlis.

For the relationship between Félicité de Genlis and Théresa Cabarrus, see Mémoires de Madame de Genlis: en un volume (1857) page 391.

For Félicité de Genlis inviting Lucile to dinner, see this letter from Sillery to Desmoulins dated March 3 1791.

For Marinette Bouquey hiding the husbands of madame Buzot, Pétion and Guadet, see Romances of the French Revolution (1909) by G. Lenotre, volume 2, page 304-323

Hey, don’t say I didn’t warn you!

[papillondusublime]

Comme je descendais des Fleuves impassibles, Je ne me sentis plus guidé par les haleurs : Des Peaux-Rouges criards les avaient pris pour cibles, Les ayant cloués nus aux poteaux de couleurs.

J’étais insoucieux de tous les équipages, Porteur de blés flamands ou de cotons anglais. Quand avec mes haleurs ont fini ces tapages, Les Fleuves m’ont laissé descendre où je voulais.

Dans les clapotements furieux des marées, Moi, l’autre hiver, plus sourd que les cerveaux d’enfants, Je courus ! Et les Péninsules démarrées N’ont pas subi tohu-bohus plus triomphants.

La tempête a béni mes éveils maritimes. Plus léger qu’un bouchon j’ai dansé sur les flots Qu’on appelle rouleurs éternels de victimes, Dix nuits, sans regretter l’oeil niais des falots !

Plus douce qu’aux enfants la chair des pommes sures, L’eau verte pénétra ma coque de sapin Et des taches de vins bleus et des vomissures Me lava, dispersant gouvernail et grappin.

Et dès lors, je me suis baigné dans le Poème De la Mer, infusé d’astres, et lactescent, Dévorant les azurs verts ; où, flottaison blême Et ravie, un noyé pensif parfois descend ;

Où, teignant tout à coup les bleuités, délires Et rhythmes lents sous les rutilements du jour, Plus fortes que l’alcool, plus vastes que nos lyres, Fermentent les rousseurs amères de l’amour !

Je sais les cieux crevant en éclairs, et les trombes Et les ressacs et les courants : je sais le soir, L’Aube exaltée ainsi qu’un peuple de colombes, Et j’ai vu quelquefois ce que l’homme a cru voir !

J’ai vu le soleil bas, taché d’horreurs mystiques, Illuminant de longs figements violets, Pareils à des acteurs de drames très antiques Les flots roulant au loin leurs frissons de volets !

J’ai rêvé la nuit verte aux neiges éblouies, Baisers montant aux yeux des mers avec lenteurs, La circulation des sèves inouïes, Et l’éveil jaune et bleu des phosphores chanteurs !

J’ai suivi, des mois pleins, pareille aux vacheries Hystériques, la houle à l’assaut des récifs, Sans songer que les pieds lumineux des Maries Pussent forcer le mufle aux Océans poussifs !

J’ai heurté, savez-vous, d’incroyables Florides Mêlant aux fleurs des yeux de panthères à peaux D’hommes ! Des arcs-en-ciel tendus comme des brides Sous l’horizon des mers, à de glauques troupeaux !

J’ai vu fermenter les marais énormes, nasses Où pourrit dans les joncs tout un Léviathan ! Des écroulements d’eaux au milieu des bonaces, Et les lointains vers les gouffres cataractant !

Glaciers, soleils d’argent, flots nacreux, cieux de braises ! Échouages hideux au fond des golfes bruns Où les serpents géants dévorés des punaises Choient, des arbres tordus, avec de noirs parfums !

J’aurais voulu montrer aux enfants ces dorades Du flot bleu, ces poissons d’or, ces poissons chantants. – Des écumes de fleurs ont bercé mes dérades Et d’ineffables vents m’ont ailé par instants.

Parfois, martyr lassé des pôles et des zones, La mer dont le sanglot faisait mon roulis doux Montait vers moi ses fleurs d’ombre aux ventouses jaunes Et je restais, ainsi qu’une femme à genoux…

Presque île, ballottant sur mes bords les querelles Et les fientes d’oiseaux clabaudeurs aux yeux blonds. Et je voguais, lorsqu’à travers mes liens frêles Des noyés descendaient dormir, à reculons !

Or moi, bateau perdu sous les cheveux des anses, Jeté par l’ouragan dans l’éther sans oiseau, Moi dont les Monitors et les voiliers des Hanses N’auraient pas repêché la carcasse ivre d’eau ;

Libre, fumant, monté de brumes violettes, Moi qui trouais le ciel rougeoyant comme un mur Qui porte, confiture exquise aux bons poètes, Des lichens de soleil et des morves d’azur ;

Qui courais, taché de lunules électriques, Planche folle, escorté des hippocampes noirs, Quand les juillets faisaient crouler à coups de triques Les cieux ultramarins aux ardents entonnoirs ;

Moi qui tremblais, sentant geindre à cinquante lieues Le rut des Béhémots et les Maelstroms épais, Fileur éternel des immobilités bleues, Je regrette l’Europe aux anciens parapets !

J’ai vu des archipels sidéraux ! et des îles Dont les cieux délirants sont ouverts au vogueur : – Est-ce en ces nuits sans fonds que tu dors et t’exiles, Million d’oiseaux d’or, ô future Vigueur ?

Mais, vrai, j’ai trop pleuré ! Les Aubes sont navrantes. Toute lune est atroce et tout soleil amer : L’âcre amour m’a gonflé de torpeurs enivrantes. Ô que ma quille éclate ! Ô que j’aille à la mer !

Si je désire une eau d’Europe, c’est la flache Noire et froide où vers le crépuscule embaumé Un enfant accroupi plein de tristesse, lâche Un bateau frêle comme un papillon de mai.

Je ne puis plus, baigné de vos langueurs, ô lames, Enlever leur sillage aux porteurs de cotons, Ni traverser l’orgueil des drapeaux et des flammes, Ni nager sous les yeux horribles des pontons.

-Le bateau ivre, Arthur Rimbaud

[maximumwobblerbanditdonut]

The Culte series, due October 18, 2024 on Prime Video, traces the beginnings of reality TV in France with the launch of Loft Story in 2001. Created by Matthieu Rumani and Nicolas Slomka, the drama series features a group of young producers desperate to revolutionise television.

With a cast including Marie Colomb, Anaïde Rozam and César Domboy, Culte offers a fascinating behind-the-scenes look at the show that turned French society upside down.

All together for the very original press conference in a house in the colours of the series.

Credit @aljofficiel - Alexia Laroche-Joubert, Television producer and President of Banijay France 🇫🇷

@primevideofr #culte #CésarDomboy

Posted 10th October 2024

[photoclic64]

Les colombes de Manu, Tarnos

Jean-Marie SUHUBIETTE

[copperbadge]

Marie Laurencin painted this, titled "Portrait de femme à la colombe", in 1932, and it reminded me of many pigeon-lovers of my acquaintance. Also, she painted one called Les Biches which is both a fantastic painting and a great title.

I'm always on the lookout for female artists I like, because female artists are so rarely featured or given exposure, and also every time I see a post about Stuart Semple and Anish Kapoor I make a point to post a female artist's work instead of reblogging it.

[ID: A painting of a woman in a fantastic multi-layered hat and matching outfit, from the shoulders up; her face is extremely pale, with a small curving red mouth and dark eyes, and a mass of light brown hair under the hat. She is looking down at a corner of the painting, where a white dove perches, looking up at her. The echo of the dove's coloration and dark eyes in the face of the woman is pronounced.]

[cinemgc]

As bestas (2022, ES-FR)

• Dirección: Rodrigo Sorogoyen

• Guion: Isabel Peña, Rodrigo Sorogoyen

• Cinematografía: Álex de Pablo

• Cast: Marie Colomb

[proustianlesbian]

j'aime vraiment beaucoup cette scène, et il y a quelques temps, j'ai fait un post sur comme quoi j'aurais aimé les voir se mettre ensemble, du coup petit édit (j'en ai fait une version en format 4:3 aussi). et je poste ça maintenant car marie colomb et daphné patakia viennent de la poster en story avec "❤️" et "❤️‍🔥" du coup je considère mon ship canon !!

[ehohadele]

part 2/2 des colombes du roi-soleil

[lunamagicablu]

Le Pleiadi erano sette sorelle: Maia, Alcione, Asterope, Celeno, Taigete, Elettra e Merope. Figlie di Atlante, il titano a cui Zeus aveva affidato il compito di sostenere la Terra, e di Pleione, la dea protettrice dei marinai.

In seguito a un fortuito incontro con Orione, le Pleiadi e la loro madre diventano preda del cacciatore. Per proteggerle dagli assillanti assalti amorosi di lui, Zeus le tramuta in colombe e le libera in cielo. Si dice anche che Zeus fosse il padre di tre delle sorelle.

Le Sette sorelle sono spesso associate a figure marine per questo simboleggiano i mari, le acque, i fiumi, la pioggia e il gelo. Conosciute anche con il nome di Oceanidi, alcune fonti rivelano che il loro nome derivi dall’antico termine greco plein, ossia navigare.

Maia – è la maggiore delle sorelle nota per la sua straordinaria bellezza e per la sua vita solitaria. Nonostante fosse molto bella, era una donna timida e riservata che prediligeva la solitudine e viveva da sola in una caverna. Il suo nome significa “madre” in latino, ma racchiude anche il significato di “fecondità”, perciò i Romani la consideravano la dea della primavera da cui deriva il nome del mese di maggio.

Alcyone (Ally) – è la seconda delle sorelle, ma è conosciuta per essere la più forte. Durante i giorni di Alcione, quando il mondo era pervaso di gioia, prosperità e quiete, lei vegliava sul Mar Mediterraneo rendendolo sicuro per i marinai. Sposata con Ceice, re della Tessaglia, i due ingannarono Zeus ed Era, facendosi passare per loro. Zeus per vendicarsi, aspettò che i due si separassero, per scatenare una tempesta che affondò la nave di Ceice che morì affogato.

Asterope (Stella) – è il nome greco per “stella” e viene rappresentata, nella tradizione, come la più debole delle sorelle proprio a causa della sua ridotta luminosità. Fu la madre di Enomao, figlio di Ares, dio della guerra. In altre versioni del mito invece è la moglie dello stesso Enomao da cui ebbe quattro bambini.

Celeno (Ce-Ce) – significa “melone” o “scuro”. Proprio come Asterope, la sua luminosità è ridotta, rispetto alle altre, perché si narra sia stata colpita dal fulmine di Theo. Ebbe numerosi figli: Lico (il lupo) e Chimera (in parte leone, drago e capra) da Prometeo; nonché Lico e Nicteo da Poseidone, dio del mare.

Taigete (Tiggy) – la mitologia vuole che vivesse in solitudine tra le montagne come la sorella Maia. Artemide, il suo amato, la tramutò in colomba così da sfuggire all’amore che Zeus nutriva nei suoi confronti. Anche Ercole provò a sedurla.

Elettra – nota per essere la terza stella più brillante della costellazione, ebbe quattro figli tra cui Dardano, fondatore della città di Troia. In alcune storie si narra che Elettra fosse la “Pleiade perduta”, poiché scomparve in seguito alla caduta di Troia e alla morte del figlio.

Merope (la sorella perduta) – fu l’ultima stella a essere mappata dagli astronomi perché invisibile a occhio nudo. Tra le più belle della costellazione, è soprannominata la “stella perduta” per aver nascosto il volto dalla vergogna di essere sposata a un mortale, Sisifo. Altri dicono che si vergognasse perché Sisifo era un criminale, la cui pena era spingere un pesante masso in cima a una vetta che poi rotolava sempre giù. La somiglianza con il padre di Merope, Atlante, che doveva sopportare sulle spalle il peso del mondo, è molto chiara. Lucinda Riley seven sisters by MelekatosheeOleak ************************ The Pleiades were seven sisters: Maia, Alcyone, Asterope, Celeno, Taigete, Electra and Merope. Daughters of Atlas, the titan to whom Zeus had entrusted the task of supporting the Earth, and of Pleione, the patron goddess of sailors.

Following a chance meeting with Orion, the Pleiades and their mother become the hunter's prey. To protect them from his nagging amorous assaults, Zeus turns them into doves and releases them into the sky. It is also said that Zeus was the father of three of the sisters.

The Seven Sisters are often associated with marine figures for this reason they symbolize the seas, waters, rivers, rain and frost. Also known by the name of Oceanides, some sources reveal that their name derives from the ancient Greek term plein, that is to navigate.

Maia – is the eldest of the sisters known for her extraordinary beauty and for her solitary life. Although she was very beautiful, she was a shy and reserved woman who preferred solitude and lived alone in a cave. Her name means "mother" in Latin, but also contains the meaning of "fecundity", therefore the Romans considered her the goddess of spring from which the name of the month of May derives.

Alcyone (Ally) – is the second of the sisters, but she is known to be stronger than her. During the days of Alcyone, when the world was full of joy, prosperity and peace, she watched over the Mediterranean Sea making it safe for sailors. Married to Ceyx, king of Thessaly, the two deceived Zeus and Hera, pretending to be them. Zeus to take revenge, waited for the two to separate, to unleash a storm that sank Ceyx's ship who drowned.

Asterope (Stella) - is the Greek name for "star" and she is traditionally represented as the weakest of the sisters precisely because of her reduced brightness. She was the mother of Oenomaus, son of Ares, god of war. In other versions of the myth she is the wife of Oenomaus himself, with whom she had four children.

Celeno (Ce-Ce) – means “melon” or “dark”. Just like Asterope, her luminosity is reduced, compared to the others, because she is said to have been struck by Theo's thunderbolt. She had numerous children: Lico (the wolf) and Chimera (partly lion, dragon and goat) by Prometheus; as well as Lico and Nicteo from Poseidon, god of the sea.

Taigete (Tiggy) – mythology has it that she lived alone in the mountains like her sister Maia. Artemis, her beloved, turned her into a dove so as to escape the love that Zeus had towards her. Hercules also tried to seduce her.

Electra – known to be the third brightest star in the constellation, she had four children including Dardanus, founder of the city of Troy. In some stories it is said that Electra was the "Lost Pleiad", as she disappeared following the fall of Troy and the death of her son.

Merope (the lost sister) – was the last star to be mapped by astronomers as invisible to the naked eye. Among the most beautiful of the constellation, she is nicknamed the "lost star" for having hidden her face from the shame of being married to a mortal, Sisyphus. Others say she was ashamed because Sisyphus was a criminal, whose punishment was to push a heavy boulder to the top of a peak which then always rolled down. The resemblance to Merope's father Atlas, who had to bear the weight of the world on his shoulders, is very clear. Lucinda Riley seven sisters by MelekatosheeOleak