#en i baba

[mchiti]

also moroccan fathers will tell you to listen to french music to improve your french and it's fucking michel sardou again

[sukugo]

[hometoursandotherstuff]

Contemporary BaBa Yaga house has little legs!

Wow, another Airbnb up for sale (I even checked and the listing has been removed). BUT, the realty is selling raffle tickets for a 2 night stay in it at $20 a pop. It was built in Ransom Canyon, Texas, and was recently redone. 3bds, 3ba, $2M + $60 yearly HOA fee. Take a look at this unique home.

Check the entrance out. Love the swirls and colored glass windows.

If you can walk on the area to the right, it definitely needs a railing.

Look at the powder room door.

Wow, check out the living room and those windows. I don't know if the furnishings convey b/c the description doesn't specify.

I'm lovin' this, it's like living inside a maze or something. Notice that the curves seen to be shaped from strips of thin wood & metal.

Beautiful view of Ransom Canyon Lake.

Spacious dining room is above the living room.

If you're looking for a huge, elaborate kitchen, this isn't it. But, it's fully equipped and gets lots of light from the big window.

This is cool- a counter for everyday dining right in front of the window.

I also like the artsy metal rods.

The primary bedroom has lots of beautiful stained glass and stairs to the 2nd level.

Check out this bath. Nice large shower and lots of curves and color.

The secondary bedroom is also beautiful.

Wow, look at this.

Look at the glass arch on this bedroom.

Double doors and a great view. All of the bedrooms have different features.

En-suite for this room.

Isn't this amazing? They didn't scimp on the other 2 bds.

This is crazy- look at the sculpture. There's a coffee bar and mini fridge left over from the Airbnb days.

The stairs come up to this bath.

There's no yard, per se, but it does have this terrace with a view of the lake.

[sezginer35]

BÖYLEDE ŞİİR YAZILIR MI....

HESAPLAR BENDEN

Usta bana iki yürek arası

Biraz sevda sarıver

Ama, içinde acı olmasın.

Sosunu da mutluluktan sürüver

Tadı damağımda kalsın.

Yanına bir şişe de şarap aç

İstemem çerez falan

Mezesi şiir olsun.

Aşk Cemal Süreya ’dan

Özgürlük Nazım ’dan olsun.

Savursun küfürleri Can Baba

Kötülerin gelmişine geçmişine..

Ataol Behramoğlu

"Ne çok hain var" desin bu ülkede.

Ve Orhan Veli,

İstanbul ’u anlatsın bize

Gözleri kapalı ..

Özdemir Asaf ’ı da unutma ha..

Anahtar onda.

Sonra kalırız dışarda.

Şükrü Erbaş’ı, Abbas Sayar’ı

Rıfat Ilgaz’ı ,Ahmet Arif ’i

Hele de

Hasan Hüseyin,

Olmazsa olmazıdır

Kavganın direnişin.

Sevdiğim bütün şairleri istiyorum

Bu gece.

İçelim birlikte şiirin şerefine

İşte o demde,

Değmeyin benim keyfime.

Ve en güzel şarkılar,

Eşlik etsin arka fondan

İçinde ayrılık hasret olmayan.

Gel otur yanıma usta

Yalnız gitmez bu meret

Kendine de söylemeyi unutma

Kafamız güzel olunca,

Güler ağlarız birlikte.

Bitince gece,

Sızarız bir köşede.

Ama itiraz istemem

Bütün hesaplar benden...

Melahat çetinkaya

Sizlerde eklerseniz sevdiğiniz şarkilardan çok sevinirim 🙏🐸

[findingnemosworld]

𝐛𝐢𝐫𝐭𝐡𝐝𝐚𝐲 𝐛𝐨𝐲 - 𝐝𝐨𝐦𝐢𝐧𝐢𝐤 𝐬𝐳𝐨𝐛𝐨𝐬𝐳𝐥𝐚𝐢

• 𝐫𝐞𝐪𝐮𝐞𝐬𝐭𝐞𝐝 𝐛𝐲: 𝐭𝐡𝐞 𝐦𝐚𝐬𝐬𝐞𝐬!!

𝐬𝐲𝐧𝐨𝐩𝐬𝐢𝐬: 𝐭𝐡𝐞 𝐛𝐢𝐫𝐭𝐡𝐝𝐚𝐲 𝐛𝐨𝐲 𝐠𝐞𝐭𝐬 𝐰𝐡𝐚𝐭 𝐡𝐞 𝐰𝐚𝐧𝐭𝐬!

𝐭𝐫𝐢𝐠𝐠𝐞𝐫 𝐰𝐚𝐫𝐧𝐢𝐧𝐠: 𝐭𝐡𝐢𝐬 𝐢𝐬 𝐛𝐚𝐬𝐢𝐜𝐚𝐥𝐥𝐲 𝐩*𝐫𝐧 𝐰𝐢𝐭𝐡 𝐚 𝐭𝐞𝐞𝐧𝐲 𝐭𝐢𝐧𝐲 𝐬𝐩𝐫𝐢𝐧𝐤𝐥𝐞 𝐨𝐟 𝐩𝐥𝐨𝐭.

𝐚𝐮𝐭𝐡𝐨𝐫'𝐬 𝐧𝐨𝐭𝐞: 𝐡𝐚𝐩𝐩𝐲 𝐛𝐢𝐫𝐭𝐡𝐝𝐚𝐲 𝐝𝐨𝐦𝐢, 𝐦𝐚𝐲 𝐭𝐫𝐞𝐧𝐭 𝐬𝐡𝐨𝐰𝐞𝐫 𝐲𝐨𝐮 𝐰𝐢𝐭𝐡 𝐚𝐥𝐥 𝐭𝐡𝐞 𝐥𝐨𝐯𝐞 𝐭𝐡𝐞𝐫𝐞 𝐢𝐬 𝐭𝐨 𝐠𝐢𝐯𝐞 😘

" Angyalok, where are you? "

She heard his deep voice echo through the living room while she was in the en-suite bathroom adjusting the maroon lingerie set she had purchased, the details were a mixture of lace and silk that complimented her skin tone; once she was certain that everything was in place - she covered her surprise with one of his Leipzig jersey's she had lying around just as she heard his footsteps inside of the bedroom, " Baba? "

She inhaled a deep breath then exhaled before leisurely treading out to face him, with a soft and seemingly innocent smile across her crimson coated lips. " There's the birthday boy "

His face lights up in joy and relief, " Didn't you hear me? " he wonders as he pressed a kiss to her forehead.

The gesture sent flutters straight through her heart; just then she looks up at him and replies, " I did but I wanted to adjust the surprise I had "

His brows knit in pure confusion, " Surprise? " he echoed.

She nods, with a visible beam across her features. " Domi, do you trust me? "

He smiles, " Of course I do baba, why do you ask? "

" Sit at the edge of the bed then " She responds, gesturing to their bed.

He glances at the bed then back at her, " Édesem? "

Her eyes widen, a trick she often used on him whenever she needed anything, her lips pucker in a pout as she said. " Domi, sit at the edge of the bed, pretty please "

He chuckles then shrugs, " Alright, I'll bite " he treads towards the bed, sitting at the edge. " Now what? "

Three minutes had passed before she finally walked up to him, she stood between his legs; tentatively caressing his stubbled cheeks with her hands eliciting a soft half sigh half moan from him, " Baba? what are you doing? "

" It's 12:00am, which means it's October 25 " She starts with a soft tone, her thumbs caress the apples of his cheeks, the action eliciting a smile from the two of them. " which also means it's your birthday " she leans in to press a kiss on his head.

He breathes out a soft sigh, resting his forehead on her abdomen, his hands reaching in to knead the soft skin before she swats them away, he lifts his head up and pouts, " Baba, why did you do that? "

She giggled in response, leaning in to peck his lips, " Because I have a surprise ... " just then, she kneeled down to her knees in front of him.

His eyes widened, a surge of crimson coating his cheeks, his breaths grew labored; he swallowed a visible lump in his throat. " Kislány " he whispers.

Her hand palmed him through the front of his pants, eliciting a low whine from him. " I've always wanted to do that " she whispers, mostly to herself; just then, she gently pulls both his pants and boxers to free him from the restriction, her gaze is momentarily fixated on the tip of his cock, pleading for attention, she looks up at him to add on, " Can I Domi ? " she whispers.

He chuckles softly, his digits threading through her hair," Do you even have to ask édes lepke? "

She smiles, tentatively wrapping her petite hand around the sensitive skin. " Is this alright? "

A strangled moan erupts from his lips followed by a gasp, " It's more than alri- Oh Fuck! " his eyelids flutter shut, he leans his head back to allow himself to truly relish in the moment; his digits continue to stroke her hair, " Oh baba, you're taking my cock so well in your mouth "

She'd taken as much of him as she could while her free hand stroked the rest to create an even rhythm, she looks up and in that moment, she wished she could frame the sight she saw in her mind for all eternity, her boyfriend was undone entirely, his brows knit with his eyes tightly shut; labored breaths erupting from his parted lips, the mere sight shot waves of desire straight to her pulsing walls that craved his tongue.

He struggled as she'd thrust her warm lips in and out, coating his length with her spit; all of a sudden, he felt tongue lick a stripe through the underside causing his eyes to widen, " Baba " he sighs, whimpering. " Istenem, annyira jó vagy ebben, Istenem ... "

The sounds they made in unison were enough to spur her into using her free hand to caress her swollen pussy, the action catching his attention. " Baba, I'm going to cum "

She pulls back, with only the tip buried inside of her mouth; her hand stroked at a rapid pace, while her tongue licked stripes against his slit to spur him on.

" Fuck, yes baba ... that's it " He cooed, caressing her hair before pulling it into a makeshift ponytail; just then, he tenses, letting out a deep groan before muttering, " Milyen édes kislány, hogy így vigyáz rám "

She laps up every single bit before pulling back, a trail of spit connecting her lips to the tip of his cock; just then, without so much of a warning, she's hoisted up to his lap. " Did you like the first part of your birthday gift? " she wonders, giggling when he attacked her neck with gentle kisses and bites.

" There's a second part? " He echoes, lifting his head up to look up at her curiously before adding on with a laugh, " I mean, what else could top you sucking the day light out of me with those gorgeous ... " he pecks her lips, " lips you got "

Instead of responding, she lifts the hem of his jersey, lifting the material over her head to reveal the 'surprise' she had on, his gaze trails over her figure before darting back up to her eyes, she smiled sweetly. " Well? "

He slammed his lips onto hers, soft groans emitting from him. " You'll be the death of me pillangó " he whispers against her lips.

She giggled then replied, " We can't have that happening to the birthday boy, now come on " she interlocked their hands together, looking down for a moment before adding on. " Don't you want to unwrap your gift? "

He lifts both of her hands, peppering them with soft pecks before he muttered. " I thought you'd never ask "

She lifts his t-shirt over his head, cradling his face between her hands while his diligent digits unclasp the bra; moving on to untie the small knots which loosened the material for him to slip it off of her, his lips pull back to trail kisses across her jaw, down to her neck, to her shoulder and then down to her breasts, one hand caresses and squeezes one while his lips wrapped around the other, she sighs softly, " Domi " - He grunts in response, rolling his tongue around her nipple in a circular motion before directing his attention to the other one.

Once he was satisfied with his work, he lifts his head up to capture her lips back in a searing kiss, he pushed her onto the bed, her back hitting the mattress while he proceeded to undress himself entirely then her, he caged her in his arms while they continued to exchange passionate kisses; suddenly, he pulls back to rest his forehead over hers. " Baba "

She hums in response, " What is darling? "

He smiles, pecking her lips before he caressed her soft cheek with his hand. " Szeretlek, jobban szeretlek, mint ahogy igazán ki tudom fejezni, édes lányom "

She wasn't a stranger to the times he would choose to speak in his mother tongue; while she'd often not understand some of what he says, in this very moment - his gaze spoke more of the meaning behind his words, she wraps one arm around him to tug him into a sweet kiss before whispering, " Domi "

" Igen, édes kislány " He murmurs, pecking her lips a few times.

" I need you " She said, with a soft almost inaudible tone. " Please! "

His eyes flutter a shut; a deep groan erupts from him. " I thought you'd never ask " he whispers, " however, I have a condition since it is my birthday, and I get what I want "

She smiles, " Go ahead then, birthday boy? "

He lies down next to her, gesturing to his lap which prompted her to giggle, climbing on top of him. " Ride me édes kislány, ride my cock "

Excitement lights up her features at his request, she adjusts her position, using her hand to guide his cock inside of her slick walls, the pair moaning in unison at the deliciously torturous friction. " Fuck Domi " she whines.

" I know kicsikém " He groans, reaching over to rub her clit with his thumb. " Every time is better than the last, your pussy was made for me kicsikém "

She composed herself before setting the perfect pace for the two of them, " Domi, you feel so good "

" So do you ... your perfect pussy wrapped around my cock " He sighs, lifting himself up to busy himself with tending to her breasts.

Her thrusts grew rapid, so much so that the room was full of the sound of skin to skin contact, " Domi " she whispers, biting her lip.

" You're going to cum hm? I can feel you squeezing my cock kislány " He whispers in her ear before pressing a kiss behind her ear.

" Oh my god, I'm close " She whimpers, her eyes brimming with tears. " Fuck Domi, just like that "

He ups the friction on his end, his lips parted releasing labored breaths and groans, " Baba, cum for me " he moans in her ear. " Let's cum together, I'm right there with you "

His thrusts weakened; their lips reconnected immediately before a muffled moan escaped from the two of them, followed by them collapsing on top of the bed - two minutes had passed before he tugs her close to him to kiss her once more then whisper, " Thank you for this lovely present baba "

" My pleasure " She beams.

They lay there, gazing into each other's eyes with pure adoration before he broke the silence by whispering, " I'm in the mood for a shower? "

The undertone behind 'shower' elicited a giggle from her, " A shower? as in .... "

He smirks, " as in me fucking you senseless there, so yes or no? "

" You won't find any rejecti- Oh my god " She laughs the moment he hoists her up in his shoulder taking her into the bathroom.

" You said it's my birthday, and I'm going to take full advantage of that " He smiles.

[slaviclore]

cheatsheet to your slav folkloric downfall

Since several people had questions about the lore that inspired this poll, I'll jot some notes down about what I was thinking. All of these have long and complex tradition that can't possibly fit in a tumblr post, but there's tons of great content on tumblr alone, so pls feel free to scroll through my tags for more info (you may like "demons", "witches", or "original art" for contemporary interpretations of the lore...) or use this post as a springboard for more research.

Because much of Slavic folklore was passed down orally and not written down, and because it covers a wide geographical range and is told in different languages, there are many versions of common stories, tropes, characters, etc.

***

Baba Yaga is a witch, super popular, tons of great lore about her, historical and contemporary. She was never just one single entity, but rather a version of herself in many different stories (more like fanfiction than like canon). Her character is inherently unpredictable, existing outside our societal rules and moral compass, and the variability in lore makes her even more impossible to predict. A young woman named Vasilisa did manage to perform all of Baba Yaga's tasks to her instruction, but not without her own magical help. Sometimes Baba Yaga is helpful and reasonable, and sometimes she will just casually eat you like a handful of berries. You never know what you're going to get.

The fern flower is a beautiful mythical flower that offers its holder immense knowledge and magic. It blooms very briefly only once a year during Noc Kupały (in Polish, the EN is Kupala Night). If you want to find it, you'll probably grab your boyfriend (gender neutral) around dusk and poke around your local woods for a while before giving up and just making out and then meeting up with your friends afterwards like "did you find it?" "no we didn't find it :( did you find it?" "nooo :(". Really, this is about seducing the boy you like, since you probably need magic just to see the flower anyway. If you do manage to find it and pick it, tons of greedy demons will appear and chase you to attempt to take it from you (and your life). You have to outrun or outsmart the demons. The demons may be metaphors for the corrupting forces of great power.

There are tons of ways to get lost in the woods. Some people help themselves by tying ribbons to trees as they go, but anything can spook you -- you can run into a demon, a werewolf, a ghost, a witch, a cat, anything -- and if you have to run away, you will most likely lose your way in the process. More specifically, if you have annoyed a leshy (a forest spirit/god-type thing who protects nature), he will use magic to confuse you, and even if you're very good at Not Getting Lost In The Woods, you're kind of screwed. You think YOU won't piss off the Leshy? Oops you just stepped on his favorite beetle -- screwed. Leshy can be placated with offerings of food and drink, but sometimes he needs something bigger...

There are actually lots of hot girls who live in lakes, much to the delight of about 20% of you, but probably the most common are the rusalki -- dead girls who experienced some tragedy in life, probably ending in drowning, and are now exacting revenge on the living, especially men. They will seduce you, take you into the water, and drown you with their hair, or possibly tickle you to death. Baby marry me, amirite? The original rusalka lore was probably nicer to them, treating them more like water spirits than vengeful ghosts. Rusalki are not mermaids and appear as women with legs. We do have mermaids, but usually these are river or sea beings -- the most famous is probably Syrenka Warszawska (the Warsaw Mermaid) who lives in the river Wisła and will not attempt to kill you unless you're trying to invade Warsaw, but also she's a warrior queen and you have no shot.

Slavic mythological entities love riddles, and if you're good at riddles you are really going to help yourself, but you don't want to get into that situation unless you have no other choice. A common demon you meet on the side of the road will probably not give you a hard one, but Poludnica (the Slovak name) will find you at high noon while you're working hard in the fields and the sun's been beating down on your head since dawn and you're feeling woozy and dehydrated, and she'll give you the hardest riddle you've ever heard, and you're going to blow it, and she's going to cut off your head with her scythe or give you heat stroke. If it's any consolation, she may be hot (pun intended). Pro tip: you may also wield riddles to your advantage. Demons are as egoistic as you are and can be enticed into solving your riddle. If you stump them, you may assure your safe getaway.

Human characters in Slavic lore tend to be young and naive, representing the listener of the tale, since they can't use magic or navigate the world they are entering. Knowledge and magic are two sides of the same coin, so if you want to survive, you will need to gain some wisdom (learning some riddles will help). Being nice is not good enough, but! If by being nice you manage to seduce someone who has access to knowledge and magic, or get adopted by a bored witch with an axe to grind, you'll really help yourself out.

The path to the endless dead wood is guarded by a giant magical cat, whose name I never knew but have recently learned that the Russians call him Baiyun (latinized name, obvi). If you ask Vasilisa, she'll tell you that sometimes he lives with Baba Yaga, but generally he hangs out on the boundary to some other dimension. Probably, if you go to meet the cat, it's because somebody sent you there to get rid of you, so if you survive the cat, whoever is trying to kill you will probably keep trying so fyi. Baiyun will purr or tell a tale in such a soothing way that you fall asleep, and then he'll eat you. If you manage not to fall asleep, you may attempt to catch him and earn magic. But probably you're cat food.

***

There you have it. If you learned your story differently, let me know! And if you're ever lost in a Slavic forest, you can put your clothes on inside out and maybe that'll break the magic. Good luck.

[mirzablogg]

GAZZE'YE DEĞİL SİZ KENDİNİZE AĞLAYIN...

Dünyada nüfus oranına göre, en çok kitap okuyan GAZZEDİR.

Dünyada en çok hafız yetiştiren GAZZEDİR.

Dünyada tarihini unutmayan kinini en diri tutan şehir GAZZEDİR

9-10 yaşına gelen bir çocuk Kuran'ı Kerim hafızı olur.

HAMAS'ın askeri kanadı olan İZZETTİN EL KASSAM TUGAYLARI'na katılmanın ilk şartı KUR-AN-I KERİM HAFIZI olmaktır.

Hafız olmayanların eline silah vermiyorlar.

Kaza namazı olanları cepheye göndermiyorlar.

Cephe gerisinde savaştırıyorlar.

Siz bu ordunun yenileceğini mi sanıyorsunuz ?

Şehadet aşkıyla yanıp tutuşuyorlar.

Ölüme gitmeyi, düğüne gider gibi sayıyorlar.

İ.T.Ö. yaşamayı severken, HAMAS ölümü, şehadeti seviyor.

HAMAS, yenilmez. Ölür şehit olur ama asla yenilmez!

Siz kendinize ağlayın, kendi imtihanınızı tam veriyor musunuz diye ağlayın.

Senin namusun olan MESCİDİ AKSA yı koruyan müminlere MADDİ OLARAK sahip çıkmadığına ağla.

Kendi çocukların bilmem kaç yaşına gelmiş, KUR-AN-I KERİM okumasını bilmiyor, sen buna ağla.

Evinde hiç KUR-AN-I KERİM okunmuyor, buna ağla.

Hiç namaz kılınmıyor, buna ağla.

Çocukların kimin peşinden gidiyor, kimi örnek alıyor, siyonistlerin kültürel savaşında katlediliyor, bunu gör ve buna ağla.

5 yaşında, bombaların altında olan çocuk babasının yanına geliyor ve diyor ki;

Baba, hafız olmadan ölmek istemiyorum.

Keşke daha önce hafız olsaydım, öldüğümde hafız olarak Allahın huzuruna çıksaydım.

Çocuktaki derde bak, bir de bizdeki bizim çocuklarımızda ki dertlere bak...

Yine diyorum,

TÜM DÜNYA BİR ARAYA GELSE DE HAMAS YENİLMEZ, çünkü iki türlü de olsa, onlar için tek yol zafer!

ALLAH YARDIMCILARI OLSUN...alıntı

[adarkrainbow]

Romanian witches: Baba Cloantza

Last time I talked about Muma Padurii, the Forest Mom. And I promised you Baba Cloantza...

The whole idea of the Baba Cloantza is quite fascinating. When I read the article about the Romanian translations of Frau Holle which prompted me to do this series about Romanian witches (I'll talk more about this in the third part of the series), they evoked Baba Cloanta (yes, without the "z") as the traditional wicked witch and child-eating hag of Romanian fairytales. If you do research about Muma Padurii as I did before, you will sometimes find that "Baba Cloanta" can be an alternate name or identity for the Muma, especially in her "creepy wicked witch eating children soup" fairytale self. But if you research Baba Cloanta/Cloantza on her own, most of the time all you'll find is a mention saying "Baba Cloantza is the Romanian name of Baba-Yaga" or "Baba Cloanta is the Romanian equivalent of the famous Russian witch / she is the Carpathian Baba-Yaga".

Now... I do understand why everybody loves Baba Yaga, but I also understand why having Baba Yaga everywhere can be a problem. There is a reasoning behind saying "Baba-Yaga is a character present throughout all Slavic fairytales" and "Baba Yaga is a character of Eastern Europe fairytales"... But this oversimplification can cause a problem when it sweeps under the rug national "cousins" of the Baba Yaga. Again, remember that the Baba Yaga we know today was defined and shaped by Afanassiev's Russian Folktales... It is a specifically Russian character. Yes she does answer to and manifests an archetype present throughout Eastern Europe, and you have several Eastern European manifestations of a local Baba-Yaga... But then you have characters like Baba Cloantza. Who is indeed an equivalent to the Russian Baba Yaga... But she is still her own character, a specific Romanian entity, and saying she is just "Baba Yaga with a different name" can be a quite problematic claim...

So today I invite you to discover Baba Cloantza, a Romanian witch which yes, can be the Romanian translation of "Baba Yaga", but is also an alternate identity of Muma Padurii, as well as her own character with specific roots in Romanian folklore.

For this post I will rely onto an article written in French by Simona Ferent, "Baba Cloantza, la Yaga édentée" (Baba Cloantza, the Toothless Yaga) - it was published as part of a collection of studies and articles around the figure of Baba Yaga for a Sciences and Literature journal (it was called "Baba Yaga en chair et en os", "Baba Yaga in flesh and bone"). I literaly translated the article a long time ago and I do regret doing so because it might have made it quite unreadable... But if you can read French go check it out because it is one of the most complete resources I could find about Baba Cloantza online.

It is also because of this article that I write Baba Cloantza instead of "Cloanta", which Ferent highlighted as a better transliteration of the Romanian Cloanţa.

Baba Cloantza is one of the central witches of Romanian fairytales, and a well-known figure of the Carpathian folklore. But there is already a difference established between her and the Russian Baba-Yaga by her very name. Indeed "Cloantza" means an old woman, an ugly woman... a toothless woman. Hence the name of the article, "the toothless Yaga". Not only does this name evokes as such a toothless hag, it also insists upon her mouth, because "cloantza" is a pejorative name for a mouth. So the Baba Cloantza is a figure associated with the mouth - as much the decrepit toothless hole of an old ugly woman, as the devouring maw of the fairytale monster... and as the mouth from which ancient wisdom and magical secrets comes from. She is the "frightening wisdom", as Ferent says. Because, as a "baba", she is this ambiguous figure between the demon in human shape and the spiritual guide: the baba is the witch and the wise-woman, the isolated and lonely old woman that lives outside of the village, near or into the woods, the one who holds power over love, healing, divination and the weather... As such in fairytales she is the monster to fight and avoid, as much as the magical woman that will help the hero in his fight against a supernatural power, guide a lost traveller, or assist a woman with a tragic love story.

Ferent's article covers a wide range of sources and domains, as a testimony of the Baba Cloantza's huge presence in Romanian culture. The works of Vasile Alecsandri, where she is a prophet, a healer and a demon ; the ones of George Coşbuc where she is a leftover of an ancient Dacian goddess ; the modern, caricatural, buffoon-like depictions of Tudor Arghezi and Gelu Vlaşin ; and finally the great and iconic fairytale collections of Romania, those of Petre Ispirescu and Ion Creange, where the Baba Cloantza is a needed element within the hero's initiation and journey into the world/otherworld...

Given there is a lot of info, I will put this under a cut.

Simona Ferent identifies seven "faces" or seven "aspects" of the figure of the Baba Cloantza.

First, the Cloantza as the "village's oracle". In 1843, Vasile Alecsandri created a poem called "Kraiu-Nou" taking inspiration from the folktales surrounding the Sburător, a night-haunting supernatural entity embodying the "malevolent seduction", a sort of vampire preying upon sleeping women. This works depicts a countryside dominated by the moon - the "Kraiu-Nou" itself corresponds to the first phase of the moon, which is the most effective moment to formulate wishes (especially love wishes). The story describes Zamfira, which is a Romantic incarnation of the "beautiful, virgin, Romanian peasant girl", whi makes her own love wishes to the moon and becomes the prey of the Sburător. In this story, Baba Cloantza appears as a wise-woman who warns the girl of the danger that threatens her. She performs a divination ritual by looking into forty-one grains of corn, and by doing so she tells him she must flee a beautiful stranger with a soft voice (the vampire). [The poem notably opposes the frightful prediction of the baba with the predictions of the "wise men" and elders of the village who said Zamfira would have a happy life] The Cloantza even appears on a sort of mount that later turns out to be the very grave of the vampire... But despite all those warnings, Zamfira follows the eroticism and charms of the mysterious "lover of the shadows", who ends up stealing her life-force... Here Baba Cloantza is still the "old woman at the limit of the village", the physical margin of the community, and her role as an oracle highlights her ambiguity as the one who warns of the danger, but seems to cause it, since her prophecy is self-fulfilling. She is the first to mention the vampire before it appears, and she sits on what seems to be its grave... She tries to scare the girl away from the monster, but the way she describes him makes him appear seducing and conjures up the first fantasies of romance within Zamfira. As such, the baba Cloantza warns the girl of her doom... while throwing her (accidentaly?) in the arms of her killer. (There is also a whole thing to say about how the first crescent of the moon is strongly associated with the manifestation of ghosts and the apparition of malevolent beings ; and how the baba Cloantza embodies here an archetypal fear and archaic warning of sexuality, that the vampire embodies, as the one who preys upon the pure virgin girl...)

Second, the Cloantza as the "healer". In the folk-poem "Burueana de leac" ("the weed that heals"), we have a traditional depiction of the peasant man adressing a prayer/request to the village baba - in this case, we have the story of a man in love in such a desperate way he is ready to curse. The man, overtaken by a desire that strongly looks like a demonic possession (there are motifs of the extinguished sun , and the grave calling for the man), calls for the "mama Ileana", the only one able to "put out the fire" of his heart. The folklorist Alecsdandri explained that "mother Ileana" is another name for the "village baba" - more specifically it is the name of the healer of Romanian villages, who uses both plants and magical words, and bases her craft on the various times of the folk-calendar which mixes Christian celebrations with pagan feasts. This is all the ambiguity of this specific baba. On one side she refers to the Christian religiousness: she uses religious icons, the village's church, she sings in honor of the Virgin Mary or of God... On the other, her rituals are distinctively pagan: she uses flowers and weeds, she carries a supposedly magical water, her incantations are said to be "witchcraft" and she uses wands made of hazel-tree...

Third, the Cloantza as a caricature. The Romanian poets heavily relied on the figure of baba as the "village healer" - Tudor Arghezi depicted in 1948 a baba performing miracles within her village - said to know the spells of love that unite or separate lovers, as well as the remedies for various aches (from tooth-aches to heart-aches). But the portrait he makes of her is a caricature of a witch: she is a hunchback, who heals everybody with "two coal pellets and three lies", and refuses her services to the poor (due to being a greedy woman). This is no mistake that the poet makes "miracle" (minuni) rhyme with "minciuni", "lie". This baba is a scam. If we move to Gelu Vlaşin, we see baba Cloantza as an hallucination, or a psychological projection. The poet is half-drunk half-delirious, he wants to pay prostitutes but is too poor, so he goes looking for the "baba cloantza" so she can cast a "spell of wealth" onto him. And she appears in a middle of a series of very revealing symbols (dwarfs, circuses, prostitutes, spiders), in what the poet ultimately describes as a "fairytale for morons".

Ferent notably studies here a "variation" of the baba Cloantza, called the Baba Hârca. The Baba Hârca is a folktale character, an old witch who lives alone in a cavern within the depths of the woods, because she is afraid of humans, and who typically uses skulls (human or animal) for her magic rituals. "hârca" is a depreciative term for an old woman, an ugly woman or a wicked woman (or all three at once) - but it also means "skull", hence why the witch uses them to perform her spell. In the fairytales collected by Romanian folklorists we see that Baba Cloantza and Baba Hârca often appear as synonymous, in fact the two names can be used alternatively within a same fairytale. And in a Romanian "small-opera" of Romania created in 1848, by Matei Millo and Alexandru Flechtenmacher, it is under this name that the witch appears. "Baba Hârca, a small opera of witchcraft in two acts and three tableaux". Here the Hârca is actually a comical character appearing as a caricature of a gypsy woman, as well as a transvestite role (since the witch is played by Matei Millo himself).

Fourth, the Cloantza as a "ritualistic sorceress". Ferent reminds her reader that most of what we know of the Baba Cloantza has been "degraded" because it went through the literary imagination of a pastoral world disappeared (by authors who sang in a Romantic way the countryside of old), and through the prism of fairytales simplified for children - but she also reminds the reader of how the Romanian folklorists (such as Alecsdandri in his collect of "Cucul si Turturica") tried to identified the older roots of the folk-beliefs and superstitions. For example, in "Cucul si Turturica", the dialogue between the "cucul", the "cuckoo", a mysterious-dangerous bird son of a wicked witch, and the "turturica", the turtledove, the symbol of angelical love, we see a transcription of rural witchcraft. The "baba" preserved throughout the many proverbs of Romanian language is a supernatural entity within the village, a witch tied to the world of the demons. Baba Cloantza is recognized as different from regular human beings, but still accepted within the system of the community - because the witch is the intermediary between the living and the otherworld, and the catalyst of magical rituals. The baba, as the talented healer, "takes the ill upon her" - she is the mouth, as we saw, but the mouth that "sucks up" the evils to expel them in a symbolical way. The ritual is a manifestation of this "devouring" of the bad things, with an insistance on the power within the baba's words. The Cloantza, the "toothless", performs her magical as a ritualistic digestion (at least according to Ferent): she literaly feeds of the fears of the peasants, and uses as a magical "substance" her very words. This is why, while reflecting a distant, archaic form of hedonism and animism, the character of the baba always causes fear and fatalism... Let's return to the dialogue. The cuckoo is a playful, mischievious, jovial spirit who sings his desire and his determination, and will use the not-so-moral means his witch-mother taught him to seduce and have sex with the one he wants. Here, the malevolent influence of the Cloanta in romance becomes the game ; but a game of seduction filled with dangers, as symbolized by the objects the babas use. When a baba must bewitch a young man, she uses the bones of a bat trapped on Christmas Eve and buried alive in an anthill. With these bones, the Cloantza makes a hook to "hook" the heart of the one we want, and a small shovel to keep away those that are unloved.

Most of the powers of the baba seem to be tied to the element of water. The witch uses the water of rivers ; she can control the rain ; she uses holy water to cast spells, or she uses a "virgin water", "untouched water" (a term for enchanted water). Other elements can be used in baba rituals (the hazel-tree wand, the corn grains, the traditional "batic", the scarf around a peasant woman's head), and all they all call forward the society of the countryside, the world of the peasants where any everyday item can be filled with magic. Ferent reminds here of the importance of the communion with nature in the Romanian countryside. The peasant can sing a "doïna", a melancholic song, to his "spirit-brother", which can be a tree, a flower, a bird, an animal or the entire forest. All sorts of magical beings fill the countryside, such as the ielele (the "sirens of the woods") that inhabit hills and mountains. And if a young man is not careful when walking among the plains or choosing his travel-staff... he might get bewitched by the voice of a Cloantza, wandering forever, or snatched away in the sky "like an arrow flying". Only a knife stuck into the ground can break the spell of wandering.... Ferent also heavily insists upon the importance of recitation in spells: the baba always uses the "descântec", a form of invocation whose name means "a word, sung or recited, which can bewitch or break a spell". We have preserved a lot of these incantations, which were created for many various situations - there was a spell to heal snake-bites, there was another for people who feared to be alone... Or rather the fear of the "urât", a term quite difficult to translate, which literaly means "ugly", but explains a form of anguish towards the idea of being abandoned, mixed to a fear of the "other". Ferent proposes the idea of being "alone in a haunted house": that's the urât. To return to Baba Cloantza: she embodies all of the traits that were given to the village witch. Like them, she was here to offer magical solutions and answers to the very real needs and fears of the peasants.

Fifth, the Cloantza as the "shapeshifting female". The baba is also a manifestation of the archetype of the "Dreaded Mother" and the "Witch-Goddess" (or "Dreaded Goddess/Witch Mother ; or Mother Goddess and Dreaded Witch, however you like to arrange things). [Ferent highlights how there's always a multi-faced archetype of the "female", such as how the witch at the same time recalls ancient figures of priestesses or women initiated to the secrets of nature, and mythological characters such as Gaia, Maia, Circe, Demeter, Isis or Lilith]. The baba Cloantza is what happens when the "supreme female principle" becomes uncanny. For example, a recurring element in folk-mythology is that the baba can give birth to extraordinary physical beings. George Cosbuc, in "Atque nos!", reminds how the baba is the mother of a young man who was said to grow "in one year as much as others did in ten". George Cosbuc notably wrote texts celebrating the "magico-religious alchemy" that give birth in Romania to a rich gallery of female mythical beings: the baba Dochia (with probably Dacian origins), the Mama-Noptii (Mother of Night) surrounded by vampire-being, as well as the female Saints Tuesday, Friday, Wednesday and Thursday (described as pagan phantasm born of a Christianization of the deities of the Greco-Roman pantheon that were Mars, Zeus, Venus and Mercury). In fairytales, the baba usually appears as the embodiment of a wild elemental power.

The writer Ion Creangă, in the famous fairytale "Povestea porcului" (The tale of the pig), fragments the "baba" in three steps. First, she is the elderly peasant-woman who, despaired by her own sterility, adopts a pig she raises as a son (and will turn out to be a Prince Charming under a curse). Second, she is the Three Saints (Saint Wednesday, Saint Friday and Saint Sunday), three witches that will guide the heroine in her initiation-journey to find back her husband (the pig/prince she lost by throwing his pig-skin/pig-disguise into the fire). In a third time, the baba is "baba Cloantza the Toothless", the hag that keeps the prince her prisoner with malevolent powers. The pig-prince-hero not only will manage to outwit the Cloantza and find back his beloved, he will also free her from the spell that prevented her from givng birth (a four-year spell!). This story is haunted by the idea of the "cursed procreation", declined in three aspects. 1) the sterility of the old woman 2) the spell that prevents the heroine from giving birth to the child she is pregnant with 3) the idea of giving birth to a demon. When the pregnant heroine travels to the baba Cloantza's domain, she goes through a hellish-landscape filled with dragons and 24-headed otters, but especially in a world ruled by greed, cunning and wickedness. Here the wicked witch is formed as the antithesis of the naive young princess. The fairytale calls baba Cloantza "Hârca" (the name is invoked when the narration insists upon her old age, her crooked mind, and ugliness), but it also gives her the name Talpa Iadului (The Mole of the Devil). And the Mole of the Devil is actually one of the most evil beings of Romanian mythology, because it was believed to be the mother of all the demons, and renowned for its intelligence and treacherous nature. In the end of the fairytale, the Toothless baba/Skull/Mole of the Devil ends up punished by being tied to the tail of a horse - bringing back the comical and extravagant tone that opened the fairytale, and prevents it from falling into too much darkness.

But this structure of the youngest daughter of a king undergoing an initiation journey can be found in many fairytales. Petre Ispirescu, a great fan of Romanian folklore, published in 1676 "Porcul cel Fermecat" (The bewitched pig), a story that his own mother had told him, and that reuses the antithesis of the Baba Cloantza (here, a mother of dragons) with a young women (who discovers against her will the magical powers and the devious tricks of the witch). In this fairytale, the baba embodies a trial of Fate that the heroine must overcome to reach happiness (symbolized by a wedding out of love). The story tells the story of the youngest daughter of a king who, following her two older sisters, enters a room of the castle his father had forbidden her to go into. The princesses discover there an oracle-book which predicts royal weddings for the older sisters, a wedding with a pig for the third. The prophecy will come true and the princess is forced to leave her house to follow a pig, with a human voice so beautiful everybody suspects a spell is at work. The princess comes to love her strange husband, who removes his pig skin every night to become a man, but right as she was getting used to her new life she meets baba Cloantza who tells her she can break the spell by tying up her husband to the bed with a magical rope. Trusting the hag, the young bride uses the rope, but it breaks and her husband disappears - but not without telling her that, had she not obeyed the witch, he would have been set free from his curse in three days. The young wife, her newborn child in her arms, undergoes a quest to find her husband. Throughout hostile lands she obtains the advice and gifts of 1) the Moon and her sisters 2) the mother of the Sun and 3) the mother of the Wind. Arriving at the house of the cursed prince, the girl proves her intelligence and determination by making a ladder out of the magical chicken bones the three supernatural women gave her, and even cuts her own little finger to complete it. When she finds back her husband, he reveals her the full truth, and how his curse was caused by the Cloantza, because he had killed a dragon that was the baba's son. As we can see with all those stories, the idea is the same: to obtain her happy end and eternal bliss, the young woman must journey through a desert that symbolizes a journey outside of the real world ; the strange journey always begins with the girl breaking the law imposed by the father, and each time the baba Cloantza appears as the embodiment of the crime the girl must expiate/the evil she must vanquish.

Petre Ispirescu also depicted the baba Cloantza as the mother of a dragon in another fairytale, where the prince must kill it to free an enslaved princess. In this fairytale called "Poveste Taraneasca", "Peasant tale", the character of the Cloantza lives within a hellish world, with her courtyard surrounded by impaled human heads. In this tale, the Cloantza shows a trait that makes her close to the vodou sorcerers: she gains her strength and her immortality by swallowing, or rather "drinking", spirits that she keeps locked up in a barrel. By extension, we see that in this tale, the main threat of the story are the various vampires that live within her domain, and who try to steal away the soul of the old king.

Sixth, the Cloantza as the "devilish witch". An old proverb of Romania recalled by Alecsandri says "Baba-i calul dracului". Literaly "the Baba is the horse of the devil". Literary: "Old witch, bearer of Satan!". This proverb notably opens a poem of Alescandri called "Baba Cloantza" and written in 1842 - a folklore-inspired work that Alecsandri considered one of his best improvisations. In this text, the baba is reconstructed in the style of a Shakespearian witch. The Cloantza appears mad with lust for a beautiful young boy. The poem drifts into an infernal rural night, where malevolent ghosts fill the night-clouds, and snakes slither among the flowers of bewitched ponds. In this perverse Eden, under a "pale and blond moon", the Cloantza invokes several demons while threatening the young man with the worst torments if he ever resists to her charms. However, when the demons fail to perform their deed, the old Cloantza uses Satan himself, and offers him her soul without thinking about the consequences. The deal with the devil makes her act in a way that recalls a possession or insanity (running around, jumping, flying in the sky, screaming exorcism rituals). The "mad Kloantza", surrounded by the "thousand infernal spirits", fails to notice the laugh in the woods that announces her doom. Right as she arrives "two steps" away from her beloved, the Cloantaza's dream becomes a nightmare: the rooster's chant wakes up the village-folks, the ghosts of the night fade away, and we conclude on an aquatic final scene: Satan snatches his prey, the baba, and the two jump away into the depths of the pond... Nature returns to a seren and calm state, but the danger is not gone, because the poem adds that a "melancholic voice" can still be heard by the pond, calling and seducing the men that walk near it late in the evening, promising them to protect them "by my exorcisms of the evil eye, of cruel fate and snake bites." Critics have pointed out a dual reading of the poem. On one side, it is the epic depictions of an unhealthy love, the inappropriate passion of an elderly woman for a woman, doubled by the fairytale figures of the wicked witch in love with the Prince Charming ; on the other side, there is an humoristic reading of the poem as a display of petty feuds, vain quarrels annoying demands and bothersome requests. As such, the baba's original duality returns: a devilish character, and a spirit of mischief.

Seventh, the Cloantza as "the avatar of Death". In a very old folk-song of Romania, "Holera" (Cholera, collected by Alecsandri in 1853), the Cloantza appears with the imagery of the Roman Furies, with snakes in her hair. We find back around the witch another syncretism of Christianity and paganism, mixing the Furies of Ancient Rome with the vengeful angels of the Bible: wild hair, a dry skin, a "venomous" body, a sword of fire in one hand... Here, the Cloantza is the embodiment of death. More precisely, she represents the deadly disease of the cholera that appears on the path of the carefree and joyful young man Vâlcu. No negociation is possible: the Cloantza is a Grim Reaper. In fact, in the song she is exclusively referred to as "cloantza", the term "baba" disappears, removing any form of humanity.

In conclusion, Baba Cloantza throughout the Romanian folktales is a multi-faced, multi-voiced entity. She is the baba that heals or mutilates, she is the old woman that makes people cry or laugh. She is an oracle who sometimes has to work to make sure her prophecies come true. And Ferent concludes that somehow, the baba Cloantza acts as a double of the storyteller itself, as an entity that represents the "power of fiction". Because one of the main powers of the Cloantza is to turn the fears and anxieties of those that seek her into prophecies - aka into tales that will orientate the person's mind towards the future and force them to think about their own role in the world. The storyteller lacks a "real" power, and as such is as "toothless" as the Cloantza, but they still are the owner of a form of magic - a magic of illusions that can nourish or poison. As such, when the storyteller describes the baba, somehow they are describing themselves, presenting their own self within their fictional world. And as such, the baba kept evolving and changing throughout the centuries, going from a mystical therapeutic character in ancient days to a subversive but harmless entity in contemporary fiction.

[toomuchracket]

what do you think matty does when it’s actually go time and she’s in labour, like i know they really don’t let you into the hospital until it’s closer to the time, so she’s labouring at home because that’s the rules. i think he’d be losing his mind a little bit seeing her in pain and i think she might have to talk him off a ledge at some point being like “babe this SUCKS, but it’s normal and it just means we get to meet baby so so soon and isn’t that exciting”

another anon also asked i wonder how matty would react to her water breaking and being actually in the hospital and her being in labor and also what do we think matty would be like in the hospital when you’re in labor? expectant dad!matty is so cute i can’t stop thinking about him

he's freaking out internally, but he's doing really well at keeping calm - you guys are prepared for this, you know what's to happen, you've had the hospital bag packed for a while and it's waiting at the front door under the hook for matty's car keys, ready to go when you are. i actually think baby might make an appearance a week or so earlier than their due date, eager to see the world and be seen, so it's slightly more nerve-wracking when your waters break than it potentially would have been otherwise. when they do break, matty is with you (because clingy), and you both just look at each other in shock before you say "ok... guess this is it". you call your mum, matty's mum, the boys, just to tell them you're in very early labour - everyone is very excited for you both. and yeah, like you said, there's not much you can do until your contractions get a bit more regular and you can go into hospital - you're in a lot of discomfort, though, so you're constantly moving about trying to find a sitting/standing/lying position that eases it a bit. and then the cramping starts as contractions come on, and it HURTS. you're trying to bear it as best you can, but you get to a point where you're sitting on the couch whimpering in pain, and it's breaking matty's heart that he can't do anything about it - cuddling hurts, he can't offer you any medication in case they need to give you some in the hospital later, contractions are speeding up in frequency too quickly for him to be able to manoeuvre you into the shower to let the hot water ease the pain... all he can do is watch tearily, check the time to judge how close your contractions are, and keep his phone unlocked ready to call the maternity ward when it's time for you to head in. and he just keeps apologising, telling you he hates seeing you like this and he wishes he could stop it, and he'll never ever make you go through this again. and you just hold a hand up to stop his monologuing and go "hey, shush. we knew this would happen. it's alright, i'll be alright, you'll be alright, the baba will be alright. and they'll be here soon - that's what this all means. you'll get to meet your kid within hours! think of it like that" and matty starts crying like "fucks sake i'm meant to be comforting YOU, not the other way round!" but he laughs and calms down a bit. and then he's like "what are you thinking about right now, darlin'?" and you're like "honestly? how much easier this would be if i could have a joint and still ensure the baby would be fine", and matty kind of stares at you in shock for a second before he giggles. and then i think he kisses your forehead and tells you you're doing amazing and he's so proud of you, he has been the whole nine months, and then baby decides it's time to come out (aka the contractions are close together enough that you can go to the hospital). so you waddle to the car and go, and when you get there you're rushed up to the maternity ward and prepped for delivery. matty's feeling a bit more calm, excited as shit to meet his kid, frantically texting his mum and your mum and the boys to tell them baba's en route before focusing on you - he plasters little kisses all over your face and says "i love you. you've got this" before you tell him to fuck off (affectionately, but firmly - you're in a lot of pain). anyway, delivery is quick, and relatively straightforward - it turns out you don't need any medication other than gas and air, and you cling onto matty's hand the whole time you're pushing (he winces, but he's too busy focusing on praising you through it to care about the pain). and then there they are - baby healy, dark-haired and wriggly and whiny, but absolutely perfect. you cry. matty cries. baba cries. and it's the three of you, from that point on, the perfect little family <3

[ertan2618]

ÇOK GÜZEL BIR HIKAYE “HABIB BABA”

Habib Baba, 4.Murad devrinin gizli, kimsenin bilmediği Allah dostlarındandır. Yaşlıdır, fakirdir, gariptir. Fakat Rabbinin katında da alemlere denk bir değerin sahibidir.

Yaşlı Habib Baba, uzun bir kervan yolculuğunun sonunda İstanbul’a gelmiştir.Yolculuğunun tozunu, yorgunluğunu atmak için bir hamama gider… Niyeti, şöyle iyice bir keselenip, paklanmak… Bedenini de ruhuna denk kılmaktır.

Fakat hamamcı Habib babayı içeri sokmak istemez.

– Bugün, der,

– Sultan Murad’ın vezirleri hamamı kapattılar, dışarıdan müşteri alamıyoruz.

Habib baba üzülür… Rica, minnet eder, yalvarır…

– Ne olursun’ der,

– Kimseye varlığımı belli etmem, aceleyle yıkanır çıkarım.

Bu tozlu bedenle Rabbime ibadet ederken utanıyorum. Binbir dil döker. Hamamcı ehl-i insaftır… Dayanamaz… Kabul eder… Hamamın en sonundaki odayı göstererek …

– Baba şu odada hızla yıkanıp çık, para da istemem. Yeter ki vezirler, senin farkına varmasınlar.

Habib Baba sevinerek kendine gösterilen yere girer. Yıkanmaya başlar… Ve bu arada hamamcının karşısında yeni bir müşteri belirir. Boylu, poslu, genç, yakışıklı biridir bu gelen. Onunda görünümü fakirdir… Ama sadece görünümü… İkinci müşteri kılık değiştirmiş, 4.Murad’dır. O gün vezirlerinin topluca hamam alemi yapacaklarından haberdar olan padişah merak etmiştir.

– Hele bir bakalım, demiştir,

– Bizim vezirler, hamamda benden uzakta, kendi başlarına ne yaparlar, nasıl eğlenirler?

Ve bu merak padişahı, tebdil-i kıyafet ettirerek, hamama getirmiştir.

Az önce yaşananlar bir kez daha tekrarlanır…

Hamamcı vezirler der, almak istemez… Padişah ise, ne olursun der, bastırır ve padişah galip gelir… Habib Babanın yıkanmakta olduğu odayı göstererek, genç padişahın kulağına fısıldar:

– Şu odada bir ihtiyar yıkanıyor. Sen de sar peştemali beline, gir yanına…

– Beraber sessizce yıkanın, bir an evvel çıkın… Ve ekler:

– Aman ha! Vezirler varlığınızı bilmesinler.

Sonra 4.Murad da Habib Babanın yanına süzülür. Beraber sessizce yıkanmaya başlarlar. Bu arada, hamamın büyük salonundan gelen tef, dümbelek, şarkı, türkü sesleri ortalığı çınlatmaktadır…

Habib Babanın gözü, genç hamam arkadaşının sırtına takılır. Biraz kirlenmiş gibi gelir ona… Allah hikmeti gereği dostuna, o yanındakinin tedbil-i kıyafet etmiş padişah olduğunu ilham etmemiştir…

Ve yanındakini, görüntüsüne uygun, kendi gibi fakir bir delikanlı zanneden Habib Baba yumuşak bir sesle konuşur:

– Evladım, der,

– Sırtın fazlaca kirlenmiş, müsaade edersen bir keseleyivereyim.

Padişah aldığı bu teklif karşısında şaşkınlaşır ve çok memnun olur…

Memnun olur, çünkü ömründe ilk defa biri ona, padişah olduğunu bilmeden, sırf bir insan olarak, karşılık beklemeksizin bir iyilik yapmayı teklif etmektedir.

Memnuniyetle Habib Babanın önünde diz çökerken:

– Buyur baba, der,

– Ellerin dert görmesin.

Bu arada içerideki alemin sesleri hamamı çınlatmaya devam etmektedir. Habib Baba, 4.Murad’ın sırtını bir güzel keseler… Fakat padişah kuru bir teşekkürle yetinmek istemez.. Ne de olsa insandır ve o da her insan gibi kendine yapılan iyiliklerin kölesidir.

– Baba, der,

– Gel bende senin sırtını keseleyeyim de ödeşmiş olalım. Habib Baba, teklifin kimden geldiğinden habersiz, tebessümle:

– Olur evlad, deyip, sultanın önünde diz çöker. Bu arada, Sultan Murad kese yaparken bir yandan da Habib Babayı yoklar, ağzını arar…

– Baba, der,

– Görüyormusun şu dünyayı… Sultan Murad’a vezir olmak varmış… Bak adamlar içerde tef, dümbelek hamamı inletiyorlar, sen ve ben ise burada iki hırsız gibi…

Habib Baba Sultan Murad’ın cümlesini tamamlamasına fırsat bile bırakmaz, kendi hükmünü söyler… Sultan Murad’ın Habib Babadan duydukları, ağzı açık bırakıp, keseyi elden düşürten cinstendir:

– Be evladım, der, Habib baba,

– Sultan Murad dediğin kimdir? Sen asıl Alemlerin Sultanına kendini sevdirmeye bak ki, O seni sevince sırtını bile Sultan Murad’a keselettirir…

[adrianasunderworld]

Since the Halloween event is out on Twst EN, how would the boys react to MC telling them some ghost stories back from their world like La Llorona, Oiwa, Okiku, Bloody Mary, Baba Yaga etc. Also, it is said that if you do not ask for permission before telling Oiwa’s story, you will die soon due to her curse. This was true bc an entire theatre group (idk if it was a theatre group bc i don’t remember much) died after their play.

"...After seeing that her husband had abandoned her, La Llorona threw their sons into the river and drowned them. When she had calmed down and the gravity of the sin she committed hit her, she jumped into the river and drowned herself as well. To this day, if you hear the sound of a woman wailing by the water, it could be La Llorona searching for her children. But be careful she doesn't mistake you for one of them: Or she may drown you as well."

Leona: People seriously told you this story as a kid?

"Yeah. My mom used to tell me if I didn't clean my room, she'd leave me by the river so La Llorona would get me."

Jack: What the fuck!?

"What? Your parents never told you some scary shit to get you to behave?"

[quitealotofsodapop]

Siento que el rey mono seria mas abierto a contar sobre el fuego samadhi ahora que describieron la verdad (y ser padre lo hace mas empático con la situación). En el show de talentos siento que seria mas capaz de decirle a MK que no quiere participar, o que el mismo MK no lo considere por saber de su pánico escénico. (Antes veía la gran revelación en la batalla final con LBD burlándose de MK ''¿Serias capaz de matar a tu propio Baba?'' y revela el glamour. seria lo mas lógico que lo supieran en S2 y cubriera el agujero, al decirle que se van una temporada.)

translated from google:

"I feel like the monkey king would be more open to telling about fire samadhi now that they described the truth (and being a father makes him more empathetic to the situation). In the talent show I feel that I would be more capable of telling MK that he doesn't want to participate, or that MK himself should not consider it because he knows about his stage fright. (I used to watch the big reveal in the final battle with LBD taunting MK ''Would you be able to kill your own slime?'' and reveal the glam. It would be the most logical thing for them to know in S2 and cover the hole, telling him that they leave for a season.)"

SWK is def more empathatic. However a lot of details are altered in S2 & S3 cus of changes to the dynamics. During the Latern City talent show, Wukong is def allowed to sit it out cus of his stage fright.

[doriangray1789]

İSLAM VE YAHUDİLİK

Tarih, Araplar ve Türklerin birbirlerini o kadar da sevmediğini söyler (kaynak - Zekeriya Kitapçı, Türkistan'ın Müslüman Araplar Tarafından Fethi, - Ebu Müslim Horasani 2. Cilt, "Emeviler devrinde Alevilerin Maveraünnehir ve Horasan'a sürgün edilmesi) Peygamberden sonra meydana gelen Siffin savaşının ardından başlayan Emeviler döneminde İslam daha çok Arap milliyetçiliği ekseninde gelişmekte olan bir din olmuştur. İslam Devleti yeni fetihlerle oldukça genişlemiş, Alevi ve Şiilerin Türk desteğiyle yerleştikleri Maveraünnehir'e kadar ulaşmıştır. Bu ve benzeri nedenlerle Türkler İslam’ı araplardan ziyade Farslardan ve Yahudilerden öğrenmiştir.

(bir kaç örnek -Havva’nın Adem’in kaburga kemiğinden yaratıldığı Kuran’da yazmaz, Havva adı bile geçmez, Tevrat’ta yazar bunlar. -Miraç kandili, yani önemli kişinin bir hayvanın sırtında göğe yükselme günü kutlaması Zerdüştlük’te Ahura Mazda’dan gelir. -Erkek çocuklarının pipisini kesenler Yahudilerdir. Kuran’da yazmaz, Tevrat’ta yazar.

yom kippur > berat kandili çarşaf giymek bir tesettür alternatifi olarak peruk takmak. adetli, regl dönemindeki kadının ibadet edememesi, pis addedilmesi. turşu kursa bile tutmayacağı inancı. bkz: yahudilerde hayız halindeki kadın murdar sayılmaktaydı. bu sebeple hayızlı kadının dokunduğu her şey murdar sayılmaktaydı. kur'an'da, tevrat ve incil'in değiştirildiğine dair bir söz bulunmaz. koskoca şekilde "allah kitabını korur" diye bir ayet vardır. kur'an; eski ve yeni ahitin arap kültürüyle yorumlanışıdır. kurban etmek yahudiliğinin şanındayken hıristiyanlık'ta kurban yoktur çünkü yesu mesih bütün insanlık için kurban olmuştur. islâmda ise kurban ibadeti farzdır. sünnet antik mısır kökenlidir. yahudilikte adem-havva'dan gelen insanlık günahını temizlemek için erkeklere farzdır. hıristiyanlık'ta bu olay hem dişi, hem de erkeğin günahtan kurtulması için onun yerine vaftiz gelmiştir. islâm dininde sünnet farz değildir, o coğrafyanın kültürlerinde gelenektir. mısır'da bulunan koptik hıristiyanlar sünnet olur. oruç ibadeti yahudilik, hıristiyanlık ve islâm'da vardır. farkları gıda kısıtlamaları ve gün sayısıdır. fakat amaç aşağı yukarı aynıdır.

namaz, gözlemlediğim kadarıyla ortodoks hıristiyan inançta vardır. yahudilerde de varmış. islâmda daha da önemli hale gelmiştir. o üç semavi din tek tanrılı, monoteist olarak da adlandırabileceğimiz dinlerdir. hıristiyanlık'ta bulunan üçleme "üç tanrı" değildir, o üçlülük durumu tanrı'nın tezahürleridir; yaratan ve kadim olan tanrı, tanrı'dan gelen ruhun ete kemiğe bürünmüş, günahsız tek peygamber olan yesu mesih, tanrı'nın evreni ve evrenin içinde bulunan dünya'nın işleyişini etkileyen ruhül-kudüs. ruhül-kudüs'ü kabaca tasvir etmek gerekirse islâm'da bulunan cebrail meleğinin komplike halidir. istavroz çıkarılırken türkçe'ye şu şekilde çevrilebilecek söz söylenir; "baba, oğul, ruhül-kudüs, bir allah'ın adıyla amin" şimdi semavi dinlerler, başta sümer dinleri olmak üzere destan ve efsanelerden de etkilendiğini de sen araştır...bu örnekleri çoğaltmak mümkündür)

752 Talas savaşıyla islamla tanışan Türklerin islama geçiş süreci de uzun olmuştur.... Türklerin İslam'a geçişi, Türklerin İslam dininden önce mensup oldukları Tengricilik inancından vazgeçip dinlerini değiştirmeleridir. Yaklaşık 10. yüzyıla kadar Tengricilik dini Türkler arasında en yaygın din olmuştur. Türklerin İslam diniyle ilk teması Şii ve Alevilerin dördüncü İmam olarak kabul ettikleri İmam Zeynel Abidin'in Türkler tarafından Kerbela'da koruma amaçlı Horasan'a götürmeleriydi. İslamiyet öncesi Türkler ile Müslüman Arapların ilk karşılaşması 7. yüzyıl döneminde Hilafet-İmamet çekişmeleriyle gerçekleşmiştir (Kaynak-Alevi Devletleri - Muharrem Uçan, Horasan'dan Anadolu'ya Horasanlı 90.000 Alevi Türkmen Erenleri ve Tarihi, Can Yayınları, 2. Baskı --Türkler, Cilt I, Editörler: Hasan Celal Güzel, Prof. Dr. Kemal Çiçek, Prof. Dr. Salim Koca, Yeni Türkiye Yayınları)

Tarihte Yahudilik ile İslam arasındaki etkileşimin tarihi, İslamın Arap Yarımadası'nda doğup buradan yayılmaya başladığı 7. yüzyıla kadar uzanır. Gerek Yahudiliğin gerekse İslamın kökenleri Ortadoğu'da, İbrahim'e dayandığından, her ikisi de İbrahimi (Semavi dinler) olarak kabul edilir. Yahudilik ile İslam'ın paylaştığı birçok ortak yön bulunmaktadır: temel dini görünümü, yapısı, hukuk felsefesi ve uygulaması ile İslam ile Yahudilik birbirine benzer.

Hz.Muhammed Mekke'de dini yayarken, "ehl-i kitap" olarak adlandırdığı Hristiyanlar ile Yahudileri, öğretilerinin temel ilkelerini paylaştığı doğal müttefikleri olarak görmüş, onay ve desteklerini vermelerini beklemiştir. O dönemde, Müslümanlar da tıpkı Yahudiler gibi ibadetlerinde Kudüs'ü kıble alıyordu.

[etheromanie]

"bir demet nergis al kendine. ne olur böyle yapma. kendine kıyma.

biliyorum senin için yanıyor. onlarla aynı dili konuşmadığını zannettiğin bir kalabalığın ortasında, âcizliğinden muzdarip, gittikçe içine kapanıyorsun. her şeyden uzaklaşıyorsun.

tamam. yorgunsun. allah şahit, bilenler şahit, çok yorgunsun. yaşanmakta olan bütün acılar gibi yaşanmış ve yaşanacak olan bütün acıların da kalbinin üzerine çöreklendiğini zannetmekten yorgunsun. böyle bir yükü bu kalp taşımaz, biliyorsun. ben de biliyorum. ama, kaldır bu acıları benim kalbimin üzerinden rabbim, diye bir dua da etmiyorsun. 'saf ahenge biçilen bunca bedelin çok fazla olduğunu' düşünmene ramak kalmış. 'giriş biletini üstün saygıyla iade etmek' noktasında tereddütlü, ivan gibi, bütün sorumluluğu kendi üzerine alıyorsun.

burası dünya. cennet değil, unutma. çekilme kabuğuna. adım at. denize at. hâlik'in var senin. haddini aşma. zıddına inkılâb etmekten kork. baba karamazov'luğu bütün insanlara mâl etme. unutma, alyoşa da insan, ivan'ın düştüğü yerden kalkan mitya da.

bahçendeki ağaçların sarsıldığını fark et önce. deniz, kıyıları dövmeye başlamış çoktan. yağmurun damlaları camlarda kristal. yer ile göklerin yaklaştığı kadar gece ile gündüz de birbirine yaklaşmış. şeb-i yeldâ. kaldırımlarda sarı ışık topları, başında rüzgârların en fazla hatırlatanı. renginden, kokusundan, sisinden, buğusundan kar sesini hatırla. bir kerecik ne olur kendi korunağından, sıcağından utanma. üzerine atılan çizgili battaniyenin, ocağında yanan ateşin hesabını yapma. acının kavramı kadar yakıcılığını da bütünüyle sırtlanma. çetele çıkarma. herkesin yerine yanmaya kalkışma. hani, 'siyahlık şöyle dursun, haddinden fazla beyazlık bile hoşa gitmez', diyor ya şirazlı sadi. uy öğüde, küstahlaşma. acı biraz. esirge kendini. bağışla. telef olup gideceksin yoksa.

bir demet nergis al kendine. dolmuşa bin. önceden hazır ettiğin 125 kuruşu tutuştur şoförün eline. bak, bu keskin soğukta bile ter damlacıkları. sonra bir grup genç doluşsun içeri. kızlı erkekli, hengâmeli şamatalı. nasıl böyle tasasız olabildiklerine şaşma. yol boyunca biri diğerlerine ellerini kollarını sağa sola çarpa çarpa, incir çekirdeğini doldurmayan bir sürü şey anlatsın. zayıf sözcüklere yüklenmiş gürültülü cümleler kullansın. kızma. katıl sohbetlerine. bir cümle de sen sal orta yere. üniversite öğrencisi değillermiş. eziklermiş bu yüzden söylemeseler de. dershaneye de gitmiyorlarmış. o defteri ebediyen kapatmışlarmış. sonra içlerinden biri senin kucağındaki demetten bir sap nergis istesin, tek dal, diye üstelesin. kız arkadaşına verecekmiş. ver. versin. bir şeyin eksik kaldığını fark etmedin mi? ikinci nergis dalını da sen çıkar usulca. bu da kendi arkadaşına versin. kızlardan biri geri dönsün neşeyle. nereden geliyor bu nergisler, desin. benden, de. ben nergis devrimdeyim. gül devrimi, lâle devrimi çoktan geçtim.

aynı durakta inin. elindeki çantaları taşımaya kalkışsınlar. reddet. onlara, yürümeye çalışan bir anneyi işaret et. gencecik, güzelcecik. kucağında çocuğu. kollarında torbalar, çantalar. biraz hava almak için dışarı çıkmış. bir işe yaramamış. belli ki yükü ağırlaştıkça ağırlaşmış. annenin tükenmesi. tam da o menzilde. onu işaret et. onun yüklerini taşıyın, de. taşısınlar. müteşekkir kal.

sonra hatırla. yıllar önce hani, yine böyle bir kuyuya düşmüştün de sen. insanlara güvenini kaybetmiş, birinde hepsini mahkûm etmiş. bir bebek arabasını ite ite bir köprüden geçiyordun. birden arabanın ön sağ tekerleği yerinden çıkıp tıngır mıngır yuvarlanmıştı da köprünün korkuluklarına dizilmiş şamatalı gençlerden biri yerinden fırlamıştı. tekerleği kapmış, bebek arabasının önünde diz çökerek yerine takmıştı. o zaman insanların birinde tümünü affetmiş değil miydin?

bir göz gezdir bakalım. bir avuç fındık verenin, tahta sandığın üzerinde bir cenin uykusuna aktığında senin de başının altına bir yastık koyanın. vardır mutlaka. o rüyayı görmeyi unutma.

bir demet nergis al kendine. ne olur böyle yapma. kendine kıyma."

[conobarco]

i be like estoy bien con todo lo de bobby :) y tengo una mancha en los anteojos de baba y medicamento de bobby que no me quiero limpiar xq es lo unico que tengo de el

[mirzablogg]

GAZZE'YE DEĞİL SİZ KENDİNİZE AĞLAYIN...

Dünyada nüfus oranına göre, en çok kitap okuyan GAZZEDİR.

Dünyada en çok hafız yetiştiren GAZZEDİR.

Dünyada tarihini unutmayan kinini en diri tutan şehir GAZZEDİR

9-10 yaşına gelen bir çocuk Kuran'ı Kerim hafızı olur.

HAMAS'ın askeri kanadı olan İZZETTİN EL KASSAM TUGAYLARI'na katılmanın ilk şartı KUR-AN-I KERİM HAFIZI olmaktır.

Hafız olmayanların eline silah vermiyorlar.

Kaza namazı olanları cepheye göndermiyorlar.

Cephe gerisinde savaştırıyorlar.

Siz bu ordunun yenileceğini mi sanıyorsunuz ?

Şehadet aşkıyla yanıp tutuşuyorlar.

Ölüme gitmeyi, düğüne gider gibi sayıyorlar.

İ.T.Ö. yaşamayı severken, HAMAS ölümü, şehadeti seviyor.

HAMAS, yenilmez. Ölür şehit olur ama asla yenilmez!

Siz kendinize ağlayın, kendi imtihanınızı tam veriyor musunuz diye ağlayın.

Senin namusun olan MESCİDİ AKSA yı koruyan müminlere MADDİ OLARAK sahip çıkmadığına ağla.

Kendi çocukların bilmem kaç yaşına gelmiş, KUR-AN-I KERİM okumasını bilmiyor, sen buna ağla.

Evinde hiç KUR-AN-I KERİM okunmuyor, buna ağla.

Hiç namaz kılınmıyor, buna ağla.

Çocukların kimin peşinden gidiyor, kimi örnek alıyor, siyonistlerin kültürel savaşında katlediliyor, bunu gör ve buna ağla.

5 yaşında, bombaların altında olan çocuk babasının yanına geliyor ve diyor ki;

Baba, hafız olmadan ölmek istemiyorum.

Keşke daha önce hafız olsaydım, öldüğümde hafız olarak Allahın huzuruna çıksaydım.

Çocuktaki derde bak, bir de bizdeki bizim çocuklarımızda ki dertlere bak...

Yine diyorum,

TÜM DÜNYA BİR ARAYA GELSE DE HAMAS YENİLMEZ, çünkü iki türlü de olsa, onlar için tek yol zafer!

ALLAH YARDIMCILARI OLSUN.