#holy grail mythos

[gawrkin]

(From Visions of History: Robert de Boron and the English Arthurian Chroniclers by Edward Donald Kennedy)

The way I interpret the French Tradition is that it "started" with Robert de Boron. In a way, Robert de Boron is like the "Second Father of Arthuriana". Robert de Boron didn't so much alter King Arthur's story as he instead gave it a new context.

Despite Chretien de Troyes and Robert Wace introducing the Round Table, the Holy Grail and Sir Lancelot, it was Robert de Boron who truly established the "Christian Chivalric Universe" - by writing about the history of the grail and the introduction of Joseph of Arimathea as a patriarch, Robert de Boron gave the (Literary) Chivalric genre a Mythic Past and a continuity of sorts. It fits in the Christian worldview of history as part of a giant plan - and story - of God's for Mankind's salvation.

It fully establishes the Christian origin and heritage of (Literary-)Chivalry-as-an-institute by not only having Joseph bring Christianity to Britain, where the future fantastical setting of Arthur and his warriors was to be established, but also having him serve as the ancestor to multiple Arthurian characters such Percival, Tristan, Lancelot, King Lot, his son Gawain, and Arthur himself (fulfilling the aristocratic need for genealogical fantasy).

This essentially pushes away, and negates the symbolic consequences of, the original narrative set forth by Geoffrey of Monmouth - the almost kind-of secular and worldly portrayal of Arthurian History.

For all intents and purposes, Joseph of Arimathea replaces Brutus in importance for the Era of Camelot. This is why (in Vulgate cycle, at least) Joseph is said to be a knight.

Nowhere is that felt more than in Robert's introduction of one of the most iconic pieces of Arthuriana: The Sword in the Stone.

The Sword of the Stone, an item not mentioned at all in Historia Regum Britannia, and its attendant story arc of Arthur's hidden upbringing by Antor/Ector, essentially functions as a second origin story for King Arthur without having to negate or omit Geoffrey's older story of Arthur being born through a thoroughly un-Christian manner.

Whatever or whoever Arthur was before pulling the sword doesn't particularly matter, the sword in the stone effectively grants the same Divine privilege to rule as if he was conceived and raised as a normal royal.

AND

Arthur's ignorance of his heritage affords him synergy with his knights, many of whom are often of the "Fair Unknown" archetype, including Lancelot, Gawain, and of course, Percival.

[prokopetz]

For all its dumbfuckery, Monty Python and the Holy Grail is genuinely the closest a film adaptation of the Arthurian mythos has ever gotten to capturing how deeply weird the source material really is.

[incorrectsibunaquotes]

In Het Huis Anubis the Cup is literally called De Graal (aka The Grail)

cup of ankh is a reskinned holy grail. is this anything

[melrosing]

a while back you mentioned bran being a fisher king type of figure if he becomes king. i am so intrigued by that concept. can you tell us more?

so full disclosure, I don't have a great deal of familiarity with Arthurian legend or British/Welsh mythology, which is what the Fisher King really draws upon, so I don't think I can say anything of real substance on this subject! i keep meaning to just sit down and swot up on this stuff but it's. not really something you can do in one sitting lol

HOWEVER i think even to a wiki peruser it's patently clear that GRRM is drawing on the Fisher King concept with Bran (as in, once you know he's doing that, you realise he isn't even trying to hide it). and I do tend to think that GRRM is more likely to stick with the top line of a myth or historical event he means to parallel rather than get lost in the minutiae - e.g. Matilda v Stephen succession crisis inspiring Rhaenyra v Aegon, the Black Dinner of 1440 inspiring the Red Wedding, this is GRRM taking the substance of an event but not the details of how it came to pass.

I'm going to guess that rather than getting into the finer details of the Fisher King mythos, GRRM is going to utilise it much like he's used Shakespeare's Richard III for Tyrion, which is another inspiration that seems painfully obvious from the moment you spot it, but is hardly lifted beat for beat, and I seriously doubt that Tyrion's story ends up anywhere like the end of RIII. but you can see GRRM taking the bits and pieces of RIII he finds interesting and twisting them for Tyrion in ASOIAF.

so with that in mind, I'm just going to quickly list the key points I can personally gather from the Fisher King myth that seem to gesture to Bran, and why I think these are probs interesting to GRRM as a writer (but as I say there are people who know lots about arthurian legend and british/welsh mythology who would probs have a lot more to say here):

the Fisher King is usually depicted as being wounded in the groin/legs/thigh - this is considered synonymous with his inability to have children and so propagate his line. immediately obvious parallel to Bran, and I think through both ASOIAF and F&B, GRRM is trying to show that ruling through dynasties where everything hinges on how the next guy's son turns out, is not a viable way to run a country. Bran will not be succeeded by children of his own blood, but I think much in the way that he himself has succeeded Bloodraven

the Fisher King is one with his land as such: his welfare is the welfare of the land, and when he takes a wound (and becomes infertile), the land too becomes barren. the Fisher King awaits a hero who will heal and restore him and so the land (but I can only imagine GRRM would subvert this - it's clear through GRRM's writing of disability that he doesn't see value in just 'curing' his characters. he wants to actually write them as disabled people). and I think there's a lot in Bran's story about man learning to respect the land he lives upon - the children and the first men's peace pact was agreed upon the grounds that the first men would essentially preserve Westeros and its weirwoods etc, and so I think it's generally agreed ASOIAF could end with a similar kind of pact to end the Long Night (or after the end of TLN)? so again, think this point is about Bran representing a renewed relationship between the lands of Westeros and its peoples - the welfare of all is tied together through him

the Fisher King is guarding the Holy Grail. im way out of my depth on this point, someone with more knowledge re. the Holy Grail needs to weigh in here lol, but I would guessssss that maybe this has something to do with Bran ending the story on the Isle of Faces, protecting the peace from there or SOMETHING idk

then the most obvious point: the Fisher King as he appears in Arthurian legend is thought to draw on the figure of Brân the Blessed, a character of Welsh mythology - which immediately recalls Bran the Broken (something Bran literally calls himself several times). the name 'Bran' also translates to crow or raven in Welsh, so, duh. and Brân the Blessed's story ends with his requesting that his head be buried on the White Hill of London - and as long as it remained there, Britain would be safe from invasion. more about Bran being tied directly to the welfare of the land and its peoples

(again there's doubtless a lot more that could be added here by someone who understands the Fisher King myth better than I do, but these seemed like the most obvious points that anyone could draw on)

anyway I absolutely take it as a given that Bran will be King at this point, and whilst it's really hard to imagine what that looks like, I do think it resonates. GRRM likes writing about dynasties but I don't think he believes in them. I'm sure he feels much the same way about feudalism, but I doubt that will be gone by the end of ASOIAF, too, so this is how I picture it??

KL: destroyed. red keep: fucked. some level of politics may continue here post-series, but I think it will no longer be the heart of westeros. the fact that it is in AGOT is I think GRRM trying to show the corruption at the heart of this country - KL is constantly described as a cesspit where the rich play their games and live and eat luxuriously directly atop the shoulders of the poor and downtrodden, divorced from what's happening in the rest of the 7K.

the new heart of Westeros will be the Isle of Faces. this is where I think Bran will end up. we don't know much about it, bc noone is able to sail there, but this was where the pact between the COF and the First Men was created, and it's one of the last places in the south where weirwoods still grow (here, in abundance). and apparently there was once a Green King of the Gods Eye?? if the Green King, of the Rivermen, is in any way the role Bran will soon be occupying, maybe this is where his Tully heritage is somehow relevant. and also like 'god's eye', Bran's whole thing is about learning to see all, so. likely place for him to be. ultimately, I don't think Bran will remain in Winterfell; the story is supposed to be about unity I think, and not northern exceptionalism, so a remaining Stark sibling will take up that seat and as I said before, I tend to think that will be Sansa.

and I guess the most I can imagine beyond this point is Bran living alongside the COF (perhaps in the company of Meera idk?), functioning less as a political entity and more as a figurehead, perhaps an oracle, who lives for the welfare of his people. there will still be politicians to run the country, but they will be guided by Bran in some way, and like Bloodraven, Bran will choose his own successor. what the intricacies of any of this look like i have no idea, but this really does sound to me like the start of GRRM's answer to all his concerns re. dynasties and corruption etc etc

sorry this was all garbled as hell but this is basically what the Fisher King endgame means to me for now. in short, not a whole lot that I can make sense of but I like the feel of it, I think it's consistent with the themes of the text and suggests the start of real change at the end of the story, rather than the start of yet another dynasty.

[gingersnaptaff]

@caer-gai answering your questions here!!! :D

😇 Who is a character you discovered this year? (Positive, blorbo)

Is it weird if I say Lancelot? I knew about him obviously but I was one of those who was a bit like *wrinkles nose* at him when I first learned about him. Thankfully though everybody on the Arthuriana Tumblr has made since reconsider the review of him as this idk interloper I guess? He's pretty cool and the reasons around his inception into the mythos are fascinating (thank u @gawrkin @dullyn and @queer-ragnelle for educating me!)

🖼️ What was your favorite Arthurian art piece made by someone else this year? (Any medium)

Oooh, okay, so either any one of your art, @oneshoulderangel @nekomaidmordred , @grail-lifesupport In terms of stories then defo @dullyn 's Lancelot story. (Omg, Kit I know I probably don't say this often enough but HOLY SHIT!!!! AMAZING!!!). And @girlwholovesherwords story. (It's Welsh mythology but I LOVE IT!!!!! It would be a disservice if I didn't include it.

(Also @gwalch-mei 's Gawain art!!!!! All of it!!!!)

[thedupshadove]

Like, I suspect, many people, I first watched Monty Python and the Holy Grail before I really knew the first thing about Arthurian Legend, and rewatching it after I do adds extra layers to a lot of the humor.

For instance, the sequence wherein Lancelot "rescues" Galahad from the castle full of women who at the very least have Designs On His Virtue, Galahad protesting said rescue all the while. Funny on its own merits, but absolutely hilarious when you're aware that, in many versions of the mythos, Lancelot is Galahad's father.

[blue-cat-shitposts]

My mutuals will already know this, but after a while I decided it was funny enough to share on Tumblr too. Today I watched OSP's video summarizing the legends of King Arthur, for the sole purpose of finally learning the context for High Noon Over Camelot. Because beforehand, the extent of my knowledge on these mythos was:

there's a king named Arthur

he pulled the sword out of the stone and that's how he became the king of England (I know that from the Disney movie)

he's fabled to return from the grave to rule England again? I remember that from a Tumblr post about some flour called King Arthur "rising" to the top of popularity charts

there's a holy grail. What's the significance of it? Fuck if I know

there's another sword but given by the Lady Of The Lake. The only reason why I remember this is because Ciri in the Witcher books got isekai'd into the Arthurian legend and got confused for Lady Of The Lake, but refused to give out her sword.

Which of the swords is Excalibur? Unclear, probably depends on the telling

there's Merlin, he's a wizard. There's a TV series about him where I think he's a twink and possibly banging Arthur? Sources unclear on that one

there are the knights of the round table

not to be confused with the knights who say.... Ni

[dreamingdormouse]

Context!

Hey, other parents! PSA: Many works of pop culture derive significant portions of their humor and/or meaning from familiarity with cultural touchstones. Monty Python and the Holy Grail, for instance, assumes you know who King Arthur is! Children are not born familiar with these stories. Educating your kids does not JUST mean teaching them to read and write and do math and why they have to wear a seatbelt. Familiarize them with your culture's lexicon of mythology and references, both modern and ancient, and ideally some of those of other cultures!

I read the first few pages of Howl's Moving Castle to my kids a few days ago, and on the very first page it said "In the land of Ingary, where such things as seven-league boots and cloaks of invisibility really exist, it is quite a misfortune to be born the eldest of three. Everyone knows you are the one who will fail first, and worst, if the three of you set out to seek your fortunes." And I had to stop and give context - I summarized the fairy tale trope "Youngest Child Wins," seen in such stories as "Diamonds and Toads," "Ivan and the Firebird," most of the "Askeladd" stories, "The Princess on the Glass Hill," and non-Disney "Beauty and the Beast." I didn't tell them all of these stories, just explained that there were a lot of old fairy tales where the youngest of three siblings does much better than their older siblings, and that, at the time, that was a subversion of assumptions because the eldest was expected to inherit and to do well.

You don't have to start with the full (adult, graphic, tragic) version. Think about what references people are likely to make in person or in the media your kid consumes, and go from that. I do think my kids should know who Hercule Poirot is, but he can be on my "for later" list - partly because he's a more obscure reference, and partly because he largely figures in murder mysteries, which are less appropriate for 7-12 year olds. If my kids want old mysteries, we can go with Encyclopedia Brown instead. (Side note, recently ran into those again, shocked but not actually surprised to find out they were published in, like, the 1970s.)

And when you encounter problematic things, like period-typical bigotry of various kinds, you can discuss why those things existed and why we don't think like that, but knowing they did exist is also context.

For our family, we're working on the Grimm fairy tales, the Olympians, the Asgardians (not because of Marvel, because of Grandma), and based on their blank looks when I talked about Merlin the other day, I need to add the Arthurian mythos.

Later additions can include Anansi, Osiris and Ra, Coyote and/or Raven, Star Wars, Peter Pan, Sherlock Holmes, Shahrazad, Lang's Blue Fairy Book and some of the sequels, Robin Hood, Shakespeare, Llyr of the Long Hand, Amaterasu, Paul Bunyan (especially because great-great-uncle Paul was a logger), Bilbo Baggins, Narnia, Poirot and Miss Marple... whoo boy.

Yes I'm aware there's an English bias in what I've just listed, and that some of those are problematic in certain ways. I'm not listing everything they should eventually read, or trying to build up role models here. This is just me trying to cover the things that will form a basis for references in other stories and general conversation; "Elementary, my dear Watson" (which Homes never said, but is often quoted) means nothing without context.

[reikiajakoiranruohoja]

While these books are not fanfiction, the way they impacted the world versus what they were is hard not to put in fanfic terms. Sometimes you write a self-insert crossover fic so good that it becomes how people see hell, purgatory and heaven from then on out (Divine Comedy.)

Sometimes the fanfic you wrote to showcase how cool your OC is ends up creating a holy relic out of nothing that people think is real (King Arthur mythos-Galahad and the Holy Grail.) Sometimes a switched perspective fic about a mixture of Satan and Lucifer is so well done that people start taking it as Biblical canon (Paradise Lost.) The fact that we have sources for all of these and for two we know the very authors, yet they still get treated as part of Biblical canon is hilarious.

To explain, as far as I know; Hell in the bible is nothing like the one in Inferno. It is as far as I understand it from Revelation, a waiting line for souls to be judged until judgement day. After which it is an absence from God. The lake of fire is for the Beast and co. The Holy Grail does not exist in the bible. Jesus drank from a normal cup that stayed normal. The Grail is from a written version of the Arthurian Myth. Given how insane the relic collecting got in the Middle Ages, you'd have a lot of cups chilling alongside 'saint' bones if it was mentioned in the bible at all. (Actually, aside from the Arc of Covenant, I don't think bible has many relics in it.) Lucifer and Satan are not the same character and Lucifer is thought to be a mistranslation from a king's name. Satan had no tragic backstory or was forced into Hell.

[juniaships]

As much as I want to ignore Shrek the Turd I think it's a lot rewarding to address its flaws than take the easy way out. So here us a list of what I would've changed had I wrote the movie.

Harold's death

- the choice of song is rather out of place

- only serves to push a dramatic moment/shove Artie into the plot

- I actually like Harold :/

How to fix it:

- Harold doesn't die. Instead he gets an old man crisis & Lillian decides to take him on vacation to recuperate; naturally leaving Fiona and Shrek in charge

- Harold does die but the moment is treated with actual respect.

- Harold doesn't die BUT there is a death: Artie's father. The Royal Family go to Camelot for the funeral and meets Uther's estranged son Artie. That way Artie's daddy issues has more purpose in the story bc he truly can't reconcile with his dad, and Shrek a more sympathetic reason to steps up as a father figure.

- Alternatively, Artie's mom dies and he is sent to live in FFW bc his father doesn't want custody. So Shrek AND Fiona has to deal with a teenager and both have fear of parenthood byt still wants to give Artie the best. This also allows Fiona and Artie to interact with each other

Artie

Problem: suffers what I call Chicken Little Syndrome, he's kinda bland and we don't know much about him. Also his bullied nerd background Only serves to make him sympathetic cuz everyone is so mean to him! Beyond being kind and kinda dramatic Artie doesn't have much else

How to fix it:

- Everyone has beef with Artie because of his father's reputation. Perhaps Uther had a bad spending habit which left Camelot in financial ruin or his habit of flirting with women left a lot of illegitimate children now they're all fighting over rightful inheritance and puts down Artie bc he's the youngest/weakest

- Camelot has a very warrior like society but Artie is more diplomatic/soft, which makes him look weak in the eyes of everyone else. Eventually his softness saves Camelot

- Artie has a legitimate flaw (his trust issues) which makes him unable to properly communicate with others.

- Artie has a few true friends who are outcasts like him. But their support drives him to pursue a career in politics so he can help them and ppl like them (giving his speech more credibility)

The Princesses

Problem: most of them were boring at best, unlikable at worst.

How to fix it:

- Give the princesses more likable personalities: say they WERE strong and capable but got so caught up in glamor bc they don't want to remember the painful past

Problem: Charming and Rapunzel

- Comes right out of nowhere

- doesnt make since given Charming's arc is all abput becoming villain why would he date ANOTHER princess?

How to fix it

- Rapunzel's new motivation is she doesn't want an ogre on the throne, or she got tired of the princesses bullying her for her baldness. Or that she's jealous the princesses still have their princes yet Rapunzel lost hers. Or maybe Charming DID save her and she's working with him as a favor.

- However she discovers Charming is not as cool as she thought bc he still treats her (and any princess) like objects and not their own person

- Keep Rapunzel in the princess group and create a new character from scratch

- this new OC is a part of the villains not because she is one herself but because they're the only ones who accepted her for one reason or another. This makes her a foil for Charming and Godmother's relationship. She's wants to help them & save the Poison Apple from closing.

- however Charming is very bad at being evil so she teaches him how to be more assertive and this sets up a romance.

Issue: Arthurian myth

Problem: Aside from being retooled as a school campus, the Arthurian mythos doesn't have much prominence in the story

How to fix it:

-change the main goal to finding Excalibur or the Holy Grail (kiddie Monty Python)

- or have it where Camelot is in a crisis of succession so an election or tournament is held to decide the new king. Noblemen from all over participate (introducing us to the Princesses). Shrek and Fiona helps Artie while Charming joins so he can finally get his own kingdom

- Artie turns out to have magic instead of Merlin (who is just a wacky alchemist/scientist) but he lacks confidence

- At the end have it where Artie forms the knights of the round table (with some of the characters and villains as members)

- Maybe make Charming "Lancelot"

Girl Power Message

Problems: They were sidelined most of the movie, preventing Fiona from truly delving into her responsibilities as Queen. Also most of the girl characters like the Princesses & Guinevere were portrayed as shallow b*tches or not having much relevance

How to fix:

- Make Fiona the focus character this time and her story is juggling queenly duties and her trauma in the tower

- Have the princesses be an underground guerilla force they help her take out Charming during the movie

- or have it where the tower was actually a school to train princesses-to-be and Fiona's Kiss was part of a sceret test of character to see if she really is fit to be Queen; accepting her ogress form means she accepts EVERYONE, so she passed the test

- Fiona demonstrates her leadership skills by planning and carrying out targeted attacks, & taking care of civilians

- MAKE ARTIE A GIRL it makes a cool twist fitting for a franchise like Shrek. Or give Artie a female companion/love interest who accompanies him on his quest (perhaps Guinevere or a new character)

- instead of Merlin they meet Nimue/Lady of the Lake who takes the role of the kooky mentor

- Like I mentioned, explore why Rapunzel betrayed the team; perhaps make her have a change of heart and help her ex friends escape.

- Or like giving Charming a new love interest one who is a caricature of the Evil Sexy Villainess or YA Novel Girlboss Protagonist (have her learn it's okay to be vulnerable)

- have Shrek puss and Donkey be the ones in danger and fiona and her princesses are the ones to go on a journey to save them

Puss and Donkey's subplot

Problem: it doesn't do much to serve the story but for cheap comic relief. Donkey is a father himself but doesn't seem to do much to help Shrek and Artie

How to fix it:

- make Puss absent of stay with the princesses to help them

- Donkey talks with Shrek about his experiences as a father

- Remove the body switch entirely

- or have a subplot where Donkey and Puss still aren't getting along and Merlin switches them so they can learn to see from a new perspective.

- Maybe have Puss admit he doesn't have a good relationship with his own dad or something, or is actually great with kids (stunning Shrek and Donkey)

Shrek's arc

- Issue: we don't delve much into his backstory, he only wants to shirk his royal duties instead of doing the smart thing and actually confronting them

How to fix:

- introduce more Ogres or Shrek's dad. Have it be a family reunion or Shrek's dad finds out he married into royalty and that sets up the overall conflict

- Have the babies born before the movie and the plot is spent with him being a stay at home dad or caring for them while in Camelot while Fiona is tbe working parent

- also sets up an arc where Fiona struggles to balance mother hood and her job

- artie gets more used to ogre (children) leading to a realisation he has to step up to make a better future for their sake (again a more sympathetic reasoning)

The Villains

Issue: Charming is just Farquad 2.0, the rest seem to be props in their own story, Rapunzel

How to fix

- Make a new character who represents the villain side we get an intimate look at how society treats outcasts

- Give the villains more screentime like say we follow a group of them during theur trip to capture Shrek. They eventually have a confrontation and in the fray Artie ends up helping a villain much to their shock. They realise Artie isn't a threat. Or have it set at the play

- give Hook or Doris a prominent role

- or a new major villain; make it Charming's dad who takes him under his wing under the guise of wanting to help his son but is just manipulating him for the throne

- Make Charming struggle how ti adapt to being a villain due to his upbringing

- make some of the villains less open to wanting him in his group or have it where they try to help him be more evil (setting up potential jokes)

- Have Charming and Fiona have an actual moment with Fiona pointing out she did dream of a prince but is happy with Shrek and warns Charming that he still wouldn't be happy even if he did get everything

- Give Charming an actual villain love interest as a foil to Shrek and Fiona

- Don't include Charming at all (marry him off to Doris even lol) and create a new villain inspired by Arthurian lore. Maybe the Black Knight? Mordred? Morgan le Fay?

- Or even Artie himself! he wants to use his new position to enact revenge on his bullies

- Instead of the villains taking over it's the other fairytale heroes led by a jilted Charming and Shrek teams up with the villains to save FFW

- Make Uther the main villain

[notmuchtoconceal]

Yo, bro.

When you're talking to a dogboy, phrase everything like a quest.

Not a task, a quest. A quest is a task with a mythos.

It will teach the dogboy to engage with his literary sensibility from the boots up. It will compel him to think out the mechanics and the logistics of the task more deeply by netting it in a shroud of intrigue.

If you look back, you might notice this was a dominant literary mode for centuries. You send the dogboys out lookin for the holy grail, you tell em they're lookin for a cup, cause they don't know what lookin for enlightenment looks like. They know what a cup is, though.

A magic cup. Maybe the magic cup was enchanted by the Josh's spit like that magic spear was enchanted by the Josh's blood.

The Josh is the ultimate dogboy. The Josh is crowned in thorns and tied up dead and naked to a tree, lashed and welted in his psychic pain aura.

The Josh is a radiant mind of the world, from which all light and grain emerges in a paradoxical unity of give and take, receive and deceive.

Dogboy's gonna go around lookin for that cup, thinkin real good, makin all sorts of connections, and then he's gonna realize -- holy shit, bro!

It's not about my mother-sister's warm hot fertile cunt and how she can bring me back to life after I nut in her, it's like -- that scene in the Last Crusade where you pick the old bronzed dimmed and subtly lustrous antique cup over the big shiny bejeweled cup cause Our Lord Josh was a Humble Servant of the Lord Himself... bro that's like...

Is it like half the story or is it a further obfuscation? Are people gonna come away from that thinkin like ... aw, damn. I got this all wrong. I gotta be lookin at like ... old dingy worn out shit instead of pretty, shiny, shimmering, googling like ... shit that screams "touch me".

Bro, why's it asking to be touched so bad, bro?

It gonna hit me with its venom?

Then it's like... bro, you gotta realize. Who cares what other people do?

If other people haven't yet learned that their desires are an expression of their values (or lackthereof) it's not your place to teach em.

Still got to much left to teach yourself, bro.

Just smack your forehead, explain all your reasoning to big bro, and be like "bro, am i a dumbass, be honest, please? i dunno the truth from lies?"

to which he'll be like "yeah, lil bro you're a dumbass. you ever stop and wonder why your dick gets hard when i call you a dumbass?

it's cause you're so smart not to run and accept it. more you accept and call yourself a dumbass, smarter you're gonna be, lil bro."

and it's like ... damn, bro.

Fuckin preach.

[warmth-and-wonder]

PERSONAL MUSINGS ON THE KING, ARTHUR

As an Arthurian pagan, I find myself clutching to scraps of fiction and impossible quests. Arthur loves sending us to little few pdfs of ancient to somewhat modern texts, panning the past for the truth. Whether or not Arthur even existed is a grail quest within itself! So when I read stories offering something as supposedly concrete as a prophecy, especially a prophecy foretelling the coming of Arthur, I get excited.

This post contains an excerpt from King Arthur and the Knights of the Round Table, by Thomas Malory and edited by Rupert S. Holland. This book is free on the Apple bookstore where I read it. Here is my personal commentary and understanding of, again, this prophecy, or moreso a specific quote from it. Take this with as much or as little salt as you desire.

A young Merlin kneels before King Vortigern, weeping as he foretells the coming of Arthur.

“and his end shall no man know; he shall be immortal in the mouths of the people, and his works shall be food to those that tell them”

I found this incredibly profound upon reading it. Merlin foretells not just the war and it’s results, but I believe he foretells Arthur’s place as a figure of fiction. Arthur is meant to be hard to define. He was destined to be a character as much as he was to be King.

“So many scholars have spent so much time trying to establish whether Arthur existed at all that they have lost track of the single truth that he exists over and over.” -John Steinbeck.

Arthur’s very fate is to exist again. So every time an author adds a piece of plot line, a character, a mcguffin, or a new twist to the tale of Arthur, it sustains him. It feeds us just as much as it keeps Arthur alive. Every new ahistorical piece of the tale was destined to be. The addition of a grail to quest for, a knight to seduce his wife, the pulling of Excalibur, and generally getting absorbed into Christian mythos. It was all necessary to pass the story down to the next age by whatever torch would carry it.

The idea of finding concrete, undiluted truth to any fraction of Arthur’s story sounds like the greatest honor in the whole world. The tragedy is that we may never have that truth. For as hard as we clutch to Arthur, as fiercely as we proclaim his return, we blur his features each time. Arthur remains as king by reigning in fictions. Half truths, made up stories, tales too old to be discarded. To keep Arthur, we must lose him in the process. The truth of Arthur must be lost to maintain the story of Arthur, and thus his existence and kingship.

Arthuriana has several unending, impossible quests and questions. From grails, to questing beasts, to raiding the otherworld. These quests are fated to be undertaken, though. Including their impossibilities. The Knights must quest for the grail despite never being able to find it. Camelot must patiently wait for her King to return. Mordred must be the betrayer, and Merlin must be his guide. And we, the seekers, must continue searching. We must continue trying to dig out fact and UPG and what young adult novel does it best.

The perfect rendition of the truth will only be found when he comes back to us. Otherwise, we will just have to continue searching. I believe more and more as I continue reading that it is our holy duty to ensure he exists over and over again. To make sure there are those who know his name, regardless of it’s surefire truth, when he returns again.

That is the terror of any prophecy. For no matter how great Arthur may be, who may escape the doom of god? Who prophesied to exist in fractions might remain whole?

[metaphysicalpistolsoraclemine]

THE RISE OF KING ARTHUR.

When the Albion Lightbody is activated through the Emerald Order Cosmic Heart and fully awakened by the Amethyst Order Holy Father, England, Scotland, Ireland and France will be the first demographic areas to align to the King Arthur Timeline through the Rise of Arthur in Albion. This phase of the ascension timeline awakens the stasis beings that have been buried deep in the lands, and brings on oceanic waves of the God Source and the Christos-Sophia rainbow rays or roundtables to pour into the Earth grids. The Albion Lightbody is the Diamond Sun template of humanity’s world soul from Tara as the Christos incarnate masculine-feminine identity, and it holds the instruction set of the Paliadorian Covenant which is the future record and destiny of all humankind to return back to their original spiritual home. Their inner Sun-Star, which is found deep in the RA Center of the still point in the angelic human lightbody.

We have learned that the Rise of Arthur in Albion, is describing the means by which the Holy Father and Cosmic Christos Consciousness are returning to manifest into the planet. The current events have sounded the trumpet announcing to the world that the ascension timeline is here which leads to global disclosure. Currently, it appears the global disclosure timeline will commence with the topic of child trafficking and SRA practices of Child Sacrifice, made by the satanic entities ruling this world, both human and nonhuman.

Reference: from Historical Timeline Trigger Events: 1,400 YA, Invasion of UK to take over territory and 11th Stargate, kill Templar Grail King Arthur and his support team. The Last benevolent Grail King. False King of Tyranny 

(The Bkack Suns Roman Catholic Church replaces rulership.)

 King Arthur is in Stasis in UK.

*Related to the Awakening Albion and

stasis beings.

Albion

In ancient days, the oldest name for England was Albion. The names for Scotland in the Celtic languages were also related to Albion: Alba in Scottish Gaelic, Alba in Irish, and Alban in Welsh, Cornish and Breton.

These names were later anglicized to Albany, which was once an alternative name for Scotland. Many myths and legends have long existed that giants were either the original inhabitants of the United Kingdom, or were the founders of the land named Albion. The mystical significance of Albion has been memorialized through poems, stories and mythos.

Together they suggest the nature of Albion is related to collective human consciousness and the World Soul, to which we are all intimately connected.

The Albion is the androgynous human template created from the twelve spheres of the Tree of Life which, during the fall of humankind, became buried in the lower dimensional fields of the earth, waiting to be awakened.

This elemental structure of the primordial human template is located in the earth body, and is made from the Original Cosmic Blueprint. This original Blueprint records the divine plan for humanities ascension to the Silicate Matrix and holds the celestial records of humankind’s evolution throughout the Solar System.

The Awakening Albion 

occurs in progressive stages, and recent 

Sirius and Canopus star transmissions are intelligently designed to stimulate the higher mind activation throughout the Albion body in the earth.

This gently accelerates the shift in the mental body of the earth to reflect the higher mind consciousness which is reflected in the stages of Awakening Albion.

This is the divine plan of the Holy Father in compassionate action, to restore balance and unity within the eternal light of Cosmic Christos Consciousness in which all of humanity is connected to the Solar Logos and Star systems within the Albion Lightbody. We come from the stars, for we are the stars. This holds the profound meaning of the return of the benevolent and rightful Christos Solar King to planet Earth, the restoration of the beloved Maji Grail King Arthur, the resurrected Solar Michael Anointed Christ is rising to be the protector of the Holy Mother and Sophianic Grail, which is the Cosmic Heart principle of Earth.

King Arthur’s cosmic consciousness body is directly connected to the Family of Michael, who are also protectors of the 11th dimensional gates of Aveyon-Avalon upon the NAA invasion, so he can be considered the patriarch of the Michael avian genetics and Seraphim memories throughout time.

[skaruresonic]

Amr (ah-mer), Gwydre (gwee-dre, like "Deidre"), and Llachau (lla-khay; the "ll" is a nasal vowel which sounds a little like "sh") are Arthur's sons in pre-Galfridian (pre-Geoffrey of Monmouth) and Welsh sources. Amr was said to be Arthur's chamberlain in Gereint and is named as his son in Culhwch and Olwen. His death goes thusly: There is another wonder in the country called Ernyng (Ercing). There is a tomb there by a spring, called Llygad Amr; the name of the man who is buried in the tomb was Amr. He was a son of the warrior Arthur, and he (Arthur) killed him there and buried him. Men come to measure the tomb, and it is sometimes six feet long, sometimes nine, sometimes twelve, sometimes fifteen. At whatever measure you measure it on occasion, you never find it again of the same, measure, and I have tried it myself. Llachau is the most prominent of Arthur's sons in the literary sources we have available, though how he died varies depending on the source. In the poem Pa gur? (What man is the porter?), Arthur implies Llachau and Cai either killed each other or fell together in battle: Unless it were God who accomplished it. Cai's death were unattainable. Cai the fair and Llachau, they performed battles before the pain of blue spears (ended the conflict). Another translation of the same passage is Cai the fair, and Llachau, Battles did they sustain, Before the pang of blue shafts. and adds the footnote:  In Y Seint Greal (the Welsh version of Perlesvaus: The High History of the Holy Grail), Cai kills Llachau out of envy for the younger man's prowess (moreover, Llachau was Arthur's son and presumed heir; killing him paved the way for Mordred). Llachau was furthermore implied to be a renowned warrior: …I have been where Llachau was killed, son of Arthur, marvelous in songs, when the ravens croaked over blood… The Welsh Triads list him as one of the "Three Fearless Men of the Island of Britain": Three Fearless Men of the Island of Britain: The first was Gwalchmai son of Gwyar, the second was Llachau son of Arthur, and the third was Peredur son of Earl Efrog.

Other Triads contend that he was a "naturalist" and/or "well-endowed (with knowledge)":

Three Well-Endowed Men of the Island of Britain: Gwalchmai son of Gwyar, and Llachau son of Arthur, and Rhiwallawn Broom-Hair. 

Three naturalists of the Island of Prydain. Gwalchmei son of Gwyar; and Llachau son of Arthur; and Rhiwallawn Gwallt Banadlen. However, later French romances quietly phased him out as Lancelot became the more prominent hero, replacing his Welsh name with the name "Loholt." (Also, mandatory side note that Arthur has more bastards in French Vulgate than just Mordred. The Frenchified names Amhar and Loholt recall Amr and Llachau; Sir Borre is his bastard son by Lady Alienor.) Personally, I'm loath to gloss Amr or Llachau as "Welsh!Mordred" because it's overreductive; they are not the same character as Mordred, nor do they serve the same purpose. While elements of their stories echo Mordred's, to say any of them were the ur-Mordred erodes the unique roles they occupied within Welsh mythos. No moral judgment is being passed on Arthur when we're told he killed Amr; we can speculate on his reasons for our own emotional closure, but the story is less concerned with Arthur's motivations than with the magical properties of Amr's tomb. Being a local folk tale, it invites people to venture to the site and measure the tomb for themselves. Mordred is himself largely a product of the Christian culture in which the French romances were steeped. Compared to the Welsh folk tale of Amr's tomb, wherein Arthur's slaying of Amr is mentioned almost nonchalantly as though such a deed were expected of a warlord as a matter of due course (and given how much more brutal and volatile Welsh!Arthur is compared to later versions of the character, I've always personally interpreted Amr's slaughter as a crime of passion he immediately regretted), Christian writers would have found it more germane to explore the moral and spiritual ramifications of killing one's son. The French romances turned Mordred into Arthur's incest baby in order to preach Christian parables against the sin of incest. His name was taken from Prince Medrawt of Goddoddin, said to be "wise in peace and ferocious in battle" in the Welsh Triads. The Battle of Camlan (spelled with one N in Welsh) is attributed to the fact that Medrawt dragged Gwenhwyfar (Guinevere) from her throne, struck her (or beat her), and ate all the food in Arthur's court: a favor which Arthur returned. At a glance, that may seem cartoonish without context; in this post, however, I explain that the Welsh version of events may reflect a historical memory of the year 536 AD: a period of war, famine and plague following an apocalyptic climate change incurred by a massive volcanic eruption.

king arthur has been dead for 1481 slutty, slutty years

[delladilly]

The Hidden Stories Behind Legendary Pokémon Cards

Legendary Pokémon cards hold a special place in the hearts of collectors, not just for their rarity and power in gameplay, but also for the fascinating stories behind their creation and evolution. These cards often feature iconic Pokémon like Mewtwo, Lugia, and Rayquaza, each with unique backstories tied to the Pokémon games, movies, and lore. Some cards were released during limited-time events, while others were the result of groundbreaking collaborations between the Pokémon Company and artists. The design, rarity, and sometimes the production flaws of these cards add to their mystique. Behind each Legendary Pokémon card is a blend of artistry, strategy, and storytelling that captures the imagination of fans worldwide.

The Evolution of Legendary Pokémon Cards: A Collector's Journey

Pokémon cards have evolved tremendously since their debut in 1996, and among the most coveted are the legendary Pokémon cards. These iconic cards feature rare and powerful Pokémon from the franchise's rich lore, with many of them representing the ultimate creatures from each region’s mythos. Over the years, the design and rarity of legendary Pokémon cards have captured the imagination of collectors and fans alike. The evolution of these cards not only showcases the shifting art styles and gameplay mechanics but also reflects the increasing demand for high-quality, rare items within the Pokémon community.

What Makes Legendary Pokémon Cards So Valuable?

Legendary Pokémon cards hold a unique place in the Pokémon Trading Card Game (TCG) due to their rarity, significance within the Pokémon universe, and the prestige associated with owning them. Unlike common cards, legendary Pokémon cards often feature limited print runs and are typically released during special sets or events. Their value increases based on factors like card condition, rarity, age, and historical significance in the game. For instance, cards like Charizard, Mewtwo, or Rayquaza are some of the most expensive cards in the world, and finding them in pristine condition is an accomplishment for any collector.

Rare Legendary Pokémon Cards: The Holy Grails of Pokémon Collecting

Among the most sought-after cards in the Pokémon world are those featuring legendary Pokémon. Collectors consider certain cards as “holy grails,” meaning they are the ultimate prize for any enthusiast. These include first-edition holographic cards, promotional cards, and unique variants that were only produced in limited numbers. Cards like the Shining Charizard from the Neo Destiny set, the 1999 Pokemon Pre-release Raichu, and the Black Star Promos are highly prized due to their scarcity and historical importance. Each of these cards has a fascinating story behind them, making them even more valuable to collectors looking to own a piece of Pokémon history.

The Impact of Legendary Pokémon Cards on the Pokémon Trading Card Market

The introduction of legendary Pokémon cards helped propel the Pokémon TCG into a global phenomenon. These cards not only elevated the competitive gameplay but also created a new avenue for collectors to immerse themselves in the world of Pokémon. The release of legendary Pokémon cards has directly influenced the market, driving up demand and leading to significant fluctuations in prices. High-profile sales, auctions, and social media trends have made legendary Pokémon cards a symbol of wealth and exclusivity in the gaming community. The increasing interest in rare cards has made it a highly competitive market, with collectors hunting for the next big find.

Famous Legendary Pokémon Cards That Defined the Pokémon TCG

Certain legendary Pokémon cards have shaped the history of the Pokémon TCG and have become iconic symbols of the franchise. Cards like Mewtwo (Base Set), Lugia (Neo Genesis), and Giratina (Platinum Series) are not just highly valuable they hold significant nostalgic value for many fans who grew up with the games. Each of these cards tells a unique story, representing a special moment in the Pokémon TCG timeline. Whether through their impact on competitive play or their role in special events, these legendary Pokémon cards have left an indelible mark on the world of collecting.

How to Authenticate and Protect Legendary Pokémon Cards?

As the demand for legendary Pokémon cards grows, so does the risk of counterfeits entering the market. Learning how to authenticate and protect your cards is vital for serious collectors. Factors like card texture, printing quality, and holographic effects are key indicators of authenticity. Professional grading services, such as PSA (Professional Sports Authenticator) and Beckett Grading Services, provide collectors with the tools to ensure the legitimacy of their cards. Additionally, protecting legendary Pokémon cards requires careful storage in UV-resistant sleeves, binders, or hard cases. Proper care and attention to detail are necessary to preserve their value and condition for years to come.

The Future of Legendary Pokémon Cards: Trends and Predictions

As the Pokémon franchise continues to expand with new games, shows, and sets, legendary Pokémon cards are expected to remain at the forefront of the trading card market. With the rise of digital cards and online platforms like Pokémon TCG Online, the future of legendary cards may see increased accessibility and even new ways to collect. However, the physical cards will continue to hold special value due to their tangible nature and connection to the legacy of the series. Limited-edition releases, collaboration sets, and anniversary events will likely continue to fuel the demand for legendary Pokémon cards in the coming years.

Conclusion

Legendary Pokémon cards are more than just collectibles; they are a testament to the lasting legacy of the Pokémon franchise. These cards hold significant value not only in the Pokémon TCG market but also in the hearts of fans and collectors. As rare items with deep connections to the Pokémon lore, legendary cards offer both an exciting challenge and a rewarding investment for those who are passionate about the series. With the ever-growing demand, the evolution of these cards, and their timeless appeal, legendary Pokémon cards will continue to captivate collectors and enthusiasts for years to come. Whether you’re a new collector or a seasoned veteran, owning one of these rare cards is a proud accomplishment and a way to preserve a piece of Pokémon history.

[fmp2benhines]

"The Holy Grail is a legendary artifact central to the Arthurian mythos and Christian tradition. Its origins can be traced back to medieval European literature and folklore, particularly the Arthurian legends. Here is a summary of some key aspects and research on the Holy Grail:"

"The earliest references to the Holy Grail can be found in medieval literature, particularly in French romances of the 12th and 13th centuries.

One of the most famous works featuring the Holy Grail is the "Vulgate Cycle" or the "Lancelot-Grail Cycle," a series of Arthurian romances written in Old French prose.

Another notable text is the "Perceval, the Story of the Grail" (French: Perceval, le Conte du Graal) by Chrétien de Troyes, written in the late 12th century.

The Holy Grail symbolizes purity, spirituality, and the quest for divine knowledge or enlightenment.

It has been interpreted as a symbol of Christ's blood or the divine feminine, among other interpretations.

In addition to its traditional interpretations, the Holy Grail has been reimagined in various modern contexts, including literature, film, and gaming.

These reinterpretations often explore themes of quest, spirituality, and the search for meaning in contemporary society."