#malevolent poetry references

[desertflowerbowling]

malevolent poetry references: season 1

part 4: the voices

this is the first of multiple times that this phrase appears in the show. it appears to have originated from a medieval Persian fable, written by the Sufi poet Attar of Nishapur. the phrase was popularized in the west following an early nineteenth century translation and retelling of the story by Edward Fitzgerald.

part 5: the gift

this is a line from “Stopping by the Woods on a Snowy Evening” by the American poet Robert Frost. it was first published in 1923, eleven years before the events of malevolent.

part 8: the caves

the quotation here comes from “Cassilda’s Song”, a poem written by Robert W. Chambers as a preface to his 1895 book, The King in Yellow, a collection of short stories.

part 12: the end

this isn’t poetry, but it is a notable reference, because it is a quote from H.P. Lovecraft. the full quote is: “The process of delving into the black abyss is to me the keenest form of fascination.”

[da-cti]

This line from the Invictus poem by William Henley seemed extremely fitting for season 2 Arthur. Alt version without the black borders under the cut

[drenched-in-sunlight]

I didn’t want to write this out this early because I’m sure there are even more to discover, but people are already reblogging my previous art of Marika and Messmer & saying Marika doesn’t love him, so I write this out as a guideline that all my art is drawn with this theory in mind.

(While the DLC has changed the way I feel about certain events and characters, my view on Messmer and Marika remain unchanged. In fact, I think Marika skyrockets into my most fav in the game now. lol.)

* Beware of endgame spoiler under the cut

Please note that I wrote this without providing the item descriptions I use to develop this theory, because I want to make a proper post later with all evidence after I’ve played through all of the DLC. But those items exist and could be found in game.

Here is how I view Messmer and Marika’s relationship (he is her most beloved child):

For starter:

*the winged serpent - Messmer’s symbol, is considered a wise creature and is his friend. It is NOT the snakes that are viewed as traitors to the Erdtree, since the Serpent Crest shield was even made to commemorate his crusade. It’s also DIFFERENT from the evil snake he was born with.

*this is not to defend their actions, they are still horrible people, but I want to show that they have depths and are well-written characters with stories and emotions. My unhinged mother and son duo 😔✊

—-

I like the poetry in Marika starting the war against the Fire Giants in part as revenge for Messmer (it’s implied the Fell God is the Outer God that cursed him / it’s outright stated that he hated his fire), & now Messmer leading the purge against the Hornsent as revenge for Marika and her people (it’s implied the disappearance of her village has sth to do with the spirit calling rite the people at the Tower were doing).

I actually think Marika raised Messmer in her home village for a while too. She didn’t throw him to LoS alone, she was raising him in secret in her home, fearing people will judge him for carrying a malevolent snake. The two Tree Sentinels before the village dropped Marika’s Blessing. Yes. the Blessing she made specifically for him.

When you zoom in the Marika statue in his boss room, she was smiling when hugging him. I think ppl tend to forget that Marika, like Malenia and Miquella, carries tree/ foliage motif. RADAGON IS WEAK TO FIRE. If Messmer was cursed with fire and it started to manifest around him … of course she couldn’t embrace him anymore. It was physically hurting her, and Messmer wouldn’t have wanted to cause her pain as well. The soldier ghost at Ensis castle was begging Marika to embrace her child again, implying it’s sth that he yearns for. But couldn’t have now. Because of his damned curse.

If you look at the story that way, Messmer’s death dialogue makes perfect sense. It’s his lament that he’s gone from Marika’s precious (presumably firstborn) child, a source of her happiness, to a curse against her (*point to Radagon’s hair as another connection to Fire Giants and their curse). Robbing her (and himself) of the close bond they used to share.

It’s why Messmer alone has more blessings *directly* from Marika than any other Demigods. His army also receives more blessings than any other faction on the Lands Between, and they all refer to Marika as dearest Mother and Fair Mother.

Hell, after Messmer, Marika couldn’t connect to any of her other children again. This is like the ultimate doomed mother and son. Whatever I expected from them from the beginning, Fromsoft cranked it to eleven. Jfc.

[flying-fangirls]

Can I be so honest with y'all? I think Malevolent has a consistent habit of introducing allusions, building them up to be high-potential wells of story and character depth, and then just deciding to use them solely for aesthetic in the end. Like, most of the references and metaphors just kinda end up as set-dressing and nothing more.

Season 5 had layers of allusions to Revelations, which all had pretty obvious potential to be drawn on. And I fully expected the huge build up of all those metaphors to go somewhere meaningful, but they just- didn't? They just kind of... floated vaguely away, with no pay off? Maybe the Day of Wrath event will get more in the season finale, but I really don't see that happening with the ending of Part 51. The horsemen plotline looked like it was going to mean something, but then everyone died before they could take a role in that plot, and the metaphor's potential fizzled out right alongside them.

And while s5 is what's freshest on my mind, it's definitely not the only instance. I mean, I wrote a whole breakdown of the untapped potential of the "Solitude" allusion in Arthur's story on the train, and that's just one more case out of the whole show. There's plenty of mythological allusions throughout s2, there's a million different times when a character quotes some random song/saying but doesn't do anything with it afterward, and honestly several of the poetry references have legs to go a lot farther than the show ever bothers to take them. I don't know, I don't even think it's that big of a deal since I still enjoy the show overall, but it annoys me when art claims depth for simply mentioning an idea without actually building the depth itself

[inscribedlighter]

Hi! Can I request some John/Arthur downtime from the horrors, just something mundane and pleasant? A walk in the woods in S5 or a chance to gossip during S4 or a little chat in the car at the end of S3... Any brief moment of gentle togetherness. :)

@forgive-and-take

Malevolent Mini Prompts are open! Any malevolent relationship or pairing and I'll try to write at least a short scene. Askbox open.

Tags can be viewed on Ao3

-------------------------------------------------------------

Jarthur, Apple

“Oh I don’t know… sweet and tart, crisp, juicy.”

That doesn’t help at all. I have no concept of ‘sweet,’ Arthur, beyond that of a personality trait. One I don’t experience very often. John grumbled. 

Another bite was taken. It sounded hard between Arthur’s teeth, but he seemed satisfied in crunching it. 

“Ha, ha,” Arthur answered sarcastically after he swallowed. 

Tart is far more familiar

“The utter cheek of you.”

Continue reading here or on Ao3

Not unpleasant, John admitted with his own mild amusement. But as a flavour? 

“Well that’s fair,” Arthur leaned back against the fallen log. “The King didn’t eat?”

Not how you eat. Let’s put it that way.

“Mm, right, say no more,” Arthur waved his hand. He tossed the core into the fire pit. “Alright. Sweet. Sweet is like…it’s bright. A bright light.”

A bright light?

“Right, and so… yes, so bright. Like spring. A relief from dullness, but too much for the tongue at first if there’s too much of it.”

Hmm.

“Tartness cuts it. It had a sourness… tart, it’s sharp. Like the cut of a knife against your flesh. It’s too fast to feel much pain, but it’s there.”

That sounds unpleasant.

“Well… in some ways it is, but it balances well with sweet.”

A bright spring day and a slice to the skin. Yes, Arthur that does sound like a wonderful experience. 

Arthur huffed. “Speaking of tart. And then you add a crispness to it. It’s… like a snap of cold wind. There’s something satisfying about it, even though it stings.”

Does it sting like an open knife wound and the bright light in your eyes? 

“You’re being difficult on purpose.” 

No, no, you’re doing a fine job, Arthur. An apple. Sounds like I’m really missing out.” 

Arthur huffed, running his fingers through his hair pushing it back. It was already growing long again. It was annoying when it got in his eyes, but John didn’t mind it too much. He played with the ends of it now between his thumb and forefinger. It wasn’t greasy yet, the rain had helped.

Arthur was pouting.

“Well, you’re better at it than me.” 

Oh?

“I can’t always picture what you describe to me. I was never very visual. I remembered conversations and musical phrases, things like that. Having a sense of space wasn’t really something I concerned myself with. You do communicate it though, even though I have my complaints sometimes.”  

You’re the one that can’t tell right from left, not me.

“And yet,” Arthur said warningly, but there was no real heat behind it. “I can always… feel it. The things you describe to me. Cityscapes, fields, the sky, a person. You should be a poet.”

What? Me? A poet? John felt a rushed sensation at his core. Flattered and unsure. I don’t know… I don’t … it’s just words.

“Yes, that’s what poetry is. Words. Words that make you feel something,” Arthur kicked out his legs closer to the fire and sighed. It felt good on their shared foot that had started to ache during their second day of travel. John knew his whole body must be sore. Rough sleep, miles of travel. For all Arthur's grumbings he rarely gripped about those things, not unless it was really bad. It was always the little things. How he’d like a shower, a cigarette, a comfortable chair. Comforts John had little reference for beyond practicality, yet now, trapped in a long ago past on a mission from a capricious monster, John wished for all those things and more, if only to watch Arthur enjoy them.  

I don’t know… the ones you shared, it seems like a lot more than just words. He said unable to move away from the subject. 

“Well,” Arthur said. John could see their body move with a shrug. “You still have some of those memories, of being the King. The insignificance of humanity. A life span so short we may as well already be dead.”

I don’t believe that now.  John felt a wave of frustration at himself. For giving up. For forgetting. For letting both the King and Kayne—

He let his hand fall, gripping the grass beside them. 

“I know,” Arthur said reassuringly. He reached over, touching where the feeling in his arm started and then followed it down to pat John’s hand. It was sticky from the juice of the apple, but John didn’t push it away. Instead he moved it up so that they could clasp hands on Arthur’s stomach.

It was getting hollow again, John thought mournfully. Kayne hadn’t given him a time limit, he shouldn’t have rushed things in New York. Been more patient. Encouraged more moments like this. 

But it had been an impossibility the moment the Butcher had found them. Everything after that just… it felt like dominos. 

“What I mean is human life that the King in Yellow could never understand or appreciate with all his centuries as a god, that’s poetry.”

The King was fond of art.

“But I bet he didn’t really understand it other than an aesthetic quality, did he? And dreams. His dreams were beautiful manipulations. Nothing meaningful beyond his whim. 

You might be right about that. It’s hard to think like that anymore.

“Nor should you have to old friend,” Arthur said lightly. He was in a good mood. The apple had helped … sweeten his tartness from the road. 

Bright light, a stinging knife. Perhaps not flavour, but didn’t that describe Arthur so perfectly? 

He supposed it was a good combination when he thought about it in that context. 

Bright light, a stinging knife Sticky joy on a dear friend’s hand.  The campfire soothes our feet For our miles across this land. Short days, eternity’s wake A time we’ll never see,  But eons they can keep, I’ll have my days with thee.

Arthur inhaled quietly.

What? See? It’s stup–Arthur?

The fire went misty from the tears in their eyes. 

“That’s beautiful, John.” 

Oh. John said softly. You... you really think so?

“What’s it called?” Their eyes squinted from Arthur’s smile. “You just thought of that?”

Oh, I… well yes, John said cautiously. He looked down at their joined hands. I suppose it’s called: Apple.

“Apple,” Arthur repeated approvingly. “I’ll treasure it.” 

Well… th-thank you, Arthur. You should get some rest. The sun has dipped below the horizon now. The sky is clear. We’re sheltered by the outcropping of rocks so we should be safe, but I’ll keep the watch. 

“Goodnight then… and… if you think of more, do share them…

I… yes, maybe. 

“Thank you.”

Arthur curled up, putting their back to the log for cover and used their old bag as a pillow for their head. It used to take longer for Arthur to fall asleep, but necessity and exhaustion saw to it that he was out within minutes.

John stroked his hair. Usually he would think about things while touching the different textures that surrounded him as something to do while he waited. 

Maybe he’d compose a poem. Something to amuse Arthur in the morning during their walk toward the castle.

He couldn't help but like the idea.  

[tod--waggner]

⋆ ―❝ matching blog themes with @red-signal .ᐟall art in blog theme is by potato-lord-but-not .ᐟ❞ ꩜‧₊ . ꩜ ₊๋― arthur / mark / jedidiah / seymour / elijah / byron / martin / jeremiah. he/it ― main interests: malevolent, my ocs, the westing game, final destination, saw, new albion, les miserables, cluedo, cookie run, christianity, the heart goes to heaven the head goes to hell, bayonets, clocks, decapitation. i have a ton of others, but they're less intense than the above. please ask me about any of my interests .ᐟ i always love talking about them. ──────⊱⋆⋅ ꩜ ⋅⋆⊰────── ✶₊˚― fictionkin .ᐟ i strongly identify with characters and like being referred to as them (original definition of the word). my main shifts are arthur lester, kayne, jedidiah martin, the salesman, elijah volkov, and cappuccino cookie. ― i tend to frequently have depressive episodes (especially lately), please block the #personal tag if you dont want to see anything vent-ish. 𖦹.₊๋ ⭑― feel free to send me requests .ᐟ i tend to only actually get them done if they seem fun to me, though. sorry if you send something and i dont do it .ᐟ ― please ask before sending DMs .ᐟ i dont like DMs and heavily prefer asks, especially if we dont know eachother well. ──────⊱⋆⋅ ꩜ ⋅⋆⊰────── ⋆⭑ . ― tags .ᐟ: #morning broadcast: posts/reblogs with commentary, #the weather: reblogs, #citizen interviews: asks, poetry week: writing, #my art :p: art, #my edits: edits/manga colorings #pandora calder, #laz thatcher, #temperence marlowe, #operator, #marquette calder, #charlie bethell: all my ocs! feel free to ask anything about them .ᐟ

[whencyclopedia]

Ninetails: Nine Tales

This short story collection critically engages with a thousand-year-old Chinese mythology by integrating it with the histories of Chinese immigrants, especially women. The collection contains both long-form narratives stretching across the whole book and individual short stories. This collection is an easy read that suits anyone looking for a fictional approach to Chinese mythology, immigration history, and gender history.

The nine-tailed fox, one of the most iconic folklore creatures in traditional Chinese mythology, often carries a derogatory connotation, as it has been historically used as an icon referring to sexually active or seductive women who would bring destruction to a family, region, or country. However, the fox icon has not always carried this meaning. Some of the oldest written records of this myth trace back to the Classic of Mountains and Seas, or Shanhaijing, a collection of Chinese mythology and tales dating as far back as the 4th century BCE during the Warring States Period (475-221 BCE). In classical texts, foxes are often shown as intelligent shape-shifters who often take the form of a woman. Over the centuries, the connotation of foxes in mythological tales and folklore changed. The effect of popular literature on foxes was significantly influenced by the Ming dynasty novel Investiture of the Gods, published in the 16th century by Xu Zhonglin. This novel, which remains a popular narrative in China today, incorporates many elements of Chinese folklore when depicting a fictional account of the transition between the Shang and Zhou dynasties. The nine-tailed fox, in this novel, is depicted as a malevolent vixen who led to the Shang dynasty's destruction.

In the short story collection Ninetails: Nine Tales, Sally Wen Mao revisits this Chinese folklore by combining the fox's narrative – as well as the historical misogyny and fear toward spirits – with the more modern histories of Chinese, especially Chinese women's, immigration history. The collection holds nine stories, each containing a female character who can shape-shift between her human and fox forms. The narratives all center around a community's fear, distrust, and the resulting alienation and antagonism toward women carrying fox spirits. These stories take place in Singapore, England, and New York City. Unlike a traditional story collection, there is one main narrative that is broken into five sections, with the other eight individual short stories placed between them. Suitable for a wide range of readers, this collection is a digestible and easy read that will simultaneously inspire readers to reflect on how icons and narratives could easily evolve over history as well as the immigration experience and the challenges that immigrants have faced during it.

The main narrative, titled "The Haunting of Angel Island," tells the story of Chinese women who were detained at Angel Island Immigration Station in the early 20th century amid legislations like the Chinese Exclusion Act of 1882 and the Immigration Acts of 1917 and 1924. This story depicts the harsh living conditions of mostly Asian immigrants being detained on Angel Island, waiting for processing, and the community, resilience, and bond that the immigrants developed. Each of the five sections of this story is told from a different character's perspective, including a US-born Asian translator, a matron, a young girl, and a woman carrying the spirit of a fox. The author includes key historical details about Angel Island in this story, such as the poetry carved onto the walls and the lengthy, interrogation-esque questioning that US officials imposed on the immigrants.

Sally Wen Mao is a Chinese-born poet and author who has published three poetry collections before Ninetails. An experienced creative writer, Mao's work has appeared in The Paris Review, Granta, Guernica, and other literary journals. At the end of the book, Ninetails includes a helpful bibliography of nonfiction books that helped Mao to write this collection to point readers to further reading materials if they wish to dive deeper into the historical topics discussed. As one of the few fictional books that engage with traditional Chinese mythology today, this book fills an important gap in modern English-language fiction. The short story format also helps readers to more easily engage with Chinese mythology without the pressure of consuming a full-length novel, making the material more accessible for readers who only have short periods of free time for casual reading. Those interested in more tales from Chinese mythology could consult the influential collection Strange Tales from a Chinese Studio (1766), or Liaozhai Zhiyi, a Qing-dynasty collection of Chinese folklore and tales written by Pu Songling.

Continue reading...

[an0ny-jorking-it]

More Faroeverse!!!

This Malevolent Tarot project has me in the mood to make my own card just for fun and Strength seems fitting for her.

Despite her angry, her rage is a reminder of her determination against odds that she uses, however her real strength comes from her calmness in the face of horror. In hard times it’s important to keep the light of kindness and pass it to others in need. She’s learnt this well

Also here’s a few poems she recites :

-Ozymandias by Percy Bysshe Shelley

-Do not go Gentle into that Good Night by Dylan Thomas

-Death shall have no Dominion by Dylan Thomas

-Remember by Christina Rossetti

-Fire and Ice by Robert Frost

-Not specifically poetry but lots of Shakespeare references

As you can observe her poetry is less about persistence and more with time and the natural order and middle finger to the powers that be. That’s kinda what my Faroeverse is all about, passion, tyranny ,and self.

I love my “forwards beckon rebound by Adrianne Lenker” girl <3

[anouchard]

Malevolent Liveblog: Episode 7.

SPOILERS UNDER THE CUT

"We could be trapped out here? At night?"

"Is there a difference to you?"

JONATHAN DOE YOU ABSOLUTE -

Same comment, Arthur. How many times has John seen death?

I keep forgetting what John might be.

"This may have been a bad idea, Arthur".

I love how John still hesitates when speaking. He could so easily have been booming, ominous, all-powerful, but no. He forgets about ID and swears. He enjoys poetry. He engages in banter.

Can John not see in the dark? Engage your darkvision!

Where can I hire an eldritch entity to follow me around commenting on my bad decisions? I'd like that.

I'd also like to keep my eyes though, so eh.

Does anyone else ever get to chat to John?

"It's quiet here." And I ha- wait, no, wrong podcast.

OH IS IT GRAVE BELLS.

That was a chunky door sound, holy moly.

I've just realised how useful John's descriptions are when it comes to conceptualising the world we're in. Thanks pal.

Oh hi, French gentleman.

To be continued ...

Conclusion of Episode 7:

Oh my goodness, lore drop?

(I really hope the letter doesn't refer to ... oh God. Oh no ...?)

@malevolentcast I would like a word, please. Scariest episode so far. 10/10.

[desertflowerbowling]

malevolent poetry/literary references: season 2

part 16: the path

Arthur quotes the beginning of “An Old Sweetheart of Mine”, an illustrated poem in the form of a short book, written by James Whitcomb Riley, and illustrated by Howard Chandler Christy. it was published in 1902, and it can be read here.

this poem is “Free” by Eugene O’Neill, an American poet and playwright, known for his 1946 play The Iceman Cometh, among other works. I could not find a date for this poem, but you can read it here.

part 17: the fall

Robert Frost’s 1923 poem, “Stopping by the Woods on a Snowy Evening” was first referenced in season one (part 5).

part 18: the madness

this is a reference to Shakespeare’s Hamlet, and specifically Act 1, Scene 4. the line “Something is rotten in the state of Denmark” is spoken by Marcellus to Horatio.

part 19: the prison

here, Arthur quotes the first stanza of the poem “Invictus” by William Ernest Henley, written in 1875. the full first stanza is:

Out of the night that covers me,

Black as the pit from pole to pole,

I thank whatever gods may be

For my unconquerable soul.

part 20: the king

this doesn’t appear to be a direct quote from anywhere, but it does draw on descriptions from the 1895 short story collection The King in Yellow by Robert W. Chambers. the book includes a poem titled “Cassilda’s Song”, which directly references the city of Carcosa, and is quoted in part 8.

A second reference to “Invictus”, this time the last stanza, which is as follows:

It matters not how strait the gate,

How charged with punishments the scroll,

I am the master of my fate,

I am the captain of my soul.

Arthur’s poem is original, but I included it here because I thought it fit, and because the last line, “I pray this too shall pass”, is something we’ve heard before multiple times (at least in part).

[cookinguptales]

So my relisten of Malevolent continues, and my followers know that I’ve been rambling a lot about the connections between s2 of Malevolent and Dante’s Inferno.

Put simply, I believe that Arthur and John are trapped in Dis when they’re in the Dreamlands, which is the area comprising the last four circles of Hell in Dante’s cosmology. There are simply far too many similarities for it to be anything but purposeful.

I’ve started writing this post several times, but it’s hard. There is just so much to talk about that it’s difficult to know where to begin. Initially I thought I’d just go over the dozens of parallels and allusions that I caught while listening before making separate posts with more nuanced discussion of each circle and its implications for Arthur and John, but…

I think, actually, what’s more important to start with is whether it really is Dis at all.

I’m fully convinced that Arthur is exploring Dante’s Hell, but that doesn’t mean that it actually physically is Dante’s Hell. I’m not saying that Dante was describing the Dreamlands in this universe, necessarily. I think what’s more likely, the more I think about it, is that The King in Yellow used Arthur’s conceptualizations of Hell as received from Dante to create the Hell for him that Arthur believed he deserved.

Like… we know that the KIY is familiar with human writers like Shakespeare. I really don’t think it’s outside the realm of possibility that he knows Dante, too, and can feel that knowledge there in Arthur’s mind as well.

Arthur doesn’t specifically talk about Dante, which is a bit odd for a character who canonically loves poetry as much he does. He never says, “hey, this is weird, this is definitely Dante!” like I did when I was listening to it. But both John and Arthur make some odd statements, Easter eggs almost, that seem to refer to details from the poem.

Things like John saying there might be ice at the bottom of the pit. Things like Arthur bringing up the Minotaur for no real reason. It does feel like, at least subconsciously, this information exists in both of them the same way John subconsciously absorbed information about Arthur’s modern world.

I don’t think that Arthur realizes that the KIY has created a Hell from his memories for him to traverse, purposely creating a narrative of penitence and redemption to make Arthur let go of his guilt, but I think the whole thing is working on him all the same.

I won’t go into too much detail about a lot of my ideas in this post (there’s genuinely just too much for one post) but I think that Arthur needs a Virgil and a Beatrice. He needs to confront his sins and experience the punishments assigned to them. He needs to work through his past and make sense of the guilt he feels.

The King knows that, and he takes advantage of it.

It almost works, too. There are times when Arthur almost gives in and accepts some form of divine forgiveness, so to speak. But due to his own stubbornness, lack of faith, and perhaps some outside influence, he does manage to refuse that temptation and eventually escape the Inferno.

As for the outside influence, I think… I mean, I’ll talk about Kayne and Dante’s Caina more later, but I think that… I don’t think that Kayne was supposed to be a part of the KIY’s Inferno. He think he actually invaded the dream and put his own spin on it, which is partially why the KIY ended up losing control of the situation.

That said, I do think that Kayne was well aware of what was being built and delighted in playing with the themes he found there. I think he was like “hey, crazy how there’s a portion of Dante’s Hell in the lake of ice called Caina that is specifically designed to punish humans who killed their own family members” and decided to use that to his own benefit.

That is in fact a large part of why I believe that the Dreamlands are not fixed in their shape, nor are they actually literally a Dis that Arthur must traverse. Because Kayne was able to use the frame for his own purposes and change it. He was not a permanent part of it, but an interloper who could come and go and who purposefully chose a location and name that would suit the themes. That seems to imply that this is a fiction that outsiders are not beholden to, but can play with as they please -- not an actual physical and immutable space.

There’s also this line in E18… 

I’d argue that what Arthur is experiencing is all a dream that the KIY created specifically for Arthur, specifically to try and manipulate him, and that the Dreamlands are not fully fixed. It’s not just his hallucinations in the garden that are the King manipulating his surroundings to drive him to madness; it is everything that he and John experienced from the moment they entered the Dreamlands. It was all designed to resemble a Hell that Arthur would recognize and respond to emotionally.

Noel/Charlie also mentioned the way the Dreamlands appeared to change constantly as the KIY tried to manipulate him, which really feels like the nail in the coffin here. I don’t think the KIY controls every aspect of the Dreamlands, but I do think he can at least control how certain parts of it manifest to those who are trapped within it — and that’s what he’s done to both Noel and Arthur.

So all that, along with the fact that Kayne does not seem to be a permanent fixture in the dream but continues to ape its themes for… fun, I guess, makes me think that Arthur is not literally traversing Dis, but is instead descending through a version of it that the KIY is using to fuck with his concepts of faith, morality, penitence, and guilt.

(And I think meanwhile, John is just genuinely confused.)

I have a lot more to talk about, from all the specific allusions to ideas about psychopompery to the repeated allusions to being separated from one’s body to guilt/salvation to… well, I just have a lot to say. lmao

I’m about to be very pretentious about all this, and I apologize in advance lmao. Next post I'll talk in more depth about the living forest, the burning sands, the lake of ice, the malebolge (evil pouches/pits), and many, many, many more allusions to Dante's Inferno.

[oxford-garments]

Angels When She Shuts Her Eyes - Mac Miller (Official Audio)

"Angels (When She Shuts Her Eyes)" by Mac Miller delves into the complexities of love and the intoxicating effects it can have on an individual. The song captures the artist's vulnerabilities and desires while contemplating the uncertainty and potential risks involved in a romantic relationship.

In the first verse, Mac Miller reveals his struggles with addiction and the dichotomy between wanting to clean up his life and indulging in his vices. He acknowledges the pain and difficulty of his past, as well as the lost vision he once had for his future.

The pre-chorus expresses the allure of a particular woman in his life who serves as his source of comfort and escape from his emotional lows. She is portrayed as someone who can lift him up when he feels down and provides a sense of tranquility. The reference to filling his cup with purple implies the consumption of codeine, a common ingredient in the recreational drug cocktail known as "lean." However, it may also symbolize the purple liquid commonly associated with royalty, highlighting the elevated state he feels when with her.

The chorus emphasizes a plea to the woman not to let go of their intense connection. Mac Miller acknowledges that their love is intense and unpredictable, addicting him in a way that could ultimately be destructive. Despite the potential harm, he warns her of the power love holds and expresses hope for a lasting bond.

In the second verse, the artist reflects on his idealized vision of love and a longing for a soulmate who appreciates him beyond physical attributes. He dreams of a deep connection where they can freely express their feelings and be true to themselves. The lyrics suggest a desire for a love that defies societal expectations and norms.

Overall, "Angels (When She Shuts Her Eyes)" explores the intoxicating nature of love and its potential dangers. It serves as a reminder of the euphoria and vulnerability that come with deep emotional connections.

Acrostics British Gnosticism Manichaeism Biblical Apocrypha: Sylphs Archon of Jupiter, Crown Conjunction; An acrostic is a poem in which the initial letters of each successive line form a word, phrase, or pattern. Phrase 18 Roses: To tell a loved one to stay young and beautiful. (United Kingdom Watchers). We can think of several reasons. (1) It may be an artistic device used to add a certain beauty to the psalm, as rhyme does in our poetry. Forbidden Knowledge From Heaven: Concrete Rose Philosophy (CAAB: Culture, Art, Aesthetic, Bohemian; 5 Senses City, Selective Sensory Development, Distorted Sensory Play, Sensory Overload Asperger's, Culture Antagonist Liberal Arts), County Speech Pharmakeia (Dionysian Mysteries, Sacraments, and Entheogens), Heavenly Ascension, Jupiter’s Secret (Crown Conjunction) and Virilizization Procreation (Martians, Elastic Physique, Iron Biometal Research, Iron and D-asparatic Acid Diet), Tudor Currency, Azrael Covenant of Death and Romance with Roses and Diamonds, YHWH Tudor Rose Angel Syncretism, Tudor Rose Wings Transfer 18 Roses (Spirit Activation). Poetry Theme is Angels (When She Shuts Her Eyes) by Max Miller

Theistic Satanism: Theistic Satanism, otherwise referred to as religious Satanism, spiritual Satanism, or traditional Satanism, is an umbrella term for religious groups that consider Satan, the Devil, to objectively exist as a deity, supernatural entity, or spiritual being worthy of worship or reverence, whom individuals may contact and convene with

Manichaeism teaches an elaborate dualistic cosmology describing the struggle between a good, spiritual world of light, and an evil, material world of darkness.[8]

Archons: They are often depicted as evil, malevolent, and obstacles to spiritual enlightenment. Archons in Gnosticism are believed to be celestial beings responsible for creating and maintaining the physical universe, and are seen as obstacles to spiritual enlightenment. They are often depicted as powerful, malevolent, and deceitful beings that try to keep humanity trapped in the physical world.

Sylphs: "the wild but poetical fantasies”, hyper-urbane, Genius, Sylphs, he says, are rougher, coarser, taller, and stronger, than humans, devils

The Heavenly host (Hebrew: צבאות ṣəḇāʾōṯ, "armies") refers to the army (or host) of Yahweh, as mentioned in both the Hebrew and Christian Bibles, as well as other Abrahamic texts.

Spartan women had more rights and enjoyed greater autonomy than women in any other Greek city-state of the Classical Period (5th-4th centuries BCE). Women could inherit property, own land, make business transactions, and were better educated than women in ancient Greece in general. To contemporaries outside of Sparta, Spartan women had a reputation for promiscuity and controlling their husbands. Spartan women could legally own and inherit property, and they were usually better educated than their Athenian counterparts.

Commercialism

A system of Social and economic organization in which financial profit is valued above any other criterion or consideration.

Arsenio Boxing Movement

Aesthetics, Athletics, and Agriculture (Life Drawing Modelling and Tracksuits with Outerwear, Boxing, Agriculture Mediums, Iron Metabolism)

Arsenio Anatomy

For Force-Velocity Curve Replace Power with Elastic for Fascia Type IIx Muscle Fibre with Dynamic Effort Method, Scapular Rings Gymnastics, Long Jump Isometric-Plyometric, Long Jump Isometric-Mobility, Isometric-Dynamic Plank, Long Jump Isometric Stretching, Leucine, Hydrolyzed Collagen, Keto BHB, and Iron Supplements with Lidocaine Numbing Cream and Tramadol Painkiller; Duck, Sheep Dairy, Rabbit, Beans, Spinach, And Potato for Iron Metabolism

Shoulder Roll Brawler

Pocket Fighting and Clinching. Use different Jab and Power Shot Types for Bladed Guard Manipulation for Signature Stance. The shoulder roll is a defensive move in its essence, one you can get to from any position or stance. It allows you to tuck your chin behind your shoulder to avoid your opponent’s punches.

Arsenio Chain Model

Pay-per-view Conglomerate, Magazines with Gyms, Solo Promotion and Teams Demotion Daily Fantasy Sports Rakes and Purses, Boxing Economy Magazines, AgriMediums for Rural Area Commerce, AgInvestors, Life Drawing Modelling and Tracksuits with Outerwear for 1% Class Interaction, British Boxing Museum, Memoir and Documentaries, Brain Donation, Anatomy and Iron Metabolism Meta-analysis

Arsenio Slaps

Heavy Hands; Imagine you are an elastic band wrapped around a pole with the ends out. When the front end is tugged, that's your front hand and reverse front hip rotation. When the back end is tugged, that's your rear hand and reverse back hip rotation. Remember to use Obliques and Lats. Think of this motion as a coil-flex-release. Closed System: A closed system is a physical system that does not allow transfer of matter in or out of the system. Torque: Torque is the rotational equivalent of linear force. It is also referred to as the moment, moment of force, rotational force or turning effect, depending on the field of study. The concept originated with the studies by Archimedes of the usage of levers. Impulse: impulse is the integral of a force, F, over the time interval, t, for which it acts. Since force is a vector quantity, impulse is also a vector quantity. Impulse applied to an object produces an equivalent vector change in its linear momentum, also in the resultant direction.

Arsenio Mechanics

Stance: Manipulated Shoulder Roll with Distinct Jab and Power Shot Arsenal Footwork: Tap Dance and Gallops, Combo Targets: Body Inverted V and Head with Center Line and Flanks, Combo: Burst Jab Covers Power shots and Jab ends Combo, Footwork: Cross Step and L-Step

Aresnio Boxing Museum

Theatre and Library, Sculpting Modelling (Scapula exercises works Traps and Serratus Anterior), Sculpting Courses, History Exhibit

Aresnio Decentralized Gambling Economy

Pigou Effect, Corporate-Capital Gains Tax Haven, High Stakes Minimum Buy In, Domestic: Boxing, Retirement: Boat Racing, Residency Program for Tax Benefits

Arsenio Magazine Structure

Weight Classes Teams-Boxing Clubs: Promotions (Solo) and Relegation (Teams) Tournaments and Exhibition ex. Team A Welterweight vs Team B Welterweight Relégation Exhibition and Boxer 1 from Team A vs Boxer 1 from Team B Promotions Tournaments

Arsenio Accent

Glottal Stops Consonants and Shwas

18 Roses

[legend-collection]

Norns

The Norns are deities in Norse mythology responsible for shaping the course of human destinies.

In the Völuspá, the three primary Norns Urðr (Wyrd), Verðandi, and Skuld draw water from their sacred well to nourish the tree at the center of the cosmos and prevent it from rot. These three Norns are described as powerful maiden giantesses (Jotuns) whose arrival from Jötunheimr ended the golden age of the gods. The Norns are also described as maidens of Mögþrasir in the Vafþrúðnismál.

Beside the three Norns tending Yggdrasill, pre-Christian Scandinavians attested to Norns who visit a newborn child in order to determine the person's future. These Norns could be malevolent or benevolent: the former causing tragic events in the world while the latter were kind and protective.

There are a number of surviving Old Norse sources that relate to the norns. The most important sources are the Prose Edda and the Poetic Edda. The latter contains pagan poetry where the norns are frequently referred to, while the former contains, in addition to pagan poetry, retellings, descriptions and commentaries by the 12th and 13th century Icelandic chieftain and scholar Snorri Sturluson.

A skaldic reference to the norns appears in Hvini's poem in Ynglingatal 24 found in Ynglingasaga 47, where King Halfdan is put to rest by his men at Borró. This reference brings in the phrase "norna dómr" which means "judgment of the nornir". In most cases, when the norns pass judgment, it means death to those who have been judged - in this case, Halfdan. Along with being associated with being bringers of death, Bek-Pedersen suggests that this phrase brings in a quasi-legal aspect to the nature of the norns. This legal association is employed quite frequently within skaldic and eddic sources. This phrase can also be seen as a threat, as death is the final and inevitable decision that the norns can make with regard to human life. Ok til Þings Þriðja jǫfri Hvedðrungs mær ór heimi bauð pás Halfdan, sás Holtum bjó, norna dóms of notit hafði. Ok buðlung á Borrói sigrhafendr síðan fólu. And to a meeting Hveðrungr's maid called the third king from the world, at the time when Halfdan, he who lived at Holt, had embraced the judgment of the nornir; and at Borró the victorious men later did hide the king.

The Poetic Edda is valuable in representing older material in poetry from which Snorri tapped information in the Prose Edda. Like Gylfaginning, the Poetic Edda mentions the existence of many lesser norns beside the three main norns. Moreover, it also agrees with Gylfaginning by telling that they were of several races and that the dwarven norns were the daughters of Dvalin. It also suggests that the three main norns were giantesses (female Jotuns).

Fáfnismál contains a discussion between the hero Sigurd and the dragon Fafnir who is dying from a mortal wound from Sigurd. The hero asks Fafnir of many things, among them the nature of the norns. Fafnir explains that they are many and from several races: Sigurðr kvað: 12. "Segðu mér, Fáfnir, alls þik fróðan kveða ok vel margt vita, hverjar ro þær nornir, er nauðgönglar ro ok kjósa mæðr frá mögum." - Fáfnir kvað: 13. "Sundrbornar mjök segi ek nornir vera, eigu-t þær ætt saman; sumar eru áskunngar, sumar alfkunngar, sumar dætr Dvalins." Sigurth spake: 12. "Tell me then, Fafnir, for wise thou art famed, And much thou knowest now: Who are the Norns who are helpful in need, And the babe from the mother bring?" - Fafnir spake: 13. "Of many births the Norns must be, Nor one in race they were; Some to gods, others to elves are kin, And Dvalin's daughters some."

It appears from Völuspá and Vafþrúðnismál that the three main norns were not originally goddesses but giants (Jotuns), and that their arrival ended the early days of bliss for the gods, but that they come for the good of humankind.

Völuspá relates that three giants of huge might are reported to have arrived to the gods from Jotunheim: 8. Tefldu í túni, teitir váru, var þeim vettergis vant ór gulli, uns þrjár kvámu þursa meyjar ámáttkar mjök ór Jötunheimum. 8. In their dwellings at peace they played at tables, Of gold no lack did the gods then know,-- Till thither came up giant-maids three, Huge of might, out of Jotunheim.

Vafþrúðnismál probably refers to the norns when it talks of maiden giants who arrive to protect the people of earth as protective spirits (hamingjas): 49. "Þríar þjóðár falla þorp yfir meyja Mögþrasis; hamingjur einar þær er í heimi eru, þó þær með jötnum alask." 49. O’er people’s dwellings three descend of Mögthrasir’s maidens, the sole Hamingiur who are in the world, although with Jötuns nurtured.

The Völuspá contains the names of the three main Norns referring to them as maidens like Vafþrúðnismál probably does: 20. Þaðan koma meyjar margs vitandi þrjár ór þeim sæ, er und þolli stendr; Urð hétu eina, aðra Verðandi, - skáru á skíði, - Skuld ina þriðju; þær lög lögðu, þær líf kuru alda börnum, örlög seggja. 20. Thence come the maidens mighty in wisdom, Three from the dwelling down 'neath the tree; Urth is one named, Verthandi the next,-- On the wood they scored,-- and Skuld the third. Laws they made there, and life allotted To the sons of men, and set their fates.

The norns visited each newly born child to allot his or her future, and in Helgakviða Hundingsbana I, the hero Helgi Hundingsbane has just been born and norns arrive at the homestead: 2. Nótt varð í bæ, nornir kómu, þær er öðlingi aldr of skópu; þann báðu fylki frægstan verða ok buðlunga beztan þykkja. - 3. Sneru þær af afli örlögþáttu, þá er borgir braut í Bráluni; þær of greiddu gullin símu ok und mánasal miðjan festu. - 4. Þær austr ok vestr enda fálu, þar átti lofðungr land á milli; brá nift Nera á norðrvega einni festi, ey bað hon halda. 2. 'Twas night in the dwelling, and Norns there came, Who shaped the life of the lofty one; They bade him most famed of fighters all And best of princes ever to be. - 3. Mightily wove they the web of fate, While Bralund's towns were trembling all; And there the golden threads they wove, And in the moon's hall fast they made them. - 4. East and west the ends they hid, In the middle the hero should have his land; And Neri's kinswoman northward cast A chain, and bade it firm ever to be.

In Helgakviða Hundingsbana II, Helgi Hundingsbane blames the norns for the fact that he had to kill Sigrún's father Högni and brother Bragi in order to wed her: 26 "Er-at þér at öllu, alvitr, gefit, - þó kveð ek nökkvi nornir valda -: fellu í morgun at Frekasteini Bragi ok Högni, varð ek bani þeira. "Maid, not fair is all thy fortune, The Norris I blame that this should be; This morn there fell at Frekastein Bragi and Hogni beneath my hand.

Like Snorri Sturluson stated in Gylfaginning, people's fate depended on the benevolence or the malevolence of particular norns. In Reginsmál, the water dwelling dwarf Andvari blames his plight on an evil norn, presumably one of the daughters of Dvalin: 2. "Andvari ek heiti, Óinn hét minn faðir, margan hef ek fors of farit; aumlig norn skóp oss í árdaga, at ek skylda í vatni vaða." 2. "Andvari am I, and Oin my father, In many a fall have I fared; An evil Norn in olden days Doomed me In waters to dwell."

Sigurðarkviða hin skamma

Another instance of Norns being blamed for an undesirable situation appears in Sigurðarkviða hin skamma, where the valkyrie Brynhild blames malevolent norns for her long yearning for the embrace of Sigurd: 7. Orð mæltak nú, iðrumk eftir þess: kván er hans Guðrún, en ek Gunnars; ljótar nornir skópu oss langa þrá." 7. "The word I have spoken; soon shall I rue it, His wife is Guthrun, and Gunnar's am I; Ill Norns set for me long desire."

Brynhild's solution was to have Gunnarr and his brothers, the lords of the Burgundians, kill Sigurd and afterwards to commit suicide in order to join Sigurd in the afterlife. Her brother Atli (Attila the Hun) avenged her death by killing the lords of the Burgundians, but since he was married to their sister Guðrún, Atli would soon be killed by her. In Guðrúnarkviða II, the Norns actively enter the series of events by informing Atli in a dream that his wife would kill him. The description of the dream begins with this stanza: "Svá mik nýliga nornir vekja," - vílsinnis spá vildi, at ek réða, - "hugða ek þik, Guðrún Gjúka dóttir, læblöndnum hjör leggja mik í gögnum." 39. "Now from sleep the Norns have waked me With visions of terror,-- To thee will I tell them; Methought thou, Guthrun, Gjuki's daughter, With poisoned blade didst pierce my body."

After having killed both her husband Atli and their sons, Guðrún blames the Norns for her misfortunes, as in Guðrúnarhvöt, where Guðrún talks of trying to escaping the wrath of the norns by trying to kill herself: 13. Gekk ek til strandar, gröm vark nornum, vilda ek hrinda stríð grið þeira; hófu mik, né drekkðu, hávar bárur, því ek land of sték, at lifa skyldak. 13. "To the sea I went, my heart full sore For the Norns, whose wrath I would now escape; But the lofty billows bore me undrowned, Till to land I came, so I longer must live.

Guðrúnarhvöt deals with how Guðrún incited her sons to avenge the cruel death of their sister Svanhild. In Hamðismál, her sons' expedition to the Gothic king Ermanaric to exact vengeance is fateful. Knowing that he is about to die at the hands of the Goths, her son Sörli talks of the cruelty of the norns: 29. "Ekki hygg ek okkr vera ulfa dæmi, at vit mynim sjalfir of sakask sem grey norna, þá er gráðug eru í auðn of alin. - 30. Vel höfum vit vegit, stöndum á val Gotna, ofan eggmóðum, sem ernir á kvisti; góðs höfum tírar fengit, þótt skylim nú eða í gær deyja; kveld lifir maðr ekki eftir kvið norna." - 31. Þar fell Sörli at salar gafli, enn Hamðir hné at húsbaki. 29. "In fashion of wolves it befits us not Amongst ourselves to strive, Like the hounds of the Norns, that nourished were In greed mid wastes so grim. - 30. "We have greatly fought, o'er the Goths do we stand By our blades laid low, like eagles on branches; Great our fame though we die today or tomorrow; None outlives the night when the Norris have spoken." - 31. Then Sorli beside the gable sank, And Hamther fell at the back of the house.

Since the norns were beings of ultimate power who were working in the dark, it should be no surprise that they could be referred to in charms, as they are by Sigrdrífa in Sigrdrífumál: 17. Á gleri ok á gulli ok á gumna heillum, í víni ok í virtri ok vilisessi, á Gugnis oddi ok á Grana brjósti, á nornar nagli ok á nefi uglu. 17. On glass and on gold, and on goodly charms, In wine and in beer, and on well-loved seats, On Gungnir's point, and on Grani's breast, On the nails of Norns, and the night-owl's beak.

In the part of Snorri Sturluson's Prose Edda which is called Gylfaginning, Gylfi, the king of Sweden, has arrived at Valhalla calling himself Gangleri. There, he receives an education in Norse mythology from what is Odin in the shape of three men. They explain to Gylfi that there are three main norns, but also many others of various races, æsir, elves and dwarves: A hall stands there, fair, under the ash by the well, and out of that hall come three maids, who are called thus: Urdr, Verdandi, Skuld; these maids determine the period of men's lives: we call them Norns; but there are many norns: those who come to each child that is born, to appoint his life; these are of the race of the gods, but the second are of the Elf-people, and the third are of the kindred of the dwarves, as it is said here: Most sundered in birth I say the Norns are; They claim no common kin: Some are of Æsir-kin, some are of Elf-kind, Some are Dvalinn's daughters. Then said Gangleri: "If the Norns determine the weirds of men, then they apportion exceeding unevenly, seeing that some have a pleasant and luxurious life, but others have little worldly goods or fame; some have long life, others short." Hárr said: "Good norns and of honorable race appoint good life; but those men that suffer evil fortunes are governed by evil norns."

The three main norns take water out of the well of Urd and water Yggdrasil: It is further said that these Norns who dwell by the Well of Urdr take water of the well every day, and with it that clay which lies about the well, and sprinkle it over the Ash, to the end that its limbs shall not wither nor rot; for that water is so holy that all things which come there into the well become as white as the film which lies within the egg-shell,--as is here said: I know an Ash standing called Yggdrasill, A high tree sprinkled with snow-white clay; Thence come the dews in the dale that fall-- It stands ever green above Urdr's Well. That dew which falls from it onto the earth is called by men honey-dew, and thereon are bees nourished. Two fowls are fed in Urdr's Well: they are called Swans, and from those fowls has come the race of birds which is so called."

Snorri furthermore informs the reader that the youngest norn, Skuld, is in effect also a valkyrie, taking part in the selection of warriors from the slain: These are called Valkyrs: them Odin sends to every battle; they determine men's feyness and award victory. Gudr and Róta and the youngest Norn, she who is called Skuld, ride ever to take the slain and decide fights.

Some of the legendary sagas also contain references to the norns. The Hervarar saga contains a poem named Hlöðskviða, where the Gothic king Angantýr defeats a Hunnish invasion led by his Hunnish half-brother Hlöðr. Knowing that his sister, the shieldmaiden Hervör, is one of the casualties, Angantýr looks at his dead brother and laments the cruelty of the norns: 32. Bölvat er okkr, bróðir, bani em ek þinn orðinn; þat mun æ uppi; illr er dómr norna." "We are cursed, kinsman, your killer am I! It will never be forgotten; the Norns' doom is evil."

In younger legendary sagas, such as Norna-Gests þáttr and Hrólfs saga kraka, the norns appear to have been synonymous with völvas (witches, female shamans). In Norna-Gests þáttr, where they arrive at the birth of the hero to shape his destiny, the norns are not described as weaving the web of fate, instead Norna appears to be interchangeable and possibly a synonym of vala (völva).

One of the last legendary sagas to be written down, the Hrólfs saga kraka talks of the norns simply as evil witches. When the evil half-elven princess Skuld assembles her army to attack Hrólfr Kraki, it contains in addition to undead warriors, elves and norns.

This romantic representation of the norns depicts one of them (Verdandi according to the runes below) with wings, contrary to folklore.

The belief in the norns as bringers of both gain and loss would last beyond Christianization, as testifies the runic inscription N 351 M from the Borgund stave church: Þórir carved these runes on the eve of Olaus-mass, when he travelled past here. The norns did both good and evil, great toil ... they created for me.

Three women carved on the right panel of Franks Casket, an Anglo-Saxon whalebone chest from the eighth century, have been identified by some scholars as being three norns.

Pic by burnggirl on deviantart

[infjtarot]

Sun. Tarot of the old Path

Clarity, happiness, freedom At night, under the moon, everything appears strange, half visible, half in darkness. But when the sun comes out, the way becomes clear. What might have seemed like a malevolent spirit becomes revealed as just a tree. Thus, the Sun card means clarity and the rational mind, with its ability to see and understand the truth. As well as a clear contrast with the Moon, the Sun also completes the liberation of light trapped in the Devil’s darkness. In the Kabbalistic interpretation of Tarot, each Major Arcana card is linked to a Hebrew letter. The letter for the Sun card, resh, means “head,” in particular the cerebral cortex, the part of us that can think and reason. In ancient Greece, the god Apollo, ruler of the sun, brought civilization to struggling humanity. His sister, Artemis, ruled the wild places of nature, the forests and mountains. But Apollo is not simply rationality, for he also ruled music, poetry (the nine Muses lived on his favorite mountain, Parnassus), and, most significantly for us, the power of prophecy. At the greatest oracle center of the ancient world, Delphi, a woman known as the Pythia would go into trance and become the direct voice of Apollo. Thus the Sun card subtly can refer to the power of the seer to reveal truths. The Sun forms one of the Rider deck’s traditional departures from traditional Tarot design. In the Tarot of Marseille, Waite and Smith’s primary model, the Sun shows two people, usually children, sometimes two boys but more often a boy and a girl, together in a walled garden. After all the images of opposites, from the poles of the High Priestess all the way to the dog and the wolf of the Moon, two come together in harmony. In the following card, Judgement, a child stands between a man and a woman; duality overcome, a new self arises. Then why change the Sun card to show a single child? The movement of the figure away from the wall gives a sense of freedom, while the child’s bright countenance shows us innocence and joy. The Fool has returned to childlike simplicity. Notice that the Sun child wears the same red feather that the Fool carried in his hat, while the banner he waves resembles the sash wound around the World dancer. Even more than the Fool and his dog, the child on the horse symbolizes what Waite calls the “perfect conformity” of spiritual openness and animal nature. Waite apparently designed his Sun card from a Belgian Tarot deck called Bacchus (Bacchus, the god of wine, replaces the Pope/Hierophant!). That deck, however, showed a grown man, a warrior it seems, riding across the card and waving a banner of victory. Instead of triumph, the child in the Rider image symbolizes openness to transformation and spiritual light. A lifelong Christian, Waite may have been thinking of the famous statement by Jesus, “Except ye be converted and become as little children, ye shall not enter into the Kingdom of Heaven.” The Sun gives off eleven straight rays and ten undulating ones. Together they make twenty-one, the number of the World card. But what of the twenty-second card, the Fool? Look at the squiggly black line to the right of the Roman numerals. Does it represent a simple printer’s error or the Fool’s hidden presence as a twenty-second ray? Divinatory meanings: Openness, joy, simplicity. Clear thinking. The rational mind. Good health, happiness, brightness. Rachel Pollack.

[cinema-hallucinations]

Prompt: turn this prompt into the concept for a movie: At the age of 16 all witches are assigned a familiar. You are excited for yours as you see your friends turn 16 and get theirs. Cats, Crows, spiders. You are devastated to find out that out your 16th birthday, your familiar is a 27 year old hipster named Frank. (credit to @writing-prompt-s)

Title: Familiar Problems

Tagline: Magic doesn't discriminate… unfortunately

Logline: At 16, every witch receives a familiar – a magical creature to aid and bond with. Unfortunately, for Willow, a spunky and enthusiastic witch, her 16th birthday surprise is Frank, a sarcastic, flannel-clad 27-year-old hipster with zero magical ability.

Characters:

Willow "Willa" Thorne: A bubbly and headstrong 16-year-old witch who dreams of mastering spells and having epic magical adventures. Her enthusiasm is tested by her unexpected familiar.

Frank: A cynical and perpetually underemployed 27-year-old hipster barista. He's inexplicably chosen as Willa's familiar, much to his (and her) dismay. While lacking magical powers, he possesses a surprising amount of street smarts and knowledge of obscure pop culture references.

Ms. Hawthorne: Willa's wise and patient grandmother, also a powerful witch. She supports Willa and offers guidance on working with her unconventional familiar.

Tiffany and Beatrice: Willa's best friends and fellow witches. Tiffany has a sleek black cat familiar named Midnight, while Beatrice boasts a mischievous spider familiar named Arachne. They initially mock Willa for her "useless" familiar.

Plot:

Willa eagerly awaits her 16th birthday, the day every young witch receives their familiar. She imagines a majestic creature – a powerful owl, a loyal dog, or a mystical raven – to assist her in her magical studies and future adventures. Her friends boast about their familiars – Tiffany's sleek black cat and Beatrice's wisecracking spider – further amping up Willa's excitement.

On her birthday, surrounded by family and friends, Willa performs the ritual to summon her familiar. A bright light fills the room, then fades, revealing a bewildered Frank, clad in skinny jeans and a faded band t-shirt, holding a spilled latte.

Willa is devastated. Frank is the antithesis of the magical creature she envisioned. He offers no magical abilities and spends most of his time reading obscure poetry books and lamenting the decline of vinyl records. Her friends ridicule her, and even Ms. Hawthorne seems unsure how to handle the situation.

Determined to make the best of it, Willa and Frank embark on a series of training exercises. While Frank lacks magic, he uses his knowledge of history and pop culture to decipher ancient spells and devise unexpected solutions to magical problems. He inadvertently becomes a source of strength, teaching Willa the importance of resourcefulness and creative thinking.

The climax involves a confrontation with a malevolent magical entity that threatens the town. Willa, drawing upon her own power and Frank's unconventional strategies, defeats the creature, proving that a familiar doesn't have to be traditional to be effective.

Themes:

Embracing the unexpected.

True friendship transcends appearances and abilities.

Thinking outside the box to solve problems.

The importance of self-confidence and resourcefulness.

Humor:

The stark contrast between Willa's youthful enthusiasm and Frank's jaded hipster attitude.

Frank's utter confusion and sarcastic commentary on the magical world.

Situational humor arising from Frank's attempts to assist Willa with his non-magical skills.

[disventura]

pay this post no mind, just masterposting my tags for personal reference. (wip)

dust ⋮ ✁── 𝐨𝐨𝐜. ⌜ℎ𝑜𝑟𝑟𝑖𝑏𝑙𝑒 𝑠𝑎𝑛𝑖𝑡𝑦⌟ memes ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑖𝑚𝑝𝑟𝑒𝑠𝑠 𝑡ℎ𝑒 𝑚𝑖𝑛𝑑⌟ inbox ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑠ℎ𝑎𝑟𝑝𝑒𝑛𝑒𝑑 𝑡𝑜𝑛𝑔𝑢𝑒⌟ musings ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑞𝑢𝑜𝑡ℎ 𝑡ℎ𝑒 𝑟𝑎𝑣𝑒𝑛⌟ aesthetic ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑏𝑜𝑡𝑡𝑙𝑒𝑑 𝑝𝑜𝑒𝑡𝑟𝑦⌟ dash games ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ music ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑑𝑖𝑠𝑐𝑜𝑟𝑑𝑎𝑛𝑡 𝑚𝑒𝑙𝑜𝑑𝑦⌟ headcanon ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑠𝑙𝑖𝑐𝑒𝑠 𝑜𝑓 𝑑𝑒𝑎𝑡ℎ⌟ facade ⋮ ✁── 𝐨𝐨𝐜. ⌜𝑠ℎ𝑎𝑡𝑡𝑒𝑟𝑒𝑑 𝑚𝑖𝑟𝑟𝑜𝑟⌟

thread ⋮ ✁── 𝐢𝐜. ⌜𝑠ℎ𝑎𝑑𝑜𝑤𝑒𝑑 𝑎𝑡𝑚𝑜𝑠𝑝ℎ𝑒𝑟𝑒⌟ dashcom ⋮ ✁── 𝐢𝐜. ⌜𝑟𝑒𝑡𝑟𝑖𝑏𝑢𝑡𝑖𝑜𝑛 𝑜𝑣𝑒𝑟𝑡𝑎𝑘𝑒𝑠⌟ crack ⋮ ✁── 𝐢𝐜. ⌜𝑔𝑜𝑠𝑠𝑎𝑚𝑒𝑟 𝑓𝑖𝑑𝑒𝑙𝑖𝑡𝑦⌟

&five / temp0rtal ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑖 𝑑𝑜𝑛'𝑡 𝑗𝑢𝑑𝑔𝑒⌟ &morticia / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ &gomez / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ &pugsley / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ &enid / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ &tyler / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ &xavier / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟ &eugene / url ⋮ ✁── 𝐝𝐲𝐧. ⌜𝑚𝑎𝑡ℎ 𝑠𝑒𝑟𝑖𝑓 𝑖𝑡𝑎𝑙𝑖𝑐 𝑣𝟸⌟

wednesday ⋮ ✁── 𝐯. ⌜𝑓𝑢𝑙𝑙 𝑜𝑓 𝑤𝑜𝑒⌟ hogwarts ⋮ ✁── 𝐯. ⌜𝑑𝑜𝑚𝑢𝑠 𝑚𝑎𝑔𝑖𝑐𝑎𝑒⌟ riverdale ⋮ ✁── 𝐯. ⌜𝑚𝑎𝑑 𝑖 𝑎𝑚 𝑛𝑜𝑡⌟ south park ⋮ ✁── 𝐯. ⌜ℎ𝑢𝑚𝑏𝑙𝑒 𝑤𝑖𝑡ℎ𝑜𝑢𝑡 𝑡𝑒𝑚𝑝𝑡𝑎𝑡𝑖𝑜𝑛⌟ stranger things ⋮ ✁── 𝐯. ⌜𝑡ℎ𝑒𝑟𝑒'𝑠 𝑎𝑛𝑜𝑡ℎ𝑒𝑟 𝑠𝑖𝑑𝑒⌟ vampire ⋮ ✁── 𝐯. ⌜𝑖'𝑙𝑙 𝑏𝑒 𝑖𝑛 𝑚𝑦 𝑐𝑜𝑓𝑓𝑖𝑛⌟ vulcan ⋮ ✁── 𝐯. ⌜𝑐ℎ𝑎𝑙𝑙𝑒𝑛𝑔𝑒𝑑 𝑝𝑟𝑒𝑐𝑜𝑛𝑐𝑒𝑝𝑡𝑖𝑜𝑛𝑠⌟

enid ⋮ ✁── 𝐫𝐞𝐪. ⌜𝑜𝑝𝑡𝑖𝑚𝑖𝑠𝑚 𝑝𝑒𝑟𝑠𝑜𝑛𝑖𝑓𝑖𝑒𝑑⌟

my only consolation - romantic dynamic? poetry of words believe nothing you hear fiendish malevolence never settle