#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.

[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.

[goatsandpals]

Greetings, I have finally found time to write a new introduction. You’re very welcome.

Refer to me as Milo or Gompers or just *gestures vaguely* that clown.

I’m biracial, nonbinary, aspec and very, very afraid. My pronouns are They as well as Them. Make of that what you will.

I make fanart but forget to post it most of the time (I’m working on that) You will just have to take my word for it. Currently I have been enjoying fictional podcasts. This is due to forces outside of my control.

I enjoy: goats, horror podcasts, steampunk space pirate music, theology, the color green, weird hats, stained glass, poetry, Gravity Falls, alone time, and cryptids.

I thoroughly dislike: math, politics, true crime, proshipping, mold, most YA main characters, rude people, capitalism, and fearing for my life.

Podcasts I’ve listened to/am currently listening to: The Magnus Archives, The Silt Verses, Wolf 359, Camp Here and There, The Penumbra Podcats, Alice Isn’t Dead, Malevolent, Old Gods of the Appalachia, Stella Firma, The Bright Sessions, and Welcome to Night Vale.

I also like talking to people. Please feel free to do so!

[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.

[jimi-rawlings]

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 þ��r 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." H��rr 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

[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).

[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⌟ 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⌟

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

[pumpkinupsidedowncake]

Live(ish)blogging my reaction to The Road Not Taken, by Robert Frost, for posterity, part one: the long ass introduction I feel obligated to read.

Introduction by Louis Untermeyer:

Every time I read the lore behind poems I know, which is three times, I learn something that fundamentally alters my perception of the work. Only once have I appreciated the insight. This occasion was not that time.

Additionally, and I don’t know why I’m surprised by this, but this guy is such a Robert Frost simp. I truly don’t think there’s a better word to describe it. When explaining how at first only one magazine wanted to publish any of Frost’s work, Untermeyer basically calls all the other magazines cowards with shitty taste:

They were totally uninterested in poetry that refused to repeat the pretty platitudes of verse; they were afraid to consider a new kind of pastoral poetry which, instead of using the shopworn stereotypes of exaggerated country sentiment, showed the country in its quiet, sometimes drab, but always true colors.

Like, wow. Rip to those other poets. Who, you know, were well-liked enough to get published and all that. But no, I’m sure their art was nothing but unimaginative drivel, Frost’s number one hype man says so and surely he wouldn’t be biased.

Moving on: how the hell is “poetic radiator” a job description?! Now I’m picturing Frost sitting against the wall, making loud humming noises and intermittently saying things like “Poems are cool, yo! You should write one!”

Okay, finally some valuable insight. By my definition of valuable which is extremely relative.

Preferring a reality of experience to a retreat to a fantastic dream-world …

Idk if that’s the right way to end that quote. fuck it we ball. This quote is referring to Frost, and it interests me because of what it could say about Arthur’s gravitation towards Frost’s poetry in Malevolent. It also explains why I’ve never felt particularly drawn to Frost.

Yeah, I should say this for context: the only reason I am reading this book, the only reason I bought it at half price books in the first place, is because I enjoyed the poetry included in that podcast. Well, that’s half the reason. The other is that I don’t really get Frost. I appreciate his artistry, but the emotions he conveys are not immediately relatable to me.

Take, for example: the big one. Stopping by the Woods on a Snowy Evening. The first time I learned of it was through the story behind Eric Whitacre’s choral piece Sleep. I don’t remember if I read it then or not, if I did it made no impression on me. Years later when I actually read and reflected on it, an admittedly childish dominated my mind:

why not just go into the woods for a time?

It’s bad weather, just get wherever you’re going late and blame it on the snow or forgetting something. Cell phones don’t even exist yet, you’re free! Nobody needs to know. The miles will be there when you get back.

I know what the poem is saying. I can understand the experience it’s speaking to, even. But unless I really try to get what it’s going for, I don’t. And that’s why I’m here, reading the longest introduction known to humankind, instead of working on the large assignments due tomorrow, as Robert Frost intended-in-reverse-as-in-definitely-would-not-appreciate-especially-since-he-was-apparently-a-teacher.

I want to get Frost’s poetry, or at the very least make my best attempt at it. I’m a nerd, I basically get a stat boost to this type of thing. I can do this. All I have to do is make it through this introduction. And then the actual poetry collection.

I did it. The introduction is finished. I’m being overdramatic, there were only like two pages left. The last thought I have to offer today is on the last line of the excerpt from Frost’s “The Lesson For Today”:

I had a lover’s quarrel with the world.

It’s described as what he wants written on his tombstone. My first thought was “same”, my second was “wait a minute, is this just a universal thing?” and my third was “no, it’s because I refuse to pick a struggle.” Meaning not everyone would describe their existence as such, but plenty of people probably would.

So yeah. This has been a journey and it’s literally just passing through the gateway. Thanks for watching, like and subscribe, I will be back with more at some point.

[alokastrology1]

What are the benefits of reciting Hanuman Chalisa?

Every Hindu has a special place in their hearts for the amazing Hanuman Chalisa. This magnificent ancient spiritual hymn contains 40 sections. It is said that one should recite  Hanuman Chalisa to worship Lord Hanuman. Hanuman Chalisa is a spiritual poetry written by Tulsidas, a famous monk, and poet who has been referred to as a manifestation of Saint Valmiki. Tulsidas composed the Hanuman Chalisa while imprisoned by Mughal ruler Aurangzeb. Those who chant this, he says, will be grateful for Lord Hanuman’s abundance of benefits.

Know why is it necessary to recite Hanuman Chalisa? Get an online astrology consultation by the world-renowned Astrologer Mr. Alok Khandelwal.

Before reading it:

Before start reciting the hanuman Chalisa in the morning take a bath and wear clean clothes. Sit on a clean mat and recite hanuman Chalisa with full concentration. Keep your thoughts clean and do not overthink while chanting hanuman Chalisa.

Benefits of reciting hanuman chalisa

Mitigate Saturn’s Influence: 

Astrologers suggest that repeating the Hanuman Chalisa can help in reducing the malefic impacts of Saturn from life and horoscope. the devastating effects of Saturn’s movement that causes difficulty in life can be helped with the regular recitation of the hanuman Chalisa. Individuals with a malevolent Saturn placement in their horoscope should repeat Hanuman Chalisa at least 7 times on Saturday. This will protect the individual from Saturn’s destructive effects and will be of tremendous assistance.

Reduces the ill effects of Mars:

You may strengthen Mars’s beneficial impacts by reading Hanuman Chalisa. Chanting the Chalisa instills constructive attributes of Mars such as courage, strength, vitality, and an invincible spirit. Those who are under the satanic power of the planets will find comfort and profit if they sing the Chalisa eight times on Saturday.

For others, reciting the Hanuman Chalisa can be done both at the beginning of the day and at the end of the day. It takes no more than 10 minutes to practice reciting Hanuman Chalisa. Hanuman Chalisa’s recitation also has effects such as purifying the human body’s thinking and edifying his mysticism. It protects a person from impending dangers and instills faith in him to conquer the world.

Our bodies are 60% water, and every word we utter has a vibration and an effect on the conscious and subconscious levels of our bodies. Bliss may be attained if we begin to repeat the mantra or holy name, as there are important patterns for each frequency. Every terrible word has a distinct vibration, and every nice word has a different vibration as well. Similarly, the patterns created in our bodies by holy names or mantras differ greatly from the ones noticed in evil words.

Read Also:- What is Rashi Mantra?

Helps with positivity:

Hanuman Chalisa helps individuals get a positive outlook in life. Ward off any kind of negative spirit, negativity, and sorrow from their life and help them with confidence and a convincing attitude. Besides positively it helps people with their karma, their karma of last birth and this birth. If the native has suffered due to their bad deeds and facing the karma check, reciting hanuman Chalisa on regular basis can provide relief from the difficulty.

Spiritual Understanding:

Reading the Hanuman Chalisa in the evening might assist in gaining good thoughts from the heinous forces. It makes no difference if we are specialists, doubters, understudied, or non-believers. Reciting Hanuman Chalisa has always enhanced people’s lives by offering an upbeat and constructive approach to dealing with difficult situations.

Reading Hanuman Chalisa might assist those seeking enlightenment achieve spiritual understanding and wisdom. Reciting Hanuman Chalisa chases away unpleasant company that distracts a person. It devalues conflicts in favor of happiness and harmony. By keeping one aware of their surroundings, reciting Hanuman Chalisa fosters like-mindedness and minimizes needless conflicts.

Read Also:- Know how Chandra Mantra will help you?

[malevolentcast]

I really love malevolent! I love so many things about it, one I particularly enjoy is all the reference to music and poetry.

Are there any songs and/or poems that you enjoy that aren’t in the show that you think about that fit well with malevolent and the characters?

None that won’t make it in eventually probably

[mielmoto]

genshin verse. La Cour des Fées – Seelie, Fae, and Adventuring.

this was originally started as a short little post about what would most likely draw Honey into joining the Traveler on their ventures, in spite of her somewhat ‘lazy’ outward persona and general distaste for being put in unsatisfactory situations, but it turns out there’s a lot of layers to peel back on this one. so. yeehaw!

seelie, in traditional folklore, are generally regarded as being “benevolent or beneficially-inclined fair(ies),” with unseelie as their binary foil, accounting for the “malicious or malevolent fae.” seelie are the kind to seek help from humans, warn those who have offended them, and return human kindness with favors of their own; though this generally “good” nature still leaves room for their proneness to mischief, and tendency to avenge perceived insults against them. 

in teyvat, we see much of this described behavior emulated: not only an interest in humans, but the give-and-take relationship of rewarding a favor in kind (with treasure, access, or so-on). but these seelie are far less visibly similar to human kinds, or even other spirit/primordial beings like the adepti of liyue and spiritual envoys in inazuma. the seelie now scattered across the nations are called "remnants” of a “bygone race that once held beautiful forms and immense wisdom, used to guide mankind,” predating even the eldest of the known gods, who had palaces “outside the realm where gods hold authority”— most likely referring to the Dark Sea, but left somewhat nebulous.

legend also says that: 

the ancestor of these seelie once met a traveler from afar, whom they married; but only thirty days after their union, disaster struck, (the cataclysm). the seelie fled with their lover into exile, but the calamity caught up with them. they were said to be “separated from each other for eternity, their memories wiped without a trace... [eventually growing] so sullen and withdrawn that their wondrous forms withered away, leaving fragments of their former selves scattered in the mountains and ruins. 

they had forgotten so much, lost so much, and been stripped of their voices and wisdom, yet they continued to sing the same songs of grief. Because of this, and with a trace of deep love still lingering for their lost lover, they will act as guides to travelers who stop in the mountain mist, seeking to retrace their memories of an ancient story in long-abandoned ruins, disused makeup cabinets, and now-undecipherable poetry.

( Records of Jueyun, Vol. 4 ).

...we all know that stories and fairy-tales don’t capture the whole truth of the past, but often they get the gist. wherever reality falls between these legends and the “truth,” the fact remains that the seelie encountered by travelers are displaced, astray, often looking to fulfill a simple favor before being guided home, to their little “court” (as the humble plinths are called), and allowed to rest.

the fae that Adaline— and her daughter, Honey– descended from were perhaps one and the same with those ancient seelie, diverging only somewhere before the archon wars, as with the lochfolk and other kin. history is long, and uncertain. what is sure is that their kinship, however distant, remains. there’s an instinct somewhere deep in the heart of even the halfling fairy which instinctively wants to aid travelers, even if that help is only as much as a warm handmade treat, a kind word, and dutifully imparted directions.

more than that, though, Honey might surprise those who know her well by frequently being taken by wanderings, into places which someone so combat-averse would be wise to avoid: ruins, caves, and other forgotten places... but it can’t be helped. she can’t bare to sense where the seelie remain, restless, yet tireless, and not try to fulfil their last favor— guiding them home, and to peace, after so long. 

teaming with the traveler may mean stumbling into a number of unfortunate events along the way, but as much as she might whine and pitch her distressed dramatics from time to time, it’s worth it for the access they’d provide in turn, often venturing into places which would be much too dangerous for her to go alone... and, at the end of the day, she really does like looking out for the outworlder, as much as she pretends to resist.

how much of this she divulges from the start? debatable. she’s not the most secretive woman in the world, as we know, but this connection runs deeper and more delicate than the rest of her often light-hearted interests. but if she trusts someone, she’d give the TL;DR, at least. but the easy reason she gives for travels abroad is ‘collecting more recipes for her business,’ determined to be the foremost sweet-maker in all the seven nations.

...this, too, veils a deeper motivation. but she keeps that secret a little closer to her chest.

[jimi-rawlings]

Prisoner

"Prisoner" by The Weeknd featuring Lana Del Rey is a song about being trapped in the cycle of addiction and the emptiness that comes with it. The song opens with The Weeknd expressing how much he relies on their lover, showing that his addiction is not only to substances but also to the person who brings good to his lonely life. The chorus reveals the title of the song, with both singers admitting that they feel like prisoners, unable to escape the addiction that has taken over their lives.

The verses discuss how their addiction has led them to make poor decisions and how they are addicted to a life that is empty and cold. Their addiction has become the driving force in their lives, with both singers admitting that they feel like they have no control over their actions.

The bridge is sung by Lana Del Rey and describes the pain she feels from being in Hollywood for too long and feeling her soul burning slowly. This could be interpreted as her feeling like she has lost herself in the world of fame and that she is slowly losing herself to the addiction that comes with it.

The song ends with Lana Del Rey admitting that she feels lost in a world where nothing is as it seems and that real life is stranger than her dreams. This line is open to interpretation, but it could be interpreted as her feeling like her addiction has made the world around her seem surreal and that the harsh reality of her situation is stranger than anything she could have imagined. Overall, "Prisoner" is a dark and honest look at the toll addiction has taken on the lives of both singers.

Acrostics French Gnosticism Manichaeism Biblical Apocrypha: Sylphs Archon of The Crown Conjunction, Young and Beautiful; 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. (French 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-Calcium Metabolism), Habitants Currency, Church Enterprises (Real Estate; Liberal Arts Immersion Schools; Gold; Athletics; Fine Arts), Azrael Covenant of Death and Romance with Roses and Diamonds, French as Satanist State and Raphael as the First Satan, YHWH Fleur-de-lys Angel Syncretism, Fleur-de-lys Wings Transfer 18 Roses (Spirit Activation). Poetry Theme is Prisoner by The Weeknd

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.

Pardicé Minuit