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trickstercaptain · 9 months ago

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Bag in hand, Jack clambered into the waiting taxi, shuffling over to the furthest seat in order to allow Lucas to join him inside. Fully prepared for an hour long journey through city traffic in complete silence ( after all, what did the pair actually have to talk about? ), Jack had already opened the bag that had been ceremoniously shoved into his grasp and was rummaging around inside for any other cool gadgets that Lucas and Beckett had trusted him with. Sadly, Lucas was no Q; the only things inside were some seemingly important documents that Jack had decided he would maybe read on the plane ( or not at all ), and a set of clothes that were the most abhorrent thing he'd ever laid eyes on. The life of espionage really was as glamorous as the movies made it out to be. But, so engrossed he was in judging the pair of corduroy trousers that presumably were going to belong to his alter ego, Louis, that Jack didn't expect Lucas to actually speak to him. Or attempt to make conversation — even if this sounded like another patronising warning.

Jack regarded him, half-tempted to rise to the bait, but he thought better of it, letting a blank look settle on his features instead. “ I actually think my French is pretty good for a non-native speaker, thank you. ” Rabid dog. As if. “ I had a friend who taught me. Well. He wasn't really a friend. ” Probably best that he finish that particular thought right there.

Finally bored of the bag, Jack placed it down next to his feet. This whole trip really was going to be hell for company. When his companion spoke again, Jack turned to him, arching a brow. “ Is that what you tell yourself when you're swanning around in the south of France, sweating through your collared shirt because you've never not worn a suit in your whole life, even when you're off the clock, watching all the holidaymakers on the beach thinking "oh, if only I could indulge, but they're playing bingo in the hotel lounge at 3 and I can't afford to miss it."? ”

Jack’s smile, as practiced as it may be, does nothing to hide the rebellion that lingers in shadowed eyes .. and Lucas frowns slightly, wondering what the end of their misadventure will hold. He dreams sometimes, dozes through half closed lids as thoughts shimmer in the air before him. The images change, follow different paths depending on his mood and the day’s work…but the ending is the same…A tangle of limbs, a mess of yells and one of them left lying on the ground. Sometimes it’s his protege who lays still and unmoving, shades of blue surrounding the swollen lips of his corpse and mottled skin in the shake of fingertips decorating the sensitive skin of his throat. Lucas staggers from that image, even when it’s nothing but a dream… Finds some corner on the edge of his memory and howls like the beast that Cutler Beckett has shaped him into. He prefers the others, prefers the ones where a shot rings loud and sharp, echoing off warehouse wall.. prefers when it’s him falling to the floor, a crimson stain he can’t quite grasp slipping through fingers that clutch at the fabric of his shirt.

It’s easier that way. That careful dance of following orders while letting Jack live. He tries not to watch the way the other man’s eyes burn with hate, that despairing judgment…. You don’t know. At least this way you can live.

The sharp retort breaks through such thoughts and Lucas feels himself grin, unable to stifle the small flame of affection that refuses to wink out of existence.. but the flash of teeth is gone before it even quite begins, chased by a feigned furrow of brows as Sparrow pushes past him. His strides are lazy, half hearted things as he follows his companion to their waiting cab and though the hollow of his chest is full of things he wants to say, wants to confess… all he offers is a quirk of a brow and an implacable expression as he waits for Jack to get inside. Fingers tug at the collar of his shirt, voice a low rumble flavored with boredom as the car begins to move.

“ You signed up for this, whatever the reason. Don’t start acting like a rabid dog unless you’re ready for the ending that usually awaits one.” Weight shifts as he pulls the mobile from his pocket, blue eyes flicking over it carelessly. Nothing. Well done, for once. “Cheer up, Jack. This job can be fun if you’re not too busy whinging about it.”

#spynorth #&. verse. a thin moon me in a smoke screen sky ( modern / young. )#dkfgjdfhgjkf he's literally such an asshole i'm crying #this thread will henceforth be known as lucas's car journey from hell #because he's stuck there with a 22 year old jack sparrow who thinks he knows everything lmaooo

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trashytoastboi · 7 months ago

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🍖Monkey D. Luffy Masterlist🍖

🍖 Headcanons: Law, Kid, Luffy reacting to seeing their timid S/O angry for the first time

🍖 Headcanons: Luffy x Tall! M! S/O

🍖 Headcanons: Luffy x Tall! M! S/O - Pre and Post Timeskip

🍖 Headcanons: Luffy x F! Strong S/O - Pre and Post timeskip

🍖 Headcanons: Law, Zoro, Luffy x Crewmate who has a tendency to wander off

🍖 Headcanons: Sabo, Kid, Luffy x F! Keyblade Wielder

🍖 Headcanons: Ace, Luffy, Zoro x Tall! F! S/O

🍖 Headcanons: Luffy, Robin, Shanks x S/O - Discovering their S/O is a sea dragon

🍖 Headcanons: Luffy, Zoro, Sanji - Reacting to crying S/O who tries to keep everyone happy

🍖 Headcanons: ABO AU! Omega! Zoro, Sanji, Luffy + F! Alpha

🍖 Headcanons – Ace, Sabo, Luffy, Sanji – Reacting to their accident prone S/O

🍖 Scenario: Soul Mate AU! Zoro, Luffy and F! Soul Mate (Poly)

🍖 Scenario: Modern AU! Luffy and Tall! Male! S/O studying together

🍖 NSFW Scenario: Roommate AU! Zoro, Luffy x F! Roommate (Poly)

🍖 Headcanons: Zoro, Kid, Law, Luffy - with a S/O who has a Buster sword

🍖 Headcanons: Ace, Luffy, Law, X-Drake – With extremely kind, caring and protective S/O

🍖 Scenario: ABO AU! Pregnant! Omega! Luffy x Tall! M! Alpha

🍖 Headcanons: NSFW and SFW: Luffy with Feminine! S/O

🍖 Headcanons: Crocodile, Luffy, Law, Kid with Short! Male! S/O who collapses with a fever due to carelessness for his health

🍖 NSFW Scenario: Ace, Sabo, Luffy x F! Reader - #28 Threesome + #38 Bartender AU

🍖 Headcanons: Pre and Post Time Skip – Luffy x Male! S/O with similar personality to Jack Sparrow

🍖 Headcanons: Law, Zoro, Luffy - #11. Making the other laugh & #28. Threesome

🍖 Headcanons: Luffy, Ace, Zoro, Law – Meeting Mickey Mouse, Donald Duck, Goofy

🍖 Headcanons: Luffy, Crocodile - Cuddling with Introverted! Reader

🍖 Headcanons Law, Luffy, Zoro, Ace x S/O that loves horror

🍖 Scenario: Luffy x Male! S/O with Jack Sparrow personality – Remember Every Scar

🍖 Headcanons: Modern AU! Ace, Luffy, Garp, Dragon as celebrities

🍖 Headcanons: Kid, Killer, Luffy x S/O with wings

🍖 Headcanons: Luffy, Smoker, Doflamingo, Law – Meeting young Xehanort (Kingdom Hearts)

🍖 Headcanons: X-Drake, Law, Luffy with S/O making a wish on a shooting star

🍖 Headcanons: Luffy x Male! Ex-Marine Lieutenant! S/O

🍖 Headcanons: Luffy, Law, Kid x S/O – who has a split sleeping schedule.

🍖 Headcanons: ABO AU! Alpha! Luffy, Alpha! Sanji, Alpha! Zoro x Omega S/O

🍖 SFW AND NSFW: ABO AU! Alpha! Luffy, Alpha! Sanji, Alpha! Zoro x Omega! S/O Who is in heat

🍖 Headcanons: Ace, Luffy, Garp x Sister!/Grandaughter! Reader - Saving her family at Marineford

🍖 Headcanons: Dad AU! Zoro, Luffy, Ace - Sleeping with their infant on their chest

🍖 Headcannons: Sabo, Law, Luffy x S/O - Reaction to their S/O picking up a magical lamp

🍖 NSFW Headcanons: Crocodile, Luffy, Kid, Law x S/O - First time with their partner who is afraid of being touched and having sex due to their past as a slave

🍖 Headcanons: Law, Zoro, Crocodile, Luffy x Shy! Deaf! Male! S/O

🍖 Headcanons: Ace, Sabo, Luffy, Usopp, Law, Kid x Male! S/O is usually bright and loud but he had a bad day and needs some comfort

🍖 Headcanons: Kid, Law, Shanks, Luffy x S/O - Walking in on their partner “confessing” to their vice captain

🍖 Headcanons: Crocodile, Luffy, Zoro, Kid x Quiet! Calm! S/O - Losing their shit

🍖 Headcanons: Luffy, Zoro, Sanji, Ace with Sleepy head S/O – They just love sleeping and taking naps

#trashytoastboi #luffy #monkey d luffy #character masterlist #masterlist #fluff #one piece #sfw #one piece imagines #one piece headcanons #gender neutral reader #gender neutral pronouns #one piece headcanon #female reader #male reader #unholy toast #luffy x readwr #mugiwara no luffy #strawhat luffy

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burningvelvet · 1 year ago

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Some thoughts on the topic of Byronism, Byronic Heroes, Byron himself, and Mr. Darcy, Mr. Rochester, and their respective authors...

This was inspired after I was tagged in a post (thank you @bethanydelleman !) asking whether Mr. Darcy should be considered a Byronic Hero or not. I start with my response before delving off, but I refer back at the end and it all ties in.

On Mr. Darcy: to Byronic, or not to Byronic? That is the question...

Whether or not Mr. Darcy should be considered a Byronic Hero is a complex question, as is the concept of the Byronic Hero itself.

I think there two versions of Darcy, and general pop culture tends to conflate them. There is Misunderstood Darcy (pre-"redemption" arc; aka what many think of him pre-Elizabeth's discovery of his true personality) and then there is True Darcy (post-"redemption" arc; "oh he's not rude, just socially awkward and proud"). Misunderstood Darcy has aspects of the Byronic, whereas True Darcy isn't Byronic at all.

Is Darcy Byronic? I recognize that he has Byronic elements that would make the general populace view him as Byronically aligned, so it doesn't bother me too much if people call him such, but without fully going into the debateable qualifications of the Byronic Hero, I don't think he is truly Byronic.

My interpretation of "Byronic" as a concept:

"Byronic" is not an easily defined term. A lot of academics have their own preferred methods of classifying the Byronic and there is no one fixed definition or interpretation. "Byronic" originally referred, of course, to the themes and tropes presented in the characters of Byron, who was one of the best-selling and most influential writers of the 1800s.

However, even applying the term "Byronic" solely to Byron's own corpus is an act of over-generalization. Many of Byron's purported "Byronic Heroes" are drastically different from each other or have little in common, as Byronist Peter Cochran noted in his review of Atara Stein's "The Byronic Hero in Film, Fiction and Television" (https://petercochran.files.wordpress.com/2012/07/stein-green-lapinski-ii.pdf).

I believe there are two main types of Byronic Hero: the Broad Byronic and the Byronist's Byronic.

The Broad Byronic is the modern pop cultural conception of Byronism which has been applied to practically every rebellious anti-hero. You can find thousands of articles analyzing why thousands of characters are or aren't Byronic, from Jack Sparrow to Batman to Luke Skywalker and ad infinitum. If you try hard enough, anything can be Byronic.

The Byronist's Byronic is like the Orthodox Byronic, the more traditional sense of the term. Academics who take the stritcer Byronist's Byronic approach mainly focus on Byron's direct literary descendants, like the Brontës and Pushkin, who were thoroughly obsessed with Byron and whose works/characters are directly and obviously inspired by Byron's own works. Heathcliff and Eugene Onegin are the most commonly cited examples and are Byronic by all standards.

Over time, "Byronic" has taken on a life of its own, leading to what I dubbed as "the Broad Byronic." I personally believe there is sort of a Byronic spectrum wherein I would place Heathcliff on one end and maybe Mr. Rochester on the other, considering his salvation plotline, which I feel is huge to his character and which Heathcliff lacks (as he openly declares at the end, he has no regrets for his actions).

Peter Cochran's interpretation of the Byronic Hero

Peter Cochran was a writer, professor, & one of the best Byronists (scholars of Byron) & I often defer to his opinion. His website is a haven for Byronism. His interpretation of the Byronic Hero is very much representative of the orthodox Byronist's Byronic.

In his essay "Byron's 'Turkish Tales': An Introduction," Cochan provides a brief analysis of the Byronic Hero, which I have sectioned out the most relevant parts of:

"Much has been written about him; what few writers say is that he has so many facets that it's misleading to treat him as a single archetype. [..] The Byronic hero is a human dead-end. He is never successful as a warrior or as a politician [..] he is never successful as a lover. [..] The Byronic Hero is never a husband, never a father, and never a teacher [..] He bequeaths nothing to posterity, and his life ends with him. He is to be contrasted with the Shakespearean tragic hero, who has to be something potentially life-affirming, such as a father (Lear) or a witty conversationalist (Hamlet) or a great soldier (Macbeth, Coriolanus, Antony) or a lover (Romeo, Antony). If they were not such excellent people, their stories would not be tragic. The Byronic Hero is not tragic: he's just a failure, and leads on to the Superfluous Man of Russian literature - as Pushkin demonstrated, when he created the Byronically-fixated Eugene Onegin. [..] The Byronic Hero must never be witty, or be brought in contact with a critical intelligence [..] if he were, his tale would lose its imagined grandeur [..] In his gloom, failure, and rejection of humour The Byronic Hero aligns not with the heroes of Shakespearean tragedy but with the villains of Shakespearean comedy: Shylock, Malvolio, and Jacques. [..] I would suggest that The Byronic Hero is either a closet gay, or a poorly-adjusted bisexual - a problem that Byron would have known all about."

On Mr. Rochester and Mr. Darcy

In his introduction to Charlotte Bronte's Jane Eyre: Modern Critical Interpretations, legendary literary critic Harold Bloom explained that Mr. Rochester is Charlotte Brontë taking the Byronic Hero, killing him, and then rebirthing him. I fully agree with Bloom's interpretation:

"[Rochester's] transformation heralds the death of the Byronic hero [..] Rochester is, in this sense, a pivotal figure; marking the transition from the Romantic to the modern hero [..]"

I would argue that what Austen does to Mr. Darcy is a lighter, pre-Byronic attempt at doing what Brontë did with her transformation of the Byronic in Mr. Rochester. Women growing to sympathize with rude men and then (directly or indirectly) inspiring them to change for the better. Women taking the Byronic and not just going "I can fix him," but instead "I'll tell him off, and then maybe he'll fix himself." Like Darcy, Rochester has two versions, pre-redemption and post-redemption. This is not Byronic, but their pre-redemption selves are, with Mr. Rochester being much, much more so than Darcy, and being considered an archetypal Byronic Hero (rightfully so in my opinion, his come-to-God ending aside).

Also, what Darcy and Rochester are redeemed for differs greatly; I'm not equating their moral or personal failures, and I know that Rochester clearly has more of them (if any anti-Rochester, pro-Darcy fan is out there, pls don't kill me for comparing them).

On Austen and Byron:

Austen started writing P&P when Byron was 8-years-old, so she definitely wasn't influenced by the actual Byron in creating Mr. Darcy. However, Austen did read Byron's work later on, or at least his poem The Corsair, which was his best-selling work at the time and which is one of his most cliché "Byronic" works. She did write some works, like Emma and Persuasion, after reading The Corsair, but I haven't read these yet and I'm not the biggest Austen scholar, so I don't know if she was ever actually influenced by Byron or not. I'm positive that people have analyzed this before. Lots has been written on Austen/Byron. They also shared a publisher, though they never met.

On Byronic (the writer) VS Byronic (the writer's characters):

To further confuse us, "Byronic" by its literal definition can refer to the Byronic Hero OR Byronic as in Byron the Man. Many conflate these things, but they are separate. This adds to the case of the Broad Byronic. Many of Byron's contemporaries created characters that were direct and obvious tributes or parodies of him, including Mary Shelley's The Last Man, Percy Shelley's Julian and Maddalo, and Thomas Love Peacock's Nightmare Abbey. They all knew Byron personally. Mary Shelley openly put Byron into several of her novels, as explained in "Byron and Mary Shelley" by Ernest Lovell Jr. and "Unnationalized Englishmen in Mary Shelley's Fiction" by William Brewer. Other notable examples of this are Caroline Lamb's Glenarvon (Lamb was Byron's ex) and Dr. John Polidori's The Vampyre (Polidori was Byron's doctor) in which both titular characters were/are clearly known by readers to be caricatures of Byron. The Vampyre was the first vampire novel, and was not only a caricature of Byron but also based on Byron's short story Augustus Darvell. So all modern "Byronic" vampires, including Dracula, are really Byronic as in Byron the Man, although they sometimes may overlap with the Byronic Hero. As I said, easily confusing!

As many academics (and Lord Byron himself) have noted, many of Byron's fans wrongly conflated his characters with himself. Although many of Byron's works were indeed semi-autobiographical, he himself said that they were not intended as actual depictions of himself, and that he was annoyed when people thought so. Many fans who met him would write they were shocked to find he was nothing like the Byronic Heroes of his works. He was humorous, he smiled often, he was somewhat of a dandy and much of a rake (self-confessedly), he was an aristocrat, he was considered by many to be effeminate, etc. -- all elements that are not typically expected of the Byronic Hero.

In reference to his drama The Deformed Transformed (which contains the characters Satan and Caesar) Mary Shelley wrote to him in a letter:

"The Critics, as they used to make you a Childe Harold, Giaour, & Lara all in one, will now make a compound of Satan & Caesar to form your prototype, & your 600 firebrands in Murray's hands will be in costume." [John Murray was Byron's publisher]

Here, Mary mentions how many of Byron's readers expected him to be just like his characters Harold, Giaour, & Lara, who fans assumed were his self-insert characters, as they each had strong similarities. However, these characters were more similar to "alter-egos" than actual "self-portraits." My personal interpretation is that Byron was writing these very similar dark anti-heroes and villains in order to channel the darker aspects of his subconscious, or what Jung would call his Shadow Self, to try to purge or subdue it. Though he lived before the field of psychology officially existed, Byron was very interested in all things psychological, and he used his writing as a method of self-therapy (see: Touched with Fire written by psychologist Kay Jamison, which contains one of the most thorough & reliable psychoanalyses of him).

As Bloom explains in the essay I mentioned, and as countless other academics have explained, Charlotte Brontë and many other women in the early 1800s were obsessed with Byron and his works. Byron's English-speaking fan base has always been primarily female, especially in the beginning of his career. Byron's fans wrote him letters revealing their differing interpretations of him and his Byronic Heroes (but again, most didn't really differentiate between the two).

Likewise, I think the Brontë sisters may have conflated Byron with his Byronic Heroes. Mr. Rochester is such a strong example of Byron the Man and has so many similarities to him that when reading Jane Eyre I felt like I was reading Lord Byron fanfiction. It's clear that Charlotte Brontë was familiar with his biography. For example (one of countless), in chapter 17 Rochester sings what he calls "a Corsair song" -- as I mentioned earlier, The Corsair was one of Byron's greatest hits, and Jane Eyre is set around the time The Corsair was published, and Byron also wrote songs and was also known for his good voice.

Although the Brontë sisters were each influenced by him, they took their own individual spins on the Byronic, and their works reveal the dynamicism of these themes. In my opinion, Emily employs the Byronist's Byronic most raw and faithfully (and maybe even takes it further), Charlotte punishes, redeems, and transforms the Byronic with much influence from Byron the Man, and Anne presents the Byronic most critically and realistically, asking "what if the Byronic Hero were real, and really got married -- what would that look like?" and having perhaps the most (Broadly) Byronic heroine ever, who is also later redeemed by the end, and has her veil of Byronic mystery removed much like Darcy did.

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