#poor enkidu

[themadhound2]

Found an old digital sketch from 2 years ago, so i desided to line it, and it came out like this. Its rough but i hope u all like it

[theacblade]

Enkidu after Loki possesses Basim

Y’all I just finished AC Mirage and that’s all I could think of at the end 😂😭💀

[wizardmp3]

"philosophy is pretentious" love? my best friend love is pretentious? platos symposium opens to talk about love amd hes one of the big three socratic philosophers. what is love by haddaway is pretentious? baby dont hurt me, dont hurt me no more?

[gilgil-machine]

Decided to check Gilgamesh tag for art and stuff but it's filled with quotes from the epic of Gilgamesh where Gil mourning over Enkidu and now I'm sad.

[babyloniastreasure]

Enkidu FGO is absolutely a troublemaker. Enkidu Source Material was also absolutely a troublemaker, but of course he was! He was literally created to be the equal to the #1 Mesopotamian troublemaking king, Gilgamesh. It's basically a requirement

I see it from time to time, but there's an opinion that Enkidu was killed in the Epic because he was a troublemaker. This is not true, but easy to understand why it's a popular conclusion

The decision to kill Enkidu was made after he and Gilgamesh made some glaringly poor choices--the first one being the slaying of Humbaba, and the second the slaying of Gugalana. I think people attribute the reason Enkidu was killed instead of Gilgamesh to Enkidu's actions after Gugalana was killed, which something I will get to in a moment. It might be different in Fate, and depending on what version of the epic you read some details differ, but generally here's what went down

Gilgamesh one day gets the idea that he and Enkidu should go into the Cedar forest and kill its guardian, the monster Humbaba. Now, wood was a very sacred and rare material in ancient Mesopotamia, cedar wood in particular. Hence why the gods had such a powerful monster keeping it safe. Gilgamesh goes to Enkidu with his grand idea to hunt down and kill Humbaba, but he needs Enkidu's help to find him. Enkidu is very hesitant at first and tells Gilgamesh the equivalent of, "Dude that's a terrible idea. Humbaba is extremely powerful. Absolutely Not." Gilgamesh urges Enkidu to reconsider, because together they can survive anything! It'll be easy with the two of us and it'll be so much fun!

Enkidu is eventually persuaded and agrees, and together they track down and kill Humbaba, as well as his seven sons. They worship/thank the gods by sacrificing Humbaba-meat to a fire (as ya do), and they cut down a RIDICULOUS AMOUNT OF CEDAR while they're at it, then sail home down the Euphrates on a newly carved boat and a bunch of extra wood. Needless to say, The Gods Were Not Pleased.

But since this was King Gilgamesh and Enkidu, they chose to simply take note of this transgression and not do anything to punish them so long as they didn't do something equally grievous in the future.

Fast forward a bit and Ishtar is upset that Gilgamesh doesn't want to sleep with her. Gilgamesh heavily insults her, naming off dozens of her past lovers and how she treated them, driving her to tears. She goes up to the heavens and pitches a fit to her father, Anu, about the rejection. She threatens to raise zombies all over Mesopotamia unless he gives her the Bull of Heaven (Gugalana) to lay siege to Uruk in vengeance against Gilgamesh. Sending out this divine beast is a HUGE deal, not a decision to make lightly. However, Anu doesn't want zombies. He gives her the Bull.

Ishtar immediately sends it down to Uruk where it promptly kills a BUNCH of people and causes a heap of environmental disasters. Enkidu fights it off alone for a while, but it isn't until Gilgamesh joins the fight that they are able to take it down. Gilgamesh makes the final blow, killing him, and with Gugalana defeated the kingdom celebrates victory. They worship/thank the gods by sacrificing Gugalana-meat to a fire, and Ishtar shows up again. She is very upset that Gugalana was slain. How DARE you two kill the Bull of Heaven? She says. Do you have any idea how important that was? She says. Enkidu responds by insulting her and throws a chunk of the meat from Gugalana's hind at her head. She is humiliated and goes back up to the heavens. I think this is where people get the idea that Enkidu was a troublemaker, and that this was why he was chosen over Gilgamesh to die. However. It is not. Once again, The Gods Were Not Pleased. Gilgamesh and Enkidu are out of control. They call a meeting.

Gilgamesh and Enkidu, as a pair, had:

Slain two divine beasts (which they knew the importance of)

Cut down a sacred forest (which they knew the importance of)

Heavily insulted the same goddess to her face. The patron deity of the kingdom, no less!

Three major transgressions! But the most concerning ones were the deaths of Humbaba and Gugalana, and were the primary discussion at the god-meeting. The others are bonuses.

The gods decide the fitting punishment is death. However, killing both Gilgamesh and Enkidu is too severe and must choose one.

Now there's no literal written reason for Enkidu being chosen. But looking back on the Epic as a whole, we can infer the reason he was...is Gilgamesh.

Enkidu was created by the gods to rein Gilgamesh in, to control him. Gilgamesh on his own was unruly, unchecked, overpowering and selfish. By giving him Enkidu, he had someone he could be unruly with, who would check him, who could match his power and balance his needs. Enkidu was literally made to be his perfect match, and thus he became the most important thing in the whole world to Gilgamesh. Some might say that Gilgamesh's wanton disregard was rubbing off on Enkidu, or that Enkidu's unwavering loyalty and support was making Gilgamesh overconfident, and that he was killed because he was no longer fulfilling his purpose. However, I do not think that's the reason, either.

There's this neat thing in Mesopotamian literature and poetry where the theme of the work appears again and again. Prose is often repeated, whole stanzas are recycled over and over, words and the way grammar is used, and lines are reused in patterns. Very often, a work begins and ends the same way. The Epic of Gilgamesh is a shining example of this and does it constantly. So,

Just like in the beginning of the Epic, in order for the gods to rein Gilgamesh in, they use Enkidu.

--

TLDR; Enkidu was not killed because he was a trouble maker. By killing both Humbaba and Gugalana, both he and Gilgamesh were in trouble but only one of them needed to die as punishment. Enkidu was chosen because he was created to control Gilgamesh--both through his life and through his death.

[aegisofworms]

My last post has me nostalgic for my old coloring process, so here's some old lancer art I dug up for the Balor and Enkidu frames! I'm Hoping to find the time soon to do all of the frames like I had planned back then (but we'll see how my poor time management skills work out for that haha).

[toskarinfr]

see, I just think it's rather in poor taste to use horny anime women for nightcore thumbnails of a gay man singing about his sexuality. if you're going to put anyone horny and panting on there, I'd put gilgamesh taking it raw from enkidu.

[msmc-796-official]

Tales From Planetfall #2: 3NK1-D0N7

'sup nerds! Slipshod here - P said I was allowed to tell stories from my past if I put 'em under this tag. might as well share one of my favorite stories from the HORUS days and give y'all a sneak peek into the absolute shitshow that was my past

little bit of context - during my time with HORUS, I went by the callsign Ripcord. the cell I come from is long since defunct, but given the kind of shit we got up to, not entirely sure it's safe to give that name out publicly just yet. let's just say if the phrase "shove that up your shaft and smoke it" means anything to you, you know exactly which cell I'm talking about ;)

one of my buddies from back in the day - username KeepHonking-ImReloading, if they still use it - was a bit of a whiz when it came to masking their mech signature. you all know how the lycan frame works nowadays - it uses a dummy shell to hide its true nature until it actually gets into combat, then sheds that shell and goes full tilt. KH-IR did something that, but with a slightly different method. they liked to physically modify a mech's frame until it actually resembled a completely different mech - sometimes not even one from the same manufacturer

(if memory serves, the most extreme they ever got was modifying a hydra with some illegal greywash extruders until it was damn near a functional balor in its own right. real impressive shit, lemme tell ya, especially as they were able to keep the drone capabilities mostly intact. idiot damn near got blown to hell and back when Union found out, but RA almighty was that a sight to see in combat)

anyways, I wound up in a chatroom with 'em one day and we got to talking. told 'em I was a toku pilot and they got real excited. (one of their first ever modified builds was a toku, apparently.) they asked if I was down to take a dare, and being the hotshot piss-and-vinegar pilot I was back then, I said yes. they pitched me this: take the secondary set of arms off my toku, set my torch configs to look like claws, adjust the legs to be digitigrade, and see how long I could fool an opponent into thinking I was piloting an enkidu

now, if you know anything about HA history, you'll know that legit enkidu frames can only be found over on Hercynia, and even those are only prototypes - an officially licensed HA enkidu frame categorically doesn't exist. however, as their prototype code is what eventually became today's tokugawa, it wasn't all that unreasonable of an idea... and so I said sure, fuck it, let's see what we can do

the mods themselves were easy enough - the secondary arms came off clean, the torch config mods were practically built into the base system already (apparently if you poke around in the right code blocks long enough, you can find the original torch-projection pattern for enkidu claws - who knew?), and a few tweaks was all it took to swap the legs over to digitigrade. I had my "enkidu" all ready to go, now it was time to deploy

myself and a couple of buddies got our chance soon enough - we got word that there was a squad of IPS-N trunk security goons poking their noses where they didn't belong, and one of our fellow cells was under heat. naturally, that shit doesn't fly on HORUS turf, so we headed out there to resolve things

with the way enkidus were originally built, they're meant to override their pilot's minds and drive them murder-crazy. (kinda like a SEHKMET-class NHP, if you wanna use that comparison.) I've always been a pretty aggressive pilot, but that kinda behavior is a bit much, even for me. that being said, most pilots have never seen an enkidu before, and I could use that element of surprise to my advantage. crouch real low like a big cat about to pounce, turn the torch-claws on (and summarily watch these nerds shit themselves, because holy fuck that's an enkidu oh shit-), and then lunge full tilt at the nearest enemy and give 'em hell

the wave of pure adrenaline I got from tearing into that first poor trunk security sucker like a wild animal made me question if there wasn't still some latent enkidu code hidden in my toku after all. never before had I felt more alive, and never have my reactors sang louder than they did that day. pilots today may joke about "going feral", but brother, I was living it. (I wish I still had the after-action recording that I sent over to KH-IR - I'd love to rewatch it now and see just how insane I must have looked inside that cockpit)

needless to say, I lived up to the dare, and I had earned KH-IR's respect for it. I got sent a few new torch config patterns as compensation (one of which - a battleaxe - I still use to this day), and also earned a new nickname on the forums. y'all know me today as 70KU-N4H-W4, but for a few glorious weeks after that incident, I was known on the HORUS forums as 3NK1-D0N7. (fun fact about my username - almost changed it to F4UX-UG4W4 instead after this went down. ultimately decided against it after KH-IR weighed in and said they liked this one better)

anyways, I think that's enough of a wall of text for now. this was fun to write - haven't thought about those days in a long while. who knows, if y'all wanna hear more from me, I might write another one of these someday

take care out there, nerds. until next time ;)

-- Slipshod

[a-d-nox]

gilgamesh, the epic hero (asteroid 1812)

The Epic of Gilgamesh is perhaps amongst the greatest texts produced. The epic poem predates many Classical Antiquity poems and is likely the oldest piece of literature in existence. Gilgamesh is a semi-mythical king who is featured in many Sumerian poems. Gilgamesh is thought to be the son of a priest-king, Lugalbanda and a goddess called Ninsun (sometimes written Ninsumun) - this makes Gilgamesh a "demi-god"; which explains his long reign and in-human strength described in the epic. But with great power comes great responsibility - Gilgamesh was a tyrant and abused his power. The epic beginning with Gilgamesh meeting Enkidu, who Gilgamesh decides to wrestle to prove he is king of the land - but the two quickly discover that they are evenly matched. They decide it better that they become allis/friends then it would be for them to kill one another. Enkidu is a creature of the forest though and becomes bored by life in Gilgamesh's city. To appease Enkidu, Gilgamesh offers that the two go on trip into the wilderness to hunt a demon called Humbaba. After getting suited up for the hunt Enkidu starts to get cold-feet, but Gilgamesh eggs him on. The two run into Giglamesh's mother who blesses their journey despite believing it is a poor use of their time. The two find the creature and, with the aid of the gods, Gilgamesh beheads Humbaba. The pair sail home; when he arrives home, he meets with the goddess Ishtar - who seems to be romantically inclined towards him, but he rejects her advances. In response, Ishtar send the Bull of Heaven to kill Gilgamesh to no avail because he and Enkidu slay the thing. Enkidu in a blood haze chucks a piece of the bull at Ishtar - Ishtar isn't amused and kills him. Gilgamesh then decides to sojourn in mourning, which leads him to wondering about his own mortality. He goes in search for a wise man named Utnapishtum. Which is a super laborious feat as he breaks and kills the things he need to cross a river to get to him, but Giglamesh finds Utnapishtum... only to be judged by him. Gilgamesh confronts Utnapishtum about the real reason he travelled so far - that is immortality. Utnapishtum challenges Gilgamesh to stay awake for an entire week - Giglamesh believes that it will be a simple task. When he sits down, he realizes what a long journey it has been to get to Utnapishtum, and he falls asleep. Utnapishtum tells Gilgamesh there is one more way to get the rejuvenation he seeks and it is a plant at the bottom of a lake. Gilgamesh does retrieve it but loses it when he turns his back during his return home when he stops for a bath. IN MY OPINION Giglamesh in your chart can represent a) where you think you are untouchable, b) your pride, c) where you hit rock bottom, d) where you can't follow through on a task you set out to complete, e) where you hunger for more than what you are given, and/or f) where you seek more time.

i encourage you to look into the aspects of giglamesh along with the sign, degree, and house placement. for the more advanced astrologers, take a look at the persona chart of giglamesh AND/OR add the other characters involved to see how they support or impede giglamesh!

OTHER RELATED ASTEROIDS: ishtar (7088)!

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[haggishlyhagging]

As farming and herding allowed population densities to rise, plagues began to appear, and they are recorded in the mythology of Mesopotamia, where the earliest known cities developed: At Babylon, the Gilgamesh Flood myth specifies plague as one of mankind's four ills; an illness sent by avenging gods kills Enkidu, the wilderness man; and plague is in Egypt before the writing of Exodus. Yahweh, like Inanna before him, is a deity who brings illness at will, and he does so specifically to punish those who are not faithful to his paternal tenets. The new male doctrine, in short, used natural disasters to frighten people and promote itself.

Of the fatal diseases that sweep human populations, smallpox was one of the deadliest, and the red dots typical of the disease may have enhanced its association with the menstrual power of annihilation. In India, one of Kali's titles is "goddess of smallpox"—and Kali, we recall, is completely connected to the dark menstrual moon. Two goddesses, sisters of course, tended by artisans in a village in rural India, are named for illnesses: "Prayers are then offered to the goddesses asking that the village be free from cholera and smallpox, for Durgamava is believed to preside over and cause cholera, while Dayamava is the presiding deity of smallpox."

It is thus very possible that the ancient goddess of menstruation, however she was imagined, was believed to have sent the most crushing of the plagues of humankind and that this intensified the fear, punishment, and shame associated with menstruation, helping to establish the male-based religions of "light." Perhaps a series of plagues lies behind both the spread of Christianity into pagan Europe and the waves of witch trials that followed the bubonic plague, which killed one out of three Europeans in the fourteenth and fifteenth centuries. That the fears about these mostly poor and old women were tied to old menstrual taboos is clear. They were believed to cause illness from a distance, with the gaze of the Evil Eye. They were identified as "real" witches by their association with old wilderness metaforms: one woman "vomited eels"; others "evacuated snakes"; some turned into birds, goats, or dogs. In Norway, witches were thought to cause storms by turning into geese or by whistling. Catholic theologians held that Satan could turn men into wolves, but that women were the greatest evil, spreading illness with a gaze, rotting men's bodies, deserving of shame simply for being women. Though the Inquisition was politically motivated and served the avaricious male leadership to seize property and authority from traditional women healers and diviners, there is no doubt that in times of stress European peasants and townspeople, Catholic and Protestant alike, were genuinely frightened of anyone believed to have the old menstrual powers. In the absence of the germ theory of disease and other mechanics of natural cause and effect, people blamed the symptoms of illness, epilepsy, and all manner of other disasters, on the same power they had always held responsible: menstruation. But now they called the metaform "Satan," and they imputed evil motives not only to the menstruant but to their neighbors and to whole groups of people with older (and more menstrually based) traditions—Jews, gypsies, homosexuals, and prostitutes. They were fearful of people with darker or redder physical characteristics. But in particular the Evil Eye was imputed to old women, who were believed to retain their menstrual blood so that it flowed through their veins following menopause!

The menstrual gaze was imagined as Satan-directed "possession," which could be cured simply by something as male as the symbol of the phallus. The Evil Eye was called "fascination" and could be counteracted with the male "fasces," a bundle of phallic sticks—hence fascism's association with the "fire of male cleansing." The Evil Eye and its subjective responsibility could be replaced through spoken prayer and charms invoking "God's Eye," the Eye outside the woman, the Eye from above.

-Judy Grahn, Blood, Bread, and Roses: How Menstruation Created the World

[soufre-de-paris]

best part of gilgamesh so far is when gilgamesh says, "mom i had this dream of the whole city freaking out over some weird incorporeal power??? what's up with that"

and his mom (an actual cow) says "oh that's your soon-to-be husband. he's gonna show up and be your bff and i'll marry you"

and then the next night gilgy's like "mom i had another dream, there was this axe and it was exactly the same as the other dream but now the incorporeal power was an axe"

and his mom (the cow) says "yeah. like i said. that's your husband. he's gonna show up and be your bff and i'll marry you. we talked about this?"

and then when enkidu actually shows up gilgs brings him to his mom all super excited, his mom (the cow) is like "honey… um. he's poor. and hairy. are you sure you want to marry him?"

[enden-k]

Hi, Fate Ask-er here! I was actually rewatching the trailer for FS/F and funnily enough Gilgamesh and Enkidu's excitement abd desire to throw down had me thinking about Kavetham instead lol. I was wondering if you ever considered drawing Kaveh and Al-Haitham while sparring, in the heat of the fight, relishing in a more physical form of debate (all in good faith and friendly ofcourse).

nothing against kaveh bbg and i mean, he is strong etc but. compared to haitham? haitham? i feel like if they sparred he would have haitham straddling him, pinning him down w his (nice) arm against his throat while smirking down at him in like. minutes. seconds perhaps. kaveh (in my head) is no weakling but haitham just. completely overpowers and dominates him on the battlefield ajhjsgx (poor architect)

if theres one who could spar w haitham and give him a nice workout (and me a good time as a cytham enjoyer), its def the general mahahahatra ⚡ i feel like that would be their kind of debate while kvthm have the verbal one AHA

(also their fight still lives rent free in my head, the fact hthm could keep up w the general but was pushed so hard into defense.......🙏🙏🙏💦)

[irish-dress-history]

Wilde is not a Social Class

part 1: What "Civil" and "Wilde" really meant

The "Civill" Irish man and the "Wilde" Irish man from a 1676 colorization of John Speed's 1611 map of Ireland

“the wilde men in Ireland, properly called Woodkarne . . .”

-John Derrick “The Image of Irelande” 1581

The labels ‘civil’ and ‘wilde’ show up in several 16th and 17th century depictions of Irish people. These include an illustration by Lucas De Heere, John Speed's map of Ireland, and John Derrick's The Image of Irelande, which are all frequently used as sources in Irish dress history. Many modern viewers have misinterpreted these terms as indicators of socioeconomic status or social class with 'civil' interpreted as meaning middle class and 'wilde' interpreted as poor. (Dunlevy also specifies that 'civill Irish' means the '(non-military) middle class'. The word civilian did not acquire the meaning 'not part of the military' until the 19th century, so it is not applicable to 16th and 17th c. usage.) This misconception about the historical meaning of these terms distorts our understanding of how the Irish dressed during the 16th and 17th centuries. In order to accurately interpret these images, we first need to understand how the terms 'wilde' and 'civil' were actually used during this period.

In this post, I will discuss what these terms meant historically, how they were used in 16th and 17th c descriptions of the Irish, and what they are actually telling us about the Irish people in Speed's illustrations.

The terms 'wilde' and 'civil' were used not by the Irish themselves but instead by the British and continental Europeans to describe the Irish (Dunlevy 1989). John Speed and John Derrick were English; Lucas De Heere was a Flemish artist who never went to Ireland and was given information about the Irish by the English (McClintock 1943).

Randle Cotgrave's A Dictionarie of the French and English Tongues, published in 1611, gives us a period definition of civil. It defines Civil as: "civill, courteous, gentle, mannerlie, well-behaved; also, temperate, mild, quiet; also, towne-bred, or burguerlike; also, politicke, lay, secular, civill." There is nothing about wealth or social class in this definition. Civil instead means civilized; it refers to a person's behavior or urban residence.

The concept of the wild man as the antithesis of urban-dwelling, civilized man is as old as civilization itself, with the oldest recorded example being the ancient Sumerian figure of Enkidu from the stories of Gilgamesh. It shows up in ancient Greek and Roman texts as monstrous wild men being said to live in foreign places like Libya and Ethiopia. In Christian Medieval Europe, wild men became a hairy subhuman race separate from, yet living near, civilization (Husband 1980).

2 Wild Men by Albrecht Dürer, 1499

Medieval wild men and women had long, unkempt hair, wore little to no clothing, and fed on wild plants and raw meat rather than farming. They were characterized as violent, brutish and irrational. Because of their proximity to nature, they were sometimes portrayed as having an unusually close relationship with animals, able to ride horses without a saddle or bridle (Husband 1980).

Wild man riding with no bridle and sticks for a saddle c1480 by Ludwig Schongauer

Although the hairy wild man of the late Middle Ages was a mythical being, this barbaric, uncivilized archetype clearly influenced 16th and 17th c portrayals of the Irish.

Abraham De Bruyn's c1578 "wild" Irish rider rides bareback and bridleless, in spite of the fact that the 16th c. Irish used saddles and bridles. John Speed writing in 1611 implies the complete Irish diet was watercress, roots, mushrooms, shamrocks, butter with oatmeal, milk, whey, raw meat, and congealed blood with butter. This list fits nicely with a wild man's no-farming lifestyle and conveniently omits the bread, roast mutton, meat pie, and alcohol mentioned in other period accounts of Ireland (ex Gernon 1620, Vital 1518).

These conceptions of 'wild' and 'civil' played an influential part in British colonialist policies in Scotland and Ireland. The 16th c English and King James the VI and I considered the Gaelic Irish and Highland Scots to be barbaric and the English and Lowland Scots to be civil. The plantations of Ulster and the Isle of Lewis were created as part of a series of attempts by the British crown to 'civilize' these areas (i.e. eradicate Gaelic culture). In a 1607 letter about the plantation of Lewis, King James I called the settlers "civile gentlemen" and the native Scots "wilde weedes" (Brochard 2019).

Earlier attempts by the British to "civilize" Ireland involved banning Irish culture. A 1537 statue of Parliament stated that people in Ireland were savage and wild, because of . . . cultural diversity. Yes, really.

"There is [. . .] nothing which doth more conteyne and keep many of [the King's] subjects of this his said land, in a certaine savage and wilde kind and maner of living, then the diversitie that is betwixt them in tongue, language, order, and habite, which by the eye deceiveth the multitude, and perswadeth unto them, that they should be as it were of sundry sorts, or rather of sundry countries, where indeed they be wholly together one bodie . . ."

-An Act for the English Order, Habite, and Language, Rolls of Parliament cap. 26, 28th year of Henry VIII (1537). (cited in Butler 1786). (emphasis added)

King Henry VIII was apparently afraid that the "savage" manner of living practiced by the Irish (i.e. speaking Irish, following Brehon law, and wearing Irish clothing, instead of using English language, customs, and clothing) would persuade the rest of Europe that the British Isles were not, in fact, one happily united kingdom. Of course, instead of just letting England and Ireland to be sundry countries, his solution was to ban Irish language and clothing. This policy was continued by later 16th c. British colonial administrators in Ireland.

"The inhabitants of the cities and corporate towns shall wear no mantles, shorts [sic] Irish coats, or great shirts, nor “suffer their hair to grow glebb, but to wear clerks’ gowns, jackets, jerkins, and some civil garments;” and no maid or single woman shall “wear or put on any great roll or kercher of linen cloth upon their heads, neither any great smock with great sleeves, but to put on hats, caps, French hoods, tippets, or some other civil attire upon their heads;”

-1571 Laws and ordinances proclaimed at Limerick by Sir John Perrot, Lord President of Munster [. . .] to be observed throughout that province (cited in Carew 1867). (emphasis added)

The permitted "civil" garments: gowns, jackets, jerkins, hats, caps, French hoods, and tippets were items worn in England during the 16th c. (Mikhaila & Malcolm-Davies 2006) while the banned garments: bratanna, ionair, léinte, linen rolls, and kerchiefs, and the hairstyle, glibs, are Irish fashions (Dunlevy 1989, McClintock 1943).

These examples make it clear that to 16th and 17th c artists like John Speed 'civil' meant English and 'wilde' meant Gaelic Irish. The "Civill Irish man" was anglicized. He spoke English, wore English clothing styles, and followed British laws. The "Wilde Irish man" remained culturally Gaelic. He spoke Irish, wore Irish clothing, and followed Brehon law. 'Civil' and 'wilde' did not indicate level of wealth; they indicated level of acculturation.

In part 2 of this post, I will discuss how well the interpretation that the 'wilde' Irish were poor and the 'civil' Irish were middle class matches what we actually know about dress in 17th c Ireland. Was acculturation level actually correlated with wealth?

Acknowledgement: I would like to thank the members of the reenactment group Wilde Irish for making me aware of this subject.

Bibliography:

Brochard, Thomas (2019). Plantation: Its Process in Relation to Scotland’s Atlantic Communities, 1590s–1630s. Journal of the North Atlantic, Special Volume 12, 73-94. https://www.jstor.org/stable/27133161

Butler, James G. (Ed.) (1786). The Statutes at Large, Passed in the Parliaments held in Ireland (Vol. 1). George Grierson, London.

Carew, George (1867). Calendar of the Carew Manuscripts, 1515-1574 Preserved in the Archiepiscopal Library at Lambeth. (J.S. Brewer, & W. Bullen, Eds.). Longsman, Green, Reader, & Dyer, London.

Cotgrave, Randle (1611). A Dictionarie of the French and English Tongues. Adam Islip, London.

Dunlevy, Mairead (1989). Dress in Ireland. B. T. Batsford LTD, London.

Gernon, Luke (1620). A Discourse of Ireland.

Husband, Timothy, & Gilmore-House, Gloria (1980). The Wild Man: Medieval Myth and Symbolism. The Metropolitan Museum of Art, New York.

McClintock, H. F. (1943). Old Irish and Highland Dress. Dundalgan Press, Dundalk.

Mikhaila, Ninya, & Malcolm-Davies, Jane (2006). The Tudor Tailor. Quite Specific Media Group, Ltd, London.

Speed, John (1611). The Theatre of the Empire of Great Britaine: presenting an exact geography of the kingdomes of England, Scotland, Ireland, and the iles adioyning. William Hall, London.

Vital, Laurent (1518). Archduke Ferdinand's visit to Kinsale in Ireland, an extract from Le Premier Voyage de Charles-Quint en Espagne, de 1517 à 1518. translated by Dorothy Convery.

[nasuversekinkmeme]

Weekly Roundup: Prompt Requests

Yu prompts please! Doesn't have to include Xiang Yu, but please no romantic prompts involving just Xu Fu and Yu

Yu Meiren meeting some other servant during her long life. Did she see Camelot in its full glory? Did she learn to shoot guns alongside Billy the Kid? Did she find kinship in Fran's make-up body?

Please send Mori prompts! Especially cute ones ❤️

no prompt yet

Would I be able to get some Avicebron prompts please

Avicebron teaching Mash a jewish tradition/holiday of your choice in memory of Roman?

Avicebron giving mecha Liz a tune-up since he's the closest to a mecha specialist we've got

Avicebron and Enkidu get acquainted thanks to Nursery Rhyme and get to know each other. whatever direction it goes is up to the filler but i'd appreciate some smut

hello it is i, a poor gudako shipper, rattling my cup for any gilgudako obegudako or edgudako prompts!! (or, if you're REALLY feeling feisty, toss a cuchulainn/robin hood prompt to your witcher I MEAN writer)

no prompt yet

Siegfried prompts pls?

Siegfried recognizing Goredolf as "someone who looks like a Master I had once"

Siegfried giving Sieg The Talk regarding the workings of the dragon parts of their body. How right or wrong, how SFW or not, up to you

Can I humbly request all your ideas and prompts for the KohaAce or Type Redline servants? Give me all of it! Izou is my blorbo and I have been itching to write something about him and Oryu and her hubby. If it's kinky and I like it, drop them too! My thirst is endless to fill ;3;

Oryou voring Izou

In dire need of Ryougi prompts that aren't gore or angst

Another one for the "Ryougi prompts that aren't gore or angst" prompt request: Touko notices that 90% of the KNK antagonists have a crush on Mikiya and decides to settle the situation non-violently by making every character with a crush on Mikiya share. Her Mikiya is now OUR Mikiya. Can Shiki withstand this new system of harem communism? Or will she snap and cut through the Iron Curtain of romance to regain exclusive rights?

For the Ryougi prompts: how about her figuring out she's pregnant with Mana. How does she find out? Have she and Mikiya been trying for some time? Is it a total surprise? How does she tell him? Pure, unadulterated fluff.

For the "Ryougi prompts that aren't gore or angst" prompt request: Shiki absolutely sucks at driving. Like, Spongebob levels of vehicular comedic carnage.

Ryougi Shiki picks up the GameBoy Touko always carries around. Ryougi Gaming.

Give me any prompts with Kirie Fujou and/or Kaie Karyou, I crave the making of content for these two underappreciated crippled humanoid-shaped bags of mental health issues.

no prompt yet

Ereshkigal prompts 🥺

Ereshkigal cuddling an antelope.

unsanitary, Ereshkigal pisses herself. Non-sexual, played for embarrassment

Spare Phantom prompts? Phantom of the Opera prompts pls?

Phantom and Liz singing a duet

I accidentally read “spare Phantom” as “Space Phantom,” so consider: Servantverse Phantom

Someone saying Eric in reference to Eric Bloodaxe accidentally gets Phantom to break out of his Mental Corruption for briefly enough that he also responds to the name Eric

smut, Phantom getting comfortable with topping for the first time

Gudao deepthroating Phantom's fingers

Can we get more Morgan prompts so I can be sooooooo normal about her?

Castoria and Morgan decide to take advantage of their Servant bodies and the various medical experts around Chaldea to tear into each other. No magic, just biting, punching, fighting out all their mutual stress and trauma with each other while the others look on. Sex optional if you want but mostly I just think they should go feral.

Morgan being summoned in part 1 and meeting romani

Soulmate AU where Mash and Guda are soulmates. However, when Castoria steals Mash's name, she inadvertently steals the fated connection with it. And in the eyes of the universe, Castoria and Morgan are essentially the same entity. Soulmate au where Guda, Castoria, Morgan and Mash are tangled together fucking every law of the universe, essentially. (Soulmate doesn't have to mean romantic btw)

Morgan having Opinions on Castoria. Or Castoria having Opinions on Morgan. (As in "whoa girl your life fucking sucks" not "oh I wish I were the one fucking master" I don't care about that.)

I needs all Shirou prompts...

HF ending shirou keeps forgetting to use his left arm. The arm works perfectly well with a perfect sense of touch and all, but for some reason he just... keep forgetting it exists. It's like it's in a dead spot for him.

gore, Shirou Emiya filled with swords poking out of his body. Hedgehog style. The more fucked up he looks the better.

send Fate Zero prompts please

fate zero roleswap!! swap servants and masters around and show me the end result!

send Berserker Lancelot prompts please!

A prompt of Berserker Lancelot and Arturia as a Team in a Grail War

Berserker Lancelot getting summoned in Singularity F and following the group around like a curious dog all the way back to Chaldea

Berserker Lancelot in a magical girl-style dress. Bonus points if he still keeps his helmet and that smoke that seems to follow him in some of his ascensions

Someone trying to take a picture of berselot, but the picture comes out super blurry and fucked up every time for some reason

berselot and mash hanging out

I wanna see my boy Rama prompts please

Rama is confidently sure no woman shall ever reach his heart the way Sita did. Cut to exact wording coming back to haunt him as Chaldea makes him all too aware of his own bisexuality

Rama realizes they’re not cis. Bonus points of picking out a new name for themself lets Sita be summoned to Chaldea since they’re not “Rama” anymore

gore, Rama figured out a loophole in his curse!! If he's not allowed to "see" his wife ever again, then surely tearing out his own eyes would do the trick, right?

Rama and Sita as the art in that Ten Sho Sho Ten Sho song/video

Mephistopheles prompts pwetty pwease? 🥺👉🏻👈🏻

All that Valentine’s chocolate starts going to Gudao’s waistline… and Mephistopheles starts researching why the sight brings butterflies into their stomach. (Bonus points for neopronouns!Mephistopheles)

give me some arcueid and/or ciel prompts please, kind nasuversekinkmeme followers 🫡 sfw or nsfw!

Ciel hanging in lesbian spaces in the 90s. She doesn't have to be a lesbian herself mind you but I do think she'd be balling in butch spaces regardless.

Id love something regarding Arcueid learning of the modern world. Going shopping, trying new foods, meeting animals. Just being alive, you know?

Ciel getting her tattoos removed for tsukire

Ciel getting her tattoos

dare i ask for achilles prompts?

Achilles having a lengthy conversation with that one horse he owns who can speak but who has the shittiest personality known to man

Achilles ankleplay? As in, someone kissing or massaging his ankle. Something something baring your most vulnerable spot to a loved one.

Achilles on a surfboard!

I'll take non-shippy Guda prompts.

Fujimaru Ritsuka the Servant, we know. Last Master of Humanity, summoned as a Servant, that's all well and good. What about Fujimaru Ritsuka Alter? What sort of Servant, what sort of person, are they? (I have a few ways to guideline the prompt if a filler needs assistance but I'll leave it open ended in case they don't.)

Castoria prompts? Castoria prompts for the soul?

castoria weight gain? this girl's life sucks so bad... let her eat good food to her heart's content... let her get a beer belly and round cheeks cuz she's in a much healthier situation in chaldea and not starving in survival mode 24/7...

Castoria and Morgan decide to take advantage of their Servant bodies and the various medical experts around Chaldea to tear into each other. No magic, just biting, punching, fighting out all their mutual stress and trauma with each other while the others look on. Sex optional if you want but mostly I just think they should go feral.

Soulmate AU where Mash and Guda are soulmates. However, when Castoria steals Mash's name, she inadvertently steals the fated connection with it. And in the eyes of the universe, Castoria and Morgan are essentially the same entity. Soulmate au where Guda, Castoria, Morgan and Mash are tangled together fucking every law of the universe, essentially. (Soulmate doesn't have to mean romantic btw)

Morgan having Opinions on Castoria. Or Castoria having Opinions on Morgan. (As in "whoa girl your life fucking sucks" not "oh I wish I were the one fucking master" I don't care about that.)

For the Castoria prompts: how about something involving her getting stuck? Feel free to interpret however you want (literally, metaphorically, physically, mentally, or whatever you find most interesting)

mozart and/or salieri prompts pretty please?

Salieri gets his Innocent Monster and Avenger skills temporarily nullified. While Chaldea staff is trying to figure out how to fix this, Guda takes the opportunity to let Salieri have a nice day.

Kiyohime prompts please

Anchin is summoned to Chaldea and Kiyohime drops her crush on Guda like last month’s lunch. Anchin turns out to be so eccentric (in a non-sexual way) that he makes Kiyohime look tame.

[gudaho]

Out of genuine curiosity do you think you’d ever make a fate/boob hurt post of nonbinary/gender unknown servants?

oh absolutely i can, i tried to get everyone but im sure i missed some

genderless/unknown/nonbinary/fluid servants when you say your boobs hurt:

Enkidu: hmm :( *frowny face* do you want me to go steal some medicine from Gilgamesh's vault?

Astolfo: gasp Noooo!!!! Poor master...poor baby! *clings to you and uses your pain as an excuse to cuddle*

Mothman: Ah I have the perfect remedy for that my dear, *pulls a wu zetian and also makes li shuwen cure your back pain*

Chevalier d'Eon: Oh no, I'm sorry to hear that master. please wait for me here *comes back with pain killers and tea*

Nobu: L+Ratio+Skill issue lmao

Big Nobu: hn...so even you have such a simple and exploitable weakness. Interesting :)

Kashin Koji: to feel pAaiin is a burden. I can fix yyoOu, so you will Nnevver feel pain again

[sakuraswordly]

Ashes of Dreams (lyrics):

Hidden so deep in veils of deceit, Imprisoned in twisting spells - Are we the plaything of fiends, or merely the dreams That we're telling ourselves, telling ourselves?

Stories of danger, fearless attack, Spectres of plague and pain. All of these ghosts of our own delusions are back; Have we been fighting in vain? Fighting in vain?

These lyrics are the meaning of this picture art that I paint. Fighting in vain? <== This is the hint of how the story will go so far. This is the story of Punch. Punch appearance as half to show why she changes her appearance. It shows that Sonic and Gilgamesh are part of her personality. (But Punch's personality is based on me more. I will explain later at the end of the blog)

Sonic, Punch and Gilgamesh are the same. Because they are Punch.

(Warning contains Fate extra ccc and Sonic games spoilers)

Enkidu: And yet you lived for many years, you were reborn as a tyrant

Gilgamesh’s violence only increased after he became a young man. Not only the people of Uruk, but even the gods who had made use of him had had enough of Gilgamesh’s despotism.

“Gilgamesh isn’t fulfilling his true purpose.” “We need something to punish that insolent man — ”

As for Sonic....

greenyvertekins: His greediness.

Yeah, I know. Very rarely shown trait that actually only shown a tiny handful of times such as in this in which he's very willing to fight hard for that last meat bun;

and in the Black Knight opening in which he's more concerned about catching his food and eating it than really taking the situation all that seriously (Not that he really needed to…) then saying a big "Noooo!" when he drops the second one and doesn't have a chance at getting it before Merlina teleports them away.

I doubt that bringing up how ravenous Sonic apparently is in Purple Frenzy form would mean that much-considering gameplay and story segregation and the debate about how intact Sonic's mind actually is in that form considering he acts little more than a mindless monster that eats objects with a single-minded ferocity.

greenyvertekins: Extreme obstinance to his own personal view

He certainly wastes no time when it came to attacking Merlina when she revealed her plans and her one-sided sadness. In fact, he looks like he's ready to cleave her in two just for asking why he doesn't understand her feelings on Camelot's future;

This feels like an extreme course of action to take considering that if anything, Merlina was more misguided than truly malevolent and didn't do anything truly objectionable before this. He's also not all that willing to admit when something is difficult for him as indicated by Team Sonic's ending in Heroes in which Knuckles goads him into admitting that this time Eggman came close and that if it wasn't for him and Tails assisting him, he "Wouldn't have stood a chance". Whilst Sonic admits this to a degree ("Hmmm, well Maybe you're right Knuckles"), it's still only a "maybe" and he's still quite obstinate.

greenyvertekins: Bad loser

He hates being deprived of the win or getting things wrong. Good examples of this include Jet besting him in the Ex Grand World Prix despite the cheating and blaming his initially poor swordsmanship on Caliburn i.e If you keep getting hit by Arthur in the Misty Lake boss battle, Sonic will state in bad temper who he wishes he didn't have to use "This dang sword" and when Caliburn states that he wished for more time to train him, Sonic states that he wishes for a better sword.

Back to King Gilgamesh

Gilgamesh born with a body that was of the highest grade by mortal standards and knowledge reaching truth, Gilgamesh was born, designed, as king and the Wedge of Heaven to connect the rising humans and the fading gods. He was sent to ensure the humans and bind the earth slowly leaving the Age of Gods. He was a being embodying the two life sets of life forms, with the blood of those who had ruled and the blood of those who would rule from thereon. He was to be the ultimate neutral party.

Enkidu: …But. I knew the reason for his transformation, I knew so well it hurt. When he was born, this conclusion was already made. He was alone, a creature neither god nor human. With the characteristics of both sides, his viewpoint ranged so wide and so far not even the gods could understand the things he saw. An excess of power lead to an excess of loneliness. Even so, he did not give up his place as king. He did not flee the purpose he had given himself.  …what a powerful ego, I thought. He earnestly respected the gods, and loved humans. It was just that, in conclusion, he had chosen the path of abandoning the gods and hating humans.

Free-spirited, adventurous and fun-loving #ソニック 🔵💨

He cares about his friends and hates bending. He doesn't seem to want to be a "hero"😮

Still, Sonic, who helps everyone with his heart, might be the coolest hero

In Tsubasa of Phantasia, Enkidu gave his life for Gilgamesh. Enkidu's decision to die for Gilgamesh is the same reason why Syaoran chose to save Sonic's life no matter what.

Enkidu: “That’s right. I was a weapon. A tool. Not like him. Though Gilgamesh was made as a child of the gods, he was a hero who defied them. He had a soul from the beginning. He had free will ever since he was born. A true life, unlike mine. A star, with real value, not a consumable like me. …I had always yearned for that. I hated it. Why, when we were made by the same gods, were we such different beings.”

Sonic is a hero, but not the usual hero that we tend to think of. He seeks for action and adventure, but he is willing to help out anyone in need, and does things he thinks is right. So, to me, he's a hero, despite him not seeing himself as that.

This picture is what Gilgamesh means "my childhood". He refers to Sonic. In the past, both Punch and Gilgamesh were much like Sonic back then. Sonic, Punch, and Gilgamesh were all good at speaking body language as children. Sonic, Punch, and Gilgamesh love nature and were very positive about the world where they lived.

molinaskies: As confident and collected of a character as Sonic is, he has always been a character who feels so, so, so immensely. What recent English game scripts butcher and what a lot of people seem to miss outright is that Sonic is highly emotional but doesn’t have the emotional maturity to comfortably process or showcase his more negative (anger, sadness, fear) and complex (romantic love, admiration) emotions. He knows they’re there, but usually refuses to address them. We see signs of these feelings in games and external media, but – again, by design – Sonic suppresses those feelings to focus on what he loves - his speed, his freedom, world peace, and his friends. Sonic is a fifteen-year-old with the responsibility of the world’s peace and his found family’s happiness on his shoulders. He bears that burden alone and it clearly affects him, but he’s not at a point in his life where he’s ready to confront his heart. He just knows that it’s big, that it’s in the right place, and that it’ll be there for him when he’s ready. Whether that’s Sonic’s healthiest option can be debated, and I’d argue that he should let the people he wants to be closer to him in (Amy is a strong example, but that’s another essay that’s been done to death – perhaps another time), but the fact that he’s an emotional and reserved character is not.

kagekitsuneoflight: Actually there is a very good reason why Gilgamesh hates Shirou. And it’s not a “I’m an arrogant bastard. I don’t need a reason to hate this boy trying to claw his way to my level.” Gilgamesh sees Shirou for what he is. He’s taken bits and pieces of others and stuffed it within himself with hardly an effort to make it his own. And to Gilgamesh, this it’s infuriating. He loves when humans are themselves and honest and to see this boy with a stolen dream wielding stolen legends, stolen pride (because keep in mind. A Noble Phantasm is a symbol of a hero’s pride), he cannot help but be infuriated. Who was this boy, this faker, who dares claim to be a Hero of Justice when it is not even his own dream?!

As the King of Heroes, the First Hero, he absolutely cannot let this stand! He, Gilgamesh, is allowed to use those symbols of pride as projectiles. He is the King of those owners of pride. It is within his rights. Yet.

He never truly uses another’s Noble Phantasm, does he? He doesn’t grasp their pride and use it as his own.

fukurou-hoseki: Sonic's more dominant personality type is his observation. He's a curious little cat who will observe the area around him and listen to the people in question. He never cuts anyone off, even if they are a foe.

Sonic, Punch and Gilgamesh are observation personality types.

Enkidu: Thus, I was gazing on the fortress city. The voice calling to me came from within it. Suppressing my impatience, I counted the days until he would be grown. In childhood, he had an air of royalty about him surpassing any other on earth. Open-mindedness, prudence, justice, he valued all of these virtues. The average person walking by was charmed by him and would sing his praises. He appeared the ideal boy-king. I could only think that the gods had made some mistake, saying he had grown proud. The young Gilgamesh had no faults in need of punishment. …if there was some problem with him, it was only that while he did honor the gods, he didn’t submit to them.

Because pure heart as a child is the reason why Shadow never forget Sonic. Sonic's heart is just a baby. (I hate to call that) but have a lot of responsibility when it's time. That's why Shadow care for Sonic.

Shadow: “Sonic reached out to save me before I fell to Earth from the Ark. If I hadn’t waved him away, Sonic would have fallen with me, but his determination in trying…I’ll never forget that.

This picture is what Gilgamesh means "my younger self". He refers to Sonic. Fundamentally, a polite and modest boy. His type of woman goes along the lines of a "flower that blooms in the wild"(He refers to Punch).

Enkidu observed the young Gilgamesh, but could not understand the need to punish such an amiable, ideal king who was praised and lauded by his infatuated subjects. Sonic is the same as Gilgamesh back then. That's why deep down Gilgamesh very care for Sonic a lot. But because of him now, he will hurt Sonic if Sonic knew the truth about what happened to Gilgamesh. And all because of him. That's why he always stays away from Sonic and lets Punch face off.

Gilgamesh: But I don't want to lose who I am....if I lose, then who will remember you, my friend.

Sonic: No matter where I am. I'm never going to change

Some things are beautiful because they cannot be obtained

fukurou-hoseki: Sonic stood up to accept his fate. He was going to allow Erazor to kill him there and then. Shahra jumped in front of him as she promised, as his master, she was bound to protect him from harm.

The same way to Punch and Gilgamesh. They already live life to the fullest. That's why they gave their lives to do anything and accept their fate no matter what this event will happen. But the problem is......

Punch: Sonic doesn't know what's hurt, what's love, what's sad and what's revenge is. He did feel revenge and anger but not the same as humans that's why he never ended up like Shadow. But he had a strong heart. Me and Mr Gilgamesh too. We understand this sentiment, but we never understood it. Sonic is not the type to love hugging. That's means that only those who really important to him allow to hug and touch him.

Sonic didn't understand what death mean even though he knew what's mean. In Sonic Prime shows how much he is hurt when his friends are gone(This is what death meaning is). Sonic just realizes how hurt he is when he lost his friends.

Enkidu: It was to protect Uruk though? If we don’t defeat all evil on the Earth, our people will starve to death. So why, I asked again. He made the people of Uruk suffer by his tyranny, so why was he worried for them now?

Gilgamesh: It’s not so strange. I was born to be a protector of humanity, after all. Building the future of this planet is the king’s duty.”

Enkidu: I see. So you preferred the path you saw here.

In Sonic and the black knight, Sonic already chose this path even though he would end up as a villain. Sonic didn't mind at all. The same way why both Punch and Gilgamesh decision and never look back on what they chose.

Gilgamesh: Do not take me so lowly. How can I be a hero if I cannot swallow a curse such as this? All evils of the world? Heh, bring at least three times as much as that if you want to stain me. See, Saber. A hero is someone who carries with them everything they see. I am already carrying everything in this world.

Because he doesn't understand the hurt and doesn't understand that his body was weak and needs to rest. Sonic keep pushing forward until his body was limited. Like Gilgamesh in Fate grand order, he dead from overwork and then takes a shot from Tiamat originally meant for Ritsuka. Despite his condition, he continues firing the Dingir. A clump of Lahmu then crashes onto the ziggurat with force equal to Gugalanna’s hoof, knocking out Ritsuka and Mash.

Bonus: This picture is what Gilgamesh refers to Syaoran, Peter, and Danny in Tsofph's story. Gilgamesh knew that these three will do anything to protect Sonic, Punch, and Gilgamesh in the future. Gilgamesh chose to walk alone and only because his A+ charisma will hurt them.

Because this is why Gilgamesh both loves and hates himself.

That’s mean...If you mistake Sonic's personality, that means you never understand both Punch's and Gilgamesh's personalities. Because these three characters were hard to write.(It's already difficult to understand yourself. Right?) That's why I need to gather many characters to make events and understand them much better. True that Sonic and Gilgamesh are both based on their original creator. But as I told you. They are the same Punch.

Sonic is based on my childhood personality 50%.(Sonic is mostly based on me the most of all three. But still Sonic is different than me because I love water and the ocean more than Sonic.)

Punch is based on my negative personality in the past 100%. (My first hated and my first feeling of revenge you could say. In the present, I don't feel any negative now. I'm happy and accept my life. They are all in that past.)

Gilgamesh is based on my leadership personality 50%. (This is the real reason why I chose to study petroleum at university. This subject is the hardest I have ever challenged in my life. If I understand this, I can show how clever Gilgamesh was and what he knew in the past.)

This video AMV I made 7 years ago. This one just cut part of the video.(Yep…I still can't believe that I put my heart into this story too much when I was back then.)

This BLAZE is the first opening of Tsubasa Chronicle (anime).

Music by: Nieve Arrangements by: HAL Lyrics and performance by: Kinya Kotani