#stone calendar circle

[oberynmaartell]

Container Garden Landscape in DC Metro Photo of a mid-sized traditional partial sun backyard concrete paver landscaping in summer.

[emmagibney]

Landscape DC Metro day daydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydaydayday

[meganlovesyou56]

DC Metro Natural Stone Pavers Design ideas for a mid-sized traditional partial sun backyard stone landscaping in summer.

[vox-anglosphere]

Sunrise at 4:51 am illuminates the ancient megaliths of Stonehenge

[milkandxyz]

Slán le grian an tsamhraidh. Mar a cheiltíonn sé taobh thiar den chnoc. Anois tá mo domhan socair agus fós. Moladh agus áthas agus filleadh slán. #autumn #autumnalEquinox #seasonal #feasting #harvest #feast #harvest #calendar #mattBerry #fairwellSummerSun #gratitude #reflection #kealkil #cork #megalithic #stoneCircle #nature #ireland

[saint--claire]

When I was a little child, there was a particular library book I checked out week after week, endlessly renewing it as much as I was able. The book, How to Raise and Keep a Dragon by John Topsell was a quasi-nonfiction guide to, as you guessed, rearing different species of dragons. I loved it. Tiny-me had plans.

As an adult, I tried to buy it a few times. No dice. The book was so old that no mainstream bookseller stocked it. Even when I tried niche websites recommended by various booksellers and librarians, I still couldn't find it. It was sadly lost to time, apparently not popular enough to make it into the archives.

But.

My best friend had a copy of that book. We're going to call her G, for several reasons not relevant at the moment. I was discussing my search with G one day, for some reason I can't remember now. She got a funny look on her face, asked me a few questions about the cover, listened to me do a very poor job of explaining with my hands how the hardcover copy had included a real gemstone in the dragon's forehead, and then went off to fish it out of her bookcase.

I was Gobsmacked.

I should not have been, given that the history of shared childhood books between us both would have made a circle with ragged edges, more so than a venn diagram, but I digress. The book came home to live in my house for a few months, and I was delighted by the chance to read it again.

Do people remember those type of books? Dragonology, Egyptology, The Stone Age - a way of introducing children to non fiction. They very earnestly spoke about the responsibilities needed to raise dragons, the practicalities involved. There was a record of registration you could fill out, if you had carefully considered the information to your self and felt you were responsible enough to to go through with adopting a dragon.

I vaguely remember filling out some of the riddle and puzzle questions in the Dragonology books. I would never have written in John Topsell's book, it was a library book.

But.

When I re-read G's copy at home, smiling over the familiar artwork, I was surprised to turn the page and find the painstaking, somewhat-wonky handwriting staring back at at me. Baby G, with her name spelled out in freshly-joined but still-not-quite-got-the-hang-of-this-yet cursive lettering. Baby G had filled the registration out in her best handwriting, in glittery green gel pen to denote the importance of the document. This was compared to the earlier, less important checklists done in plain black ink.

I read the registration certificate. Smiled. Smiled some more at the names listed for G's dragon, her dam, and her sire - Eragon was also a great book. Go off, Christopher Paolini.

Breed; standard Western Dragon. The box 'miniture' was ticked, to show that G's dragon was of the minature specic variety, rather than a full size dragon. This was, as she would later explain to me, chosen on the basis that baby-G felt it was the more financially responsible choice. Also so she could keep her dragon in her house with her, but we're not there yet.

I looked at that certificate. Looked at it again. Looked at the calendar, and then looked at the sewing machine I had just been given for Christmas.

G celebrates her birthday in January.

The template came first. I studied the different images of the standard western dragon through the book, picked my favourite, and re-drew it to a significantly larger scale.

Inking the design to the fabric, four times over probably took the longest.

I very subtly asked G the next time she was over (after hurling all dragon-related materials in a panic into the depths of my wardrobe) what type of colour dragon she would have, should it come up. As G later said, that type of question from me truly did not register as anything other than a question asked from theoretical interest. I transitioned the topic as discreetly as I could after she answered, and delightfully, my sneakiness went in one ear, out the other, and she forgot I had ever asked until several weeks later.

I enjoyed painting them.

Don't ask me how many mistakes I made through this process. So many. I do already know how to sew, but it's been a long time. I'd been meaning to get back into it for a while.

Given that various aunts and grandmothers and my mother had a knack for calling when I was up to my elbows in either paint or pins, it became a family affair. Each of them peered at the project through face time and offered their advice.

Some of the advice I took, some I didn't. No regrets about sewing it in pink thread. Considerable regrets about accidentally slicing one of the feet in half and having to fix that.

In the end though, she was finished.

I carefully pinned on her name tag, with the name baby-G had chosen with a little blue ribbon. A collar was unacceptable, this is a dragon, people, come on. Dragon's don't wear collars.

I put the book in the box, open to the registration certificate, and put the dragon on top. Wrapped the whole thing up with a bow and then refused to touch it before I sent myself mad trying to fix details that didn't really need to be fixed.

A bit late for her birthday, sure, but there we are. We'd gone for a trip off to nowhere for a weekend, to go try wine made out of blueberries and hike up a waterfall. (And climb on it. And swim in it. It was a very good waterfall).

I gave her the box, informed her she wasn't allowed to keep the box, just the contents (it was the only thing I had that was big enough for me to keep all of my A3 portfolios in, it had only been temporarily-repurposed as dragon housing), and then left the next bit up to the gods.

A surprise, sitting un-awaited for some 15 years in amber, to catch up to baby G and adult G together.

Happy Birthday, baby and adult G.

[liveontelevision]

MY FAVE POOKIE.... BY ANY CHANCE CAN.. CAN YOU WRITE FOR A VAMPIRE LUCI?? <3 I FEEL LIKE YOU'D CAPTURE HIM PERFECTLY

YOU'RE ONTO SOMETHING HERE BBG

(You're drawing of vamp Luci is literal eye candy and I'M IN A SUGAR COMAAA) I got way into the lore here I literally did nothing but write and edit this today - THAT BEING SAID this may need a 2nd part but lmk what y'all think

CW: He's a vamp, so.. blood in suggestive situations obvi

♡♡♡

Bite Me | Vamp Lucifer x Reader

"Isn't it just amazing?" You hold a book, opened to a certain illustration, far too close to your friend's eyes. They push the book back a bit just to get a peak, considering their nose was essentially in the pages. The paper reeked of dust and mildew. They subsided a sound of disgust to inspect the illustration you were so eager to show off.

"Oh! This is that weird mansion on the other side of town, but.. it looks..." 

"Stunning? This was what it looked like when it was first built and look-" You excitedly point out a certain tower, it was so thin and far back, that not even the pencil of the original artist could capture its true detail.

"Wait,  that's not there anymore, is it? Weird." Your friend shrugged it off, clearly not as invested as you. You scoff, pulling the book to your chest.

"Well.. not in the daytime, at least." You muttered. This was your hometown's rumor that's been spread for centuries. On the highest hill, past the overcrowded forest, sits the darkest and most foreboding manor anyone has seen. Even the oldest living relatives of those who have seen it, never recall what it looked like in its glory days. No one's quite sure when it was first built. It's as if it had always been there.

No one would really talk, only the seniors and the more.. eccentric.. People would even mention it. A tower that exceeded the height of the full moon, which was the only time it was visible to the naked eye. You've seen it yourself. But you were too inspired, too invested, to be satisfied with a little rumor and a single sighting.

You did your research. You scowered the forest, only to get lost for hours. You managed to find the manor, but in its close proximity, there was no sign of that tower. You found a book, shoved away under some shelf in your public library, depicting poorly written journal entries and illustrations. From what you could decipher, it was older than the town.. it must belong to its original tenants.

The handwriting was almost entirely illegible, which was disappointing, but the pictures inside.. they were crafted beautifully. Scenic drawings of the forest, animals, and a few of a stunning woman were scattered throughout. Every historian you tried to contact left your messages unopened. Any townspeople you'd show the pictures to, to see if they’d recognize the woman at least, looked at you like you were crazy.

Well.. crazy or not, there's only one real way to settle this.

You mark your calendar, circling every full moon for the rest of the year. And it nearly took that long to finally spot the tower, again. After all this time, restless nights where you'd fall asleep with the book in hand, strained sessions of trying to decipher the wording, yet it all got you nowhere. You'd lost friends because of this. You've skipped dates. All because of this damned tower. 

But finally, here it is! Ready to throw yourself from your bedroom window, you take the bag that had been packed for months in case of this very instant, but decide it best to leave through the front door.

You had memorized the path to the manor at this point. What could possibly be drawing you in so deeply? What history could this place possibly hold? Who was the woman drawn in this book.. and who was the artist? You stood in awe, finally seeing the tower up close. The manor itself seemed to be made of an entirely different stone. You jot down your notes and the differences you're seeing in a small book.

You nearly squeal at the sound of the creaking double doors, as you step inside. It wasn't your first time here, you reach into your bag to obtain the little map you had drawn out a few weeks back. Were you going insane? Who's to say? You traced your finger across a path you had drawn, then with determination, went towards the corridor that should lead you to whatever you were looking for.

You stopped and took pictures on occasion, observing things you have seen countless times over the past few months. It still managed to take your breath away. You turned around, stepping backward, to observe the intricate detailing of the high ceilings, letting out little ooh's and aah's you'd assume no one would hear. But you couldn't be sure.

You nearly stumble, turning to face the corridor head-on. A crumbling noise had sent a shock of fear and curiosity into your heart. Was this place ready to cave in? Did something else cause the destruction?

As you continue on, you decide it best to place headphones over your ears. With one ear still slightly free, you do your best to distract your fears and keep exploring. As you hum along, occasionally breaking out into song, your eyes are drawn to a small doorway that definitely was not there during your previous visits. It's made of a different wood than the other doors. It looks.. newer. The handle seems used as If the oils of a hand had worn down its clean coating. This has to be it. Your hand is shaking as you reach for the door, and your heart drops for a moment. It’s warm underneath your touch. With a final breath, you open the door.

It’s.. not exactly what you were expecting. The door led to an impossibly long spiral staircase, you weren't sure if you could make it to the top before daylight. It's too late to go back now, though. You dredge on. As you start your climb, the music from your headset turns to static. And what you expected to be a mile-long staircase ended in mere seconds. Confused by the distortion of the building, you pull out your little journal to document your new discovery as you continue on. 

The steps lead into the tower, you were sure of it. The bricks of the walls and the wood of the doors, it was all different than the manor below. It opened into a short hallway, with a few doors on either side. Opposite to you was a window. It wasn’t shattered or cracked, or even dusty. You press your hands against it and lean forward to see the view of your town. In a stereotypical, I can see my house from here! moment, you pull out your phone to take yet another picture, but.. it's dead. After being fully charged before your arrival. Of course. It's a magical tower that only appears on a full moon and has disappearing staircases, you weren't too shocked by sorcery after what you've exposed yourself to.

As you take in the terrifying height of the structure from the window, something happens that officially startles you for the first time tonight. You hear a gruesome cackling from behind a nearby doorway.

You quickly find its source, pressing your ear to the wooden door. You couldn't make out any specific words, but there was a voice. It was a man's voice. He seemed to laughing, then groaning and complaining about something, then talking some more.. quite a blabbermouth for someone who seems to be alone, you don't hear any other voices.

You have a weapon in your bag. It's nothing fancy, just a little switchblade, but you assumed it'd be enough to ward off at least a single person. Just in case. You decide to go in.

"Oh, who am I kidding, this sucks!" An exacerbated groan, and the sound of something crashing, can be heard as you crack the door open a bit. You peek inside.

A pacing man is surrounded by trinkets, books and tools in some kind of workshop. He looks human.. almost. You notice his skin is nearly paper white. It has a beautiful glow to it, that contrasts against his mostly black wardrobe. You clock his clothes as almost Victorian, a puffed blouse that cinches in at his waist with the assistance of a red-laced vest. His heels seem a bit tall for the time period, but even then, he's actually rather.. short. Despite that, his hair was slicked back but seemed to be coming undone. You watch him pace around for a while longer, finally capturing his arms running through his hair. They're tapered black, as if his hands were dipped in soot. How odd. You want a picture. You want to talk to him, to ask him questions.

You're too engrossed in the view you were spying on to notice he had stopped his jabbering and was now frozen in place at the sight of you. An awkward amount of time passes before either of you make a decision on what to do next.

You decide it best to just forget about this random encounter. This was obviously just another dream. It wasn't, but this wouldn't even be the strangest one you've had. You finally break eye contact, pulling the door shut behind you.

You lean your entire body against it, desperate to keep him contained until you can get your thoughts straightened out. Maybe he's nice! Maybe he's not an insane, inhuman, tinkerer who talks to himself. Before you can think a moment longer, the door opens and thoroughly knocks you to the floor. You scuff your knees and palms against the stone floor, hissing at the wounds before turning on your back to face your attacker.

Okay, it wasn't an attack, exactly. He just opened the door you were standing in front of. You were a little shocked, considering you were putting your full weight on it and he swung it open like nothing was there at all.

your widened eyes were met with his yet again. They seemed different than before. His irises were suddenly glowing a crimson red, staring down at you with a look of disgust. Your heart rate quickens as you finally catch more of his features. The glow of his eyes and the moonlight from the window show off a set of demonic horns, twisting and turning from his temples, and pointed ears. Then finally, you spot his frown- then his fangs.

You slowly crawl backward, making as much distance as you can before your back hits the cold stone of the wall. Your breathing rapidly as he kneels down, continuing to observe your tense body language from such a close distance.

"What is this- how did you get in? I made a whole fancy labyrinth for you little humans and you still manage to pester me." He seems curious now, still annoyed by the interruption, but curious. He catches the sight of your blade, taking it from underneath your hand.

"And you thought this could kill me?" He scoffs, tossing it to the side. "I thought the ones smart enough to get in would put more effort into their weapon of choice." He finally stands, crossing his arms over his chest and looking down at you. His piercing red irises had you staring for an inappropriately long time. He looks around, then behind him, in disbelief that you'd be this lost in his eyes. He clears his throat to get your attention.

"N-no! I don't want to kill you, I swear! I just.. I wanted to..." Why were you here again? To find what's inside the haunted tower? To explore a rumor and find the truth? You'd hate to consider it.. but could you have been wasting all this time after finally being faced with the anticlimactic answer? Your silence doesn't seem to amuse the stranger.

"What, you just stumbled upon my hidden tower? That doesn't sound right. Well, I'll tell you now, I'm not some genie or wizard- I won't grant you wishes or anything stupid like that." He starts to head back to his office. "I have nothing to offer you, so just pretend this is a nightmare or something and go home." You see a little flame puff from his lips as he speaks, clearly irritated by your presence. 

"Wait- wait! I forgot!" You stumble to your feet, wincing at the pain in your scraped knees, but still going on to fumble through your bag. You find your tattered book. The relic that started this all.

"Is this yours?" He takes the book from your hand, skimming through the pages then glaring back up to meet your eyes. 

"Did you steal this?" You shake your head with haste, watching him continue to examine the book. "Then.. yes. This is mine. I'm surprised it's still in one piece." He stops at one of the drawings of the woman. He brushes his hand across the illustration with a dreamy sigh.

"She's beautiful." Your voice breaks his concentration and you see his pale skin turn ever so slightly pink. 

"She is, isn't she?" With a warm smile, you almost forget his threatening nature.

"Who was she?" He looks away from you, letting the book shut.

"It's not important. You need to leave." He leads you to the door. You try to keep up with his strides, only to fumble, your knees weak and bruised from the previous fall. He spots the bleeding scuffs and groans.

"Good lord, you humans are so fragile." You hear him grumble before he's turned on his heels and is dragging you back towards that workshop you intruded on. He grabs you by your arms and guides you to sit down at a little table he had set up. You examined the room after he had walked away. You saw his workbench. It held numerous little springs and gears, paints, and brushes. Looking to the side, you see a shattered figurine, probably what he had thrown during his little tantrum you spied on.

Seeing him standing above you stops your wandering eyes. He kneels down, already wrapping your wounded knees in gauze. You watched him silently. You were surprised at how comfortable the space seemed, considering a man with a demonic presence was currently tending to you like a nurse.

"So.. what are you exactly?" You finally blurted out. You had so many questions, but this was a good place to start.

"Oh. Um.. I think I hear humans referring to me as a vampire." Your blood runs cold and you squeeze the edge of your seat on either side. You feel his hand tremor for a moment, letting his eyes linger on your legs before finishing up one knee with a neat tie. He moves on to the next.

"So you're immortal and drink blood and all that?" He scoffs at your questioning shaking his head. You sound like a curious child.

"That’s.. Mostly correct. Actually, your human literature seemed to accurately portray a lot of my abilities. I'm almost impressed."

"Should I be scared?" You ask with an almost teasing tone, as if that weren't possible.

"Why? Do you think I'm scary?" He looks up for a moment, meeting your eyes. Its subtle, but you see them glowing just slightly. And it almost makes you nervous. Enraptured in an emotion you have to assume is fear, you watch his hands trail around and calf to bring your leg a bit closer. He sticks out his tongue. It's similar to a serpents’. Your eyes follow his tongue to your knee, where he licks the entirety of the wound.

In a state of shock, all you do is tense in your seat, wincing from his action. His tongue reels back, stained with the blood from your own wound. He lets out a breathy hum, before realizing his place.

"E-excuse me, I uh.. have healing properties..?" You cock your head to the side, the confusion in your mind quickly replaced with curiosity.

"Woah, really?" He finishes off your other knee.

".. No. Okay, all patched up. You have to leave." He said hurriedly before the realization could set in. He was embarrassed by his actions sure, but the sunrise softly lighting the room seemed to make him anxious.

"Wait- no! I have so many questions! Why do I have to go? How does this place just vanish in the daytime? Why are you here all alone?" You start to ramble as he manages to move you with ease. "A-at least tell me your name!" You say quickly, breaking from his grasp just before he can shove you out the door. He stops and lets out a sigh.

"Fine. Here." He reaches into his shirt and pulls out a small golden crystal attached to a necklace. Forcing your eyes down to his dipped neckline made you a bit red in the cheeks. With a quick motion, he swings it over your neck.

"This is an Asmodean crystal. You'll be able to see and enter my tower on any night now. You.. you're welcome to return when you see fit." You stare at the small gem in amazement.

"And.. you're just trusting me with this?"

He shrugs, smiling at you for the first time tonight. "You haven't given me a reason not to. You're definitely not a threat." You hum in response, despite his obvious condescending nature. giving the gem one last examination, you tuck it away into your own shirt.

".. And it's Lucifer."

You can't help but grin. “Okay! Time to go! The sun’s almost up!” He rushes you.

"Hm! I'll be back, then, I promise! I'll see you, Lucifer!" You excitedly wave and head back down the stairs. Lucifer.. Your mind was running with possibilities as you left. You turned to the door before leaving, but by the time you looked back, it was simply.. bricked over. You felt almost disappointed. But feeling for the necklace and twirling it between your fingers reminds you that this was all real. He's real.

Lucifer said you could visit. And so you did. While you passed out almost immediately once you returned home, you waited eagerly for the sun to set the next night. You check your window, again. With the crystal squeezed tightly in your fist, you see the familiar tower yet again, despite the full moon being nowhere in sight.

Unfortunately, you are human. You do have a life to live. It took you a few days before you could visit, again, but eventually you did. And it was perfect. Looking down upon in your hometown, it was refreshing to have a new friend. You told him about your own life, giving him some brief history lessons on things he might not know, and bringing him the stereotypical vampire merchandise from current media. He deemed it offensive.

You got him to talk about his past after some pushing. He was one of many brothers, all of them were bloodsuckers of their own accord.

"Wow.. so you came from a whole family of vampires? I mean.. if you don't mind me asking, why aren't you there? What brings you to my glamorous little town?" You say your last question with an eye roll. You were seated at a little bench, a comfortable nook that was set at the window in his workshop, as you watched him working on some sort of mechanical toy. You notice a slight frown tugging at his lips in response to your question.

"Hm. My brothers aren't exactly a fan of me. And you speak sarcastically, but it is actually quite nice here. The air is clearer, and there's much less fire." You look out the window as he's talking.

"Wait.. less fire than where?" He slipped up. You've noticed over these past few visits that he's not too keen on disclosing certain parts of his past. You see him stop what he's doing and curse under his breath.

"I.. I'm from a different realm, of sorts. It's dingy and dark and everyone there cares for nothing but bloodlust." He explains carefully.

"Damn, that sounds like Hell." You pull your knees to your chest, just attempting to sympathize with him by your words.

"You have no idea." He chuckles in response, seeming disarmed enough to continue his tinkering.

"Do you ever go back there? You have to see your family sometimes, right?" He's groaning quietly at your questions.

"Well, yes and no. I'm always here in my tower. And I put a lot of work into making it my own. I'd keep it here forever if I could, but it takes quite a bit of energy from me to keep it in good shape in this realm, so when the sun is out-"

"You return to your own realm! Wow.." you wished you had your book on you to write all this down. But it seemed unnecessary to bring a survival kit here. You felt so safe. 

"How about that lady? In your book? Is she someone from that realm? A family member, maybe?" You bombard him with questions yet again. You do that a lot. He looked over at you with an unenthused glare. You laugh nervously and wave your hands. "N-Nevermind, sorry."

He's made it clear that he doesn't appreciate all these questions. But when he does open up, you can't help but appreciate his fantastical stories.

Looking for a change in topic, you approach his bench, looking over whatever he was working on. With one final screw being turned in, he looks up to you and shows you the small trinket silently. You take it, a bit nervous of its delicacy, and examine it.

"It's fine, it won't break." He rolls his eyes at your nerves. "Like this." He places a hand below yours to steady your grasp and lifts the top of the little round structure to reveal a little sculpted scene. It’s of a pond, with some fish and ducks visible on the pond. It looked so real, despite its size. He smirks at your enthralled expression, reaching for a small key on the back and turning it. It releases a gentle tune, the ducks suddenly spinning and dancing across the pond.

"A music box..?" You question. You look towards him and notice his reaction. He looks almost nervous like he was expecting some harsh critique.

"It's beautiful, Lucifer! Did you use magic or something? This is so cool!" Your outburst leaves him slightly surprised, and just a bit blushed.

"Y-Yes, it is pretty, isn't it?" He says softly, looking away with a smile. By the time he's looking back to you, still enjoying the little trinket, the sun is just peaking from the hills. He should rush to get you out of there. Humans don't belong in his realm, definitely not this one.. but he doesn't want this to end. He wants to show you more, while he listens to you rant about something useless. He shakes his head to reality. He can't have these feelings. Not again.

"It's morning. I'm afraid you have to go, dear." You look just as disappointed as he does, but follow him to the exit either way.

"Wait, here-" You hold the intricate music box back out to him, but he closes his hands around yours, encasing it in your grasp.

"Keep it." His hands are cold. You notice that his skin is always cold, no matter the weather. You wonder if he thinks about the warmth of your hands just as much. Your hands are held together for a bit too long, but the sight of your face in the golden light of the sunrise has him frozen in place.

"What happens if I stay?" Your hasty question snaps him away, quickly tucking his hands behind his back.

"Absolutely not." He says sternly, reaching around and opening his door. "Sorry.. I just.. It’s not safe. You’ll be back though, right?." He smiles, and it always disarms you. Briefly disappointed, you nod and give him a quick wave. You head back to your regular vampire-free life for the time being.

You find yourself back in his workshop, a few months later. The visits were becoming more frequent and neither of you seemed to complain about it.

Since then, the room has been decorated with pillows or blankets you've brought. On occasion, you'd go to see him just to sleep uncomfortably on the small cushioned nook near the window. He never seemed to mind. He'd wake you up carefully before the sun rose.

Other times, you'd bring him tools or gifts from your hometown that he might like, and occasionally you'd get him to eat actual food.

One night you set out one of your blankets on the ground and forced him to sit with you, after seeing him get flustered with whatever he was working on.

"Can you actually eat? Does it do anything for you?" He shrugs in response to your question, popping a little chocolate confection into his mouth.

"Not really. It's more for enjoyment than anything. And these are definitely enjoyable." As he hums at the sweets, he moves to lie down across the blanket, resting his head in your lap. "Where are they from?"

You look down at the little heart-shaped box you've both been taking the treats from and cringe.

"A.. uh.. person. It was a gift. Someone tried to take me out for Valentine's Day, but I wasn't interested." You say quietly.

"Right.. it’s Valentine’s Day… Well, what was wrong with them? Were they rude to you? Ugly?" He asks between bites. You laugh and take a chocolate for yourself.

"No, nothing like that.. they just..." They weren't you. "N-not my type is all." You stammer, quickly shoving the chocolate into your mouth. What are you thinking? He's laughing at you now.

"So you'd rather spend your Valentine's Day with an old crone?" He was joking, but he was right.

"Yeah.. I think I would, actually. I love visiting you." You said calmly, trying your best to keep the compliments.. platonic. Peeking down at him for a second, you notice his tense posture and pink cheeks.

"I-I just- it's not that big a deal, I mean, I've never really celebrated Valentine's Day anyway, so.." You start to fidget with your crystal necklace, picking at the thread and running your thumb along its smooth surface.

"Well..! Then... I'm glad you're enjoying my company, I suppose." He tries to de-escalate the brief tension. You change the subject matter.

"Well, if we're getting on my social life, then I have a question." You finally say. He seems nervous for a moment but is playing it cool to the best of his ability.

"Shoot."

"So, you stay in your tower all day, don't see your family, I don't even hear you talk about that woman from your drawings.. Have you just been alone this whole time?"

He freezes for a moment, before putting a chocolate back into the box and clearing his throat.

"No.. not the whole time." He sighs, standing and going to fetch something. He returns to sit across from you and you’re a little disappointed he didn’t return his head to rest in your lap. It was a journal, it had a similar binding to the one you had found over a year ago.

"Her name is Lillith." He starts, flipping the pages and stopping at one of her drawings. "She's from my realm, and.. we fell in love." For some reason, your heart ached at his words. "I decided to show her this place many years ago, and she wanted to see a nearby village, so.. we went down there together. It was disgusting. People were treating each other so foul, it was loud and dirty, and there was no sign of intelligence." His voice goes dark for a moment, allowing you to flip through the book. "But Lillith loved them. She saw their potential and.. wanted to stay with them. So we made a deal. She'd explore the village when the full moon was out and then return to me the rest of the time."

You look up from the book, seeing that her drawings had stopped about halfway through. The rest of the book was empty.

"So is she.." you mutter, letting the book drop to see his pained expression.

"I haven't seen her in years. Might be decades at this point, but.. it's hard to keep track. I have no idea where she could be, but if she ever returns then-"

"You're waiting for her?" You interrupt, your voice has a hint of irritation to it.

"Hm. I guess I am. I've given up trying to find her, but I still keep this place standing. Just in case." His face reads dejected as he speaks.

"Do you still love her?" You ask. Of course, he does. He's a romantic, waiting for his long-lost love to return. But he looks at you, with a worried expression. Like he wanted to reassure you that wasn't the case.

"I..I do." He says softly. You feel your chest aching still, and you clench the blanket in your fists on either side of you. "I think so? I-I'm not sure." He groans, running his hands through his hair. "Is that terrible of me?" 

You think for a moment. You have to tread lightly. If he truly loves her, it might be best for you to keep your distance to avoid any.. confusion. You let out a defeated sigh, placing your hand on his shoulder to bring his panicked attention back to you.

"Not at all. It's.. nice. That you can love someone that much, especially after all this time." He smiles in return, placing a hand over top of yours.

"How long has it been, do you think?"

"Hmm.. From what I remember.. when were hot air balloons invented?" He genuinely questioned.

"Good lord."

(The answer is over 300 years ago)

You stopped visiting him for a while. After that night, you needed to step away and consider what you were really doing. He's not just an immortal vampire, he's an immortal vampire still holding out hope for a woman he hasn't seen in centuries. And you're just a human. That kind of relationship only works in movies. The sleep schedule you've created has nearly destroyed your social life and you barely have energy in the daytime anymore. Maybe it was for the best to keep your distance. But you have to tell him that. You can't just disappear, he doesn't deserve to feel that pain, again.

You enter his tower as usual, bringing an empty bag to escort some of your belongings back home. To your apartment, your awful tiny apartment. You avoid comparing it to the elegant manor, it's only making you want to back out. You go through the hall, swinging his workshop door open.

"Luciferrr! Sorry to be away for so long, but I think we should talk." You look around to realize you are speaking to an empty room. You look back to the hall. You've never been through any of the other rooms, but he had to be somewhere. And he wasn't responding to your calls.

You open each door carefully, seeing mostly empty storage and cobwebs. One of the rooms was filled to the brim with clothing from all decades. You make a mental note to tease him for playing dress up, later.

You knock at each door, finally opening one that greets you with the warmth of a bedroom. And by warmth, you mean it. You take any coat you were wearing off, finally spotting Lucifer lying in the elegant bed in the center of the room.

"Huh.. I thought you said vampires don't need sleep." You call out, letting your eyes scan the room as you approach the bedside. He's curled up and unresponsive. His sudden panting briefly eased your nerves, at least he’s breathing.

"Sorry, I didn't mean to just barge in, but.. Lucifer? Are you okay?" You reach out and place your hand to his shoulder. He's hot to the touch. You move his body so that he's lying on his back, and he seems even more distressed.

"L-Lucifer..? Lucifer!" You try to speak quietly, but his actions are making you nervous. He finally shoots upward, gripping his bare chest in an attempt to calm his rapid breathing. He does a double take, not believing that you were at his side. Not to mention your scared expression, which is only causing him more concern.

"I-I'm alright! I'm okay.." He lets out a sigh, brushing his hair back. He scans the room, peering out the window. "Ah, nighttime already? I'm sorry, darling, I didn't mean to worry you." He turns back to you, seeing your still-shaken expression. "I slept in! It's okay!" He reassures, patting the side of his bed. You hesitate, but sit down either way.

"I thought.. You didn’t need sleep." You say softly, looking to calm yourself.

"I don't, but it is relaxing sometimes."

"That didn't look relaxing at all."

"Well.. I did say only sometimes." You let out a quiet chuckle and it brings a smile to his face.

"I rest when I'm feeling a bit weak, usually a quick nap helps. But.. sometimes I get nightmares and they're-" You interrupt him.

"Weak? Why are you feeling weak? Did something happen?" You lean in, still feeling uneasy.

"... Just a bit. Don't get me wrong, I am quite powerful-” He loves to gloat about his abilities, your usual reactions of amazement never got old. “-but.. this tower takes its toll on me sometimes. It takes a lot of energy to set up illusions and tricks to keep humans out. I just needed a quick pick me up, that's all." That seemed to calm you a bit, but it did bring up another concern.

"Lucifer.. why do you keep coming back here? Is it worth the trouble? Is.. she worth the trouble?" You ask timidly. His eyes are soft, looking in your direction. It turns you a bit red, you hope you can blame it on the heat of the room if he asks.

"I don’t know.. I’ve been thinking. I-If Lillith has any plans on returning, I'd think she would've done so by now." You feel hopeful, but you attempt to not let it show. "But, I've been here for centuries and I've grown rather fond of... the atmosphere." He tries to reason. He pulls your chin forward, greeting you with a sweet smile. "I'm alright, I promise."

You can't help but return the smile, but you miss his touch once he pulls away. At this point, you're finally taking in his appearance. He's covered in sweat, the bags under his eyes are tremendous and his lips are trembling a bit to keep up a smile.

"Are you sure? You still seem.." You reach your hand out, as if you were about to touch his face, but you see him reel back.

"Clearly, I didn't get a good night's rest.. maybe you should head home, dear, I'm not much fun to be around when I'm like this.." He sulks, making it a point to avoid looking at you. With just the sight of you, he might as you to stay.

"No!" His wide-eyed expression shows that you've clearly just embarrassed yourself. "No, I mean- I don't want to leave. Can I help? Can you.. drink my blood or something? Would that do anything?" He's immediately blushing at your suggestion, right to the tips of his ears. He quickly declines.

"No. Nonono.. That is not happening." He crosses his arms over his still bare chest, which neither of you has mentioned yet. That’s not to say you haven't been staring.

"Would it help?" You ask. He sighs and nods. "Would it kill me?" He shakes his head. "Not if I'm careful.."

"Will it turn me into a vampire or something?" He shakes his head, again.

"Then do it. I want to help you! It's the least I can do since you’ve been so sweet to me." You say sternly, beginning to move the strap of your shirt, revealing a bare shoulder.

"Woah woah, okay. Fine.. I’ll just take a little. Since you're so insistent." He moves your strap back up your shoulder carefully. "And there's no need for that, dear, don't get too excited." He teases. He looks like he’s on the brink of death, yet he still manages to make fun of you.

"I-I'm not excited! Shut up.." you stammer, as you feel him pull your hand towards him, keeping a grip just below your wrist.

"Whatever you say." His smirk has you blushing, again." you ready?" You nod your head, attempting to keep a straight face despite the reality of the situation.

He leans forward to face you, and you move closer to be more comfortable. With his clawed hands still holding your arm delicately, he brings your palm to his lips. You feel his hot breath against your skin and instinctively flex your hand. He stops abruptly and looks at you.

"I-I'm fine, just do it already!" He rolls his eyes and positions his fangs right at the pulse point on your wrist. With a deep breath from both of you, he sinks his teeth into your flesh. The skin is thin there, so it wasn't as painful as you thought it would be.

It's awkward for a moment, you don't feel any different at first. But looking towards Lucifer, you see his eyes turning that glowing crimson red that had startled you when you first met. Sure, it still startled you now, but it was Lucifer. He's not as scary as he looks, you tell yourself. You feel a breath of hot air from his nostrils, realizing he had been holding his breath this whole time. His eyes fluttered shut, and that's when you felt it.

It felt like getting your blood drawn, but his fangs were less painful than the needles somehow. You'd only notice your hand start to fall asleep after a while. But his expression stopped you from saying anything. His heavy breaths against your skin, as he occasionally pulled away to lick the wound clean, only to sink his teeth back in the same spot. You placed your free hand over your mouth to prevent any noises from escaping your lips. He pulled off for a moment, then sunk his teeth in another spot, feverishly placing multiple bite marks across the entirety of your wrist. You attempt to speak up through your hand.

"L-Lucifer.. I-I'm..!" He stops almost immediately, sitting up straight and blinking his eyes back to their usual hue. He looks down to your wrist, a mess of bite marks, all still leaking your crimson blood. Your hand had fallen slack.

"Sorry! Sorry-" He runs his tongue across the wounds, it seemed to stop the blood for now. "How do you feel?" Your eyes are dazed a bit, and when you go to prop yourself up on your previously ravished wrist you fall forward. He catches you by your arms, before you can fall away from the bed. You shake your head, finally looking at him through half-lidded eyes.

"I'm okay.." you say weakly. He's nervously trying to keep your head up, and brushing hair away from your face. He moves to the other side of the bed, and brings you along to lie down beside him. He sits on his knees to examine you, keeping a hand cupping your cheek. It's cool to the touch again, a relief for you. You shakily place your hand on top of his, then look towards him. "You look amazing, Lucifer~" You say with a dizzy smile. Despite the wording, you were right. His skin had brightened up, and he instantly lost the bags from his eyes.

"I might've done too much.." He mumbled, tracing his free hand across your wrist. "You're starting to sound crazy."

"No..! I mean it, you're just.. beautiful.. quite a sight." You're delirious. He starts to worry, suppressing his excitement for the oncoming compliments. He'll have to let you rest, no matter how disappointed that made him. He'd missed your company these past few days.

"Whatever you say, darling. Go ahead and rest, I'll get you some water." And he does just that.

You had left some water bottles and snacks here a few months ago, so he hastily took those and brought them back to you. He set everything on the nightstand and went over to open the glass doors to the balcony of his room, bringing in a fresh night breeze. He put an actual shirt on, finally, on the way to look over you from the side of the bed. 

You were just sitting up, leaning against the headboard as you took a very needed gulp of water.

"So? How did I taste?" You tease, stretching your hand now that you’re regaining feeling.

"Delicious." He sounds flirtatious but almost serious. It has you blushing.

Lucifer had gone off to work on something after you insisted you'd be fine and just needed a few more minutes of rest. That didn't go how you expected. You came here to set some boundaries and here you are in his bed, covered in bite marks. The implications alone made you groan from embarrassment.  And slightly in disbelief. You huff and attempt to stand, it’s not too bad, then move to the balcony and lean against the railing. The breeze ran through your hair and across your heated face, you let out a sigh of relief.

"Feeling better, dear?" His voice has you turning your head a bit, and you greet him with a smile. You nod your head before returning your eyes to the town below.

“I’m glad. Thank you, for.. Letting me do that.” He says, sounding a bit shy. He joins you, leaning against the railing by your side. You both stand in silence for a moment.

"I think I'm in love with you, Lucifer." Maybe it was the blood loss or the sheer exhaustion, but something just forced those words from you. You keep your eyes away from him. If this could be the last time you see him, bringing this dream to an end, then you might as well let it out.

"O-Oh..! Hm! Well, that's uh.." He hoots, and you see his hands flexing against the railing. He can't even form a real response.

"It's stupid, I know. I'm a human, and you're this crazy immortal being. Plus, you just drank my blood. Maybe I'm still delirious.." You continue to toy with your gifted necklace, still keeping your eyes low. You don't know how you would react if you could see his expression right now.

"So.. you would... you want to be with me?" That's what he asks? That's his response?

"I-I mean.. yeah. You're my best friend, you're handsome and smart, and you're inventive and... I just love being around you. I want to.. I want to make you happy, but I just don't know if that's something I can do." Your gaze is finally brought to his when his claws gently guide your chin towards him. His expression is that of pure infatuation. You'd never expect to see him look like this, not when looking at you.

"You make me plenty happy, darling." Your eyes go wide.

"You're bright and fun, and you're adorably curious- I just worry as well. I'll outlive you. I've been locked up here for so long, I don't know how much I can offer you.. but it's definitely less than you deserve." His words send a pain to your chest. You both know, based on fact alone, it just wouldn't work.

"I only want you to be happy as well, love." His words force a nervous sigh from you. This seems like a night for bold decisions, so you decide to make another. You turn to face him, bring him in by his collar, and press your lips against his in one fell swoop. Giving him no time to comprehend the situation, he lets out a muffled exclamation into your lips. It felt like hours before you feel his hands on your waist, and his lips desperately ravishing yours. He pulls you closer to him, his hands now reaching your hips and gripping you tighter. You pull his lower lip down with your thumb, keeping a hand on his jaw as you do so, and begin to explore his mouth with your tongue feverishly. A small yelp at the boldness comes from Lucifer before his forked tongue is dancing with yours. You can still taste your own blood on his lips.

He turns the both of you, having your back pressed against the railing of the balcony, giving him the chance to corner you into being as close as possible. He leans his chest into yours, moving in even more. You're leaning over the railing just slightly, but one of his hands is firmly planted against your back, giving you a sense of security. The other is still gripping at your hips, occasionally slipping upwards to brush the bare skin beneath your top, his cool touch acting as a reminder that this is really happening. He props his knee between your legs, having to force them apart gently to do so.

You pull away with a deep exhale after realizing you've been anxiously holding your breath this whole time. Even leaning away from him, your mind was running rapidly with thoughts of his body. You trace your thumb over his lips, parting them just slightly to examine his fangs. He's turning red with the close inspection.

"W-What are you doing..?" You understand what he's trying to say, but his words are still muffled by your hold on him. He sees your eyes ponder for a moment before you look back to him.

"Bite me." You say sternly. Your hand slips away from his mouth and you start speckling small kisses across his forehead and cheeks, lifting his head slightly with a kiss to his jaw.

"Excuse me?? You want-" You hush his stammering by pulling back, to look into his eyes one more time.

"I want you to bite me.. my neck, I mean." You clearly weren't budging. He still seems hesitant but proceeds to move any hair away from your shoulder

"What, does someone enjoy being bitten?” He asks in a teasing tone, looking at you with a smirk. With a deadpan expression, your eyes brimming with lust, you take a hold of his collar again and pull him into a messy kiss. When you pull back, you see a dazed Lucifer, struggling to keep eye contact.

“Yes.”

He huffs, completely enthralled in your enthusiasm, but still seeming nervous. He pulls the strap to your shirt to the side, examining your collarbone and neck. You hear him gulp, as he runs his hand upward until it’s cradling the back of your head.

“I tend to lose myself a little. You saw what happened before, are you sure-"

"I'm sure. I'll tell you if you have to stop." Still very adamant about it, Lucifer pulls your head to one side as you keep your grip on his shirt, balling the fabric in your fists with anticipation.

He places a small kiss first, the action causing you to flinch slightly. You feel him smile on your neck, clearly enjoying your reaction. He kisses every inch of you, each one becoming sloppier than the last.

After thoroughly leaving you in a dazed state of affection, he traces his face to the softest part of your neck, just above your collarbone, and quickly snaps through the skin. With a startled yelp, you glide your hand upward until you've taken a tight grip onto his hair. You barely have time to appreciate how soft it is before you feel the sensation of his fangs piercing a different spot of flesh.

He doesn't seem to be taking much blood.. Definitely not as much as before and not as quickly. It's leaving your head slightly fuzzy, making any sensations, any marks he's leaving on your body, blur into an overall bliss. You're thoughtlessly letting out little moans and gasps at each bite, only encouraging him to keep it up. You feel the vibrations of his groaning against your skin as he moves to hold you tightly around your waist. After a few moments, you start to feel a bit woozy, your body completely melting into his touch. You tap his shoulder quickly,

"Ah.. Lucifer-" Just as before, he made sure to clean any wounds that were still dripping with blood, but he went on to embellish each one with a kiss before pulling away. He looks at you with concern, cupping your cheek and bracing the weight of your lulling head. You smile and hum into his palm.

"How are you doing, darling?" He actively inspects your entirety before meeting your eyes again.

"Lovely~" You say with a drunken chuckle. He pulls you in for another kiss, before easily scooping you up.

"Alright, then.. let's get you to bed, you little perv.” You hit his chest to the best of your ability in your weakened state. His laughter is music to your ears. You’re too tired to worry about how this will affect your relationship. Or your physical health for that matter. But for now, nothing has felt more comforting than his arms wrapped around your body, the cold soothing the heated moment, and your dizzy mind.

♡♡♡

!Taglist!

( @vififofum / @thornwolfy235 / @tinywolfiegirl / @chipper-chip / @bat-boness / @misfitgirlwrites / @nayomi247 / @lonelynmisunderstood / @escapistoftherealworld / @b4ts1e / @hamthepan / @kyo-kyo1 / @looking1016 / @polytheatrix / @littledolly2345 / @lillianastuff / @yourlocalcryptidbee /@0strawberrysorbet0 / @themageofblood / @jayyyayaysblog / @floralsightings / @azmosposts / @8har0ley8 / @actuallyspiderwoman / @sirenetheblogger / @christineblood / @kaytemchugh / @cimadreamer / @simpdevil66 / @azmosposts / @m3ow1 / @acrazyartist / @redfoxwritesstuff / @4k1to / @meesachan / @corvusskid / @alientee /@xx-spooky-little-vampire-xx / @alon3lylov3r /@sapphireravensworld / @mjmdragons / @catticora / @the-maladaptivedaydreamer / @carrie0-1 / @shamblezzz / @cassandras-nest )

[greenwitchcrafts]

July 2024 witch guide

Full moon: July 21st

New moon: July 5th

Sabbats: None

July Buck Moon

Known as: Berry Moon, Blessing moon, Fallow Moon, Feather Moulting Moon, Halfway Summer Moon, Hay Moon, Hewimanoth, Maedmonat, Medow Moon, Moon of Blood, Moon of Calming, Moon When the Chokecherries are ripe, Month of the Ripe Corn, Raspberry Moon, Salmon Moon,Thunder Moon & Wort Moon

Element: Water

Zodiac: Cancer & Leo

Nature spirits: Harvest Faeries & Hobgoblins

Deities: Athena, Cerridwen, Hel, Holda, Juno, Khepera, Lugh, Nephthys, Neptune & Venus

Animals: Crab, dolphin, turtle & whale

Birds: Ibis, starling & swallow

Trees: Acacia, ash & oak

Herbs: Agrimony, hyssop, lemon balm & mugwort

Flowers: Honeysuckle, jasmine, lotus & water lily

Scents: Frankincense & Orris

Stones:  Carnelian, malachite, moonstone, onyx, opal, pearl, ruby, sapphire, spinel, tourmaline, turquoise & white agate

Colors: Blue-grey, green, silver &yellow

Energy:  Childbirth, divination, domesticity, divination, dreamwork, fertility, home matter, meditation on goals/plans, mothers, preparation, relaxation, stress & success

The full Moon in July is called the Buck Moon because the antlers of male deer (bucks) are in full-growth mode at this time. Bucks shed and regrow their antlers each year, producing a larger and more impressive set as the years go by.

• Several other names for this month’s Moon also reference animals & plants

Other Celebrations:

Neptunalia-July 23rd(approximately

The Neptunalia was an obscure archaic two-day festival in honor of Neptune as god of waters, celebrated at Rome in the heat and drought of summer. was one of the dies comitiales, when committees of citizens could vote on civil or criminal matters.

Neptune’s festival (Neptunalia) took place in the heat of the summer when water was scarcest; thus, its purpose was probably the propitiation of the freshwater deity. Neptune had a temple in the Circus Flaminius at Rome; one of its features was a sculptured group of marine deities headed by Poseidon.

Respecting the ceremonies of this festival nothing is known, except that the people used to build huts of branches & foliage(Umbrae), in which they probably feasted, drank, and amused themselves. Ancient calendars describe the days. Entertainment would have probably also included horse racing, with competitors racing round the track & circling ‘turning posts’ (metas) at either end of the Circus.

Sources:

Farmersalmanac .com

Llewellyn's Complete Book of Correspondences by Sandra Kines

Wikipedia

A Witch's Book of Correspondences by Viktorija Briggs

Encyclopedia britannica

Llewellyn 2024 magical almanac Practical magic for everyday living

[ginjones]

An ending (Ascent)

It’s probably not normal, Hob will reflect later, to walk in on your boyfriend sitting cross legged on the floor, wearing a giant pair of headphones, clutching a spoon in one hand, and staring into the middle distance in what can only be described as a state of divine rapture.

Perhaps it is for celebrities who have access to all the really good drugs, but celebrities don’t leave their partners bundled up in bed while they nip to Tesco’s to buy more milk.

It’s also not normal that he’s completely naked, save for one black sock which sits defiantly on his left foot. That would explain the detritus of clothing which greeted him on his way down the hall, but not whatever…this is.

Dream is sitting with his back to the living room bookcase where Hob keeps his vinyl, a selection of it discarded around him. He’s playing absently with the cord of the huge Bose headphones, weaving the coils around his delicate fingers, lost in thought. And there’s nothing to suggest he’s noticed Hob’s presence, no questioning whether Hob has remembered to pick up his favourite snack. For a moment, Hob wonders if he should whip out his phone; take a sneaky picture of this ceremonious event. Then he notices the shimmer of tears falling serenely down his partner’s cheeks and discards the notion entire.

“You okay, sweeting?”

No response. He shrugs off his messenger bag and sits down to join him, scooting over the laminate floor in a graceless bum shuffle.

A soft, white light from the overhead lamp illuminates the scene. It pours over Dream like a sheet of pure silk, highlighting his nakedness and the paleness of his skin. There’s a wonder to his expression; something soft in the way his mouth is held slightly open, his hair mussed from sleep. Like a renaissance painting, he thinks, in the way that all academics conflate one thing with the other. like Iris in the land of Hypnos and yet, he looks so human.

Because of course, he is.

It’s been 4 months and 3 days since he’d chosen to join Hob in the earthly realm of humanity. Hob’s been keeping track on the calendar, trying to offer him one new experience a day. They’ve watched classic movies, read each other poetry, (Dream still has the perfect voice for orating) and early last week Hob had introduced him to modern music (the Beatles were a hit, the Stone Roses were not).

Hob’s immediate presence must break Dream out of his reverie because slowly, sapphire eyes meet his and wordlessly he places the spoon down, picks up the sleeve of an album and holds it out to Hob like it’s the Turin shroud.

It’s not immediately identifiable. The artwork a scant wash of beige imposed over an image of moon craters; aesthetically pleasing yes, but not particularly noteworthy. Hob’s collected vinyl for the better part of five decades but his visual memory’s not the best. Without being able to hear what Dream’s listening to he’s drawing a bit of a blank. Then he sees the sparse red writing at the top and the name down the side and all at once, it clicks.

Brian Eno has broken my boyfriend.

It’s not the first time Dream’s had such a visceral response to artwork in these acclimating months. It had been very sweet to find him weeping over local artwork in the coffee shop they’d visited in Coventry. The issue was the shame he’d felt afterwards. In the car park outside, Hob had soothed him, rubbing gentle circles across his back as he listened patiently to Dream’s lament that it was all too much, these…feelings. I cannot hide them like I did before.

This time however, the tears seem to have stopped and a hazy sort of smile plays at the corner of his lips. He’s coming back to himself and in the privacy of this moment, shared only with Hob, he may be able to appreciate this outpouring of emotion for it is, something human.

“Want to take off the cans so we can talk, love?”

Hob’s pretty sure Dream hasn’t learnt to read lips, but the headphones are slowly lifted away, leaving the tinny echo of the song playing in the background. His expression changes to imitate something of his former status, a furrow of the brow, a regal upturn of his chin.  

“Ah, you have return to me. You woke me when you left you know?”

He does, in fact know this. When he had risen gently from bed that morning, Dream had moved to pull him back; a flow of pale arms moving like water, muscles softened from sleep. He’s still getting used to it; the sense that Dream belongs here. That he won’t apparat back into endlessness, leaving the bed cold, the tea undrunk, the rooms quietened by his absence.

“And I’m guessing that’ll be the reasoning you give when I find arse prints on my lovely, new laminate floor?”

“You were gone for too long; I decided to entertain myself.”

“By listening to Brian Eno naked?”

“Yes”, his eyes trail down slowly to observe his current state, “I realised clothing was detracting from the experience.”

He can’t help but chuckle at that.

“So, you like Brian Eno, and I can see that he’s affected you,” Dream nods slowly, looking down to the album on the ground. “What is it about this album in particular, because I can tell there are some big feelings here. I want you to know we can discuss them.”

For a moment, Dream is silent, playing with the cord in his hands. He’s sitting a little straighter now, his shoulder muscles tightened in a familiar stance. Weighted by the question perhaps, a wish to answer dutifully, but still, he pauses for several seconds longer, worrying his bottom lip.

“It is… soothing I suppose. I enjoyed the piece Mata from this composition. It is nightmarish in its construction, recalling a jungle swollen with noxious blooms, but this one?”, he places a finger to the title, An ending (Ascent). “It remindsme of the space between form and thought where I once spun the diaphanous silk of my creations. It was where I was most at peace and upon listening, I found myself reminded of those moments.”

That is, quite frankly, a lot to unpack.

At his core, Dream remains a storyteller, weaving an elaborate web of seemingly disparate ideas. Hob finds it all a bit overwhelming. How he can take a piece of art, deconstruct it, and recraft it into something new. Pulling inspiration from the air, plucking its strings, and finding where the vibrations cross paths with his own experience. And Hob must be getting better at reading his partners mind because, in a quiet, searching tone, Dream asks:

“Has it been written for me?”

This man, Hob thinks This man who has come back to me, who has crept into my life and reads my books and listens to my music. This man who lays himself out to me in naked candour.

“Oh love, come here then. Give us a cuddle.” He’s blushing now, a pink hue spreading across the lily paleness of his chest. His skin is warm when Hob pulls him closer, and it smells sweet and living from sweat. “I mean, maybe? You tell me. Ever pay Mr Eno a visit like you did Shaxberd?”

“No,” Dream continues, “but it is as if this man has looked upon me and glimpsed a fragment of my being.”

“That’s a common phenomenon of the human experience I think. Lots of people feel like songs speak directly to them. Yours just happens to be written by Brian Eno-which doesn’t surprise me,” he chuckles affectionately, “he’s quite a conceptual artist-it’s all very ethereal.”

“Ethereal…” Dream pauses, his brow crinkled in thought. “Yes, there’s an otherworldliness to it I suppose… but a tangibility all the same. How the counter melody sits low in the mix-the bass notes appear rooted to the earth while the top notes look towards the sky. What did the first humans wonder when they looked towards my mother? I do not know…. I did not care for them as I do now”.

“Well,” Hob continues, “perhaps they thought about their own existence? Their place in a world which is confusing and often painful. Perhaps they wanted to feel like they were being protected by something bigger than themselves. Spirts; angels.”

“Angels?”, Dream scoffs “Angels do not sing like this. The holy choir is faultless in its melodies. It lacks the vibrancy of imperfection, the subtle intricacies of the human spirit. No; this piece holds far more divinity.”

“Ever thought about taking up music journalism Dove? Pitchfork would have a field day.”

As predicted, there’s no response to that.

So, Hob bundles him up and they sit on the sofa listening to Apollo together. Tomorrow, he’ll try and convince Dream to watch 28 days later, with the promise that An Ending (Ascent) is in the soundtrack. They’ll eat nothing but comfort food and Hob will remind Dream to brush his teeth before he goes to bed and in an otherworldly Parthenon, the muses will smile fondly down, and kiss the brow of a kindred aesthete.

[agirlandherquill]

oc felony bingo

i can hardly believe i've never done one of these before they look so fun - thanks for tagging me @thatuselesshuman and @theink-stainedfolk

for this one of course i have to use fenley, but i thought i'd include reid too (check out the calendar project if you want to know more about him)

blue is for fenley, red is for reid, - can i just say dui is for driving a carriage whilst drunk, so in my world where cars don't exist that's as good as it gets haha

excuse the horrific circling it is not easy to do on a phone screen

here's the template!

~ ~ ~

tag list time! open tag as always too!

@the-ellia-west @willtheweaver @tildeathiwillwrite @drchenquill @365runesofthesystem

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[talonabraxas]

Tonatiuh, the Sun or the Sun God. Symbol of the Fifth World, the present era.

The sun was a god to the Aztecs, a Mesoamerican civilization, for several reasons:

1. Life-giver: The sun was seen as a source of life, warmth, and energy, essential for crops and human survival.

2. Cosmic order: The Aztecs believed the sun's daily journey across the sky maintained the balance and order of the universe.

3. Warfare and sacrifice: The sun god, Huitzilopochtli, was also associated with warfare and human sacrifice, which were crucial to Aztec religion and politics.

4. Creation myth: The Aztecs believed the sun was born from the sacrifice of the god Nanahuatzin, who leapt into the fire to become the sun, symbolizing the cycle of life and death.

5. Agricultural cycles: The sun's cycles were closely tied to agricultural seasons, and the Aztecs believed the sun's rays fertilized the earth, ensuring fertility and abundance.

6. Imperial ideology: The Aztec emperor was often depicted as the sun god's earthly representative, legitimizing his power and authority.

The Aztecs worshipped the sun god through rituals, sacrifices, and ceremonies, believing that these actions ensured the sun's continued journey and the maintenance of the cosmos.

The Aztec sun stone - Aztec calendar stone

Aztec calendar stone showing the face of Tonatiuh, the sun god, at the centre.

(Aztec calendar stone)

The Aztecs were fascinated by the sun and carefully observed it, and had a solar calendar similar to that of the Maya. Many of today's remaining Aztec monuments have structures aligned with the sun.

In the Aztec calendar, Tonatiuh is the lord of the thirteen days from 1 Death to 13 Flint.

The preceding thirteen days are ruled over by Chalchiuhtlicue, and the following thirteen by Tlaloc.

Detail of the two innermost circles of the monolith.

The sculpted motifs that cover the surface of the stone refer to central components of the Mexica cosmogony.

Central Disk

In the center of the monolith is the face of the solar deity, Tonatiuh,which appears inside the glyph for "movement" (Nahuatl: 'ollin'), the name of the current era. The central figure is shown holding a human heart in each of his clawed hands, and his tongue is represented by a stone sacrificial knife (Tecpatl), expressing the need for sacrifices to allow the sun to continue moving across the sky.

The Four Previous Suns or Eras

The four squares that surround the central deity represent the four previous suns or eras, which preceded the present era, 4 Movement (Nahuatl: 'Nahui Ollin').

Each era ended with the destruction of the world and humanity, which were then recreated in the next era.

The top right square represents 4 Jaguar (Nahuatl: 'Nahui Ocelotl'), the day on which the first era ended, after having lasted 676 years, due to the appearance of monsters that devoured all of humanity.

The top left square shows 4 Wind (Nahuatl: 'Nahui Ehecatl'), the date on which, after 364 years, hurricane winds destroyed the earth, and humans were turned into monkeys.

The bottom left square shows 4 Rain (Nahuatl: 'Nahui Quiahuitl').

This era lasted 312 years, before being destroyed by a rain of fire, which transformed humanity into turkeys.

The bottom right square represents 4 Water (Nahuatl: 'Nahui Atl'), an era that lasted 676 years and ended when the world was flooded and all the humans were turned into fish.

Placed among these four squares are three additional dates, 1 Flint, 1 Rain, and 7 Monkey, and a Xiuhuitzolli, or ruler's turquoise diadem, glyph.

It has been suggested that these dates may have had both historical and cosmic significance, and that the diadem may form part of the name of the Mexica ruler Moctezuma.

Detail of the two innermost circles of the monolith.

Mexican anthropologist Antonio de León y Gama (1735-1802) wrote about the Sun Stone.

One aspect of the stone is its religious significance. One theory is that the face at the center of the stone represents Tonatiuh, the Aztec deity of the sun.

It is for this reason that the stone became known as the "Sun Stone." Richard Townsend proposed a different theory, claiming that the figure at the centre of the stone represents Tlaltecuhtli, the Mexica earth deity who features in Mexica creation myths.

Another feature of the stone relates to time, hence the name, "Calendar Stone."

Some of the circles of glyphs are the glyphs for the days of the month. Further, some of the symbols may represent the five ages that the Mexica believed the earth had passed through.

Yet another characteristic of the stone may be its geographic significance.

The four points may relate to the four corners of the earth or the cardinal points. The inner circles may express space as well as time.

Moreover, there is the political aspect of the stone.

It may have been intended to show Tenochtitlan as the center of the world and therefore, as the center of authority

[thyme-in-a-bubble]

here is a little introduction to the original fantasy world i came up with for the eflorr trilogy.

series masterlist | pinterest board | playlist | masterlist

Welcome to the world of Tyhmalaa. Our stories take place on the continent of Aton where the two major kingdoms (Eflorr and Obelón) have had a feud spanning decades. 

here is a little list of facts to give you a sense of what kind of realm this is:

currency: platinum, gold, silver and copper 

monsters: yes

magic: no

calendar: the year is just divided by the four seasons (each with 90 days in them) with 7 days in a week (Moonsday, Tidesday, Windsday, Thundersday, Fogsday, Stormsday and Solarsday) and the year shift is on the longest night of the year on the 30th day of winter

year the first story begins: 856 PR (post-rimesunder, an ancient white dragon that once froze the entire continent of Efira for 2 centuries till he was slain)

climate: the weather in Aton goes through all four of the standard seasons (sping, summer, autumn and winter), though most of the stories take place on the northern side of the continent, so it is on the colder side.

religions: there are multiple gods people worship (some notable ones are: Apa – goddess of wilderness and the sea, Kotris – goddess of knowledge, Cicero – god of war and peace, Zondür – god of atonement and love, Sona – goddess of life and death)

kingdoms on the continent: Eflorr (capital: Borün) and Obelón (capital: Ingorn)

maps and doodles:

it took me around 30 hours of work to draw all of these, but it was super meditative.

map of the continent of Aton.

⊠ squares = capitals

⊗ circles = smaller towns

△ triangles = speciality locations

the continent of Efira is located to the north east of Aton.

Fort Borün. The ivy-covered stone castle on the top of the cliff is home of the royal family of Eflorr.

Elm Square. The beating heart of Borün, it is not only a central meeting place for all, but also the district where the majority of the city's shops, taverns, etc are. The town square gets especially sparkly during the seasonal festivals with booths are stalls crowding the market.

Willow Grove Cemetery. As the name would suggest, a large weeping willow tree grounds this cemetery that it is built around. Although Eflorr as a whole commonly isn't very religious, this graveyard does house a few alters and shrines to various deities.

The Valerian Ward. You'll find all manner of schools, museums, as well as Borün's beautiful aquarium in this part of town.

The Port of Borün. The city's docks are always bustling with excitement and possibilities.

The Western Farms. Up on the hill that swiftly blossoms into The Noll Woods, are a plethora of rolling fields and cosy cottages.

The Beach. Down the little steps on the northern side of the docks is not the only way to access this cove. Though the steep path some way further north is no secret, not everyone is privileged to the knowledge that the castle's cellar opens up into a cave system that leads out onto the beach. Created as a safety measure and a last resort for the royals to escape, the tunnels most commonly got used by the young royals as a daring playground.

The Tulip Neighbourhood. The homes in this part of town have generous courtyards that bring the households together.

The Dandelion Quarter. Part residential, this neighbourhood also houses a grand park (The Riverview Public Park), where combat courses/training are held every weekend, as well as The Water Lily Orphanage.

The Snowdrop Sector. For those not inclined for the bustle of the city's centre but still want to live close enough to the action often settle down in a little cottage out in this district. Many also chose to retire out here, living out the rest of their days in a cabin by the sea.

The Barracks. Through the main gate lies a grand courtyard to welcome you to the castle. The surrounding buildings are designated mainly for the wardens. There are living quarters for them, training areas, armoury, small stables that also house the royal horses, as well as the city's small garrison.

The Western Wing. In here lies many of the more public spaces: throne room, ballroom, banquet hall, servants quarters, the kitchen, war room, the meeting room that's utilised mostly for gatherings with the town council.

The Conservatory. This secluded greenhouse was built as a memorial to King Edward III. who apparently had quite the green thumb.

The Topiary Garden. A private courtyard separating the two main buildings is a serene space where one can come sit on a small bench and listen to the trickling water of the fountain in the centre.

The Eastern Wing. This part of the castle is home to the royal's private chambers as well as numerous other spaces such as the library.

The castle also has a basement that's not only utilised for storage (both of common items as well as the most precious that's kept safe in the grand vault) it also connects to a tunnel system that leads all the way out onto the beach.

© 2024 thyme-in-a-bubble 

[chasingshadowsblog]

"I've seen suffering in the darkness. Yet I have seen beauty thrive in the most fragile of places." - History, Culture and Identity in Cartoon Saloon's Irish Mythology Trilogy

Written accounts of Irish history and culture only begin to appear from the 5th century onwards and what came before we are left to piece together from archaeological remains whose meanings and motivations we can only guess at. What is clear, though, is that during that broad stretch of time between the Early Mesolithic and Late Iron Age, a distinctly Irish identity had been established and cultivated through by the craftsmen, artists, hunters, foragers, farmers and warriors that populated the country through their housing, weaponry, metalworks and stone monuments. The development of the Christian church throughout the Early Medieval period brought its own beauty to the art and architecture of the country, but also adapted its culture to suit the needs of an integrating religion and sites and ceremonies of pagan worship were amalgamated into the Christian calendar. Following this were Viking raids, Anglo-Norman settlement, English conquest, plantation, oppression, rebellion, famine and civil war. From the Early Medieval period to the present day Ireland has experienced an almost constant shift in leadership and identity with little time in between for the dust to settle. Culturally, a "Celtic Revival" in the late 19th and early 20th centuries sought to re-invigorate the arts and history of Celtic Ireland (a broad, problematic concept in itself) as an expression of nationalism and to bolster a distinctly Irish artistic and literary identity. All of this is to say that wading through Ireland's history of social upheaval, religious and political conflict, and loss and confusion of identity is no mean feat. To take those threads and conjure up original stories for modern audiences, embracing the suffering and celebrating the beauty, is impressive. To do it three times is witchcraft.

In their films depicting Irish history, culture and mythology, animation studio Cartoon Saloon have approached their stories with a respect for the past, both fact and fiction. By evoking the artwork, legends and real history of Ireland's past and combining it with their own fresh, unique visual style, Cartoon Saloon brings some much needed authenticity and vibrancy to the depiction of Ireland in mainstream culture. Absent are the twee figures of backwards island folk or the commercialised idolatry of a St. Patrick's Day parade. What we get instead is something more personal, recognisable on the surface to every child and adult who learned about Fionn, the Fianna and fairy circles in primary school and with nuggets of information and visual cues for explorers of Ireland's broader history.

"I can't tell you which parts of this story are true and which parts are shrouded by the mists." - The Secret of Kells and the line between history and mythology

Set roughly in the 9th century AD The Secret of Kells is the earliest depiction of Irish culture in the trilogy. This period saw the introduction of Christianity and the eventual integration of the religion among the native Irish, a relatively smooth transition when compared to later events as noted by historian Jo Kerrigan: "And so the people of Ireland combined the new ways with the old…not bothering too much that the names had changed." Although the main character, Brendan, comes from a Christian monastery and carries those beliefs, The Secret of Kells does well to capture this balance between a new religion and old beliefs with the inclusion of Aisling and Crom Cruach, and without dismissing them as a childish or archaic. "Pagans. Crom worshippers. It is with the strength of our walls that they will come to trust the strength of our faith." The threat of Viking raids is what spurs Abbot Ceallach's desire to build a wall around his monastery, but, underlying his actions is another aspect of a monk's work - converting the natives. In The Secret of Kells the abbot's wall not only protects them from invaders but cuts them off from the forest beyond - the domain of shape-shifters, wild animals and pagan temples, a world that Brendan can only glimpse through a crack in the wall. A staple of the entire trilogy is this depiction of wilderness in some form and its association with Ireland's symbolic wilderness and pagan ancestry. When Brendan enters the forest for the first time it is dark and frightening until Aisling, an ethereal Sídhe figure who can shape-shift into a wolf, shows him how to navigate it. Brendan's fear is eliminated and Aisling quickly becomes his friend, each amused and fascinated by the other.

Hidden throughout Brendan's trek in the forest are old, moss covered ogham stones and stone circles, allusions to native practices, but deeper in, the colour palette changes from bright greens and natural browns to a wash of dark greys and black when Brendan stumbles across a temple to Crom Cruach (a deity who, in Irish mythology, is eventually destroyed by St. Patrick). Aisling tries to warn him away, "It is the cave of the Dark One," but Brendan dismisses her worries, "The abbot says that's all pagan nonsense, there's no such thing as Crom Cruach." At the sounding of the deity's name, black tendrils emit from the cave and pull on Aisling as she stops them reaching Brendan. Later, Brendan returns to the cave to steal Crom's eye - a magnifying crystal that will help Brendan and Brother Aidan with their illumination. In a beautifully animated sequence Brendan battles Crom Cruach in his cave by trapping him in a chalk circle and stealing his eye. Crom Cruach is depicted as a never-ending snake (in a geometric pattern reminscent of both pre-Christian art and the knotwork of Christian manuscripts) possibly in reference to the 'snakes' (demons) banished from Ireland by St. Patrick. What's most fascinating about this sequence is that Brendan experiences it at all. Although the experience is supernatural it is never implied as anything other than real. Brendan is a committed monk in training who will spend his life in service to the monastery and creating the Book of Kells; even after meeting Aisling and battling Crom Cruach he never questions his faith or his elders and when he returns to the monastery with the eye no one disputes the story of how he came by it, "You entered one of the Dark One's caves?" At this time, at the edge of a growing monastery and with a direct reference to the abbot's desire to convert the natives, there is still space for pagan ideas to exist. Whenever Brendan is punished by Abbot Ceallach it is for disobedience not a lack of faith. Similarly, Aisling using Pangur Bán's spirit to free Brendan has an effect on the real world. There's an argument to be made that this is a film and anything can happen, but for problems to be solved by magic, the way Aisling frees Brendan, firm world-building rules must be established; in this world, 9th century Ireland, spaces exist in which otherworldly figures reside and actions beyond the mortal realm occur and these spaces exist alongside this film's version of civilisation, the monastery.

"I have lived through all the ages, through the eyes of salmon, deer and wolf." As an animated feature, there is a lot the film can tell us through visuals alone, and The Secret of Kells does a wonderful job capturing an Ireland in transition. The prologue opens with a close-up image of the Eye of Crom with abstract shapes swimming around it, followed by a glimpse of Aisling hiding in a tree as she narrates over these images in an eery whisper. Following these we see a salmon, deer and wolf, three animals important to Irish mythology, identity and history; the salmon, related to The Salmon of Knowledge, represents mythology, the deer is the national animal of Ireland, and wolves (in the world of Cartoon Saloon) represent its wildernes and history (the elimination of the wolf population became more active in Ireland during times of English occupancy, a theme that is explored more deeply in Wolfwalkers). Even the waves crashing around Iona as Brother Aidan escapes morph into wolves, futhering their symbolism as something wild and dangerous, yet they are never associated with the Viking raiders; the wilderness is as equally affected by change as the people are. The monastery is littered with Iron Age motifs existing alongside Early Christian imagery. Spiral motifs occur in trees and plants, in the ropes that bind the wall's scaffolding together, and circular, semi-circular and zig-zag shapes continue to appear with knot-work patterns and religious figures - even the snowflakes during the raid are strands of knot-work. The monastery itself is accurate to the period with its round tower, beehive shaped structures (called clochán) and the town growing around it, while outside its walls Brendan crosses a stone circle. We even see a game of hurling, the ultimate unifying bridge between pagan and modern Ireland. The walls of the abbot's cell are covered in his own drawings of plans for the monastery's construction. These are exquisitely detailed and clearly a plan for the future but drawn in a style that cannot escape the past; zig-zags, spirals, circles, semi-circles, dots, triangles, sun and star motifs and something that looks like an alignment chart. The style is evocative of the insular La Tène that preceded the arrival of the monks in Ireland; a combination of abstract and geometric, seemingly random, but clearly symbolising something greater.

"You must bring the book to the people." In their last interaction as children Aisling helps Brendan recover the pages of his manuscript as he flees the Vikings. In this gesture Aisling aids Brendan on his religious journey - during the montage later on she even guides him home. Faith never comes between these two, their relationship is one of mutual curiosity and sharing their differences. In Irish mythology, female figures (particularly shape-shifting ones) are often symbolic of Ireland itself and to have the support of these figures is, for kings and heroes, a mark of validation. At this time, these two worlds still live alongside each other and Aisling is allowed to support Brendan's work as a monk while maintaining her own natural way of life. Although Brendan's final journey home shows the spread of Christianity across the country we get one final image of Aisling, changed to her human form in a flash of lightning, that shows us she hasn't disappeared just yet. Brendan, now an adult, returns to Kells and although Abbot Ceallach is old and sick, the monastery stands strong and Brendan brings with him the completed Book of Kells, ready to continue the abbot's work.

"This wild land must be civilised" - Wolfwalkers and the taming of Ireland

Set in 1650, Wolfwalkers occurs roughly 800 years after The Secret of Kells and presents a vastly different universe. The monks' Christianisation of the natives was a far more gentle affair and one founded in a desire to educate people. Ireland under the Lord Ruler (a stand-in for Oliver Cromwell) is a world of service, punishment and fear. By chopping down trees and employing hunters to cull the wolf population the Lord Ruler is attempting to 'tame' the countryside and, most importantly, the people themselves. References to "the old king" and "revolt in the south" place us, historically and politically, in the Cromwellian Conquest, when Cromwell was sent to Ireland to quell uprisings against the newly established English Commonwealth. Heavy stuff and this is a simplification of a period of major conflict in Ireland but Wolfwalkers impresses on us the feeling of living under the thumb of an active oppressor on a much smaller, more personal scale. The Lord Ruler wants the people of Kilkenny afraid and complacent so that they support his efforts to cull the wolves and cut down their forests. Although the wolves pose no threat to the city, people have been made to fear them, resilting in the loss of their connection to the forest outside the town walls. Any reference to a world ouside of the current mode of conduct is cause for immediate punishment and suppression. Even Bill and Robyn, loyal English citizens, are punished. When one of the woodcutters talks of "pagan nonsense" he is confined to the stocks and Robyn is forced to work as a maid in the castle when she does the same. When Bill fails to cull the wolf population (and control his own daughter) he is stripped of his rank as hunter and forced into the role of soldier, robbed of the little freedom he had.

"This once wild creature is now tamed, obedient, a mere faithful servant." Although this line is spoken in reference to Moll, held captive in a cage in her wolf form, it is the human characters who suffer the most from this ideology - even the nameless background characters are confined to the walls of the city. What comes to mind when hearing this line is Robyn in her maid's uniform, once lively and imaginative, now returning home with lines under her eyes after a long day of hard, monotonous work, and Bill, shackled at the neck and forced to march behind the Lord Ruler's horse ("we must do what the Lord Ruler commands"). Although Moll is held captive too, it is in the form of a humongous wolf; she is locked away in the Long Hall for fear of the danger she represents because the Lord Ruler is aware of how poweful she is and so he must keep her locked up to show the people of Kilkenny just how much control he can wield, quelling any potential notions of power they might have held in themselves. In the case of Moll, Robyn and Bill, each time they are held captive by the Lord Ruler their captured bodies submit to the wolf form to escape: Moll uses its strength to break free of her chains, Robyn leaves behind her human body to launch an attack against the soldiers with the rest of the pack, and Bill, who had no idea what being bitten by Moll would do to him, submits to a primal instinct within him to protect his daughter and attacks the Lord Ruler. The Wolfwalkers are able to draw on this power but the people left behind in Kilkenny have no such escape.

"What cannot be tamed, must be destroyed." The ending of Wolfwalkers is bittersweet. Robyn, Médb and their parents are safe after defeating the Lord Ruler and his soldiers and ride off, not quite into the sunset, but onto horizons new. "All is well," Bill and Robyn tell each other and the family appear content, but, before now, leaving the forest was not on the agenda; leaving the forest meant retreating from a threat, as Moll desperately wanted Médb to do, and this is still the case. Médb wanted to save the forest, but, after everything that's happened, the family are no longer safe on the borders of the town. Robyn, Médb, Bill and Moll all save each other but they can't save their home and their retreat from Kilkenny is just that - a retreat. The Lord Ruler may have been killed but that doesn't mean the end of his conquest. Historically, this period saw Ireland amalgamated into the Commonwealth and Irish Catholic landowners ousted by English colonists, as well as a high level of deforestation and the elimination of the wolf population. By having the family leave their home, together and with a bright sky and grassy hills ahead of them, Wolfwalkers' coda balances the narrative conventions of a story by giving the viewers their satisfying ending without sanistising the history it's based on.

"Remember me in your stories and in your songs" - Song of the Sea and loss:

If Wolfwalkers is the taming of Ireland then Song of the Sea is Ireland tamed. Set roughly in the 1980s it is the closest depiction of a modern Ireland in Cartoon Saloon's ouevre. In contrast to The Secret of Kells and Wolfwalkers, which represented Ireland's native identity in the forest, here it takes the form of (drumroll) the sea, but while those other films depicted the battle between the wilderness and civilisation Song of the Sea depicts its defeat. The last of the Sídhe live in hiding in a rath disguised as the centre of a roundabout and use a sewage system to get around. In their diminshed forms, Lug, Mossy and Spud also resemble more closely what we might think of as 'fairies' in Ireland today, not the imposing figures of mischief and chaos the Sídhe really are in mythology. Still, Lug, Spud and Mossy wear torcs, brooches and earrings of gold and strewn about their home are ogham stones and hurls; in a nice marriage of modern and ancient tradition, they play the bodhrán, fiddle and banjo, singing a version of the Irish language song 'Dúlamán'. Only in this one pocket in the middle of the city do different aspects of traditional Irish culture survive.

All throughout Song of the Sea we see iconography of modern Ireland. Conor drinks a pint of Guinness (unlabelled but unmistakable), the front of the pub he sits in is decorated in proto-typical Irish pub fashion. On the wall in Granny's house sits proudly a picture of Jesus with the Sacred Heart lamp as she warbles along to the classic Irish children's song, 'Báidín Fheilimí'. Ben and Saoirse take refuge in a shrine to a holy well with a rag tree outside that is bursting with religious iconography as well as a toy sheep. Symbols that are as much a part of the national identity as those pre-historic and mythological ones. There are also references to the assimilation of pop culture outside of Ireland in a Lyle's Golden Syrup tin, the Rolling Stones poster on Conor's old bedroom door and Ben's 3-D glasses and cape, an emulation of a superhero costume. These images are, ultimately, harmless but have overtaken their native counterparts. Although we see statues of the Sídhe in the background, these are not shrines but detritus, and they lie forgotten, covered in plants and moss, in the company of bags of rubbish and old televisions. The diminishing of one era of Ireland's history to make way for a newer more powerful and modern identity is just one kind of loss that is portrayed in Song of the Sea, but each character experiences their own version throughout. The loss of Bronach that has affected Ben and Conor; the potential loss of Saoirse as she grows sicker; the loss of Mac Lir that drove Macha to such despair she literally bottled her emotions and those of others until they turned to stone. All of this comes to a climax at the end of the film when these tragedies are laid bare. As in Wolfwalkers the greater connotations of this theme are presented on a smaller scale: Ben and Conor's pain by the loss of Bronach.

Ben and Conor are representative of the human world and so suffer her absence more visibly than Saoirse who approaches her mother's world with curiosity and ease. In contrast, Ben, although he misses Bronach, rejects the sea (her home and symbolic identity) and his sister, a physical as well as spiritual reminder of what's been taken away from him. He turns his back on his past as much as he mourns its loss. We see it less obviously in Conor who wallows in his own memories and grief and tunes out Ben's references to his mother "It's as though I've been asleep all these years. I'm so sorry." Ben's grief is more expressive compared to the inwardly focused Conor and even towards the end of the film when Ben is trying to help Saoirse, Conor brushes over his insistence that only her selkie coat can save her. It's only when Saoirse is finally wearing the coat and wakes up from her sickness that he finally engages with Ben on the subject of Bronach, "She's a selkie, isn't she? Like Mam." "Yeah." (Which looks like a weak conversation written down but it's the happy smile on his face and the emotion in his voice that give the single word weight). "Please don't take her from us." During the film's final sequence, when Saoirse sings her song and wakens the sleeping Sídhe, Bronach returns but only to take Saoirse away. With tears in her eyes she begins to lead Saoirse along until Ben and Conor stop her, not forcefully but pleadingly, "she's all we have." All they have is Saoirse, all they have is a thread connecting them to Bronach's world and their memories of her.

"All of my kind must leave tonight…" As the Sídhe are wakened by Saoirse's song we watch them rise joyfully to form a glowing processional in the sky as they make the journey across the sea to their home. This scene is so beautifully animated and so filled with a sense of magic and wonder that we are charmed into believing this is a good thing. The Sídhe are returned to their noble forms and going to their home "across the sea"; they fill the sky with a warm, mystical light, but they are taking that light and their magic with them. As Bronach quotes in the film's prologue, "Come away, o human child, to the waters and the wild, with a fairy, hand in hand, for the world's more full of weeping than you can understand." This is a world that can no longer bear the force of two identities. Unlike The Secret of Kells where Brendan and Aisling were allowed to live alongside each other without compromising their beliefs or ways of living, Bronach, a spiritual being, is forced to leave, while Ben and Conor have no choice but to stay and Saoirse, who walks both worlds, is made to choose between them. Although this is a happy ending it is still being depicted on a personal level. On a grander scale, the country has lost something that isn't coming back and this is depicted as a relief for the ones leaving it behind. On the other hand, Saoirse's decision to remain shows that, in small pockets of the country, the magic remains.

It is fitting that Song of the Sea, as a representation of modern Ireland, draws on loss; Ireland has been experiencing loss on a grand scale for centuries. Although the march of progress is mostly positive, in some cases it has altered our respect and interest in the past. Today there is a nihilism attached to Irish heritage; the spirituality that is associated with airy fairy hippies dancing naked in a moonlit field; the language that is almost universally despised by every secondary student forced to grapple with the Tuiseal Ginideach; its disappearing and continually exploited ecological landscapes; traditions and tales that grow more twee and archaic with every tourist bus that passes by; the preservation of archaeological sites in frequent battle with the progress of industry. In the interest of leaving behind the worst of our past we are at risk of losing the best. The writer Manchán Mangan suggests that this desire to forget lies in the pain we feel when we consider our history. Some, like Conor, try to push all reference to this pain out of their lives, others, like Ben, divert their pain into misplaced anger. Mangan cites the Famine as a source of generational pain and its effect today on our use of the language, but really it can be attached to many events and periods of time, "English was the future; Irish would only bring suffering and death." This is a sentiment that carries through to this day; despite encouragement from schools, local councils and the government, Irish remains a least favourite subject for most people who dismiss it as unuseful for success in the wider world. By proxy, anything to do with the notion of "Irish", the language, history and culture, is old-fashioned (suffering and death) while success and the future lie outside of the country. Mangan goes on to suggest that only by confronting the pain of our past can we unlock an ability in ourselves to engage more fully with our identity, "We might stop blaming our failure to learn on teachers, or the education system, or Government policy, and realise that we have no difficulty learning any other subject…" Ben and Conor are given the opportunity to say goodbye to Bronach before she leaves, allowing them to carry on with their memories of her and the last strand of their connection to her as represented by Saoirse. More and more people today are looking to Ireland's past, ecology and language for whatever it is they need or want to find. It isn't necessary to convert to paganism and live on the shores of the Connemara coastline to achieve this connection, but actively disengaging from your past can only hurt more than it can help. In their respective stories Brendan does not compromise his beliefs but still builds a friendship with Aisling, while Robyn and Bill integrate fully into Médb and Moll's world. There is no right way to engage with this side of our history and identity, but in contrast to Ben and Conor, Brendan and Robyn have balanced and fulfilling relationships with their native counterparts - the threats to their world come from outside sources. Ben and Conor were stuck in their pain over Bronach's loss and it is only after getting to see her one last time that helped them to move on and heal. Conor tells Bronach that he still loves her, he will carry his love and memories of her forever; Ben lets Saoirse into his life and is able to move past his grief and fears of the sea. Here, the threat of loss and destruction in modern Ireland comes from within, and can only be treated by engaging with the past - its rich heritage and tragic history - and moving on with all of the wisdom and experience it provides.

[bebravedearheart]

Happy Yule everyone, please don't look out of the window if you're in the Northern hemisphere. Or the calendar wherever you are.

The old man grinned, raising his arms and shaking his long sleeves down his wrists to expose his gnarled hands. "Close your eyes, my lord." The title from Dragoon’s mouth sounded much the way it did from Merlin’s; heavy with sarcasm.

"I'm not a child," Arthur snapped, but did as he was bid. He heard nothing, but he could feel the magic rising around them in the stone circle again, warming his skin—though it was only now that goosebumps arose on his arms.

"Arthur, my darling boy." A new voice came, unfamiliar to him.

Canon Era AU—Ygraine being called, however briefly, from beyond the veil was a gift given. Only an ancient, powerful sorcerer could command such magic...

[mamamoon92]

List of Druid Gods and Goddesses✨

Aine - (AN-yuh) Goddess of love, summer, sovereignty. Some said she was the daughter of Manannan, some said she was the Morrigan herself. Aine is very vengeful, and offending her is not wise.

Amaethon - God of agriculture, animal husbandry. Enemy of Arawn. Brother of Gwydion and Arianrhod.

Arawn - God of the dead, hunting, revenge. King of the underworld. Enemy of Amaethon. Possessed a magical cauldron of regeneration. Possesses many hounds who hunt for the souls of the dead.

Arianrhod - Goddess of beauty, fertility, reincarnation, the sky, weaving, enchantment. Keeper of the circling "silver wheel" of stars, a symbol of time and karma. Sister of Amaethon and Gwyddion.

Blodeuwedd - Goddess of flowers, lunar mysteries, wisdom.  She was created from flowers by Math and Gwydion as a wife for the god Lleu. Gwydion later turned her into an owl for killing her husband.

Brigit - Goddess of fire, healing, motherhood, agriculture, inspiration, learning, divination, poetry, prophecy, the forge.  An  ever-burning fire is kept in her honor by nineteen priestesses. Imbolc is sacred to her. Sometimes considered a triple goddess: the Three Mothers. Also known as Brighid.

Cailleach - Goddess of disease, plague, sorcery. A hag, strongly associated with the crone aspect of triple goddesses. The goddess of winter, she brings snow until Brigit (spring) turns her to stone each year. The name means "veiled one."

Cernunnos - God of the hunt, animals, fertility, warriors, nature, commerce, love, the underworld. Known as "the Horned God." Stags are sacred to him.

Cerridwen - Goddess of enchantment, death, initiation, wisdom, inspiration, regeneration, dark prophecy. Moon Goddess, Great Mother and Grain Goddess. She brewed a magical potion of wisdom in her cauldron and forced the young Taliesin to stir it for a year and a day. When he accidentally swallowed the last three drops, he was transformed into a bard and grew very wise. Welsh bards once called themselves Cerddorion "sons of Cerridwen."

Dagda, The - God of the arts, knowledge, magic, music, prophecy, prosperity, regeneration, fatherhood, protection. Known as the "Good God" and "Lord of the Heavens," he succeeded Nuada as high king of the Tuatha De Danann.

Danu - Goddess of the elements (particularly water), magic, wisdom, the earth, cattle. Mother of the Tuatha De Danann, she is the most prominent mother goddess.

Diancecht- God of healing. Crafted a magical well which would resurrect to life anyone thrown into it, although the Fomorians filled it with stones. Had a son named Miach and a daughter named Airmed. See "Herbalism, the Legend."

Druantia - Goddess of fir trees, passion, protection, knowledge, creativity. Queen of the Druids and creator of the moon calendar. Often associated with motherhood.

Epona - Goddess of healing, prosperity, maternity. Protector of horses. Strongly associated with fertility.

Goibniu - God of the forge, brewing, thunder. Smith of the Tuatha De Danann, his weapons could not miss and were always fatal. His brew made the Tuatha De Danann invincible and healed all illnesses.

Gwyddion - God of enchantment, illusion, magic, music, shapeshifting, learning. Sometimes called the Druid of the Gods due to his interests. Brother of Amaethon and Arianrhod.

Gwynn ap Nudd - God of war, death, fallen warriors, the hunt. King of the Sidhe and the Otherworld.

Llyr - God of sea, water, the underworld. Father of Mannanan, who is generally considered more prominent. Also known as Lir.

Lugh - (Loo) Sun god of all crafts, the arts, healing, journeys, prophecy. His skills were without end, and they won him a spot in the Tuatha De Danann. He had a magic spear and otherworldly hounds. Lughnasadh is held in his honor. There are many tales about Lugh's exploits.

Manannan - God of the sea, weather, underworld. Son of Llyr. Shapeshifter. Separated the worlds of humans and faeries.

Morrigan, The - A shapeshifting goddess of magic, prophecy, revenge, war, death. Known as "Great Queen" and "Specter Queen," she often takes the form of a crow. Sometimes considered to be a Triple Goddess, her aspects are listed below.

   Nemain - Maiden. Known as "venomous" or "havoc," she can

      create hatred where there was none.

   Macha - Mother. Known as "battle," associated with horses,

      cunning, and protectors.

   Badb (Bibe) - Crone. Known as "fury," "battle crow," and

      "boiling," she confused warriors to increase slaughter.

Niamh - (Nee-av) Name means "radiance" or "brightness." Daughter of the sea god Manannan, she rode a white horse which could walk across the seas. See "Niamh's Story" for more information.

Nuada - (Noo-ada) God of harpers, healing, historians, magic, poets, warfare, writing. King of the Tuatha De Danann at one time, he had to step down when he lost his hand in battle; it was replaced by a silver one by Diancecht then one made of flesh by Diancecht's son Miach.

Ogma - God of eloquence, inspiration, language, magic, music, physical strength, poets, writers. Invented the Ogham rune alphabet and carried a huge club.

Taliesin - God of magic, music, poetry, wisdom, writing. Known as Prince of Song, Chief of the Bards of the West, and Patron of Druids, he was a great magician, bard, and shapeshifter who gained his wisdom from a potion brewed by Cerridwen.

[moneeb0930]

ORIGINS OF HAPI (NILE) VALLEY CIVILIZATION

The progenitors of the Nile Valley civilization were Nilo-Saharan peoples who migrated to the Hapi (Nile) Valley from the Green Sahara, Nubia and Northeast Africa. The cattle cults of Het-Heru (Hathor), spiritual beliefs, iconography and cultural motifs associated with the old Kingdom can be traced to these regions prior to the unification of the two lands. The science of mummification began in Libya with the 5600 year old Tashwinat Mummy, known as the “Black Mummy of the Green Sahara''. The Black Mummy predates the oldest Kemetic mummy by over 1000 years. Astronomy and the study of the procession of the equinox began in South Africa at the site of the Adams Calendar Stone Circle and continued at the Napta Playa Stone circle located in modern day Sudan. This 7000 year old ceremonial center dried out around 3400 BC and they transferred their knowledge into the Nile Valley. The earliest images of Pharaonic Kingship were found in Nubia at the site of Qustul were the oldest depiction of Pharaonic Kingship is shown on the Qustul incense Burner. The original populations of the Nile Valley were no different than modern Sudanese, Ethiopian, Eritrean and Somali populations of today with a mixture of western Eurasians via the Levant whom for the most part settled in the Delta region. The cultural overlap of Kush and Kemet existed from the very dawn of Hapi Valley civilization and the cultural fusion was expressed in the customs and spiritual beliefs of its early inhabitants. These ancient traditions are continually practiced in Africa to this day.

Below are the results from a genome project conducted by Dr. Shomarka Keita, a Research Affiliate and Biological Anthropologist in the Department of Anthropology at the Smithsonian Institution and Dr. A. J. Boyce, who works at the Institute of Biological Anthropology and St. John's College

Oxford University.

PROJECT MUSE

Genetics, Egypt, and History: Interpreting Geographical Patterns of Y Chromosome Variation

IV, XI, V=Nilotic African

VII, VIII=Near Eastern

235 S.O.Y. Keita and A. J. Boyce

Early speakers of Nilosaharan and Afroasiatic apparently interacted based on the evidence of loan words (Ehret, personal communication). Nilosaharan’s current range is roughly congruent with the so-called Saharo-Sudanese or Aqualithic culture associated with the less arid period (Wendorf and Schild 1980), and therefore cannot be seen as intrusive. Its speakers are found from the Nile to the Niger rivers in the Sahara and Sahel, and south into Kenya. The eastern Sahara was likely a micro-evolutionary processor and pump of populations, who may have developed various specific sociocultural (and linguistic) identities, but were genealogically “mixed” in terms of origins.

These identities may have further crystallized on the Nile, or fused with those of resident populations that were already differentiated. The genetic profile of the Nile Valley via the fusion of the Saharans and the indigenous peoples were likely established in the main, long before the Middle Kingdom. Post-neolithic/predynastic population growth, as based on extrapolations from settlement patterns (Butzer 1976) would have led to relative genetic stability. The population of Egypt at the end of the pre-dynastic is estimated to have been greater than 800,000, but was not evenly distributed along the valley corridor, being most concentrated in locales of important settlements (Butzer 1976). Nubia, as noted, was less densely populated.

Interactions between Nubia and Egypt (and the Sahara as well) occurred in the period between 4000 and 3000 BCE (the predynastic). There is evidence for sharing of some cultural traits between Sudan and Egypt in the neolithic (Kroeper 1996). Some items of “material” culture were also shared in the phase called Naqada I between the Nubian A-Group and upper Egypt (~3900-3650 BCE). There is good evidence for a zone of cultural overlap versus an absolute boundary (Wilkinson 1999 after Hoffman 1982, and citing evidence from Needler 1984 and Adams 1996). Hoffman (1982) noted cattle burials in Hierakonpolis, the most important of predynastic upper Egyptian cities in the later predynastic. This custom might reflect Nubian cultural impact, a common cultural background, or the presence of Nubians.

Whatever the case, there was some cultural and economic bases for all levels of social intercourse, as well as geographical proximity. There was some shared iconography in the kingdoms that emerged in Nubia and upper Egypt around 3300 BCE (Williams 1986). Although disputed, there is evidence that Nubia may have even militarily engaged upper Egypt before Dynasty I, and contributed leadership in the unification of Egypt (Williams 1986). The point of reviewing these data is to illustrate that the evidence suggests a basis for social interaction, and gene exchange.

236 S.O.Y. Keita and A. J. Boyce

There is a caveat for lower Egypt. If neolithic/predynastic northern Egyptian populations were characterized at one time by higher frequencies of VII and VIII (from Near Eastern migration), then immigration from Saharan sources could have brought more V and XI (Nilo-Saharan) in the later northern neolithic. It should further be noted that the ancient Egyptians interpreted their unifying king, Narmer (either the last of Dynasty 0, or the first of Dynasty I), as having been upper Egyptian and moving from south to north with victorious armies (Gardiner 1961, Wilkinson 1999). However, this may only be the heraldic “fixation” of an achieved politi- cal and cultural status quo (Hassan 1988), with little or no actual troup/population movements. Nevertheless, it is upper Egyptian (predy- nastic) culture that comes to dominate the country and emerges as the basis of dynastic civilization. Northern graves over the latter part of the predynastic do become like those in the south (see Bard 1994); some migration to the north may have occurred—of people as well as ideas.

238-239 S.O.Y. Keita and A. J. Boyce

After the early late pleistocene/holocene establishment of Afroasiatic-speaking populations in the Nile valley and Sahara, who can be inferred to have been predominantly, but not only V (and XI), and of Nilosaharan folk in Nubia, Sudan, and Sahara (mainly XI and IV?), mid- holocene climatic-driven migrations led to a major settlement of the valley in upper Egypt and Nubia, but less so in lower Egypt, by diverse Saharans having haplotypes IV, XI, and V in proportions that would significantly influence the Nile valley-dwelling populations.

These mid-Holocene Saharans are postulated to have been part of a process that led to a diverse but connected metapopulation. These peoples fused with the indigenous valley peoples, as did Near Easterners with VII and VIII, but perhaps also some V. With population growth the genetic profiles would become stabilized. Nubian and upper Egyptian proximity and on some level, shared culture, Nubia’s possible participation in Egyptian state-building, and later partial political absorption in Dynasty I, would have reinforced biological overlap (and been further “stabilized” by ongoing population growth).

Source:

https://muse.jhu.edu/article/187884

HEAD to HEAD: Ancient Egypt Reconstructions COMPARED (Bas Uterwijk vs TKM): https://www.youtube.com/watch?v=E8iN6EFVTbQ&t=35s

Visit A Virtual Museum:

https://www.knowthyselfinstitute.com/museum

"I have not spoken angrily or arrogantly. I have not cursed anyone in thought, word or deeds." ~35th & 36th Principals of Ma'at