#to be special you just have to be determined and disciplined that's the only separating factor

[burningflash]

God I thought it wouldn't happen to me, I don't know why I thought I was special. I feel like I'm at that cliche point in life where I have to figure out if I want to pursue a stable 'sensible' career path that may make me enough money to live on, or to indulge and trust myself and maybe make the leap into a creative path. But am I good enough? Self esteem and creative motivation has been at an all time low for the past few months. This could be partly to devoting so much of my time to uni work.

[toxinellebug]

Shadybug/ClawNoir supporting character Headcanons

Jagged Stone? More like Jared Smith. He wanted to be a rockin musician, but his type of music is banned by the Supreme so his career never took off. Instead, he ended up marrying his girlfriend, Nannette Couffaine, after accidentally knocking her up with twins, released his pet crocodile into the Seine, got an apartment, and works a regular job that he HATES. But, he secretly still tries to record music and sells it on the black market where it has become somewhat popular in the indie underground, but if he were caught he would go to prison for sure. It’s not a happy marriage but he does what he has to. His kids last names are hyphenated Couffaine-Smith.

No houseboat, and without Royalties from music labels, neither Juleka or Luka could afford to go to Francois Dupont

Penny works as an assistant for Bob Roth and HATES IT. The man is a sexist slave driver, but this business is brutal.

Nadja Chamack is not a news anchor. You can’t be a single mother AND have a career that takes up so much of your time. As a result, Marinette has never had to babysit Manon.

Lila wants to challenge Chloe’s position as queen of the school, but there are no lies about charity work, only lies of what powerful and famous connections she has.

Adrien is not interested in being friendly with Lila, and definitely not going to help her with schoolwork. But he is still the ultimate trophy and key to winning popularity in Lila’s eyes, so she is determined to “win him over”, even though he finds her almost as annoying as Chloe, but Chloe he is stuck with due to her mom’s working relationship with his dad.

Gabriel doesn’t trust Lila one bit.

The sad and negative emotions he is forced to sense due to the power of the Butterfly brooch cause him distress, and he often has to excuse himself due to “headaches” from overworking, as a creative’s work is never done… But he is always listening for the emotions of people crying out for justice, for help, for people who wish they had the power to help.

Andre Glacier is still the Sweetheart’s ice-cream maker, but Sweetheart’s ice-cream is just a special menu item that you can request. Otherwise he has a scheduled route and serves the ice-cream that customers ask for.

Alya’s dad wishes the zoo could focus more on animal enrichment and larger enclosures but they don’t have the budget for such “unnecessary extravagences”.

Mr. Haprel hopes to make it as a famous Mime one day so he can be rich enough to afford to send his daughter, Mylene, to the school he works at as a janitor.

Everyone avoids Ivan.

Thomas Astruc never made it as a famous director, rather, the Supreme favored his University Rival, Andre Bourgeois, who also owns the Le Grande Paris Hotel.

Gina and Roland Dupain are not divorced/separated per say… Gina was sent to prison for civil disobedience. That’s why Tom is a doormat and just goes along with whatever discipline Sabine decides on because he doesn’t want his precious little girl to end up a criminal like her grandmother.

Sabine does not teach an inkpainting class on the weekend or practice tai chi or feng shui.

The walls of Marinette’s home are not pink, they are a boring beige that she hates.

The Agreste Manor is not a sterile, black and white modern decor dungeon. It is a prism of color, function, form, beauty and nature with nods to antiquity and the whimsical. Adrien HATES it. All color and light left this world when his mother died. The art in his house mocks his pain.

There is no school blog for Nathaniel to post his art on… But Marc ended up in that class instead of Marinette. (So did Mireille) He’s still too shy to admit he’s a writer. And even more shy to admit he has a crush on Nathaniel, so all he can do is watch the boy quietly. Rose thinks it’s a romantic tragedy and wants to play matchmaker. Alex thinks it’d be a disaster waiting to happen.

There is no Prince Ali who gives toys to sick kids in hospitals.

There is nothing as frivolous as videogame tournaments, so Max devotes all his spare time to his hobby of robotics and developing an AI… but developing an artificial intelligence is frowned upon. Luckily, Alya can keep a secret… that is, if Max is willing to spare some of his time to helping her havkninto the dark web to research conspiracy theories.

Wayhem is obseesed with Adrien, who can’t stand crazy fanatics and won’t lose any sleep if the Gorilla tackles the scrawny boy to the ground.

After much convincing, bullsh**ing, and bribes, Gabriel is able to host his derby hat design competition at Francois Dupont, (and hopefully, modelling his classmate’s creations will be a bonding point for Adrien to make a new friend) Rose sees it as an opportunity to tries to get Marc and Nathaniel to work with her to create a hat, hoping sparks will fly between them.

Even if Marinette WANTED to enter a stupid contest involving that spoiled, stuck-up Agreste boy, which she DOESN’T, her mother won’t allow it because sewing and doodling outfits is a distraction from her schoolwork.

Chloe still cheats.

But Shadybug discreetly sabotages the fashion show the winning hat is supposed to feature in.

Nathalie never became Gabriel’s assistant or even acquaintance. Instead, she is in charge of the department of the Louvre that archives and locks away all “banned” art and artifacts (aka anything related to Miraculous holders)

Alex thinks she’s creepy and hates how she coldly bosses around her dad.

Audrey is the same as ever, with the exception that she recognizes that her younger daughter Zoe has some talent, and wants Andre to find a movie part for her to play, and ignores Chloe’s bitter jealousy which causes her to lash out at others even nastier than in Ladybug and Cat Noir’s universe.

Nino is treated rudely and ignored by Adrien. Adrien would never agree to play a role in Nino’s movie and even accuses Nino of trying to use Adrien’s celebrity status to give himself an unfair advantage in the student movie competition.

Adrien doesn’t have time for stupid group projects or after school activities. But not because he has a full schedule since this Universe’s Gabriel is a decent father who does not demand perfection and give a 14 year old a burdensome schedule… It’s because outside of fencing and modeling, Adrien plans to spend his time planning out which sections of the city he’s going to take his anger out on that night.

Gabriel never forgot his roots as the son of a fry-cook, and occasionally tries to cook comfort food (NOT PANCAKES) for Adrien, who insists he’s not hungry or that junk is bad for his skin/weight, which has Gavriel worried about Adrien developing body dysphoria and eating disorders… These worries are put to rest when he finds out Adrien has suddenly developed a sweet tooth for baked goods. Therefore he has no qualms about his son frequenting the local bakery so often because a growing boy needs to eat and a treat is good for the spirit.

He wishes he could be more honest with Adrien, but he knows that it would destroy his son if he ever found out that the sickness that took his mother’s life was caused by his creation… He’s also not sure what kind of trauma Adrien would have to the fact he’s not human.

Gabriel also doesn’t want Adrien in danger. Gabriel wants to create a better world for his son to live in, a world where he and everyone else can be free! Where people can throve without stepping over others, and the poor don’t have to suffer. Where people have rights to love freely and express opinions without fear. A world where people help one another.

Gabriel would never use the rings to control Adrien, instead, he keeps them locked away in a safe, and plans to give them to Adrien someday when he is an adult and less likrly to misplace them because if they were to fall into the wrong hands, Gabriel shudders to think of what would become of Adrien.

Audrey still has a low key crush on Gabriel which makes him cringe but he still acts polite to keep up working relations, and he also pities his friend Andre, trapped in a one-sided marriage and bullied by his daughter and his wife.

[topscoree]

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Revision is key to retaining what you’ve learned. Make time for regular revision of all subjects, especially those you find challenging. Summarize important formulas, concepts, and shortcuts in a separate notebook for quick reference during revision.

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[chanoyu-to-wa]

Nampō Roku, Book 7 (62):  Rikyū’s Ko-mage-no-mizusashi [小曲ノ水指] and Mitsu-gumi [三ツ組] for the Small Room.

62) With respect to Rikyu’s small mage[mono] mizusashi, the diameter [across the lid] was 4-sun 9-bu; the large mage[mono mizusashi] was 5-sun 8-bu, or else 6-sun¹. 〚When [the small magemono mizusashi] is placed in between the large kane, it [fully] spans the distance [from] left to right².〛 This is [important] when [the utensils] will be arranged as mitsu-gumi [三ツ組] -- the measurement having been determined by Jōō, in consultation with Rikyū[, for this specific purpose]³.

    When mitsu-gumi is arranged beside a mukō-ro, there are no special details [to which the host has to pay attention]⁴.  And it is the same with the furo⁵.

    But on the daime-giri, mitsu-gumi arranged during the daytime is not something that can be done freely⁶.  For this purpose, [in addition to] preparing a small magemono [mizusashi], 〚the diameter [of the lid] of which should correspond to the distance between the kane,〛the chaire should also be something like a proportionally small meibutsu nasu, [measuring] 1-sun 5- or 6-bu [in diameter]; and the chawan, too, of the likes of a meibutsu temmoku -- one that is 3-sun 8- or 9-bu [in diameter] -- is best⁷.  The original idea was that [these three objects] should be placed on successive kane⁸.

    On one occasion, this monk observed that mitsu-gumi with a small mage[mono mizusashi] is exceptionally troublesome [to execute]⁹.  Rikyū pays very close attention to the way he places the utensils every day, so that we never see him create the same [arrangement] even two or three times¹⁰.  In recent days, compared with [the way the utensils are arranged on] the daisu, the mitsu-gumi [within the daime-gamae] can be moved downward as a unit with greater freedom [so that the utensils rest on kane that are closer to the inferior side of the kamae]¹¹.  But for a gathering held at night, since the kane can be [simply] matched exactly [just as in the case of the mukō-ro and the furo], from several years ago this way of arranging [the utensils] is becoming more common¹².

    “Regarding the small utensils [used] for mitsu-gumi, even if [you] are concerned [to arrange them in a way that is appropriate to their high status], [you] should understand that this is not really possible¹³.  Even if [you] question the propriety of this [assertion],” Rikyū said〚with a knowing smile, we〛have to accept things as they are at present¹⁴.

    “Morning and evening, he delved into this with his whole heart. 〚Jōō thrashed this out numerous times; and step by step he came to conclude that, beginning with san-shu gokushin, [it might be possible to simplify this into mitsu-gumi] by using a small mage-no-mizusashi and the rest -- a small chaire and small chawan -- if such could be found.〛 So [Jōō] finally solved the question of this one [arrangement of] mitsu-gumi, even though ten days had passed before he was able to achieve perfection” -- this was [Rikyū’s] story¹⁶.

    Truly, with respect to conscientiousness in this Way, one’s dedication must never be shallow¹⁷! 〚Just as in this [case], it is only after careful consideration of every separate [point] that the limits of freedom [of expression] can be understood¹⁸ -- since in the beginning, when [we] understood nothing, we would have been unable to subjugate [our creative impulses to the established rules]¹⁹.

  〚On this Way, a person with a deep sense of devotion will be able to dissipate the many layers of clouds and mist [that obscure the truth], and attain to a real understanding²⁰.  But if that seems too difficult, then it might be better to stop -- if a person lacks that degree of dedication²¹.

  〚It is said that Jōō, too -- and Rikyū, too -- were very perplexed about this [in the beginning]²².  Verily, in order to achieve true mastery in one’s discipline, one must be conscientious in everything²³.  And that being the case, it is not necessary to say [anything else]²⁴.〛

_________________________

◎ Returning to what had been more or less the norm earlier in Book Seven, the toku-shu shahon and genpon versions, while containing virtually everything that is found in the Enkaku-ji text, add more material.  As this was basically an additive process, I decided that both versions could be combined in the above translation, with those phrases or sentences not found in the Enkaku-ji manuscript enclosed in doubled brackets, as had been my practice heretofore.

    In instances where the other versions agree with the Enkaku-ji text, no special mention of the fact will be made in the footnotes.  Only when there is a significant textual variant will that difference be brought up for consideration in the notes.

    The concept of mitsu-gumi -- specifically the case presented here, where a tiny meibutsu chaire is displayed together with a meibutsu temmoku-chawan (without its dai -- the dai is brought out at the beginning of the temae) -- in the wabi small room is exceptional (to say the least).  Though the author associates this arrangement with Jōō and Rikyū, it does not agree with their ideas at the time when the small room was created (which was during the six to eight months before Jōō’s death when Jōō was focused on an extreme expression of wabi).  Rather, this was the kind of thing that Imai Sōkyū and his machi-shū followers were increasingly inclined to attempt during the decades between Jōō’s passing and Sōkyū’s (in 1591, several months after Rikyū) -- Sōkyū, having taken charge of Jōō’s collection of meibutsu after the master’s death, which he had been charged with keeping for Jōō’s young son (who was being raised in Sōkyū’s house, Sōkyū being married to Jōō’s sister), seems to have made use of these things as if they were his own.

    That said, and while the discourse undoubtedly traces its roots to Sōkyū’s followers, the language used is distinctly of the Edo period; but more, it is written with the style of grammar and idiom most usually found in official documents -- which suggests that someone acting on behalf of the Tokugawa bakufu had a hand in the preparation of this text (the use of treasured meibutsu in the small room being one of the deviations from Rikyū’s teachings that the bakufu wished to promote as widely as possible during the first century of the shōgunate).

    On account of the language, and what seems to be a certain confusion on the part of the author regarding the historicity of many of his assertions beginning in the middle of the text, made this an exceptionally difficult entry to translate logically into English.  I hope the result is both readable and helpful to our understanding of the attitudes and conventions on which the modern day chanoyu is based.

¹Rikyū ko-mage-no-mizusashi ha, sashi-watashi yon-sun ku-bu, ō-mage ha go-sun hachi-bu, roku-sun ni mo ari　[利休小曲ノ水指ハ、サシワタシ四寸九分、大曲ハ五寸八分、六寸ニモアリ].

    Magemono [曲げ物] means an object made of bentwood.  Usually, red cryptomeria (aka-sugi [赤杉]) was used for the purpose of objects used for chanoyu (primarily on account of its pleasant fragrance; but also because it is a little more watertight than the cheaper alternatives).  According to earlier works like the Chanoyu san-byakka-jō [茶湯三百箇條], the magemono-mizusashi was created by Jōō* with the expectation that it be the usual mizusashi used by a beginner -- in other words, until that person gained the experience that would allow him to find† an appropriate jar made of ceramic or some other more permanent material.

    Rikyū ko-mage-no-mizusashi ha, sashi-watashi yon-sun ku-bu [利休小曲げの水指は、差渡四寸九分]:  sashi-watashi [差渡] means the diameter, so the diameter of the lid was 4-sun 9-bu.  The reason this refers to the lid was because it was important that the mizusashi fit in between the kane (and if the lid extended over the kane, then, of course, the mizusashi would not be “in between” them).

    Ō-mage ha go-sun hachi-bu, roku-sun ni mo ari [大曲げは五寸八分、六寸にもあり]:  a certain flexibility in the diameter of the lid is permitted here simply because it had no special significance (unlike that of the ko-magemono-mizusashi, which had to be small enough to fit in between the kane).  The thing that was important was the volume of water that the mizusashi would hold, and the different between these two would be minimal.

    An ō-magemono mizusashi is shown on the left, while a ko-magemono mizusashi is shown on the right.

    In light of this, Shibayama’s toku-shu shahon (and Tanaka’s genpon) version of the text has:  Rikyū ko-mage-no-mizusashi ha sashi-watashi yon-sun ku-bu, ō-mage ha go-sun go-bu roku-sun ni mo ari-shi nari [利休小曲ノ水指ハ差渡四寸九分、大曲ハ五寸五分六寸ニモアリシナリ].  Here, the diameter of the large mage-mono may range between 5-sun 5-bu and 6-sun.  Again, this would have little impact on the volume‡.

    Today, 6-sun** is generally the norm. __________ *This is referring to the large magemono-mizusashi, the lid of which is around 6-sun in diameter.  The small magemono-mizusashi seems to have been created jointly by Jōō and Rikyū (though other accounts give Rikyū the full credit), specifically for the purpose described in this entry.

    We must always keep in mind that a majority of the documents discussed in Book Seven were put into the wooden chest in the Shū-un-an for a specific purpose -- and frequently the reason was to establish Rikyū’s preeminence in everything related to chanoyu (and part of this was a dedicated effort to replace Jōō and Furuta Sōshitsu with Rikyū in the historical record).  So while mitsu-gumi, as discussed in Book Six, may well trace its roots to Rikyū, the specifics outlined in this entry originated with other people, and date from a later historical period.

†Until the last decades of the sixteenth century, purpose-made “tea utensils” did not exist.  For something like a mizusashi, one went to the pottery market (in most towns where the population was too small to support several dedicated pottery shops, itinerant merchants would set up a temporary market, usually on the grounds of a temple, once or twice each month) and searched for a lidded jar of an appropriate size and weight that could be used for the purpose.  (The lid was an important point, since lacquered lids were at first only used when the original lid had been broken -- and this was done only when the jar itself was a treasured piece.)

    After taking the jar home and trying it (to make sure it did not leak -- if moisture did seep through the clay slowly, Jōō suggested that an ordinary household tray, perhaps painted with red or red-negoro lacquer, should be placed under the mizusashi, to protect the mat from water-damage), it would be used for chanoyu.  Though this would not be done before the host was sure that it was completely suitable.

    In that period, most people only owned one, or at the most two, of each of the necessary pieces; and in the case of something like a mizusashi, since the magemono option was always available, they did not feel any need to purchase one unless they were confident that it was appropriate -- and it was something that really caught their eye.

    The daimyō Uesugi Kenshin [上杉謙信; 1530 ~ 1578], for example, though he was one of Jōō's principal disciples, is said to have used a magemono mizusashi all of his life.  Ultimately, this was because the magemono designed by Jōō was the ideal -- it held a suitable volume of water, and was of an ideal size and weight for its purpose.  Thus none made of some other material could ever surpass it, and, more than likely, would be judged inferior in one way or another.

‡The reader should keep in mind that the mizusashi was filled to 70% of its volume when it was carried out from the katte.  After putting it in place, a mizu-tsugi was brought out to add more water, bringing the volume up to 90%.  (That this is no longer done by the modern schools is unfortunate, since it not infrequently means that the host starts to run out of cold water before his temae is finished.) 

    However, we should think that these numbers are no more than approximations.  “70%” means the volume is low enough that it will not splash out when the host stands up or sits down.  And “90%” means that there is enough space left so that, when the hishaku is put into the mizusashi for the first time, there will be no danger that the water will overflow if the host (who is assumed to be a beginner -- as is the case with all “rules”) pushes the hishaku into the water with the mouth of the cup facing upward.

**Some of the younger craftsmen had started using metric measurements (which were more compatible with modern woodworking equipment), so a diameter based on an 18 cm bottom was becoming common.  But with the general collapse of the tea utensil industry in Japan, most of these people have moved on to other endeavors, so the only ones remaining have returned to doing things the traditional way -- since they can make much more money based on that argument.

²Ō-kane no uchi ni hasamaru to hidari migi [h]e kakaru to nari　[大カネノ内ニハサマルト左右ヘカヽルトナリ].

    This sentence is found in the toku-shu shahon and genpon* versions of the text; however, there are no parallel assertions in the Enkaku-ji manuscript.

    Ō-kane no uchi ni hasamaru to hidari migi [h]e kakaru [大カネの内に挾ると左右へかかる]:  ō-kane [大カネ] means the five yang-kane of the ky��ma-tatami; ō-kane no uchi ni hasamaru [大カネの内に挾る] means (the mizusashi) is pinched between two of the ō-kane; hidari migi [h]e kakaru [左右へかかる] means as (the mizusashi) goes between, or spans (the distance between the kane), on the left and right.

    In other words, the mizusashi has been made so that it is ever-so-slightly smaller† than the distance between two of the kane on the kyōma-tatami, as shown above. __________ *Tanaka’s genpon version has two insignificant differences.  While the toku-shu shahon sentence reads ō-kane no uchi ni hasamaru to hidari migi [h]e kakaru to nari [Ⓢ大カネノ内ニハサマルト左右ヘカヽルトナリ], the genpon text has ō-kane no naka ni hasamaru to, hidari migi [h]e kakaru to nari [大カネノ中ニハサマルト、左右ヘカヽルト也]. 

    Uchi [内] means (among other things) within, inside, in between; while naka [中] means inside, in the middle, in between, within (though it also has other meanings that are not relevant to the present context).  And while the introduction of the comma in Tanaka’s version helps to clarify the meaning, its absence does not really change anything.  Thus, the two versions would yield the same meaning in English.

†The lid of the mizusashi measures 4-sun 9-bu in diameter.  The distance between the kane on a kyōma-tatami is 4-sun 9.167-bu.  The point is that the mizusashi, if it has been placed carefully, will rest in between the two kane.

    The kane are “lines” -- they have length, but no width, as in Euclidean geometry.

³Kore mitsu-gumi wo oku-beki tote, Jōō・Rikyū sōdan no sunpō nari　[コレ三ツ組ヲ置ベキトテ、紹鷗・利休相談ノ寸方也].

    Mitsu-gumi [三つ組] refers to the case where three utensils are displayed together, at least in theory on successive kane.  The precedent apparently came from the gokushin arrangement, where the chaire, chashaku, and temmoku were so arranged on the Gassan-nagabon.  Here, rather than the chashaku, however, it is the mizusashi that is placed in between the other two.

    Kore mitsu-gumi wo oku-beki tote [これ三つ組を置くべきとて] means this should be (done) with (the purpose of displaying the chaire and chawan together with the mizusashi as) mitsu-gumi.

    Jōō・Rikyū sōdan no sunpō nari [紹鷗・利休相談の寸法なり]* means the measurements (of all three of these objects) were decided upon jointly by Jōō and Rikyū. __________ *Sunpō [寸方] is a nonstandard way of writing sunpō [寸法].  This somewhat confusing form is most frequently encountered in things like Edo period tea literature (where the intention was probably to make it more difficult for the uninformed reader to understand what is being said -- in other words, such a person would have to apply to a tea teacher for clarity:  people were being discouraged from trying to work things out on their own, since the iemoto system was now in full swing).

⁴Mukō-ro no mitsu-gumi ha nani no shisai mo nashi　[向爐ノ三ツ組ハ何ノ子細モナシ].

    Mukō-ro no mitsu-gumi ha [向爐の三つ組は] means in the case where mitsu-gumi is arranged beside a mukō-ro....

    Nani no shisai mo nashi [何の子細もなし] means there are no special points or details (that have to be taken into consideration when arranging mitsu-gumi in this setting).

    In other words, when arranged beside a mukō-ro, there are no special details or restrictions that have to be followed* -- since this was apparently the original setting†.

    The only things to keep in mind is that the mizusashi must be exactly centered between the two kane, and the chaire and temmoku should rest squarely on their kane (since they are both meibutsu pieces‡ -- as we will be told later). ___________ *This is an allusion to the problems encountered when the host attempts to arrange mitsu-gumi during the daytime in the daime-gamae setting -- because the necessity of achieving a yang outcome (necessary for the purposes of kane-wari during the daytime) comes into conflict with the natural inclination to place the mizusashi on the central kane (since then the chaire and chawan are resting on yin-kane).

†Which in itself is confusing, since the first small rooms devoted exclusively to chanoyu (at least in Japan) were supposed to have been the 2-mat daime rooms jointly created by Jōō (the Yamazato no iori [山里ノ庵]) and Rikyū (his Jissō-an [實相庵]) during the spring of 1555.

    Earlier instances of the use of smaller rooms (2-mats, in the case of Shukō [珠光; 1423? ~ 1502]; 3-mats for Giō Jōtei [岐翁紹禎, 1428? ~ 1522?], the illegitimate son of Ikkyū Sōjun, and founder and first resident monk of the Shū-un-an) for chanoyu seem to exist; but these were invariably cases where monks were serving tea in their cells, rather than in what we would consider dedicated chashitsu.  Also, the chanoyu of those earlier individuals has been reinterpreted through the lens of the tea of the Edo period -- something that has usually been ignored by scholars.  (For example, Shukō‘s room included a 1-shaku 5-sun board floored section, possibly enclosed with a sode-kabe on one side, at the head of the mat he used as his utensil mat, originally a space for the monk to place his bedding during the day; Shukō arranged the furo, mizusashi, and other things on that board, and served tea as if he were seated in front of an o-chanoyu-dana [御茶湯棚]. -- but this must not be conflated with settings such as the mukō-ro, nor the occasions when he served tea in this way with Jōō’s chakai.)

‡The purpose of the mitsu-gumi arrangement, according to this entry, is to celebrate the meibutsu chaire and meibutsu-class temmoku in the sō-an setting.

    The fact that this tends to go against the whole reason for doing chanoyu in the sō-an is further evidence that this entry was written during the Edo period -- when the distinctions between the two ways of practicing chanoyu were beginning to erode.

    Yes, Rikyū sometimes used his Shiri-bukura chaire, or the white Yakushi-dō temmoku in the small room -- especially during his last years.  But this was done out of special consideration to the status of the shōkyaku:  the gatherings recorded in documents like the Rikyū hyakkai ki [利休百會記] were chakai that Rikyū was hosting on behalf of Hideyoshi, for the entertainment of Hideyoshi’s guests; and so the tori-awase necessarily reflected Hideyoshi’s status.

    The records of these chakai should not be used as examples of the proper way to conduct a gathering, in the spirit of wabi, in the small room setting.  Unfortunately, during the Edo period (beginning with the publication of the Rikyū chanoyu sho [利休茶湯書] in 1580, which made the Hyakkai ki widely available for the first time), that is exactly how these kaiki were used.

⁵Furo ni te mo dō-zen nari　[風爐ニテモ同前也].

    Furo ni te mo dō-zen nari [風爐にても同前なり] means also in the case of the furo, it is the same as before*.

    When the furo was on the right†, the arrangement was like this:

    And when it was on the left:

    In this case, Shibayama’s teihon has furo ni te mo dō-zen nari [風爐ニテモ同然也].

    Dō-zen [同然] means “similar to” -- in other words, the arrangement of mitsu-gumi with the furo is similar to what was done with the mukō-ro‡.  Ultimately, the idea of this sentence, when translated into English, is just about the same as what is said in the Enkaku-ji manuscript. __________ *In other words, it is the same as what was written above -- vis-à-vis the mukō-ro.

†The side of the ko-ita closest to the middle of the mat aligns with that side of the ro (when it is a mukō-ro or sumi-ro).  This is why it is not aligned with the endmost kane, as one might otherwise expect.

‡The furo is said to copy the mukō-ro, rather than the other way around, because, since this was an arrangement created for the small room, the mukō-ro was used there first.  The furo only came to be used in that kind of setting in 1586 (privately, in Hideyoshi’s small rooms) or 1587 (publicly, in the “tea village” at Hakozaki, in Fukuoka).

⁶Daime-giri ni te, hiru no mitsu-gumi jiyū-narazu　[臺目切ニテ、晝ノ三ツ組自由ナラズ].

    Daime-giri ni te [臺目切にて] means in the case of the daime-giri (setting)....

    Hiru no mitsu-gumi [晝の三つ組] means to arrange the utensils as mitsu-gumi during the daytime....

    Jiyū-narazu [自由ならず] means cannot be done freely; is not without restrictions.

    This refers to a machi-shū derived arrangement that was mentioned briefly in Book Six*, though it was discounted in the commentary on entry 23 in that book because it violates the rules laid down by Jōō and Rikyū†. __________ *The post in question is entitled Nampō Roku, Book 6 (23): Arranging the Mizusashi, Chaire, and Chawan Together on the Daime-kiri.  The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/649381981951492096/namp%C5%8D-roku-book-6-23-arranging-the-mizusashi

    However, I did not include much information about this mitsu-gumi arrangement in that post because the version of mitsu-gumi discussed in the Nampō Roku does not agree with Rikyū's teachings.  I will translate Shibayama’s comments on this matter fully, in the next sub-note.

†Since the daime-kiri was created, the rule was that the mizusashi should always be placed either 9-me or 11-me from the right heri, which was derived from its position on the ji-ita of the fukuro-dana, when the fukuro-dana was arranged within the kamae (that was the way Jōō had originally handled the space within the kamae).  Shibayama, however, shows the mizusashi placed on the central kane, with the chaire and chawan arranged in front of it (which mirrors the arrangement on the half of the mat next to the mukō-ro, albeit with the value of the kane reversed) Shibayama, however, shows the mizusashi placed on the central kane, with the chaire and chawan arranged in front of it (which mirrors the arrangement on the half of the mat next to the mukō-ro, albeit with the value of the kane reversed), though he offers no justification for why this arrangement is supposed to deviate from Jōō’s and Rikyū’s teachings.   (This way of doing things, however, agrees with other entries that were added to the collection by the followers of Imai Sōkyū’s tradition, so it probably represents another of his teachings as well.)

    Now, about this issue, Shibayama wrote (in his commentary on entry 23 in Book Six):

“This section [on mitsu-gumi in the daime-giri setting] is somewhat difficult to understand.  So, before considering this, we should first look at [entry 62 in] Book Seven.  [He then quotes the relevant parts of the text of entry 62 in Book Seven -- which is the present entry -- that deal with this matter; after which he comments on specific phrases in that quoted passage, as is his practice.]

    “‘Mitsu-gumi awasete-oku-koto Ō・Kyū no iu-iu’ [三ツ組合テ置コト鷗・休ノ云〻]:  regarding the placement [of the utensils], the question is where they should be placed?  Perhaps it should be in the very center of the seat for the utensils?  Then the mizusashi can rest squarely on the central yang-kane, which also seems suitable.  Then there is no help but that the chaire and chawan should be placed down on the yin-kane to the left and right.  This is what is shown [below].

    “This is very suitable for the kane at night; but during a gathering in the daytime, it should not be done.  Yet if the chaire and chawan are moved to the left and right yang-kane, they will be much too far apart.  So it will not [look] like mitsu-gumi.”

    In this arrangement, the separation between the chaire and the temmoku is too great (about 2-sun 2-bu), whereas in Rikyū’s arrangements it is always 2-sun or 1-sun 5-bu.  This is sufficient reason to deny that it is one of his arrangements.

    He continues,

    “With respect to ‘mitsu-gumi-awase ha tsuzuki no kane no kokoro-e’ [三ツ組合ハツヽキノカネノ心得] -- ‘the way that mitsu-gumi agrees with an understanding of tsuzuki-kane’ -- in order to avoid the difficulty [posed in the above example by centering the mizusashi on the central yang-kane] while still producing a yang arrangement, it is necessary to make use of ‘sama-zama ku-fū’ [様〻工夫]ᵃ -- ‘a flexible sort of ingenuity.’

    “When we speak about ‘tsuzuki-kane no kokoro’ [ツヽキカネノ心]ᵇ -- ‘the mind of tsuzuki-kane’ -- this is not the usual [idea of] tsuzuki-kane.  That is why it should be called ‘toku-shu tsuzuki’ [特殊ノ續] -- ‘special continuance.’”

    And there follows a quotation from entry 48 in Book Nine (cited belowᶜ), as well as from the present entry in Book Seven, in an effort to give meaning to his second sketch.

    Summing up Shibayama’s remarks (as well as making several clarifying additions to to his explanation). in the case of this arrangement, which is suitable for use during the daytime, the mizusashi has been moved toward the right slightly so that, according to Shibayama’s drawing, it contacts both the central yang-kane and the adjacent yin-kane equally (the same is also true of the temmoku).  Meanwhile the chaire is placed squarely on the yin-kane that is to the right of the central yang-kane.

    To understand this arrangement, we must throw our minds back to the idea of “special continuance” that Shibayama introduced in his commentary on entry 48 from the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加].  Rephrasing his comments so they apply to the present case, the mizusashi touches the central kane, so it is yang.  The chawan also contacts the central kane (so they share the central kane).  And, because the mizusashi also contacts the yin-kane with which the chaire is associated, it changes that yin-kane to yang (in the same way that the ken-byō or large fude-kake changed the endmost yin-kane into yang in entry 48).  But it also joins that kane to the central kane so that, in effect, the mizusashi, temmoku, and chaire all are sharing the same yang-kane.  This is the significance of “special continuance.”

    But, while this is all plausible, there is a problem, too.  As in the first example (the arrangement that Shibayama says can only be used at night), the separation between the temmoku and the chaire violates Rikyū’s teachings, because it is simply too small (about 1-sun):  the situation is limited by the fact that the chaire must be centered on the yin-kane with which it is associated, (which is clear even in Shibayama’s drawing of this arrangement).

    Furthermore, in addition to what was said above, the tiny chaire that is required for this mitsu-gumi kazari (which Shibayama specifies should be 1-sun 5-bu, and no more than 1-sun 6-bu, in diameter)ᵈ, while such pieces did exist even in Jōō’s and Rikyū’s day, does not hold enough matcha to serve more than one person.  Yet that was never a reason not to pack in the guests (at least for the machi-shū).  In addition to serving the koicha as sui-cha [吸い茶] (that is, one bowl of tea is passed around so that each guest can drink a share), this is where the practice of dumping the matcha out of the chaire (by rotating it over the mouth of the bowl, after taking out the first three scoops of tea) became a necessity:  by emptying the chaire completely, something approaching two portions of koicha might be prepared (which would allow each of the five guests to at least get a taste).   This, however, completely violates Rikyū’s teaching that the focus of chanoyu in the small room is the service of the best bowl of koicha possible, particularly to the shōkyakuᵉ.  Such was the machi-shū style of tea -- and why Rikyū held their approach (which was not grounded in the orthodox teachings) in contempt.

    Care must always be taken with Shibayama’s sketches.  He obviously knew what he wanted to depict, and so he freely changes the relative sizes of the different utensils (usually by making some of them smaller than they would be in reality -- sometimes remarkably so) to get the visual result that he wanted.  The above drawings have been done with an eye to spatial accuracy, and all of the objects depicted are drawn to the same scale, so that the resulting sketches accurately illustrate what the actual results would be. ___________ ᵃSama-zama ku-fū [様〻工夫] means something like “assorted ingenuity,” or “varied ingenuity.”  In other words, a flexible approach that has not been dictated by the classical rules of kane-wari.

ᵇTsuzuki-kane no kokoro [ツヽキカネノ心] means the mind (or idea) of tsuzuki-kane.  The idea where, when one object contacts one yin-kane in addition to the yang-kane with which it is associated, it transmutes that yin-kane into yang.  But, furthermore, the result is as if the yin-kane were now added to the end of the yang-kane, so that they are regarded as essentially the same kane (rather than two).  Thus, any objects associated with either of these kane are now considered to be sharing the same kane.

    This idea is not found anywhere in the Nampo Roku itself, but was a product of the Enkaku-ji scholars’ efforts to forge all of the Shū-un-an documents into a single, coherent, unit -- despite the fact that many of them were added to the collection later, and not infrequently by people acting on behalf of one special interest or another (the Tokugawa bakufu, the Sen family)...whose additions were frequently at cross purposes with the ideas that Nambō Sōkei was attempting to preserve when he originally built up this collection of papers and notebooks.

ᶜThe two posts that make up his commentary on entry 48 in that source are:

Nampō Roku, Book 7 (59c):  Shibayama Fugen’s Complete Commentary on Entry 48 from the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加] (Part 1).  The URL for which is:

https://chanoyu-to-wa.tumblr.com/post/717873369459130368/namp%C5%8D-roku-book-7-59c-shibayama-fugens

and, Nampō Roku, Book 7 (59d):  Shibayama Fugen’s Complete Commentary on Entry 48 from the Sumibiki no uchinuki-gaki・tsuika [墨引之内拔書・追加] (Part 2).  The URL for this post is:

https://chanoyu-to-wa.tumblr.com/post/718235781223809024/namp%C5%8D-roku-book-7-59d-shibayama-fugens

ᵈThis is a list of the 12 famous chaire of the sort specified here, that fall within the size limits.  The list was compiled from the Ko-kon meibutsu rui-shū [古今名物類聚] of Matsudaire Fumai [松平不昧; 1751 ~ 1818], in conjunction with the Taishō mei-ki kan [大正名器鑑] of Takahashi Sōan [高橋箒庵; 1861 ~ 1937], and includes only chaire that survived into the 20th century.

    The breakdown, according to the kilns where the chaire were fired, is as follows:

◦ Seto nochi-gama [瀬戸後窯], 4

◦ ko-Seto [古瀬戸], 3

◦ karamono [唐物], 2

◦ Bizen [備前], 2

◦ kansaku karamono [漢作唐物], 1

Aoyama maru-tsubo [青山丸壷] 1-sun 3-bu 2-rin,  karamono; Ama-yadori [雨宿] 1-sun 6-bu, ko-Seto; Kagami-yama [鏡山] 1-sun 6-bu, Bizen; Gaki-bara [餓鬼腹] 1-sun 4-bu 5-rin, Seto nochi-gama; Kara-koto [唐琴] 1-sun 2-bu, Bizen; Kūya [空也] 1-sun 5-bu, Seto nochigama; Seto-gaki [瀬戸柿] 1-sun 5-bu, ko-Seto; Sōhō [漱芳] 1-sun 6-bu, kansaku-karamono; Tsuru-no-ko [鶴子] 1-sun 4-bu 5-rin, karamono; Hatakeyama [畠山] 1-sun 5-bu 7-rin, ko-Seto; Miotsukushi [澪標] 1-sun 5-bu 7-rin, Seto nochigama (Oribe-gama [織部窯]); Mina-no-gawa [皆の川] 1-sun 5-bu 5-rin, Seto nochigama.

    One thing should be pointed out:  the Japanese-made pieces were crafted to be chaire.  Thus, while they may be narrow in diameter, they are also unusually tall, and so will be able to easily hold enough matcha for four or five people despite their narrowness.  The imported pieces (highlighted in boldface in the above list), however, tend to have more balanced shapes (these were usually made for other purposes, such as to contain individual portions of Chinese medicinal liqueurs that were given as gifts), meaning that the amount of matcha they can contain is usually not sufficient for more than one or two guests.

    The Japanese chaire -- primarily pieces from the Seto kilns -- outnumber the imported pieces by a factor of 3 to 1, and this is probably both representative of the entire population (irrespective of size), and true even during the sixteenth century.  Certainly, in his Tsuri-dana no densho [釣棚の傳書], written after 1582, Rikyū says that old Seto pieces can be handled in the same way as the imported chaire, and that implies that they were held in the same degree of esteem.

ᵉIt is difficult, and so stressful, for the guests to have to gauge the amount of tea to leave so that the others will have enough.  This is why Rikyū preferred to serve the shōkyaku an individual bowl of koicha -- since then the most important guest (according to Rikyū, the gathering should be arranged for the shōkyaku, while the others are there to keep him company) will be able to drink it all without worrying about drinking too much.

    But in the present case, sharing just under two portions among five guests would not allow even the shōkyaku to be satisfied appropriately.

⁷Sore-yue ko-magemono dekiru, chaire mo meibutsu ko-nasu nado no wari-hodo, issun go- roku-bu, chawan mo meibutsu-temmoku no koro, oyoso san-sun hachi- ku-bu yoshi　[夫ユヘ小曲物出來、茶入モ名物小ナスナドノハリホド、一寸五・六分、茶碗モ名物天目ノ比、凡三寸八・九分ヨシ].

    Sore-yue ko-magemono dekiru [それゆえ小曲物出来る] means once the small magemono (mizusashi) has been prepared for that reason (or purpose)*.

    Chaire mo meibutsu ko-nasu nado no wari-hodo, issun go- roku-bu [茶入も名物小茄子などの割りほど、一寸五・六分] means the chaire is also something like a proportionately (small) meibutsu ko-nasu [小茄子]†, 1-sun 5- or 6-bu (in diameter).

    Chawan mo meibutsu-temmoku no koro‡, oyoso san-sun hachi- ku-bu yoshi [茶碗も名物天目のころ、凡そ三寸八・九分よし] means a chawan that is of the same class as a meibutsu-temmoku, one that is 3-sun 8- or 9-bu (in diameter) is suitable.

    This explanation is rather a case of putting the cart before the donkey.  The host would have had to own a suitable chaire and temmoku first (as per the above specifications).  So, when he decided that he wanted to use them in his small room**, he would go to the local wagemono-shi [綰物師] and ask him to make a ko-magemono mizusashi.  So the ordering of the mizusashi necessarily would have to follow the acquisition of the chaire and temmoku-chawan.

    Here, Shibayama's version includes an extra phrase:  sore-yue ko-magemono dekiru, hon-shiki no mitsu-gumi ni ha kane-ai mizusashi, chaire oyoso issun go- roku-bu no wari, meibutsu ko-nasu no koro nari, chawan mo meibutsu-temmoku no koro-hodo, oyoso san-sun hachi- ku-bu yoshi [夫故小曲物出來、本式ノ三ツ組ニハカネ相水指、茶入凡ソ一寸五・六分ノ割、名物小茄子ノ頃ナリ、茶碗モ名物天目ノ頃程、凡ソ三寸八九分ヨシ].

    This means “for that reason the small magemono (mizusashi) was created since, in the original version of mitsu-gumi, the (diameter of the) mizusashi corresponds to (the distance between) the kane; and therefore the chaire should be approximately 1-sun 5- or 6-bu (in diameter), and something like a meibutsu ko-nasu; and the chawan, too -- one that is comparable to a meibutsu-temmoku -- approximately 3-sun 8- or 9-bu (in diameter), is acceptable.” __________ *In other words, so as to facilitate the mitsu-gumi arrangement in the wabi small room.

    Magemono pieces were originally used only once.  So while the large magemonon mizusashi was intended to be used by anyone who did not have a suitable mizusashi made of some more permanent material (pottery, metal), the only reason someone would order (since the demand would be low, these small mizusashi had to be custom-made) a ko-magemonon mizusashi would be so that they could attempt the mitsu-gumi arrangement.

†This seems to be hypothetical, something that the author is imagining (as opposed to something that he has seen with his own eyes).  A careful review of the chaire mentioned in the Ko-kon meibutsu rui-shū and the Taishō mei-ki kan suggests that very few ko-nasu chaire of this particular size existed even at the time when this entry was written.

‡Meibutsu-temmoku no koro [名物天目のころ] means something that approximates or is comparable to a meibutsu-temmoku -- apparently in terms of quality (including monetary value) and provenance.

    This was written in the eighteenth century, and by that time most of the real temmoku from the fifteenth and sixteenth centuries had vanished from use (most probably because they were too small for use in gatherings where koicha was routinely being served as sui-cha, and where the number of guests was five or more).  These had been gradually replaced by custom-made bowls imported from Ching dynasty China, which were usually of a somewhat larger size.  Here, however, the point is that only a temmoku that is around 3-sun 8-bu in diameter will “work” -- anything much larger will be too large.  Especially when the arrangement is based on the second sketch, a larger temmoku will be too close to the chaire (it seems that the idea was for the middle of the temmoku to be centered between the two kane, since if it extends farther across the yin-kane there was a danger of its being considered yin -- or at least so the machi-shū appear to have been thinking).

**The daisu (or naga-ita -- which is a variant of the daisu) was the only way to perform chanoyu from the earliest days until Jōō’s middle period, and so people assembled their collections of utensils based on what was suitable for use in that setting.  Then, suddenly, the whole system came crashing down with the creation of the 2-mat daime room in 1555, since Jōō and Rikyū argued that only objects of the simplest sort should be used in that new setting.

    Many of the people who had looked to Jōō as their mentor had done so because of his huge collection of meibutsu utensils, and these were people who tended to emulate Jōō’s earlier acquisitive side.  As the small room gained in popularity, in the years after Jōō’s death, these people (championed by Imai Sōkyū, who was the conservator of Jōō’s collection) began to agitate for the use of their precious treasures in the small room setting, and the interpretation of mitsu-gumi that is being discussed here allowed them to do so.

⁸Tsuzuku-kane hon-i nari　[ツヾクカネ本意也].

    Tsuzuku-kane hon-i nari [續くカネ本意なり] means this is the original intention (or purpose) behind the concept of tsuzuku-kane.

⁹Aru-toki kono-bō mōshi-keru ha, ko-mage no mitsu-gumi koto-no-hoka sewashiku yoroshi-karazu tote　[アルトキ此坊申ケルハ、小曲ノ三ツ組コトノ外セハシクヨロシカラズトテ].

    Aru-toki kono-bō mōshi-keru ha [ある時この坊申しけるは] means on a certain occasion this monk (i.e., Nambō Sōkei) made the observation....

    Ko-mage no mitsu-gumi koto-no-hoka sewashiku yoroshi-karazu [小曲げの三つ組殊の外せわしく宜しからず] means “(that) mitsu-gumi with a small mage(mono mizusashi) requires (the host) to do too many things*, and that is not very good.”

    Sōkei seems to be complaining about the various conceits required when arranging mitsu-gumi according to idea of tsuzuku-kane.  It certainly is different from Rikyū's straight-forward approach to kane-wari. ___________ *Sewashiku [せわしく = 忙しく] means to be busy, to have many things to do or attend to.

    This effort seems to be more mental than physical -- calculating how best to arrange the utensils in order to achieve the desired yin or yang result (in so far as kane-wari is concerned) without violating any more of the established precedents (dictating the way to display treasured utensils) than absolutely necessary.

¹⁰Kyū no o-oki-awase ni hi-bi kokoro wo tsuke-sōrō ni, ni- san-do nara de ha mi mōsazu　[休ノ御置合ニ日〻心ヲ付候ニ、二・��度ナラデハ見申サズ].

    Kyū no o-oki-awase ni bi-bi kokoro wo tsuke-sōrō ni [休の御置き合わせに日〻心を付け候うに] means every day Rikyū pays much attention to the way he arranges (the utensils).

    Ni- san-do nara de ha mi mōsazu [二・三度ならでは見申さず] means except for two or three times, (I) cannot say that (I) have seen (them).

    In other words, Rikyū uses the same arrangement only two or three times.  He is constantly changing the way he arranges the utensils (presumably in order to make each gathering a unique experience)*.

    In fact, this is contradicted by a careful study of Book Two (and even more so by reviewing the gatherings recorded in the Rikyū Hyakkai ki [利休百會記], most of which are also included in the kaiki that makes up Book Six of the Rikyu chanoyu sho [利休茶湯書]).  When Rikyū found a certain arrangement especially pleasing and appropriate, he returned to it again and again, particularly during the same season in which it was originally created.

    What we are seeing here is the evolution of the modern theory of chanoyu, where everything* is supposed to be different every time a gathering is hosted. ___________ *It appears that the author is ascribing the arrangements discussed in the following footnotes to Rikyū.  While they are closer to his style, the problem is that Rikyū specifically stated that, in the small room, it is inappropriate to use both a dai-temmoku and famous chaire at the same time.  While these arrangements only show the temmoku (resting directly on the mat), the implication is that the dai will be brought out from the katte at the beginning of the temae.

    As a general rule, Rikyū seems to have used the dai-temmoku only when serving guests of an extremely exalted social status (such as an Imperial abbot).  He was less reserved about the bon-chaire, but even then he usually only used it on special occasions, when serving tea to more important guests.  And in the wabi small room, where the emphasis was on the koicha, rather than the utensils, his preference was to use relatively new pieces -- utensils that could be replaced easily, and so of no special value.

    In the situation that we are discussing in entry 62, while a dai would be brought out for the temmoku, the chaire would be placed on the mat throughout the service of tea.  The use of both a dai-temmoku and a bon-chaire during the same temae was eschewed even by the machi-shū followers of Imai Sōkyū (who seems to have created the original two arrangements), who favored the use of such treasured things in the wabi small room.

†While here the author is specifically talking about changing the way the utensils are arranged as being one of the important elements that makes each gathering unique, it was probably to be expected that, once the rules for the kazari for the various temae had been rigidly fixed by the schools, this necessity of being different every time would manifest itself in the “rule” that all of the utensils should be different each time tea is served.

¹¹Chika-goro ha, daisu hiki-awasarete kuri-sagetaru mitsu-gumi jiyū ni okare　[近比ハ、臺子被引合レテク��下ゲタル三ツ組自由ニ被置].

    Chika-goro [近ころ] means recently, in recent days.

    Daisu hiki-awasarete [臺子引き合わされて]:  hiki-awasarete [引き合わせられて] is possibly a mistake.  Tanaka has hiki-awasete, which would be a more normal form of this verb.

    Hiki-awasu [引き合わす] literally means to draw together (and by extension, to introduce -- as in introduce one person to another), from where comes the subsidiary meaning of to compare.  Hiki-awaseru [引き合せる] means to compare*, to contrast.

    Here it seems to mean that what is done is based on comparable details seen in some of the daisu arrangements -- specifically, those where the chawan and chaire are moved toward the left (so that the chaire will be in the center of the ten-ita, while the chawan is resting on the first yang-kane to the left of the central kane).

    Kuri-sagetaru [繰り下げたる] means bringing down, moving down -- here it refers to moving the group of utensils, as a unit, toward a “lower” seat (which, in the modern tea world is considered the side of the daisu closest to the katte*).

    According to Shibayama, the reference is specifically to the arrangement discussed in entry 13 in Book Five†, where the dai-temmoku and chaire have been moved toward the left -- as shown below.

    It is the general idea of objects moved toward the left side of the ten-ita that is important here, rather than the fact that the dai-temmoku and chaire in the above drawing overlap their kane by one-third.  In the mitsu-gumi arrangement, because its purpose is to treasure the chaire and chawan, these things are centered on their kane (at least when that is possible).

    Mitsu-gumi jiyū ni okarare [三つ組自由に置かられ] means mitsu-gumi can be placed freely (in this way).  The arrangement would be as follows:

    Here the mizusashi is placed according to Jōō’s rule -- 9-me from the heri‡ -- with the chawan and chaire moved downward**, toward the left side of the mat.  In fact, this agrees with its original placement on an ordinary kyōma-tatami, simply moved 2-sun toward the left (to account for the reduced size of the mat within the kamae -- which was arrived at by subtracting the 2-sun of the heri, which space was used as the baseboard that supports the sode-kabe).

    It is questionable whether this arrangement was one of Rikyū’s own recent variants -- though if that is not so, it is unclear why Rikyū’s continual changes to the way he arranged the utensils was mentioned (in footnote 10). ___________ *The logic will seem confusing (to us) because the original orientation of the daisu had the guests seated on the host’s left.  Thus, the side closest to the katte (the side to the right of the mizusashi) was considered the “higher” seat because objects arranged there were more protected.  The side toward the guests, the side of the ten-ita above the furo was, consequently, the “lower” seat -- both because it was closer to the guests (the principal danger being that their moving around could potentially raise dust that would soil objects on that side of the ten-ita), and because, being above the furo, the board becomes warm, which might damage things like the temmoku-dai, or (if the chaire were placed there) spoil the tea.  (Today matcha is ground using motor-driven mills that turn at a fairly rapid rate, so that the stones become very hot.  But in Rikyū’s day tea was ground using a hand-mill, which does not really become warm to the touch.  Thus, elevating the temperature under the chaire could cause the aromatic components of the tea to volatilize, and so escape as soon as the lid is removed, thereby spoiling the taste of the tea for people used to drinking tea that had been ground in the traditional way.)

†This refers to the post entitled Nampō Roku, Book 5 (13.1):  the Arrangement [of the Daisu] During the Shoza when [Receiving a] Respected Guest, Part 1.  The URL for that post is:

https://chanoyu-to-wa.tumblr.com/post/620572177833623553/namp%C5%8D-roku-book-5-131-the-arrangement-of

‡Shibayama curiously ignores this rule.

    In his sketch, shown above, the mizusashi is associated with the endmost yang-kane -- in the same way as the chawan in the daisu arrangement -- though it is not clear (from his brief notes) why that would be appropriate in the case of mitsu-gumi.

    The interior of the kamae, including the heri, measures a total of 2-shaku 9-sun 5-bu, which is the same as the ji-ita of the large daisu.  Imai Sōkyū seems to have taught that the arrangement of objects within the kamae is therefore based on the daisu -- rather than on the fukuro-dana, as was apparently the actual case -- and this is still repeated by some of the modern schools even today.  So, in Shibayama’s sketch, the mizusashi seems to take its position from where it would be located if it were on the ji-ita of the daisu.  The traditional rule (cited in the Hundred Poems), where the mizusashi should be placed 9-me (or 11-me) from the heri, is, however, based on its location on the ji-ita of the fukuro-dana (the first, when the fukuro-dana is oriented as Jōō originally conceived; the second distance is based on the mizusashi’s position when the fukuro-dana is centered between the heri, as later proposed by Rikyū).

    As was mentioned before, we are dealing here with arrangements that seem to have been  created by Imai Sōkyū, and passed on by his followers among the machi-shū -- even though they are being presented here as if they were kazari proposed by Rikyū.  (In fact, this is why many scholars argue that the Nampō Roku is a forgery -- because in many instances, most notably in Book Seven, the teachings described contradict Rikyū’s own densho.  Yet none of those scholars, to the best of my knowledge, has ever looked at the language in which those deviant teachings are described; or, when they do consider the question of anachronistic language, their assumption seems to be that Tachibana Jitsuzan rewrote those sections -- even though the way the language varies is striking, if one steps back and assesses those entries as a group.)

**In the original version of mitsu-gumi in the daime-giri setting, the chawan was associated with the central kane, and the chaire with the yin-kane to its right (though, because of the presence of the mizusashi, that kane was morphed into yang).  So, kuri-sage means that the chawan is moved to the yang-kane to the left of the central one, while the chaire is moved onto the central kane.  Meanwhile the mizusashi, which no longer serves any purpose (in so far as kane-wari is concerned) is moved toward the right -- into its usual place within the kamae (which was originally derived from its place on the fukuro-dana).

¹²Mata yo-kai ni ha kane-au yoki yue, sen-nen yori mo tabi-tabi oki-awasare-sōrō　[又夜會ニハカネ合ヨキ故、先年ヨリモタビ〰被置合候].

    Mata yo-kai ni ha kane-au yoki yue [また夜会にはカネ合いよきゆえ] means because, at a night gathering, (the utensils) should match the kane exactly....

    Sen-nen yori mo tabi-tabi oki-awasare-sōrō [先年よりも度々置き合わされ候う] means also since several years ago (the utensils) are occasionally placed (in a similar way).

    The context suggests that this is referring to the first of the two arrangements shown under footnote 6 (where the mizusashi was located on the central kane, and the chaire and chawan placed in front of it on the two yin-kane that adjoin the central yang-kane).

    For the convenience of the reader, I have included the sketch again here.

¹³Mitsu-gumi no ko-dōgu, kokoro-zukai ni mo oyobumajiki-koto to zonzuru yoshi　[三ツ組ノ小道具、心ヅカヒニモ及マジキコトト存ル由].

    Mitsu-gumi no ko-dōgu [三つ組の小道具], “the small utensils used for mitsu-gumi,” is referring to the chaire and chawan.

    Kokoro-zukai ni mo [心遣いにも] means “even if you are concerned about (the utensils);” “even if you are being solicitous of (the utensils)....”

    In other words, according to the analysis of mitsu-gumi covered in footnote 7, the chawan and chaire were supposed to be treasured, if not meibutsu, utensils.  That was apparently the whole purpose behind this mitsu-gumi arrangement.

    Oyobumajiki-koto to zonzuru yoshi [及びまじきことと存る由]:  (this is) the reason (yoshi [由]) you should understand (to zonzuru [と存る]) that something is unattainable (oyobumajiki-koto [及びまじきこと]).

    In other words, when we think about the chaire and the chawan that are used for mitsu-gumi, even if the host is worried (about placing them on yin-kane*, or using tsuzuki-kane†), he should understand that this is something that cannot be done (at a night gathering -- since it is necessary for the important utensils to be yin at that time of day). __________ *Because they are supposed to be treasured utensils, the urge would be to place them squarely on the appropriate yang-kane.

†According to what was said in the entry that discussed the idea of special continuance, it was ancillary objects that were supposed to be associated with the yin-kane that was transmuted into yang due to the position of the ken-byō.  Yet here the chaire, which is arguably one of the most important utensils, is displayed on that yin-kane.

¹⁴Mōshi-kereba, Kyū iu, ima ni narite ha geni-geni ware mo sa-yō ni koso zonzuru nare-domo　[申ケレバ、休云、今ニ成テハ、ゲニ〰我モ左様ニコソ存ルナレドモ].

    Mōshi-kereba [申しければ] means even if one questions (the propriety of) this* (placing the important utensils on yin-kane)....

    Kyū iu [休云う] means Rikyū (would) reply....

    Ima ni narite [今になりて] means “that is how things have become in the present.”

    Geni-geni [實に實に; 実に実に] expresses the feeling of agreeing with, or being convinced of, a certain proposition.

    Ware mo sa-yō ni koso zonzuru nare-domo [我も左様にこそ存ずるなれども] means even if we† also know that (ware mo...zonzuru nare-domo [我がも...存ずるなれども]) things are just like that (sa-yō ni koso [左様にこそ])....

    Once again, Shibayama’s version is slightly different:  Kyū mo warai-tamaite, ima ni narite ha geni-geni warera mo sa-yō ni omou nare-domo [休モ笑ヒ玉ヒテ、今ニナリテハゲニ〻〻我等モ左様ニ思フナレドモ].

    Kyū mo warai-tamaite [休も笑い給いて] means “Rikyū, with a smile, replied....”  The smile (or, possibly, a chuckle under the breath) seems to mean that Rikyū is forced to acknowledge the righteousness of Sōkei’s argument.

    Warera mo sa-yō ni omou nare-domo [我等も左様に思うなれども] means even if we also think that things are just like that.... __________ *More literally, mōshi-kereba [申しければ] means “if one says,” “if one were to say.”  It refers to the sentence covered in the previous footnote -- which was essentially questioning the propriety of placing a meibutsu chawan and chaire on yin-kane -- even at night.

†In Shibayama’s version of the text, we find warera [我等], which means “we.”  Ware [我] usually means “I,” but it can also mean “we.”  In light of Shibayama’s version (which makes good sense), I decided to go with “we.”

¹⁵Jōō zon-shō no koro, imada sō-an no kaku-shiki atarashiki-koto ni te, shoji ichi-ichi ni tanren-shite kiwamuru ji-setsu naru-yue　[紹鷗存生ノ比、イマダ草菴ノ各式アタラシキコトニテ、諸事一〻ニ煆煉シテキハムル時節ナルユヘ].

    Jōō zon-sho no koro [紹鷗存生のころ] means when Jōō was alive....

    Imada sō-an no kaku-shiki atarashiki-koto ni te [今だ草菴の格式新しきことにて] means “just* when the practices of the sō-an were being newly formulated....”

    Shoji ichi-ichi ni tanren-shite kiwameru ji-setsu naru-yue [諸事一々に鍛練して極める時節なるゆえ] means “because everything should be mastered completely, step by step†, in its own season‡....”

    This use of the word “mastery” (tanren-suru [鍛練する]) is somewhat unusual, at least in English, because here it is referring to something done before the fact (during the process of deciding how to arrange the utensils on the mat), rather than learning the rules after the details of the arrangement have already been fixed.  What the author is saying is that Jōō had to try this and that before he finally arrived at an arrangement that seemed appropriate to him.  This is what the author means by mastering the situation. __________ *Imada [今だ] means now, at just this moment.

    The author apparently has no sense of when the sō-an was created.  He seems to be under the impression that this occurred during Jōō's middle period, with subsequent developments taking place over a period of 20 or so years, as Jōō worked with Rikyū to complete the process of establishing the various rules and precedents.

    In fact, the sō-an seems to have appeared during the spring of 1555 (Rikyū's first chakai, immediately following his return from the continent, was held on the 12th day of the Twelfth Month of Tenbun 23 [天文廿三年], which would equate to January 16, 1555, in the proleptic Gregorian calendar; and Jōō died on the 29th, or last, day of the Tenth Month of the same year -- that date being equivalent to November 23, 1555, in the proleptic Gregorian calendar), so there was not much time for the prolonged, gradual evolution of its conventions that this author believed necessary.  If we assume that the 2-mat daime (the first small room) appeared sometime during the spring of 1555, then the argument is being made that the rules for this arrangement would have been fixed before the summer of that year.

    Mitsu-gumi, as a concept, would seem to come from Jōō's middle years, and would most likely have been performed in the 2-mat daime setting (or, more likely the 3-mat setting favored by Imai Sōkyū) sometime after Jōō's death (since it would have taken some time for the “small room” to become accepted by the tea world at large).

    While Rikyū generally opposed the use of such treasured utensils in the wabi small-room, preferring to save them for occasions when a person of high status was being received there, Sōkyū and his followers enjoyed using such treasured pieces in the “wabi” setting when enjoying tea among equals, as a way to appreciate these costly treasures.  This, of course, was exactly in keeping with the ideas that the Tokugawa bakufu wished to foster, so it is no surprise that this mitsu-gumi kazari was probably added to the Shū-un-an collection after the middle of the seventeenth century -- possibly by someone acting on behalf of the bakufu, given the stilted nature of the language.

†Ichi-ichi ni [一々に] means one by one (referring to the sequence of steps in a given temae).

‡Ji-setsu [時節], season, is used when referring to a particular temae -- in this case, the mitsu-gumi arrangement.  Each individual temae was regarded as being equal to a different “season.”

¹⁶Tan-seki ika-bakari ka kokoro wo zukushi, mitsu-gumi ichi-ji ni mo, tōka mo kakarite subete wo kiwametaru-koto nari to monogatari nari　[旦夕イカバカリカ心ヲツクシ、三ツ組一事ニモ、十日モカヽリテ凡ヲ究メタルコトナリト物語也].

    Tan-seki [旦夕] literally means morning and evening -- though it is also used to mean day and night (as in this case).

    Tan-seki ika-bakari ka kokoro wo zukushi [旦夕如何ばかりか心を盡くし] means “day and night, how much (effort should we expend)?  (Jōō had to pursue this understanding) with his whole heart -- his complete commitment and dedication (to the successful completion of the task at hand).”

    Mitsu-gumi ichi-ji ni mo [三つ組み一事にも] means “in order to (to successfully determine the most appropriate arrangement) of this one (temae), mitsu-gumi....”

    Tōka mo kakarite subete wo kiwametaru-koto nari [十日も掛りてすべてを極めたることなり] means “ten days had to pass before (Jōō) was able to attain the summit (of understanding).”

    In other words, Jōō took ten full days, working from early morning to late in the night, in order to determine the best way to arrange the utensils for mitsu-gumi.

    To monogatari nari [と物語なり] means so (Rikyū) told (me); this was (Rikyū's) story.

    Here the toku-shu shahon (and genpon) text begins to turn in a different, pseudo-philosophical, direction†.  Shibayama's version of this text reads (the newly incorporated phrases have been represented in boldface):  tan-seki ika-bakari ka kokoro wo zukushi, Jōō to sengi sū-do ni oyobi, yō-yō san-shu gokushin yori tsuzuki wo kanben-shi, ko-mage-no-mizusashi, sono-hoka, ko-chaire, ko-chawan tori-atsume-shi-koto, kono mitsu-gumi ichi-ji ni mo tōka mo kakarite, oyoso wo kiwametaru-hodo nari [旦夕イカバカリカ心ヲ盡シ、紹鷗ト僉議数度ニ及ビ、ヤウ〻〻三種極眞ヨリツヾキヲ勘辯シ、小曲ノ水指、其他、小茶入、小茶碗取集メシコト、コノ三ツ組一事ニモ十日モカヽリテ、凡ソヲ極メタル程也].

    Jōō to sengi sū-do ni oyobi [紹鷗と僉議数度に及び]:  sengi [僉議] means to talk over, discuss, hash (things) out.

    In other words, Jōō talked this matter (of doing something like the gokushin  arrangement in the small room by arranging the utensils as mitsu-gumi) over many times (presumably with Rikyū as his confidant).

    Yō-yō san-shu gokushin yori tsuzuki wo kanben-shi [漸々三種極眞より續きを勘辯し]:  yō-yō [漸々 or 漸う] means gradually, step by step, little by little; san-shu gokushin yori tsuzuki [三種極眞より續き] means to continue from san-shu gokushin to (the mitsu-gumi temae); wo kanben-shi [を勘辯し] means to tolerate or be accepting of something‡.

    According to this version, Jōō was apparently conflicted about simplifying the san-shu gokushin procedure into something that could be practiced in the wabi small-room**.  Only gradually, amidst much discussion, did he come to accept that something like this could be done in that setting.

    Ko-mage-no-mizusashi, sono-hoka, ko-chaire, ko-chawan toriatsume-shi-koto [小曲の水指、其他、小茶入、小茶碗取集めしこと] means gathering together the small mage-mizusashi and the rest -- the small chaire and the small chawan††....

    So, this version means “day and night, what must be done is [to make] a wholehearted effort:  Jōō talked this over again and again, and gradually came to the conclusion that the simplification from the san-shu gokushin [to the mitsu-gumi arrangement]‡‡ might be allowed if one can gather together the small mage-mizusashi and the rest -- the small chaire and the small chawan.  Even one instance of this mitsu-gumi took ten days to realize, because everything had to be mastered completely." ___________ *An additional paragraph is added to the entry in those sources to speculate on the philosophical aspects of this process.

‡The nuance of kanben-shi [勘辯し] is that the intended action or situation appears, or seems, inherently wrong, thus accepting it means tolerating it.

**Jōō did not practice the gokushin temae (probably because he did not know it:  it seems that his interactions with Kitamuki Dōchin were connected with his desire to gain information about that temae -- without having to expend the time and money necessary to enroll himself as one of Dōchin’s disciples).  Though he had acquired Yoshimasa’s black-lacquered Gassan nagabon (which is the nagabon used exclusively for the gokushin-temae), and is known to have owned a suitably sized chaire and temmoku, Jōō did not follow Yoshimasa’s example of practicing the temae using these pieces -- his rather feeble excuse being that he did not own the originals (which, of course, had been destroyed when Yoshimasa’s storehouse was burned down at the beginning of the Ōnin wars), so it would be “disrespectful” to attempt to perform the temae using other utensils.  (Jōō, instead, used the nagabon as the base for his bronze hanaire.)  So it was not likely the gokushin-temae itself that was the inspiration for mitsu-gumi.

    Rather, it appears to have been the machi-shū’s “san-shu gokushin temae” that used the naka hō-bon [中方盆] (see the last sub-note, below) that was this temae’s progenitor -- especially since it was that temae that introduced the use of the tiny chaire that appears to have been an important feature of mitsu-gumi (at least as it is explained in this entry).  All of which simply amplifies the assertion that this version of mitsu-gumi is based on a machi-shū variant that has no connection with Rikyū -- though it was probably a temae that was approved and promoted by the bakufu.

††This would have been very difficult, since (as suggested above in the sub-notes under footnote 6) chaire of the requisite size were exceptionally rare (probably on account of the fact that such small chaire of continental make would barely hold enough tea to serve one guest; the Japanese versions, however, since they were much taller, could be used -- but, of course, such pieces were not really worthy of the deference that would be lavished on continental examples, and which was an intended feature of this arrangement).

    While temmoku of the requisite size were somewhat easier to acquire, in the early days at least, these had mostly been replaced by larger bowls that would better allow a number of people to share the portion of koicha that could be prepared in such larger chawan.

‡‡Before entering into this discussion it is important to mention that the machi-shū had a certain misunderstanding about what the expression san-shu gokushin [三種極眞] meant.

    The “three special utensils” that are mentioned in the title are the chaire, the temmoku, and the mizusashi (and, in so far as mitsu-gumi is concerned, this is fine).  However, the machi-shū came to believe that the three special utensils were the chaire, temmoku, and the chashaku -- that is, the three utensils that were arranged on the nagabon -- and it is here that a certain amount of confusion entered the mix.  This, for example, is the origin of the idea that the three utensils should be arranged on successive kane.

    The way the three utensils were arranged on the nagabon is shown below.

    It will be noted that the chaire and temmoku are squarely arranged on their respective yang-kane, with the chashaku resting on the yin-kane that is found in between them.  This is where the precedent for tsuzuki-kane [續きカネ] originated.

    The original arrangement of mitsu-gumi paralleled this arrangement closely (with the mizusashi taking the place of the chashaku) -- though the “small utensils” do not conform with the spatial rules of gokushin tea:

    The machi-shū performed their version of san-shu gokushin temae using a naka hō-bon [中方盆], which measured 1-shaku square; and this arrangement requires the same utensils specified for mitsu-gumi -- that is, a chaire measuring 1-sun 5-bu and a temmoku measuring 3-sun 8-bu.  

    The naka hō-bon was not one of the six meibutsu trays that had been used by Ashikaga Yoshimasa -- indeed, it appears to have been a tray “discovered” by the machi-shū that they decided to use for this purpose.

    The mitsu-gumi arrangement that we are discussing in this entry grew out of this subculture of tea practitioners -- chajin who had no training in the orthodox style of chanoyu; but whose views came to predominate, and then finally eclipse, the orthodox style after the death of Rikyu, through the efforts of Imai Sōkyū’s machi-shū disciples (among whom were Shōan and his son Sōtan).

¹⁷Makoto ni michi no shinsetsu, fu-asa-kokorozashi tomo nari　[誠ニ道ノ深切、不淺心ザシトモナリ].

    Makoto ni [誠に] means truly.

    Michi no shinsetsu [道の深切] means (everything) in this Way must be done from the bottom of your heart....

    Fu-asa kokorozashi to nari [不浅志となり] means ones resolve must not be shallow.

    This rather pedagogical statement (which concludes entry 62 in the Enkaku-ji manuscript) is saying that “it is truly so that, on this Way, everything should be done using every fiber of ones being; and ones resolve must never be shallow.”

    This sentence marks the end of the text that is found in the Enkaku-ji manuscript.  The passage that follows it is found only in the versions that originated in the eighteenth century (that is, the toku-shu shahon and genpon versions of the Nampō Roku.)

¹⁸Kaku-no-gotoku sama-zama ni kokorozukai-shite koso, konnichi jiyū no sakai wo shiritare　[此ノ如クサマ〻〻ニ心遣シテコソ、今日自由ノ境ヲ知リタレ].

    Kaku-no-gotoku sama-zama ni kokorozukai-shite koso [此の如く様々に心遣いしてこそ] means “in that way, with careful consideration for each (point) just like that....”

    Tanaka's genpon text begins this sentence with the words yoshi-yoshi [よしよし], which means “good, good” or “yes, that’s fine” -- the image is of patting a child on the head to express approval of something they did or said.

    Konnichi jiyū no sakai wo shiritare [今日自由の境を知りたれ] means “today (we can) know the boundaries of (that) freedom.”

    In other words, it is only after investigating something carefully, and understanding it thoroughly, that we will be able to understand how far we can go when attempting something different.  Our freedom of expression must always be predicated upon a deep understanding of the rules and the precedents, since only then will our modifications make sense.

¹⁹Hajime yori tokushin-naki mo kotowari nari　[初ヨリ得心ナキモコトハリナリ].

    Hajime yori [初めより] means from the beginning, or in the beginning.

    Tokushin-naki mo kotowari nari [得心なきも断わりなり]:  tokushin [得心] means understanding, so tokushin-naki mo [得心なき] means to also be without understanding, to also have no understanding (of a matter); kotowari nari [断わりなり] means not consent to (attempt mitsu-gumi).

    In other words, if, in the beginning (when one has no understanding of a matter), one should not give oneself permission to proceed (with, in this case, mitsu-gumi) -- at least not until that ignorance has been remedied (by proper training) is what is implied†. __________ *Kotowari nari [断わり] can also be understood as a warning (not to fall into an error).

†The only way mistakes can be avoided is through proper training -- from a recognized teacher.

²⁰Michi ni kokorozashi-fukaki-hito ha, ikue mo un-mu no mayoi wo uchi-harai uchi-harai-shite, honji ni itaru-beshi　[道ニ志深キ人ハ、幾重モ雲霧ノ迷ヲ打拂ヒ〻〻シテ、本地ニ至ルベシ].

    Michi ni [道に] means on this Way.  While the expression was used at least as early as Jōō's time*, here it seems to refer specifically to the philosophical construct of sadō [茶道]†, rather than more simply to the path that one has chosen to pursue.

    Kokorozashi-fukai-hito [志深い人] means a person with a deep sense of “kokorozashi‡”.

    Ikue mo kumo-kiri no mayoi wo uchi-harai uchi-harai-shite [幾重も雲霧の迷]:  ikue mo kumo-kiri no mayoi [幾重も雲霧の迷] means the multiple layers of the clouds and mists of doubts (the layers of mental fogginess and obstruction that prevent us from seeing the truth); uchi-harau [打ち拂う] means to brush away, sweep away, dispel, so doubling the expression makes it stronger or imperative -- one must make an effort to dispel the multiple layers of ignorance that are clouding one’s mind (one’s understanding, one’s judgment).

    Honji ni itaru-beshi [本地に至るべし]:  honji [本地], in Buddhism, means one’s original place or state**, one’s original nature -- the (universal) Buddha nature; it can also refer to the concept of “real” knowledge.

    In this context, where we are talking about the successful realization of mitsu-gumi (such a trivial matter!), this line would mean something like on this way, a man of deep dedication will make the effort to dispel his multiple layers of ignorance, in order to arrive at the true knowledge (that will enable him to arrange the utensils knowingly and successfully). __________ *The first of Jōō's Hundred Poems of Chanoyu begins with the words sono michi ni [その道に], meaning “on that path,” or “on that Way....”

†The concept of sadō [茶道] arose during the first century of the Edo period, in the aftermath of Taku-an Sōhō’s appearance on the cultural scene, and the ideas expressed in his Zen-cha roku [禪茶錄].

    The Zen-cha roku is largely antithetical to the chanoyu practiced during the sixteenth century -- the way that Zen (which is infused with hierarchical neo-Confucian thinking) is, in many respects, outwardly, at least, the antithesis of the Amidist Ikkō-shū [一向宗] (which emphasizes the inherent equality of all people -- at least once they have sincerely stated the nem-butsu [念佛] “Namu Amida Butsu” [南無阿彌陀佛]) in which chanoyu evolved.  While Ikkō-shū is the name usually used today, the sect referred to itself as the Shin-shū [眞宗] (“True Sect”) or the Ikkō-ichi-nen-shū [一向一念宗] (“Sect of the Earnest Single Nen[-butsu]”).

‡Kokorozashi [志] is one of those philosophical terms that is very difficult to express in English.  It includes the ideas of aiming oneself in a certain direction (i.e., one’s personal inclination; usually toward what is good, and what is appropriate to one’s station in life); but also includes the idea of being considerate (thinking about others and how they will be impacted by one’s actions and decisions; and also, being tolerant of the foibles of others); a natural generosity of spirit; and a nobility of purpose and intent.

    Here it is probably referring specifically to the Edo period “ideal” of a chajin who focuses himself exclusively on chanoyu, eschewing all other distractions (such as flower arranging, or incense appreciation).

**Originally honji [本地] seems to have referred to the original Buddha, who manifests himself in the world through various physical manifestations -- the Buddhas, and even the Shintō deities.

    Here, however, it is referring to the “man of deep kokorozashi.”

²¹Muzukashiki-tote tomuru-yō naru kokorozashi-usuki-hito ha, ikkō tometaru-koso mashi nare　[六ヶ敷トテ止ムル様ナル志ウスキ人ハ、一向止メタルコソマシナレ].

    Muzukashii-tote [難しいとて]* means if it seems difficult....

   Tomeru-yō-naru kokorozashi-usui-hito [止めるようなる志薄い人]:  tomeru-yō [止めるよう] means to stop, so tomeru-yo-naru...hito [止めるようなる...人] would mean a person who is inclined to stop, a person who is inclined to give up; kokorozashi-usui-hito [志薄い人] means someone who has a weak “kokorozashi” (someone who is weak-willed; a person with a weak drive to succeed).

    Ikkō tometaru-koso mashi nare [一向止めたるこそましなれ]:  ikkō tometaru-koso [一向止めたるこそ] means to surely stop completely; mashi nare [ましなれ] means it (would) be better.

    In other words, while a man of dedication might press on in order to gain the knowledge necessary to execute mitsu-gumi competently, it would be better for a person who lacks that degree of drive to just give up, and not attempt mitsu-gumi at all†. __________ *Muzukashiki [六ヶ敷] is one of those weird Edo period constructions, “simplified” ways of writing complicated and uncommon characters (such expressions also give the writing a mysterious sort of feeling, as if more is being said or implied than what is actually written).

†Of course the way this is phrased, it is almost impossible that the reader would characterize himself as anything but one who has a deep kokorozashi; whereby he would feel compelled to undertake the finding of a competent teacher (if he does not know one already), with the full knowledge that he would have to dedicate years to the acquisition of the knowledge and training necessary to perform mitsu-gumi “competently.”

    This is how the system was intended to work, and how it continues to work today.  (And yet, from what I have seen, more often than not those people who undertook the study of chanoyu in order to answer a specific question -- something such as this -- find that, after years and years of dedicated study, they arrive at the end only to find that their question was meaningless, that the knowledge they strove to find does not, in fact, exist, and never has.  Yet, after a lifetime of dedication, the option of giving up and turning ones back on the system is hardly the sort of thing that most would find attractive, so they resolve to persist... albeit with a knowing smile and nod.)

²²Jōō mo Kyū mo ika-hodo kaku mayoi-keru to mōsare-shi　[紹鷗モ休モ如何程斯ク迷ヒケルト申サレシ].

    Ika-hodo [如何ほど] means how much, how many; in this case it should probably be translated “very” (since ika-hodo usually implies a relatively large amount of something).

    Kaku mayori-keru [斯く迷いける] means (Jōō and Rikyū) were thusly (very) puzzled or confused.

    To mōsare-shi [��申されし] means has been said.

    In other words, even Jōō and Rikyū were very confused by this question of how to arrange the mitsu-gumi -- until they investigated the matter deeply (and so arrived at the best solution -- which became the precedent for the mitsu-gumi arrangement).

²³Makoto ni shugyō no kō, nani ka ni tsukete shinsetsu　[誠ニ修行ノ功、何カニ附テ深切].

    Makoto ni [誠に], once again, means truly, honestly, sincerely.

    Shugyō no kō [修行の功] means accomplishing (the goal of) one’s discipline; distinguishing oneself in one’s training.

    Nani ka ni tsukete shinsetsu [何かに付けて深切]:  nani ka ni tsukete [何かにつけて] means in various ways, at every opportunity, whenever there is a chance (to or for); shinsetsu [深切] means (to be) considerate, to be thoughtful, to be kind or obliging.

²⁴Tokaku wo iu ni oyobazu　[トカクヲ云フニ及バズ].

    Tokaku* wo iu ni oyobazu [とかくを云うに及ばず] means be that as it may, it is unnecessary to say (any more). __________ *Tokaku [兎角] literally means “rabbit horns.”  Rabbits do not have horns, so the expression came to mean “be that as it may,” “this and that,” or “all sorts of things (true and false).”

    It means an acceptance of whatever there is, without wasting energy asking why.

[moonlit-imagines]

Misbehavior (Part 1)

Jason Todd x batkid!reader

warnings:

a/n: tysm anon!!

prompt: anonymous: “Hello Lacey! Hope your doing great! Could I please request a bat family x batsis!reader where the reader is Kind of the middle child (I was thinking older than Damian but younger than Tim) and she’s always forgotten and in the back. Maybe some scenarios can be that no one listens when she talks or they forget to invite her to do stuff. So then one day she acts up in school like maybe punching someone for no good reason because she’s craving attention but instead of Bruce showing up to get her Jason shows up and he sees that she’s actually really sad and starts to question her until she tells him everything and maybe spills some tears and it ends with just Jason comforting her and cheering her up. Just some soft Jason for my soul! Also have a great day and I hope that you feel better and more motivated now after your break! 😘”

part 2

No matter what you did, none of your deeds went unnoticed. Good or bad.

You always heard how Dick was so independent, the one everyone should use as an example.

You always heard how Barbara could do it all, she never failed to impress.

You always heard how Jason was reckless, someone who needed to get his act together.

You always heard how Tim was such a prodigy, he was one of a kind.

You always heard how Steph was so determined, she had such amazing goals.

You always heard that Cass was perfect, they’d never change a thing about her.

You always heard that Duke was so strong, he’d never give up no matter what stood in his way.

You always heard that Damian was dangerous, a kid that needed to be guided.

But what about you? What did they hear about you? Nothing. No one ever spoke of you, they didn’t have the time. It seemed as if you were just unimpressive, there wasn’t one thing that needed to be mentioned. Stuck in the middle of a bunch of bats and birds, no way to stand out in the crowd.

Maybe not in a mask or a cowl, a dress or a suit, behind a computer or among the darkness, but there was one place you couldn’t be ignored...

You sat at your desk, picking at old tape with the tip of your fingernail. The teacher had nothing interesting to say, so what was the point of being here? What made Gotham Academy so special that you just had to attend this place?

The uniform was overkill, the classes went nowhere, the students were too preppy, and you didn’t have a single thing in common with anyone here.

Anger was starting to bubble inside you as you continued your internal self-loathing. Your mind was only focused on the negative, but it was shifting from school back to home.

No one was ever there for you, not even on patrol. You’d called for backup several times on missions and nearly lost it all when you had to go in alone. If it were anyone else, a teammate would have met them in a heartbeat.

Your plans were always overshadowed whenever you tried to set up a mission or even just a day off. You wanted cookies? Too bad, Tim wants brownies. You wanted to watch a movie? Too bad, everyone chose a TV show. It was the little things that irked you the most. Half the time, you never even got the memo.

And what about when you all come back from patrol with all sorts of injuries and Alfred comes to patch you up? Well, not you. He’ll run to check on cuts and scrapes. Meanwhile, you had a broken wrist and a black eye.

You’d finally run out of things to pick at around your desk which resorted in you tapping instead. There was a brief bit of zoning out as you remembered the time that Damian’s plan for evading Killer Croc’s attack was to push you in the way. Or the time that Jason hid his guns in your bed for reasons he didn’t care to explain. Or when Dick drank the last of the milk and didn’t tell you until after you poured your cereal. Or when Tim told you that you weren’t fit for the mission he had been planning. Or when Bruce blatantly ignored the story you told out of pure excitement, giving you nothing but a “sounds like you had fun.”

While you were in a horrible daze, you felt a hand on your shoulder that snapped you out of it faster than the Barry Allen. Without even evaluating the situation, your reflexes caused you to turn and twist your classmates arm backwards as he screamed.

“Hey! Stop, ow, that hurts! Stop! Stop it!” You processed his words too late and knew exactly what was coming next.

“Y/N L/N!” You teacher shouted as you drew your hand back. “Dean’s office. Right now.” Her sharp voice sent a chill down your spine, not even the Joker could do that. You’d be able to explain the situation pretty easily, you just didn’t want to make it worse. But there was one ankle that sent you off the edge. Another student tripped you on your way through the aisles, and that student caught a fist to the face. The audience gasped and shouting from your teacher ensued, but you didn’t listen, you’d take the punishment at this point. So you walked right out and headed for the dean’s office without so much as a hall pass.

“Mx. l/n? What’s this about?” Dean Williams was surprised to say the least, you’d never been sent in for discipline before. Was there a certain way to do this?

“Well, I zoned out and some kid behind me grabbed my shoulder, I accidentally twisted his arm.” You retold your story, the abridged version. “But on my way out I punched a kid in the face because he tripped me. That one’s on me.”

“...Well,” the dean frowned at his obligations, but had to go through with some kind of punishment, “I’m going to have to suspend you for physical contact with a student. I’ll call your father to come pick you up.” You shrugged and slouched back in your chair, giving up on any hope of talking your way out of this. It might as well just happen. You listened to the clicking of the buttons on the dean’s phone as he typed in the Wayne Manor phone number, obviously reaching Alfred almost immediately.

“Wayne Manor.” You eard his faint voice through the speaker.

“Hello, this is Dean Williams from Gotham Academy, may I speak to Mr. Wayne? I have his child in my office.” Your dean explained over the phone, peeking back at your for a split second. You were completely unbothered, it was baffling.

“Is it Damian?” You heard him ask, causing an involuntary eye roll.

“Y/N, actually.” There was a long pause before someone else picked up the phone. “Mr. Wayne, this is Dean Williams at Gotham Academy. I have y/n sitting across from me right now, they seemed to have gotten themself into a physical altercation with two separate students, I have no choice but to suspend them.” You heard a deep sigh over the phone, then the handheld piece was handed to you.

“Bruce?” You asked.

“Really? Fighting at school?” He sounded unimpressed. Nothing new, even when you do something new.

“Something like that. Whoops.” He hung up on you right after that, so you handed the phone back and told your dean, “Guess they’ll get me soon.”

“You call your father by his first name?” Dean Williams had nosily questioned.

“I’m adopted.” He obviously didn’t know you as well as your more troublesome sibling, it was time he just minded his business.

After a good thirty minutes of silent waiting while listening to keyboard clacking and papers flipping by the front desk, the office door opened, and to your surprise, it was one of your brothers.

“I’m here for y/n.” He mumbled, signing the piece of paper and showing his ID.

“Alright, Mr. Harper, I just have to check some paperwork really quick...” The receptionist went into your file and checked for your emergency contacts. “You’re all set. Now, y/n has been suspended for two weeks. I suggest you get to the bottom of their little ‘outburst’ before they’re able to come back to school.” It actually pissed Jason off to hear her say that.

“I’ll keep that in mind.” His sarcasm wasn’t subtle. “Come on, kid.” Your brother gripped your arm and led you out of the office, noticing your bitter expression that he couldn’t even rationalize. Was that normal? “So what happened. Bruce just told me to come get you.”

“Of course he did.” You rolled your eyes on the brink of tears, he didn’t even come to get you himself. Jason opened the car door for you and nudged you inside, slamming it once you were clear.

“You better have a good reason,” he warned as he started the engine, “I was in the middle of a poker game.”

“Oh, yeah, ‘cause I’m such an inconvenience.” You were starting to remind him of himself. That was never a good thing.

“Okay, my bad. I didn’t mean it like that.” Jason began speeding down the block, you’d never once seen him obey a speed limit. You’d think someone with a fake ID and a death certificate would want to avoid any run-ins with the cops, but Gotham was just one of those cities.

“Yeah, right.” You reached for the radio knobs and felt Jason’s hand wrap around your wrist.

“No music until you explain yourself.” You fell back into your seat to pout, muttering some curses under your breath. “I won’t tell Bruce or anyone. I swear.”

“I just zoned out. Reflexes.” You bluntly replied.

“What?” He still didn’t have any context to go off of.

“I twisted someone’s arm backwards. Honest mistake.” Jason knew there was more to this story. “But on my way out of the classroom, I punched this kid who tried to trip me. That was on him.”

“As much as I condone payback, you can’t do that at school.” He sighed. “You’ve never been sent home before. That I know of. So why now?”

“Yeah, you know, maybe that’s the issue? You couldn’t tell me if I’ve ever gotten in trouble before. None of you could. You couldn’t tell me a definitive thing about me. When’s my birthday, Jason?” He was at a loss for words. “That’s what I thought.”

“So this was all for attention?” Jason asked. “There’s a hell of a lot of better ways to go about that.”

“Tried them all, this one barely even worked.” You replied with a crack in your voice. “How come none of you care about me? Why am I always looked over? I’m just like the rest of you. I put on that stupid suit every night and kick ass, I get my job done, I get good grades, I’m resourceful, I’m special—” You’d let that last one slip in your rant to your older brother, it shocked him so bad he stopped the car.

“I know what you mean.” Jason stared straight ahead at the empty road. “I felt the same way when I came back. After everyone was used to me being back, it was like nothing ever happened. Bruce just went back to calling me careless, irresponsible.”

“At least you get noticed, Jason. Your identifiable.” You turned to him with a pained look and he risked his confidence to look you in the eye. Once he did, he couldn’t look away. It hurt him to see someone so familiar to himself have tears running down their face because they felt forgotten. No kid should ever have to feel like that. That was why Bruce took him in. That was how Jason became Robin.

“Fuck this.” Jason hit the gas and turned the car around. “We’re getting ice cream. Do you like ice cream? That’s a serious question.”

“I...I guess.” You were somewhat confused by his sudden literal change in direction.

“Good. You’re my kid for today, all my attention goes to you. I’m sure Bruce won’t notice if you’re gone for a few hours.” Jason’s jaw dropped at his last comment. “I didn’t mean it like that.”

“No, you’re right and you should say it.”

taglist: @thatwaspossession // @ravenmoore14 // @thisetaernallove // @kinoko-kai //

[bluemoonlagoon94]

Year of the Tiger

Happy Lunar New Year! (Artist Ref below)

The Lunar New Year marks the beginning of the calendar of this year’s lunar cycles, and influenced by the lunisolar calendar. The Lunar New Year is celebrated in countries within East and Southeast Asia, and its’ influence was adapted by hinduism and buddhist disciplines within their calendars.

Since this year is the year of the tiger, I decided to skim through my library and revisit one of Ted Andrew’s books, “Animal Speak.” 

“What he has to say about tigers?”

Some quick traits are.. Passion, Power, Devotion, and Sensuality.

 The tiger Qi cycle is associated with the cycles of the Full/New Moon (of this year and beyond). The belief is that the second full moon of the year distinguishes the tiger’s birthday- (southern region of china)

To fully understand on how to best meditate on the tiger this year, I like to give a holistic look at them using scientific research/observations and the cultural theology of different regions.

 “Tigers live in a variety of habitats from the temperate forests of the Russian Far East, to the mangrove swamps of the Sunderbans of Bangladesh and western India, to the tropical forests, grasslands, and marshes of India and Indonesia.  Historically, they were also found near the Caspian Sea in Turkey and Iran, and on the islands of Bali and Java in Indonesia.” -https://www.fws.gov/international/animals/tigers.html

“Males of the larger subspecies, the continental tiger, may weigh up to 660 pounds. For males of the smaller subspecies—the Sunda tiger—the upper range is at around 310 pounds.” -https://www.worldwildlife.org/species/tiger

-Numerology associated with the master number 66/3, and the number 31/4 for this year.

Tigers are also tied to the element of water because of their natural talent for swimming. Just like the tiger swims through the water with ease, we do the same when we move through our mind(awake or sleep). Water shows us the fluidity of the connections our mind can make. But the same water can drown you or become too consuming if the focus extends too far outward on the chaos of the waves during a storm. When you stop focusing on each wave as they come, and adjusting your mind/body appropriately in the moment, you lose focus on the action of swimming itself. A tiger swims with one paw at a time.

Tigers are excellent mothers(and teachers), and protective when it comes to what is or is perceived as theirs. Behaviorally, they usually live an independent and solitary life, only coming together to mate. There are many different species of tigers, so if a person is drawn to one over another considering the region it lives will tell you other aspects of that person. (do they prefer the heat or the cold, summer or winter?)

Tigers can be selfish with their kills, and the power behind them to commit to the success of a kill or target that they set their mind to. Determination and drive to successfully accomplish whatever they set out to do, but avoid sharing their success with others. 

Why should they? since they did all the heavy lifting themselves. Although this could cause frustration when they refuse(out of pride) to accept the help of others, and refuse to admit what their own limitations are. BUT when success is achieved, soak it in, bask in the glow of your achievement because you’ve earned it. The tiger isn’t so prideful to boost about their success or risk losing their meal. They haul their reward; hide it somewhere safe so that it can be fully enjoyed, away from praying eyes who hunger for the same meal.

-Meditate on this.

Tigers are nocturnal and sensitive to the stimuli of their internal/external environment. Therefore, they are the most active during the evening hours, take advantage of this, especially on restless nights that fall under full or new moons. 

Tigers exude a special passion/adventure for life. Are you lacking this or have been in yourself? (this doesn’t mean having to buy a plane ticket or going far)

Have you separated/deprived yourself from the environment that brings you the most joy, abundance, and passion in life? (physically or mentally) Is your passion being expressed inappropriately? 

Is there too much or too little stimuli in your life? (physical/mental)

Things to think about in 2022.

Best,

-E.

Artist: Léa Roche is a French painter, who mainly portrays animals and female faces, characterized by a very personal artistic technique, where she mixes acrylics, inks and digital techniques. 

Painting: “OOAK, Tiger Gem- mixed media”- Painting, Acrylic / Ink / 2D Digital Work on Canvas

OOAK (unique piece) - Fusion of artistic works (hand drawing/painting, digital work + the best indian inks and acrylic paint + texture gesso and varnish on light canvas paper put on panel (light Medium wood)

“Tiger Gem- mixed media”- Painting, Acrylic / Ink / 2D Digital Work on Canvas

[jamilelucato]

Castelobruxo, A History

a/n: This is half-based on the post in Wizarding World and half-based in my own ideas (talked about it earlier here). Hope you all enjoy! Never meant to offend! Let us all remember that South America is incredibly big, so I had to say there’s (at least) a second school there. If my “readers” come from Castelobruxo, this is gonna be the version of it, so stay tuned for those fics! *gif not mine

The Brazilian school for magic, which takes students from all over South America, found hidden deep within the rainforest. The fabulous castle appears to be a ruin to the few Muggle eyes that have ever fallen upon it (a trick shared by Hogwarts; opinion divided on who got the idea from whom). Castelobruxo is an imposing square edifice of golden rock, often compared to a temple, but that is just its facade, because, as you walk in, one may found a gigantic place, with its design similar to Portuguese castles.

HOUSES:

Inspired by Hogwarts, during the colonization of Brazil, Portuguese and other European wizards decided to create Castelobruxo’s own houses. If you want a test to find out your house, click here.

Pintadas: The determined and driven by-power students get regularly selected for this house, represented by the colour black. Students from Pintadas are often very good at Defense Against the Dark Arts classes.

Guaras: This house is for the clever and lonely workers, represented by yellow. The students are generally great at Potions.

Botos: Here are the students known for their generosity and authenticity, and they are all very good at Transfiguration. Their house colour is pink.

Araras: The most patient and disciplined students are from here, with blue as their symbol. Their speciality is Herbology.

Even though separated, students tend to sit mixed with the different houses for the feast and such activities. As for the sports concern (competitions), they have teams not based in your house, so anyone can try out for any team.

*2016 Update: After the change of Headmasters, they no longer divided the kids in houses as they were abolished.

UNIFORM:

Although, in the beginning, the school used to be very strict about the uniform — females with dark green skirts and white shirts and males with dark green trousers and white shirts, all with green robes —that is not a general rule anymore. There are many different types of uniforms on sale for the students, with the school colour or their houses colours all acceptable. Females are not obliged to wear skirts anymore, and shorts are allowed — however, they must be knee-length.

ORIGINS:

The actual origins of the school have yet to get discovered. There are legends that the indigenous tell, but there is nothing confirmed. The lack of knowledge about the foundation is due to colonization. With the arrival of European wizards to the South American countries, they changed everything the indigenous had established, leaving just some tricks behind — like the protection offered by the Caiporas and the spells around the building that made the school invisible to the Muggles.

The school used to be much more welcoming to the native people, as it only received native students. However, with the arrival of Europeans, many native students got decriminalized, and they were no longer welcome in the school. The new wizards set reforms in the school, such as in its intern appearance — it now resembles Portuguese castles — and they stopped teaching spells only the indigenous knew.

One of the improvements set was the spell for the idiom surrounding the school — the student can have any native language, but once inside the castle, they will start speaking the same one, English. The chosen language was another attempt to copy England.

Around 1780 and 1900, non-Brazilian wizards were hunted and killed by the Brazilian colonizers because they were “different and dangerous”. Once the period was over, the students were accepted again in Castelobruxo. However, most of them choose to go to the second, a newly founded school in South America — a location unavailable for Brazilian wizards.

Castelobruxo only started accepting indigenous and black students in 1895, due to the end of slavery in Brazil, in 1888.

RELATIONSHIP WITH THE MUGGLES:

The “normais”, as the Castelobruxo wizards refer to the Muggles, are not seen with poor eyes. On the contrary, witches and wizards of South America, especially Brazil, were consistently fond of them, usually copying their clothing style and cuisine.

Their likeness towards the “normais” only raised over the years, and they lived pacifically together. There are, however, many things they disagree with the Muggles, essentially when it comes to political affairs.

The school accepts any muggle technology (such as cell phones, laptops, etc.). They work fine on school grounds, but there is a limited time to use them. The school also offers telephone booths for those who do not have their own cell phones.

SPORTS:

Castelobruxo offers a range of sports activities. There is a stadium-size Quidditch pitch available for any team to use. There is also a football, the Muggle sport, field, which the students use more often. Although they practice the Muggle version of the sport, they often prefer the Wizard version, where the enchanted ball runs by itself. They also have swimming competitions in the school pool, and there was a time around the 1980s that the school offered dance lessons.

SEMESTERS:

The classes in Castelobruxo start on the first Monday of February and end on the last Friday of November. In that way, during the holidays at the end of the year, the students stay home.

They also have a week to recess in the middle of July, but since it is an option, most would rather stay in school.

The first class is right after breakfast, at eight a.m. After that, students have a lunch break around eleven a.m. and then return at one p.m., only leaving for their free activities at three p.m.

The school starts welcoming students around the age of 14 for the first year, and they graduate around the age of 18.

It is optional if the student wants to do a specialization that the school offers (similar to a college). However, if the student decides to do so, they start the year after graduation and, depending on the chosen theme, it takes them around two years to graduate.

NUMERICAL DATA:

— Number of Students per Year: There are around thousand and five hundred students per year in Castelobruxo.

— Students’ Home Countries (in %):

Brazil: 90%

Venezuela: 5%

Colombia: 2%

Paraguay: 1%

Peru, Ecuador, Bolivia, Uruguay, Chile, Guyana, French Guiana and more: 2%

— How many students decide to do the specialization program? Around 45% of graduates choose to do the program.

— Exchange students per year (from other magical schools): Castelobruxo offers an excellent exchange students program and generally welcomes ten students from other wizarding schools.

[yandere-daydreams]

Imagine the type of situation where the villain group has captured you, you are behind bars, and this one particular fella goes 0 to 100 with the whole "Love me, it's your only chance to survive here."

tw - kidnapping, captivity, prolonged mistreatment, emotional manipulation, mentions of death, there’s no human-trafficking but it definitely gives out that vibe.

It might just be my Quotev-based roots showing their ugly, ugly faces, but there’s a special spot in my heart for generalized groups of Big Bads picking their favorites out of a group of hostages and proceeding to make them more miserable than any amount of cold, emotionless torture ever could. It’s a classic, honestly. 

You’d do anything to survive, and they know that. You’re so determined, so naive to the true depth of human depravity, you can’t even fathom the idea that sometimes, death might be preferable to life. They knew that when they decided to make you their extra-special favorite, a hostage to be separated from the others and told that you’re not here for a reason, that you’re too useless to be ransomed or cut open and sold in pieces, that if they weren’t so sweet, they would’ve cut their losses, disposed of whoever thought to bring you along, and thrown your body in the nearest ditch to be discovered by a curious jogger who barely remembers to call the police. It doesn’t help that the rest of their group is just so cruel. Compared to how much you’re demeaned and humiliated by the rest of their ruthless council, the warm meals they’ll deliver in the dead of night and the bandages they manage to slip you will seem like godsends. You’re confused and scared, but you’re so determined to come out of this as alive as possible, you won’t think twice before nodding and taking their hand and letting them dress up their obedient little prisoner just for the chance to sleep in a real bed again, to exist in a space where no one wants to do you harm for a few, precious hours. It helps that they don’t necessarily have a reason to hurt you. They’re already violent, they have to be violent, it’s nice to have a toy that comes broken, one that’s already too scared to need the discipline they’re so sick of handing out. 

It’s the least you could do to fall in line, too. As far as you know, you’re disposable, someone they chose to care for out of the kindness in their little, shriveled up heart, and you should be thankful for every scrap of mercy they throw to you. If their interest in you seems a little too intimate to be impulsive, then so be it. 

You doubt asking questions would be the most effective way to show your appreciation. 

[braided-roses]

What is the best way to tease someone?

A 3,449 word essay broadly covering the methods with which we tease

Twenty-five minute read

"There can be no true despair without hope... I will feed the people of Gotham hope to poison their souls."

Bane: Dark Knight Rises

“Without hope, there is no despair. There is only meaningless suffering.”

D. Morgenstern

For this essay I will define teasing as a playfully enforced delay of indulgence. While the above quotes are dark for sure, and do not directly apply to this topic, I think they highlight aspects of teasing that are foundational to its differences from other forms of play. I believe there can be no true teasing without hope of gaining one's desire. If one feels they cannot reach their goal or desire, I believe that becomes an expression of submission to another, to the situation, but not a teasing of the mind.

Studying the possibilities of this field of play is one that takes special care because it draws on what we know about our counterparts like few other disciplines do. It requires us to first know what our counterpart desires most, and how to then playfully enforce the delay of indulging in that desire. Finding out what another craves, and creating structures with which to playfully impede the immediate gratification of that craving are challenging enough on their own, but combining these working pieces of teasing into a system is incredibly complicated— requiring intimate knowledge of one's counterpart’s boundaries and turn offs. While there can be no best way to tease someone, because of our inherent human complexities, this essay will attempt to put forth the best practices I know to have a mutually rewarding and pleasurable experience.

I think the first step in the process of teasing is to gain understanding; Get to know each other, build understanding, rapport and trust. This knowledge may be gained through focused, play specific conversations. Communicating in this way allows effective play to happen sooner. For example one could have a conversation as brief as please rub my clit until you break my mind, I'll beg you to let me cum, but don't let me. I'll tell you to stop if something goes wrong, and we'll talk about it after. The two drawbacks of this style of conversation is that it will remove some surprise as there isn't enough information yet to synthesize possible play patterns on your own, and one will lack a whole understanding of the person one is going to play with.

If a more holistic experience is desired though, it comes through best, in many cases, through a conversation as broader life and fantasies are discussed over many conversations that take place naturally and organically. The bits of information that may apply to play may be more separated, but they come with so much more information that can all be used to generate a deeper relationship, and broader play. We learn about each other through the listening mentioned above, and in our turn sharing our own desires and hesitancies. We have to open up also so we can be cared for ourselves and build trust through reciprocated, honest, vulnerability. These conversations inform us and build trust as we learn that both sides hear each other, want good things for the pairing and will not shy away even from the more sexually hungry sides of each other.

While this type of understanding centered communication is meaningful on a grand, human scale, even in the comparably limited topic of teasing it is needed in many ways. First, that trust built will be necessary in teasing play as it often leads to walking the edge of what a person can handle in the moment, both mentally and physically. To what degree we can trust, we can relax our fears of being hurt, allowing us to enjoy each sensation with less calculation of how to protect ourselves, allowing us to live in the moment in proportion of our trust, and to have the confidence that our partner cares to hear us when we make objections. Secondly, the information gathered in good communication is essential in order to know: the desire we are waiting to fulfill, the stimuli we will later use to push our counterpart to the point until it consumes every bit of them, warn us of the stimuli that could end play terribly, and how to recover from that event should it happen.

Some examples of what we may learn about play in everyday life- You may learn how meaningful it is to your partner when you hold your partner's face in your hands as you kiss them, or he/she may ask you if the you like being made to chase them down in a kiss. They might mention how they love the pain of their workouts, or that high rep sets are their favorite because they get test how long they can go before their will breaks. Watching a movie, and seeing one of the couples depicted playfully kissing each other, your partner might reveal that pulling away from a kiss doesn’t read as a building of desire to them, instead it feels like one is trivializing their highest expression of love— Making them feel their love is disrespected and devolved into a game. These lessons should be drawn deeply within ourselves. Making note of what makes them feel loved and pleausured, and special note of what makes them feel awful. Violating these turnoffs by accident or design may have terrible trust breaking outcomes. It is important to understand the reasonings and depth of their dislikes. One's dislike may be superficial, like forms of pain that, with a different approach, can be enjoyable, but some, like the kiss, may be fundamental to their world view. (Example of what could be synthesized from the above person’s information may be found at the bottom — Bonus Example 2)

The second thing is to determine how you will delay their indulgence in what they crave, by means of space, time, or even their own will. All of these modes and tools can be used in vast and narrow applications. Space, for example, can be used in inches or miles. Suppose your submissive wanted to touch, but you knew they wanted to be teased even more than to rub. You could grab your trusty ropes and tie their hands, one to the bed post, and the other by way of slinging a rope through the head board. You could release the tension until their hand is an inch away from their most sensitive spot. They can twist and moan and beg as they can almost reach, their finger tips just able to move the sensitive flesh nearest their most sensitive spot. They could reach up and play with less sensitive spots, but they won’t be able to reach any more, at least not without raising their hips to their hand, which can become quite challenging. Space has now been used as a tease. A boundary on their experience that they cannot get out of, nor do they truly wish to escape. A second instance of space as a teasing tool, known as "The Kiss" will be given in my final example at the end of this essay (Bonus example 1)

As examples for time and space — At work, one could be sending sexy texts to their counterpart who decides to be a little bratty. The dominant in this exchange could text back, “Say that again and I’ll have to remind you what happens to brats when their dominant gets home.” Knowing that their submissive will have to wait hours longer for the thrill of the attention of the punishment they asked for. In the same way a domme could send, "You've been such a good boy today, working so hard at work. I’ll keep dinner hot for you." Attached to this text would be little gif of her rubbing herself for him. He too will have to endure the boundaries of time and space. Time has been a tease in that hours will pass before they get their desire. Space has been incorporated in time because even if all parties from the individual couples decided to meet in the middle somewhere, they'd still be teased by time as they cannot magically teleport home to cross the space (if you can, please teach me). An example of time alone being a tease would be giving a submissive a vibrator with only five or ten minutes charge left in it. They can play all they want with it, but they don't know how long it will last.

The previous examples examined using time in minutes or hours, Time, like space, though, is incremental. Time can be used in minutes, hours, or like in the next example, seconds. Suppose you had an exhibitionist submissive walk with you in the woods and told them that they will flash you whenever you want them to. Already they’d be excited to have their desire at hand, knowing you crave to see them exposed, as well as the desire to be under your caring control. As you two walk you command your submissive to flash you for a few seconds here and there. Blushing, but proud, they obey. You praise them appropriately and enjoy your walk. Eventually you two hear the distant, barley audible, murmurs and stompings of a team of hikers. This time you turn to your submissive, order them to stop walking and command them to flash you, they willingly obey, but the knowledge that hikers are approaching you they risk discovery. They can hear the hikers drawing closer and they continue to obey, trusting you. Each tenth of a second registering in their minds and each snap of a twig causing their heart to pound in excitement. Time has become a tool for this second by second tease. As soon as you hear the first full word of the hikers you know they are almost close enough to see, so you order your sub to cover. You then praise your sub highly for their perfect submission and continue on your walk, no hiker the wiser.

Will is unique among the teasing tools. Time and space exist outside of our bodies, but will is our’s alone to interact with. Of all the tools of teasing will is perhaps the most wicked and most variable of all. If your submissive is a lawful-good type and aims to please, then you could use their will as a tease and simply ask them to spread their legs and start to rub or stroke for you. Tell them that they are not to cum without your permission. The pleasure from their body mixes with the pleasure from their mind as they internalize the fact that they are uniquely pleasing you, hopefully bolstered by your praise. These stimuli serve to push against their will to obey. What makes this particular mode so wicked is that their desire to please and obey is fueling their mental pleasure. Their will to obey forces them to stay within the boundaries you set, or lose what they truly crave- the sensation of pleasing you. As they get closer and closer their requests turn to quivering moans and groans- the craved treat of a teasing dominant-. You tell them no, and they continue to obey, rubbing or stroking for you. Their requests are denied until they speak in pleadings and beggings. In a bounded, short term tease of ending play, you simply let them cum, and praise them for their perfect obedience. In a boundless, pushing kind of tease though, you could deny permission until they slip over the edge and spectacularly cum. This form of play, for an obedience minded submissive, will feel like disobedience to them. — You must reinforce the fact they did all they could to obey you. You wanted to find their limit and they showed you beautifully.

For long term teasing you could tell them they are not to cum without your permission, if they do they will be punished for it. This punishment is one they are okay with, but might not know. This leaves them to fight their own will for pleasure, obedience, freedom, and even pain. Lest they slip over the edge, they might force themselves to stop altogether, or you could command them to stop, leaving them quivering in utter denial. Their will has been the tease preventing them from indulging in orgasm. You comfort them and tell them maybe you’ll change your mind tomorrow, but, for know, they're done. Now time and will act as the tease. You cannot supervise them at all times, and especially without chastity- their own self will begins tease them until eventually they must resist their own desires at all hours of the day. Proving to themselves they crave metaphysical pleasure more than the physical release.

You may also balance will with consequence of pain if your submissive is bratty or masochistic in a way. Telling them that if they slip over the edge they will be punished, even tortured. Without knowing exactly what it is they may fight harder to stay on the edge. They edge spectacularly for you, but eventually crumble under the self inflicted stimuli, they cum and you deliver the next stimuli- maybe you simply force their hand to hold the vibrator against them, turning teasing play into overstimulation, or turn them over to spank them.

The third thing that must be done is to manage the environment we are in to best suit the play we will have. The space we are in should be constructed to do as much of the heavy lifting in our communication of the tone of the experience, and the desires of our counterpart, that we can. For example, an environment that is clean and bare suggests that nothing else will be happening in this space but what the two of you create. This type of room seems fitted to a private submissive who cherishes time and quiet exploration, and will become stressed or distracted by a number of other stimuli. A single sash and short rope laying on the couch suggests light bondage will be involved. A kind of quiet in the room implies that no one will be interrupting their play. They can take all the time in the world. On the other hand, a hot kitchen that is just a few steps from a noisy living room full of friends can generate a whole new tone. One of desperate craving for your counterpart, a contrast between the necessitated quietness of your actions and the noise and business of the space, a daring display of desire as you two risk discovery of your intimate acts with even the smallest allowances of expression- such as slipping your hand under their shirt and scratching up then down their back. If they let out a noise, they could be discovered. If someone walks in, they'll have to act like they haven't been delightfully toyed with for who knows how long, or the two of you might have to talk your way out of it. (Bonus points by the way if you pretend to be casually doing something else while your sub enjoys the predicament you're creating) Suddenly a kitchen becomes an environment perfect for sadomasochism and borderline exhibitionism. A room were will, time and space are used to holistically create a tease.

Finally, words and tone should be used to highlight the teasing. Drawing on the hope of the situation, highlighting what prevents them from indulgence, seems like the most fundamental approach to using our words to tease. Even in a relatively SFW tease with a short sub that is into strength kink, and having her height used against her. You could hold a stuffed animal out of her reach, she'd enjoy her feeble attempts at trying to snatch it away from you. Highlighting this exchange with your words would likely be welcomed. "Oh come on, hun. You have to be stronger than that. Maybe get up on your tip toes and reach for it. Haha. You're using both of your arms. Can't you pull harder? To end this form of play you could simply hand it to her, or let her gain some ground and take it from you before you transition to another fun game.

In summary, the best general approach to teasing someone is by fully utilizing the knowledge we have of their desires and drives, selection and use of proper abstract and practical blocks to that desire formatted to what degree they like to be pushed in their comfort levels or have their impulses blocked, that balance hope and the knowledge they will likely not succeed should then be traced with our words. All of which is bounded within trust and care for their overall well-being.

Bonus examples

1. The Kiss

I grasp her face with both my hands, knowing this makes her feel desired. My eyes meet hers and she knows this will be no little kiss. She shuts her eyes. I use her favorite kiss, placing the softest kiss I can on her waiting lips. She lets out a little shiver. She pushes into me gently, and I pull away just enough to keep our kisses feathered. I kiss down her jaw line, moving my face nearer to her ear and whisper a command to stay perfectly still as I let her go. I pace around her once, gently caressing, with one finger, places that catch my eye, her sensitive jaw line and clavicle, along her lower spine. I slip a finger into her waist band and slide across a few inches. Then I tug her by her waist band to me. I catch her by her shoulder and steady her, placing my hand on her jaw I pull her in for another kiss. I praise her for keeping her eyes shut. What a good girl she is. While I caress her cheeks and brush her hair away from her face, kissing her cheeks and forehead as I do this. I ask “are you going to continue to be a good girl for me? She breathes out a hot “yes” , “Look up”, I command. I place my hand on her neck and pull her into a deep kiss- gently moaning into her lips. I push her off and again praise her for being so obedient, so compliant. Praising her plump lips. I bring her back this time for gentle kisses. This proceeds until they become more insistent again, my grip on her neck tightens ever so slightly and she kisses me more intensely. I push her off and tell her soft kisses now. We return. She does so well at first. It’s not but a minute or two before she starts to get more intense though, whining and squirming into me trying to kiss me more deeply. Now I begin to pull slightly away each time the kiss becomes to firm. Leading her in a chase. Backing myself slowly into the corner she has lost track of. I push her off of me and say “You will kiss me gently. Yes, baby?” “Yes. Please” “Good girl. Now kiss me”, she goes to lean into me, but realizes my strong arm will no longer let her. She fights my strength, choking herself in my grip- I’m careful to keep my palm away from her trachea. I see her hunger flicker to desperation- I tell her to open. Her eyes snap open and I see her pupils constrict as they focus in the light and on me. As soon as she opens her eyes I grab her shoulder with other hand and pivot my hips, stepping forward and slinging her to my former spot as I switch places with her- now she is in the corner and I say, leaning in to just outside of her necks reach “oh, come on, baby. I thought you wanted to kiss me?” I feel her hot breath on my lips. “I do, please” I extend my arm again. “Prove it” she pushes again. Hungry eyes on mine. I watch her expression waiting for the slightest break in arousal, a second or two later I allow my arm to bend and let her come to me. It’s her turn now to lead. I grab her rib cage and let her press her lips into mine as she please. My hands caress her sides as she spins, pushing me into the corner. I match her passion and rhythm. She presses her body into mine, squirming against me as she places kisses on my lips, fevered and then soft and then heavy again. When she seems to be fading in decision, I slowly spin her back into the corner. My forearm framing her face on one side, my palm on her cheek, my fingers in her hair, and my extended arm on the other side boxing her in. I place soft kisses on her flushed skin and proceed to praise her and hold her gently.

2. Bonus example two. Referencing paragraph six. — Once we have this information of preferences and possible obstructions of it we can begin to synthesize it into possible modes of, and tools for, play for long or short term. For instance, using the above examples we can put together a possible play session that involves lots of skin to skin contact, unbroken kisses and maybe a pushing of minor, but prolonged pain to be a style this counterpart would enjoy. Such as having your sub straddle you, so your legs are touching theirs, putting your hand under their jaw, you drawing them in by it, using slow, soft kisses, but putting a teasing parameter on the kiss of a moderate painful stimuli, like slowly twisting the sensitive flesh on their ribs as long as they kiss you. They get a small dose of pain that they enjoy, lots of kisses and lots of skin to skin contact- both of which they adore. The pain they enjoy mixes with all of their love languages and make a special thing happen in their mind while it acts as a form of a will tease. After they limit is reached one could return to normal kisses and start a form of aftercare.

[alia-turin]

Extra special kudos to @golden-olea, I hope I did it justice, if not, I’m so sorry. extra extra kudos to @challengeofthedark for keeping with my craziness and not crying every time I say Caranthir. 

Fic Name: Feed Your Anger Fandom: The Witcher (Aen Elle) Characters: Eredin, Caranthir, Avallac’h, Imlerith  Warning: Angst, violence AO3: Click Summary:   Couple of months after Caranthir joined the Red Riders, Eredin takes it upon himself to increase the rift between the navigator and Avallac'h by forcing them into a fight with each other. Caranthir is still young, trying to prove himself to Eredin and pull away from Avallac'h.

“Again.” Eredin said as he watched Caranthir take a deep breath and launch his next attack probably fully confident that this time he would break his opponent’s defence. The leader for the Red Riders parried without an issue. “Again.”

Their little sword sparring sessions had started a couple of months ago when Caranthir had passed his trial. The boy had amazing talent for magic, but he was terrible with swords. Truth be told, Eredin did not care much if Caranthir could use a sword or not, his job was not to be a swordsman, he was his Navigator, but there was certain discipline in swordsmanship and Eredin wanted to spend more time with the younger man.

“Again” Caranthir’s attack had been blocked and he could feel the frustration growing in him. He was good at everything he had ever tried. Sure, he had not tried that much from life, but he had no reason to believe that things would not work his way. However, their little training sessions had helped him grow closer to Eredin and that he appreciated. He was never going to admit that, but he admired the man. Probably the same way he had admiredAvallac’h as a child, but that was also something he would never admit. Eredin however did not treat him as a child, he did call him ‘boy’ and ‘kid’ occasionally, and that bothered Caranthir but not to the degree Avallac’h’s disapproving looks had bothered him. Still bothered him.

“Faster.” Eredin smiled after a very fast attempt from Caranthir. The boy was stubborn if nothing else. At first he had not cared about Avallac’h’s little experiment. Crevan had been convinced that his play with genetics and selective breeding would solve all of their problems. Eredin really wanted that to be true, but then he saw the failures, the navigators that were just decent, the ones that could barely make it and he had given up. Avallac’h had called Caranthir his Golden Child in front of Auberon, but all the leader of the Red Riders could do when he had heard that was to laugh. Until he saw Caranthir pass the trials. Nobody had done it faster than that, minus a minor wound on his shoulder, the boy had performed better than anyone. Eredin had been intrigued and Avallac’h had been disappointed which made it even sweeter.

Caranthir made a step back after another unsuccessful go at Eredin. The man had hundreds of years on him, but if they were using magic, the Navigator would have won by now. It was unusual for him to lose, even if it was just practice.

“Your eyes betray you, kid.” Imlerith was leaning against the nearby castle wall. For some reason unknown to Eredin, his general had taken interest in partially adopting Caranthir as a younger brother. Eredin did not mind. Imlerith was loyal and even if he was not the sharpest tool he had, there were certain qualities that the two of them could learn from each other. “By the time you attack, he has already read your move.”

Eredin was going to offer his own words of wisdom, something to send Caranthir in rage, that was another issue he had to deal with. The boy was impulsive, he needed him more controlled, more calculating. Imlerith was the blunt object that he used as his angry attack dog. Caranthir was too smart and too special to be used as a mindless tool of destruction. Eredin’s snarky comment never left his lips as he saw Crevan nearby watching them. The navigator had already seen the Sage as his focus was no longer on Eredin, but on his old mentor.

Caranthir could see the disapproval in his teacher’s eyes. He was not sure if it was the sword or just the company he was keeping, didn’t really matter. He was done with trying to please Avallac’h although he did wonder what he made out of his little training with Eredin. He couldn’t fight the feeling that despite everything Avallac’h was the closest he had to a family and so far he also had been the greatest betrayal he had ever felt. But he had a new family now and he was not going to allow anyone to hurt him the way Avallac’h had. Never again.

There had been something interesting and very annoying that was happening between the two of them when they saw each other. Caranthir’s whole body language changed and his eyes burned with fire that Eredin didn’t see even during a battle. On the other hand Avallac’h looked hurt. It had taken the leader of the Red Riders some time to figure out what was going on there, but after spending some time with Caranthir, he had solved the puzzle. The boy never had anyone but Avallac’h, no friends, no family, nothing. Eredin would probably shove his sword in his own throat if Crevan was his only option for socialization, but Caranthir did not really have a choice. He wanted the man’s approval as much as he wanted to prove to him that he was better and did not need him. Avallac’h was a bit harder to figure out, but one thing Eredin knew for certain was that he wanted the rift between these two to grow even wider.

“Crevan, why don’t you join us?” Eredin stuck the tip of his sword in the ground and leaned forward.

Avallac’h did not respond but his gaze looked from Eredin to Caranthir and then back to Eredin.

“I am rather curious to know who is better, the father or the son.” Eredin smirked. Avallac’h shifted his weight between his feet and Caranthir took a very deep breath loudly.

“My money is on the son.” Imlerith had pushed himself off the wall he was leaning against, his hands were also resting on his mace. Caranthir’s money was also on himself, he was better, he had known that for some time now and he was eager to show it especially in front of Eredin. Hurting Avallac’h the way he was hurting would just be a welcomed bonus.

“You will remain curious.” Avallac’h said and started walking away, but Eredin’s words stopped him.

“I truly don’t understand why you are so upset. He was meant to be a navigator, one of the Red Riders, his place was always supposed to be here with me.” Eredin spoke casually, he was just stating a well-known fact, something that had been clear since before Caranthir was born. Avallac’h had been determined to keep this fact from becoming a reality, it had been years since he had decided the boy would not become another tool for Eredin. Caranthir had made his choice, and Avallac’h had failed.

Caranthir watched as his mentor took a deep breath and his jaw clenched. He had seen that reaction before, every time he messed up, every time he did something Avallac’h disapproved of and usually there was some sort of punishment involved. Eredin was taunting his teacher, he had no idea why, but he could see the words were starting to have some effect.

“Then I wish both of you all the best.” Avallac’h managed to shake off whatever had taken over him and tried to walk away but Eredin had not finished. He spoke once again..

“Crevan. I didn’t mean it that way. I’m sure it was not easy to separate with your life’s work, you raised the kid after all. That must have been painful. Almost as painful as being left by Lara.” Eredin knew that would sting and he was not wrong. This time Avallac’h turned toward him with so much hate in his eyes, the leader of the Red Riders almost started laughing. That was easier than he thought. “I thought a lot about why are you so upset that the boy joined the Red Riders.” he really didn’t, he had paid no mind to it, but he had Avallac’h where he wanted him, Eredin had already stuck the knife and now it was time to twist. “I mean sure you were trying to recreate Lara’s genes, but did you perhaps hope for something more? Recreate Lara herself? Looking closely enough I can almost see some of her looks in him.. How much must it hurt you, Avallac’h, knowing that the woman you loved left you for a human and Caranthir left you for me. I always thought it was Lara, simply being attracted to something more...exotic. Pleasures of the flesh or curiosity. It is, after all, hard to believe anyone would prefer a human to one of us.” Eredin turned toward Caranthir, the boy’s expression was blank but he could see the clenched jaw and the ice cold eyes fixed on Avallac’h. “But maybe it is just you.” Eredin turned toward the sage with the best smirk he could muster. “Maybe Lara was just trying to run away from you, the poor woman. Looking at what you have done to the boy, who wouldn’t?”

Caranthir watched Avallac’h’s resistance dropping. The usual calmness and control on his face had just broken and he could see the man boiling from the inside with rage, he had never seen his mentor like that. He remembered as a child he had seen a picture of Lara and he had asked about her, Avallac’h had snapped at him. Caranthir had learned the story in his own way, but he had never mentioned the name. Was Eredin right? Was it even worse than he thought? He wasn’t just an experiment, Avallac’h monster, but he was an attempt for his teacher to recreate an old painful memory? Caranthir ran his fingers through the scars on his neck, they were not physically painful, but something in his head was burning with different sorts of hurt.

“How much of that did he tell you? You know about Lara?” Eredin asked, looking at Caranthir. From the way the young navigator glared at Avallac’h, he could only assume not much at all. Not really surprising. Avallac’h was not a liar, but he also wasn’t a forthcoming man, especially about things that were painful to him. Eredin continued glaring at the Sage “You never cared about the boy, did you, Crevan? That’s fine, he has nowfound friends, someone who does not see him just as a tool.” he saw Caranthir’s jaw clench and he could swear he heard him grind his teeth. “It has always been about you and you alone. Your ambitions, your power, your influence.” He looked Avallac’h in the eye...he was going to enjoy what followed... “Honestly, who can blame Lara?” he spoke the last sentence slowly making sure every word was like another knife stuck in his chest.

The Sage made a step forward, honestly Eredin didn’t feel like the man wanted to attack him, although his body language had changed drastically from the usual calm and controlled deminior. Caranthir however had been itching to launch at Avallac’h and just a small movement from him was enough.

The Navigator took a second to get to his staff and in the next moment he was right in front of his mentor.

“Caranthir…” whatever Avallac’h was about to say was interrupted by an attack he had to deflect. Then another one and another one.

Eredin had found that watching mages fight was somehow impressive and boring at the same time. The power was extraordinary and breathtaking, but he always preferred to look his enemy in the eye as he shoved his sword in their gut or separated their head from their body.

Caranthir moved with impressive speed and his mentor had only been deflecting until the boy sent him flying against a nearby wall.

Avallac’h got up and touched the back of his head as if looking for blood. “Caranthir, stop.” His voice was clipped.

“He is not yours to command, Crevan.” Eredin shouted, trying his best to hide his excitement. “He is his own man. What have you done to him, to be hated so much?”

Caranthir attacked again and Avallac’h blocked, but this time the man followed with an attack and the Navigator was forced to defend himself. Avallac’h had not wanted to do that, he was angry at Eredin, and while he was not sure whether he would have attacked the leader of the Red Riders or found some self control, at this point it didn’t matter. He wasn’t angry at Caranthir, but if it was a fight he wanted, he was going to give him one. There were enough unresolved issues between them that would certainly not be solved with a few bruises, but then again, he did not know if at this point there was any way to solve them at all. But perhaps this fight was what they needed, Caranthir in particular. Perhaps the boy would reconsider his actions.... Another attack followed, more dangerous and then another one, the Navigator was serious, he was not just trying to resolve whatever tension was between them. That was when he realized Caranthir was not just trying to protect Eredin--not that he needed protection in the first place - he was trying to kill Avallac’h. The way he attacked, the rage and the power were more than he had seen him ever use.

Eredin was enjoying that far too much, he could see Caranthir’s youth and impulsiveness playing against him, whereas Avallac’h’s fighting style was controlled and very measured, in spite of his anger. Caranthir, however, was like a storm. Powerful, capable of destruction that could solve many problems in a matter of moments and create others equally fast. True, the navigator was more powerful than even Eredin had anticipated at first, but he was inexperienced. It didn’t matter though, he had figured that on day one and he was going to correct it, he just needed a bit of time. Teaching violence was something he knew how to do.

It was Caranthir’s turn to find himself on the ground, but Avallac’h was beyond words now. He was about to attack again when Eredin moved between the two of them.

“That’s enough.” He placed a hand on Avallac’h chest and the man looked at him with a murderous glare. “As much as I would enjoy watching that, you two will destroy the castle.” He pointed around them, stone had been cracked and the ground had some newfound holes that had not been there before. Avallac’h snapped out of it but Caranthir was not done. The boy jumped on his feet and moved toward his mentor but Eredin turned around quickly and blocked the navigator’s body with his own. “His day will come, and when that happens, I promise you, he will suffer more than anything you can inflict on him now.” Eredin was leaning forward and whispering in Caranthir’s ear.

“I can inflict a lot.” Caranthir had not felt so much anger since he found Avallac’h lab and all his notes. His rage needed an outlet and killing his teacher seemed like an excellent choice.

“No, you want him to suffer, you don’t want him to hurt. You want him to suffer the way you do.” Eredin stepped back and moved away the strands of hair that were covering Caranthir’s scars. The navigator snapped out of it and stepped back, not wanting his scars to be shown.

“Come on, kid.” Imlerith placed a hand on Caranthir’s shoulder. “Leave the grown ups to talk.”

Eredin watched as the Navigator was almost dragged away and then turned to Avallac’h. The man’s demeanor had changed, he was calm now, but there was still fire in his eyes.

“I hope you got what you wanted.” Crevan said as he cleared some dust from his robes. “I should have known better.”

“You should have.” Eredin chuckled.

Avallac’h walked away, he already had one fight, he was not following Eredin’s play again today. He was still angry, mostly at himself, he should have not fallen for that trap and it had been obviously a trap. Now he was seeing it, Eredin was trying to create a rift between Caranthir and him, not that this relationship needed Eredin’s help to be destroyed. Somewhere deep down Avallac’h wished things were different. Maybe he even hoped that one day once Caranthir matured the two of them could talk and he could explain. But based on the storm he had seen in Caranthir’s eyes, he doubted this day would come any time soon.

[prongsisabadger]

The Wolf Pack

Chapter 2

Master Plo's ship was not the first I'd seen, the port at Mos Eisley was full of them; but it was the first ship I boarded that I could remember. Jedi master Plo Koon had been returning from a peacekeeping mission in the outer rim, and had stopped in Tatooine for fuel. It was a coincidence that he heard the Meilooron vendor talking about me. When I told him this, He said it had been the will of the Force. An energy field he had said. Then what had the Force deemed special about me? I asked him this.

"Tell me, Child. What would the tusken say are your best qualities?" He asked in return.

I thought about it for a second.

"Well, I can always tell when someone is following us, or how far a sandstorm is from our position. A'Koba once said I have very good instincts, but I do believe it comes from growing up in the desert." I answered as we walked up the ship's ramp.

"Kriari, the tusken have lived in the dune Sea for eons, if one tells you you have good instincts it is not a hollow complement. And neither is it entirely true." Said master Plo as he took the Pilot's seat and started pushing buttons and turning switches.

This puzzled me.

"How so, Master?" I asked as I took a seat on the copilot's place, still admitting the interior of the beautiful ship. It was much bigger than I'd imagined.

"You are a force sensitive, Child. Your midichlorian count is higher than the average life form, and as such, you have a deeper connection to the Force." he answered absentmindedly, like it was simply a fact of life. "When properly honed, your abilities can allow you to become a Jedi Master and help keep the balance of the universe."

The engine hummed to life as Master Plo pushed one final lever and started the takeoff sequence. I watched it all in awe and with unwavering attention. One day I would be able to pilot a spaceship, one day. Slowly, Mos Eisley started shrinking beneath us, and we approached the sky with every second that passed. The sky, the final frontier, that unreachable place where ships disappeared to, sometimes never to be seen again. The clouds parted before us, light blue turned to navy and then to black, and finally, Tatooine was a terracotta sphere behind us and the absolute emptiness of space was the only thing separating us from both setting suns.

"It's so odd to be so close to them." I muttered.

"Them, Child?"

"The stars, Master. We use them as a reference to navigate the Dune Sea. They are much prettier up close."

Master Plo Chuckled.

We are still very far from them, Kriari. Up close, a collapsing star can be quite daunting, not to mention deadly."

"But are they pretty, Master?" I insisted.

"In their own colossal, terrifying way, Child, yes. They are quite the sight."

The navigation droid that had been standing by the corner plugged in to its station and set the coordinates for our destination. Master Plo looked at me one more time before jumping to hyperspace. I don't remember if he said anything, I was too busy watching the galaxy fly past me.

…

The journey would be long, he told me. We should get started on some training exercise so I don't get cabin fever. And that is how I ended up cross legged on the floor staring at a rock. Master Plo sat by the table, writing his report for the council, he'd said. My mission was to make the rock move using the force. So far, all I'd been getting was eye strain.

"Staring at the rock won't make it move, Child, use the force." Said master Plo, never looking up from his working station.

I sighed in frustration. I would not let my journey end here, it was only beginning. I took a deep breath and held it for a few seconds before exhaling it all. I closed my eyes. The force was an energy field in all living things, that bound the universe together. So, technically, the force was inside me too. I didn't have to look at the rock to get it to move, I had to look to myself. Figuring out how the Force worked with my body. It had always been there, so it wouldn't be easy to find, but I had to try. Meditation was not a foreign concept to the Tusken, it took a lot of patience and confidence to wait out a sandstorm. It took a lot of determination and calm to find your way when lost in the Dune Sea. The Sand People might have been ruthless, but they also were a very spiritual people. The desert of Tatooine might be an inhospitable place for some species, but there was a delicate balance to its ecosystems and the Tusken tried their best not to upset it.

Keeping this in mind I started to regulate my breathing, making it longer, deeper. Connecting with my body, with my surroundings, with the Force. There was a sense of total awareness in the stillness of my mind, a certainty of things, of presences, of movement. There was the ship, the droid, Master Plo, the rock. And what if the rock moved? A little to the left at first, slowly, so as not to overdo it. Then, It would move to the right, a little faster, decidedly, with more purpose. And then it would be lifted in the air, level with my head and floating steadily as if held by an invisible hand.

I opened my eyes.

And smiled.

"Good job, Kriari." He said beside me. I dared not look away afraid the rock might fall. "Your focus is strong and steady. Is meditation a part of tusken tradition?"

I shook my head.

"No, Master. But it is common practice to meditate when waiting out a storm or when one is lost. Keeps us from panicking."

"I see. Now try that again with something bigger. It will only be more difficult from here on out."

He said as I let the rock down as gently as I could and took a pair of binoculars from my pack.

Then, I got started.

…

The first time I saw Coruscant I was six years old. The entire planet was like a miniature galaxy of blinking lights against a dark background. In the light of gay, the metallic and glass surfaces reflected the light like water in a pond and ships and speeders alike were like a shoal navigating the currents. It was beautiful, and crowded and busy, and nothing like I'd ever seen before.

The Jedi Temple was, in my childish eyes, the most beautiful structure of them all. The eternal flights of stairs, the massive pillars that flanked the entrance, the numerous structures that combined to form a pyramid-like building. The sun was setting on the city, on the planet, and the orange reflection of the sun rays bounced from one structure to the other. Everything about the temple was beautiful in it's own simple way, it was big, but it was elegant and the shades of white, ivory and tan made it all feel like it was indeed a spiritual place. A place of knowledge and of wisdom, and most of all, a place of calm and strength, and balance.

The guards at the landing platform stood tall and proud at the entrance, and they both acknowledged Master Plo with a nod and nothing more. I followed suit. They did not look at me twice, so I thought I can't have been the first child they'd seen through the gates, nor would I be the last.

"Do not fall behind, Child. We need to report to the council." Said Master Plo when he felt me get distracted.

I picked up the pace so as not to get reprimanded again. If there was something you learned when living with the Tusken was not to make anyone repeat themselves. Ever. The Jedi didn't seem to be the type to discipline children, but I didn't want to find out the hard way. As we walked the never ending corridors, underneath the high ceilings and through the heavy metal doors, we passed many Jedi, and many children as well. Most of the Jedi carried a metal cylinder with them, just like the one Master Plo had hanging from his belt. It seemed to be a symbol of status among these people, the children didn't have one, and neither did the maintenance staff.

We took one of the elevators to the top floor, and it opened to an antechamber lined with ivory seats. On the floor there was a symbol I'd seen in all the Jedi's left shoulder pads. I guess this is it. We stood in the centre of the room and waited. Before long, the doors opened and a Master came out followed by a Togruta child. She could not have been older than four.

The guard ushered us in, and once we made it to the centre of the circular room they closed the doors behind us. There were fifteen seats with their backs to the windows, facing the centre of the room, but only twelve were occupied. Whether the members were absent or dead, I wouldn't ask.

"Master Plo, you have someone to introduce us to, I see." Said a little green life form sitting on one of the chairs.

"That I do, Master Yoda," he said motioning me to step closer. "This is Kriari Foreas, she was living with the Sand People in Tatooine."

"A Zabrak living with the Tusken? I did not think that possible." Said another, his skin dark and his eyes piercing. "How high is her midichlorian count?"

"It is surprisingly high, Master Windu. The Tusken claim her mother left her there for protection. They found her dead in the dune sea a few days later." Answered Master Plo.

Meanwhile, I stood my ground, watching the interaction between them, waiting to be addressed. The other masters whispered in speculation, but none of them spoke up.

"Then, this curious child shall we meet? Hmmm.

I stood forward, and approached the masters until I was a few feet away.

"Tell us, Child, How was your experience with the Tusken? Did they treat you well?" Said the man with the sharp eyes.

"Yes, Sir. I was treated like one of them and helped the trade with the merchants in Mos Eisley."

The masters of the Council exchanged looks.

"Were you not sad to leave?"

"No, Sir. I knew I didn't belong there, not really. I wanted to learn about the galaxy. I still do."

"If we give you a little test, mind you?" Asked the little green one.

"No, Sir." I answered.

Master Windu took out a little pad and had me guess which figures appeared before him. I had to close my eyes for a while, to block out everything else. The nerves, the eyes, the strange place, the strange people. In the end It went well, or so I thought. One image appeared after the other and within a few minutes, the test was over. I opened my eyes and looked back at Master Plo. He put a hand on my shoulder and squeezed lightly.

Well done.

"Her midichlorian count is high, but it is her history with the tusken that concerns me. They are known to be a ruthless people." Said master Windu.

"Discriminated on species before, have we? Hmmm Master Windu?" Asked the one called Yoda.

"No, Master Yoda."

"A decision to make you have then child, want to be a Jedi, you do?" Master Yoda asked me.

"I want to learn how to be the bridge between races and cultures, Master." I answered after a moment's deliberation.

"Made then, the decision is. May the Force be with you, Child."

[rabid-heart]

Intertwined

For @sefikuraweek 2021 Day 5: Prompt - Gloves

The fairytale of the Princess Cloud, and her SOLDIER, the General Sephiroth.

Rating: Teen and Up Audiences

Notes/Warnings: Genderbend/Royalty AU! Mentions of war. And, I guess, the fact that I watched too may royalty/period dramas and this is the brain-rot that resulted?

Read on Ao3 | Previous Day’s Post 

---

It is a bittersweet affair, as farewells usually are.

The hall is decorated with luminous candlelight, flames flickering beautifully against the crystal chandeliers dangling from the ceiling. It looks almost like starlight, like the cosmos, twinkling above, contrasting with the night sky and the dark curtains shadowing the windows. Equally as dazzling are the people of the Midgar Court, the men and women all in their finest garments and jewels, rounding out the perfectly glossy picture of prestige, wealth and power. The sight might have been pleasant, had it not signified something much darker. As it is, General Sephiroth has trouble hiding his frustration and his anger at this unfettered decadence.

The ball is meant to be a celebration of the General and his fellow SOLDIERs, an elaborate sending off before what would hopefully be the final few months of the Wutai War. The last round of negotiations following the temporary ceasefire between the Shinra Empire and the Wutai Kingdom had fallen through, largely in part to King Shinra’s greed and pettiness. Thus, in spite of the costly war effort, in spite of the numerous lives lost, in spite of the suffering of his men, they are to be forced to take up arms once more. When Sephiroth had delivered the news to trusted officers, the disappointment on their faces had be more than evident. But there was nothing more they could do: in the end, the world had been crafted for kings and emperors, and soldiers, no matter how powerful, merely played pawns in the grand scheme.                  

It leaves little choice now but to try and enjoy the evening, though that proves to be a far more difficult gauntlet than Sephiroth is currently willing to endure. It is a special type of torture, watching his men, his friends, his companions, try to hide their fear over the coming months behind pleasant smiles and fake laughter, all for the benefit of the nobility. For a moment, he thinks about destroying the whole thing, tearing down the castle stone by stone, setting fire to the greed and the cowardice to purify it from the face of Gaia. But he does not and knows he cannot – for many reasons, including one that he holds so secret in his heart.

As if on cue, the court pages begin to sound their trumpets, and all heads in the room turn toward the towering doors separating the grand hall from the rest of the castle. The orchestra simmers into silence and, in the ensuing quiet, a servant calls out, “The Royal Family of Shinra, the King, the Crown Prince, and the Princess!”

The grand doors open. There is the King, dressed in robes of purple and gold, the emblem of his dominion emblazoned across his chest. He stalks his way through the doors and down the steps into the ballroom, trailed by his two children. They say the King had once been a handsome man, and there are some shadows of his lost youth in the shape of his jaw and in his height and proud stature. In fact, the clearest sign of his former vitality is embodied by his son, the heir apparent Prince Rufus, debonair and devastating in his white suit and slicked back hair.

But the true beauty of the family belongs to the fair-haired Princess Cloud. She walks behind the men, dressed in a gown of blue, with cap sleeves that just dip from underneath her shoulders to showcase an enticing decolletage. Her arms and hands are encased in gloves of the most expensive white silk, and around her neck sits the sapphire jewels of the royal family, a brilliant blue that is remarkably overshadowed by the absolute beauty of her glowing eyes.

On this night, and every other night since he had first laid eyes on the Princess, Sephiroth finds he cannot tear his gaze away.

The family walks to the center of the room, and the king lifts up his hands to further corral attention. “My citizens, my Midgar, tonight we celebrate a truly momentous occasion. Because this night marks the beginning of the end of our Wutaian enemies.” The man turns to take a chalice from a servant standing nearby and lifts the golden cup into the air with a haughty flare. “To our brave men, our unparalleled SOLDIERs, who will bring the Shinra Empire the greatest glory and the highest of victories, this night is for you.”

A roar of applause sounds through the crowd in response. But Sephiroth does not care. His eyes are fixed on the Princess, standing beside her father in the middle of the hall, her head slightly bent. To all others, the gesture would have appeared to have been out of respect – and there is some truth to that statement. But Sephiroth knows better – because for the briefest of moments, her blue eyes turn to him, and there is nothing there but sorrow and regret.

The King, however, fails to notice the exchange. Instead, he offers another toast. “For the glory of Shinra, for the power of the Empire, for the strength of our nation!”

“Huzzah!”

The festivities begin anew, and music once again flows through the air. Sephiroth watches Cloud, the way she gracefully bows to her father and brother as the two leave the floor to talk to the other nobles, the way the candlelight of the room highlights the radiance of her eyes. He had spent hours upon hours getting lost in that blue, like flying through a mountain sky, airy and free. The imagery only exacerbates the irony of just how trapped they truly are – a Princess meant to sell her happiness out of duty to her family, and a SOLDIER crafted as the perfect weapon, whose only purpose was to destroy in the name of the kingdom. The very facts that they commiserated over, that drew them together, would likely be the very reasons they would be torn apart.

And yet, in her arms and looking into those eyes, Sephiroth lets himself imagine a different life, one full of beauty and liberty and light and promise and hope. How he longs for it, longs for her, how he cherishes the secret kisses and furtive couplings. It had been a love at first sight, an attraction he hardly knew what to do with, one that haunted his evenings and consumed his waking thoughts. It took every ounce of his trained discipline to stay away. And yet, to his surprise, the affection had not been one-sided. When Cloud sought him out, forced a confrontation, kissed him with a fierceness and a fire that seemed to pull his very soul out of his breath, Sephiroth realized then that he was not dealing with a delicate sapphire jewel, but a sword of the strongest steel.

It only made him fall for her harder.

Her companionship had brought him a relief and a joy like no other, but they always had known it was forbidden, that Cloud would eventually be promised to another nobleman, that he would eventually be shipped off to some far corner of the planet, a tool bent her father’s will. But those facts did not stop them from indulging in the beautiful fantasy, even though they both knew exactly how it would end.

It is this very conflict that stirs in Sephiroth’s mind now. He knows he should look away, knows that the Midgar Court already whispers about them with scandalized delight, knows that if her father ever found out about their relationship, he could very well be executed on the spot – grand General or not. But tonight, he finds himself caring little for the gossip, the royal protocol. Because tonight, in Cloud’s wonderful and ethereal beauty, the loss of her is almost too much for Sephiroth to bear.

(And if he is destined to die for the Shinra royal family, he is at least determined to do it on his own terms.)

That strange mixture of grief and defiance is what carries him forward, striding across the ballroom with a purpose so evident, it parts the crowds around him. He only stops when he stands in front of the Princess, her expression startled at his approach, and yet yearning all the same. Around them, the people murmur, though Sephiroth pays no heed to what they have to say. The tones of the current song have begun to fade away. That is when Sephiroth makes his move.

“Your Royal Highness,” he says smoothly. “May I have this dance?”

The Princess’ eyes flicker between surprise and joy and fear. Not once out of the several balls and banquets hosted at court have they done this, knowing full well that adding any more fodder to the rumor mill could push the King into forcing a separation. But that concern is now a moot point. Tonight, all he desires – and all he knows she desires – is for one last dance.

Cloud bows to him now, but even in that deference, she still displays her formidable nature, in the sharpness of her blue eyes and in her cool disregard of the stares and whispers that the court sends their direction.

“My dear General,”’ she responds, taking his hand firmly and confidently.

The music resumes and the two begin to move, swept up in the melodies and the steps and the notes. As they progress, Sephiroth begins to feel like he always does around Cloud. It is as if the entirety of the universe melts away, collapses to its center – and for him, that center had become none other than her. With his arm around her waist and their eyes locked on each other, he cannot resist the spell that she casts to hold his attention, keep him in her thrall. And from the way her smile lights up to her eyes, to the gentle touches of her hand caressing the back of his own, he can feel her affection for him, just as strong as his own.

But like all good things between them, the song ends all too quickly, the moment fading. The time to say goodbye creeps closer. Sephiroth steps back and offers a serene bow. “Thank you, Your Highness,” he whispers, hoping all the things he wants to say aloud but can’t are conveyed in those words.

Cloud lets out a breath, her eyes glistening with unfallen tears. This is the cycle between them, the beautiful rush of the fantasy falling away, crushed under the relentless malice of their reality. For what else could they be than this – stolen kisses, brief dances, whispered words? Tomorrow, Sephiroth will begin his journey to Wutai, and they will be apart again in all ways, once more. He wishes desperately that it would not be so, but that is a choice that he cannot make.

But then, suddenly and in the quick and determined and bold manner that made Cloud so powerful and so alluring, the Princess chooses for him. She takes his hand and begins to run, pulling him along, out of the ballroom, out of the castle, into the gardens. In the rush, she ignores the startled gasps and hushed commentary of the courtiers, the guards, the servants, and even the King, with whom Sephiroth locks eyes with for a brief and revelatory moment before being swept up and away by Cloud.

He knows, he realizes. He knows.

If this is to be their last night on Gaia together, that fact hardly matters. And regardless, Sephiroth cannot pull away from Cloud, cannot help but run after her, because in his heart, he knows he would follow her to the very edges of creation itself.

Cloud finally stops in a quiet corner of the grounds, pushing him up against the wall of shrubbery and kissing him, gasping and desperate. Her sentiments spill into him, and Sephiroth finds his hands clinging to her waist, roaming over her shoulders, cradling her neck. Any modicum of distance between them feels like an aching sore, and tonight, of all nights, he would do anything to take away her pain.

His lips move, from hers, to her jaw, to her ear, her neck. She sighs, in that lovely way she does, in the way that drives Sephiroth to the very edge of his restraint. His fingers find purchase around the buttons on the back of her dress, and almost as if on instinct, they begin the process of undoing them, one by one.

Cloud’s breath hitches, and she pushes back and away slightly. “I don’t want you to go,” she whispers. “I don’t want you to die.”

“I won’t,” Sephiroth promises, reaching forward to kiss her again.

She dodges the kiss but wraps her arms around his shoulders anyway. “You are fighting a war that you do not believe in. That does not lend itself well to success.”

“Do you suggest I run, then?”

Cloud places her hand on the back of his neck, runs her fingers through his long silver hair. “Maybe we should. We could run. Find a corner of the world that is just the two of us. Where no one could ever reach us.”

For a moment, Sephiroth is tempted by the beauty of the wish – the idea of Cloud, forever his, on a house by a lake somewhere where wildflowers grow. Somewhere he could kiss her without fear of scorn, derision, discipline, or death. Somewhere he could love her, freely and truly. But it sounds too good to be true, because it is, and they both know it.

“I cannot abandon them, my friends and my men,” Sephiroth whispers back, squeezing her tightly in apology.

Cloud lets out a quiet whimper, but he knows she understands, knows that his loyalty is one of the reasons she loves him so deeply. “Then what do we do?” she asks, burying her head in his chest. “I can’t keep living like this. Knowing that I love you and I can’t be yours.”

Instead of responding outright, Sephiroth reaches down and takes her left hand, bringing it up to his lips. He slips the glove off her finger gently, tenderly, with all the love he has in his entire being, allowing the silk to slip to the ground. Then, he himself begins to fall, down to one knee.

“When I return, I’ll put a ring here,” he says, gently kissing her fingers. “And I’ll make even greater vows to you.”

Cloud watches him, eyes wide. “You…are serious, aren’t you?”

“Yes.”

“My father will not let you.”

“I don’t care about your father,” Sephiroth says, turning her hand to press more intentional kisses to her palm and her wrist. He then pulls back and gazes up at her with expectant eyes. “I’ll fight his war, because that is my only way back to you. But once I return, I have no intention of letting you go. If you let me fight for you, then I swear to you that nothing will stop me until you are freely and truly mine.”

The tears now stream freely, slipping softly from those dazzling blue eyes. But Sephiroth knows Cloud enough to recognize that they are not from sadness, not in the slightest.

She bends over to cradle his face and tug him gently upright. Once he stands in front of her, she takes his left hand, and just as he did hers, slides off his glove with equal affection, dropping the black leather atop of her own white silk.

As she kisses his knuckles, Cloud whispers with all the passion and fire in her soul, “Then as you fight, so will I. For us. So I too can make more promises to you when you return.”

Their fingers intertwine. And in the garden, underneath the real starlight and away from the prison of the palace, they seal the first of their many vows with a loving, hopeful kiss.

[theastromancer]

Sun in Aquarius

“The symbol for Aquarius, ♒️, represents waves of air, or electricity. The ancients saw the image of air as showing the nature of Aquarius. In modern times we see an association with electric current. People born with the Sun in Aquarius possess the qualities of the air and electricity.

Aquarius is the water- bearer pouring water from a jug representing the quality of air to carry and distribute all things that renew and refresh. The water-bearer epitomizes the ideal of human friendship, the quencher of thirst and the reliever of suffering. Electric current sparks, energizes, and makes possible the technology that can relieve human need and suffering.

Air creates the space where all can be and exist in relative freedom, yet all must share.The air serves all equally, without prejudice or exception, for the common good. Aquarian’s are learning that being a good friend is not an easy idea to uphold, and that it requires a discipline and compassion that seems almost superhuman. Aquarius represents a very evolved state of consciousness, it is the second to last sign in the zodiac, and asks us to do something extraordinary. Aquarius represents the Divine potential of human idealism, not easily realized, but nonetheless ultimately what is needed.

We all depend on one another for survival and companionship. The water-bearer represents the altruistic ideals that human existence is dependent on and that cannot be forsaken. No one can be denied air or water and survive for very long. Without water, a plant or animal can only live a few days, nothing grows, and food would not be available. Without air, though, no living thing lasts more than a few minutes. The water-bearer shows us that the ideal of friendship, community and coexistence cannot exist. The water-bearer is not a warrior, but rather a humanitarian, and does not react to or deny anyone, but rather delivers the help and relief wherever it is needed. The water-bearer is the true friend who is there when you need him or her.

For Aquarius, friendship is paramount. They will do anything for their friends. They are idealistic and are attracted to causes affecting the greater community. They bond with others who have like ideals and can be avant-garde or unconventional. Aquarians spontaneously perceive the way to improve conditions and solve puzzles, and even when they are conventional, their idealism is still part of whatever they get involved in. They are principled, innovative, devoted, and loyal.

Aquarians are very idealistic, and because of this they can be judgmental and reactionary. They will look at the attitudes and politics of another or a community and judge according to their Aquarian ideals. They can be attracted to organizations that work toward the betterment of humanity, or they can be attracted to counterculture groups that react to the contradictions they see in society or in their social conditions. Aquarius can be creative, inventive, original, and progressive but can also be destructive, reactionary, unconventional, eccentric, or deviant, and it is up to Aquarius to learn the difference.

Aquarians just want to be a friend and be helpful. Sometimes their tendency to bond so strongly with another or a group causes them to adopt the impassioned sentiments of the other or the group. They take up philosophies, lifestyles, fashions, social attitudes, and such and derive their identity from their associations. They just want to be a friend and so go along with the movement of the collective pulse. They are principled but sometimes let their impassioned identification with what is to them popular override their individual sense of what is right and wrong. They can commit or support acts that, if they were to step back and look, would be seen as reactionary, confrontational, dissociative, or unfriendly toward certain others. They may not see the contradiction this is to their ideals.

Aquarians can be detached. Their idealism tends to cause them to intellectualize relationships. Their identification with their own ideals can cause them to be intensely independent. Even though they do bond with others, their ideals keep them separate and real intimacy and receptivity may be resisted. They have more of a friendship than a romantic attitude toward relationships. They can be eccentric and try to establish relationships that are unorthodox or experimental with mixed results. Their ideals about how a community should be can separate them from the community they are concerned for and really want to be a part of.

Life is mostly about the people we spend time with. This is so important that we tend to depend on others for our strength or to tell us what is right or wrong. We are exclusive in our friendships. We are friends with this person and not with that. We identify with this group and disassociate with another. We are loyal to one faction and therefore the other becomes our rival. The most important lesson Aquarius is here to learn is to see its own contradictions.

The task for Aquarians is to examine what is in their heart and be brave enough to stand up for it. Sometimes it is necessary for Aquarians to stand alone when their friends or group have a thought or want to do something that goes against what Aquarians know in their heart, but, if they don’t forsake the convictions of friendship, eventually, when others finally see the wisdom of Aquarians’ choice and example, they will not only be invited back, but probably will be asked to lead. Aquarians are natural born community builders and the goal is unity, not separation.

The best strategy for Aquarians is to stay the course, to listen to what their heart is telling them, not to disassociate from others, but rather to promote the ideals of friendship in their attitude and in their actions, and, by doing so, help to break down the barriers of exclusivity and nationalism and encourage an ever-expanding unity of brother/sisterhood.

Selfishness causes Aquarians to disassociate from others and be concerned mostly with their own independence, and the exclusively selected groups with mutually shared causes that determine their friendships and associations. Aquarians’ desire is that others recognize their special uniqueness and acknowledge their genius. It is difficult for Aquarians to see their own selfishness, because, in their dealings within the community, they see a world that does not live up to the common ideals of freedom, friendship, and community and feel like they are just being innovative. And the confusion comes because they are right that everyone must be ingenious and creative in helping to cause social change yet at the same time remember inter-dependency. Selfishness causes Aquarians to rationalize what is right and wrong and confuse the lines of righteousness by justifying being reactionary toward what they perceive as unrighteous. Aquarians are here to learn and discover that their ability to unite people rests in the ability to be an example that never compromises the ideals of friendship and community.

The discovery and use of electricity has revolutionized the world. Through its humanitarian application, the world’s problems can be alleviated. Aquarius’s message to the world is that we are all part of an interconnected, interdependent family. Aquarius says that the sense of friendship must be our guide in all our interactions. Aquarius must clarify and purify it’s heart to view with compassion the mistakes of others and wish only to help. Aquarians must not allow a reactionary view of the world to cause them to be self-serving or to use their creative genius to support exclusivity. It is only through identifying with being human oneself that one is able to understand how to be truly humanitarian.

Only the Divine knows truly the way to unite all people. By focusing their meditation on the opening of the Heart Chakra, Aquarians learn to be guided by the will of the Divine, to love one another, and to become the solution they wish to see in the world, the innovative, pioneering, resourceful example and inspiration the world needs.

When the Sun is in Aquarius, the Earth is in Leo. Aquarius focuses on the ideals, while Leo focuses on the personal expression of the ideals. Aquarius finds balance and harmony within itself when it focuses on developing a Leo perspective. Aquarius’s nature is to focus on the issues and causes of righteousness in the world; therefore focusing instead on one’s own inner righteousness brings balance to the Aquarius expression.

Earth in Leo

Earth in Leo, when the Sun is in Aquarius, indicates that Aquarians find completion when they focus on their inner honesty and developing genuine compassion in themselves. When Earth is in Leo, the social being that is Aquarius learns how to be a true friend through making sure to not compromise what one knows to be good i one’s efforts to bring about change. This friendly personality finds a way to connect and form alliances when it focuses on Leo goodheartness. Leo teaches Aquarius that it is a good heart that can see a good heart in others. This gives revolutionary Aquarius inner strength and a measure for truth, and facilitates and satisfies Aquarius’s need to serve the just cause. When Aquarius Sun becomes balanced with a Leo Earth, the Divinely inspired vision of community meets its most beloved citizen and the holy communion manifests.”

—Divine Love Astrology

[kaaras-adaar]

Kaaras and the Valo-kas

//  Kaaras is NOT a member of the Valo-Kas. For long term RP partners, they most likely know this (or for those who have read over Kaaras’ profile). I did have him in contact with them prior, but it’s easier to have Kaaras as a stand alone character without the ties to the Valo-Kas. So I’d like to shed some light on his mercenary life.

When Kaaras was only five, he came into his magic. At the markets in Ferelden, a group of older kids began picking on him and chasing him–in an attempt to beat him up and most likely steal anything he had on his persons. While he was defending himself, Kaaras was backed into a corner and ended up using a force blast to knock them back.

Kaaras is a qunari, so he never would have been accepted into a Ferelden Circle–they’d rather have him hanged (or made Tranquil). However, Kaaras’ future trainer (Saarebas), saw the incident and made sure that the children didn’t taddle on him–how she did this was probably by scare tactics and threats to them before they could reach their parents, and the incident was never legally reported. Even if it was, most people were afraid to approach a family of qunari.

When this all happened, Kaaras was mortified and ran all the way home in tears. He had no idea what had happened, he’d just thought of pushing them back and it had happened, and he was freaking out. His mother and father had no idea how to deal with their child being a mage (considering they are Tal’Vashoth, only having fled the Qun when pregnant with Kaaras). Neither of them are mages, so they were out of their depth and element.

After a few days had passed, Saarebas knocked on their door and informed them that she had seen the incident, and let them know that Kaaras was safe from the law–for now–but he had to get his magic under control if they didn’t want a repeat of what had happened. Aban and Anaan were desperate for help, and she knew this. They were a poor family that was struggling to make any coin off their farm. Saarebas knew that they could not offer her anything in return for her help, but she was a spiritual woman, and she saw something special when she saw Kaaras, and she believed that if well trained, he could be destined for great things. I should note that Saarebas is an exceptionally spiritual woman, one who actually spoke to spirits–as well as reading tarot cards. What she saw in Kaaras was something, and she believed it. So she offered to help train him so he could gain control of his magic. In return, the Adaar family allowed her to stay in the barn if she was in the area–as she worked as a mercenary and often crossed Southron Hills (the house was small and could barely house them all as was).

Her form was strict and harsh. She wasn’t exactly a mean woman, but she wasn’t nurturing either. Not in a soft way. She was far more the “tough love” kind of woman. But her training is what made Kaaras so disciplined in his magic, and in his will.

After Kaaras’ father died when he was 12, he promised he’d find the remaining man who attacked their home and bring him to justice. He knew Saarebas was a mercenary, and he asked her every day when could he join. It was his soul purpose. Eventually, Saarebas knew that she couldn’t stop him, and said he was ready. If she could not take him under her wing, then he would go it alone, which she couldn’t allow.

Her mercenary group was not the Valo-Kas, it was her own, named the Ash Ataash (to seek glory). Mostly it was with humans and elves no thanks to being in Ferelden. When there wasn’t much coin going for them, they ended up moving to the Marches, in Kirkwall. Competition was fierce within the area, even though there was plenty of jobs going around. Kaaras (and any other qunari) was seen as an asset due to their strength and will to get things done. This meant the Ash Ataash stood out. After being approached by a very qunari orientated band (named the Ralshokra after the supposed death challenges), Saarebas accepted the offer for them to join. It gave them a chance to get work when it was already difficult for such a small band to get good jobs that paid well.

After a few years with them, the Ralshokra had gained a ruthless name for themselves, and Kaaras gained a lot of experience. He didn’t always agree with what was happening and the jobs, but he understood that he was in need of coin to send back to his mother back on the farm.

When he was 24, Kaaras grew fond of one of the other members, Stenn (the former love of his life before Inquisition). Kaaras was in a messy place, and for years after his father died, he’d taken to alcohol as a crutch. Kaaras often drank himself into a stupor to try and take away the pain of his father’s death, as well as sharing a bed with others who approached him and wanted sex. He didn’t have penetrative sex with anyone, in fact, his pride (and shame) stopped him from doing that, at least a part of what little pride he still had in himself. That and he’d always wanted to wait for that someone special. Kaaras has always been a romantic at heart.

Stenn stopped all of this. He was the absolute calm to Kaaras’ storm. He was kind, gentle, loving, and everything Kaaras really needed in a time of need. It was often just talking, staying up late with each other while on the road as everyone else slept. Eventually, it turned into a romance, but they took things very slow. Stenn wanted it to be slow for Kaaras, instead of all the quick paced running into things he was usually doing in trying to soothe his pains. It was also slow because of Kaaras’ lack of alcohol to give him confidence, not to mention the physical pain he could be in at times no thanks to his condition.

Gentle kisses soon became touches, and eventually they went further to being nude with one another, but never penetrative sex. When they were going to, they were interrupted, and the moment was pretty much stolen from them. It had taken all of Kaaras’ courage to get to that point, so it was smashed again, and it just never had time to grow once more as soon after, their band was under attack, and Saarebas ended up dying.

When Saarebas died, it put a huge strain on their romance, no thanks to Kaaras, determined to believe that the bad orders had gotten Saarebas killed. There were disagreements and bad tension, and in the end Kaaras made his decision: he left. Some of the Ralshokra went with him, in agreement that the leadership was too reckless. Stenn remained behind, in disagreement and rather set in his ways (he was a lot older than Kaaras). In a moment of angst, the both of them were far too stubborn and hurt to set aside their differences, and they parted. They never said that they had fallen in love with each other, and the bitterness from their parting kept them from saying it, however, Kaaras showed that he was thankful for everything his lover had ever done for him, and while hurt, they did not part on angry terms.

This was when Kaaras moved up to Starkhaven and that’s where he started recruiting more men. He became the captain of the company and they settled there doing mercenary work for the next few years under the title of the Beres-taar (meaning ‘shield’). Kaaras devoted his life to this, to making better decisions, to letting go of his hate and unhappiness. This was his new goal.

The Beres-taar were quick to make a name for themselves, having some of the advantage of former Ralshokra members. Kaaras was a natural born leader, and with the mistakes of the former band he’d been in, he was determined to give his company a good and loyal name for the work they did. This eventually got the attention of nobles in the area, and they earned a decent living.

Eventually, their name was known enough in Starkhaven that they were suggested to aid with protecting the Divine during the peace talks. This was the first time Kaaras had ever run into the Valo-Kas. The only time Kaaras has ever taken part in knowing the company is via the peace talks. Kaaras was asked specifically by reputation and having previously worked with the Prince of Starkhaven and nobles. Kaaras’ company themselves are not overly large, but they are hard workers who are dedicated to their jobs. Numbers was a must, however, so Kaaras was fine when he got the news that another band would be accompanying them.

Both the Beres-taar and Valo-Kas went to the Conclave alongside one another, however, because the Valo-Kas was more well known thanks to more years of being in service, everyone assumes Kaaras was under their title. He wasn’t, and he corrects EVERYONE who says he is and was, but this is why people assume he’s from the Valo-Kas in Inquisition. 

During his travel back through Kirkwall, Kaaras and Stenn reunited, however, things had changed between them, and Kaaras had changed too much as a person to continue a romance. The events at the Conclave happened, and they were separated, Kaaras became the Herald and Stenn remained in Kirkwall.

Everything else is pretty much known to his timeline. :)

So, Kaaras is NOT a member of the Valo-kas and he never has been. The only time he’s been in contact with them was during the peace talks. Everything you see in Inquisition for the Valo-Kas missions pretty much isn’t canon to Kaaras, however, he does keep in contact with them as there’s no bad blood between them and they were both at the Conclave together.

I will do a meta on Kaaras’ life in Starkhaven another time, but this is why Kaaras is not a member of the Valo-Kas, but why some people assume he is, and that I wanted to at least stay true to parts of the canon, but also pull away from it.

[breathings-of-the-heart]

To Love Another

Levi Ackerman x Reader

A/N: Hey guys!! Back after a long hiatus, sorry hehe. I know y’all must hear this a lot and be sick of it, but there was a lot going on in my personal life that I needed to deal with. (I.E. an parent custody issues and succession of court cases) But everything has been settled in my favor so I’m back and excited!! 

Anyway, this is a part two I promised like years ago which can stand by itself kinda so u don’t have to go back and read part one lol. I wrote so much that I’m dividing it in two; part three will be out most likely by tomorrow. If you want to read part one, link for it is here: Imagine Relating to Mikasa about Loving someone in the Military

(requested by @a-single-uwo @dracq and @little-diva-gurl and to you three specifically, so sorry for the wait! But I didn’t forget :3)

“He loves you, more than he’s ever loved anyone. Surely you know that,” Hange tried to plead, taking (Y/N)’s small hands into her own.

With an inability to overlook the throbbing in her chest, the girl simply met her gaze with a sorrowful smile. Her friend’s expression was sympathetic, conveying her sentiment with a sense of urgency and conviction; such a gesture was appreciated, but considering the events of today leading the broken girl thus far, easy to brush off. Levi’s own harsh words and hard-set countenance were forever etched into (Y/N)’s memory-- speaking louder than any other subconscious that told her he didn’t mean the things he’d spoken. All she could see now was the Captain’s anger trumping all the blinding endearment she thought the two of them to shared. There was no room in her brain for two such vastly different images… the young woman viewed herself an idiot.

(Y/N) was barely able to speak, a thousand words at once caught in behind her pursed lips as she shook her head, wishing Hange’s statement was true.

“With all do respect, Section Commander…” weak voice trailing off, the petite beauty cleared her throat and willed herself not to cry. “I don’t believe you. I was a fool to think of myself as more than my true worth to Levi.”

Said man of the conversation stood on the other side of the door, a whole world away, fist lifted mid-knock. He stilled, gray orbs downcast as he heard the girl’s reply echoing in his ears. 

The documents in his hand fell from his fingertips as his body slacked, the pages fluttering in the air and settling with the ambiance. He hadn’t realized he dropped them, and when he did, Levi could not bring himself to care. His eyelids squeezed shut painfully and the stoic male turned heel, footsteps rhythmically sounding off the lacquer floor as he shuffled away in defeat and heartache.

And only when the stoic man reached the privacy of his room did he realize his fingernails were dug so tightly into his palms that crescent moon scars would indent the skin for life.

A cruel, constant reminder. A testimony to his greatest pain--- your heartbreak.

~~~~~~~~~~~~~~~~~

Commander Erwin sat at the head of the office table of one of the many meeting rooms littered along the castle, a serious expression cast on his defined face. There was a tired yet determined look fixed on his shadowed face; deceptively aged with worry lines creased across his forehead: a tell to the stress and conflicting passion his position required. Untold horrors must have crossed the man’s mind on the daily, yet, the disciplined, solemn facade did well to suggest otherwise.

Even in another dim scenario such as this one, he remained the epitome of strength.

As Erwin studied a long paper in front of him, there was a flicker of deep thought that passed just as quickly as it came. The thought grew smaller in his eyes, and the put-together authority figure stroked his freshly kempt chin.

Having not seen the Scouts since their rescue mission to save Eren, you were shocked at the change in the head of the regiment. With an arm lost and the deceptively young-looking appearance faded, it was only then when you realized his hair told stories as well-- speckled with select gray strands, the stress-revealers hid amongst a thicket of slicked away blondes.

Things seem to have shifted. From what I’ve read in the reports… Eren controlled the Titans with his scream without knowing how. It feels like we’re moving forwards and backwards at the same time.

You touched the bandaging around your torso, wincing a tad as you pressed too hard.

If I’d been more careful last mission I would’ve seen it all for myself.

A map was spread out across the wooden surface of the ancient worktable, the parchment’s top ends brushing against your fingertips. It gave off a beige hue with ink blended in a thoughtful, delicately beautiful layout of Wall Maria’s charted territory. Sunlight filtered through the window shades and illuminated the figurines representing another formation of the Commander’s. Clusters creating an almost horseshoe shape laid out in front of the spectators in the room, squads labeled accordingly. The symbols representing the Special Operations Squad were located on the innermost circle, standing out in bright yellow.

You took a moment to gaze up and break away from the lull of the deafening silence.

You were painfully aware of Captain Levi’s presence next to you. Eren sat on your other side, with another squad leader directly across. Hange was at Erwin’s left side, and Moblit peered past Mikasa’s shoulder in order to see properly as the head of the Survey Corps spoke, finally leaving the separate worlds of his own mind. Armin and stood behind the blonde man, absorbing each of his words carefully.

“There’s many obstacles to be dealt with, naturally” Erwin intoned, officially beginning the meeting. “For starters, we cannot risk any casualties on the journey to Shiganshina. Knowing the enemy, they will be prepared for our arrival and not a single soldier can be spared until we get to the battle field.”

Erwin brought up a lingering, troubling issue that already started to make your head hurt. As a key strategist and extension of the Brain Trust, however, your mind was your strongest weapon. There had to be a way to work around it all.

“Traveling at night is yet another risk,” you relayed, resting your weight on your forearms. “Considering the events experienced the night of the Beast Titan’s appearance.”

The light of the full moon must have been bright enough to give the titans energy.

“How are we supposed to work our way around that?” Eren groaned in exasperation.

You wracked your brain, biting your lip in frustration as all came up blank. All motion came to a halt, though, as you felt a hand grip your knee firmly. Electricity shot through your body as you met the penetrating gaze.

Levi.

“Calm down, brat. Tapping incessantly will only piss me off.”

You hadn’t even known you’d been doing it, but the second the Captain touched you, you were frozen.

Your eyes met his, fully, for the first time in months. And from that instant on, they were trapped in the blue-gray you had drowned in so many times before. You couldn’t help but absorb the sight and engrave it to memory, the art of Levi himself a blessing you had nearly forgotten. But he was different from last time. Maybe it was the illusion fading, or your distant memory. Of him, never.

He looked tired, like you, the fire in those orbs dulled into dying embers. Was that the mission’s doing? The loss of nearly half the regiment?

Or was it something else entirely?

Then your focus shifted to his hand, which dared to travel the smallest bit upwards. Levi kept it there, as if stuck in his own trance. A minute, hour, day could have passed and still, in that moment, you wouldn’t have noticed.

Until reality hit and you remembered everything anew.  

As if he had been burned, Levi retracted his hand as quickly as you looked away. The illusion faded once more, just as tragic as last time.

Breath, (Y/N). This is bigger than you.

“I suspect,” you sighed, regaining yourself, “the indirect source of sunlight the moon reflects, is enough to generate energy for these new titans. The solution is simple.”

“We can initiate the expedition next new moon!” Armin exclaimed, pointing at you excitedly.

“Mhmm, that is our most promising option. But I doubt it will be safe doing it on horseback. We need to be quiet, stealthy, and aware of our surroundings considering the dangers of the dark. Our vision will be limited,” Hange pointed out. “We’ll need to walk them and our supplies, and find a better source of light.”

Erwin nodded, looking slightly impressed.

And as your nonchalant front solidified, you realized it was becoming easier to smile than to remember the hurt. It seemed that way for Levi too, who took an elegant sip of tea as if nothing fazed him at all.

There are more important things, clearly.

[mavy1]

heyyy miranda ive got some worldbuilding questions for ya: 3, 18, 28, 32. and some extra bonus ones if you wanna keep going: 13, 22, 33.

3.) Tell a bit about [character]’s parents?

Evelyn and Theo’s mother, Cerus, was originally from the land of Dia, where they were both also born. In her youth, she left Dia to travel around the world learning magical disciplines from all different cultures. Naturally curious by nature, she developed a strong connection to her craft, and it became a very important part of her identity. During this time, however, she fell in with a group of other mages who wanted to use these magical abilities to gain power and advantage. While she went along with this at first, since it provided her opportunity to learn even more, eventually she knew they were going to far, and defected from their group to try and find help in stopping the spread of their power. She found it with their father, Kal, a tough but fair hunter and the pack he belonged to at the time. In his pack, Kal was a highly decorated and respected warrior. He took it upon himself to assist Cerus in travelling through the southern mountains back to her home land of Dia to escape the wrath of the sorcerer she had betrayed. While they travel, his pack is lost in the battle, and he decides to remain in Dia with Cerus, rather than return home to nothing. Here, he makes his living as a blacksmith, which he had some previous experience with, making and repairing weapons and other necessities for his pack. During this time, Cerus works as an alchemist, providing medicines and other potions for the townspeople.  

Luca’s birth parents were the chiefs of a small village of people in the eastern hills. They were chosen as such because of their kind spirits, generous natures, and level heads, which made them ideal choices in the people’s minds, and they were just so with their only son as well. During Luca’s childhood, their village is attacked by rogue sorcerers, and Luca is separated from his parents. His parents, as the chiefs, must lead their people to safety. His father is injured during the attack, which prevented him from returning to search for his son. Though his mother returned only a day or two later to their decimated village, and searched for their son for weeks, she never found him. The two now live in a larger, coastal city with what remains of their people. Their grief over the loss of their son never eased completely, and they never had any more children. Though they hold out hope for his safety, they know it is unlikely that, if he is alive, they will ever get to see him again.

13.) This might seem an odd question, but are there any colors you affiliate with certain characters?

Answered for Luca. For Theo I would say green, gold, and deep blue, and for Evelyn I would say pink, red, and green.

18. ) Answered!

22.) Answered!

28.) Is clothing or fashion (whether individual or regional) ever used to convey important information about a person or place?

Fashion here, as in real life, is somewhat regional, so clothing and appearance does give some indication of the region a person is from. Additionally, it does often (even inadvertently) convey their status as well - for instance, the nobility of the southern Kingdom often carry delicate and intricate rapiers, and Luca’s hairstyle and armor would indicate easily to anyone who was familiar his status as a respected hunter. Jewelry can often be important as well - Theo’s Alchemist’s signet ring marks him as a highly trained mage, and is used as a seal to officially mark him responsible for his magic where employed, the wise women of the Dian sea people collect and string together necklaces of shells over their lives, and the more shells she has, the greater weight her opinion has, and the binding ceremony of the Mishima Valley, similar to marriage, has the couple wear bracelet woven from horse hair to indicate their commitment. 

32.) Are there special abilities, magic powers, or warped laws of physics in this world?

I imagine that magic in this world is primarily sourced from the earth - stones, metals, and gems contain the most raw power of any objects, but these need to be converted into different forms before they have use. All living things, people, plants, or animal, do this inside themselves, resulting in different effects from each - some are useful to humans, in effect and/or quantity, while some are not. The distinction between ‘magical’ and ‘non-magical’ in this case, being defined primarily by potential usefulness, and anyone with sufficient knowledge, skill, straining, and persistence can tap into this usefulness. In addition, fae are humanoids who hail from the mountains. Because of their proximity to such powerful sources of magic, they often have inherent magical abilities that regular humans do not, which can be passed down to their descendants, even if these descendants are only part fae. So, some people who are often thought to have fae blood, can perform natural magical abilities as well. What exactly their abilities are is thought to be determined by what fae group the are related to. 

33.) What holidays are celebrated here?

Holidays are, again, fairly regional. In the northern and southernmost regions, at least, they have some form of solstice celebrations. In the Mishima Valley these come in the form of the festivals of light and shadows. Many places with good growing seasons celebrate harvest and planting, and new year celebrations are typically a large undertaking.