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daimonclub · 11 months

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Jonathan Swift Quotations

Jonathan Swift famous quotes and aphorisms Jonathan Swift quotations, famous quotes, aphorisms, ideas, opinions about man, life, human race, wits, ambition, heaven and love, that reveal his immense literary greatness. Hic depositum est Corpus, IONATHAN SWIFT S.T.D. (Doctor of Sacred Theology), Hujus Ecclesiæ, athedralis Decani, Ubi sæva Indignatio, Ulterius, Cor lacerare nequit. Abi Viator Et imitare, si poteris, Strenuum pro virili, Libertatis Vindicatorem. Jonathan Swift Epitaph Swift has sailed into his rest; Savage indignation there Cannot lacerate his breast. Imitate him if you dare, World-besotted traveller; he Served human liberty. W. B. Yeats Whoever wishes to win in this game must have patience and money, since the values are so little constant and the rumors so little founded on truth vision is the art of seeing things invisible. Jonathan Swift Where I am not understood, it shall be concluded that something very useful and profound is couched underneath. Jonathan Swift I cannot but conclude that the Bulk of your Natives, to be the most pernicious Race of little odious Vermin that Nature ever suffered to crawl upon the Surface of the Earth. Jonathan Swift When a true genius appears in this world, you may know him by this sign, that the dunces are all in confederacy against him. Jonathan Swift What they do in heaven we are ignorant of; what they do not do we are told expressly. Jonathan Swift What some people invent the rest enlarge. Jonathan Swift We have just enough religion to make us hate, but not enough to make us love one another. Jonathan Swift We are so fond on one another because our ailments are the same. Jonathan Swift Vision is the art of seeing things invisible. Jonathan Swift Very few men, properly speaking, live at present, but are providing to live another time. Jonathan Swift Vanity is a mark of humility rather than of pride. Jonathan Swift Two friendships in two breasts requires the same aversions and desires. Jonathan Swift There's none so blind as they that won't see. Jonathan Swift There is nothing in this world constant but inconstancy. Jonathan Swift There are few, very few, that will own themselves in a mistake. Jonathan Swift The two maxims of any great man at court are, always to keep his countenance and never to keep his work. Jonathan Swift The proper words in the proper places are the true definition of style. Jonathan Swift The most positive men are the most credulous. Jonathan Swift The latter part of a wise person's life is occupied with curing the follies, prejudices and false opinions they contracted earlier. Jonathan Swift The lack of belief is a defect that ought to be concealed when it cannot be overcome. Jonathan Swift The best doctors in the world are Doctor Diet, Doctor Quiet, and Doctor Merryman. Jonathan Swift Style may be defined as the proper words in the proper places. Jonathan Swift She wears her clothes as if they were thrown on with a pitch folk. Jonathan Swift Satire is a sort of glass, wherein beholders do generally discover everybody's face but their own, which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it. Jonathan Swift Reason is a very light rider, and easily shook off. Jonathan Swift Promises and pie crusts are made to be broken. Jonathan Swift Pretense is the overrating of any kind of knowledge we pretend to. Jonathan Swift Power is no blessing in itself, except when it is used to protect the innocent. Jonathan Swift Positiveness is a good quality for preachers and speakers because, whoever shares his thoughts with the public will convince them as he himself appears convinced. Jonathan Swift You should never be ashamed to admit you have been wrong. It only proves you are wiser today than yesterday Jonathan Swift Poor nations are hungry, and rich nations are proud; and pride and hunger will ever be at variance. Jonathan Swift One of the very best rules of conversation is to never, say anything which any of the company wish had been left unsaid. Jonathan Swift One enemy can do more hurt than ten friends can do good. Jonathan Swift Observation is an old man's memory. Jonathan Swift O Grub Street! how do I bemoan thee, whose graceless children scorn to own thee! . Yet thou hast greater cause to be ashamed of them, than they of thee. Jonathan Swift Nothing is so hard for those who abound in riches to conceive how others can be in want. Jonathan Swift Nothing is so great an example of bad manners as flattery. If you flatter all the company, you please none; If you flatter only one or two, you offend the rest. Jonathan Swift Nor do they trust their tongue alone, but speak a language of their own; can read a nod, a shrug, a look, far better than a printed book; convey a libel in a frown, and wink a reputation down. Jonathan Swift No wise man ever wished to be younger. Jonathan Swift Men are happy to be laughed at for their humor, but not for their folly. Jonathan Swift May you live all the days of your life. Jonathan Swift Laws are like cobwebs, which may catch small flies, but let wasps and hornets break through. Jonathan Swift It was a bold person that first ate an oyster. Jonathan Swift It is the folly of too many to mistake the echo of a London coffee-house for the voice of the kingdom. Jonathan Swift It is impossible that anything so natural, so necessary, and so universal as death, should ever have been designed by providence as an evil to mankind. Jonathan Swift It is as hard to satirize well a man of distinguished vices, as to praise well a man of distinguished virtues. Jonathan Swift It is a maxim among these lawyers, that whatever hath been done before, may legally be done again: and therefore they take special care to record all the decisions formerly made against common justice and the general reason of mankind. Jonathan Swift Invention is the talent of youth, as judgment is of age. Jonathan Swift Interest is the spur of the people, but glory that of great souls. Invention is the talent of youth, and judgment of age. Jonathan Swift In church your grandsire cut his throat; to do the job too long he tarried: he should have had my hearty vote to cut his throat before he married. Jonathan Swift A company is like a dog, who dirts those most whom he loves best. Jonathan Swift If Heaven had looked upon riches to be a valuable thing, it would not have given them to such a scoundrel. Jonathan Swift I wonder what fool it was that first invented kissing. Jonathan Swift I said there was a society of men among us, bred up from their youth in the art of proving by words multiplied for the purpose, that white is black, and black is white, according as they are paid. To this society all the rest of the people are as slaves. Jonathan Swift I never wonder to see men wicked, but I often wonder to see them not ashamed. Jonathan Swift I never saw, heard, nor read, that the clergy were beloved in any nation where Christianity was the religion of the country. Nothing can render them popular, but some degree of persecution. Jonathan Swift I never knew a man come to greatness or eminence who lay abed late in the morning. Jonathan Swift I have been assured by a very knowing American of my acquaintance in London, that a young healthy child, well nursed, is at a year old, a most delicious, nourishing, and wholesome food, whether stewed, roasted, baked, or boiled; and I make no doubt that it will equally serve in a fricassee, or a ragout. Jonathan Swift I always love to begin a journey on Sundays, because I shall have the prayers of the church to preserve all that travel by land, or by water. Jonathan Swift Human brutes, like other beasts, find snares and poison in the provision of life, and are allured by their appetites to their destruction. Jonathan Swift He had been eight years upon a project for extracting sunbeams out of cucumbers, which were to be put into vials hermetically sealed, and let out to warm the air in raw, inclement summers. Jonathan Swift Happiness is a perpetual possession of being well deceived. Jonathan Swift For the rest, whatever we have got has been by infinite labor, and search, and ranging through every corner of nature; the difference is that instead of dirt and poison, we have rather chosen to fill our hives with honey and wax, thus furnishing mankind with the two noblest of things, which are sweetness and light. Jonathan Swift Faith! He must make his stories shorter or change his comrades once a quarter. Jonathan Swift Every one desires to live long, but no one would be old. Jonathan Swift Don't set your wit against a child. Jonathan Swift Complaint is the largest tribute Heaven receives. Jonathan Swift Come, agree, the law's costly. Jonathan Swift Censure is the tax a man pays to the public for being eminent. Jonathan Swift But you think that it is time for me to have done with the world, and so I would if I could get into a better before I was called into the best, and not die here in a rage, like a poisoned rat in a hole. Jonathan Swift Better belly burst than good liquor be lost. Jonathan Swift As love without esteem is capricious and volatile; esteem without love is languid and cold. Jonathan Swift As blushing will sometimes make a whore pass for a virtuous woman, so modesty may make a fool seem a man of sense. Jonathan Swift Argument, as usually managed, is the worst sort of conversation, as in books it is generally the worst sort of reading. Jonathan Swift And he gave it for his opinion, that whoever could make two ears of corn, or two blades of grass, to grow upon a spot of ground where only one grew before, would deserve better of mankind, and do more essential service to his country, than the whole race of politicians put together. Jonathan Swift Ambition often puts Men upon doing the meanest offices; so climbing is performed in the same position with creeping. Jonathan Swift Although men are accused of not knowing their own weakness, yet perhaps few know their own strength. It is in men as in soils, where sometimes there is a vein of gold which the owner knows not of. Jonathan Swift All human race would be wits. And millions miss, for one that hits. Jonathan Swift A wise man ought to have money in his head, but not in his heart. Jonathan Swift A footman may swear; but he cannot swear like a lord. He can swear as often: but can he swear with equal delicacy, propriety, and judgment? Jonathan Swift J. Swift reflections Quotes by authors Quotes by arguments Essays with quotes Thoughts and reflections News and events Read the full article

#Anglo-Irish #aphorisms #gulliver'stravel #heaven #humanrace #humor #humour #irony #jokes #JonathanSwift #literature #love #quotations #quotes #satire #satirist #wits

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familyabolisher · 1 year

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re: this post, would you perhaps be able to reword it? i understand the words you're using individually, and i think i might kind of get what you're trying to say, but it's just one very long sentence and so i'm having trouble parsing it! (wait--i just reread it. initial question canceled, mostly--now: what alternatives might we have available to us?) and what does this section: "it feels all too easy to jump from that to then just stymieing our ability to actually describe the textual violences necessary to the discursive construction of that normativity in the first place" mean, exactly? thank you as always for running this blog. :-)

What I’m describing is a critical phenomenon wherein people will approach (usually canonical) horror texts which reify hegemony by ‘identifying’ with the monster who is generally figured in terms of alterity in some capacity; by extricating, for example, a queer narrative out of what is in fact a homophobic one, and treating this as something of a ‘reclamatory’ practice in which one ‘relates’ to that which the text figures as monstrous. The most common instance of this which I see is people’s discussion of Carmilla as an erotic lesbian romance; other examples include Dracula, or Frankenstein, or the socially currency invested in the idea of a ‘madwoman in the attic’ (ie. Jane Eyre).

I don’t think this is like, a practice that we need to do away with entirely, lol – but I do think that a) there are marginalised writers + filmmakers who are making horror with actual teeth, with actual radical edge, and we don’t need to keep pretending like this approach of reclamation-through-identification with a monster in a v normative work is all we have available to us when politically subversive horror does very much exist, and b) this critical practice is often vvv limited in its discursive scope, and tends to lack the kind of materialist analysis that I would consider necessary in talking about literatures of alterity/marginality/violence.

When I talked about stymieing our ability to describe the textual violences necessary to the discursive constructions of that normativity in the first place, I meant that overfocusing on these texts as “reclaimed” articulations of an essentially queer (or otherwise ‘othered’) imaginary can inhibit our ability, as critics, to describe how those texts in fact do not think of their monstrous figures as worthy of a sympathetic or appreciative narrative. I mentioned Carmilla above – we can talk about Carmilla as erotically lesbian, sure, but how far down the line in talking about it as a Queer Narrative do we lose track of the fact that the text itself asserts the sexual norms of white Christian hegemony to necessarily succeed over the perversion of the corruptive, predatory lesbian, or as an Anglo-Irish work positing Carmilla as an Irish woman (and thus a contaminant threat to Anglo-Irish society)? At what point in adulating Dracula as articulating a particular form of queer, effeminate Jewishness destabilising and threatening Jonathan and Mina’s persistent heterosexuality do we lose track of Dracula as having grown out of the fear that the new waves of Jewish immigration in London’s East End were vampiric sources of contagion, or its possible relationship to the antisemitic smears that grew out of the Jack the Ripper murders? Or like, taking Bertha Mason (or ‘the madwoman in the attic,’ because truly, v few people using this phrase are actually thinking about Bertha Mason lol) as a kind of feminist paragon – at what point do we begin to overlook the fact that Jane Eyre is a v racist text?

These aren’t necessarily contradictory approaches – like, for example, you can talk about ‘identifying’ with Dracula as emblematic of British Jewish assimilation and the discontents thereof whilst also talking about Dracula as an antisemitic text, even if the analysis in the former isn’t especially coherent – but the focus of the ‘identification’ treatment is often incredibly limited in its scope, and those limitations can often be detrimental to one’s ability to talk frankly and honestly about what a text actually says and does. A very good example such limitations is that of Frankenstein; an identification with Frankenstein’s monster as an entrypoint for textual analysis obfuscates the way in which Frankenstein constructed a discursive template by which the ameliorationist argument against the immediate abolition of slavery could be argued for. (The linked post lays this out v clearly, but the cited source is Mary Mulvey’ Roberts’ ‘Mary Shelley, Frankenstein, and Slavery,’ in Dangerous Bodies: Historicising the Gothic Corporeal). What I basically mean is, when we talk about relating to, identifying with, ‘reclaiming’ the monster, we have to have a real grasp on what it is we’re trying to impose such a practice on, and what the actual substance of the source text has to say for itself. I’m not one for assuming a text as a body with a set of metaphysical properties that we as critics are tasked to find – I think the relationship between text and reader ought to be dialectical – but part of that dialectical process means situating the text in its material social context and responding appropriately.

#ask

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milfsarahmccool · 2 years

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jerin-antis, i see you, i get it i really do, but it’s not about shipping, it’s not about another straight couple on tv, it’s not even about the friends to lovers arc, or shoehorning romance into where it doesn’t belong. this couple was coming from the start, there has been foreshadowing as early as season 1. lisa mcgee is utilising centuries old conventions that are a a staple part of irish drama and literature. it’s about the fact that two young people from totally opposing backgrounds can come together and fall in love and be happy even when their countries have a vitriolic relationship, even when history isn’t on their side, even when peace is tenuous, and the future is an unknown entity. it’s about this show being more than a sitcom, more than a simple family comedy, it’s about acknowledging past representations of anglo-irish romance, it’s about picking at the tensions which still exist in cross-community relationships, it’s about using this couple as a conduit for hope!!!!

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orangerosebush · 9 months

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hi there! I was wondering if I could pick your brain re: accents in the fowlverse because I adore reading your analyses and thoughts so I’m curious to see what you think! Artemis 1 and 2 I’m assuming have a Dublin accent (forgive me Irish fans I’m not familiar with Irish accents!), but what about butler and Juliet for example? And holly and opal and other fairies, while of course they can speak any language they’d like, do you think they adopt an accent that fits their language of choice, or is there a “fairy” accent they have?

Hi there! I have a few thoughts on this, though I will ask that you take them with a grain of salt due to being an American, lol.

The Irishness of the books is a subject on which people have written much more intelligently than I ever could. The first AF book was published in 2001, which I note here due to economic context. The "Celtic Tiger" refers to the rapid economic growth in Ireland from the mid-1990s to the late 2000s.

O’Leary, Eoin. “Reflecting on the ‘Celtic Tiger’: Before, during and After.” Irish Economic and Social History, vol. 38, 2011, pp. 73–88. JSTOR, http://www.jstor.org/stable/24338906. Accessed 2 Aug. 2023.

During this period of economic growth (which one must note was characterized by high technology exports), there was a boom in internationally successful Irish children's and young adult fiction. These books usually harkened back to pre-colonial mythology while incorporating high-tech themes connected to economic optimism for Ireland's future.

The 2011 essay collection edited by Keith O'Sullivan and Valerie Coghlan, Irish Children’s Literature and Culture: New Perspectives on Contemporary Writing, analyzes the historical context behind these trends in youth fiction.

O’Sullivan, Keith, and Valerie Coghlan. Irish Children’s Literature and Culture: New Perspectives on Contemporary Writing. 2011. Routledge.

‌Of the Irish children's fiction and YA published from 1995-2005, Colfer's Artemis Fowl series remains one of the most internationally popular. In looking at these books' success, Patricia Kennon interrogates the particular Irishness of AF in her essay, "Contemplating Otherness Imagining the Future in Speculative Fiction".

O’Sullivan, Keith, and Valerie Coghlan. Irish Children’s Literature and Culture: New Perspectives on Contemporary Writing. 2011. Routledge.

The first book establishes some interesting elements of the Fowls' class. When describing the relationship between the Butlers and the Fowls, we learn, “The first record of this unusual arrangement was when Virgil Butler had been contracted as servant, bodyguard, and cook to Lord Hugo de Folé for one of the first great Norman crusades"; the Fowls and Butlers arrive in Ireland as Anglo-Norman conquerors.

One other note we have about the Butlers and Fowls is that: “The original Fowl castle had been built by Aodhán Fowl in the fifteenth century overlooking low-lying country on all sides.” The fifteenth century saw the reconquest of Ireland under Henry VIII; Ireland was changed from a lordship (where the island was ruled by the King of England and controlled by loyal Anglo-Norman lords between 1171-1542) to a full Kingdom. Furthermore, with this excerpt about Aodhán Fowl, we must note that the Manor was built in Dublin. During the 15th century, Dublin was located in the Pale.

From Wikimedia

The Pale was located around and in Dublin, and it was the base of English rule in Ireland following the reconquest. By the Tudor period, there was intermarriage between the Gaelic Irish aristocracy and the Anglo-Norman lords, and many of the Anglo-Normans had become "Gaelicized"; descendants of the Anglo-Norman colonists were seen as assimilated into Irish culture and increasingly less "English" by the end of the Middle Ages. These descendants were seen as the "Old English" of Ireland, in contrast to the "New English" of Ireland of the Tudor invasion. One should note that in the case of the Pale, it remained subject to the English king during the 15th century when other parts of Ireland were predominantly under the rule of native Irish lords or Anglo-Irish lords (who, in theory, answered to the king). One should also note that the Pale was comprised of Old English merchants who were loyal to England. Thus, there is a specificity to the time in which Aodhán Fowl lived and built the Manor.

Based on the aforementioned bits of lore and historical context, we have to understand the Fowls as having their wealth and power tied to the class position they enjoyed historically due to being descendants of Anglo-Norman invaders, as well as being "Old English" during the reconquest. The Fowls are undoubtedly Irish -- Colfer positions Artemis and his family as nothing but -- yet they hold the power they do as a result of having at one point been Anglo-Norman (whose descendants "Gaelicized").

As such, IMO the Fowls wouldn't have a location-based accent per se, but rather an education-based accent that is posh, RP-style with a tinge of Dublin. FWIW, some Dublin accents already are received as posh, like the D4 accent. With the Butlers, I think that they'd have a similar accent to the Fowls due to being of a similar class. However, their training would likely lend them the ability to affect an accent that is "local" to wherever they are stationed.

Honestly, I have no idea on accents for the People! I would assume that there is a "Haven" accent, though when it comes to the gift of tongues, I am open to ideas as to how that would affect speech.

Also, I would love to hear any thoughts/additions you may have :)!

#artemis fowl

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walksinlatewithcoffee · 1 year

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Baby name ideas for the Empires Crew

Cause apparently yall need some now?

SCOTT:

Theme: colors

Scarlet

Amber

Violet

Cyan

Gray

Ash (associated with gray)

Beryl (a pale green stone)

Bianca (means white)

Carmine (crimson red)

Fawn (light brown)

GEM:

Theme: Sun

Citrine (light callback to s1 cause citrine is a stone formed when amethyst experiences intense heat)

Sunny

Apollo

Helios

Crystal

Peach

Flora

Alba (means Dawn)

Soleil (French sun name)

Star

JOEL:

Theme: gods/holy/Greek

Blessing

Hera

Theo (means ‘gift of god’)

Pandora

Ares

Eudora (Greek name meaning ‘generous gift’)

Skye

Achilles

Orion

Ouranos (Greek spelling of Uranus, father of the Titans and also a word meaning “the heavens”

KATHERINE:

Theme: dichotomy of glimmer grove/strength/beauty

Lilac

Lavender

Janus (words with contradictory meaning are sometimes called “Janus words”)

Hecate (goddess of witchcraft)

Persephone

Tempest

Farris (‘strong as iron’ according to the website I’m looking at)

Valentine (both a romantic association as well as having ‘strong’ as an earlier meaning)

Sterling (steel)

Belle

OLI:

Theme: music/independence

Harmony

Lyra

Aria

Viola

Lark

Cadence

Wolfgang

Rhythm

Robin

Spirit

JIMMY:

Theme: strength/common western names

Barrett (mighty as a bear)

Billy/Billie

Oak

Cash (last name if a famous singer)

Dakota

Beau

Daisy

Wynona (first name of a famous singer and a personal favorite of mine)

Cheyenne

Colton (I know so many yeehaw boys named Colton it’s an epidemic)

LIZZIE:

Theme: animals

Kitty

Wren

Leo

Wolf

Draco

Raven

Kit

Dove

Ursula (from ‘Ursa’ meaning bear + light callback to season 1)

Mariposa (butterfly)

SAUSAGE:

Theme: peace/safety/protection/rabbits

Faith

Jack (jackrabbit)

Serenity

Peter (Peter cottontail)

Olive/Olivia (olive bran em has symbol of peace)

Alexis/Alexander/Alexa etc. (All meaning protector of mankind)

Atlas

Angelo

Anthea (goddess/flowers)

Crysanthos (golden flower, name of a Saint)

PIX:

Theme: history, ancient stuff, stones, memory (amendment: I couldn’t find many good names so I just found a bunch of really old names)

Sophia (lover of wisdom/knowledge)

Athena

Beowulf (both a name meaning ‘intelligent wolf’ and the oldest known work of Anglo-Saxon literature)

Sage

Alareiks (gothic name meaning ‘ruler of all’ modernized as Alaric but I think Pix would use the older version)

Áleifir (old Norse form of Olaf and that is such a downgrade on spelling why did we ever stop using the original spelling????? Also means ancestor’s legacy which is PERFECT)

Caecelia (original Latin spelling of Cecelia, means both “blind” and is the name of an ancient religious martyr)

Cúán (“little wolf” in Old Irish and I think that’s just cute)

Demophon (literally “the people’s voice” in Ancient Greek)

Ingo (an old name and also a reference to a character who accidentally travels back in time in Pokémon: Legends Arceus) (I’m running out of ideas can you tell?)

JOEY

Theme: water, treasure

Diamond (it’s not that weird I went to high school with a girl named diamond)

Jade

Cordelia (apparently means daughter of the sea)

Hudson (literal name of a body of water on earth)

Caspian (literal name of a body of water on earth)

Opal

Gold

Sapphire

Tiara

Jasper (a personal favorite + matching initials)

FWHIP:

Theme: names with negative meanings, more stones (no I didn’t use them all on Joey’s list actually)

Lapis

Jet

Onyx

Ruby

Topaz

Deidre (sorrowful)

Kennedy (misshapen head)

Cain (I don’t think I need to explain this one. It’s also a favorite name of mine)

Cameron (crooked nose)

Lorelei (literal translation is ambush Cliff, but colloquially the meaning is ‘a woman who leads a man to his death’ which is metal as fuck)

SHELBY:

theme: herbs/witchy stuff/creepy stuff

Damien

Desdemona (Ill-fated one)

Rosemary (both an herb and a character in a classic horror film)

Nyx

Poe

Salem

Blair

Belladonna (comes with the literal translation of ‘beautiful woman’ as well)

Morrigan (literally ‘phantom queen’ and a figure in Irish mythology)

Dusk

FALSE (if she ever logs in to participate)

Theme: obnoxiously British as befitting a steampunk theme

Silas

Ambrose

Augustus

Eleanor

Gwendolyn

Scarlett

Theodosia

Lysander

Wesley

Luther

#empires smp #scott smajor #solidarity gaming #mythical sausage #fwhip #joey graceffa #shubble #katherine elizabeth #geminitay #the orion sound #I’m half tempted to @ Scott #someone braver than me can lol

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the-fae-folk · 1 year

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Hello! Do you have any tips for when it comes to writing stories about the fae? Are there things to keep in mind and things to avoid? I have a story in mind, but am a little nervous to get started. Since you have a lot more experience, I wondering if you could please help?

CAWRK!

Hah hah! I do have some tips.

Let's start with things to keep in mind when you're writing Fae.

1. The Fae we know and love are really more of a mixing pot. They draw from a myriad of European Cultures and multiple different time periods. The notable ones are Brythonic (Bretons, Welsh, Cornish), Gaelic (Irish, Scots, Manx). Also important to note are the Germanic Peoples and their mythologies (Norse Mythology, Anglo-Saxon Mythology, and Continental Germanic Mythology), as well as influences from Slavic Fairy Tales and Folk Beliefs.

In addition to other European or other Cultures that might have gone unmentioned, there are some historians, such as Barthélemy d'Herbelot, who believed that fairies were adopted from, or at least heavily influenced by, the Peris of Persian Mythology.

And even with the slow borrowing of ideas over the centuries of passing around Folklore and Fairy Tales, our idea of what the Fae are keeps being added to or changed. The English Middle Ages had its influences on them, and the Victorian Era British brought about massive changes to how they were viewed.

Literature over time has played its part in evolving how we depict them, and Modern Fantasy Literature has produced countless changes, likely even more than the Victorian Era.

2. There's actually very little about Faerie Folklore that is consistent across all of it's varied and tangled forms. We tend to assume Faeries are all Elf-Like and pointy eared, immortal royals because those were some of the most influential interpretations that our Modern Fantasy has carried to us. But research even a little about the Folk and you’ll instantly start coming up with all sorts of contradictions, even between people in the same cultural area over time. While there are a number of ideas of what Faeries are, from both ancient times and modern, we’re not even sure of that. Some believed them ghosts of the dead, or higher spirits, elemental spirits, fallen angels, demons, demoted pagan deities, remnant memories of prehistoric humanoid peoples (this theory is considered outdated), or even beings wholly different from humanity and possibly from another world. 3. There’s no particular reason Faeries need to be depicted as human-like in appearance. It is true that at times the term Fairy has been applied specifically to various groups of magical creatures with a human appearance, magical powers, and a mischievous nature. But it has also been used as an umbrella term for almost any magical creature. Many of them are vaguely humanoid such as gnomes, goblins, imps, trolls, brownies, etc. And sometimes there are beings who are not even remotely humanoid that are slipped under the umbrella of Faerie. Such examples as metaphysical beings or living elemental forces, the Cat-sìth, Cù-sìth, will-o’-the-wisps, the questing beast, or even occasionally dragons. Something that adds to this inclusion is the fact that the word Faerie, as it changed and moved about, came to mean many different things. Latin “Fāta” meaning the goddess of fate, to the Old French "Faerie" which meant not only the realm of enchantment, magic, or dream associated with the Fae, but also the occult, the collective canon of magical or mythological beings, beasts, or creatures, or anything that is the product of enchantment or illusion. From there it moved into the Middle English Fairye (faierie, ffayery, fayre, ffeyrye, faerie, feyrye, fairi, fairie) where it was to mean enchantment, illusion, dream at first. Then it expanded again to cover the inhabitants of fairyland as a collective. When they are humanoid, the appearance of the Fae can be as varied as humanity and likely more so. When they are not, they could be in any shape or form. Not everything has to be elfin, slender, white, and pointy eared. And this isn't even counting the countless stories depicting them as having some shapeshifting abilities. 4. Faeries are given many traits by many different stories. Immortality, a trickster nature, an aversion to iron, an inability to lie. But not all of these traits came from the same places or time periods. Indeed there are many stories both old and new that depict Faeries of various kinds perfectly well with only one, two, or even none of them.

5. Classification. A lot of people like to split the Fae into courts and various other groups and types. But it’s impossible to fully classify fairies, there’s just too much in folklore to properly sift through it all in a single lifetime, or even several lifetimes. But categorizing does serve a practical purpose, it helps to separate elements and groups from one another, and to understand underlying distinctions that ancient people would have just known but we have no contextual knowledge for. But many folklorists actually caution against over-categorization. Folk beliefs tended to be fluid and ever changing, leading to many names and types of beings that were inconsistent or having multiple names for the same type of being. Folklorists trying to stick to strict definitions are doomed to frustration. Even our delightful fairy courts, such as the seelie and unseelie, are really much less distinct that we like to think. Groups of faeries changed from tale to tale, and even from one version of a tale to another. Alright. Before I get too carried away, let’s look at the few things you might want to avoid or watch out for.

1. Despite the word Faerie being used as a way to refer to all the magical creatures and beings that those people would have known, be warned that trying to pluck mythical creatures and races from other cultures or religions and include them under the banner of Fae is not generally a good idea, even for a work of fiction. Best stick to stuff already connected to Faeries in one way or another from European Folklore. Or you might borrow some of the newly invented races from Modern Fantasy (such as Tolkien’s Orcs, or the later Dungeons and Dragons version of Orcs). Or if you’re feeling creative you can create your own entirely new and unique Fae creature.

2. Faerie Folklore, stories, fairy tales, and myths are unfortunately home to a lot of truly nasty things. Enslaving humans or Fae, kidnapping, rape, child murder, murder, permanent transformation into inanimate objects, racism, and much else. And while these do not make up the body of the story, they are there and consequently at least one or another will appear in most adaptations of the Fae. This in itself isn’t a bad thing, as those are legitimate motifs and themes that can be explored well in a narrative. But just because the characters might do something horrific, doesn’t mean you have to frame it as a normal or acceptable thing. Be very careful when exploring such themes as these in your work, do your research, and if you feel like you cannot discuss a disturbing theme such as this in a way that does it justice, that’s okay. You don’t have to include that just because it was in folklore. There’s a lot of folklore that doesn’t have it, there’s plenty to draw from about the Fae that isn’t awful. While I generally encourage instances of Blue and Orange Morality when it comes to the Fae, whether disturbing or light-hearted, If you find that you’re not comfortable with the elements of your own story… please don’t force yourself to write those in.

3. Don’t worry about making your Faeries historically accurate. You could try to copy one specific European Culture’s version of the Fae and only that one. But it’s inevitable that it’s not going to be completely right, or anywhere close. Studying the Faerie Folklore from even one Culture is the work of lifetimes. Your best bet is to take the folklore as inspiration, bits and pieces from here and there as you need them.

4. Always do your research, and make sure your sources are trustworthy. In addition to just plain old misinformation, there is a lot of folklore from these old European Cultures that has been appropriated and twisted, or misrepresented, or purposefully removed from context and time in some way in order to promote or justify racist ideologies, harmful or toxic behavior, to purposefully cause conflict and divide people, or even just to cause confusion.

My point is that you should be very careful about what you actually believe when it comes to researching folklore of any kind, Fae included. Can its sources verify the information solidly? Does it even have sources? Is the place you got it known for its reliability in information of this kind? If your source is somewhere on a social media site then it's a definite no. A blogging site, like Tumblr? Then you should know that blog posts are not considered verifiable sources, though there is some acceptance for those that fuel further research. Alright. I’ll leave it there. Now some quick tips for you.

1. Think about what style and atmosphere you want for your story. If you want the Fae to seem a certain way, or to feel close to a particular version, you need to find out what it is that makes them feel that way in the original and try to learn the writing technique.

2. The point is to tell a story, a narrative. You cannot include everything. You cannot represent everything people associate with the Fae. If you have some problematic theme from folklore you want to explore, or some social issue you’re planning on talking about in fiction form, fine. But stick to one or two. Not all of them. To tell an effective story you must narrow the focus so you and your audience don’t lose track of the central ideas.

3. It’s tempting to spend all your time building a huge complex culture for your story. I’m definitely guilty of that one. World-building is addictive. But set reasonable limitations for yourself.

4. Do spend some time considering who the Fae are. If they’re immortal, that will affect their whole culture, from what they eat or if they eat at all, to how they dress, what their art is like, and how they might think. People often forget that the Fae are supposed to be Other, not just magical nature humans with fancy gowns and a lot of lawyer talk. They are alien, different, strange. Their culture, their biology, their needs. 5. If you want to make a cliched Fae people in fancy courts who are averse to cold iron and cannot lie but deceive and dissemble with every breath… go for it. There’s nothing wrong with that. Cliches are cliche for a reason, they work. There would even be advantages to using this common depiction of the Folk, because many people are already familiar with it, you can spend more time in your story focusing on other themes or ideas, using the well known Fae traits to draw your reader’s expectations to where you want them.

6. Verse and rhyme are important tools you can use. Fae are often depicted singing or speaking in riddles and rhymes. Take a look at some writers who use a lot of poetry in their stories. Tolkien and Brian Jacques are some that spring immediately to mind, though there are many more. Keep in mind that if your poems or verse doesn’t add to or match the flow of your story and have purpose in forming your narrative, then it will likely just break the reader's immersion instead.

7. With the Fae a common theme is that beauty doesn’t equate good, and ugliness doesn’t equate evil. But beauty as a theme with Faeries is quite old and has taken a lot of different forms. Beauty of the ethereal or the divine, of the otherworldly and alien. The extraordinary beauty found in the natural and ordinary that we are blind to every day. The alluring beauty of illusions. Beauty is a very subjective thing, and so thus it is an excellent tool to use in exploring Fae narratives where it can be shaped in countless ways to do different things in the narrative.

8. Point of view is also very important to how you’re going to frame your faerie people. If your story is set from the viewpoint of someone who knows nothing about Fae then their understanding of these magical persons will be very different from the viewpoint of someone who goes into this adventure already having some working knowledge of them. Or you could depict the Faerie from the eyes of one of their own, and a faerie would see their own people in a very different way than a human would, for good or ill.

9. I cannot stress enough the importance and effectiveness of WHIMSY as a narrative technique when writing about distantly metaphysical or surreal subjects such as the Fae. Balanced well with the aspects of your work that are more grounded, it can help the flow of your writing immensely and aid in keeping your reader engaged and immersed.

#fae #faerie #quoth the raven #writing advice #advice on writing fairies #the fae folk #writing fae

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acrossthewavesoftime · 11 months

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Two days ago having been the anniversary of the start of the Rebellion of 1798 reminded me of my Introduction to English Literature seminar as an undergrad, which was taught, rather to my own excitement, around the poetry of W. B. Yeats/ the literature of the rising (pun defintively intended) Irish nationalist movement of the late 19th and early 20th century.

Keep in mind that the university in question was not in an anglophone country, let alone in Ireland, the docent needed to explain the history around Irish nationalism and its roots in British colonialism somewhat for his audience of students of whom most had never head about any of this.

In order to describe how the Ascendancy (not all, if you look at were the likes of Yeats and Gregory came from but you get the idea) felt about the rising sentiment of at first some, then steadily more Irish people supporting some way, shape or form of self-government between Home Rule and full independence from the UK (and at last, country houses of the land-owning classes going up in flames), he used this term:

Anglo-Irish Anxiety

...And it has been stuck in my brain ever since. I wonder if you could (still) get someone diagnosed with that...

#history humour #r rambles #irish history

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duskoscrawl · 8 months

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A break down of my 'The Voices Beneath' Series and Playlist

The entire playlist can be accessed on YouTube here and the series is on ao3 here and is summarised as following:

An exploration of the pervading influence of Dwendalian Nationalism over the Empire's citizens and how it seeps into their mentalities. Particularly through the life of Caleb Widogast.

The Playlist, Song by Song:

Mordred's Lullaby, Heather Dale: this is the song that the series title is drawn from. It draws from Arthurian myth and is pretty dark for a lullaby. The series premise draws from the lines 'And you won't understand the cause of your grief | but you'll always follow the voices beneath' which I think really feeds into the collective grief stricken nationalism of the Zemni Fields.

Eat Your Young, Hozier (Bekon's Choral Version): A lot of my work for this series is rooted in Irish literature - especially since my reading of the EGW suggests that the fields are mostly worked by tenant farmers - therefore I was thrilled when Hozier released a song based on Johnathan Swift's 'A Modest Proposal' which argued that as the English landlords had stolen so much from the Irish, why didn't they just eat the children too. It is this kind of energy that fuels the first half of Zemnian Days (fort, doch nicht vergessen), which is a bildungsroman of Una Ermendrud's life and explores day to day life in the fields.

The Worker's Song, Ben Robertson (Ed Pickford, arr. Dick Gaughan): this is a very good folk song about the systematic abuse of the working class. The lines 'and when the sky darkens | and the prospect is war | who's given a gun | and then pushed to the fore?' play into the Righteous Brand's recruitment of farmhands from the fields, seen throughout Zemnian Days.

Pleasant and Delightful, the Longest Johns: this is a folk song about love and grief and longing, perfect for the last section of Zemnian Days, where Una and Leofric fall in love, but Leofric signs up to the Righteous Brand to be able to financially support the child Una falls pregnant with.

Unbreakable, Keiino: this is one of my go-to songs for Caleb. It's based on the story of the Snow Queen and carries that fairytale vibe that Caleb delivers so well with Der Katzenprins and the Waldhexe. It is paired with Looking Out of the Window which is a fic in which Una watches her son grow up for sixteen years, and ends in fire and flame. When listening to the song, I often position Ikithon as the evil mother figure from the Snow Queen who is making Bren unbreakable

The Innocent, Aurora: this is where the thrumming beat of Rexxentrum starts to play. Where Bren gets his scholarship and meets the city with wonder and joy. The song slowly spirals into a kind of desperation, wherein you can imagine Ikithon taking power over the Blumendrei.

A Temporary High, Aurora: this is the song for the Blumendrei being each other's only comfort in the midst of Ikithon's torture. There's a running motif throughout the song about being cold and hoping that the love is not just a temporary high - which I think really plays into the whole story of their imprisonment in the Academy tower.

Wulf ond Eadwacer, Hanna Marti: this is my favourite Old English poem, excellently performed by Hanna Marti. It is spoken by an Anglo Saxon woman about her two lovers (historical debate and difficulty in translation makes this uncertain), but I have drawn from my favourite bits of translation to write Ungelīc is ūs (we are apart). This covers Astrid's story of the first month after Bren breaks and she is a fully fledged Vollstrucker. It is very intense about the level of control Ikithon has over her life.

The In-between (piano solo), Evanescence: this is a particularly haunting piece of music that encompasses the first part of Bren's imprisonment in the Vergessen Sanatarium. It pairs with the fic Hourglass of Ash, which is a free indirect discourse piece showing Bren's perspective of his time in Vergessen.

Me and the Devil, Soap&Skin: this covers the end of Hourglass of Ash where the man who will become Caleb Widogast comes to himself in Vergessen Sanatarium and begins to face the horror of what he has done.

The Tragedy of Widogast, Chase Noseworthy: this is a wonderful song, and in this playlist it bookmarks the birth of the man who is becoming Caleb Widogast. As a lot of this is covered in game, I have not written much for the next section of songs.

Feed the Machine, Poor Man's Poison: this song is another one about the systematic abuse of the working classes. It is my song for Nott and Caleb before they meet the Nein.

Give Me a Reason, Chase Noseworthy and Lilli Furfaro: this is a beautifully haunting song about Astrid and Caleb meeting in Rexxentrum. It keeps its context in this playlist.

Dine with the Puppetmaster, Chase Noseworthy: this song is about the dinner with Ikithon. It keeps its context in this series, and I very much enjoy the imagery that is used in the song.

This is Love, Air Traffic Controller: this song is my go-to song for Trent Ikithon. It has a relentless set of vocals that sing from the perspective of an abuser. There is also another voice that reminds me of Astrid. In this playlist, this song represents the final battle against Ikithon in the finale.

I Won't, AJR: courtesy of @leetlesapphiretiefling. This song directly pairs with the fic I do what you tell me to (and do it to death), which is a character study of Eadwulf. The fic is inspired both by the song and by a hedgerow in my village that I was walking along. It explores snippets of Wulf's childhood, paired with his survival technique during his years with Ikithon.

So Human of You, Shireen: this song is about deriding a person who bases their humanity in cruelty. It pairs with Inheritance of the Archmage, which is a fic about Astrid having Wulf, Caleb and some members of the Cobalt Soul helping her to clean out Ikithon's Candle, which she, as the new Archmage of Civil Influence, has inherited. It is about coming to terms with the cruelty that has made up the last 17 years of her life.

The Devil is Human, Aurora: this one is also related to Inheritance of the Archmage, as it carries a similar message about humanity and cruelty. It also refers to the singer and associates as becoming 'real human beings' which I tie into Astrid and Wulf being able to move out of living in survival mode and process what has happened - something that is explored in the fic by them finding a cache of genuine letters from their families that Ikithon had withheld from them.

Waldhexe, Chase Noseworthy and Ginny Di: this song directly inspired Waldhexe (spare us from your claws). This fic is a pov outsider piece from the perspective of the Ermendrud's neighbours, who see Caleb come to visit home as a ghost. It is about the collective grief in the Fields, as the War of Ash and Light (I think that's what it's called, Essek's war) had robbed the Ehlers of their three children, all of whom were called up to be soldiers. It works to reconcile the broad strokes of the campaign with the minutia of the thousands of inhabitants of the Empire and the Dynasty.

Lost Without You, Freya Ridings: this is the purest grief song on this entire playlist and it is dedicated to a goose called Peck Beck, who is the narrator for Find Familiar. This fic is about a goose who loves baby Astrid unconditionally and is then eaten when her family die, before being brought back as a familiar. I adore this fic. It was inspired by a trip round a lovely Welsh museum of culture (it's the kind of museum where they have lots of historical buildings on site and they had medieval farmhouses through to modern ones).

Gloria in Excelsis Dei, Vivaldi: I would have put the whole Gloria oratorio in here if I thought I could get away with it. This accompanies the fic Gloria, which details Essek viewing a graduation at the Soltryce Academy and exploring the role of pomp and ceremony in nationbuilding. It was inspired by watching my flatmate perform Gloria with a university choir in a particularly nice church.

Garden of Bones, Galdorcræft: this is a very dark sounding song about being in the garden and keeping on living. It pairs with my fic Bitter Meadowsweet, which deals with Caleb mourning the mundane aspects of his childhood, as well as the fact that he will never be able to learn skills and recipes off of his parents.

Earth Mother, Fáerhin: this is a fairly dark sounding ambient song that carries an ominous sense of peace. It is another one for Caleb's garden and the uneasy sense of peace you get when mingling the soft epilogues with the political uncertainty of Rexxentrum politics and Essek's situation.

Brave New World, Kalandra: this is a beautifully dystopian song. I associate it with Beau and Caleb beginning to uncover just how deep the Cerberus Assembly corruption goes, as well as trying to utilise Caleb's role in the Academy to curb wizard hubris. For that reason, it goes with the fic Control Flames, which is a pov outsider view of professor Widogast that I began writing in the wake of the finale.

A Good Song Never Dies, Saint Motel: this song has a very determined beat, and a very strong sense of purpose. It is a song I associate with Beau and Caleb working to take down the Assembly.

Death to Cerberus, Chase Noseworthy: this song is about taking down the Cerberus Assembly and the implications that might accompany it. It keeps its context in this playlist.

Hiraeth, Plu: this is a lovely song in Welsh that sounds almost hymnal. It is for this reason that it makes a good conclusion to the playlist and a good companion to No More Children On The Pyre, which is a love note to the impact that the Mighty Nein's ethos has had upon Wildemount, and Exandria.

All in all, I think that The Voices Beneath is the series that I'm most proud of.

#chill to reblog #critical role #campaign 2 #long post

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insidemyfavoritemanuscript · 1 year

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Episode 7: Brandon Hawk on Old English, an audience of women, and why it’s called The Vercelli Book

Vercelli Book, folio 106v

In Episode 7 of Inside My Favorite Manuscript, Lindsey and Dot chat with Brandon Hawk about The Vercelli Book, one of the four major surviving manuscripts containing Old English literature. We talk about the sermons, the poetry, Celtic inspiration in what decoration there is, and why it’s called the Vercelli Book.

Listen here, or wherever you find your podcasts.

Below the cut are more page images from the manuscript, links to the books discussed in the episode, and further reading.

Folio 1r

Folio 9v

Folio 106v, with zoomorphic initial and a Celtic knot.

Folio 112 r, another zoomorphic initial with Celtic knot.

Folio 132 r

Further Reading

On the manuscript itself:

Digital facsimile at the Digital Vercelli Book.

Tony Burke and Brandon W. Hawk, "Vercelli, Biblioteca Capitolare di Vercelli, MS CXVII," Manuscripta Apocryphorum, North American Society for the Study of Christian Apocryphal Literature, March 25, 2022.

For editions/translations of the Vercelli Book texts:

George Phillip Krapp, ed., The Vercelli Book, Anglo-Saxon Poetic Records 2. (New York: Columbia University Press, 1936).

Donald G. Scragg, ed., The Vercelli Homilies and Related Texts, Early English Text Society Original Series 300 (Oxford: Oxford University Press, 1992).

Lewis E. Nicholson, ed., The Vercelli Book Homilies: Translations From the Anglo-Saxon (Lanham, MD: University Press of America, 1990).

Accessible translations of the poems can be found at Aaron K. Hostetter's Old English Poetry Project, hosted by Rutgers University.

For studies mentioned in the show: Mary Dockray-Miller, "Female Devotion in the Vercelli Book," Philological Quarterly 83 (2006): 337-54.

Éamonn Ó Carragáin, Ritual and the Rood: Liturgical Images and the Old English Poems of the Dream of the Rood Tradition (London and Toronto: British Library and University of Toronto Press, 2005).

Amity Reading, Reading the Anglo-Saxon Self through the Vercelli Book, Medieval Interventions 7 (New York: Peter Lang, 2018)

Donald G. Scragg, “The Compilation of the Vercelli Book,” Anglo-Saxon England 2 (1973): 189-207.

Elaine Treharne, “The Form and Function of the Vercelli Book,” in Text, Image, Interpretation: Studies in Anglo-Saxon Literature and Its Insular Context in Honour of Éamonn Ó Carragáin, ed. Alastair Minnis, and Jane Roberts (Turnhout: Brepols, 2007), 253-66.

Charles D. Wright, The Irish Tradition in Old English Literature, Cambridge Studies in Old English Literature 6 (Cambridge: Cambridge University Press, 1993).

Samantha Zacher, Preaching the Converted: The Style and Rhetoric of the Vercelli Book Homilies, Toronto Anglo-Saxon Series 1 (Toronto: University of Toronto Press, 2009).

#medieval #manuscript #old english #old english poetry #poetry #sermons #i'm at the poetry i'm at the sermons i'm at the combination poetry and sermons #inside my favorite manuscript #imfm #podcast

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quotation--marks · 19 hours

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Any thing like a general argument Mr. Hardcastle could not comprehend. He knew every blade of grass within the reach of his tether, but could not reach an inch beyond.

Maria Edgeworth, Ennui

#ennui #maria edgeworth #1809 #1800s #19th century #irish literature #anglo-irish literature #queue pierce my soul

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paganimagevault · 2 years

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Tailteann Games 1924 & 32 programme covers

"The Tailteann Games, Tailtin Fair, Áenach Tailteann, Aonach Tailteann, Assembly of Talti, Fair of Taltiu or Festival of Taltii were funeral games associated with the semi-legendary history of Pre-Christian Ireland.

There is a complex of ancient earthworks dating to the Iron Age in the area of Teltown where the festival was historically known to be celebrated off and on from medieval times into the modern era.

The games were founded, according to the Book of Invasions, by Lugh Lámhfhada, the Ollamh Érenn (master craftsman or doctor of the sciences), as a mourning ceremony for the death of his foster-mother Tailtiu. Lugh buried Tailtiu underneath a mound in an area that took her name and was later called Tailteann in County Meath.

The event was held during the last fortnight of July and culminated with the celebration of Lughnasadh, or Lammas Eve (1 August). Modern folklore claims that the Tailteann Games started around 1600 BC, with some sources claiming as far back as 829 BC. Promotional literature for the Gaelic Athletic Association revival of the games in 1924 claimed a later date of their foundation in 632 BC. The games were known to have been held between the 6th and 9th centuries AD. The games were held until 1169-1171 AD when they died out after the Norman invasion.

The ancient Aonach had three functions: honoring the dead, proclaiming laws, and funeral games and festivities to entertain. The first function took between one and three days depending on the importance of the deceased. Guests would sing mourning chants called the Guba, after which druids would improvise Cepógs, songs in memory of the dead. The dead would then be burnt on a funeral pyre. The second function would then be carried out during a universal truce by the Ollamh Érenn, giving out laws to the people via bards and druids and culminating in the igniting of another massive fire. The custom of rejoicing after a funeral was then enshrined in the Cuiteach Fuait, games of mental and physical ability.

Games included the long jump, high jump, running, hurling, spear throwing, boxing, contests in swordfighting, archery, wrestling, swimming, and chariot and horse racing. They also included competitions in strategy, singing, dancing and story-telling, along with crafts competitions for goldsmiths, jewellers, weavers and armourers. Along with ensuring a meritocracy, the games would also feature a mass arranged marriage, where couples met for the first time and were given up to a year and a day to divorce on the hills of separation.

In later medieval times, the games were revived and called the Tailten Fair, consisting of contests of strength and skill, horse races, religious celebrations, and a traditional time for couples to contract "Handfasting" trial marriages. "Taillten marriages" were legal up until the 13th century. This trial marriage practice is documented in the fourth and fifth volumes of the Brehon law texts, which are compilations of the opinions and judgements of the Brehon class of Druids (in this case, Irish). The texts as a whole deal with copious detail for the Insular Celts.

From the late nineteenth century, the Gaelic Athletic Association (GAA) and others in the Gaelic revival contemplated reviving the Tailteann Games. The GAA's 1888 championships of football and of hurling were unfinished owing to the American Invasion Tour, an unsuccessful attempt to raise funds for a revival.

The Second Dáil approved a scheme in 1922, and after a delay caused by the Irish Civil War the first was held in 1924. Open to foreigners of Irish heritage, the first games of 1924 and 1928 attracted some competitors fresh from the Olympics in Paris and Amsterdam. The Games' main backer, minister J. J. Walsh, lost office when Fianna Fáil took power after the 1932 election, and public funding was cut. The 1932 games were on a smaller scale against a background of the Great Depression and the Anglo-Irish Trade War, and no further games were held.

Jack Fitzsimons suggested reviving the Tailteann Games in a 1985 Seanad Éireann debate on tourism in Ireland.

The Rás Tailteann ("Tailteann race") cycling race was founded in 1953 by the National Cycling Association (NCA), in opposition to the Tour of Ireland organised by the rival Cumann Rothaíochta na hÉireann (CRÉ). Cycling Ireland, the merged successor to both the NCA and CRÉ, still organises the Rás Tailteann annually, but it is usually known as "the [sponsor] Rás", or simply "the Rás".

The Irish Secondary Schools Athletic Association organised annual national championships from 1963 under the name "Junior Tailteann Games". Athletics Ireland continues to use the name "Tailteann Games" for its annual schools inter-provincial championships. also independently the tailteann games are an inter-gaeltacht event that includes other activities."

-taken from wikipedia

#ireland #irish history #sports #sports history #pagan #paganism #lughnasadh #celtic #celts #ancient celts #tailtiu #tailteann #1920s #1930s #book art

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krovscastlerpg · 3 months

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James "Jamie" Leander Greenwood | Slave | 37 | Phoenix | Bottom

“Give til it hurts.”

James Leander Greenwood was born with the name Aidan, meaning fire, to two firebirds in Ireland. He had a sheltered early childhood he mostly can't remember anymore before slavers found his parents. His parents taught him to hide his avian form at all costs until he could control his powers and to never reveal who or what he was to any authority. They hid him as their last act, putting him into a train car before taking off and leading the slavers away. So Aidan arrived in Dublin without a home or any identity. He wasn't identified as a phoenix due to a social worker choosing to hide him to keep him from a similar fate to his parents. She told his adoptive parents, both witches, to keep him hidden whatever way they could. So instead he was raised mostly human by a pair of professors working at Trinity. His father got a job offer to Oxford and his mother and her growing set of children took off for England.

Jamie grew up there with his 8 siblings and lived a fairly charmed life. His parents were Irish nationals but he and his brothers and sisters all sounded almost posh just from growing up in the Oxbridge area. The family never had enough money but they loved each other and books were always free at the library. His parents used their magic to hide him from detection, and while he knew he wasn't human, it was easy to almost forget as long as he took the potions they had for him and had to stay in for a week twice a year during heat. His early childhood seemed more and more like a dream. His "phoenixness" seemed more like an allergy or a strange illness that he had to hide and tried to ignore as much as possible. He was aware that he was a firebird and explored his abilities but he didn't have an awareness of how far he could take them and was constantly afraid that this might put him and his family at risk. There were aspects, like healing tears, that he never really understood their full capability.

While he was in his third year of grad school, both his parents were killed in a car accident. They never woke up and by the time Jamie got to the hospital, they'd already passed. His parents' insurance compan denied as many claims as possible, and the university informed him and his siblings that they would have to vacate the house that had been provided to them.

Penniless, with part of a PhD in Anglo-Saxon Literature, his parents having left no money behind, and his siblings going into care, Jamie had the dubious fortune to meet Delilah. She even informed him that, had he been able to make it to his parents' bedside in time, they might have been saved by his tears. This fact left him more than a little haunted.

Delilah told him he was lucky that he hadn't been found by a vampire already, that his blood was so valuable that his kind had been hunted for it. However, she only gave him her card and told him to call her if he ever needed anything.

Jamie realized he had only one thing that was worth any money: his blood. His aunt was willing to take in his siblings, if someone could provide money for their upbringing. He was the adult, it was his job to sacrifice for them. So he offered Delilah a deal: he would be her blood slave in exchange for a lump sum of 2 million dollars. Even that seemed an absurd sum, but she readily accepted. He set up a trust for his brothers and sisters, told them he was going to go do important work and he probably couldn't see them for a while, but it was to make sure that they were taken care of. And he fell into Delilah's clutches.

From the moment she put the collar on him, Delilah treated him like an object. She drank from him, "served" him at parties, and otherwise left him alone. He could spend months without seeing anyone but her. It started to make him a little crazy, the isolation and longing for contact with the outside world. The only good parts of his weeks were the times when she'd leave and he could use her phone or computer to chat with his siblings.

He read everything, watched TV, wrote long rambling novels in notebooks that he never showed anyone, and made friends with the birds outside and the occasional mouse or spider that found its way indoors. He tamed a squirrel enough to sit on his hand.

Delilah got another blood slave, Rory, and they were friends. Rory was the child of slaves and was much more used to the life, seemed to not expect anything else and enjoyed whatever small gifts Delilah bestowed on her without wishing for more. But she became another of Jamie's siblings, and he felt as protective over her as any of the others.

It had been 8 years since he'd become Delilah's wine glass, and she'd grown tired of him. Even though he hadn't aged and his blood was just as rare as it had been when she'd bought him, she found his moping and negative energy annoying. She told him if he didn't smarten up, she'd sell him to a brothel. In a rare moment of anger, he dared her to do it.

Delilah was impetuous and not too bright, and decided to do it. Rory, fearing for Jamie, found a way of getting the collar off of him and helped him escape. It was doomed to failure and Delilah was furious, threatening to kill Rory and feed Jamie to wolves.

Jamie offered a second deal: he would be good and go quietly if she let Rory go. Rory was human and had almost no value, except to Jamie. Delilah, fed up with both of them, accepted the deal. Rory was shipped off to Jamie's aunt and Jamie was shipped off to Krovs, a casual cruelty on Delilah's part to make sure he couldn't run away to find his family.

Jamie is new to Krovs, new to being a sex slave, and new to being around large groups of people in general. He vacillates between fascinated and terrified, and mostly just hopes that somehow he'll be able to see his siblings again.

Positive Traits: Generous, kind, protective, law-abiding, enthusiastic

Negative Traits: Naive, ignorant, needy, depressive, fatalistic

3 turn-ons: being fed on, bdsm, rough sex

3 turn-offs: age play, bathroom play, forced feminisation

#supernatural rp #smut rp #mxm rp #kink rp #oc rp #jamie greenwood #character #paul mescal

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