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yuraimi-lee-bunny · 3 years

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Gray’s Character Analysis Part II. Empathy vs Ambition

Hello! Sorry if it took me a while to show the next part of my Gray’s analysis, but this part was a bit difficult for me especially in what order I should give it. You'll see what I mean as soon as you read. This part is going to be a little longer than the previous one and will explain some issues not only about Gray, but also about Carmen and VILE in general.

Thank you very much for the support of the previous analysis and I hope you like this too! Here we go!

As we already know, Gray is an orphan. And yes, it’s important to understand certain behaviors and ways of thinking about him. First, I want to explain a small detail of Black Sheep/Carmen so that Gray's decisions are understood in greater depth once he’s in VILE and his ease of trying to go far (and even the position of almost all VILE agents would also be understood usually)

Why does Carmen think and feel different compared to all VILE and especially Gray?

Simple: Empathy.

Now, it doesn't mean that Carmen is the only one who has empathy and others don't. Rather, Carmen's level of empathy is greater, deeper and broader. What caused it? Living in VILE was the first.

Yes, surprisingly it was that, VILE created her own "enemy" since they decided to give her a home on the former Island of VILE when she was a pretty baby. From the first episode, Carmen relates how stealing was a game for her and VILE Faculty was like her family in some way, especially Coach Brunt because her relationship was "mother/daughter." The other members of the faculty treated her well, they taught her the culture of thier countries and around the world, they gave her food and clothing, a large home, basic education and also living with many VILE students. But Black Sheep only knew the "basics" about VILE, because she lived with the belief that they only taught to steal all over the world, just a "the game of cat and mouse" but it didn't harm anyone, or so she believed.

Another very important factor helped Black Sheep's empathy to expand: Player. That's right, our little favorite hacker was very influential on her. First, because he was the first person she met, empathized and talked about her life outside of VILE. Black Sheep always wanted to know the world outside the island, and Player was his first contact outside the world, and a white hat hacker, his abilities used for good. Black Sheep never saw that as something bad or like a "enemy". On the contrary, he was her friend and appreciated him very much.

Last important factor: The archaeologist's words:

Black Sheep, the one who didn’t know anything about her roots, about her family, thought about how she wouldn’t like someone or an entire country and it’s people to live the same as her: not to know a part of her life. These factors caused that Black Sheep's empathy was different from that of VILE and her agents.

The other agents, although we don’t know their lives completely, the fact that we know that they’re orphans is enough to give us a glimpse that their lives haven’t been easy. The reasons why one can be orphaned are many, which can lead to sad experiences, hard, full of pain, others not of course, but being an orphan is to carry a great mark on your life. And in the end one must survive and get what he needs by his own hands if you are alone. But maybe have a brother, have a life partner, in these cases a brother/sister, can change everything, because you no longer feel alone in life, and you can create a bond of empathy, like Zach and Ivy. Or maybe not, like Shadowsan and his brother.

Sorry if it seems that I'm moving away from Gray, but I need you to understand how the VILE agents don't have a great connection and their empathy is lower because they don't know (or perhaps they do and not having good consequences) about their roots. To experience rejection more than once and for years. Of not having had a "family" or person to help them connect with the world and thereby seek and understand other people. Perhaps most of them had to survive alone. Or they got together with people of bad influences as seen with Shadowsan. They didn't have or lived the points that I mentioned about Carmen, or maybe they did, and even so they wanted to steal for mere enjoyment and get money easily. Everything is possible.

The fact that the faculty recruits students over 16 (it seems that it's from the age of 20 or is an approximate) is a great plan because it's 20 years of a habit of only trusting you, seeing for you and stealing for you, there comes a point where you live it with more enjoyment/play than just "surviving". A "vocational school" will provide you with a home, food, appreciate you for your stealing skills, without being without any communication, living for a year on an island, with people who have in common being an orphan and stealing, feeding your enjoyment of theft , that the faculty helps you find and develop skills to achieve a successful robbery, continuing to see it as a game and now see it in a professional way, which will make you survive forever, generates the idea that “it's okay to do it ”And you do it together like a family.

Graham and Black Sheep understood each other very easily and enjoyed spending time together most of the time. Antonio, Jean Paul and Sheena also considered them his friends, but not as close as Black Sheep. They communicated just by looking at each other, they understood each other easily, and they covered their backs. How to forget when as long as they didn't expel Black Sheep, Graham lied to the Faculty. He reassured her as long as he trusted that he would pass the exam and graduate from her. He felt very bad to realized that they wouldn’t graduate together. Gray somehow began to develop an empathy for Black Sheep. In the book he mentions to Black Sheep in detention:

“I know they say there is no loyalty between thieves, but we’re in this together right? I have always taken care of you”

Which shows that he appreciated her a lot, but being on the island and under their ideals, made him think that everything was to be in a “family”, everything was loyalty, he didn't realize it could be more than loyalty, but appreciation, the beginning of great empathy. He really knew her very well, her goals, her desire to be the best thief and always improve herself. He knew Black Sheep, but not the factors that would make her Carmen Sandiego.

The next thing I will say is more of a theory/assumption, not a fact: As I mentioned in the previous analysis, Gray is someone who wants to be successful, he's always going to prove it to himself and will give everything to achieve it. Being an orphan, perhaps he has affected him in some way, that at some point in his life he decided to just see for himself and show that he can be successful and that nothing would stop him. He's ambitious. But when he met Black Sheep, his empathy grew more, however, a “struggle” began within him between his ambition and his love for Black Sheep, a person outside his life, but who has lived with her so much that your appreciation is big. A fight, of which, throughout the whole series, Gray will never be aware, but with acts it is always demonstrated.

There is a sentence from him in the second episode that I always found very curious:

This is cute and talks about how much he appreciates Black Sheep to mention her well-being first.

"Criminal Career" Do you realize how much Crackle has thought about it? He doesn't see being in VILE as a game or something. He sees it as a "Career". Something tells me that if it were up to him, he would have set his sights on a position at the faculty. That he would be willing to do anything to achieve it.

At least as far as I'm concerned, Crackle wasn't going to kill the archaeologist because he's evil, or because he doesn't have absolute empathy, it's because he always tests himself to achieve his goals, for him, to start with his criminal career, was to abide by ALL the rules of VILE. He somehow affirms it:

Did he want to be successful? Did he want to have a great criminal career? He had to do EVERYTHING.

BUT!

His empathy reminder was there

and was still there

This, this expression says it all (This expression was the one that convinced me that Crackle wasn’t bad at all and from then on no one moved me from that belief). Deep down, Crackle wasn't so convinced of going that far either. Something in him, the empathy in him spoke and made him feel that such acts were too much for him. Carmen's words reached him. Deep down, he felt she was right. But what could he do? Although he listened to all of Carmen's story, even his ambition and all that year in VILE resonated more with him. Because he hasn’t lived experiences of strong empathy as Carmen already lived.

His goals are very big, he commits himself to them at any cost. But there is also still a place for her in his heart. Unfortunately, we don’t know in detail (or rather nothing) of how he reacted when Black Sheep managed to escape from VILE. But when he and Carmen Sandiego meet on the train, he asks so many questions because he doesn't understand what led her to do all this. As I said before: he didn’t know the factors that I mentioned at the beginning, and there was no time for them to talk about it. He no longer recognizes her, he only has his memories of Black Sheep and of course he misses her, but he doesn't understand that she is no longer Black Sheep, she is Carmen Sandiego:

He told her that because he believed that she was still thinking like Black Sheep, but no more.

I always liked this scene because it shows how Carmen is in the light and Gray is in the dark.

I can only say that he didn’t want to do it, he only did on VILE's orders, because of his ambition that he was almost going too far. But deep down he didn't want to, if only there was a proof… oh, yes there is, but this is not the time to move on to it ;D

In the end and as we know, Carmen defeats Crackle and she uses him to distract Devineaux. This is caught by the police, VILE saves him, and he "regrets" not having caught Carmen (he’s relieved that he had not killed her rather. Crackle NEVER wanted to.)

BUT

VILE can accept failures, but not be trapped by the Law.

So Crackle, since you've lived so many years for your goals and ambitions, let's see what happens to live as little as 18 months with just pure empathy.

It would be all with this part! Geez, I feel that I wrote a lot but it was necessary to tell all this! Believe me that doing this is making me better connect my ideas and understand better to Gray. I hope it’s also helping you, you like it and it makes you reflect. I want to know what they think and if they have any other points of view. I love talking about analysis with more people. The next part for sure will be shorter, but still very important, it’s the safest that if they have it in two days. Greetings!

Part. I Introdution

Part. II Empathy vs Ambition (HERE)

Part. III Amnesia and it’s Future Consequences

Part. III.5 Graham Calloway: The Walking Enigma

Part. IV Integrity At a high (and unfair) price

Part. V The final decision and a new beginning

Plus 1. Gray and his strange habit of explaining things

Plus 2. Crossover: Sabrina And Gray: New Beginning

Plus 3. Crossover: Hawk/Eli and Crackle/Gray: Redemption

#carmen sandiego #graham calloway #carmen sandiego netflix #graham crackle #carmen sandiego 2019 #VILE #crackle #gray #graham #eve's analysis

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bohemianrequiem · 3 years

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The Tablet of Vesuvius Caper

Despite the holiday season being over, and the crowds of eager tourists that entailed having gone home, security was no less tight that night at the Piazza del Campidoglio. Especially at the Piazza’s flagship building, the Capitoline Museums.

“Which, despite it’s name-“Player’s voice remarked quietly into her ear. “-Is actually only a single museum containing multiple different groups of archeological finds, relics, and artwork. Pretty neat, huh?”

Carmen couldn’t help the smile that pulled at the corners of her lips as she swiftly crossed the distance between two adjacent buildings. Safely in the shadows, she replied, “Extremely.” Her voice silent on the warm wind that blew in from the Mediterranean. “But did you know that the Capitoline Museums are also widely regarded as being one of the first museums in the world after it was opened up to the public by the Pope in 1734?”

“Not bad, Carm. You’ve definitely done your research. Now it’s time to hope the research I did was all correct too. I’ve got the passcode generator fired up, so just get to the Museums’ emergency backdoor and I can make a key to get us in.”

Having gone over the layout of the Piazza and the various buildings that called it home again and again in preparation for this caper, Carmen knew that the door Player spoke of was just a short distance ahead of her. Although it was officially an emergency exit only to be used in case of a fire or similar disaster, it’s purpose tonight would be as their perfect entryway into the Museums unseen.

Or at least, it was meant to be. As Carmen approached the door, she noticed that the passcode protected lock already shone a bright green. Meaning someone had unlocked the door and intentionally left it so, most likely to help speed up their get away.

“Player, we’ve got trouble.” She swung the door open and stepped inside.

“You’re telling me. Cameras are already down, and I’m not the one who turned them off. You’ll be going in blind, Red.” His voice wavered as he spoke. His worry for Carmen’s well-being evident from his warning.

“I’ll manage. You just focus on getting those cameras back online.” As she moved through the Museums back hallway, Carmen wracked her brain for who might have been able to infiltrate the building before her.

El topo and Neal were both out: Topo would have just dug his way in, and Neal would have likely opted for using the ventilation system rather than the backdoor. What about Mime Bomb? Or maybe Tigress? They had both used Dr. Bellum’s technology to gain an edge against her in the past.

“Whoever hacked into the Museum’s security definitely knew their stuff. I can barely find any trace of their online infiltration.” Player remarked. Carmen listened intently for a moment before opening another door that led further into the interior. Now she was passing by walls of centuries old artwork, heading towards the section possessing what both her and VILE were after.

“Are you saying you won’t be able to reactivate it to give us an advantage?” She peered around a corner before proceeding to the archeological relic gallery.

“Never said that Red.” Player’s smirk was practically audible, as a few keystrokes later he snapped his fingers. “Bingo! I’ve reactivated the cameras in the wing you’re headed. And…. oh no.”

Carmen stiffened as she heard the crackle of professional issued radios reverberate off the walls around her. As stealthily as possible, she slipped open the door leading to the archeology wing and closed it shut behind her. “I could hear security in the artwork gallery. Who do you see? Tigress? Le Chevre? The Mime?”

“None of them. It’s somebody I’ve never seen before.” A few moments of silence. “He has it! Carmen, he has the Tablet of Vesuvius!” That’s all Carmen needed to hear. With a sudden burst of speed that threw all caution of being caught to the wind, she rushed into the main viewing room just in time to watch as a man in a bright blue coat gently tuck the treasured tablet away in a rough-spun drawstring bag.

Having heard the sudden commotion, the man looked over his shoulder and shot her a curious half-smile. “Oh, you’re new.” He had neat sideburns stretching down to his bottom jaw, an impeccable black button up, and a contrasting red tie. He wasn’t much taller than Carmen herself but carried about him an air of relaxed confidence. Like he’d done this same thing a hundred times.

“I could say the same for you. Aren’t you a little old to be a new graduate of VILE’s? Or are they having to start calling in the benchwarmers just to keep up with me?” She took a few strides forward, urging the man to keep talking and keep his mind off trying to find a way past her.

“Lady, I’ve honestly got no idea what you’re on about.” He tucked the tablet bag close to his chest, as if he were carrying a small child, and took a few steps backwards from the recently pilfered display case. “What I meant was that you must be a new friend of Pops’. It really warms my heart to see him playing so well with others. A fellow detective trying to track me down, am I right?”

Now it was Carmen’s turn to stare incredulously at the man across from her. “Pops? Who on Earth are you talking about?” He was well within range of her grappling gun. If she could just get a clear shot at the bag, then the tablet would be safely in her hands.

The stranger looked her up and down. “Y’know now that you mention it, you do have significantly better fashion sense than most detectives and private eyes I’ve encountered.” His grip on the sack tightened. “Which can only mean that you’re a rival thief here to steal the same treasure as me.”

Carmen smirked and shrugged her shoulders. “Guilty as charged. Now put the relic back where you got it from before I have to take it from you.”

The male thief quirked an eyebrow. “A thief who steals precious treasures just to return them. What a waste! I, on the other hand, have a much better idea of what to use the tablet for.” Carmen only had a moment’s time to react as he raised his hand in the air. Reflecting off the moonlight streaming in through the windows, her eyes caught a small spherical object between his fingers just as he slammed it down to the floor.

In an instant, the area where the thief had been was rapidly being enveloped by a layer of thick white smoke. “Player!” Carmen called into her earpiece, rushing into the smoke to find any trace of her quarry.

“I’ve got eyes on him. He went out a door at the back of the room leading off the main showroom.” Despite the heavy smoke hampering her vision, her expertly trained eyes cut through it and homed in on the door the thief had absconded through. Without a moment to lose, Carmen rushed towards the door and nearly stampeded over the man on the other side.

Before she could make any kind of comment about having caught up with him so easily, Carmen saw why the man had stopped in his tracks so early on in their chase. Standing halfway through the narrow hallway was a figure dressed up in lime green and black punk rock attire.

“Paperstar.”

“Carmen Sandiego.” Her piercing gaze shifted to the blue coated man beside her. “And associate. I’ll say this once. Hand over the relic and I’ll let you both leave this place. Try to run away and…” She produced a sheet of brightly colored construction paper from a holster on her thigh and deftly folded it into a dangerously accurate looking replica of a shuriken.

The male thief scoffed, pushing his way past Carmen and closer towards the VILE operative. “Or what? You’ll pelt us with your papier-mâché?”

Paperstar frowned. “I’ll do much more than that to you, monkey face.” She reared her hand back and threw the paper shuriken with all her weight behind it.

“Monkey face?! Why do people keep saying-“

“Move!” Carmen tackled him to the ground just as the folded weapon sliced through the space they had previously been occupying. It lodged itself deep into the mahogany door behind them, earning a nervous squeak from the blue sporting thief.

“Crap! Nice save, Red.” He wiggled his way out from underneath Carmen and reached deep within the folds of his blue jacket to produce a small pistol. Just barely had the sound of crinkling paper reached his ears did he notice that Paperstar had now resupplied herself with half a dozen paper shurikens.

“Stop it! Both of you!” While the male thief was still down on one knee, Carmen had already thrown herself back up onto her feet and was yelling in a hushed tone. “If you two go to shooting and throwing things at each other, the guards will be on us in seconds. Then nobody gets the tablet.”

The other two thieves seemed to consider this for a moment. “That tablet belongs to VILE, Carmen. Make this easy on yourself for once and have your henchman give it up.”

“Henchman? I’m nobody’s hired goon, little Miss ‘Papercut’.”

Before further aggravations and taunts could be hurled, Carmen spoke; “The tablet *belongs* in a museum. Not to you, not to VILE, and especially not to this guy.” She glowered down at the thief, eyes shifting to the tablet hidden away inside the drawstring bag in his other hand. “What does VILE even want with such a random piece of Roman history?”

Paperstar shifted uncomfortably on her feet. Perhaps unused to going so long without folding something with her idle hands. “Professor Gunnar simply tells me what to steal and where. I make a point of not asking too many questions, unlike a certain little Black Sheep.”

Now it was the blue coated thief’s turn to interject on Carmen’s behalf. “Maybe I could be of some help in shedding light as to why any of us are interested in this little beauty.” He stood up, pocketed his weapon, and dusted off his jacket’s shoulder pad.

“The Vesuvius Tablet, one of the most famous relics recovered from the site of the ancient Roman city of Pompeii. Famous, in fact, for the depiction of Mount Vesuvius on it’s front and the seemingly indecipherable text on the back. It’s neither Roman nor Greek, not even early Persian or Aramaic.”

“So, it’s in a language nobody’s ever discovered.” Carmen had read up on the history of the tablet. From it’s recovery in 1750, to it’s public release to the Capitoline Museums’ archeological gallery just last year. Despite those countless hours of research, she still couldn’t understand why VILE sought to pillage the item.

“I never said that, Ms. Sandiego.” He smirked, a knowing thing that did little to make her thing the tablet was any better off with the male thief than VILE. “According to some confidential reports from the first excavation team sent by the king of Naples, the Tablet of Vesuvius initially read something like a map. However, the further the tablet was taken away from it’s resting place in Pompeii, the more illegible the words on it became.”

Paperstar chimed in, a giggle playing on her lips. “You don’t seem to know when to shut your mouth, do you, old man? I can help with that.” She shifted a foot backwards, preparing herself for the coming encounter.

“So I’ve been told. I’ll try to keep this short and sweet then.” He lightly jabbed at Carmen with his elbow. “How about you go high and I go low, Red?” He whispered.

“What? But just a minute ago you were the one throwing smoke bombs and running away from me.”

“Yeah, well, seeing as you’re not the one trying to merc me at the moment, I figured it wouldn’t hurt to suggest a team-up. After all, I get the sense you and this girl really don’t care for each other.” The stranger did have a point. After all, the absolute worst Carmen would do is leave him tied up for the proper authorities to find. Paperstar on the other hand….

“You’ve got me there. Let’s move!” Shurikens as deadly as steel sliced through the air as the pair of thieves pressed an advance towards their neon green assailant. With a high jump, Carmen pushed herself off the side of the wall and aimed a kick towards Paperstar’s head.

She dodged but stayed distracted long enough for the blue coated thief to get in close and swipe her legs out from underneath her. “No!” The paper wielder fell flat on her back, with Carmen’s boot soon digging into her gut.

“Too slow, Papercut. Better luck next time?” She quipped. Before Paperstar could spit out the vitriol that was surely brewing between her lips, the communicator on her arm flashed bright green.

“Paperstar,” The voice of Professor Gunnar emanated from it. “Local authorities are en-route to the Museums. It appears a detachment of Interpol is already present on the grounds. This is an Alpha zero-one situation. Vacate the region and return to the isle immediately.”

“Interpol.” The male thief murmured. “Just what I needed.”

“Devineaux.”

“Zenigata.”

The two looked up at each other. “Wait, you have someone from Interpol chasing you?” Carmen probed.

“For the better part of my entire career, yeah. You?”

“Something like that. He’s more of a minor annoyance, but-“

Paperstar’s eye roll was nearly audible. “Wow, great, you two are such besties. Now let me up so I can-“

“Ah, ah, ah. What’s the magic word?” The thief dug into his pocket and retrieved a bundle of cylinders consisting of interlacing bamboo strips. He swiftly set out about attaching them to Paperstar’s fingers, much to her protest. “There, I’d like to see you try and fold paper with your fingers all stuck together.”

“What - CHINESE FINGER TRAPS?!” She raged, only succeeding in making them tighter the more she pulled. “LITERALLY WHY DO YOU HAVE THESE?”

“Oldest trick in the book, kid. Well, the book I just made up in my head, but you get the idea.” He pointed down the hallway. “There’s a stairwell that leads to the roof down this way, Red. Let’s motor and leave our little paper tiger for the cops.”

“Let’s.” Carmen agreed with a smile. They made their down the hallway just as Paperstar finally moved herself into a sitting position against the wall.

“I will find you, Black Sheep! VILE will find you! And when we do, there won’t be anything left for-“

“Jeez, maybe I should have brought one for her mouth too.” The thief opened the door. “Ladies first.”

“You think?” As she slipped by, Carmen carefully slipped the weighty bag from the blue thief’s hand. As he turned around to jeer one last time, he didn’t even seem to notice.

“Toodles, Papercut. See you around!” With the two of them safely within the stairwell, he slammed the door shut. Only then, when Carmen was halfway up the stairs, did he notice he was missing something. “Hey! No fair, I thought we had something going there for a minute!”

“Sorry, but I don’t exactly play well with other thieves.” With the door to the roof now in reach, she slowed and called back behind her. “Speaking of, they don’t usually go this long without at least telling me their name. What’s you?”

The blue jacket wearing thief appeared at the bottom of the stairs and looked up at her, something like anticipation gleaming in his eyes. “My name, Ms. Sandiego? My name is Lupin the Third, grandson of the original gentleman thief, Arsene Lupin. And when I set my eyes on a treasure, I never fail in stealing it.”

“Sorry to disappoint, Lupin, but I think you’ll just have to let this one go.” Carmen placed a hand on the doorknob.

“Real quick, Red. Why do you think these people, the ones you call VILE, are after that tablet? And what’s stopping them from stealing it again later after you’ve left?” He took a few steps up the stairs. “Like I said before, that tablet isn’t just a pretty picture of Mount Vesuvius, it’s intended use is as a map leading to something. Only way to ensure VILE won’t want to steal it again is to steal whatever it leads to, right?”

Carmen wavered. If the tablet really was a map and it lead to some kind of…treasure, then VILE would stop at nothing to get their claws on it. “Okay, Lupin. So what exactly are you suggesting I do with it?”

“Well, seeing as I’m the only one privy as to how the map needs to be decoded, I’d say you can hold onto it for me. Don’t think of it so much as stealing, more like borrowing.” He chuckled. “How about another team-up? You hold onto the tablet, I can show you how to decode the map, and we take whatever VILE would have any interest in stealing. Sound like a plan?”

Player’s voice buzzed in her ear. “Carmen, Interpol forces and local police are surrounding the Museums. Zack and Ivy have the car running, but it might not matter if you hang around too long. How do you wanna play this?”

She debated for only a moment. The man was letting her keep the tablet, so in any case she’d still be coming out on top. He may have been a thief, but he at least seemed earnest about wanting to work together to outset VILE from getting their hands on the relic.

“Okay, fine. My people will talk to your’s and we’ll get a meeting place set up. There, we can decode the map and find whatever it leads to.”

“Music to my ears, Red.” He joined her nearly at the door. “Now, how‘s about we make our escape?” Making sure that the tablet was secure in her hands, Carmen opened the door into the warm Mediterranean night.

Bright spotlights illuminated the entirety of the Museums’ rooftop. From squarely in the center, a man in a dull burgundy trench-coat faced the opening door.

“LUPIN!” He yelled. “I knew you’d be here. You’ve got a lot of nerve coming back to Italy after last year.”

“Pops! So good to see you again after my, shall we say, extended hiatus?”

Carmen quirked an eyebrow at him.

“Long story, I met Leonardo Da Vinci. I’ll tell you next time. You get out of here, I’ll keep the Old Man and Interpol busy.” He winked. “I’ll see when I see you.” And with that, Lupin strutted out to meet Inspector Zenigata as Carmen excused herself to the shadows.

True to his word, the Italian police force seemed much more preoccupied with keeping their sights on Lupin than Carmen herself and she was able to beat a hasty getaway to Zach and Ivy’s waiting vehicle.

“Carm,” Player started once they were safely on the road. “Do you really think that Lupin guy’s legit? How do know anything he’s saying about a treasure map on the Tablet of Vesuvius is true?”

“I’m not sure. He seems earnest enough, but…” Carmen stared at the ancient relic in her hands, turning it over. “Maybe he’s on to something. See if you can turn up anything about those excavation reports he mentioned, the ones from the 18th century.” She checked her watch. “In the morning. You’ve got school tomorrow, right? I can’t have my white hat getting detention any time soon.”

Player grumbled. “Pfft, hackers don’t have bedtimes. While I’m at it, I’ll see what I can find out about this Lupin III guy. He sure seemed to know his stuff.” He shifted on the other end of the call. “Goodnight, Carmen. You did good tonight.”

“You too, Player. Sleep well.” Carmen ended the communication and leaned forward between the two front seats. “Guys, take us back to the hotel. I think it’s time we all got some shut-eye.”

“You got it, Carm. Ivy, get my ‘Post-caper tunes to rock out to’ playlist started. I’m going to merge.”

~~~~

“So, Lupin, you really think she’s the real deal?” Jigen hung a hand outside of the Fiat 500’s passenger window, gently shaking off the ash from the still burning end. He returned it to his lips and took a long drag. “She better be, seeing as you gave up the relic just to earn her trust.”

Beside him, Lupin thoughtfully scrolled through a number of news articles on his cellphone. “‘La femme rouge’, the red woman. She breaks, she enters, and apparently, she steals before others can. She’s done some impressive work.” He laid down his phone, reaching into the backseat to procure a book recently pilfered from a private collection. “I believe this could be the start of a beautiful friendship, or at least a mutually beneficial one.”

“And how about Pops? Was he happy to see you again?”

“As a clam. I gave him the old runaround, then borrowed a uniform from an extremely unfortunate Interpol agent at the scene and slipped away. Poor soul, was not a good day to wear the underwear with the hearts on them.” The two shared a chuckle. Jigen snuffed out his flame, just in time to help Lupin light one of his own.

“Now, what’s this about a treasure you were telling Red all about? You know I’m always down to get our hands on something shiny, but I’d at least like to know what kind of scheme you're cookin' up” Jigen pulled his lighter away from Lupin’s cigarette, giving him a few moments to take a couple starting puffs.

“Old pal, have I got a story for you.” He propped the book up on the steering wheel and turned a number of pages in. “And this one’s called ‘The legend of the Tomb of Hercules.’”

#Carmen Sandiego #Lupin III #my writing #Jigen Daisuke #Inspector Zenigata #Zack and Ivy #Infinity War is the most ambitious crossover-#Posts Carmen Sandiego meets Lupin III

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help-i-need-a-cool-username · 3 years

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We are all missing out by not posting posts on how the VILE Facutly acted as parents like you KNOW they were each individually disasters at it and they left all the actual raising to her rotating nannys

People reblog and add how you thought each member was like when Carmen was little

I not sure about Maelstorm or Bellum but

i feel Coach Brunt wanted to get Black Sheep's ears pierced because Brunt was a baby when her ears were pierced and the first time Cleo saw Black Sheep with earrings she either threw a fit over not being there or almost passes out at the horror of a baby having holes in her ear. Either way she goes on to design baby fashion and Black Sheep becomes her dress up doll.

I feel Shadowsan was just kinda there like he didnt go out of his way for her but was a good role model when he was with her. I kinda think it would be funny if he freaks out at Black Sheep having holes in her ears (because having the fashion one and the quiet one freak out about baby ear piercing is hilarious to me).

Maybe her first swim lesson was with Brunt who didnt realize you have to teach people to swim and proceeds to panic over almost drowning her.

No one feeds her correctly like they spend the first two days researching if she can eat solid food yet and thats it. The only person on that island that eats veggies is Cleo and shes not about to get her dress ruinned by trying to make Black Sheep eat them.

Bellum accidently electrocutes her. Multiple times...

Maelstorm's first bedtime story to her after shes old enough to talk gives her nightmares for two years. He was no longer allowed to tell her bedtime stories. He also lets her stay up late and watch late night horror films with him when she cant sleep. He is also no longer allowed to do that.

Shadowsan and Brunt are the only ones that ever carried her. Cleo and Maelstorm don't know how to hold a baby and Bellum just made a bunch of playpen/stroller contraptions that kept her from wandering off

#hinacu cs #cs #carmen sandiego #carmen sandiego 2019 #carmen sandiego netflix #faculty #coach brunt #countess cleo #shadowsan #doctor bellum #professor maelstrom

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thoughtfulfangirling · 4 years

Text

I keep seeing these posts going around about queer books, but my problem is that nowadays, I struggle to sit down with books and primarily consume them via audibooks. A lot of the recs are ones I haven’t found in audiobook format using my usual routes. For this reason, let me start a post that I hope y’all will add onto that has LGBTQ+ folks in them that I know exist in audiobook format. For reference, I’ve used for my audiobook consumption Audible, Libro, Overdrive, and Scribd, so each of these will have been found by myself in one of those places.

Nemesis Series by April Daniels trans wlw MC | Superhero | coming of age | YA The First book is Dreadnought followed by Sovereign and follows Danny, a trans girl whose body is transformed to the one that matches her vision of herself after a superhero falls and passes his powers on to her. All at once, she has to face the coming out this forces on her and new powers all at once. The books are intense and doesn’t pull its punches on the things Danny goes through, but her journey is beautiful and I love her so much.

Beauty Queens by Libba Bray Various MCs | Drama | Humor | YA This is an ensemble cast and includes a wlw couple and a trans girl, all of whom are pretty damn cool. On their flight to their next competition, the plane these beauty queens are on crashes, and those who survive get stranded on a totally-supposedly-deserted island. This is a fun novel that had, to me, a very Hitchhiker’s Guide sort of humor to it. It was a really fun read, and the author narrates herself and is really fun.

Annie on my Mind by Nancy Garden wlw mc | contemporary | coming of age | YA The good kid becomes good friends with a girl she met outside of school, but she begins to realize she has more than just friendly feelings for the girl. Being in the 90s, she finds it’s not so easy to be the good kid and pursue this interest.

Her Royal Highness by Rachel Hawkins bi MC | Contemporary | Romance | Class Romance | YA MC leaves Texas, USA to finish her last year of high school in a prestigious Scottish school where she ends up being roommates with an actual princess with whom she doesn’t start the year out on good terms with.

Ash by Malinda Lo wlw MC | Fantasy | Coming of Age | YA Cinderella retelling where the fairies aren’t guaranteed to help and the prince just might not be who Cinderella wants after all. A very internal journey, quite enchanting. I really need to go back and revisit this soon.

Juliet Takes a Breath by Gabby Rivera Lesbian MC | Coming of Age | YA Juliet leaves home for the summer to spend in Oregon with a writer who inspired Juliet’s journey into feminism and helped her embrace her lesbianism. She learns along the way though that adults are not infallible, and that this writer has a large blind spot when it comes to Juliet’s culture and the intersection of race and feminism. All this after having come out to her family and dealing with the fallout of that far from home.

Carry On by Rainbow Rowell mlm MC | Fantasy | Romance | YA This story feels like a sort of ‘What if the Harry Potter books were more inclusive and also had some parody in its magical world’ story. But it jumps right to the last book and the good stuff. This felt like fanfiction in the best way (and is appropriate given that it was written after the book Fangirl wherein the MC is writing fanfiction of this universe kinda. It’s complicated but good!)

Kushiel Phedre Series by Jacqueline Carey bi MC | Fantasy | Epic Fantasy | Kink | Political Intrique A woman born with a flaw that set her on the path of being indentured as a child to a man who sees love and sex as another means to gather political intel. Down this road lies intrigue, betrayal, and love.

Nevernight Chronicles by Jay Kristoff bi MC | Fantasy | Revenge Worth mentioning is that the author does not ID as any kind of LGBTQIA+ and in my opinion, that especially shows in the last installment of the series. I would suggest trigger warnings for the entire series if you have any as there is sex and violence. In a world with three suns and almost never night, a girl with a kinship for shadows seeks out the skills to kill those who destroyed her family.

Her Body and Other Parties by Maria Carmen Machado Various | Short Stories | Surreal | Contemporary Don’t know how to summarize well given they are a series of short stories, but they are haunting and telling and beautiful, and even though I rarely do short stories, I absolutely fell in love with these.

The Night’s Watch by Sarah Waters Various | Ensemble Cast | Period Drama English WWII Unfortunately, I read this in 2017 and it follows the stories of four different characters, two of whom are lesbians. I don’t remember their archs well enough to provide a proper summary. This story tends to be a more internal character study of each of the characters and what it might have been like living at the time they did. It was really good though if you like that sort of thing!

Tipping the Velvet by Sarah Waters Lesbian MC | Period Drama | Romance | Coming of Age Taking place in the Victorian era, Nan leaves her coastal, oyster fishing home after becoming infatuated with Kitty, performer who sings dressed as a man. She discovers herself in the big city as she works as Kitty’s attendant, but nothing ever stays the same, and when she finds her and Kitty’s desires on how to handle their feelings differ errevocably, Nan is suddenly left adrift.

The above are all focused in one way or another on the LGBTQ+ character in a prominent way where the character’s queerness is made explicit in the text. Below is going to be the audiobooks I’ve read/listened to where I have felt there is strong evidence that a character is portrayed as LGBT+. Some will have been made canon by the author after the fact, others have been widely regarded as portrayed that way, and a couple are just how I interpreted them.

Trouble with Kings by Sherwood Smith Fantasy | Romance | Slow Burn | YA A princess of fortune who has been courted for her wealth all her life, Flian is quite done with dalliance. But that doesn’t mean others are done with her. Caught in the middle of a political intrigue between two... maybe three... possibly four??? rivaling kingdoms, she finds her wealth pursued in less than ethical manners and ends up a player herself on the field of political import. Is it even possible in the chaos of all this to find love along the way? Flian herself repeatedly shows no interest in romance and while able to remark upon attraction, never seems to have any herself until she realizes she has fallen for someone, someone she realizes a bit late she’s had a coming together of the minds for. For this reason, my personal interpretation of this character is demi-sexual.

The Protector of the Small Series by Tamora Pierce Fantasy | Coming of Age | YA Keladry of Mindelan wants to become the second lady knight in history. The trainer at the castle doesn’t believe girls are cut out for it, and the boys don’t seem the most ready for a lady knight in training either. But Kel is determined to make her place in the world. Throughout the course of the series, while she engages in some light dalliances, she finds herself disinterested in relationships and has been confirmed by the author since the series was published to be asexual.

The Deed of Paksenarrion by Elizabeth Moon Fantasy | D&D-esque | Epic Fantasy | Coming of Age Paksennarrion, a sheep farmer’s daughter, rebels against her father upon hearing of the engagement he made for her and runs away to a local contract militia company to start her career as a warrior. Strength and strategy aren’t the only things she’ll need on this life’s path, but also a faith she didn’t know she was capable of. I don’t know that the author has ever said anything on the matter, but in most circles you will find that Paks is generally regarded as aro/ace and is pretty explicitly stated several times throughout the series that she simply has never had the compulsion.

A Beautiful Poison by Lydia Kang Period Drama/Mystery (early 1900s) | Coming of Age | Mystery Three people on the cusp of adulthood, with a complicated history of friendship from different stations in life, come together to try to unravel the mystery of strange deaths happening around them while trying to navigate what shapes the rest of their lives will take. Of the two man lady characters, one repeatedly struck me as bisexual, and the other as asexual. This is one where I’m brining my own lens to the story, and I don’t know that the author did this with intent.

There’s a fair chance that I am forgetting some audiobooks and haven’t included all I’ve read. I would also say that anything not marked with a YA may have want of some trigger warnings. If someone wants to know, just let me know which warnings you have need of and I’ll try to do my best to remember if that content is included in the book. I of course cannot remember everything and don’t know everyone’s limits, but I can try. But for certain the non young adult stories have content that can be heavy or dark or twisted.

#And if any mutuals want more of a summary lemme know #tf reads #books #audiobooks #I love the lists that have been going around #But I've been struggling to find them on any of my audiobook services #and ofc not all books have been turned into audiobooks #So maybe this will help someone else who felt similar?#tfgoc #long post #sorry for the length

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alannah-corvaine · 5 years

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alannah; neverending survey

BASICS.

FULL NAME: Alannah Ailíse Caireann Corvaine Outway

NICKNAME: Little Bird (Faron only)

AGE: almost 23

BIRTHDAY: 10/16

ETHNIC GROUP: Midlander Hyur

NATIONALITY: Thanalanian

LANGUAGE/S: Common, a hodgepodge of things she's picked up from books

SEXUAL ORIENTATION : Demisexual

ROMANTIC ORIENTATION : Biromantic

RELATIONSHIP STATUS: Married (verse dependent)

HOME TOWN / AREA: Drybone, Eastern Thanalan

CURRENT HOME: The Grey Fleet, Lower LaNoscea

PROFESSION: Professional White Mage™, Healer, Purifier

PHYSICAL.

HAIR: Rich, dark brown with white streaks extending from her roots (magical scars)

EYES: Sea Green

FACE: Slightly angular, but still has baby fat

LIPS: Full, pouty, usually covered in neutral tone gloss

COMPLEXION: Sickly pale

BLEMISHES: Birthmark under her left eye, constant red splotchy patches due to allergies

SCARS: The white in her hair, a mark between her shoulderblades where she was kicked by an aldgoat as a child

TATTOOS: Flowery vines crawling up the left side of her ribcage (permanent), stabilizing arcanima symbols all over her arms (temporary, reapplied daily)

HEIGHT: 5′2″

WEIGHT: 135 ponze

BUILD: Petite

FEATURES: Extremely striking eyes, more girlish than womanly facial structure

ALLERGIES: Severe pollen and pet allergies, mildly allergic to some foods and perfumes

USUAL HAIR STYLE: Worn long, down to her hips. Either in a sidebraid, high ponytail with various small braids, or loose

USUAL FACE LOOK : Lost in thought

USUAL CLOTHING: Loose, flowing, bohemian style. Lots of white, lots of bangles, delicate necklaces and rings. Sometimes hair ornaments. Barefoot or sandals, doesn't believe in socks. While "working" she prefers trenchcoats open at the waist, shorts, and knee-high boots.

PSYCHOLOGY.

FEAR/S: Failure, guns, the excited laugh her daughter makes when she's found something "interesting"

ASPIRATION/S: To be a powerful mage, fix her borked aether, and to be a better mother to her daughter than Christaine was to her

POSITIVE TRAITS: Insatiably curious, focused, dedicated, protective, kind, funny, generous

NEGATIVE TRAITS: Emotionally distant, petty, wrathful, impulsive, reckless, gets lost in her own head and forgets to come back out

TEMPERAMENT: Melancholic

SOUL TYPE/S: Artisan

ANIMALS: --

VICE HABIT/S: Swearing, letting her temper get the best of her, alcohol (very rarely, because it ends badly)

FAITH: Hail Hydra Hydaelyn

GHOSTS?: ...verse dependent (lol)

AFTERLIFE?: Not so much an afterlife as much as being recycled by the Lifestream.

REINCARNATION?: Yes

POLITICAL ALIGNMENT: I mean...she might be a bit of an ecoterrorist?

EDUCATION LEVEL: Self taught through an ungodly amount of reading

FAMILY.

FATHER : Aedan Corvaine

MOTHER : Christaine Harlow Corvaine (deceased)

SIBLINGS : Faron, Ean, Davon, Brennan

EXTENDED FAMILY: Nine Outway (husband), Aislinn Outway (daughter), Moira Corvaine (aunt), Fayre Harlow (maternal grandmother), Fasshon Fuqushon (step-grandfather), Veronique Corvaine (sister-in-law), Isobel Corvaine (niece), Octavia Outway (sister-in-law)

NAME MEANING/S: You know, I spent hours looking up names with fitting means for Alannah’s family members way back when, but I am absolutely too lazy to go find them again

HISTORICAL CONNECTION?: None.

FAVORITES.

BOOK: Technical studies on the properties and workings of aether, historical volumes, adventure and fantasy stories, and sometimes a romance novel

DEITY: Hail Hydra Hydaelyn

HOLIDAY: Starlight

MONTH: July

SEASON: Summer

PLACE: La Noscea

WEATHER: Snow

SOUND / S: The almost electric hum of magic, the sound that Nine makes when she scratches his head

SCENT / S: White musk, fresh bread baking, old books, lemongrass

TASTE / S: Wine, dandelion tea, almond cream croissants

FEEL / S: Being magically powerful, sleeping on fresh sheets, wearing her husband’s shirts, snuggling with her daughter

ANIMAL / S: Fish, since they’re the only thing that doesn’t maker her sneeze

NUMBER: 9 (lol)

COLORS: White, black, any pastel or sherbet colors

EXTRA.

TALENTS: Retaining large amounts of information. magical aptitude (even if she has to fight her unstable aether for it), large scale destruction, cooking exactly one meal, tripping on flat surfaces, the ability to braid anything

BAD AT: Wielding any kind of melee weapon, seeing without her glasses, remembering where she put her glasses, keeping up a conversation without getting lost in her thoughts, public speaking, remembering to drink her tea before it gets cold

TURN ONS: Patience, humor, calloused hands, empathy, confidence, kindness

TURN OFFS: Arrogance, cruelty, smarminess, apathy, insensitivity

HOBBIES: Researching, reading, sketching, playing the harp, traveling/seeing new places, teaching her daughter how to human, using her husband as a nap pillow

TROPES: (oh god there are so many, these are just a few) Caged Bird Metaphor, Grass is Greener, Kitsch Collection, Misery Builds Character, Now Let Me Carry You, #1 Dime, Wake-up Call, Grew a Spine, Rage Breaking Point, Big Screwed Up Family, Black Sheep

QUOTES : “my bitterness was sometimes rest and sometimes ecstacy grace or rage, always the two opposites ready to annihilate each other and to rise from the ruins of the vanquished.”

MUN QUESTIONS.

Q1 : If you could write your character your way in their own movie, what would it be called, what style would it be filmed in, and what would it be about?

A1 : Listen, I shamelessly love YA dystopian fiction, so it would be something in that vein, where Alannah is OP as fuck running around and blowing shit up as the young heroine main focus. Also there’s all of the romance tropes (sandwiched between developmental angst, of course), because I like them, and nobody’s allowed to bitch about it.

Q2 : What would their soundtrack/score sound like?

A2 : It would be scored by a collaboration of Two Steps From Hell, Hans Zimmer, Jeremy Soule, and Zack Hemsey, and my ears would orgasm.

Q3 : Why did you start writing this character?

A3 : I don’t like doing the whole “my character is just me or an extension of me” thing, it just never feels right. I also can’t just look at the avatar I’m using and see nothing but pixels and just “play the game.” She has to have a personality, a backstory, a reason for what she’s doing. Also it’s a great creative outlet for me because I love coming up with stories in my head as I go. And thus Alannah was born from the soup of inspiration made up of many various characters I’ve loved over the years.

Q4 : What first attracted you to this character?

A4 : She was supposed to be something new, a kind of character that I’ve never written before. All of my female characters end up badass, overpowered, and full of personal angst, because that’s just my thing. And yeah, Alannah’s reached that point, but the point is I tried.

Q5 : Describe the biggest thing you dislike about your muse.

A5 : I feel like I can never get her voice right, she always just ends up sounding like me.

Q6 : What do you have in common with your muse?

A6 : The longer she’s around, the more of my traits she absorbs by osmosis. At this point she shares like 80% of my personality and traits and is completely unrecognizable from my original concept for her.

Q7 : How does your muse feel about you?

A7 : I am a generous god.

Q8 : What characters does your muse have interesting interactions with ?

A8 : My favorite thing to explore, if it isn’t grossly obvious, is her different relationships with each of her siblings, probably because I have none.

Q9 : What gives you inspiration to write your muse ?

A9 : Mostly music and books, sometimes games. I have so many AUs for Alannah. Actually writing things, however, is another matter entirely.

Q10 : How long did this take you to complete ?

A10 : I had it done by the end of the work day after working on it between things I had to do, but then SOMEBODY tumblr drafts had to blow it up so I had to start over from the halfway point. I am not amused.

tagged by: @resistance-ranger [thankyou♥]

tagging: @keeperprinceling @menphinasbow @keeperofthelilacs @fheythfully @manawalls @khaamara @ahlis-xiv @aethernoise @castthemintotheabyss @alphiinaud @chysgoda @dragons-bones @astrophoros-ffxiv @loslorien @nuclearanomaly @zunshtral @card-and-flame @carmen-ffxiv @arabeka-ffxiv @voidwife @crowsaerie-rp @apassingshadow @violet-warder @hydrangea-fields @areniaagn @autumnslance @keltgeim @holyja @unmend @pulse-oflife

#LETS TRY THIS AGAIN #now that my rage has finally calmed #about alannah #character profile #long post #pls forgive me if you didnt wanna be tagged

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jamesgraybooksellerworld · 4 years

Text

Author INDEX

1) 415J #779 . Anon.), Waring, Robert

2) 342 J Attributed to James Wright

3) 346J J.B.

4) 377J Mary Barber 377J

4) Mary Barber

5) 347J Susanna Centlivre

6) 357J Susanna Centlivre

7) 849G#780 Etherege, Sir George

8) #257J Jacques Ferrand, medecin

9) 515F#784 Huet, Pierre-Daniel (1630-1721)

9) 122F Mary De La Riviere Manley 122F

10) 103G Katherine Philips 103G

11) 376J Mary Pix

12) 331j.#781 Polwheile, Theolophilus

12) 323J Madeleine Vigneron 323

•)§(•

1) 415J #779 . Anon.), Waring, Robert, 1614-1658. Translated by John Noris.

Effigies amoris in English: or the picture of love unveil’d.

Oxford: London : Printed for James Good in Oxford, and sold by J. Nut [i.e. Nutt, London], 1701. Second edition of the English translation by John Norton. ¶ Duodecimo; A-E12, F11 (A1, half title, present) Bound in original full calf, missing some leather from spine but cords are very strong. Some wonderful quotes for this book: The Answer of R. W. to his Friend, importunately desiring to know what LOVE might be?

I Acknowledge the wanton Ty∣ranny of imperious Love, that is always requiring the most diffi∣cult Trials of the Affections. Now though it be a kinde of an Hercu∣lean Labour it self to Love, considering those severe duties, those toyls, and hazards appendant to it; as if Cruelty were its sole delight: Nevertheless we believe it reasonable, what names so∣ever we have given to Love, that he should exercise his Soveraignty, which is certainly very great and puissant; and by the Severity of his Commands, that he should augment the glory of his high Rule, and our obedient Sub∣mission.

“However, this is the supreme Office of Reason, to make a right choice of Disposition and Conditions; to choose a Companion with whom we are sure to live with more delight than with our selves; whose judgment we may be sure to follow as our own: or else to stay till we can finde a proper Ob∣ject of Love. Then also so to love, like one who is guided by Judgment, not carried away by Passion; like one so far from ceasing, that he is always beginning to Love. This is to joyn Patience with Constancy. This is to receive the Idea more fairly imprinted in the Minde, than in Wax, and to preserve more stedfastly. ‘Tis the Of∣fice of Vertue, to determine upon one measure of wishing; to covet a dispo∣sition and inclination like his own, through all the changes of Fortune; and so to make two of one, that they may act the same person.”

ESTC Citation No. N1243

The “Amoris Effigies (anon.), London, 1649, 1664, 1668, 1671. In 1680 appeared a loose English translation, by a Robert Nightingale, which deviated in many points from the Latin original. John Norris, under the pseudonym Phil-iconerus, published a fresh translation, London, 1682; 2nd edit., 1701; In his introduction, Norris wrote of Waring’s “sweetness of fancy, neatness of style, and lusciousness of hidden sense”. Waring also wrote Latin verses, including in Jonsonus Virbius [playwright Ben Jonson.](1639), reprinted in the 1668 and subsequent editions of the Amoris Effigies, under the title of Carmen Lapidorium.” (DNB).

Price: $1,150.00

2) 342 J Attributed to James Wright

The Humours and conversations of the town expos’d in two dialogues : the first, of the men, the second, of the women.

London : printed for R. Bentley, in Russel-Street, in Covent-Garden, and J. Tonson, at the Judge’s-Head in Chancery-Lane, 1693.

First and only edition. Bound in speckled calf, recently rebacked, with the signature of Jane Modgford on the title and page 1. Wright, James 1643-1713, antiquary and miscellaneous writer, “A versatile writer with a lucid style and a genuine touch of humour, especially as an essayist…” [DNB]. The attribution first appears, in Brice Harris’s facsimile of this edition printed in 1961. The work itself is written as a dialogue between Jovial and Pensive who have visited London and wish to return to the country. Jovial’s cousin, Sociable, enjoys the London social whirl. They argue about the various pleasures of the city versus the country. Dryden is discussed at one point: “the company of the author of Absalom and Achitophel is more valuable, tho’ not so talkative, than that of the modern men of banter; for what he says, is like what he writes; much to the purpose, and full of mighty sense…” This is followed by another, shorter, dialogue between Madam Townlove and Madam Thinkwell.

The original form ‘to a T’ is an old phrase and the earliest citation that I know of is in James Wright’s satire The Humours and Conversations of the Town. “All the under Villages and Towns-men come to him for Redress; which he does to a T.”

The letter ‘T’ itself, as the initial of a word. If this is the derivation then the word in question is very likely to be ‘tittle’. A tittle is a small stroke or point in writing or printing and is now best remembered via the term jot or tittle. The best reason for believing that this is the source of the ‘T’ is that the phrase ‘to a tittle’ existed in English well before ‘to a T’, with the same meaning;

for example, in Francis Beaumont’s Jacobean comedy drama The Woman Hater, 1607. we find: “Ile quote him to a tittle.”

In this case, although there is no smoking gun, the ‘to a tittle’ derivation would probably stand up in court as ‘beyond reasonable doubt’. Very nice condition. Item #736

Wing; H3720; Cf. Macdonald, Hugh. John Dryden; a bibliography. Oxford, 1939, p. 275-276. :Brett-Smith 305.

ESTC Citation No. R31136

http://estc.bl.uk/F/2Q5SSI4SVQHNH367AHEBKYI48ERDGNF97DX5TJXJ4GXQH4BJ72-07782?func=full-set-set&set_number=005564&set_entry=000001&format=999

https://wp.me/p3kzOR-4dl.

Price: $2,200.00

III

346J J.B. Gent.

The young lovers guide,

or, The unsuccessful amours of Philabius, a country lover; set forth in several kind epistles, writ by him to his beautious-unkind mistress. Teaching lover s how to comport themselves with resignation in their love-disasters. With The answer of Helena to Paris, by a country shepherdess. As also, The sixth Æneid and fourth eclogue of Virgil, both newly translated by J.B. Gent. (?)

London : Printed and are to be Sold by the Booksellers of London, 1699. $2,700

Octavo, A4, B-G8,H6 I2( lacking 3&’4) (A1, frontispiece Present; I3&’4, advertisements lacking ) inches [8], 116, [4] p. : The frontispiece is signed: M· Vander Gucht. scul:. 1660-1725,

This copy is bound in original paneled sheep with spine cracking but cords holding Strong.

A very rare slyly misogynistic “guide’ for what turns out be emotional turmoil and Love-Disasters

Writ by Philabius to Venus, his Planetary Ascendant.

Dear Mother Venus!

I must style you so.

From you descended, tho’ unhappy Beau.

You are my Astral Mother; at my birth

Your pow’rful Influence bore the sway on Earth

From my Ascendent: being sprung from you,

I hop’d Success where-ever I should woo.

Your Pow’r in Heav’n and Earth prevails, shall I,

A Son of yours, by you forsaken die?

Twenty long Months now I have lov’d a Fair,

And all my Courtship’s ending in Despair.

All Earthly Beauties, scatter’d here and there,

From you, their Source, derive the Charms they bear.

Wing (2nd ed.), B131; Arber’s Term cat.; III 142

Copies – Brit.Isles : British Library

Cambridge University St. John’s College

Oxford University, Bodleian Library

Copies – N.America : Folger Shakespeare

Harvard Houghton Library

Henry E. Huntington

Newberry

UCLA, Clark Memorial Library

University of Illinois

Engraved frontispiece of the Mistress holding a fan,”Bold Poets and rash Painters may aspire With pen and pencill to describe my Faire, Alas; their arts in the performance fayle, And reach not that divine Original, Some Shadd’wy glimpse they may present to view, And this is all poore humane art Can doe▪” title within double rule border, 4-pages of publisher`s advertisements at the end Contemporary calf (worn). . FIRST EDITION. . The author remains unknown.

)§(§)§(

An early Irish female author

2) 377[ BARBER, Mary].1685-1755≠

A true tale To be added to Mr. Gay’s fables.

Dublin. Printed by S. Powell, for George Ewing, at the Angel and Bible in Dame’-street, 1727.

First edition, variant imprint..[

Estc version : Dublin : printed by S.[i.e. Sarah] Harding, next door to the sign of the Crown in Copper-Alley, [ca. 1727-1728] most likely a typo. 7pp, [1]. Not in ESTC or Foxon; c/f N491542 and N13607. $2,500

[Bound after:]

John GAY

Fables. Invented for the Amusement of His Highness William Duke of Cumberland.

London Printed, and Dublin Reprinted for G. Risk, G. Ewing, and W. Smith, in Dame’s-street, 1727.

First Irish edition. [8], 109pp, [3]. With three terminal pages of advertisements. ESTC T13819, Foxon p.295.

8vo in 4s and 8s. Contemporary speckled calf, contrasting red morocco lettering- piece, gilt. Rubbed to extremities, some chipping to head and foot of spine and cracking to joints, bumping to corners. Occasional marking, some closed tears. Early ink inscription of ‘William Crose, Clithero’ to FEP, further inked-over inscription to head of title.

Mary Barber (1685-1755) claimed that she wrote “chiefly to form the Minds of my Children,” but her often satirical and comic verses suggest that she sought an adult audience as well. The wife of a clothier and mother of four children, she lived in Dublin and enjoyed the patronage of Jonathan Swift. While marriage, motherhood, friendship, education, and other domestic issues are her central themes, they frequently lead her to broader, biting social commentary.

Bound behind this copy of the first edition of the first series of English poet John Gay’s (1685-1732) famed Fables, composed for the youngest son of George II, six-year-old Prince William Augustus, Duke of Cumberland, is Irish poet Mary Barber’s (c.1685-c.1755) rare verse appeal to secure a Royal pension for Gay, who had lost his fortune in bursting of the South Sea Bubble.

Barber, the wife of a Dublin woollen draper, was an untutored poet whom Jonathan Swift sponsored, publicly applauded, and cultivated as part of his ‘triumfeminate’ of bluestockings. She wrote initially to educate the children in her large family. Indeed this poem, the fifth of her published works, features imagined dialogue of a son to his mother, designed to encourage, specifically, the patronage of Queen Caroline:

‘Mamma, if you were Queen, says he, And such a Book were writ for me; I find, ’tis so much to your Taste, That Gay wou’d keep his Coach at least’

And of a mother to her son:

‘My Child, What you suppose is true: I see its Excellence in You. Poets, who write to mend the Mind, A Royal Recompence shou’d find.’

ESTC locates two variant Dublin editions, both rare, but neither matching this copy: a first with the title and pagination as here, but with the undated imprint of S. Harding (represented by a single copy at Harvard), and a second with the imprint as here, but with a different title, A tale being an addition to Mr. Gay’s fables, and a pagination of 8pp (represented by copies at the NLI, Oxford, Harvard and Yale). This would appear to be a second variant, and we can find no copies in any of the usual databases.

Mary Barber was an Irish poet who mostly focussed on domestic themes such as marriage and children although the messages in some of her poems suggested a widening of her interests, often making cynical comments on social injustice. She was a member of fellow Irish poet Jonathan Swift’s favoured circle of writers, known as his “triumfeminate”, a select group that also included Mrs E Sican and Constantia Grierson.

She was born sometime around the year 1685 in Dublin but nothing much is known about her education or upbringing. She married a much younger man by the name of Rupert Barber and they had nine children together, although only four survived childhood. She was writing poetry initially for the benefit and education of her children but, by 1725, she had The Widow’s Address published and this was seen as an appeal on behalf of an Army officer’s widow against the social and financial difficulties that such women were facing all the time. Rather than being a simple tale for younger readers here was a biting piece of social commentary, aimed at a seemingly uncaring government.

During the 18th and early 19th centuries it was uncommon for women to become famous writers and yet Barber seemed to possess a “natural genius” where poetry was concerned which was all the more remarkable since she had no formal literary tuition to fall back on. The famous writer Jonathan Swift offered her patronage, recognising a special talent instantly. Indeed, he called her “the best Poetess of both Kingdoms” although his enthusiasm was not necessarily shared by literary critics of the time. It most certainly benefitted her having the support of fellow writers such as Elizabeth Rowe and Mary Delany, and Swift encouraged her to publish a collection in 1734 called Poems on several occasions. The book sold well, mostly by subscription to eminent persons in society and government. The quality of the writing astonished many who wondered how such a simple, sometimes “ailing Irish housewife” could have produced such work.

It took some time for Barber to attain financial stability though and her patron Swift was very much involved in her success. She could have lost his support though because, in a desperate attempt to achieve wider recognition, she wrote letters to many important people, including royalty, with Swift’s signature forged at the end. When he found out about this indiscretion he was not best pleased but he forgave her anyway.

Unfortunately poor health prevented much more coming from her pen during her later years. For over twenty years she suffered from gout and, in fact, wrote poems about the subject for a publication called the Gentleman’s Magazine. It is worth including here an extract from her poem Written for my son, at his first putting on of breeches. It is, in some ways, an apology and an explanation to a child enduring the putting on of an uncomfortable garment for the first time. She suggests in fact that many men have suffered from gout because of the requirement to wear breeches. The first verse of the poem is reproduced here:

Many of her poems were in the form of letters written to distinguished people, such as To The Right Honourable The Lady Sarah Cowper and To The Right Honourable The Lady Elizabeth Boyle On Her Birthday. These, and many more, were published in her 1755 collection Poems by Eminent Ladies. History sees her, unfortunately, as a mother writing to support her children rather than a great poet, and little lasting value has been attributed to her work.

•)§(•

3) 379J BARBER, Mary 1685-1755≠

Poems on Several Occasions

London: printed [by Samuel Richardson] for C. Rivington, at the Bible and Crown in St. Paul’s Church-Yard 1735 $2,000

First octavo edition, 1735, bound in early paper boards with later paper spine and printed spine label, pp. lxiv, 290, (14) index, title with repaired tear, very good. These poems were published the previous year in a quarto edition with a list of influential subscribers (reprinted here); this octavo edition is less common. Barber was the wife of a Dublin clothier and her publication in England was helped by Jonathan Swift, who has (along with the authoress) provided a dedication in this volume to the Earl of Orrery. Constantia Grierson, another Irish poetess, contributes a prefatory poem in praise of Mary Barber.

ESTC Citation No. T42623 ; Maslen, K. Samuel Richardson, 21.; Foxon, p.45. ;Teerink-Scouten [Swift] 747.

5) 374J [ Susanna CENTLIVRE,]. 1667-1723

The gamester: A Comedy…

London. Printed for William Turner, 1705. $2,000

Quarto. [6], 70pp, [2]. First edition.Without half-title. Later half-vellum, marbled boards, contrasting black morocco lettering-piece. Extremities lightly rubbed and discoloured. Browned, some marginal worming, occasional shaving to running titles.

The first edition of playwright and actress Susanna Centlivre’s (bap. 1667?, d. 1723) convoluted gambling comedy, adapted from French dramatist Jean Francois Regnard’s (1655-1709) Le Jouer (1696). The Gamester met with tremendous success and firmly established Centlivre as a part the pantheon of celebrated seventeenth-century playwrights, yet the professional life of the female dramatist remained complicated, with many of her works, as here, being published anonymously and accompanied by a prologue implying a male author.

CENTLIVRE, English dramatic writer and actress, was born about 1667, probably in Ireland, where her father, a Lincolnshire gentleman named Freeman, had been forced to flee at the Restoration on account of his political sympathies. When sixteen she married the nephew of Sir Stephen Fox, and on his death within a year she married an officer named Carroll, who was killed in a duel. Left in poverty, she began to support herself, writing for the stage, and some of her early plays are signed S. Carroll. In 1706 she married Joseph Centlivre, chief cook to Queen Anne, who survived her.

ESTC T26860.

)0(

5) 849G#780 Etherege, Sir George

The comical revenge, or, Love in a Tub. Acted at His Highness the Duke of York’s Theatre in Lincolns-Inn-fields. Licensed, July 8. 1664. Roger L’Estrange

London: Printed for Henry Herringman, and are to be sold at his shop at the Blew-Anchor in the Lower Walk of the New Exchange,1669,

Quarto 8.75 x 6.5 inches. A-I4, K4.(In this edition, there is a comma after title word “revenge” and leaf A2r has catchword “hope”. Another edition has a semi-colon after “revenge” and leaf A2r has catchword “the”.). The first work of Etherege was The Comical Revenge, or Love in a Tub. It was published in 1664 and may have been produced for the first time late in the previous year. This comedy was an immediate success and Etherege found himself, in a night, famous. Thus introduced to the wits and the fops of the town, Etherege took his place in the select and dissolute circle of Rochester, Dorset and Sedley. On one occasion, at Epsom, after tossing in a blanket certain fiddlers who refused to play, Rochester, Etherege and other boon companions so “skirmished the watch” that they left one of their number thrust through with a pike and were fain to abscond. Etherege married a fortune, it is not certain when, and, apparently for no better reason, was knighted. On the death of Rochester, he was, for some time, the “protector” of the beautiful and talented actress, Mrs. Barry. 63 Ever indolent and procrastinating, Etherege allowed four years to elapse before his next venture into comedy. She Would if She Could, 1668.

“The reputation of Sir George Etherege has risen considerably in the present century, and although there is now some danger of his being given an importance that he would have been the first to disown, he undoubtedly stamped his own unemphatic image on the Restoration theater. The comic world of his first two plays, although it is almost as unreal to the modern playgoer as the world of Edwardian musical comedy, is still young and fresh; it has the cool fragrance of those early mornings in the sixteen-sixties that Etherege knew so well as he went rollicking home after a night of pleasure. […] His gentlemen never do anything that he and his friends would have been ashamed to do themselves. Whatever his moral standards may be, we have at least the satisfaction of feeling (as we do not with Dryden) that he is not consciously lowering them to make an English comedy. […] (Sutherland).

Wing E-3370; W & M 546; Hazlitt, page 45.

Price: $1,500.00

#257J Ferrand, Jacques Ferrand, medecin

EROTOMANIA or A treatise discoursing of the essence, causes, symptomes, prognosticks, and cure of love, or Erotiqve melancholy. Written by Iames Ferrand Dr. of Physick

Oxford: by L. Lichfield to be sold by Edward Forrest, 1640, First Edition in English. This copy is neatly bound in 19th century calf with a gilt spine. it is quite a lovely copy.

This book is filled with details chosen on account of the personal motives and life ex- perience of the author. A close reading of Ferrand’s treatise (in particular a careful comparison of the two editions) reveals that he had to deal with criticism from both the religious establishment (the Catholic Church) and the academic establishment (his colleagues in the Paris medical faculty)

“Climate, diet and physical activity (three of the six “non-natural IMG_0893causes”) were the main elements controlling an individual’s health8. However, a reading of descriptions of the lifestyle which is most likely to lead to being infected by love melancholy makes it clear that the disease was characteristic of a specific social class. Wine, white bread, eggs, rich meats (especially white meat and stuffed poultry), nuts and most sweets were thought to be prob- lematic. Aphrodisiac foods such as honey, exotic fruits, cakes and sweet wines were considered to be extremely dangerous.

SMALL OCTAVO (5 3/4 x 3 5/8″). a-b⁸ c⁴ A-Z⁸.. Translated from the French by Edmund Chilmead.

Price: $4,500.00

515F#784 Huet, Pierre-Daniel (1630-1721)

The history of romances. An enquiry into their original; instructions for composing them; an account of the most eminent authors; With Characters, and Curious Observations upon the Best Performances of that Kind. Written in Latin by Huetius; made English by Mr. Stephen Lewis.

London: printed for J. Hooke, at the Flower-de-Luce, and T. Caldecott, at the Sun; both against St. Dunstan’s Church in Fleetstreet, 1715.

Octavo. 5 1/2 X 3 3/4 inches [8],xi,[1],144,143-149,[1]p. ;

First Edition ESTC Citation No. T126113(O, CSmH, and ABu report the [8] preliminary pages with two dedication leaves after the tp. Some copies have 2 inserted dedication leaves between the title page [A2] and the Preface [A3], not present in this copy, as in some other copies we have traced, e.g. University of Michigan, [see Google Books-on-line], and they were certainly never present in this copy. )

This copy is bound in full modern panelled calf, it is a very nice copy. Huet translated the pastorals of Longus, wrote a tale called Diane de Castro, and gave with his Traitté de l’origine des romans (1670), his Treatise on the Origin of Romances the first world history of fiction. On being appointed assistant tutor to the Dauphin in 1670, he edited, with the assistance of Anne Lefêvre, afterwards Madame Dacier, the well-known edition of the Delphin Classics.

“I shall not undertake to […] examine whether Amadis de Gaul were originally from Spain, Flanders, or France; and whether the Romance of Tiel Ulespiegel be a Translation from the German; or in what Language the Romance of the Seven Wise Men of Greece was first written […]. It shall suffice if I tell you, that all these Works which Ignorance has given Birth to, carried along with them the Marks of their Original, and were no other than a Complication of Fictions, grossly cast together in the greatest Confusion, and infinitely short of the Excellent Degree of Art and Elegance, to which the French Nation is now arrived in Romances.” The History of Romances […] Written in Latin by Huetius; Made English by Stephen Lewis (1715), p.136-38. Item #784

Price: $ 950.00

122F Mary de la Rivière Manley 1663-1724

Secret memoirs and manners of several persons of quality of both sexes. From the New Atalantis, an island in the Mediteranean.

London: Printed for John Morphew, and J. Woodward, 1709 $1500

Octavo 7 1/2 X4 3/4 inches I. A4, B-Q8, R4. Second edition. This jewel of a book is

expertly bound in antique style full paneled calf with a gilt spine. It is a lovely copy indeed.

The most important of the scandal chronicles of the early eighteenth century, a form made popular and practiced with considerable success by Mrs. Manley and Eliza Haywood.

Mrs. Manley was important in her day not only as a novelist, but as a Tory propagandist.

Her fiction “exhibited her taste for intrigue, and impudently slandered many persons of note, especially those of Whiggish proclivities.” – D.N.B. “Mrs. Manley’s scandalous ‘revelations’ appealed immediately to the prurient curiosity of her first audience ; but they continued to be read because they succeeded in providing certain satisfactions fundamental to fiction itself. In other words, the scandal novel or ‘chronicle’ of Mrs. Manley and Mrs. Haywood was a successful form, a tested commercial pattern, because it presented an opportunity for its readers to participate vicariously in an erotically exciting and glittering fantasy world of aristocratic corruption and promiscuity.” – Richetti, Popular Fiction before Richardson.

The story concerns the return to earth of the goddess of justice, Astrea, to gather information about private and public behavior on the island of Atalantis. Delarivier Manley drew on her own experiences as well as on an obsessive observation of her milieu to produce this fast-paced narrative of political and erotic intrigue. New Atalantis (1709) is an early and influential example of satirical political writing by a woman. It was suppressed on the grounds of its scandalous nature and Manley (1663-1724) was arrested and tried. Astrea [Justice] descends on the island of Atalantis, meets her mother Virtue, who tries to escape this world of »Interest« in which even the lovers have deserted her. Both visit Angela [London]. Lady Intelligence comments on all stories of interest. p.107: the sequel of »Histories« turns into the old type of satire with numerous scandals just being mentioned (e.g. short remarks on visitors of a horse race or coaches in the Prado [Hyde-Park]). The stories are leveled against leading Whig politicians – they seduce and ruin women. Yet detailed analysis of situations and considerations on actions which could be taken by potential victims. Even the weakest female victims get their chances to win (and gain decent marriages) the more desperate we are about strategic mistakes and a loss of virtue which prevents the heroines from taking the necessary steps. The stories have been praised for their »warmth« and breathtaking turns.

Manley was taken into custody nine days after the publication of the second volume of Secret Memories and Manners of several Persons of Quality of Both Sexes, from the New Atalantis, an island in the Mediterranean on 29 October 1709. Manley apparently surrendered herself after a secretary John Morphew and John Woodward and printer John Barber had been detained. Four days later the latter were discharged, but Manley remained in custody until 5 November when she was released on bail. After several continuations of the case, she was tried and discharged on 13 February 1710. Rivella provides the only account of the case itself in which Manley claims she defended herself on grounds that her information came by ‘inspiration’ and rebuked her judges for bringing ‘w woman to her trial for writing a few amorous trifles’ (pp. 110-11). This and the first volume which appeared in May 1709 were Romans a clef with separately printed keys. Each offered a succession of narratives of seduction and betrayal by notorious Whig grandees to Astrea, an allegorical figure of justice, by largely female narrators, including an allegorical figure of Intelligence and a midwife. In Rivella, Manley claims that her trial led her to conclude that ‘politics is not the business of a woman’ (p. 112) and that thereafter she turned exclusively to stories of love.

Delarivier Manley was in her day as well-known and potent a political satirist as her friend and co-editor Jonathan Swift. A fervent Tory, Manley skilfully interweaves sexual and political allegory in the tradition of the roman a clef in an acerbic vilification of her Whig opponents. The book’s publication in 1709 – fittingly the year of the collapse of the Whig ministry – caused a scandal which led to the arrest of the author, publisher and printer.

The book exposed the relationship of Queen Anne and one of her advisers, Sarah Churchill. Along with this, Manley’s piece examined the idea of female intimacy and its implications. The implications of female intimacy are important to Manley because of the many rumours of the influence that Churchill held over Queen Anne. ESTC T075114; McBurney 45a; Morgan 459.

)§(§)§(

9) 103g Philips, Katherine.1631-1664

Letters from Orinda to Poliarchus

London: printed by W.B. for Bernard Lintott, 1705 $2,500

Octavo,6.75 X 3.75 inches. First edition A-R8 Bound in original calf totally un-restored a very nice original condition copy with only some browning, spotting and damp staining, It is a very good copy.

It is housed in a custom Box.

10) 376J Mary Pix 1666-1720

The conquest of Spain: a tragedy. As it is Acted by Her Majesty’s Servants at the Queen’s Theatre In the Hay-Market

London : printed for Richard Wellington, at the Dolphin and Crown in St. Paul’s Church-Yard, 1705. $2,500

Quarto [A]-K4. First Edition . (Anonymous. By Mary Pix. Adapted from “All’s lost by lust”, by William Rowley)

Inspired by Aphra Behn, Mary Pix was among the most popular playwrights on the 17th-century theatre circuit, but fell out of fashion.

“It is so rare to find a play from that period that’s powered by a funny female protagonist. I was immensely surprised by the brilliance of the writing. It is witty and forthright. Pix was writing plays that not only had more women in the cast than men but women who were managing their destinies.”

Pix was born in 1666, the year of the Great Fire of London, and grew up in the culturally rich time of Charles II. With the prolific Aphra Behn (1640-1689) as her role model, Pix burst on to the London theatre and literary scene in 1696 with two plays – one a tragedy: Ibrahim, the Thirteenth Emperor of the Turks, the other a farce – The Spanish Wives. Pix also wrote a novel – The Inhuman Cardinal.

Her subsequent plays, mostly comedies, became a staple in the repertory of Thomas Betterton’s company Duke’s at Lincoln’s Inn Fields and later at the Queen’s Theatre. She wrote primarily for particular actors, such as Elizabeth Barry and Anne Bracegirdle, who were hugely popular and encouraged a whole generation of women writers.

In a patriarchal world dominated by self-important men, making a mark as a woman was an uphill struggle. “There was resistance to all achieving women in the 18th century, a lot of huffing and puffing by overbearing male chauvinists,” says Bush-Bailey.

“Luckily for Pix and the other women playwrights of that time, the leading actresses were powerful and influential. I think it was they who mentored people such as Pix and Congreve.”

Davies believes the women playwrights of the 1700s – Susanna Centlivre, Catherine Trotter Cockburn, Delarivier Manley and Hannah Cowley – “unquestionably” held their own against the men who would put them down. “What’s difficult is that they were attacked for daring to write plays at all,” she says.

One of the most blatant examples of male hostility came in the form of an anonymously written parody entitled The Female Wits in 1696, in which Mary Pix was caricatured as “Mrs Wellfed, a fat female author, a sociable, well-natur’d companion that will not suffer martyrdom rather than take off three bumpers [alcoholic drinks] in a hand”.

While Pix’s sociability and taste for good food and wine was common knowledge, she was known to be a universally popular member of the London literary and theatrical circuit.

“The Female Wits was probably written, with malice, by George Powell of the Drury Lane Company,” says Bush-Bailey. “It was a cheap, satirical jibe at the successful women playwrights of the time, making out they were all bitching behind each others’ backs. So far as one can tell, it was just spiteful and scurrilous.”

Mary Pix (1666 – 17 May 1709) was an English novelist and playwright. As an admirer of Aphra Behn and colleague of Susanna Centlivre, Pix has been called “a link between women writers of the Restoration and Augustan periods”.

The Dramatis personae from a 1699 edition of Pix’s The False Friend.

Mary Griffith Pix was born in 1666, the daughter of a rector, musician and Headmaster of the Royal Latin School, Buckingham, Buckinghamshire; her father, Roger Griffith, died when she was very young, but Mary and her mother continued to live in the schoolhouse after his death. She was courted by her father’s successor Thomas Dalby, but he left with the outbreak of smallpox in town, just one year after the mysterious fire that burned the schoolhouse. Rumour had it that Mary and Dalby had been making love rather energetically and overturned a candle which set fire to the bedroom.

In 1684, at the age of 18, Mary Griffith married George Pix (a merchant tailor from Hawkhurst, Kent). The couple moved to his country estate in Kent. Her first son, George (b. 1689), died very young in 1690.[3] The next year the couple moved to London and she gave birth to another son, William (b. 1691).

In 1696, when Pix was thirty years old, she first emerged as a professional writer, publishing The Inhumane Cardinal; or, Innocence Betrayed, her first and only novel, as well as two plays, Ibrahim, the Thirteenth Emperour of the Turks and The Spanish Wives.

Though from quite different backgrounds, Pix quickly became associated with two other playwrights who emerged in the same year: Delariviere Manley and Catherine Trotter. The three female playwrights attained enough public success that they were criticised in the form of an anonymous satirical play The Female Wits (1696). Mary Pix appears as “Mrs. Wellfed one that represents a fat, female author. A good rather sociable, well-matured companion that would not suffer martyrdom rather than take off three bumpers in a hand”.[4] She is depicted as an ignorant woman, though amiable and unpretentious. Pix is summarised as “foolish and openhearted”.

Her first play was put on stage in 1696 at the Theatre Royal, Drury Lane, near her house in London but when that same theatrical company performed The Female Wits, she moved to Lincoln’s Inn Fields. They said of her that “she has boldly given us an essay of her talent … and not without success, though with little profit to herself”. (Morgan, 1991: xii).

In the season of 1697–1698, Pix became involved in a plagiarism scandal with George Powell. Powell was a rival playwright and the manager of the Drury Lane theatrical company. Pix sent her play, The Deceiver Deceived to Powell’s company, as a possible drama for them to perform. Powell rejected the play but kept the manuscript and then proceeded to write and perform a play called The Imposture Defeated, which had a plot and main character taken directly from The Deceiver Deceived. In the following public backlash, Pix accused Powell of stealing her work and Powell claimed that instead he and Pix had both drawn their plays from the same source material, an unnamed novel. In 1698, an anonymous writer, now believed to be Powell, published a letter called “To the Ingenious Mr. _____.” which attacked Pix and her fellow female playwright Trotter. The letter attempted to malign Pix on various issues, such as her spelling and presumption in publishing her writing. Though Pix’s public reputation was not damaged and she continued writing after the plagiarism scandal, she stopped putting her name on her work and after 1699 she only included her name on one play, in spite of the fact that she is believed to have written at least seven more. Scholars still discuss the attribution of plays to Pix, notably whether or not she wrote Zelmane; or, The Corinthian Queen (1705).

In May 1707 Pix published A Poem, Humbly Inscrib’d to the Lords Commissioners for the Union of the Two Kingdoms. This would be her final appearance in print. She died two years later.

Few of the female playwrights of Mary Pix’s time came from a theatrical background and none came from the aristocracy: within a century, most successful actresses and female authors came from a familiar tradition of literature and theatre but Mary Pix and her contemporaries were from outside this world and had little in common with one another apart from a love for literature and a middle-class background.

At the time of Mary Pix, “The ideal of the one-breadwinner family had not yet become dominant”, whereas in 18th-century families it was normal for the woman to stay at home taking care of the children, house and servants, in Restoration England husband and wife worked together in familiar enterprises that sustained them both and female playwrights earned the same wage as their male counterparts.

Morgan also points out that “till the close of the period, authorship was not generally advertised on playbills, nor always proclaimed when plays were printed”, which made it easier for female authors to hide their identity so as to be more easily accepted among the most conservative audiences.

As Morgan states, “plays were valued according to how they performed and not by who wrote them. When authorship ―female or otherwise― remained a matter of passing interest, female playwrights were in an open and equal market with their male colleagues”.

Pix’s plays were very successful among contemporary audiences. Each play ran for at least four to five nights and some were even brought back for additional shows years later.[10] Her tragedies were quite popular, because she managed to mix extreme action with melting love scenes. Many critics believed that Pix’s best pieces were her comedies. Pix’s comedic work was lively and full of double plots, intrigue, confusion, songs, dances and humorous disguise. An Encyclopaedia of British Women Writers (1998) points out that

Forced or unhappy marriages appear frequently and prominently in the comedies. Pix is not, however, writing polemics against the forced marriage but using it as a plot device and sentimentalizing the unhappily married person, who is sometimes rescued and married more satisfactorily.”(Schlueter & Schlueter, 1998: 513)

Although some contemporary women writers, like Aphra Behn, have been rediscovered, even the most specialised scholars have little knowledge of works by writers such as Catherine Trotter, Delarivier Manley or Mary Pix, despite the fact that plays like The Beau Defeated (1700), present with a wider range of female characters than plays written by men at the time. Pix’s plays generally had eight or nine female roles, while plays by male writers only had two or three.[

A production of The Fantastic Follies of Mrs Rich (or The Beau Defeated) played as part of the 2018 season at the Royal Shakespeare Company.

Pix produced one novel and seven plays. There are four other plays that were published anonymously, that are generally attributed to her.

Melinda Finberg notes that “a frequent motif in all her works is sexual violence and female victimization” – be that rape or murder (in the tragedies) or forcible confinement or the threat of rape (in the comedies).

^ Kramer, Annette (June 1994). “Mary Pix’s Nebulous Relationship to Zelmane”. Notes and Queries. 41 (2): 186–187. doi:10.1093/nq/41-2-186

PIX, Mrs. MARY (1666–1720?), dramatist, born in 1666 at Nettlebed in Oxfordshire, was daughter of the Rev. Roger Griffith, vicar of that place. Her mother, whose maiden name was Lucy Berriman, claimed descent from the ‘very considerable family of the Wallis’s.’ In the dedication of ‘The Spanish Wives’ Mrs. Pix speaks of meeting Colonel Tipping ‘at Soundess,’ or Soundness. This house, which was close to Nettlebed, was the property of John Wallis, eldest son of the mathematician. Mary Griffith’s father died before 1684, and on 24 July in that year she married in London, at St. Saviour’s, Benetfink, George Pix (b. 1660), a merchant tailor of St. Augustine’s parish. His family was connected with Hawkhurst, Kent. By him she had one child, who was buried at Hawkhurst in 1690.

It was in 1696, in which year Colley Cibber, Mrs. Manley, Catharine Cockburn (Mrs. Trotter), and Lord Lansdowne also made their débuts, that Mrs. Pix first came into public notice. She produced at Dorset Garden, and then printed, a blank-verse tragedy of ‘Ibrahim, the Thirteenth Emperor of the Turks.’ When it was too late, she discovered that she should have written ‘Ibrahim the Twelfth.’ This play she dedicated to the Hon. Richard Minchall of Bourton, a neighbour of her country days. In the same year (1696) Mary Pix published a novel, ‘The Inhuman Cardinal,’ and a farce, ‘The Spanish Wives,’ which had enjoyed a very considerable success at Dorset Garden.

From this point she devoted herself to dramatic authorship with more activity than had been shown before her time by any woman except Mrs. Afra Behn [q. v.] In 1697 she produced at Little Lincoln’s Inn Fields, and then published, a comedy of ‘The Innocent Mistress.’ This play, which was very successful, shows the influence of Congreve upon the author, and is the most readable of her productions. The prologue and epilogue were written by Peter Anthony Motteux [q. v.] It was followed the next year by ‘The Deceiver Deceived,’ a comedy which failed, and which involved the poetess in a quarrel. She accused George Powell [q. v.], the actor, of having seen the manuscript of her play, and of having stolen from it in his ‘Imposture Defeated.’ On 8 Sept. 1698 an anonymous ‘Letter to Mr. Congreve’ was published in the interests of Powell, from which it would seem that Congreve had by this time taken Mary Pix under his protection, with Mrs. Trotter, and was to be seen ‘very gravely with his hat over his eyes … together with the two she-things called Poetesses’ (see GOSSE, Life of Congreve, pp. 123–5). Her next play was a tragedy of ‘Queen Catharine,’ brought out at Lincoln’s Inn, and published in 1698. Mrs. Trotter wrote the epilogue. In her own prologue Mary Pix pays a warm tribute to Shakespeare. ‘The False Friend’ followed, at the same house, in 1699; the title of this comedy was borrowed three years later by Vanbrugh.

Hitherto Mary Pix had been careful to put her name on her title-pages or dedications; but the comedy of ‘The Beau Defeated’—undated, but published in 1700—though anonymous, is certainly hers. In 1701 she produced a tragedy of ‘The Double Distress.’ Two more plays have been attributed to Mary Pix by Downes. One of these is ‘The Conquest of Spain,’ an adaptation from Rowley’s ‘All’s lost by Lust,’ which was brought out at the Queen’s theatre in the Haymarket, ran for six nights, and was printed anonymously in 1705 (DOWNE, Roscius Anglicanus, p. 48). Finally, the comedy of the ‘Adventures in Madrid’ was acted at the same house with Mrs. Bracegirdle in the cast, and printed anonymously and without date. It has been attributed by the historians of the drama to 1709; but a copy in the possession of the present writer has a manuscript note of date of publication ‘10 August 1706.’

Nearly all our personal impression of Mary Pix is obtained from a dramatic satire entitled ‘The Female Wits; or, the Triumvirate of Poets.’ This was acted at Drury Lane Theatre about 1697, but apparently not printed until 1704, after the death of the author, Mr. W. M. It was directed at the three women who had just come forward as competitors for dramatic honours—Mrs. Pix, Mrs. Manley, and Mrs. Trotter [see Cockburn, Catharine]. Mrs. Pix, who is described as ‘a fat Female Author, a good, sociable, well-natur’d Companion, that will not suffer Martyrdom rather than take off three Bumpers in a Hand,’ was travestied by Mrs. Powell under the name of ‘Mrs. Wellfed.’

The style of Mrs. Pix confirms the statements of her contemporaries that though, as she says in the dedication of the ‘Spanish Wives,’ she had had an inclination to poetry from childhood, she was without learning of any sort. She is described as ‘foolish and open-hearted,’ and as being ‘big enough to be the Mother of the Muses.’ Her fatness and her love of good wine were matters of notoriety. Her comedies, though coarse, are far more decent than those of Mrs. Behn, and her comic bustle of dialogue is sometimes entertaining. Her tragedies are intolerable. She had not the most superficial idea of the way in which blank verse should be written, pompous prose, broken irregularly into lengths, being her ideal of versification.

The writings of Mary Pix were not collected in her own age, nor have they been reprinted since. Several of them have become exceedingly rare. An anonymous tragedy, ‘The Czar of Muscovy,’ published in 1702, a week after her play of ‘The Double Distress,’ has found its way into lists of her writings, but there is no evidence identifying it with her in any way. She was, however, the author of ‘Violenta, or the Rewards of Virtue, turn’d from Bocacce into Verse,’ 1704.

[Miscellanea Genealogica et Heraldica, 2nd ser. v. 110–3; Vicar-General’s Marriage Licences (Harl. Soc.), 1679–87, p. 173; Baker’s Biogr. Dramatica; Doran’s Annals of the English Stage, i. 243; Mrs. Pix’s works; Genest’s Hist. Account of the Stage.].

)§(§)§(

331j.#781 Polwheile, Theolophilus

Aὐθέντης, Authentēs. Or A treatise of self-deniall. Wherein the necessity and excellency of it is demonstrated; with several directions for the practice of it. By Theophilus Polwheile, M.A. sometimes of Emmanuel Colledge in Cambridge, now teacher of the Church at Teverton in Devon

London: :printed for Thomas Johnson, and are to be sold by Richard Scott book-seller in Carlisle, 1658.

First Edition ¶. bound in mid 19th century brown calf, (48) 424 (46) pp. including 8 pp. publisher’s catalog, errata leaf at end, text clean, bright, collated complete, ownership signature of a B. Fuller in an old hand on bottom of title page, probably not that of Bishop William Fuller, but perhaps. Wing (2nd ed.), P2782; Thomason; E.1733[1]. NO US Copy. #331j. Item #781

n 1651 he took the degree of M.A. He was preacher at Carlisle until about 1655 (Dedication to Treatise on Self-deniall). In 1654 he was a member of the committee for ejecting scandalous ministers in the four northern counties of Cumberland, Durham, Northumberland, and Westmoreland. From that year until 1660, when he was driven from the living, he held the rectory of the portions of Clare and Tidcombe at Tiverton. The statement of the Rev. John Walker, in ‘The Sufferings of the Clergy,’ that he allowed the parsonage-house to fall into ruins, is confuted in Calamy’s ‘Continuation of Baxter’s Life and Times’ (i. 260–1). Polwhele sympathised with the religious views of the independents, and after the Restoration he was often in trouble for his religious opinions. After the declaration of James II the Steps meeting-house was built at Tiverton for the members of the independent body; he was appointed its first minister, and, on account of his age, Samuel Bartlett was appointed his assistant. He was buried in the churchyard of St. Peter, Tiverton, on 3 April 1689. His wife was a daughter of the Rev. William Benn of Dorchester. Their daughter married the Rev. Stephen Lobb

¶ Polwheile was a minister based mainly in Tiverton; the year after this was published, in the Restoration of 1660, he was ejected from his ministerial position for his religious views and for his sympathies with the Independents, who advocated for local control and for a certain freedom of religion for those who were not Catholic; because of this, he was often in trouble until the Declaration of Indulgence by James II in 1687, establishing freedom of religion in England (James II being Catholic). Polwheile died in 1689. Very Good. (DNB).

Price: $1,800.00

12) 323J Madeleine Vigneron (1628-1667)

La vie et la conduite spirituelle de Mademoiselle M. Vigneron. Suivant les mémoires qu’elle en a laissez par l’ordre de son directeur (M. Bourdin). [Arranged and edited by him.].

Paris: Chez Pierre de Launay, 1689. $2,000

Octavo 7 x 4 3/4 inches ã8 e8 A-2R8 (2R8 blank). Second and preferred edition first published in 1679. This copy is bound in contemporary brown calf, five raised bands on spine, gilt floral tools in the compartments, second compartment titled in gilt; corners and spine extremities worn; three old joint repairs; on the front binder’s blank is an early ownership four-line inscription in French dated 1704, of

Sister Monique Vanden Heuvel, at the priory of Sion de Vilvoorde (Belgium).

Overall a fine copy.

This is the stirring journal that Madeleine Vigneron , member of the Third Order of the Minims of St. Francis of Paola, she began to keep it in 1653 and continued until her premature death, (1667) It was first published in 1679 and again in the present second, and final, edition which is more complete than the first. Added are Madeleine’s series of 78 letters representing her spiritual correspondence.IMG_1410

In these autobiographical writings, which were collected and published by her Director, the Minim Matthieu Bourdin, Madeleine speaks of the illnesses that plagued her since childhood and greatly handicapped her throughout a life that she dedicated to God by caring for the poor. She received admirable lights on the divinity and humanity of Jesus Christ, on the mysteries of the spiritual life. The hagiographers have remarked her austerity, her patience, her insatiable desire to suffer for God. Those who knew her perceived in her a virtuous life that impressed them.

This is a very rare book: the combined resources of NUC and OCLC locate only one copy in America, at the University of Dayton which also holds the only American copy of the 1679 edition.

§ Cioranescu 66466 (the 1679 edition).

checklist of early modern writings by nuns

Carr, Thomas M., “A Checklist of Published Writings in French by Early Modern Nuns” (2007). French Language and Literature Papers. 52.

)§(§)§(

End

This is a link to the rest of my books.

[email protected] 617*678*4517

Half price or less SALE Price DEFERED BILLING Early Modern Books by Women/ about them. Author INDEX 1) 415J #779 . Anon.), Waring, Robert 2) 342 J Attributed to James Wright…

#female wits #Irish women #Nuns

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wearethegladiators · 5 years

Text

*SENDS BACK A THOUSAND CHEF’S KISSES*

Ptn I’m so inspired but I’m so busy like!! Pourquoi je m’inscris à 2 forums en même temps aussi

Anyway have you seen Tom Felton’s latest IG posts because CASSIEL FEELINGS ARE STILL GOING STRONG

Visual representation of Wynona by the beginning of Incendio:

Also I guess she’d be sort of middle-ground between Sacha and Nathan?? The dragons are her kids yo, she’s literally in a “the more family I lose the more dragons I will have” sort of shit. BUT at the same my girl likes a good fire…. And so dragons…..

Plus I mean it’s obvious she’s never given up on the Rebellion. She did not want to join originally because of the kids, but she hates so goddamn much this government and like?? The Ryders are muggleborns?? She’s angry as fuck rn.

(The fact that she’s siding with the Muggleborn Resistance is proof of that ofc, but it’s also out of opportunity. She can rebel while doing her own thing, that’s good with her atm. Or so she tries to believe)

Mdrrrr nan c’était pas cringy!! En vrai autant je trouve que certains de mes plots étaient invraisemblables autant j’ai pas été choquée par notre manière d’écrire mdrrrr (bon sauf quelques traits d’humour. Ça, je. Hm. Oui.)

GIVE NATHAN SOME SOLID BROMANCE 2K19 Avec le Charlie Hunnam là, Lily dit pas non :siffle:

Mdrrrr ouais all this pureblood shit is so awkward for her I swear to God. Pretty sure that at one point she showed up in a Sioux outfit and everyone was like “…….. *cricket noises*”

Tbh Emori’s glow-up for the prime thingy is a 100% Wynona showing up to these events (plus they have relatively similar styles au quotidien) YASSS QUEEEEN (still a weird thought yeah mdr) (i thought at some point Luisa would be a good fc for Wyn btw) (and also Indyamarie Jean!! plus she’s like half native american or so) (but your last gifset i mean??)

BON KIERAN IS ON THE LIST

Omg I didn’t think about it (whispering the names before going to sleep) but 100% this is so HER

I mean even though she stopped her terrorist “phase” (IT’S NOT A PHASE MOM) she’s still living by the words of her family. She’s still angry. She’s still about fire. Tbh she’s gonna die in a ring of fire one way or another

SO THE SHEEPS ARE STILL NOT SAFE OK

(mdr Nathan sweetheart btw)

“but they would put her head on a stick so maybe not.” yeah what about trying to avoid that amirite

“did she anger the yaxley family and if so can nathan and her go after rick yaxley like the power couple they are?? just couple things… murder….arson…” well I mean if Rick and Wynona ever sat at the same table to talk about politics…. I don’t think he would really like her…

plus he’s on the list anyway because he hurt Nathan and Nathan is part of The Tribe™ and no one hurts The Tribe™

Mdr can you imagine Wyn literally bringing Rick to Nathan like “woopsie doopsie I think I may have a present for you” :arrow: (MAYBE A SIMPLE TEAMING UP WOULD DO UH) (mdr Rick is a bitch don’t tell me he’s not gonna make girlfriend jokes)

RED. Honestly I thought she’d be dead BUT I actually like to think of her as having survived the shitstorm, being still relatively sane and undyingly loyal to Nathan?? Because that’d be quite a plot twist judging who she is, but it would be interesting to see her as “wiser”, and especially, the ride-or-die lieutenant (ISN’T THAT SUPPOSED TO BE LILY THO OY)

(I mean especially if Red was close to Aron, she’s definitely trying to live up to his memory, so there’s that as well)

Wesh Win is gonna make so much fun of the MacFusty if they didn’t even play the dragons card

NOW I really think Carmen and Win must have teamed up on some terrorist shit. No wonder the world c o l l a p s e d

(yeah yeah, Nathan-Carmen-Wynona is such a bad idea. Let’s not do it. Never ever. *winkwink*)

I mean they could be a trouple. I wouldn’t be incredibly surprised to learn that Win has hooked up with Carmen once or twice tbh :siffle: (WHY IS EVERYONE HAVING SEX WITH EVERYONE)

And meanwhile

My girl Lily

Anyway. NATHAN EXPELLED WYNONA. No wonder there’s some unresolved angst™ (actually, maybe not so much. Wynona is all about justice and she’s going to respect any decision/”trial”. She’s a “I did what I did and I will face the consequences of it” gal.)

I read “try yoga hug” and I’m honestly here for it

“I AM going to be 23 and who am i??? i cry at cute animals videos!!! sometimes i forget to eat!!!” This was so relatable it kinda hurt tbh :////

MDR NATHAN AND LILY LAUGHING ABOUT THE SHIT THEY DID IN THE WAR IS A BIG-ASS MOOD, come on why’s everybody so serious :face:

THE MURPHY GIF

Nathan and Lily are gonna have so much fights omg

RICK GETTING INTO LILY’S HEAD????? …. kinda makes sense….

“how is nathan supposed to RELAX and let lily BE when she’s always in so much trouble?????” TROUBLE USUALLY FINDS ME BITCH. True tho, sorry big bro

“ça me fume” ptn Elo t’es si française jpp j’adore

THE REBELLION AND THE MUGGLEBORN RESISTANCE CLASHING WOULD BE SO DRAMATIC OMG I’m here for it

I don’t even think that would be a trigger for Lily tho tbh because active denial™ BUT there definitely would be people calling her on her bullshit (maybe even Fury??? Who sort of created this whole dynamic, or at least pushed her into that direction)

Gnnn I actually love Fury so much, I’m binge-watching Peaky Blinders rn and I LOVE CILLIAN MURPHY TO DEATH and it just hit me that Fury could be an!! Irish!! Traveler!! THE POTENTIAL. Gypsy magic I’m so so so here for it

(also people probably don’t understand any shit he says so Lily has to translate it all)

(he likes (well, respects) Nathan a lot btw, too bad it’s not réciproque :( probably really likes the Blackbird girl too hihi)

“it’s okay they’ve been busy they just kinda forgot that they’re not JUST the red leader or morrigan or an auderic or a mudblood, they’re also FAMILY” THE TEARS IN MY EYES BITCH THIS IS SO TRUE

They really really really really need to talk it out/hug it out

Lily’s so far deep tho, like even if Nathan calls her out on her bullshit once she’d be like “Idk what you’re talking about, I’m fine, really, SI SI”

BUT she really needs to have this emotional breakdown where she goes like “there HAS TO be a reason why I’m still alive?? I HAVE TO save these people?? My people???”

Omg this moment is 10000% happening when Nathan’s losing his leg

She’d feel so guilty, like she failed to protect him

One thing I’ve always liked about Nathalily’s relationship is how it’s not what it seems like at first glance?? Cause it sounds like Lily is heavily dependent on Nathan’s for protection and Nathan’s needs Lily so much to “protect him emotionally” sort of? And actually Lily needs Nathan so fucking much to stay sane/ALIVE and Nathan needs his baby sister to save his drunken/reckless ass every once in a while :’))) IN MY MIND IT’S WAY CLEARER BUT ANYWAY

FEELS

She’d be there in a SECOND as soon as she hears about Nathan getting hurt

Idk why I have the scene of the Weasley twins after George lost his ear in mind

That’s definitely round 2 of “you’re my family too, I lost sight of that” and “I’M SO PROUD OF YOU BITCH” (mdr the “Nathan doesn’t cry but I sure do” part was so relatable mdrrrr)

Anyway drama drama drama feels feels feels!!

Also I actually don’t want Nathan to lose his leg, he’s already in emotional pain yo :’(((((

Can we talk about how Nathan and Wynona used to be sex-symbols/rock stars/badass athletes and now they’re both CRIPPLED

(I’m sorry but Nathan losing a leg also quite inevitably means Wynona being back into the picture)

Maybe he’s been sent to the Blackbird ranch for recovery :’)))

Makes me think that Lily is actually still… “whole”??? Like she’s got scars and shit but in spite of everything she’s been through she’s physically still ok? (besides the Occlumens thingy)

Interesting how the weaker one is still fully in capacity hé

I mean she’s got that black magic wound thing…. WAIT

WHAT IF IT’S ACTUALLY A CURSE

I always thought this was a progressive thing and this would eventually kill her

Have I already considered having Lily die in the middle of the night because of this when she survived so much shit?? YES YOU’RE NOT THE ONLY ONE CAPABLE OF THIS

But my girl deserves better so

Anyway what if it’s a curse actually related to death and this is why she attracts/is attracted to death so much???? Deatheaters may have done that to make fun of her survivor/Banshee vibes but that would make sense?? (i don’t really appreciate death eaters’ humor yo)

What’s this quote again

“Her presence always signed imminent death, torture, betrayal, or some other horror”

I’m having I D E A S I need to sort this out

‘est-ce que lily va se faire soulever un jour’ MDRRRRR didn’t have a drink but it was TOUT COMME ptn Lily’s MY DAUGHTER j’étais pas prête DU TOUT

En vrai interesting because they’re all screwing each other but Lily… I mean she was supposed to hook up with this one guy on Excidium but besides that?? I honestly don’t think she’s ever been with anyone else since the beginning of the war??

Mdr she had so many boyfriends in Hogwarts and now look at her

But she doesn’t have time for that? And she doesn’t want it? And she wouldn’t be able to take it if she lost that other person too?

ACTUALLY that would do her so much good but she just can’t see that

MAYBE FURY??

Mdr sorry pls let her have a nice functional guy

(funny how Wynona’s quite openly bisexual when coming from a very close-minded family and I think of Lily and Aron as strictly straight when they come from a much more tolerant background?? Idk)

(anyway yeah the Evans were Christians but at least for the parents it was this whole “RELIGION IS ABOUT LOVE, ALL TYPES OF LOVE” vibe)

(anyway je diverge)

Also she’s still pretty much traumatized by the fact that she lost her first love and learnt about it… almost a year later mdr

She carried the earrings he gave her for SO LONG, she probably lost it by now but still

It’s like the original trauma of the war

(sometimes I think about the toxic aspects of Mily’s relationship but today is not the day)

“do you think nathan will ever see that lily is not a kid anymore or will he always be like “oh yes my little sister she’s like… 15….” even when they’re both 30…40…50 years old lmao” MDR BIG ASS MOOD I LOVE THEM

Wait Edan’s ooooold

Sacha’s breaking my heart pls tell him I’m sending a hug

“SORRY I’M JUST A DRAGON RIDER” WESH

“SORRY I JUST HAVE VOICES IN MY HEAD” :arrow:

Lily probably felt this so much when she first arrived to the Rebellion, she was still a kid and Nathan was overprotective and she wasn’t a great fighter and no one could understand how she had made it??

Just thinking how the rebellion may have tried somehow to exploit Lily’s banshee capacities and how Nathan would not appreciate it :’) but she’d thought it was kind of her only weapon so

Idk but yeah banshee!Lily is canon I guess

Tbh I LIVE for the idea of characters never meeting in Hogwarts even though they were so close?? Idk like Wynona/Nathan, even Sacha/Lily

Or maybe she’d know him vaguely

Lily was quite known as the gnome that will kick anyone’s asses for calling someone a Mudblood so maybe something like that, but not a full-fledged friendship?? Or once again they almost killed each other in Quidditch you know, shit happens

That’d be fun tho if they recognized each other

SACHA AS THE THERAPIST AND PEOPLE THROWING THINGS AT HIM I’M :’((((( we don’t deserve him do we

Meanwhile Wynona

· lmao no one:

· literally no one:

· wynona: hey you want to FIGHT bITCH?

WILLY

Mdrrrr bah Kira avait quand même mis une tarte à Lily (ou l’avait poussé dans un mur aussi je crois) et il était devenu son psy LE CHAOS

(bon et Milo essayait de noyer Lily/lui faisait exploser des bouteilles de bière sur la tête/faisait des rape jokes aussi des fois)

(NOT TODAY ON A DIT)

Anyway: chaotic energy is the least we can say mdrrrr

Mdr I’m here for a weekend d’escapade tbh (NO JOHN DO involved tho)

Mdr Nathan really was a piece of shit on Les AM sometimes :’) can Lily tell him already how she admires that he became a better man at war

I mean she kind of feels it you know

NATHAN AND WYNONA CASUALLY DISCUSSING TRAUMA IS *chef’s kiss* (mdr sorry but this whole part about emo!Nathan made me laugh so much mdrrrr)

They’re definitely gonna fight on their first meeting and I’m here for it

I mean Wyn is NOT hard to trigger and she’d be so mad she may let slip some personal stuff like “SO YOU’RE THE ONE NEVER SHOWING UP TO LITTLE PURIES PARTIES”

Also it’s a fun dynamic bc that means they may know their whole names and faces and sort of family backgrounds when the Rebellion was still all about anonymity at that time?? Mdr she’d feel so threatened she’d probably think “I won’t hesitate to murder this mofo if he becomes creepy yo” but then he’s hot

Wynona leaving him kicking his ass without giving the info

Wynona showing up to the next rebellion meeting without him being aware, grumpy face bras croisés *sigh*

I don’t why I’ve always felt a Dorne vibe with both the Blackbirds and the Shafiqs but ANYWAY they could get along well

Too bad Wyn just wants lands for her kids and dragons

PLOT TWIST: THE WEDDING WE WERE TALKING ABOUT ACTUALLY IS THAT OF WYN AND NATHAN

Mdr now I have that in mind THANKS ELO

I mean…. That we could be a temporary thingy…. We’re trying to heal each other we love each other… until we realize we’re burning each other up too much…. *falls* *dies ensouvelie sous les feels*

Mdr the pureblood reactions

Btw vu que je rame sur mon chapitre JE SPOILE mais en gros je voulais finir sur une base de 2 mangemorts qui discutent de la newbie Blackbird et qui finissent par lâcher un « faudrait peut-être redessiner les plans de table. Manquerait plus qu’elle s’accoquine avec l’Auderic » MDRRRR

Sorry

YDRIA YDRIA

I mean she needs to come to the wedding

PLOT TWIST²: the “bad guys” (Ydria, the Americans) are actually HELPING the rebellion (they’re still scary people tho I’m not sure we should want that)

they’re all originally coming for the wedding

(but!! Native American magic!! Sorry)

PTN NATHAN AND WOLVES JSUIS MORTE PARCE QUE

There are wolves on the Blackbird ranch, we don’t know why they’re from BUT THEY’RE HERE

WYNONA NOT KNOWING AND PROUDLY SHOWING THEM TO NATHAN

(or if they’re still en froid just mentioning it casually thinking it’ll make him happy)

Aron found a dog at some point and it literally ended up being his last true friend/source of joy and this dog MAY VERY WELL HAVE LOOKED LIKE A WOLF

This dog may be following Lily everywhere now?? (Or did she let him go because this was too painful)

Aron had also adopted a kid btw mdr

A kid Lily is now raising :’) Mom!Lily may be rising in the end

ANYWAY THE FEELS FEELS FEELS

Wynona showing up to the battlefields with 2 dragons and Nathan with wolves?? Has anyone ever made fun of our crippled huh????

(I’m here for a pureblood recap thingy bc I actually don’t know enough about them to write about it hihihi)

(merci pour la chrono btw!!!!!)

just seen one of the gifsets you’ve reblogged and is Nathan ever gonna call out Lily on a “THE MORRIGAN? IT’S A STORY FROM YOUR CHILDHOOD” basis??

idk if you can tell but I stopped the 100 for a while, went back to it and I’m having loads of Blake siblings feels zhgfshfslq

I’m also having Nathange feels now. Why can’t Nathan have simple relationships with women

PTN IF RICK IS RESPONSIBLE FOR NATHAN’S LEG I know at least 2 women that will come for him :face: :face: :face:

CARMEN GET IN LOSER you’re also part of the Nathan defense squad amirite

the Morrigan, a child ripper and une ex-tueuse à gages come knocking to your door

PTN BACK TO WYNONA AND SACHA AND GIVING EACH OTHER DRAGONS

Wynona raised one of her dragons. He’s a scary dragon. He’s a threatening dragon. What if the dragon raised by Sacha is goofy af and keeps on making “”jokes”” and Wynona’s always looking at him like “……..” but she secretly loves him/her to death just like Sacha arfhdhsfhqfcq and also she can ride him/her!!!!!

AND WHAT IF THE DRAGON WYN HAS GIVEN TO SACHA IS SO OVERPROTECTIVE

LIKE A MOTHER

And Sacha will never be at peace anymore because this dragon is always watching his ass :’) through his window while he’s sleeping :’) through the ranch while he’s working :’)

CAN MY HEART TAKE ANYMORE FEELS AND CAN THEY BE ABOUT DRAGONS

(I also appreciate Nathan and Wyn together A LOT because they’re both such n e r d s like omg some of the discussions they must be having)

Just saying I’m very excited for Nathan’s story hihihihi!!!!!! It’s been so long since I haven’t read you btw!!!

Alice’s death :’(((

NATHAN ALREADY LOST HIS LEG???? I’m not ready I don’t want this bb :( :(

Ptn je regarde plus TWD depuis des années mais je viens de voir une vidéo sur Carol and NOW I NEED une ex-Auror trop badass, genre Maugrey Fol Œil en féminin, dans la résistance et/ou la rébellion

Et Rosita qui a un bb !! PTN MAINTENANT J’IMAGINE WYN ENCEINTE MAIS

Ecoutez j’ai un train à 7h demain il me semble plus raisonnable d’aller se coucher c’en est trop pour mon cœur

Je sais pas si j’ai dit quoi que ce soit de constructif dans ce post mais yallah bye homies <3

#incendio

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lykezoinks · 7 years

Text

[ This ficlet is a formal apology for all the klangst as well as a birthday present for two of my best friends, @t1dalwav3 & @tokyocrisis!! Go wish them happy birthday, ‘cause they’re the best. This ficlet is based off of our Voltron first responder au fic, Breaking Point, that you can find here if you wanna give it a read! The ficlet under the cut is a spin-off bit for something we have planned for future chapters without being spoiler-y. Happy birthday to my babes; I hope y’all enjoy! ]

title: are we there yet? words: 2,795 ship: klance rating/genre: T for language, humor, shippy nonsense of two dorks flirting and low-key being super into each other

Not to sound like a total black sheep, but Keith has a long list of things that he will never quite understand about society. Now he can add the romanticization of roadtrips onto it. From watching daytime television, sitcoms have led him to believe that roadtripping is supposed to be some grand adventure that friends and families embark on in their pastel colored hippie buses or wood-paneled station wagons. There’s supposed to be sightseeing and maps with overlapping red lines, road games, and songs that should probably never leave a summer camp full of seven year olds. It is not supposed to be a temperamental firefighter crammed in his red pick-up truck with the most aggravating ocean rescue guard on the planet. But here Keith is. With Lance. For sixteen hours.

So far on their impromptu road trip, Keith has compulsively eaten two bags of Twizzlers— empty wrappers now properly stuffed in his cup holders— finished ten pages worth of Sudoku puzzles, and begrudgingly agreed to a game of ‘I Spy’ for the first and last time. Lance kept it going for a full forty-five minutes, and there is no doubt in Keith’s mind that if he has to say the phrase “with my little eye” one more time, he will spontaneously combust.

And thinking about that game makes Keith realize it’s been awfully quiet for the past twenty minutes. And his eyes are getting a little dreary as he drives down a mostly vacant highway. When he glances over at Lance, he sees a head of shaggy brown hair drooped forward like a palm tree leaf.

“Lance,” Keith says gruffly, crashing his knuckles into the other’s arm just hard enough to hurt.

“Ow!” Lance rubs at the sore spot on his arm, and Keith can see Lance pouting from the corner of his eye. “What the hell—”

“You are not falling asleep on me, or so help me, I will make sure we stay in the sleaziest Motel 6 I can find.”

Lance lets out a groan, slumping in the passenger seat with a whine and rubbing at his eyes with a yawn. “You can’t honestly expect me to stay awake while you’re playing…” He snatches at Keith’s phone, watching the screen light up with a grimace. “Dear And The Headlights… Where the hell do you even find these bands?”

Keith is pretty sure his eyes are gonna get stuck mid-roll one of these days. And it’ll probably be Lance’s fault. “Wasn’t driver picks the music your rule?”

“That was before I knew you were gonna play trash.”

“It’s pronounced acoustic,” Keith corrects, ignoring Lance’s mock gagging. “And you have no room to talk if you’re gonna play nothing but Britney Spears and Nicki Minaj.”

“Well, if you’re gonna play ‘acoustic’,” Keith is sure he didn’t say it that pretentiously, “you can’t honestly expect me to stay awake.”

“Put on whatever you want!” Keith’s short fuse is about to be blown, and Lance just perks up in his seat with a wiggle of his torso.

“Relax, geez. Let’s see what’s on the radio…”

Lance starts punching the pad of his finger against the seek button, giving each station a few seconds. Static… Static… Commercials… Some 80’s ballot that should be buried along with the leg warmers… Static.

“Lance, would you please just—”

“Shhh! Sh!” Lance shoves a hand up against Keith’s arm, releasing it as he listens closely to what sounds to Keith like gibberish. It takes a few seconds for it to register that the disc jockey is speaking in Spanish. “Did he just say Fotographía?”

“I don’t speak Spanish, I have no idea what he—”

“Shhhh!”

He’s gonna kill him. Keith is actually going to commit first degree murder and dump Lance’s body out in the desert.

When a steady melody of guitar chords drift through the air, Lance starts bouncing up and down in a way that makes the car shake.

“Wait, this is acou—”

“Yes. But this is Juanes. So shush.”

Keith opens his mouth to speak, has a rant loaded and ready to go on his tongue, but then his breath catches in his throat. Lance has never sounded less annoying. In fact, he sounds… Amazing. His voice is like honey, sweet and soothing as it carries through the car.

“Cada vez… Que yo me voy… Llevo a un lado de me piel…”

Keith forces himself to close his mouth, absently remembering something his teachers used to say about flies nesting. Did it get colder? Why does he feel goosebumps? Whatever snarky comeback Keith had begins to fade from his memory.

Then the chorus rolls in. It occurs to Keith that something is very wrong with his heart. It should not be beating this irregularly.

Lance is completely unaware of the fact Keith is having both shivers and hot flashes, gazing out the window as he continues singing along softly. “Es por eso que debo decir— que tu sooo-lo en mis fotos estas…”

Lance stops his singing, and Keith can’t wrap his head around why a tinge of disappointment settles underneath his ribs. The female voice in the song gracefully begins the next verse, and Lance chuckles softly, looking back at Keith.

“I’m not allowed to sing this part,” he explains, some dreamy smile brightening his face. “This is my older sister Carmen’s part. It’s a dumb rule she made up when I was, like, ten. Which is probably for the better, ‘cause I can’t hit Nelly Furtado’s notes—”

“Y—You… I d—did… I didn’t know you could, you could sing…” Something’s wrong with Keith’s tongue too.

“What are you talking about?” Lance snorts, throwing his feet up on the dashboard, something Keith has told him not to do a million times. But he can’t remind Lance again on account of heat flushing his entire face. “I sing all the time.”

“Singing Ke$ha in the shower does not count as real singing,” Keith explains, narrowing his eyes a little at the road. He sighs, flickering his eyes between Lance and the windshield a few times. “You’re… You’re really… Good at it.”

There’s a few long moments where Keith thinks Lance didn’t hear him. And for a split second, Keith catches Lance in the corner of his eye and could swear Lance looks flustered. But that can’t be true, because then Lance is pushing his hair on top of his head, holding it up with long dainty fingers, and beaming, neck craned and eyes closed. “Well, I didn’t take choir for four years and get half the solos for nothing.” Yeah, okay, that sounds more like him.

Keith doesn’t comment, just shakes his head and lets Lance finish out the song while trying not to choke on his thickening throat.

Lance hums out the last of the notes, sitting back in the seat and sighing contentedly. “Man, I almost completely forgot about that song. My dad played Juanes around the house all the time, so my siblings and I are kinda cursed with knowing most of his songs. It’s like they’re ingrained, dude.” Lance taps his temple for emphasis.

Keith can’t help but feel warmth pooling in his chest. Lance has a way with storytelling. Sometimes he makes it feel like Keith is there. And though he’s not familiar with the feeling of nostalgia first-hand, he thinks he can feel it through Lance. And it feels warm and sunny, bright and rustic, like sepia photographs.

“So,” Lance says casually, rolling his shoulders. “Do you sing at all?” He dips his head into Keith’s periphery, waggling his eyebrows suggestively before Keith rolls his eyes again.

“Do you wanna grab dinner soon?”

“Oh, hell no. You are not changing the subject. You’re turning red, by the way.”

“Ugh.” Right when he thinks they’re getting somewhere. “I mean, I don’t know. I was never in choir or anything like that. And I have sung, just… Never for an audience, I guess.”

“Well, you got an audience of one right here,” Lance gestures to himself, placing his fingertips under his chin and grinning brightly. Keith is sure he isn’t red anymore, because he can feel the color drain from his face.

“No. No way in hell. No.”

“C’mon, Keith!” Lance whines in a tone that makes Keith’s eye twitch a little. Then comes the chorus of pleases.

“Fine! Fine, okay. Plug my phone back in and… Pull up the RENT soundtrack.”

Lance snorts, quirking a brow at Keith. His silence prompts Keith to turn his head toward the other— reluctantly— and sigh.

“What?”

“Nothing, I just never pegged you as a showtunes guy.”

Keith looks back at the road, taking one hand off the wheel to emphasize the finality of his statement when he says, “It’s a rock opera.”

“It’s a musical.”

“A rock musical. Totally diff— Wait, you know RENT?”

“Dude, everyone knows RENT… Or at least ‘Seasons of Love.’ Besides, Mama McClain is obsessed with musicals, so I’m guilty by association, and I know a lot of them.” A pause. “Including your ‘rock opera’… What’s your passcode?”

“Fire.” Silence again. Keith doesn’t bother turning his head this time, groaning instead. “What?”

“That’s creative,” Lance tells the firefighter, sarcasm thick in his tone. “How did you come up with that one?”

“Motel 6,” Keith warns, shooting a half-second glare. “Full of roaches.”

“Alright, alright… So what are you serenading me with, huh? A little ‘Tomorrow 4 U’?”

“God, no—”

Lance interrupts, already starting to sing in the most flamboyant tone possible, “Today for youuu! To-mor-row for me!” slinging his shoulders in some pathetic excuse for a dance move.

“Okay, as gay as we know I am—”

“Incredibly.”

“—yes, incredibly— you are not subjecting me to perpetuating my own stereotypes by singing the song of the drag queen in the show, as much as I love Angel. Besides, that song’s reserved for sing alongs with Shiro.”

“It’s what?” Lance is smirking, and Keith kinda hopes that he can develop the ability to teleport.

“I’ve said too much— Just! Put on ‘One Song Glory.’”

Lance makes some noise that sounds like protest, and Keith adjusts his hands on the steering wheel.

“What?”

“You would pick Roger’s song, you freaking emo.”

“Put it on. Before I lose my patience.”

Keith is bluffing, and Lance knows it. Keith can’t sing, and he’s just not willing to admit he’s not good at something. Lance has had this conversation with Hunk and Pidge several times. They came to the conclusion that if Keith could sing, they would have caught him doing so in the shower at least once by now. They’ve caught Shiro shamelessly belting out Queen songs when he thought no one would be home. Hell, even Pidge gets down to some Slim Shady every now and then. And if Keith could sing, he wouldn’t adamantly refuse to come to Karaoke night with them on Wednesday nights. Or at least come up with a better excuse than, “I really don’t need the second hand embarrassment from middle-aged wine moms trying to sing Shania Twain.” Because all the roommates know Keith can’t resist at least tapping his foot along to Shania Twain.

No way in hell can Keith “Voicecrack” Kogane carry a melody, plain and simple.

But Lance might as well lean back and enjoy the trainwreck. Tapping his thumb on the song title, Lance settles into his seat. He has to give Keith props, though. ‘One Song Glory?’ It’s ballsy. Especially when Keith probably sounds like a screeching cat—

“One song… Glory… One song, before I go. Glory. One song to leave behind…”

Okay… That was clean. Really clean. And low and a little raspy in a way that makes Lance’s lungs malfunction. But that’s probably just surprise given that Keith doesn’t sound like a dying animal. Yet. Lance will wait for the key change. That’s the real testament, anyway.

“Time flii-ii-iies… Time diiiiies! Glooo-oo-rr-yyyy-yy-y!” No. Fucking. Way.

Lance gapes, hearing Keith hit notes and run with them, vibrato low and husky in a way that… Well, Lance is pretty sure he gets a fever or something. And his mouth isn’t really working, so he can’t comment. He just listens to Keith sing the entirety of the song. Then the fact that it’s less than a three minute song pulls Lance back to reality. He just barely registers the fact that ‘Light My Candle’ has started, so he pauses the song before Mimi can tell Roger her life story.

“Um…” Keith is the first to break the silence, shifting stiffly in his seat as he continues to drive down the road like nothing happened. “So—”

“You have the voice of an angel.” What?

“What?”

“You just said…”

“I didn’t say anything.”

“… I… I heard you.”

“Nope. Never happened.”

Keith starts pronouncing a mess of stuttering vowels, and Lance perks up, brushing his moment of weakness off of his shoulders.

“So! That was… Decent. A little pitchy, but decent.” He hums for a moment to fill the silence before an idea sparks in the back of his mind. “So how about a duet?”

“Ugh, Lance—”

“C’mon! It’ll be fun…” He starts thinking up a song the two of them would know, scrolling through a mess of playlists. “Wait, you lived with Shiro before you guys moved in with us, right?”

“Yeah… What does that have to do with anything?”

“That means you’ve seen ‘Grease’ at least fifty times, right?”

Keith deflates, lips pulling into a somewhat pathetic frown. “Seventy three.”

“Perfect!” Lance wastes no time in pressing his finger down on the song. “Oh, I didn’t think about who’s doing what part.”

“Does it mat—”

“Dibs on Danny!”

“Oh, c’mo—”

“I got chiiiiills! They’re multiplying!” Lance starts, snapping along to the beat and avoiding Keith’s more than apparent eye roll. “And I’m loooosing controoo-oool! From the power! You’re supplying. It’s electrifying!”

Keith seems to get over his masculinity in a matter of seconds, crooning along to Sandy’s voice. “You better shape up. ‘Cause I nee-eed a man… And my heart is set on youuu. Better shape up…”

They swap back and forth, neither of them caring to follow the melody all that closely by the time the chorus comes along. Somewhere mid-way through the song, they’re hardly harmonizing. Lance lets himself have fun with the song, throwing his hand against his chest dramatically, belting out the notes with all the breath his lungs can muster. Keith joins in, and it suddenly becomes a contest as to which one of the two can look more ridiculous. Keith fakes a swoon, throwing the back of his hand against his forehead and dipping toward Lance in a way that makes Lance break out in a fit of laughter before he can carry on with the verse.

As the song fades out, they’re both swinging their heads from side to side, snapping and twisting like they belong in a 1940′s dance hall more so than a pickup truck.

By the time the song is over, they’re both laughing wildly until tears form in their eyes. Sucking in a few gasps of air, Lance runs the edge of his finger against the brim of his eye, still snorting a little.

“Oh my God,” Keith chuckles, shaking his head. And when Lance looks at him he’s grinning. Keith. Grinning. It’s almost unheard of.

Lance pulls himself together quickly, mock gawking at Keith with something like horror in his expression. “Keith… Keith, I think something’s wrong with your face…”

“Huh?” Keith says, placing a hand to feel against his cheek, brows furrowing. “What? What is it?”

“You’re…” Lance points a finger. “You’re smiling.”

Keith deadpans, turning his head to stare at Lance for a solid three seconds before he laughs, shaking his head. “You’re such a prick.” On the last word, Keith reaches his arm out and shoves at Lance’s shoulder, setting Lance off balance for only a moment as giggles bubble up his chest.

But then he halts. Keith doesn’t seem to notice, too busy pulling the car over on the side of the road. And Lance is frozen. Because that was a shoulder shove. A Keith Kogane Shoulder Shove, Keith’s number one flirt move when he’s joking around with virtually any guy he thinks is even moderately attractive. And he just….

“Alright, you seem awake enough to drive now,” Keith says absently, throwing his truck in park before slipping out of the driver’s seat.

But Lance is frozen. There is no way Keith was flirting with him, right? But… The Shoulder Shove.

“Yo…” Lance turns his head to see Keith holding the passenger door open. “C’mon, Chinese fire drill. Rapido, por favor.”

Rather than point out how Keith just butchered that pronunciation, Lance undoes his seatbelt whilst pondering life as he knows it.

#klance #voltron #voltron fanfic #klance fanfic #my writing

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