#scheherezade

[yonjivinsmokin]

can i make it anymore obvious

[arischneider]

逃避的なファンタジーを与えるか、死を与えるか。 Give me escapist fantasy or give me death.

[princesssarisa]

What is Scheherazade like?

Well… I mean her hair (👩), her eyes (👀), her body (🚶‍♀️) and some colors of her skin

Well, I tend to imagine her as beautiful, though of course it's not important that she be beautiful, her intelligence and knowledge of stories are what matters.

I picture her of medium height and slender, with light brown skin, deep brown eyes, and long, luxuriant black hair.

[snowshinobi]

hey you guys wanna hear me be super normal about Scheherazade by Richard Silken

"tell me we'll never get used to it" is the last line AND MY FAVORITE because it's a fuckin inkblot test, its meaning depends on what other details of the poem stick out to you.

to never get used to the love one shares with their partner means never taking it for granted. It's always new, like each apple that appears every time they kiss: endlessly nourishing. every sleepless night and retold story are as comforting as they are fresh. it's the paradox of love, how it keeps you grounded as it challenges you, how it tells you who you are by showing you all the people you could be.

to never get used to the love also means it's never comfortable. never guaranteed. the horses who run "until they forget that they are horses" achieve a mindless freedom that the lovers never can. the lovers know they are lovers. they have loved others before (the bodies in the lake) and could love others once more (dressing the bodies in warm clothes again). love is not something we get used to. we catch and lose it over and over ...

love is both of these things, but never at the same time. that's why the penultimate line of the poem describes the lovers' bodies as "possessed by light." their love is a particle, it's a wave, it's whatever the person looking at it observes in that moment.

doesn't that just make you wanna throw yourself in the lake?

[primaljort]

another girlboss, and yes, she is evil

[boyswillbebuggsorsomething]

As much as I do love my original silhouette design, I do think this design matches up with the current iterations best

ignore how slanted these are, they were originally drawn in a notebook in like 5 minutes each

Also here are the current drafts of Colonel Belle and Scheherezade

Taglist: @cinderswife @miralines @saintofbadpuns @the-final-high-noon-rings

[ineffableigh]

And NOW I'm seeing that the shop next to Maggie's record shop is a textiles store called "Alf Laylah Wa Laylah" i.e. One thousand and one nights, i.e. Scheherezade. In which the vizier's daughter offers herself up to the king to save others from demise for one thousand and one nights. That can't be a coincidence.

Uhhh hold up

What was in the second or so trick that the magic shop owner was showing to Aziraphale to distract him from fixating on the Bullet Catch? It's this big hexagonal/octagonal box with a bird on top. I gotta research old magic tricks now in case it's a fricking nightingale or something.

You NEVER see what's inside, it's only open when the box is facing away from the camera! D:

[lesbianfakir]

Fakir's theme (Beethoven's Coriolan Overture) always struck me as funny because it stands apart from the other character's themes. Mytho has the delicate Dance of the Sugar Plum Fairy, Rue the somber Gymnopedie No 1, Duck the cheerful Nutcracker Oveture etc... while Fakir's theme is well... LOUD.

It characterizes his most aggressive moments, mainly playing in scenes where he antagonizes Mytho and Duck.

This always sat a little weird with me as it is a very surface-level character theme for such a complex character. In contrast, Rue's theme tells us something about her motivations under the Kraehe persona. Fakir's on the other hand tells us that he's mean and aggressive... something any viewer who's gotten to a scene where the song plays already knows.

On one of my rewatches, though, I noticed that he has another song that functions as a sort of secondary theme: an excerpt from Scheherazade.

This song plays most notably throughout most of episode 12, while he is bonding with Duck. It shows up a few times later in season 2, mainly in scenes concerning Fakir's struggle to write. As such, I view it as a complementary theme to the Coriolan Overture.

Listening to the song, it feels much more in line with Fakir we've come to know him. The song can be a little delicate and a little sad with gentle wind solos that lead into loud, grand orchestral sections. The repetitiveness, tempo, and use of dramatic brass and strings give these louder sections a gallant, almost desperate tone. It's super fitting that this is the song that plays throughout the episode where we get the best sense of Fakir's natural personality when he isn't putting on the cold persona.

I don't really have a deeper analysis here I just think it's really fun that as his character develops he gets an additional theme. If you think about it the music in Tutu functions as a sort of jukebox musical--the world and characters are built around the songs. Once we start to get to know who Fakir really is, the music that represents him changes to reflect him better.

[amaliatheartist]

You got blood on your hands and I know it's mine

I just need more time

[vickyvicarious]

Suddenly, away on our left, I saw a faint flickering blue flame. The driver saw it at the same moment; he at once checked the horses, and, jumping to the ground, disappeared into the darkness. I did not know what to do, the less as the howling of the wolves grew closer; but while I wondered the driver suddenly appeared again, and without a word took his seat, and we resumed our journey. I think I must have fallen asleep and kept dreaming of the incident, for it seemed to be repeated endlessly, and now looking back, it is like a sort of awful nightmare. [...] Suddenly, I became conscious of the fact that the driver was in the act of pulling up the horses in the courtyard of a vast ruined castle, from whose tall black windows came no ray of light, and whose broken battlements showed a jagged line against the moonlit sky. I must have been asleep, for certainly if I had been fully awake I must have noticed the approach of such a remarkable place.

5 May, Jonathan

I tried to keep awake, and succeeded for a while; but when the clock struck twelve it waked me from a doze, so I must have been falling asleep. There was a sort of scratching or flapping at the window, but I did not mind it, and as I remember no more, I suppose I must then have fallen asleep. More bad dreams. I wish I could remember them.

25 August, Lucy

As he approaches the castle after midnight, Jonathan is nervous about seeming to drive around in circles, and afraid of the wolves. He doesn't outright say he's trying to stay awake but I think context is clear that he'd rather not be sleeping right now especially when the wolves are a danger. He's trying to notice landmarks and keep alert, but feels as though he slipped into sleep anyway and compares the experience to a terrible dream. He doesn't seem certain that he was asleep but moreso extrapolates from available information (he would have noticed the castle's approach had he been awake). This also seems to have happened unsteadily, multiple times slipping in and out of awareness.

Lucy tries to stay awake shortly before midnight, because she is afraid of what might happen to her in her sleep. She doesn't notice herself falling asleep and has to reason that she must have done so based on information (she was startled by the clock, she would have noticed the noises from the window had she been awake) but was unable to wake up fully despite that momentary awareness. Instead she succumbs to sleep once again, where she is trapped in nightmares. Her memory of the night is uncertain, just like Jonathan's was at times but more completely.

There are all the other vampiric hypnotism moments that compare extremely well too - Lucy's unsteady half-awareness of Dracula in her memory of being fed on for the first time. Jonathan's uncertainty about falling asleep repeating again when he first meets the vampire ladies and is placed in their trance ("I suppose I must have fallen asleep; I hope so, but I fear, for all that followed was startlingly real") and the way they seem to appear suddenly in the room, once again indicating him possibly losing some time as they approach. Jonathan's understanding that he was being hypnotized the next time he sees them, and his active struggle to break free from his dreamlike state almost like Lucy's failed effort to stay awake here. Even the last night, when Jonathan ends one entry praying on his knees then wakes in the morning to pray on his knees again without noticing or explaining why he stopped to sleep in between, much like Lucy's inability to remember her dreams. - but I don't think any are quite as one-to-one as here.

Especially because Lucy, just like Jonathan in the 5 May entry, has just unknowingly placed herself in Dracula's territory (well, a day ago, but it's close enough to make the point). Whitby was a stop on the way for him, but he intends to stay in Carfax, to make it his new Castle Dracula in many ways. And Lucy's return home has brought her into his sphere of influence as surely as Jonathan's journey to the castle did. The greater distance between them, and even her own house which he cannot enter without a freely-given invitation... those protections are of no use when no one knows to use them. And right now, no one does. No more than (in fact less than) Jonathan knew the value of the crucifix he'd been gifted.

[universalsatan]

psilocybin is so funny. i’ll be lying there like “oh no i think it’s wearing off :(((“ girl that white door in the dark is not usually sour watermelon colors, what are you talking about

[jamietukpahwriting]

A clever woman is more lethal than a freshly crafted magic wand, and this is why she is feared. She is unpredictable, and unpredictable is another word for 'threat' when a woman wears it well. This is why they try to snatch her power away. Vilify her by saying she is dangerous, manipulative, insane. Whip 'no' and the fight out of their daughters early so they don't turn out like her. The vixen, the vamp, the witch; they have so many words to convey their dislike of this woman, because she holds her own on a planet clearly not built for humans like her.

But how else is a woman supposed to survive if not by her wits? Look at the tale of the Sultan Shahryar, whose fragile masculinity punished a thousand innocent women by marrying them and then murdering them the next day for a single act of unfaithfulness committed by his wife, and no one could stop the strife being rained down on the women of the kingdom. Until he met his match in a girl armed with nothing but her wits and a thousand stories, one for every girl he killed.

Imagine this girl, Scheherazade, visiting the dead lake where the bodies were drowned, speaking with the women like they were her sisters, 'It ends with me, I promise you, it ends with me.'

And no other girl was ever harmed after she told Shahryar her never-ending story, full of the spirit of the women he so mercilessly murdered, until he couldn't help but be entranced by her spell. Open sesame, a girl becomes a queen. Open sesame, a vizier's daughter outwits a king. Open sesame, a crafty woman is stronger than a band of forty powerful thieves. Open sesame. This is the oldest kind of witchcraft that has ever lived and never leaves. Open sesame. Open sesame. Open sesame.

—"Scheherazade the Clever" in Fierce Fairytales by Nikita Gill

[bougainvilea]

i want to make one of rhose top 5 polls but im not sure i have 5 characters that (a) i could pick and say they are my favs and (b) that people would know

[companioncrow]

very cozy morning today. relaxing in the living room, playing and listening to music, taking care of myself. i've got a weekend to myself, and even though i'm working in the evenings, i'm filling this house with music and love and comfort while i'm here alone.

[kohaive]

[ archive 6/24 ]

[taichissu]

boyfriends

and finally got ben!!!!!