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fallingintoyourlilaceyes · 2 months

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My little winter rose (Aemond Targaryen x Little red riding hood!Reader)

synopsis: On your way to visit your grandmother, you meet a handsome stranger that points you towards some lovely flowers. Little do you know what else that aquaintance holds in store for you...

warnings: slight dubcon, p in v sex, mention of severed body parts, afab reader

word count: 2.3k

taglist: @hopelesswritergall @urmomsgirlfriend1

(If you want to be tagged for a specific character/fandom or in general let me know in my asks, comments or DMs)

A/N: Thank you to the wonderful @slytherincursebreaker for requesting this piece. I hope you like it as much as I loved writing it!<3

Dividers by @valeskafics

For as long as you were old enough to roam around Winterfell and the surrounding woods, you heard the same thing every time. "Beware of the one-eyed beast in the woods" or some form of that sentence. You knew it by heart, saying it along every time it was spoken. Yet you had never seen a beast, no matter how often you wandered through the trees you called your second home. However, it also led to you becoming less watchful every time, thus not noticing how the so proclaimed one eyed beast very much saw you. Grew taller as you did with age until he towered over you easily, his mind darkening with thoughts as yours brightened with entirely different ideas. Going unnoticed day after day after day. Another institution set in place that you remember ever since you could think was a group of hunters going out every night. Their torches burning like the fear in their hearts, sharp swords, spears and weapons of any kind held close to their bodies that would always return marred. Sometimes you would hear rumours that people that died at an earlier date were taken by the beast while hunting for it alone.

You understood all of it, though that didn't mean you liked it. The sight of the hunters was one you hated. It was a surprise that with their viciousness the "beast didn't las out more or come closer to the village. Not even all the understanding of the human mind in the world could have saved you from hating the head of the hunters with a passion that burned even brighter than any fire ever could. Howland Reed and his relentless pursuit of trying to win over your affection by bragging about hunts long over and how well equipped he was to hunt the one-eyed.

"Red! Where are you off to?" He yells from a distance to stop you, as he trots over to you. Cursing him out in your mind in return, you oblige and wait for him to catch up with you, putting a smile on your face as you did so. Even the nickname everyone called you due to the red cloak you wore at every given time, sounded so gross from his lips you wanted to puke. "Oh, I am merely off for a visit to my grandmother." You chirp in the politest tone you could muster.

“Well, how lucky I must be to catch you then? You see, I just had some modifications done to keep you safe better.” He presents you with one of his hands and you see exactly what modifications he talked about. His nails had been filed into sharp points and seemingly coated with silver to harden them, just like claws. The pride in his face makes it hard for the polit mask to stay on yours.

“Say, Howland.” You take a deep breath in to keep it together as you speak. “I have been wondering something lately. Mayhaps you will be able to answer the question.”

“Ask me anything you wish and rest assured that the smartest man around will surely give you an answer.” He makes it so hard not to throw up right then and there.

“You are too kind. Now my question is, if you are as smart and strong and skilled in hunting as you proclaim… How come that one-eyed beast has not been slain yet?” You don´t stay to hear his answer, instead you hide a giggle behind your hand and go off on your merry way.

With the light of the early afternoon sun in the sky you have little concerns or cares about the safety of the forest. Humming the sweet tune of a song that you had often sung with your grandmother when you were younger, you skip along the way.

The deeper you get into the wood, the colder it gets and so, while you wrap yourself tighter into the red cloak, you almost run into what you at first think is a tree. As it turns out it is another human, a man and a tall one at that. His silver hair reaches down to the middle of his back, covering one of his eyes and the other you are sure shone in a pretty lavender hue once. If it did it had since dulled to a darker tone. The creases in the pale skin on his face speak volumes on how hard his life must have been. Yet when he looks down to meet your eyes, there is a charming smile set in place.

“My apologies, ser. I should have watched my steps.” You apologize before he even opens his mouth, looking up at him with the most innocent eyes he had ever seen.

“Oh no, by all means, I am the one that has to apologise. You are not the only one that should have watched where they were going.” The beautiful stranger replies in a velvety smooth voice.

"Please, I insist. If I would have stopped for a moment, I would not have run into you." You reiterate. "Alright." The stranger lifts his hands in mock surrender. "May I ask where a young maiden like you is headed? All alone in these big woods." "Well, for one I am not alone. Clearly." You go to answer with a waggish smile. His grin widens in response and his voice deepens for a moment as he speaks. "I would not be so sure that is such a good thing." His words hold a sense of warning that you swiftly ignore to tell him where you were going. "I am on my way to see my dear grandmother. She lives not far from here."

"My, what a sweet girl you are. Your grandmother can count herself lucky to have you." You hadn't even noticed so far, but when he continued speaking his voice registers almost right beside your ear. "If you want to bring her some flowers, the winter roses are blooming beautifully not too far from here in that direction."

You follow his finger with your eyes, to see that it isn't that much of a detour.

"I will be going right away. Thank you, kind stranger." You turn your head back to him.

"Oh no, I have to thank you." He murmurs. “And you may call me Aemond.”

“Aemond…” you test the way the blonds name rolls off your tongue and then let your smile widen as you give him your name.

You happily skip along the way, giving him no chance for further conversations as you only turn once more to wave him farewell.

While you busy yourself with making the most beautiful bouquet of winter roses and greenery, Aemond goes off with a new plan in mind to finally get you.

The task takes you longer than you would have thought and so the sun stands high in the sky when you continue the way to your grandmother's house. It begins to grow dark when you arrive at the small house in the middle of the woods, so it is no wonder you find your grandmother asleep in her bed.

Gently you shake her awake by the arm. “Grandmother, are you well? I came to visit you." "My sweet girl, is it really you?" The old woman's voice sounds different than normal, though you can't quite put your fingers on the exact way it does. "It is. I brought you some flowers and a cake I baked." You set down the flowers in a vase on the bed side table and sit on the edge of the mattress beside her. "Oh, you are so good to me. Come, lay down. You came all this way and I could not possibly send you home in the darkness." Without any questions you obey her, pulling off the cape and dress until you are only left in your small clothes. Through the thin fabric the cold air makes your nipples harden and so you hurry to climb underneath the blanket.

Once in bed, you notice the long scar over the left side of her face, with the eye seemingly missing entirely. “Grandmother, what happened to your eye?” The words come out dripping with uncertainty.

“Bad men took it, but you need not worry about it. They are not able to hurt anyone anymore now.” The answer does little to quell the questions on your mind.

"My, what big hands you have, Grandmother?" You continue questioning.

"All the better to hug you." Comes the quick explanation.

"And what sharp teeth you have..." Your skin begins to prickle and the air becomes harder to breathe. Something in the way your grandmother pauses before answering, makes the hair on your neck stand up. Too late to react, as you get pinned to the mattress with surprising strength.

"All the better to eat you!" With a swoosh the blanket and who you thought was your grandmother's clothes get ripped away, to reveal Aemond sitting on top of you.

He grabs your shift and easily rips the fabric off your body, leaving you gasping, wide eyed and unable to cover yourself as he still pins your wrists above your head with one if his large, strong hands.

The cold air, that streams in through the cracks in the window frame, has your nipples harden even further, until they stand painfully against the heat of your admirers’ chest. Instinctively you lean further into him to catch more of his warmth. Aemonds hard cock presses between your folds, twitching against your entrance, to collect some of the juices that flowed between your thighs.

“Will you be a good girl if I let you go now?” He growls lowly into your ear, eliciting a quiet but eager nod from you.

Slowly the pressure around your wrists vanishes to come down to hold you by the hips. Aemond leans down to capture your lips with his. The slow, but nonetheless passionate nipping at each other’s mouths gives the perfect way for him to express every last bit of longing and yearning that had coursed through the blond’s body ever since he first laid his eye on you. The kiss deflects your attention from the way Aemond rubs his erection against your dripping centre until he has buried himself entirely in it. His tip nearly kisses your cervix and the way your cunt adjusts to his form makes your entire nervous system burst into flames. The flames lick only higher as Aemond absolutely ravages you, rutting into you with inhumane pace and without abandon. It seems he fucks deeper into your tight channel with every thrust, that is accompanied by breathily whispered praise of how long he had waited for this moment and how well you took him. Every once in a while, when a pained whimper leaves your lungs, he kisses your forehead, rubs a few circles with his thumbs into your hipbone and shushes you in the most loving tone anyone had ever used on you beside your family. Yet Aemond doesn´t slow down. Not until you are first to reach your peak and he had made sure to shoot his seed so deep into your core it was sure to take.

Aemond slides out of your sensitive cunt and sits back to catch his breath.

“Are you alright?” he inquires short of breath.

“I am. Perhaps I will be a bit sore for the next few days.” You jested back with a raw voice.

“Ah, my apologies. I simply found myself unable to hold back any longer. I have been watching you for so long, my little winter rose. Imagining how it would be to touch you, to claim you, to finally take you as my wife in the face of the seven…” The one-eyed man sheepishly rubs his neck as he confesses to his desires.

Desires that make your face feel like it is on fire once more and your brain is entirely empty. “Is that the truth?”

“I could never lie to you about the graveness of my affections towards you.” Gently, Aemond takes one of your hands into his and presses a kiss to the palm of it.

“Oh, Aemond…” You melt at the show of affection. “I wished nothing more than to be able to be with you for the rest of our days, but I fear it is not possible. For my parents have already promised me to another.”

“Worry not. I have already taken care of that.” The blond stands up to offer his solution to the issue. A severed hand lands between your legs on the bed.

You gasp and raise your eyebrows, but before any question can claw its way out of your lungs, the sharpened silver nails catch your attention. It was Howlands hand that lay there presented to you as if it was a trophy. However, it does not disturb you. On the contrary, it makes you feel strangely appreciated, that someone would go so far as to secure you being with them.

“How dare that son of a whore go after my wife.” Aemond growls and his forehead lays into deep creases.

Careful not to kick around the severed body part, you stand up as well now, stalking over to Aemond on mildly trembling legs. When you reach him one hand goes to his shoulder for stability and the other rises to his face to run the thumb over the space between his eyebrows until it is even again.

“There is no reason to get angry about him anymore. My heart never belonged to him, but it will forever belong to you.” The two of you share one more kiss. This one much more slow, but just as emotional, to seal your future together.

#aemond #aemond one eye #aemond targaryen #aemond x reader #aemond x you #aemond targaryen x reader #aemond targaryen x you #hotd #house of the dragon #hotd fic #house of the dragon fic #hotd x reader #hotd x you #fairytale au #little red riding hood au

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adarkrainbow · 8 months

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Why was Hansel the meal of the witch?

This is a question I was aked recently, and I thought it would make a good subject for a post. "Why did the witch only try to fatten up and eat Hansel? Why didn't she imprison and fattened up Gretel too? Why did she choose to make Gretel her slave instead of Hansel?"

Which is actually a fascinating question. Now, I do not promise that there is some grand truth or secret meaning behind this. It is just a little detail and some technical workings of fairytales. But it is a point that many authors and rewriters have taken an interest upon, and that if a true well of reinterpretations.

So let's go... Why was Hansel the meal, and Gretel the slave?

If we go by the "canon" of the text (of course "canonical" fairytales do not exist, this is just an expression) - if we go by the Brothers Grimm's text, we... well we do not know. It is not specified anywhere why the witch decides to lock up and fatten up Hansel out of the siblings, and to not do the same thing for Gretel. There is no reason explicitely spelled out or given. Maybe she simply prefers the meat of boys over the one of girls? This absence of justification, and the apparent "randomness" of the choice opens a door for authors who would like to change things: for example in "A Tale Dark and Grimm" (the book, not the Netflix series), it is both Hansel and Gretel that are fattened up by the witch, and she only picks Hansel as the first one to be roasted. The Looney Tunes Hansel and Gretel also were both in the cooking pot of the witch Hazel...

The text only leaves implications for the reader. For example, the need for the witch to have a slave/assistant to help her with the chores is implied by the facts that she is 1) elderly 2) has a very bad sight and 3) walks with crutches (a very important point). So it is understandable she would require a slave to help her - but then why pick Gretel, and not Hansel? Again, the text does not answer. Many people like to portray Hansel as the oldest child of the duo, and Gretel as a younger sister - this is because Hansel seems to be the strongest, bravest and most intelligent one, as well as with how his name always comes first in the text, Gretel being after him. Maybe the witch chose to eat him first because he was precisely older, and thus there was a more developed body to eat? Even if the siblings are of the same age, we can always imagine the very old and present male/female dichotomy that claims that men's body are naturaly stronger, larger and meatier than women's, who have graceful, slender, lighter bodies. Maybe such a concept is at work, putting forward a mindset where a cannibal witch will always go for boys first as a main course, and girls next as an appetizer...

One possible reading of the story is that the witch only had enough place to lock up ONE child and thus had to make a choice. Maybe there wasn't enough room for two kids in her prison for future meals? This interpretation is supported by the ORIGINAL text of the Grimm's fairytale. In the first edition of the brothers Grimm's fairytales (provided by Jack Zipes), there is an explicit mention of the place Hansel is locked in: it isn't some sort of stable or cage as it would later be described, oh no! It is a chicken coop so small Hansel can BARELY MOVE. It is a really tiny prison, in which he barely fits. Of course, on a practical side, it can help with the whole fattening process since having a child eat rich meals without ever moving is certain to make him plump in no time (just look at these horrible industrial farms and how they lock up animals in tiny cages) ; but this detail actually explained why the witch only placed her efforts on one child, and not two: she obviously had only enough to place to lock up one kid, and had to deal with the other in a different way.

But even if we admit all those implications - that the elderly, handicaped witch needed a help, that she had only enough room to lock up one child, that maybe Hansel as an older boy makes a better meal than Gretel - there are still some strange and bizarre logical holes. For example, the witch beats up and starves and exhausts Gretel. This is the complete opposite of what she does to Hansel, who is pampered and fattened up - does this imply the witch maybe does NOT want to eat Gretel? Or does she really have only enough resources to fatten up one child, and can only afford making Gretel more edible once she is done with Hansel?

Again, mysteries upon mysteries. Fairytales are not created to work on practical details or actual psychological processes - they are stories relying on powerful visuals and ancient motifs and a dream-logic-structure. When we are told that the witch locks up Hansel to fatten him up and eat him, and that Gretel is becoming an abused slave, we just accept it, because it works on a set of powerful visuals, such as the malnurished slave sister cooking and feeding her imprisoned and soon-to-be-killed brother. The idea of the sister being reduced to a tool in the process of killing her own brother is a very powerful one, never explicitly stated, but still present and sometimes used by adaptations. There was this German Hansel and Gretel movie released in 2005 that explicitly played on this: the children were never told by the witch her intentions when she locked up Hansel, and for the first week or so of Gretel being a slave and Hansel fattened up, they were left in the dark concerning the real intentions of their mysterious jailers. This was a stark contrast with many Americanized adaptations that have the witch gloating and explaining her cannibalistic desires to her victims, and which opened the door for some interesting plot points - in this movie's case, Gretel being quite jealous and envious of Hansel's new life of feasting and being kindly treated by the witch when she got all the insults and chores. Of course, when they discover the truth, their mutual feelings reverse as Hansel realizes his seemingly "easier" fate is actually the worst of the two.

Still, the text is left ambiguous and open-ended enough for us to imagine TONS of things. There could be a rewrite of the tale where the witch exclusively eats little boys, and hates little girls. One nterpretation of dark poetry of the tale can be found in Znescope's Gretel mini-series. Despite this mini-series having BIG flaws (the choice of the witch's true identity was... quite bad to be honest), it does have a very interestng and morbid answer to the "Why was Hansel the only one fattened up?" question. It chooses to depict this difference of treatment as a sick and cruel game the witch plays with her preys: Hansel and Gretel are both her prisoners, but she fattens up Hansel while she starves Gretel, to make a contrast between the two, simply out of a perverse amusement. There is one particularly striking image of the two children locked in two cages arranged like a weighing scale, with Hansel's cage going lower as he grows fatter and Gretel's going up as she becomes skeletal... It is a nice visual contrast that has been reused by various artists.

Now, I spoke mainly here of the content of the story and of the text itself. However, as I stated before, we must look beyond the story itself to understand why Hansel was to be the meal, and not Gretel. Or rather we need to look at the fairy tale's structure, on a meta-level.

As I said before, the fairy tale works here on a system of duality. Hansel and Gretel are meant to be a yin and a yang, complementary reflections. The boy and the girl, the brave and the coward, the cunning older brother and the crying little sister. The idea that their fates are "split" into the house of the witch not only furthers the anguish of the characters, who at this point were always together but now find themselves separated, unable to face together the same trials, but also keeps on playing on these visuals and motifs. As I said, there is something that many artists read in the tale, in the opposition between a malnourished Gretel and a feasting Hansel. This is part of the same duality of food and famine present all throughout the tale, such as the woodcutter's famished and poor household, opposed to the witch's house made of sweets and with chests full of pearls. The siblings represent two forms of abuse and evilness enacted by the witch, but in complementary forms: with Gretel the witch becomes a domestic abuser and an enslaver, with Hansel she becomes a jailer and an ogress.

One can also read in this an extension of the typical sexist duality between men and women in these old centuries: the fates the witch forces upon the two children can be caricatures of what each gender is supposed to "do" in such a society. Gretel, like women, is expected to do household chores and to cook for her "man" - here it is caricatured into her becoming a slave, and only helping fattening up her brother like some cattle. In return, Hansel, like a man, is supposed to be well-treated and well-fed, but here the caring wife/mother figure is a monstrous hag who only makes him feast so she could eat him later. In fact, it is quite interesting to see how both siblings are dehumanized and reduced to the status of animals - from Hansel being fattened up in the stables like some pig or chicken, to Gretel being fed leftovers like a dog.

All of that being said, there is another much needed argument that must be made: the answer fo thte question can be easily found in the story's structure. This is the most obvious solving of the problem when you consider it all: the story of Hansel and Gretel relies on the idea that the two children must save each other in turn. There is a balance in the tale, which bears the name of the two protagonists as heroes, but one before the other. During the first part of the tale, it is Hansel who takes the lead and the decisions. He is the cunning hero who tricks his parents, saves his sister from the woods, returns home thanks to his plan. Gretel is only seen being scared, and crying, and not doing anything except follow her brother around. In the second part of the tale, within the witch's house, it is Gretel who becomes the hero. Her brother is "out of the race", locked up away and unable to do anything, and it is Gretel who this time has to trick the deadly parental figure, come up with a clever ruse, and ultimately save her brother from death. This creates a perfect balance between the two characters: Hansel starts out as the hero protecting his useless sister, and then it is Gretel who vanquishes her uselessness to become the hero saving her own, impotent brother. The siblings need each other to survive, and thus save each other in turn. This is how the story works. And this is why Hansel must be the locked-up, fattened-up victim, so that his sister can save him. Else it would have been the story of "Hansel", and not "Hansel and Gretel".

All of that being said, a last point must be made about a final theory. A theory and reading of the tale that has been very prevalent and prominent in recent adaptations of the story.

The recent "Gretel and Hansel" horror movie did it. Before the (X horror movie) also did it. Neil Gaiman's Hansel and Gretel also used this idea. The comics Fables toyed with it in a side-way. And this idea is simple: the witch did not want to eat Gretel, but rather wanted to make her a witch like herself. Gretel wasn't the witch's slave, but unwilling apprentice.

This idea is born of course from a reconsideration of what a "witch" is, and the gender questions attached with the figure of the witch. In the original story, the witch is not a witch in the modern sense of the term, in fact she is a monster that is very clearly an ogress by another name. There is no question of learning how to be a witch, or making deal with dark powers, or anything like that. But when you read the tale with the modern sense of "witch", as a symbol of dark and hostile feminity, as a woman of power, who works against the domination of men, or the tyranny of patriarchy - when you consider all the gender questions surrounding real-life witches and the witch hunts, you see the witch's actions under a different eye. Her not wanting to eat Gretel at first, and making her do her chores, and forcing her to live with her, might hint at the fact she still considers her more "human" or more valuable than her brother, who is nothing but food, a mere cattle. Several of the modern reinventions of the tale, such as those stated above, decide to add the twist that the witch actually wants to shape or make the little girl into her image: from a slave doing the witch's chores, she becomes the witch apprentice, who is by her side in everything she does. Some of those readngs remove the elements of abuse towards Gretel, while others do not forget them. Neil Gaiman's take on the story is especially fascinating as the witch is explicitely described as oscillating between periods of sweetness and kidndness, promising Gretel all of her secrets and great powers, and periods of pure hatred and violence where she just insults and beats up the girl - all of it highlighting either the witch's madness, or a form of senility due to her old age.

But this theme of "Gretel as a future witch" or "Gretel as the witch's apprentice" ties in with another subtext well-hidden in the original text, but that many like to weave upon: Gretel as the "daughter" of the witch. In many of those rewrites and reinterpretations, the witch doesn't just treat Gretel as an apprentice, but as an heir or a replacement daughter. This is no surprise since it is very clear that in the original tale, the witch is the dark side of the mother figure, and an evil doppelganger of the wicked stepmother/mother of the siblings. As such, it makes sense for her to impose an abusive and unconsented motherhood upon Gretel - doesn't her forcing the girl to do all the chores not reminiscent of how famous fairytales stepmothers treat heroines like Cinderella? Such a perverse motherhood was already explicit and obvious in her treatment of Hansel: like a mother she nourishes and feeds Hansel (in fact she succeeds where the wicked stepmother failed), but this is all to devour him, in a ritual of "un-birth", she becomes a death-givers who doesn't expel a child out of her womb, but has it return to her stomach. [This is a very common and usual motif among ogres of fairytales, who are all caricatures of parenthood].

More generally, to have the witch act in such a way actually makes the fairytale more "feminist" somehow, but in a quite perverse way. Because in such a reading, we have a women-dominated world. The true active and powerful characters of the story are beings such as the wicked stepmother and the witch, who command, control and influence the other characters - especially the male ones. The father is a weak puppet who can't stand up to his wife, Hansel is reduced to a fat pig in a cage. Hansel did try to escape the tyranny of the wicked woman, but all he could do was push back his doom, and his plans ultimately failed. Gretel, as a woman herself, is given a special treatment - and in the "apprentice/daughter" interpretation, is "absorbed" by this world of wicked, dominating women. But she actually breaks from it, and kills the one that would have "turned" her - and it is telling and interesting that the only one who can have a true an full success, a definitive victory in this tale is Gretel. Hansel's plans work and save them, but only for a brief time, and his last plan fails dramaticaly, before he gets locked up and "out of the story". Gretel meanwhile, when she gets the courage and intelligence to act, proves herself much more efficient and definitive than her brother, as she puts a true end to the threat other them by killing the witch (and by extension killing the wicked stepmother/mother). This is something Hansel couldn't do - all he could was trck the wicked woman, and nullify her plans, but he could not remove the threat of the death and the hunger.

Anyway, as you can see, despite being a quite superficial and silly question, this fact (or rather absence of facts) opens up a whole jar of various interpretations, readings and themes, and proves the hidden complexity of these apparently "simple" stories.

#hansel and gretel #hansel #gretel #witch #fairytale analysis #the gingerbread house witch #grimm fairytales #german fairytales #hansel and gretel adaptations

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