#Mythology from Around the World

[princesssarisa]

I'm now reading another of Heidi Ann Heiner's fairy tale collections. Sleeping Beauties: Sleeping Beauty and Snow White Tales from Around the World. Since I enjoyed Cinderella Tales from Around the World so much, I couldn't resist opening another of Heiner's books.

The first part of the book is devoted to the different international versions of Sleeping Beauty, the second part to the different versions of Snow White. This is followed by other tales of "sleeping beauties" that don't fit nearly into either category.

We start with the medieval Sleeping Beauty prototype tales from the 13th and 14th centuries.

*The earliest known prototype of the Sleeping Beauty story is the Norse and Germanic legend of Brynhild (a.k.a. Brunhild, Brunhilda, Brünnhilde, or other variations). This legend first appears in the Poetic Edda, the Prose Edda, and the Volsunga Saga from 13th century Iceland. It also appears in the German Nibelungenlied (although that version doesn't include the enchanted sleep), and its most famous modern adaptation is in Richard Wagner's four-opera cycle Der Ring des Nibelungen. The figure of Brynhild also inspired the Marvel superheroine Valkyrie.

**The Sleeping Beauty-like portion of the legend is this. The beautiful and strong-willed Brynhild is one of the valkyries, the warrior maiden servants (and in some versions daughters) of Odin (or Woden, Wotan, etc.) who preside over battlefields and bring the souls of fallen heroes to Valhalla. But Brynhild disobeys Odin by saving (or trying to save) the life of a warrior who was marked for death. (The man's identity, why he was meant to die, why she defends him, and whether she succeeds in saving him or not varies between versions.) As punishment, Odin banishes her to the mortal realm, pricks her with a "sleep thorn," and places her in a castle (or just on a rock) surrounded by a ring of fire, condemning her to sleep until a man brave enough to venture through the flames arrives to wake her and become her husband. (In some versions, she has attendants and servants who all sleep along with her.) Many years later, the fearless hero Sigurd, or Siegfried, succeeds in passing unharmed through the flames and wakes Brynhild by cutting off her valkyrie armor (or in later retellings influenced by Sleeping Beauty, with a kiss). The couple doesn't live happily ever after, however: their further adventures and eventual tragic fates are a story for another day.

**Even though it's a well-known fact that in "the original Sleeping Beauty stories," the prince (or his counterpart) impregnates the sleeping heroine and she wakes after she gives birth, no such thing happens in this earliest proto-version. If we assume that this really is the Western world's first tale of a heroine in an enchanted sleep, then it seems as if that sordid detail was a later addition.

*Next in Heiner's book come several medieval French Sleeping Beauty tales, mostly from Arthurian romances. These are the tales where we first see the motif of the heroine's love interest raping her in her sleep and fathering a child. Since few of them have ever been translated into modern English, the book simply summarizes them instead of printing them in full.

**The best-known of these stories, which most resembles Sleeping Beauty as we know it today, is the tale of Troylus and Zellandine from Le Roman de Perceforest, an Arthurian romance from 14th or 15th century France. In this tale, a knight named Troylus loves a princess named Zellandine. Then learns that while spinning, Zellandine has suddenly fallen into a deep sleep, from which no one can wake her. With the help of a spirit named Zephir and the goddess Venus, Troylus enters the tower where she lies and, at Venus's urging, he takes her virginity. Nine months later, Zellandine gives birth to a son, and when the baby sucks on her finger, she wakes. Zellandine's aunt now arrives, and reveals the whole backstory, which only she knew. When Zellandine was born, the goddesses Lucina, Themis, and Venus came to bless her. As was customary, a meal was set out for the three goddesses, but then the room was left empty so they could enter, dine, and give their blessings unseen; but the aunt hid behind the door and overheard them. Themis received a second-rate dinner knife compared to those of the other two, so she cursed the princess to someday catch a splinter of flax in her finger while spinning, fall into a deep sleep, and never awaken. But Venus altered the curse so that it could be broken and promised to ensure that it would be. When the baby sucked Zellandine's finger, he sucked out the splinter of flax. Eventually, Zellandine and Troylus reunite, marry, and become ancestors of Sir Lancelot.

***This tale provides some answers for questions that the traditional Sleeping Beauty raises. In the familiar tale, the king, the queen, and their court know about the curse, so why do they keep it a secret from the princess? Yes, they avoid upsetting her by doing so, but the end result is that when she finally sees a spindle, she doesn't know to beware of it. Why not warn her? And why is there a random old woman in the castle, spinning with presumably the kingdom's one spindle that wasn't destroyed, and why, despite living in the castle does she not know about the curse? (It's no wonder that most adaptations make her the fairy who cursed the princess in disguise.) Yet in this earlier version, there are no such questions: no one except the eavesdropping aunt knows about the curse, because it was cast in private, so no one can take precautions against it. Another standout details is the fact that Zellandine's sleep doesn't last for many years, and that the man who wakes her already loved her before she fell asleep. Disney didn't create those twists after all!

**The other medieval French Sleeping Beauty tales are Pandragus and Libanor (where Princess Libanor's enchanted sleep only lasts one night, just long enough for Pandragus to impregnate her), Brother of Joy and Sister of Pleasure (where the princess isn't asleep, but dead – yet somehow the prince still impregnates her – and is revived by an herb that a bird carries to her), and Blandin de Cornoalha (a knight who, refreshingly, doesn't impregnate the sleeping maiden Brianda, but breaks her spell by bringing a white hawk to her side).

*All of these early Sleeping Beauty tales are just one part of bigger poetic sagas. Maybe this explains why Sleeping Beauty is fairly light on plot compared to other famous fairy tales (i.e. we're told what's going to happen, and then it does happen, and it all seems inevitable from the start). Of course one argument is that it's a symbolic tale: symbolic of a young girl's coming-of-age, as the princess's childhood ends when she falls asleep and her adulthood begins when she wakes, and/or symbolic of the seasons, with the princess as a Persephone-like figure whose sleep represents winter and whose awakening represents spring. That's all valid. But maybe another reason for the flimsy plot is that the earliest versions of the tale were never meant to stand alone. They were just episodes in much longer and more complex narratives.

@ariel-seagull-wings, @adarkrainbow, @themousefromfantasyland

[aerial-jace]

Theatre-style incense burners my beloved. Easily my favorite kind of artifact. I weep for the fact that the vast majority of the ones found outside Teotihuacan were looted and ended up in the hands of private collectors.

(Photos from this amazing catalogue on the website of Fundación La Ruta Maya.)

[skyland2703]

What do you think the reboot theme will be?

I hope that season and the ones after it may be an Era or sorts, standalone seasons before crossovers happen again. Maybe something like

The reboot being japanese themes and folklore(just rumors I heard but I wouldn't mind that tbh)

Then the season after could be about ghosts and souls

And the season after that would be mythology

Idk if I'm making sense, you get where I'm going with this right?

Be like the post habro Era of sorts🤔

Note: Some people might not like my response... proceed with care~

Honestly I’m somewhat scared that its gonna be yet another MMPR rework. And that its possibly gonna be like riverdale or something. The dark grungy "moving away from tokusatsu" shit isn't... sitting right with me.

BUT I really like your idea. An era of sorts, with individual seasons that are unconnected and centred around folklore, mysticism, mythologies around the world. I think it can be REALLY FUCKIN FUN. Seeing people from these various worlds interact would be INSANE.

LIKE YES, YES I WANT SOMETHING LIKE THAT. Honestly, anything would be good if they move on from the MMPR nostalgia and stop shoving that in our faces, because while I agree, MMPR IS LOVELY, there are 20+ more seasons that deserve equal amount of LOVE and AFFECTION if not more. If they build up on THAT legacy, as a "post Hasbro" Era, I'd DIG IT.

There is honestly SO MUCH POTENTIAL for this entire thing, and I’m really curious to see how it goes. It'll also be okay/cool if it's something like the MMPR movie, but PLEASE do something different, something original. It's 2023 for god's sake, 1993 was too long ago >//< I'm sure even the older fans would like moving away from the MMPR and see new things, while still respecting and cherishing the legacy. What we need is a good and healthy blend~

THANKS FOR THE ASK!!!!

[snekdood]

Dude.. my ex boyfriend totally did get me into conspiracy theory shit, even if unintentionally (i think its intentional im sure he believed in that shit. Would not surprise me at all.) At the time i was already pretty isolated from anyone online who mightve countered any of my dumb spiritual or alien related beliefs because of some dumb shit i said online making most of the friends and followers i made online generally avoid me, depending on who it was. I was just a regular pagan and then he showed me this weird video with all this weird conspiracy theory symbolism in it. I looked it up later on and looked up the meaning of the symbolism and came across a whole bunch of stuff posing itself as Secret Information The US Govt Doesnt Want You To Know About, etc. And then i just fell deeper into the conspiracy theory pipeline, traded my paganism for new age beliefs, and goddamn dude. Like we both got suspended from school bc he had a dumb idea to dumb shit there and i spent my time in detention fucking. Trying to read "the emerald tablets" or whatever tf. Its all coming back to me rn.

[morsmoon]

I finally got a book about mythology and I'm gonna try my best to learn every single fact so I can impress the gays

[readtilyoudie]

“Stand tall, my queen. I would give you the universe but how

Can I gift you to you? So I will give you my heart, strong and true,

I cannot conjure thunder, but

I will plant a forest for you, sow flowers that bloom

In your presence, fruit that tastes like your essence.”

Love in Color: Mythical Tales from Around the World, Retold by Bolu Babalola

[queen-vv]

If I had any reach whatsoever, I’d start some sort of podcast or whatever and have viewers write in and tell me about their area’s small scale local mythologies. Either historic/mythological stuff that just isn’t well known by people outside the area, or stuff like ghosts and monsters and happening that are famous in the local area

[tomework]

Another unique book because it’s not your standard style “carry around and read” book

8/10

“Mythology: Myths and Legends of the World” by Dr. Alice Mills

Again more of a reference/coffee table book. It’s massive. Probably heavy enough to weigh down a body. Covers a LOT of myths and legends around the world and actually really interesting. It’s a Costco book table book so it was a pretty good deal for the size book, and quality book, you get.

[sexysideoftheforce]

Margaret Atwood got me like

[andthebeanstalk]

Me seeing art for a show I both hate and thoroughly love to roast: Someone worked really hard on this as an act of love, and I will not reblog their work just to trash the show in their tags. The artist can see the tags. I will not do it. I won't. They're not hurting anyone. I am not going to-- I'm not. I'm not, I'm not going to do it, I am genuinely not going to I'm not--not even if I want to because GODS I want to but I won't I'll just make a separate post about it or something, it's not like everything I love is so perfect anyway, and I sure wouldn't appreciate it, goodness knows so I'm not going to do it EVEN THOUGH MERLIN IS

A STUPID SHOW AND THE PEOPLE WHO MADE IT

SHOULD FEEL BAD!!!!

(The people who like it don't have to feel bad. Both because it is genuinely a moral neutral, and also, well, they've already sat through all of BBC Merlin - they've suffered enough!)

[vampiric-prometheus]

“I don't think they'll acquire the grail, but 'the real grail was the enemies to lovers arc we had along the way', am I right?”

Sometimes, I love looking back over my notes for my original stories just to laugh at my 1am shenanigans.

[henry-fox-biggest-stan]

Nico truly is the character ever. He’s gay, he’s autistic, he has adhd and dyslexia, he has depression, he has ptsd, he’s a cane user, his body is full of scars, he can raise the dead, he’s Italian, he’s originally from the 30s, his memory was erased, he has a cool sword, he loves so much it will be his doom, he’s the son of hades, he has beef with Cupid, he knows gods and creatures from all mythologies around the world, he can teleport, gods love him but people his age are scared of him, he’s a practican pagan who used to be catholic, he’s emo, he’s both a younger sibling and an older sibling, he’s the first person ever to go to Tartarus and come back alive, and he did it twice, he’s in a autistic4autistic relationship, he’s short, he’s Antigone and Joan of arc, he was turned into a dandelion and into corn once, he was homeless, he’s getting therapy from the god of wine and parties, he killed a guy, he’s guilt and sacrifice personified, he’s 15 years old, he

[whetstonefires]

One thing I don't think I've ever seen talked about is how post-apocalypse ideation is largely about homelessness.

Homelessness looms large in the American consciousness. Like, not that it's irrelevant elsewhere, but it's got a particular cultural place in the US that's reflected in Hollywood, and therefore relevant because what makes it into film and TV sets the terms of so many conversations.

We don't acknowledge it if we can help it, but I think most people know they're never more than a few very bad months from winding up there.

Even people who are sure it only happens to people who deserve it, who fuck up and put one foot in the morass of their own foolish volition. Even they know the quicksand is there, waiting to be walked into, and that the odds are stacked against ever climbing out on your own once you have. And that they, too, are capable of fucking up. Of trusting the wrong person. Of getting cancer incorrectly.

And those of us who know damn well we can't be sure we're safe even if we do everything right, we know it even better.

And in that sense it doesn't matter what the world would realistically look like after X kind of apocalypse, what people would do, how society would adapt. Because the anxiety that's being processed is about the reality that's in existence now.

About what if my world ends. And I lose access to the fruits of developed society, to clean clothes and new glasses and running water, to a safe place to sleep where I don't expect to be killed or robbed, or driven out by men with guns and dogs. To my home and work and family and everything I usually use to tell me who I am.

What if every man's hand is against me, and every meal is a small victory, and there's only my own dwindling strength between me and the long night?

Will I make it? Will I hold up under the strain? Will I retain my dignity? Will I be lucky? Will I be able to protect the people I love, in that world, the world where no one is protecting us anymore?

Is there a way to continue to live as a human person, when you're denied the prerogatives of one, and don't know if you'll ever get them back?

Putting this anxiety into the context of a massive apocalypse divorces this scenario from the burden of shame tied up in the idea of winding up in that sort of situation in the normal course of events, by having society vanish rather than expel you, personally, as a washout, and continue on around you.

It also allows you to rule out a priori the question of what resources might be offered but can't in an anticipatory context be counted on; shelters and programs and housed friends and family who may or may not help. And narrow the narrative to only the question of what you can survive, and often a fairy tale about surviving all of it and starting over.

Rehearsing for a loss in a mythologized format is a very normal anxiety processing behavior, and I think a lot of apocalypse scenario building is attached to the buried dread of that personal apocalypse. But I haven't seen that one make the list.

[geekgyrl]

Adlet Unknown Creatures from Around the World

[physalian]

What No One Tells You About Writing Fantasy

Every author has their preferred genres. I love fantasy and sci-fi, but began with historical fiction. I hated all the research that historical fiction demands and thought, if I build my own world, no research required.

Boy, was I wrong.

So to anyone dipping their toe into fantasy/sci-fi, here’s seven things I wish I knew about the genres before I committed to writing for them.

1. You still have to research. Everything.

If you want any of your fantasy battle sequences, or your space ships, or your droids and robots, or your fictional government and fictional politics to read at all believable.

In sci-fi, you research astronomy, robotics, politics, political science, history, engineering, anthropology. In fantasy, you have to research historical battle tactics, geography, real-world mythology, folklore, and fairytales, and much of it overlaps with science fiction.

I say you *have to* assuming you want your work to be original and unique and stand out from the crowd. Fanfic writers put in the research for a 30k word smut fic, you can and will have to research for your original work.

2. Naming everything gets exhausting

I hate coming up with new names, especially when I write worlds and places divorced from Earthly customs and can’t rely on Earthly naming conventions. You have to name all your characters, all your towns, villages, cities, realms, kingdoms, planets, galaxies, star systems.

You have to name your rebel faction, your imperial government, significant battles. Your spaceships, your fantasy companies and organizations, your magic system, made-up MacGuffins, androids, computer programs. The list goes on and on and on.

And you have to do it all without it sounding and reading ridiculous and unpronounceable, or racist. Your fantasy realms have to have believable naming patterns. It. Gets. Exhausting.

3. It will never read like you’re watching a movie

Do you know how fast movies can cut between scenes? Movies can balance five plotlines at once all converging with rapid edits, without losing their audience. Sometimes single lines of dialogue, or single wordless shots are all a scene gets before it cuts. If you try to replicate that by head-hopping around, you will make a mess.

It’s perfectly fine to write like you’re watching a movie, but you can’t rely on visual tricks to get your point across when all you have is text on a page – like slow mo, lens flares, epically lit cinematic shots, or the aforementioned rapid edits.

It doesn’t have to, nor should it, look like a movie. Books existed long before film, so don’t let yourself get caught up in how ~cinematic~ it may or may not look.

4. Your space opera will be compared to Star Wars and Star Trek

And your fairy epic will be compared to Tinkerbell, your vampires to Twilight, your zombies to The Walking Dead, Shaun of the Dead, World War Z. Your wizards and witches and any whisper of a fantasy school for fantasy children will be compared to Harry Potter. Your high fantasy adventure will be compared to Lord of the Rings.

You can’t avoid it, but you can avoid doing it to yourself. When people ask about your book, let them say “oh, you mean like Star Wars” to which you then can say, kind of, except XYZ happens in my book. These IPs will never fade from the public consciousness, not while you exist to read this post, at least, but Harry Potter isn’t the only urban fantasy out there. Lord of the Rings isn’t the only high fantasy. Star Wars isn’t the only space opera.

Yours will be on the shelves right next to them, soon enough, and who knows? You might dethrone them.

5. Your world-building is an iceberg, and your book is the tip

I don’t pay for any of those programs that help you organize your book and mythos. I write exclusively on Apple Notes, MS Word, and Google Suite (and all are free to me). I have folders on Apple Notes with more words inside them than the books they’re written for.

If you try to cram an entire college textbook’s worth of content into your novel, you will have left zero room for actual story. The same goes for all the research you did, all the hours slaving away for just a few details and strings of dialogue.

There’s a balance, no matter how dense your story is. If you really want to include all those extra details, slap some appendices at the end. Commission some maps.

6. The gatekeeping for fantasy and sci-fi is still very real

Pen names and pseudonyms exist for a reason. A female author writing fantasy that isn’t just a backdrop for romance? You have a harder battle ahead of you than your male counterparts, at least in the US. And even then, your female protagonist will be scrutinized and torn apart.

She’ll either be too girly or not girly enough, too sexy, or not sexy enough. She’ll be called a Mary Sue, a radical feminist mouthpiece, some woke propaganda. Every action she takes will be criticized as unrealistic and if she has fans who are girls, they will be mocked, too.

If you have queer characters, characters of color, they won’t be good enough, they won’t please everyone, and someone will still call you a bigot. A lot of someones will still call you a bigot.

Do your due diligence and hire your army of sensitivity readers and listen to them, but you cannot please everyone, so might as well write to please yourself. You’re the one who will have to read it a thousand times until it’s published.

7. Your “original” idea has been done before, and that’s okay

Stories have been told since before language evolved. The sum of the parts of your novel may be original, but even then, it’s colored by the media you’ve consumed. And that’s okay!

How many Cinderella stories are there? How many high fantasies? How many books about werewolves and witches and vampires? Gods and goddesses and celestial beings? Fairies and dragons and trolls? Aliens, robots, alien robots? Romeo and Juliette? Superheroes and mutants?

Zombies may be the avenue through which you tell your story, but it’s not *just* about zombies, is it? It’s about the characters who battle them, the endurance of the human spirit, or the end of an era, the death of a nation. So don’t get discouraged, everyone before you and everyone after will have written someone on the backs of what came before and it still feels new.

[readtilyoudie]

“There’s nothing wrong with that. I feel you. Dating is the fucking worst. First of all, there’s so much pretense involved, right? Like, the first few dates you’re basically performing a polished, cooler version of yourself. And that’s even if you find someone you want to go on a date with. Then there’s the pressure, you know? Both of you are on a date and you know it’s for one purpose. You want it to work out. Then, when it doesn’t, you’re disappointed, and somehow, within that disappointment, you gotta find it in you to build yourself up to do it all over again.”

Love in Color: Mythical Tales from Around the World, Retold by Bolu Babalola