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#Those Beyond - Ä
planet-apathy · 10 months
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Loyalty.
So much can be said about the importance of loyalty. How empires have been erected with it. How wars have been decided by it. How our species survival has at times depended on it. 楚 or Chǔ is one of the seven virtues of bushido, the ethical code these warriors lived and died by. Yes, Human beings throughout history have used this quality as a tool to carve out their place in this plane of existence. But rarely is the other side of this double edged sword brought up. What about when loyalty, and more specifically, the loyalty you show to others is to your own detriment?
“The central theme of Hagakure is the righteous death of the samurai. The proper death is the point around which commentary of other matters revolves; the willingness of the warrior to commit unwaveringly to death when it is demanded of him is the ultimate expression of his devotion to his lord.”
-from In search of a glorious death - by Johann Kurtz
Perspective is important.
Ï was conjured in the slums of a city where such Ä perspective is laughable. Morals and idealism is nice but it’s the Wild West out here. “Honor?!😂😂 you burnt the fuck out dickhead!” Is not too far off from the reply you’d receive trying to live righteously in this environment. Here, your child’s mother might fuck your mortal enemy because you looked to happy dropping them off to her. Here, your right hand man, whom you’ve know since childhood, might blow your brains out of your skull and onto the pavement like a banksy street art piece, and Äll because of a girl he wanted that didn’t give him play because she had her eyes on you. The real tragedy to me is that neither of these situations were about any money🤦🏽‍♂️ Unfortunately, I’ve witnessed both happen to some really good men that didn’t deserve it. 🕊️. What is one trying to live better to do under these circumstances of reality?
Pragmatic thought processes may lead you to think “well, maybe you have to be more discerning of who you give your loyalty too.” But Ï feel this notion is quixotic at best and contrarian at worst. Life is messy and you can never know a human beyond the mask they choose to show you. To be loyal is to allow yourself to be vulnerable to the capricious nature of the land mammals you happen to exist around🤷🏽‍♂️. Well, that leads us back to the mentality of the samurai. They laid there life down for their daimyo(Feudal Lord) regardless of how they felt about their lord’s decisions.
We praise them for upholding this virtue but looking at it realistically. Without this grandiose lens. What did you give your only (as far as you know and not just have faith in) finite life for? From all walks of life I ask, on a long enough timeline, because let’s be honest it’s been long enough. Did the empire you KILLED for conquer this planet and bring worldwide peace? Did that gang you DIED for fix the poverty stricken streets you, your mother , and siblings barely escaped from? Did the political party you LIED and GASLIGHTED for install the policies and laws to bring your country and it’s citizens to the upper echelons of life without stepping on a particular group or at least install the ones that would keep those particular groups from being stepped on? Did the religion you BLEW UP-... 😂😂😂 you get the point. Or do you? What is the point of it all? I suppose it’s up to each and every individual to decide their own head canon to justify this quality. And well... at least you have that.
*hits blunt*
✌🏽 young bul.
🚶🏽
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ereborskingarchive2 · 3 years
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𝚠𝚎𝚝𝚊 ,     𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝   𝚌𝚑𝚛𝚘𝚗𝚒𝚌𝚕𝚎𝚜 ,     𝚙𝚑𝚒𝚕𝚒𝚙𝚙𝚊   𝚋𝚘𝚢𝚎𝚗𝚜’   𝚌𝚘𝚖𝚖𝚎𝚗𝚝𝚊𝚛𝚢 :          ❝     what   we   wanted   was   to   say   that   even   with   all   the   wealth   of   erebor ,     thorin   could   not   rest   until   he   had   the   arkenstone .     this   one   peerless   jewel   was   the   thing   that ,     in   thorin’s   estimation ,     bestowed   kingship   upon   its   possessor .     without   it   he   was   not   whole .     he   had   invested   so   much   meaning   in   the   arkenstone   that   without   it   he   felt   his   identity   and   legitimacy   were   incomplete .     in   the   end ,     as   impressive   and   otherworldly   as   it   was ,     the   stone   was   just   a   material   object ,     a   bauble ,     a   trinket .     its   power   was   attributed   and   not   innate .     though   he   does   not   understand   it ,     thorin   has   given   that   power   to   the   stone   and   trapped   himself .     ❞
𝚠𝚎𝚝𝚊 ,     𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝   𝚌𝚑𝚛𝚘𝚗𝚒𝚌𝚕𝚎𝚜 ,     𝚛𝚒𝚌𝚑𝚊𝚛𝚍   𝚊𝚛𝚖𝚒𝚝𝚊𝚐𝚎’𝚜   𝚌𝚘𝚖𝚖𝚎𝚗𝚝𝚊𝚛𝚢 :          ❝     the   story   already   had   the   ring   and   the   gold ,     so   another   talisman   may   have   been   one   too   many ,     but   the   right   to   rule ,     it   being   the   king’s   jewel ,     is   where   the   power   of   the   arkenstone   lay .     [ . . . ]     ultimately ,     the   arkenstone   was   just   a   gem   and   the   power   of   loyalty   was   beyond   a   talisman .     ❞
𝚝𝚑𝚎   𝚜𝚒𝚕𝚖𝚊𝚛𝚒𝚕𝚕𝚒𝚘𝚗 ,     𝚘𝚏   𝚝𝚑𝚎   𝚜𝚒𝚕𝚖𝚊𝚛𝚒𝚕𝚜   𝚊𝚗𝚍   𝚝𝚑𝚎   𝚞𝚗𝚛𝚎𝚜𝚝   𝚘𝚏   𝚝𝚑𝚎   𝚗𝚘𝚕𝚍𝚘𝚛     ( 𝚙𝚊𝚐𝚎   𝟼𝟽 )          like   the   crystal   of   diamonds   it   appeared ,     and   yet   was   more   strong   than   adamant ,     so   that   no   violence   could   mar   it   or   break   it   within   the   kingdom   of   the   arda .     [ . . . ]     and   the   inner   fire   of   the   silmarils   fëanor   made   of   the   blended   light   of   the   trees   of   the   valinor ,     which   lives   in   them   yet ,     though   the   trees   have   long   withered   and   shine   no   more .     therefore   even   in   the   darkness   of   the   deepest   treasury   the   silmarils   of   their   own   radiance   shone   like   the   stars   of   the   varda ;     and   yet ,     as   they   were   indeed   living   things ,     they   rejoined   in   light   and   received   it   and   gave   it   back   in   hues   more   marvelous   than   before .
𝚝𝚑𝚎   𝚜𝚒𝚕𝚖𝚊𝚛𝚒𝚕𝚕𝚒𝚘𝚗 ,     𝚘𝚏   𝚝𝚑𝚎   𝚜𝚒𝚕𝚖𝚊𝚛𝚒𝚕𝚜   𝚊𝚗𝚍   𝚝𝚑𝚎   𝚞𝚗𝚛𝚎𝚜𝚝   𝚘𝚏   𝚝𝚑𝚎   𝚗𝚘𝚕𝚍𝚘𝚛     ( 𝚙𝚊𝚐𝚎   𝟼𝟿 )          for   fëanor   began   to   love   the   silmarils   with   a   greedy   love ,     and   grudged   the   sight   of   them   to   all   save   to   his   father   and   his   seven   sons     [ . . . ]
𝚝𝚑𝚎   𝚜𝚒𝚕𝚖𝚊𝚛𝚒𝚕𝚕𝚒𝚘𝚗 ,     𝚘𝚏   𝚝𝚑𝚎   𝚟𝚘𝚢𝚊𝚐𝚎   𝚘𝚏   𝚎ä𝚛𝚎𝚗𝚍𝚒𝚕     ( 𝚙𝚊𝚐𝚎   𝟸𝟻𝟹 - 𝟸𝟻𝟺 )          but   the   jewel   burned   in   the   hand   of   maedhros   in   pain   unbearable ;     and   he   perceived   it   to   be   as   eönwë   had   said ,     and   that   his   right   thereto   had   become   void ,     and   that   the   oath   was   in   vain .     and   being   in   anguish   and   despair   he   cast   himself   into   a   gaping   chasm   filled   with   fire ,     and   so   ended ;     and   the   silmaril   that   he   bore   was   taken   into   the   bosom   of   the   earth .
𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝 ,     𝚌𝚑𝚊𝚙𝚝𝚎𝚛   𝚝𝚠𝚎𝚕𝚟𝚎 ,     𝚒𝚗𝚜𝚒𝚍𝚎   𝚒𝚗𝚏𝚘𝚛𝚖𝚊𝚝𝚒𝚘𝚗     ( 𝚙𝚊𝚐𝚎   𝟸𝟹𝟷 )          ❝     the   arkenstone !     the   arkenstone !     ❞     murmured   thorin   in   the   dark ,     half   dreaming   with   his   chin   upon   his   knees .     ❝     it   was   like   a   globe   with   a   thousand   facets ;     it   shone   like   silver   in   the   firelight ,     like   water   in   the   sun ,     like   snow   under   the   stars ,     like   rain   upon   the   moon !     ❞
𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝 ,     𝚌𝚑𝚊𝚙𝚝𝚎𝚛   𝚝𝚑𝚒𝚛𝚝𝚎𝚎𝚗 ,     𝚗𝚘𝚝   𝚊𝚝   𝚑𝚘𝚖𝚎     ( 𝚙𝚊𝚐𝚎   𝟸𝟹𝟽 )          it   was   the   arkenstone ,     the   heart   of   the   mountain .     so   bilbo   guessed   from   thorin’s   description ;      but   indeed   there   could   not   be   two   such   gems ,   even   in   so   marvelous   a   hoard ,     even   in   all   the   world .     [ . . . ]     now   as   he   came   near ,     it   was   tinged   with   a   flickering   sparkle   of   many   colors   at   the   surface ,     reflected   and   splintered   from   the   wavering   light   of   his   torch .     the   great   jewel   shone   before   his   feet   of   its   own   inner   light ,     and   yet ,     cut   and   fashioned   by   the   dwarrows ,     who   had   dug   it   from   the   heart   of   the   mountain   long   ago ,     it   took   all   light   that   fell   upon   it   and   changed   it   into   ten   thousand   sparks   of   white   radiance   shot   with   glints   of   the   rainbow .
𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝 ,     𝚌𝚑𝚊𝚙𝚝𝚎𝚛   𝚜𝚒𝚡𝚝𝚎𝚎𝚗 ,     𝚊   𝚝𝚑𝚒𝚎𝚏   𝚒𝚗   𝚝𝚑𝚎   𝚗𝚒𝚐𝚑𝚝     ( 𝚙𝚊𝚐𝚎   𝟸𝟽𝟸 )          the   elvenking   himself ,     whose   eyes   were   used   to   things   of   wonder   and   beauty ,     stood   up   in   amazement .     even   bard   gazed   marveling   at   it   in   silence .     it   was   as   if   the   globe   had   been   filled   with   moonlight   and   hung   before   them   in   a   net   woven   of   the   glint   of   frosty   stars .
𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝 ,     𝚌𝚑𝚊𝚙𝚝𝚎𝚛   𝚎𝚒𝚐𝚑𝚝𝚎𝚎𝚗 ,     𝚝𝚑𝚎   𝚛𝚎𝚝𝚞𝚛𝚗   𝚓𝚘𝚞𝚛𝚗𝚎𝚢     ( 𝚙𝚊𝚐𝚎   𝟸𝟿𝟸 )          they   buried   thorin   deep   beneath   the   mountain ,     and   bard   laid   the   arkenstone   upon   his   breast .     ❝     there   let   it   lie   ‘til   the   mountain   falls !     ❞     he   said .     ❝     may   it   bring   good   fortune   to   all   his   folk   that   dwell   here   after !     ❞
the   arkenstone ,     the   heart   of   the   lonely   mountain   thus   named   erebor   by   the   dwarrows   and   founded   deep   beneath   its   roots ,     was   unearthed   during   the   reign   of   king   thrór   and   declared   to   be   a   divine   show   of   his   right   to   rule .     thus   the   jewel   was   established   to   be   a   crowner   of   kings¹ ,     bestowing   as   much   power   as   the   descent   of   durin ,     for   the   dwarrows   believed   it   to   be   a   gift   of   mahal ,     put   forth   in   the   mountain   as   a   homage   to   their   race .     in   their   creator’s   honor   did   they   mount   it   above   the   throne   of   thrór ,     where   it   glittered   for   all   who   sought   audience   with   the   king   of   dwarrows   to   behold² .     inscriptions   depicting   the   arkenstone   were   carved   all   throughout   the   mountain   halls³   and   upon   great   tapestries   that   hung   in   the   halls   of   history   and   remembrance .     so   it   remained   ‘til   the   coming   of   the   dragon ,     smaug ,     who   claimed   the   mountain   and   all   of   its   treasure ,     devouring   the   dwarrows   within   it .     in   this   manner   was   the   arkenstone   lost ,     for   thrór   took   it   from   his   throne   and   carried   it   with   him   to   the   treasury ,     where   the   dragon   was   reveling   in   its   hoard   and   causing   great   flying   mounds   of   gold   and   gems   with   its   wings .     thrór   fell ,     and   the   arkenstone   fell   with   him ,     out   of   his   grasp   and   into   the   swell   of   coins   that   mounted   the   steps   before   him .     as   it   was   to   be ,     the   arkenstone   remained   in   smaug’s   piles   ‘til   the   company   of   thorin ,     son   of   thráin ,     son   of   thrór ,     descended   upon   the   mountain ,     and   with   the   help   of   the   contracted   burglar   and   hobbit ,     bilbo   baggins ,     procured   the   arkenstone   from   the   dragon ,     a   creature   later   slain   by   one   of   the   race   of   men .     the   arkenstone   exchanged   hands   ‘til ,     at   the   death   of   thorin ,     it   was   placed   upon   his   breast   by   bard ,     in   a   display   of   good   will   to   the   dwarrows ,     who   were   now   to   be   the   allies   of   the   men   of   dale   henceforth   under   the   reign   of   king   dáin ,     son   of   náin ,     son   of   grór ,     and   king   bard ,   descendant   of   girion .   no   longer   would   the   arkenstone   crown   a   dwarf   on   the   throne ,     for   it   was   decided ,     in   honor   of   his   great   sacrifice   and   the   mourning   of   the   cost   of   his   quest ,     that   the   jewel   would   be   buried   with   thorin ,     so   that   he   would   be   crowned   evermore .
the   arkenstone ,     though   called   by   the   dwarrows   to   be   the   heart   of   the   mountain ,     may   never   have   been   so ,     and   instead   be   a   silmaril   forged   by   fëanor   and   hence   lost   to   the   depths   of   the   earth   with   the   undoing   of   maedhros ,     son   of   fëanor ,     who   flung   himself   into   a   gaping   chasm .
𝚝𝚑𝚎   𝚑𝚒𝚜𝚝𝚘𝚛𝚢   𝚘𝚏   𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝     ( 𝚙𝚊𝚐𝚎   𝟼𝟻𝟷 - 𝟼𝟻𝟹 )          the   choice   of   arkenstone   is   significant ,     since   in   other   writings   tolkien   was   making   at   the   same   time   he   was   using   a   variant   of   the   same   name   as   a   term   for   the   silmarils   themselves ,     forging   a   link   between   the   jewels   of   fëanor   and   the   arkenstone   of     [ thrór ]     in   the   legendarium     [ . . . ]     the   idea   that   the   arkenstone   could   be   a   silmaril ,     or   was   at   least   somehow   linked   to   the   silmarils   in   tolkien’s   mind ,     has   additional   support   from   the   philosophical   roots   of   the   word .
𝚝𝚑𝚎   𝚑𝚒𝚜𝚝𝚘𝚛𝚢   𝚘𝚏   𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝     ( 𝚙𝚊𝚐𝚎  𝟼𝟻𝟺 )           like   the   silmarils   in   the   main   branch   of   the   legendarium ,     and   unlike   the   one   ring   in   the   sequel ,     the   arkenstone   inspires   greed   but   is   not   itself   malicious   in   any   way     [ . . . ]
though   many   will   point   to   the   finality   of   one   statement   that   the   silmarils   could   not   be   found   again   unless   the   world   was   broken   and   re - made   anew : 
𝚝𝚑𝚎   𝚑𝚒𝚜𝚝𝚘𝚛𝚢   𝚘𝚏   𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝     ( 𝚙𝚊𝚐𝚎   𝟼𝟻𝟽 )          tolkien   had   in   fact   at   that   point   changed   his   mind   four   times   in   the   previous   fifteen   years   about   the   holy   jewels’   fate ,     all   in��  a   series   of   unpublished   works   that   remained   in   flux   and   were   each   to   be   replaced   by   a   new   version   of   the   story     [ . . . ]     it   is   thus   more   than   possible   that   tolkien   was   playing   in   the   hobbit   with   the   idea   of   having   one   of   fëanor’s   wondrous   jewels   re - appear ,     no   doubt   the   one   that   had   been   thrown   into   a   fiery   chasm ,     and   lost   deep   within   the   earth     —————     which   is ,     after   all ,     exactly   where   the   dwarrows   find   the   arkenstone ,     buried   at   the   roots   of   an   extinct   volcano .
the   silmarils   may   inspire   greed ,     but   they   merely   reflect   the   heart   of   the   one   who   possesses   them ,     and   are   no   source   of   evil ,     nor   do   they   hold   magical   sway   beyond   the   manner   with   which   all   covet   them   for   their   great   beauty⁴ .     the   silmaril   named   the    ❝   arkenstone   ❞   by   the   dwarrows   did   not   encourage   the   madness   in   either   thrór   nor   thorin⁵ .     while   they   both   desired   the   jewel   greatly ,     it   was   because   of   the   power   that   they   themselves   attributed   to   it ,     and   not   anything   that   the   arkenstone   itself   was   able   to   exact .     the   light   of   the   valinor ,     which   the   arkenstone   encases ,     is   a   good   and   beauteous   light ,     and   it   is   only   the   imperfect   heart   that   all   carry   and   that   drives   those   who   see   the   silmarils   to   commit   treacherous   deeds   for   them   that   taints   the   jewels⁶ .     in   the   end ,     it   was   the   corruption   of   the   dwarf   ring   given   to   the   line   of   durin   long   ago   that   wholly   cursed   them   with   a   dark   greed   and   a   darker   madness .     as   said   by   balin ,     the   arkenstone   would   not   have   stayed   thorin’s   madness ,     nor   prevented   it ,     but   exacerbated   it   by   its   presence .
𝐅𝐎𝐎𝐓𝐍𝐎𝐓𝐄𝐒 .
¹     𝚙𝚎𝚝𝚎𝚛   𝚓𝚊𝚌𝚔𝚜𝚘𝚗 ,     𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝     ( 𝚝𝚑𝚎   𝚋𝚊𝚝𝚝𝚕𝚎   𝚘𝚏   𝚝𝚑𝚎   𝚏𝚒𝚟𝚎   𝚊𝚛𝚖𝚒𝚎𝚜 )     ,     𝚋𝚊𝚕𝚒𝚗 :          ❝     that   stone   crowns   all .     it’s   the   summit   of   this   great   wealth ,     bestowing   power   upon   he   who   bears   it .     would   it   stay   his   madness ?     no ,     laddie .     i   fear   it   would   make   him   worse .     perhaps   it   is   best   it   remains   lost .     ❞
²     fëanor ,     having   been   supposedly   taught   by   aulë     ( mahal )     ,   and   with   the   dwarrows   being   the   creation   of   aulë ,     leads   to   the   belief   that   they   would   be   able   to   facet   the   otherwise   impervious   silmaril ,     whilst   any   other   race   would   not   be   able   to   do   so ,     no   matter   any   secrets   learnt .     however ,    this   interpreation   will   adhere   to   the   film   portrayal   of   the   arkenstone ,     which   has   it   as   smooth .
³     one   such   inscription   can   be   seen   in   the   film ,     read   as :     herein   lies   the   seventh   kingdom   of   durin’s   folk .     may   the   heart   of   the   mountain   unite   all   dwarrows   in   defense   of   this   home .
⁴     in   the   film ,     smaug   tells   bilbo   that   the   arkenstone   shall   corrupt   thorin’s   heart   and   thus   destroy   him   and   drive   him   mad .     the   dragon   was ,     of   course ,     lying ,     attempting   to   sway   the   loyalties   of   bilbo’s   heart ,     as   it   had   been   trying   to   for   most   of   the   conversation ,     whether   that   scheme   was   lying   about   the   arkenstone’s   power ,     or   that   the   dwarrows   valued   bilbo   so   little .     in   truth ,     as   smaug’s   powers   of   cleverness   knew ,     thorin   would   be   the  one   to   drive   himself   mad   over   the   stone ,     and   not   the   stone   itself .
⁵     nor   did   the   arkenstone   inspire   any   such   madness   or   lust   within   bilbo   baggins ,     who   was   in   possession   of   the   jewel   for   quite   some   time ,     and   did   not   feel   any   such   inclinations   past   how   heavy   it   seemed   to   be   in   his   hold :
𝚝𝚑𝚎   𝚑𝚘𝚋𝚋𝚒𝚝 ,     𝚌𝚑𝚊𝚙𝚝𝚎𝚛   𝚝𝚑𝚒𝚛𝚝𝚎𝚎𝚗 ,     𝚗𝚘𝚝   𝚊𝚝   𝚑𝚘𝚖𝚎     ( 𝚙𝚊𝚐𝚎 𝟸𝟹𝟽 )          his   small   hand   would   not   close   about   it ,     for   it   was   a   large   and   heavy   gem ;     but   he   lifted   it ,     shut   his   eyes ,     and   put   it   in   his   deepest   pocket .
⁶     it   is   true   that   those   with   evil   intent     ( forgoing   the   idea   that   mortals   cannot   touch   silmarils ,     which   shall   not   be   considered   for   this ,     as   it   does   not   fit   no   matter   how   holy   they   may   be,     and   appears   to   be   an   inconsistent   particular )     cannot   touch   the   silmarils   lest   they   be   burned .     one   must   consider   that   bilbo   baggins   had   no   evil   intent ,     and   thus   was   able   to   carry   the   stone .     neither   did   bard ,     who   also   held   onto   the   stone   for   a   period   of   time .     evil   intent ,     however ,     is   a   manner   of   perception ;     was   thrór   truly   being   evil   by   his   greed ,     or   disagreeing   on   the   payment   of   goods   for   the   elves ,     should   he   believe   himself   in   the   right ?     was   thorin ,     up   to   a   certain   point   in   the   delirium   of   the   dragon - sickness ,     behaving   evilly   as   he   protected   the   mountain   and   what   lay   inside   of   it   against   the   perceived   threats ?     'til   later   deeds ,     he   may   have   been   able   to   hold   the   arkenstone ,     as   thrór   had ,     but   his   treatment   of   bilbo   baggins   after   the   hobbit’s   betrayal   would   have   rendered   him   unable   to   touch   the   arkenstone ,     for   that   was   a   bad ,     unfair   act   in   regards   to   the   feelings   that   they   shared   for   each   other     ( should   thorin   have   lived ,     he   would   not   have   been   able   to   touch   the   arkenstone   until   he   had   made   amends   with   bilbo   and   otherwise   honored   his   word .     it   is   possible   that   he   may   have   never   been   able   to   ever   touch   the   arkenstone   at   all )     .
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LIVING ♦ TWENTY ♦ NEUTRAL
MAURICE-ALEXANDER VAN ORANJE-NASSAU is the Royal Prince of the Netherlands, who has recently returned to Amsterdam following the discovery of he and his sister, Luana, in southern France. Although an heir to the Dutch throne was named in the late Queen Catharina’s will, he and Luana have so far refused to disclose this information, both publicly and privately. Although he is a beloved public figure like his sister, Maurice is more reserved, disliking the attention. He has recently received permission from Agostina to live part-time in The Hague.
BIOGRAPHY
They’d only ever really fought once: Luana, white-faced at the foot of a marble staircase, the front of her thousand-dollar dress smeared with cake, a lavender party hat crushed in her small palm—and Maurice, standing five steps above her with dark eyes and a scowling, mean mouth. In the empty, vast hall, he and Luana had glared at one another, the frigid silence echoing, before Luana spoke at last. Her voice was high, arrogant, accusatory: Mijn broer is een beest. Years later, by a seashore in southern France at the end of the world, they would laugh about it—what a stupid thing to have divided them for an afternoon, when now they had only each other. At the beach, Maurice massaged Lu’s head until she fell asleep, sparkling grains of sand still in her wet lashes. Those same hands had broken skin, splintered bone just hours before: without remorse, with pleasure. He turned the phrase over and over in his head like a well-worn coin. My brother is a beast.
- ❀ -
They tumbled into the world one after another: a girl, who wore cascades of sunshine atop her head in perfect curls, then a boy, silver-eyed and fox-faced, luminescent as the moon. These became their pet names among the royal maids and wet-nurses, the chauffeurs and visiting diplomats; zon-je, maan-je. At Christmas, Minister van Buskirk had placed a warm hand atop both theirs and smiled at Queen Catharina with familial tenderness: They are so lovely. And, perhaps, they really once were: twin dolls of the Dutch crown adorned in lace and jewels, running along open courtyards, laughing together by sparkling waterfronts—Luana the wild, Maurice the clever. They looked alike, but were distinguishable by their temperaments: where his sister socialized with ease and shone brightest standing in the center of a ballroom, Maurice longed for quiet—and where she was a rare blooming rose, he couldn’t help but feel like the thorns which covered her. Indeed, he made for a handsome, yet arrogant, little prince: standoffish to all but his twin sister, solitary and bellicose, as precocious and regal as he was boyishly bratty. 
In another world, he might’ve outgrown this hardness; he might’ve swept into adolescence with carefree contentment, learned not to bristle so much, had more than just Generaal de Jaager’s delinquent son for a friend, and ascended the throne with true kingly grace. You’d be a good leader, Gabriël always insisted, half-serious and half-laughing. I’d be good, for once. For a king like you. In another world, they might have really both been good. He could think of no other thing but this, shivering in the back of a black-clad woman’s car covered in his mother’s blood. He thought of it still, standing ankle-deep in the wet sand of the Mediterranean, watching Cecile shake hands, watching Luana sob, watching Dimitri’s pitiless gaze glance disinterestedly off him, and settle instead on Blue, who merely cocked her head and, at last, gave a shrug. Show the little ones to their new home, then. I haven’t got the time to. In another world, I am kissing Luana on the nose at our birthday party, Maurice thought to himself, but that life was already fading from his memory, buried under twenty-eight bodies and a dead lineage. In another world, I am feeding her cake and complimenting her dress and I am not so cruel.
But then again, maybe Maurice had always been destined to turn into what he did: a moon-child in love with the solitary night, hardness cracking and giving out to even more hardness, one nightmarish day after another no longer inciting fear, but curiosity. Call it a morbid longing, call it a refusal to spend five years shackled to terror. Was he not a prince? He, somewhere along the way, had become entranced by them: the black-eyed children of Cecile, so lovingly nicknamed bloodhounds. In a single safehouse, how did power fall so totally into the hands of the dead? The way Dimitri and Blue brawled with teeth and knives, the way Jacques could not be put at ease without some carnage to appease his appetite, their unapologetic adoration for their Mother of Death: Luana loathed to see it, but Maurice found himself drawn to their chaos like a moth to flame. What was a lonely boy-king to three gods of the New World? Maurice would work at tamping down his want, his need, to follow them like a pupil, years and years after they left. He could not leave Luana, of course, but Maurice also knew, with unspoken, slow-falling surety: to chase after the dead into the dark was to begin down an irreversible, treacherous path. And yet, some smoky, coiling voice whispered, like a hand around the throat. Which man can deny his heart forever?
CONNECTIONS
LUANA – ANOTHER WORLD. Beautiful Lu, whose name means lion, means happy, could never understand him. But he understands her, and he loves her—isn’t that enough? God, he hopes so. They have been joined at the hip since birth: two darling halves of a whole, each one with the secret keys to a lost kingdom. In youth, he had found her conceit so irritating, her shrieky charm so gauche—but seeing her now, a girl of only twenty who walks the halls of the Royal Palace burdened by the haunting of a hundred ghosts and battered by unspeakable heartbreak, he’d do anything to have his obnoxious, wonderful sister back for just a day. Once, she had been the one protecting Maurice: sheltering him with her great galloping laugh, her bright eyes, daring anyone to speak an ill word of him—so that now, he feels he must return the favor. A great, terrible secret of inheritance sits between them, and Maurice understands it is this single secret that will define whether they survive together in the New World or not. As far as Maurice is concerned, they will. They must. He’ll do whatever it takes.
DIMITRI – VIOLENT DELIGHTS. Boys will be boys, and beasts will be beasts. It’s strange to think that Maurice came of age in the company of wolves—and even stranger still that, at thirteen, he had stumbled into their lands so fearful and angry, only to be forced out five years later with an empty, wanting heart. Luana hates them all, but Maurice finds he can’t fully share in her opinion—particularly when it comes to Dimitri. There’s something mean-spirited to Blue and something grotesque about Jacques’ brand of violence; Dimitri, on the other hand, has always been able to wear bloodsport so well. He’s as refined as he is barbaric, as caustic as he is charismatic: and if anyone could embody the alluring dark, it would certainly be him. In Nice, Cecile’s bloodhounds had all largely ignored he and Luana, too preoccupied with each other or whatever errands they were sent on by Cecile. Nonetheless, Maurice had watched him: his manner of walking, the smooth cadence of his voice, every elegant arrangement of his handsome features—and unconsciously, learned to emulate him. Since his return to Amsterdam, they’ve crossed paths once more; and if Dimitri wasn’t looking before, he’s looking now. It’s too soon to say what they are, now, only that he no longer looks to Maurice with cool disinterest—and instead, is beckoning him forward into a dark, dark world.
GABRIËL – IF WE’D ONLY LAY DOWN OUR WEAPONS. His was the first face Maurice looked for, amidst the thousands who had come to greet the van Oranje-Nassaus: a sea of the living braced against the golden shores to watch the ship dock, hands outstretched, eyes brimming with glad tears—and there, beside Thalia: Generaal Gabriël, whose beautiful face betrayed no more feeling than that of a marble statue. When they were children, they had spent time together—more time than Maurice cares to admit, hours and hours reading beneath the trees and boating on the lake, sneaking away, exchanging secrets, all of it culminating in a kiss, or two, or three—but of course, he was Luana’s in the end. All lovely things were. Maurice isn’t completely sold on the convenient narrative Agostina tells of who is responsible for the massacre—but Gabriël’s partial involvement is, to Maurice, undeniable. He and Luana had both seen it: the exchange with PYTHIA, the handshake and head nod, the words spoken like a curse from Gabriël’s lips: Red de kinderen. Dood de rest. Luana may not have it in herself to exact vengeance—but Maurice, who has always been the worser of the two, certainly can. So blind he is with bitterness, that he can’t seem to see beyond it—if he were to look a little closer, he might find Gabriël isn’t the enemy he’s made him out to be.
OPEN ♦ FC: OTTO SEPPÄLÄINEN
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redcarpetview · 4 years
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STATEMENT FROM ESSENCE COMMUNICATIONS, INC. ON THE 2020 ESSENCE FESTIVAL OF CULTURE
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Planned 2020 Performers - Janet Jackson and Bruno Mars now cancelled.
                      “New Orleans Mayor LaToya Cantrell bravely recommended yesterday that no large events take place in New Orleans in 2020, and ESSENCE fully supports that decision.  After continued monitoring of the evolving developments in the COVID-19 global pandemic and remaining in close contact and collaboration with our partners in the City of New Orleans and State of Louisiana, we are confirming today that we will no longer move forward with the 2020 ESSENCE Festival of Culture live experience – and look forward to returning to New Orleans in 2021. 
               We are excited to now announce that our ‘ESSENCE Benefit Series to Fight COVID-19’ will raise money and provide support for businesses and organizations in Black communities across the country, and that our first-ever ESSENCE Festival of Culture: The Virtual Edition taking place over July 4th weekend will be included in this effort as a multi-day experience and benefit celebration.  This Festival will be hosted on our new ESSENCE Studios streaming platform, which will extend the experience to communities everywhere providing unfettered access to the power, purpose and party that has made the ESSENCE Festival the largest cultural, entertainment and empowerment experience in the world.  Women across the globe and their families will engage in interactive, live opportunities to be inspired, empowered, entertained and transformed as they enter a new economic, spiritual and wellness journey ahead.  The virtual Festival will be a benefit celebration in honor and support of the City of New Orleans, which has been an incredible partner over the Festival’s 26 years and continues to be especially hard hit during this crisis.
       From the beginning, we have shared that the health, safety and well-being of our Festival-goers, local citizens and others who contribute to making the Festival such a unique experience were our top concerns and would be the foremost considerations in our decision-making.  While we initially hoped that a reschedule from our July 2020 dates to later in the fall would be feasible, current information and projections by public health officials and agencies have made it increasingly clear that any large-scale events this year could potentially and unnecessarily put attendees and surrounding communities at risk.  So, what would have typically been a very difficult decision for us was not because people come first, and we will continue to do everything that we can to serve our community during this time.  We will honor all tickets sold for the 2020 Festival in 2021 and will also offer full refunds.  Ticket holders should visit essencefestival.com for further information.
        ‘ESSENCE and the City of New Orleans have a partnership that thrives in good times and is made even stronger in challenging times,” said Mayor Cantrell.  ‘We share an uncompromised commitment to the best interest of our local community and our tourist community, and the priorities right now are providing support to those who have been affected by the disproportionate impact of the pandemic here in New Orleans and ensuring a safe and healthy environment for all.  We look forward to welcoming everyone back to our great city in 2021 for the return of the ESSENCE Festival of Culture and to once again helping to create such an unmatched and magical experience.”
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                       ‘We greatly appreciate the Essence family for working with the City of New Orleans and Louisiana as we face this ongoing public health crisis,’ said Governor John Bel Edwards of Louisiana.  ‘We have enjoyed a long-standing relationship with the Essence family and look forward to continuing the celebration in 2021.’
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          Marvin Sapp performs during Essence Festival in New Orleans. Photo by Naomi Richard.
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  Film mogul Tyler Perry on stage during Essence Festival in New Orleans. Photo by Naomi Richard.     
               We continue to understand that in these times, accurate information and critical resources from trusted sources are vital.  So, ESSENCE created the ESSENCE of the Matter: COVID-19’s Impact on Black America digital platform to provide Black women and communities with the tools, information, resources, solutions, inspiration and empowerment needed to address the multitude of issues arising from this pandemic. ESSENCE Studios will deliver these live virtual experiences and produce the content our community needs as we continue to navigate this unprecedented time together and beyond. 
       Experiences to date have included our first-ever virtual ESSENCE Wellness Houseä and ESSENCE CARES Act information sessions, with the next – the  ESSENCE & New Voices Entrepreneur Summit – included in our Benefit Series and scheduled for Friday, April 24.  Visit essence.com  for more information.  In addition, our editorial team is producing daily content on our dedicated page to educate our community on the coronavirus, its impact, best practices for prevention and how we can not only survive, but thrive, through this time.’
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ironforgedrp · 5 years
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       ℭ𝔬𝔫𝔱𝔢𝔰𝔱𝔞𝔫𝔱𝔰:   𝐫𝐲𝐜𝐡ä𝐫𝐝 𝐡𝐚𝐫𝐥𝐚𝐰, 𝐛𝐚𝐧𝐧𝐞𝐧 𝐦𝐨𝐫𝐦𝐨𝐧𝐭, 𝐛𝐫𝐚𝐧𝐝𝐞𝐧 𝐬𝐭𝐚𝐫𝐤, 𝐭𝐚𝐭𝐞 𝐭𝐮𝐥𝐥𝐲  𝐚𝐫𝐫𝐲𝐤 𝐥𝐚𝐧𝐧𝐢𝐬𝐭𝐞𝐫, 𝐧𝐢𝐜𝐡𝐨𝐥𝐚𝐬 𝐥𝐚𝐧𝐧𝐢𝐬𝐭𝐞𝐫, 𝐞𝐦𝐞𝐫𝐢𝐜 𝐭𝐲𝐫𝐞𝐥𝐥 & 𝐦𝐨𝐫𝐫𝐞𝐜 𝐜𝐥𝐞𝐠𝐚𝐧𝐞
    the sword fight has long served as the meat of the meal in the closing day of a tournament, historically the second-to-most popular event with the wealthy and titled competitors with traditionally one of the larger crowds, and this year did not disappoint. proudly standing before the crown were eight men of westeros emblazened with clear sigils, announced by region to the mixed rowdy and regal crowd.
    two westerlands men: king arryk lannister and his brother lord commander nicholas lannister. one native crownlands man; the naturalized bastard and master smith lord morrec clegane, two northmen in lord branden stark and lord bannen mormont, the thorn king emeric tyrell of the reach, iron isles council member lord rychärd harlaw and the riverlands prince and queensguard of rhaena, prince tate tully.
  there was a soft murmur of disappointment when it became clear the initial round wouldn’t contain the oft highly sought after fight of any lannister vs. any stark, the randomized pairs are announced...
       𝔉𝔦𝔯𝔰𝔱 ℜ𝔬𝔲𝔫𝔡,
branden stark v. tate tully
arryk lannister v. nicholas lannister
rychärd harlaw v. bannen mormont
emeric tyrell v. morrec clegane
    the sun has begun to creep beyond its apex in the sky - leaving the crowd hot and searching for shade and seating in the stands. the competitors face off one at a time with sword and small wooden round-shields, though lord morrec clegane dismisses the offered defensive item as he takes the ground against the thorn king, a decision which earns a few laughs and jeers. those are quickly silenced which are silenced as the bastard master smith proves his true mastery of the blade - the win is somewhat unsurprising, but many of the crownlands poorer commonfolk cheer for the bastard.
    there are groans of disgust from attending northmen, combined with yells of triumph from riverlands and iron islanders as both northern lords are disarmed by the heir of the riverlands kingdom and the iron islands representative respectively.
    one fight that draws in a few more eyes than usual is that of the lion king and his lord commander brother, who were the top two odds-on favourites to win, the novelty of the king and his brother fighting combined with their reputations as swordsman had garnered many wagers.   the winners are decided rather quickly, natural talent and trained skill clashing to turn eight into four, and the fact that king arryk lannister triumphed and is moving onto the next round earns a hearty roar from several dedicated attendees.
      𝔖𝔢𝔠𝔬𝔫𝔡 ℜ𝔬𝔲𝔫𝔡,
     there is a break in between the final match and the semi-final - small wounds of the first round victors are bandaged as the next round of pairings are announced:
morrec clegane vs. rychärd harlaw
tate tully vs. arryk lannister
    with the crownlands master blacksmith having cemented himself in the last two days as a fierce competitor, the odds on lord harlaw were not in his favour. the match only lasts a matter of minutes; flurries of blows rained down by the blacksmith barely defended by the iron islander’s shield.  he seemed unable to land a blow on the clegane lord, and the match soon ended with lord harlaw knocked off his feet in attempt to dodge a well placed slash. the tip of his blade at lord harlaws throat, lord clegane is declared the winner of his round - more cheers than boos could be heard as many had found wealth in wagering on the apparent underdog in the blacksmith.
   the two cleared the field, with clearly no malice as the victor helped his competitor off the ground and they walked off speaking together. then the next match announced, the queens husband and king on the iron throne and the future king of the riverlands facing off, the crowd seems to hum with nervous electricity.  a flurry of last minute bets are placed and then it begins; the two men circle each other carefully, strength against agility, innate skill against taught skill... it seems an even match as they nearly trade blows, the clang of metal accompanied by the crowds ooh’s and ahh!’s as the upperhand bounced between each man.   and then it’s over, a shield is shattered by a well placed blow and a now unbalanced lord tully finds himself face down in the dirt with king arryk’s blade resting cool against the skin of his neck. the words ‘VICTOR!’ ring out and the crowd thunders and stamps their feet... the final round soon to begin.
      𝔉𝔦𝔫𝔞𝔩 ℜ𝔬𝔲𝔫𝔡,
     by now, onlookers are on the edge of their seats - many more have joined to watch, and some have left as their favourite was eliminated. those in the crownlands and the visiting lannister loyals are all but begging for a win from their king whilst the clegane lord seemed to have garnered the favour of the commonfolk, some would call the miscreants of kings landing.
   as they face off, bets hurriedly finalized before the final match began, many point out that the two men are fairly evenly matched in size and apparent strength, some even note their similar appearance; muscular, tanned skin, golden yellow hair and light eyes. the sun finally slipped behind some cloud cover as the two men raised their swords....
    the fight seems to last simultaneously eons and only seconds, the two men clearly familiar with the basis of sparring and swordsmanship. the king the slightly taller, using it to bear down on the blacksmith as the crowd screamed for a victory for their king and for their crown.    the blacksmith is stronger though, arms thick with sinuous muscle and layers of scars, each blow that lands is blocked and countered with confidence.    the bystanders are all on their feet as the king parries a blow to his left and then lands a kick to the now open chest of the clegane lord, and arryk’s victory is all but assured as morrec stumbles back, reeling.  the crowd bubbles and roils to a climax at the impressive fight.  arryk chases his stunned opponent, bearing down again with his current advantage.   however, the king like the oddsmakers and the bystanders, had no clue of the variety of morrec’s true fighting skills; he was tactical.  still retreating from the advance of the king, he crouches low as the king slices his blade diagonally down towards him, the clegane lord dive-rolled to the lannister kings shield-wielding side and there’s a soft thunk that can only be heard by the two men as the kings blade glances off the ground that moments prior was occupied by morrec.
   then, blink and you’d have missed it, morrec’s empty and free shield-hand all but ripped the wooden roundshield from the kings grasp, exposing his vulnerable side and... all it takes is a flick of the wrist for a disarmed sword to spiral into the air - the tip landing in the sandy ground as it quivered under the sun reflecting off its blade.  the roars and cheers drain away to near silence, a hush draws across the crowd at the sight of the clegane lord levelling his sword with the kings throat.   he won... very few men dared to best a king publicly, let alone hold a weapon at his throat in front of their subjects, and those who historically had done so had very rarely lived long.  it’s only with a raised hand from the lannister king that the kingsguard stop their rush onto the field, and almost with a touch of reluctance in his hesitation, the once bastard lowers his blade and sheaths his sword, bowing to the king in a move that almost... almost seemed condescending.
    lord morrec clegane is announced as the victor, though the only cheers that truly come are from the poor, crippled, bastards and orphans that morrec had grown up alongside.  some wonder if the cheers are diluted out of fear of incurring the wrath of the defeated royal, or out of true disappointment that the crownlands king had been bested by a bastard blacksmith.
CHAMPION: 450 Gold Dragons to winner MORREC CLEGANE.
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ayearinlanguage · 7 years
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A Year in Language, Day 68: Volapük
Volapük is a conlang, or "constructed language" invented by the German priest Johann Schleyer to serve as an international language. Johann believed it was God's will for him to do so. Volapük peaked at around a million speakers in the late 19th century and though it has since fallen into obscurity there is an unbroken community that persists to this day.
Volapük is a kind of conlang known as an auxlang, or auxiliary language, named because they are meant to aid in international politics. Volapük was only one of many auxlangs to pop up around the turn of the 20th century, Esperanto being another noteworthy one. What set Volapük apart though is its choice of roots. While most auxlangs inevitably turned towards Latin or otherwise Romance roots to build the languages out of Schleyer was stubbornly Germanic. Most of the roots come from English, though purposefully simplified and altered so as to make the language theoretically more universal. The word Volapük itself comes from "world" = "vol" and "speak" = "pük". In the end Schleyer would suffer for those Umlauts, which would cause schisms in the Volapük community. While it may be silly to read into it, I've always found that to be kind of moving. Here's a man, dedicated to creating something universal, but unwilling to part with this one thing, this one aspect of Germanness he's added, unadulterated, while everyone else glorifies in their Romantic style. I guess I just like underdogs.
Like many auxlangs of that era the grammar of Volapük is agglutinative and based on Indo-European style. Nouns decline into four cases, each signified by a vowel suffix ex. nominative "vol", genetive "vola", dative "vole", and accusative "voli". Adding an "-s" to any of those makes it plural. Adjectives and adverbs are derived from other parts of speech by adding "-ik" and "-o" respectively. Verbs take a suffix to show person and number (this suffix is identical to the corresponding pronoun) and take a series of vowel prepositions to show tense. An interesting feature of these vowels is they were designed so that the further away the vowel was articulated from /a/ (the present tense preposition) the further away in time you got, with front vowels representing past and back vowels the future. This applied to some time words beyond verbs, so "adelo" means today, "odelo" means tomorrow, "ädelo" means yesterday, and "udelo" is the day after tomorrow.
Unicode actually includes unique characters for Volapük, proposed replacements for those controversial umlauts: "ꞛ" for "ä", "ꞝ" for "ö", and "ꞟ" for "ü". In Esperanto the phrase "Ĝi estas por mi volapukaĵo", literally "it's Volapükish to me", has the same meaning as the English idiom "it's all Greek to me" aka. gibberish.
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senzacaponecoda · 5 years
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pAA?
(Decided to reduce the names to E, O and S because this isn’t something that should be treated seriously or like there’s anything in particular respectable or responsible about it, but might be helpful to someone like me trying to find something out for personal reasons.) So since I finally got my hands on a copy of O and S’s reconstruction of PAA, I thought I’d go through and pick out what I thought were their best etymons against what I think are E’s best etymons. As I’ve said before both reconstructions seem to be basically mass comparison reconstructions.
The wiki page on Afroasiatic claims they agree on basically nothing, and out of 1000ish and 2600ish I still got less than 100 shared roots, so that’s probably accurate. The page and what I pulled out didn’t exactly line up though, but also there were some roots especially on E’s end (due to a need to reconstruct verbs to nominalize for his PS theories) that I outright changed the meaning of because they actually made his individual arguments stronger; like, say, if you had 4 roots that mean knife in each sub-branch, why assume the etymon means cut?
I compared the roots in case there was something that was an obvious oversight, and while I don’t think their methods were all that good (although O and S’s are a lot better), I didn’t want to discount everything in case there was something like “well their vowel systems are different so I’m not counting roots where even V[os] = V[e]” or like “O/S posit (g,x) < *q while E has (g,x) < *ÿ” being overlooked and miraculously they agreed on like 300 more roots than the page gives them credit. There’s also issues like, well, “Is this particular author doing such a bad job but the critics aren’t seeing that, that he/she/they are dragging the other author/s down by undermining their ok etymons?” etc.
So, like, I’ve messed with the data in a way that’s irrepairable and shit. Mind that. This isn’t scholarly work and isn’t intended to be. And I messed with some of the data - even if I think it’s more representative of their works at a level, from any kind of responsible position I need to make it absolutely clear that it’s not really reflective of their work, but a reflection of my amateur, shitty thoughts on their concordances.
So, for the curious:
So when putting this list together I accidentally kept mixing which side I wrote whose roots together. E tends to have labiovelars where OS have o, E has long vowels, OS don’t, E has tones, OS don’t, E has the voiced velar fricative I transcribed as ÿ and ŋ, OS have q and q’ vs k’ and k. E has p’, the rest I guess you’ll have to guess.
I also marked a few words with * for what might be imitative or baby speak words. *? like on horn is “I’m on the fence of it being imitative”
Vowels are pretty much ignored, but otherwise definite correlates:
kol-f bark (n) dam blood k'os~k'as bone naf breath ben~bin build di3, da3, du3 call dumn~deman cloud k'at' cut* 2ab father* pir fly*? ba2 go sim hear lib heart k'ar horn*? inkwal~2ankol kidney 2er~2âr know lVk'~lak lick* tir liver sum,sim~süm,sim name wan open bu~baw place dak,duk~dik pound k'u2 rise tuf spin ra3-raa3 sun dab,dib-dub tail les,lis tongue ma2 water
Close matches, differing by not a lot of phonological space, but the correlations seem unsystematic or quasi-systematic (E *k = OS *x? or the other way). A lot of this might be due to obfuscation of the subgroups; it’s known beyond these reconstructions that Semitic b, p, f correspond to Egyptian b, p, f but there doesn’t seem to be a pattern to the correspondences beyond [+labial][-nasal]=[+labial][-nasal]... except some roots where b = m, mostly Egyptian to Semitic (iirc it’s believed that snb = slm).
! maaw~mawut die ! har~heraw day ! t(l)'ok' beat ! bak~bax burn ! k'al~k'ar burn ! (t)san brother ! kor~kw'al angry #related to kidney? ! pak~pax break apart* ! yar~3er burn #n.b. OS *e = E *ya pretty consistently ! ka2(up) cover ! t'ub~duf drip* ! g'arub~ÿar(b) dusk ! 2et~iit eat*? ! gur~guud enclose ! 2ir~2il eye #2il is also given for both by the wiki author ! 2aakw~2ax fire ! ŋiiwr~gir flames ! pur~fir flower 1 k'ur~kâr go around ! ĉa3ar~ła2r hair ! qafV3~gâf hold ! qam~kam hold ! fil~bul hole ! ĉa(2i)d~gwi/ad land ! ne2ul~ñaw moist ! bakr~bar morning ! âf~2ap mouth* ! ĉer~sar,sir root ! cab~sVp sew ! sur~tsur sing ! tsoon~soon smell ! bak'~p'ak' split* ! da2~daw walk
Really kind of stretched correspondences, usually requiring twice the amount of special pleading as above:
!! rip~2erib sew !! dabn~zab hair !! yawr~yabil bull !! büł~fil skin !! 3ir~raw sky
A root that’s probably wrong but I didn’t delete it:
!!! c'eyg~c'a3ek shout
Roots on the wiki article it says are part of “the fragile consensus” but either escaped my standards for good etymologies from E and OS or were lost when I changed E or OS’s proposed definitions to fit the data they presented for etymologization:
>> (2a)bVr bull >> (2a)dVm land >> 2igar~kw'ar enclosure >> 3ayn eye #I think for both this was only found in Sem and Egn, which is proto-Sem-Egn, not PAA >> bar son >> gamm mane, beard >> gVn cheek, chin >> gwar3~(gora3?) throat #These words weren’t in E’s but look like it and I guessed on what the OS reconstruction would look like >> gwina3~(gona3?) hand >> kVn cowife >> kwaly??? kidney #that this isn’t VnkwVl damns something >> k'awal, qwar say, call >> sin tooth >> siwan know >> zwr seed >> łVr root >> šun sleep, dream
These I sort of gathered based on a decent scholarly Egyptologist’s work
** (n)i,ku,nak(u) 1sc ** nVn 1pc ** kumV, kV 2sm ** kimV, ki 2sf ** suwa, sV 3sm ** si(y/t)a, si 3sf **-ú~-aw nom (earlier an ergative) **-á abs **Egyptian had an outright ergative participle so like yeah Some AA assumptions $$ m- participle, possible 3 or 4 denoting instruments, resultatives, passive and active meanings, and more. $$ s- causative (likely su-) $$ -í nisba = adjectivizer $$ -át/-út ending for abstract, mass, diminutive, augmentative, female nouns $$ top two combine frequently $$ maybe k became a masculine? maybe u/w too? $$ perhaps an -n- passive? -t- passive? reciprocal voice? (kick each other) $$ emphatic coronal series $$ prefixing conjugation {2 t t y t n t t y t} on imperfect-type stems $$ core verb stems seem to be perfect vs imperfect $$ a lot of sources report *-r has spreading out semantics at the end of a Semitic verb and I believe it. $$ suffixing possessive pronouns $$ probably all of pAA derives its verb system from those same possessive pronouns suffixed to participles, which probably helped the ergative to nominative alignment change. Again, Egn had an ergative participle at one point. It actually used a slightly different form of the possessed agreement system for that though, maybe reflective of a dead case system. $$ personally I think egn broke off early, sem and amz were geographically between it and ethiopia, the cushitic languages broke early but stayed in contact, chadic is cladistically cushitic that broke off in the middle of the ethiopianization of cushitic in the post-islamic era, since it seems to be in cultural memory. beja wasn’t as ethiopianized and is slightly closer to semitic, amz, and in many ways egn surprisingly, omotic was probably adopted into the family, ongota is too creolized to know anything, tones, vowel rebalancing, probably influences of Central/Eastern Sudanic. I have no idea why languages with ATR (i.e. pharyngealization) distinctions would make pharyngealized languages switch to ejectives, so if sem-amz is a thing you just have to postulate why they switched, since egyptian is no help. for all i know egyptian always had an aspiration distinction (which would explain some insane correlations) and then they fell together and split again for coptic.  Don’t think this can be projected to the proto-lang: $$ ablauting everywhere, in nouns and verbs. masdars and singular nouns probably reflect original vowel patterns. !! E and OS reconstruct consonant systems similar to PS and idk about that. Both give 5 vowel core systems but for different reasons and different results. E has length and the central short vowels fall together in all but Omo. Some shenanigans happen to get Cu uu, ii, aa, ə, and ä. Ch ends up with a i u ə, and the other three a i u. OS has e yield ya and o yield wa, ü for u~i results, and does overall less movement.
These are numbers from my number project:
## tsin~tsar two ## kwrad three ## fVd'w four ## magw ten
It’s interesting that many of these shared roots are in fact Swadesh roots and that that mostly happened on accident. E reconsructed 1000 roots, OS 2600, and just using judgements like “a root needs to mean the same thing in two (standard I held E to) or three (standard I used for OS) subbranches” to sift through them brought me down to these. But like most of these roots are fundamentally two segments long. There were even ~false matches in some of them with the phonaesthetic shape of their English glosses - horn would go back to something like *karn in PIE, which looks like the root here. Maybe horns make a kar sound, but with 2iit~2et, idk, I don’t think of eating as making an “eat-eat” sound; I actually threw away a number of roots that had a “kwa-l-kwa-l” (whence Ar. 2akulu) sound which at least kind of sounds like swallowing.
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Magnus Chase and the Obligatory Hogwarts Au Ch22
Hello, folks! I have an important announcement to make! My sister (remember her?) read this story because she was bored and liked it so she wanted to make some fanart! She has only finished one of the pieces as of now, but once she finishes all of them I'll post them on my tumblr. Tbh, I'm announcing this now so she won't lazy out on me ;) Anyway, enjoy some angst and fluff!
“And the Second Task is over, ladies and gentlemen! Magnus Chase is the victor of this task, with Raphael Beaumont in second place and Helga Leifsson in third!”
The Hall of the Slain was filled with clapping and cheering. Magnus had only stopped kissing Alex when Thor had made a comment about “young love” but he was still hugging her. He helped her get off the table despite her protests – he was afraid that she would feel dizzy or unsteady on her feet because of the poison and he didn’t want her to fall down and get hurt. She wasn’t happy about being treated so softly – “I’m not made from glass, Magnus, I can stand up without help” – but Magnus was prepared to put up with her complaining if it meant she would be ok. She swayed a bit when she stood up and she would have stumbled and fallen down if it wasn’t for Magnus’s arm under her armpit and around her back. He raised an eyebrow at her, smile tugging at his lips and she elbowed him in the ribs. He laughed and pecked her on the cheek.
Louis had woken up by now and he was sitting up on his table, Raphael next to him. The Beauxbatons Champion was hugging him close and Magnus saw his lips moving as he whispered things to him in French. Louis was hugging him back with a content smile on his lips, whispering back to his boyfriend and running his fingers through his curls to soothe him. When Raphael finally pulled himself away from Louis it was to pepper kisses all over the blonde’s face. There were tears in his eyes and it was clear to anyone watching that he was beyond happy that Louis was alright.
Agatha was awake too. She was the last to be given the antidote, just bare minutes before the time limit, but she was awake and well. The moment she woke up and sat up on the table, looking like nothing had happened and she had never been poisoned, Helga had collapsed in her arms and started sobbing. The blonde girl had been surprised, of course, but she quickly hugged her best friend back and started tracing circles on her back to cal her down. It only seemed to make her cry harder.
As the three Champions were reuniting with their loved ones, the audience was let out of the stands. Most didn’t bother going near the Champions to congratulate them; it was clear they had eyes for no one else but their ‘treasure’ right now. The ones who did were each Champion’s closest friends.
The whole group – Sam, Amir, T.J, Mallory and Halfborn – went straight to Magnus and Alex. The smiles on their faces were wide and the enveloped Magnus and Alex in a hug the moment they were close to them. Sam, like the mum friend she was, hugged them like they had just come back from saving the world. T.J, Mallory and Amir were hugging them as well and they were all held inside Halfborn’s big arms. All in all, Magnus and Alex felt like they were being killed by hugs.
“You did it!” Mallory said, maybe a bit too loudly in his ears. There were congratulations coming from every side and he wasn’t able to figure out who said what, but he didn’t care. After everything he went through in the Second Task, especially the boggart, he really needed the hugs.
When they finally let go – and it took a few good minutes for that – Magnus could see in the worry in their eyes and he realized it must be because of what they saw happen in the Divination classroom. Still, they didn’t bring it up and Magnus was glad about that.
Before he was able to say anything, Professor Blitzen came up from behind him and hugged him along with Professor Hearthstone. It took Magnus by surprise and his hand slipped from inside Alex’s. He was frozen inside his guardians’ embrace, rendered speechless by the sheer parental love that seemed to be oozing from them. Their hug was steady, strong, as if it was telling him “We’re here.”
When they finally pulled away they smiled at him. “We’re proud of you, buddy,” Blitzen said and Hearthstone nodded next to him.
If you ever need to talk about anything, Hearth signed, come to us. You know we love you.
“I will. Thank you,” Magnus replied, signing the words as he spoke.
Blitzen and Hearthstone smiled again at him before walking away to Professor Sif, who was calling them. Magnus was holding Alex’s hand again and he was about to say they should go see how Raphael and Louis are doing when a loud yell made everybody in the hall freeze.
“No!” A girl’s voice yelled, deafening and furious. Magnus glanced at Alex for a moment before he run through the crowd that let him pass easily.
Helga was standing there, in the middle of the ring the students had formed, her parents opposite her. There was fear but also a strange confidence in Helga’s gaze and the way she held her hand up made Magnus think that she had just yanked it away from them. She stood in front of Agatha protectively, like she wanted to shield the shorter girl from her parents’ gaze. “I’m not coming with you!”
Her parents obviously weren’t happy with that little show of defiance. Both their faces were red, shock and anger twisting their features. It probably wouldn’t take long for smoke to start coming out of Helga’s father’s ears and make his bad wig fly off his head.
“Nu, lystna härtill unga dam-” Helga’s father was saying something in Swedish and while Magnus didn’t have a clue what he was saying, it didn’t sound too good. He found himself feeling bad for Helga – it was clear from what he had heard between her and her family when he was hiding behind the tapestry that their relationship was bad at best.
“No!” Helga interrupted her father again. The sound of English coming out of her mouth seemed to make him angrier. He said something again in Swedish, probably to stop talking in English, but Helga was having none of it. “No, if you have something to say, then say it in English! A Leifsson doesn’t have something to hide, right?” Magnus would have to be stupid not to catch the bitter sarcasm in her voice at the end.
“Fine, if that’s how you want to do it,” Her father scoffed, his voice sharp and cold, his eyes even colder. Magnus couldn’t understand how he could glare at his own daughter like that, with such anger and disappointment. “I wanted to spare you the humiliation of having this talk in public, but it seems like you don’t care if your reputation suffers because of this. But then again,” he laughed, and Magnus hated the sound of it – bitter and harsh, as if he was laughing at someone so much below him, “you and your brother have already marred the Leifsson name, so what was I expecting?”
Helga’s eyes narrowed even further and her fists clenched at her sides. Her face was red with fury.  “Don’t you dare talk about Ron like that!” she growled at her father, taking a step forward. She was glaring at them with such intensity it was a wonder they hadn’t dropped dead already. Helga’s mother took a step back and her father, despite trying to hide it, was obviously shaken by her words. Magnus’s couldn’t blame them – right now, Helga was terrifying.
“Oh, please, that boy was trouble from the very begging!” Her father yelled back. Shaken or not, it seemed like he wasn’t going to let his daughter get the best of him. “No wonder he turned out the way he did!”
“Turned out what way?” Helga demanded, taking one more step forward threatenigly. Her chest was heaving and her voice deafeningly loud. She was finally letting out everything she’d bottled up and she couldn’t hold it back any longer. “Happy? Brave enough to be who he wanted despite the bullshit way you raised both of us?”
Helga’s mother gasped. “Language, young lady!”
“Oh, please,” Helga said as she rolled her eyes. The rage in her voice, in her eyes, in her whole body had made everyone in the room freeze. Agatha was still standing behind her, concern clear in her eyes, but also something else – a knowledge this had to happen. “What, are you afraid that your perfect little girl cursing will get you a bad reputation? That those stupid ‘friends’ of yours will talk about you behind your back? Newsflash, they already do!”
“We’re your parents!” her mother shot back pathetically, her voice too high-pitched. “You can’t talk about us like that!”
Helga froze for a second, mouth slightly ajar, like she couldn’t believe her mother had actually used that card. Everything was still for a single moment and then Helga erupted. “I can when you always treated Ron and me as little more than robots!” she bellowed, stepping even closer to her parents, who were looking at their daughter speechless. “We were never your children, we were just the heirs to your stupid fortune! Just another object to prove to the world and your judgmental rich friends that you had a successful life!”
There were tears running down her face now but they didn’t stop her from saying everything she’s waited so long to say. “Did you ever even care about us?” She stepped forward again. “Did you care that Ron had panic attacks because of how much you pressured him to have good grades? That he had to calm me down after I started crying every time you yelled at me for not being the perfect little princess you wanted me to be?” Her voice hitched at the end as she sobbed and she took another step. “That I had to force him to sleep or eat when he was studying because he would rather starve than face your wrath for disappointing you? That I was always ‘the Leifsson girl’ to everyone and not just myself?” Another step. “That the only reason why I managed to deal living with you after you made him leave was because Agatha and her family was there to do what you never did? That Ron was too paranoid to hold Henry’s hand because he was afraid you would somehow find out and kick him out and then I’d have to deal with you alone?”
Helga was crying hard now and her hand was buried into her hair, pulling at the strands as she laughed brokenly. “And- and that when you finally found out he was gay and you threw him out, he was happier away from you?” She pointed an accusatory finger and her parents and moved even closer to them. They didn’t move. “That he has a great career and a boyfriend that loves him that he wants to propose to even though you told him he would never amount to anything when you kicked him out? Did you care? No you didn’t, you fucking didn’t!” Her voice rose at the end and Magnus saw that her parents flinched away.
“So I don’t know why I cared!” She kept yelling, somehow getting the words out despite all her tears. “I don’t know why I cared so much about your opinion!” Another step. “Do you know how many things I did just so you would be proud of me? But did you ever say ‘good job’?” One more step. “Did you ever just pat me on the back for trying? With you it was always awards and being the best! In school,” step, “in sports,” step, “in looks,” step, “in behavior,” step, “always the best according to what you thought of as best, even if your best meant I couldn’t be who I wanted to do what I wanted.”
“Helga…” It wasn’t her father who spoke, or her mother. They weren’t apologizing for all the accusations Helga was hurling at them. No, the one who spoke was Agatha, a tentative hand on Helga’s shoulder. It seemed to calm her down because she wasn’t crying anymore and when she spoke her voice was even.
“You saw what happened with the boggart.” She spoke calmly, no longer screaming, but there was a passion in her voice. She was standing a step away from her parents, her back held straight and her eyes blazing with the bravery she needed to be facing two
The screens up on the walls were showing what had happened when Helga was facing the third guardian – she was trembling on her knees in front of an older version of herself that looked and acted just like her parents. On-screen Helga was watched in horror as her older self talked horribly to Agatha and made her cry. “I won’t be like that. I won’t be like you.”
“Fine,” her father said, his voice steely cold. “You won’t be like us then. You won’t have our name either, not unless you apologize for how you just spoke to your parents. I’m giving you one last chance, young lady”
A loud collective gasp went through the crowd of students, but Helga didn’t seem surprised. She just looked at her parents with an icy confidence. “I know I have to apologize to people. You’re not part of them.”
“Very well.” Her parents said nothing else. They turned around and left the Hall of the Slain without spare a single look for their daughter. Helga watched them go until the door slammed shut behind them.
The murmuring in the crowd got even louder when Helga’s parents left. Magnus felt awkward, like he wanted to do something but didn’t know what or how. A glance at Alex told him she felt the same way.
Helga and Agatha still stood in the middle of the circle of students that were slowly dispersing. Agatha’s face was the dictionary definition of worry but her movements when she took Helga’s hand weren’t slow or hesitant but sure. I’m here, she seemed to say. She knew Helga needed this and didn’t give her actions a second though.
Helga didn’t hesitate either; she wrapped her arms around Agatha’s back and hid her face in the crook of her neck. She started trembling as Agatha petted her hair and muffled crying laughter came out of her lips.
“Are you alright?” she asked in Swedish and while Magnus couldn’t understand the words he could understand the affection in her voice.
“I’m not,” Helga replied. “But I will be. I had to do that.”
“I know,” Agatha said back softly. She tucked a strand of Helga’s hair behind her ear and kissed her forehead. “I’m proud of you.”
A few seconds passed as they stood there. The moment felt awfully intimate and Magnus had to look away.
“There’s something else I have to do,” Helga said quietly before pulling herself out of Agatha’s arms. Much to Magnus’s surprise, she turned to them and started walking towards them. Her eyes might have still been red from tears but she had back the same confidence as always. This was the first time Magnus noticed how frail that confidence was.
Helga finally stood a few steps from Alex, looking her straight in the eye. Magnus’s friends and Agatha all looked at the two girls with curiosity, but Agatha seemed to realize what was happening because she smiled approvingly.
Despite everything that had just happened there was still hostility in Alex’s eyes; just because she could relate with Helga for shit parents didn’t mean she would forget what she did or forgive her for it so easily.
“I’m sorry,” Helga said simply. Alex just looked at her; that wasn’t enough. Helga took a deep breath and kept going. “I’m sorry,” she said again. “I know that’s not enough and I don’t expect it to be enough. I was a bitch.” The corners of Alex’s lips lifted up in the barest smiled and she nodded. “I was too much of a coward to act different than my parents. I don’t expect you to forgive me; to be honest, I wouldn’t forgive me if I were in your place. But I needed to say this.”
There was silence for a moment as Alex and Helga simply looked at each other. Magnus had to admit he admired Helga a bit for facing her fuck-ups head on like this, but he wasn’t sure he had forgiven her completely just yet.
“I won’t forgive you,” Alex finally said. “Not yet. Maybe someday, but not now. Maggie would probably forgive you more quickly but I’m not that good a person.”
Magnus let out a sound of protest at the nickname but Helga smiled. She had been expecting that. “Then I guess I should become a person worth forgiving by then, huh?”
Alex nodded. “Yep. Good luck.”
“Sooo,” Agatha said in a sing-song tone to cheer up Helga and break the tension in the air. “Since your parents aren’t in the picture anymore, does that mean I can hold your hand now?”
Helga chuckled a bit, tension successfully broken, and took Agatha’s hand. “Yeah, I guess.” She smiled at the other girl and Agatha smiled back.
“Excuse moi,” Raphael said suddenly. He was standing amongst Magnus’s friends, his left hand clasping Louis’s right tightly. “I’m sorry if I’m wrong, but are you two together?”
Helga and Agatha immediately flushed red.
“Yes?” Agatha asked with a smile, squeezing Helga’s hand a bit.
Helga smiled back and nodded. “Yes.” She liked the word on her tongue. She hadn’t thought she’d ever be able to call Agatha her girlfriend without feeling scared.
Magnus could help smiling a bit at the cute scene in front of him before he realized something. “Okay, wait, so if you’re gay,” he pointed at Raphael, “and you’re…” he trailed off, pointing at Helga.
“Lesbian,” she said smiling. Saying it loudly felt nice.
Magnus nodded. “Okay, so if Raphael is gay and you’re gay and I’m pan that means that none of this year’s Champions are straight.”
“Huh, you’re right. I hadn’t thought of that,” Raphael said with a chuckle. “Anyway, Louis and I should be going. After that whole thing I desperately need a nap.” Raphael and Louis left the Hall of the Slain together, hands intertwined between them. They probably wouldn’t let go of each other for quite some time.
“We should go to the infirmary to get your arm checked,” Agatha said to Helga, eyeing her arm with worry. Whatever spell Helga cast on her arm might have stopped the bleeding but a hippogriff’s talons left deep wounds and it was bad enough it was left like that for that long.
Helga agreed with her new girlfriend and the two of them had started to leave when Helga turned around. “Goodbye,” she told Alex. Her whole posture seemed awkward but her voice was polite. A week ago she wouldn’t have even bothered to say the word to Alex, let alone be polite about it. It was a clumsy attempt, but it was a start for change. As the two girls left the dining hall, Magnus saw Agatha smiling and Helga.
“Should we be going too?” Alex asked, tugging at his hand a bit. “I want to hear what happened in the second task. I can’t believe I was asleep during the whole thing. I wanted to see you kick ass.”
Magnus chuckled at the pout on his girlfriend’s face and felt so grateful she was here next to him and no longer on the cold table. “Alright. It’s not an epic story though.”
“Nah, I’m sure it’s epic,” Alex said. “At the very least you got your ass epically handed to you, right?”
“Ha ha. Very funny.” Magnus tried to frown as he talked but the effect was ruined by how happy he was that Alex was well enough to be teasing him like always. Alex chuckled at him and kissed him on the cheek. Magnus may have been smiling like an idiot.
“Ugh, Mallory, they’re being lovey-dovey again,” Halfborn groaned in protest, making the others snort at him.
“Oh, shut up. You wanted them to get together just as much as the rest of us,” Mallory said.
“Yeah, but I didn’t know they’d be this grossly in love!”
“Oh, that’s nothing,” Alex cut in before Mallory had the chance to say something to her boyfriend. “This is grossly in love.”
Much to Halfborn’s disdain, Alex leaned in and covered Magnus’s lips with her own, a smirk on her lips. The kiss in itself was sweet and simple and Magnus loved it. They moved their lips together for a bit, their movements perfectly synchronized from so much practice. Alex’s palms were cupping his cheeks, her thumbs running circles on his cheekbones, and Magnus’s hands rested just above her hips. Magnus smiled against her lips and kissed her more.
When they pulled away for air Magnus heard Halfborn sigh relieved. “Oh, thank Merlin, they stopped.” But they had only stopped for a second before their lips were joined again. “Oh, come on!”
Magnus didn’t care for Halfborn’s protests, not when Alex was kissing him like this, her lips so soft and warm. He trailed his arms up her sides until they were wrapped around her neck and he pulled her closer. He leaned his head to deepen the kiss and Alex reacted enthusiastically, pressing her lips against his harder. She ran her tongue against his lower lip and he opened his mouth happily. His whole body felt as hot as a light bulb and he would be surprised if his whole body was glowing.
They pulled apart with a content sigh leaving Magnus’s lips. Were they to look at anything else but each other they would have seen that Sam and Amir were looking the other way to give them privacy, T.J was filming the whole thing so he could play it at their wedding and Mallory was laughing at the suffering on Halfborn’s face. As it were, they were about to lean in to kiss again when Halfborn interrupted them with a loud, “Get a room, goddamn it!”
“Fine!” Alex said back just as loud. “We will!” She took Magnus’s hand again and they left the Hall of the Slain together.
“Two galleons Magnus will be limping tomorrow!” Magnus heard T.J say as they left the room. His face flushed at the implication. Damn teenage hormones.
“You know they’ll be teasing us for this for the next week at the least, right?” he asked Alex as they walked down the halls.
“Yeah, but you have to admit that was a great exit.”
Magnus snorted. “True. So, what do you want to do now?”
“Mm… How about you go get us some food from the kitchens and we go hang out at the Room of Requirement while you tell me what happened in the second task?”
“Will there be kissing?” Magnus asked with a grin. After everything that happened today he wanted to lie down and kiss Alex until dinner.
“Hmm…” Alex tapped her chin with her free hand as she made a show of thinking over his offer, even though they both knew she liked kissing just as much as he did. “Alright,” she said finally. “But I want one of those pink and green cupcakes.”
Magnus kissed her cheek before letting go of her hand and doing a deep, exaggerated bow. “Your wish is my command, milady.”
Alex giggled at him and Magnus though that his smile was wide enough to split his face in two. “Did you just call me ‘milady’?”
“And what if I did?”
Alex laughed at the mischievous twinkle in Magnus’s eyes and Magnus felt his heart flutter at the sound of her laughter like every time. “You’re a dork.”
“Ah,” he said with a cheeky smile, wiggling a finger in her face, “but I’m a dork that’s getting a cupcake and cookies.”
Alex kissed him in the cheek with a snort. “Yeah, that’s the only reason I’m keeping you around.”
Magnus feigned a surprised gasp. “I knew you were only using me!”
“That’s right,” Alex said with her best cartoon villain imitation, hands held out at either side of her like she was holding two very large oranges. “I was only using you for your sweets and your body!”
Magnus’s laughed at Alex’s antics, feeling the warm feeling of happiness spread through his entire body. He leaned in and kissed Alex on the lips, trying to make her understand all the joy he felt at having her by his side safe and sound through a single kiss. He wasn’t sure if she understood, maybe she did, but if she didn’t then he’d just have to kiss her until she did
“I love you,” he said when he pulled away. It took a few moments before his stupidly in love brain realized what he had just said and his face went red. Alex was looking at him with dish-wide eyes and an open mouth, surprise evident on her face. Magnus was about to open his mouth to apologize for springing that on her but he didn’t get the chance. Alex practically pounced on him and kissed him with everything she had. Magnus was so surprised that he stumbled backwards and he would have fallen down if it wasn’t for the wall behind him. As it was, Alex had him pined to the wall, her hands holding his face as she kissed him hard enough to forget his own name.
When she pulled apart her face was beautifully flushed, a bright smile on her lips and her two-colored eyes shining. Magnus was panting and his intelligent respond was a breathless, “Woah.”
Alex laughed, the sound music to Magnus’s ears, and she leaned in to kiss him again, this time gentler, softer. Magnus closed his eyes and got lost in the kiss, burying his finger in her soft hair.
When Alex pulled away she beamed at him like she was living a dream she never thought would come true. “I love you too, Maggie.”
“You had to ruin the moment, didn’t you?” Magnus frowned at her but not all the frowns in the word could hide how happy he felt right now.
“Aw, come on, don’t be like that,” Alex said as she nuzzled her nose against Magnus’s. “You wuv me.”
Magnus leaned in to press his lips to Alex’s. “That I do. Can’t understand why, though.”
Alex laughed again and Magnus laughed with her. There, against a Hogwarts wall, his forehead pressed against Alex’s, simply breathing in each other’s sent, Magnus felt happy.
I honestly think my blood sugar rose just by writing that last bit.
My sister wants me to kill Helga's parents, btw. Tell me if you agree.
Nu, lystna härtill unga dam – Now, listen here young lady
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panterashadow · 5 years
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LÏM£LÏGHT 1981
MÖVÏNG PÏCTÜR£S (Ä)
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https://youtu.be/UuEr6fheqDI
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Limelight
Living on a lighted stage
Approaches the unreal
For those who think and feel
In touch with some reality
Beyond the gilded cage
Cast in this unlikely role
Ill-equipped to act
With insufficient tact
One must put up barriers
To keep oneself intact
Living in the limelight
The universal dream
For those who wish to seem
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme
Living in a fish eye lens
Caught in the camera eye
I have no heart to lie
I can't pretend a stranger
Is a long-awaited friend
All the world's indeed a stage
And we are merely players
Performers and portrayers
Each another's audience
Outside the gilded cage
Living in the limelight
The universal dream
For those who wish to seem
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme
Living in the limelight
The universal dream
For those who wish to seem
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme
The real relation
The underlying theme
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comeonthinkers · 5 years
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My Trip to Disneyland
Recently I took a trip to California for Grad School. I was asked to write a reflection on how storytelling is realized in the Disney Parks, and I ended up just critiquing the parks a whole bunch. But I’m really proud of my paper, so I thought I’d post it here!
So here goes:
When analyzing how theme parks craft a story, it is essential that one begin with The Walt Disney Company and its properties. Disney very much created the idea of a truly “themed” park: one in which every element is designed to create a world unto itself, and to allow its patrons to forget the world outside the park gates. However, Walt Disney never would have been able to create such a place if he hadn’t first animated stories that became ingrained in the childhood memories of the majority of Americans. Walt Disney Studios gave fairy tales new life by fleshing out their characters and plots for the silver screen- and audiences craved the opportunity to step inside those fairytale worlds for themselves. John Gardner wrote that plot “transforms [a character] from a static construct to a lifelike human being,” and in many ways this is precisely what Walt Disney Studios did with the mostly flat morality tales of the Brothers Grimm in the early days of animation. It’s a shame, however, that the Walt Disney Company’s ability to flesh out character and plot hasn’t truly materialized in its parks.
There is no main character, and thus, no main plot, in the world of Disneyland. I believe the biggest risk that Disneyland takes in its theme park storytelling is combining all of their intellectual properties into one park. While one could argue it may be the most economical and profit-yielding way to do it, I found during my walk-throughs of the parks that it becomes impossible to be engrossed in a story when there are too many stories happening at once.
The greatest mythos that Disney created in Disneyland was Mainstreet USA. In many ways, the true attraction of Disneyland is the land itself: the environment in which all the attractions reside. The reason why Mainstreet USA is so successful in its world creation is because it creates the setting in which you- the audience- are also the main character. This land is your chance to explore, and create a story for yourself: your day at Disneyland with your family. It is the entrance of the park: and it immediately integrates the parkgoers into a fantasy: what it’s like to be the American Dream-er ä living the American Dream ä, which becomes essential in crafting one’s enjoyment of the park. A true American is a consumer, a dreamer, and doesn’t think about the day-to-day struggles of the world beyond. Mainstreet USA gives you permission to inhabit “the very life of fiction” as Gardner puts it, and Disneyland is your setting, and your plot is what you choose to make it as you wander through the park.
But once you leave the beautiful and uniformed simplicity of idealized Americana, your position as the lead character in your own story begins to disintegrate. Perhaps this is influenced by my own experience with the parks, attending only as an adult and never as a child, but as the worlds focus more and more on the intellectual properties of The Walt Disney Company, the less I, as an attendee, am able to see where exactly I fit into the story. I find myself asking, who lives here? Who is the main character of this world? I lose the story when I lose my place within it: I found myself most enjoying the areas of the park without rides or attractions or stores: the transitional walkways. They were the places in which I was able to return to the lead character in my own Disney movie, instead of a bystander in someone else’s. Which begs the question: am I doing it wrong? In which story am I supposed to be participating when at Disneyland?
One of the factors contributing to this identity crisis is the distinct design difference between the original areas of Disneyland and the newer renovated lands of the park. Although themed differently, the four original lands of the park excel in their ability to present a “main street” of their own: a familiar orienting point of reference from which attendees can appreciate the differences between each land. We recognize the paved or cobbled walkway, the stores and buildings to either side, the bridges crossing the stream. We can observe and imagine from the safety of the path before embarking on the next “adventure,” when we transport ourselves into a ride or a store. And even then: the rides and stores are integrated into the main path. Each patron in line can see the Pirates of the Caribbean boats curve their way through New Orleans, The Mark Twain steamboat and the Jolly Roger sail by Frontierland, allowing the guests to observe one another. The best way in which Disneyland expands the worlds of its characters and properties is in setting creation: once you cross any threshold in Disneyland, you are truly transported to a new chapter of your story. However, it can be almost disorienting to find yourself in a new place each time you cross under an archway- which can also dull the “vivid and continuous” dream Disney has created. Where am I now? Am I lost? How do I get back?
What I appreciate about the older areas of the park is their size: the smaller stores and walkways allow us to keep tabs on where we are in relation to the street, and our group, and the other guests: as the lands expanded into the newer areas of the park it became harder to keep track of where exactly I was. It became easier and easier to get lost in the stores- as they continued to grow and fill with increasingly repetitious merchandise. All of which was centered around equally repetitious intellectual properties. The most clear indication of the story I was entering was whichever story’s merchandise was lining the shelves around me.
This brings me to the newest land attraction to Disneyland: Galaxy’s Edge. Dwarfing the scope of every other land in the park by about 50%, the environmental design is remarkable. Like the other lands, it too has its “main street”, shrouded from the California sunlight by other-worldly faux rock structures, making one truly feel like they are on another planet. It was easy to see why Star Wars fans were smitten with the very streets in which they stood: at last, there was a setting in which they could safely explore the terrors of their favorite fantasy world. I’d argue its easier for an adult to pretend to be Luke Skywalker, beginning his journey as a virtual nobody in a harsh world, than say… Peter Pan or Cinderella, if given the appropriate setting. And I feel Disney has taken a huge leap in creating a world that can “enable our ‘vivid and continuous dream’” and “satisfy the transmedia appetite” of adult consumers- and not just children. The scale of Galaxy’s Edge indeed gives away its core audience: while Sleeping Beauty’s castle or the forced perspective of Main Street USA may be imposing and grand to a 5-year-old, it’s merely cute to someone who has grown past four feet tall. There is nothing “cute” about the imposing red cliffs of Galaxy’s Edge.
But here is where, analyzing the worldbuilding and storytelling of Disneyland, I’m torn. Whereas the world design of Galaxy’s Edge was some of the best in the park (even the bathrooms— I excitedly exclaimed to the cohort upon exit— fit the theme of the park!), the storytelling was some of the weakest. Our entire group was disappointed in the main ride of the challenge (based on piloting the Millennium Falcon). While cool in concept, assigning tasks to the riders served better to take us out of the world than to welcome us into it. We were distracted from the story of the ride and faced with our own inadequacies as players of the ride, which began to gnaw at the suspension of my disbelief. I would have been happier to merely explore the Millennium Falcon as a world in itself, much like a museum attraction, rather than slap some light-up buttons on a pastiche with a CGI movie of knock-off characters playing in the background. Again, I was no longer the main character of my own Star Wars-themed story: I was an afterthought in Han Solo’s. While Disneyland excels in its worldbuilding, it fails spectacularly in its expansion of its properties through story rides. Half of Tomorrowland is home to giant, vacant buildings that once held rides that are too expensive to reimagine. Disney’s most famous thrill ride (Space Mountain) takes place in a black hole— literally just darkness and fairy lights, unrelated to any of Disney’s actual IP’s. Which perhaps might be why some of its most-loved attractions serve to chauffeur you through its worlds (Pirates of the Caribbean, Mr. Toad’s Wild Ride, It’s a Small World, etc.) rather than create a narrative in which you can take part. These rides, in which you can point and laugh, absorb and share with family and friends: these fit into the narrative you created for yourself in Main Street USA. Being ushered through a Guitar Hero-esque series of button prompts in a facsimile of the Millennium Falcon… just doesn’t.
The designers of Disneyland may be brainstorming how to fix these bugs in California Adventure. My favorite rides of the day: Guardians of the Galaxy, Cars, and the Incredicoaster, all did a great job of telling a story within a ride, and using the ride itself to tell the story. In the Cars ride, you find yourself speeding through Lightning McQueen’s story, while getting to appreciate the beauty of Radiator Springs and the thrill of the race: the ride uses the fact that it is a ride to better illustrate the plot of the story, even ending with a photo finish and Lightning McQueen saying that he’ll always have a soft spot in his heart for Radiator Springs. Like Mainstreet USA, the Cars “land,” while a cut-and-paste recreation of the town from the movie, nods its head once more to an idealized American town (albeit from a very particular part of America’s history and culture). You can tell it was designed by the same team that forged the cliffs of Galaxy’s Edge, but you’re also given glimpses of main characters’ perspectives and engrossed in their livelihoods throughout the park AND the ride— something Galaxy’s Edge never quite nailed.
Likewise, the Guardians of the Galaxy skin imposed onto the former Tower of Terror perfectly incorporates the physics of a drop ride into an escape narrative. As a rider, you become privy to an escape heist in the elevator shaft of the villain’s secret lab/factory/lair. The ride puts you inside the story of the characters you already love; and digs a little deeper into the greater world of the story’s villain, which is something audiences are always hungry for. And, because it’s Guardians of the Galaxy, which in itself centers around a pretty rag-tag bunch of heroes, the slap-dash escape with a few “bumps” along the way makes sense from a story perspective. At no point did the story distract me from the ride, or the ride distract me from the story— the story enhanced the thrill of the ride.
And the Incredicoaster is one of the few rides that truly gives us “something new:” an adventure with Jack-Jack as the family attempts to rescue him from himself. The coaster designs its “dark ride” elements to incorporate characters from the franchise, while you twist and turn your way through being tossed between Mr. and Mrs. Incredible and the kids. It’s a light touch of storytelling, but endearing to fans and perfectly fitted to an enjoyable thrill ride. It gave me a perspective I didn’t have upon entry: turning riding a roller coaster into experiencing the fast-cuts and high-speeds of an action superhero movie from the super’s perspective. If that isn’t an example of filling my transmedia appetite, I don’t know what is: feeling what it’s like to be part of a SuperFamily.
These are all examples of how a ride can properly drop you into a pre-existing narrative, while surviving within your own personal narrative of your trip to Disney. However, Cliff’s criticisms of California Adventure ring true: the rest of the setting of the park feels cheap, hollow, compared to the complete immersion of Disneyland. You can see every land from everywhere: you’re never truly “immersed” into any one place. The world-building was also half-hearted and lazy: the homages to the California state parks and Hollywood, plastic and two-dimensional, just made me wish I was in a real state park, or Hollywood. And as we wandered through the long stretches of Californian pastiche, I felt an echo of nostalgia… overshadowed by the suspicion that my nostalgia was being milked for profit. A sentiment that became all too familiar walking through every post-attraction gift shop— in both parks. Despite these obvious flaws, I believe that the makings of a perfectly immersive and engaging park are there in Anaheim: but one needs to dig into what makes each element of the parks great to get there.
My final reflection on the storytelling of Disneyland brings me back to my very first point of the paper: which story is Disneyland the park trying to tell? Are we the main character of our trip to Disneyland? Or are we a fly on the wall of our favorite fairytales? In the creation and expansion of this park, I’m not sure even the Walt Disney Company is quite sure anymore what the Disneyland experience is supposed to be. If the progression of Galaxy’s Edge, Tomorrowland, and California Adventure of having more gift shops than attractions is indicative of future additions to the Disney Parks, I fear the most pervasive story they’ll be telling is that of their own greed and self-importance. Instead of me being the main character of my trip to Disneyland, I fear I was merely one of many extras in the story of The Walt Disney Company and its rise to world domination through the sale of plastic lightsabers and nylon ears.
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homedevises · 6 years
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The Reason Why Everyone Love The Garden Of Eden History | the garden of eden history
Once aloft a time, a man was abnormality in the arid back he came aloft a gargantuan tree. At the bottom of the timberline he begin a cave.
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Venturing into the cave, he begin a alleyway that led down. He artificial advanced and went lower, until he accustomed at a doorway. There he begin a abstruse drifter captivation a staff.
“On this path, the alcohol of the angelic biking on their way to access the Garden of Eden,” the drifter told the man.
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The man was Rabbi Yossi. The drifter is larboard bearding and unknowable. The adventure is told in the Zohar — the “Book of Splendor” about declared as the axial book of the Kabbalah and Jewish mysticism but about larboard unread.
What is this account accomplishing in a book that about presents itself as a close annotation on the Torah? And what is the acceptation of the account for the Zohar’s author? Or authors?
These are amid the questions Dr. Eitan Fishbane of Teaneck sets out to acknowledgment in his new book, “The Art of Mystical Narrative: A Poetics of the Zohar,” which has aloof been arise by the University of Oxford Press and will barrage at the Jewish Apostolic Seminary of America in Manhattan on November 27. (See box.)
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Dr. Fishbane traces the roots of his book to his apprentice year at Brandeis. In one determinative course, he advised above American poets, including Ralph Waldo Emerson and Walt Whitman. In another, he advised works of Jewish mysticism with Arthur Green. Together, these two anecdotic encounters with abstract “grew into an absorption and allure in the abysmal similarities amid mystical and anapestic creativity,” he said.
He begin in both the poets and the mystics “a drive to abduction the mysterious, about ineffable ambit of actuality and feeling, the faculty that this apple and all of life, all of existence, is animate with pulsating mystery, an announcement of the Divine arise in this world,” he said.
For best American Jews, the Zohar is far below accustomed than 19th aeon American poetry. Dr. Fishbane explains that “it seeks to bare the airy base of Divine ablaze that the mystics accept hovers below the apparent of acumen in our apple and in Torah. The mystics of the Zohar consistently allege of absolution the ablaze of the mysteries of the secrets of the Torah that are annihilation below than the close gates of Divine reality.”
Some of that happens in the address of archetypal Torah interpretation. “Huge amounts of the argument are in the anatomy of a affectionate of midrash,” Dr. Fishbane said. “It’s modeled on age-old midrashic forms, speaking about the mystical secrets of the cosmos and of God as the kabbalists accepted them.”
But that is interspersed “with what some accept alleged the abundant ballsy tale, or at atomic the anecdotal tale, of Rabbi Shimon Bar Yochai and his aggregation abnormality about the age-old Galilee in adventure of mystical wisdom.” The Zohar represents itself as the adventure of Rabbi Bar Yochai, who lived in the additional century, “but avant-garde scholarship has apparent that the Zohar was actually accounting by backward 13th and aboriginal 14th aeon Castilian Jewish mystics and kabbalists who about invented and reimagined the amount of Rabbi Shimon Bar Yochai to become this adept kabalistic sage.”
The result, Dr. Fishbane says, is “one of the greatest works of Jewish fiction to anytime emerge.”
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As fiction goes, the adventure of Rabbi Shimon Bar Yochai gets aerial marks for creativity, but avalanche a bit abbreviate back it comes to plotting.
“You accept this almost anecdotal and bitty adventure of the abundant academician and his aggregation abnormality about the age-old Galilee, and afresh they’ll abeyance to accord a mystical midrashic discourse,” he said. “Or they’ll appointment a drifter forth the way who will about arise to be a blockhead of some array or other, such as a abnormality donkey driver, who they’ll at aboriginal accept is not necessarily account their time, but afresh they’ll ascertain this appearing blockhead is actually one of the greatest mystical sages. Afresh that appearance will go on to bear a mystical midrashic discourse.”
Earlier scholarship on the Zohar has focused on allegory its doctrines and the history of its composition. Dr. Fishbane’s assignment is groundbreaking because it looks instead at questions of storytelling and narrative.
He contextualizes the storytelling in the Zohar and in the beyond brand of Jewish abstract of its time. Framing narratives of the abnormality sages, which assume avant-garde compared to beforehand archetypal Jewish texts like the Talmud and Midrash, about-face out to accept antecedents in both Jewish and non-Jewish abreast literature.
As for the adventure of the cavern below the timberline — Dr. Fishbane discusses it in a affiliate he devotes to bewitched accuracy and the absurd in the Zohar, “the means in which the Zohar narrates and represents the alteration amid the accustomed and the abnormal in the acquaintance of the animal characters.” He compares that alteration to what readers acquisition in the assignment of Gabriel García Márquez.
Another affiliate looks at the ethical implications of the narratives. “The advantage of forgiveness, the abstemiousness of anger, benevolence for the poor are represented through the fiction of the Zohar,” Dr. Fishbane said.
The Gardens of Eden – the garden of eden history | the garden of eden history
Dr. Fishbane said the abstraction of Zohar and added kabbalistic texts “has had a absolute and able appulse on my own airy life. I wouldn’t go so far as to say I’m a kabbalist by any amplitude of the imagination, but I would say the texts and account I’ve spent so continued belief in bookish contexts accept actually impacted my own claimed and apostolic language. There is absolutely a bit in the Zohar and accompanying abstract that I anticipate is acutely affective to us in the abreast airy moment.”
One example: “The abstraction that God is not necessarily a personified, baronial adjudicator in the accomplished heavens, but a activating force of activity that courses like a river of activity through all of the universe, and which manifests to me in my own accurate means as a Jew who seeks to alive the activity of the mitzvot. I acquisition the adumbration of the Zohar moving. I wouldn’t necessarily subscribe to it in the exact way the kabbalists accept it, but it absolutely has aggressive me to anticipate abnormally about acceptance and about God and about abreast spirituality.”
On a apostolic level, he said, “the abundant aural articulation of Divinity is bidding through the ablaze adroitness of the abundant minds and writers and agents in anniversary generation.” Belief the Zohar “is a way we accost the abundant ancestry of the Jewish bodies and apprehend the choir of those abundant airy masters and agents of old. We thereby already afresh are able to apprehend the beating and Divine articulation singing through the ages of the Jewish people, and are able to catch the abundant ablaze of Divine adumbration as it manifests through the words of the sages of Judaism.”
What: The Art of Mystical Narrative: A Zohar Symposium
Where: Jewish Apostolic Seminary of America, 3080 Broadway, Manhattan
When: Tuesday, November 27, 7:30 to 9 p.m.
The Garden of Eden, with the Fall of Man, the Creation of Eve, and … – the garden of eden history | the garden of eden history
How much: Free, but beforehand allotment appropriate at jtsa.edu/mystical-narrative
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redcarpetview · 4 years
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ESSENCE ANNOUNCES THE “ESSENCE BENEFIT SERIES TO FIGHT COVID-19” TO SUPPORT BLACK-OWNED SMALL BUSINESSES AND ORGANIZATIONS AFFECTED BY THE PANDEMIC
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         April 22, 2020 (New York, N.Y.)— As the novel coronavirus continues to spread across the nation and the world, Black communities are being impacted at drastically disproportionate rates. However, while the impact of COVID-19 shines a spotlight on the already fragile health and economic ecosystems of Black communities and Black-owned small businesses, economic recovery efforts – such as the quickly-depleted initial $349 billion Paycheck Protection Program in the CARES Act – are not effectively reaching many of the entrepreneurs and businesses most in need. To help address this, ESSENCE, the leading media, technology and commerce company serving Black women, today announced the creation of the ESSENCE Benefit Seriesä to Fight COVID-19 to assist Black-owned small businesses and organizations across the country impacted by the pandemic.
          The ESSENCE Benefit Series to Fight COVID-19 kicks off with the first-ever ESSENCE + New Voices Entrepreneur Virtual Summit and New Voices + Target Accelerators $100K Pitch Competition – which will be streamed live on ESSENCE Studios on Friday, April 24th, from 10:00AM – 6:00PM ET.  The Entrepreneur Virtual Summit will equip Black business owners with valuable tools needed to navigate this unprecedented time, including access to capital, practical insights and critical resources.  The Summit will also include the New Voices + Target Accelerators $100K Pitch Competition, featuring 10 women entrepreneurs pitching their businesses to receive critical funding combined with coaching, mentoring and personalized business skills development.  
         The Entrepreneur Virtual Summit will feature informative sessions with some of the most influential business leaders across industries, covering topics including Navigating Coronavirus Relief; Raising Capital Right Now; Adapting During Crisis; Managing the New Normal; Developing A Winning Playbook: Now & Post-COVID and more.  Speakers include Robert F. Smith, Chairman, Vista Equity Partners, LLC; Caroline Wanga, Chief Diversity and Inclusion Officer and Vice President of Human Resources, Target Corporation; Bozoma Saint John, Chief Marketing Officer, Endeavor; Marcus Samuelsson, Chef and Restaurateur; Melissa Butler, CEO, The Lip Bar; Elisa Shankle, Wellness & Lifestyle Expert; Nicole Valentine, Chief Executive Officer, Synergy Business Development; Robin McBride, Co-founder, McBride Sisters Wine Collection; and more.
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        Altatudes. Black Owned & Operated Boutique. Austin, Texas.   
       During this Summit and each to follow in the Benefit Series – as well as throughout this crisis, virtual attendees will have an opportunity to support Black-owned businesses that are in critical need of access to funding and resources by donating to the New Voices Foundation.  The New Voices Foundation, a 501(c)(3) organization driven by its PACE (Purpose.Access.Capital.Expertise) model and founded by serial entrepreneur and social impact investor Richelieu Dennis, is committed to creating a more inclusive entrepreneurial ecosystem and currently has 13,000+ women of color entrepreneurs on its platform. Offering leadership development, flexible funding, skills-building and networking opportunities to build, grow and scale their businesses with purpose, the Foundation operates with a multi-pronged approach and services that entrepreneurs can access free of charge, including mobile accelerators, coaching and mentoring, pitch competitions, online masterclasses, and more.  
      Upcoming virtual experiences in the ESSENCE Benefit Series to Fight COVID-19 include the first-ever ESSENCE Festival of Culture: The Virtual Edition (July 4th weekend), as well as other summits focused on entertainment, personal finance, technology, essential heroes and more.
       “We have long known about the systemic healthcare and economic inequities that are causing Black communities and businesses to fare worse than others during the COVID-19 global pandemic, but we also now see that we are in danger of losing critical progress as a community unless urgent and meaningful actions are taken,” said Dennis, also founder & chair of Essence Ventures, parent company of ESSENCE. “Black-owned businesses serve as economic engines in our communities across the nation, and entrepreneurship and ownership remain the most viable paths to bridging the abysmal wealth gap and creating generational wealth.  Yet, as critical initial stimulus funding ran out without reaching many of those who need it most and with new funding not guaranteed to reach these same businesses, not enough is being done to help ensure their post-pandemic financial survival and the long-term health of our communities.”
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        Juanita Stephens, Financial Planner at SagePoint Financial.    
          Dennis continued, “The ESSENCE Benefit Series to Fight COVID-19 and each of its virtual summits are a direct response to this dire need. While ESSENCE has used its platform over the past 50 years to support entrepreneurs and provide commerce opportunities for Black-owned businesses, we have accelerated these efforts – particularly with investments in digital and technology innovation – since returning the brand to 100% Black ownership in 2018.  Now, operating under our Community Commerce purpose-driven model of elevating communities by providing access and opportunities that lead to sustainable economic empowerment, this is how ESSENCE will continue to serve our community in this crisis and beyond.  We’ve always been able to count on each other – and that is more important now than ever.”
        ESSENCE’s cultivation of entrepreneurship and commerce within Black communities has previously included supporting more than 3,000 small businesses at the ESSENCE Festival of Culture Marketplace; featuring more than 100 small businesses on the Shop ESSENCE platform; engaging hundreds of small business owners in Louisiana to participate in the Pipeline Initiative to grow entrepreneurship and technical career opportunities; and more.
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      Philadelphia Printworks. Owned by Maryam Pugh.
              At the outset of the global pandemic designation in March, ESSENCE created the ESSENCE of the Matter: COVID-19’s Impact on Black America digital platform to provide Black women and communities with the tools, information, resources, solutions, inspiration and empowerment needed to address the multitude of issues arising from the novel coronavirus crisis.  The ESSENCE Benefit Series to Fight COVID-19 will now become a central part of this effort, which to date has included the first-ever virtual ESSENCE Wellness Houseä and ESSENCE CARES Act information sessions. In addition, the ESSENCE editorial team produces daily content on a dedicated page to educate the community on the coronavirus, its impact, and how to survive and thrive in this time.
      The ESSENCE + New Voices Entrepreneur Virtual Summit is powered by Microsoft and brought to you by SheaMoisture and Advancing Black Pathways by JPMorgan Chase.  To register for the ESSENCE + New Voices Entrepreneur Virtual Summit or for more details, visit ESSENCE.com.
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technato · 6 years
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Morse Code’s Vanquished Competitor: The Dial Telegraph
In 1842, French watchmaker Louis-François Breguet invented a simpler to use but less efficient alternative
Photo: Technical University of Madrid
Over the years, I’ve played with interactive telegraph exhibits in science centers and museums. I can tap out the common ••• – – – ••• of the emergency distress signal, and I know the letters H (••••) and E (•), but beyond that, Morse code’s patterns of dots and dashes run together in my brain. Stories of telegraph operators who could decipher hundreds of characters a minute still amaze me.
Recently, though, I learned about the needle telegraph. On both the sending and receiving end, the needle or needles would simply point to the desired letter. Finally, a user-friendly telegraph system, provided the user knew how to read.
The first needle telegraph was patented by William Cooke and Charles Wheatstone in Britain in 1837. The design used a set of magnetic needles arranged in a row, with letters of the alphabet arranged above and below them in a diamond grid pattern. Each needle could point left, right, or neutral; to indicate a letter, two needles would point so as to outline a path to that letter. The sending operator controlled the direction of the needles by pressing buttons that closed the circuits for the desired letter combination.
  Image: Universal Images Group/Getty Images
No Code Needed: William Cooke and Charles Wheatstone’s needle telegraph required no special training, but its use of multiple telegraph lines made it expensive to operate.
Although any number of needles could be used, Cooke and Wheatstone recommended five. This combination allowed for 20 possible characters. They omitted the letters C, J, Q, U, X, and Z. Early telegraphs were mainly used for transmitting simple signals, rather than discussion-style communication. For example, to indicate whether a one-way tunnel was clear, an operator might send the short message “wait” or “go ahead.” So the absence of a few letters wasn’t a huge shortcoming.
Operators needed minimal training to use the system, which their employers appreciated. But the system was otherwise costly to operate because it required a wire for each needle plus an additional return wire that completed the circuit. Maintaining multiple wires proved expensive, and many British railroads adopted a version that used just one needle and two wires. A single-needle system, however, required that operators learn a code to send and receive signals. Gone was the ease of simply reading letters.
Cooke and Wheatstone must have realized there was room for improvement, because in 1840 they came out with a dial (or ABC) telegraph, whose face displayed all the letters of the alphabet. The operator selected the desired letter by pressing the appropriate button and turning the handle; the needle on the receiver’s dial would swing around to point to that letter. However, a dispute between the two inventors kept this version of the telegraph from being commercialized. Only after the 1840 patent had expired did Wheatstone return to the dial telegraph, eventually patenting several improvements.
Meanwhile, the French had been using an optical telegraph system that Claude Chappe developed during the French Revolution. It relied on semaphore signals transmitted along a line of towers. By 1839, Alphonse Foy was in charge of over 1,000 optical-telegraph operators, but he saw the need to investigate the growing development of electric telegraphs. He sent Louis-François Breguet to England to study Cooke and Wheatstone’s needle telegraph. The first result was the Foy-Breguet telegraph, which used two needles that mimicked semaphore signals.
Image: Class Image/Alamy
Watch and Learn: French watchmaker Louis-François Breguet studied designs for the needle telegraph before devising his own dial telegraph.
Breguet was manager of his family’s watchmaking company, Breguet & Fils, and not long after, he developed a dial telegraph that had both the appearance and the working mechanism of a clock [receiver shown at top]. When activated by an electric current from the sender, a spring connected by gears rotated the needle around the dial; an escapement—the toothed-wheel mechanism that in a clock moves the hands forward—kept the needle in place in the absence of a signal.
Breguet divided the face into 26 slots, with an inner ring of numbers and an outer ring of letters. The starting position was at the top, noted by a cross, leaving room for 25 letters. At the end of each word, the needle would return to the starting position. Some versions omitted the letter W; others omitted the letter J.
After French railroads adopted the Breguet telegraph and made it standard equipment, it became known as the French railway telegraph; it remained in use until the end of the century. Breguet’s system was also exported to Japan, connecting Tokyo and Yokohama as well as Osaka and Kobe. A new face for the telegraph incorporated Japanese katakana characters.
Photo: Postal Museum Japan
Big in Japan: This print depicts a Breguet system in use at the Yokohama telegraph office. The man in Western-style clothing is Scottish engineer George Miles Gilbert, who was hired by the Japanese government to oversee the introduction of telegraphy.
Of course, even Breguet’s dial telegraph was limited in the range of characters it could transmit. Operators of the needle and dial telegraphs had to somehow deal with missing letters—perhaps they just made their best guess based on context, or perhaps companies devised their own codes for specific letters or symbols. Louis-François Breguet couldn’t properly transmit the cedilla in his own name, but maybe he accepted it as a limitation of the technology.
As it happens, as early as the 1840s, Friedrich Clemens Gerke, the telegraph inspector for the Hamburg-Cuxhaven line in Germany, was noting similar shortcomings with Morse code. The code, developed by Samuel Morse and Alfred Vail in the United States, was fine for the unaccented English alphabet. To accommodate European languages, Gerke added accented letters; he also significantly revised the patterns of dots and dashes for letters and numbers, making the entire code more efficient to transmit. His version, which became known as Continental Morse Code, spread throughout Europe.
Despite the expanded code’s popularity, the International Telegraphic Union took many years to embrace it. In his 2017 book The Chinese Typewriter: A History, Thomas Mullaney describes the slow, conservative evolution of Morse code. In 1865, the ITU settled on a set of standardized symbols that were decidedly Anglocentric. Three years later, it confirmed the standard codes for the 26 letters of the English alphabet, the numerals 0 to 9, plus 16 special characters—mostly punctuation, plus the e-acute, É. In 1875, the ITU elevated É to a standard character and added six more accented letters as special characters: Á, Å, Ä, Ñ, Ö, Ü. It wasn’t until 1903 that the ITU accepted these supplemental characters as standard. Languages based on nonalphabetic characters, such as Chinese, were never incorporated, although some countries adopted their own telegraphic codes. Thus did the technology of telegraphy connect and also divide the world in new and unexpected ways.
The Breguet telegraph receiver that touched off my inquiries is on display at the Museum of the School of Telecommunication Systems Engineering at the Technical University of Madrid. The museum was started in the 1970s by a small group of professors, who scoured antique shops and flea markets to collect artifacts representing the history of communications. Rather than confining its objects to a dedicated space, the museum maintains exhibit cases in hallways throughout the school, where students, visitors, and others can stumble upon them every day.
I wonder if those who see the Breguet dial telegraph draw connections to modern technology. The set of characters on computer keyboards, for example, vary from place to place and language to language. I remember attending a student conference in Istanbul in 1998 and being unable to access my email. I didn’t realize that Turkish keyboards have both a dotless and a dotted i key, and so I kept hitting the wrong one. A few months later I met students in Hamburg who were using American keyboards to do their computer programming. They’d discovered that German keyboards of the era required three keystrokes to make a semicolon, which slowed down their coding.
Such tales are good reminders of the persistence and the fluidity of language, which adapts to new technologies just as new technologies are molded by their users.
An abridged version of this article appears in the September 2018 print issue as “The ABCs of Telegraphy.”
Part of a continuing series looking at photographs of historical artifacts that embrace the boundless potential of technology.
About the Author
Allison Marsh is an associate professor of history at the University of South Carolina and codirector of the university’s Ann Johnson Institute for Science, Technology & Society.
Morse Code’s Vanquished Competitor: The Dial Telegraph syndicated from https://jiohowweb.blogspot.com
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New media and Culture- Trolling!
Culture is “the way of life, especially the general customs and beliefs of a particular group of people at a particular time” (Cambridge Dictionary, 2017). With the evolution of new media, we can see how new media and culture work simultaneously. This essay argues that platforms such as Tumblr, YouTube, Face book, Twitter, Instagram and the likes are a representation of societal norms and therefore they are a part of our culture. I for one do not necessarily think that new media influences culture, however I believe that new media is a reflection of our customs and beliefs and therefore plays a role in our culture. To prove this argument this essay will refer to trolling on the internet particularly focusing on gender trolling. As much as we denounce trolling it is part of our culture because it is a product of our society. It just doesn’t come up from nowhere in the media and this essay argues that as much as there is a belief that trolls practice trolling for amusement they actually personify inequalities in our society and hegemonic ideologies.
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New media has brought social media platforms, which have become very popular as the marginalized in society feel that they have finally found a voice. These marginalized in society are the members of minority social and political groups such as homosexuals, feminists and racial minorities, (Herring et al, 2002). According to Barlow & Awan (2016) these platforms have a global reach with Twitter having an average of 350,000 tweets sent per minute and 500 million tweets per day. People use social media for a lot a lot of good, ranging from communicating past geographical boundaries and fast communication in general to activism and having a space to voice opinions about politics and things that are wrong in the world (Herring et al, 2002). Although the internet has many benefits we cannot ignore the fact that these social media platforms are also unsafe and oppressive. “Social media has also acted as a double-edged sword by creating a virtual platform for people using online hate speech as a means to target people while simultaneously being able to hide their identity”. Anonymity has always been viewed as one of the positives of social media platforms as people feel free to express themselves without being fully present. “The relative anonymity of the internet can make people feel safe talking about issues that might be considered sensitive, inappropriate or dangerous in face to face public conversation” (Herring et al, 2002: 371). It is easier to for example type I was abused or I am depressed than to actually say it looking into someone’s eyes. However trolls have taken advantage of this and used it to their benefit as they are able to engage in aggressive and violent behaviour online without having to face the consequences of criminal action as their identity will be hidden, (Barlow & Awan, 2016.
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Trolling originated from “the fishing practice where a lure is dragged through the water with the intention of provoking a feeding frenzy amongst fish” (Donath as cited in Vera-Gray, 2017:65) “Some internet discourse has referred to the troll as a fictional monster waiting under the bridge to snare innocent bystanders” (Herring et al, 2002). “A troll is someone who uses the internet with the intention of targeting and disrupting people within the online environment and is often seen as problematic or even criminals” (Shin as cited in Barlow & Awan, 2016). Although trolls are perceived to be criminals, they fall under the category of being immoral and heinous as opposed to trolling being illegal. Trolling can be done because the troll genuinely wants a healthy debate or they just enjoy winding people up, (Griffiths, 2017). There is a popular belief that trolling only happens to people in the public eye however Samuel (2016) states that one does not necessarily have to be a celebrity for them to be subjected to brutal criticism or threats online for this has happened to vulnerable teenagers, grieving parents as well as mom groups. Ä study in 2014 found that one in 5 internet users have experienced trolling” (Samuel, 2016). Trolls are hostile individuals whose purpose is to actively disrupt and undermine people on online forums despite the general belief that these forums are private and secure, (Herring et al, 2002). Although online forums provide a new arena for the enactment of power inequities such as those motivated by racism, sexism and heterosexism, they have made it possible trolls to target these groups or individuals, (Herring et al, 2002).  This essay therefore draws your attention to gender trolling as evidence to support the argument that trolls do not only participate in online hate because they are vindictive or they just want to be amused, they do this as a way of maintaining structure and hegemony in our society.
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According to Mantilla (2013) gender trolling is virulent sexism online. Gender trolling specifically targets women on online forums; “it has a lot in common with offline targeting of women such as sexual harassment in the workplace and street harassment” (Mantilla, 2013: 568). Just as offline harassment of women is about “patrolling gender boundaries and using insults, hate and threats of violence and rape to ensure that women and girls are either kept out of, or play subservient roles in male dominated arenas” (Mantilla, 2013: 568). I believe that online trolling echoes and/or is a reflection of the inequalities that are embedded in our culture and a culture of misogyny that is dominant in our patriarchal society.  According to Barlow & Awan (2016) culturally we as a society have tolerated violence against women and because of new media this culture goes beyond being something that takes place offline to being online as well. “The internet is not creating new forms of crimes against women, but it is creating new ways and means for crimes to be perpetuated” (Banks as cited in Barlow and Awan, 2016:3).
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According to Jane as cited in Barlow & Awan (2016) trolling that is aimed at women includes charges of not being intelligent enough, hysteria, ugliness. “Much of this online abuse is routed in wider patriarchal and misogynistic discourse related to women” (Barlow & Awan, 2016:4). Women are targeted because patriarchy has this belief that they are the weaker sex and when they try and use social media platforms as a way to empower themselves for example feminists, trolls attack them as a way of trying to incite anger and ‘put them back in their place ‘of otherness. The Affect theory can thus also be applied to trolling. “Emotions should not be regarded as psychological states, but as social and cultural practices… It is through emotions, or how we respond to objects and others, that surfaces or boundaries are made” (Ahmed, 2014: 9-10). Emotions play a big role in trolling. Women generally get angry or emotional when they are attacked and gender trollers want them to get this way and view this as a victory.  It is the social context of gender inequality that facilitates the violence and harassment women experience online; technology is just a tool mobilised within this context” (Jane as cited in Vera-Gray, 2016:67). However this essay would like to note that although white males have been pointed out as the major trollers because of privilege and dominance, women also participate in online hate and vindictive comments against other women. “ the fact that trolls typically target people marginalized by and because of their gender, race, age, ability, and/or sexuality suggests that trolling is marked by what Ryan Milner calls white centrality, a political and rhetorical space occupied by middle class heterosexual men aged 18-35”, (Phillips as cited in Rodrigues & Rollman, 2015).  Trolling is very a part of our culture because it just does not start online and end online; people have committed suicide and sunk into depression because of online trolling, (Griffiths, 2017).
This culture of trolling has become such a problem that it has called people in power to act. According to theguardian (2016), Yvonne Cooper launched a campaign called ‘Reclaim the Internet’ in the House of Commons, which is against online misogyny, with women politicians from all parties in the UK. This is a bid to stop sexism, racism, homophobia and bullying on the internet. This proves that this culture is global. “Yvette Cooper’s Reclaim the Internet is exploring the role of police and prosecutors, the duty of Face book, Twitter and other platforms and the obligations of employers, unions and other organisations to offer protection-all areas where political pressure can get something done” (theguardian, 2016). This essay argues that gender trolling and trolling in general online, the root of the problem is the tolerance of racism, sexism, homophobia in our society and to deal with the problem online we need to deal with the culture itself.
This essay will now round up with an example of trolling closer to home. Lesego Legobane, popularly known as thickleeyoncee is a plus size model, socialite and photographer who became popular through social media, (Kekana, 2017). This plus size model in South Africa was recently a victim of trolling on Twitter after modelling at the SA fashion week. “Following her runway debut at SA Fashion Week last night, Twitter trolls went for the model. The trolling was on such a level that Thickleeyonce shared screenshots of the hatred on Instagram (See below). She included a post detailing her heartache and personal struggle with cyberbullying over the years”, (Kekana, 2017). Thickleeyonce has experienced trolling before this because of her weight. This links to how misogyny and trolling are related because people put her down and said all these harsh things like ‘a pig is better than her’, that her thighs are too big and that her catwalk would cause the ground to shake. In my experience when it comes to gender trolling, I believe that people tend to attack women who are empowering themselves. Like Thickleeyonce, she is plus size and she loves her body and herself and trolls tend to expose people like her to online hate because they expect her to be insecure and so as to put her back into ‘otherness’ or ‘otherization’, they bully her so that she can get angry and cry and she will forfeit her positivity and the patriarchal society wins. Trolling is therefore a form of censorship.
In conclusion trolling has always been said to be something that people who are vindictive partake in so as to incite negative emotions or reactions in their victims and for their own amusement. Despite attempts by social media to try and control or get rid of trolls through report buttons and enabling users to make their profiles private, this essay has clearly articulated that trolling is as a result of our culture offline. Hence to be able to adequately deal with trolling we as a society need to deal with the root of the problem. And this is how new media and culture are related.  
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References
Ahmed, S., 2014. Cultural politics of emotion. Edinburgh University Press.
Cambridge Dictionary, 2017. Online, retrieved 30 October 2017: http://dictionary.cambridge.org/dictionary/english/culture
Barlow, C. and Awan, I., 2016. “You need to be sorted out with a knife”: the attempted online silencing of women and people of Muslim faith within academia. Social Media+ Society, 2(4), p.2056305116678896.
Griffiths, J. 2017. TAKING ITS TROLL What is an internet troll, what is trolling, which celebrities have been victims and what’s the UK law? Online, retrieved 30 October 2017: https://www.thesun.co.uk/living/3169348/internet-troll-twitter-online-celebrities-uk/
Herring, S., Job-Sluder, K., Scheckler, R. and Barab, S., 2002. Searching for safety online: Managing" trolling" in a feminist forum. The Information Society, 18(5), pp.371-384.
Kekana, N. 2017. Thickleeyonce vs Twitter. Online, retrieved 30 October 2017: http://www.channel24.co.za/The-Juice/News/Local/thickleeyonce-vs-twitter-20171025
Mantilla, K., 2013. Gendertrolling: Misogyny adapts to new media. Feminist Studies, 39(2), pp.563-570.
Rodrigues, S. and Rollman, H. 2015. Is Online Trolling a Reflection of Our Social Values? Online, retrieved 30 October 2017: https://www.popmatters.com/193518-this-is-why-we-cant-have-nice-things-2495529865.html
Samuel, A. 2016. HOW TO LIVE WITH INTERNET TROLLS. Jstor Daily. Online, retrieved 30 October 2017: https://daily.jstor.org/how-to-live-with-internet-trolls/
theguardian, 2016. When women can be misogynist trolls, we need a feminist internet. Online, retrieved 30 October 2017: https://www.theguardian.com/commentisfree/2016/may/26/women-misogynist-trolls-feminist-internet
Vera-Gray, F., 2017. ‘talk about a cunt with too much idle time’: trolling feminist research. Feminist Review, 115(1), pp.61-78.
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Limelight
Living on a lighted stage
Approaches the unreal
For those who think and feel
In touch with some reality
Beyond the gilded cage
Cast in this unlikely role
Ill-equipped to act
With insufficient tact
One must put up barriers
To keep oneself intact
Living in the limelight
The universal dream
For those who wish to seem
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme
Living in a fish eye lens
Caught in the camera eye
I have no heart to lie
I can't pretend a stranger
Is a long-awaited friend
All the world's indeed a stage
And we are merely players
Performers and portrayers
Each another's audience
Outside the gilded cage
Living in the limelight
The universal dream
For those who wish to seem
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme
Living in the limelight
The universal dream
For those who wish to seem
Those who wish to be
Must put aside the alienation
Get on with the fascination
The real relation
The underlying theme
The real relation
The underlying theme
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youtube
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