#Triangular Numbers

[omegaphilosophia]

The Philosophy of the Triangle

The philosophy of the triangle explores the conceptual, symbolic, and mathematical significance of the triangle as a fundamental geometric shape. Triangles are deeply embedded in both philosophical and mathematical traditions and have been used as metaphors for balance, harmony, and the relationships between different elements.

Key Concepts:

Mathematical Foundation:

The triangle is one of the simplest and most fundamental shapes in geometry. In Euclidean geometry, triangles are the basis for many theorems and principles, such as the Pythagorean theorem, which connects geometry with algebra. The study of triangles also forms the foundation for trigonometry, which deals with the relationships between angles and side lengths.

Symbolic Significance:

Balance and Harmony: Triangles have been used symbolically across cultures to represent balance, unity, and harmony. For example, in Christian theology, the triangle is a symbol of the Holy Trinity (Father, Son, and Holy Spirit), representing unity within diversity.

Pyramidal Structure: The triangle is often seen as a stable and solid structure. In ancient Egypt, the pyramid, which has a triangular base, was a symbol of strength, endurance, and the connection between the divine and the earthly.

Platonic and Pythagorean Views:

Platonic Solids: In Platonic philosophy, the triangle is a fundamental element in constructing the four classical elements (earth, air, fire, water) in the form of Platonic solids. Plato considered geometric shapes to be the building blocks of the physical world, and the triangle was seen as a key to understanding the nature of the cosmos.

Pythagoras and Triangular Numbers: The Pythagoreans, who deeply studied geometry, saw the triangle as a sacred shape, representing the harmonious relationships found in numbers and geometry. Triangular numbers, a type of figurate number, reflect the pattern of dots that form equilateral triangles, symbolizing the order inherent in the universe.

Philosophical Abstractions:

Triad Structure in Thought: Triangles often represent triads in philosophy and systems of thought. In Hegelian dialectics, for example, the triad of thesis, antithesis, and synthesis forms the basis for the progression of ideas. Similarly, Aristotle’s three types of rhetoric (ethos, pathos, logos) also form a triangular structure in persuasive communication.

Metaphysical Triads: Triangles can be metaphors for relationships between three elements in metaphysics. For instance, the relationship between mind, body, and soul is sometimes represented as a triangle, with each corner representing a distinct yet interconnected aspect of human existence.

Psychological and Philosophical Interpretations:

Triangular Relationships: In social and psychological contexts, the triangle often symbolizes the dynamics of relationships, such as love triangles or power structures involving three individuals or entities. Philosophically, it reflects how balance or tension between three components can shape broader outcomes.

Jungian Archetypes: Carl Jung's theory of the collective unconscious includes symbolic representations, and triangles are viewed as archetypes for spiritual ascent, enlightenment, or the synthesis of opposites.

Ethical and Moral Philosophies:

Moral Triangles: In some ethical philosophies, the triangle is used as a metaphor for balancing different moral principles. For example, the relationship between duty, consequence, and virtue can be visualized as a triangle, where each point represents a distinct moral focus, yet all are interconnected.

The Golden Triangle: In economic theory, the "golden triangle" of production, consumption, and sustainability is often discussed in relation to the ethical management of resources, offering a metaphor for balance in human interaction with the environment.

The philosophy of the triangle is multi-faceted, blending mathematical rigor with symbolic meaning. It serves as a bridge between the tangible and the abstract, embodying balance, harmony, and unity across various systems of thought. Philosophers have used the triangle to express the relationships between ideas, numbers, moral principles, and metaphysical concepts. Its simplicity and universality make it a powerful tool for understanding the interconnectedness of different aspects of reality.

[mathhombre]

There were a couple more from Jensen to add:

Fascinated by these as the usual triangular numbers, 1+2+3+... but the top also has a life of 3+12+21+30+... and the BL as 1+ 9+18+27+... from the colorings. Just lovely.

Alfred Jensen, In-text plate (folio 18) from A Pythagorean Notebook, (one from an illustrated book with twenty lithographs), Tamarind Lithography Workshop, Los Angeles, CA, 1965, Edition of 20 plus 9 Tamarind Impressions [MoMA, New York, NY. © Estate of Alfred Jensen / ARS, New York]

[just-sp-in-inginthevoid]

You know what those things have in common?

Goshiki is not here.

And Wakui could have forgotten about him, but it feels kinda weird Goshiki isn't present with his siblings – on two different occasions. Wakui decided on 13 siblings. No more, no less. He must have a clear idea of who they are, how they act, etc. He created them, most likely not on the spot, and has a (vague or precise) idea of where he wants to take them. At the very least, if he wants to draw all the 11 we know he can have a list in case he forgets one of them on the moment. Plus. For the characters information, it feels weird one of them gets forgotten. And it's the same that's been omitted before.

So then, there's the possibility it's on purpose. But for what purpose exactly? We surely don't know enough yet about any of them to tell, but. The two siblings we don't know are the 4th and the 7th, and beside the sister there's only Goshiki who stands between them. So. Perhaps that's why he doesn't get too much focus – he's linked to one or both of the missing children so he gets to stay in the shadow for a bit longer. That could also be the case for the sister (her name and adoption order not being disclosed in the manga), but it's a shonen so we unfortunately can't overlook the fact she could have a lesser role solely for being a female character. I hope it's because of the missing siblings tho.

I'm just talking out my ass, don't come at me to challenge my speculations pls 🫠

Also, feel how you want about his appearance, there's no debate it's not a regular design: he has the same kind of eyes as South and he doesn't have a typical manga face – not only for his nose. Wakui put thoughts into it, that's not a background character.

He's the only one among the siblings we know – with Kuran – we didn't see the astro of in chapter one. If he has one to start with.

It's too suspicious. Why is he sidelined.

This one doesn't really count since Satsuki and Kuran are also missing, but Goshiki being once again put aside (even if he's not the only one for once) should be talked about honestly

Edit:

Isn't there either.

[ltwilliammowett]

Glossary of Nautical Terms - as used in the late 18th and early 19th centuries

Aft: at or towards the stern or after part of a ship, the opposite of bow.

Aloft: overhead, or above.

Athwart: across.

Bank: a rising ground in the sea, differing from a shoal, because not rocky but composed of sand, mud or gravel.

Becalmed: to halt through lack of wind.

Bow: the foremost end or part of a ship, the opposite of stern.

Bowsprit: a large mast or piece of timber which stands out from the bow of a ship.

Burthen: the older term used to express a ship's tonnage or carrying capacity. It was based on the number of tuns of wine that a ship could carry in her holds, the total number giving her burthen.

Chase, to: to pursue a vessel in wartime with the aim of capturing, acquiring information from her, or destroying.

Colours: the name by which the national flag flown by a ship at sea is known, used to determine nationality.

Dead reckoning: a system of navigation where the position of a ship is calculated without the use of any astronomical observation whatever.

Fair wind: a wind favourable to the direction a ship is sailing.

Fathom: a measure of six feet, used to divide the lead (or sounding) lines in measuring the depth of water; and to calculate in the length of cables, rigging, etc.

Fore: the forward part.

Hail, to: to call to another ship.

Helm: the instrument by which the ship is steered, and includes both the wheel and the tiller, as one general term.

Jib: a triangular sail set by sailing ships on the boom which runs out from the bowsprit.

Jury-mast: a temporary makeshift mast erected to replace a mast that has been disabled or carried away.

Jury-rudder: a makeshift arrangement to give a ship the ability to to steer when she has lost her rudder.

Keel: the lowest and principal timber of a wooden ship - the single strongest member of the ship's frame.

Knot: the nautical measure of speed, one knot being a speed of one nautical mile (6,080 feet) per hour. As a measure of speed the term is always knots, and never knots an hour.

Landfall: the discovery of the land.

Land-locked: sheltered all round by the land, so that there is no view of the sea.

Lead: an instrument for discovering the depth of water, attached to a lead-line, which is marked at certain distances to measure the fathoms.

Lee: the side of a ship, promontory, or other object away from the wind; that side sheltered from the wind. It is the opposite side to windward.

Lee shore: a coastline on to which the wind blows directly - consequently it can be dangerous as the wind tends to force the sailing ship down on it.

Leeward: with the wind; towards the point to which the wind blows.

Letter of Marque: a commission issued in Britain by the Lord High Admiral or Commissioners of the Admiralty authorizing the commander of a privately owned ship to cruise in search of enemy merchant vessels. The letter of marque described the ship, her owners and officers, the amount of surety which had been deposited and stressed the necessity of having all prize vessels or goods seized condemned and valued at a Vice Admiralty Court for the payment of 'prize money'.

Lie-to: to prevent a vessel from making progress through the water - achieved by reducing sail in a gale. The objective is to keep the vessel in such a position, with the wind on the bow, as to ensure that heavy seas do not break aboard.

The Line (or 'Crossing the Line') Sailing across the Equator. Nautical tradition where seamen celebrate the crossing of the equator by dressing up and acting out a visit by King Neptune. Those who have not previously crossed the line are summoned to the court of Neptune for trial, followed by a ritual ducking (in a bathing tub of seawater) and sometimes lathered and roughly shaved.

Mainsail: the principal sail of a sailing vessel.

Mizzen (or mizen): the name for the third, aftermost, mast of a square-rigged sailing ship or of a three-masted schooner.

Muster: to assemble the crew of a ship on deck and call through the list of names to establish who is present and accounted for.

Muster-book: the book kept on board a vessel in which was entered the names of all men serving in the ship, with the dates of their entry and final discharge from the crew. It was the basis on which victuals were issued and payment made for services performed on board.

Pintle: a vertical metal pin attached to the leading edge of the rudder; it is fitted into the metal ring or 'gudgeon' bolted to the sternpost of a vessel. This provides the means for hinging the rudder on the sternpost and allows a rudder to be swung or turned as desired (by use of the tiller); where necessary (ie. when the rudder needs to be removed or repaired) the pintles can be unshipped quickly and the rudder detached.

Port: the left-hand side of a vessel as seen from the stern; also a harbour or haven.

Privateer: a privately owned vessel armed with guns which operated in time of war against the trading vessels of an enemy nation. Each privateer was given a a 'letter of marque' which was regarded as a commission to seize any enemy shipping as a 'prize'. The name 'privateer' has come to refer to both the ship and the men who sailed in her.

Prize: name used to describe an enemy vessel captured at sea by a ship of war or a privateer; also used to describe a contraband cargo taken from a merchant ship. A 'prize court' would then determine the validity of capture of ships and goods and authorize their disposal. 'Prize' in British naval history always acted as considerable incentive to recruitment with many men tempted to join the navy in anticipation of quick riches.

Prize Court: Captured ships were to be brought before prize courts where it was decided whether the vessel was legal prize; if so, the whole value was divided among the owners and the crew of the ship.

Prize Money: the net proceeds of the sale of enemy shipping and property captured at sea - these proceeds were distributed to the captors on a sliding scale from highest rank to lowest seaman.

Road or Roadstead: a stretch of sheltered water near land where ships may ride at anchor in all but very heavy weather; often rendered as 'roads', and does not refer to the streets of a particular port city but rather its anchorage, as in 'St Helens Roads', the designated anchorage for shipping located between St. Helens (Isle of Wight) and Portsmouth, or 'Funchal Roads' at the island of Madeira. (see Elizabeth Macquarie's 1809 Journal).

Quarter: (1)the direction from which the wind was blowing, particularly if it looked like remaining there for some time; (2)the two after parts of the ship - strictly speaking a ship's port or starbord quarter was a bearing 45° from the stern.

Ship: from the Old English scip, the generic name for sea-going vessels (as opposed to boats). Originally ships were personified as masculine but by the sixteenth century almost universally expressed as as feminine.

Shoal: a bank or reef, an area of shallow water dangerous to navigation. Sounding: the of operation of determioning the depth of the sea, and the quality of the ground, by means of a lead and line, sunk from the ship to the bottom, where some of the sediment or sand adheres to the tallow in the hollow base of the lead.

Sound: (1) to try the depth of the water; (2) a deep bay.

Sounding: ascertaining the depth of the sea by means of a lead and line, sunk from a ship to the bottom.

Soundings: those parts of the ocean not far from the shore where the depth is about 80 to 100 fathoms.

Spar: a general term for any wooden support used in the rigging of a ship - includes all masts, yards, booms, gaffs etc.

Squall: a sudden gust of wind of considerable strength.

Starboard: the right-hand side of a vessel as seen from the stern.

Stern: after-part of a ship or boat.

Tack: the nautical manouevre of bringing a sailing vessel on to another bearing by bringing the wind round the bow; during this manouevre the vessel is said to be 'coming about'.

Tide of Flood: the flow of the tidal stream as it rises from the ending of the period of slack water at low tide to the start of the period of slack water at high tide; its period is approximately six hours.

Trade Winds: steady regular winds that blow in a belt approximately 30 N. and 30 S of the equator. In the North Atlantic the trades blow consistently all year round, from the north-east; in the South Atlantic they blow from the south-east, converging just north of the equator. The meeting of the trade winds just north of the equator created the infamous 'doldrums', where sailing ships could be becalmed for days or weeks waiting for a wind to carry them back into the trades.They were known as trade winds because of their regularity, thereby assisting sailing vessels in reaching their markets to carry out trade.

Under way: the description of a ship as soon as she begins to move under canvas power after her anchor has been raised from the bottom; also written as 'under weigh.'

Voyage: a journey by sea. It usually includes the outward and homeward trips, which are called passages.

Watch: (1) one of the seven divisions of the nautical day; (2) one of two divisions of the seamen forming the ship's company.

Wear: the nautical manouevre of bringing a sailing vessel on to another tack by bringing the wind around the stern.

Weather: in a nautical sense (rather than a meteorological) this is the phrase used by seamen to describe anything that lies to windward. Consequently, a coastline that lies to windward of a ship is a weather shore; the side of a ship that faces the wind when it is under way is said to be the weather side a ship, etc.

Weigh: to haul up.

Weigh anchor: the raising of the anchor so that the ship is no longer secured to the sea or river bottom.

Windward: the weather side, or that direction from which the wind blows. It is the opposite side to leeward.

Yard: (1) a large wooden spar crossing the masts of a sailing ship horizontally or diagonally, from which a sail is set. (2) a shortened form of the word 'dockyard, in which vessels are built or repaired.

Sources: JEANS, Peter D. Ship to Shore: a dictionary of everyday words and phrases derived from the sea. Santa Barbara: ABC-Clio, 1993.

The Oxford Companion to Ships & the Sea. (ed.) Peter Kemp. Oxford: Oxford University Press, 1976.

[uncharismatic-fauna]

Back with the Black-footed Ferret

The black-footed ferret, also known as the American polecat or the prairie dog hunter (Mustela nigripes) is a species of mustelid native to central North America; its historical range stretched from southern Canada to northern Mexico. Its habitat overlaps with that of prairie dogs, and largely consists of prairie, scrubland, and steppe environments.

Black-footed ferrets rely on grasslands for food, and the average adult maintains a territory of 148 acres (60 ha). They are highly solitary, and both males and females will fiercely defend their space from other ferrets. Within this range, the prairie dog hunter feeds almost exclusively on prairie dogs; when prairie dogs aren't available, their diet is supplemented with mice, squirrels, and rabbits. Adults hunt mainly at night, and during the day they will shelter in abandoned prairie dog burrows. While fearsome fighters, both adults and kits are vulnerable to predation from birds of birds of prey, owls, coyotes, badgers, foxes, and bobcats.

Though they generally are not social, American polecats do interact with other polecats once a year to mate, generally in March or April. Females will actively seek out and entice males, and individuals with both sexes likely mate with multiple partners. After mating, the female returns to her territory, and after a 45 day pregnancy she gives birth to a litter of 1-6 kits. The young are blind and deaf at birth, but grow quickly and are weaned at about 6 weeks old. In the fall, they leave their mother to establish their own territories, and reach full maturity by the following year. Adults can live up to 12 years in the wild.

Both male and female black-footed ferrets have similar appearances. Like other ferrets, they have an elongated body and triangular head, to better help them squeeze into small burrows in search of prey. The paws, the tip of the tail, and patches around the eyes are marked in black; the rest of the body is tan, russet, or brown with a light cream underbelly. The average adult measures 50 cm (19.7 cm) long and weighs 650 g (1.43 lb); females are slightly smaller than males.

Conservation status: M. nigripes is considered Engangered by the IUCN. Threats come from habitat destruction and the decimation of their primary food source, as well as human-introduced disease. There is only one known wild population left, though there are a number of captive-bred populations in zoos and reintroduction programs. One group, currently run by Native Americal tribal biologists, is raising funds to continue their work restoring black-footed ferrets to their native habitats (April 18, 205).

Photos

Clyde Nishimura

J. Michael Lockhart

Chris Prague

[buddydollysims2]

TUTORIAL: HOW TO BUILD A UFO ROOF HOUSE.

yo! one of my friends asked me how I do this, so I thought I'd put together a little tutorial and share. here's a preview of what a "ufo roof house" might look like once you're done:

this is just a little one I built in Strangetown on a 10×10 lot, read below to learn how to do this yourself.

→ Step 1: Build your foundation (if you want one) + your first floor. The easiest way to do this is to make your walls an octagonal shape with the diagonal walls being half as many as the straight walls. As an example, you can see in the image below my straight walls are 6 units, so the diagonals are 3.

→ Step 2: Go up one level and lay a square of flooring for your roof to sit on, twice the size of your straight walls. My straight walls are 6 units, so my "roof square" will be 12×12.

→ Step 3: Using the small cone roof tool, drag from one corner of your square to the other, minus 1 unit. My square is 12×12, so the cone roof will be 11×11. You can see in the image below where to place your cursor to start:

→ When you're done with the small cone roof tool, it should look like this:

→ Step 4: Delete the excess flooring. You can press F to toggle from a full square unit to a smaller, triangular unit to trim the corners. Unfortunately, you can't click and drag to remove the corners from the diagonal walls, you can only shift click to delete one triangle at a time, but it saves you from having to put down walls or fencing you're just going to remove anyway.

→ Step 5: Decrease your roof's angle. On my normal houses, I usually use a 25 degree angle, which in this case, looks like this:

→ Step 6: You don't want your walls sticking out like this. So, adjust your roof's angle until they're not sticking out. The lowest I could get the roof's angle on this one was 39 degrees, which looks like this:

→ Step 7: Much better! Don't worry about that spiky bit in the middle, because we're going to add a dome roof to cover it up. You can start fiddling around with the dome roof tool by using the same amount of units as your straight walls, or you can go smaller. A 6×6 dome on this house looks like this:

→ I like my UFO domes a little smaller, so I went with 4×4. TIP! If you have an even number of straight walls, your dome will also be even, if it's odd, your dome will also be odd. If you had 7 unit straight walls for example, your dome could be 7×7, 5×5, 3×3, etc. Here's how my 4×4 dome turned out:

→ Step 8: Nice! We're pretty much done! Decorate however you like!

→ Step 9: Enjoy your UFO roof house! All content shown on this one is maxis, except for the deck support posts, which are default replacements available HERE, thanks to @psychosim! I hope you enjoyed this tutorial. Feel free to tag me if you make a UFO roof house because of this, I'd love to see it! 👽💖 Happy Simming!

[fjordfolk]

Utilization: By his anatomical peculiarities this dog is predestinated to puffin-hunting on the steep rocks around the fjords and along the shore.

The standard:

Neck: Clean-cut, of medium length, quite strong with a relatively well furnished collar.

Compendium comment:

The head is carried relatively low. The two last vertebrae (atlas/apsis) are shaped so that the dog can bend backwards so that the head touches the back. To do so is vital when turning in the narrow burrows. NB! This should NEVER be demonstrated the ring!

The standard:

Ears: Triangular ears of medium size, broad at the base, carried erect and very mobile. The cartilage of the ear lobe has the faculty of being able to retract itself so that the ear folds itself and flops in a specific manner, either backwards or in right angle upwards, so as to close the auditory passage.

Compendium addition:

The ears of the Lundehund have a unique muscle that enables them to fold and close the ears when entering the burrows, thus protecting them against dirt and moisture. The turning and folding of the ears probably also is help in locating the birds.

The standard:

Forelimbs: Moderately angulated. Forearm: Straight.

Forefeet: Oval shaped, turning slightly outwards, with at least six toes of which five must rest on the ground. Eight pads on each foot. The two inner toes, formed respectively by 3 and 2 phalanges and endowed with a ligamentary and muscular system, make the foot look solid.

Compendium addition:

Very flexible and elastic shoulder muscles. The Lundehund has joints that allow the forelimbs to extend at nearly 90 degrees from the body, but this must NEVER be demonstrated in the ring! The forefeet turn slightly outwards to give room for the extra toes.

The Norwegian Lundehund is a polydactyl. Instead of the normal 4 digits, the Lundehund normally has 6 digits, all fully formed, jointed and muscled, with tendons going up the inside of the leg, partly responsible for its wide front gait. Some specimen may have more, others less than 6 digits per foot, but less than 6 on front feet should lead to downgrading. The extra toes help the dog climbing up and down crevices in screes and cliffs.

The standard:

Hindfeet : Oval shaped, turned slightly outwards, with at least six toes - four of which must rest on the ground. Seven pads on each foot, the one in the middle, the most important one by its size, being attached to the inner pads corresponding to the two inner toes. When the dog is standing up on a flat surface, the weight of the body must be evenly distributed on the pads.

Compendium comment:

More than 6 digits is not a fault. 5 digits are acceptable on the hind feet. The extra toes on the hind feet are normally less developed than those on the forelegs and variations from the ideal, both regarding number and placement, should not be penalized.

The standard:

Gait/Movement: Light and elastic. An external rotary action of the forelegs and somewhat close action behind is characteristic of the breed.

Compendium comment:

In judging the movements of the Lundehund, one must consider that this dog is built to climb efficiently up and down steep cliffs and screes. The extra pads on both fore- and hind paws must then touch the surface to aid the dog in climbing. The extra toes help getting a grip, both in ascent and descent. The wide front with extra flexibility enables climbing safely up and down crevices, as the forelegs can grip at a 90 degrees angle to the body. On flat surfaces, the Lundehund will show typical rotating front movements, due to tendons and muscles from the extra digits on the inside of the legs. Hind movements are narrow.

[michaelrotonal]

math update

41 is now prime, 91 is no longer prime

cubic triangular numbers larger than 1 have been removed

removed one sign so now there are only positive and negative numbers

klein bottle is no longer embeddable in 3-space

4 is now the smallest composite number rather than 3

cubes can now fit squares slightly larger than them

[domxmarvel]

Promise

Pairing: Guards x Female!Reader

"Player (Number), pass." You held up the honeycomb shape,the square guard nodded but you quickly realized it wasn’t meant for you. Two guards came up behind you,grabbing you and leading you to a room with a big comfy looking bed. Warm and with slow music playing in the background. The door behind you clicked and you were locked in with a total of five guards.  The square stepped forward as he started speaking.

"Player (Number), you survived another game. Congratulations." You stood there,waiting for him to hopefully explain why you were brought here instead of back with everyone else. "We have some information for you. About the next game." The Square guard looked down at you, his gaze cold and focused.  When he spoke again, his voice was slightly softer, but still serious. "The next game will require you to pair up with someone,however, it is important that you do not form a partnership with anyone." He paused, observing you carefully.

"But won't I lose if I don't pair up?" 

"Normally, yes. A partner could give you an edge and improve your chances of winning. But this game is different." The square guard circled around you,leaning closer to you. He stopped behind you, placing a firm hand on your shoulder to keep you from moving.  The guards around the room were watching your interaction closely. "You need to promise me something, player.." You turned your head to look at him. He let his hand rest on your shoulder, his grip tight and possessive. "Promise me that you will not team up with anyone for this game. No matter what happens, you are to avoid forming a partnership.  Is that clear?"

"I understand"

"Good. That's what I like to hear." He turned to the other guards in the room, gesturing for them to approach.

"What I don't understand is why I'm here and why you're helping me?"

"First, we have a… personal interest in you." You turned to face him fully,wanting more clarification.

"We care about you." He moved his mask to reveal his lips as he moved to whisper into your ear. "We want you to be ours. We will not let anyone else have you. You belong to us." He paused for a second before whispering in a low, serious tone. "We are all… interested in you…" The other guards in the room were still watching silently, listening in on the quiet conversation without drawing their attention. They remained motionless, their eyes fixed on you, their masks concealing their expressions. You moved closer to him,whispering 

"The five of you or all the guards in here?"A flash of surprise crossed the square guard's cold, emotionless face as you leaned closer to him. His eyes darted around the room, making sure no one else was listening in on the conversation.

"All… of us. We all find you… attractive. Desirable." The square guard spoke again, his voice lowering to an even lower, possessive tone. "You are ours. We all want you. And we will not allow anyone else to have you.." His hands were now on your waist,slowly moving. The guard's grip on you tightened even more, his chest almost pressed against yours as he pulled you in closer. He kissed your neck as his hands moved further up.The square guard's hands continued to wander further up your body, his touch growing more insistent and demanding, clearly staking his claim on you in front of all the guards.Finally, one of the other guards, a triangular guard, spoke up, his voice filled with irritation.

"Sir, is this necessary..?" The tension in the room was palpable, the other guards watching with an intense gaze as their commander continued to hold and claim you as his own. They felt an increasing annoyance and irritation as the square guard clearly showed his possessive behavior in front of them.

"Is there an issue..?"

"Yes,you hogging her all to yourself" A triangle guard said,followed by a circle.

"Yeah, that's the issue. You're being a bit possessive, don't you think? We all want her, you know. Why do you need to hog her to yourself like this..?" The square guard's expression hardened at the triangular guard's response, his eyes narrowing even more as he was called out for his possessive behavior. The other guards in the room all stood there, their irritation growing as the tension in the room thickened even more. Immediately you were surrounded by guards,all slowly touching you. The square guard moved closer to you,still whispering.

"Stay still. Let them touch you.." In seconds they had quickly undressed you,their hands all over you.

"Good girl… just let them take you” The square guard was still standing beside you, his eyes taking in the sight of you naked and surrounded by the other guards, his hands gripping your waist possessively. His hands continued to grip your waist, his grip tight and possessive, as the other guards began to touch and explore your naked body all over. "Just let them… touch you…" Soon you were laid down on the bed,one guard behind you one down between your legs and the rest closely around you. As you were laid down on the bed, positions were quickly rearranged, with one guard positioned behind you, another in between your legs, and the rest of them all close by. The tension in the room was palpable, the other guards all taking in the sight of you lying there in front of them, naked and vulnerable in the possessive hold of their commander. One of the guards moved to stand on top of the bed,each of his feet on either side of your body. Unzipping his jumpsuit to let his cock out in your face,pressing it to your cheek.

"Come on sweetheart… don't keep me waiting…" You slowly opened your mouth,he quickly shoved it into your mouth with a hand on the back of your head.  "Good girl” The guard behind you cupped your chest,playing with your nipples his hold was surprisingly gentle. Two of the guards kissed up your legs as the square was between your legs licking circles around your clit. The two guards kissing up and along your legs had begun to grow more and more impatient, their touch more desperate and needy as they tried to satisfy their own desires. Their lips and hands continued to roam along your skin, each touch growing more and more intense.

"You're doing so good, sweetheart. Taking us all so well…." His words caused a chain reaction of praises from each. 

"You feel amazing… so good for us…"

"You're being such a good girl for us… you're doing so well…"

"You're ours, sweetheart… all ours…"

"We won't ever let anyone else have you… you're ours and only ours…"

"Don't pair up with someone for tomorrow's game and we'll reward you,we'll fulfill anything you could ever wish" the guard in between your legs stopped to say. His words were a warning, a command and a deceptively sweet promise wrapped into one.

"I won't pair up with someone tomorrow" The guard in between your legs, hearing your response, couldn't help a satisfied smile form at your words. He continued to hold you in place, his grip firm and possessive.

"That's a good girl… you won't pair up with anyone tomorrow… and we'll make sure you're well rewarded for it…"

.***

@androgynous-lady @hemlockmuncher

[literaryvein-reblogs]

Writing Notes: Hate

TRIANGULAR THEORY OF HATE

Typically hate is thought of as a single emotion. 

But there is reason to believe that hate has multiple components that can manifest themselves in different ways on different occasions. 

According to a triangular component of the duplex theory of hate, hate potentially comprises 3 components. 

As with love, hate can be captured by both feelings triangles and action triangles. 

Feelings may or may not translate themselves into actions, and actions may or may not represent genuine feelings. 

People may interpret actions as meaning different things, depending on their mappings of feelings into actions and vice versa. 

There are 3 components of hate: negation of intimacy, passion, and commitment.

Negation of intimacy - involves the pursuit of distance, often because the hated individual arouses repulsion and disgust.

Passion - expresses itself as intense anger or fear in response to a threat.

Commitment - is characterized by cognitions of devaluation and diminution through contempt for the targeted group.

The 3 components give rise to 7 different types of hate (plus non-hate), based on the particular combination of aspects involved:

Non-hate: No feelings of hate (none of negation of intimacy, passion, or commitment)

Cool hate: Disgust (disgust of negation of intimacy alone)

Hot hate: Anger/Fear (anger/fear of passion alone)

Cold hate: Devaluation/Diminution (devaluation/diminution of decision/commitment alone)

Boiling hate: Revulsion (disgust of negation of intimacy + anger/fear of passion)

Simmering hate: Loathing (disgust of negation of intimacy + devaluation/diminution of decision/commitment)

Seething hate: Revilement (anger/fear of passion + devaluation/diminution of decision/commitment)

Burning hate: Need for annihilation (disgust of negation of intimacy + anger/fear of passion + devaluation/diminution of decision/commitment)

THEORY OF HATE AS A STORY

The theory of hate as a story proposes that hate emerges from different kinds of stories. Some of the most common stories, deriving from the work of Sam Keene, Anthony Rhodes, Robert Zajonc, and others, are:

Stranger (vs. in-group) - Negation of Intimacy + Commitment

Impure-other (vs. pure in-group) - N

Controller (vs. controlled) - C

Faceless foe (vs. individuated in-group) - C

Enemy of God (vs. servant of God) - Passion + C

Morally bankrupt (vs. morally sound) - N + C

Death (vs. life) - N + C

Barbarian (vs. civilized in-group) - N + P + C

Greedy enemy (vs. financially responsible in-group) - N + C

Criminal (vs. innocent party) - C

Torturer (vs. victim) - N + P + C

Murderer (vs. victim) - N + P + C

Seducer/rapist (vs. victim) - N + P + C

Animal-pest (vs. human) - N + P

Power-crazed (vs. mentally balanced) - C

Subtle-infiltrator (vs. infiltrated) - C

Comic-character (vs. sensible in-group) - C

Thwarter/destroyer of destiny (vs. seeker of destiny) - C

Instigation of hate covers roughly 5 steps. Not all steps need to occur in order for hate to come into being. Indeed, even one step may start the process. The steps are:

The target is revealed to be anathema.

The target plans actions contrary to the interests of the in-group.

The target makes its presence felt.

The target translates plans into action.

The target is achieving some success in its goals.

Finally, perception becomes reality.

There may be elements of truth in some stories.

Example: A particular opponent may be loathsome in any number of ways.

But the power of stories is that their perception becomes, for the individual experiencing the stories, reality.

The individual typically does not question whether a given story is true. For him or her, it simply is true.

Sources: 1 2 ⚜ More: Writing Notes & References

Writing Notes: Love Click "Keep reading" for more examples. Warning: Very long text.

taxonomy of types of hate

The three components of hate generate, in various combinations, seven different types of hate. They are probably not exhaustive, and, because they represent limiting cases, are not mutually exclusive. Particular instances may straddle categories.

Non-Hate. Strangers on the street are likely to fall into this category, as may members of one’s family or one’s friends. But family members may arouse mixed emotions, so there is the possibility that some degree of hate exists toward family members, even coactively with feelings of love. In a healthy society (and a healthy person), most feelings one has toward other people are non-hate.

Cool Hate: Disgust. Cool hate is characterized by feelings of disgust toward the targeted group. The hater wishes to have nothing to do with the targeted group. Members of the targeted group may be viewed as subhuman, perhaps as vermin of some kind or as garbage. Visceral prejudice may be expressed as cool hate. The Sidney Poitier movie Guess Who’s Coming to Dinner depicted the visceral reaction of disgust of parents of a White woman who brought a Black man (her new beau) home to have dinner with her parents. Because the main feeling is a “cool” one, the reaction may be one of aversion rather than confrontation.

Hot Hate: Anger/Fear. Hot hate is characterized by extreme feelings of anger and/or fear toward a threat, and the reaction may be to run away or to attack (flight or fight). Sudden flare-ups of hate, such as road rage, are examples of hot hate. Gang members may kill others if they feel disrespected by the comments or even gestures of others. Riots often are accompanied by hot hate. People who feel only cool hate most of the time may be provoked and stirred up by the passion of the moment and find their hate converting into hot hate. The conversion may be short-lived. After the mutual egging on of the riot is over, those involved in it may revert to feelings of cool hate.

Cold Hate: Devaluation/Diminution. Cold hate is characterized by thoughts of unworthiness directed toward the target group. There is something wrong with the members of this group. Indoctrination often portrays the group as evil, as in Ronald Reagan’s conjuring up of the “Evil Empire” in referring to the former Soviet Union. This kind of use of metaphor invokes a number of free associations, all of which are stereotypically negative. The indoctrination may be against any group – Communists or capitalists in the Cold War (which was “cold” in more ways than one). Cold hate can be instilled even among those who have never encountered members of the target group. For example, it is not uncommon to find anti-Semitism or anti-Islamic cognitions among people who have never actually met a Jew or a Muslim. People are often unaware of their own cold hate. It is simply too much a part of who they are and how they were brought up. The cold hate may lie dormant unless the people are forced or inadvertently come into contact with members of a hated group.

Boiling Hate: Revulsion. Boiling hate is characterized by feelings of revulsion toward the targeted group. The group may be viewed as subhuman or inhuman and as a threat, and something must be done to reduce or eliminate the threat. The targeted group may change from time to time. In the earlier stages of the Third Reich, the Soviet Union was perceived as bad and revolting. Then, when Hitler made a pact with Stalin, the Soviet Union was perceived as good. Then, later, it was perceived as bad again. There was no sense of permanent commitment to any belief about the Soviet Union and Soviets. Negative intimacy and passion were instilled with a distinct absence of commitment. The change was later captured in George Orwell’s novel, 1984, where the identity of the enemy changed from one day or even one moment to another, and people were expected to adapt their hatreds to those chosen for them at any given moment by the government.

Simmering Hate: Loathing. Simmering hate is characterized by feelings of loathing toward the hated target. The targeted individual/s may be viewed as disgusting and as likely always to remain this way. There is no particular passion, just a simmering of hate. Ruthless, calculated assassinations often take this form. There is nothing sudden about such assassinations, which may be planned over periods of time, as Lee Harvey Oswald’s assassination of President Kennedy apparently was. Alfred Hitchcock’s movie Strangers on a Train depicts an individual who has felt simmering hate over a long period of time, and has devised a plan to have a murder committed without his actually having directly to take part in it.

Seething Hate: Revilement. Seething hate is characterized by feelings of revilement toward the targeted individual/s. Such individuals are a threat and always have been. Planned mob violence, often preceded by fiery oratory, sometimes takes on the characteristics of seething hate. The goal is to arouse the mob to violence, as in the Krystallnacht, where mobs were sent to destroy shops of Jewish shopkeepers who were portrayed as seeking to destroy the economy of Germany. In these cases, the targeted group may be portrayed not as subhuman but as more than human, for example, as being engaged in a worldwide plot of domination or conquest. Fears among U.S. militia groups of black helicopters sent by the forces of world government show this kind of hate. The enemy is not subhuman, but superhuman in its massive organization and conspiracy to take over the world. The Left Behind series of novels, portraying a world very loosely based on the biblical book of Revelations, describes the efforts of the Anti-Christ and his allies to take over the world and the people in it.

Burning Hate: Need for annihilation. Burning hate is characterized by all three components of hate. The haters may feel a need to annihilate their enemy, as postulated by Kernberg (1993) for extreme forms of hate. Some years back, Eli´an Gonzalez, a Cuban boy who was found clinging to a boat off the shores of Florida, was seized from his Miami relatives by the U.S. government. There were massive demonstrations in Miami, Florida, and Union City, New Jersey, as well as elsewhere, against Fidel Castro and the U.S. government, which was seen as in league with Castro. The outpouring of hate was powerful. The targeted group may be viewed as diabolical destroyers, and indeed, a poster shown on CNN depicted then Attorney-General Janet Reno with the horns of the Devil.

relations of the components of hate to terrorism, massacres, and genocides

The triangular theory of the structure of hate speculatively holds that hate is related to terrorism, massacres, and genocides through the number of components of hate experienced.

Danger Level 0: No Hate-Based Danger, results when none of the components of hate is present.

Danger Level 1: Mild Hate-Based Danger, results when one of the components of hate is present.

Danger Level 2: Moderate Hate-Based Danger, results when two of the components of hate are present.

Danger Level 3: Severe Hate-Based Danger, results when three of the components of hate are present.

Massacres and genocides are much more likely to result, arguably, when all three components are present. They are also a product of stories.

stories underlying the development of hate

The Stranger Story. The hated enemy is a stranger. Propaganda typically shows the object of hate as very strange looking. One Nazi propaganda poster shows a Jew with a Star of David tattooed on his forehead, with evil-looking squinting eyes, with a grossly asymmetrical face, with a twisted lip and a double chin, and with large ears notably sticking out from his head. No one can look at this poster and identify with the individual depicted: He is a stranger. We usually think of strangers as people we do not know and never have known. But they need not be. Often the stranger is someone who is familiar to us, and whom we thought we knew, but who, on reexamination, now appears to be someone else – someone strange and perhaps incomprehensible. The stranger story can apply to interpersonal relationships. We may be in a relationship with a partner whom we think we know quite well. Then we discover, to our astonishment, that the partner is having an affair, or has a sizable private bank account that he or she has hidden for many years. The person whom we thought we knew well may now come to seem like an utter stranger, and we may find ourselves wondering what other things about the partner that may be detrimental to our well-being he or she has not revealed.

The Impure Other Story. The hated enemy is impure or contaminated. Typically, the enemy is trying to spread this contamination. The enemy must be stopped before the contamination gets out of control (or to stop contamination that already is out of control). The euphemism “ethnic cleansing” may call to mind images of an enemy that needs to be eliminated from a society that otherwise would be pure in much the same way dirt needs to be eliminated from holy relics. In a close relationship, hate may be generated by the discovery that the partner has been contaminated, as by an extramarital affair or a disfiguring disease. In some societies, it is sufficient for a woman to be raped for her elimination to seem necessary to certain men with this story. The woman now is no longer viewed as pure and therefore may be seen as having ceased to serve her purpose. Curiously, and with unabashed sexism, the impurity applies only to the wronged female, not the male who wronged her.

The Controller Story. The hated enemy is trying to control you and perhaps the world. One German propaganda poster shows a Jew riding on top of the shoulders of Roosevelt, Churchill, and Stalin, who is knee-deep in water. The only happy face in the poster is that of the Jew on top. Stories, such as the controller story, may have elements of truth. For example, the Sunnis in Iraq, although a minority, controlled the country for a long time. Some of them built up a system of oppression and repression that was, although brutal toward all Iraqis, especially arbitrary and invidious toward Shiites (Ghosh, 2007). But the stories may also be completely false, as when a group is targeted as controlling a society when in fact they are powerless and persecuted.

The Faceless Foe Story. The hated enemy has no face and indeed has few distinguishing human characteristics. For example, one political cartoon shows a dozen Soviet leaders who all look exactly the same, and have few, if any, distinguishing human characteristics. They are faceless and indistinguishable from each other. In a close relationship, one may reconceptualize one’s partner as faceless – as ordinary – and feel one’s love dissipate and even turn into hate if one feels tricked into having (previously) believed that the partner was special. Sometimes, perpetrators seek to be faceless. Torturers may hide their identities so that their victims cannot later identify them. Other times, victims are made to be faceless. Bombardiers may find it easier to destroy a whole town from an aircraft because, to them, the enemy is faceless.

The Enemy of God Story. The hated enemy is not only your enemy, but also, an enemy of God. The stories, as tends to be the case historically, are created by cynical and destructive individuals who seek to use others as their tools for wreaking havoc and destruction. This story can apply to individuals in intimate relationships in which one or both are religious. If one of the partners comes to be perceived by the other as having committed a mortal sin, then a loving relationship can turn to hate as the couple struggles with the (perceived) sin of the blamed partner. In a religion story of love, a reconceptualization of the partner as of the Devil rather than of God can suddenly turn love into hate.

The Moral Bankruptcy Story. The hated enemy is immoral or must be eliminated on moral grounds (as proposed by Zajonc, 2000). The enemy is doing immoral things, such as praying to the wrong god or gods, or to no god at all. Or the enemy is defiling holy sites or simply insulting the morality of God or humans by its very existence. During the Salem witch craze, one excuse for the elimination of alleged witches was their immoral pact with Satan. In close relationships, a spouse who comes to be viewed as immoral may be hated on account of the alleged immorality.

The Death Story. The hated enemy represents death. One Italian propaganda photo shows the Statue of Liberty carrying its torch and igniting a city. At the same time, it is taking off its mask to reveal a skull underneath. Enemies often do represent death. For example, the Janjaweed militias in contemporary Sudan come as close to representing death as any destroyers can. But these militias, following historical patterns, portray themselves as protecting the lives that are “worth” protecting, and the civilization that they claim to represent.

The Barbarian Story. The hated enemy represents a barbarian. Rome was eventually overthrown by enemies that the Romans viewed as barbarians. Today, the world faces attacks on many fronts from enemies viewed as barbarians. The barbarians, in turn, are likely to view those they attack as morally decadent and themselves as saviors coming to sweep away the decadence they believe they see among those they attack.

The Greedy Enemy Story. The hated enemy is exceptionally greedy. When gasoline prices reached high levels in the United States, one oil company produced a greater profit than any U.S. company in the history of the country. A CEO had just retired from this company with an exceptionally generous retirement package. The problem is that sometimes hated objects act in ways that promote rather than destroy the story that they would wish to have dissociated from them.

The Criminal Story. The hated enemy is a criminal, and needs to be dealt with as such. The hated person or group may have stolen something away from one, such as a loved one or some object of value. Propaganda photos frequently are made to look like wanted posters. One such poster from World War II, produced in the United States, shows Hideki Tojo, Prime Minister of Japan during World War II, in such a wanted poster. In a close relationship, discovering criminal behavior on the part of one’s partner may turn love into hate, especially if the criminal behavior is directed toward oneself. The behavior need not be legally criminal. If one perceives it as morally criminal, that may be enough to generate this story.

The Torturer Story. The hated enemy is a torturer. Some propaganda posters show actual portraits of individuals who have been tortured by enemies. In a close relationship, one may come to conceive of one’s partner as a torturer, and come to feel hate rather than love toward the partner. The torturer story is one of the most powerful stories of hate. In modern day Argentina, Chile, South Africa, and other countries, victims and their family are still trying to come to grips with a long history of government perpetrated torture. And attempts are still being made to identify the people responsible for the torture – both the torturers themselves and those who commissioned them to execute the torture.

The Murderer Story. The hated enemy is a murderer. Sometimes actual photographs are used, such as a widely distributed photo of right-wing students hanging and simultaneously hitting a left-wing student over the head with a chair. The right-wing students are smiling and cheering as the act progresses. In a close relationship, sometimes individuals feel that their lives are threatened, literally or symbolically, by their partners, and may come to feel hate rather than love toward their partners.

The Seducer/Rapist Story. The hated enemy is a seducer or a rapist. One German propaganda poster shows an older, ugly Jew seducing a beautiful woman. An American poster shows unclothed women in cages being inspected by Nazi soldiers. In close relationships, an individual (usually a woman) may come to feel that sex is no longer consensual but forced, and may come to experience hate rather than love for the partner. Unfortunately, many hated targets are rapists. Soldiers in war frequently use rape to satisfy their own lust, and to demoralize and humiliate the enemy. Rapes may occur in intimate relationships as well as in any others. They may also occur in families (incest).

The Animal Pest Story. The hated enemy is an animal pest, such as a germ, an insect such as a cockroach, a reptile, or some kind of a beast. One World War II German propaganda poster shows the Jew as a rat, with the heading “Rotten.” A World War II Italian propaganda poster shows the American G.I. as an ape. In a close relationship, one may come to view one’s partner as animal-like – a pig or a rat – and may come to feel hate rather than love for the partner. These stories become more powerful as those who perceive themselves as victims feel that the violations occur on a repeated basis.

The Power Monger Story. The hated enemy is crazed with the lust for power. A World War II German propaganda poster shows Roosevelt embracing the globe, his face crazed with the lust for power. In a close relationship, one may come to view one’s partner as totally absorbed by power aspects of the relationship, and as seeking total domination. One may feel one’s love convert into hate. The leaders of some countries come to be seen as power mongers. Unfortunately, they may act in ways that promote the stereotype. Whatever their intentions, their efforts to combat hate may then be belied by their own actions.

The Subtle Infiltrator Story. The hated enemy is a subtle infiltrator. One British poster shows a group of Army officers talking while a beautiful woman is sitting amongst them, pretending to be “dumb” but listening carefully to all that is said. Stalin used the subtle infiltrator story to induce hate of certain groups. Beginning in 1927, he staged a series of show trials designed to show that various groups were actually subtle infiltrators in league with the enemies of society. For example, managers, engineers, academics of various kinds, people associated with religious movements – all were portrayed as in league with and in the pay of world capitalists to destroy Soviet society (Mace, 1997). Similar stories are still used today to target individuals and groups.

The Comic Character Story. The hated enemy is a comic character. During World War II, American comic books often portrayed comical Nazi soldiers as being demolished by American super-heroes. A Walt Disney cartoon showed Donald Duck throwing a tomato at the face of a comical Adolph Hitler. Charlie Chaplin played a comic Hitler as well. Nazi propaganda portrayed Jewish women as fat, ugly, and stupid. In a close relationship, one may come to view one’s partner as a comic figure – as a buffoon or a fool – and feel one’s love turn into hate. This story may be less effective in inducing hate than some of the other stories, because it is likely to instill neither anger nor fear. Indeed, it may lead people to view a threat as less serious than it is, and, because of its comical portrayal, to dismiss any danger the threat poses.

The Thwarter/Destroyer-of-Destiny Story. The enemy is hated because of its role in thwarting or destroying a certain destiny. For example, the murderer of a loved one may be hated because the murderer has destroyed what should have been the destiny both of the loved one and of the one who has offered the love.

structure of the stories of hate

Because the stories of hate tend to be simple, some people might prefer to view them simply as negative stereotypes, or as negative images of the enemy.

Why use the story concept at all? Because, arguably, each is associated with an anticipated set of events.

The key point is that the threat represents a dynamic story, not just a static image or stereotype.

Whereas stereotypes tend to be somewhat one-dimensional, immobile, and static over time, stories are multidimensional, fluid, and changeable over time.

1. The Target Is Revealed to be Anathema At some point, often long in the past (and probably more often than not, in the imagined past), the target reveals itself to be worthy of hatred. Perhaps members of the group killed God, or slaughtered members of what is now the in-group, or plotted the destruction of the in-group, or revealed themselves to be dirty or greedy or whatever. Although the events giving rise to the groups’ being labeled as anathema may have occurred long ago, they can remain in a metaphorical sort of Jungian “collective unconscious.” In some cases, the events may never have occurred at all. They may merely be imagined to have occurred, such as when they are part of an oral history of dubitable validity.

2. The Target Plans Actions Contrary to the Interests of the In-Group One may not become aware of this problem right away. But at some point, one becomes aware that for some time, often a long time, the target has been planning actions contrary to the best (and often, any good) interests of the in-group. Whatever the problem is, it is no longer historical in nature; it is current. Because members of the in-group often do not realize they have been “plotted against” until what they perceive to be rather late in the plotting process, they may feel a sense of desperation and urgency. Of course, in many instances, the planned actions are imaginary, which does not make them any less “real” psychologically to those who are being manipulated into hating the members of the target group.

3. The Target Makes Its Presence Felt The story often first becomes perceptible when the target appears significantly on the scene. The target may come from outside, either legally (through legal immigration) or illegally (through illegal immigration, invasion, or imposition by outside powers). But the target also may come from inside. Perhaps it has been there a long time. Indeed, people often feel that they were blinded, and that only now are they realizing the threat that has been there for some time. Now the target is becoming powerful, and hence is becoming a force to be reckoned with, before it is too late. Stalin was notorious for devising elaborate plots that were alleged to have been hatched against the government, which had no more reality than the proverbial will o’ the wisp.

4. The Target Translates Plans into Action Members of the in-group believe they are becoming aware that the period of plotting is over for the target. The target is actively translating thought into action, and thus has become a true threat, not just a hypothetical one. Sometimes the action is now perceived to be already quite far along before individuals realize what is going on; other times the action is perceived to be just starting up. The exact type of action depends on the content of the story. In many instances, the only action is that of the perpetrators against the targets, who were never planning any action in any event. Enemies of God actively work against God. Beasts cause wanton destruction. Rapists, of course, rape men, women, and children. Subtle infiltrators covertly try to take things over. Thwarters of destiny try to make sure that the in-group cannot achieve the goals it deserves to achieve. In each case, the target group works against the in-group. What differs is how they achieve their goals. Often, they may achieve their goals in multiple ways through multiple stories.

5. The Target Is Achieving Some Success in Its Goals Unsuccessful targets may be viewed as pathetic, such as members of very small groups that have dreams of taking over the world. But once the target is not only acting, but achieving some success in its actions, feelings of hatred and perhaps the desire to act upon these feelings become a force to be reckoned with. In sum, the images, in themselves, are the contents that fill in the story schema. In a sense, the precise story is less important than how many of the above steps the target group has (in the minds of the in-group) managed to enact. The more steps the target group enacts, the more of a threat they become, and the “hotter” the hate is likely to be (i.e., the more the number of components that are likely to be operative).

mapping to the triangle of hate

Different stories are likely to induce different components of hate, but which are induced probably depends in part upon the person.

Consider a few examples:

Stories of individuals or groups as vermin or as impure are likely to induce negation of intimacy.

Stories of individuals or groups as murderers or rapists are “hot” and thus are likely to induce passion.

Stories of individuals or groups as greedy or as dominators are “cooler” and thus are more likely to induce commitment.

the relation of hate to love

Often, love is viewed incorrectly as the opposite of hate.

They are thought to constitute just one single dimension on which a person can move from love to hate, from hate to love, and so forth.

Hate is neither the opposite nor the absence of love. Rather, the relationship between love and hate is multifaceted.

Therefore, love and hate can exist at the same time in the same person with regard to the same object.

The opposite of love is rather indifference.

Hate and love have a lot in common. Both involve very intense emotions and attraction of a certain kind.

Love and hate both have three components, which are interrelated.

In one case, the components are inverses of each other. In the other two cases, they are actually the same, but are experienced differently.

Different people have different combinations of these components so, structurally, may experience hate (or love) differently.

The stories of love are also susceptible to turning. Consider some of the stories of love, and how they can contain within them the seeds of destruction:

1. Addiction. An addiction story involves one partner’s feeling addicted to the other, or less frequently, both partners feeling addicted to each other. Addictions are usually, in themselves, love–hate relationships. One feels bound to something or someone, but feels also one’s freedom to escape is restricted. Feelings of love especially can turn to hate if one feels that one’s addiction is self-destructive, as when one feels an addiction toward someone who is abusive toward oneself or others.

2. Business. In a business story, two people essentially view each other as investments, much like they might invest in people in any other business. The difference is that this is a particularly important investment. A business story succeeds by virtue of both partners feeling that the business is equitable and works to their mutual advantage. But if the business goes bad – one partner makes poor decisions that lead to financial or other forms of distress, or if one partner proves to be untrustworthy, the relationship can go bad rather quickly, and turn love to hate.

3. Fantasy. In a fantasy story, the partners view each other much the way characters would in a fairy tale. The success of a fantasy story in love typically depends upon the partners respectively occupying the roles of prince and princess, king and queen, or similar roles. But just as frogs can change to princes, so can princes change to frogs. And just as kings or queens can be perceived as beneficent, so can they be perceived as malevolent or as imperious. The success of the fantasy story thus depends on the partners maintaining positive images in the roles they occupy. Should the images become negative, hate can replace love.

4. Horror. Horror stories are stories based on one partner’s terrorizing the other. Relationships based on horror stories are almost always love–hate relationships to begin with. One is attracted by, and simultaneously repelled by, the abuse that characterizes such relationships. In some cases, the individual who is the object of the terror in such a relationship may come to hate the perpetrator, much as the victim comes to hate the perpetrator in a massacre. There is also a psychological phenomenon called “Stockholm Syndrome,” in which the victim of a hostage-taking develops positive emotions toward the hostage-takers.

5. Mystery. In a mystery story, one partner seems mysterious, and the other acts as a detective trying to solve the mystery. A mystery story gains its interest by virtue of the fascination of one partner with the mystery represented by the other. The individual peels away one layer of mystery after another. But one may find that, at bottom, the story is not a pleasant one. For example, the mystery may be that the partner is exploiting one, or is involved with other people as well. Love can then turn to hate.

6. Travel. In a travel story, two partners travel through life together, trying to the extent possible to stay on the same or at least proximal paths. A travel story can go bad if a partner feels that the other partner has departed from the path they set out together, or has started to regress on the path. If the paths diverge too much, and one partner does not like the path the other is taking, that dislike or even hate may transfer to the partner. This can happen, too, when one of the partners goes through a physical, psychological, or social transformation that changes him or her. When he or she makes new friends his/her partner dislikes or gets on a career trajectory that makes him or her much more successful than the partner and leaves that partner jealous, hate can develop as well.

7. War. In a war story, two partners enjoy fighting with each other. They seem constantly to be at war with each other. Love may turn to hate if the war becomes a serious one, and the partners find that the fights lose whatever good nature they originally may have had. The war story perhaps provides the best transition from a consideration of love to a consideration of hate.

Sources: 1 2 ⚜ More: Writing Notes & References

Writing Notes: Love

[yamayuandadu]

Hecate, Melinoe, "Ereschigal": when a name becomes the ship of Theseus?

(Triple Hecate on a magical apparatus from Sardis, via William Bruce and Kassandra Jackson Miller, Towards a Typology of Triangular Bronze Hekate Bases: Contextualizing a New Find from Sardis, p. 512; reproduced here for educational purposes only)

This article wasn’t planned in advance. It’s largely a side effect of trying to help a friend with tracking down a \specific source, the elusive reference to Melinoe from outside the Orphic Hymns, in order to determine whether it really treats her as interchangeable with Hecate. Investigating this topic revealed that it’s connected fairly closely with something I wanted to cover for a while already, namely the Greek (or rather Greco-Egyptian) magical papyri, a unique text corpus to a large degree focused on Hecate and in particular on supposed equations with a number of other figures, ranging from Selene, though Isis, to Mesopotamian Ereshkigal. The last of these cases is what I will focus on, as similarly as the supposed interchangeability of Hecate and Melinoe it is often presented online without context. While the two core goals of this article are establishing whether Melinoe really is just Hecate, a distinct but very Hecate-like figure, or something in between, and explaining whether references to “Hecate-Ereschigal” necessarily indicate some greater degree of familiarity with Mesopotamian theology, that’s not all I will cover. You will also be able to learn why Hecate gained an extra body in early centuries CE; whether it’s true that sources referring to her as genderfluid exist; which unexpected figure plays the role of messenger of Zeus in magical papyri; what the possible last known pre-modern reference to Ereshkigal has to do with Jewish angelology; and more!

Note that technically this is not my first Hecate article; I wrote one long ago - in the early days of this blog, probably around half a decade ago at the height of the initial covid lockdowns, if not in the even more distant past. However, it was subpar; for all intents and purposes, this is the first one which meets my modern standards. 

The case of Melinoe

Melinoe appears in a very small number of sources, all of which are fairly well studied. In theory this makes her fairly easy to write about. However, she is also fairly unique in that I can’t think of many other mythological figures who arguably received an enormous boost in prominence specifically thanks to their online reception. This is a double edged sword. On one hand, unique sources reach more people than they would otherwise, at least indirectly.. On the other, misconceptions and misreadings are abundant. For this reason, a brief introduction to her will be necessary before evaluating what, if any, connection existed between her and Hecate.

There’s no strong reason to suspect Melinoe was ever particularly popular in antiquity - more on that soon - and she had negligible presence in art before quite recently. A notable exception is apparently an offhand reference to her in one of Hugo Grotius’ poems (Edwin Rabbie, Editing Neo-Latin Texts, p. 42). I was sadly unable to track it down - if you want to check for yourself, it is reportedly to be found on p. 359 in the 1992 anthology Original Poetry 1604–1608  (De Dichtwerken van Hugo Grotius, I 2 A/B 4).

Melinoe in the Orphic Hymns

Grotius relied on what was the only source about Melinoe available to him and his contemporaries - the Orphic Hymns. They remain a pretty important point of reference for researchers today, though not exactly due to the presence of Melinoe. Even though they’re relatively late and fairly esoteric (as expected from an orphic text corpus), they’re one of the best preserved collections of Greek hymns which were undeniably performed in a religious setting. We don’t know the full history of their transmission, though. They were hardly discussed in other literature before the fifteenth century, barring a single reference in a commentary on Hesiod’s Theogony which might date to the thirteenth (Daniel Malamis, The Orphic Hymns. Poetry and Genre, with a Critical Text and Translation, p. 1). 

The full collection consists of eighty eight hymns, each dedicated to a different deity, ranging from major figures recognized virtually all over the at least partially Hellenized world, through personified abstract concepts, to local deities from the west of Asia Minor with few, if any, other attestations. Melinoe belongs to the last of these categories, alongside the likes of Mise, Hipta and Erikepaios (The Orphic Hymns…, p. 171-172). The seventy first hymn is dedicated to her. Multiple translations are available, the most recent one is Daniel Malamis’ (The Orphic Hymns…, p. 103):

The exact translation of some phrases remains a subject of heated debate, but the gist of it is fairly well understood: Persephone gives birth to a minor underworld goddess after Zeus impersonated Hades to seduce her. A minority position is that Melinoe somehow has two biological fathers (The Orphic Hymns…, p. 130). I’m not aware of any translator making it even remotely possible that Hades alone was her biological father - this is entirely an online misconception. There is no alternate account of her origin, the hymn is the only version - claims on the contrary are doubtlessly the result of online games of telephone. The friend whose Melinoe inquiry was a catalyst for this article informed me that there are online claims that the myth describes Hermes witnessing this event. It’s important to stress that nothing of that sort is evident here, as you can see for yourself - the only deities mentioned are Melinoe herself, Persephone, Zeus and Hades. I’d assume this misconception is the result of the river Cocytus also being mentioned in the hymn to Hermes Cthtonios (and nowhere else in the Orphic Hymns), which however doesn’t deal with Melinoe, let alone specifically with her birth (The Orphic Hymns…, p. 89):

To go back to the main topic, dedicating a lot of space to explaining the origin of Melinoe sets the hymn apart from the other eighty seven. It is possible that the compiler considered her obscure to the point it warranted explaining to their audience who she was by narrating her origin myth (The Orphic Hymns…, p. 266). As a result of this unusual focus, she receives very few epithets compared to most other deities praised in the Orphic Hymns. She shares this status with Nomos - in whose case the small number of epithets instead reflects the fact he was more a personified concept than a deity proper, though (The Orphic Hymns…, p. 270).

Thanks to the contents of the hymn, despite Melinoe’s obscurity we have a pretty solid idea about her character, too. At the very least for the compiler of the hymn, she was an appropriate deity to invoke to guarantee safe passage of the dead into the afterlife (Kassandra Jackson, ‘She who changes’ (Amibousa): a Re-examination of the Triangular Table from Pergamon, p. 465). Further insights might possibly be gained from her name, which has been variously interpreted as “gentle-minded” (from meilinói; this interpretation was seemingly proposed as early as in the sixteenth century, as evidenced by an anonymous translation into Latin explaining her name as placidae mentis) or “russet” (from mílinos), in this context a poetic way to describe the color of the moon (The Orphic Hymns…, p. 288).

The fact the hymn refers to Melinoe as a nymph warrants some further discussion as well. I haven’t seen this point raised in literature, but this would fit neatly with her presumed status as a minor goddess of strictly local importance. It was not uncommon for such figures to be labeled as nymphs when they were incorporated into the broader “Olympian” pantheon in one way or another, as attested for example for Callisto or Britomartis (Jennifer Larson, Greek Nymphs: Myth, Cult, Lore, p. 7).

A potential issue for this interpretation is that Melinoe doesn’t seem to correspond to any specific natural feature, though - the localized character of nymph cults reflected the fact that they typically corresponded to a specific river, mountain, island, et cetera (Greek Nymphs…, p. 9). Alcman mentions underworld nymphs (lampads) from the entourage of Hecate, but this reference is entirely isolated (Greek Nymphs…, p. 284; note the wikipedia article asserting they are referenced in Hesiod’s Theogony is essentially a hoax, though admittedly a fun, creative one). For what it’s worth, the term “nymph” might very well just be used metaphorically to indicate Melinoe was imagined as a young woman, though (Anne-France Morand, Études sur les Hymnes Orphiques, p. 182).

Nymph-centric deliberations aside, the fact that the hymn associates Melinoe with ghosts and more broadly with the underworld, and that she might even have an indirect lunar connection depending on which etymology of her name is correct, it probably doesn’t come as a surprise that it’s pretty much the academic consensus that overall her character was Hecate-like (though pretty obviously less multifaceted). The similarities even extend to terms used to refer to them (“saffron-robed” is a fairly common epithet of Hecate) and requests aimed at Melinoe in the hymn and at Hecate elsewhere (‘She who changes’ …, p. 465). However, as far as the Orphic Hymns are concerned, they are ultimately two separate goddesses (The Orphic Hymns…, p. 361). In the hymn dedicated to her, Hecate is actually portrayed as a veritable head of the pantheon (The Orphic Hymns…, p.165-166), directly addressed as the “queen of all cosmos” (The Orphic Hymns…, p. 27):

Ultimately it’s important to bear in mind that even if the compilers clearly cared about Melinoe enough to dedicate a separate hymn to her, they neither equated her with Hecate nor even attributed a comparable degree of importance to them. The investigation cannot end here, though. Melinoe has exactly one more further attestation.

Hecate-Melinoe, Hecate-Persephone, Hecate-Zagourê? The Pergamon tablet and its historical context

An illustration of the triangular magical tablet from Pergamon (wikimedia commons)

In addition to her considerably more famous role in the Orphic Hymns, Melinoe also makes a cameo on a peculiar object from Pergamon (The Orphic Hymns…, p.172). It dates to the third century CE. In contrast with the hymns, it doesn’t provide much mythological or theological information about her. It’s not even really a proper text. Rather, it’s a triangular tablet inscribed with a long series of epithets of Hecate, arranged into three columns under three depictions of her placed in the corners (‘She who changes’ …, p. 457).

In this context, Melinoe is explicitly one of Hecate’s (many) names (‘She who changes’ …, p. 464-465). This is presumed to reflect a level of familiarity with both figures sufficient to establish they were similar enough to warrant an equation (Richard Gordon, Another View of the Pergamon Divination Kit, p. 198). It’s also worth noting that Melinoe’s presence in the inscription was one of the arguments which lead to the formation of the generally accepted view that the Orphic Hymns must have been originally composed somewhere in the proximity of Pergamon, at least more broadly in western Anatolia (The Orphic Hymns…, p. 171-174).

This doesn’t mean we should conclude the Orphic Hymns were also written with the same arrangement in mind, though. Equation in a specific context doesn’t mean two figures can be considered interchangeable. It’s hard to think of better proof than the fact not only Melinoe, but also Persephone is reinterpreted as a title of Hecate on the Pergamon tablet (‘She who changes’ …, p. 466). It’s hardly the only magical text to do so (Eleni Pachoumi, The Concepts of the Divine in the Greek Magical Papyri, p. 130-131). It is probably relevant that a tradition in which Hecate was a daughter of Demeter is also attested - sparsely, but still. It might even be alluded to in Eurypides’ Ion, where Enodia is addressed as such (Ljuba Merlina Bortolani, Magical Hymns from Roman Egypt. A Study of Greek and Egyptian Traditions of Divinity, p. 232).

Hecate actually gets a fair share of other names which usually would refer to independent figures on the discussed tablet; the two cases discussed above aren’t unique in that regard. Some of the other notable examples include Leukophryne (“of the gleaming brow”), a designation used exclusively for the local form of Artemis worshiped in Magnesia on the Meander; Dione (sic); and even the angel Zagourê (“he whose fire glows), best known from the Eighth Book of Moses and other magical papyri, a genre of text I will soon go back to (‘She who changes’ …, p. 463-466). 

While as far as I am aware the last equation is unique, as a curiosity it might be worth noting that the words angele and angelos were actually sometimes used to describe Hecate elsewhere (for example by Hesychius), usually in the literal sense, to reflect moving between the underworld, the earth and Olympus (Rangar Cline, Ancient Angels. Conceptualizing Angeloi in the Roman Empire, p. 49). It’s tempting to speculate that perhaps this is why the author of the Perhamon tablet opted to equate her with a specific angelos they were vaguely familiar with - it’s not like the text preserved any distinct information about Zagourê’s character.

The Pergamon tablet isn’t unique - similar objects also inscribed with long series of Hecate names are known from Sardis and Apamea (Towards a Typology…, p. 509) - but as they don’t mention Melinoe I won’t discuss them here in detail. All three of these extensive collections of Hecate names reflect the same phenomenon, though. In late antiquity Hecate’s defining feature was arguably being “many-named” and “many-formed” (The Concept…, p. 137). It’s tempting to assume that the standard three bodied Hecate depictions, which the average person would be well familiar with, made her particularly suitable for equations with goddesses who shared some of her characteristics - which, as I outlined above, is definitely the case for Melinoe.

It's also important to stress that there was a pretty universal religious anxiety over getting the names and titles of deities wrong or omitting an important one, though. Simultaneously, it was believed that it pleases a deity to hear many of them, say, in a hymn in their honor; and, furthermore, that they could be compelled to act by sufficient familiarity with their names (The Orphic Hymns…, p. 218-219). It’s easy to imagine how this would influence composition of texts focused on a goddess whose very nature required turning this focus on names and titles up to eleven. Given that Melinoe is not attested on any other similar artifact, perhaps she was included just in case due to such a concern? Ultimately this is pure speculation on my part, though, and it’s equally if not more plausible that she is included only in this one list simply because she was exclusively worshiped relatively close to where it was found.

The long strings of names and magical formulas on the Pergamon tablet and other similar objects are also significant for a further reason: they make it possible to establish a connection with a specific corpus of Greco-Egyptian esoterica, the late antique magical papyri. The owners of the tablets were not necessarily actually well versed in Egyptian religious texts of the sort passed down in temple scriptoriums, but it does seem they knew enough about them to attempt to use the same principles - which is reflected, among other things, in the long strings of names assigned to Hecate (Another View…, p. 197-198). Melinoe is not attested in any of these texts (‘She who changes’ …, p. 465), and her role in this article as a result ends here.

Before I can move on to the second case of a peculiar link between Hecate and another deity I'd like to discuss, a brief introduction to the magical papyri themselves will be necessary.

A brief introduction to magical papyri

“Greek magical papyri” and “Papyri graecae magicae” (PGM) are the modern conventional names designating a corpus of unusual texts from, as you can probably guess, Egypt. 

The earliest example known dates to the fourth century BCE, but most are significantly younger (Jacco Dieleman, The Greco-Egyptian Magical Papyri in Guide to the Study of Ancient Magic, p. 316). While they were composed under Roman rule, between the second and fifth centuries CE, the only languages used in them are Greek, and less commonly Demotic, with no trace of Latin. This is pretty much in line with other texts from Roman Egypt. It was culturally Hellenized through the period of Ptolemaic rule, but it never really became Romanized to a comparable degree, and Latin was restricted to military administration (Magical Hymns…, p. 3-4).

Why are these papyri “magical”? Despite involving deities and frequently referencing specific myths, they generally describe rituals which took place in private houses, as opposed to temples. The stated aims often can be only described as petty (securing the love of another person, gaining material wealth, or even a specific outcome in a chariot race…), and require some rather unorthodox solutions, like quite literally blackmailing deities, ghosts or other supernatural beings. Many of the texts also stress that their contents should remain secret. Thus, referring to them as “magical” rather than broadly “religious” literature is seen as optimal by researchers, to stress that they don’t represent the official temple cults, but rather a distinct sphere of activity (Magical Hymns…, p. 14). 

It needs to be pointed out that modern terminology reflects the Greek (and Roman) outlook more than Egyptian. The closest Egyptian term to “magic”, heka (ḥkȝ) originally referred to something that was ultimately a prerogative of temple priests, rather than an unofficial application of religious principles to private ends (Magical Hymns…, p. 16-18). Since at least some of the authors of the magical papyri were Egyptian priests, possibly ones who sought new sources of income in changing times (Magical Hymns…, p. 23-24), it is possible that they deliberately reinvented their practices for a new clientele to meet their expectations (Magical Hymns…, p. 19). It was pretty clearly important to make sure the clients were satisfied - at least some of the texts were composed ad hoc for specific unique cases (Magical Hymns…, p. 277). While the magical formulas were innovative and had no direct antecedents, they were deliberately presented as a secret ancient tradition to imbue them with more authority. Sometimes they were outright claimed to be passed down from famous historical authors or religious figures, ranging from Pythagoras, through Manetho, to Moses, or even deities, typically ones heavily associated with magic like Hermes or Isis (The Greco-Egyptian…, p. 312-313).

The magical papyri feature a plenty of unusual technical terms known as voces magicae. They’re magical formulas with no actual meaning which in the context of the magical papyri might have been treated as secret names of deities. While it is possible some of them were garbled transcriptions of words originating in Egyptian or in Semitic languages, many are pure gibberish, like sequences of vowels (aeēiouō is a genuine example) or invented palindromes (The Greco-Egyptian…, p. 285). The formulas sometimes label the voces magicae as Hebrew, Aramaic or Meriotic, but this is obviously not true - at best, it can be assumed that to the customers of the experts preparing the magical papyri they sounded sufficiently “alien” for these labels to be believable (The Greco-Egyptian…, p. 309-311). Some authors of the papyri evidently went even further, and claimed that the abra cadabra formulas represent the language of animals, for example falcons or baboons (The Greco-Egyptian…, p. 311-312):

The case of “Ereschigal”

It probably comes as no surprise that most of the deities frequently invoked in the magical papyri are Greek (Helios, Hermes, Hecate, Selene, etc.), Egyptian (Isis, Osiris, Seth, Bes, etc.) or, like Serapis, somewhere in between (The Concepts…, p. 10). What is less obvious is why a few of them contain references to Mesopotamian Ereshkigal -  or rather “Ereschigal” (Ἐρεσχιγὰλ), to remain true to the Greek spelling. In a single case a Demotic form is attested, but it reflects the Greek one, and doesn’t represent an independent borrowing from any language spoken in Mesopotamia (Daniel Schwemer, Beyond Ereškigal? Mesopotamian Magic Traditions in the Papyri Graecae Magicae, p. 67). What is perhaps even more surprising is that her name is effectively treated as a byname of Hecate - one of the spells is directly labeled as directed towards “Hecate-Ereschigal” (The Concepts..., p. 21).

A crash course in Ereshkigal’s career, from Early Dynastic Lagash to Seleucid Uruk

Ereshkigal is a well attested deity, with a fair share of up to date publications dealing with her to booth. Sadly, as I’ve noticed while working on this article there’s a fairly significant issue with coverage of her in literature dealing with the magical papyri. In many cases even the authors of the most recent, rigorous publications in this field often seem to be far behind when it comes to Assyriology, and depend on and recommend questionable old scholarship. For instance, while I recommend Magical Hymns from Roman Egypt overall - it’s all over this article as a source, and I had a blast reading it - I really think it’s not ideal to use “Kramer 1960” (let alone “Wolkstein and Kramer 1981”) as the main points of reference. For this reason, I feel obliged to at least briefly discuss her history and character here. By the time Ereshkigal got to appear in the magical papyri, she was already a figure with a remarkably long history. She is attested in the textual record for the first time in an offering list from the reign of Urukagina, an Early Dynastic king of Lagash, from around 2370 BCE or so. The even earlier textual sources, like god lists from Fara and Abu Salabikh or the Zame Hymns, don’t mention her at all, though (Dina Katz, The Image of the Netherworld in the Sumerian Sources, p. 386).

Lu-Utu’s inscription on a dedicatory cone among other similar objects (British Museum; reproduced here for educational purposes only) While Ereshkigal’s very name - “queen of the great earth” -  is probably intended to hint at her role as the queen of the underworld, the first text which explicitly characterizes her as such is an inscription of a certain Lu-Utu. He served as the governor of Umma in the Sargonic period (ca. 2300 BCE), probably between the reigns of Manishtushu and Naram-Sin (The Image…, p. 355).

There are actually no other known dedicatory inscriptions mentioning Ereshkigal, Lu-Utu’s is one of a kind (The Image…, p. 352). Overall her cult evidently had a small scope, and later attestations of offerings made to her, let alone sanctuaries dedicated to her, are uncommon (Frans Wiggermann, Nergal A in RlA vol. 9, p. 220).  She is also absent from theophoric names, which makes her an outlier even as far as underworld deities go. However, it’s possible that the likes of Nergal or Ninazu would be primarily invoked in this context as the tutelary gods of their cities, not lords of the underworld (Wilfred G. Lambert, Lugal-edinna in RlA vol. 7, p. 137). The bulk of attestations of Ereshkigal are literary texts, chiefly from the Old Babylonian period (ca. 2000-1600 BCE) and the Neo-Assyrian period (911-612 BCE).

As far as I am aware, there is only one notable cuneiform text corpus dealing in any capacity with Ereshkigal which have some temporal overlap with the (early) magical papyri  - the administrative texts from Seleucid Uruk. They mention the existence of a “temple of Ereshkigal” in the city, though this term might actually refer to a cemetery, not a temple - or at least to a sanctuary directly connected to a graveyard (Julia Krul, “Prayers from Him Who Is Unable to Make Offerings”: The Cult of Bēlet-ṣēri at Late Babylonian Uruk, p. 74). Interpreting the term as something more than just an elaborate synonym for a graveyard is the easiest way to explain references to sacrifices made to Ereshkigal, though. These are at the very least implied by a set of instructions pertaining to daily offerings, according to which she couldn’t receive beef or fowl; in contrast with the other regulations (it is self-explanatory why Ningublaga, a cattle god, would be displeased to receive beef) the underlying logic remains unclear (Prayers from…, p. 62). However, even then, it was not really Ereshkigal herself who was actively worshiped - rather, it was her scribe Belet-Seri who enjoyed newfound popularity in Seleucid Uruk (Prayers from…, p. 76-77). Ereshkigal most likely was seen as an unapproachable, distant figure, just like before, and as such was hardly worshiped directly (Prayers from…, p. 75).

Julia Krul argues that Ereshkigal’s presence in the pantheon of Seleucid Uruk reflected diffusion of earlier knowledge about her status as Inanna’s sister, courtesy of the loose Neo-Assyrian adaptation of Inanna’s Descent (Prayers from…, p. 75). I’m skeptical myself - as pointed out by Alhena Gadotti, the term might very well be used as an honorary title, not necessarily as an indication of actual kinship (‘Gilgamesh, Enkidu, and the Netherworld’ and the Sumerian Gilgamesh Cycle, p. 13). No independent evidence for the existence of such a tradition exists, and the very same myth has ample evidence for use of kinship terms as titles - Ninshubur refers to three separate gods as “father” despite none of them ever being actually viewed as her family. It’s also worth pointing out that in Nergal and Ereshkigal Ereshkigal is addressed as the sister of all of the gods when an invitation is sent to her, which obviously can’t be literal. This is ultimately a digression; I plan to go back to this point in a separate article eventually, though - consider this a teaser.

Putting abstract considerations aside, to sum up Ereshkigal didn’t offer a very good parallel to Hecate, not least simply because she was not exactly commonly worshiped - while Hecate is arguably attested primarily in the sphere of cult. Furthermore, while she does appear in Mesopotamian magical texts (āšipūtu), she doesn’t play a particularly major role in them (Beyond Ereškigal…, p. 67), and in contrast with deities such as Ea as Ningirima she was hardly a “deity of magic”. You probably could make an argument that if anything Ereshkigal offers a closer parallel to Hades - in the god list An = Anum a mini-section even lists names which did double duty both as her bynames and terms for the underworld (Wilfed G. Lambert, Ryan D. Winters, An = Anum and Related Lists, p. 24); the most notable example is easily Irkalla (An = Anum..., p. 196). However, as I’ll try to demonstrate in the next section, the matter of interpretatio graeca is not quite as simple as “the character of these two overlaps, so they ought to be analogous”.

Some notes on interpretatio graeca

Interpretatio graeca is a tricky subject in its own right. Equivalencies weren’t necessarily recognized universally. It goes without saying the perspective of Greeks and foreigners could vary considerably, too. For example, to Greeks the Lycian and Lydian goddess Maliya (Malis) was simply a nymph, as evident in her portrayal in Theocritus’ Idylls (Annic Payne, Native Religious Traditions from a Lydian Perspective, p. 242). However, both to Lycians and Lydians she was a counterpart of Athena - partially due to shared association with craftsmanship, partially because the Lycian kings wanted to emulate Athens politically in one way or another, and sought to portray their tutelary goddess as Athena-like (Eric A. Raimond, Hellenization and Lycian Cults During the Achaemenid Period, p. 153-154; Native Religious…, p. 241).

Oxus depicted in the form of Marsyas (wikimedia commons) Equations could be made based on very superficial similarity. For example, in Bactria a river god regarded as the head of the local pantheon, Oxus, came to be associated with Marsias (sic), and was depicted under the guise of the latter. This was the result of a random twist of fate - Greeks settling in Bactria after the conquests of Alexander largely came from Magnesia (Mary Boyce, Frantz Grenet, A History of Zoroastrianism, vol. III: Zoroastrianism under Macedonian and Roman rule, p. 180; Boris A. Litvinskii, Igor R. Pichikian, The Hellenistic Architecture and Art of the Temple of the Oxus, p. 57-58). Since Marsias was the namesake river god of the main river flowing through this area, he was effectively THE river god to them - and thus upon encounter with a different river god a transfer of iconography was possible. The fact the two shared few, if any, characteristics otherwise was of no importance. Needless to say, nobody ever recognized Marsias himself as king of the gods; but his river-related lore was sufficient for his iconography to be borrowed.

A possible Hellenistic depiction of Nanaya (wikimedia commons) This case is still not quite as outlandish as the official Seleucid policy of recognizing Nanaya as the counterpart of Artemis, which is yet another example of politically motivated interpretatio. There’s an obvious difference right off the bat - Nanaya was associated with eroticism first and foremost, Artemis demonstrably… wasn’t; the same goes for her association with hunting, a sphere of influence Nanaya had nothing to do with. The lack of similar traits was of no real concern, though - Seleucids simply needed local deities who could be presented as counterparts of their dynastic triad of Zeus, Apollo and Artemis. Marduk as a typical pantheon head made a decent fit for Zeus (despite lack of any real connection to the weather), Nabu as his son and, broadly speaking, a deity linked to the arts (primarily scribal, but hey, close enough) was proclaimed the counterpart of Apollo (Paul-Alain Beaulieu, Nabû and Apollo: The Two Faces of Seleucid Religious Policy, p. 20)… and Nanaya, as a Nabu-adjacent goddess, got to be Artemis (Nabû and Apollo…, p. 27). The fact Apollo and Artemis were siblings, while Nabu and Nanaya were not, was not an issue. It’s probably down to chance that it was Nanaya and not Tashmetum, who had a stronger and older claim to an association with Nabu who got this role, really - not that Tashmetum would be a much better match character-wise.

In particularly extreme cases it’s hard to attribute specific cases of interpretatio graeca to anything but confabulation about a deity one Greek author or another had only the vaguest idea of. Perhaps most notably, Herodotus (in)famously asserted that Persian Mitra was Aphrodite in a passage where he generally makes many claims about her foreign equivalents and moe broadly on foreign cults which make at best limited sense (Albert F. de Jong, Traditions of the Magi. Zoroastrianism in Greek and Latin Literature, p. 107-110). His mistake was repeated by Ambrosius, but to be entirely fair to Greeks and Romans, those two are outliers in this case, and other authors (notably Strabo and Nonnus, but not only them) were at the very least aware that Mithra was a male solar deity and/or that he presided over oaths, even if some of them were confused if he was Persian or Mesopotamian (Traditions of…, p. 286-288).

A unique problem with Hecate and interpretatio graeca is that in many cases we can’t really say much about the deities she was associated with in that capacity, which makes it difficult to determine what shared qualities or historical circumstances lead to the development of a close association. The likes of Roman Trivia or Thessalian Enodia are not exactly well represented in the historical record, to put it very lightly; they’re effectively epithets more than distinct deities which can be discussed in any meaningful capacity. There’s also the even more extreme case of Lydian Nenenene (sic). It’s not hard to find the assumption she was associated with Hecate in scholarship (ex. The Concepts…, p. 132), though the only evidence available is a partially preserved stela with a dedication to her found in Kula. The modern assumption rests entirely on the goddess preserved on it appearing distinctly Hecate-like thanks to the presence of a dog next to her, as no other attestations of Nenenene are available (Eda Nalan Akyürek Şahin, The Cult fo Hecate in Lydia: Evidence from the Manisa Museum, p. 38).

Ereschigal: deity, epithet, vox magica?

At first glance, even taking the difference in their respective characters, the case of Ereshkigal and Hecate might appear easier to parse just because the latter is pretty obviously nowhere near as ephemeral as Enodia or Nenenene. However, in reality the available information about her reception is at best troublesome to interpret.

Ereshkigal is not attested in Greek literature at all outside of the magical papyri and related objects, such as curse tablets and apotropaic gems (Magical Hymns…, p. 236). No cultic activity involving her is attested in areas where any of them were found (Korshi Dosoo, Magical Names: Tracing Religious Changes in Egyptian Magical Texts from Roman and Early Islamic Egypt, p. 123). To make it all even more complicated, not even once does the name appear in a context which would indicate any familiarity with Mesopotamian sources going beyond the awareness that Ereshkigal was an underworld deity. No epithets, no references to motifs from Mesopotamian literature, virtually nothing. When specific attributes are listed, they’re invariably those of Hecate or Persephone (Beyond Ereškigal…, p. 66-67).

Of course, it is clear that at least the initial stage of transfer must have involved people who possessed some basic familiarity with the structure of the Mesopotamian pantheon, After all, even if none of the attributes are Ereshkigal’s, and no text where the name appears shows any familiarity with specific Mesopotamian myths or with Mesopotamian magical slash exorcisitic literature (the already mentioned āšipūtu), it is consistently clear it was understood the name designated a figure closely associated with the underworld. However, it’s hard to disagree with the view that the authors and compilers of the available texts mentioning “Ereschigal” pretty clearly had neither detailed knowledge about her character and position in Mesopotamian theology, nor much interest in it. 

Daniel Schwemer actually suggests the lack of familiarity might be central to why “Hecate-Ereschigal” arose in the first place. He suggests that the sole purpose of incorporating Ereshkigal into magical formulas was to provide Hecate with a sufficiently unusual, inexplicable new name, without much concern for its original context (Beyond Ereškigal…, p. 67). He argues that the familiarity with her was so limited that it’s distinctly possible the transfer might have been indirect, though he doesn’t speculate about the identity of middlemen this scenario would require (Beyond Ereškigal…, 78).

If Schwemer is correct - and I see no reason to doubt him - we’re essentially dealing with a ship of Theseus. “Ereschigal” was understood by the magicians compiling and using magical papyri not as a distinct deity whose interpretatio graeca was Hecate, but merely as a title of Hecate, with associations derived from the latter’s character (more on that later). Rather than a strictly Mesopotamian contribution to the world of magical papyri, it is to be classified among ephemeral entities and formulas such as Abraxas or Sesengenbarpharanges (Magical Names…, p. 123). Or, to use a more modern example - somewhere near hocus pocus and abracadabra, if hocus pocus and abracadabra could be personified and assigned as names to one deity or another.

Of course, determining that still leaves many questions about the process of its transmission open - not least the problem of middlemen I mentioned already. Hopefully future research will shed more light on it. I’m fairly hopeful myself - it’s worth noting that a few years after publication of the article I relied on here, a team of researchers from the University of Würzburg lead by Schwemer received a pretty sizeable grant from the German Research Foundation specifically for a project meant to focus on comparative studies of magical papyri and other texts from similar genres.

A remarkable Syriac drawing of the archangel Gabriel (wikimedia commons) Speculation about future research aside, for additional context it’s worth noting that the adaptation of a name without much concern for its original context is not entirely without parallel in the magical papyri. For example, the names of archangels Gabriel and Michael frequently appear as “secret” names of invoked deities, in some cases respectively Anubis or Thoth, or alternatively with solar gods or astral bodies (Magical Hymns…, p. 68).  Ereshkigal’s case ultimately remains unique in other regards, though - her name is actually the only Mesopotamian theonym to appear in the magical papyri (Beyond Ereškigal…, p. 66). There technically are two other potential suspects, but both cases are at best dubious.

Shamash, Semea, Nebutosualeth: Mesopotamian or magical?

The lack of references to Mesopotamian deities in the magical papyri might seem surprising, especially in comparison to the numerous sources affirming that reception of other arts and sciences, especially astronomy, was widespread. However, it’s important to note that there is actually very little evidence for interactions between specialists involved in Mesopotamian magic and their Egyptian (let alone Greek) counterparts. We do know that scholars and ritual experts from Syria, Anatolia and Egypt were present in the Neo-Assyrian court a few centuries before the composition of the bulk of the magical papyri, which might be relevant here, but this ultimately remains pure speculation (Beyond Ereškigal…, p. 64).

As far as the dubious cases of Mesopotamian influence go, a handful of attestations of Shamash (Σαμας) are available, and they at the very least indicate knowledge of this name belonging to a solar god. In one case this theonym is mashed together with a Greek spelling of Ra into the unique “Samas-Phrēth” (Σαμασφρηθ). However, nothing really indicates we’re necessarily dealing with the Mesopotamian Shamash. None of the passages preserve any material which would require adoption of a Mesopotamian figure. In fact, the god is typically labeled as “Canaanite”, “Phoenician” or “Syro-Palestinian” in scholarship in this case (Beyond Ereškigal…, p. 67-68). This might come as a surprise to some readers, since there’s a fairly common online trend of referring to distinctly feminine Shapash as “Caananite” or even “Phoenician”, but this theonym is exclusive to Ugarit, which was basically its own thing, and ceased to exist in the Bronze Age collapse. Meanwhile, Phoenicians spelled the name of their solar deity, who was male, with a m - so it is perfectly believable that we’re dealing with him in this case, not with the identically named Mesopotamian god, let alone the Ugaritic goddess. It’s worth noting that Phoenician conception of the solar god shows the influence of analogous Egyptian motifs (Manfred Krebernik, Sonnengott A. V. in RlA vol. 12, p. 616) - which I believe might be relevant here in the light of the pairing with Ra. The phonetically similar name Semea (Σημέα) which appears in formulas addressed to solar deities is most likely derived not from a theonym, but from the ordinary Hebrew word for sun, which was seemingly adopted as a “secret” term for the astral body (cf. σημεα inscribed on gems with compilations of such terms; Magical Hymns…, p. 124). -

The other alleged at least partially Mesopotamian theonym is the term Nebutosualeth (or Neboutosoualēth; νεβουτοσουαλήθ), sometimes held to be derived from the name of the god Nabu. For what it’s worth, Nabu was a popular deity through much of the first millennium BCE, and as I mentioned earlier at least some Greeks must have had some exposure to him thanks to official Seleucid policy. However, there’s no strong evidence for this etymology, and it doesn’t account for the origin of… well, the rest of it, really. Even if the first four letters are superficially similar to Nabu’s name, the rest bears no resemblance to any of his epithets (Beyond Ereškigal…, p. 67). 

Similarly as in the case of “Ereschigal”, Nebutosualeth doesn’t appear in any contexts which would reflect Mesopotamian tradition (Beyond Ereškigal…, p. 67). However, this term typically also shows up in lists of voces magicae describing Hecate. It has been proposed that three of them, which at times appear in sequence - Ereschigal, Neboutosoualēth and Aktiōphi (ἀκτιῶφι; meaning unknown) - were designations of the three moon phases associated with triple Hecate (Magical Hymns…, p. 237). For what it’s worth, Neboutosoualēth is explicitly a lunar goddess acting on behalf of Helios (or rather “Barzan Boubarzan Narzazouzan Barzabouzath Helios”) at night in the London-Leiden papyrus (Jacco Dieleman, Priests, Tongues, and Rites. The London-Leiden Magical Manuscripts and Translation in Egyptian Ritual (100–300 CE), p. 124). 

The moon god Sin on an Ur III cylinder seal (wikimedia commons) Needless to say, this would reflect ideas about the moon and deities associated with it typical for Greek culture. In Mesopotamia, the moon was invariably imagined as a male deity, and the same holds true for virtually all the other cultures across the “cuneiform world” (Manfred Krebernik, Mondgott A. I. In Mesopotamien in RlA vol. 8, p. 360).

A Ptolemaic depiction of Wadjet from Edfu (wikimedia commons) As a curiosity it’s worth noting that an alternate proposal is that Neboutosoualēth was derived from Egyptian nbt-wḏȝt, “lady Wadjet” (Uto in Greek), though it also has no strong evidence behind it (Magical Hymns…, p. 237). I think it warrants further inquiries, though, not least because both the magical papyri and a variety of earlier sources actually associate Hecate with snakes (Magical Hymns…, p. 233).

While this is unrelated to the matter of Mesopotamian influence on the magical papyri (or lack thereof), as a curiosity it’s worth noting that least one more of Hecate’s epithets attested in them is at the very least an allusion to voces magicae. The unique Borborophorba (βορβοροφόρβα) from the “love spell of attraction in the presence of heroes or gladiators or those who died violently” (ἀγωγὴ ἐπὶ ἡρώων ἢ μονομάχων ἢ βιαίων) literally means “one who feeds on filth/mud”. However, it has been argued that instead of designating Hecate as some sort of Greco-Egyptian analog of Aztec Tlazeotl or something along these lines, it is effectively an attempt at smashing syllables commonly used in voces magicae both in the papyri and elsewhere into a semi-coherent name. The meaning was most likely of secondary importance, though, and the primary goal might have been to get something sounding vaguely like the barking of a dog (Magical Hymns…, p. 230).

deities in the magical papyri are limited to literature from the early twentieth century, and have been long since abandoned. Most of them were incredibly short lived, and depended entirely on superficial phonetic similarities between voces magicae and Mesopotamian theonyms (Beyond Ereškigal…, p. 68). One such proposal warrants some further comments, though, despite being disproved - the assumption that the deity Iao (Ιαω) is Mesopotamian Ea (Beyond Ereškigal…, p. 68). I would argue that this assumption was actually sound on some level - Ea (Enki, not to be confused with another unrelated Enki, though) was THE god of magic (not the only one, to be fair, but by far the most prominent). He’s all over āšipūtu literature (as a matter of fact, this art was traditionally represented as his invention), and continued to be worshiped well into Hellenistic times. When cuneiform was arguably at the peak of its prestige, in the second millennium BCE, he was known virtually everywhere from Hattusa all the way up to Susa - and in at least some areas he persisted outside Mesopotamia into the first millennium BCE. It would actually be much easier to explain how a Greek or Egyptian might have stumbled upon him despite limited familiarity with Mesopotamian sources than it is in the case of Ereshkigal. 

And yet, Iao is actually not Ea. As it turned out, the reality is much stranger than the early interpretation of the name in scholarship was. Yao is actually a Greek adaptation of the tetragrammaton. The result is effectively a new deity, as opposed to simply YHVH placed in a new context, though (Magical Hymns…, p. 67-68). A short hymn to Apollo preserved in one of the magical papyri describes him as a messenger of Zeus (Magical Hymns…, p. 62). The name also pops up in some gnostic sources, reinterpreted as an archon, which is also attested for a number of other designations for the Abrahamic capital g God (Magical Hymns…, p. 68). That’s well beyond the scope of this article, though. 

The references to Iao, as well as a variety of angels, reflect a broader phenomenon: ultimately, while outliers such as Ereshkigal, Shamash or Mitra can be identified, in addition to Greek and Egyptian only Jewish culture is represented to a bigger degree in this text corpus. This is not accidental: religious specialists from these three cultures were all present in Egypt in the relevant periods, and in at least some cases competed for clients. Combining elements from potentially competing traditions could give one an edge in this peculiar supernatural marketplace (The Greco-Egyptian…, p. 284-285).

“Ereschigal” beyond Hecate, Hecate beyond “Ereschigal”

While the other references to Mesopotamian deities in the magical papyri turned out to be dubious at the absolute best, it’s worth highlighting that there are a few cases in the magical papyri where the title Ereschigal is applied not to Hecate, but instead Isis or Aphrodite (Magical Hymns…, p. 236). Needless to say, this doesn’t match Mesopotamian evidence either, and I think it’s safe to say in both cases we are dealing with situations dependent on the associations between these goddesses and Hecate.

A Roman period depiction of Isis (wikimedia commons)

The identification between Hecate and Isis is an incredibly well documented phenomenon - I’m actually shocked how rarely it comes up outside of academic literature, honestly. It depended on two points of connection: like Hecate, Isis was associated with magic; and via a link to the star Sirius (Sothis), she was an astral (though obviously not lunar - deities associated with the moon were invariably male in Egypt) deity. It should be noted that Isis actually had no consistent interpretatio graeca, though, and based on which of her characteristics was emphasized could be variously linked not only with Hecate, but also with Demeter, Persephone, Cybele, Selene, Artemis, Aphrodite, Tyche or Nemesis (Magical Hymns…, p. 9-10; additionally p. 235 for the last two). It should be remembered that in many cases these one-off instances of syncretism had a political motive behind them, since Isis was regarded as a source of authority and legitimacy for rulers - this doesn’t necessarily mean the average person believed she was essentially a slurry of goddesses from all over the ancient Mediterranean (Magical Hymns…, p. 10). Sadly, questionable vintage scholarship lives on, in some cases leading to what Aren Wilson-Wright aptly describes as “Frazerian” attempts to present her as interchangeable even with deities she had nothing to do with, like Inanna (sic) or Tanit (Athtart. The Transmission and Transformation of a Goddess in the Late Bronze Age, p. 9).

As for Aphrodite, the matter is more complex. Her association with Hecate seemingly reflected the development of a new, quadruple form of the latter, which required the addition of a fourth deity to the common Hecate-Selene-Artemis set representing the phases of the moon (Magical Hymns…, p. 294). Hecate with “four faces, four names, (...) of the four roads” is attested in a hymnic passage from a text labeled simply as a “spell of attraction” - which also mentions Aphrodite in relation to her, in addition to the expected closely associated goddesses (Magical Hymns…, p. 283). The rise of quadruple Hecate appears to be the result of astronomical developments. As explained by the second century CE astronomer Cleomedes, while earlier on Greeks only recognized three phases of the moon - the crescent, the half moon and the full moon - in his times this number changed to four, with gibbous as a new addition. This also required the addition of a fourth face to the triple depictions of lunar deities (Magical Hymns…, p. 294). As a curiosity it’s worth nothing a late reference to four-faced lunar Hecate can be found in the writings of the sixth century Byzantine official John Lydus, who states that this was a visual representation of the moon’s control over the four elements - pretty clearly a secondary, philosophically motivated reinterpretation (Magical Hymns…, p. 293). The new moon seemingly had no direct impact on the notion of three-bodied lunar Hecate (or any other deity who came to share this characteristic). However, it does show up in the magical papyri in association with her in a slightly different context. According to one of them, the “inscription to the waning moon” (δέλτος ἀποκρουστικὴν πρὸς Σελήνην), it was easier for a magician to command Hecate to specific ends during the new moon. The spell bolsters the effects by having the performer make it clear they are aware of that, and pretend to be “Hermes-Thoth” and claim to know how to prolong the new moon forever just in case (Magical Hymns…, p. 251). This is seemingly a reflection of a motif already common in earlier Egyptian magical texts. It was believed that it was possible for a priest to influence, or even control, a deity by showing a high level of knowledge about their sphere of influence and using it to own advantage, or by threatening to cease to perform or to disturb regular temple services in their honor (Magical Hymns…, p. 253).

It has to be stressed that the connection between Aphrodite and (quadruple) Hecate is limited to only one of the magical papyri (Magical Hymns…, p. 293). There’s also a number of indirect connections between the two, though. Both of them were, in different contexts, linked with Isis, which might have facilitated the incorporation of Aphrodite into Hecate’s circle in the aforementioned magical papyrus (Magical Hymns…, p. 296). While this is less relevant, it’s also worth noting in Samothrace both could be linked with the local goddess Zerynthia (Magical Hymns…, p. 292). It’s worth noting that in addition to the singular case of apparent conflation, some of the magical papyri show what can be described as encroachment of Hecate upon spheres of influence normally associated with Aphrodite. In multiple cases she is invoked in erotic spells (Magical Hymns…, p. 289). As a matter of fact, they represent the single largest group of formulas invoking her (Another View…, p. 193) In one case this role might be underscored by turning the name of Peitho, the personification of persuasion frequently associated with Aphrodite and further with the nymph Iynx (a personified love charm, basically), into a further epithet for her (Magical Hymns…, p. 288). The only reference to Hecate in a vaguely erotic context outside of the magical papyri I am aware of can be found in Artemidorus’ Oneirocritica, though it’s hardly comparable. He states that dreams involving having sex with Hecate are an ill omen, “even if one delights in it” (Daniel E. Harris-McCoy, Artemidorus’ Oneirocritica. Text, Translation & Commentary, p. 149). Curiously, going by the same source, it’s the opposite in the case of Selene - it’s an auspicious omen as long as you are, to paraphrase, a shipowner, helmsman, merchant, or at least examine the heavens, enjoy traveling or wander frequently. Otherwise - it’s a sign you’ll suffer from edema (Artemidorus’ Oneirocitica…, p. 149, 151). Excursus: genderfluid Hecate?

Putting the auspicious and inauspicious implications of dreams aside, the lunar connections of Hecate might be responsible for perhaps the single most unexpected aspect of her character attested exclusively in the magical papyri. A few of them attribute a degree of androgyny to her (Magical Hymns…, p. 259). In the already mentioned “inscription to the waning moon”, she is referred to as possessing “the heart of a man” and as “manly” (Magical Hymns…, p. 247). While Athena or Artemis could be sometimes metaphorically described in other sources in similar terms due to associations with pursuits conventionally regarded in masculine by ancient Greeks, in Hecate’s case the matter is much more complicated.

There might also be a lunar angle to it as well, though - Mene is a title of Selene with strictly lunar connotations, so it’s possible that the underlying idea was that Hecate slash Selene had different forms tied to different moon phases, with gender as one of the characteristics which shifted as the lunar cycle progressed (Magical Hymns…, p. 259). The fact lunar deities were uniformly masculine in Egypt might have contributed to this phenomenon (Magical Hymns���, p. 260). This explanation is obviously speculative, but especially the last argument strikes me as plausible. It’s worth noting that Greeks also came into contact with male lunar deities in Anatolia, most notably with Phrygian Men. While none of them seem to come up in the magical papyri, as far as I am aware, it strikes me as plausible that it could have also contributed to the idea of a genderfluid lunar deity.

The only other figure described as both male and female in the magical papyri is Kronos, though the passage is unique and links this characteristic with the deity’s role as a creator. It’s essentially a parallel of the Orphic creator figure Phanes (The Concepts…, p. 96-97). This is obviously a phenomenon very different from Hecate’s apparent occasional genderfluidity.

There’s a further instance of a connection between Hecate and a male deity in the magical papyri, though it’s much less direct. Two of them refer to her with the feminine form of Hades’ poetic name Aidoneus, Aidonaia (Ἀϊδωναία). This doesn’t really have similar implications, though. This title was only supposed to designate her as an underworld deity - in other words, as “Hecate of Hades” in the sense of a supernatural realm (Magical Hymns…, p. 318). 

Deity, epithet, spell, angel: the final attestations of Ereshkigal As far as I’m aware, no passages referring to “Ereschigal” overlap with these discussed above. It might be worth noting that in one case the standard “Ereschigal Neboutosoualēth Aktiōphi” sequence appears in a spell addressed to “Typhon-Seth”, who is obviously a male figure, but the context indicates it’s not supposed to be understood as a string of names applied to him, merely as a magical formula (Beyond Ereškigal…, p. 67) 

There actually is a single possible reference to a potentially male Ereshkigal, or rather Ereschigal, though. The name might have continued to circulate as a magical term for at least two centuries after the composition of the last magical papyri. It has been proposed that the name of the angel Erechsiel (’RSKY’L), known only from the inscription on an amulet from the sixth century Maon Synagogue, was one of the results of Jewish reinterpretation of the voces magicae, now personified as angelic figures. They’re all invoked to aid a certain Natrun, daughter of Sarah, who was apparently suffering from headaches (Anna Jordanova, Untersuchungen zur Gestalt einer Unterweltsgöttin: Ereškigal nach den sumerischen und akkadischen Quellentexten, p. 499). Obviously, at this point we’re effectively dealing with a double case of the ship of Theseus: a deity turned into a magical formula turned into an angel. I don’t think the situation is really comparable to the late survival of Nanaya in Sogdia. Still, it makes for a pretty remarkable final chapter in Ereshkigal’s history prior to her rediscovery more than a thousand years later - and even if the connection between her and Hecate was hardly direct, it is safe to say Hecate can be metaphorically credited with making it possible.

[romchat]

The first episode of Two Husbands One Wife is so charmingly off-beat that I already love the show. Who knew what I needed in my life was a story about a three-way marriage between a woman and her ex and current boyfriend narrated by their dead pet rabbit.

Also, this is a small thing, but I appreciate the directing choice of constantly visualizing their little polycule through the number three, whether that's with the production design or blocking the characters in triangular configurations so they share the frame like they share their relationship.

I have a feeling the polycule will by polying in this drama.

[tinfoil-jones]

Jerk Ford AU: Silliness III

Congratulations, membership to the (Jerk) Ford Hate Club is now open invite. Take this logo and slap it onto whatever you want;

---

*rocks hitting window sound*

Fiddleford: *looks out of window* Oh for Heavens sake-

Jerk Ford: Stanley fell in the portal and it was destroyed can you help me rebuild it?

Fiddleford: What the f-.

Jerk Ford: Look, I know we've had our differences, but Stanley's in danger!

Fiddleford: Oh ho so your jackassery finally affected someone you do care about? It'd be so deliciously ironic if it hadn't affected the only good 'Stan Pines'.

Jerk Ford: Can you help me?

Fiddleford: Hell no, you're on your own.

Jerk Ford: He could die out there!

Fiddleford: Maybe YOU should have thought about that before messing with forces beyond human comprehension and control! Nothing you do or say could force me to work with you again!

Jerk Ford: ...What if I threatened to blow up the world?

Fiddleford: You're gonna blow up the world?

Jerk Ford: Yes.

Fiddleford: Because your brothers gone?

Jerk Ford: Yes.

Fiddleford: Do you think I'm going to fall for that?

Jerk Ford: Is that a bet you're willing to make?

-Later-

Jerk Ford, standing alone in the middle of his destroyed lab:

Jerk Ford: Son of a

(Fiddleford called his bluff)

---

Jerk Ford told them he had an important project that could revolutionize the scientific communities understanding of space and time. Everything about Bill, he kept to himself.

They did notice a few things, but considering how unpredictable Jerk Ford could be, possession via a triangular dream demon wasn't their first assumption.

Stan: Hey Fiddleford, have you noticed anything strange about Ford's behaviour?

Fiddleford: What d'ya mean?

Stan: Well, just look at him now.

Bill!Ford: *walks by the counter and stops when he sees a glass of water*

Bill!Ford:

Bill!Ford: *knocks the glass off of the counter*

Fiddleford:

Fiddleford: He seems pretty normal to me.

---

(1)

-HIGH SCHOOL ERA-

17-year-old Stan: Stanford, those adults are taking advantage of you!

17-year-old Ford: Pft, I literally plotted it.

Stan: That doesn't make it okay! They're supposed to know better, right?

Ford: Whatever, we're practically adults already.

-SEA GRUNKS ERA-

61-year-old Stanley: Hey, Stanford; the twins sent us a picture of their 17th.

61-year-old Stanford: Heh, look at 'em. They seem to think they're adults already, but they're still just ki-...

Stanley: ...You okay, Sixer?

Stanford: Stanley, what's my therapists number again?

(2)

They didn't call him the Jersey Devil, the Jersey Devils is just something he and Stanley called themselves as a duo.

They called him "The Evil Stan", or "Stan's Twin Brother". Which carried into later years, because for a while the Mystery Twins didn't call him by his name either, just "Grunkle Stan's Twin".

(3)

Stan: I promise sweetie, your other Grunkle loves you. He's always loved all of his family. But he has a hard time saying it or clearly showing it.

Mabel: … *points at the kitchen*

Dipper: *flipping off Jerk Ford as he eats breakfast*

Jerk Ford: *not looking away from newspaper but holding up a hand mirror to Dipper*

Stan: Stanford, stop antagonizing him. And, you, Dipper we talked about this, you can't make that gesture.

(4)

Stan: When are you going to use your words to tell them that you love them?

Jerk Ford: When are you going to shut the f**k up and make dinner?

---

Dipper: Are you this rude to all your family?

Jerk Ford: Yes. Don't think you're special.

[vanilladove]

hiii hello vani<3 may i request smt angsty with dazai and reader in which he’s acting neglectful/unfaithful as a partner and you just deal with it? but you don’t hate him or anything you’re just really sad about it hehe tysm ╰(*´︶`*)╯♡

☾⋆.ೃ࿔* ghostin

gif creds fybugoustraydogs | divider creds benkeibear

₊ ⊹☁ pairing: dazai x gn!reader

₊ ⊹☁ genre: angst :,)

₊ ⊹☁ content warnings: distant/neglectful relationships; canon mentions of double suicide bc dazai lol...i couldn't bring myself to write a cheating dazai i'm sorry T~T inspired by ghostin + better off by ariana grande!

₊ ⊹☁ word count: 1.9k

You shivered under the cold sheets when your alarm had woken you up. The space next to you was empty, your lover nowhere to be found.

It had been like this for months now, but it was nothing new due to the nature of his job. Dazai always became distant right before handling a new enemy for the Armed Detective Agency. He only disclosed vague details to you, explaining that withdrawing himself was a way to protect you since he didn’t want enemies knowing about you. Before leaving, he’d muttered something about keeping you away from “the demon”.

But you had to admit, the feeling of being 'safe' from a far away, unknown enemy didn't compare to being wrapped in your lover's arms, the soft kisses on your forehead, gently running your hands through his brown fluffy hair, and whispering sweet nothings to eachother. You missed his corny jokes and the nights you two would have together after drinking too much sake, giggling on the floor and watching the stars on your open balcony—Dazai always pointing out the constellations and telling you the stories and lore behind each one.

He had been staying at a secret location far from your shared apartment, so the sheets didn’t smell like his musky, warm cologne anymore. The space felt ghostly now, and hanging out with your friends barely helped. Stirring a sugar cube and cream into your morning coffee, the things they said repeated in your head.

“Just break up with him..."

"You don’t deserve someone who ignores you—especially if he puts work above you…”

"He's definitely cheating on you with all the travel he's always away on..."

Your friends didn’t understand though. They didn’t understand the depth of your relationship or how Dazai loved you. He was a reserved man; he didn't let anyone into his heart, always putting on a flamboyant front to mask his true self. Even becoming his partner and finally moving in with him was a feat in itself and was something he'd hesitantly accepted. You knew he had a traumatic upbringing and that the ones he cared for eventually left his life, often in a tragic way; the last thing his broken heart could take was losing you.

Which was why you put up with the cold sheets in the morning, the single serving meals, and all the sad movie nights alone—because deep down, you knew he cared about you. Your lonely conscious couldn't handle any other explanation.

You tiredly shaped the triangular onigiri filled with snow crab and placed it in the wooden bento box, along with some tamagoyaki and salad, savoring the momentary heat in your hands. It was Dazai's favorite lunch—something you used to pack for him everyday. You forcibly dragged yourself out of bed to make it for him after receiving a text—from an unknown number, of course—that he was stopping by the apartment to grab something. You knew it was futile waking up early; it wouldn't stop him from leaving with no explanation, from not being targeted by the port mafia, the hunting dogs, or "the demon". How silly and lovesick you were.

Closing the lid, you put the dishes in the sink and placed a piece of bread into the toaster, staring intently as you waited for it to finish, which seemed like forever. You took a sip from your mug, cringing when the lukewarm liquid touched your tongue. Shit, your coffee had gone cold. That never happened when he was still there.

The lock clicking snapped you out of your somber thoughts, and you turned your head around to face the self-inviting visitor. Gaze softening, you admired the tall man in front of you, wrapped in a tan trench coat, which you instinctively slipped off from behind him, his tense shoulders relaxing under your fingertips as you draped the coat on a nearby chair. Wordlessly, you both exchanged melancholic glances before Dazai made the first move, stepping forward to close the space between you two. His slender fingers slowly came up to caress your face, the foreign touch making your cheeks heat up. Leaning forward, he closed his eyes and placed a soft kiss on your cold lips, "Hi, bella."

Forcing yourself to open your lids again and not overindulge in the much needed contact, you smiled at your lover, but it didn't quite connect back to your eyes, "Welcome hom—errr—back...You needed something from here, right?" You replied, choosing your words carefully so he couldn't hear your evident desperation.

Dazai blinked carefully, "Yeah, a flash drive. It's in one of the kitchen cabinets. Is it fine if I look around for a bit?" You nodded, looking down at the tiled floor and smiling at nothing. Dazai was always like that, hiding important things in the most impractical places as a precaution. As he fished through the cabinet, he turned his head briefly to look down at the abandoned mug sitting on the counter, "Is that for me?"

You wiped the nostalgic grin off your face, reaching for your coffee, which you'd made in Dazai's usual mug, "A-Ah, no. It's mine, sorry," Dazai raised an eyebrow at you, "I made it earlier this morning, but it's cold now. I'll make you some more." You offered, trying to brush off his suspicions and the strange looks he was giving you.

He sighed, stroking your hair lightly, "It's fine, darling, brew yourself a new cup, and I'll drink this one." He gave you one last reassuring pat before picking up the mug and slipping away into your shared room to look for something else, giving you no time to protest. What seemed like a sweet gesture really had a double meaning: I'm not staying long enough for a new batch of coffee, so I'll just take the cold cup.

A pit formed in your stomach as you dumped out the used coffee filter and reached for a new one. Your vision started to blur, stopping you before you could open the lid of the coffee grounds. Wet drops falling on the back of your hands made you realize you were crying. Instinctively, you brought your hands up to cover your mouth and block any sobs from Dazai, who was still next door in your bedroom.

Stop it.

You tried to coerce yourself, but you couldn't help it. The despair was too agonizing; to have the one you needed most close to you but not being able to tell them to stay, to hold you, especially since you knew how precious you were to him—if you asked, he'd drop everything to stay the night with you. Everyone at the ADA was aware of that, which was why they'd sat you down and conveyed that you couldn't dote too much on Dazai. You understood that and had stayed by his side anyways, knowing that being with him sometimes was better than never. Even if it broke your heart in the process. Even if it meant crying silently in the kitchen while your lover was in the next room, oblivious to the tears wetting your sleeves.

Deep down, you wished he would notice the pain you were in. You wished he would text and call you more or at least take you out to dinner and do special things when he'd finally come back, but he always resumed your daily routines almost like he'd never left. It made your heart ache, feeling like he disregarded his long leaves and their effects on you. You sniffled quietly and quickly wiped your tears away upon hearing rustling from the bedroom doorway signaling that Dazai was almost done grabbing what he needed.

Inhaling deeply, you breathed in and out slowly to calm your frantic heart and turned to the side to face the counter as your partner walked back into the kitchen.

"Found what you were looking for?" You asked, trying to cover your face with your hair and sneakily wipe away any residual tears.

Dazai swiftly passed by you, going towards the chair to slip his trench coat back on and grab the lunch you'd made him. "Yeah, I found it. Thanks for the bento and coffee by the wa—" Your eyes widened as he trailed off mid-sentence, all of a sudden feeling his presence next to you. He bent down to peer over at your face, evidently still swollen and a bit red from crying.

He rotated your body towards him and pushed the stay hairs from your face, intently observing your features. "Bella, have you been crying?" He stroked your cheeks delicately, "And your eyebags are so dark...have you been getting enough sleep?" He looked genuinely worried, peering into your eyes for any sort of insights, but it was too hard to maintain eye contact with him.

"I'm fine...I—" You muttered, words trapped in your throat.

Tell him you miss him. That you don't want him to leave you again.

No, don't! Let him walk out as usual. Your sadness isn't worth letting a countless number of innocent people get harmed or killed.

Thoughts conflicting and wearing your tired soul out, you only mustered a weak smile, placing your cold hands on top of Dazai's. "If I died now, would you still die with me?"

"What?"

"You promised we'd commit a double suicide together. Would you still—" Dazai's arms wrapped around you, pulling you into him, his warmth and comforting scent making tears fall again, not knowing the next time he would be back. You cursed yourself internally for breaking down in front of him, but you couldn't hold your emotions in any longer. He only held you silently, running his hands through your hair as you sobbed into his chest. You felt lightheaded, crying for several minutes, the only condoling things being the scent of Dazai's cologne and the way he held you to remind you he was still with you.

You looked up from his chest, gazing into his chocolate brown eyes, which were swirling with uncertainty. A pained expression was on his face, no doubt from your actions. "I'm sorry, my love. I'm so sorry..." He lifted your face up to kiss your lips gently and kiss away your salty tears before pulling you back into his chest. "I was selfish to think you wouldn't be hurt by me always being away. I tried to turn a blind eye to focus on work, but..." He exhaled shakily, "...somehow I always hurt the people closest to me...even the one I love the most."

Dazai squeezed you tighter in his arms, "I love you, and I know we'll get past this, darling. I don't expect you to forgive me, but please, please don't think of resorting to that." He cradled your face, forcing you to look up at his broken eyes.

This was the power you had over him. Prison, criminals, and even the mafia couldn't break him anymore, but your tears could melt his gaudy, confident facade instantaneously and bring him to his knees. Exactly what everyone warned you about.

You nodded slowly, the last of your cry session being wiped away by Dazai's thumbs. You hugged him back, listening as his rampant heartbeat went back to normal, staring off to the side.

"Listen, bella, I'm going to be gone for a few months. I suspect I'm going to be arrested and sent to a high-security prison...probably somewhere overseas. We won't—we won't be together for a while." You heaved, holding your breath, "But," He turned your head to face him, "I'm going to stay here for a couple of days until then. Is that okay?"

Before you could think, you crashed your lips on his, and Dazai only happily kissed back, smiling, grateful to have cheered up his love again.

"Y-Yeah, that's fine. I love you, Osamu." You sniffled back. He could stay forever if he wanted to, but you'd take a few days.

"I love you, too, bella. I always will, even when I'm not with you. Enough for the both of us."

[loquarocoeur]

Can I have that shoulder size rant as well, whenever you feel up to it

Okay, hi, hello, I've finally gotten around to this, and this spiral isn't nearly as insane as the hands spiral, but it is a spiral nonetheless

Once again, possibly research bias, possibly delusion, but you can't say you don't see it in these pictures, even with the suits you can see Charles' shoulders are just a tiny bit wider:

And okay, let's keep in mind that they're extreme sports athletes, their bodies are changing all the time, but listen: Charles' biceps? Amazing. Charles' biceps compared to Max's? Absolutely useless, look at this:

But shoulders???

Lie to me and tell me you don't see this:

Idk, I feel like Max is just all tits and biceps and his shoulders are just kind of there.

Charles' shoulders are a little more than just there...

Like listen, I don't think we talk enough about Charles' shoulder to waist ratio, guys, this man is triangular

He's the shape of a dorito

Just look at them, Max is all pecs and biceps, and Charles obviously has a great everything, he looks like he lives at the gym, but he's all shoulders

Like not to be dramatic here, but Max is just so Venus de Milo where Charles is just straight up Atlas, like not to spiral into poetry, but he could carry the world on those shoulders (aka his world aka max)

And okay, maybe I'm seeing things, maybe I'm making shit up to suit the image of them I have created in my head, but every time someone raises an eyebrow at me saying Charles could easily pick Max up istg you have not looked at him

There's just this idea of them that we've created as a fandom where Max is so much bigger and stronger than Charles as part of that normal bottom Charles agenda, which is totally fine of course, let's not yuck anyone's yum, but I feel like we forget that he actually isn't that much smaller

Like according to google for this year's stats, Max's current numbers are 1.81m/5' 11'' height and 72kg/158lb weight

Charles' are 1.80m/5' 10'' height and 69kg/152lb weight

All Max has got on him is 1 centimetre and 3kgs. That's a height difference the width of my pinkie finger and a weight difference less than that of a six pack of soda cans. That's actually nothing.

[kiatheinsomniac]

──── 𝐒𝐏𝐀𝐍𝐊𝐒 𝐅𝐎𝐑 𝐂𝐀𝐒𝐇 ˊˎ - ☾ ⋆ ﾟ𝐌𝐀𝐒𝐓𝐄𝐑𝐋𝐈𝐒𝐓 / 𝐑𝐔𝐋𝐄𝐒 𝐍𝐎𝐓𝐄𝐒: This has been a draft for a while but I decided to finish it today hehe 𝐏𝐀𝐈𝐑𝐈𝐍𝐆: sugar daddy! Pantalone | Regrator x sugar baby! Reader 𝐖𝐎𝐑𝐃 𝐂𝐎𝐔𝐍𝐓: 1.7k 𝐖𝐀𝐑𝐍𝐈𝐍𝐆𝐒: MDNI, NSFW content, dom/sub dynamics, sugar daddy au, spanks, whips, slight degradation (slut used), praise

You knew you shouldn’t have done it but the dinner had just been so boring and you were craving a little excitement, something to look forward to in order to get through this dreadfully dull meeting. 

You’re the sugar baby to the richest man in Teyvat; Pantalone, ninth of the Fatui Harbingers. You both appreciate each other’s company and he pays you to stay by his side and not fool around with other men. You don’t ask questions about his status as a harbinger and nor do you ask for things unless offered, things he appreciates as a man so generous with you. He’s started to bring you along to work lunches and dinners when it’s to do with the bank and not his rank as a harbinger – you think it’s a sign he’s starting to trust you more, maybe that he’s considering a new proposal for your relationship, but you’ve found he can be as strategic as he is impulsive, making him unpredictable and so you just live in the moment when you’re around him. 

But this particular dinner had been a dreadfully long moment indeed. With a few cocktails in you, you excused yourself to the bathroom to touch up your hair and reapply some lip gloss. It was as you were admiring your reflection that an idea struck you. It was an idea that you knew would land you in trouble and yet you needed something, anything, to anticipate so that this dinner could be somewhat less dull.

With the bathroom being empty, you reached up under your cocktail dress and slid your panties down your legs, off over your heels. You bunched the little lacy garment up in your hand and made your way back to your seat at the table. Your sugar daddy welcomed you back with a soft smile and a hand on your knee. Seizing your opportunity, you had pushed your panties into his hand, making it clear that you now had nothing under your dress. He had to clear his throat and take a sip of his drink to compose himself as a brief moment of surprise overtook him. You were then shot a look that warned you this action would have consequences as he rubbed his thumb over the soft lace before sliding it into his pocket. 

.・。.・゜✭・.・✫・゜・。.

And so, you find yourself bent over his large bed back at his mansion, your dress removed so that he has a perfect view of your ass, your skin covered with silky stockings and a garter belt for him. 

“There is a time and a place to be a little tease,” He lectures as he kicks your ankles apart, leaning over you so that his voice rumbles lowly against your ear, breath fanning against your skin in a way that makes your skin prickle, “and my meetings qualify for neither of such things.” He’s still fully dressed in his three-piece suit, though he’s removed the blazer and laid it on the bed beside you, shirtsleeves rolled up to his elbows. “I’m sure you understand by now that your actions have consequences.” 

“Yessir.” You reply, hearing the dragging sound of a drawer being opened from behind you. You don’t need to look to know which it is.

“So how many spanks do you think is appropriate for trying to distract me in such a lewd way, hm?” You ponder for a moment, trying to decide an answer that will both please him and not cause you too much pain when you next wish to sit down. 

“Ten…?” You ask hesitantly, but feel a wash of relief when he lets out an approving little hum. 

“Yes, that seems like enough to teach you a lesson. One, two or three, darling?” You know this game too: you’re to blindly pick what he’ll be spanking you with. 

“Three.” You reply. Three is a good number, stable, strong, triangular. And hopefully not the damn paddle. 

“The whip it is.” He replies and you internally let out a little sigh of relief. The small whip with its various tails is placed down on the bed beside your head as his gloved hands cup your hips. He strokes your skin with his thumbs for a moment before squeezing and propping them up higher so that you’re perfectly presented for him to punish. “Just look at you, sweet girl…” He lets out an appreciative groan as his palm roams over the curve of your ass, giving it an appreciative little squeeze. “What a shame you have to be such a brat at times, I’d much rather see you squirming under my tongue…” His fingers glide over your slit in a barely-there touch, showing you exactly where he’d put his tongue.

You see his hand take the whip and it vanishes from your field of vision. Preparing yourself mentally, your teeth graze your lower lip and hands clutch at the silken sheets beneath you. But it’s been a while since he punished you like this and, as it cracks over the plush flesh of your ass, you realise it hurts more than you remember. You let out a short cry and flinch away before composing yourself and propping your hips up again. 

“Good girl…” He praises you for immediately getting back in position, soothing the sting of the developing welt on your rear with a gentle brush of his fingers. “Ready for the next?” You give a curt nod, more prepared now that you’ve been reminded of just how much it hurts to be spanked with the whip like this. “Good.” You only suck in a sharp gasp when the whip comes down on your ass the second time. 

“You always take this so well. At least you accept your punishments after you’ve been a brat~” You can hear the smirk in his voice without having to look at him over your shoulder. You feel his fingers slide into the top of your stocking and leave something there. You turn your head and realise he’s tucked a thick wad of cash into the elastic of your stocking, patting his hand against it to reaffirm that it’s all yours. You bite back a delighted smile as he looks down at you with a mix of dominance and appreciation. 

Pantalone respects the arrangement your relationship is built upon and he’s grateful that you allow him to do these sorts of things to you, to play out his fantasies. He’s the richest man on the continent and so material things no longer impress him. But intangible things? Submission, loyalty, obedience? Those are precious gifts to him, especially from a woman as pretty as you. He doesn’t forget to show his appreciation by rewarding you with money, luxuries, holidays. You respect his boundaries and he respects yours so he believes the best thing he can do for you is shower you with his wealth. 

“Let’s continue…” You face forwards once again, a hot sting on your right asscheek. He brings the whip down on your skin another three times, giving you a few moments to prepare yourself between each one. 

“Halfway…” You murmur to ease yourself. You’ve already done five, you can do five more… 

“And you’re taking it so well, pretty girl~” He purrs, tucking more cash into your stockings, even more now. You can’t help but smile happily at the sight of all the notes sticking out of the top of the silky material, tucked under your garters too. “We can go to the bank tomorrow to deposit all this. I’ll take you out for lunch, treat you to some shopping – maybe to that little lingerie store you love, hm?~” He offers and gently glides the tail of the whip over your stinging ass. 

“Mh, yes please~” You say softly, knowing it pleases him. 

“You’ll need to show me you’ve learned how to behave tonight though, can you do that for me, little one?” He leans over your back to murmur in your ear, his voice as deep and rich as his pockets, a syrupy aphrodisiac to your body. You can’t help but squirm a little and he presses his knee between your legs to assure you don’t close them. You nod your head eagerly.

“Yessir.” 

“That’s my girl.” He stands up straight again. Three more spanks later, more cash is being tucked into your other stocking. “Look at you, perfect little sugar baby, aren’t you?~” He croons, his eyes raking over your figure: you’re in just your lingerie – minus your panties – bent over his bed, hips propped up in the air and your plush criss-crossed with light welts from the whip in his gloved hand, your silky stockings stuffed with his cash. But he groans as he looks at how your pretty slit is already dripping. He swipes your thumb against your pussy, smearing your wetness over your clit, amused that you’ve become so turned on from being spanked and spoiled rotten by him, “Such a perfect little slut too…” You let out a little mewl at how he rubs sticky circles against your sensitive pearl, whining slightly when he pulls his hand away. 

“Perhaps I can find a fitting reward for you once you’ve finished your punishment…” Eager to get this all done with so he can move on to dealing with the needy heat building between your thighs, you prop your hips up for him, a silent cue that you’re ready for the final two spanks. You feel a wave of relief wash over you as the initial sting of the ninth one fizzles out into a familiar hot hurting that you’ve already grown used to this far into your punishment; one more left and you’ll be rewarded. 

But you weren’t prepared for him to stop holding back for the tenth and final blow, the crack of the whip sounding our mere milliseconds before a cry erupts from your lips. “There you go, good girl, all done~” He croons and leans over you once again as he stuffs more cash in your stocking, setting the whip down in favour of brushing your hair away from your neck. His lips press hot kisses along the side of your neck until he can teasingly nibble at your ear. His other hand reaches down to cup the underside of your knee and bring your one leg up onto the bed, causing you to spread your thighs apart as you’re bent over under him. 

“And good girls get rewarded.” 

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