Charlie, trying to cheer Adam up: Hey I know Hell can be a bit much, and we do have bad stuff happen to us but it’s not all bad! There’s parts of Hell that are just so different, and it can be amazing. And hey, your son Cain is here! He’s actually kind of a big deal, the very first overlord and all. He’s retired now and is the leader of the biblical settlement outside of pentagram city if you want to……Adam?
Sinner Adam, staring down at Charlie with wide eyes because Heaven told him all his kids chose to be reincarnated because the winner and sinner system hadn’t been set up yet until when Adam died: Cain’s here?
Vaggie, going ice cold from surprise as she sees desperation on Adam’s face for the first time: Oh shit he was human underneath all that asshole
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Biblical References in Lord Peter Wimsey Novels: Have His Carcase
I would like to eventually have a post like this for each book, but since this is the one I most recently finished, we're starting with this one instead of at the beginning.
If I've missed any, do tell, because I would love a Complete and Accurate List. I don't think there are any major spoilers here, but just in case, I'll put 'em under a cut!
Chapter 4:
"Who told you about the body?"
"I nosed it from afar. Where the carcase is, there shall be eagles gathered together. May I join you over the bacon and eggs?"
Chapter 8:
He had covenanted with himself to interview Colonel Belfridge at eleven o'clock.
This one is more Biblical language than an actual quote, but I'm counting it because according to my rules it fits.
Chapter 9:
"...Alexis wasn't the sort to take a long country walk for the intoxicating pleasure of sitting on a rock.
"True, O Queen. Live for ever. ..."
Chapter 10:
"Wilvercombe is the more probable direction of the two, because anybody coming from Lesston Hoe would have seen her and put his crime off to a more convenient season, as Shakespeare says."
This one cracks me up because Inspector Umpelty has, earlier in the chapter, attributed a quote to the Bible which is not one.
Chapter 12:
But now, with the hope that they might be found to have entertained an angel of darkness unawares, they foresaw all manner of publicity.
Chapter 16a:
"Two boats stationed off the Grinders."
"Fishermen?"
"Fishers of men, I fancy," replied Wimsey, grimly.
Chapter 16b:
Harriet: Oh, death! where is thy sting?
Chapter 16c:
Harriet (reading): 'Last of all the woman died also' — probably from backache.
Chapter 16d:
Harriet: What is that in your hand?
Peter: A dead starfish.
This one, I admit, some might argue about, but it is EXACTLY the kind of thing I would do, pull some obscure quote and have a character use it, so I'm giving DLS this one.
Chapter 21:
"A contempt for money, Inspector, is the root—or at any rate, the very definite sign—of all evil."
An adaptation rather than a quote, but a very strong one.
Chapter 23:
Presently the inner door opened again and the young lady emerged, clothed and apparently very much in her right mind, for she smiled round...
Chapter 25:
"Which brings us to the point that either Weldon's party wrote the letter or the foreign party did the murder."
"True, O king."
Chapter 31:
"I said the Wilvercombe alibi would stand, and it has broken in pieces like a potter's vessel."
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that’s so cool! You’ve put so much thought into your characters and I love it! Names definitely have meaning and I found your characters names and their meanings to be fascinating! How gold fits into Antony’s whole story is awesome!! Thanks for sharing!
I also like how you used two different cultures/languages for your characters. Latin I think? and Arabic. I was wondering how you decided on those?
I hope that all made sense. :)
(I’m new to using tumbler so sorry if this is the wrong way to reply!)
aaa you're good! tumblr can be a bit confusing in how it works, some people reply in comments/reblogs, other ppl send asks... there's no real "right" or "wrong" way to go about it, imo ;o;
oh! the influences!! :'0 this reply ended up getting a bit long, so I'll put it under a cut so it doesn't take up too much space on my blog!
Antony is loosely based on ancient Greco-Roman influence, which tbh is just something I've always liked from an aesthetic perspective since I was little. same goes for the Arabic/Egyptian sort of thing for Khalan (The Prince of Egypt was a huuuge inspiration for me as a child and that fascination with the desert stuck with me until now).
Antony's village is roughly based on the islands of ancient Greece, but the villagers there speak English, Greek, and Latin fluently. the Latin in particular is mostly used for religious purposes and is considered the language of the gods, so most of their prayers are only spoken in Latin.
Khalan's character and world is based on a sort of Middle-Eastern influence, but it's very loose with that, as well. I'm not trying to accurately portray actual real world cultures because I don't feel I'm qualified for that, so both of their respective worlds are fully fictional and fantasy-driven for that reason and just loosely pull from romanticized visual aesthetics/vague cultural concepts that I feel work best for the characters (sort of like how Avatar: The Last Airbender approached worldbuilding). I do take the language stuff pretty seriously though and I'm trying my darndest to make sure that those aspects of the characters are portrayed as accurately as possible, despite my limited knowledge and potentially inaccurate tools available to me.
oh, I will say that within Bocca (Aya's home world), there is a desert kingdom that Khalan eventually comes into contact with (and saves along with Aya and Antony's help), and that kingdom is where I've poured some of my love for the ancient Egyptian aesthetics into, specifically. that part of the story is where the pharaoh concept comes into play - something I've only drawn like, twice and never properly explained lol. (shown both here and here, for anyone interested)
anyway, so basically it just comes down to the fact that both the ancient Greco-Roman and Arabic/Egyptian influences have been floating in the back of my mind since I was a kid - partially due to the fact that I grew up reading the Bible and was heavily influenced by the stories surrounding those geographical locations and the time frame in which those stories took place - but I just never had the chance to apply some of that inspiration to any OCs until now :'0
hope that helps answer your question! thanks again for asking! <33
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hey so. was anyone gonna tell me that last year I wrote *the* most tender lonan & harrison moment in feeding habits ORRRRR (harrison cuts lonan’s hair):
On the floor, Harrison eases Lonan’s skull over his knee and mimics what Suzanna does for him every other month: a modest section between his index and middle finger, then a tentative snip. A section. A snip. As he cuts, chips of Lonan’s hair falling to the tile, he notes the geography of Lonan’s skull, rough with uneven hair. He’s so focused on taming it all to one length that at first, he doesn’t notice when Lonan flushes crimson all the way to his throat. How he blinks rapidly to dislodge the tears netting his eyelashes, and eventually covers his face with his hands. Harrison snips again, and Lonan makes a strangled noise, like an animal’s cry. Tentative at first, like a short clearing of the throat, and then ugly, like a caribou dying. Harrison clenches his jaw, knowing it’ll only be harder to cut Lonan’s hair if he too starts to cry, but that doesn’t matter. Within seconds, his eyes swell, and as he snips, hair scattering like both of their old lives dissipating, he smooths his free thumb over Lonan’s forehead. He doesn’t know what else to do. How to imbue comfort. He’s not like Suzanna who understands that sometimes a person just needs another person to appear with a plate of papas, or a rented chick flick, and just be there. Within minutes, Lonan’s hair is at a new normal: shorter than it’s been in years, but in shape to regrow. Harrison sets the scissors onto the tile. He cups Lonan’s cheek with his palm, brings his forehead so close to his that they nearly touch. And he’s there. A bamboo stake waiting for a strand of ivy to give it new purpose.
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