#i just cannot describe the magnitude of my love for this character | Explore Tumblr Posts and Blogs

timothypines · 3 years

Text

The Fire of Achilles (Essay)

“He was like a flame himself. He glittered, drew eyes.” (pg. 43, Miller) Throughout the novel The Song of Achilles by Madeline Miller and the epic poem The Iliad, Achilles is often compared to fire. In The Iliad he is referred to as “brilliant Achilles”—meaning to sparkle with light or luster; however, this comparison is not always positive, as the destructive side of fire is not forgotten when describing his unstoppable rage. The double-sided nature of fire perfectly encapsulates Achilles. The brightness and openness he emulates, much like the welcoming of a controlled fire, attracts the soldiers to him, while uncontrolled his rage can destroy armies like a forest fire pushed by rushing wind. But while most people can only see the war in him, the rage in him, he would never have gotten as far as he had without his gentle warmth.

The Song of Achilles shows much more of the softer side of Achilles’ flame, however, I do not think this makes Madeline Miller’s interpretation any more or less correct in the characterization of Achilles; rather, it deepens what is shown to us in The Iliad. In the early moments of the book (The Song of Achilles), it is shown that just as Achilles speaks his mind freely and absolutely, he expects the same from all others; this leads to him being overly trusting in many ways. “He said what he meant; he was puzzled if you did not. Some people might have mistaken this for simplicity. But is it not a sort of genius to cut always to the heart?” (pg. 44, Miller). This is seen in The Iliad also, in his rage against Agamemnon when the king refused to return the priest’s daughter after the priest offered ransom. Most would never speak such things against a king, but he did not fear a thing, no, he was completely honest with Agamemnon, reminding the king that it was he who was needed, he who was asked to fight, “It wasn’t the Trojan spearmen who brought me here to fight. The Trojans never did me damage… we all followed you, to please you, to fight for you, to win your honor back from the Trojans.” (pg. 82, Book 1: The Rage of Achilles, Homer). Yes, the dishonoring of him is what causes this great rage, but his honesty is part of that too. But even though this rage appears to come from unbreakable pride, I feel that it came not from a place of pride, but rather rage at Agamemnon for not being at all reasonable. While he keeps his honor close to him, he is not prideful of his abilities. “‘I will be the best warrior of my generation.’ It sounded like something a child would claim, in make-believe. But he said it as simply as if he were giving his name.” (pg. 38, Miller). In this sense, I agree with Miller’s interpretation of Achilles’ feeling in this moment and how even though his honor is important to him, he is not particularly prideful. This rage, I feel, comes more from a great feeling of unfairness, which Achilles seems to value more than anyone else in the army. Agamemnon made the mistake of not returning the priest’s daughter, out of his unyielding pride, and now he is unwilling to admit to his mistake and is instead punishing Achilles, who was the only one trying to end the great plague. I am in no way saying that Achilles’ actions to call the gods to punish the entire army so relentlessly were justified, however, his feelings of rage toward Agamemnon cannot be blamed on just himself, and therefore, neither can the punishment that falls upon the army.

It seems silly to try to talk about Achilles and leave out what he loves most. Now, in The Iliad, before we get to the aftermath of the death of Patroclus, it could be fair to assume that what Achilles loves most is his honor; damage to his honor is what caused him to call for the army’s suffering and destruction, the very army he had been fighting with for nine years. However, it is very clear that after the death of Patroclus that it is he whom he loves most. Once Patroclus has died, Achilles does not care to act honorably, he does not care if Agamemnon apologizes, he simply wants the person who took his love from him to suffer. Even his own life does not seem precious to him anymore. For the brief moments that Patroclus is shown in the epic, his character is made very clear. He appears to be kind, gentle, to carry himself with a strong grace. No one has ill-will towards him; he is a good man universally in the eyes of the kings and soldiers. This is what makes his death so impactful. This version of Patroclus that we see in The Iliad I feel is lacking when reading The Song of Achilles. In the epic, Patroclus can fight, he is quite good at it and it does not feel a surprise, “And then and there the Achaeans might have taken Troy, her towering gates toppling under Patroclus’ power heading the vanguard, storming on with his spear.” (pg. 435, Book 16: Patroclus Fights and Dies, Homer). The Patroclus we find in The Song of Achilles is awkward, unwilling to fight, even just before this moment at Troy, “The wheels gave a little lurch, and I staggered, my spears rattling. ‘Balance them,’ he told me. ‘It will be easier.’ Everyone waited as I awkwardly transferred one spear to my left hand, swiping my helmet askew as I did so.” (pg. 327, Miller) When reading The Iliad, I felt none of this from Patroclus. While it may have been surprising that he ended up at the wall of Troy, it certainly wasn’t surprising that he had fought and fought well. I will say that both works made it heart-wrenching to see Patroclus slaughtering people, however, the epic held more integrity than the novel had. This can especially be seen when Patroclus and Hector meet on the battlefield. This is the interaction we get from The Iliad, “‘Hector! Now is your time to glory to the skies… now the victory is yours. A gift of the son of Cronus, Zeus—Apollo too—they brought me down with all their deathless ease, they are the ones who tore the armor off my back… You came third, and all you could do was finish off my life…” (pg. 440, Book 16: Patroclus Fights and Dies, Homer). And this is what we get from The Song of Achilles, “He is coming to kill me. Hector… He must live because his life, I think as I scrape backwards over the grass, is the final dam before Achilles’ own blood will flow. Desperately, I turn to the men around me and scrabble at their knees. Please, I croak. Please.” (pg. 334-335, Miller). Although Achilles’ stubbornness killed both versions of Patroclus, at least in The Iliad Patroclus died strong in himself, while the Patroclus from The Song of Achilles died a shell, lacking any self, just filled with thoughts of the fire that is Achilles.

One thing that no version of the story could ever take away is how much Achilles loves Patroclus (even if they decide to make them simply cousins for some reason). It is devastating to read Achilles discover that his lover is dead; this is not lacking in either version of the war. Something I especially enjoyed from The Song of Achilles is how much more deeply Miller built the relationship. While reading I could really tell that Patroclus was Achilles’ heart; he was the only one who was immune to Achilles’ rage and the only one who had a chance of getting through to him. “I had found a way through the endless corridors of his pride and fury. I would save the men; I would save him from himself.” (pg. 325, Miller). The building of their relationship before this moment where Patroclus begs for Achilles to fight made for a deeper understanding as to why, after so long, after so much suffering of the Achaeans, Achilles was willing to do something to help, no matter what that was. In The Iliad we are given a mention of how close they are and that is supposed to reason Achilles’ willingness to bend slightly. This deeper understanding of their relationship also makes Achilles’ reaction to Patroclus’ death all the more painful to watch happen and his actions during the beginning of his morning also make more sense to the reader.

Achilles’ relationship with the war of Troy is somehow both extremely complicated and overly simple. It is complicated in terms of what he should bring into the war, what he owes Menelaus and Agamemnon, and how fate plays into it all. It is simple, however, when it comes to him having to perform the act of war itself. I feel that what Miller added to the story regarding this area really deepened and strengthened Achilles’ character; she really tried to show the struggle in Achilles when he was dealing with all of these complexities that came with the politics of the war, between both the mortals and gods. This is the war he was fated to have such a large part of; he was to kill the Trojan’s greatest hero, Hector. But fate isn’t the only thing forcing him to back and fight in the war against Troy, the Achaean kings he fights along side with also feel entitled to him and his abilities. In the end, however, Achilles does not feel attached to the war in actuality. “‘The Trojans never did me damage.’” (pg. 82, Book 1: The Rage of Achilles, Homer). He doesn’t hold any rage toward the Trojans, that is until Hector kills Patroclus, and even then, his true rage is only toward Hector, it is only the magnitude of it that takes down the mountains of Trojans he slaughters. He is in a war he was expected to be in simply because of that fact, he was expected to fight. When discussing the war with Patroclus, Patroclus asks if he is afraid to fight, Achilles answers, “‘No… This is what I was born for.’” (pg. 220, Miller). So, if he was fated to be in the war, the Achaeans can only win if he fights, and every Greek kingdom expects him to fight, then what does he owe to his fellow Greeks? To Menelaus and Agamemnon? Simply put, in reality he owes them nothing, his father doesn’t even force him to go, telling him it’s his choice (The Song of Achilles), however, the issue and complexity doesn’t come from what he actually owes the kings, but from what they believe he owes them. Here are two interactions between Achilles and Agamemnon from both works. “Agamemnon stepped forward. He opened his hands in a gesture of welcome and stood regally expectant, waiting for the bows, obeisance, and oaths of loyalty he was owed. It was Achilles’ place to kneel and offer them. He did not kneel. He did not call out a greeting to the great king, or incline his head or offer a gift. He did nothing but stand straight, chin proudly lifted, before them all. Agamemnon’s jaw tightened.” (pg. 194, Miller). “‘This soldier wants to tower over the armies, he wants to rule over all, to lord it over all, give out orders to every man in sight. Well, there’s one, I trust, who will never yield to him! What if the everlasting gods have made a spearman of him? Have they entitled him to hurl abuse at me?’

‘Yes!’—blazing Achilles broke in quickly— ‘What a worthless, burnt-out coward I’d be called if I would submit to you and all your orders, whatever you blurt out.’” (pg. 87, Book 1: The Rage of Achilles, Homer). It doesn’t just matter what Achilles feels he owes Agamemnon because the king feels he is owed not only Achilles’ spear, but his total loyalty and an oath of such.

Despite this complexity with his motivations and responsibility to fight, when it comes to the fighting itself, it is as simple as breathing for him. As told in The Song of Achilles, “What he lived for were the charges, a cohort of men thundering towards him. There, amidst twenty stabbing swords he could finally, truly fight… With a fevered impossible grace he fought off ten, fifteen, twenty-five men. This, at last, is what I can really do.” (pg. 240, Miller). The war wasn’t truly a conflict for him, the true war was in the politics of men and gods; this notion agrees with what is shown in the epic.

While the men in power may not particularly like Achilles, the soldiers of the Achaean army do indeed, from the very beginning (at least in the interpretation that is The Song of Achilles). Here is the moment he introduces himself to the entire army, “‘I am Achilles, son of Peleus, god-born, best of the Greeks,’ he said. ‘I have come to bring you victory.’ A second startled silence, then the men roared their approval. Pride became us—heroes were never modest.” (pg. 194, Miller). Miller choosing to have the soldiers have these types of feelings towards Achilles makes sense. Up until the moment he declares he will no longer fight for the Achaeans, he is their hero, the one they look to and follow; in a society that values glory and heroes above almost all else, second only to the gods, he most-likely would have been viewed that way by the general public, those uninvolved in politics. An example of how deep this goes is shown just before the war begins, as the Phthians are sailing towards Troy’s beaches, “We stood at the prow with Phoinix and Automedon, watching the shore draw closer. Idly, Achilles tossed and caught his spear. The oarsmen had begun to set their strokes by it, the steady, repetitive slap of wood against his palm.” (pg. 212, Miller). Even subconsciously the men are following Achilles’ spear.

Achilles isn’t the only person for whom Miller develops a good relationship with the common soldiers—this is done for Patroclus as well. I also agree with her decision to do this; it helps solidify the emotions the people feel toward Patroclus which are only mentioned and implied in The Iliad. Miller decided to make Patroclus a healer, “I developed a reputation, a standing in the camp. I was asked for, known for my quick hands and how little pain I caused… I began to surprise Achilles, calling out to these men as we walked through the camp. I was always gratified at how they would raise a hand in return, point to a scar that had healed over well.” (pg. 261, Miller). This use of his character makes sense in my mind when regarding the character shown to us in the epic; being a gentle and kind man. It also makes his motivations when trying to convince Achilles to fight all the more authentic, “All around me are men carrying fallen comrades, limping on makeshift crutches, or crawling through the sand, dragging broken limbs behind them. I know them—their torsos full of scars my ointments have packed and sealed.” (pg. 319, Miller). So, even though I do disapprove of Miller’s decision to make Patroclus seem too awkward and weak to fight, I cannot say her making a healer of Patroclus is without any merit.

“What has Hector ever done to me?” This phrase is echoed throughout The Song of Achilles, creating a sort of foreshadowing sprinkled throughout the novel. This sentiment rings familiar from The Iliad where he expresses that he holds no feelings of hatred nor resentment towards the Trojans. The role that Hector plays in The Song of Achilles is slightly different than seen in the epic, though this is unsurprising as the novel is from the perspective of Patroclus and therefore cannot show much of Hector. Despite the lack of Hector, however, Miller included moments that are reminiscent of what we saw of Hector in The Iliad. Here is a domestic moment shared between Hector and his family when he returns from fighting, “shining Hector reached down for his son—but the boy recoiled, cringing against his nurse’s full breast, screaming out at the sight of his own father, terrified by the flashing bronze, the horsehair crest, the great ridge of the helmet nodding, bristling terror—so it struck his eyes. And his loving father laughed, his mother laughed as well, and glorious Hector, quickly lifting the helmet from his head, set it down on the ground, fiery in the sunlight, and raising his son he kissed him,” (pg. 211, Book 6: Hector Returns to Troy, Homer). Now here is a moment between Achilles and Patroclus when Achilles is coming back from battle, “I woke to his nose on mine, pressing insistently against me as I struggled from the webbing of my dreams. He smelled sharp and strange, and for a moment I was almost revolted at this creature that clung to me and shoved its face against mine. But then he sat back on his heels and was Achilles again.” (pg. 222, Miller). These are two moments of domesticity between warriors, great heroes, and the loved ones they returned to. In these moments war is more real, and it is harder to separate the men on the field and the men that return home.

None the less, the phrase “what has Hector ever done to me?” is also meant to show Achilles’ active struggle against his fate that came with the war. He wants glory but is unwilling to make sacrifices to gain it. It is only once Hector does personally harm him by killing Patroclus that he does not care to avoid fate, in fact he does not care about glory or honor after this. In a way, it is Patroclus’ sacrifice that gives Achilles glory, which is ironic seeing as he does not fight for glory anymore, but revenge. This can be best seen in how he treats Hector’s body after he defeats him. “He rises at dawn to drag Hector’s body around the walls of the city for all of Troy to see. He does it again at midday, and again at evening. He does not see the Greeks begin to avert their eyes from him. He does not see the lips thinning in disapproval as he passes.” (pg. 346, Miller). “The memories flooded over him, live tears flowing, and now he’d lie on his side, now flat on his back, now facedown again. At last he’d leap to his feet, wander in anguish, aimless along the surf, and dawn on dawn flaming over the sea and shore would find him pacing. Then he’d yoke his racing team to the chariot-harness, lash the corpse of Hector behind the car for dragging and haul him three times round the dead Patroclus’ tomb, and then he’d rest again in his tents and leave the body sprawled facedown in the dust. But Apollo pitied Hector—dead man though he was—and warded all corruption off from Hector’s corpse…” (pg. 589, Book 24: Achilles and Priam, Homer). In The Song of Achilles the Greeks, and gods, are not pleased. In The Iliad the gods see this as a disgrace.

Where Achilles redeems himself greatly in The Iliad is not as significant in The Song of Achilles which left me extremely disappointed. The moment when Achilles is meant to show what a great character he is and how willing he is to forgive, even after such a significant loss, is in Book 24: Achilles and Priam. It is here when Priam and Achilles share a very vulnerable moment with each other in which they hold no contempt towards one another and the people they have taken from each other, but they cry, together, for the horrible losses they have endured in this long war. Miller makes this moment so much less vulnerable and emotional, making it feel significantly less important and character defining as it had been in the epic. Here is the moment as shared in The Iliad, “‘I put to my lips the hands of the man who killed my son.’ Those words stirred withing Achilles a deep desire to grieve for his own father. Taking the old man’s hand he gently moved him back. And overpowered by memory both men gave way to grief. Priam wept freely for man-killing Hector, throbbing, crouching before Achilles’ feet as Achilles wept himself, now for his father, now for Patroclus once again, and their sobbing rose and fell throughout the house.” (pg. 605, Book 24: Achilles and Priam, Homer). And this is the very same interaction as written in The Song of Achilles, “‘…it is worth my life, if there is a chance my son’s soul may be at rest.’ Achilles’ eyes fill; he looks away so the old man will not see.” (pg. 350, Miller). In Miller’s version there is not even a mention of the agreement that is come to in the epic that allows Priam to host a full funeral for Hector. This left Achilles feeling cold and unfeeling, which goes completely against his entire characterization in both the novel and the epic. For me, the watering down and diminishing of the conversation between Achilles and Priam was the biggest misstep in Miller’s novel and was a major disappointment especially since I felt she characterized Achilles so well for the majority of the novel.

“His anger was incandescent, a fire under his skin.” (pg. 283, Miller) The comparing of Achilles to flame and fire strikes most true. He is never an emotionless man, never achieving a moment of utter stillness, instead he is always flickering under the surface. Even in times of calm he radiates warmth, and in times of great anger he rages in a great blaze. It is fire that is the perfect essence of Achilles. But this is what also makes him so controversial in the eyes of modern men. Some today still find themselves drawn to his wild flame and the brilliance of it, while others see the ash trails of his destruction and feel he is no good man, no hero. Achilles himself, I think, would agree with the sentiment that he isn’t a hero. In the end with Priam he felt shame for how he treated Hector’s body, his greatest love died because he couldn’t let go of his honor. In class people questioned why Achilles is remembered the hero and not Hector or Diomedes. I think Achilles achieved the fame he has because he is a good man who let his emotions drive him to do bad things, things looked down upon even in times of war. However, in the end, he redeems himself. He is a brilliant, shining character with intense emotions who manages to redeem himself—of course he has become the main hero of the story. Madeline Miller, in my opinion, did a very good job with the interpretation of his character, however, there were a few missteps with him and other things that were very important to his development. But despite these missteps, she has managed to bring Achilles’ light back into the lives of modern people, which is a wonderful thing. “As if he heard me, he smiled, and his face was like the sun.” (pg. 47, Miller)

#essay #literary #writing #greek mythology #achilles #the song of achilles #the iliad #literary critique #homer #madeleine miller

44 notes · View notes

jamestaylorswift · 4 years

Text

My giant goes with me wherever I go: a study of the geographic metanarrative of folklore

This topic has been rattling around in my brain ever since I first heard folklore and I think it’s endlessly fascinating. Cue this lengthy but (hopefully) intriguing piece.

I’m afraid the title may not be an accurate reflection of this essay’s content, so here’s a preview of talking points: geography, existence, metanarrative, making sense of the theme of death, the “peace”/“hoax”/“the lakes” trio, history/philosophy, and exactly one paragraph of rep/Lover analysis (as a treat).

I make the standard disclaimer that analysis is by definition subjective. Additionally, many thanks and credit to anyone else who has written analysis of folklore. I am sure my opinions have been influenced by yours, even subconsciously.

Questions, comments, and suggestions are always welcome, and thank you for taking the time to read :)

——

“Traveling is a fool’s paradise. We owe to our first journeys the discovery that place is nothing. At home I dream that at Naples, at Rome, I can be intoxicated with beauty and lose my sadness. I pack my trunk, embrace my friends, embark on the sea, and at last wake up in Naples, and there beside me in the stern Fact, the sad self, unrelenting, identical, that I fled from. I seek the Vatican, and the palaces. I affect to be intoxicated with sights and suggestions, but I am not intoxicated. My giant goes with me wherever I go.”

Ralph Waldo Emerson

——

If Taylor Swift’s music is anything, it is highly geographic. Taylor has been a country, pop, and now alternative artist, yet a storyteller through and through—one with a special knack for developing the aesthetic of songs and even entire records through location. The people and places she writes about seem to mutually breathe life into each other.

It is plausible that Taylor, as a young storyteller, developed this talent by using places as veritable muses just like she did anything else. Furthermore, her confessional storytelling became much more geographic as she shifted to pop because of factors including (though certainly not limited to) purchasing real estate, traveling more, writing in a genre that canonically centers coastal cities, and dating individuals with their own established homes. The geographic motif in her work is so identifiable that all of the corresponding details are—for better or worse—commensurate to autobiography.

However, folklore is not autobiographical in the way that most understand her other albums to be. The relationship between people and places in folklore is likewise much less symbiotic.

The first two songs on the record illustrate this. We are at bare minimum forced to associate the characters of Betty and James with New York: the lyrics about the High Line imply a fraction of their relationship took place in this city. Even so, this does not imply Betty or James ever permanently resided in New York, or that Betty is in New York at the moment she is narrating the story of “cardigan.” Taylor places far more emphasis on James and the nostalgia of youth, with “I knew you” repeated as a hook, to develop the emotional tone of the song. Rhode Island also comes to life in “the last great american dynasty” because of Rebekah Harkness’ larger-than-life character. But Taylor, following Rebekah’s antagonism, states multiple times throughout the song that the person should be divorced from the place. folklore locations are never so revered that they gain the vibrancy of literal human life. Taylor refrains from saying a person is a place in the same way that she has said that she is New York or her lover is the West Village.

For an album undeniably with the most concrete references to location, it is highly irregular—even confusing, given that personification is such a powerful storytelling device—that Taylor does not equate location with personal ethos.

Regurgitating the truism that geography equals autobiography proves quite limiting for interpreting Taylor’s work. How, then, should geography influence our understanding of folklore?

I submit that the stories in folklore are not ‘about’ places but ‘of’ places which are not real. Taylor’s autobiographical fiction makes the settings of the songs similarly fictionalized, metaphorical, and otherwise symbolic of something much more than geography. It is this phenomenon which emotionally and philosophically distinguishes folklore from the rest of her oeuvre.

——

As a consequence of Taylor’s unusual treatment of location, real places in folklore become signposts for cultural-geographic abstractions. Reality is simply a set of worldbuilding training wheels.

Prominent geographic features define places, which define settings. The world of folklore is built from what I’ve dubbed as four archetypal settings: the Coastal Town, the Suburb, the City, and the Outside World.

Each has a couple defining geographic features:

Coastal Town: water, cliffs/a lookout

Suburb: homes, town

City: public areas, social/nightlife/entertainment venues

The Outside World serves as the logical complement of the other three settings.

Understanding that real location in folklore is neither interchangeable nor synonymous with setting is crucial. Rhode Island is like the Coastal Town, but the two settings are not one and the same. The Suburb is an idyllic mid-America setting like Nashville, St. Louis, or Pennsylvania; it is all of those places and none of them at the same time. The City may be New York City, but it is certainly not New York City in the way that Taylor has ever sung about New York City before. The Outside World is just away.

Put simply, folklore is antithetical to Taylor’s previous geographic doctrine. While we are not precluded from, for instance, imagining the City as New York City, we also cannot and should not be pigeonholed into doing so.

Note:

This album purports to embody the stereotypically American folkloric tradition. “Outside” means “anywhere that isn’t America” because the imagery and associations of the first three cultural-geographic settings indeed are very distinctly American.

While Nashville and St. Louis are relatively big cities, they are still orders of magnitude smaller than New York and LA, the urban centers that Taylor normally regards as big cities. In context of this essay, the former locations are Suburban.

In this essay, the purpose of the term ‘of’ is simply to replace the more strict term ‘about.’ ‘Of’ denotes significant emotion tied to a place, usually because of significant time spent there either in the past or present (tense matters). Not all songs are ‘of’ places—it may be ambiguous where action takes place—and some songs can be ‘of’ multiple places due to location changing throughout the story. (This does not automatically mean that songs with more than one location are ‘of’ two places. A passing mention of St. Louis does not qualify “the last great american dynasty” as ‘of’ the Suburb, for example.)

Each of the four archetypal settings must instead be understood as an amalgam of the aesthetics of every real location it could be. Setting then exists in conversation with metaphor because we have a shared understanding of what constitutes a generic Suburb, City, or Coastal Town.

Finally, by transitivity, the settings’ metaphorical significance entirely hinges upon the geographic features’ metaphorical significance. This is what Taylor authors.

The next part of the essay is concerned with deciphering geography in folklore per these guiding questions: how is an archetypal feature used as a metaphor? By proxy, what does that say about the setting defined by it? What theme, if any, unites the settings?

The Coastal Town: Water and Cliffs

The Coastal Town is defined by elemental features.

The first (brief) mentions of water occur on the first two tracks:

Roarin’ twenties, tossing pennies in the pool

Leavin’ like a father, running like water

“the last great american dynasty” introduces the setting to which the pool (water) feature belongs, our Rhode Island-like Coastal Town. It also incorporates a larger water feature, the ocean, and suggests the existence of a lookout or cliffs:

Rebekah gave up on the Rhode Island set forever

Flew in all her Bitch Pack friends from the city

Filled the pool with champagne and swam with the big names

They say she was seen on occasion

Pacing the rocks, staring out at the midnight sea

“seven” and “peace” also have brief mentions of water; however, note that these songs remain situated as ‘of’ the Suburb. (More on this later.)

I hit my peak at seven

Feet in the swing over the creek

I was too scared to jump in

But I’m a fire and I'll keep your brittle heart warm

If your cascade, ocean wave blues come

“my tears ricochet” and “mad woman” with their nautical references pertain to the water metaphor:

I didn’t have it in myself to go with grace

And so the battleships will sink beneath the waves

Now I breathe flames each time I talk

My cannons all firin’ at your yacht

“epiphany” also counts, though with the understanding of “beaches” as Guadalcanal this song is ‘of’ the Outside World:

Crawling up the beaches now

“Sir, I think he’s bleeding out”

“this is me trying” and “hoax” reiterate the cliff/lookout geography:

Pulled the car off the road to the lookout

Could’ve followed my fears all the way down

Stood on the cliffside screaming, “Give me a reason”

Finally, “the lakes” features both water and cliffs:

Take me to the lakes, where all the poets went to die

Those Windermere peaks look like a perfect place to cry

While I bathe in cliffside pools

With my calamitous love and insurmountable grief

In folklore, water dovetails with permanent loss.

“epiphany” is the most egregious example. Crawling up the beaches of a war zone proves fatal. “the lakes” describes grieving in water, perhaps for the loss of one’s life because there exist cliffs from which to jump. “this is me trying” and “hoax” mirror that idea. On the other hand, in “peace,” death does not seem to have any connection to falling from a height.

Loss can also mean loss of sanity, such as with the eccentric character of Rebekah Harkness or Taylor as a “mad woman” firing cannons at (presumably) Scooter Braun’s yacht.

Subtler are the losses alluded to in “my tears ricochet” and “seven,” of identity or image and childhood audacity, respectively. And in the opening tracks water is at its most benign, aligned with loss of a relationship that has run its course in one’s young adulthood.

The most fascinating aspect of water in folklore is that it is an aberration from water as the symbol for life/birth/renewal, derived from maternity and the womb. folklore water taketh away, not giveth.

As of now, the greater significance of the Coastal Town—the meaning to which this contradiction alludes—remains to be seen.

The City: Nightlife, Entertainment, and Public Areas

Preeminent in Taylor’s pop work is the City; New York City, Los Angeles, and London are the locations most frequently extolled as Swiftian meccas. This archetypal setting is given a more understated role in folklore.

“cardigan,” ‘of’ the City, illustrates this setting using public environments and nightlife:

Vintage tee, brand new phone

High heels on cobblestones

But I knew you

Dancin’ in your Levi’s

Drunk under a streetlight

I knew you

Your heartbeat on the High Line

Once in twenty lifetimes

To kiss in cars and downtown bars

Was all we needed

“mirrorball” paints the clearest picture of the City’s nightlife/social venues by sheer quantity of lyrics:

I’m a mirrorball

I’ll show you every version of yourself tonight

I’ll get you out on the floor

Shimmering beautiful

You are not like the regulars

The masquerade revelers

Drunk as they watch my shattered edges glisten

And they called off the circus, burned the disco down

“invisible string” briefly mentions a bar:

A string that pulled me

Out of all the wrong arms, right into that dive bar

In addition, “this is me trying” implies that the speaker may currently be at a bar, making the song partially ‘of’ the City:

They told me all of my cages were mental

So I got wasted like all my potential

I was so ahead of the curve, the curve became a sphere

Fell behind all my classmates and I ended up here

Pouring out my heart to a stranger

But I didn’t pour the whiskey

It goes almost without saying that the City at large is alcohol-soaked. Indeed, alcohol will help us understand this location.

Each of the aforementioned songs has a distinct narrator, like Betty in the case of “cardigan” or Taylor herself, at the very least in the case of “mirrorball” or at most all songs besides “cardigan.” And because the narrative character is so strong, I posit that the meaning of this geography is tied to what alcohol reveals about the speakers of the songs themselves.

“invisible string” and “mirrorball” are alike in the fact that the stories extend well beyond or even completely after nightlife. Meeting in a dive bar in “invisible string” is just the catalyst for a relationship that feels fated. Taylor, in her “mirrorball” musing, expresses concern about how she is perceived by someone close to her. Does existing after the fact (of public perception, at an entertainment venue) constitute an authentic existence? Alcohol, apparently a necessary part of City life, predates events which later haunt the speakers. Emotional torment is then what prompts the speakers to recount their stories.

On the other hand, alcohol directly reveals the emotional states of the speakers in “cardigan” and “this is me trying.” “cardigan” is Betty’s sepia-toned memory of her time with James, in which James’ careless, youthful spirit (“dancin’ in your Levi’s, drunk under a streetlight” and “heartbeat on the High Line”) inspires sadness and nostalgia for their ultimately temporary relationship (“once in twenty lifetimes”). “this is me trying” is tinged with the speaker’s bitterness; hopelessness and regret lead them to the bar and the destructive practice of drinking just to be numb.

These observations suggest that the City is also a site of grief or loss, though not for the same reason that the Coastal Town is. Whereas the Coastal Town is associated with a permanent ending such as death, the City reveals an ending that is more transitional and wistful, tantamount to a coming of age. There is a clear ‘before’ and ‘after’ to loss related to the City: life, though changed, goes on.

The Suburb: Homes and Towns

Noteworthy though the City and Coastal Town may be, the former in particular concerning the pop mythology of Taylor Swift, it is the Suburb which Taylor most frequently references in folklore and establishes as the geographical heart of the album.

The Suburb is defined by a home and town. A “home” encompasses entrances (front/side doors), back and front yards (gardens/lawns/trees/weeds/creeks), and interiors (rooms/halls/closets). The “town” is pretty self-explanatory, with a store, mall, movie theater, school, and yogurt shop.

Observe that the folklore Suburb is the aesthetic equivalent of the “small town” that provided the debut and Fearless albums’ milieu and inspired the country mythology of Taylor Swift. While Taylor primarily wrote about home and school on those albums (because, well, that was closer to her experience as a teenager), the “small town” and the folklore Suburb are functionally the same with regard to pace, quality, and monotonicity of life. Exhibit A: driving around and lingering on front doorsteps are the main attractions for young adults. (From my personal experience growing up in a Suburb, this is completely accurate. And yes, the only other attractions are the mall and the movie theater.)

The Suburb becomes a conduit for conflict.

Conflict that Taylor explores in this setting, including inner turmoil, dissension between characters, and friction between oneself and external (societal) expectations, naturally can be distinguished by distance [1] between the two forces in conflict. As an example, ‘person vs. self’ implies no distance between the sides because they are both oneself. ‘Person vs. society’ is conflict in which the sides are the farthest they could conceivably be from each other. Conflict with greater distance between the sides is usually harder to resolve. One must move bigger mountains, so to speak, to fix these problems.

The folklore Suburb is additionally constructed upon the notion of privacy or seclusion. We can imagine a gradient [2] of privacy illustrated by Suburban geography: the town is a less intimate setting than the outside of the home, which is less intimate than the inside of the home.

I combine these two ideas in the following claim: the Suburb relates distance between two forces in conflict inversely on the geographical privacy gradient. Put simply, the more intimate or ‘internal’ the setting, the farther the two sides in conflict are from each other.

(I offer this claim in the hopes that it will clarify the nebulous meaning of the Suburb in the next section.)

Salient references to the Suburban town can be divided into one of two categories:

Allowing oneself to hope

Allowing oneself to recall

“august” clearly belongs in the first category. Hope is central to August’s character and how she approaches her relationship with James:

Wanting was enough

For me, it was enough

To live for the hope of it all

Canceled plans just in case you’d call

And say, “Meet me behind the mall”

If we interpret the bus as a school bus then “the 1” also belongs in this first town category:

I thought I saw you at the bus stop, I didn’t though

I hit the ground running each night

I hit the Sunday matinee

“invisible string” indicates that the yogurt shop is equally innocent as Centennial Park. The store represents the hope of Taylor’s soul mate, parallel to her hope:

Green was the color of the grass

Where I used to read at Centennial Park

I used to think I would meet somebody there

Teal was the color of your shirt

When you were sixteen at the yogurt shop

You used to work at to make a little money

“cardigan” and “this is me trying” alternatively highlight the persistence of memory, with a relationship leaving an “indelible mark” on the narrators. These songs belong in the second category:

I knew I’d curse you for the longest time

Chasin’ shadows in the grocery line

You’re a flashback in a film reel on the one screen in my town

James’ recollection qualifies “betty” for the second category as well. This song shows that emotional weight falls behind the act of remembering:

Betty, I won’t make assumptions

About why you switched your homeroom, but

I think it’s ‘cause of me

Betty, one time I was riding on my skateboard

When I passed your house

It’s like I couldn’t breathe

Betty, I know where it all went wrong

Your favorite song was playing

From the far side of the gym

I was nowhere to be found

I hate the crowds, you know that

Plus, I saw you dance with him

The surprising common denominator of these two categories is that conflict is purely internal in public spaces. Regardless of whether the speakers feel positively or negatively (i.e. per category number), their feelings are entirely a product of their own decisions, such as revisiting a memory or avoiding confrontation. This gives credence to the theory that the Suburb inversely relates conflict distance with privacy.

On the other extreme, the home is a site of conflict larger than oneself, and often more conflict in general. Conflict which occurs in the most private setting, inside the house, is conflict where the two sides are most distanced from each other. Conflict near the house, though not strictly inside, is closer, interpersonal.

“my tears ricochet” is just an ‘indoors’ song. The opening line depicts a private, funeral-like atmosphere:

We gather here, we line up, weepin’ in a sunlit room

There are multiple interpretations of this song floating around. The two prevailing ones are about the death of Taylor Swift the persona and the sale of her masters. In either interpretation, society and culture are the foundation for the implied conflict. First, the caricature of Taylor Swift exists as a reflection of pop culture; second, the sale of global superstar Taylor Swift’s masters is a dispute of such magnitude that it is not simply an interpersonal squabble.

For the alternative interpretation that “my tears ricochet” is about a dissolved relationship, “and when you can’t sleep at night // you hear my stolen lullabies” implicates Taylor Swift’s public catalogue (and thus Taylor Swift the persona) as the entity haunting someone else, as opposed to Taylor Swift the former member of the relationship.

“mad woman” is just an ‘outdoors’ song because of the line about the neighbor’s lawn:

What do you sing on your drive home?

Do you see my face in the neighbor’s lawn?

Does she smile?

Or does she mouth, “Fuck you forever”

It’s clear Taylor has a lot of vitriol for Scooter Braun. Though it’s probably a bit of both at the end of the day, I am comfortable calling their feud more of the ‘person vs. person’ variety than the ‘person vs. society’ variety.

Consequently, the privacy gradient claim holds for both songs.

“illicit affairs” is one of two songs with a very clear ‘transformation’ of geography:

What started in beautiful rooms

Ends with meetings in parking lots

In context, this represents the devolution of the relationship. External conflict, the illegitimacy of the relationship, defined the affair when it was in “beautiful rooms.” Relocating to the parking lot (i.e. now referencing the Suburban town) coincides with discord turning inward. Any external shame or scorn for both lovers as a consequence of the affair is replaced by the end of the song with anger the lovers feel towards each other and, more importantly, themselves.

“seven” is the best example of how many types of conflict are present in and around the home:

I hit my peak at seven

Feet in the swing over the creek

I was too scared to jump in

And I’ve been meaning to tell you

I think your house is haunted

Your dad is always mad and that must be why

And I think you should come live with me

And we can be pirates

Then you won’t have to cry

Or hide in the closet

Please picture me in the weeds

Before I learned civility

I used to scream ferociously

Any time I wanted

The first few lines exemplify ‘person vs. self’ conflict, a fear of heights. The third segment introduces a ‘person vs. society’ dilemma, shrinking pains as a result of socialization into gender norms. (I am assuming that the child is a girl.) The second verse indicates strife between a child and a father. It leaves room for three interpretations:

The conflict is interpersonal, so the father’s anger is wholly or partially directed at the child because the father is an angry person

The conflict is sociological, so the father’s anger is a whole or partial consequence of the gendered roles which the father and child perform

Both

Is curious that we need not regard sadness and the closet in “seven” as mutually inclusive. The narrator says the child’s options are crying (logical) or hiding in the closet. Both the father’s temper and the closet are facts of the child’s life, either innocuous or traumatic or somewhere in between.

But we might—and perhaps should—go further and argue that conflict in “seven” is necessarily sociological, and specifically about being civilized to perform heterosexual femininity. For, taken to its logical extreme, if only gender identity and not sexual identity incites anger, then men must be socialized to become abusive to women, who must be socialized to become submissive to that abuse. Screaming “ferociously” at any time would also denote freedom to be oneself despite men, not freedom to be oneself for one’s own gratification. Yet the child surely enjoys the second freedom at the beginning of the song. While the patriarchy is indeed an oppressive societal force, the interpretation of the social conflict in “seven” as only gendered yields contradiction. This interpretation is much more tenuous than acknowledging that the closet is, in fact, The Closet.

(Mere mention of a closet, the universal symbol for hiding one’s sexuality, immediately justifies a queer interpretation of “seven” notwithstanding other sociological and/or semantic technicalities. A sizable chunk of Taylor’s extensive discography also lends itself to queer interpretation by extension of connection with this song—for instance, by a shared theme of socialization as a primary evil. To me it seems silly at best and homophobic at worst to eschew the reading of “seven” presented here.)

It is undeniable that “seven” represents many types of conflict and places them inversely on the privacy gradient. The father embodies societal conflict larger than the young child and introduces that conflict inside the house. The child faces internal conflict (i.e. a fear of heights) and no conflict at all (i.e. freedom to act fearlessly) outside.

Reconciling “august,” “exile,” and “betty” with the privacy gradient actually requires a queer interpretation of the songs. To avoid the complete logical fallacy of a circular proof, I reiterate that the privacy gradient is simply a means of illustrating how the Suburb functions as an archetypal location. Queer interpretation is a sufficient but not necessary condition for an interesting argument about Suburban spatial symbolism. Reaching a slightly weaker conclusion about the Suburb without the privacy gradient would not impact the conclusions about the other three archetypal locations. Finally, queer (sub)text is a noteworthy topic on its own.

“betty” situates the front porch as the venue where Betty must make a decision about her relationship with James:

But if I just showed up at your party

Would you have me? Would you want me?

Would you tell me to go fuck myself

Or lead me to the garden?

In the garden, would you trust me

If I told you it was just a summer thing?

Yeah, I showed up at your party

Will you have me? Will you love me?

Will you kiss me on the porch

In front of all your stupid friends?

If you kiss me, will it be just like I dreamed it?

Will it patch your broken wings?

Influencing Betty’s decision is her relationship with her “stupid” (read: homophobic) friends who don’t accept James (and/or the idea of James/Betty as a pair), her own internalized homophobia, and the trepidation with which she may regard James after the August escapade. The conflict at the front door is external/societal, interpersonal, and internal.

The garden differs from the front door as an area where James and Betty can privately discuss the August escapade. By moving to the garden, the supposed root of their conflict shifts from the oppressive force of homophobia to James’ behavior regarding the love triangle (“would you trust me if I told you it was just a summer thing?”). Much like in “illicit affairs,” motion along the privacy gradient underscores that micro-geography is inversely related to conflict distance.

Next, the implied settings of “august” are a bedroom and a private outdoor location such as a backyard:

Salt air, and the rust on your door

I never needed anything more

Whispers of "Are you sure?”

“Never have I ever before”

Your back beneath the sun

Wishin’ I could write my name on it

Will you call when you’re back at school?

I remember thinkin’ I had you

The backyard holds a mixture of ‘person vs. self’ and ‘person vs. person’ conflict. August’s doubts about James manifest as personal insecurities. However, James, by avoiding commitment, is equally responsible for planting that seed of doubt.

The song’s opening scene depicts a young adult losing their virginity. The bedroom can thus be conceptualized as a site of societal conflict because the queer love story expands this location to the geographical manifestation of escapism and denial. James runs off with August as a means to ignore externalized homophobia from a relationship with Betty, who has homophobic friends. Yet they eventually ditch August for Betty, either because of intense feelings for Betty or internalized homophobia—the relationship with August was too perfect, too easy.

“betty” and “august” are consistent with the gradient theory provided we interpret the love triangle narrative as queer. Identity engenders conflict in these songs. The characters then confront the conflict vis-à-vis location. ‘Indoors’ becomes the arena for confronting issues farther from the self, namely concerning homophobia. ‘Outdoors’ scopes cause and therefore possible resolution to individuals’ choices.

Last but not least, consider “exile,” the song with strange staging:

And it took you five whole minutes

To pack us up and leave me with it

Holdin’ all this love out here in the hall

You were my crown, now I’m in exile, seein’ you out

I think I’ve seen this film before

So I’m leaving out the side door

“I’m in exile, seein’ you out” and “I’m leaving out the side door” contradict each other. The speaker, “I,” seeing their lover out means that the speaker remains inside the house while their lover leaves. But the “I” also leaves through the side door. Does the speaker follow their lover out? If so, then whose house are they leaving? It is most likely a shared residence. They plan on coming back.

Taylor said in an interview [3] that the verses, sung by different people, represent the perspectives of the two lovers. The “me” in the first segment is the “you” in the second. So our “I” is left in the hall too. Both individuals in the relationship are implied to leave and stay at different times.

An explanation for this inconsistency lies in the distinction between doors. A front door in folklore is symbolic of trust, that which makes or breaks a relationship (see: Betty’s front door and the door in “hoax”). It also forces sociological conflict to be resolved at the interpersonal level, lest serious problems hang out in the open. Fixing the world at large is usually impossible, and so front doors only create more issues. (The mountains, as they say, are too big to move.) The main entrance is thus a site for volatility and high stakes.

“exile” suggests that a shared side door is for persistent, dull, aching pain. This door symbolizes shame which is inherent to a relationship. It forces the partners to come and go quietly, to hide the existence of their love. Inferred from a queer reading of “exile” is that it is homophobia that erases the relationship. Conflict with society as evinced in individuals is once again consistent with the staging at the home.

Note that few (though multiple) explanations could resolve the paradox between intense shame in a relationship and the setting of a permanent shared home. Racism, for example, may be a reason individuals hide the existence of a loving relationship. Nevertheless, the overall effect of Taylor’s writing is that it is believable autobiography. It is unlikely that she’s speaking about racism here, least of all because there are two other male characters in the song. So a slightly more uncouth name for “exile” would be “the last great american mutual bearding anthem.”

To summarize, the Suburb is an archetypal setting constructed upon the notion of privacy. Taylor makes the folklore Suburb the primary home (no pun intended) of conflict of all kinds. Through an intimate, inverse relationship between drama and constitutive geography, Taylor argues that unrest and incongruity are central to what the Suburb represents.

The Outside World

The final archetypal setting is the complement to the first three—a physical and symbolic alternative.

The Guadalcanal beaches in “epiphany” (which are also alluded to in “peace”) contrast the homeland in “exile” through a metaphor about war. The Lake District in England is opposite America, the setting of most of folklore. The Moon, Saturn, and India are far away from Pennsylvania, the setting of “seven.” India quantifies the lengths to which the speaker of the song would go to protect the child character, while astronomy abstracts the magnitude of the speaker’s love.

This archetypal setting is symbolic of disengagement and breaking free from limitations. Moving to India in “seven” is how the speaker and child could escape problems at the child’s home. Analogizing war with the pandemic in “epiphany” removes geographical and chronological constraints from trauma.

The Lake District is where Taylor, a poet, goes to die. The line “I don’t belong and, my beloved, neither do you” could also suggest that this location is where Taylor and her muse break free from being outcasts (i.e. they find belonging). Regardless, the Lake District is where she disengages from the ultimate limitation of life itself.

——

How is an archetypal feature used as a metaphor? By proxy, what does that say about the setting defined by said feature?

Analysis of each archetypal feature yielded the following:

The Coastal Town is representative of permanent loss/endings

The City is representative of transitional loss/endings

The Suburb is the site of character-defining conflict

The Outside World is freedom from the constraints of the other settings

What theme unites these settings?

Though the majority of songs in folklore are anachronistic, the album has a temporal spirit. Geography seems to humanize and animate folklore: the meanings of the settings mirror the stages of life.

(The theoretical foundation for this claim is a topology of being; that the nature of being [4] is an event of place.)

The City, characterized by transition, is the coming-of-age and the Coastal Town, characterized by permanent endings, is death.

The Outside World, an alternative to life itself, is hence a rebirth. (After all, Romantic poets experienced a spiritual and occupational rebirth upon retiring to the Lakes to die. We remember them by their retreat.)

Outwardly, the Suburb is ambiguous. It could be representative of adolescence or adulthood—before or after the City. Analysis shows that this setting is nothing if not complex. Adult Taylor writes about the Suburb as someone whose opinion of this setting has unquestionably soured since adolescence. Yet she also approaches the Suburb with the singular goal of creating nuance, specifically by exposing unrest and incongruity which the setting usually obfuscates. This setting, ironically one that is (culturally) ruled by haughty adolescents, is where she explores the myriad subtleties and uncertainties coloring adulthood. The Suburb thus cannot be for adolescence because James is 17 and doesn’t know anything. Taylor intentionally situates the Suburb between the City and Coastal Town as the geographic stand-in for a complicated adulthood.

Despite genre shifts, Taylor has always excelled at establishing a clear setting for her songs. She is arguably even required to establish setting more clearly for folkloric storytelling than for her brand of confessional pop. If we can’t fully distinguish between reality and fiction, we must be able to supplement our understanding of a story with strong characterization, which is ultimately a byproduct of setting. Geography is a prima facie necessity for creating folklore.

This further suggests that the ‘life story’ told through geography is the thing closest to a metanarrative of folklore.

I use this term to refer to an album’s overarching narrative structure which Taylor creates (maybe subconsciously) in service of artistic self-expression. Interrogating ‘metanarrative’ should not be confused with the protean, impossible, and distracting task of deciphering Taylor Swift’s life. True metanarrative is always worth exploring. Also, though some conclusions about metanarrative may seem more plausible than others, at the end of the day all relevant arguments are untenable. Only Taylor knows exactly which metanarrative(s) her albums follow, if any. It is simply worth appreciating that folklore allows an interesting discussion about metanarrative in the first place; that it is both possible to find patterns sewn into the fabric of the work and to resonate with that which one believes those patterns illustrate. I digress.

folklore is highly geographic but orthogonal to all of our geographic expectations of mood or tone. Through metaphor, Taylor upends our assumptions about the archetypal settings.

The Outside World is usually a setting which represents a brief and peaceful respite for travelers. Here, it is the setting for complete and permanent disengagement. Hiding and running away was a panacea in reputation/Lover, but in folklore, finding peace in running and hiding becomes impossible.

The City is usually regarded as a modern Fountain of Youth and, in Taylor’s work, a home. However, the folklore City’s shelter is temporary and its energy brittle, like the relationship between the characters that inhabit it. The City has lost its glow.

One would expect the Coastal Town to be peaceful and serene given its small size and proximity to water. Taylor makes it the primary site of death, insanity, permanent loss. The place where one cannot go with grace is hardly peaceful.

The Suburb is not the romanticized-by-necessity dead end that it is in a Bildungsroman like Fearless. Rather, it is the site of great conflict as a consequence of individual identity. The American suburb is monolithic by design; Taylor points the finger of blame back at this design for erasing hurt and trauma. By writing against the gradient of privacy, she obviates all simplicity and serenity for which this location is known. Bedrooms no longer illustrate the dancing-in-pjs-before-school and floodplain-of-tears binary. Front porches become more sinister than the place to meet a future partner and rock a baby. Characters’ choices—often between two undesirable options in situations complicated by misalignment of the self and the world at large—become their biggest mistakes. It is with near masochistic fascination that Taylor dissects how the picturesque Suburban façade disguises misery.

If we have come to expect anything from Taylor, it is that she will make lustrous even the most mundane feelings and places. (And she is very good at her job.) folklore is a departure from this practice. She replaces erstwhile veneration of geography itself with nostalgia, bitterness, sadness, or disdain for any given setting. folklore is orthogonal to our primary expectation of Taylor Swift.

Yet another fascinating aspect of folklore is the air of death. It’s understandable. Taylor has ‘killed’ relationships, her own image, and surely parts of her inner self an unknowable number of times. Others have tarnished her reputation, stolen her songs, and deserted her in personal and professional life. She perishes frequently, both by her own hand and by the hands of others. The losses compound.

I’ve lost track of the number of posts I’ve seen saying that folklore is Taylor mourning friendships, love, a past self, youth…x, y, z. It has literally never been easier to project onto a Taylor Swift album, folks! At the same time, it is very difficult to to pinpoint what, exactly, Taylor is mourning. To me, listing things is a far too limited understanding of folklore. The lists simply do not do the album justice.

Death’s omnipresence has intrigued many, and I assert for good geographic reason. Reinforcing the album’s macabre undertone is nonlinear spatial symbolism: each setting bares a grief-soaked stage of a single life. From the City to the Suburb, Coastal Town, and Outside World, we perceive one’s sadness and depression, anger and helplessness, frustration and scorn, and acceptance, respectively. folklore holds a raw, primal grief at its core.

The geographic metanarrative justifies Taylor’s unabridged grieving process as that over the death of her own Romanticism. For the album’s torment is not as simple as in aging or metamorphosis of identity, not as glorified or irreverent as in a typical Swiftian murder-suicide, not as overt as in a loss with something or someone to blame. folklore is Taylor’s reckoning with what can only be described as artistic mortality.

——

To summarize up until this point: geography in folklore is not literal but metaphorical. The artistic treatment of folklore settings evinces a ‘geographic metanarrative,’ a close connection between settings and the stages of a life spent grieving. I propose that this life tracks Taylor’s relationship to her Romanticism. folklore follows the stages of Taylor’s artistic grief, so we will see that the conclusion of the album brings the death of Taylor’s Romanticism.

It is important to distinguish between the death of Romanticism in general and the death of Taylor’s Romanticism. folklore presents an argument for the latter.

A central conceit of Romanticism is its philosophy of style:

The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life.…if the romantic ideal is to materialize, aesthetics should permeate and shape human life. [5]

Romanticism is realized through imagination:

The imagination was elevated to a position as the supreme faculty of the mind.…The Romantics tended to define and to present the imagination as our ultimate “shaping” or creative power, the approximate human equivalent of the creative powers of nature or even deity. It is dynamic, an active, rather than passive power, with many functions. Imagination is the primary faculty for creating all art. On a broader scale, it is also the faculty that helps humans to constitute reality…we not only perceive the world around us, but also in part create it. Uniting both reason and feeling…imagination is extolled as the ultimate synthesizing faculty, enabling humans to reconcile differences and opposites in the world of appearance. [6]

Imagination then engenders an artist-hero lifestyle [7]. This is similar—if not identical—to what we perceive of Taylor Swift’s life:

By locating the ultimate source of poetry in the individual artist, the tradition, stretching back to the ancients, of valuing art primarily for its ability to imitate human life (that is, for its mimetic qualities) was reversed. In Romantic theory, art was valuable not so much as a mirror of the external world, but as a source of illumination of the world within.…The “poetic speaker” became less a persona and more the direct person of the poet.…The interior journey and the development of the self recurred everywhere as subject material for the Romantic artist. The artist-as-hero is a specifically Romantic type.

Taylor’s Romanticism is thus her imagination deified as her artist-hero.

Moreover, the discrepancy between perceptions of grief in folklore is a consequence of the death of her Romanticism.

We (i.e. outsiders) naturally perceive the death of the Romantic as the death of Romantic aesthetics. Hence the lists upon lists of things that Taylor mourns instead of celebrates.

Taylor seems to grieve her Romantic artist-hero. Imaginative capacity predicates an artist-hero self-image, so conversely the death of the Romantic strips imagination of its power. The projected “fantasy, history, and memory” [8] of folklore indeed unnerves rather than comforts. The best example of this is from a corollary of the geographic metanarrative. Grief traces geography which traces life, and life leaks from densely populated areas to sparsely populated areas (it begins in the City and ends in the Outside World). Metaphorical setting, a product of imagination, aids the Romantic’s unbecoming. So, imagination is not a “synthesizing faculty” for reconciling difference; it is instead a faculty that divides.

Discriminating between the death of Romanticism in general and the death of Taylor’s Romanticism contextualizes folklore’s highly individualized grief. It is hard to argue that Taylor Swift will ever be unimaginative. But if we assume that she subscribes to a Romantic philosophy, then it follows that confronting the limits of the imagination is, to her, akin to a reckoning with mortality, a limit of the self.

——

folklore follows the stages of Taylor’s artistic grief. The album ends with Taylor accepting of the death of her Romanticism and being reborn into a new life. The final trio of songs, set ‘of’ the Suburb, Coastal Town, and Outside World in turn, frame the album’s solitary denouement.

In truth, “peace” is hardly grounded in Suburban geography. The nuance in it certainly makes it a thematic contemporary of other songs belonging to the Suburb, however. And consider: the events of “peace” are after the coming-of-age, the City; defining geographic features of the Coastal Town and Outside World are referenced in the future tense; an interior wall, the closest thing to Suburban home geography, is referenced in the present tense:

Our coming-of-age has come and gone

But I’m a fire and I’ll keep your brittle heart warm

If your cascade ocean wave blues come

You paint dreamscapes on the wall

And you know that I’d swing with you for the fences

Sit with you in the trenches

Per tense and the geographic metanarrative, “peace” is Suburban and is the first story of this trio. “hoax” and “the lakes” trivially follow (in that order) by their own geography.

The trio is clearly a story about Taylor and her muse. Understanding perspective in these songs will help us reconcile the lovers’ story and the geographic metanarrative.

We must compare lines in “peace” and “hoax” to determine who is speaking in those songs and when. Oft-repeated imagery makes it challenging to find a distinguishing detail local only to the trio. I draw attention to the affectionate nickname “darling”:

And it’s just around the corner, darlin’

'Cause it lives in me

Darling, this was just as hard

As when they pulled me apart

These two mentions are the only such ones in folklore. Whoever sings the first verse of “peace” must sing the bridge of “hoax” too.

“hoax” adds that the chorus singer’s melancholy is because of their faithless lover:

Don't want no other shade of blue but you

No other sadness in the world would do

Augmenting Lover is an undercurrent of sadness to which Taylor alludes with the color blue. By a basic understanding of that album, Taylor sings the “hoax” chorus.

The fire and color metaphors in tandem make the “hoax” verse(s) and bridge from the perspective of the lover who is burned and dimmed by the energy of their partner, the “peace” chorus singer:

I am ash from your fire

But what you did was just as dark

But I’m a fire and I’ll keep your brittle heart warm

Finally, a motif of an unraveling aligns the “hoax” verse(s) and bridge singer:

You knew it still hurts underneath my scars

From when they pulled me apart

My kingdom come undone

The “hoax” verse(s), chorus, and bridge are all sung by the same person.

In sum: Taylor sings the first verse of “peace” and her lover sings the chorus of “peace.” (See this post for more on “peace.”) Taylor alone sings “hoax.” “the lakes” is undoubtedly from Taylor’s perspective too.

Now let’s examine “peace” more closely:

Our coming-of-age has come and gone

Suddenly this summer, it’s clear

I never had the courage of my convictions

As long as danger is near

And it’s just around the corner, darlin’

‘Cause it lives in me

No, I could never give you peace

But I’m a fire and I'll keep your brittle heart warm

If your cascade, ocean wave blues come

All these people think love’s for show

But I would die for you in secret

The devil’s in the details, but you got a friend in me

Would it be enough if I could never give you peace?

Taylor’s lover has the temerity to die for her in secret. We can infer from the first verse that Taylor’s coming-of-age brings not the courage her lover possesses but clarity about an unsustainable habit. She realizes that she cherishes youthful fantasies of life (such as “this summer,” à la “august”) for mettle. This apparently knocks her out of her reverie.

The recognition that being an artist-hero hurts her muse frames the death of Taylor’s Romanticism. It is impossible for Taylor to both manage an unpleasant reality and construct a more peaceful one using her Romantic imagination. The rift between her true lived experience (“interior journey”) and the experience of her art (“development of the self”) is what fuels alienation from Romance. The artist is unstitched from the hero.

“hoax” continues along this line of reasoning. In this song, she admits that she has been hurt by herself:

My twisted knife

My sleepless night

My winless fight

This has frozen my ground

As well as by her lover:

My best laid plan

Your sleight of hand

My barren land

I am ash from your fire

And by others:

You knew it still hurts underneath my scars

From when they pulled me apart

The bridge marks is the turning point where she lets go of of her youth and adulthood, both of which are tied to her Romanticism through geography:

You know I left a part of me back in New York

You knew the hero died so what’s the movie for?

You knew it still hurts underneath my scars

From when they pulled me apart

You knew the password so I let you in the door

You knew you won so what’s the point of keeping score?

You knew it still hurts underneath my scars

From when they pulled me apart

Of utmost importance is the very first line. The muse to whom Taylor addresses “hoax” is said to have been present at Taylor’s side through all of her struggles (“you knew”). The first line reveals that the lover did not know that Taylor left a part of herself back in New York (“you know [now]”). Taylor is only sharing her newfound realization as she stands on the precipice of the Coastal Town.

Nearly imperceptible though this syntactic difference is, it is an unmistakable reprise of the effect of the verses and chorus of “cardigan.” (Coincidentally, references to New York connect the songs.) “Knew” and “know” in both songs underscore a difference between what a character remembers (or had previously experienced) and what they understand in the current moment (or have just come to realize). Betty realizes at the very moment that she narrates “cardigan” that it was a mistake to excuse James’ behavior as total ignorance and youthful selfishness. Taylor realizes in “hoax” that she can no longer cling to youth, the romanticization of her youth, or romanticization of the romanticization of her youth. The youth in her is gone forever because she is no longer attached to the City. The adult in her has also matured for she is past the Suburb as well. The Coastal Town thus very appropriately stages the death of her Romantic.

Anyone who listens to Taylor’s music has been trained to connect geography to the vitality of Romantic artist-hero Taylor. In short, aestheticized geography renders Taylor’s Romantic autobiography. By letting go of the parts of her connected to geography, Taylor abandons the Romantic aesthetics both she and listeners associate with location. Divorcing from aesthetics also pre-empts romanticization of location in the future. The bridge of “hoax” is thus most easily summarized as the moment when any fondness for and predisposition towards Romance crumbles completely.

Lastly, we must pay special attention to micro-geography in the “hoax” chorus. We recall from “the last great american dynasty” and “this is me trying” the insanity that consumes the characters who contemplate the cliffs. The Coastal Town is not a beautiful place to die; one is graceless when moribund:

They say she was seen on occasion

Pacing the rocks, staring out at the midnight sea

I’ve been having a hard time adjusting

Pulled the car off the road to the lookout

Could’ve followed my fears all the way down

From “peace” we know that Taylor’s lover is willing to die for her, in particular if Taylor’s sadness becomes too great (i.e. if she goes to the sea).

But I’m a fire and I'll keep your brittle heart warm

If your cascade, ocean wave blues come

All these people think love’s for show

But I would die for you in secret

The “hoax” chorus is when Taylor’s sadness balloons. Taylor the Romantic is ready to die:

Stood on the cliffside screaming, "Give me a reason"

Your faithless love’s the only hoax I believe in

Don't want no other shade of blue but you

No other sadness in the world would do

Remember Rebekah, pacing the rocks, staring out at the midnight sea. Taylor is in this same position, on the cliffs, facing the water. Why is she screaming? Taylor is yelling down at her lover, who has already died (in secret, of course) and is in the water below waiting to catch her. (“I’m always waiting for you to be waiting below,” anyone?) Taylor’s singular faith is in her lover, and Taylor wants them to promise to catch her when she falls. In the end, though, the inherent danger nullifies what the lover could do to convince Taylor that the two would reunite safely below.

Taylor examines the water and realizes that her lover’s hue is combined with the blue of the sea. The sea cannot promise to catch her. Already mentally reeling, the admixture of sadnesses—in the setting which represents the culmination of life—makes Taylor recalcitrant. The Coastal Town has too much metaphorical baggage. It is not the place Taylor leaps from the cliffs. The first line of the “hoax” chorus uses “stood,” which implies that Taylor is reflecting on this dilemma after the fact.

The outro reinforces that the Coastal Town is where Taylor the Romantic comes to term with death but does not actually die:

My only one

My kingdom come undone

My broken drum

You have beaten my heart

Don’t want no other shade of blue but you

No other sadness in the world would do

Romantic imagination cannot protect Taylor from all the hurt she has suffered in reality. A calm settles over her as the chords modulate to the relative major key. She reflects on her journey: “my only one” corresponds to the first verse which introduces her solemn situation; “my kingdom come undone” ties to the self-inflicted hurt that froze her ground; “my broken drum // you have beaten my heart” supplements the second verse about suffering from her lover’s duplicity. The last lines are again her rationale for not jumping from the rocks. Finally, after the album-long grieving period, Taylor the Romantic has made peace with her inevitable death.

Romanticism is Taylor’s giant which goes with her wherever she goes. Running, hiding, traveling, and uprooting are indeed the fool’s paradise in her previous albums. Impermanence of setting—roaming the world for self-culture, amusement, intoxication of beauty, and loss of sadness [9]—engenders an impermanence of self, which fuels the instinct to cling tightly to what does remain constant. Naturally, then, Romanticism is Taylor’s only enduring companion. It becomes the lens through which she understands the world, yet the rose-colored one which by virtue inspires problems on top of problems. Forevermore does her Romantic inspire a cycle of catharsis that plays out in real life. Thy beautiful kingdom come, then tragically come undone.

Taylor chooses to go to the Lakes to escape from the constraints of this cycle:

Take me to the Lakes where all the poets went to die

I don’t belong and, my beloved, neither do you

Those Windermere peaks look like a perfect place to cry

I’m setting off, but not without my muse

Of the death story in the “peace”/“hoax”/“the lakes” trio, it is impossible to ignore the mutualism of Taylor and her muse. Neither of them belong of this life—and ‘of’ American geography—anymore. Taylor’s last wish is to go to the Outside World and jump (“[set] off”) from the Windermere peaks with her muse, who is ever willing to both lead Taylor to the dark and follow her into it.

Taylor bids a final goodbye—appropriately, in the tongue of Romance—to the philosophy which has anchored her all this time:

I want auroras and sad prose

I want to watch wisteria grow right over my bare feet

'Cause I haven’t moved in years

And I want you right here

Romanticism, her art and life in tandem, brought Taylor what she values: union with her muse in the privacy of nature and her imagination. The final ode holds respect.

Finally, her death. The journey of grief concludes with Taylor both accepting death and, fascinatingly, being reborn into a new life:

A red rose grew up out of ice frozen ground

With no one around to tweet it

While I bathe in cliffside pools

With my calamitous love and insurmountable grief

In keeping with metaphorical geography, old life dwindling in water is exactly concurrent with new life flourishing on land.

Observe that the rebirth concerns ice frozen ground, an element of “hoax,” which is set in the Coastal Town. The rebirth must happen back in America even though the death happens at the Lakes.

Despite the imagery, this is not a Romantic rebirth. Begetting a new life is the juxtaposition of two things Taylor once romanticized toward opposite extremes—a red rose for beauty and an ice frozen ground for tragedy—with her simple refusal that either be distorted as externalities of her experience.

This final stanza is wide open for interpretation with regards to the story of the two lovers. It allows a priori all permutations of Taylor and/or her muse experiencing rebirth as the red rose and/or the frozen ground:

Taylor and her lover experience a rebirth together

Taylor is the red rose and her lover is the ice frozen ground

Taylor is the ice frozen ground and her lover is the red rose

Taylor and her lover are indivisible: they are both the rose and the frozen ground

Taylor alone experiences a rebirth

Taylor is the rose

Taylor is the ice frozen ground

Taylor is the rose + ice frozen ground

The lover alone experiences a rebirth

The lover is the rose

The lover is the ice frozen ground

The lover is the rose + frozen ground

(2) and (3) make death at the end of “the lakes” purely sacrificial. This is inconsistent with the disproportionate emphasis placed on the lovers’ mutualism. I am thus inclined to dismiss (2) and (3) as consequences of combinatorics.

There are also two interpretations of the final lines of the bridge:

Taylor the Romantic is the implied ‘I’ overcome with grief; her muse is her calamitous love with whom she bathes

Taylor the Romantic possesses both calamitous love and insurmountable grief; her lover, as per usual, dies with her in secret

It is unclear which is the truth. Still, (1) is relatively straightforward: there are two entities said to bathe in the Lakes and two entities said to be involved in reincarnation.

There need not be ‘parity’ between old life and new (reincarnated) life with respect to the lovers’ relationship status. If Taylor’s muse dies, does her relationship dissolve? Or must her muse, who dies at Taylor’s side, be reborn at her side too? If Taylor declares her devotion to her lover before her death, does that ensure that they are together in perpetuity? Or is that sentiment purely a relic of her past life, in which case her love disappears anew? Perhaps the invisible string tying the lovers together bonds them in eternal life. Perhaps the string snaps. Which is the blessing and which is the curse?

Whatever you make of ‘parity’ in reincarnation, it is important to remember that Taylor insists the relationship between her and her muse is at least a spiritual or divine one—if not also a worldly one—for it exists in conjunction with her own metaphysic.

How does reincarnation betray Romanticism?

A. Taylor is the red rose and the lover is the ice frozen ground.

Taylor as the rose does not trivially align with a bygone Romanticism, for the rose epitomizes Romance. Key, therefore, is the line about tweeting. Taylor abhors the practice of cataloguing and oversharing in service of knowing something completely—effectively ‘modern’ Romanticism.

Digital overexposure is an occupational hazard [10], but Taylor refuses to let ‘modern’ Romanticism to become invasive this time around. New life shall not be defiled by social media. It shall remain pure by individual will. Though Taylor’s rebirth into a new life happens on land in America, that it does not become a hyperbole of local Twitter is the proverbial nail in the coffin of Romanticism, distortion in service of aesthetic.

Rose imagery also draws a direct parallel to “The Lucky One,” Taylor’s self-proclaimed meditation [11] on her worst fears of stardom. The “Rose Garden” in this song contextualizes the “lucky” one’s disappearance from the spotlight:

It was a few years later

I showed up here

And they still tell the legend of how you disappeared

How you took the money and your dignity, and got the hell out

They say you bought a bunch of land somewhere

Chose the Rose Garden over Madison Square

And it took some time, but I understand it now

Emphasis on individual choice in the aforementioned star’s return to normalcy bears a striking resemblance to the individualistic philosophy of “the lakes,” as exemplified by Taylor and her muse choosing to jump from the Windermere peaks and Taylor keeping her rose off social media. Mention of a “legend” that describes disappearance and simultaneous return elsewhere is another connection to the “the lakes.”

Taylor as the rose could alternatively represent a chromatic devolution of true love (“I once believed love was burnin’ red // but it’s golden”). That is, becoming a rose suggests she may have changed her mind back to believing that love is burning red. This more generally represents returning to the beginning of a journey that began in the Red era. Perhaps Taylor sees Red as the beginning of her calamitous Romanticism. She realizes by folklore the fears which she surveyed in “The Lucky One,” so choosing a new life presents an opportunity to protect post-Speak Now Taylor from self-inflicted wounds which fester and prove fatal to her Romantic. (In essence…time travel.)

Taylor’s lover, ice frozen ground, is reborn frigid not blazing, the opposite of their raging fire. Taming the lover’s wild essence renders it impossible for them to be a Romantic muse in a new life. If the two lovers do indeed share an eternal love, then death reveals a conscious choice not to glorify it.

Additionally, Taylor’s artist-hero imagination has no power in her new life. Taylor and her lover have effectively switched spots. All we previously knew of the lover’s secrets and secret death was from what Taylor wrote, so Taylor (for lack of a better phrase) concealed her lover. The lover, ice frozen ground, is now the one concealing Taylor, the rose. As a smothering but not razing force, Taylor’s lover thus is reincarnated into the role of a public protector. Reincarnation reveals that the death of Romanticism is abetted through the death of secrecy, which always allows distortion of truth.

Another possibility: the secrecy surrounding the lover is that they were the ice frozen ground. If Taylor confirms that the lover was something ‘tragic’ before, then after the death of Romanticism they counterintuitively may become beautiful. Or, the lover continues to be tragic, and paramount again is Taylor’s choice not to sensationalize her muse.

B. Taylor is the ice frozen ground and the lover is the red rose.

Many of the themes above apply to this interpretation too.

Taylor reborn as ice frozen ground does not change her essence from “hoax.” By not ‘shaking off’ a sadness with her rebirth, she subverts the usual expectation—a product of the many years devoted to fixing any and all criticism [12]—of artist-hero Taylor Swift.

The lover reborn as the red rose means their being surfaces where they once were hidden and/or that they are not the golden love they had been in reputation, Lover, and “invisible string.” New life brings the bright, burning “red” emotions. Either what was once very bad is now very good and vice versa, or these emotions are simply not very anything because Taylor doesn’t want to sensationalize them as a pastiche of Red. If Taylor’s love is eternal, then she will be more subdued when sharing it; if it is not eternal, then she will simply move on.

This interpretation implies that Taylor’s Rose Garden is eternal love without the necessity of elevating her partner to Romantic muse status. No one being around to tweet the rose bursting through the ice means that Taylor alone gets to appreciate her lover for their pure essence before modern society does—lest the lover be perceived at all.

C. Taylor and her lover are indivisible: they are both the rose and the frozen ground

Taylor’s “twisted knife”/“sleepless night”/“winless fight” froze her ground but her lover’s “sleight of hand” made the land barren, unable to sustain life. The two lovers are emotionally at odds, but Romanticism acts as the “synthesizing faculty” which unites them in their old life.

The metaphor of the rose and frozen ground does not work without each part. It is possible that the lovers remain equally united in their new life; the lovers’ spiritual connection yields unity after reincarnation. Abiogenesis is therefore the phenomenon which betrays Romanticism. The lovers exist alongside each other naturally, not because they are opposites which Romanticism has forced together.

This is probably the most lighthearted interpretation of the last stanza in “the lakes.” Extreme hardship helps the lovers grow, and they remain intertwined through eternity.

——

The geographic elegy of folklore is that for Taylor’s giant, her Romantic, something both treasured and despised right until its end. (How appropriately meta.)

This raises the question: what replaces it?

Nothing.

folklore can—and perhaps should—be understood as a Transcendental work rather than a Romantic one. From this angle, Romanticism is that which prevented Taylor from connecting with something deeper within herself, something more eternal.

“Transcendental” does not mean “transcendent” or beyond human experience altogether, but something through which experience is made possible. [13]

Transcendentalism and Romanticism were two literary and philosophical movements that occurred during roughly the same time period [14]. Romanticism dominated England, Germany, and France in the late 18th and early 19th centuries slightly before Transcendentalism swept through America in the mid-1800s.

The two movements heavily influenced [15] each other. Transcendentalists and Romantics shared an appreciation for nature, doubt of (Calvinist) religious dogma, and an ambivalence or dislike of society and its institutions as corrupting forces. We see Taylor align herself with these ideas by the end of the album. “the lakes” holds a reverence of the natural world, disregard of predestination, and contempt for Twitter.

But Transcendentalism sharply diverged from Romanticism along the axis of faith. Transcendentalism thrived as a religious movement that emphasized individualism as a means for self-growth and, in particular, achieving a personal, highly spiritualized [16] understanding of God:

For many of the transcendentalists the term “transcendentalism�� represented nothing so technical as an inquiry into the presuppositions of human experience, but a new confidence in and appreciation of the mind’s powers, and a modern, non-doctrinal spirituality. The transcendentalist, Emerson states, believes in miracles, conceived as “the perpetual openness of the human mind to new influx of light and power…”

Romantics, for instance, viewed nature as a source of imagination, inspiration, and enlightenment, whereas Transcendentalists saw nature as a vessel for exploring spirituality. Transcendentalists believed in an innate goodness of people for possession of a divine inner light [17]. Occupied with the perverse and disparate, Romantics believed people were capable both of great good and terrible evil.

It’s tempting to scope Taylor’s shift from Romanticism to Transcendentalism to this album alone. It’s true that folklore is filled with individualism, a hallmark of Transcendentalist philosophy. However, I argue that spirituality reveals a journey towards Transcendentalism that began well before folklore.

Consider the evolution of faith from reputation to Lover. Taylor places more emphasis on personal spirituality as she becomes increasingly disillusioned with organized religion/religious dogma. In “Don’t Blame Me,” Taylor defies religious convictions in favor of chasing the high of her forbidden love. Then her quiet and private life with her lover in “Cornelia Street” advances whatever traditional religious beliefs she possessed towards a self-defined spirituality (“sacred new beginnings that became my religion”). Individual spiritual enlightenment and religious conviction become mutually exclusive by the end of Lover, for the lovers would still worship their love even if it is a “false god.”

The final scene proves most important for establishing the album’s philosophy. In the end of “the lakes.” Taylor chooses death and is reincarnated into new life, kept pure also by individual will. (It should be noted that Transcendentalism was heavily influenced [18] by Indian religions, of which reincarnation is a central tenet.) Choosing reincarnation—to the extent that one even can—reflects a greater understanding of oneself. Choice, the ultimate power granted in the self, engenders spirituality. It is the means by which one follows a divine, guiding spark (i.e. “inner light”) in search of connection with others and the natural world. The album’s ending marries individualism with spirituality, which makes Taylor a true champion of Transcendentalism.

——

Transcendentalism is considered one of the most dominant American intellectual movements. Exploring the significance of Transcendentalist Taylor Swift is a rather unimaginative end to this essay. If we try hard enough, we will always be able to connect its philosophy to any art that exists in conversation with American culture.

Perhaps a more gripping conclusion comes from the assertion that philosophy doesn’t matter…

…at least, not in the way this essay regards philosophy as the ultimate Point.

So identifiable is the geographic motif in Taylor’s work that it is nearly impossible to ignore. This is especially true for folklore, an album that would literally not be folkloric if not for the blending of reality and fiction, real location and setting elevated as metaphor. So moving, moreover, is the grief at folklore’s core that it is natural to wonder what else it could represent. Hence, this essay’s charade of poking around both to see if they convey a deeper meaning.

A strong philosophical foundation establishes the ethos of art, that with which we resonate. However, we will never know to what philosophy Taylor subscribes. The interaction between her beliefs, creative spirit, and innate sense of self will always be a mystery. Any and all conclusions about the philosophical foundations of her art thus (1) are highly subjective and (2) reveal more about the ones making them than about Taylor herself.

Ironically, it is paramount to appreciate Taylor’s (Romantic) style above all else. The ways she uses basic building blocks of literature—theme, imagery, mood, setting, to name a few—piques curiosity. After all, without those building blocks, one would not be able to cultivate (should they so desire) an interest in the metaphorical, philosophical, or otherwise profound.

——

Disclaimer: this essay references (explicitly and implicitly, by way of citing expanded theoretical work) the ideas of Emerson and Heidegger, two preeminent thinkers whose ideas have had especially deep and lasting impacts on society. They are also two individuals noted to have had poor and even abhorrent political/personal views. I do not condone their views by referencing any ideas connected to these individuals (done mostly in service of rigor). I furthermore leave the task of generating nuance to those who dedicate their lives to critical examination of these individuals’ personal philosophies and the impact of their work on society.

#folklore analysis #gaylor swift #music analysis #my post

100 notes · View notes

cerberus253 · 4 years

Note

Okay so like I know that this question I'm about to ask is a bit triggering to some, but how would Drago cope with being cheated on?

My knee-jerk answer: Punishment to the cheater, death by fire to the opposition; If you mess with a dragon, ya get burned.

Real Talk: A bit of a tricky question because, up until now, I’ve been answering with the assumption of the s/o Drago is in love with to be the right person for him. One of the “qualities“ for this “right person“ would have to be romantic loyalty because someone who is there for him emotionally is what he NEEDS (whether he knows it or not is up for debate).

Anyhow, coping mechanisms would surely be unhinged physical violence to whoever and whatever gets in his way; people and things smashed and burned until there’s nothing left, mainly towards the person the s/o cheated on him with. He would not want to talk to anyone, see anyone, nor even be in the general area of others. Pure destruction, is what Drago would do, but that’s just what everyone sees.

If you want to know what else I think might happen that may seem out of character but makes sense because he’s a unique individual with thoughts and feelings just like everyone else, read further:

This may just be me romanticizing (in the traditional sense) Drago, but because this situation is more of a heart-to-heart pain and not the usual pride pain, he might have “sad spells.“ What I mean is, although he would still be furious, his energy will deplete, he’ll collapse on the ground, and just... wallow in pain, by himself, in an isolated area. His body will grow tired, but his heart and mind would still be active. Along with that sickening and heavy feeling one gets in the heart after such a devastating blow, his mind would be racing in trying to find ways to blame the s/o, the opposition, and/or anything and everything besides himself, but every so often he would think for a split second that he did something wrong. He WANTS to blame everyone else, but deep down he believes he was the screw up. He’s a screw up to his dad, he’s a screw up to the Ice Crew, he’s a screw up to the whole demon race, and now he’s a screw up to the only person he ever felt normal and accepted by without needing to prove himself towards (ouch; I wanna hug him now, the poor baby green bean ;^;).

Let’s note on the real juicy bit: Crying. To get to the point, I don’t think Drago would ever cry unless something really really, absolutely terrible happened, like, oh I don’t know, he fell in love with someone who loved him for who he was, not for what he is, what his title is, nor how much power he held, and he opened his magma encrusted heart to expose a soft tenderness that would normally get himself killed in demon culture, but this person did the opposite and cared for it, nurtured it, and showed that his flaws are not weaknesses... and then that said person was like, “Yeah, nevermind; you mean nothing to me“ and just stabs him and his vulnerability like a serial killer’s paradise.

Drago has built a strong enough defense against shedding tears because, well, demon’s don’t cry; they make others cry. But, like I said, I think he might cave, at least ever so slightly, from this heartbreak. He would try so damn hard not to cry; he’d push this ultimate feeling of defeat back so much it would give him physical pain, like headaches, chest and really overall body pain, and difficulty with summoning his fire (I say this about his fire because all this suffering depleted his energy to even muster it up, let alone the pure feeling of sorrow, which is the opposite of the feelings flame is suppose to encourage and originate from).

When he does finally tear up and cry [ever so slightly], well ... I honestly have no idea how to describe it in words. Like, this very moment in his life is so foreign and traumatizing that it could have long lasting effects on him mentally and probably physically (because I believe he is part human and we all know how terrifying the human mind can be). He’d close himself off even more, he’d hate himself and everything around him even more than it just being a “demon thing,“ and he’d be more miserable to the point his misery is obvious and not just speculation on something hidden. Hell, he’d get so traumatized his demeanor would change from this active, fiery hotdog to this lukewarm, soggy slice of bread. I guess basically his soul will shatter because of how detrimental this betrayal and ultimate first breakup would be, is what I’m saying.

This reminds me of how his character slightly changed from his debut episode in Season 4 to his normalcy in Season 5. At first, he was happy and enjoying his life, being loyal to his father and carrying himself with such good posture and movement. Then in Season 5, he gave up on his dad for selfish reasons and began walking around hunched over like a skulking animal in addition to his more not-so-graceful-but-once-was style of fighting and jumping around everywhere. Then again, I might just be over speculating and the real reason he changed that way was because of just to give him more character.

Bonus descriptions that I was going to put in, but I felt I had no need to, but I still want to put it in for reasons:

However, theoretically if this “right“ person were to cheat on him, he would be absolutely devastated and heartbroken. Like, words cannot describe how I think he would feel because of how much of a deep, personal, traumatizing laceration to his heart it would give him.

Being IN LOVE with someone, especially if the lover is extremely protective about their emotions and (unconsciously) terrified of the damage it could do to themselves, and having the lovee absolutely annihilate that vulnerability... Honestly, only pictures could really express the magnitude of the fury of emotions going on inside.

The picture I imagine is of an all black canvas with an exploding, frenzied fire coming fourth from the middle and scratching towards the edges of said canvas. At the origin point of that eruption is a small drawing of a person, on their knees, head in their hands, and their face to the floor, all the while they scream; they scream so much so loudly their throat tears and blood spurts out, but they don’t stop because all this emotion-- all this torment, is too much to bear in silence.

With the addition of Drago, that picture probably would come to reality; just, an explosion of fire from the emotional intensity and NOT the “physical strength“ side (to which he gathers his flame powers up from normally). Because it stems from his out of control human feelings mixed with the power of a demon (and a dragon, no less), it would be a flame of chaos that would annihilate the surrounding diameter.

I’m not saying all this stuff in a, “oh imagine this!“ I’m saying this as in legitimate thoughts and theories on how something so absolutely mentally and emotionally shattering would have effects on someone like him. He has no control over his emotions to begin with and this experience is just going to make him worse. Or I’m just (over)romanticizing things in the traditional sense

For a different relationship bonus, if he were just casually in a romantic relationship with infatuation or for power, he would not react that drastically. Yes, he would be angry and personally hurt, but because of how the relationship is set up and functions, and he probably goes through this stuff on a normal basis, it would not be as scarring. Drago would most likely be the one to dump the individual because said person isn’t worth his time anymore and already expressed their lack of use for his own He’ll never forgive, never forget, but he may be convinced back in if they prove their worth and loyalty enough.

Like I said in the QnA that started all this Drago Chat days ago, you have opened a can of chatty worms

#ask #anon #jackie chan adventures #jca #drago #cheating

10 notes · View notes

medievalfangirl · 4 years

Text

A Letter From a (very enthusiastic) Fan.

It’s me again! Haha

First of all I’d like to apologize for possible typos since English isn’t my first language but I hope you can understand the general ideia.

When I found your fic, I was a little hesitant to start reading it because usually time travelling stories to the middle ages never seem to completely portray the danger and violence it was known for. I cannot tell you how many stories I read in which the female lead spends all her time at the alehouse spending the money that we have no idea where it came from, being completely accepted for society even though she’s not like them, magically learning how to use a sword the first time she holds it and being her sassy arrogant herself with no punishment whatsoever for her disrespectful behavior. Oh yeah and everybody seems to love and admire her even though she’s just a pain in the ass.

Now that I got that out of my system, I just wanted to say what a pleasant and beautiful surprise it was to run into AGFTF. Girl, that’s MASTER WRITING! I fell for the story instantly because it’s so incredibly realistic (given the circumstances)! Adeline was held captive for months before she was rescued, she was mistreated and suffered for her loose tongue, she realized through the most despicable way that woman’s rights back then were none at all, she even got her period at the worst possible time ever for fuck’s sake! Adeline had to work to pay for her ale she didn’t create gold out of straw like some Rumpelstilkin lead, she faced the prejudice for being a woman and she took a normal amount of time to learn how to use weapons. You absolutely nailed all the descriptions and realism, thank you so much for that.

About Adeline. So hard for me too love a lead usually I just like them but I didn’t stand a chance against Adeline. SHE’S SO FUCKING FUNNY! Every time she has an inappropriate thought or just a sassy one I shit myself so hard I’m laughing. She’s so relatable and yet so unique. Her clumsiness is not Bella Swan/Anastasia Steel kind of thing, it’s something ridiculously funny and more important: the characters think that too. They’re not charmed by the way she fell of a hill and lost her unicorn panties, they’re amused by it as any real person would be. Every time I feel something’s about to go wrong for her or Adeline just makes a dumbass decision I cover my eyes like “oh, no, Adeline, not again”, but I do it laughing and with lots of loves for her. Taking a darker turn, the way she faces what happened at Dunholm is a shitty unhealthy way but it’s how most of us deal with a trauma and I can only hope she’ll learn how to deal with it in time. I love how she’s not obviously a brave warrior but totally determined to prove herself to everyone including herself and this will prove to be a hard journey mainly when she lives by the Murphy’s Law. Although it’s already very clear to me how much she’s matured and developed in that three years passage of time. I’d like to give you my top five moments of Adeline:

Adeline almost flashing Alfred, the Great. (WHAT WAS THAT HAHAHAHA I LAUGHED MY GUTS OUT);

Adeline having her hair braided by Sihtric at the alehouse (I loved this part so much it was like receiving a warm hug during the hardest winter and their friendship is EVERYTHING);

Adeline and Finan talking by the fire at the camp back from Balbury (they’ll have a topic specially for their relationship just you wait);

Adeline learning how to use a bow;

Adeline braiding Dorito’s mane alongside Finan.

Shall we talk about the marvelous job you did with the characters? We shall. It’s like I’m watching a spin-off from TLK because their personalities are FLAWLESS. I can see them talking to me. Hild being that perfect herself, too good a woman for God alone; Sihtric always so silent but also friendly and compassionate; and Finan. Oh dear God, Finan. There’s no other way to describe him other than quoting Adeline:

“I liked the duality of his nature: he laughed so easily but he wasn’t a man to be messed with – he’d fight his corner, and fight twice as hard for his friends”. Girl, you made me cry. In a good way. That is everything I love about Finan and that’s why I was so happy to see that it’s also what Adeline likes about him.

Now last but definitely NOT least.

Finan and Adeline. Sweet Lord that lies in heaven what a perfect ship. Slow-Burn? It’s more like Slow-Motion-Burn, girl. I’m a person with zero patience and you made me CRAVE for a little romance between these two from the beginning. I just kept praying and hoping they’d have some involvement soon but you made me wait and boy was it worth it. You know, it wasn’t tiresome to wait for those too to start flirting because I just adored Adeline’s relationship with everybody else (Sihtric, Hild, Clapa… even Uhtred and Gisela).

I started to feel the reciprocity when Finan chased her outside the hall and Adeline challenged him for a fight. I actually giggled in every scene they had together after the small ruse for the loaf of bread because that’s what took me to sail my shipp. The small bickering, the smirks and smiles they exchanged, flirty Finan implying “he didn’t know he’d have to EAT anything” (I had mad goosebumps I had). You built their relationship with patience and through crumbs I happily fed on only to realize that they were satisfying me and making me beg for more. It was so beautiful to see their friendship turning into something else and now all I want to see is their wedding. Just kidding but not so much.

I get a little excited when a story has everything I was looking for so I’m sorry I actually wrote you a letter hahaha if you managed to read it all, I just wanted to thank you one more time for taking the time and talent to telling us Adeline’s story. I’ll probably write another letter when I’m finished with the 25 chapters and then I’ll just leave a comment on the chapters like a normal person hahaha

Thank you again and congratulations!

XOXO

A response from a very grateful author who cried at least three times reading your letter

Saying a simple thank you feels a little redundant considering the magnitude of emotion your letter brought me, but that’s where I’ll start. THANK YOU! 🥰🥰 You’ve filled my heart with such happiness it’s difficult to put into words. So, again, thank you! 💕

My goal from the beginning with this story was to try and tell a realistic (or at least, as realistic as time travel can be) story, with a character who struggled, and learnt the hard way that this experience wouldn’t be all sunshine and rainbows. I didn’t want to write a ‘main character’ in the way that she is automatically liked and respected and admired, just because she’s The Main Character. I wanted to write about a real person, with flaws, who handles things poorly, and who some people dislike. Because real life is messy like that.

So to have you tell me not only did you find the story realistic as I dearly wished, but it exceeded your expectations? I’m delighted, and blow away a little to be honest. You’ve broken down the story and how you felt about it in such detail, really taking your time, and I feel totally and utterly honoured.

I can’t tell you how happy I am that you like Adeline so much! “oh, no, Adeline, not again” truly is her catchphrase, because while she tries, she is nothing short of a disaster at times. I’m so, so happy you feel you can relate to her and enjoy her journey. I agree with you - I think most of us aren’t good with serious trauma. We get there, but it takes time, and a fair few mistakes first. Again, I’m pleased as punch that you like that she handled things badly, that she’s scared but determined, and trying to grow. You’ve picked up on every single theme I’ve been trying to portray with her as if you’ve been in my head for a sneaky look, and it’s incredible. You’re so insightful and thoughtful 🥰🥰

Taking the time to rank your favourite Adeline moments? Well, you’ve reduced me to happy tears once again. Seriously, I’m just a mushy mess at this point. THANK YOU💕

Ahhh, Finan. Straight away I’ll apologise because you’re so right - Slow-Motion-Burn sums this up perfectly😂 I did wonder if readers would find the wait until the romance a drag, so I’m relieved and happy (you’ve made me happy rather a lot, so i apologise for being repetitive) you enjoyed the build up, and friendships with the rest of the Coccham family. I wanted to push Finan and Adeline towards each other in a way that felt natural, and have this gradual realisation from them both that, oh shit, this person means a lot to me. And the flirting? So much fun to write, so I can assure you that will continue forever, to the wedding and beyond (oh i promise, you’ll have that wedding).

One final thing - please don’t apologise for being a beautiful, kind soul who took the time to share their thoughts and bring a huge, huge amount of happiness to my day. As you can see, I write essays too, so we’re in this together!

Thank you so, so, so much 🥰💕💕

#the best submission #im still crying a little bit #day=made #week=made #and lets be honest month #submission

14 notes · View notes

pocket-infinity · 5 years

Text

I’m beginning to notice a pattern with my posts...

At this point I could honestly set my watch by how often I make stuff like this; like, I’m 90% sure that all of my original content involves The Only Option by @corruptapostasy (will I always say the full thing? yes. is it partially an excuse to tag the author so you know who they are? yes). Which, I mean, hey, I’m not complaining. But here we go again, once more, for the… 9th? 9th time. Spoilers, of course; read it, of course.

Look, I can’t run over the same things forever (no matter how much I adore them), so I’m not going to go on about how good and nice and otherwise excited and positive this makes me feel, and, of course, one can only say thank you so many times before it becomes devoid of all meaning. But what I am going to go on about is how much I love the expansion of everything — well, that’s not quite the word I’m looking for, but you’ll see soon enough. That’s enough vague rambling about nothing, let’s get into what I mean to say. I love the way this… is. I’m trying to keep my thoughts organized, and I know that’s the most broad statement, but it’s true. I genuinely adore everything in here, but to get my point across, let’s use my boy Lurien as an example. I mean, at first he just seems like a different permutation of Lurien, like something we’ve all seen too many times before; that lasts less than one chapter. By the second time we see him, we get to see the pain and worry this is causing him. His mind always turns to the suffering that’s going on; he always worries about what’s coming next. The thought of Hallownest ending brings him to tears immediately, and then everything goes straight to hell when the archives flood, because of course they do. That’s not what interests me about him, though; it’s the fact that he always manages to pick himself up and keep going again and again. I mean, it is fairly obvious that he’s not having the grandest time with the Radiances return (he seems to be the second most stressed about it, and I’ll explain in a moment), but he doesn’t let that stop him. His focus on the future kind of tips both ways; it lets him plan things and be where he needs to be when he needs to be there, but at the same time he seems kind of caught up in it. Now, as I was saying earlier, he’s the second most stressed, not far behind The Pale King, I don’t figure. And when he finally does have a face-to-face encounter with her, it becomes so obvious why. He was forced into slavery (whether from birth or not I have no idea), and the moment he stepped out of line, the Radiance scarred him for the rest of his life (both literally and figuratively). Not to mention that he’s more-or-less in a situation where he’s stuck desperately in love with someone who he will never have. The Radiance plays each and every one of these cards against him, being an absolute monster as she laughs and taunts and calls her work with the scars “beautiful” and makes constant sadistic remarks. She doesn’t even need to threaten him; both of them just know that she’s going to try to kill him. But Luren doesn’t break; I mean, he’s visibly shaking, and there’s obvious, intense trauma here (why wouldn’t there be?), but he holds it together and proves her wrong before going off to deck the Soul Master. Now, that was a long rant about Lurien, one character, not even the protagonist. All of the events I just described occur in a total of 3 different chapters. There are 8 out, currently. So I don’t think I need to begin to describe the magnitude of development that people like The Pale King or The White Lady or Grimm go through. Hell, chapters 5 and 8 have two of my favorite scenes because when PK finally does run out of patience, so much is revealed, and that’s on top of the development happening more subtly all the damn time. And with Grimm, too, everything changes and develops as time goes on, but I don’t want to drop a post about a quarter as long as the fic itself describing how much I love each character and their arcs and development. Oh, and did I mention that a quarter of the length of the pic would be just under 50,000 words? Because that’s worth noting. And that’s the central characters I’ve been focusing on, I haven’t even begun to mention things like the new lore or the magnificence with which the 5 knights are written or the goddamn Seer whom we adore in this household or Enkay or the Fundament or anything else! So let’s get on that, huh?

The Lore is something magnificent. We’ve got rituals; we’ve got backstory; we’ve got ancient eldritch gods; we’ve got the way gods are made; we’ve got million-year-old history; we’ve got fucking everything we could want and then some at our disposal, y’all. Everyone’s magic is different, the Pale King’s backstory is so wild and twisting that holy hell I’d end up going half-insane with excitement if I tried to talk about it (but hey that’s already happening so). But if The Pale King is the gold standard for lore, then Grimm is a fucking diamond mine. There is Too Goddamn Much for me to cover here, but let’s get some things listed: past incarnations, regaining memories, inter-incarnation relationships, conspiracy and cloak and dagger between those incarnations and certain external individuals (*cough* Pale King *cough*). There’s so much, and I love it — oh my god I never mentioned god splitting. It is a remarkably fresh, creative, and incredible concept that I just haven’t seen before. Granted, it could be from some real-world mythology I’m unfamiliar with, but that doesn’t change the fact that I’ve never seen it done, and damn is it done well. It’s essentially— well— okay just go read it I can’t do it justice with my words because, although it would probably be easily possible for me to actually describe what’s happening, it has a certain level of gravity and intrigue, or at least to me it does. Not to mention that context makes everything better as far as stories are concerned.

I could go on for days (I already have and will continue to do so), and I probably will end up updating this at some point with the other things I so adore, but for now I’m going to leave it here. I sincerely cannot recommend anything higher than this, so please, do yourself a favor and read it.

#the only option #hollow knight

8 notes · View notes

snarkandsarcasmftw · 4 years

Note

1, 12,17

Omg thank you for these!

1. How old were you when you first starting writing fanfiction?

Offline for myself personally, I was probably about 13 or 14? I think. Because I kept all of them in a giant ass notebook that I carried everywhere. The first time I ever officially posted anything online I was probably about 18 or 19. I cannot, for the life of me remember where (probably ff dot net) but I remember and I cringe because it was the actual worst Twilight fic I’ve ever written. I’m being serious. It was so so so so so bad. I’m talking wall of text, an actual mary sue, complete and total ignorance to actual series canon. But... I had fun. I didn’t really realize the magnitude of posting it at the time, but obviously, given that I’m still around posting fic online, it was a gateway type thing.

12. Who is your favourite character to write for? Why?

Oh god, okay.. This is hard! I’m gonna have to say that my favorite character to write for is also one I don’t write for often because it’s so hard for me to get him just right (ie, the way I see him) and that’d be Bucky Barnes. I just really love trying to explore all the different aspects that make up his mindset and trying my best to describe those / write them into stories. I have a ton I’ve never posted anywhere and can’t now bc they’re on a laptop that went tits up years ago. When I write for myself and I know no one is gonna read it, nine out of ten it’s for Bucky. Shane Walsh and grittier Jon Moxley are close second and third. I just really love writing the more complex characters because it lets me get inside their mind and like... try to understand them.

17.Post a line from a WIP that you’re working on.

I see you, Wren.. Tryna get spoiler-y up in here. Okay, this is from a one version of a fake fic title that I’m doing for Hangman Page... Spoilers go below read mores in this house, but I hope you enjoy this.

Have a gif ( if you aren’t following @robwiethoff or @cowboysht -i think this is a gif from her set not too long ago btw, GO FOLLOW THEM NOW.) for those of you who follow me for other fandoms and don’t know who Hangman is.

“What? It doesn’t fit, does it?” Grace pouted a little. She’d really liked the dress. More to the point, she liked the way Adam was looking at her right now, in the dress.

“Oh, no. Fits real good, darlin. Just..” Adam pressed against her a little after he managed to get his fingers to stop shaking enough to finish looping the laces through the holes left to go and he muttered quietly next to her ear, “I was just thinkin about the hassle you’re gonna have lacing and unlacing this.”

#the-ville-idiot

2 notes · View notes

jasiper · 5 years

Text

my experience at tlt musical

hi friends! as you guys may know, last night i had the chance to go to the lightning thief musical and it was so much fun! since i need to babble about how amazing it was and all my favorite parts, i decided tumblr is the way to go :’) under the cut because i have no clue how long it’ll be, but as it’s 1:30am and i am pretty tired, i’ll try to make sure this actually makes sense

mrs. dodds saying “kronos” every two seconds when chiron was trying to tell the story of the gods was so funny

PERCY PULLING OUT RIPTIDE FOR THE FIRST TIME WAS HONESTLY GOD TIER. CHRIS’S REACTION IS 100% HOW I ENVISION PERCY REACTING

percy talking about the field trip and casually slipping in the fact he got expelled between talking about art... then sally saying “i know. the headmaster called.” followed by percy’s “...about the art?” SO CUTE

percy spraying febreze when gabe enters was the funniest thing in the entire world, i actually cackled

SALLY STANDING UP FOR PERCY TO GABE BY SAYING HE ISN’T GABE’S KID! POP OFF SALLY

chris shoved his face full of marshmallows during strong and was still singing with a marshmallow wedged in his cheek. he is so cute

strong also made me emo as hell, just saying!

grover shows up stuck in a garbage can which was so funny

percy waking up from his dream immediately to be told by annabeth “you drool in your sleep”. those kids own me

everything about mr. d was so great. jorrel honestly killed it!

“i need a drink” me too mr. d, me too

WHEN RYAN GALLOPPED WITH JUST A TAIL I LOST IT. I KNEW IT HAPPENED. I STILL COULD NOT STOP FROM LAUGHING. IT WAS SO FUNNY.

“you’re my dream girl!” “are you sure he doesn’t have a concussion?” GOD CHRIS AND KRISTIN HONESTLY JUST KILLED THE PERCABETH DYNAMIC. YOU GUYS HAVE NO IDEA. I CANNOT PUT INTO WORDS HOW AMAZING THEY PORTRAYED THEIR RESPECTIVE CHARACTERS. SO WHOLESOME.

PERCY MAKING LIGHT SABER NOISES WHEN HE MOVES RIPTIDE AND ANNABETH TELLING HIM IT’S NOT A LIGHT SABER GOT ME

okay but chris was so amazing when percy found out sally was gone. his voice kept breaking and it was so emotional. my angsty son.

PERCY AND GROVER’S HUG WHEN THEY SEE EACH OTHER AFTER PERCY WAKES UP! SO CUTE! SO PURE!

the capture the flag scene... so good. the whole song, everything. sarah beth kills it at clarisse.

i’m probably so biased because i love the song, but the campfire song was so good. grover popping up and yelling “my turn! my turn! IT’S MY TURN!” then he cried and annabeth, silena, and katie all tried to comfort him, but the second the chorus came back he was dancing again! so cute!

the dancing in the campfire song just gets me too!

percy finding out his dad is poseidon and getting all excited until everyone else moves away from him :((

mr. d said and i quote “the master bolt! it’s not a jagged tin foil thing you find in a traveling musical!” which was so funny, i love when actors break the fourth wall

the oracle was such a cool scene! i love how they did it!

okay good kid is when i cried a decent bit. chris portrays so much emotion in this song. i was so moved but his singing, his facial expressions, everything. i knew it was going to emotional but i didn’t truly grasp the magnitude until i was there! (also because mari asked, percy did not say fuck. #LetPercySayFuck2019)

killer quest was such a fun song! the original trio getting excited about leaving! so cute!

okay during intermission we got the announcement that kristin was being replaced with sarah beth because kristin blew her voice out during act 1, but she finished the act before pulling out which i think is so cool! i was pretty disappointed but kristin obviously knows her limits and her health comes before anything else.

lost! was so good. i love that song so much and it was the first time sarah beth sang as annabeth and it was good!

grover messing around with uncle ferdinand’s statue (rip)

sarah beth did amazing in my grand plan. her vocals are killer!

drive was also a super fun song, james finally came out as ares and it was awesome!

tree on the hill was another song that made me teary. jorrel was amazing and poured everything into the song. so good.

DOA man! holy crap! jalynn is crazy talented! her vocals! such a good song!

the trio almost getting pulled into tartarus: “i think that’s tartarus.” “like the fish sauce?” “NO. tartar-us.”

HADES. SO GOOD. SO FUNNY. “poseidon’s too busy to come visit his brother” as he cries was GOD TIER. i did not expect hades to be that funny but hey! it was hilarious!

the son of poseidon was also amazing, i love that song so much. “it’s a seashell!”

poseidon acting like a stereotypical surfer dude... so funny. “i wish you weren’t born.” “wow, really?”

poseidon flirting with sally, percy getting very uncomfortable and saying “yeah..... that’s my dad”

i could write an entire essay on the last day of summer. an entire essay. luke’s reprise always gets me, but seeing james perform it live. chills. actual chills. james is so crazy talented everyone, hype him tf up.

OKAY. THE PERCABETH SCENE. i wasn’t sure how it was going to be (i was so looking forward to kristin and chris) but sarah beth and chris killed it! THEIR NOSES BRUSHED, PEOPLE. I THOUGHT THEY WERE GOING TO KISS. 100%. ANNABETH CUPPED PERCY’S CHEEKS IN HER HANDS AND THEIR. NOSES. BRUSHED.

THEIR. NOSES. BRUSHED.

“seaweed brain...” “wise... girl?” wow i was in tears

bring on the monsters had me in tears again! it was such a great end to the musical, friends. words cannot even describe how fitting the end was.

and then, of course i stage doored.

i told james he was the perfect luke and he told me that compliment makes him so happy :’) such a sweet dude

wow this is blurry BUT sarah beth told me that she loves signing books! i was the only one back there who had the book instead of the program so i felt really stoked to be the only one to bring my copy of the lightning thief

ryan was wearing a medusa shirt and i complimented it and he was so excited i noticed. he also told me he has a centaur shirt lmaooo

and finally jorrel. he is so sweet! my hands were shaking when he got to me and i apologized and he was like “oh my god no! you’re fine! you’re fine!” he is the actual sweetest. i then asked him who runs the twitter account and he said they won’t tell him. i told him how they roasted me on my birthday so i thought it was him so he was like “they roast me all the time! i wouldn’t do that to myself!” and i pointed out he was in the show so he deserved it instead of me but he was like “they do it all the time though!” jorrel stayed out the longest with us and kept hugging everyone and ugh! i love him!

now my book is all signed up and i absolutely love it :’)

so, to sum up a very long post, if you have the opportunity to see the musical, please do. the musicians and cast pour their entire heart into it and it was so evident through this performance. it made me so happy. words cannot describe how i felt while watching it and how i feel now! my heart is actually soaring. i cannot articulate how amazing it was to be immersed in the show and to be surrounded by other fans. this was what we deserved from the movies! just... if you have the means/resources to watch it, do it. no hesitation. i highly recommend going to see it, friends.

#god this is so long #i just had such a great time #it's just as good as everyone says #watch it! support it! do it all!#now i am never taking off my tour shirt #also if you read this.. thank you #you're great #the lightning thief musical #pjo musical #pjo #my face #megan's babbles

62 notes · View notes

pastelbatfandoms · 5 years

Text

Get to know my character

Taking this for My Stranger Things OC!

01. What does your character’s name mean? Did you pick it for the symbolism, or did you just like the way it sounded? I just like the way it sounded. Plus when I thought of Billy I thought of Mandy from The Cartoon lol Her Full name is Amanda Leigh Moorington. Which I half got from Mandy Moore’s name half got from Steve’s last name.

02. What is one of your character’s biggest insecurities? Are they able to hide it easily or can others easily exploit this weakness? Her Temper,Her Pride,Her general Insecurities. I can say Mandy is able to hide it better in public and with The Popular Crowd then in Private or around Max,Billy and Steve.

03. What would be their favorite physical trait about themselves? They’re hair (which has been Brown,Red and Blond) Probably her lips too,Steve says they’re perfect for Kissing and Billy thinks they’re perfect for well...other things ;)

04. What are their favorite traits about their lover? (one psychological and one physical) Have you seen Billy and Steve? I mean ♥

Starting with Billy,Mandy initially fell for him because not only was he hot but he litterly saved her. Twice. But who can ignore that Charm and Sexual Magnitude for long...Plus that Butt! When they first met in California Billy had short hair so it took awhile for her to adjust to the new long curls.But She finally did when she realized that Billy liked it when Mandy played with his hair. Billy even allowed her to braid it into a Rat Tail once but it didn’t end up good. (It was a Rat Tail though so...)

Personality wise even though Billy can be a prick,Billy’s Private emotional and Caring side outweighs their many Jealous fights in Mandy’s eyes.

Physically Mandy loves Steve’s hair,I mean who doesn’t?! plus with those caring eyes and preppy but cool fashion sense,If Billy is An 80′s Heartthrob of The Bad Boy variety,Steve would be The Main Popular Boy turned Hopeless Romantic. Plus he’s got killer dance moves lol

Mandy has liked Steve since Childhood growing up in Hawkins,so She was immediately drawn to him. She prefers him better now though as he is done trying to be Mr Popular Cocky guy and is more Sweet and a dork in public. She also loves how Protective he is with The Kids in their neighborhood.

05. Are they sexually confident or more of the shy type? Mandy used to be not really Shy but not super confident either,until she moved to California.

06. Do they have any hobbies that their lover finds unusual, odd, or otherwise annoying? No I don’t think they really pay attention to that. tbh. Steve hates when she smokes though,reminds him of when he tried doing it to be cool.

07. Is there a catchphrase or sound that they tend to make a lot (likely without being aware of it)? Well Billy can make her make lots of sounds ;) sorry he’s a Perv :p lol No,there’s not.

08. What is, perhaps, their biggest flaw? Are they aware of this or oblivious to it? Mandy would have to be seriously delirious and in denial to not realize she has/had a Drug problem. Also her flirting with other guys in front of Billy would be a flaw too I think,but Billy does it too so...

09. Do they have a favorite season? What about a favorite holiday? Mandy really likes Summer because that’s when she can strut around in her best Bikini when Billy is on Lifeguard duty also when her and Steve can sneak quickies when he’s on lunch break at The Mall. I don’t think she really has a favorite Holiday,maybe Valentine’s Day.

10. Is your character more feminine or masculine? A bit of Both,she loves being Sexy and wearing makeup,being a Cheerleader but she also just likes lounging around the house,also she can dish it out as good as she takes it.

11. What is something that would make your character fly into a rage? Billy’s Dad abusing Billy,because then it’s usually taken out on her, unless Billy is feeling unusauly emotional that time then he’ll just let her hold him while he cries. When either of them take it on Max.

12. Is there some particular talent, skill, or attribute that they simply could not give up? Her Book Smarts and her Crossbow Skills,have to fight those Demi Gorgons somehow.

13. What are your character’s sleeping habits? Heavy or light sleeper? Light sleeper definitely,unless she’s at Steve’s.

Blanket stealer? Only when she sleeps with Steve lol

One that always rolls onto the floor? Pushes their lover onto the floor? Sleep talker or walker? No,Billy is though.

14. Do they live alone or with family? How do they feel about their family/roommates? Well...Mandy grew up with just her Parents but awhile after moving to California they died coming home from a business trip,Mandy was already dating Billy at that point and was like a Big Sister to Max so They asked if she could stay with them. despite the combustible home life Mandy moved in. Mainly because she had no where else and she loved Billy and wanted to keep Max safe. Despite she herself not being.

Mandy has no respect for the Parental Guardians of the house though,she listens to them when she has too but otherwise She thinks Neil is just a terrible person and Susan isn’t much better.

15. Is there a certain person in this world that they cannot stand? The very mention of this person’s name makes them tremble with anger or fear. Billy’s Parents.

16. Is your character the athletic type or more of a couch potato? What are some sports/games that they like? Besides Cheerleading and Dance no. Mandy prefers reading to watching TV though,but Billy can convince her to watch Pro Wrestling with him.

17. Does your character have dreams of getting married and/or having children? Maybe. Mandy is still a Teenager so that is still,thankfully,aways away. Steve is definitely Marriage material and great with Kids. Billy she’s not sure about,but he could definitely surprise her.

18. What kind of home would they want to live in? Where would they place this abode? Any place but her current situation. Mandy would have loved to leave with Billy and Max back to California.

19. Would your character be the kind to get into fights? (physical or verbal) Would they be a good fighter or cave in rather easily? OH YES. Mandy has always been one to stand up for herself and vocalize her feelings,sometimes not in the best way. Mandy has had to become good at defending herself,she only caves in private when it becomes too much for her to handle,emotionally.

20. Does your character like animals? What are some of their favorite animals? Would they want pets? What about mythological creatures? Yes,Billy wants a Big Dog and Steve wants a Cat. Mandy likes both lol

21. What is one of your character’s biggest fears? How would they react when dealing with this fear? Mandy has already dealt with her biggest fears,losing her Parents then Billy. (SPOILERS,GO WATCH ST SEASON 3)

22. What kind of tattoos, piercings, birthmarks, freckles, and other such unique physical features do they have? Besides what I mentioned previously Mandy doesn’t have any other unique features. Surprisingly Mandy doesn’t have any tats or Piercings (besides her ears.)

23. What is your character like when it comes to school? What subjects are they good/bad at? Do they get in trouble a lot or are well behaved? Mandy used to be very good in school,was a talented Writer and had to keep her grades up so stay on The Squad. Until she started Dating Billy,she has sense rectified that.

24. In their own words, how would your character describe what their lover is like? in Mandy’s words: “Steve Harrington is Sweet,Funny,great at comforting me when I’m down,The voice of reason when I’m falling apart,He was My Childhood Crush for a reason,he doesn’t hide his feelings and is very Protective over everyone,regardless of his well being,which is why I love him.

”Billy Hargrove is almost the complete opposite. Billy is Charming,Dangerous,Controlling at first,Hot tempered,Jealous but a flirt. Billy is also Charismatic,Emotional,Strong yet Vulnerable. I’ve seen his softer,gentler side that cares if I’m upset or feels bad for hurting me and I think that’s why I still love him. We do enable each other’s Vices though,but Billy hates when I do hard Drugs.

25. Is there something traumatic from your character’s past that greatly affects them even to this day? Besides her Parents Death,I would say Billy’s Death was very hard on her,until Eleven let her talk to him from the other side and Mandy was finally able to move on.

26. What is their lover like sexually? How do they feel about their lover’s quirks, needs, etc? Physically Steve is very attentive and affectionate, Romantic,I thought he might be a bit too safe until I called him Daddy once...”

As for Billy our love is all consuming,sometimes very Rough,sometimes very Passionate,sometimes were Sober sometimes were not. Billy is very into PDA and not afraid to let others know I’m his girl and Vice Versa.

27. If your character was going to get arrested, what would be the most likely reason for it? Stealing something like Alcohol or doing drugs.

28. If your character became a celebrity, what would they be famous for? Writing or Acting.

29. What is one of the most courageous things your character has ever done for a loved one? Stood up for them and to them. Almost getting killed fighting a Demi Gorgon.

30. When it comes to the arts (music, film, theater, etc), what does your character like? She prefers writing poetry,or essays. Reading Fashion Magazines in public and Romance or Teen Drama Books in Private. Mandy’s Favorite Book and Movie is Valley of The Dolls. Later on her favorite Movie becomes Heathers. She loves Hair Metal Bands like Poison,Ratt and Bon Jovi also Jerry Lee Lewis (because he’s Steve’s favorite) If she hadn’t met Billy, Mandy would have seriously become a Groupie.

31. Would your character be the kind capable of killing? Would they enjoy killing or only use it when necessary or, perhaps, refuse to kill no matter what? Not unless they’re Monsters.

32. If your character’s lover offered to take them out on a dream date, what would they want to do? Steve would probably take her to the Movies and then Ice Cream after,maybe The Fair if it were in town,winning her a stuffed animal,they would then go back to his place and go Skinny Dipping in the pool.

Billy would take her driving in his Comero they would take a road trip to California,stopping to have Sex in the back seat on the way over,They would hang out on the Beach and Billy would teach her how to Surf,they would make love on the sand and then spend the night in a Hotel eating take out,drinking and maybe Partying the next day.

33. If your character wanted to be alone, where would they go? Her Room with The Door locked. Or The Library,no one would think to look for her there.

34. Does your character have favorite foods? (breakfast, lunch, dinner, dessert, snacks, etc) Waffles!

35. Is your character afraid of death? If they got to choose how to die, how would they want to go? Not so much anymore,Mandy’s pretty Fearless but she always thought she’d die at the hands of a loved one.

36. Does your character have any medical conditions? Are they serious or minor? Do they affect their day to day life? Not really. Though Depression and possibly Bi Polar? yeah.

37. What are some of your character’s pet peeves? What are some things that annoy them or disgust them? Billy flirting with older Women,Steve acting cool to keep up appearances.

38. What kind of weather does your character like? Cloudy skies, rainy days, sunshine, etc? Rain or Sunshine doesn’t matter much to her. But she hates Snow.

39. When people look at your character, is there some assumption they might make about them just by appearance? Is that assumption correct? A Bitch,A Snob,Slut,Lost Cause,Burn Out,Nerd. (When younger) all of which Billy would kick the shit out off A person for calling her.

40. Does your OC have any guilty pleasures they enjoy? Hobbies, past times, music, etc that they wouldn’t want known by others? Reading actual��Books lol Mandy also wants to appear tougher on the outside then she actually is on the inside. Also doesn’t want anyone in California knowing about her past in Hawkins.

41. Does your character’s family affect your character in any way? Um No Duh,When you live with Assholes and your real parents were mostly absent off working....you tend to develop an Independence and thick skin at an early age.

42. Is there anything in your character’s past that they regret, haunts them, or they wish they could change? Billy finding out about her and Steve. Not being able to save Billy.

43. Does your character have a switch that changes aspects of their personality whether they are around friends, family, etc. Is there someone who gets to see their true self? At times. Mandy is definitely more ON in front of the more popular kids in Cali and wants to appear more carefree and wild while in Hawkins. Only Billy,Max and later on Steve get to see her with her guard down.

44. Is there a particular event that would emotionally devastate your character? Already happened.

45. Is your character the kind to hide their true emotions or do they wear their heart on their sleeve? Both.

46. What is some random affectionate thing that your character always does to their lover? Mandy likes playing with both Billy and Steve’s hair while sitting on there laps.

47. Is your character outgoing? Would they be the leader of the friend group, or the quiet one that gets dragged along? Depends on the group but she’s definitely come out of her shell more now.

48. Is there anything in particular that would ignite your character’s jealousy? Or does your character not get envious? um BILLY,we’ve already went over the fact that they Flirt to make each other Jealous. Mandy also dislikes Nancy because of the way she Broke up with Steve.

49. What is something that your character has nightmares about? Are these frequent? Do they heavily affect your character’s mood? Mandy used to have Nightmares about her and Billy fighting,especially after he found out about her and Steve. Also had Nightmares about The Mind Flayres when Billy was possessed by one.

50. If your character confessed love to their crush, boyfriend, girlfriend, etc, what would they say?

I took this as how The Crush would react so,I’ll start with Billy. Mandy would have waited for Billy to tell her he loved her,in fear of being rejected,once he did,in that same cocky tone,but softer and in private,she would smile in contentment and tell him she loved him back.

With Steve it took awhile for her to tell him she loved him back,mainly because of Billy finding out,once she finally admitted her feelings though Steve would definitely be relieved and over joyed,he would probably pick her up and kiss her.

#stranger things fanfiction #billy x reader #steve x reader #billyxmandy

2 notes · View notes

ask-de-writer · 5 years

Text

CARAMEL TREAT’S SWEETS : Part 2 of 4 : MLP Fan Fiction

Return to the Master Story Index Return to MLP Fan Fiction Return to Caramel Treat, werewolf

Caramel Treat’s Sweets

Part 2 of 4

by De Writer (Glen Ten-Eyck)

18671 words

All rights reserved. This document may not be copied or distributed on or to any medium or placed in any mass storage system except by the express written consent of the author. ////////////// Copyright fair use rules for Tumblr users Users of Tumblr.com are specifically granted the following rights. They may reblog the story provided that all author and copyright information remains intact. They may use the characters or original characters in my settings for fan fiction, fan art works, cosplay, or fan musical compositions. All sorts of fan art, cosplay, music or fiction is actively encouraged. ///////////////////////

For those wishing to read the whole story, this link leads to the entire tale.

///////////////////////

<==Previous Next==>

“I hope that I won't disappoint you, but I don't think so. You spoke to me about how to make a business plan?

“I think that I know what I want to do. I love cooking, you know that. I want to set up a restaurant. I have an offer of a sound business loan to do it but I need a proper business plan to get the loan.”

Miss Cherrilee smiled and nodded. “No, dear. I am not disappointed. You are a truly talented cook. I suspect that your really keen werewolf senses have a lot to do with how well you can cook.” She reared up to get a book from a high shelf.

“Here, Caramel. This book should help you a lot. Please feel free to ask me anything after you have read it.”

Caramel thanked Miss Cherrilee and left with the book. Two days later, she returned the book.

“Thank you, Miss Cherrilee. It was a great help! Here. Would you please look this over and see if I have missed anything?”

Miss Cherrilee took the thin sheaf of papers in hoof and said, “I would be happy to, Caramel.”

Caramel noticed that Miss Cherrilee had a big pile of student papers to grade. “If you are going to look over my work, would you mind me helping you with yours? I can help you to grade these papers!”

The two mares sat happily at the desk, each looking over the other's work.

The next day, Brightmane and Caramel sat in the spacious lobby of the Equestrian National Bank. A business suited pony unctuously invited them, “Brightmane, please come into my office. We can discuss whatever business you have. I am sure that Equestrian National can meet your needs.”

Seated in his office, Brightmane smiled and handed over a paper. “All that I want is for you to notarize this loan that I am making.”

Without even looking at her paper he said in a prim voice, “Without the other principal to the loan present, I cannot do that.”

Brightmane's smile froze. “If you could be bothered to look at the paper, you would see that she is here. I am making my daughter Caramel Treat a business loan.”

He pulled back in irritation. “Equestrian National cannot underwrite a business loan to a minor.”

Brighmane stopped smiling altogether. In a flat voice, she stated, “We are NOT asking Equestrian National to underwrite the loan. It is from MY funds and being made to my daughter. I am cosigning for her as she is a minor. Just notarize our signatures!”

Forced into a corner by his previous refusals, he pushed the paper back. “A personal loan in the family does not require a Notary stamp.”

Brightmane, now furious, demanded, “HERE! You cannot legally refuse this!” She wrote briefly in her checkbook and hoofed over the slip.

He blanched as he saw it. “You can't be serious! A withdrawal of this magnitude, in coin!”

Brighmane curled her lip in a snarl that would have done credit to a wolf. “BY EQUESTRIAN LAW YOU HAVE 72 HOURS TO PRODUCE MY SEVEN MILLION, EIGHT HUNDRED FIFTY TWO THOUSAND THREE HUNDRED AND SEVENTY ONE GOLD, NINE SILVER AND THREE.

“According to the bank's last quarterly report, you have in the entire Equestrian National Bank, all branches included, cash reserves of only five million golden bits. How you raise the other more than two and a half MILLION golden bits is entirely YOUR problem!”

Caramel spoke quietly, “Mother, destroying the whole bank over this is not wise. We will simply go to Ponyville Trust and Loan. There, you can simply write a check for my one hundred and fifty thousand golden bits loan. I KNOW that they will notarize our agreement as a free service. They can simply present your check on a secure gold asset transfer.

“That will kick this specific pony in the rear and not wreck the whole bank. Losing this much business will tarnish HIS career and not do much other harm.”

Brightmane did smile at Caramel. “Well thought out, dear. Come, let us do that. We can move our assets in an orderly fashion. You are right. There is no need to wreck a bank, simply because one branch manager is an idiot.” She picked up the loan agreement and her check as they left.

Sitting together in Sugar Cube Corner, a bit later, sipping milkshakes and nibbling frosted oat cakes, Caramel observed, “That did not take long at all. The Trust and Loan really wanted our business.” She was admiring her new check book with the Ponyville Trust and Loan logo.

Together, they began to canvass the side of Ponyville closest to Brightmane's cottage in the fringes of the Everfree Forest. They found a dilapidated house for sale on a lot just across from a nice smallish park.

Brightmane watched with pride as Caramel checked out the structure and the condition of the property in general.

The Realtor from Shadyside Realty leaned back from his desk with a phony smile pasted onto his face and pointed out, “While that is a fine property, the house needing only a little work to be first rate, you, as a minor, cannot get a mortgage for it.”

Caramel, gestured her mother to silence and returned, “I do not need a mortgage. I can buy it with a single payment. The only real issue here is that you just lied about the condition of the house.

“It has a serious infestation of termites and several of the main supporting timbers have sufficient rot that the whole house needs to be torn down. That is a cost to set against the listed price of six thousand golden bits.

“Four would be about right under the circumstance. The demolition and removal will cost around two. I have the estimates right here.” She hoofed over several sheets for the agent.

The Realtor looked like he had just bit into an orange and discovered it was a lemon in disguise. He countered, “I have an appraisal right here and it says nothing about those so called defects.”

Caramel looked over the appraisal sheet and dropped it disdainfully back on his desk. “This is almost FOUR years old! Under Crowns Law it is worthless. If you do not have a more recent one, we are done here.”

Turning to Brightmane, Caramel said quietly, “Come, Mother. This pony is a good deal less than honest. He is right down there with Sawnax!”

Brightmane followed her daughter out of the Shadyside Real Estate office. Once outside, she asked, “How are we going to get the property if we don't deal with the Realtor, Caramel?”

Caramel, leading the way back toward downtown Ponyville, replied with a grin, “The appraisal was prepared for the Ponyville Trust and Loan! They are the actual OWNERS of the property.

“I think that they might be willing to sell it without having to pay a Realtor a commission and get a good chunk of cash at the same time.”

Brightmane regarded her daughter proudly as their hooves clopped quietly on the cobbled street. A few clouds floated in an otherwise clear sky.

Turning into the Ponyville Trust and Loan, they were greeted by a nice gray pony who informed them, “Mister Morgan is with another customer just now. Can I get you a warm drink while you wait? Rom black tea, perhaps?”

When it was their turn, they sat in Mister Morgan's office while Caramel explained the situation. He frowned as he heard about the assessment.

“You are sure that he did not have a more recent one? Just a moment.”

Mister Morgan left his office and returned with a modestly thick file. He rummaged through the assorted papers, some in the various colors of legal foreclosure warning notices. He pulled out a thin sheaf. He held it out for Caramel to see.

“This is the latest assessment. It is only two months old. As you can see from the notes, Shadyside Realty was given and signed for a copy. This assessment shows substantially the same situation that you described. I fear that the structure will have to be demolished.”

He sighed. “Our foreclosure lien is for 3500 gold. If you are to bear the cost of demolishing, that only leaves about 1500 plus some unavoidable legal costs. I suppose that we could let you have it as is for around 2000 plus closing costs.”

Caramel's brows pulled down in concentration. “You do all of your investing right here in Ponyville, right?”

Mister Morgan nodded seriously. “We founded our Trust and Loan to help the local community rather than a Board of Bankers that sits in Canterlot.”

Caramel smiled at that, nodding happily. “That was my understanding. I was prepared to give Shadyside Realtors 4000 gold bits, plus closing. Since this money will be going into the community rather than private pockets, let's go ahead and do it for that price.

“In spite of being higher than you were offering, it is less than I was prepared to pay. We both win. It does not hurt that Ponyville wins too. Shall I make it a check or do you want to simply debit my account?”

Walking home in the luminous evening, Brightmane told Caramel, “I could not be prouder of my sweet filly than I am today. You showed both good business sense and wisdom.”

Caramel smiled and rechecked her saddlebags as they reached the gate to their cottage. “Remember, Mother, tonight, I am cooking our dinner!”

Nurse Fields' happy voice came from the door opened in welcome, “I heard that! Brightmane, don't you dare try to stop her!”

It did take several days to get through the legal hoops to ownership of the lot. Caramel spent much of that time in conference with Houser, the architect and builder. Drawings and plans for her new restaurant got made.

Arrangements were made to remove the dilapidated old house on the lot.

Caramel was watching the crew that Houser had hired. The unicorns were working together to grab and rip off parts of the roof. Instead of simply dropping the pieces, they were loading them into a wagon for prompt removal. As quick as they uncovered structural parts like rafter beams, they pulled them out of their old place and set them out in neat piles for later sorting.

Another of the crew was dismantling the chimney. He was working with care and setting aside the stone, brick and expensive flue tiles in sorted piles.

The workers all took off to go get lunch at Sugar Cube Corner. In only a few minutes, a red pony with a yellow mane pulled up with a wagon and started to load up the chimney tiles.

Caramel asked, “What are you doing with my flue tiles? Those are valuable and we are saving them.”

He snorted, “Don't know much about it, do you, kid? I have bought all of this salvage from Sawnax. Paid good bits for it and I am just picking it up.”

Caramel got between him and the tiles. Still mild, she explained, “The problem is that my builder is Houser and the salvage is not for sale. Sawnax has cheated you. You should go to him and get your coin back.”

He made the mistake of pushing Caramel aside as he snapped, “I paid for them and I am going to have them!”

Her return sweep kick had his hind legs out from under him! She followed up by a nerve jab that paralyzed one of his front legs. He was struggling to rise when Caramel blew a police whistle.

Constable Crager came on the run. “What is it, Caramel?”

Ignoring the constable's asking Caramel, the fallen pony demanded, “Arrest her! She attacked me for no reason! I bought the whole salvage of this lot! I have a receipt and everything!”

Constable Crager listened and then demanded, “I must see that receipt. I already know that this lot and all on it belongs the this young mare.”

“That is crazy talk! Sawnax showed me the exact lot from that park over there!” He dug in his saddlebag and produced a somewhat wrinkled receipt. “See? It says right on it, all salvageable masonry and usable timbers, including chimney tiles!”

Examining the receipt, Constable Crager nodded, “It does say that. There is one small problem. The listed address is 421 Blackberry Lane. This lot is 318 Mane street.”

Caramel quietly pointed across the way, to the park. Sawnax was sitting where he could watch the whole mess. He was laughing.

Constable Crager trotted across to the park and spoke to Sawnax at length. He gave Sawnax a paper, which Sawnax took petulantly.

The Constable returned and gave a second paper to the pony who had been stopped from taking Caramel's salvage.

Staring at the sheet incredulously, he asked, “I got to go to court?”

“Yes, Sir. You do. You and Sawnax will dispute your case before Judge Coldheart. He will decide which of you owes whom and how much.

“The alternative is that I simply arrest you for attempted theft. The court is cheaper and will not give you a criminal record.”

As he was glumly leaving, Houser and his crew showed up.

After explaining to Houser about the happenings while his crew was away, they got back to work. The old house's basement proved to be both large and dry, showing no sign of any moisture damage at all.

Caramel consulted with Houser about incorporating the basement into the new shop's design. She pointed out, “This will greatly improve my storage area for provisions. It will be cool, too. That will help things to last.”

Houser nodded and pointed to his plan drawings. “We did not know the condition of the basement when I made these. I was figuring to fill it in and use support blocks here and here. We simply make them into pillars footed on the basement floor, which is solid. There should be a loading ramp cut in at the back so that you can have carts unload into the basement easily. A stair case over here, and that will be all that there is to it.

“It will only add about a thousand bits to the overall cost and you will have total access to it, from both inside and out.”

Caramel nodded as she worked it out in her head and then examined the drawings again. “Can we put the staircase over here, instead? That will make it handier to the kitchen area.”

Houser agreed at once. “I see what you mean. For such a young mare, you are very sharp. I like the idea of a smaller kitchen for experimenting with new recipes. It will allow the development of new dishes without disrupting the main kitchen.”

Caramel smiled brightly as she replied, “That is the idea!”

Houser returned her smile, thinking of both the good idea and the addition to his profits. “I will get right on the modifications! I will have working drawings for your approval tomorrow. If you like them, I will do the detailed plans at once.”

“That will be fine, Mister Houser. I will not be free until noon at the earliest. I have two issues of civil business to bring before Judge Coldheart.”

“I see, Caramel. Good luck to you on them.”

Smiling broadly, Caramel replied, “Luck favors the well prepared. I will leave you to finish this salvage work. I need to prepare the information that I am going to need for tomorrow.”

The somewhat puzzled Houser watched Caramel trot off in the direction of the Ponyville town hall.

The next morning, Caramel packed her saddlebags carefully, being sure to organize the many papers that she had accumulated the day before.

Brightmane asked anxiously, “Are you sure that you don't want me to come to court with you, dear?”

Nurse Fields wiped her lips with a napkin and replied for Caramel, “Yes, Brightmane, she is sure. She has only told you so three times, so far.

“Caramel, the breakfast was lovely. Thank you.”

Caramel set out into the early predawn light that made the Everfree Forest seem so lovely and serene. She had an escort of five big, full grown Everfree Ridgeback wolves. Over the years, the Stone Ridge Pack had grown used to her presence and accepted her, not exactly as one of their own, but as one who belonged and could be counted on to help the hunt.

They knew that, though she was going into Ponyville, where they would not go, that she was on a hunt of her own. They were offering her their assistance, as she had assisted them in the past. Caramel appreciated the support.

She took her leave of the pack, with the usual friendly butt sniffing and light roughhousing. Going around the hill of Red Hoof, she went straight into town.

Arriving at the Town Hall, she went inside, and took a place in Judge Coldheart's courtroom. A little later, the big red pony came in, followed by Sawnax.

Sawnax immediately began, “What are you doin' here, Brat? Get out now! You got no reason to be here!”

He was hauling back to give her the back of his hoof, when he saw her smile of anticipation. He had run into her Han Fu skills before. Growling, he lowered his hoof.

They heard, “All rise for His Honor, Judge Coldheart!”

They did, and Judge Coldheart, in his formal robes of office, took his place at the bench. He struck a gavel and declared, “Order, in this court!”

Sawnax reluctantly settled down. He had been here enough in the past that he knew the routine, and the cash cost of disobedience.

“We shall hear Petty Criminal maters first.

“Sawnax, you stand accused of violations of the Protective Order granted to Miss Cherrilee's School. During the course of that violation, you further broke the Edict of Equality by verbal outburst in the hearing of the Constable.

“How do you plead? You may plead only guilty or not guilty. Silence will be taken as a guilty plea.”

Sullenly, Sawnax replied, “Guilty, I guess. I thought that the Order was over, once the Brat, there was out of the school! I went in to get her out of the School, where she had no business at all!

“As for Edict of Equality, I have tried to warn you and the town, once she is turned, that Werewolf will lose all reason and become a ravening, murderous monster! The Edict won't apply but it will be too late for her victims!”

The judge curled a lip disdainfully. “Guilty on all counts! You are fully aware that you have just lied! You have seen Caramel Treat changed to a wolf on many occasions. She, unlike some Werewolves, does retain her reason and emotional control.

“You are fined one hundred golden bits! This is added to the sum of four thousand gold, twenty two and seven that are presently outstanding debits to this court! You may not leave the court until payment arrangements have been made.”

Sawnax ground his teeth in rage as he returned to his place.

The judge called out, “Now we will hear civil actions.

“Those whose things have no dispute may come forth to be heard and dealt with.”

Caramel stepped up to the bench. She laid a small sheaf of papers on the counter before Judge Coldheart. “I have passed my civil cart handling license. Because I am still legally a minor, it needs your signature.

“Under that, Your Honor will find my wholesale provision purchase license for the restaurant that I am now having built. It is formally granted already. That also needs your signature.

“The rest, Houser sent along with me. They are the permits needed to erect the structure and link it to Ponyville's utilities. Again, all have the approval of the inspectors involved and simply need your signature to complete them.”

Nodding, the judge hoofed through the stack and signed where needed, returning copies to Caramel.

He commented, “It is good to see one so young, getting such a fine start in life.”

“I do have one more thing, Your Honor. I want a protective order to keep both Sawnax and the members of the Celestian Church away from my establishment. Here is why.

“This is an 'assessment of a freely given donation' of 100 gold a month to the Church to purchase Celestia's Blessing, without which, disaster is sure to follow. Members of the Celestian congregation to be allowed to dine for free.”

Examining the 'assessment', Judge Coldheart nodded, “Against the Church and its members, no problem. The order, with a delivery receipt, will be delivered to you as soon as service has been made.”

“Thank you, Your Honor. What about Sawnax? He continues to slander me and has as a part in the next case. He tried to sell my salvage materials to mister Red Clyde for the sum of 150 golden bits.

“His fraud garnered gold from mister Clyde, and was intended to make me a victim through the loss of my building materials.”

Sawnax promptly brayed, “She don't know that! Red and me was in the park across the street! No way could she hear us.”

Caramel tapped an ear. “Werewolf, remember? Hyperacute senses. Hearing especially. I heard the whole scam.

“Besides, you put the 421 Blackberry Lane address on the receipt. You neither own that lot nor the salvage rights. The lot is owned by Ponyville Trust and Loan. I have here their written statement that they would not sell you salvage rights due to past misconduct.

“Here, Judge Coldheart. See for yourself.”

The judge did look everything over and smiled. “I see why you want a protective order against Sawnax. Granted. Wait a few moments.” He took out a form and began filling it in.

Hoofing it to the bailiff, he instructed, “Serve this at once on Sawnax. He must sign the service receipt or I will sign it for him.

“Remand Mister Sawnax to the Jail until a bail hearing. This business has gone far past a mere civil case. This is a criminal fraud.”

Caramel took all of her papers, thanked the judge, and left.

At the building site, Houser looked about at his busy crew. The old building was almost gone. He hoofed through his permits and smiled, “Didn't take you too long, Caramel. Thanks. Everything is in order, I see.”

Caramel invited, “Let's all go over to the park. I brought you all lunch!”

Seated around a table, Caramel hoofed out big wrapped submarine sandwiches and cups. She added a big flagon of tea. “I got you Rom black tea on ice. The subs are just sprouts, tomato, onion, green peppers and my secret sauce.”

The whole crew fell to. One stared at Caramel and stated, “That sauce is something else! I never had a sub that good before!”

Caramel nodded happily and hoofed out popped barley and almond bars as a desert. “I will be having these and the subs in my restaurant.”

The worker's buddy just grabbed him and hauled toward the work site. “Come on, guys! We have a restaurant to build!”

Houser observed, “That is the most enthusiasm I have seen in one of my work crews in a long time! If you keep supplying lunches like this, I will be needing to beat away would be workers with a club!” He chuckled.

By early afternoon the old building was totally cleared away. The ground of the entire lot was being probed by unicorns with pest control certification to locate and destroy problems like termite nests and ant hills. They found only a little to deal with.

Soon the batter boards were up and the string layouts for the building to come were being set.

An ill favored unicorn with blotchy pastel blue fur and a stringy purple mane strode arrogantly up. He had a large so-called “Celestian” medallion on and wore scarf like cloth called a stole, richly ornamented with “solar” designs.

Lifting his nose as if he smelled something foul, he demanded, “I am Junior Priest of Celestia's Holy Truth, Hillbury. You are late with your freely given good will donation of 100 golden bits to our Church. You were instructed to deliver the payment in coin to the Church no later than noon!

“You are in serious danger of having Celestia's Blessing on your enterprise withdrawn! Disaster is sure to follow!”

Caramel smiled as she pulled out her police whistle. “Really? We must put that to the test.

“You do know that you are violating the protective order of Judge Coldheart. I am sure that you also know that your demands and threats make your so called freely given gifts extortion. That is a felony.” She blew a shrill, warbling blast on the whistle!

Junior Priest Hillbury snorted, “The orders of a Lesser Being have no authority over a True Unicorn!”

He reared impressively, gathering his dirty yellow magic about his horn. He lashed out at the work site, snapping the carefully set strings and knocking over two of the batter boards!

Caramel reared too! Her right hoof slashed out in a straight punch to the side of Hillbury's neck!

He was driven from his legs, falling heavily! Caramel leaped in gracefully and struck a light blow up high on Hillbury's neck, just under the skull! She followed with two quick taps beside his horn, one on each side of it!

The Junior Priest was struggling in vain to rise. Caramel slapped his head! “Now that I have your attention, LISTEN! Your LIFE depends on it! If you try to use your magic at all, you will die!

“I have temporarily disabled your horn! If you try to use it, the magic backblast will destroy your brain. You can feel it, like a horn tangle. This cannot be undone like a tangle can.

“Quit wasting your effort to get up too. I partially paralyzed you with a nerve strike.”

“You cannot do this to me! I am a True Unicorn and you are a mere Lesser Being!”

Constable Crager came up on the run! He snapped, “I heard that! You are charged with violation of the Edict of Equality!” Staring at the ruined work, he asked, “Did he do this?”

Caramel replied, “Yes, Sir, he did. The damage is about fifty bits. Not a lot, but the vandalism is part of a larger scheme. Here is their demand complete with the threat of damage. The original is in my file entered by Judge Coldheart.

“Besides that, he was violating this protective order issued by Judge Coldheart. If you look to section three, you will find the authority to charge felony extortion in such a case as this.”

Constable Crager replied sourly, “I see it. Wish that I could call a tumbrel to haul him away. These so called Celestians are becoming a real nuisance.

“They have been stirring up anti goat problems too. Had three mobs in the last two months. One of them actually killed a goat. Goats may not be the best sorts but they are covered by the Edict of Equality and deserve better than these unicorn supremacists are giving them.”

Caramel was watching the fallen Junior Priest. “Umm, Constable, it would be a good idea to get a horn cap on the prisoner and get him into manacles. He won't stay paralyzed forever, unfortunately.”

Caramel paused, thinking back to what the constable said earlier. “You can call ahead, Sir. I had this lot equipped for Magic Net so that Houser could order supplies if he needed them. I have a mirror right here.”

She fished the Magic Net mirror out of her saddlebag and hoofed it over to the constable. Constable Crager smiled as he tapped the necessary codes into the mirror.

He briefly filled in the police station on the situation and requested, “Right. 318 Mane Street. An open tumbrel. The prisoner has been temporarily disabled by a known Han Fu expert.”

Soon the prison wagon arrived and Houser's unicorns from his work crew helped to load Hillbury and secure him for transport through the center of town to the jail.

They were just getting ready to quit for the evening when a black and blotchy pink pinto pony in a suit and carrying a briefcase showed up.

He offered a card. “I am Partin Cumpny. I have been retained by the Celestian Church to represent them. I have been instructed to require you to pay your agreed upon freewill gift to the Church and further to drop all charges against Junior Priest Hillbury.”

Caramel smiled but only with her mouth. “Apparently they forgot to mention a few things and misrepresented another.

“First, I have a protective order against the Church and its membership for direct threats to the business that I am starting.

“Secondly, in the protective order, in part three, the so-called freewill gift of 100 golden bits a month to be given for the purpose of “preventing certain disaster” is specifically defined by Judge Coldheart as criminal extortion.

“Thirdly, the junior priest in question, not only made the same criminal demand that you just did, he committed direct vandalism of my work site when he was refused. Along with that, he violated the protective order, and the Edict of Equality.”

Mister Cumpny took the time to look over Caramel's paperwork. Sourly, he tried, “You caused the junior priest paralysis, incapacitated his horn, and caused major embarrassment to both him and his Church.”

Caramel reminded him, “He reared up and used his magic to vandalize my new shop's layout work. I used a Han Fu cross punch to knock him off his feet, a high nerve pressure thrust to temporarily paralyze his legs, and a pair of nerve pokes that are specific to unicorns. Those paralyze the nerves controlling the magic flow in the horn.

“Those actions were all in specific defense of both my work site and my contractor's work crew.

“The removal by tumbrel was the work of and at the request of the officer in charge of the case.”

Frustrated, he demanded, “Why didn't you change into a wolf and rend him?”

Caramel sat and put a hoof over her eyes. “Are you really that stupid? This is Equestria. It is a land ruled by mostly just laws. There are always idiots who try one way or another to end the rule of honest law. Most of them are lawyers. Ones like you.

“I did not turn into a wolf and rend him because we have laws that will do it far better and without giving anypony the excuse to try harming another.

“You know. Laws. Supposedly what you make your living by upholding. Go away. You make me ill to my stomach. And I AM a werewolf.”

Mister Cumpny, having done his legal duty, left.

Caramel serenely trotted towards home. She was greeted at the Everfree Forest edge by members of the Stone Ridge wolf pack. There followed the usual bit of butt sniffing and other greetings. She indicated her saddlebags and ran swiftly for home!

She got to the door before any of the pack. Inside, she shed the saddlebags and called, “Going to play, Mom! Back after full dark!”

She returned to the front yard and joyfully joined the waiting pack. They ran through the underbrush in almost ghostly silence, seeking the scent of prey.

Totally refreshed by her outing, Caramel returned to the cottage that had been her home for all of her young life. The front door was broken in. She overheard the ugly gangrenous green pony demanding, “You just keep your hooves to yourself, Ma'am! That crossbow across the room will take you down along with your precious deadly monster of a daughter.

“We are going to destroy the beast and collect the reward for its head!”

Caramel waited silently to see if they would say more. She already had everypony in the cottage located by the sound of heartbeats and breathing.

Stort snorted, “Hortimer gonna reward us royal for the brute's head! We got it this time. It gotta come in through that door and that is when we takes it out!”

Caramel skulked in utter silence around to the back of the house. Her room window was open, as usual. Sniffing carefully, she spotted the scent of gang green, whoever, he was. Then she saw it. A thread was stretched across the open window. Checking carefully, she found the crossbow that it was attached to the trigger of.

She returned to the front, where the nervous and trigger happy ponies were holding her mom and Nurse Fields. Sitting out of sight of the damaged door, she leaned back and aimed her muzzle to the sky. The long howl that she let out had an almost unearthly timbre. It shivered and slid up and down a scale that no pony voice could hope to match.

Her call was replied to from several directions by the wolves of the Stone Ridge pack. They all converged on her. She signaled them to silence and led them to the cottage. She let them know of the dangers inside and gestured to the only path leading to Ponyville and safety. The wolves fanned out silently to lay their hunting trap.

Caramel lunged in, nearly flat to the floor! Hitting a brace with her forepaws she vaulted upward to strike the cottage wall, up high and rebound down from above and behind the green pony!

Her strike carried him from his feet! His crossbow went off as it hit the floor! The wildly flying bolt grazed Stort, leaving a bleeding wound!

In a panic, the blue pony dropped his weapon for greater speed as he fled up the trail! In only moments they heard the ghastly scream of a pony in mortal agony! It stopped abruptly.

The green pony, laying on the floor could not rise. Caramel had nerve punched him to keep him down. He did weep.

“You killed Stort! He was my brother! You murdered him!”

Caramel put a huge paw on his head. “No, we did not. You and your schemes to kill me for some imaginary reward got him killed.

“If he had stayed here, he would be, like you, still alive. He ran, like the coward that he was, abandoning you to the so called monster that has spared your life. Twice now, unless I have missed my count. That does not count your stupid business at the School.

“This time, I am afraid that I cannot overlook your plans to kill my mother and Nurse Fields, to silence the witnesses, along with the attempt to murder me. I will press charges. Mom will press charges and so will Nurse Fields. I want you to go down hard!”

Out of the darkness came the flickering flare of torches. “Halloo the house! Is aught well here? We ha' seen a blue pony dead by the trail. Wolves, it wa' seem, took him down.”

Caramel stepped to the door and replied, “We are all alive and uninjured. The house has been damaged and will need professional repair of door, frame and some connected masonry.

“The green pony inside, and the blue one that you found, broke into the house. They took Brightmane and Nurse Fields prisoner. Their plan, which they whispered and I overheard, was to murder me and take my head while making mother watch. Then they were going to rape and murder mom and Nurse Fields to get rid of the witnesses.

“According to what I heard, High Priest Hortimer of the Celestian Church has put a bounty on my head but only to be paid if I am dead.”

Grimly, Heather Bloom, Duchess of Red Hoof, replied, “We did wonder at the fallen. Fer he wa' taken by the wolves but nay preyed upon beyond the killin' o him.”

<==Previous Next==>

Return to the Master Story Index Return to MLP Fan Fiction Return to Caramel Treat, werewolf

#CARAMEL TREAT'S SWEETS #Part 2 of 4 #MLP Fan Fiction #Caramel Treat - werewolf #Written by De Writer

6 notes · View notes

hollowedrpg · 5 years

Photo

CONGRATULATIONS, LISSA! — You’ve been accepted for the role of Frank Longbottom. While reading you app, I could not only see the ways in which Frank has developed so far, but what’s to come for his character. Not to mention, your in depth description of his relationship with Alice. Somehow, you made Frank and Alice feel like people I know in real life, not just text on a page. Truly, your app was impressive from start to finish, and if I had to point out specifics on why I loved your portrayal, I’d be writing an essay.

Thank you so much for applying. Please create your account and send in the link, track the right tags, and follow everyone on the follow list. Welcome to Hollowed Souls!

OOC.

Name: Lissa

Age: Twenty-Two

Preferred Pronouns: She/Her

Timezone: PST

Activity: I currently work full-time, but on my days off I would be fairly active. If I had to assign it a numeric value, I’d say maybe a 6-7/10?

Are you applying for more than one character?: Not currently, but I’m certainly tempted to!

How do you feel about your character dying?: Although I’d be pained to see him go, if it served a purpose and was well thought out, which I’m sure it would be, I could be convinced.

Anything else?: Nope!

IC Details.

Full Name: Francis Theodore Longbottom, but please, for the love of Merlin, just call him Frank.

Francis: It’s an old family name that has been handed down from progenitor to progenitor like some sort of sacred relic. He’s been told it can be traced back to the age of Merlin, to age of knights and chivalry, predating even Hogwarts’ crumbling stone walls—his first name, just like his last, is a reminder of their austerity, their contribution to the world of magic and Frank certainly believes it’s ancient. Only two individuals in all the world are allowed to use his given name: the first being his dear old mother and the other is his beloved wife, Alice. Still, whenever they use it, he has a tendency to “not hear them”—whether it’s accidental or purposeful is up to your interpretation.

Theodore: Of his three given names, he hates this one the least—perhaps, it’s because he hears with this one the least. Nonetheless, its meaning is, “gift of God.” In the past, he’d remind Alice that’s exactly how he expected her to treat him, like he’s been sent from the heavens above. It’d be enough to elicit a laugh from her petal pink lips, but that was a lifetime ago; now all they seem to do is haunt each other.

Longbottom: It’s a name that he owes much to and although he does not revere it as others do, it does amuse him that the name “Longbottom,” in all its ridiculousness, is included on a document detailing the “Sacred Twenty-Eight.″ Still, Frank is proud to be just that, a Longbottom, but for reasons that differ from his peers. His lineage, established eons ago, placed him in the upper echelons of their society, but ultimately it was what forced him out in the end. Sometimes he wonders how the others were raised; how they could all be so different, but yet so alike. He always comes to the same conclusion: none of it matters, everyone bleeds red in the end.

Date of Birth: December 20th, 1956—Sagittarius (Generous, Idealistic, Enthusiastic)

Former Hogwarts House: Gryffindor—it’s expanded upon below, but I can say he was very nearly a Ravenclaw.

Sexuality: Heterosexual

Gender/Pronouns: Cisgender Male; He/Him

Face Claim Change: N/A

More.

How do you interpret this character’s personality? How will you play them? Include two weaknesses and two strengths.

These key traits are expounded upon below:

Positive: Determined, Intelligent, Noble, Passionate

Negative: Stubborn, Selfish, Mercurial, Vengeful

As a child, he was all consuming. Always active and fussy for attention, wailing throughout the night until he was blue. For him, it was all or nothing; Frank could never do anything in half-measures. First, it began with securing Augusta’s undivided attention, then it led to thumbing through all the books in his family’s library even though some tomes were denser than Rabastan Lestrange’s skull. Once he was done with that, Frank set his sights on the land surrounding their vast estate, exploring like a New World cartographer, set on leaving no stone unturned. In some respects, it was an innocuous trait, but at times it would overtake him. Let’s call it what it was: greed with, perhaps, a touch of selfishness.

While at Hogwarts he tried and sometimes failed to keep his voracity in check. He pursued each of his passions to completion. Only when Frank was quite literally at a loss, did he meet absolution. His orbit was thrown and his world was shaken by the girl with the eyes like warmed honey. Just as he was a taker, Alice was equal parts a giver—it could’ve gone wrong in so many ways, but oh how it didn’t. She checked his greed, made him expand beyond his selfishness. They would’ve been untouchable too, if things had panned out better—for awhile, in fact, they were untouchable. But the truth is, it won’t be the Death Eaters that get him at the end of it all—no, his hamartia is his greed, his need for more. If anyone will be his undoing, it will be himself. Frank demands answers, blood for blood, and always more, more, more. It will never be enough though—nothing will ever fill this wound that’s been left raw and festering.

He’d be the first to admit that up until this point, his life has certainly been charmed. It’d be easy to credit his triumphs to the Fates or Felix Felicis or whatever dictates good fortune in your mind, but ultimately Frank is responsible for success he has found in life. Even as a child, he would make calculated moves in an upward direction—blatantly pursuing his life’s goals with a kind of singularity that can only be described as unrelenting. This contrasts Alice quite nicely; through the years she has allowed herself to be defined by her passivity. She is pliant like clay, permitting others like her mother or even Moody to mold her into another and to direct her course. Frank, however, is rigid in his ways; from birth, he’s been the one helming the ship. This is due to his privileged upbringing; Frank has always been afforded his own choices and rarely were there ever true consequences to his actions.

The best example of this juxtaposition is what happens upon graduation. Alice allows herself to become an Auror after Moody’s intervention, which differs strikingly from Frank, who actively sought out the position for himself. After years of honing his craft while playing Wizard’s Chess, he believed it would be the next best move and most natural transition. He was right. Swiftly, he rose in the ranks, planning ambush after ambush, mapping out elaborate plans on the backs of old Ministry memos; first alone, then with Alice. There were, of course, the occasional missteps resulting in broken limbs (mainly his own) and bruised cheeks (mainly Kingsley’s), but his track record was solid and became much more refined after Alice joined him. At the core of it all, although Frank prides himself on being a skillful tactician—it’s Alice who has bested him before; it’s Alice who dissects him and sees beneath the carefully crafted veneer. However, it’s his drive and perseverance that guides them into the breach of war and out the other side.

This is also what divides them, however; Frank cannot face the consequences or the mistakes he’s made in the past. He cannot concede defeat and admit to his misgivings. For all his talk about pragmatism, his emotionality over his son’s death is what clouds his mind. He was so used to being able to see ahead, beyond the superficial, that a failure of this magnitude is unforgivable to him. For the boy that was constantly planning and plotting, making leaps and bounds to outwit his opponents; first on the chessboard, then on the battlefield—Frank cannot make sense of it all. Now, his dogged cleverness is set upon a new quest, he’s tracing out all the connections he missed and catching new ones, but the question is: is this paranoia or foresight? He’d be remiss to say that sometimes, now more than ever, the lines do blur a bit.

In truth, he’s poisoned by his need for retribution and he knows it. His recent thoughts and actions have been some of his greatest acts of sabotage, but instead of setting upon the evil that exists in the world, Frank has been undermining himself. Brick by brick, he pulls the foundation of his life apart, stubbornly clinging onto rationality and order in a time where the world is in disarray. He claims he needs answers for justice, to comprehend how it all went wrong, but the ones that truly know him know he’s lying. In actuality, Frank is a hypocrite—he is blinded by his emotions, lost in the tumult of rage and despair. In his misery, he’s abandoned her and with his own hollow eyes he sees how she looks at him like of all the loss she’s experienced, he’s the freshest wound. Frank has always been Alice’s touchstone, but now he is lost to her and the whole damn world. This is what happens when the young hero escapes childhood unscathed by the world; the first taste of tragedy begets madness. It is who he is though.

However, when all is said in done, Frank Longbottom is good. Although he comes from a background rife with privilege, he has always had an innate desire to help others whenever he can. It was his steadfast nobility that got him placed in Gryffindor as a young child and his tried and true bravery that finally led him to the Order. Although there are instances in which he falls short of the mark, Frank constantly strives to uphold his House traits. Lately, it’s been difficult, to say the least, but somewhere underneath all the bitterness and fury, he still wants to do the right thing. The rest of the Order members believe in him—it’s just he’s lost faith in himself.

How has the war affected this character, emotionally and otherwise?

In truth, the whole business of war had been easier before Neville. Life was just another game to him and with Alice by his side, there was no fear of losing. He collected Death Eaters like trophies, using stratagem he learned from playing Wizard’s Chess to ensnare them. Each capture of theirs served as a checkmate; each threat of retaliation echoed the petulant cries of a sore loser. Frank liked playing hero; he liked engaging in this act of rebellion against his blood. After all, what did he have to lose?

Once Neville was born however, his perspective shifted. He was no longer interested in the thrill of it all, but instead, he sought to make his young son proud of his father. It was then he noticed once unmasked, these enemies of his were characters that dotted his boyhood, friends of friends, and not just casualties of war, but also of his life’s story. It was perhaps a cautionary tale, that it was not nature that separated him from the others, but nurture. Even then though, Frank hadn’t learned his lesson. He didn’t take the betrayal seriously enough, not until he crossed into the Malfoy’s foyer and recognized the wand pointed inches away from his son’s forehead, thin lips speaking into existence Death and all the tragedy that came with Him. In a flash of green, life as he knew it ended and stupidly, Frank never saw it coming.

Now, quite frankly, he’s adrift—lost to Alice, the Order, and even to himself. In his grief, Frank has become unmoored, detached from reality, and living in a hell he has constructed with his own two hands. He is plagued by his willful ignorance, obsessed with the questions he holds himself accountable for: the who, the what, the why, and the where—but perhaps the greatest of all his questions, the one he can’t bear to answer is: how did he let this come to be?

Where does this character currently stand? With those who wish to hide in Godric’s Hollow until the war ends, with those who wish to rebuild the order and continue fighting the war, or on neither side? Why?

Frank is suspended somewhere between grief and madness, just one soft shove away from crossing that fine line into insanity. What happened that fateful day was more than just a tragedy, it was a trauma that is now etched into the very marrow of his bones. Everyday, the memory takes root and haunts him without provocation or any hope for repose. When Alice screams in the dead of the night, it mirrors the image he has of her and her pretty face, mouth agape as their child grows cold. In this, he doesn’t know how to comfort her or soothe her. He can offer no solace as he cannot find any himself. This boy who had grown used to having all the answers, used to having the world right at his fingertips, has collapsed in on himself like a star half-extinguished somewhere deep in the universe.

In truth, he’s just numb to the plight of others now. Frank is drowning in his sorrow, too self-involved to notice Alice’s suffering, too blinded by his need for vengeance, and too bent on forcing the world to finally make sense again. He will not divert from his course despite what the other members say. How can he let this go? How does he stop it from swallowing him whole? In these moments, he can’t imagine the future, much less build for it—not when it was already so deliberately snatched out of his grip. For now, he’s on his own side, his son’s side, and whether she believes it or not, he’s never not on Alice’s side.

How is Frank looking into the death of his son? Does he have any theories about what happened? Where did he get those theories?

Frank has always been a damn good Auror and although his world has tilted on its axis, this is a fact that hasn’t changed. If he’s honest, a fair number of his theories are more conspiratorial than founded in reason, fed by his voracious mind that knows no rest and knows no peace. It’s his futile attempt to make sense of the senseless, but nevertheless, with each deep dive he takes into the rabbit hole, the light around him dims.

The other handful of leads he’s chasing down do have some truth to them though. Some may say his interrogation tactics have gotten more aggressive, but their complaints fall on deaf ears. They showed him no mercy, so it’s only fair if he returns the favor.

Currently, his most favored theory is that there is a traitor in their midst—how else would his son have ended up there? It makes him wary of the other members, distrustful of their outreached hands. His suspicion nearly borders on paranoia, intensifying whenever he has a particularly sleepless night. Whoever it is, taunts him; they toy with him and leave him tortured by his own thoughts. Frank will persevere, however—there will be an end, he’s sure of it.

Extra.

If Iwere a _______, then I’d be _______.

If I were a season, I’d be summer, but not the days at the beginning that are filled with childish wonder and boyhood adventures—no, those days are long gone—I am midsummer, when the sun is seemingly always at its apex, beating down relentlessly, and the air is so languid and sweltering that it feels like the world is aflame.

If I were a time of day, I’d be late afternoon.

If I were a place, I’d be an empty shore, abandoned after the storm came and went.

If I were a type of weather, I’d be a cloudless sky.

If I were a scent, I’d be smoke dissipating in the breeze, fresh linen, and pine.

If I were a plant, I’d be English Ivy, unkept and unruly, invading the flora and fauna around me, bent on expansion and progress at whatever cost necessary.

If I were an element, I’d be fire.

If I were a color, I’d be slate grey.

If I were a song, I’d be “As It Was,” by Hozier.

If I were an item of clothing, I’d be a wrinkled white button-up, wearing at the seams from years of care and use, much-loved but in need of repair.

If I were an object, I’d be a pawn.I used to think of myself as the rook, capable and cunning, but in the end it was all a charade.

If I were one of the seven deadly sins, I’d be greed.It eats me whole and it eats me alive.

If I were one of the seven heavenly virtues, I’d be diligence.

If I were a god/goddess, I’d be Prometheus. For my defiance, Godhood has been stripped from me and all that remains is torment.

#hp rp #rp #marauders rp #lsrpg #roleplay #accepted

3 notes · View notes