#lin at the spring court

[acourtofquestions]

Hold up…

Either Wikipedia is wrong (lol—what? NEVER!— shocking)

… Or Tamlin is TWO words NOT one

Tam Lin

Tamlin

I swore it was Tamlin not Tam Lin

[umthisistheonlyusernamenottaken]

Neslin AU idea -> A ballad of beasts

AU where Tamlin, unwilling to deal with his brothers' power struggle for the High Lord title after their father's death goes FUCK NO, and legs it for the mortal realm.

He eventually finds refuge in a little, faraway village called Carterhaugh. But even though he's fae, he has no idea how shit works in the mortal realm, and he needs a safe place to stay.

BUT, he can't just saunter into the place and be like 'please will you let me into your house and give me a safe place to stay??'

That goes against all the fae rules, sanctuary must be given freely of a mortal's own choice and mind, no asking allowed.

SO

He transforms himself into a cat and wanders around until he comes across Nesta; the prickliest woman of the village, who couldn't give less of a shit about other people, but who is instantly besotted by the bedraggled and clearly malnourished cat that's mewling pathetically at her village bookshop door.

<><><>

"Oh, you poor thing," she cooed, gathering up the golden cat into her arms and scratching it under the chin.

It purred happily, and she immediately made for her small cottage at the edge of town.

"You must be hungry, don't fret little one, I'll look after you."

<><><>

She takes him home and gives cat-lin a bath and feeds him, and everything, but Tam starts feeling guilty so he poofs back into his fae male form and Nesta rightfully freaks out, screaming at him to get out of her house but eventually she listens to his story

High Lord powers -> WILL be killed by brothers

Nesta's still kinda eh,

So Tam just PLEASE PLEASE PLEASE PLEASE PLEASE PLEASE's and Nesta is eventually just like 'jesus fucking hell, fine, but i'm gonna make you do unpaid labour in the bookshop if you're gonna stay.'

So that's how life is for a while, they grow closer, and eventually Nesta tells him her story.

Years and years ago, her sisters were out playing in the woods near their home, and she was tasked by her mother with looking after them. But then as she was watching them, a thick wreath of shadow just... gathered them up and disappeared them from sight. They were never seen again, and Nesta's mother had hated her for it until her death, and Nesta has spent every day since then hating herself for it.

<><><>

"I- I tried," her throat bobbed, eyes going distant and hazy.

"I tried to go back for them, I took my winter cloak and walked to the wall to bring them back home."

A tear slid down her cheek, "I failed."

<><><>

Tamlin immediately goes sHaDowS? kidnapping? that fukcing bastard Rhysand -> Shit, I'm pretty sure I know where your sisters are -> cue trip across the faery world to find Feyre + Elain

SO, they finally trek to the wall, trek across the courts, end up in Night, and Tamlin + Rhysand confront each other (bitter ex lovers energy, obv)

<><><>

EXTRA BACKGROUND

Tamlin's father dies of illness or smth and his two older brothers fight to the death for the High Lord title, cept the winner almost forgot about Tamlin until the magic fails to go to him and he's like 'fuck', forgot to kill the other one, so he goes after Tamlin. BUT he makes the fatal mistake of asking Amarantha for help, and she's like, oh, you're trying to kill my beloved??! UNO reverse, fucker.

DEAD.

So now she's taken over the Spring Court and still trying to find Tamlin to make him her 'mate' and become High Lord/ Lady of Spring

BUT fae magic can't be sensed in the mortal realm, so she's just kind of been wasting time being a shitty ruler.

ALSO

Turns out Rhysand has only been taking young girls from the mortal realm to keep Amarantha happy-> she sacrifices them for her magic rituals, or if she likes them enough, keeps them as serving girls/ maids, and she'd originally wanted RHYSAND'S SISTER as her companion, so he was doing it for family. doesn't make it any better, but yeah

<><><>

"But if however, I were to present you to her... I am sure her appetites would be satiated for quite some time." Rhysand's eyes glittered and Nesta's stomach roiled at the implication. Beside her, Tamlin only listened with a stony silence.

Don't. she begged. Don't you fucking dare leave me.

<><><>

Rhysand brings them both before Amarantha, who is instantly threatened by/ jealous of Nesta x Tamlin

So she proposes a bargain.

<><><>

"Is your love true, I wonder?" Amarantha's wicked fangs leered down at her.

Nesta fought to keep her voice even. "It is."

"Would you love him if he were a mere man?"

"I would."

"Would you love him if he had nothing?"

"I would."

"Ah, but would you love him if he were a beast?"

She turned to him then. To Tamlin. To the man that she had grown to love so purely and wholly. It was to him that she spoke her next words.

"Man or beast, I would love him with all my heart. Thorns and all."

<><><>

Thus begins the trial of beasts.

A blood red ribbon is used to bind Nesta and Tamlin by their wrists.

Amarantha uses Tamlin's shapeshifting powers against him and forces him to shift into beasts of all kind without any control over his body.

If Nesta can maintain her hold on him throughout his beastly transformations and endure the claws/ fangs/ gashes/ bites without cutting the ribbon, Amarantha will let them all go (Nesta, Tamlin, Feyre and Elain)

Nesta, being the bamf she is, completes the challenge.

Amarantha, pissed as hell thinking that Nesta wouldn't be able to do it, but unable to break her bargain without repercussions, has no choice but to let them go.

the end

or is it???

AMARANTHA LETS THEM GO, BUT NOWHERE DID SHE SAY SHE WOULDNT ATTACK THEM AFTERWARDS, SO THAT'S WHAT SHE DOES

she goes for Nesta, and THAT'S when Tamlin's High Lord power finally snaps into place, because it was dormant the entire time he was in the mortal realm and he goes full beast mode on Amarantha and murks her once and for all.

[chinesehanfu]

【Historical Reference Artifacts】:

China Ming Dynasty Hanfu Relics<大红色四兽朝麒麟纹妆花纱女袍>,Collection of Shandong Museum,China

Ming Dynasty Emperor Wanli bestowed Japan Toyotomi Hideyoshi's robe(赐服)<赤地云龙纹斗牛袍>

China Ming Dynasty Hanfu Relics<大紅雲肩通袖麒麟圓領>

China Ming Dynasty Hanfu Relics：<红色妆花纱云肩通袖膝襕蟒袍>,Confucius Museum,China

China Ming Dynasty Portrait of Kong Hongxu/孔弘绪, the 61st generation of Yansheng Gong (descendant of Confucius)

[Hanfu・漢服]Chinese Ming Dynasty(1368-1644 AD)Traditional Clothing Hanfu Photoshoot

亦男亦女 ​​​

【About 赐服/Cì fú in Ming Dynasty】

<赐服/Cì fú> is a kind of clothing system. The imperial court rewarded meritorious men or woman with crowns and clothes to show their favor. Its system is complicated and diverse, there are “four-season clothes/四時衣", five-season clothes/五時衣” or Gesha/葛纱 and mink according to the seasons; there are Gongfu/公服 and flowers according to the seasons; etc. The clothes bestowed are usually higher than the rank of the recipient.

--------

Five-season clothes/五時衣：Attire of five different colors worn in five seasons in ancient times.

Four-season clothes/四時衣:Different Attire worn in four different seasons of spring, summer, autumn and winter

Gesha/葛纱:Gauze woven from kudzu fiber.

Gongfu/公服:one of the official attire

----

Clothing is a daily need, but because it is the emperor's reward that endows the meaning of class, it has become a symbol of the imperial class and the emperor's favor. Use highly recognizable patterns on the clothing to show status and class, making clothing a channel for "showing off wealth". Anyone who can wears <赐服/Cì fú>is a courtier who is valued by the emperor.

The <赐服/Cì fú> of the Ming Dynasty are divided into four levels：Qilin robe(麒麟服),DouNiu robe(斗牛服), Feiyu robe(飛魚服), python robe(蟒服)

The Fourth-Class is Qilin robe(麒麟服):

The qilin (Chinese: 麒麟) is a legendary hooved chimerical creature that appears in Chinese mythology, and is said to appear with the imminent arrival or passing of a sage or illustrious ruler.Qilin are a specific type of the lin mythological family of one-horned beasts. The qilin also appears in the mythologies of other Chinese-influenced cultures.

Because the Qilin is a beast of benevolence and righteousness in the legend, the emperor of the Ming Dynasty regarded the Qilin robe as a gift and rewarded meritorious officials of the fourth and fifth ranks. Although Embroidered Uniform Guard(錦衣衛)on-duty guards are not high-ranking officials, they are also allowed to wear Qilin robe(麒麟服) because of their special positions.

The Third-Class is DouNiu robe(斗牛服):

DouNiu(斗牛) is not an ordinary bull(公牛), but a legendary horned dragon(虬龙). The DouNiu(斗牛) is like a dragon with sharp horns, a python-shaped fish tail, and two horns bent like ox horns.Those who can be awarded DouNiu robe(斗牛服) include officials of the third rank and above, generals who have made meritorious service in guarding the frontier, and people who have received special rewards. There are also examples of officials or celebrity families being rewarded with DouNiu robe(斗牛服), but these are exceptional and rare. DouNiu(斗牛) was originally a star in the sky, so the recipient thinks that he has received great glory.

The Second-Class is Feiyu robe(飛魚服):

The prototype of the Feiyu(飛魚/Flying fish) is the 文鳐鱼(a legendary fish with wings) in the "山海经/Classic of Mountains and Seas", which evolved into a python-shaped flying fish in the late Ming Dynasty. ↓文鳐鱼(a legendary fish with wings) in the"山海经/Classic of Mountains and Seas"

The image of the flying fish in the Ming Dynasty has two horns on the dragon's head and no wings on the fins, retaining the characteristic of the rolled tail.

Feiyu(飛魚/Flying fish) robe are generally rewarded to meritorious officials of the second rank or above,High-ranking eunuchs lead, and Embroidered Uniform Guard(錦衣衛). However, not all Embroidered Uniform Guard(錦衣衛) are eligible to wear flying fish robe, only the commanders of Embroidered Uniform Guard(錦衣衛), the emperor's personal school lieutenant and the guard of honor accompanying the emperor, these powerful confidantes of the emperor are eligible to wear them.

The Highest-Class is Python robe(蟒服):

The highest level of <赐服/Cì fú>in the Ming Dynasty was python robe(蟒服), second only to the dragon robe worn by the emperor. The python pattern is very similar to the dragon pattern, the only difference is that the dragon has five claws and the python has four claws. Python robe(蟒服) are generally only awarded to 司礼监's eunuchs, ministers of the cabinet(内阁辅政大臣), ministers and counselors of the Ministry of War(兵部尚书参赞), and princes and heads of foreign vassals. Adding a Python robe(蟒服) represents prosperity and wealth. A jade belt is required to wear the python robe(蟒服), and there are two types: sitting python(坐蟒) and moving python(行蟒). In terms of dignity, sitting pythons are higher rank than walking pythons.

※司礼监:is an eunuch in charge of the emperor's documents, seals, palace etiquette, etc.

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📷Photo：@realyn

💄Stylist：@仰望的花鼻子

👗Hanfu：@青山有幸 ​​​

🔗Weibo：https://weibo.com/5541803701/N77vXcOBE

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[tamlinweek]

Tamlin vs. Tam Lin: A Brief Retelling

Happy Spring Equinox! It is the first day of Spring in the Northern Hemisphere. The days are getting longer, the air is growing warmer, and the earth is growing greener. What better time to learn more about the inspiration behind our favorite High Lord of Spring than today?

O, I forbid you, maidens all That wear gold in your hair To come or go by Carterhaugh For young Tam Lin is there... ~Adapted from the translation of Child Ballad 39A

The Ballad of Tam Lin is an old Scottish folk tale about an enchanted young man who will be sacrificed by the Queen of the Faeries if his mortal love Janet does not save him at the crossroads at midnight on All Hallow's Eve. He says he was once mortal, but fell from his horse and was then taken to faerieland (which is why he is now the Queen's 'elfin knight' and thus cannot leave the boundaries of Carterhaugh).

While A Court of Thorns and Roses is primarily a retelling of Beauty and the Beast, it shares some qualities with the original Ballad. For example, Tamlin can change his shape at will. His beastly form is described as part wolf, part bear, and part elk. In the Ballad, Janet must free Tam Lin by pulling him down from his horse and holding tightly onto him while the faeries forcibly change his shape. If she lets go, her claim on him is forfeit. Depending on the telling, these shapes include:

a wolf

a bear

a lion

a serpent (sometimes a newt, a toad, and/or an eel)

a swan

a hot coal

When Janet at last succeeds, the Faerie Queen laments that had she known that Tam Lin would be stolen back, she would have replaced his heart with one of stone. (Or, more gruesomely, depending on the version, that she wished she had taken his eyes and replaced them with wooden ones.) Sound familiar?

What did the Faerie Queen want him for, anyway? According to the Ballad, the faeries sacrifice someone every seven years as a Tithe to Hell. Tam Lin believes that he is that year's Tithe, and it turns out to be true (because he is just that good-looking - and yes, that is canon!). In ACOTAR, the equally handsome Tamlin has seven times seven years to find someone who can free him from Amarantha's lustful claim upon him, or he is hers forever.

So, how exactly did he find someone to free him from such a fate? As we all know, ACOTAR's Feyre took an innocent life, so she had to cross the Wall to spend the rest of her life in Prythian. In the original Ballad, it's a little more complicated.

The story begins with Janet's father giving her the land containing Carterhaugh, the woods within which the legendary Tam Lin resides. He is said to collect a payment of any maiden passing through (usually her maidenhood ie virginity). From the way the Ballad is written, it seems that Janet seeks him out intentionally. For she has "kilted her green kirtle [skirt] above her knee", and green is said to be the faeries' color. Her hair is also described as yellow (ie blonde ie gold), and she has braided it above her brow in a most flattering way. When Janet searches Carterhaugh and doesn't find Tam Lin, she plucks a double rose that she finds nearby. He appears to tell her that she has taken something that belongs to him, and she sternly replies that the woods are hers to do with as she likes.

The Ballad does not go into detail, but upon returning to her father's house, Janet learns that she is pregnant. Because she does not want to marry anyone else, she returns to Carterhaugh to either find an herb to induce an abortion, or otherwise confront Tam Lin (sometimes both, depending on the version). When she asks him if he was ever human, he says he was, and the only way he can be human again (so that he can "be the baby's father") is if she frees him before he is sacrificed on All Hallow's Eve (as mentioned above).

With all this in mind, it's easy to see where Sarah J. Maas got the inspiration for her version of the story. While ACOTAR's Tamlin was never human, and never became human, he did need rescuing by someone who loved him enough to hold onto him until the end. At least until Book 2, *cough, cough*.

So well she minded what he said, And young Tam Lin did win; She covered him with her green cloak, As glad as a bird in spring. ~Adapted from the translation of Child Ballad 39A

So, there you have it! What other similarities have you noticed between the original Ballad and A Court of Thorns and Roses? Are you excited for Tamlin Week? Remember, it's happening on April 14 - 20, and you can find the prompts here. Happy Spring!

[1800naveen]

Real life places I think that the Courts are based on

Spring Court: Scotland, obviously. Tamlin originates from the ballad of Tam Lin, a Scottish folklore story. And Scottish people have awesome accents, I'm jealous.

Summer Court: Either East Africa, West Africa, and/or the Caribbean. I'm East African myself so I'm biased and put that in there 😊.

Autumn Court: This is a tough one but I'm going with Germany.

Winter Court: Russia, like all that snow and winter, it just fits.

Dawn Court: Asia. Mainly South Asia and East Asia.

Day Court: Ancient Greece, because of the outfits and stuff. (SJM said that she sees Helion as Persian but I see him as a black guy).

Night Court: America. A shitty government with citizens they don't care for unless it's a place with a bunch of other rich people or privileged people.

If you think otherwise, share a comment or reblog with your idea!

[eretzyisrael]

by Alana Goodman

An influential Washington, D.C., synagogue is facing backlash from furious congregants after its rabbi claimed Jews "need to elect Vice President Kamala Harris" in order to comply with "sacred texts."

Adas Israel, whose membership has included Supreme Court justice Elena Kagan and the late Justice Ruth Bader Ginsburg, is one of the oldest and largest synagogues in Washington, D.C. But members have become increasingly frustrated with the leadership’s "insulting" left-wing advocacy that has left congregants "dreading the upcoming high holidays," the Washington Free Beacon has learned.

The controversy came to a head at a Jewish Democratic Council of America event earlier this month, when Adas Israel Co-Senior Rabbi Lauren Holtzblatt cited Jewish scripture as a basis for why Jews must vote for Harris.

"I could tell you that we need to elect Vice President Kamala Harris because as Jews our sacred texts tell us we need to build a world where we feed the hungry, where we care for the sick, where we love the stranger, where we guard and nurture this planet," said Holtzblatt on the JDCA Zoom call with Harris supporters. "Those are her values. That is what her policies seek to achieve."

Holtzblatt, who officiated Ginsburg’s funeral and has appeared on The Forward’s "Forward 50" list, is a vocal supporter of Harris and led a Passover seder at the vice president’s home last spring. She did not respond to a request for comment regarding which Jewish texts support her assertion that Jews "need to elect" Harris.

Holtzblatt’s comments drew criticism from some Adas Israel congregants, who said the synagogue’s political bias has become "insufferable."

"[T]o be lectured that as Jews we are compelled to vote a certain way is frankly insulting," wrote a longtime congregant in an email to Adas Israel’s rabbinical leaders. Two other Adas Israel congregants independently shared the exchange with the Free Beacon.

"[T]ying ‘our sacred texts’ to a political candidate in this way is, at best, simplistic. And easily rebutted with myriad other examples from scripture," wrote the members. "The reality is that Adas has become borderline insufferable for anyone who doesn't share what is assumed by leadership to be the universal point of view. It's politics all day everyday; politics always from the same direction—no balance."

Members are also reportedly irked by Adas Israel’s decision to have Hamilton director Lin-Manuel Miranda, a non-Jewish Democratic activist, headline the synagogue’s Yom Kippur programming in October.

"[T]here are many more Adas members than you might realize, who are put off as well (some of whom are BCC'd here)," wrote the congregants. "I have spoken with a number who are dreading the upcoming high holidays, headlined bizarrely by father and son Miranda (hawking his book no less!)."

[starrywangxian]

link click ost - where does it play?

i'm a little diseased so i went through the whole of link click season 1 so that i could make a list of where each song on the ost plays. i thought i'd share it in case anyone else is curious too~!

some things to note first:

be aware of spoilers!!

if you'd prefer to listen to it in a playlist, here's a spotify version :)

here's a youtube version too :) - be aware that the songs won't repeat so they'll only be in order of the first time they're played bc youtube won't let me add the same song more than once :(

if you notice any mistakes or errors then please let me know!

feel free to add things in the reblogs/comments/tags <3

i'll be using the chinese versions of the songs!

i'm working on doing season 2, episode 5.5, the extras and daily life in lightime but i did this to procastinate studying for my exams so i'll do those soon? (i recently finished season 2 so i need to emotionally recover before i rewatch it again bc damn it did a number on me)

episode 1: EMMA

countdown by yuma yamaguchi - the opening where cxs goes into a picture

dive back in time by 白鲨JAWS - the opening ofc

tense by yuma yamaguchi - qiao ling explaining the first mission

arabesque by av4ln & yuma yamaguchi - cxs as emma talking to mr. zhu

pray by 天門 - cxs as emma talking to her parents on the phone

overcome by 天門 - cxs as emma thinking of her parents cooking spring rolls

sign by yuma yamaguchi - cxs as emma in the meeting

dear candy by the cheers cheers - emma riding on her bike home thinking of her parents, reading the message that cxs sent to her parents, on the phone to her parents

overthink by 饭卡 - the ending ofc

episode 2: 秘方 (secret recipe)

tense by yuma yamaguchi - qiao ling explaining the second mission

dive back in time by 白鲨JAWS - the opening

relaxation by 天門 - cxs and lg looking at the photos on their sofa

hazy by av4ln - cxs as yu xia and talking with lin zhen

memories by 天門 - cxs as yu xia as she eats noodles with lin zhen

invigorate by 天門 - cxs as yu xia trying to get lin zhen to tell her the secret ingredient

pray by 天門- cxs as lin zhen taking the picture with yu xia

overcome by 天門 - cxs as lin zhen in the taxi looking through her bag

与你有关 by 泠鸢yousa - the noodle lesbians <3 "林贞" "欢迎回来" T^T

overthink by 饭卡 - the closing theme

episode 3: 只许输，不准赢 (to lose, not to win)

news by 天門 - ql listening to the radio on her run as a man watches and follows her

calm by 天門 - chen xiao calling ql an old witch!

dive back in time by 白鲨JAWS - dancey dance time

countdown by yuma yamaguchi - lg and cxs talking about the photo and chen xiao explaining his case, cxs going into the photo!

turbulence by av4ln - boooo the other basketball team are bullies, cxs in the basketball court and complaining about his glasses, the boys are basketballing and getting their asses handed to them, lg dusting the bookshelves like an unbothered king, cxs as chen xiao taking a photo with flash and the big bad bully basketball player injuring lu hongbin (the captain)

silence by 天門 - lu hongbin has to sit out and cxs subs in for him

power by 天門 - cxs as chen xiao subs in an kicks their asses! yeahhh go sports! (i really love how this part is animated, it looks so good and flows so well) also cxs thinks about his and lg's "first meeting" confirming that sports are gay.

alright by av4ln - cxs as chen xiao is playing "bad" basketball bc lg said he can't win :(

decision by 天門 - the chemistry teacher (mr. ma?) explains to cxs as chen xiao that the school will get rid of the basketball court so this will be the basketball team's last game :( "what exactly does basketball mean to you?" again cxs is thinking about his "first meeting" with lg over a basketball game.

hero by 天門 - lu hongbin hurts his bad knee and cxs as chen xiao subs in again and slays the court! big baddy basketball bully number 2 slaps chen xiao and big baddy basketball bully number 1 steps on his glasses :( (again i know nothing about basketball and have no interest in it but this part slaps, the music paired with the fluid animation is so good)

power by 天門 - cxs as chen xiao says 谢谢 to the big baddy basketball bully who stepped on his glasses and gets a three-pointer so now the basketball teams are tied. lg tells cxs to leave the score at that but cxs as chen xiao passes the ball and... scores!

overthink by 饭卡 - intense basketball cliffhanger outro

episode 4: 告白 (confess)

sprint by 天門 - intense basketball recap from last episode, as lg explains that you can't change key moments in the past (everyone point and cry at the hypocrit)

dive back in time by 白鲨JAWS - dancey dance break from the intense basketball gaming

irritation by 天門 - cxs having a breakdown bc he changed the past by winning the game :( lg's face is blurred during the flashback of his and cxs's "first meeting"??? double meaning??? lg is not there thinking that this basketball game meant that lg doesn't exist or that cxs and lg don't meet hmmm

silence by 天門 - the chemistry teacher explains that the basketball court will still be torn down despite them winning :(

memories by 天門 - cxs as chen xiao giving lu hongbin a ride home on his bike as he delivers the message :)

wind by 天門 - chen xiao's first love and lu hongbin's half-sister liu meng :) cxs as chen xiao takes pictures of the siblings <3 then lu hongbin takes a picture of the love birds <3

peaceful by 天門 - liu meng walking home cxs as chen xiao, cxs delivers chen xiao's message to liu meng <3

pray by 天門 - cxs as chen xiao eating food with his mum :) but lg says that they still have to argue :( so cxs delivers the message to chen xiao's mum <3

sign by yuma yamaguchi - cxs realises that it's 12th may 2008... :(

overthink by 饭卡 - intense and sad outro :( what will cxs do?

episode 5: 告别 (farewell)

decision by 天門 - again lg is telling cxs not to change key moments in the past huh sure hope that doesn't bite him in the ass in the future, cxs thinking about the villagers and the earthquake/landslides :(

dive back in time by 白鲨JAWS - dance break as if your heart isn't about to be ripped from your chest

silence by 天門 - mumma cheng singing to her son cxs :(

sign by yuma yamaguchi - cxs as chen xiao trying to warn lu hongbin and liu meng about the earthquake but the family are all arguing :(

turbulence by av4ln - lg guiding cxs, liu meng and lu hongbin talking, mumma chen packing things and then hiding under the table

beginning by 天門 - mumma chen talking to chen xiao then singing the same song that mumma cheng sang to cxs to her son chen xiao as cxs as chen xiao cries :( xcs experiencing chen xiao's memories of chen xiao's mum and his own mum :(

silence by 天門 - mumma chen saying goodbye to her son and husband :(

时光教会我的 by 邹俊健 - chen xiao and his dad at his mum's grave :( hearing chen xiao's messages :( flashbacks of chen xiao taking pictures of his mum :(

pray by 天門 - adult chen xiao singing the same song that his mum sang to him (and cxs's mum sang to cxs) to his child as he thinks of his mum :(

overthink by 饭卡 - policeman jumpscare and cliffhanger ;0

episode 6: 寻子 (search of the child)

news by 天門 - dou dou asking his mum to play with him

irritation by 天門 - dou dou's mum noticing that he's gone :(

dive back in time by 白鲨JAWS - sad and intense dancey dance :(

decision by 天門 - flashback of lg comforting cxs about chen xiao's case, "don't ask questions as the past will always change because of us" :(

turbulence by av4ln - policeman jumpscare take 2, ql shooing xiao li (the policeman) away (as she should), dou dou's dad asking for help

silence by 天門 - cxs giving harsh advice to dou dou's dad :(

dear candy by the cheers cheers - ql explaining how she saw dou dou being taken away :( scenes of dou dou's parents and flashbacks of dou dou and his family :( dou dou's dad putting up missing posters of dou dou :(

news by 天門 - xiao li looking through files and noticing that page seven isn't there hmmm

countdown by yuma yamaguchi - lg looking at the surveillance footage as dou dou's dad recounts what happened that day

chase by 天門 - cxs chasing dou dou and the kidnapper as lg guides him

overthink by 饭卡 - oops cxs bumps into people who recognise him ;0 cliffhanger once again >:(

episode 7: 梅姨 (aunt may)

sprint by 天門 - "you must keep a low profile as if you were never there" whoops, cxs sprints away from his problems, mission failed, we'll get 'em next time

dive back in time by 白鲨JAWS - recover for a minute with some dancey dances

(idk but it's when ql breaks the news to dou dou's dad that they couldn't find anything and confesses that she saw dou dou being taken away)

mission by 天門 - cxs finding a picture taken by dou dou the day he went missing! lg taking a look at the picture

turbulence by av4ln - cxs as dou dou picking up the marble, looking at the trafficker's face, xcs sniffing the ball and getting drugged then taken away, walking past ql and xu shanshan

(i'm not sure but it plays when we see dou dou's memories of his dad giving him the triple star warrior toys)

ominous by 天門 - cxs as dou dou looking around the hotel room, looking through the trafficker's bag

power by 天門 - cxs as dou dou beats the shit out of the trafficker (mei piyan) both physically and emotionally using the move master siwen taught him

hope by 天門 - dou dou reunites with his family :) dou dou's dad was finding the triple star warriors :') mei piyan is caught yippee >:)

overthink by 饭卡 - run the cases by lu guang first so that cxs won't see the photo of emma :')

episode 8: 错失的讯号 (lost signal)

turbulence by av4ln - lg looking at the photos

dive back in time by 白鲨JAWS - anywayyyy let's not think about the implications

wind by 天門 - "xu shanshan" arguing with cxs, ql talking about their college days and explaining xu shanshan's case

memories by 天門 - flashback of ql and xu shanshan talking about dong yi, flashbacks of what happened that night

(idk but it's when cxs as xu shanshan picks her nose to reject that one guy, ouch)

(idk but it's when xu shanshan and dong yi take the picture together)

入海 by 毛不易 - the song that xu shanshan sings in karaoke!

ominous by 天門 - cxs as xu shanshan recognises the serial killer from the photos and follows him

peaceful by 天門 - what dong yi said to xu shanshan :)

overthink by 饭卡 - that's not xu shanshan...

episode 9: 善意的恶果 (consequence of goodwill)

turbulence by av4ln - phone call with mystery man

dive back in time by 白鲨JAWS - dancey dance

ominous by 天門 - ql taking cxs's phone away and lg explaining the situation to xiao li, lg looking at the surveillance footage of the serial killer and telling the police his liscense number then seeing cxs in the footage

mission by 天門 - cxs going into the footage on his own without lg ;0

(idk but it's when the police go to liu min's house)

(idk but it's when emma is telling her plans with her parents to liu min in the car)

(idk but it's when emma is struggling in the car with liu min and cxs is in the boot)

sign by yuma yamaguchi - emma's mum ringing her but she can't answer... :( emma thinking of her parents, cxs thinking about what he's done and screaming in the boot of the car

decision by 天門 - cxs revealing that he knows what he's done :( and telling ql that he can enter photos

overthink by 饭卡 - cliffhanger ;0

episode 10: 圈套 (trap)

ominous by 天門 - recap of last episode: the police telling lg that liu min wasn't the killer and that emma was walking alone

dive back in time by 白鲨JAWS - distract you with dancey dance

silence by 天門 - cxs remembering what happened to emma in the photo

strain by 天門 - lg checking the selfie of xu shanshan and seeing xu shanshan in her apartment getting attacked

pray by 天門 - cxs deciding if he's going to go into the photo, cxs putting photos in the red room, the police in a meeting, chen bin telling lg that he hasn't found xu shanshan in her apartment, cxs entering the photo

(idk but it's when cxs as xu shanshan yells at himself)

news by 天門 - liu min is his house drinking and reading the news/checking social media

overcome by 天門 - ql telling cxs as xu shanshan about cxs, cxs thinking about his childhood with ql (they're so sibling-coded :') <3)

peaceful by 天門 - flashbacks to lg helping ql and cxs paint the shop :')

turbulence by av4ln - cxs asking to take the lead (let him cook!), the killer outside the shop, cxs as xu shanshan confronting the killer

power by 天門 - lg slaying!!! running to trap the killer in the red room, cxs as xu shanshan slaying the killer!! (i really love this part okay)

overthink by 饭卡 - "now then, this game... is over!" AND THE CROWD GOES WILD

episode 11: 帶着光的人 (pinnacle of light)

countdown by yuma yamaguchi - cxs starts the process that prevails in season 2 where they will explain things after you've already seen them happen so he's explaining his plan to capture the killer with a recap of what happened last episode

dive back in time by 白鲨JAWS - last dancey dance :(

power by 天門 - the slay confrontation from last episode but now with the added context of cxs's slay plan (this part is really cool too)

sign by yuma yamaguchi - the confrontation, cxs going into the photos of the victims as we see their memories and their deaths :(

ominous by 天門 - "liu min" being arrested, chen bin saying that lg is mature for his age hmmm

turbulence by av4ln - "liu min" explaining what happened with emma

clouded by cled - flashbacks of emma's life: with her parents, at her job, her parents texting her as she stands on the bridge

keep in mind by 白鲨JAWS - cxs talking to emma on the bridge as we see flashbacks of emma and flashbacks of cxs going through the photos, xu shanshan seeing dong yi :') "eventually, we will meet people who will shine their light on us" :')

(idk i was too busy crying but it's the part where lg says "death is a major node that cannot be changed" and ql cuts an apple...)

overthink by 饭卡 - "now the game has been reset" WORST CLIFFHANGGER OF ALL TIME, WHEN I GET YOU DIRECTOR LI WHEN I GET YOU!!!

songs that are in the album ost but that i couldn't place:

(maybe they were unused or were used in other stuff that wasn't the main donghua like pvs or smth)

joke by 天門

ordinary by yuma yamaguchi

afternoon by 天門

luminous by av4ln, yuma yamaguchi

struggle by 天門

nostalgic by 天門

[junemermaid]

[NiF fic snippet]

so in order to unblock myself on my first NiF WIP I started another NiF WIP, surely nothing can go wrong here

post-canon, everyone lives au, ot3 agenda in full swing. unofficially titled one beautiful morning, Lin Shu woke to find the Son of Heaven at his door.

-

The gate to the yard is open. He is under no illusion that he's been let this close unobserved, but he ties his horses next to the watering trough by the gate, and goes in.

The path to the house is paved with smooth stones. Somewhere out of sight, chickens cluck and flutter, and a pigeon coos mournfully. A woman emerges from the house: a trim, solid figure in the shade of the veranda.

"Husband," she calls over her shoulder, "the messenger is here! I'll see him in."

She comes into the sunlight, and he chokes on nothing but the sight of her. Her garb is simple, unlike the rich silks she would wear to court, but the years sit lightly upon her shoulders; the spring in her step is as supple as ever. While her hair is tied low in the sedate fashion of a married woman, it still falls down her back thick and dark as a stroke of good ink.

Last time he saw her, she knelt to him at a private audience and asked for his leave to marry. Her betrothed, his dearest friend, their childhood companion, had lived through the battles in the north. A miraculous recovery, some claimed. The skill of his doctor, she asserted.

She brought the news knowing it would be a sword through his heart, and still she was right when she said, I did not want you to hear this from anyone else. I hope you will forgive me someday, Your Majesty.

There's nothing to forgive, Princess, he told her, half-strangled by hurt and relief and breathtaking love. He is alive. How can I not be glad?

With an aching smile and another obeisance, she left with his imperial permission to wed the jianghu scholar Su Zhe.

Here, in the sunlit yard, it takes her a few paces to understand he isn't coming to meet her or offering a greeting, like the courier she's mistaken him for would. Her brow furrows—there are lines there he does not remember, either—and slowly, her hand goes to her mouth.

He watches her war with herself, swamped in her astonishment. Her gaze swims with the same tangled things that shoot up into his own mind, splintering the lull of the ride.

If she says Your Majesty now, he—he does not know. He will crumple and fall. He journeyed for a month to be here, and there, the plan ends.

"Xiao Jingyan," Mu Nihuang whispers through her trembling fingers. "What are you—how in the name of—"

Should he bow, he thinks, wild, unmoored—kneel in the sand of the yard like a lord of yore, come to entreat a sage hidden in the hills?

Mu Nihuang is no sage, or even a wife to one. But she was once the Princess-Marshal of Yunnan. She's rarely met a hurdle she did not try to vault head-on.

"Stay there," she says, as if he would move for all treasures in the empire. She rounds on her heel to shout back into the house, "Beloved husband! Perhaps you'd care to explain why the Son of Heaven, His Imperial Majesty, may he reign for ten thousand years, is standing in my yard?"

There is a loud clatter from inside. His heart jolts in echo: beloved husband. The tint of fondness in her annoyance. This peaceful, prosperous house, the veranda freshly sanded, the jasmine in bloom, like dawn clouds perched on the boughs.

What is he doing? As if compelled by the same question, Nihuang looks him up and down: travel-stained, dishevelled, half-mad with purpose and yearning.

"I'm not that anymore," he says, rough with disuse. The horses do not make for great conversationalists. "I left, Nihuang. I stepped down."

tbc

[shadowqueenjude]

about the dawn court people being east Asia inspired - feyre says something when she sees Nuan at the high lord meeting about how Amren must have chosen a fae form similar to Nuan's bloodline. If Amren is east-asian coded, so is Nuan and thesan too, having at least one parent hailing from xian (am i reading too far into xian sounding so stereotypical, maybe, do i care rn, no). they also say that a majority of the dawn court hails from xian. thesan is supposed to have brown skin (again, please give a better descriptor) so he's mixed.

no one's clothes or architecture reflects anything concrete regarding their inspiration and its such a hodge podge it's so painful to try to discern where the differentiation between courts are. Spring court - because of the name tamlin correlates to a myth about a guy named tam lin who is kind of being held captive by the queen of faeries who needs to be rescued by his mortal lover that he met like suuuper recently, I'm placing the spring court in a place that reflects a medieval scotland. clothes are fairly accurate not in detail but in the sense of material and idk just general existence (women wear dress, man wear breeches, idk) I love that! so simple! Everything makes sense! So then why in dawn are we having technological advances in a steampunk sort of way and similar "old fashioned" clothes to spring, but then in the night court (velaris, the other's i think are fairly period accurate), there are all these advancements in fashion like leggings and pullover sweaters and whatever else she's wearing in the last two books, yet they have the same tech as everyone else barring dawn. (Doing a small pass on the bodysuit armor things because I'm just assuming that's people's artistic interpretations of her visions)

ALSO, how are they self sufficient if they're a closed off city? They aren't harboring secret technology that helps their city run, they are one city and also A CITY so like, no resources, no agriculture. who tf are they getting their things from if they are an invisible city that no one knows about? same thing with how they're getting trades that they wouldn't have been able to make themselves. Also, at this point I would like to propose the idea of wing armor. you have siphons which can idk make shields. HAVE YOU TRIED SHIELDING YOU'RE VERY SENSITIVE AND MASSIVELY TARGETED WINGS FROM DANGER?? in conclusion I'm tired and also a fashion/history nerd, okay bye

Ahhhh yes I see what you mean about Dawn now! Yeah, I always imagine Spring to be like medieval Scotland, and I'm guessing Autumn is medieval England? Rhysand is a Welsh name I believe, so Night is supposed to be Wales??? But the Illyrians are also supposedly POC and there's some evidence of Indian influence there too (barf, night is NOT indian at all), so I'm stuck on that one. Dawn is East Asian while Day is...Middle Eastern? Winter maybe Norway or some Scandinavian country? And Summer I'm assuming is supposed to be from some place in Africa, but it's all very vague. Also more points about Velaris: how is their fashion sense so...modern? Since everything is so closed off...shouldn't their fashion be stuck in the 1600s or whenever they closed their borders? Why don't they open their borders to Dawn since they're sooooo close to the Solar courts supposedly??? Has it not occurred to them that Nuan, who made Lucien's metal eye, could also construct new wings for the Illyrian ladies who got theirs cut off? Or do they just not care? They don't but SJM is trying to convince us they do.

Yeah how in the flying fuck is Night surviving on no industry whatsoever? No trade? No agriculture, nada? Because we have no evidence of the Illyrians producing anything either, besides "warriors." My explanation for this is kind of inspired by @kateprincessofbluewhales 's headcanon, but what if the Illyrians are like mercenaries? They're hired to fight for other courts and in exchange they receive all of their necessities and more which the Illyrians then send back home to their wives and children. This still doesn't explain how Velaris operates, but I'm sure Rhysand crutches on the Illyrians' profits to keep shit going and that's part of why they resent him. I'VE BEEN SAYING IT FOR AGES. WINGS ARE SUCH A VULNERABILITY. THEY MAKE YOU SUCH AN EASY TARGET. WHY IS THERE NO WING ARMOR??? THAT WOULD BE SO COOL TOO. BUT NO, WE'RE SUPPOSED TO JUST ACCEPT THERE'S NOTHING COOL ABOUT THE WINGS AT ALL AND MOVE ON.

[jortschronicles]

Hey sexy, you baptized?

By Áshildr Inn Hárfagri, 2024

Presented at Kingdom Arts & Sciences

The History of Tam Lin

Tam Lin is the 39th of the Child Ballads, a collection of ballads first published by Francis James Child in 1882 with the volume containing Tam Lin and its variants published in Volume I Part II in 1884. The earliest mention of this ballad is in 1549 in Vedderburn’s Complaint of Scotland, where "The Tayl of the Ȝong Tamlene" ('The Tale of the Young Tamelene') is “spoken of as told among a company of shepherds.”[1] A dance named “Thom of Lyn” is mentioned at the same party. “A ballett of Thomalyn” was licensed in 1558. 

Child notes a diverse family tree of this story. A Scottish ballad, which he does not name, regards a farmer desperate to save his wife from the fairy court. He was told to wait for the procession of the fairies on Halloween, but “at the ringing of the fairy bridles…his heart failed him,” and he did not manage to rescue his wife from the fairy. A Danish ballad from 1721 regards a maiden transformed into a nightingale by an angry stepmother and the solution to her curse is a knight containing her in a bower as she turns into “all the marvelous beasts one ever heard of…a lion, a bear, a variety of small snakes, and at last to a loathsome lind-worm.” A Cretan fairy tale recorded in 1820 mirrors the tale of Thetis and Peleus, in which an old mentor instructs a protege to “lay hands on the nereid and keep his hold through whatever metamorphosis she might make.” His final point of reference is the 12th century medieval romance Lanzelet by Ulrich von Zatzikhoven, in which the titular character cannot turn a serpent back into a woman merely by kissing her, but by also bathing her in a spring. This introduces “immersion in a liquid” as a “process requisite for passing from a non-human shape, produced by enchantment, back into human.”

As Child says, “Whether it has come down to our time from mouth to mouth through twenty-five centuries or more, or whether, having died out of the popular memory, it was reintroduced through literature, is a question that cannot be decided with certainty; but there will be nothing unlikely in the former supposition to those who bear in mind the tenacity of tradition among people who have never known books.”

What is it about?

Tam Lin opens with a warning that all maidens who go to the woods of Carterhaugh will be met by the titular character and be required to pay him something–most often, their maidenhead. Our heroine known sometimes as Janet and sometimes as Margaret, hearing this, drops what she’s doing (in some cases literally dropping her sewing in her haste) to run to Carterhaugh as fast as she can go. As she pulls a mysterious double rose, Tam Lin appears and asks her to stop. She insists he is not the owner of Carterhaugh and she can do as she pleases, and notably does not offer him any form of material tribute. Therefore, his collected toll is her maidenhead, all according to her apparent plan.[2]

Janet returns to her father’s hall visibly pregnant enough to worry an elderly knight, who’s concerned all the knights will be blamed for her condition. Her father notices her pregnancy, and she admits she’s in love with an elfin knight and that she wouldn’t give him up for any of the gentlemen of her father’s court. Apparently deciding, though, that being a single mother to a half-fae child isn’t an exciting prospect, she runs back to Carterhaugh to pluck double rose to use to abort her pregnancy. Tam Lin confronts her, and asks why she wants to end the pregnancy. She asks if he was ever even human, and Tam Lin relates his tale. 

When Tam Lin was young he went hunting with his grandfather and fell from his horse. The Fairy Queen caught him and trapped him forever in Carterhaugh as part of her retinue. It isn’t that bad of a gig, but every seven years on Halloween the Fairy Queen pays a tithe to hell, and Tam Lin worries that he’s the next payment. He explains a plan to Janet to free him from the fairies, which will consist of stealing him from a procession of riders on horseback and holding him while he is changed into a variety of fearsome creatures. He’ll then be turned into a red hot iron in hopes of forcing her to drop him, then a red hot coal, at which point she needs to throw him into a well and he will emerge human once more. At this point, he will be able to join Janet and be a father to the child. 

The successful execution of the plan infuriates the Fairy Queen who hates whoever took away the handsomest member of her company and curses the thief. She declares if she knew what would happen she would have taken away his eyes, which can see the fairies when they are invisible, and replace them with wood, taking away his fairy-sight and mundane sight alike.

Tam Lin is about a young noblewoman who decides what she wants and seeks it out herself at every opportunity and does not allow anybody to decide her fate for her. It is a fascinating tale that has been adapted again and again through the centuries across genres and mediums. The most well known modern adaptation of Tam Lin, though adaptation is a strong word for a loosely-inspired work, is A Court of Thorns and Roses. 

Performance notes

This selection of verses has been largely pulled from Child Ballad 39A, as one of the more narratively complete versions, with additions from 39I and some adjustments from the period language to better scan to an audience speaking modern English. As a performer, I believe the period thing to do is perform in a way my audience can understand the story and therefore value the comprehension more than the archaic language. These ballads were long performances, frequently series of performances, for the entertainment of groups of people in a world before the radio drama. Where these adjustments and additions are made, they are noted with footnotes. 

I have not yet found notation indicating a period or near-period tune for this piece. However, the tune commonly associated (and performed here) with this piece seems to fairly match “the vibe” of the extant ballad tunes we do have. The reconstruction of period melodies is not my primary area of interest or study, but modern listeners should note differences between the songs with which we are familiar today and this piece. For instance, there is no verse/chorus verse/chorus bridge chorus structure as we are used to. Every verse is a verse and has approximately the same tune. The song does not always explicitly indicate who is speaking. The song frequently makes use of parallel structure and repetition (see verses 29-32). Unlike many modern songs, this does not seem to be written to showcase a wide vocal range or particular talent, but to simply provide a tune to aid the memory of the storyteller, the storytelling itself, and potentially a sick beat to dance to.

As is the case in many (but not all) of the Child Ballads, the subject matter is sensitive but is skirted with a “fade to black” which is not present in all versions but has been maintained for the listener’s discretion.

Tam Lin – Child Ballad 39

As Communicated by Áshildr Inn Hárfagri

O I forbid you, maidens a', That wear gowd on your hair, To come or gae by Carterhaugh, For young Tam Lin is there.

There's nane that gaes by Carterhaugh But they leave him a pledge,[3] Either their rings, or mantles green,[4] Or else their maidenhead.

Janet tied her kirtle green, A little aboon her knee, And she has gaen for Carterhaugh,[5] As fast as she can hie,[6,7]

She had na pu'd a double rose, A rose but only twa, Till upon then started young Tam Lin, Says, Lady, thou's pu nae mae.

Why pu's thou the rose, Janet, And why breaks thou the wand? Or why comes thou to Carterhaugh Withoutten my command?

"Carterhaugh, it is my own, My daddy gave it me, I'll come and gang by Carterhaugh, And ask nae leave at thee."

He’s aen her by the milk-white hand, Among the leaves sae green, And what they did I cannot tell, The green leaves were between

He’s taen her by the milk white hand, Among the roses red, And what they did I cannot say, She neer returnd a maid,[8,9]

Four and twenty ladies fair Were playing at the ba, And out then came the fair Janet, The flower among them a'.

Four and twenty ladies fair Were playing at the chess, And out then came the fair Janet, As green as onie glass.

Out then spake an auld grey knight, Lay oer the castle wa, And says, Alas, fair Janet, for thee, But we'll be blaméd a'.[10]

"Haud your tongue, ye auld fac'd knight, Some ill death may ye die! Father my bairn on whom I will, I'll father none on thee."

Out then spak her father dear, And he spak meek and mild, "And ever alas, sweet Janet," he says, "I think thou gaest wi child."

Oh father if I go with child,[11] Mysel maun bear the blame, There's neer a laird about your ha, Shall give the babe his name[12]

"If my love were an earthly knight, As he's an elfin grey, I wad na gie my ain true-love For nae lord that ye hae.[13]

Janet tied her kirtle green, A little aboon her knee, And she has gaen for Carterhaugh,[14] As fast as she can hie,[15,16]

She had na pu'd a double rose, A rose but only twa, Till up then started young Tam Lin, Says, Lady, thou pu's nae mae.

"Why pu's thou the rose, Janet, Amang the groves sae green, And a' to kill the bonny babe That we gat us between?"

"O tell me, tell me, Tam Lin," she says, "For's sake that died on tree, If eer ye was in holy chapel, Or christendom did see?"

"Roxbrugh he was my grandfather, Took me with him to bide And ance it fell upon a day That wae did me betide.

"And ance it fell upon a day A cauld day and a snell, When we were frae the hunting come, That frae my horse I fell, The Queen o' Fairies she caught me, In yon green hill do dwell.

"And pleasant is the fairy land, But, an eerie tale to tell, Ay at the end of seven years, We pay a tiend to hell, I am sae fair and fu o flesh, I'm feard it be mysel.

"But the night is Halloween, lady, The morn is Hallowday, Then win me, win me, an ye will, For weel I wat ye may.

"Just at the mirk and midnight hour The fairy folk will ride, And they that wad their true-love win, At Miles Cross they maun bide."

"But how shall I thee ken, Tam Lin, Or how my true-love know, Amang sa mony unco knights, The like I never saw?"

"O first let pass the black, lady, And syne let pass the brown, But quickly run to the milk-white steed, Pu ye his rider down.

"For I'll ride on the milk-white steed, And ay nearest the town, Because I was an earthly knight They gie me that renown.

"My right hand will be gloved, lady, My left hand will be bare And thae's the takens I gie thee, Nae doubt I will be there.[17]

"They'll turn me in your arms, lady, Into an esk and adder, But hold me fast, and fear me not, I am your bairn's father.

"They'll turn me to a bear sae grim, And then a lion bold, But hold me fast, and fear me not, And ye shall love your child.

"Again they'll turn me in your arms To a red het gand of airn, But hold me fast, and fear me not, I'll do to you nae harm.

"And last they'll turn me in your arms Into the burning gleed,[18] Then throw me into well water, O throw me in with speed.

"And then I'll be your ain true-love, I'll turn a naked knight, Then cover me wi your green mantle, And hide me out o sight."

Gloomy, gloomy was the night, And eerie was the way, As fair Jenny in her green mantle To Miles Cross she did gae.

At the mirk and midnight hour She heard the bridles sing, She was as glad at that As any earthly thing.

First she let the black pass by, And syne she let the brown, But quickly she ran to the milk-white steed, And pu'd the rider down.

Sae weel she minded what he did say, And young Tam Lin did win, Syne covered him wi her green mantle, As blythe's a bird in spring

Out then spak the Queen o Fairies, Out of a bush o broom, "Them that has gotten young Tam Lin Has gotten a stately-groom."

Out then spak the Queen o Fairies, And an angry woman was she, "Shame betide her ill-far'd face, And an ill death may she die, For she's taen awa the bonniest knight In a' my companie.

"But had I kend, Tam Lin," said she, "What now this night I see, I wad hae taen out thy twa grey een, And put in twa een o tree."[19]

FOOTNOTES

[1] All quotes from The English and Scottish Popular Ballads, Vol I by Francis James Child [2]  We stan a girls’ girl who knows what she wants. Happy Hot Girl Summer. [3] 39A.2 - originally “but they leave him a wad,” changed for modern rhyme schemes [4] 39A.2 - originally “either their rings, or green mantles” changed for modern rhyme schemes [5] Chorus line drawn form 39B.3 [6] 39A.3 - originally a 6 line chorus changed for modern rhyme scheme and understandability. “Janet has kilted her green kirtle / A little aboon her knee, / And she has broded her yellow hair / A little aboon her bree, / And she's awa to Carterhaugh / As fast as she can hie.” [7]  39A.4 - verse skipped for time [8] 39I.10 and 39I.11 better provide context on why Janet went to Carterhaugh [9] 39A.8 - verse skipped for time [10] Accent added to “blamed” to better scan in modern prosody [11] 39A.14 originally "If that I gae wi child, father,” to better scan in modern prosody [12] 39A.14 originally “Shall get the bairn's name.” changed for modern understandability [13] 39A.16 - verse skipped for time [14] Chorus line drawn form 39B.3 [15]  Refer to verse 3 [16] 39A.18 - verse skipped for time [17] 39A.30 exchanged for 39B.28 [18] Gleed” is a word for hot coal [19] “Mortals whose eyes have been touched with fairies’ salve can see them when they are to others invisible” (Child)

[smolandweirdwriter]

ok so I’ve been posting a lot about s/jm a lot but shutup I have a lot of angry feelings rn bc she was such a big inspiration for me during the time i began writing the book im currently editing and i’m trying to purge myself of her shitty writing by reminding myself why i hate it so i don’t inadvertently adopt her techniques and characters

but Author Lady really went

“you know what a strong female character is? Someone who can use knives and fight and is Royalty and Special”

like a man writing female characters

im sorry it reeks of misogyny

this isn’t to say that I think female characters being made royal is bad! Hell no. But you need her to have a right to deserve the throne, just like a male character

A//elin has a birthright to the throne, but that’s all she has. She hasn’t been in Terr//asen in TEN YEARS. She’s sworn off killing people from her country during her time as an assassin, but other than that… Does she know her own people beyond her cousin, Elide, and the lords (ie Darrow and co)? No. Does she even know her people? No. So… tell me again. Why does the girl who showed up and suddenly decided she wanted to fight for her country deserve its throne? Once she is on that throne, does she have plans for taxes? For borders and the peasants who were stripped of EVERYTHING by Ad/arlan? She never once considers this. Her blood money will win her the war, but what of the aftermath? She is the queen of an impoverished country who has spent years in the lap of luxury, and she has no plan for her people beyond a self-glorified ideal of “freeing them”.

Now let’s examine Fey//re: she was an impoverished human girl who was made immortal and given magical powers. Why does having this power make her worthy of being a ruler? I’m sorry, but Tam//lin was right. He was wrong to cast her aside, fine, and wrong to lock her up, yes, but he was right: she is illiterate and knows nothing of governing. But it’s also Fey//re’s own fault. She asked him ONCE about being a high lady, and didn’t press him when he said there are none. She could have, but didn’t. She could’ve told him she wanted to be included in more meetings, could’ve pushed back. For all that she scorned Lucien for not helping her fight T//amlin’s restraints, she never really tried either. She has never been a ruler of anything, not even her own family. Why does she deserve a crown now? Because she can hunt and has lots of magic? Because Rh/ysand says so? Not. Good. Enough. She doesn’t care about the people. She doesn’t have any agency. She doesn’t have any ideas for improvement for the night court. She was better off in the spring court where she could have changed things like the Tithe, or even waited to see if that system worked and if it didn’t, PROPOSE A NEW ONE, don’t just try to undermine it.

I’m so glad I realized how shitty author lady’s books are before I completely molded my writing after hers

[chicinsilk]

"Ligne Flèche"

Christian Dior Haute Couture Collection Spring/Summer 1956. "Méditerranée" here, the blue linen set by Simonnot Godard. The skirt is attached at the waist, the jacket, short, double-buttoned bib, is gathered at the neckline. Cloche hat in roughly woven blue straw.

Christian Dior Collection Haute Couture Printemps/Été 1956. "Méditerranée" ici, l'ensemble bleu en toile de lin de Simonnot Godard. La jupe est attachée à la taille, la veste, courte, plastron à double boutonnière, est froncée au niveau du tour de cou. Chapeau cloche en paille bleue grossièrement tressée.

Photo Nicole Bukzin

[incomingalbatross]

Below: my attempt at a retelling of Tam Lin, with a little more emphasis on the Baby as a central concern.

---

The first time Janet goes to Carterhaugh, in the early spring, she wears a green cloak on her shoulders and a gold ring on her finger. She's curious, not stupid. She knows the prices Tam Lin is said to demand for trespassing, and she is prepared with every option.

The second time Janet goes, in the later spring, she wears her cloak but does not bother with a ring. She is more confident now, since her first meeting with Tam Lin, and thinks the cloak is a price worth paying to meet the fairy man again.

The third time Janet goes, it is summer. She wears no cloak, and wears no ring; and when she plucks the rose and Tam Lin appears, she sees him notice this even before he meets her eyes.

She smiles at him.

Later, when she wakes in the wood, she wakes alone. She finds her way home by moonlight, and wonders if she will ever go to Carterhaugh again.

There is no future there for her, she knows, no future with Tam Lin but these woodland meetings. He may never even appear to her again, now that she is no maiden... and she may never seek him out again, now that she has proven all the tale.

Time goes by, and Janet puts the memory of those hours in Carterhaugh away. There's much to be done about her father's court—sensible, daylight things, of the mortal world and not the fairy one.

She did not reckon with the fact that those hours might not be done with her...and so even after a week of sickness, when her father said, "I fear you are with child," it was Janet who was most taken by surprise.

That should have been one risk lessened, she had thought, by chancing herself in Carterhaugh and not with one of her father's knights.

Now she was struck with fear; for it had been one thing to take this affair upon herself, but what had she done to this babe inside her? Was it a mortal babe, sired as it had been by a fairy creature, and one she barely knew? Even at the best, what would the babe do in the life she had made for it, growing up fatherless and in dishonor?

Her own father, always kind and mild, did not press her when she said the father would not be found among his court. He frowned mournfully at that, but gave her time, to consider what the child's fate might be.

She was still considering, though, when the oldest, grayest, dourest of her father's men shook his head at her and said, "Ah, and now our lady is with child? It's us knights who'll bear the blame for it, Lady Janet, you will see."

"Hold your tongue!" she snapped back, thoughts broken by her scorn. "As if," she said, "I'd let any child of mine be claimed by you—or any of your company—or ever give any of you reason for such a claim."

Some of those within earshot laughed; but one, a younger knight, shot back, "And what manner of man is it, then, who is so preferred to us, but who has not claimed the child?"

Janet looked at him, and all those around, and thought of Tam Lin. Strange, uncanny Tam Lin, of airy form and shifting mood, remote and strange and dangerous—but Tam Lin, still, whom she had sought out once, and again, and a third time, for more than the mere adventure of it all. Tam Lin as she had come to think of him, fair and brave beneath his strangeness, with a hidden warmth and gravity in him—she thought—that had come out for her, more and more in the short times they had spent together.

Janet could, perhaps, be fairly dense in recognizing uncomfortable truths, but when she did recognize them she faced them squarely and without flinching.

"He is the one who holds my heart," she said to the younger knight, clear for all the world to hear, "as well as the naming of my babe—and if he were a mortal man, and not a fairy strange, he'd be a better knight than you could ever hope to face!"

In the silence, she swept away to her own rooms.

---

Once there, however, she fairly collapses into her seat, picking up her sewing automatically simply to occupy her hands. (It is the finishing work on a mantle, green as leaves and grass; a replacement for the one she left with Tam Lin, some months ago.)

Despite her words down below, she is keenly aware that Tam Lin is not a mortal man. A fairy cannot serve as father to a human child (and again, she thinks with a thrill of unease, is her child going to be human?), and yet Janet knows now that she will not—cannot—consign herself and her child into the keeping of any other man she knows. She will not give her child, or her heart, to any man but the one who has true claim to them...and he is no man at all.

Or...

Well, what is he?

As she sits and finishes her seam, Janet becomes uncomfortably aware of how little she knows of Tam Lin. Perhaps, if he knew, he might be able to propose something she could not—if, that is, he is human enough to care.

"Well," she says aloud, jumping up, letting needle and thimble fall to her feet. "There is only one way to learn.

So she braids up her hair and straightens her skirts and sweeps the new mantle around her: and again, for the fourth time, Janet goes to Carterhaugh, to the well where they met before.

This time, though, she does not pluck one of Tam Lin's roses. She looks around her, thoughtfully, and spies a patch of herbs she knows full well a pregnant woman should not let near her mouth. She bends, and gathers some in her hand...

And is stopped by a small, cold hand upon her wrist, the hand of a fairy knight.

"What are you doing, Janet?" Tam Lin demands, voice urgent, face pale and set. "What are you doing to our child, the child we got between us?"

And that answers half of her questions, right there.

Janet straightens to face him, a rush of warmth chasing out the chill that's been following her. "I would not harm our child," she said, hand resting on her belly, "and truly, Tam Lin, I would carry this child through day and night, summer and winter, for love of it and love of you."

Her face warms, but she sees his eyes soften in surprise, and it is worth it.

"But," she says then, and watches him stiffen in wariness, "but, Tam Lin, I must know whose child I bear."

She stops for a moment, watching him; but he only watches her back, his slim shoulders set back, unearthly face still as the hills. Only his eyes show feeling—a flicker of some intense feeling, far beneath the dark surface, like a caged hawk waiting for a door to open.

"Tam Lin, tell me," Janet says, with a breath taken in silent, desperate prayer. "Did you ever pass through the church-door, or feel the water on your forehead? Were you ever earthly knight, or any kind of man who rode beneath the Cross?"

At her questions, that feeling leaps out of his eyes, and Tam Lin's face comes alive with all the warmth and laughter she has ever seen in it.

"Yes, Janet, yes," he says, and Janet sits down hard on the curb of the well. "I was a man like any other," he continues, taking her hand, "a youth of this country trained for knighthood, until the day I fell from my horse into the Queen of the Fairies' hands."

Her love has a soul, like to her own—and a heart, what's more, for her and the babe. This, Janet thinks, is the most important thing. Everything else, they can manage.

Of course, this is before her love goes on to tell her of the fairies' tithe to Hell.

"Tonight?" she asks incredulously. "You ride to pay the tithe tonight?"

He smiled at her. "If you had decided to see me a little earlier, perhaps..."

"Perhaps if you had told me sooner," she said, "that the Fairy Queen meant your soul to go to Hell, I would have—" But then she stopped herself.

"I did not think," he said gently, "after your last coming, that any reason would arise for you to see me here, let alone to miss me."

And then, from something in his face, and from the sudden memory of his manner at that time, Janet guessed that, then, they had both been using one another. If she had sought adventure and pleasure that came free of the consequences of her father's court, Tam Lin had perhaps been seeking that same pleasure, and a respite, away from the knowledge of his doom. And then they had parted ways, affection mingled with their half-hidden guilt, never to meet again.

But then another life had entered the affair. Another life that neither of them would willingly see harmed, even by their own foolishness.

"You are not the Queen's," she said at last, meeting his eyes fiercely, "and you are not her court's, and you are not going to any devils while I breathe. So how do I take you from them all, Tam Lin?"

He smiled, like a man who had just seen his first sunrise in seven years, and he told her.

---

When Janet met the Fairy Court riding at the crossroads that night, she had no time for fear. She was repeating his instructions in her mind.

"First you'll let the black horse pass, and then you'll let the brown—"

—and then she leapt for the unfamiliar armored figure on the white steed, dragging him down into her arms while all the procession crashed to a halt.

The figure wavered in her arms, and writhed, and became something small and slithering—

"They'll turn me in your arms, to an adder or an asp."

The snaked seemed to rear and then strike, fangs bared, at her body. Janet stiffened, but kept her grasp tight, refusing to recoil.

You, she reminded herself and it, are the father of my child.

And as its head reached her belly the snake's mouth closed, merely tapping her with its snout—"Hold me fast and fear me not," she almost heard—

Before wavering again, and growing, encompassing her in fur and musk and muscle until it seemed as though her arms physically could not wrap around it.

"They'll turn me once again, to a grim and fearsome bear."

Janet set her teeth, and held fast. You are, she thought again, my earthly mate to be.

And its claws and strength were not turned against her; but just as her grasp began to feel more like a hug, the shape wavered again, to something hard and sharp and searing—

"They'll turn me to an iron brand, red-hot as blazing fire."

Janet hugged the iron tight to her breast, through a pain like none she had ever known before, and concentrated all her will on not letting go.

She could not think, but she could remember.

"But hold me fast and fear me not," her true love's voice had said, "and I'll do you no harm..."

And just like that, the pain was gone. The shape in her arms changed, in a way somehow unlike the other changes, into something real and warm and permanent, solid and familiar.

Quick as thinking, Janet swept her mantle over the naked man kneeling against her, covering him in her cloak and arms as he rested his head on her belly.

Above them both, atop a tall mount, the most beautiful woman Janet had ever seen glared down at them.

Janet stared back, triumphant and unafraid.

"So you are stolen, Tam Lin," the Queen of the Fairies said, her voice frozen with rage.

"Not stolen," Janet said at once. "If I had stolen him tonight, I know I could not have kept him. He already belonged to us."

Her love straightened to lift his head beside her, face clear in the moonlight—like and yet not like his fairy face, she thought, but not unlike in ways that she would miss. His breath was warm on her cheek, as he turned to face the Queen.

Whatever the Queen saw there, she hissed at, a long indrawn breath.

"If I had known," she said, "Tam Lin, what drew your eyes from me, I'd have taken them from your skull this night and changed them for eyes of wood.

"If I had known," she said again (with a poisonous look to Janet), "what pulled your heart from me, I'd have taken it from your chest this night and changed it for one of stone."

But with that, she cracked her reins, and—the court sweeping in disarray behind her—rode off and vanished into the morning mist.

Tam Lin turned his eyes to Janet, smiling wide and joyful.

"And I am father to your babe," he said, taking her hand, "and I will be your mate in life, and I will be your true love, Janet, as long as you will be my wife."

"As my love I claimed you," she said, smiling too, "and as my husband-bound-to-be, and as the father of my child: so, Tam Lin, these things are yours for good, and so too I will be."

Home then they went, and the banns were read, and in due course came the marriage and the child. And the story was often told by their hearth, as that child grew older, of the role it had first played in bringing its parents through peril.

[ladydeath-vanserra]

I think it'd be so interesting if there were different fae/folk creatures in each court that you don't really find in other courts. like. for example. despite many celtic nations having some folklore that overlaps, they still have many that are their own

ex. The Morrigan is STRICTLY an Irish Goddess. Considering SJM bastardized and vilified Ireland, why is Mor in the Night court?

ANYWAYS

ok so I consider a lot of the spring court related to Scotland. Why? dunno. it's just a vibe. tho I believe that Ballad of Tam Lin is also a scottish folk ballad if I'm remembering correctly

okokokokok so while the Cat-Shìth CAN be found in Ireland, it is a lot more prevalent in Scottish Folklore, especially the Scottish Highlands

the Cheshire Cat from Alice in Wonderland is VERY likely Based! on! the! Cat! Sìth!!!!!!!

Tamlin having to deal with the irritating riddles and nonsense from the Cait-Shìth and having to try to get them to leave him and his people alone via music and his damn fiddle ok thanks 😭😭😭

ANYWAYS THE SPRING COURT HAVING CAT-SÌTH

@bookishfeylin @kateprincessofbluewhales

[tamlinweek]

Prompt List, Part 1: Days 1 - 3

It’s January! Tamlin Week 2024 is in April, and it will be here before we know it! Are you feeling the pressure to make something, but you’re not sure what yet? Here are some ideas to get you started!

Day 1: Heir of Spring/Human Tamlin

“Oh, I can play a mean fiddle, but High Lords’ sons don’t become traveling minstrels. So I trained and fought for my father against whomever he told me to fight, and I would have been happy to leave the scheming to my brothers. But my power kept growing, and I couldn’t hide it—not among our kind.” ~ACOTAR Ch. 19

Heir of Spring

What was Tamlin's childhood like when he was growing up?

What was his relationship like with his mother? His father? His two older brothers?

How did his blossoming powers manifest?

When did they start to appear?

What would his life have looked like if he had become the traveling minstrel he had always wanted to be?

As the last of his line, what does it mean for the future of the Spring Court if he does not produce an Heir of his own?

Human Tamlin

In ACOTAR, Tamlin was born a High Fae, and a High Lord's son at that. In the original Ballad of Tam Lin, the female protagonist named Janet asks him if he was ever once a mortal man. Tam Lin says he was, but he was kidnapped by the Queen of the Faeries when he fell off his horse.

How would Tamlin's story have changed if he was once mortal, like Feyre?

What if the roles were reversed, and he was the mortal hunter, and Feyre a High Fae?

What if Tamlin found a way to become human, to forsake his immortal life?

Would that be a selfless act, or a selfish one?

Day 2: Poet/Warrior

Poet

“Your list of words was too interesting to pass up. And not good for love poems at all.” When I [Feyre] lifted my brow in silent inquiry, he said, “We had contests to see who could write the dirtiest limericks while I was living with my father’s war-band by the border. I don’t particularly enjoy losing, so I took it upon myself to become good at them.” ~ACOTAR Ch. 19

When did Tamlin first start writing poetry?

When he wanted to become a traveling minstrel and play the fiddle, did he write his own songs?

What were the dirty limericks contests like?

What other kinds of poetry did he write, if any?

Warrior

“I never expected—never wanted—my father’s title. My brothers would have never let me live to adolescence if they had suspected that I did. So the moment I was old enough, I joined my father’s war-band and trained so that I might someday serve my father, or whichever of my brothers inherited his title.” He flexed his hands, as if imagining the claws beneath. “I’d realized from an early age that fighting and killing were about the only things I was good at.” ~ACOTAR Ch. 19

How old was Tamlin when he was forced to join his father's war-band?

When did he first meet Rhysand? How did they meet?

What was it like living in the camps with his father's war-bands?

We know that Tamlin participated in dirty limericks contests. What else did he do while training?

What was training like?

Who else could he have met in the bands?

Which side of Tamlin do you find more captivating? The warrior, or the poet? Or do you prefer the dichotomy? Romantic vs destructive; soft vs sharp; light vs dark? There is no wrong answer!

Day 3: Mates/Flower Language

“High Fae mostly marry,” he said, his golden skin flushing a bit. “But if they’re blessed, they’ll find their mate—their equal, their match in every way. High Fae wed without the mating bond, but if you find your mate, the bond is so deep that marriage is … insignificant in comparison.” ~ACOTAR Ch. 19

Tamlin may not have a mate in canon, at least not yet(!), but what if he did?

Who is it, and how do they meet? Or, perhaps, is his mate someone he’s already met?

If you’re not fond of mates as a trope, how would he woo a significant other? With flowers, perhaps?

Flower Language

There will be a separate post in the future discussing the Language of Flowers in depth, but for now, let's take some inspiration from Shakespeare:

There's rosemary, that's for remembrance: pray you, love, remember: and there is pansies, that's for thoughts. There's fennel for you, and columbines: there's rue for you; and here's some for me: we may call it herb of grace o' Sundays: O you must wear your rue with a difference. There's a daisy: I would give you some violets, but they withered all when my father died: [Hamlet, Act 4, Scene 5, Line 175]

"Rosemary is particularly associated with remembrance of the dead, and pansies get their name from pensées, the French for thoughts. Fennel represents marital infidelity and columbine flattery or insincerity. Rue, also known as herb of grace, is very bitter and stands for regret, repentance and sorrow. Daisies are a symbol of innocence and the violets, now withered, mean faithfulness." - source

Now let's consider the language of flowers as it pertains to ACOTAR:

After a while, I paused in the rose garden. The moonlight stained the red petals a deep purple and cast a silvery sheen on the white blooms. “My father had this garden planted for my mother,” Tamlin said from behind me. ... "It was a mating present." ~ACOTAR Ch. 19

Tamlin's father planted the rose garden for his new mate. What do the roses represent, and how do the colors impact their meaning?

What other flowers might be important to Tamlin?

Aside from expressing affection, what other messages could be sent using the Language of Flowers?

Consider flowers signalling a secret meeting, or sending a warning, or, if you want to get cheeky, consider the Tumblr-based Flower Shop AU: "How do I passive-aggressively say "F*ck You" in Flower?" as a way to explore floriography in the Spring Court.

Even though the prompt encourages the use of Flower Language, there is more symbolism to plants than flowers alone. What trees or herbs could be used to enhance a message in the Spring Court?

Let your imagination run wild!

We hope these questions and prompts have inspired you! Part 2 discussing the next three days of prompts will be coming soon!

[silviakundera]

I just love those Story of Kunning Palace novel snippets where Jiang Xuening gets to display that ruthless determination isn't something she left in the past life. Nooooo don't plot insurrection with XW noooooo you're too sexyyyyy

//

Xie Wei had already read the secret letter, and asked her calmly, "Tomorrow I will leave for the border, can you go with me?"

Jiang Xuening looked at him. "What are you going to do, sir?"

Xie Wei narrowed his eyes and said, "If you don't know what to do, why did you come today?"

Jiang Xuening didn't speak.

Xie Wei said, "The Eldest Princess is not dead. When the war starts next spring, she will become a hostage, which will put the dynasty in a dilemma. The court's money and supplies are just beginning to move, and preparations are still urgent. They will never go to war in advance to save someone. You want to welcome the princess back, or welcome back the princess's coffin, it's all in this thought."

Although it was indeed expected, when Xie Wei said these words, Jiang Xuening still felt her heart tremble, and there was a feeling of being caught in the torrent——

Is there any way to welcome back the princess instead of her coffin?

She was full of emotions, closed her eyes, and clenched her hands tightly.

Xie Wei suddenly laughed. "Scared?"

Jiang Xuening gritted her teeth. "How could that be!"

Xie Wei was the big winner in the end, and now that Yan Lin is full of wings, even if he raises an attack in advance, there may not be no chance of winning! What's more, how could she just watch the princess be given to death?

She promised.

Hold that piece of homeland and welcome her back to the homeland!

Only…

Jiang Xuening slowly opened her eyes. "I promised the princess that I will not miss the appointment. But sir, have you really thought it through?"

Xie Wei's smile faded, he looked back at her, and said slowly, "I will not break my promise."

I don't lose faith in people either.

When Jiang Xuening heard these words, she was a bit dazed, because she didn't know who Xie Wei had made any promises to. Until a picture emerged from the vague memory, together with the voice that was almost forgotten by her in the past, it rang in her ears.

"When will the iron hooves of the Central Plains break through the Yanmen Gate and bring Her Highness back?"

"Soon, soon."