#troy amaranth

[troyaxiv]

A Clash of Kings

You could say his match bombed...

[chic-a-gigot]

Le Petit écho de la mode, no. 2, vol. 15, 8 janvier 1893, Paris. 1. (1) Costume avec pèlerine assortie en drap amarante; — (2) Costume de veloutine hanneton. Ville de Paris / Bibliothèque Forney

(1) Costume avec pèlerine assortie en drap amarante. — La jupe est entourée d'un biais de drap jaune orange surmonté de quatre marabouts d'astrakan, le corsage blouse dans la ceinture orange. Pèlerine camail en drap avec devant uni et revers de drap orange, cinq rangs de marabout d’astrakan garnissent la pèlerine, col droit avec bord retourné.

(1) Suit with matching amaranth cloth cape. — The skirt is surrounded by a bias of orange-yellow cloth topped with four astrakhan marabou, the bodice blouse in the orange belt. Cloth cape pilgrim with plain front and orange cloth reverse, five rows of astrakhan marabou garnish the cape, straight collar with turned edge.

Matériaux: 8 mètres drap amarante, 2 mètres drap orange.

—

(2) Costume de veloutine hanneton. — Le bas cerclé de trois petits ruchés sans tête en soie bleu indien. Corsage en soie bleue rayée de carreaux hanneton, veste et poignets de veloutine. La veste sans manches courte derri��re, fendue devant, forme deux pointes sur la poitrine, gros ballons en haut des manches. Col droit à carreaux.

(2) Velveteen cockchafer costume. — The bottom surrounded by three small headless ruches in Indian blue silk. Blue silk bodice striped with cockchafer checks, velveteen jacket and cuffs. The sleeveless jacket, short at the back, slit at the front, forms two points on the chest, large balloons at the top of the sleeves. Checked straight collar.

Matériaux : 10 mètres veloutine, 4 mètres écossais, 2 mètres soie unie.

[iizven]

Thank you for the command...err...tag @bloodlessdarling! 🖤

Five songs I've been obsessed with lately:

I'm (im)patiently waiting for the new Nightwish album! 👀

This one will never not be on the list of songs I'm obsessed with.

I love them. Her voice is so soothing.

I'm trying very hard not to put too much metal in here alright. 😂

I love Johanna Kurkela's voice, Tuomas Holopainen's mind and Troy Donockley's British humor. 🖤

no pressure tags: @spite-made-me @yennefer-of-vengerbergs @aristenfromwarsaw

[a-silent-symphony]

[flaminghearts]

sorry, but i think this needs to be said

what most people who I know think metal lyrics are

random person screaming: I WANT TO DIIIIIEEEE!!!!!!!!!!1!1111

what metal lyrics actually are

After Forever: Can you believe in the power that's burning between us? / Would you believe if you open up your mind, open up your heart? [Energize Me]

Amaranthe: Like a sign, like a dream, you're my amaranthine, / You are all I needed - believe me [Amaranthine]

And Then She Came: Nothing ever lasts forever, / Yeah, so what? Who cares, whatever? / Even though I know I carry on. / Nothing ever lasts forever, / Yes, I know I should know better. / But even though I do I carry on [I Carry On]

Auri: Come with me - the vast unknown waits for us to see [The Space Between]

BABYMETAL: キツネ、(トベ、) キツネ、(トベ、) きっと飛べるよ / 苦しみも 悲しみも 全て解き放て / 君を守るから

Kitsune, (Fly!) Kitsune, (Fly!) / I'm sure that you can fly! / Let your pain and sadness all go outside. / It's okay because I'll protect you. [イジメ、ダメ、ゼッタイ Bullying, no, absolutely translation with thanks to BABYMETAL Translations Unofficial]

Delain: It takes a stranger to make it so easy / It made me dance to the sound of you breathing / It makes it last as my last breath escapes me [Don't Let Go]

Edenbridge: The guardian angels they're calling my name / An astral dream in the sky? / They're dancing at the carnival of souls / They dance into the light into eternal light / I'm singing the tune in unison with angels / In the key of lordian harmony / The journey has an end / I'm waiting in command / Never to contend in the end [My Last Step Beyond]

Elis: Breathe into life / I can feel the fire is calling - calling me / To the end of the night - the fire's alive / Unfold your broken wings, and dare again to fly! [No Hero]

Epica: We're all lost in travel time / Cannot find my peace of mind / When the sun will rise again, / We'll fly away [Linger]

Evanescence: Forget this life, come with me / Don't look back you're safe now / Unlock your heart, drop your guard / No one's left to stop you now [Anywhere]

Kamelot: Who will trade his karma for my kingdom? / A sacrificial rite to render truth / The fire in my soul rejects my wisdom / 'Cause all you do in life comes back to you [Karma]

Katra: In wind I hear the whispering / The greatest treasure there has ever been / So far like a glory shining star / A tale about the Grail of Sahara [Grail of Sahara]

Krypteria: Maybe then you will see / What the beauty of life truly means / Take my hand for the time we'll spend / On this journey through a new wonderland [Quae Laetitia The Joy]

Lunatica: The deep blue sea attracts my senses / The tide is like the heartbeat of eternity / I feel warm and safe as I'm diving deeper / Into the heart of the ocean, I have no fear [emOcean]

Magica: The Earth is alive / And she sees what she believes / The hazelnuts lie / Open on the ground [Samhain]

My Chemical Romance: There might be something outside your window / But you just never know / There could be something right past the turnpike gates / But you'll just never know [Planetary - GO! -]

Nemesea: Relax, the future will unfold / Just realise your shrapnel's made of gold / Hey! Does it hurt to lie? / 'Cause when you refuse to fight, you choose to die [Dance in the Fire]

Nightwish: At the end of the river the sundown beams / All the relics of a life long lived / Here, weary traveller rest your wand / Sleep the journey from your eyes [Turn Loose the Mermaids]

Phantasma: Carry me home, on the wings of the night / Carry me home, may our spirits unite / Carry me home on paper wings / Carry me home, like you did in my dreams [Carry Me Home]

Revontulet: Raindrops and fallen leaves / Hold smoke in dying dance / It’s just a memory – your kiss on my lips, / Our never romance [Rainheart]

Sonata Arctica: When I'm looking in your eyes, / Everything seems to fade away / After all these years we had, / Do I know you now? [Last Drop Falls]

Tarja Turunen: Hyvyyden varjo peittää kyyneleen, / löytäneen luo vie askeleen. / Rauha saa, kehto uneen tuudittaa. / Toivo jää, tie rakkauteen. / Tie syvään vaupauteen.

The shadow of goodness covers the tear / Finding a way will take you a step / Peace gets the cradle to lull to sleep / Hope remains, a road to love / The road to deep sleep [Oasis roughly translated by me using Google Translate]

Tristania: You laugh and you cry, / Lower yout gaze to the floor / You send me a smile, / And to the night, a door [Ab Initio In the Beginning]

Visions of Atlantis: Come, take my hand, take my heart, / Keep me safe, keep me warm, / They take my pride, take this life, / But they won't take my soul! [The Deep and the Dark]

We are the Fallen: I belong with you now / Oh please, give into me / And stay forever / Oh, don't leave me behind [Don't Leave Me Behind]

Within Temptation: Ancient spirits of the forest / Made him king of elves and trees / He was the only human being / Who lived in harmony / In perfect harmony [In Perfect Harmony]

[coinandcandle]

Artemis Deity Guide

The Romans knew her as Diana, she is the goddess of the Moon, the hunt, the wildlife, as well as mothers and maidens.

Who is Artemis?

Most associated with the moon and wildlife, Artemis is also known to be a goddess who reigns over childbirth, as she helped deliver her own brother soon after she herself was born. She lends a hand in the cycles of nature and the wild creatures within it.

Unlike her more extroverted brother, Artemis prefers wildlife and nature rather than hanging out with other deities. That being said, she seems to have a soft spot for humans.

She is a virgin goddess, sworn to chastity of her own will.

Parents and Siblings

Zeus is her father, her mother is Leto

Apollo is her only full sibling.

Ares

Dionysus

Hermes

Hephaestus

Heracles

Minos

Perseus

Rhadamanthus

Athena

Persephone

Eileithyia

Hebe

Eris

Helen of Troy

The Graces

The Muses

Moirae

Lovers or Partners

Orion, though not all myths agree that they were romantic partners, some believe that they were hunting partners or close friends.

Children

None

Epithets

Diana

Phoebe

Selene, the personification of the Moon, is different than Artemis but her name still became an epithet during the Hellenistic period.

Artemis Orthia

Agrotera (“she of the hunt”)

Keladeinē (“strong-voiced”)

Parthenos (“virgin”)

These included Hekatēbolos and Hekatē (“far-shooter”)

Hekaergē (“far-worker”)

Iocheaira (“she of the showering arrows”)

Delia, referring to the island where her and her brother were born

Sōteira (“savior”)

Phōsphoros (“bringer of light”)

Eileithyia (in her capacity as a goddess of childbirth)

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Artemis Daphnaia

Festivals/Holy Days

Elaphebolia

Charisteria/Kharisteria

The Munichia

The Brauronia

The Laphria

Thargelia.) Her birthday, the sixth day of the Greek month Thargelion, which would be May 24th in the Gregorian calender. (Apollos is the day after hers)

Artemisia

Notes

Artemis also held domain over initiation rites for everyone--male and female historically, though with progressive society, I mean "everyone" as in everyone. All genders included--when entering new life phases; i.e. child to adult, virgin to spouse, spouse to parent, and so on.

From literature we know that the twins didn’t immediately start out as deities of the moon and sun respectively.

Eileithyia and Hecate were mistakenly identified with Artemis and thus their names were occasionally epithets of the Goddess.

Modern Deity Work

Correspondences

Disclaimer - Not all of these are traditional or historic correspondences nor do they need to be. However, any correspondence that can be considered traditional will be marked with a (T).

Rocks/Stone/Crystals

Moonstone

Pearl

Silver

Clear quartz

Amethyst

Selenite

Opal

Herbs/Plants

Cypress (T)

Laurel (T)

Palm tree (T)

Mugwort or any other plants in the Artemisia family!

Amaranth

Lilies

Chamomile

Wildflowers

Animals

Boar (T)

Deer (Doe and Stag) (T)

Heron (T)

Bear (T)

Symbols

Bow and arrows (T)

Quiver (T)

Spears

Lyre

Crown, usually of foliage, sometimes metal with a crescent moon

The Moon (T)

Offerings

Any of the items or iconography of the things listed above

Art of or that reminds you of Artemis (T)

Meat, especially if you've hunted it yourself (T)

A lock of your hair (T)

Olives, olive oil, olive branch (T)

Honey (T)

Water (T)

Baked goods

Fruits and nuts, especially if foraged by yourself

Moon water

Acts of Devotion

Take care of and respect the nature around you

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Take up animal-focused activism

Hunt (ethically, of course!) (T)

Listen to or create music that reminds you of her.

Read/sing Hymns to her (T)

Honor her mother and Apollo; in literature they both held much love for their twin and their mom.

Research her history and mythology

Take care of children or donate to children’s shelters

Keep in mind that these are only some ideas for offerings and correspondences! Items and activities that connect you to her in a more personal way are just as good, and often better, than those you find on the internet. As with any relationship, feel it out, ask questions, and be attentive and receptive!

References and Further Reading

Artemis - Mythopedia

Mythopedia has huge lists on either page for further reading on both Artemis and Apollo.

Artemis - Wikipedia

Artemis - Theoi Project

More Epithets here and here

Artemis - Greekmythology.com

Myths of Greece and Rome; Artemis (Diana) By Jane Harrison (via Sacred-Texts)

Fun Fact about Coin: I learned a little late in the game that the “guardian angel” that had been with me since I was young was in fact Artemis. Though I haven’t worked with her for some time now.

[black-arcana]

The top 20 best Nightwish songs ranked

By Catherine Morris

From Nemo and Élan to Greatest Show On Earth and Ghost Love Score, these are the best songs by symphonic metal icons Nightwish - as chosen by you

It’s simply not possible to talk about symphonic metal, or indeed Finland, without hearing the name Nightwish. From their humble beginnings playing acoustic songs around the campfire in their hometown of Kitee, Northern Karelia, to the stages of arenas and stadiums around the world, Nightwish have become the most successful Finnish band globally and one of their country’s best-selling acts. 

It’s been an eventful and at times, turbulent journey: in their nearly thirty year career, the band have endured less-than-cordial splits with two out of three singers, and all the backlash that went with the controversial decisions. More recently, they’ve undergone more lineup changes within the fold, but they’ve always come back, seemingly stronger than ever – and in their current incarnation, fronted by the insanely talented Floor Jansen, they continue to dominate.

With nine studio albums, a feature film and around 117 total recorded songs in their back catalogue (some of which have never been played live, we put it to you, the fans, to definitively rank the best musical offerings from the band’s varied and illustrious career. Three distinctive voices have all made their mark on the Nightwish sound during her ‘era’, and each one has had her moment of glory, as evidenced by the below list.

Which one came out as the definitive fan favourite? Keep scrolling, and you’ll see… 

And if you want to read more about Nighwish, be sure to pick up this month's issue of Metal Hammerwhere Finland's finest symphonic export are once again gracing our cover. From getting Tuomas Holopainen to talk us through every Nightwish album to date, to an in-depth chat with Floor Jansen about her upcoming solo record and recent breast cancer diagnosis, there's plenty to get into for Nightwish fanatics and newcomers alike. 

20. Wishmaster (2000)

From the album of the same name, the lyrics of this Lord of the Rings-inspired track might initially be hard to decipher for some (some pretty spectacularly misheard versions exist online), but the punchiness of the chorus and Tarja Turunen’s haunting siren-call in the verses make Wishmaster a firm fan favourite.

19. I Want My Tears Back (2011)

This sweet uptempo jig from the band’s conceptual Imaginaerum album takes listeners into the Disney esque dreamscape of Tuomas Holopainen’s lost childhood, with its charmingly nostalgic lyrics and Troy Donockley’s uilleann pipe riff as the song’s focal point. It quickly became a staple on tour setlists and has remained so ever since.

18. The Islander (2007)

One of the few occasions former bassist Marko Hietala provided lead vocals, with then-singer Anette only a ghostly echo in the chorus, was on this folky acoustic ditty from Dark Passion Play, which provides a soothing respite from the overall heaviness of the record and was the first Nightwish to feature Troy prominently.

17. Bless the Child (2002)

The second single from Century Child is a sparkling, operatic mid-tempo lament that’s 2000s- Nightwish through and through: spoken word, lyrics lifted from Walter Raleigh’s poetry and plenty of navel-gazing. Century Child is the band’s first album to feature an orchestra, and they certainly got their money’s worth on Bless The Child.

16. Amaranth (2007)

After Dark Passion Play ballad Eva leaked online, the world’s first visual introduction to Anette Olzon came in the form of the album’s first music video for the catchy and upbeat Amaranth. Showcasing a dramatically different singing style to Tarja, her impressively high belting won over many sceptical fans.

15. Élan (2015)

Similarly, the band’s first single that introduced singer Floor Jansen made a spectacular impression – a tribute to Tuomas’ hero Walt Whitman, the Endless Forms Most Beautiful track is a rousing ode to the beauty and mystery of life that gently introduces the listener to the album’s themes of evolution and natural history.

14. Dead Boy's Poem (2000)

One of Tuomas’ most personal compositions, the penultimate track on Wishmaster has a slow, hymnlike pace and deeply melancholic lyrics; introducing the ‘Dead Boy’ motif to represent the songwriter and employing a child narrator, the song climaxes in a stunning vocal delivery by Tarja that never fails to induce goosebumps.

13. 7 Days to the Wolves (2007)

“The wolves, my love, will come,” purrs Anette at the beginning of this Dark Passion Play track that sits firmly at the heavier end of the Nightwish oeuvre. Ostensibly inspired by Stephen King’s Dark Tower series, the build into its middle 8 section is one of the most thrilling moments on the album.

12. Song of Myself (2011)

The last proper song on Imaginaerum is a thirteen-minute-long epic in four parts. Taking direct inspiration from the Whitman poem of the same name, it’s a grandiose, sprawling track that ties together all the themes of the record and ends in a lengthy spoken-word section narrated with Troy’s soothing Northern lilt.

11. Shoemaker (2020)

Human. :||: Nature’s only entry on this list is Shoemaker, the band’s tribute to Dr Eugene Shoemaker, a planetary scientist who became the first man to be buried on the Moon per his wishes after dying in an accident. The song’s repeated outro of “Ad Astra!” sees Floor go fully operatic and it is simply, heartbreakingly beautiful.

10. Last Ride Of The Day (2011)

A rollercoaster of a song, this is the track from Imaginaerum that flips the power switch at the abandoned theme park that forms the album’s richly-imagined backdrop, turning all the rides back on for one last hurrah. The dynamics in Anette’s voice from the whisper-soft verse to the dizzyingly high final note make it a thrilling sonic journey.

9. Wish I Had an Angel (2004)

The second single from the Once album is a back-and-forth duet between Tarja and Marko, with an intoxicating dance beat and lyrics positively oozing with lust. Consistently one of their most-performed songs with each of their three singers, it’s a perennial favourite that never fails to get the crowd moving – what’s more, it charted in ten countries including the UK and went gold in their home country of Finland. Kaching!

8. Dark Chest of Wonders (2004)

It comes as no surprise that multiple Once tracks made it into the top ten, as arguably the band’s most successful album to date in terms of sales, and the one that put them on the global map. Dark Chest of Wonders is a perfect album opener in many ways: the hushed tones of Tarja’s “Once, I had a dream…” straight into a guitar riff punctuated by dramatic orchestra hits and culminating in a triumphant final cadence.

7. Storytime (2011)

The chart-topping lead single from the Imaginaerum record is a song that perhaps best encapsulates the band’s sound of that era. A testament to the imagination of Tuomas Holopainen and his love for children’s fantasy tales, his lyrics reference literary icons such as Alice and Peter Pan, as well as the beloved titular character from The Snowman, and the track opens the gates to the album’s tumultuous carnival ride in signature Nightwish style.

6. Sleeping Sun (1999)

Being the only ballad to make the top ten just goes to show the impact of Sleeping Sun, from a standalone maxi single named 4 Ballads Of The Eclipse that was released to coincide with the total solar eclipse of August ’99. Introspective and reverential, this gorgeous ode to the beauty in darkness is powerfully evocative in a way only someone who has experienced Arctic polar nights could know. So good, they recorded it twice.

5. Nemo (2004)

Undeniably a breakthrough track for the band, earning them their first entry into the UK charts and hitting the top ten in multiple countries, the lead single from Once remains their most-performed live song to date. Accompanied by a big-budget music video set against a fittingly wintry backdrop, the sparse piano hook and infectiously catchy chorus melody set it apart as one of their more accessible songs that still packs a punch.

4. Ever Dream (2002)

Famously the song that got Anette Olzon the job of Nightwish lead singer when she chose to audition for the band with it, the band’s fourth studio album Century Child saw the inclusion of Marko Hietala on vocal duties alongside Tarja for the first time, adding a brand new dimension to the band’s evolving symphonic metal sound with his powerful power-metal screams. 

Ever Dream earned the band their first platinum record, and with good reason: full of light and shade, the dynamic contrasts between the verse, chorus and middle eight, as well as between Tarja and Marko’s voices, all serve to heighten the drama of the song.

3. The Poet and the Pendulum (2007)

Starting a record with an opening track just shy of the fourteen-minute mark was certainly a bold choice, and a fitting way to set the stage for Dark Passion Play. 

From the youthful voice of a boy treble in the introduction to Marko’s furious, blasphemous snarls and an astonishingly beautiful performance by Anette in the final movement, it’s a multi-part epic that encompasses seemingly every emotion that can be expressed with music, albeit at the darker end of the spectrum; all of the turbulence and personal strife experienced by its composer shrouds the song in a stormy cloak of angst.

2. The Greatest Show on Earth (2015)

Enter Floor – with eight years in the band already under her belt, it’s only fitting that one of the Dutch singer’s stunning contributions to the Nightwish canon should make it into the top ten; even more so that it’s the closing track from Endless Forms Most Beautiful. 

Another one of their signature multi-part compositions which, at twenty-four minutes long, is their longest, most ambitious and arguably most progressive to date, The Greatest Show On Earth is a celebration of life on our blue rock that draws inspiration heavily from Darwin’s On The Origin Of Species. A live favourite (in an abridged form) ever since Endless Forms… came out, the climactic chant of “We were here!” is its crowning moment.

1. Ghost Love Score (2004)

Of course, the number one spot on the list could only go to one song: Ghost Love Score. The ninth track on the double-platinum-selling Once unofficially sort of marks the beginning of an arc of ten-minute-plus songs composed of multiple distinct movements that have been present on every Nightwish album since. 

The Poet and the Pendulum, The Greatest Show on Earth, and Song of Myself all continued this pattern, but Ghost Love Score is still, for many, the blueprint, having taken on a life beyond its original form thanks to many now-legendary performances of the song by Floor Jansen, everywhere from Buenos Aires to Wacken Open Air. 

Compositionally perhaps their most accomplished song, it’s always played in its entirety, unlike the aforementioned tracks; it flows beautifully from one movement into another, changing time signatures from 4/4 to a waltz seamlessly for its cinematic “seafaring” middle string section and returning to its original themes at the end to bring it home. 

Add to that the hopelessly romantic lyrics (“You were the one to cut me, so I’ll bleed forever!”) and the fantastic backing of the London Philharmonic Orchestra and there you have it: Nightwish’s best song, as chosen by the fans.

[ivyprism]

Various Characters available for ask list

Character Info

Please be mindful that some of these characters are minors!

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AU Persona's Sibling: Corrupted Angel/Angels Fall - Caradoc and Dariela Pirate Captain Little Sister - Erica The Fallen Royal Older Twin Brother - Alder Valentine (God of Light Spirits) and Garlan (God of Dark Spirits)

Skelesona Family: Cora, Christine, Serenity, Hendrix, Josiah, Kayden, Helena, Adam, and John (who is not a good person depending on the AU)

AU Skelesonas Siblings: Fellswap Amaranth - Emerald (not a good person), Amethyst, Topaz, Agate (he is deceased), and Sapphire Fellswap Carnelian - Jay Horrortale - Charity and Hawk Underfell - Corri and Hayden Heroes and Villains Underfell - Harrison, Sonya, and Camryn Mafiatale/fell/swap - Hunter, Charlotte (Lottie/Charlie), Chloe, Amias, Jaxx, Joseph, and Kristopher Angels Fall - Hark and Cassidy Demon - Lunaria and Colette Romance Anime AU - Sydney and River

Skeleton OC: The Brash but Cool - Seratta

Half-Deer Monstersona's Family - Periwinkle, Alcea, and Azurea

Fairy Ivy's Mother - Aine

Familiar OCs related to Skelesona - Sophie, Rosie, and Himani (Serenity's familiars)

The Villainess - Clemensia

Parents of Skelesonas - The Duet of Medieval and Modern AU - Dolion

Lotus's Friends - Penelope and Flynn Lotus's Father - Ethan Bell

The Caged Bird Father - Eilif The Caged Bird Caretaker - Calendonia

Annabelle's Group - Sage, Claudette, Dale, and Lyle

The Sea's Song - Wynter, Aerwyna, Delmare, Aegir, Conway, Calder, and Tethys The Dragon's SOUL - Marina, Llyr, Nixie, Thalassa, Atlantis, and Merwyn

The Dating Sim Love Interests - Sepia, Briar, Rosewood, and Juniper The Dating Sim Protagonists - Leif, Mirren, and Diletta

My Old AU - Sona turned OC - Ariella Another Related OCs - Nyx and Ragnar Human OCs - Diane, Lilith, Fiona, Lillia, Samantha, Kendall, Jaxson, and Eliza. Monster and Robot OCs - Abby, Skylar, Pamela, Gladys, Brielle, Genevieve, Adrian, Tia, Alec, Troy, Alden, Emlyn, and Fianna Illusions (??) OCs - Nemesis and Gabriella Children OCs Related - Dani and Lila

Mafia Chameleon Guard - Chase

Cursed Twins - Gabrielle (Gabby) and Abigail (Abby)

The Musicians - Bennet, Ella, Rachel, and Tristan

AU OCs - Arrow, Ender, and Miracle

Skeleton Drawn OCs - Fenris, Thor, Acallia, and Alpine

A Witch - Mara

The Sun, the Moon, and the Eclipse: The Night and the Sun - Nótt and Dagna

The Seamstress - Marginata The Knight - Salix The Betrayed - Atropa The Guide - Rosea The Dancer - Holligold The Informant - Cosmos The Violinist - Marsilea The Writer - Hebe

Supernatural beings OCs - Deities - Life and Death Family: Iyla (Goddess of Life), Pele (Goddess of Death), Ila (Goddess of Souls), Issac (God of the Forge), and Faye (Pele's Adoptive Daughter and the Goddess of Mercy) Galaxy: Andromeda (Goddess of the Galaxy) and Browallia (Goddess of Young Galaxies) Big Water Places Family: Bourne (God of the Ocean), Dydite (Goddess of the Rivers), Caysus (God of the Sea), and Onera (Goddess of the Sea). Time Deities: Signe (God of the Past), Aeturnus (Deity of the Present), and Oriana (Goddess of the Future) Order/Chaos: Myana (Goddess of Chaos) and Aona (Goddess of Order). Law: Ylios (God of Law) and Colraura (Goddess of Law) Secrets/Lies/Truth: Ethos (God of Secrets), Yros (God of Lies), and Kova (Goddess of Truth). Elemental: Zitia (Goddess of Water), Alios (God of Fire), Iphine (Goddess of Earth), and Nohlios (God of Wind). Seasonal: Kinera (Goddess of Winter), Fedmir (God of Autumn), Nylena (Goddess of Spring), and Azion (God of Summer). Storms: Driris (Goddess of Winter/Ice Storms), Phias (Deity of Wind Storms), Alteus (God of Rain storms), and Dytrix (Goddess of Thunder/Lightning Storms). Light, Dark, Sun, and Moon: Griella (Goddess of Dark), Kyana (Goddess of Light), Ynir (God of Night/Moon), and Lotar (God of Day/Sun) Love and Hate: Davina (Goddess of Love), Keres (Goddess of Hate), Lev (God of Love), and Reinhardt (God of Hate) Fate: Emersyn (Deity of Fate), Evangeline (Goddess of Fate), and Edmund (God of Fate) Miscellaneous: Daella (Goddess of Resistance), Izelia (Goddess of Forgiveness), Cillena (Goddess of Karma), Danera (Goddess of Fortune),and Aris (Deity of Harvest) Considered Evil: Adros (God of Revenge), Deirdre (Goddess of Misfortune), and Renen (Deity of Mountains),

Angels Fall AU OCs - Camila (Iyla's Disciple, Angel Companion, and Tamer of Dragons), Kallie (Camila's Protector, Sort-Of Angel, and the Future), Butterfly (Uma's Protector and Sort-of Hungel, Orla (Uma and Camila's Older Sister and Issac's Angel Companion), Bia (Missing Executioner), Edric, Boreas (sort-of), Calath (Angel), and Sebille (Former Angel Queen)

The God Killer - Rosamund The Soul Devourer - Galliard Fairies - Lanette (the Fairy Queen of the Dark), Olette (the Fairy Queen of the Light), and Sylia (the Fairy of Nightfall)

Timekeeper Shapeshift OCs - Tassy (she/they), Lou (he/they), and Iden (they/them)

Demons/Monsters/Etc. - Tess/Thea (A Kitsune that lounges and is dear friends of Issac), Hera (A Demon), Clementine (Human), Cliff (Human), Clay (Human), Celine (A demon), Delmira (Demon), Olen (A Demon), and Elvina (Former Demon Queen) Demon Slayers - Arden, Archer, and Joan.

The Assassins Siblings - Joan, Kade, and Layla

The Beast Tamers - Jinx, Leigh, Altair, Felicity, Aurora (Rory), and Lincoln.

Felicity Backstory OCs - Jack and Haven

Jinx's Husband and Daughter - Tyr (God of War and Justice) and Sarafina (Goddess of Peace and Healing)

One Human, One Angel, and Two Demons Cast - Wren, Marcellus, Leanna, and Louella

[palmeimgrunewald]

So I was tagged by the precious @followdelight​. I’m so happy to see you back on my dash lately. So good that your tags are finally working again!! I have to confess that I’m still not using spotify - I’m old-fashioned, I buy music and put it on my ipod ;)) I’ll just go with the songs I remember listening to on repeat lately

Only Lost Is Found - Blue October

Fairytale - Livy Pear (feat. Justin Furstenfeld)

Ich will mein Problem zurück - SDP

Ein Gutes Schlechtes Beispiel - SDP

Keinen Zentimeter - SDP (Clueso Cover)

Amaranth - SDP (Nightwish Cover)

Rue de trois frères - Fabrizio Paterlini

Alles Helal - Elif

Daffodils - Grass Skirt

Exile - Taylor Swift (feat. Bon Iver)

Ups, it’s mainly SDP but I just recently found their music and most of the time I’m just listening to their albums on repeat :D

I’m tagging @meanderingstream​, @schellethefallenangel, @greenjuicehours

and who ever wants to

[troyaxiv]

His Kiss

((ooc)) Pulling off realistic kisses in Gpose is hard but worth it! ♥

[arscriptura]

The Lotos-Eaters

There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tired eyelids upon tired eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And through the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep.

Why are we weighed upon with heaviness, And utterly consumed with sharp distress, While all things else have rest from weariness? All things have rest: why should we toil alone, We only toil, who are the first of things, And make perpetual moan, Still from one sorrow to another thrown: Nor ever fold our wings, And cease from wanderings, Nor steep our brows in slumber’s holy balm; Nor harken what the inner spirit sings, ‘There is no joy but calm!’ Why should we only toil, the roof and crown of things?

Lo! in the middle of the wood, The folded leaf is wooed from out the bud With winds upon the branch, and there Grows green and broad, and takes no care, Sun-steeped at noon, and in the moon Nightly dew-fed; and turning yellow Falls, and floats adown the air. Lo! sweetened with the summer light, The full-juiced apple, waxing over-mellow, Drops in a silent autumn night. All its allotted length of days, The flower ripens in its place, Ripens and fades, and falls, and hath no toil, Fast-rooted in the fruitful soil.

Hateful is the dark-blue sky, Vaulted o’er the dark-blue sea. Death is the end of life; ah, why Should life all labour be? Let us alone. Time driveth onward fast, And in a little while our lips are dumb, Let us alone. What is it that will last? All things are taken from us, and become Portions and parcels of the dreadful Past. Let us alone. What pleasure can we have To war with evil? Is there any peace In ever climbing up the climbing wave? All things have rest, and ripen toward the grave In silence; ripen, fall and cease: Give us long rest or death, dark death, or dreamful ease.

How sweet it were, hearing the downward stream, With half-shut eyes ever to seem Falling asleep in a half-dream! To dream and dream, like yonder amber light, Which will not leave the myrrh-bush on the height; To hear each other’s whispered speech; Eating the Lotos day by day, To watch the crisping ripples on the beach, And tender curving lines of creamy spray; To lend our hearts and spirits wholly To the influence of mild-minded melancholy; To muse and brood and live again in memory, With those old faces of our infancy Heaped over with a mound of grass, Two handfuls of white dust, shut in an urn of brass!

Dear is the memory of our wedded lives, And dear the last embraces of our wives And their warm tears: but all hath suffered change: For surely now our household hearths are cold: Our sons inherit us: our looks are strange: And we should come like ghosts to trouble joy. Or else the island princes over-bold Have eat our substance, and the minstrel sings Before them of the ten years’ war in Troy, And our great deeds, as half-forgotten things. Is there confusion in the little isle? Let what is broken so remain. The Gods are hard to reconcile: ’Tis hard to settle order once again. There is confusion worse then death, Trouble on trouble, pain on pain, Long labour unto agèd breath, Sore task to hearts worn out by many wars And eyes grown dim with gazing on the pilot-stars.

But, propt on beds of amaranth and moly, How sweet (while warm airs lull us, blowing lowly) With half-dropt eyelid still, Beneath a heaven dark and holy, To watch the long bright river drawing slowly His waters from the purple hill— To hear the dewy echoes calling From cave to cave through the thick-twinèd vine— To watch the emerald-coloured water falling Through many a woven acanthus-wreath divine! Only to hear and see the far-off sparkling brine, Only to hear were sweet, stretched out beneath the pine.

The Lotos blooms below the barren peak: The Lotos blows by every winding creek: All day the wind breathes low with mellower tone: Through every hollow cave and alley lone Round and round the spicy downs the yellow Lotos-dust blown. We have had enough of action, and of motion we, Rolled to starboard, rolled to larboard, when the surge was seething free, Where the wallowing monster spouted his foam-fountains in the sea. Let us swear an oath, and keep it with an equal mind, In the hollow Lotos-land to live and lie reclined On the hills like Gods together, careless of mankind. For they lie beside their nectar, and the bolts are hurled Far below them in the valleys, and the clouds are lightly curled Round their golden houses, girdled with the gleaming world: Where they smile in secret, looking over wasted lands, Blight and famine, plague and earthquake, roaring deeps and fiery sands, Clanging fights, and flaming towns, and sinking ships, and praying hands. But they smile, they find a music centred in a doleful song Steaming up, a lamentation and an ancient tale of wrong, Like a tale of little meaning though the words are strong: Chanted from an ill-used race of men that cleave the soil, Sow the seed, and reap the harvest with enduring toil, Storing yearly little dues of wheat, and wine and oil; Till they perish and they suffer—some, ’tis whispered—down in hell Suffer endless anguish, others in Elysian valleys dwell, Resting weary limbs at last on beds of asphodel. Surely, surely, slumber is more sweet than toil, the shore Than labour in the deep mid-ocean, wind and wave and oar; Oh rest ye, brother mariners, we will not wander more.

Lord Alfred Tennyson

[silencefromafar]

First impressions and updates about ‘Human. :||: Nature.’ from the press listening session

- It’s Nightwish but unlike anything they’ve done before;

- At the beginning of the session the whole band seemed really confident about the material they were about to present;

- “No fan-services”. It seems there are no songs like Amaranth or Nemo. Perhaps in the sense that the songs are not big hit, radio friendly material?

- “Human. :II: Nature. is the real fan service: the music that Holopainen wants to create. [...]  Their own little worlds telling stories beyond their imagination.” describes Aki Nuopponen in this Inferno article; - The band brings elements from all around the world in the new songs; - Disc 1 is less orchestral while the behemoth song from Disc 2 is Nightwish “without the band”: 100% orchestral;

- Floor Jansen’s vocals are more aggressive and powerful;

- Marco and Troy vocals’ will play a big role too;

- Shoemaker has a “classic Floor song ending”;

- Endlessness is around 7 minutes long;

- More Emppu! According to Nuopponen the new album contains more guitar leads and we will be able to hear Emppu’s heaviest and most melodic riffs to date;

- Kai Hahto ‘unleashed’! Tuomas insisted that Kai play more according to his own style instead of restraining himself to Jukka’s;

- Kai said on a facebook post that some journalists had tears of joy in their eyes while listening to the album;

- The first single will be Noise.

[chic-a-gigot]

La Mode illustrée, no. 2, 13 janvier 1884, Paris. Toilettes de Mme Coussinet, rue Richer, 43. Ville de Paris / Bibliothèque Forney 

Description de toilettes:

Toilette de jeune fille pour visites, messe de mariage ou pour demoiselle d'honneur. En surah rose sèche et surah Pompadour. Jupe courte plate, en surah Pompadour, garnie d'un volant plissé fait en même étoffe et traversée par des bandes de velours amarante posées perpendiculairement autour de la jupe et se terminant en coque. Ces bandes ont chacune 5 centimètres de largeur, et sont posées à intervalles réguliers de 8 centimètres. La tunique, faite en même étoffe que la jupe, est doublée de surah uni rose sèche. Les côtés sont retournés en dessus (laissant voir la doublure) et se rejoignent sur la pointe de la basque, où ils sont retenus par un gros chou de velours amarante dont le centre est occupé par une boucle en vieil argent. Corsage en surah rose sèche avec plastron bouffant en surah Pompadour. Col et parements en velours amarante; à la hauteur de la taille, une agrafe en vieil argent retient le corsage. Chapeau rond en velours amarante avec plumes.

Toilette de visites. En victoria (tissu de soie côtelé) gris et cendre, et velours de même couleur. La jupe séparée en trois panneaux, faite en velours, est brodée en perles et chenille de même ton gris cendre. Le tablier, en Victoria, est drapé assez bas par devant et passe sous les panneaux de côté, où il est retenu par cinq gros boutons chenilles. Corsage en victoria avec, plastron en velours brodé. Ceinture, col, parements et petite balayeuse en velours rubis. Petit pardessus en velours rubis bordé de chinchilla. Chapeau-capote en velours gris avec plumes rubis depuis le ton foncé jusqu'au ton le plus clair.

—

Girl's ensemble for visits, wedding mass or for bridesmaid. In dry rose surah and Pompadour surah. Short flat skirt, in surah Pompadour, trimmed with a pleated flounce made of the same fabric and crossed by strips of amaranth velvet placed perpendicularly around the skirt and ending in a shell. These strips are each 5 centimeters wide, and are placed at regular intervals of 8 centimeters. The tunic, made of the same fabric as the skirt, is lined with plain dry pink surah. The sides are turned up (letting the lining visible) and meet at the tip of the basque, where they are held in place by a large amaranth velvet cabbage, the center of which is occupied by an old silver buckle. Dry pink surah bodice with bouffant Pompadour surah bodice. Amaranth velvet collar and facings; at the height of the waist, an old silver clasp holds the bodice. Round amaranth velvet hat with feathers.

Visiting toilet. In victoria (ribbed silk fabric) gray and ash, and velvet of the same color. The skirt separated into three panels, made of velvet, is embroidered in beads and chenille in the same ash gray tone. The apron, in Victoria, drapes fairly low in the front and passes under the side panels, where it is held in place by five large chenille buttons. Victorian bodice with embroidered velvet breastplate. Belt, collar, facings and small sweeper in ruby velvet. Small ruby velvet overcoat trimmed with chinchilla. Gray velvet top hat with ruby feathers from dark to lightest tone.

[mountainpoem]

The Lotos-Eaters by Alfred, Lord Tennyson

"Courage!" he said, and pointed toward the land, "This mounting wave will roll us shoreward soon." In the afternoon they came unto a land In which it seemed always afternoon. All round the coast the languid air did swoon, Breathing like one that hath a weary dream. Full-faced above the valley stood the moon; And like a downward smoke, the slender stream Along the cliff to fall and pause and fall did seem. A land of streams! some, like a downward smoke, Slow-dropping veils of thinnest lawn, did go; And some thro' wavering lights and shadows broke, Rolling a slumbrous sheet of foam below. They saw the gleaming river seaward flow From the inner land: far off, three mountain-tops, Three silent pinnacles of aged snow, Stood sunset-flush'd: and, dew'd with showery drops, Up-clomb the shadowy pine above the woven copse. The charmed sunset linger'd low adown In the red West: thro' mountain clefts the dale Was seen far inland, and the yellow down Border'd with palm, and many a winding vale And meadow, set with slender galingale; A land where all things always seem'd the same! And round about the keel with faces pale, Dark faces pale against that rosy flame, The mild-eyed melancholy Lotos-eaters came. Branches they bore of that enchanted stem, Laden with flower and fruit, whereof they gave To each, but whoso did receive of them, And taste, to him the gushing of the wave Far far away did seem to mourn and rave On alien shores; and if his fellow spake, His voice was thin, as voices from the grave; And deep-asleep he seem'd, yet all awake, And music in his ears his beating heart did make. They sat them down upon the yellow sand, Between the sun and moon upon the shore; And sweet it was to dream of Fatherland, Of child, and wife, and slave; but evermore Most weary seem'd the sea, weary the oar, Weary the wandering fields of barren foam. Then some one said, "We will return no more"; And all at once they sang, "Our island home Is far beyond the wave; we will no longer roam." CHORIC SONG I There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir'd eyelids upon tir'd eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro' the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep." II Why are we weigh'd upon with heaviness, And utterly consumed with sharp distress, While all things else have rest from weariness? All things have rest: why should we toil alone, We only toil, who are the first of things, And make perpetual moan, Still from one sorrow to another thrown: Nor ever fold our wings, And cease from wanderings, Nor steep our brows in slumber's holy balm; Nor harken what the inner spirit sings, "There is no joy but calm!" Why should we only toil, the roof and crown of things? III Lo! in the middle of the wood, The folded leaf is woo'd from out the bud With winds upon the branch, and there Grows green and broad, and takes no care, Sun-steep'd at noon, and in the moon Nightly dew-fed; and turning yellow Falls, and floats adown the air. Lo! sweeten'd with the summer light, The full-juiced apple, waxing over-mellow, Drops in a silent autumn night. All its allotted length of days The flower ripens in its place, Ripens and fades, and falls, and hath no toil, Fast-rooted in the fruitful soil. IV Hateful is the dark-blue sky, Vaulted o'er the dark-blue sea. Death is the end of life; ah, why Should life all labour be? Let us alone. Time driveth onward fast, And in a little while our lips are dumb. Let us alone. What is it that will last? All things are taken from us, and become Portions and parcels of the dreadful past. Let us alone. What pleasure can we have To war with evil? Is there any peace In ever climbing up the climbing wave? All things have rest, and ripen toward the grave In silence; ripen, fall and cease: Give us long rest or death, dark death, or dreamful ease. V How sweet it were, hearing the downward stream, With half-shut eyes ever to seem Falling asleep in a half-dream! To dream and dream, like yonder amber light, Which will not leave the myrrh-bush on the height; To hear each other's whisper'd speech; Eating the Lotos day by day, To watch the crisping ripples on the beach, And tender curving lines of creamy spray; To lend our hearts and spirits wholly To the influence of mild-minded melancholy; To muse and brood and live again in memory, With those old faces of our infancy Heap'd over with a mound of grass, Two handfuls of white dust, shut in an urn of brass! VI Dear is the memory of our wedded lives, And dear the last embraces of our wives And their warm tears: but all hath suffer'd change: For surely now our household hearths are cold, Our sons inherit us: our looks are strange: And we should come like ghosts to trouble joy. Or else the island princes over-bold Have eat our substance, and the minstrel sings Before them of the ten years' war in Troy, And our great deeds, as half-forgotten things. Is there confusion in the little isle? Let what is broken so remain. The Gods are hard to reconcile: 'Tis hard to settle order once again. There is confusion worse than death, Trouble on trouble, pain on pain, Long labour unto aged breath, Sore task to hearts worn out by many wars And eyes grown dim with gazing on the pilot-stars. VII But, propt on beds of amaranth and moly, How sweet (while warm airs lull us, blowing lowly) With half-dropt eyelid still, Beneath a heaven dark and holy, To watch the long bright river drawing slowly His waters from the purple hill— To hear the dewy echoes calling From cave to cave thro' the thick-twined vine— To watch the emerald-colour'd water falling Thro' many a wov'n acanthus-wreath divine! Only to hear and see the far-off sparkling brine, Only to hear were sweet, stretch'd out beneath the pine. VIII The Lotos blooms below the barren peak: The Lotos blows by every winding creek: All day the wind breathes low with mellower tone: Thro' every hollow cave and alley lone Round and round the spicy downs the yellow Lotos-dust is blown. We have had enough of action, and of motion we, Roll'd to starboard, roll'd to larboard, when the surge was seething free, Where the wallowing monster spouted his foam-fountains in the sea. Let us swear an oath, and keep it with an equal mind, In the hollow Lotos-land to live and lie reclined On the hills like Gods together, careless of mankind. For they lie beside their nectar, and the bolts are hurl'd Far below them in the valleys, and the clouds are lightly curl'd Round their golden houses, girdled with the gleaming world: Where they smile in secret, looking over wasted lands, Blight and famine, plague and earthquake, roaring deeps and fiery sands, Clanging fights, and flaming towns, and sinking ships, and praying hands. But they smile, they find a music centred in a doleful song Steaming up, a lamentation and an ancient tale of wrong, Like a tale of little meaning tho' the words are strong; Chanted from an ill-used race of men that cleave the soil, Sow the seed, and reap the harvest with enduring toil, Storing yearly little dues of wheat, and wine and oil; Till they perish and they suffer—some, 'tis whisper'd—down in hell Suffer endless anguish, others in Elysian valleys dwell, Resting weary limbs at last on beds of asphodel. Surely, surely, slumber is more sweet than toil, the shore Than labour in the deep mid-ocean, wind and wave and oar; O, rest ye, brother mariners, we will not wander more.

[shemakesmusic-uk]

The Bristol band Svalbard make a towering, beautiful, pummeling sound that doesn’t really fit into any particular genre. They pull from hardcore, from shoegaze, from post-rock, and from black metal, and they transform all of it into a majestic, cathartic blur. Next month, the band is coming back with a new album called When I Die, Will I Get Better?, the follow-up to 2018’s It’s Hard To Have Hope. Like a lot of other Svalbard songs, new single ‘Listen To Someone’ merges beauty with heaviness in ways that just make sense. Svalbard don’t swing back and forth between quiet, heavy parts and loud, intense parts. Instead, they place all of those parts along the same continuum, and every song feels like an intuitive journey. Talking to Revolver, Svalbard’s Serena Cherry says: “There’s a lot of well-meaning discussions about mental illness online, and whilst I appreciate that talking about mental illness helps reduce the stigma that depression is a weakness, I do take issue with this catchphrase: “Speak to someone.” It’s a common sentiment expressed in mental health discourse — people want to make it known that sufferers can speak to them if they’re feeling down, which is a clearly a kind and caring act. However, I would much rather the emphasis was placed on listening to someone. “If you want to talk about the most difficult, darkest aspects of your mental health, I will listen without judgement.” Something like that is an improvement. You can feel the shift in sentiment. As someone who has struggled with depression, someone offering to listen to me is far more reassuring than someone instructing me to talk to them. When a person urges someone with depression to speak about it, it places the onus on the mentally ill to reach out, which is actually a really difficult thing for a depressed or anxious person to do. Also, if someone does choose to confide about the darkest depths of their depression to you, you need to be truly prepared to listen. This means: not getting impatient or frustrated with the person for being unable to be “cheered up,” not wincing at the topic of suicide, not alienating mentally ill people with dramatic reactions to their words. It’s all very well and good to encourage people to speak to someone, but people also need to be prepared to listen to the mentally ill without making judgement.” [via Stereogum]

‘Strong’, the new music video from the Swedish modern metal force Amaranthe, can be seen below. The song, which features a guest appearance by one of Finland's most powerful voices, Noora Louhimo, is taken from the band's upcoming album Manifest, which will be released on October 2 via Nuclear Blast. Amaranth commented: "Devil and saint, martyr and sinner, betrayal and loyalty — 'Strong' essentially underlines the dualistic nature of what it means to be human. In an increasingly polarized world, we found it incredibly exciting to reach across the metal world, and find collaboration and unity with the phenomenal Noora Louhimo. Even if the world around you is on fire, and if you find yourself at a disadvantage, remember that there is always one part of you that will remain — 'Strong'." [via Blabbermouth]

Romanian heavy metal band Scarlet Aura drops the new video for the ‘The Heretic’, the third single from their latest album Stormbreaker. Watch the video below. The video was filmed by Dragos Toader inside the medieval Rasnov Fortress with the support of local authorities. Rasnov valley sounded loud with “‘The Heretic’ riffs, speed, hardness and made the filming atmosphere a really wild one, ancient and even cryptic. The heights and lows of the site but also the entire nature around give us the impression that it touches our spirit, awakening the sharp awareness of the good and bad, the strong and the weak, the beauty and the ugly.” [via Metal Goddesses]

Sacramento based sci-fi power metal band Helion Prime unveils the first single ‘The Forbidden Zone’ off of their upcoming concept album. It’s been about two years since the band’s sophomore release Terror of the Cybernetic Space Monster and metallers Helion Prime returns with their third effort and the much shorter title Question Everything set for release on Monday, October 5 via their label Saibot Reigns. The highly anticipated third record is a concept album, with each song revolving around different figures throughout human history who had the courage to question the status quo of their respective worlds/societies, in some cases even dealing with harsh persecution as a result. [via Metal Goddesses]

Evanescence have unveiled the third single from their upcoming album, The Bitter Truth. The new song, ‘Use My Voice’, features singer Amy Lee joined by Halestorm’s Lzzy Hale, The Pretty Reckless’ Taylor Momsen, Within Temptation’s Sharon Den Adel, and others on the chorus. “This is an era of awakening, and full of powerful beauty,” said Lee of the empowering single. “I hope to inspire others to seek truth, find their own voices and use them as I step up to use mine. Don’t let anybody speak for you. Only you can do that.” In addition to the aforementioned artists, the song features violinist Lindsey Stirling, Veridia singer Deena Jakoub (who co-wrote the song), Amy Lee’s sisters Carrie South and Lori Lee Bulloch, and Evanescence guitarist Troy McLawhorn’s wife Amy McLawhorn. [via Consequence of Sound]

[thesquireofcheddar]

"Courage!" he said, and pointed toward the land, "This mounting wave will roll us shoreward soon." In the afternoon they came unto a land In which it seemed always afternoon. All round the coast the languid air did swoon, Breathing like one that hath a weary dream. Full-faced above the valley stood the moon; And like a downward smoke, the slender stream Along the cliff to fall and pause and fall did seem.

A land of streams! some, like a downward smoke, Slow-dropping veils of thinnest lawn, did go; And some thro' wavering lights and shadows broke, Rolling a slumbrous sheet of foam below. They saw the gleaming river seaward flow From the inner land: far off, three mountain-tops, Three silent pinnacles of aged snow, Stood sunset-flush'd: and, dew'd with showery drops, Up-clomb the shadowy pine above the woven copse.

The charmed sunset linger'd low adown In the red West: thro' mountain clefts the dale Was seen far inland, and the yellow down Border'd with palm, and many a winding vale And meadow, set with slender galingale; A land where all things always seem'd the same! And round about the keel with faces pale, Dark faces pale against that rosy flame, The mild-eyed melancholy Lotos-eaters came.

Branches they bore of that enchanted stem, Laden with flower and fruit, whereof they gave To each, but whoso did receive of them, And taste, to him the gushing of the wave Far far away did seem to mourn and rave On alien shores; and if his fellow spake, His voice was thin, as voices from the grave; And deep-asleep he seem'd, yet all awake, And music in his ears his beating heart did make.

They sat them down upon the yellow sand, Between the sun and moon upon the shore; And sweet it was to dream of Fatherland, Of child, and wife, and slave; but evermore Most weary seem'd the sea, weary the oar, Weary the wandering fields of barren foam. Then some one said, "We will return no more"; And all at once they sang, "Our island home Is far beyond the wave; we will no longer roam."

CHORIC SONG I There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir'd eyelids upon tir'd eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro' the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep."

II Why are we weigh'd upon with heaviness, And utterly consumed with sharp distress, While all things else have rest from weariness? All things have rest: why should we toil alone, We only toil, who are the first of things, And make perpetual moan, Still from one sorrow to another thrown: Nor ever fold our wings, And cease from wanderings, Nor steep our brows in slumber's holy balm; Nor harken what the inner spirit sings, "There is no joy but calm!" Why should we only toil, the roof and crown of things?

III Lo! in the middle of the wood, The folded leaf is woo'd from out the bud With winds upon the branch, and there Grows green and broad, and takes no care, Sun-steep'd at noon, and in the moon Nightly dew-fed; and turning yellow Falls, and floats adown the air. Lo! sweeten'd with the summer light, The full-juiced apple, waxing over-mellow, Drops in a silent autumn night. All its allotted length of days The flower ripens in its place, Ripens and fades, and falls, and hath no toil, Fast-rooted in the fruitful soil.

IV Hateful is the dark-blue sky, Vaulted o'er the dark-blue sea. Death is the end of life; ah, why Should life all labour be? Let us alone. Time driveth onward fast, And in a little while our lips are dumb. Let us alone. What is it that will last? All things are taken from us, and become Portions and parcels of the dreadful past. Let us alone. What pleasure can we have To war with evil? Is there any peace In ever climbing up the climbing wave? All things have rest, and ripen toward the grave In silence; ripen, fall and cease: Give us long rest or death, dark death, or dreamful ease.

V How sweet it were, hearing the downward stream, With half-shut eyes ever to seem Falling asleep in a half-dream! To dream and dream, like yonder amber light, Which will not leave the myrrh-bush on the height; To hear each other's whisper'd speech; Eating the Lotos day by day, To watch the crisping ripples on the beach, And tender curving lines of creamy spray; To lend our hearts and spirits wholly To the influence of mild-minded melancholy; To muse and brood and live again in memory, With those old faces of our infancy Heap'd over with a mound of grass, Two handfuls of white dust, shut in an urn of brass!

VI Dear is the memory of our wedded lives, And dear the last embraces of our wives And their warm tears: but all hath suffer'd change: For surely now our household hearths are cold, Our sons inherit us: our looks are strange: And we should come like ghosts to trouble joy. Or else the island princes over-bold Have eat our substance, and the minstrel sings Before them of the ten years' war in Troy, And our great deeds, as half-forgotten things. Is there confusion in the little isle? Let what is broken so remain. The Gods are hard to reconcile: 'Tis hard to settle order once again. There is confusion worse than death, Trouble on trouble, pain on pain, Long labour unto aged breath, Sore task to hearts worn out by many wars And eyes grown dim with gazing on the pilot-stars.

VII But, propt on beds of amaranth and moly, How sweet (while warm airs lull us, blowing lowly) With half-dropt eyelid still, Beneath a heaven dark and holy, To watch the long bright river drawing slowly His waters from the purple hill— To hear the dewy echoes calling From cave to cave thro' the thick-twined vine— To watch the emerald-colour'd water falling Thro' many a wov'n acanthus-wreath divine! Only to hear and see the far-off sparkling brine, Only to hear were sweet, stretch'd out beneath the pine.

VIII The Lotos blooms below the barren peak: The Lotos blows by every winding creek: All day the wind breathes low with mellower tone: Thro' every hollow cave and alley lone Round and round the spicy downs the yellow Lotos-dust is blown. We have had enough of action, and of motion we, Roll'd to starboard, roll'd to larboard, when the surge was seething free, Where the wallowing monster spouted his foam-fountains in the sea. Let us swear an oath, and keep it with an equal mind, In the hollow Lotos-land to live and lie reclined On the hills like Gods together, careless of mankind. For they lie beside their nectar, and the bolts are hurl'd Far below them in the valleys, and the clouds are lightly curl'd Round their golden houses, girdled with the gleaming world: Where they smile in secret, looking over wasted lands, Blight and famine, plague and earthquake, roaring deeps and fiery sands, Clanging fights, and flaming towns, and sinking ships, and praying hands. But they smile, they find a music centred in a doleful song Steaming up, a lamentation and an ancient tale of wrong, Like a tale of little meaning tho' the words are strong; Chanted from an ill-used race of men that cleave the soil, Sow the seed, and reap the harvest with enduring toil, Storing yearly little dues of wheat, and wine and oil; Till they perish and they suffer—some, 'tis whisper'd—down in hell Suffer endless anguish, others in Elysian valleys dwell, Resting weary limbs at last on beds of asphodel. Surely, surely, slumber is more sweet than toil, the shore Than labour in the deep mid-ocean, wind and wave and oar; O, rest ye, brother mariners, we will not wander more.