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allaboutjoongi · 2 years

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20 magical things Lee Joon-gi has said

2022.02.02 article from Cinem@rt

part 1 – https://www.cinemart.co.jp/article/news/20220201005380.html

part 2 – https://www.cinemart.co.jp/article/news/20220202005381.html

1. Things he values most when being on set.

“The first thing I do after deciding on my next project is to go talk to the staff and my co-stars and have drinks with them. Because that’s how we get to understand our characters and have some conversations.

Of course, I read the script and do research to understand my character, but I believe nothing is more important than connecting with the people I work with for months to come. These are the people who will support me on set, and I can also learn something from them.

On set, sometimes I run around acting like a fool and talk to the staff a lot. When I first get a script, I try to make time to remember the names of my co-stars and staff before I start working on memorizing my lines.”

(from JG’s 2009 interview for <Iljimae>)

2. On getting along with his co-stars.

“Some actors distance themselves from their co-stars on purpose when they play characters hostile to each other in a drama, but I am not like that. I try to make friends with my co-stars so we can feel comfortable with one another. Then I can even get to hit them harder or throw them around [when filming action scenes] (laughs).

It’s better if we feel comfortable in each other’s company. Then we can decide on the order in which we shoot action scenes, and we can cheer each other up when we are exhausted. We actually get better results for action scenes if we make things go well that way.

Anyway, acting is only acting, not real life. In real life, we are colleagues who rely on one another and motivate one another.”

(from JG’s 2009 interview for <Iljimae>)

3. Criteria for choosing a project.

“I choose a project based on how useful I can be to contribute to that project. What matters is whether or not this project really needs the strengths that I have.

I do not particularly find a project more entertaining simply because it is a historical drama set in a certain period. I take time to think hard about things like: whether or not I am an actor that can really be of help to this project; whether or not the character I’m portraying will make this project more fun and improve its quality.

There are areas I am not good at, such as portraying rough and tough characters. If I approach a project thinking that I might as well give it a try because it is a historical drama, even though that’s the area I am not good at, then I will end up failing to be thoroughly part of the project.”

(from JG’s 2014 interview for <Gunman in Joseon>)

4. On doing historical dramas.

“When you work on a historical drama, both being faithful to the facts and taking risks are important. If you fail to get the basic facts correct, you will not be able to realistically portray the era or the people who lived in that era. This is why it is essential to work with the director to read, discuss, and cross-check all the sources related to the events or the way things were at that time. However, if we only focus on depicting the world completely realistically, it could be just as boring and suffocating.

So while staying true to the facts, we also discuss thoroughly how to tap into our imagination and make it dramatically entertaining, full of tension, and moving at the same time. If we go overboard, we could risk making viewers uncomfortable, so we always do a lot of thinking in the creative process.”

(from JG’s 2014 interview for <Gunman in Joseon>)

5. Differences between historical and contemporary dramas.

“When I return to a set for a contemporary drama following a historical drama, the biggest difference I notice is in the volume of my voice and the way I talk. Basically, when I do a historical drama, I speak louder, more clearly, and more deliberately and slowly. So if I perform in a historical drama for a long time, that particular way of talking becomes a sort of habit. But I live in modern times after all, so it [my natural way of talking] comes back quickly as I continue to act [in a contemporary drama] (laughs).

Since I wear hanbok when performing action (fight) scenes in a historical drama, it makes the way my body moves look beautiful and my movements look bigger. Filming action scenes in a contemporary drama, on the other hand, has its own charm that’s different from historical dramas despite several restrictions because I get to bring my opponents under control in a faster pace, which makes the scene look more dynamic.”

(from JG’s 2017 interview for <Criminal Minds>)

6. On developing his character.

“I think it’s the same for every actor, but I create my character by imagining how he grew up and the environment in which he grew up and doing an in-depth analysis on how he’s become the character he is now. Sometimes I feel sorry for my own character when portraying it.

Take Hyun-joon in <Criminal Minds> for instance: he struggles to get over his past wounds, doesn’t take care of himself but keeps pushing himself into a corner. I felt so sorry for him that I wanted to give him a hug.”

(from JG’s 2018 interview for <Criminal Minds>)

7. On being pure and innocent.

“I think that, at the basis of every character I play, there is always an underlying element of ‘innocence’ that every human being has. Even when I get older, I still get to stay young and have a rich imagination because I have never lost that refreshed mindset of mine.

When you become a grownup and start gaining more experience, you could end up with a half-baked sort of wisdom and learn shortcuts on set doing things half-heartedly. But if I only thought of a set as a mere workplace, I would be an actor that only gives a dull interpretation of his character and it won’t be as fun.

If I think up some facial expressions that no one else imagined I could do, and if I perform in a way that makes them look attractive, then I can be an actor that surprises viewers. I believe that sort of thing will eventually make people have faith in me as an actor. I always want to become that kind of actor, so I do not want to lose this “innocence” I have right now.”

(from JG’s 2015 interview for <Scholar Who Walks the Night>)

8. On feeling lonely and alone.

“Doing acting for a living means that you get to be loved by many people, but it also comes with loneliness, so I also get such feelings of loneliness inside of me. Wang So is a prince but he still feels empty inside and even feels hopeless as if he was thrown into the palace and left all alone there. I think because I could feel what he’s feeling, I was able to immerse myself into this role [Wang So].”

(from JG’s 2017 interview for <Moon Lovers: Scarlet Heart Ryeo>)

9. Thoughts he has as an actor; his position as a star

“I tend to be more on the careful side. I think about all the negatives in advance and prepare myself for them. For instance, every time I choose a project, I tend to think it’s probably about time I failed. I am an actor in the first place, but I also have to think about my position as a star, so perhaps that’s why I am more sensitive to things like this.

Stars are people who get all the spotlight and love from so many people, but they are also subject to criticism, so they could get thrown off balance. This is why I try my best not to pay too much attention to all that. Even if I don’t get the spotlight at the time, I hope at least the projects I’ve worked on will be loved for a long time and will live in your memory for long.”

(from JG’s 2009 interview for <Iljimae>)

10. What motivates him as an actor.

“If I could say this without fearing that I might be misunderstood, my life in the military had absolutely no impact on me as an actor at all. Rather, those new things that motivate me every time I work on a project are a big influence on me. On each project I work on, a challenge for me is how I should portray the character that’s given to me, and that challenge is, in and of itself, what motivates me.”

(from his 2014 press conference at 除隊後初来日)

11. Anxiety and conflict.

“Actually, I am a complicated person (laughs). Just as I always do when choosing a project, the higher the expectation that I have to show some [different] side of me, the more I feel like this weight of anxiety is bearing down on me. For historical dramas, in particular, I am proud of the fact that I am more experienced than other actors, but I also get so scared and anxious that the public might be disappointed in me because I am not as good as I used to be.

But once I make up my mind about doing a project, then all I can think about in my head is, “I will definitely make this a great project!” so I am back to square one. In that sense, I am rather a simple person (laughs).”

(from JG’s 2017 interview for <Moon Lovers: Scarlet Heart Ryeo>)

12. Being determined.

“I guess I come across as determined because, once I’ve made my decision, I tend to get aggressive and push ahead with it. Honestly, though, I tend to take a lot of time to make a choice. No matter what project I have to choose. After a lot of thinking, I always tell myself repeatedly, ‘Hey, Lee Joon-gi! You have to be bold when you need to be!” I’m your so-called “blood type B” guy who’s supposedly headstrong and getting his own way, but I am actually more serious and careful than that.”

(from JG’s 2014 interview for <Gunman in Joseon>)

13. What animal would he compare himself to?

“If I’m going to compare myself to an animal, it’d definitely be a cat. Cats have a soft body, great motor skills, and I think I actually look like one. I love cats for being so clever.”

(from JG’s 2009 interview for <Iljimae>)

14. His favorite things.

“My childhood treasure was my computer! I used to make great fun out of constantly upgrading my computer (laughs). Back then, I dreamed of becoming a computer programmer. I love cars, too. Be it cars or whatever, I love things that perform well.”

(from JG’s 2009 interview for <Iljimae>)

15. On loving new things.

“I like to be the first to try new electronics and use new terms or phrases that I come across on the internet. Whatever it is, when I see something new, I am very eager to be the first to experience it firsthand. I am also very willing to embrace and learn things that are popular among young people and things that interest me.

That’s why, from the moment I wake up in the morning until I go to sleep at night, I am constantly checking the internet (laughs). I even read the negative things written about me. I try to constantly check and keep an eye out on what’s going on in the world.”

(from JG’s 2014 interview for <Gunman in Joseon>)

16. Sister 11 years younger than him.

“Since I’m a guy from Gyeongsang-do [*a province in the southeastern part of Korea] I am pretty laconic. So I am not really the kind of older brother who shows off his gentleness to his younger sister. I am more like the type of brother who quietly keeps an eye on his sister and cherishes her without really saying so. In <Gunman in Joseon>, we are in these painful situations so it looks like my gentleness [Yoon-kang’s] to Yeon-ha pours out naturally. But after watching it, my real-life younger sister told me I looked like a completely different person (laughs).”

(from JG’s 2014 interview for <Gunman in Joseon>)

17. His Japanese fans.

“I made my screen debut with Japanese movie <Hotel Venus> so the first fans I met were my Japanese fans, and they are the ones who have supported me for the longest time ever. So, to describe my Japanese fans in one word, I’d say they are like guardian angels to me.”

(from JG’s 2014 interview for <Gunman in Joseon>)

18. Genius “mood maker”.

(When singing ‘As Long As You Love Me’ by Justin Bieber) There is no reason you can’t ride the wave and vibe along even if you don’t know the song. Let’s do this. Instead of hesitating and wondering when you clap, we are going to work together to clap along. But if we only clap, it will probably be like a classical music concert, so we are going to scream together as well. See? How the mood has just changed!

(from his concert in Japan during his 2018 Asia Tour “Delight”)

19. ‘Fans, I have a present for you.’

“The keyword that sums up the life of actor Lee Joon-gi… Up until now, I have said ‘Passion,’ but now I think it is ‘Love.’ I’ve worked constantly and there were moments where it was very hard for me. But whenever that happened, I have always looked for and turned to my fans, and my fans have always thought about me as well. By the time this [Asia] tour came to a close, I fully realized ‘We need each other’ and became addicted to my love for fans(”fan love”).

Your love for me is a great driving force for me, and so I also want to become a big presence in your life that can comfort you. That’s why the biggest present I want to present to you is my ‘work (project).’”

(from his 2019 fan meeting < SPLENDER Family DAY ‘I have a present for you’>)

20. What does “hero” mean to him?

“For instance, I think anyone who can comfort someone else can be a hero. Every time my fans tell me things like, ‘Your work comforted me and brought me healing,’ I realize that I can also be a hero to someone. That’s when I feel more serious about my job as an actor.”

(from JG’s 2014 interview for <Gunman in Joseon>)

#lee joon gi #lee joongi #이준기 #李準基 #イジュンギ #kdrama #again my life #어게인마이라이프 #조선총잡이 #gunmaninjoseon #일지매 #iljimae #달의연인 #moonlovers #밤��걷는선비 #scholarwhowalksthenight #크리미널마인드 #criminalminds

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reallifesultanas · 3 years

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The myths around Kösem Sultan's execution / A Köszem szultána halála körüli legendák

One of the most frequently discussed topics about the Sultanate of Women is the brutal execution of Kösem Sultan. Usually, the casual people think that she was assassinated by her son-in-law Turhan Hatice Sultan during a long power struggle. We have plenty of accounts of the events, but there are quite a few of them that are contemporary. In this post, I would like to summarize what we know, who were the characters of the events, and what might have happened that night. In the comments section or in Tellonyme, I look forward to everyone's opinion and comment about the topic so that we can discuss it! :) If you don't know Kösem Sultan, you can read her biography HERE.

What do we know for sure?

- After Ibrahim's dethronement and execution, Kösem Sultan became a regent to her grandson Mehmed IV. - Turhan, Mehmed’s mother, and Kösem Sultan were on different sides during the political games. - Kösem Sultan was killed by her enemies on September 2, 1651. - Turhan Hatice became the new regent, Kösem Sultan's executioners were not punished, but her supporters were soon killed.

Backstory

Kösem Sultan came to power for the second time in February 1640. Along with her crazy son, Ibrahim I, she began to rule the Ottoman Empire as regent. Everyone loved her, she had a huge experience in rule, she did a lot of charity. Everything seemed perfect, but her son, Ibrahim, soon came under the influence of bad advisers. Cinci Hoca was a religious leader in occult sciences who took advantage of the Sultan’s mental problems and seriously influenced him. As a result, the Sultan executed his Grand Vizier in 1644 and exiled his mother. He originally intended to send his mother to the island of Rhodes, but eventually, his concubines persuaded him to send her only to another palace. Kösem Sultan spent the next few years there in exile, but during that time she corresponded regularly with the statesmen and tried to keep everything under control. She probably wrote her well-known letter to Hezarpare Ahmed Pasha here, saying, "In the end, he will not leave you or me alive and we will lose control of the state again, thereby destroying our society." The situation deteriorated to the point that in 1647 Kösem Sultan and the new Grand Vizier, Salih Pasha and Seyhülislam Abdürrahim Efendi tried to dethrone Ibrahim but they failed. The next year, both the Janissaries and the Ulema joined the rebellion, and on August 8, 1648, the mad sultan was easily dethroned and imprisoned and his followers were removed from positions.

Ibrahim was succeeded by his son, Mehmed, who was barely 6 years old, andso he needed a regent. The statesmen asked Kösem Sultan for the honorary task. The position of regent was usually held by teachers, pashas, or mothers (in the case of Mehmed II, the Grand Vizier was regent; in Ahmed I, his mother and teacher; in Murad IV, and Ibrahim's case their mother), so Kösem Sultan was the first grandmother to become regent. According to the most accepted opinions, this happened because Mehmed’s mother, Turhan Hatice, was not even 25 years old at the time, too young and inexperienced to run the empire. Anyhow Kösem Sultan started her third regency and she constantly disregarded Mehmed’s mother, Turhan. Because of Turhan’s youth, she might truly would not have been the best regent, yet she had every right to control the harem. Kösem Sultan, however, did not allow this to the young woman either. So Turhan, in vain was the mother of the reigning sultan, all her duties were ruled by Kösem Sultan. Kösem Sultan gained more and more enemies both in the divan and the harem, so both places split into two sides: Kösem Sultan and her supporters and Turhan Sultan and her supporters.

Two opposite sides and characters

Kösem Sultan and her supporters

Kösem Sultan ruled the empire as a regent for decades, and when she was not a regent, she followed events as valide sultan. Earlier in her life, she worked together with most of the pashas. During her first regency, she said that she, as the representative of the ruler, intended to be there at the divan meetings in person. This was not allowed by the pashas and so she was forced to accept. During her third regency, however, she was not bowing before anyone’s will. She had lost all her sons, buried at least one daughter, sacrificed her whole life for the empire, so then she refused to compromise on anything anymore. She wished to rule the empire as an absolute monarch. And in the divan she dismissed everyone who disagreed with her. More and more people began to debate her right for ruling. One of her well-known divan speeches happed around this time. Kösem Sultan accused the Grand Vizier Sofu Ahmed Pasha of wanting to kill her, then she continued: “Thank God I survived four rulers and I ruled for a long time myself. The world will neither collapse nor reform with my death.”

Kösem Sultan went too far. She didn't just change the pashas she did not like but replaced them with Janissary officers. The Janissaries have served her with allegiance since the first regency of Kösem Sultan. Back then, in 1623, she went against everyone and gave the Janissaries a huge amount of money after Murad IV's accession to the throne. Although there were rebellions and disagreements, basically the Janissaries - but at least some of their corps - were loyal to Kösem Sultan. Representation of the Janissaries has been a thing for centuries, but to make Janissaries — or simply soldiers — vizieres was too much. Pashas learnt a lot and bore a lot to reach the highest possible positions and they were aware of how to be good veziers. This was their only aim and Kösem put Janissary officers there instead of educated statesmen. Everyone in the divan felt that Kösem Sultan wanted to build a military rule so that she could lead the empire in a way she liked. Thus, by 1651, only a few corps of Janissaries were actually on the side of Kösem in political terms. Although the people still loved her for her generous charity, in political terms their support did not mean much.

In addition to the growing tension with the pashas, Kösem Sultan had a rival in the harem also. Although most sources treat it as a fact that the relationship of Kösem Sultan and Turhan was terrible, there is no evidence to that effect. The relationship between the two of them only began to deteriorate over time, but in general, it can be said that Kösem Sultan just did not care about Turhan at all. She certainly looked down on her and didn't think much about Turhan. Kösem Sultan, although she had her own harem staff, did not have the most influential eunuch. Moreover, some said most of her servants also found her unworthy after realizing the way she treated Turhan. Perhaps it is no coincidence that so many sources mention a servant named Meleki Hatun, who famously switched sides and betrayed Kösem Sultan and began to strengthen Turhan’s side.

Turhan Hatice Sultan and her supporters

Turhan Hatice had more allies and so was in a better position in the harem than Kösem Sultan. She received help from an influential eunuch, Suleiman Agha. Suleiman aga was the leader of the harem agas, an ambitious eunuch with great power and contact system, with significant political influence. The harem was actually torn in two, thanks to the supporters of Kösem Sultan and Turhan Hatice. Both sides had their own chief eunuchs, which caused immense chaos within the harem, people did not know whose instructions to follow. And although the title of Valide Sultan belonged to Turhan Hatice as the mother of the sultan, the vernacular referred to her only as “small valide,” while Kösem Sultan was called “big valide”. Suleiman Agha's support, however, was worth its weight in gold. The eunuch looked primarily at his own interests throughout his life, and he had a great understanding of how to exploit and influence people. This is precisely why the possibility arises that it was Suleiman who set Turhan up and turned her against Kösem Sultan. Perhaps it was Suleiman who - hoping for his own rise from the young valide - persuaded her to take what was her right. In addition, Suleiman Agha was very liked by the young sultan, becoming a kind of father figure for the boy. Of course, it is not my intention to underestimate the role of Turhan in the events, but at the same time, I feel that the role of Suleiman Agha is actually underrated and I would like to make that clear. I’m not saying Turhan was a naive girl led by the evil Suleiman Agha, I just think that without Suleiman’s support and incitement, Turhan probably wouldn’t have, or much later, confronted Kösem Sultan.

In addition to Suleiman, three other major eunuchs also sided with Turhan: Hoca Reyhan Agha, Lala Hajji Ibrahim Agha, and Ali Agha. Hoca Reyhan Agha was closest to Turhan as his associate and religious leader, but Lala Hajji Aga was also a long-term partner in Turhan’s life. In addition to the eunuchs, we must also mention Meleki Hatun, whose legend is well known. According to this, she was the one who betrayed the plan of Kösem Sultan to Turhan, thus saving the little Sultan Mehmed from death and dethronement. However, the reality is probably less romantic. It is unlikely that a previously insignificant, never-ever mentioned servant like Meleki would have known about Kösem Sultan's plans and so could betray her. Certainly, Meleki was given a bigger role in the legend than she actually had. Maybe Meleki has agreed to be a scapegoat, testifying against Kösem Sultan if she gets goods in return. Given what a huge fortune Meleki gained after Kösem Sultan’s death, we can’t rule out this option either. Even if Meleki brought supporters for Turhan within the harem, she could have had quite a bit of an impact on the whole event. In addition to Turhan, the key figure was Suleiman Agha, who also had a close relationship with the divan, so he could easily connect members of the divan who were dissatisfied with Kösem Sultan. The most influential supporter was none other than the Grand Vizier, Siyavuş Pasha, but practically the entire divan turned against Kösem Sultan so far. It should also be mentioned that although most formations of the Janissaries were impartial or were on Kösem Sultan's side, the Sipahies tended to the group of Turhan and her supporters.

What led to the tragic night?

Before turning to the immediate causes, we need to jump back a bit in time to better understand Kösem Sultan's behavior. As is well known, Ibrahim I was succeeded by his son, Mehmed, barely 6 years old, who needed a regent. The statesmen asked Kösem Sultan for the honorary task. However, the request was rather strange. Why is that? The regent position was usually held by teachers, pashas, or mothers, and Kösem Sultan was none. Moreover, Kösem Sultan rejected the request for the first time on the grounds that she no longer has the strength to rule further.

Why did Kösem Sultan take on the task? Did she really want to retire?

To understand Kösem Sultan's thoughts, we need to jump a little further back in time. Kösem Sultan was in exile for years during Ibrahim's reign. From her exile, she repeatedly attempted a coup against her own son. From one of her surviving letters in exile, it is clear that she was part of the coup that eventually dethroned her son. Outwardly, however, she showed a very different picture. After Ibrahim was shut down, they wanted to put his son, Mehmed, on the throne. Kösem Sultan then met with the statesmen at Topkapi Palace to discuss with them what Ibrahim's fate should be. They negotiated for hours, but Kösem Sultan all along refused to give Ibrahim's eldest son to the statemen. The statesmen had to publicly convince Kösem Sultan for hours. Kösem Sultan who had previously done everything to dethrone her son is now standing by his son. Why? Of course, we will never know exactly what happened in her mind. However, it seems probable, that Kösem Sultan wanted to keep the image of a loving mother in front of the soldiers and the people. If she would just agree to Ibrahim's dethronement and Mehmed's enthronement that would be strange from a loving mother. Therefore, she held a sham debate with the pashas not to lose the sympathy of the people, but at the same time to keep the empire safe. Kösem Sultan was an experienced politician who was able to rule for years, and her loving and caring mother image was essential to that. Thus, with Kösem Sultan's consent, Sultan Ibrahim was eventually closed up and Mehmed has proclaimed their new sultan. Perhaps the first rejection of regency in 1648 was also part of a play like this. Kösem Sultan maybe felt the people expect this of her, so she offered to retire, while maybe in the background she had already agreed with the pashas.

And why did the members of the divan let Kösem Sultan to be the regent? After all, any of the members of the divan or even Mehmed's teacher could have applied for the task. And that would give huge power to them. So why did they give this opportunity to Kösem Sultan?

Ibrahim I was executed on August 18, 1648. Some say Kösem Sultan gave her consent to the execution but it cannot be ruled out that the execution took place behind her back. As I mentioned above, the mother of the dethroned or assassinated sultans has traditionally retreated to the Old Palace, where they lived their remaining years politically inactive. In her case, however, this did not happen. This raises the possibility that Kösem Sultan was unaware of Ibrahim’s execution and the pashas tried to reconcile the shattered woman with this gesture. Maybe Kösem gave her consent, knew what will happen, but still in the end she couldn't bear the pain. Either way, after the execution Kösem Sultan has changed. She turned against the pashas with whom she had always cooperated before. Whichever version is true, we can clearly see that the Kösem Sultan who became a regent to Mehmed IV, was no longer the same woman who had previously been considered the beloved mother of the empire.

But who ordered the execution of Ibrahim? Do we know? No, we do not know. Actually any of the statesmen could do it, but either Suleiman Agha or Turhan Sultan could make the little sultan to sign the fetwa petition and then send it to the Seyhülislam to authorize. Anyhow, the fetwa was authorized with full right, as Ibrahim was very harmful to the empire.

The murder

As can be seen from the above summary, Kösem Sultan was trying to build an absolute monarchy in which no one but a few Janissary corpses supported her, so a huge team gathered against her. According to the well-known version, over time, the strife between Kösem Sultan and the statesmen escalated to the point that, with the support of Turhan Hatice, the statesmen tried to remove her from her position. Kösem Sultan in response to this planned to dethrone Sultan Mehmed and put her other grandson on the throne instead. To do this, she wanted to let the Janissaries into the palace so that they could carry out the coup at night, which is why she left the gate to the harem open for the night. However, Kösem Sultan's plan was revealed to her enemies. According to some it was a servant named Meleki Hatun, who betrayed Kösem and told her plans to Turhan. Thus, as soon as the men of Kösem Sultan opened the gate on September 2, 1651, the men of Turhan Hatice, led by Chief Eunuch Suleiman Agha, closed it and sent an execution squad to the residence of Kösem Sultan. When she heard knocking on her door Kösem Sultan thought that her own allies had come, so she shouted at them, “Have you come?”. However, instead of the voice of the Janissaries, she heard the voice of the eunuch Suleiman Agha, which made her panic and flee. It’s not exactly known if she did get out of her apartment and if yes then how because the descriptions don’t match. Some said she hid in a closet inside her apartment, others said she tried to get to the Janissaries, but she couldn’t get through the closed gate, so she finally hid in the room next to the gate.

The execution squad, which consisted of several eunuchs (Suleiman Agha, Hoca Reyhan Agha, Lala Hajji Ibrahim Agha, and Ali Agha, as well as some unknown eunuchs) continued the search. Kösem Sultan hid in a closet from which the edge of her dress protruded, revealing her hiding place. When they found her, she threw money at her executioners, trying to pay them off, but she had no chance against Turhan's loyal men. Legend has it that while the men tried to capture and strangle the valide sultan they ripped out her diamond earrings - which she had received from Sultan Ahmed - from her ears; torn apart her clothes as they tried to take away the precious ornaments from her. Kösem Sultan beyond her sixties fought very hard but in the end, the eunuchs overcame her. Some say she was strangled with her own hair, others said with a curtain. She survived the first strangulation attempt but did not survive the second.

However, there are several points in the story above that raise doubts:

- Kösem Sultan's problem was not Mehmed but was the pashas, Turhan and Suleiman Agha. Then why didn't she get rid of them? Wouldn’t it have been easier and more logical to kill these people than to dethrone one child sultan for the benefit of another child? Of course, we can justify this with the fact that Kösem Sultan was no longer sane, so let’s not even look for logic in her actions. However, it may also raise the possibility that perhaps Kösem Sultan was completely or at least partially innocent throughout the series of events. She may not have planned anything with the Janissaries, the whole plan was only invented by Turhan and her men to legitimize their own actions. However, it contradicts that the Janissaries were indeed preparing to gather on the tragic night, and it is unlikely that Turhan and her team could successfully cheat the Janissaries without Kösem Sultan realizing it. It is possible that Kösem Sultan was indeed prepared for a minor coup, but it was perhaps not directed against Mehmed. Kösem Sultan had to realize that besides the pashas, Suleiman Aga was behind the "rebellious" behavior of Turhan and Mehmed. I think Kösem Sultan planned a smaller coup in which she would have got rid of the eunuchs and servants she didn’t like and would have scared Mehmed and Turhan. This would have ensured her own power and that neither Turhan nor Mehmed would question her anymore.

- Why was Kösem Sultan killed in such a strange way? After all, the lawful, usual method of execution was by an execution squad with Seyhülislam fetwa and silk/bow string. (It is important to note, however, that female members of the dynasty have not been executed before, women have typically been punished only with exile.) Kösem Sultan in contrast was killed by inexperienced eunuchs, with a kind of fake fetwa, and by her own hair or a curtain. The question arises that perhaps the execution of Kösem Sultan was not even planned. If the execution would be planned, executioners could clearly kill her after a legal fetwa. About the fetwa... There was, of course, a fetwa, but the temporality is somewhat disturbed by the fact that the Seyhülislam was replaced by one of Turhan's trusted men just when the execution took place. Precisely because of this, and because of the unusual brutality of the execution, there is a possibility that perhaps the execution of Kösem Sultan was not originally planned, only things slipped out of control, and in the heat of the moment, the Eunuchs executed Kösem Sultan. In retrospect, to legalize the events, they produced a fetwa with the new Seyhülislam.

- But then who and why did finally decide that Kösem Sultan should die? Turhan was not present at the events, and since the murder was not planned in advance - based on the fetwa and executioners - I would remove her from the list of suspects. Of course, it cannot be ruled out that Turhan Hatice Sultan and Suleiman Agha talked about this possibility also. It is more probable, however, that they originally merely wanted to scare Kösem Sultan, to show her that she had been exposed, that time had passed over her. In my opinion, Turhan hoped that Kösem Sultan would admit her defeat and simply retire to the Old Palace. It would have been too risky to kill a venerate and beloved valide, especially knowing that none of the female members of the dynasty had ever been executed before. They probably wanted to resign her, but so far there was nothing to lose for Kösem Sultan. The only thing that still made her vivid was power, so she certainly objected to the idea of forced retreat. When Suleiman Agha realized that Kösem Sultan was not listening to them, perhaps out of fear, he decided they had to kill her. After all, if the enraged Kösem Sultan had come out of the palace, Suleiman and the other eunuchs would have found themselves headless at once. Although there is no evidence of it, my personal opinion is that Suleiman may have wanted this from the first minute, as he knew full well that Kösem Sultan would never retire. Either way, the eunuchs eventually defeated and executed the elderly valide in a way that could not be called professional at all.

- Can we completely rule out that Kösem Sultan was executed with a truly legal fetwa and by an execution squad? Unfortunately, this cannot be ruled out either. The English ambassador, for example, reported that an execution squad had killed Kösem Sultan after a fetwa requested by the young sultan. He said that the execution happened in front of Mehmed eyes. We must admit though that the English ambassador was not among the best-informed ones. It is likely that everyone at the time believed that the fetwa was pre-issued. Only later, after historians’ research, it became very possible that the fetwa was presumably made after the execution of Kösem Sultan. It is not seems reasonable that Kösem Sultan would have been executed before the eyes of her 10-year-old grandson, Mehmed. Turhan tried very hard to protect her son, unlikely to have exposed him to such a trauma. Mustafa Naima agrees with the English ambassador that the execution was planned in advance, but he said it was not the eunuchs but an execution squad that killed Kösem Sultan. However, then why was the execution brutal? Why wasn't there a silk/bow string? Why was it performed by unfit eunuchs?

The aftermath of the murder

To prevent any resistance, during the night, Turhan Hatice and her men removed all statesmen who would have endangered them. The first man to be appointed that night was Ebu Said Efendi, the new Seyhülislam. He was the one who eventually issued the fetwa for the execution of Kösem Sultan (in retrospect). Turhan then sent a message to all statesmen and soldiers to immediately go to an audience where they would take allegiance to Sultan Mehmed. Most, out of fear or out of sincere feelings, immediately approached the Sultan, and those who did not, the new Seyhülislam issued a fetwa for them. Thus it became lawful to execute the supporters of Kösem Sultan, since they did not appear before the Sultan either. And the rebellious Janissaries were thus stigmatized as traitors and were legally executed. For commoners, they became the scapegoat for the death of Kösem Sultan. After the murder, Kösem Sultan was transported to the Old Palace, where her body was prepared for the funeral. She received an imperial funeral, and the people of Istanbul voluntarily held 3-day mourning, closing all shops and stores. Kösem Sultan has always been popular among the people, but interestingly the same people did not turn against Turhan because of the death of Kösem Sultan, in fact, Turhan became as loved and revered valide sultan just as Kösem Sultan was.

What happened to the real culprits? Turhan and Mehmed escaped, of course, but it is questionable whether they had any part in the murder at all. It is true that a rebellion in 1656 seriously shook their power, but in the end, they did not lose it. The main reasons for this were the weak Grand Veziers, the resurgent Celali rebellion, and the war with the Venetians. Due to the war people of the capital did not get enough grain, the soldiers were not properly paid, but ordinary people were also increasingly dissatisfied, especially angered by the extreme wealth of those close to the Sultan. Eventually, under the leadership of the Janissaries and Spahis, the people revolted on the fourth of March 1656. During the rebellion, several of those close to the sultan were brutally executed, the whole capital was ravaged. The mob hung all 31 people on trees next to the Blue Mosque. Among them was Meleki Hatun, whom the sultan especially loved. Although the capital has been shaken by riots in the past, such a rebellion has never happened before. Not only did the soldiers revolt, but the people also stood by the soldiers as one. Everyone closed their shops, a general strike took place during the rebellion.

Suleiman Agha was no longer in power when the rebellion took place and perhaps this held his head on his neck. After the assassination of Kösem Sultan, he became the chief black eunuch, but he could only enjoy the position until July 1652. Suleiman continued to stretch beyond his blanket, trying to change political issues that had nothing to do with him. Turhan Hatice also began to realize that Suleiman was not on their side at all, but only on his own. Of particular interest is that Lala Ibrahim Agha convinced Turhan of this, who himself took part in the execution of Kösem Sultan. Lala Ibrahim Agha was Turhan’s personal eunuch and he never longed (or wisely didn’t show her) for a higher position. Turhan was thus finally dismissed Suleiman Agha in 1652 and exiled him to Egypt. The refined eunuch even invented himself in exile, growing into an influential figure who became one of the main figures in Cairo’s local politics. He died in 1676/7.

Epilogue

We will probably never know exactly what led to the execution and how it took place. Nor was my aim with the post to present a perfect solution in the manner as Hercule Poirot usually does. I merely wished to shed light on the fact that the generally known and accepted theory should be regarded with some healthy doubts. The fact that it is the most generally accepted theory, does not mean it is the most thorough. There are plenty of question marks, dubious information which makes it clear that this whole situation was more complicated than two women fighting for domination over the harem.

Kösem Sultan was the sultana who broke the highest, who could have been at the top for a long time, but from the great heights, she finally fell down and became the only murdered valide sultana ever. Kösem Sultan had several titles during her life: Naib-i Sultanat (regent of the Ottoman Empire), Umin al-Mu'minin (mother of all muslims), Büyük Valide Sultan (great Valide Sultan), Valide-i Sehide (martyred mother), Valide-i Maktule (murdered mother), Valide-i Muazzama (magnificent mother).

Used sources: M. Kocaaslan - IV. Mehmed Saltanatında Topkapı Sarayı Haremi: İktidar, Sınırlar ve Mimari; L. Peirce - The Imperial Harem; Ö. Kumrular - Kösem Sultan: iktidar, hırs, entrika; C. Finkel - Osman’s Dream: the History of the Ottoman Empire; M. P. Pedani - Relazioni inedite; N. Sakaoğlu - Bu Mülkün Kadın Sultanları; G. Börekçi - Factions and Favorites at the Courts of Sultan Ahmed I and His Immediate Predecessors; F. Davis - The Palace of Topkapi in Istanbul; Faroqhi - The Ottoman Empire and the World; C. Imber - The Ottoman Empire 1300-1650; F. Suraiya, K. Fleet - The Cambridge History of Turkey 1453-1603; F. Suraiya - The Cambridge History of Turkey, The Later Ottoman Empire, 1603–1839; Ö. Düzbakar - Charitable Women And Their Pious Foundations In The Ottoman; G. Junne - The black eunuchs of the Ottoman Empire, Networks of Power in the Court of the Sultan.

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A Nők szultánátusának egyik legtöbbször tárgyalt témája Köszem szultána brutális kivégzése. Általában a laikusok elintézik annyival, hogy Köszem szultánát menye, Turhan Hatice gyilkoltatta meg hosszas hatalmi harc lezárásaként. Rengeteg beszámoló áll rendelkezésünkre az eseményekről, ám meglehetősen kevés van köztük, mely konkrétan korabeli lenne. Ebben az írásban szeretném összegezni, hogy mit tudunk, kik voltak a szereplők az eseményekben és hogy mi történhetett azon a bizonyos éjjelen. A kommentszekcióban várom mindenki véleményét, megjegyzését a témáról, hogy meg tudjuk vitatni a posztot! :) Aki nem ismerné Köszem szultánát, az ITT tudja elolvasni életrajzát.

Mit tudunk biztosan?

- Köszem I. Ibrahim trónfosztása és kivégzése után régens lett unokája IV. Mehmed mellett. - Turhan, Mehmed anyja és Köszem külöböző oldalon álltak a politikai játszmák során. - Köszemet 1651. szeptember 2-án meggyilkolták ellenségei. - Turhan Hatice lett az új régens, Köszem gyilkosai nem lettek megbüntetve, támogatóitól azonban rövidesen megszabadultak.

Előzmények

Köszem szultána 1640 februárjában másodjára került hatalomra. Zavart elméjú fia, I. Ibrahim mellett régensként kezdte irányítani az Oszmán Birodalmat. Köszemet mindenki szerette, az uralkodásban hatalmas tapasztalata volt, rengeteget jótékonykodott. Minden tökéletesnek tűnt, azonban fia, Ibrahim hamarosan rossz emberek befolyása alá került. Cinci Hoca okkult tudományokkal foglalkozó vallási vezető volt, aki kihasználta a szultán mentális problémáit és komolyan befolyásolta őt. Ennek az lett az eredménye, hogy a szultán 1644-ben a nagyvezírét kivégeztette, édesanyját pedig száműzte. Eredetileg Rodosz szigetére szándékozta küldeni anyját, de végül ágyasai meggyőzték, hogy csak egy másik palotába küldje. Köszem elkövetkezendő éveit ott töltötte száműzetésben, ám ezalatt az idő alatt is rendszeresen levelezett az államférfiakkal és igyekezett kézben tartani mindent. Valószínűleg itt írta meg jól ismert levelét is Hezarpare Ahmed Pasának, mely így szólt: “Végül sem titeket, sem engem nem hagyna életben és újra elveszítenénk az uralmat az állam felett, ezzel pedig lerombolnánk társadalmunkat.” Odáig fajult a helyzet, hogy 1647-ben Köszem szultána és az új nagyvezír, Salih Pasa és a Seyhülislam Abdürrahim Efendi megpróbálták trónfosztani Ibrahimot, azonban lebuktak. A következő évben a janicsárok és az ulema is csatlakozott a lázadáshoz és 1648 augusztus 8-án könnyűszerrel trónfosztották és bebörtönözték az őrült szultánt, követőit pedig eltávolították a pozíciókból.

Ibrahimot a trónon fia, az alig 6 éves Mehmed követte, aki mellett szükség volt egy régensre. Az államférfiak Köszemet kérték fel a megtisztelő feladatra. A régensi pozíciót általában tanítók, pasák vagy édesanyák látták el (II. Mehmed esetében a nagyvezír volt régens, I. Ahmednél anyja és tanítója, IV. Muradnál és I. Ibrahimnál anyjuk), így Köszem volt az első nagymama, akiből régens lehetett. Erre a legelfogadottabb vélemények szerint azért kerülhetett sor, mert Mehmed édesanyja, Turhan Hatice még 25 éves sem volt ekkor, túl fiatal és tapasztalatlan volt a birodalom irányításához. Köszem tehát belekezdett harmadik régensségébe és folyamatosan semmibe vette Mehmed édesanyját, Turhant. Turhan fiatalsága okán talán tényleg nem lett volna jó régens, ugyanakkor a hárem irányításához minden joga megvolt. Köszem viszont ezt sem engedte meg a fiatal nőnek. Turhan tehát hiába volt a regnáló szultán anyja, minden feladatkörét Köszem uralta. Emellett Köszem a divánban is egyre több ellenségre tett szert, így a hárem és a divan is két oldalra szakadt: Köszem támogatóira és Turhan támogatóira.

Két, szemben álló oldal és a szereplők

Köszem oldala

Köszem évtizedeken át uralta régensként a birodalmat, amikor pedig nem régens volt, valideként követte figyelemmel az eseményeket. Életének korábbi szakaszában a legtöbb pasa mellette állt, ami nem volt elmondható harmadik régensségéről. Köszem első régenssége alatt is jelezte, hogy ő, mint az uralkodó reprezentálása ott kíván lenni a divan gyűléseken személyesen. Ezt akkor a pasák nem engedték meg neki, amit ő kénytelen-kelletlen el is fogadott. Harmadik régenssége során azonban szó sem lehetett arról, hogy meghajoljon bárki akarata előtt. Elveszítette összes fiát, legalább egy lányát is eltemette már, egész életét a birodalomnak áldozta, nem volt hajlandó többé bármiben is kompromisszumot kötni. Gyakorlatilag egyeduralkodóként kívánta irányítani a birodalmat. A divanban pedig aki nem értett vele egyet, azt eltiporta és menesztette. Köszem jogát az uralkodáshoz egyre többen kezdték el vitatni, egyik ilyen divan vita során hangzott el a jól ismert beszéde is. Ekkor Köszem megvádolta a nagyvezír Sofu Ahmed Pasát azzal, hogy meg akarta őt öletni, majd így folytatta: “Istennek hála négy uralkodót segítettem és én magam is hosszú ideig uralkodtam. A világ nem fog sem összeomlani sem megreformálódni a halálommal.”

Köszem azonban nem elégedett meg a pasák megalázásával, tanácsaik el nem fogadásával. Még csak nem is neki tetsző más pasákra cserélte le őket, hanem janicsárokat kezdett vezíri rangra emelni. A janicsárok Köszem első régenssége óta hűséggel szolgálták az asszonyt, amiért az mindenkivel szembe menve 1623-ban hatalmas trónralépési jussot adott a janicsároknak IV. Murad trónralépése után. Bár voltak lázadások és egyet nem értések, alapvetően a janicsárok - de legalábbis néhány hadtestük - hűségesek voltak Köszemhez. A janicsárok képviselete évszázadok óta működött, azonban az, hogy janicsárokat - vagy egyszerűen katonákat - tegyenek vezírré a kitanult államférfiak helyett, több volt a soknál. Mindenki úgy érezte a divanban, hogy Köszem egy katonai uralmat kíván kiépíteni, hogy a neki tetsző módon vezethesse a birodalmat. Így Köszem oldalán 1651-re tulajdonképpen csak a janicsárok néhány hadteste állt politikai értelemben. Bár a nép továbbra is szerette őt bőkezű jótékonykodása miatt, politikai értelemben az ő támogatásuk nem jelentett sokat.

Amellett, hogy a pasákkal egyre nőtt a feszültség, Köszem a háremben is riválisra akadt. Bár a legtöbb forrás tényként kezeli, hogy Köszem és menye, Turhan viszonya tragikus volt, nincs erre utaló bizonyíték. Kettejük viszonya csak az idő előrehaladtával kezdett megromlani, általánosan azonban inkább az mondható el, hogy Köszem egyáltalán nem foglalkozott menyével. Mindenbizonnyal lenézte és nem tartotta sokra Turhant, így komolyan sem vette a nőt. Köszemnek bár megvolt a saját hárem személyzete, a legbefolyásosabb eunuch nem volt a kezében. Mindemellett egyesek szerint szolgálói nagyrésze is méltatlannak találta, ahogy Köszem Turhannal bánt. Talán nem véletlen, hogy oly sok forrás említi a Meleki Hatun nevű szolgálót, aki híresen oldalt váltott és Köszemet elárulva Turhan oldalát kezdte erősíteni.

Turhan Hatice oldala

Turhan Hatice a háremben jobban állt, mint Köszem. Segítséget kapott egy befolyásos eunuchtól, Szulejmán agától. Szulejmán aga volt a hárem agák vezetője, aki nagy hatalommal és kapcsolatrendszerrel rendelkező, ambíciózus eunuch volt, jelentős politikai befolyással. A hárem tulajdonképpen két oldalra szakadt, Köszem és Turhan Hatice támogatóira. Mind a két oldalnak megvolt a saját főeunuchja, ami hatalmas káoszt okozott a háremen belül, az emberek nem tudták, kinek az utasításait kövessék. És bár a valide szultána titulus a szultán anyjaként Turhan Haticét illette meg, a köznyelv csak “kis valide”-ként hivatkozott rá, míg Köszem volt a “nagy valide”. Szulejmán Aga támogatása ugyanakkor aranyat ért. Az eunuch első sorban a saját érdekeit nézte egész élete során, azonban remekül értett ahhoz, hogyan használjon ki és vezessen meg embereket. Épp emiatt felmerül annak a lehetősége is, hogy Szulejmán volt az, aki Turhant felbújtotta és Köszem ellen hangolta. Talán Szulejmán volt az, aki saját felemelkedését remélve a fiatal validétől, meggyőzte arról, hogy vegye el ami a saját jussa. Emellett Szulejmán Aga az ifjú szultánnal is megkedveltette magát, egyfajta apafigurává vált a fiú számára. Természetesen nem célom alábecsülni Turhan szerepét az eseményekben, ugyanakkor úgy érzem, hogy Szulejmán Aga szerepe ténylegesen alábecsült és ezt szeretném mindneképpen érzékeltetni. Nem azt mondom, hogy Turhan egy naíva volt, akit megvezetett a csúf, rossz Szulejmán Aga, csupán azt gondolom, hogy Szulejmán támogatása és felbújtása nélkül, Turhan valószínűleg nem, vagy sokkal később szállt volna szembe Köszemmel.

Szulejmán mellett három másik jelentősebb eunuch is Turhan oldalán állt, Hoca Reyhan Aga, Lala Hajji Ibrahim Aga és Ali Aga. Hoca Reyhan Aga állt legközelebb Turhanhoz, mint társalkodója és vallási vezetője, de Lala Hajji Aga is hosszútávú partner volt Turhan életében. Az eunuchok mellett meg kell említenünk Meleki Hatunt is, akinek legendája jól ismert. Eszerint ő volt az, aki Köszem tervét elárulta Turhannak, ezzel megmentve a kis Mehmed szultánt a haláltól és trónfosztástól. A valóság azonban valószínűleg kevésbé romantikus. Valószínűtlen, hogy egy korábban sosem említett, jelentéktelen szolgáló, mint Meleki tudott volna Köszem terveiről és el tudta volna árulni. Minden bizonnyal Melekit csupán oldalváltása miatt ruházták fel nagyobb szereppel, mint ami valójában volt. Talán Meleki elvállalta, hogy lesz bűnbak, tanúskodik Köszem ellen, ha cserébe javakat kap. Legalábbis tekintettel arra, hogy Meleki milyen hatalmas vagyonra tett szert Köszem halála után, nem zárhatjuk ki ezt az opciót sem. Meleki ha a háremen belül hozott is támogatókat Turhan számára, az egész eseményre meglehetősen kevés ráhatása lehetett. A kulcs figura Turhan mellett Szulejmán aga volt, akinek komoly kapcsolata volt a divánnal is, így könnyedén tudta csapatukhoz kapcsolni a divan Köszemmel elégedetlen tagjait is. A legbefolyásosabb támogató nem volt más, mint a Nagyvezír, Siyavuş Pasa, de gyakorlatilag szinte a teljes divan Köszem ellen fordult eddigre. Azt is meg kell említeni, hogy bár a jancsiárok legtöbb alakulata pártatlan vagy Köszem párti volt, a szpáhik inkább húztak a Turhan támogatói csoport felé.

Mi vezetett a tragikus éjszakához?

Mielőtt a közvetlen okokra rátérnék, kicsit vissza kell ugranunk az időben, hogy jobban megérthessük Köszem viselkedését. Mint ismert, trónfosztása után, I. Ibrahimot a trónon fia, az alig 6 éves Mehmed követte, aki mellett szükség volt egy régensre. Az államférfiak Köszemet kérték fel a megtisztelő feladatra. Ugyanakkor a felkérés meglehetősen furcsa volt. Miért is? A régensi pozíciót általában tanítók, pasák vagy édesanyák látták el, Köszem pedig egyik sem volt. Sőt, Köszem a felkérést először elutasította arra hivatkozva, hogy már nincs ereje tovább uralkodni.

Miért vállalta el Köszem mégis a feladatot? Valóban vissza akart vonulni?

Ahhoz, hogy megértsük Köszem gondolatait, még egy kicsit visszább kell ugranunk az időben. Köszem Ibrahim uralkodása során száműzetésben volt éveken át. Száműzetéséből pedig többször kísérelt meg puccsot saját fia ellen. Egyik száműzetésben írt levele alapján egyértelmű, hogy részese volt a puccsnak, mely végül fiát trónfosztotta. Kifelé azonban egészen más képet mutatott. Miután Ibrahimot elzárták, trónra szerették volna léptetni fiát, Mehmedet. Köszem szultána ekkor találkozott a Topkapi Palotában az államférfiakkal, hogy megvitassa velük mi legyen Ibrahim sorsa. Órákon át tárgyaltak, Köszem azonban végig megtagadta, hogy kiadja Ibrahim legidősebb fiát, Mehmedet. Így pedig nem lehetett őt kikiáltani szultánnak. Az államférfiaknak órákon keresztül kellett nyilvánsoan győzködniük Köszemet. Az a Köszem, aki korábban mindent elkövetett fia trónfosztásáért, most fia mellett állt ki. Miért? Természetesen sosem fogjuk megtudni, hogy Köszem fejében pontosan mi játszódott le. Valószínűnek tűnik azonban, hogy Köszem szerette volna megtartani a katonák és nép előtt a szerető anya képét, melybe nem fért bele saját fiának trónfosztása. Ezért egy álvitát tartott a pasákkal, hogy ne veszítse el a nép szimpátiáját, de ugyanakkor a birodalomnak is jót tegyen. Köszem tapasztalt politikus volt, aki éveken át tudott vezető szerepben maradni, ehhez pedig nélkülözhetetlen volt az imázs is. Így végül Köszem beleegyezésével elzárták Ibrahim szultánt, Mehmedet pedig új szultánjukká kiáltották ki. Talán a régensség első elutasítása is egy ehhez hasonló színjáték része volt. Köszem talán úgy érezte, hogy a nép ezt várja tőle, ezért felajánlotta visszavonulását, miközben talán a háttérben már régen megegyezett a pasákkal.

És a divan tagjai miért hagyták, hogy Köszem legyen a régens? Hiszen a divan tagjai közül akárki vagy akár Mehmed tanítója is jelentkezhetett volna a feladatra. Ez pedig hatalmas befolyást tett volna a férfiak kezébe. Miért engedték hát akkor át ezt a lehetőséget Köszemnek?

I. Ibrahimot 1648. augusztus 18-án kivégezték. Egyesek szerint Köszem szultána beleegyezését adta fia kivégzésébe, ám az sem zárható ki, hogy a kivégzés a háta mögött történt meg. Mint már fentebb említettem a trónfosztott vagy meggyilkolt szultánok édesanyja a tradíció szerint a Régi Palotába vonult vissza, ahol politikamentesen élték hátralévő éveiket. Köszem esetében azonban nem ez történt. Ez felveti annak eshetőségét, hogy Köszem nem tudott Ibrahim kivégzéséről és a pasák ezzel a gesztussal igyekeztek kiengesztelni az összetört nőt. De akkor ki rendelte el Ibrahim kivégzését? Gyakorlatilag bárki megtehette az államférfiak közül, de akár Szulejmán aga vagy Turhan is aláírathatta a fetwa kérvényt a kis szultánnal, melyet aztán a Seyhülislam teljes joggal engedélyezett, hiszen Ibrahim nagyon kártékony volt a birodalomra nézve. Akárhogyan is, Köszem a kivégzés után megváltozott. Vagy azért fordult a pasák ellen - akikkel korábban mindig együttműködő volt -, mert azok átverték őt Ibrahim kivégzésével kapcsolatban; vagy egyszerűen anyai szíve nem bírta elviselni, hogy beleegyezését adta fia kivégzésébe és megbomlott az elméje. Bármelyik verzió is igaz, azt tisztán látjuk, hogy az a Köszem, aki IV. Mehmed mellett régens lett, már nem ugyanaz az ember volt, akit korábban a birodalom imádott anyjának tekintettek.

A gyilkosság

Ahogy a fenti összefoglalásból is kiderül, Köszem egyeduralmat próbált kiépíteni, melyben néhány janicsár hadtesten kívül senki nem támogatta, így hatalmas csapat gyűlt össze ellene. A jól ismert verzió szerint, idővel a viszály Köszem és az államférfiak között odáig fajtult, hogy Turhan Hatice támogatásával az államférfiak megpróbálták Köszemet eltávolítani pozíciójából. Köszem válaszul erre azt tervezte, hogy trónfosztja IV. Mehmed szultánt és helyette másik unokáját ülteti a trónra. Ehhez a janicsárokat be kívánta engedni a palotába, hogy azok az éj leple alatt elvégezzék a puccsot, emiatt nyitva hagyatta éjszakára a hárem bejáratát. Köszem terve azonban ellenségei fülébe jutott, egyesek szerint egy Meleki nevű szolgáló által. Így amint Köszem emberei 1651. szeptember 2-án, kinyitották a kaput, Turhan Hatice emberei, a főeunuch Szulejmán Aga vezetésével bezáratták azt és kivégzőosztagot küldtek Köszem szultána lakrészébe. Mikor emberei Köszem lakrészéhez érve bekopogtak az ajtón, Köszem azt hitte, hogy saját emberei jöttek, ezért kikiabált nekik, hogy “Megjöttetek?”. Erre azonban a janicsárok hangja helyett Köszem az eunuch Szulejmán Aga hangját hallotta meg, amitől bepánikolt és menekülni kezdett. Nem pontosan tudni, hogy hogy jutott ki lakrészéből vagy ki jutott e egyáltalán, mert a leírások nem egyeznek. Egyesek szerint lakrészén belül bújt el egy szekrényben, mások szerint megpróbált kijutni a janicsárokhoz, azonban a zárt kapun keresztül nem tudott, így végül a kapu melletti szobában bújt el. A kivégzőosztag, amely több eunuchból (Szulejmán Aga, Hoca Reyhan Aga, Lala Hajji Ibrahim Aga és Ali Aga, valamint néhány ismeretlen eunuch) állt folytatta a keresést. Köszem egy szekrényben rejtőzött el, melyből ruhájának széle kilógott, ezzel felfedve rejtekhelyét. Amikor megtalálták, kivégzői elé pénzt dobott, ezzel próbálva lefizetni őket, ám esélye sem volt Turhan hű embereivel szemben. A legenda szerint a férfiak próbálták lefogni a validét, miközben füléből kitépték gyémánt fülbevalóit, melyeket Ahmed szultántól kapott; ruháját is megtépkedték, ahogy próbálták leszedni róla az értékes díszeket. Köszem túl a hatvanon is erősen ellenállt kivégzőinek, ám végül felülkerekedtek rajta. Egyesek szerint saját hajával, mások szerint egy függönnyel fojtották meg. Az első fojtogatási kísérlet után még magához tért, a másodikat azonban már nem élte túl.

Van azonban több olyan pont a fenti történetben, ami kétségeket ébreszt:

- Köszem problémája nem Mehmed volt, hanem a pasák, Turhan és Szulejmán Aga. Miért nem tőlük szabadult meg? Nem lett volna egyszerűbb és jogszerűbb meggyilkoltatni ezeket az embereket, mint trónfosztani az egyik gyermek szultánt egy másik gyermek javára? Természetesen megindokolhatjuk annyival a dolgot, hogy Köszem nem volt már épelméjű, így ne is keressünk logikát cselekedeteiben. Ugyanakkor felmerülhet az is, hogy talán Köszem teljesen vagy legalább részben ártatlan volt az egész eseménysorozatban. Elképzelhető, hogy nem tervezett semmit a janicsárokkal, az egész terv csak Turhan és emberei által lett kitalálva, hogy legitimizálják saját tetteiket. Ennek azonban ellent mond, hogy a janicsárok a tragikus éjszakán valóban gyülekezni készültek, az pedig nem valószínű, hogy Turhan és csapata sikerrel vezette meg a janicsárokat úgy, hogy Köszem erről ne szerzett volna tudomást. Lehetséges, hogy Köszem valóban készült egy kisebb puccsra, de az talán nem Mehmed ellen irányult. Köszemnek látnia kellett, hogy a pasák mellett Szulejmán Aga a fő felbújtó Turhan és Mehmed "rebellis" viselkedése mögött. Úgy vélem, Köszem egy kisebb puccsot tervezett, melyben megszabadult volna a neki nem tetsző eunuchoktól, szolgálóktól és ráijesztett volna Mehmedre és Turhanra. Ezzel biztosíthatta volna saját hatalmát és azt, hogy többé se Turhan se Mehmed ne kérdőjelezze őt meg.

- Miért gyilkolták meg Köszemet ilyen furcsa módon? Hiszen a jogszerű, szokásos kivégzési mód kivégző osztag által, Seyhülislami fetwával és selyemzsinórral történt. (Fontos ugyanakkor megjegyezni, hogy a dinasztia nő tagjain nem alkalmaztak korábban kivégzést, a nőket jellemzően száműzetéssel büntették.) Köszemet ezzel szemben képzetlen eunuchokkal, hamis fetwával és a saját hajával vagy egy függönnyel gyilkolták meg. Felmerül a kérdés, hogy talán Köszem kivégzése nem is volt eltervezve. Ha a kivégzés el lett volna tervezve, könnyedén tudtak volna kivégzőket szerezni selyemzsinórral és a fetwa kikérésének körülményei is egyértelműek lennének. Volt természetesen fetwa, de az időbeliséget kissé megzavarja a tény, hogy a régi Seyhülislamot ugyanakkor váltották le Turhan egyik megbízható emberére, mikor a kivégzés zajlott. Épp emiatt, és a kivégzés szokásostól eltérő brutalitása miatt, felmerülhet annak a lehetősége is, hogy talán Köszem kivégzése nem volt eredetileg eltervezve, csupán menet közben csúszott ki az irányítás Turhan kezéből és a pillanat hevében az eunuchok kivégezték Köszemet. Utólag pedig, hogy legalizálják az eseményeket gyártattak egy fetwát az új Seyhülislámmal.

- De akkor ki és miért döntött végül úgy, hogy Köszemnek meg kell halnia? Turhan nem volt jelen az események során, és mivel a gyilkosság nem volt előre eltervezve, őt kihúznám a gyanúsítottak listájáról. Természetesen az nem zárható ki, hogy Szulejmán Agával beszéltek erről az eshetőségről is. Valószínűbb azonban, hogy eredtileg csupán rá akartak ijeszteni Köszemre, megmutatni neki, hogy leleplezték, eljárt felette az idő. Véleményem szerint Turhan azt remélte, hogy Köszem beismeri vereségét és egyszerűen visszavonul a Régi Palotába. Túl kockázatos lett volna megölni egy ennyire tisztelt és szeretett validét, úgy, hogy korábban sosem végezték ki a dinasztia egyik nőtagját sem. Nem vall épelmére szánt szándékkal előrekitervelten, ilyen módon megölni Köszemet. Valószínűleg le akarták mondatni, Köszemnek azonban eddigre már nem volt vesztenivalója. Az egyetlen dolog, ami még éltette az a hatalom volt, így minden bizonnyal ellenkezett a kényszer visszavonulás gondolatától. Mikor Szulejmán Aga felismerte, hogy Köszem nem hallgat rájuk, talán félelemből úgy döntött meg kell őt ölniük. Hiszen ha a felbőszített Köszem kijutott volna a palotából Szulejmán és a többi eunuch azon nyomban fej nélkül találta volna magát. Bár nem utal rá bizonyíték, de személyes véleményem az, hogy Szulejmán talán az első perctől kezdve ezt akarta, hiszen tudta jól, hogy Köszem sosem fog visszavonulni. Akárhogyan is az eunuchok végül professzionálisnak egyáltalán nem mondható módon legyűrték az idős validét és kivégezték.

- Teljesen kizárható, hogy legális fetwa és kivégző osztag végzett Köszemmel? Sajnos ezt sem zárhatjuk ki. Az angol követ például arról számolt be, hogy kivégző osztag ölte meg Köszemet, az ifjú szultán által kért fetwa után, Mehmed szeme láttára. Igaz, hogy az angol követ nem a legjobban informáltak közé tartozott. Valószínű, hogy mindenki úgy hitte akkoriban, hogy a fetwa előre volt kiadva, csak később, a történészek kutatásai világítottak rá arra, hogy a fetwa feltehetőleg Köszem kivégzése után készült el. Azt pedig, hogy Köszemet a 10 éves Mehmed szeme láttára végezték volna ki, nem tartom valószínűnek. Turhan nagyon erősen igyekezett óvni fiát, nem valószínű, hogy kitette volna őt egy ilyen traumának. Mustafa Naima abban egyetért az angol követtel, hogy a kivégzés előre megtervezett volt, ám szerinte nem eunuchok, hanem kivégző osztag végzett a valide szultánával. Azonban akkor miért volt brutális a kivégzés? Miért nem volt selyemzsinór? Miért alkalmatlan eunuchok vitték véghez?

A gyilkosság utóhatása

Hogy megakadályozzanak bármiféle ellenállást, Turhan Hatice és emberei az éjszaka folyamán minden olyan államférfit eltávolítottak posztjáról, aki veszélyeztette volna őket. Az első ember, akit kineveztek akkor éjjel, az Ebu Said Efendi lett, az új Seyhülislam. Ő volt az, aki végül kiadta a fetwát Köszem kivégzésére (utólagosan). Ezekután Turhan megüzente az összes államférfinak és katonának, hogy azonnal menjenek audienciára, ahol hűséget fogadnak Mehmed szultánnak. A legtöbben félelemből vagy őszinte érzések által vezérelve, azonnal a szultán elé járultak, akik pedig nem, azokra az új Seyhülislám fetwat adott ki. Így vált jogszerűvé Köszem támogatóinak kivégzése is, hiszen ők sem jelentek meg a szultán előtt. A lázadó janicsárok pedig így árulóként lettek megbélyegezve és legálisan kivégezték őket. A nép szemében végül ők lettek bűnbaknak kikiáltva Köszem haláláért. Köszemet a gyilkosság után a Régi Palotába szállították, ahol előkészítették testét a temetésre. Birodalmi temetést kapott, Isztambul népe pedig önkéntesen 3 napos gyászt tartott, bezárva minden boltot és üzletet. Köszem mindig népszerű volt az emberek között, ám érdekes módon ugyanaz a nép, nem fordult Turhan ellen Köszem halála miatt, sőt, Turhan hasonlóan szeretett és tisztelt valide szultána lett, mint amilyen Köszem volt.

Mi történt a valódi bűnösökkel? Turhan és Mehmed természetesen megúszták, ugyanakkor kérdéses, hogy a gyilkosságban egyáltalán volt e részük. Igaz egy 1656-os lázadás komolyan megrengette hatalmukat, de végül nem veszítették el azt. A lázadásnak a legnagyobb oka a gyenge nagyvezírek, az újjáéledő Celali lázadás és a velenceiekkel vívott háború voltak. A körülmények miatt nem jutott elég gabona a fővárosba, a katonák nem kaptak rendesen fizetést, de az egyszerű emberek is egyre elégedetlenebbek voltak, különösen dühítette őket a szultánhoz közelállók extrém gazdagsága. Végül a janicsárok és szpáhik vezetésével a nép fellázadt 1656 március negyedikén. A lázadás során a szultánhoz közelállók közül többeket brutálisan kivégeztek, az egész fővárost feldúlták. A csőcselék Mehmed 31 közeli emberét a Kék Mecset mellett akasztotta fel egy egy fára. Köztük volt Meleki Hatun is, akit a szultán különösen szeretett. Bár korábban is rázták meg lázadások a fővárost, ehhez fogható még sosem történt. Nem csak a katonák lázadtak fel, a nép is egy emberként állt ki a katonák mellett és állt be mögéjük. Mindenki bezárta boltjait, általános sztrájk lépett érvénybe a lázadás idejére.

Szulejmán Aga már nem volt hatalmon amikor a lázadás megtörtént és talán ez tartotta helyén a fejét. Szulejmán Köszem meggyilkolása után a fő hárem eunuch lett, ám a pozíciót csupán 1652 júliusáig élvezhette. Szulejmán tovább nyújtózkodott, mint a takarója ért, olyan politikai témákba is igyekezett beleszólni, amihez semmi köze nem volt. Turhan Hatice is kezdte felismerni, hogy Szulejmán egyáltalán nem az ő oldalukon áll, hanem csak a saját magáén. Külön érdekesség, hogy az a Lala Ibrahim Aga győzte meg erről Turhant, aki maga is részt vett Köszem kivégzésében. Lala Ibrahim Aga Turhan személyes eunuchja volt és maga sosem vágyott (vagy bölcsen nem mutatta ki) ennél magasabb pozícióra. Turhan így végül 1652-ben megfosztotta pozíciójától Szulejmán Agát és száműzte Egyiptomba. A rafinált eunuch még a száműzetésben is feltalálta magát, befolyásos személlyé nőtte ki magát, aki Kairó helyi politikájának egyik főszereplője lett. 1676/7-ben halt meg.

Epilógus

Valószínűleg sosem fogjuk pontosan megtudni, hogy mi vezetett a kivégzéshez és hogyan zajlott az le. A poszttal nem is az volt a célom, hogy egy tökéletes megoldást mutassak be Hercule Poirot módjára, csupán szerettem volna rávilágítani arra, hogy az általánosan ismert és elfogadott teória, inkább megszokásból tekintendő a legáltalánosabban elfogadottnak, nem pedig alapossága miatt. Rengeteg a kérdőjel, kétes információ és helyzet a kivégzés körülményei között, ami egyértelműsíti, hogy ez az egész helyzet bonyolultabb volt annál, minthogy két nő harcot vívott a hárem feletti uralomért.

Köszem volt az a szultána, aki a legmagasabbra tört, aki sokáig lehetett a csúcson, azonban a nagy magasságból zuhant végül alá és vált az egyetlen meggyilkolt valide szultánává. Élete során több címet is kapott: Naib-i Sultanat (az Oszmán Birodalom régense), Umin al-Mu'minin (minden muszlimok anyja), Büyük Valide Sultan (nagy valide szultána), Valide-i Sehide (a mártír anya), Valide-i Maktule (a meggyilkolt anya), Valide-i Muazzama (a csodálatos anya).

Felhasznált források: M. Kocaaslan - IV. Mehmed Saltanatında Topkapı Sarayı Haremi: İktidar, Sınırlar ve Mimari; L. Peirce - The Imperial Harem; Ö. Kumrular - Kösem Sultan: iktidar, hırs, entrika; C. Finkel - Osman’s Dream: the History of the Ottoman Empire; M. P. Pedani - Relazioni inedite; N. Sakaoğlu - Bu Mülkün Kadın Sultanları; G. Börekçi - Factions and Favorites at the Courts of Sultan Ahmed I and His Immediate Predecessors; F. Davis - The Palace of Topkapi in Istanbul; Faroqhi - The Ottoman Empire and the World; C. Imber - The Ottoman Empire 1300-1650; F. Suraiya, K. Fleet - The Cambridge History of Turkey 1453-1603; F. Suraiya - The Cambridge History of Turkey, The Later Ottoman Empire, 1603–1839; Ö. Düzbakar - Charitable Women And Their Pious Foundations In The Ottoman; G. Junne - The black eunuchs of the Ottoman Empire, Networks of Power in the Court of the Sultan.

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raeynbowboi · 5 years

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Dating Disney: Beauty and the Beast

Beauty and the Beast features my favorite love story and my favorite Disney Princess, so it holds a very special spot in my heart. So, it’s worth looking into the film to decide when the Movie is supposed to be set.

During the opening musical number “Belle”, Belle is telling the Baker about the book she’s been reading. She’s clearly describing Jack and the Beanstalk, the earliest version being the tale of “Jack Spriggins and the Enchanted Bean” in 1734. But she also deliberately mentions an ogre, not a giant. Near as I could find, the only version with an ogre was written by Joseph Jacobs in 1890, making Belle nearly contemporary to modernity. Belle’s excitement over the book is likely a sign that this is a new story.

During the same musical number, we see a sign depicting a tobacco pipe, but unlike with the Calabash pipe from the Little Mermaid movie. I could place it to possibly be a Billiard type, but the exact era of creation escapes me. However, tobacco pipes have been around as long as Tobacco has been introduced to European trade, starting in the 16th century.

The history of colored printing goes as far back as the 16th century, and there are illustrations from the early 1700s with an impressive variety of color that help establish a stronger time period. The book also shows the words Le Prince Charmant or Prince Charming. Prince Charming started being used in 1697 in Charles Perrault’s version of Sleeping Beauty, although there, Prince Charming was not a name. Rather, Perrault stated that the Prince was charmed by her words. The first story to use Prince Charming as a name is the Tale of Pretty Goldilocks. It was written at some point in the 17th Century by Madame d’Aulnoy, but in her version the hero was named Avenant. It wasn’t until 1889 when Andrew Lang retold the story that Avenant was dubbed as Charming. One year later in 1890, Oscar Wilde used the term “Prince Charming” sarcastically in his novel “The Picture of Dorian Gray”, meaning that the term had gotten its more modern meaning by this point in time.

Gaston’s musket is a Blunderbuss, which was invented in the early 1600′s and remained popular through the 18th century before falling out of fashion in the middle of the 19th century. However, considering Belle states that this is a backwards town and Gaston is an old-fashioned, Primeval man, it’s possible he’s using a largely outdated weapon.

While there are no street lamps in the city, we can see in the background lanterns on the sides of buildings, which might allude to the movie taking place before the invention of gas lamps. However, gas lamps were invented in 1809, and if the version of Jack and the Beanstalk is from 1890, then by all accounts the town should have gas lamps. What this amounting evidence is leading me to believe is that the film is directly following the plot of the original fairy tale.

In the story, Beauty’s father is a merchant who loses his fortune due to a storm destroying his cargo. They’re forced to live on a farm until the merchant stumbles upon the Beast’s castle and kick starts the plot. In the opening song, Belle says “every morning’s just the same, since the morning that we came, to this poor, provincial town.” This could mean that she grew up in a much more modern, urban, and progressive town. Possibly even Paris. But that after Maurice suffered severe financial trouble, he was forced to move them to the small, backwards town that was practically living an entire century behind the rest of France, which is why she’s so bored and unimpressed by the little town. It helps explain why she’s so eager to want to get out of this town and see the world. She wants to be part of the modern world again.

Interestingly, I can support this theory with background information. According to some of my research, Belle’s village was based on the little town of Riquewihr, France, which still looks like it did in the 16th century to this day. So the idea that Belle’s little village lacks so many modern elements could be a nod to the architecture of this sleepy French village that has remained largely untouched by the march of time. Hence why it looks more like something out of the 1700s despite the many elements from the 1800s being present.

During the song “Be Our Guest”, Lumiere dances with a match stick. Match sticks were invented in 1805. Assuming the film still takes place in the 1890s, this would be concurrent with the other evidence we’ve seen thus far. Later in the same song, the silverware makes an Eiffel tower, which was constructed in 1889. Since Jack and the Beanstalk was written after that, it still fits within the suspected time frame.

During the climax of the battle, Cogsworth is wearing military garments reflective of Napoleonic styles. Napoleon was coronated in 1804 until 1814, had a brief return to power in 1815, and eventually died in 1821. So this is also congruent to the established time period.

In the Youtube Video “Fashion Expert Fact Checks Belle from Beauty and the Beast’s Costumes” by Glamour, April Calahan, a Fashion Historian from the Fashion Institute of Technology directly noted that Belle’s yellow gown lacks the shape of a proper 18th century dress, and more closely resembles the shape of 19th century dresses, fitting into the evidence that’s been mounting in support of a late 19th century setting.

As a part of his primary costume, Lefou wears a waistcoat and tailcoats, which came into vogue in the 1800s, namely from the 1840s through the 1850s.

But if the film is set in the 1800s, how can the Beast still be a prince after the French Revolution? Well something worth noting is that when he finds out that Belle isn’t coming to dinner, the Beast storms through the halls to her room as Cogsworth calls after him as “Your Eminence” and “Your Grace”. The address of “Your Eminence” is reserved for Cardinals of the Roman Catholic Church, and is an ecclesiastical style of address. “Your Grace” is noticeably an English style of address, but it’s being used by Cogsworth who is British, so I can chalk that up to just part of his culture. Although it was used for British monarchs, it fell out of use during the reign of King Henry VIII (1509-1547) and after that, the use of “Your Grace” became used to address archbishops and non-royal Dukes and Duchesses. Now clearly the Beast is not a cardinal or a bishop, especially if he is looking for the love of a woman to make him human, since it’s forbidden for Catholic priests to marry. So clearly that is not what is meant here. But the other answer actually does hold a bit of weight. Beast’s father was in fact, a Duke. So how is the Beast a prince? He’s not. Not entirely. See, there’s more than one kind of Prince in French nobility. There’s a Prince du Sang, or a Prince by Blood. Effectively, the Crown Prince, the sons of ruling monarchs. But the title is also given to lords in charge of a Principality, one of the smallest territorial sizes. The Beast’s principality probably only extends to having power over the little unnamed village. And with it being after the revolution, Beast might not even have the proper use of his title anymore. He’s effectively a rich kid in a fancy house with no real authority or power. He’s just old money from a by-gone era of human history. But if Beast’s address of “Your Grace” is accurate, that would mean that he’s a non-royal Duke, meaning he would not likely have been executed during the Revolution, as his family would have essentially been governors or senators than actual monarchs. They just had jurisdiction over a small piece of the Kingdom of France and reported back to and obeyed the orders of their King. Thus, he would not have been important enough to be killed or chased out of power by the townsfolk.

CONCLUSION

The movie is set between the late autumn and early-to-mid winter of 1890. Although the snow is gone when Belle returns to the village, the trees are still bare, signaling that it may just be unseasonably warm, though it could be the very early spring of 1891 between the receding of the snow and the blossoming of new spring foliage. Between the books, clothing, and references made, my conclusion is that Belle is a very modern girl living in a backwards little town stuck in the past, thus why a village in 1890 looks so completely lacking in modern technology despite the era. The Prince is nothing more than a fancy title as the son of a Duke, and he likely has very little if any actual government authority. Essentially, Belle married into wealth, not power, and will never be a proper queen, and I’m not sure if the wife of a lord ruling a principality is a princess or not, but I suspect the answer is no. Making Belle, like Mulan, a Disney Princess who did not marry royalty, was not born royalty, and thus, cannot be called a Disney Princess. She’s definitely a noblewoman, but she’s not royal by any means.

SETTING: Riquewihr, France

KINGDOM: The French Republic (France)

YEAR: Autumn, 1890 - Spring, 1891

PERIOD: The Third Republic (1870-1940)

LANGUAGE: French

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scope-dogg · 3 years

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Knight’s and Magic: Final Thoughts

Isekai anime have been very popular in recent years, and 2017′s Knight’s and Magic was one of many cashing in on that trend, with the added twist of being a mecha series. However, what many may not realise is that the Isekai genre of anime was originally born out of the mecha genre, with the first Isekai anime arguably being the 1983 classic Aura Battler Dunbine by Yoshiyuki Tomino. While Isekai has split off and diversified into its own extremely prolific and popular genre, mecha has kept a foothold within it, and subsequently some of the greatest mecha shows have been fantasy-themed, with great titles like Magic Knight Rayearth and The Vision of Escaflowne following in Dunbine’s footsteps over the years, so really Knight’s and Magic should be viewed rather as the continuation of a fairly long tradition of fantasy mecha rather than Isekai but with robots. Adapted from the early volumes of a currently ongoing manga by the same name, it’s a short series, but one with high production values, superb mechanical design and entertaining action. It’s also a series that I ultimately simply cannot stand.

The plot setup is that Tsubasa Kurata is an unassuming but highly talented programmer working in contemporary Japan - or at least he is until he’s killed in a road traffic accident. As he dies, he has but one regret - that he’ll no longer be able to live with his hobby of building plastic model kits of giant anime robots. As is often the case with such a setup, he finds himself reborn into a fantasy kingdom called Fremevilla as the son of nobles called Ernesti Echavalier. However, to his joy, he finds out that the main weapon for fighting back against these monsters is the Silhouette Knight, a kind of gigantic magic-powered mecha. Thus, he devotes himself to the art of learning everything there is about these machines and one day building and piloting one of his very own.

There’s nothing really wrong with this premise, but Knight’s and Magic is flawed in how one-track it is. The show’s really only about one thing - how robots are cool. Of course, I agree that robots are cool. Knight’s and Magic’s lineup of robots in particular is very cool, both in their form and unique functions. However, anyone who’s actually a fan of the mecha genre knows that just having cool robots isn’t enough to carry a show - you have to have compelling characters and interesting narratives. The all-too-frequently trotted-out line of “[x mecha show] is actually good, unlike the rest of the genre, because it focuses on the characters instead of just the robots” is probably the single most effective thing you can say if you want to piss off a mecha fan, because that sentence describes literally every mecha show that was ever worth a damn, even going back to the genre’s roots in the 70s. However, it arguably doesn’t really describe Knight’s and Magic. The series’ creators come off as just as obsessed with robots as its main character, and it comes at the expense of the characters and setting. Each new episode comes with a cool new robot or a cool upgrade for an existing one, but practically none of them feature development of the setting or its characters. Fremevilla and its neighbours never come off as anything more than “generic fantasy kingdom”, the supporting cast are all cut from extremely generic-feeling moulds, and Ernesti never undergoes any growth or exhibits any notable character traits beyond “likes robots.”

Now, there have been several characters in mecha anime who are in large part defined by their dedication to giant robots as an ideal, or simply to their aesthetic, and some of these are truly excellent characters. For instance, Gai Daigoji from Nadesico, Akagi Shunsuke from Dai-Guard, Noa Izumi from Patlabor, Sei Iori from Gundam Build Fighters, or the Super Robot Wars Original character Ryusei Date. The difference between all of these and Ernesti is that being fans of robots isn’t the only thing that makes them relatable or endearing characters, whereas in Ernesti’s case it’s basically the only thing that defines his personality. It also doesn’t help that he’s perhaps the biggest Mary Sue main character that I’ve seen in a mecha anime. His gimmick is that his past-life experience as a programmer also makes him profoundly adept at magic, and that he’s a genius Silhouette Knight designer. He’s always totally successful at everything he tries and everyone loves and respects him for his accomplishments. Ironically, it’s this that makes him an unlikable character for the viewer, because, again, he has no real admirable qualities beyond liking robots and being good at making and using them. It’s a character’s struggles and tribulations that ultimately make them truly sympathetic, and Ernesti is never really challenged until right at the very end of the series, and ultimately that challenge only feels like a mild speed bump for him. This results in a series that despite all its cool robots and flashy battles is fundamentally dead as a story at its core.

However, all of this simply describes a series that I would find boring and mediocre rather than one I actively disliked in a serious way. However, this is arguably the first series I’ve watched since Gundam Seed Destiny that really ground my gears quite badly, and it all boils down to one specific moment in the show’s narrative. To explain why, I need to diverge from my usual review format and spoil not only this show, but also it’s forefather, the original mecha Isekai, Aura Battler Dunbine. I really don’t think spoilers for the former is anything to worry about but spoiling the latter is probably more of an offense. As such, the remainder of this review is below this spoiler cut:

Dunbine is not everyone’s cut of tea. It’s old, has bad animation, it’s long-winded and has a sometimes confused and scrambled narrative in accordance with some of Tomino’s worst habits. However, it was also a work of great imagination that really delivered on communicating a valuable message in some engaging ways. It’s a message that Knight’s and Magic cheerfully and infuriatingly tramples all over. Let me explain.

In Knight’s and Magic, the show’s hero is an outsider who enters into a fantasy world and uses his real-world knowledge to bring about a revolution in technology. This also happens to be the chief descriptor for a major character in Dunbine too.

However, this isn’t the description of the show’s protagonist, Show Zama.

It’s the description of the show’s villain, Shot Weapon.

Shot Weapon is the creator of the Aura Convertor, the technology that powers the show’s mecha, the Aura Battlers, and other weapons besides. The introduction of this technology destroys the peace of Dunbine’s world, Byston Well, and causes it to descend into anarchy and bloodshed. However, the real devastation doesn’t occur until Shot’s creations are transported back into our world, where they inflict destruction almost beyond imagining. Ultimately, Shot Weapon’s actions condemn him to a punishment of being forced to live forever in Byston Well in a state of eternal suffering, like Cain after murdering his brother Abel. Dunbine’s ultimate, most crucial message is that those who manufacture weapons and spread death are to be condemned.

Knight’s and Magic gave itself the exact same opportunity to deal with this exact same theme. The show’s final arc is that a kingdom called Zaloudek has accumulated vast military power and used it to invade its neighours. We get to see as they descend into a neighbouring kingdom, slaughter its just and rightful rulers and install themselves as tyrants. Now, enter Ernesti and his friends at the conquered kingdom’s borders. At this point he’s achieved his aim of creating his own unique robot called the Ikaruga, and in its first battle effortlessly dispatches the Zaloudek soldiers guarding the border. In the aftermath, he examines the wreckage of a destroyed Zaloudek Silhouette Knight. He and everyone else see the obvious - this machine, the Tyranto is based on Ernesti’s designs. Previously, one of the prototype Knights he’d constructed in an earlier arc was stolen by a mysterious foreign agent, and now it’s become clear what happened to it. The source of the military strength that’s fuelling Zaloudek’s ambitions of conquest are the new technologies that he created, reverse engineered from the stolen mecha. As he looks upon the wreck of the Tyranto, the show is presented with a unique opportunity to do something that it’s thus far not done - challenge its protagonist with the consequences of his actions. Sure, Ernesti is not exactly the same as Shot Weapon - he only wanted to create robots because he thought they were cool, while Shot Weapon wanted power. However, in this case the end result has been the same - death, destruction and oppression. Ernesti has a chance to think about whether the things he’s done are right and acknowledge that he’s at least somewhat responsible for the disaster that’s played out, even if it’s just to acknowledge that he has a duty to set things right by beating Zaloudek. This is an opportunity for him to grow as a character for the first time.

The show swerves this opportunity without flinching.

Sure, Ernesti does liberate the kingdom in the end, but it’s clear that it’s not as a result of any real moral calling. He just wanted to build more robots and fight with them. His motivation in the final battle is that he wants to destroy the enemy’s flying battleship because he’s worried that battleships might replace Silhouette Knights if he doesn’t. He remains a totally one-dimensional character right to the end.

As I said before, Ernesti’s obsession with cool robots arguably mirrors that of the creators of this show, if its myopic focus on them is anything to go by. Perhaps this seems extremely out of character for me to say, but this is an infantile obsession. Yes, I like giant robots, but I don’t like them so much that I miss the point. The core of not only the real robot genre that both Knight’s and Magic and Aura Battle Dunbine belong to despite the fantasy trappings of the show, but arguably of the mecha genre as a whole, is that technology can be a force of destruction and great evil when not used responsibly. Yes, the protagonist mecha in these shows are meant to be heroic, but only in their opposition to those who’d use technology as a tool of death and oppression. This is the core of the soul that makes mecha as a genre compelling. It’s a point that Knight’s and Magic completely misses and why it’s fundamentally a failure. It’s as if it’s trying to be what the mecha genre’s detractors try to paint it as.

That said, despite my misgivings there is entertainment to be found if you only want dumb action. But I’d highly encourage you to check out any alternative. If you want a fantasy mecha series, Dunbine, Escaflowne and Rayearth are all much more compelling stories than this - even ones I’m not so keen on like Panzer World Galient and Ryu Knight are fundamentally more interesting as stories than this. If you want a story with a mecha fanatic in the lead role, you’re much better off watching Patlabor or the chronically underrated Dai-Guard instead.

#knight's and magic #mecha #respect the robot

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mermaidsirennikita · 2 years

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Do you think HR is feminist or can be?

I don't think it always is, but I think it absolutely can be and it often is.

To me, writing romance is a feminist act whether or not you intend to produce or ultimately produce feminist content. The idea of writing romance is to create something that, although the audience is broad, largely is directed towards pleasing women for the sake of pleasing women. But again, that doesn't mean the end product is feminist. There are many, many romances, historical and otherwise, that are not.

With that being said, it's often easier for me to find a feminist HR than a feminist contemporary. Because contemporaries, really, often deal with the fantasy of having power taken AWAY. Contemporary women are (theoretically if not in actuality) empowered. We can work, we can own houses, we can run our lives. It is good, but it can be daunting. Which is why many contemporary romances feature these domineering alpha males who take all that away and see to your needs for you. This doesn't make the book anti-feminist, imo. But I don't read a lot of contemporaries because it's hard for them to find a sweet spot of not making me feel icky, and not boring me with some awesome upright Elizabeth Warren-supporting hero who would never EEEEEEVER bend you over, because to fuck you into the mattress is to subjugate you, and he cannot have that.

Whereas a lot of historical heroines are inherently fighting against an anti-feminist world. Even in a lot of 80s bodice rippers, this is a theme--it's just not always pulled off in the best way. In Kingdom of Dreams by Judith McNaught, yes there is a lot of Not Like Other Girls shit (but again, this was the 80s) but our heroine legitimately wants to take control of her own destiny, and finds a hero who... honestly, Royce isn't all the dominating lol. He admires that part of her, rather than beating it out of her.

But going into the more recently published books, I would say that a lot of HR authors trend towards feminism. Bombshell by Sarah MacLean features a Victorian heroine who uses her sexuality as she wants, doesn't want children, and finds a hero who supports both of those things. Lisa Kleypas has recently written heroines who want to become board game entrepreneurs, or already run shipping businesses, etc. Joanne Shupe recently wrote about a series of sisters who actively work to help other women in the Gilded Age, with one of them again eschewing children and starting a casino for women.

Just because the setting isn't feminist doesn't mean the writing and characters can't be feminist.

#romance novel blogging

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bookcoversalt · 4 years

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Have you noticed the latest edition of Charlie Bowater can only draw one (1) face? She did The Princess Will Save You and Cast In Firelight both YA Fantasy set to be released this year. And they are how you say... the same fucking cover

Ah yes so you saw the same tweet I did

I know I literally just posted that we cannot outlaw book covers from looking like each other, but ! Oof!

The only thing that softens the blow here is that Charlie has improved at representing nonwhite features such that characters look like POC rather than tan white people, although,, that bar was low. Anybody remember the ACOTAR coloring book.

(Would you have guessed that 2/3 of these people are nonwhite? Or even that they’re supposed to be three different men? I guess all the men in Prythian have the same haircut?)

But that minor victory is mostly lost in the quagmires of the fact that Charlie’s style is to give everyone instagram face:

I wouldn’t even call this “Sameface” necessarily: that implies limitation, that an artist is only capable of drawing a single facial structure competently. Bowater is incredibly technically talented, she just chooses to give everyone catlike fae eyes and the cheekbones of a starving nymph. (My previous post on this here.)

But I don’t really blame her for that, or for these hilariously identical, nearly devoid of personality covers. Artists are allowed to do whatever they want. Artists who make art for covers are being art directed by designers and marketing teams who bear responsibility for how the finished pieces turn out.

No, this is our fault, as a community and an industry and..... society, kind of, for valuing character portraits that are “pretty” (“pretty” being an extremely loaded, culturally subjective concept) over art that actually Says Something About The Story. Bowater’s style happens to dovetail perfectly with what we currently collectively find pretty, and so we’ve put her art on a pedestal at the cost of everything else art can or should do for our stories.

And this is understandable: in contemporary western culture, pretty is a value unto itself. Seeing our characters portrayed as pretty denotes them as special, as smart, as powerful. It’s almost impossible to de-program ourselves from that reaction. There are approximately five kajillion studies on how beautiful people are at personal and professional advantages; how they’re perceived to be happier, healthier, more successful, and how those perceptions can translate into realities. (Nevermind how thinness and whiteness enter that equation, see above note about “pretty”.) I would love to see more “average” or weird- looking characters abound (and be accurately visually represented) in the YA/ Genre lit sphere, but for now... everyone is pretty.

Which sometimes means everyone is pretty boring.

But that’s just the specific, "What’s the deal with Bowater’s success in book circles and her style and all the sameiness” part of this equation. What if we backed up and asked: why character art at all? Beyond a question of “pretty”-ness (and general obvious Artistic Quality), why do we gravitate towards it, what's the purpose of it, how does it fall flat in a general sense, and how can it be utilized more effectively?

This is something I think about all the time. I follow writers on social media (because..... I am a writer on social media, regrettably), and we have an enormous collective boner for character art. “Getting fanart [of the characters]” is one of the achievement pinnacles constantly cited when people get or want to get published. Commissioning character art is something we reward ourselves with, or save up for (WHICH IS GOOD AND CORRECT. FREE ART IS GREAT BUT DO NOT SOLICIT IT. PAY YOUR ARTISTS). And like???? Same????? We love our stories because we’re invested in our characters. Most humans, even prose writers, are visual creatures to some extent, and no matter how happy we are with our text-based art, it’s exciting to see our creations exist in that form. So we turn that art into promo material and we advocate for it on our covers-- because it’s so meaningful to us! It goes with the story perfectly!! Look at my dumb beautiful children!!!!!

But on an emotional level, it’s hard to grasp that it only means something to us. Particularly when you take into account the aforementioned vast landscape of beautiful visual blandness of many characters (in the YA/ genre lit sphere, that’s pretty much all I’m ever talking about), character art can be like baby photos. If you know the baby, if that baby is your new niece or your friend’s kid, if you’ve held them and their parent texts you updates when they do cute shit, you’re probably excited to see that baby photo. But unless it’s exceptionally cute, a random stranger’s baby photo isn’t likely to invoke an emotional reaction other than “this is why I don’t get on facebook.”

Seeing art of characters they don’t know might intrigue a reader, but especially if the characters or art are unremarkable-looking, it’s doing a hell of a lot more for the people who already have an emotional attachment to that character than anybody else. And that’s fine. Art for a small, invested audience is incredibly rewarding. But like the parent who cannot see why you don’t think their baby is THE MOST BEAUTIFUL BABY IN THE WORLD???? I think we have trouble divesting our emotional reaction to character art from its actual marketing value, which.... is often pretty minimal. This is my hill to die on #143:

Character portraits, even beautiful ones, are meaningless as a marketing tool without additional context or imagery.

I love character art! I’m not saying it should not exist or that it’s worthless! Even art that appeals to only the one single person who made it has value and the right to exist. And part of this conversation is how important for POC to see themselves on covers, whether illustrations or stock imagery, particularly in YA/kidlit. I’m not saying character portrait covers are “bad”.

I am saying that I have seen dozens and dozens of sets of character art for characters who look interchangeable, and it has never driven me to preorder a book. (Also one character portrait for a high-profile 2019 debut that was clearly just a painting of Amanda Seyfriend. You know the one. There’s nothing wrong with faceclaims but lmfao, girl,,,,)

I’m sure that’s not true for everyone! I am incredibly picky about art. It’s my job. There’s nothing wrong with your card deck of cell-shaded boys of ambiguous age and ethnicity who all have the same button nose and smirk if it Sparks Joy for you.

But if your goal is not only to delight yourself, but to sell books, it’s in your best interest to remember that art, like writing, is a form of communication. The publishing industry runs on pitches: querys, blurbs, proposals, self-promo tweets. What if we applied that logic to our visuals? How can we utilize our character design and art to communicate as much about our stories as possible, in the most enticing way?

Social media has already driven the embrace of this concept in a very general sense. Authors are now supposed to have ~ aesthetics. “Picspams” or graphics, modular collages that function as mini moodboards, are commonplace. But the labor intensity and relative scarcity of character art visible in bookish circles, even on covers, means that application of marketing sensibility to it is less intuitive than throwing together a pinterest board.

Since we were talking about it earlier, WICKED SAINTS, as a case study of a recent “successful” fantasy YA debut, arguably owed a lot of its early social media momentum to fanart.

(Early fanart by @warickaart)

The most frequently drawn character, Malachiasz, has long hair, claws, and distinctive face tattoos. WS has a strong aesthetic in general, but those features clearly marked his fanart as him in a way even someone unfamiliar with the book could clearly track across different styles. Different interpretations of his tattoos from different artists even became a point of interest.

(Art by Jaria Rambaran, also super early days of WS Being A Thing)

Aside from distinctiveness, it's a clear visual representation of his history as a cult member, his monstrous powers, and the story’s dark, medieval tone. The above image is also a great example of character interaction, something missing from straightforward portraits, that communicates a dynamic. Character dynamics draw people into stories: enemies-to-lovers, friends-to-lovers, childhood rivals, platonic life partners, love triangles, devoted siblings, exes who still carry the flame-- there’s a reason we codify these into tropes, and integrate that language and shared knowledge into our marketing. For another example in that vein, I really love this art by @MabyMin, commissioned by Gina Chen:

The wrist grip! The fancy outfits! These are two nobles who hate each other and want to bone and I am sold.

In terms of true portraits, the best recent example I can think of is the set @NicoleDeal did for Roshani Chokshi’s GILDED WOLVES (I believe as a preorder incentive of some kind?):

They showcase settings, props, and poses that all communicate the characters’ interests, skills, and personality, as well as the glamorous, elaborate aesthetic of the overall story. Even elements in the gold borders change, alluding to other plot points and symbology.

For painterly accuracy in character portraits on covers, I love SPIN THE DAWN. The heroine looks like a beautiful badass, yes, but the thoughtful, detailed rendering of every element, soft textures, and dynamic, fluid composition form a really cohesive, stunning illustration that presents an intriguing collection of story elements.

The devil isn’t always in the details, though: stark, moody, highly stylized or graphic art with an emphasis on textural contrast and bold color and shape rather than representational accuracy can communicate a lot (emotionally and tonally) while pretty much foregoing realism.

The new Lunar Chronicles covers are actually the best examples I found of this (Trying to stay within the realm of existing bookish art rather than branch into All Art Of Human Figures Forever):

Taking cues from styles more typical of the comics and video game industries. (Games and comics, as visual mediums, are sources of incredible character art and I highly recommend following artists in those industries if you want to See More Cool Art On Your Timeline.)

TL;DR: Character art and design, as a marketing tool (even an incidental one) should be as unique to your story and your characters as possible, and tell us about the story in ways that make us want to read it. I tried to give examples because there are so many ways to do this, and so many different kinds of art, and I could give many more! But I’m bored now. So to circle all the way back:

These are not just bad because they look like each other, although that is embarrassing and illuminating. These are bad covers (although,,,,, PRINCESS is the far worse offender, at least FIRELIGHT suggests a thoughtful cultural analogue) because a desire for Pretty Character Art overrode the basic cover function to tell us about the story. We get no sense of who these people are, what their relationships are, what these books are about beyond the most general genre, or why we might care. The expressions are vague, the characters generic-looking, the compositions uninteresting and the colors failing to be indicative of anything in particular.

They’re somebody else’s baby pictures.

(And yes, that’s the CRUEL PRINCE font on PRINCESS. I better not have to do a roundup post but it’s on thin fucking ice.)

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debbie-e-portfolio · 3 years

Text

Reflection

I love literature.

I started reading and buying books as a Grade 7 student after Roald Dahl's Matilda. It was for academic purposes entirely yet I became hooked and couldn't stop myself from buying the classics (the first I found in the bookstore), such as Oliver Twist, David Copperfield, Jane Eyre, Romeo and Juliet, and The Adventures of Huckleberry Finn. Those were the first set of books until online reading (Wattpad) rose to popularity.

As a freshman at PNU, I was very excited about the majorship exams. I couldn't wait to be a Literature student and we even had Masterworks in World Literature in our second term. Ma'am Erly was the professor and she reminded me of the previous educators who taught literature in my high school (junior and senior).

It was a wonderful experience.

Now, as a PE major, I only got to read books and watch series/films as a form of leisure and hobby. Moving around, sweating the whole time, tired muscles, and easy to get hungry, I found comfort in the world of fiction and non-fiction. Sometimes, I couldn't contain myself and gush ideas and theories, particularly in anime and manga, with my sister. But most of the time, I kept things to myself and just write them out in a form of fanfiction. It was lonely.

That was why having Contemporary Literature is the best. I am grateful that we are given a chance like this. My classmates are more engaged in class, they're more active compared to the other subjects in our term that encouraged me to gush it to them, too. And they would do the same, which makes me very happy at the same wavelength that we shared. I would find myself speaking out my mind during class as well. Ma'am Erly was able to bring out us from our not-so comfort zone, erasing the prejudice in their minds that literature is nerdy and boring, making the term wonderful.

It was my first time doing huddle activities in class about literature and it was a lovely experience doing them together with the class. And I hope we could do this again.

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thexfridax · 4 years

Photo

Translated interview

‘I am a film activist’ - Interview with Céline Sciamma

Olga Baruk, critic.de, 17th of October 2019

// Additions or clarifications for translating purposes are denoted as [T: …]. //

Following her coming-of-age trilogy, Céline Sciamma (writer-director) has now made a big period film with Portrait of a Lady on Fire. We spoke with her at the FILMFEST HAMBURG. About writing, painting and the heroines of our time.

Interviewer: Céline Sciamma, is it important for you to communicate? Do you enjoy explaining your work or is it a necessary evil?

Céline Sciamma: It’s an important part of what I do. I never know what I’ll do next until my finished film is shown. That’s a conviction. A dialogue that is emerging around each film, how a film is perceived, what I am asked about it - all of that is important for me. Making films means putting something out into the world and receiving something from this world in return. Moreover, my films are political. I am a film activist. That’s why it’s important for me to talk about my work. Even though it is exhausting sometimes, I become more aware of what I’m actually communicating during the process. That makes me more radical. Also in my communication.

I: To see your films as part of the current social discourse is therefore intentional?

CS: My films are not alibis to send a message to the world. All films are political. And those that pretend not to be [T: political], only reproduce the world as it is - these kinds of films are conservative.

I: Your films are contemporary and very reflective on one hand, but they are also simple and moving like pop songs on the other hand. I like their clear structure, their lucidity and their sincere aspiration. I’m referring for example to the many coups de foudre [T: love at first sight situations] that different films like Water Lilies and My Life as a Courgette have in common. I’m also thinking about the scene in Being 17, where desire is studied and spelled out during homework, or Vivaldi’s Summer from The Four Seasons in your new film. Is this something you do appreciate about art?

CS: I think of my films as arrows that you slowly, very slowly bore into the hearts of the viewers. [T: Ouch!] That’s the sincerity. That also means for me to be radical. Radicality is not so much about cold, pure ideas but about having something specific in mind, and to ask yourself to whom you are actually talking. What kind of culture you are creating.

I: Please tell me a bit about how you are working as a screenwriter. How does your writing process look like?

CS: Before I start writing, I like to take a lot of time to think. It took three years for Portrait of a Lady on Fire. I make some notes from time to time, save ideas, let thoughts roll back and forth in my head until some of them connect with each other. When this part is done, I don’t write a treatment [T: see here] but do the scène à scène directly - all scenes of the film, summarised in a few sentences. That takes about a month of intensive work. If I’m happy with the result, then I start with the screenplay. This takes around two to three months. I write very quickly. As mentioned before, most of the time is spent on thinking prior to writing, to question my ideas and desires. I’m very strict with myself in this regard.

I: The research for Portrait of a Lady on Fire was surely comprehensive.

CS: That’s true. I also found out during the research for the film how active the female art scene in the second half of the 18th century was. There were hundreds of female painters! Rich material, into which I threw myself with a lot of enthusiasm.

I: Before you came across these facts, there was already an idea for the film?

CS: Yes, the original idea was to have a love story with a creative dialogue between a female painter and a model. I didn’t want to talk about contemporary painting but about portraiture. This seemed very relevant for today. I also wanted to avoid talking directly about cinema, didn’t want to show a film set. The 18th century was the time of enlightenment, a revolutionary period in the political and intellectual history of Europe. Portraiture was in vogue back then. There were philosophical debates about what is more worth striving for: a portrait that is very similar to the person or a better version [T: of them]. I wanted to play with these questions. It was very moving to learn that there were in fact so many female painters at the time, but it was also bitter, because they pretty much disappeared from art history. Their paintings have just been missing from my life! My film was meant to be set in the past, because it wasn’t told like this before.

I: It’s interesting that you found a potential for strength where the image of women was collectively considered as extremely fragile. The 18th century - as can also be seen in Portrait of a Lady on Fire - was the time of décolletés and corsets, being tied up in your own femininity. And it is the great time of reading novels, which aroused desires.

CS: You still have desires in an oppressed society. Because it wasn’t possible for women to create art, they couldn’t really convey their intimacy for a long time. We as women are lonely, alone with our bodies, our desires and political will, because we lack this knowledge about our history. Isolating women has always been part of the patriarchal master plan. Apologies, I’m beginning to lecture on the patriarchy! But seriously, there are no anachronisms in Portrait of a Lady on Fire. I’m convinced that everything I told also took place. Cinema is the place, where you share intimacy. And to share the intimacy between women is to show them among themselves. That’s why we left men in the off. Otherwise it would have to be a story about oppression.

I: Portrait of a Lady on Fire is a love story, in which solidarity and equality are quite important. Héloïse, Marianne and all the other characters in your film seem quite contemporary. How would you define a modern heroine? Who do you think are the heroines of our time?

CS: Heroines of our time, we know them. Greta Thunberg, Carola Rackete, Alexandria Ocasio-Cortez. Only women are really making politics today. It’s about resistance. To be a strong figure, you sadly have to put up with a lot of contempt and hostility. Greta Thunberg is treated extremely hostile by the French press, although she is still a child! The level of the debate [T: around her] is absolutely disproportionate. In my opinion this is a challenge that only heroines have to endure. Big heroes, as we know from films and books, always need big adversaries. The paradigm for heroines on the contrary seems to be that they don’t have any adversaries who could keep up with them.

―

Picture source: [1, Photo by Thomas Laisné/Contour by Getty Images]

#critic.de #Céline Sciamma #October 2019 #German interview #She was on 🔥 here #My heroine #My heart cannot cope #with the heartache #Thank you very much #My translation #long post

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rocknrollarticles · 3 years

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Chris Simmonds interviews Jon Lord for Beat International Magazine, December 1975

(article transcription continues below the cut)

Lord of The Deep

“I don’t think rock could exist and roll exist without solos — it’s a vital form of musical expression.”

Jon Lord of Deep Purple is undoubtedly a rarity. He combines the most pleasing qualities, rarely found among others enjoying a similar position on the Rock and Roll roundabout. We have man who has been making successful records for over seven years, and who remains both verbally and musically articulate with out ever resorting to the more flamboyant pretensions exhibited by so many of his contemporaries. He is a star, to be sure, but never to the point of camouflaging the musician.

With the reformed Purple off to the States until Christmas, we were delighted when Jon agreed to meet us at the airport before take-off to talk about Purple, new and old, and in general his particular role as keyboard player. The time was apt as we had just heard enough of the tapes of the band’s new album (Come Taste The Band) to suggest that it would totally eclipse the rather disappointing Stormbringer.

Jon, notorious for his late plane catching, arrived early this time, and cast his mind back to the days of Deep Purple Mark 1. The In Rock album was certainly the first major step towards worldwide acceptance, and we asked how this style change had been linked with the departure of original members Rod Evans and Nicky Simper, vocals and bass.

Concise

“Christ, that far back. My memory isn’t all that good. Basically, it was that three people in the band wanted two to leave, and In Rock shows exactly what we wanted to get into. In fact, we had already been playing the In Rock style on stage, but we had never done it on an album. With lan Gillan and Roger Glover in the band, we had two rock and rollers, much more so than the others.

“It might just have been the climate of the times, but we did feel that the previous albums had rambled a bit. This attitude almost went against us, because we were so concise with In Rock that it became very hard to follow. This move was in fact largely motivated by Ritchie, and the general agreement by the majority of the band was that this was what we should do.

“I went down at the time as saying that I totally agreed with the policy but thought it should have been little more relaxed, and as a result of that Ritchie and I had a few arguments. These resolved themselves and resulted in Machine Head which, apart from the new one, was to my mind our best album.

If there were the odd moments of apathy from Ritchie, I certainly never shared them, apart from Who Do We Think Are which I disliked intensely. It was done in a mood of total fed-upness. lan left shortly afterwards, because by then he and Ritchie were having head-on collisions, so that probably caused the bad moods of that time.

Freedom

“However, most of the albums were a great joy to make. Although Fireball got slagged a bit, you must remember that it followed a smash success album, and that’s always difficult. It still gave me great satisfaction.” During this period a very prominent feature of the Purple music was a never ending rash of frantic solos. How far did Jon feel that they were an integral part of the songs?

“So long as it fits the song, I’m delighted to have them. We have reached the point now that even when I am playing the part of a backing musician I have much greater freedom. The song structure with Glenn (Hughes) and Tommy (Bolin) isn’t set any more. We are trying to loosen the whole thing up, and cut out the ‘this happens in that bar and that happens there’ attitude.

“The days of the really long solos have gone, and I am talking about the twenty five minute jobs. Everyone will still have their solo slot, because basically that is what Deep Purple is all about. We have always prided ourselves on our individual abilities, and we like to show it. Quite frankly, we sometimes went much too far in the past, and some of the others’ solos bored me.”

Given Jon’s feelings about solos, did he have any special preference about playing the more direct songs like Speed King and Highway Star or the more protracted tracks like The Mule?

“I’m quite happy with either role, so long as I am happy with the song in the first place. I don’t mind sitting back behind the guitar because that is just as creative as leading the song. Actually, that’s a tricky question, because the Hammond doesn’t really sit all that well in rock and roll as a backing instrument. It took me a long time and a lot of hard work to find an acceptable way of incorporating the instrument… Where was I? Oh yes, at the same time I have to solo — every musician does.

I don’t think rock and roll could exist without solos — it’s a vital form of musical expression. It’s a way of stretching out, but of course how much you do so is up to you, or the band. A musician should solo as long as he feels he is feeding off the audience, but I feel that it is unforgivable to bore an audience.”

Possibilities

With the new members, what possibilities did Jon see as far as his own instrument was concerned? “I really see many. Ritchie was a very demanding player in that he really enjoyed the limelight. I mean, we all did obviously, but I suppose he was so extrovert on stage to balance the introvert he was offstage. It’s hard to speak objectively as he was my friend for seven years. One of the nice things about having an American in the band is the more quote laid back unquote atmosphere. I enjoyed Tommy’s solo album.” And Ritchie’s album?

“There was certainly a Purple sound, but thought it was second rate Purple, and you can print that. I was surprised to say the least, because he said he wanted to go right back to the raw roots he felt we were abandoning. At the same time I suspect that his next album will be a bitch.”

Apathy

On the subject of these recent albums, Jon went on to compare Stormbringer and Come Taste The Band. “I liked the Stormbringer album. It was certainly a little different. There was a certain apathy on Ritchie’s part — he was already thinking of leaving — and perhaps it shows. We should have attacked it more as Deep Purple rather than approaching it in that dispirited way. I’m really not trying to make Ritchie a whipping boy — I really don’t want to — but you mentioned the word apathy and I think I would have to go along with that. But if the album didn’t quite come off, it didn’t sell as well as the others had, so there’s justice there.”

Jon is well known for his classical inclinations, and we wondered if they might reemerge more strongly within the new band framework?

“I’m really two musicians, and they meet somewhere in the middle. The outer edges can never get together, and that’s why I make solo albums, just to get things out of my head and out of my system. Look — I’m not carrying a cross for classical music — I’m a rock and roller and I have been for ten years. There just happens to be more, that’s all.”

What did he feel that the future held for the keyboard? “I think now that it has arrived with a vengeance, it will stay. Keyboard players are having to get more versatile in respect of the number of instruments they are having to play. The organ sound as just an organ sound is already overused, and I personally use synthesizers, a clavinet and a Fender Rhodes besides the Hammond.

Technique

“I have countered this dilemma of 'old hat’ sound by having my set up built specially for me. I have four Leslies which have been totally ripped out and replaced with better components, Crown amps, and all the keyboards, about six, go through the Leslies. The organ has also been messed around with, so it’s not a straight Hammond sound — it’s a particular sound that I feel fits our kind of music.”

Jon was also glad to offer tips to the embryonic keyboard wizard. “Well, even though it’s 'just’ rock and roll, I think it’s invaluable to acquire a technique of some sort. By all means absorb from other people, and try find out how they do it, but then you mus try to branch off and perfect your own style. Things like scales and arpeggios, although very boring, are bloody well worth while. If you are soloing, and your fingers won’t do what is in your head, it’s the most frustrating thing in the world. I have never regretted the hours and hours of practising that I have put in. I try to listen as much as I can to what else is going on in the rock world — I think it is important to be aware of what your peers are doing.

Relaxation

“I was talking to lan Gillan the other night on just this subject, and he said he never used to listen to anyone but Deep Purple and Elvis Presley. He admitted that he was totally wrong. He said that since he had been off the road he had been listening to everything that he could, and he realised how much he had missed. You don’t listen to others to copy — just to judge the feel of the business. Anyway, it’s a relaxation to me.”

The hidden speakers in the roof of the lounge was announcing the departure of the Purple flight. “I feel as if I could go on for another twenty years,” said Jon jumping up. “Thanks a lot for talking to me.”

#deep purple #jon lord #ritchie blackmore #beat international #beat international magazine #music magazine #musician interview #article #music article #my posts #1975 #Chris Simmonds

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thewritinggrindstone · 4 years

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Who Is Your Main Character, Anyway?

Over the last six months, I have noticed a recurring problem in every fiction manuscript I’ve edited and a few other nonfiction projects to boot. It’s a problem that’s both made editing significantly more difficult than the task otherwise might be and it’s killed all of these potentially entertaining novels dead, so permit me to ask you a question:

Who is your main character?

No, really. I’m serious. Do you know who your MC is? Can you point at a single character and definitively say, “Yes, this is my MC”?

If not, you—and your story—might be in trouble.

For reference’s sake, some of the novels I’ve edited since June 2019 include:

A collection of sci-fi short stories tied together with alternating chapters of an extremely and alarmingly abstract, philosophical variety

A contemporary novel revolving around health problems, corrupt management, and struggling teachers in a NYC school

A contemporary novel set in a heavenly courtroom that functioned as a soapbox for the author’s opinions on the current state of the US government

An urban fantasy set in modern-day NYC with trolls, fairies, dragons, and other fantastical beasts

I also edited a memoir about life in Crete during WWII that was told via a progressing series of anecdotes.

All five of these projects, which sound so different from the outside, share the same issue: The author didn’t understand the need for a main character.

But why is a main character important? In fact, isn’t it possible to have more than one MC? I hear the arguments: the MCU doesn’t have a single MC, and look at how utterly lucrative that series has been.

Fair point, and I’ll touch on multi-POV later, but for now, bear with me and treat the idea of a main character as one of the fundamental storytelling rules. And like all rules related to writing, you need to know how it works before you can effectively break it.

So what is a main character?

The typical main character in a novel is, at their very core, the character who both:

Has the highest stakes in the story’s climax

Goes through the most dramatic change themselves (positive/negative arc), or has the most dramatic change on the world around them (flat arc)

If either element is missing from the character, chances are they aren’t actually the MC.

Why is this important?

It’s important because if you don’t consciously determine who your MC is, you’re far more likely to be swayed by other characters who pop up and their respective stories. Suddenly one character has severe anxiety due to a crummy upbringing and all but vanishes after they begin recovering after a failed suicide attempt. Another is stealing medication from the locked nurse’s office to deal with a problem that isn’t quite important enough to actually receive mention in the novel. Yet another character becomes a mouthpiece for a topic the author is passionate about but doesn’t actually tie into the novel’s plot or theme. Suddenly there are characters crawling out of the woodwork, all interesting and unique and playing important enough roles that the author becomes distracted with the shiny and the tantalizing and doesn’t quite realize that they’ve completely failed to mention a character isn’t a human at all and indeed is a troll until page seventy-three. Oh, and there’s no climax to the novel either. Huh. How did that happen?

One consequence of an author failing to identify their main character is that failing to do so often leads to an unfocused story. POVs hop from character A to character B to character C to character D, and somehow we find ourselves at character M before finally circling back around to character A, whose story... I no longer quite remember—or care about, because character G was fascinating and I want to get back to them.

Another consequence is that POV oftentimes is distributed unevenly throughout the story. A concurrent issue I’ve noticed cropping up is the use of omniscient POV in these troubled manuscripts. While that’s a topic for another post, I will say that a lack of main character + omniscient POV = stories that are notoriously difficult to edit effectively because it’s one thick layer of confusion on top of another thick layer of confusion. Trying to determine what the authors want out of those stories requires a frankly outrageous amount of effort compared to a story with a single main character and a limited POV because the editor has to spend so much time and energy guessing what the author truly wants.

On top of that, I’m going to take a wild guess and say that most authors don’t want to tell an unfocused story. Sure, we might want to obscure some facts, might want to leave the occasional little mystery for the reader to enjoy puzzling out, but we want our writing to be understood. We want it to resonate. And it’s difficult for a story to resonate when half its notes are atonal and the other half are outright missing.

Step 1 is to identify who your main character is. Step 2 is to determine what characters are masquerading—temporarily or completely—as the main character. In the contemporary novel set in the school I mentioned above, there were at least eight initial contenders for the role of main character, all with their own unique stories and all with significant POV time, but only one character had any bearing on the climax, and it was a character who didn’t appear until almost a third of the way into the novel but got less POV time than several other characters. This doesn’t work.

This doesn’t work because the reader assumes, particularly in genre novels (excepting romance), that:

the first character we meet, and

the character whose POV opens the novel

is going to be the main character. This isn’t a hard-and-fast rule, and there are absolutely exceptions—such as The Great Gatsby, in which the MC and the narrator are two totally separate characters—but this post is about identifying MCs in particular. Narrator vs MC is a topic for another day.

(In conventional romance novels, the POV is split fifty-fifty between the two love interests. This post doesn’t really apply to conventional romance, but it’s still not a bad idea to check yourself once in a while to make sure you don’t have any characters who are trying to worm their way into being the MC when they shouldn’t be.)

Some of the problems I’ve encountered in the five projects I mentioned above include:

A POV that skitters from character to character, even to characters who have no arc or bearing on the overall plot whatsoever

An unfocused climax or a total lack of climax

Numerous subplots that never resolve and/or never have any bearing on the climax

Significantly lowered chances that the reader will bond with or care about any of the characters

Unsatisfying character arcs and/or plots

Plots that wander to places they never should have gone

Subplots of subplots that have nothing to do with the main character and/or climax at all

Painfully boring scenes that serve no purpose

The author bending the characters and plot to A Message rather than allowing either to exist naturally

The author not understanding what is truly important or interesting in their story

Stories that try to cram way too much information into a single book

The exclusion of details that are vital to understanding the overall story

Before throwing the unfinished book aside, the reader asking the two deadliest possible questions: So what? and Who cares?

That’s a rather terrible and terrifying list, isn’t it? All because each author never chose a single main character for their novel.

So I ask again: Who is your main character? Are they present from as close to the beginning of the story to as close to the end of the story as possible? Are they the most changed (or do they cause the most change around them) of all the characters in the story? Are there other characters around them who have plots or subplots that don’t tie into either the climax or the main character in any way? Is there another character who has more of an effect on the climax than your current labeled MC? More POV time or overall focus?

If you don’t have a main character to anchor your story around, the chances of it wandering, drifting away on every little eddying breeze that comes along, stumbling into dead ends and boring climaxes and unsatisfying character arcs grow with each added word. So challenge yourself to nail down a single main character. Wrap the entire plot around them, tight enough to choke them if you must. Get your facts straight; tie every detail back to them. You might find extraneous loose threads you can pluck out, be they characters or plot elements—but you might also find areas that are weak and need building up. You might even find both coexisting in the same story, because writing is sometimes just like that.

And once you know how to identify and use your main character, you can begin adding other elements to your story, elements that can create a bit of breathing room wherever necessary, all without the story losing its focus or meandering away from you into an area that leaves your reader—or editor—baffled at best, furious at worst.

That said, of course it’s possible to have more than one MC, but with each MC you add to a single novel, the more work you’re creating for yourself, because each MC needs to have equal stakes in the climax and, preferably, an equal amount of attention throughout the story. Conventional romance, with its lack of a single MC, works because the climax hinges on the two characters who have received equal attention (via POV time and word count) up to that point. They both stand to win—and lose—the same thing, namely their mutual happy ending. Adding in a third main character is possible but tricky. Four? If you can do it, you’re a better plotter than me, friend, and I salute you.

A note: yes, subplots are a great way of adding extra characters or situations to a story that don’t necessarily run through the main plot. Ideally, though, most subplots should be resolved as close to the climax as possible to give the entire climax that added oomph. Again, there are exceptions, and it’s often a per-story situation, but a story can only handle so many notes being played before the sound of it gets muddy. Plot accordingly, and don’t lose sight of who the main character is.

Another note: yes, the MCU doesn’t have a single main character. Even some of the MCU films don’t have a single main character, particularly the Avengers flicks, and discussing how to handle a story that has multiple MCs is not really what I wanted to focus on today. Summarized, those stories are possible but tricky. Please notice the way very few of the MCU main characters get introduced in the big team-up films. Most of the characters get their own films or get introduced as side characters in those films so the audience has to do less work initially investing in them when there is more than one main character present.

#writing #writeblr #characters #advice #red talks

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manuscripts-dontburn · 3 years

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The Unwomanly Face of War

Author: Svetlana Alexievich

First published: 1983

Pages: 372

Rating: ★★★★★

How long did it take: 12 days

No review is needed for this book. It is as gut-wrenching as any true voice crying out from the darkness of war. It also reminds one how alive, how near to our central and Eastern-European minds and hearts this particular war truly is still.

Across the Green Grass Fields

Author: Seana McGuire

First published: 2021

Pages: 174

Rating: ★★★★☆

How long did it take: 1 day

This is a lovely one. It seemed more for children than the rest of the series (to the point of being almost didactic), but I was glad of it. I was really in need of a "comfort" book and this one delivered on exactly that.

Vigée Le Brun

Author: various

First published: 2016

Pages: 288

Rating: ★★★★★

How long did it take: 1 day

This is a truly beautiful catalogue of works of celebrated during her life and yet somehow forgotten up until 1980s Elisabeth Louise Vigée Le Brun. I loved it. I have always been fond of portraits because they carry the stories of people in them as well as the stories of their creation. And Vigée Le Brun´s work truly appeals to my aesthetic tastes.

Solutions and Other Problems

Author: Allie Brosh

First published: 2020

Pages: 519

Rating: ★★★★☆

How long did it take: 1 day

Put a bitter-sweet smile on my face. Some parts hit me in the chest like a freight train.

You Had Me at Hola

Author: Alexis Daria

First published: 2020

Pages: 384

Rating: ★★★☆☆

How long did it take: 3 days

This was my first ever contemporary adult romance and... it was a pleasant experience. I am probably never going to be a big fan of the genre, but it was a welcome palate cleanser after some really depressing and emotionally (as well as mentally) taxing reads. The story was completely predictable, at times a little slow and dull, but I liked the characters, the Latinx representation and the wholesome feeling the book has throughout. And that cover is gorgeous.

Entertaining Tsarist Russia: Tales, Songs, Plays, Movies, Jokes, Ads, and Images from Russian Urban Life, 1779-1917

Edited by: Louise McReynolds

First published: 1998

Pages: 448

Rating: ★★★☆☆

How long did it take: 7 days

If I should rate it for the educational value - educational as in getting a telling glimpse into a common mind of a common man in the Imperial Russia of the 19th century mostly - the rating would be high. If I should rate it for the literary value and quality of the included texts, it would be very low. Naturally, the excellent and interesting writing of the period has found its recognition (we have all heard of or read Tolstoy and Pushkin etc), and these are the scraps of what we might call "folk artistry" where the "art" part is really the least of the author´s concern. Many of the included text make a reader of today uncomfortable with its sexism, xenophobia, racism and antisemitism so I would advise some caution if you choose to read them. In any case, an interesting collection for anyone vested in researching the period.

Jonathan Strange & Mr Norrell

Author: Susanna Clarke

First published: 2004

Pages: 1006

Rating: ★★★★☆

How long did it take: 22 days

This book is a delight of storytelling and plot gradation. Set in England during the time of Napoleon and Lord Wellington, it wonderfully combines the real historical characters and events with elements utterly other-worldly. And thus we see that Napoleon was defeated, among other things, by the "English" magic. The folklore of Great Britain is the basis for the rest of the plot and the source which the two magicians - Strange and Norrell - study and use to do their magic. The book has the social observance of custom and human flaws as penetrating and humorously presented as any Jane Austen novel yet at the same time Susanna Clarke conjures up scenes of complete desolation, terror and bleakness when she needs to. This book does many things at once and does them very, very well, no plot thread is useless and everything ties together in the end. Considering the length of the novel, it certainly takes you on a journey, starting off slow but being all the more rewarding to those who persevere. Just the ending I wished a bit different. For even though it makes complete sense, it was not as satisfying as I wanted it to be.

Stamped from the Beginning: The Definitive History of Racist Ideas in America

Author: Ibram X. Kendi

First published: 2016

Pages: 582

Rating: ★★★★★

How long did it take: 12 days

Important and above all illuminating. I definitely learned a lot and it put many things I have already known into their correct context and perspective. A neccessary read for anyone living in European-based society.

Caravaggio

Author: Milo Manara

First published: 2015

Pages: 128

Rating: ★★★☆☆

How long did it take: 1 day

Geniální dílo Michelangela Caravaggia jsem objevila poměrně nedávno a byla jsem zcela nadšená. Tento komiks si jistě zaslouží ocenění za výtvarnou stránku a tím, že dýchne vším tím ošklivým, v čem Caravaggio žil, aniž by to narušilo jeho schopnost vnímat krásu. Odhalených zadnic a poprsí je na 120 stránkách bohužel tolik, že je jasné, že Milo Manara si je prostě nedokázal odpustit, ne proto, že by byly pro příběh nějak zásadní, což je vždycky problematické. Celkově zajímavě zpracovaný příběh o jednom nenormálním leč skutečně talentovaném umělci od jiného poněkud sexem-posedlého talentovaného umělce. Jen je vtipné, že mezi všemi těmi nahotinkami není jediný náznak Caravaggiovi bisexuality, ne-li přímo homosexuality. Na to asi Manara neměl dost odvahy.

The Invisible Life of Addie LaRue

Author: V.E. Schwab

First published: 2020

Pages: 560

Rating: ★★★★☆

How long did it take: 8 days

This was possibly the most talked-about and hyped book of 2020, so it feels rather useless rehashing what it is about. I am just going to say I liked it. It was beautifully written (this was my first V.E. Schwab), I enjoyed the historical parts a great deal and even the contemporary setting had very charming moments (I tend to be bored to tears by anything set in a modern world, so this was a nice surprise). I only cannot decide if the ending was frustrating or clever.

#booklr #wrap up #February 2021

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theheartsmistakes · 4 years

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The Last Night Part XII

(Author’s Notes: Sup guys! I hope you had a fantastic Fourth of July (for the American readers) and celebrated safely. If you are not American, I hope you had a fantastic weekend! Thank you for your patience while I worked through some writer’s block. I think I’m getting back into a swing though. I started reading a book that is set in the Edwardian period and it has helped me find the dialect and voice that I started with. I’ve been reading a lot of contemporary literature as of late and I think it’s influenced my writing a little, which is fine, but I’m fighting to remain consistent. I’m working on a novel of my own and it’s also based in the Edwardian period, but in a fantasy world, and I’ve been struggling to stay in the same dialect with that too. Anyhoo... I’m rambling... here is part 12. I hope that you enjoy it. Please hit the like, reblog, leave me a comment to cry happily over, and follow along for updates. Be safe! Be kind! Stay healthy.)

Here is Part I

Here is Part II

Here is Part III

Here is Part IV

Here is Part V

Here is Part VI

Here is Part VII

Here is Part VIII

Here is Part IX

Here is Part X

Here is Part XI

Part XII

The following morning, James was settled in a wing chair in the game room, nominally enthralled by a short collection of poetry by Keats. It’d been a comfort to read Keats’ poetry when he would be feeling out of sorts. Perhaps because his father insisted on reading it to him as a child before bed. It seemed even in his adolescent and young adulthood, after weeks of sleepless nights cramming for examinations, going through drills during the day, and shivering through countless patrols in the chilly streets of London, he always enjoyed dozing in the warmth of a well-made fire, with Keats’ heart bleeding through the pages of his collection.

This naturally led to his considering what Keats would do in a situation like his. As his mind wandered into his thoughts, he was aware of the scent of late-blooming climbing rose coming in the window on a puff of air and he noted that the scent might have prompted the thought and he wondered whether Matthew would still be Matthew if he smelled of diesel and boot polish instead of bay rum, and what Cordelia, who smelled of roses and lime blossom to him, would be doing at this time of the day if she weren’t lying in her sick bed.

A swift clatter of boots on the stairs heralded Matthew’s arrival, and he closed the book, without the relief he’d been searching for, for even Keats couldn’t keep his mind from wandering.

“The Silent Brothers have gone,” said Matthew, his tone composed with his usual preferred demeanor of bored indifference.

“Gone where?” asked James.

“Back to the Citadel, I’m assuming,” said Matthew. He tugged at his starched shirt collar, and James could see he was warm with sweat about the neck, as if he had run all the way here. “Brother Zachariah remains and another, but I cannot recall his name, they all look the same to me.”

“Any word on Cordelia or Alastair?”

“Unfortunately not and the adults want a word with us in the dining room post haste. I assume they want a detailed description of our knowledge concerning the events of the night.” Matthew slumped in the other wing chair and covered his face with his arm. “

“Well, that’s certainly a blow to my afternoon plans,” said James, keeping his tone light in the hope that he could convince his parents and friends that he was calm enough to stand outside the bedroom that Cordelia had been moved into. They moved her in the night while he slept and no one would tell him the location due to his sudden outbursts. “If the other Brothers have left, that’s surely a good sign that Cordelia and Alastair are healing and are no longer in need of their attention.”

“It’s possible,” said Matthew from under his sleeve. “My parents are here, as are Kit’s and Thomas’s.” He groaned and added, “Charles insisted on coming as well. My life is over.”

James cursed. “What does he want?”

“‘To get to the bottom of this most unfortunate disaster’,” said Matthew, “his words, not mine. He’ll insist on lecturing us about how insubordinate we’ve all been, and how, seeing as we are underage, we have no business going out after the Carstairs siblings without briefing the adults with the situation first. He’ll make me file his paperwork for a month.”

“You’re being a bit dramatic,” said James.

Even as James spoke he felt the hypocrisy of offering comfort instead of truth. But what truth could he speak to his parabatai? Remembering the whispered conversations between his own parents after James had returned from near death by demon poisoning, James knew with a sinking feeling that his own investigation towards his grandfather would need to be done in absolute secrecy.

“Charles has been wanting to get me behind a desk since we were children,” said Matthew. “My mother will surely not object now that Shadowhunters are being plucked from their carriages in the streets.”

“Well, lucky for Charles, you’ve the best penmanship of all of us,” said James.

“So glad to hear that your humor has returned,”groaned Matthew, hanging his head so that his face was hidden beneath the fall of his hair. “Even if it is at my expense.”

“Pull yourself together, Math,” said James. He stood and tugged the edges of his jacket down as if to reinforce his words. “It will not serve to allow the entire household to hear such agitation. We have faced our parent’s fury before, this will be no different, I’m sure.” There was a pause, and James gazed out the window to allow Matthew a moment to compose himself. While he envied Matthew’s free and easy, passionate nature, his capacity for intense friendships, he always felt squeamish in the face of Matthew’s occasional display of emotion. He was accustomed to his own emotional outburst and Matthew insisting on James to calm down.

“You are right, of course,” said Matthew at last. He pulled a large silk handkerchief from his pocket and dabbed his forehead. “Good to see you back to your more rational nature.”

“Thank you,” said James, fully aware that Matthew did not altogether mean it as a compliment. It was hardly fair that Matthew should provoke him into a purse-lipped rigidity and then insult him for it, but James’s first concern was to protect his friend from his own self-indulgence. “Now why don’t we make a suitable plan?” he added. “I’ve learned long ago that it’s best to just nod in the presence of angered adults.”

Matthew nodded as if to show his ability to follow direction. “Perhaps we should share what we know about Belial.”

“I think not,” said James. “My parent’s have already made it quite clear that they don’t want us involved in the investigation any further. We will have to continue it without their knowing.”

“Are you sure that’s wise?” said Matthew. “He nearly possessed you and tried to kill Cordelia twice.”

“Which is why we must continue the investigation on how to properly kill him because it can be sure that he will not stop until he has what he wants,” said James. “There has to be a way to kill him properly.”

“I hope it’s something obvious,” said Matthew, “like spritzing him with water or feeding him chocolate.”

A sound of voices in the hallway outside the game room was followed by a light knocking on the door and Thomas’s voice saying, “Of course I’ve forgotten the secret knock, it was far too complex to begin with.”

“They’re here to fetch us,” said Matthew urgently. James noticed that he did have a strange, pale look about his face, but perhaps, he thought, this was the properly deserved effect of too much rough cider.

“By the angel, it’s only Christopher and Thomas,” he said. “You and Thomas can look pale and interesting together. Of course, he’s only just lost his sister. Perhaps his situation will help your sense of perspective.”

“Your sarcasm lacks the delicacy that would render it amusing,” said Matthew. “But thank you for your reason. Your permanent frown always brings me to my senses.”

“I do not have a permanent frown,” said James. He took a brief look into the mirror over the mantle and consciously adjusted his features to a half smile, which only seemed to make him look as if he were in pain.

“Hello gentleman,” said Matthew, “do come in. It’s mercifully clear of authority in here.”

Christopher and Thomas came through the door, and James found himself slightly relieved that they were alone. Both of them were neatly dressed in tweed trousers, buttoned up shirts with suspenders. Christophers glasses rested on the end of his nose while Thomas' shirt strained heavily around the illustrious girth of his arms. Neither of them seemed to wear any hint of the previous night’s grievances.

“Welcome,” he said. “Is it time then?”

“Just about,” said Thomas and folded his arms across his chest. “I’ve only just arrived with mum and dad and only convinced Christopher’s parents to allow him to leave their side by promising that we were only going as far as to fetch the two of you.”

“It’s already begun,” Matthew blurted out. “Behold men, your last minutes of freedom.”

“What’s he on about?” asked Thomas.

“Pay him no mind,” said James. “He’s consumed with the notion that due to the events of the last few nights our parents are going to handcuff us to desks until we come of age.”

“My mother suggested it,” said Christopher, “but I think my father has made progress against the idea.”

“See,” said James, gesturing to Christopher. “If my aunt Cecily can be brought to sense then so will your parents. Let’s just do what they ask of us and resume our investigation without their knowledge.”

“So not much different from what we’ve been doing for the past seventeen years?” said Matthew, shooting James a look. James could only roll his eyes as Christopher and Thomas drifted to the two wing chairs, where they sat and continued, for some minutes, to turn over the circumstances of the secret Belial investigation in a low and urgent manner.

“Any word on Cordelia and Alastair?” asked James.

Thomas nose flared as he met James’s gaze with an expression of frankness. “No,” he said. “Not that I’ve heard.”

James leaned against the wall and felt an echo of the agony that he had felt the night before and had to quell an urge to run out of the room and demand that someone give him information on the state of his fiance, seeing as far as everyone knew they were still engaged.

“I overheard our mother’s talking,” said Christopher to Matthew. “Alastair woke for a moment last night and was able to communicate with the Silent Brothers, but he is instructed to rest without visitors so that the injuries to his brain can continue to heal.” Matthew grumbled something under his breath. “Cordelia has been placed into an induced coma that she is unable to wake up from on her own. When her injuries have had some time to heal they’ll attempt to wake her up. The good news however is that the cure for her demon poisoning has allowed the runes to take a more immediate effect so she is healing.”

Christopher offered James a reassuring smile, which he appreciated more than he could properly express.

“Forget being tied to a desk,” muttered Matthew. “My mother will probably request having me put into an induced coma instead.”

Tessa Gray sat in the plush velvet couch in the front drawing room with her legs crossed at the ankles and her husband’s hand gently pressed against her shoulder while he sipped brandy from a glass tumbler in his free hand. Aunt Cecily was seated in a wing chair beside the fire with her husband Gabriel a respectful six feet away from Will. Aunt Sophie sat at the other end of the couch with Tessa, her hand held softly in the clutches of Gideon, both of them still carrying the misery of the loss of their eldest daughter Barbara. Charlotte Fairchild stood behind her husband’s wheelchair and beside her eldest son Charles. James knocked on the door and went in followed by Matthew, Christopher, and Thomas.

“Gentlemen,” said Will. “I hope that you all slept well and are prepared for punishment and ridicule.”

“William,” warned Tessa. “We simply want you to recount your details from the night the Carstair’s were attacked.

Matthew shifted beside James.

It had only just occurred to him that he hadn’t seen Lucie since they arrived at the Institute with Cordelia and she wasn’t in the room now. “Where is Lucie? She would have more to tell than any of us would.”

“Lucie has already recounted her experience,” said Tessa, one eyebrow raised. “She’s resting now. It’s the four of you that we wish to speak to now.”

“We are enacting an investigation on this prince of hell Belial,” said Charles, as he moved forward into the center of the room. “If we’re to be successful in locating him and effectively killing him then we need all of the information that you have concerning him.”

“I’ve already told my parents everything that I know about Belial,” said James. Both Will and Tessa turned him a look. James exhaled and began his recount of his experiences with Belial.

“And you believe Belial to be the one to have taken Miss Carstairs?” asked Charles when James was finished.

“I never saw him myself,” said James. “That would be a question for Lucie.”

“She claimed not to have seen him either,” said Charles, removing a pocket watch and checking the time before slipping it back into his trousers. “She said that she found Cordelia in the fog badly injured. She said that she lost you, but once the fog rolled away, you appeared again. Is this not the truth?”

James wasn’t sure what would compel his sister to lie about the events of Cordelia’s rescue, but he had to assume that there was a good reason and one that he would explore later when he could speak to his sister himself.

“It’s the truth,” said James. “As I told you before Lucie disappeared into the fog and I ran after her. We lost each other for some time, and when the fog moved off, she was there again with Cordelia.”

Charles stroked his chin. “It’s been unanimously agreed upon that the four of you, including Lucie and Anna, will be restricted to local patrols during daylight hours and are to report in detail any and all demon activity. If you so choose to break your restrictions then your punishment will be as sever as I see warranted.”

“What exactly would you see warranted?” asked James.

“You’ll be sent to Alicante,” said Charles, his eyes marked on Matthew, “where you’ll remain until you come of age and if you continue to disobey direct orders then the punishment will be as severe as stripping you of your marks.”

“Charles,” Charlotte hissed from beside her husband. “We never mentioned—“

“It is for their own safety, mother,” said Charles, squaring his shoulders. “I do hope it doesn’t come to such extremes, but in this case, the safety of one is the safety of them all. I do hope this will encourage them to keep each other accountable.”

Though it pained James that these new founded restrictions would limit his personal research on finding a way to kill Belial, it did not discourage him in the least. In fact, he was even more excited about the prospect of an opportunity to infuriate Charles. If one of them were to be sent to Alicante, he was sure the rest would follow, and he couldn’t strip them all of their marks. What with Shadowhunters being down in numbers as it were. Charles tactics were classic: infiltrate fear into the army without ever enacting punishment. Not that Charles would ever find out if they were going against him. Charles was too busy building his castle out of sand to see what goes on around him.

“I think Charles has allowed power to go to his head,” said Will, under his breath. He’d been in something of high spirits since Jem had arrived at the Institute and been ordered to stay to help the Carstairs siblings mend. “Don’t fret, Jamie boy, if you are stripped of your marks, Coleridge lived a life of poverty and had to be sustained by charitable friends and he turned out fine.”

“William,” Tessa hissed. “Do be serious for a moment. Jamie, as much as we regret taking away your personal freedoms, it is of the utmost importance that you heed the restrictions put in place for you. Even if he is being a power hungry, conniving, son of a--”

“What your mother is trying to convey,” said Will, moving in front of her, “is that you should be careful and mindful of your action.”

“I could always become a postman like Trollope?” said James. “I’ll begin to work on my beard.”

Will bellowed and clapped James on the shoulder just as the doors to the drawing room were opened by the footman and in walked Brother Zachariah with Sona beside him. Her graying hair has come loose and spilled down her back in an array of perfect waves that mirrored the texture of her daughters. Her expression was somber; deep circles sat under her eyes and her lips were impossibly dry.

Her arm was entwined with Jem’s as they shuffled into the room.

James, followed by Tessa and Will, hurried across the room to meet them.

“Mrs. Carstairs is in need of some rest,” said Brother Zachariah. “She would like to request that James remain with Miss Cordelia while she is away.”

James took her free hand and offered it a reassuring squeeze.

“She is lost in there,” said Sona, her voice rough and weathered. “I can feel it. It helps if you read to her. Let her hear the sound of your voice so she has something to walk towards in all of that darkness.”

“I can show you to a room,” said Tessa, a note of emotion in her voice that she quickly cleared away.

“That would be lovely thank you,” said Sona and removed her arm from Jem’s for Tessa’s.

“Perhaps some light broth,” said Brother Zachariah. “She hasn’t eaten much and I worry for the child.”

Tessa nodded and led Sona from the room.

Brother Zachariah turned his attention to James. “How are you feeling?”

“Much better after some sleep,” said James. “I can go to Cordelia now if you wish.”

“She is having a bath,” said Jem, “but in the next hour. Prepare to make yourself comfortable, perhaps bring some literature. As Sona said before, it is of the utmost importance that you continue to speak to her, give her something to walk towards, or the Cordelia that you know can become lost in her thoughts forever.”

James' voice became bitter. “Why is she in a coma if it means she could become lost inside of her mind? Can’t you wake her up?”

“The injuries that she has sustained would be too terrible to be conscious during,” said Jem. “The body is able to heal much quicker if the mind is asleep to the pain.”

James drew himself into as stiff of a column as he could and clamped his teeth down on a small quiver of his jaw. He resolved himself in that moment to give Cordelia whatever she needed; if he had to read to her for days, weeks, even months then that was what he would do.

(Next update is going to be Sunday 7/12... maybe)

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