#perceforest

[queer-ragnelle]

It’s here.

#Arthurian legend #Arthuriana #perceforest #Nigel Bryant #did I buy this in part bc Tor is in it #mayhaps but shut up

[princesssarisa]

I'm now reading another of Heidi Ann Heiner's fairy tale collections. Sleeping Beauties: Sleeping Beauty and Snow White Tales from Around the World. Since I enjoyed Cinderella Tales from Around the World so much, I couldn't resist opening another of Heiner's books.

The first part of the book is devoted to the different international versions of Sleeping Beauty, the second part to the different versions of Snow White. This is followed by other tales of "sleeping beauties" that don't fit nearly into either category.

We start with the medieval Sleeping Beauty prototype tales from the 13th and 14th centuries.

*The earliest known prototype of the Sleeping Beauty story is the Norse and Germanic legend of Brynhild (a.k.a. Brunhild, Brunhilda, Brünnhilde, or other variations). This legend first appears in the Poetic Edda, the Prose Edda, and the Volsunga Saga from 13th century Iceland. It also appears in the German Nibelungenlied (although that version doesn't include the enchanted sleep), and its most famous modern adaptation is in Richard Wagner's four-opera cycle Der Ring des Nibelungen. The figure of Brynhild also inspired the Marvel superheroine Valkyrie.

**The Sleeping Beauty-like portion of the legend is this. The beautiful and strong-willed Brynhild is one of the valkyries, the warrior maiden servants (and in some versions daughters) of Odin (or Woden, Wotan, etc.) who preside over battlefields and bring the souls of fallen heroes to Valhalla. But Brynhild disobeys Odin by saving (or trying to save) the life of a warrior who was marked for death. (The man's identity, why he was meant to die, why she defends him, and whether she succeeds in saving him or not varies between versions.) As punishment, Odin banishes her to the mortal realm, pricks her with a "sleep thorn," and places her in a castle (or just on a rock) surrounded by a ring of fire, condemning her to sleep until a man brave enough to venture through the flames arrives to wake her and become her husband. (In some versions, she has attendants and servants who all sleep along with her.) Many years later, the fearless hero Sigurd, or Siegfried, succeeds in passing unharmed through the flames and wakes Brynhild by cutting off her valkyrie armor (or in later retellings influenced by Sleeping Beauty, with a kiss). The couple doesn't live happily ever after, however: their further adventures and eventual tragic fates are a story for another day.

**Even though it's a well-known fact that in "the original Sleeping Beauty stories," the prince (or his counterpart) impregnates the sleeping heroine and she wakes after she gives birth, no such thing happens in this earliest proto-version. If we assume that this really is the Western world's first tale of a heroine in an enchanted sleep, then it seems as if that sordid detail was a later addition.

*Next in Heiner's book come several medieval French Sleeping Beauty tales, mostly from Arthurian romances. These are the tales where we first see the motif of the heroine's love interest raping her in her sleep and fathering a child. Since few of them have ever been translated into modern English, the book simply summarizes them instead of printing them in full.

**The best-known of these stories, which most resembles Sleeping Beauty as we know it today, is the tale of Troylus and Zellandine from Le Roman de Perceforest, an Arthurian romance from 14th or 15th century France. In this tale, a knight named Troylus loves a princess named Zellandine. Then learns that while spinning, Zellandine has suddenly fallen into a deep sleep, from which no one can wake her. With the help of a spirit named Zephir and the goddess Venus, Troylus enters the tower where she lies and, at Venus's urging, he takes her virginity. Nine months later, Zellandine gives birth to a son, and when the baby sucks on her finger, she wakes. Zellandine's aunt now arrives, and reveals the whole backstory, which only she knew. When Zellandine was born, the goddesses Lucina, Themis, and Venus came to bless her. As was customary, a meal was set out for the three goddesses, but then the room was left empty so they could enter, dine, and give their blessings unseen; but the aunt hid behind the door and overheard them. Themis received a second-rate dinner knife compared to those of the other two, so she cursed the princess to someday catch a splinter of flax in her finger while spinning, fall into a deep sleep, and never awaken. But Venus altered the curse so that it could be broken and promised to ensure that it would be. When the baby sucked Zellandine's finger, he sucked out the splinter of flax. Eventually, Zellandine and Troylus reunite, marry, and become ancestors of Sir Lancelot.

***This tale provides some answers for questions that the traditional Sleeping Beauty raises. In the familiar tale, the king, the queen, and their court know about the curse, so why do they keep it a secret from the princess? Yes, they avoid upsetting her by doing so, but the end result is that when she finally sees a spindle, she doesn't know to beware of it. Why not warn her? And why is there a random old woman in the castle, spinning with presumably the kingdom's one spindle that wasn't destroyed, and why, despite living in the castle does she not know about the curse? (It's no wonder that most adaptations make her the fairy who cursed the princess in disguise.) Yet in this earlier version, there are no such questions: no one except the eavesdropping aunt knows about the curse, because it was cast in private, so no one can take precautions against it. Another standout details is the fact that Zellandine's sleep doesn't last for many years, and that the man who wakes her already loved her before she fell asleep. Disney didn't create those twists after all!

**The other medieval French Sleeping Beauty tales are Pandragus and Libanor (where Princess Libanor's enchanted sleep only lasts one night, just long enough for Pandragus to impregnate her), Brother of Joy and Sister of Pleasure (where the princess isn't asleep, but dead – yet somehow the prince still impregnates her – and is revived by an herb that a bird carries to her), and Blandin de Cornoalha (a knight who, refreshingly, doesn't impregnate the sleeping maiden Brianda, but breaks her spell by bringing a white hawk to her side).

*All of these early Sleeping Beauty tales are just one part of bigger poetic sagas. Maybe this explains why Sleeping Beauty is fairly light on plot compared to other famous fairy tales (i.e. we're told what's going to happen, and then it does happen, and it all seems inevitable from the start). Of course one argument is that it's a symbolic tale: symbolic of a young girl's coming-of-age, as the princess's childhood ends when she falls asleep and her adulthood begins when she wakes, and/or symbolic of the seasons, with the princess as a Persephone-like figure whose sleep represents winter and whose awakening represents spring. That's all valid. But maybe another reason for the flimsy plot is that the earliest versions of the tale were never meant to stand alone. They were just episodes in much longer and more complex narratives.

@ariel-seagull-wings, @adarkrainbow, @themousefromfantasyland

#sleeping beauty #fairy tale #variations #sleeping beauties: sleeping beauty and snow white tales from around the world #heidi ann heiner #norway #iceland #germany #norse mythology #france #england #italy #tw: rape #tw: cannibalism

[cerseimikaelson]

Apparently I've been living under a pile of rocks, because even with internet access I just found out Maleficent 3 is confirmed. So, whilst I am busy having a heart attack, let all Maleval shippers come forth and give me their headcanons about our favorite Dark Fey/Raven pairing.

Here's mine: the first thing Diaval said to Maleficent after she turned him from dragon to human after the Battle of Perceforest is: "can they [her wings] take you to the stars?"

#maleval #maleficent #diaval #fey

[themousefromfantasyland]

Proposition: Chivalric romances and fairy tales are set in the same universe, but told by different perspectives.

Chivalric romances, especially the Arthurian ones, focus sorely on knightly princes fighting epic battles, going into quests and rescuing damsels in peril.

Fairy Tales in general focus more on the exploits of those damsels in peril, along with some working class representation in the figure of lucky tricksters and helpless children.

In other words, Chivalric romances are mainly about Prince Charmings, while fairy tales are about everyone else.

The reason I started thinking about this was because of how much these types of stories share similar settings:

Humans, fae-like beings, dwarfs, cannibal giants (Ogres), and dragons being the main races.

Enchantress like Morgan Le Fay and the Lady of the Lake being suspiciously similar to the Fairies from the french fairy tales.

Christian entities being super present and somehow living relatively peacefully with other magical brings.

Heck, the oldest recorded version of the Sleeping Beauty type of story was in Perceforest, a Chivalric romance mea t to be a prequel to the King Arthur mythos.

Remember Perrault's version of the story, where after waking the Sleeping Beauty the prince has to go to war, leaving her and their children with his ogre mother?

Totally would be the type of story that chivalric romances would explore in bloody details

@ariel-seagull-wings @princesssarisa @adarkrainbow

#fairy tales #chivalric romance #medieval times #medieval literature

[artist-issues]

Maleficent is a retelling of Disney’s Sleeping Beauty. It is not just a reimagining.

It is a capitalization on Disney’s eye-catching design for their animated Maleficent. If it were just this beautiful original spin on the fairy tale by Charles Perrault or even the version in Perceforest, it would look incredibly different.

In Perrault’s version, the evil fairy that curses the princess has one defining character trait: she is old. She is ancient, and has lived in a tower isolated for so long that everyone thought she was dead, and that’s why she wasn’t invited to the princess’ christening. She disappears after placing the curse and is not heard from, defeated, or worried about for the rest of the story.

What the animated Disney Sleeping Beauty did was take that character and make her:

Beautiful

Horned

Powerful

An antagonist that returns to the plot.

Named “Maleficent.”

Two huge things that they changed which turned the evil fairy into an iconic villainess that endured to this day were the name of the character and the way she looks. Those things are unique to the Disney animated classic version. They are inseparable.

So your wonderful “reimagined” Maleficent came along in the year 2014 and said, “Yeah, we’re going to do something new and different!” And did this:

Actually, the movie never said that. The trailer included lines from the animated film, again, iconic and unique to the Animated film, and even capitalized on the original “Once Upon a Dream” song.

But it’s funny that everyone acts like it’s not a retelling of the animated film, and they want to use the word “reimagining.”

All you’re really saying is that we should excuse this film for marketing itself as a movie that would satisfy or interest fans of the original Sleeping Beauty, but wound up totally dumping on the original Sleeping Beauty through the changes it made.

The movie is not a beautiful new twist on the fairy tale of Sleeping Beauty. It is a money-grabbing shock jock Wicked rip-off that would not exist if it weren’t trying to climb onto the shoulders of the SPECIFIC ANIMATED SLEEPING BEAUTY.

Going to say it one more time. If Maleficent (2014) wanted to be this amazing exercise in originality, it should not have been so tightly tied to the Disney Animated Classic. Because when it is connected so tightly to that specific animated version of the tale, we expect it to celebrate that version, and instead, it spat on it.

All it really did was celebrate the striking character design of the evil fairy and capitalize on the name. Like a bait-and-switch.

And side-note, a movie that takes the main character and makes her everything to everyone in the plot is so obnoxious. I was more intensely bored by this movie than any other live action remake because I couldn’t care about a main character who kept switching tones every five minutes. First she’s a naive free spirited waif, then she’s a scorned lover, then she’s a dramatic villainess, then she’s a bumbling caretaker, then she’s a beloved mother, etc. Her motives and feelings about the situations she’s in change and conflict so many times during the movie that I stop caring.

And while I stop caring about this movie, I entertain myself by thinking about how consistent the motives and character choices for the original were, and how superior it was, and how cheap and awful a movie that over-glorifies it’s main character is.

#Keep coming for Cinderella 2015 and watch me be obnoxious #all three of you know who you are #Maleficent #live action Disney critique #Cinderella 2015 #sleeping beauty #mistress of all evil #Disney

[mask131]

I finally found a post that allows me to express something I meant to say for a long time... About myths and legends and fairytales in general, and the whole business around the word... "original" (cue to Hammer horror dramatic thunder)

The massive wave across the Internet recently is to denounce the use of the word "original" as meaning absolutely nothing when it comes to myths and folklore. For example, people love, when talking about fairy tales to say "Actually, in the ORIGINAL fairytale this happened like this". And a lot of people criticize it, for good reasons. Take Sleeping Beauty. Many people will speak of the "original" Sleeping Beauty, by referring to the Brothers Grimm version of the tale, "Briar Rose", as opposed to a more recent version such as Disney's. But in truth there was a version older than that and more famous - the French version by Charles Perrault. So this is the original, right? No because many people will point out: there was a version older than this one, Basile's "Thalia, the Sun and the Moon". And this one a lot of people like to describe as the "original" Sleeping Beauty. And yet, there is still another, older version - French again, the medieval romance known as "Perceforest". And this one yet again takes inspiration from older myths and legends - including Germanic ones apparently...

So the use of the word "original" here means, indeed, nothing or is useless because fairy tales, and world-famous/ancient folktales rarely have an "original" version. They have been retold, rewritten and re-transcribed and adapted for centuries and centuries across various cultures and continents, and even the most ancient versions are just reflections of deeper oral versions.

This is what everybody has been defending, this is what everybody has been pointing out: there is a need to fight against the term "original" which can be too easily mis-used or over-used, since the actual "start" of a folktale or legend is lost, given its roots are in oral culture. The same thing is true with myths, especially things such as Greek myths. A lot of things people think they know about Greek myths start with Ovid, a Roman. Then you have to differentiate late records of Greek men, closer to the CE than BCE, and the oldest versions and records we had, Homer and Hesiod. And even then Homer reflected in his writings an even older tradition of a previous civilization lost to us since no written record exists. Take Medusa, and the post I made about her. Everybody uses today the story of her being a priestess of Athena being raped by Poseidon. This is a modern extrapolation of Ovid's tale about Medusa being a woman raped by Poseidon within Athena's temple (no priesthood involved). This in turn was Ovid's rewriting of a widespread tradition from Classical Greece about Medusa being a woman cursed by Athena for being so vain she deemed herself more beautiful than Athena (no rape involved). And this in turn was an evolution of the older Hesiodic/Homeric versions of Medusa, the Gorgon, being born a monster from monster-gods parents, and being part of the monstrous primordial forces of the sea/the underworld.

Now... here we reach my actual point. When I made my post about Medusa some people said "Its a good post but you shouldn't use the word "original" because we do not have the actual origins of Medusa". I agree that technically it is true. By all I said above - all myths and legends take roots within a lost oral culture, there is always a previous version before the one we have, etc... Yet, while I fully know this, I will keep using the word "original". To refer to the oldest record we have of Medusa as a character and myth: Homer and Hesiod (the two actually have a different take on Medusa, but they remain the oldest written records about her).

Why? Because while I agree that in itself the term "original" has been over-used and mis-used and that in the world of myths and legends and folktales it ultimately means nothing... I also strongly believe that refuse to see an origin, that refusing to see a beginning, that refusing to see a given starting point somewhere, opens the gate for all sorts of other misinformation or bad things.

The post in question was about a specific Greek myth (hence my switch to Greek mythology as an example). I won't say which but let's just say in this myth something bad happens. And it isn't an Ovid case where the thing originally was neutral or good and then was made bad later: we are talking about this bad thing happening by the oldest records we have of the story. Right. And this post reacted about an adaptation that changed this bad things to happen in a different angle and be less bad. And this person thanked deeply this adaptation because, by changing the story, it helped them "reconcile" with the myth. Because in their own words: "There were oral versions of it before it was recorded. The myth existed long before it was written. So who is to say this isn't how it happened? Who can say the version of the adaptation isn't more truthful to what the myth was originally about? It perfectly could have happened that way in the oldest versions of the myth, and I chose to believe it did!"

And that's where we fall into the pit. Yes, it is bad to over-use "original" as a word because the true origins of all myths are lost to time... But it is just as bad to not have any beginning point or refuse the idea that a myth was "created" at some point because we have this above. "What ifs", and "It could have happened" and "Why shouldn't it be like that" and "I chose to believe this because we might never know". People will start using the whole "no origins", "oral culture before written culture", "there must have been a previous version" as an excuse to invent versions of a folktale that never existed, or share versions of a myth that never was told, or defend versions of legends that are nowhere to be found.

Because that's the old logic fallacy: "If you can't prove it did not exist, then it means it could have existed". And this opens the gate for all sorts of inventions. Yes, you can invent a version of Medusa's story where she is the child of Zeus and Athena, and then claim it is a possible and likely story because "We don't know what was being told in pre-Homer times, maybe it was part of oral culture". Yes, maybe. But you will also agree with me, dear audience, that such a version is very unlikely to have existed, and that if one starts spreading this version around as a real myth they should be "booed" just as much as someone claiming Ovid's version of Medusa is the "original".

If you ask me, the oldest version of a tale, the oldest record of a myth, should be considered the starting point of the legend, the... I will dare say "original" version of story. With the caveat that, indeed, there might have been older versions, non-recorded, oral, lost to time - but given we do not know what came before this oldest record, given we will likely never know what stood before this most ancient transcription, do we really need to keep beating us over the head and conjecturing about what came beforehand, especially since we are talking about just friggin' Tumblr posts and Youtube videos and the like? For a very advanced and thorough academical research, it is understood... But when it comes to just talking simply and plainly about things, maybe we should have some common sense and have a starting point of the chronology, and focus more on "That's the oldest version we have, and here is how it evolved and moved through from there" instead of "Let's go back into a past so obscure and so distant we actually won't see anything and won't have anything to say".

I will defend the use of the word "original" when it comes to myths and folktales, as long as it is an "original" that is actually the oldest version of a legend we have, and as long as the person that use it knows very well and agrees that there might have been previous versions and evolutions before it, but that were lost to time and thus that we will never know.

... And please, stop using the "there's no original" excuse to make up myths. Because listen: if you have a problem with a legend or myth, and then love a fictional adaptation's change to it, and you claim this new version "reconciled you" with the original... No. No you don't like what the myth or legend is actually about, no you don't like the folktale. You just like and enjoy a fictional retelling, a modern rewrite of the folktale. Not the actual story or the original myth.

#rant of the day #mythology #myths #greek mythology #fairy tales #fairytales #folktales #original #legends

[mizukagami-takamagahara]

When someone joins the Ten Sages, they leave behind their name and take on a numbered title. For the vast majority of these characters, we never learn their original names.

In BlazBlue, we're given the names of One, Relius Clover, and Nine, Konoe Ayatsuki Mercury.

In XBlaze, we know the full name of Zwei, Marceline F. Mercury, and we can safely assume we know the family name of Sechs, Stroheim, but we don't know his given name.

The chances of us learning the names of any of the others are incredibly slim. But... it's kind of fun to think about, isn't it?

I've been thinking about names for the other Ten Sage characters we've gotten to know. Acht in particular is a character I find it easy to come up with ideas for.

Under the cut, I'll share some of the thought process to why these names in particular stand out to me.

We know from Phase Shift that Ishana is a nation outside of the geopolitical world we know, untied to any modern country. The named Ishanans we know seem to be from different nationalities; Shuichiro is Japanese, the Stroheims seem to be of German ancestry, Elise's full name also suggests German heritage, Trinity and Celica's names are Western in General but could arguably be traced back to Latin origins, Marceline and the Mercury family name in general have a similar relationship with the general West and Roman origins, etc.

This makes me imagine Ishana as having a predominantly European culture, but one that has perhaps attracted people with magical potential from all the world's nations for generations.

With that in mind, I often find myself drawn to names from medieval European courtly romances, for that same kind of Western feel with a magicy twist. For Acht in particular, I really like the idea of giving her a name with ties to the fairy tales she seems so fixated on, in the way she talks about herself, Hinata, Touya, etc.

I'm also interested in giving her the name of some kind of tragic ballet heroine. Her role in the narrative can feel like that of a tragic heroine destined for despair, and the naming theme of her moveset in her only playable appearance (BBDW) centers around ballet and ballet terminology.

The same reasoning (the BBDW naming theme) draws me to French names, as all of her moves are in French.

#xblaze #xblaze code embryo #blazblue #ten sages acht #relius clover #konoe a mercury #marceline f mercury #bb trivia #bb headcanons #bb theory #bb meta #ao no imakagami #ten sages #xblaze ten sages #personally I was originally leaning toward zeladine for those sweet sweet sleeping beauty connections #but after discovering and learning about the ballet Giselle #I'm leaning towards giving Acht the full name of Giselle La Fontaine #seriously the heroine learns she can't be with her love #and proceeds to dance until she dies #if that's not a great parallel to acht's union situation AND relationship to sechs AND her last stand #then I don't know what is

[theredandwhiteknight-if]

U mean if nothing else the SB genetics along with literature saying their like super hot n shit confirms that Lancelot gives Gwinevere's 'fairest' title a run for its money

Like holy fuck I was expecting a new knight to join the round table not the sexiest fish alive

Lmao, really. Lancelot is the most beautiful fish man around. Everyone at Camelot digs the fish guy. And honestly with the way all the knights and ladies are described in the lit, I have to assume Camelot is just a magnet for the hottest people alive.

Also, if y’all want another fun fact about Perceforest. It actually includes Sybil as well. In this one she’s actually an ancestor of King Arthur with, get this, Alexander the Great. Absolutely wild

#anon #red and white knight if

[queer-ragnelle]

Okay, NOW I can finish my Tor post.

#it’s literally not the same Tor but I choose to believe mkay #Perceforest

[shinobi-illuminator]

You know, it's kinda funny as to how Disney pairs Hades with Maleficent instead of his Actual Wife (Persephone) when the Original versions of Sleeping Beauty, the first being "Perceforest" where actually feature in some of the Greek/Roman Goddesses using some of the Roman and Greek Names (Venus, Lucina, and Themis) and that Themis was the one who cursed the Princess and not a Dark Fairy which would be popular in later versions.

I've also see that you've added in Oberon and Titania in your own Family Tree of Sleeping Beauty/Hercules, when in "A Midsummer Night's Dream" Theseus (who was Poseidon's Demigod Son) and Hippolyta are actual Mythological Figures.

I'd sorta like to ask on what Disney is trying to do with their own lore but does Sleeping Beauty have any connection to Greco-Roman Mythology? Cause I've heard of the first version which one of the Three Goddesses from the Greco-Roman Pantheon did appear in that Fairy Tale.

I wish I knew.

[princesssarisa]

A remark about "Sleeping Beauty"

I think we all know that in the pre-Perrault versions of the Sleeping Beauty story, the counterpart of the Prince (sometimes a knight, sometimes a king – I don't think he actually becomes a prince until Perrault's version) impregnates Sleeping Beauty in her sleep.

But a surprising number of people seem to claim that in these "original" versions of the tale, she's awakened by her labor pains when she gives birth.

Is there a version where this is true? Because I don't know it.

In both of the two "impregnated while sleeping" versions I know, Perceforest and Sun, Moon, and Talia, she still has a splinter from the spindle (either of wood from the spindle itself or of the flax she was spinning) stuck in her finger while she sleeps, and this is why she can't be woken. After she gives birth in her sleep, her baby (an only son in Perceforest, one of twins in Sun, Moon, and Talia) sucks on her finger and sucks out the splinter. This is what wakes her.

Maybe there's yet another version where she's awakened by labor pains, but I don't know it. Does it exist, or is this just a misconception that turned into what TV Tropes calls "Common Knowledge"?

#sleeping beauty #fairy tales #variations #tw: rape #tw: childbirth

[viriborne]

Making Malleus a prince whilst being based on an adaptation of Perceforest was certainly a decision

#it’s like ik the original was Meant to be a love story but uhh ask any sane person today and they’ll disagree lol #also goddamn if I see another fic of Malleus taking on that……role…….I’ll die #also Malleus being both the prince AND the one who creates the curse is so narratively interesting #or at least that’s what I hope is happening idk I’m not reading book 7 spoilers

[tayasmultimuses]

Muse Masterlist

NOTE THAT THIS LIST WILL BE UPDATED FROM TIME TO TIME WITH THE UPDATES CLEARLY MARKED, DATED AND NOTED.  

**FACECLAIM NOTE: ANIMATED CHARACTERS WILL HAVE BACKUP ACTOR/ACTRESS FACE CLAIMS FOR USE WITH THOSE WHO PREFER TO RP WITH REAL-LIFE IMAGES OF THE CHARACTERS BUT WILL ALSO HAVE THEIR ANIMATED APPEARANCES FOR THOSE WHO HAVE NO PREFERENCE (*ANIMATED ANIMAL CHARACTERS WILL HAVE THEIR CGI COUNTERPARTS WHERE POSSIBLE AND APPROPRIATE IRL ANIMAL IMAGES WHERE NOT). COMIC BOOK CHARACTERS WILL, WHERE POSSIBLE, USE THEIR CANON LIVE ACTION FACE CLAIMS AS A BACKUP OPTION FROM WHATEVER LIVE ACTION SOURCE WE HAVE FOR THEM UNLESS STATED OTHEWISE BY THEIR INDIVIDUAL LISTINGS.** 

ADDITIONALLY, THERE MAY BE LINKS TO FURTHER INFORMATION FOR CERTAIN MUSES FOR YOUR READING ENJOYMENT AT YOUR OWN PACE. THESE MAY INCLUDE BIOS, HEADCANONS, AND INFORMATION ON THE VERSES FOR THAT SPECIFIC MUSE.

Disney:

  -The Lion King/Guard*: Sarabi, Sarafina, Nala, Kiara, Vitani, Jasiri.

-Disney Princesses: Belle, Merida, Pocahontas. 

  -Pirates of the Caribbean: Elizabeth Swann-Turner, Carina Smythe.

Various Disney minor characters: Cassim aka the King of Thieves, Nakoma of the Powhatan, Audrey Ramirez (Atlantis: the Lost Empire), Gwen Locksley/Gwen Hood (Princess of Thieves).

- Descendants: Jay, Son of Jafar,  Amonute Johanna Rolfe (OC, Daughter of Pocahontas and John Rolfe, goes by Johanna at Auradon Prep), Beatrice [Enchantress (surname subject to change)] (OC, Daughter of the Enchantress from Beauty and the Beast),  Princess Kenina of DunBroch (OC, Daughter of Merida, goes by Kenna at Auradon Prep).

***(Added 06/19/22)Maleficent duology:*** Diaval of the Moors, raven manservant to Maleficent, Lady Protector of the Moors. Aurora, Queen Regnant of Perceforest and the Moors, and Crown Princess Consort of Ulstead.

Marvel: 

  -Comics: Dani Moonstar [Bio: link to come, headcanons tag and  verses info], Rachel Grey Summers [Bio: link to come, headcanons tag and  verses info], Lorna Dane [Bio: link to come, headcanons tag and  verses info], Rahne Sinclair [Bio: link to come, headcanons tag and  verses info], Ruby Summers [Bio: link to come, headcanons tag and  verses info], Pietro Maximoff (disregarding the 2015 retcon that made him not a mutant and no longer Magneto’s son) [Bio: link to come, headcanons tag and  verses info],Wanda Maximoff (Same as with Pietro, but replace “son” with “daughter”) [Bio: link to come, headcanons tag and  verses info], Laura Kinney  [Bio: link to come, headcanons tag and  verses info],  Hepzibah of the Starjammers [Bio: link to come, headcanons tag and  verses info]. 

  - X-Men Cinematic universe: Jean Grey [both original (Famke Janssen) and alternate (Sophie Turner) timeline Jean Greys are available. Bio: link to come, headcanons tag and  verses info], Dani Moonstar [Bio: link to come, headcanons tag and  verses info], Raven Darkholme [as with Jean i have both original (Rebbeca Romijn) and alternate (JLaw) timeline Mystiques available. Bio: link to come, headcanons tag and  verses info], Rogue [Bio: link to come, headcanons tag and  verses info], Storm [Bio: link to come, headcanons tag and  verses info].     

            - The Gifted (FOX series):  Lorna Dane (Polaris) [Bio: link to come as soon as I get on my laptop( technical difficulties are happening with the doc and my phone *sigh*), headcanons tag and  verses info], Blink (Clarice Ferguson|Clarice Fong) [Bio: link to come, headcanons tag and  verses info],  Sonya Simonson (Dreamer) [Note: canon divergent (she doesn't die as per canon, instead she's comatose until right around when Dawn is born). Bio: link to come, headcanons tag and  verses info]. NPC: Dawn Dane-Diaz(/Diaz-Dane?) due to age in canon [Daughter of Polaris and Eclipse (both Dawn and Eclipse are show-only characters)].  **THE GIFTED IS A SPLINTER UNIVERSE OF THE X-MEN CINEMATIC UNIVERSE.** 

-MCU:  Pepper Potts-Stark [Bio: link to come, headcanons tag and  verses info], Darcy Lewis [Bio: link to come, headcanons tag and  verses info], Maria Hill [Bio: link to come, headcanons tag and  verses info], Melina Vostokova (Vostokoff) [Bio: link to come, headcanons tag and  verses info], Nebula Titan [Bio: link to come, headcanons tag and  verses info].



DC:

-Comics: Diana Prince | Wonder Woman, Cassandra Cain, Rachel Roth | Raven.

  - DC Extended Universe: Diana Prince |Wonder Woman | Princess Diana of Themyscira, Y'Mera Xebella Challa, Princess of Xebel (NOTE: I use Jessica Chastain as an alternate face claim to Amber Heard, but I can work with Amber if my partners prefer canon faceclaims), Arthur Curry | Aquaman | King of Atlantis.   

         -DCAU: Diana Prince | Wonder Woman, Mera, Raven, Terra, Starfire

-Arrowverse: Kara Zor-El | Kara Danvers |Supergirl, Lena Luthor, Malcolm Merlyn.



Merlin: Lady Morgana (Pendragon), Merlin Emrys, Gwen.

Narnia, Chronicles of: Susan Pevensie, Edmund Pevensie, Lucy Pevensie, Polly Plummer, Jill Pole, Keana (OC, Great Cat).

#Rp muses #masterlist #muse masterlist #rp muse masterlist #taya speaks #ooc records #chronicles of narnia rp #disney rp #descendants rp #marvel comics rp #x-men rp #the gifted rp #dc comics rp #dceu rp #dcau rp #arrowverse rp #maleficent rp #((🌟mun speaking; how may i help you today?

[agrpress-blog]

Martedì 17 ottobre 2023 alle ore 19.30, presso Spazio5 in via Crescenzio 99/d a Roma, Giorgio Nisini presenta “Aurora” (HarperCollins, 2023). L’autore dialoga con Francesca Ripanti. “Aurora” è stato presentato da Massimo Onofri nell’ambito dei titoli proposti dagli Amici della domenica al Premio Strega 2023 Un romanzo avvincente e sorprendente, che gioca con la tradizione trasportandola nel presente e nel futuro, aprendo squarci di senso sul mondo contemporaneo e ricordando il valore eterno delle grandi storie. SINOSSI Stefano, ultimo discendente dell'antica famiglia aristocratica degli Orsini Gianotti, dirige con successo e da lungo tempo la Fulgor, la fabbrica di lampadine fondata dal celebrato nonno Umberto negli anni Venti del Novecento. Ha una moglie, Carola, e una figlia sedicenne, Aurora, venuta al mondo come un miracolo, dopo anni di tentativi disperati e infruttuosi. La telefonata notturna di una sconosciuta, con cui si apre il romanzo, lascia in Stefano un vago senso di paura e sgomento: la donna allude, infatti, a questioni del passato che lui nemmeno ricorda, parlando con tono sibillino di una promessa fatta quando sua figlia era ancora una bambina, quasi esprimendo una velata minaccia. Poche ore dopo, durante un rapporto sessuale, Aurora cade in un sonno comatoso di cui nessun medico riesce a comprendere la ragione. Si apre così un periodo di crisi, in cui i due genitori cercano di rispondere in modo diverso a quest’evento inspiegabile e doloroso, alla ricerca di una soluzione sempre più disperata: Carola si abbandona a una vita di preghiera e riti superstiziosi, mentre Stefano cerca di reagire e inizia a indagare sulla telefonata ricevuta nel cuore della notte, sui misteri della sua famiglia e sull’ipotesi che una maledizione gravi sulle fondamenta della Fulgor... Ma è davvero così? Giorgio Nisini architetta una rielaborazione in chiave contemporanea della Bella addormentata nel bosco, in una versione che fonde il tono classico delle favole di Perrault e dei fratelli Grimm con le tradizioni più nere del Perceforest e di Giambattista Basile. Il risultato è un romanzo avvincente e sorprendente, che gioca con la tradizione trasportandola nel presente e nel futuro, aprendo squarci di senso sul mondo contemporaneo e ricordando il valore eterno delle grandi storie. Massimo Onofri ha proposto “Aurora” al Premio Strega 2023 con la seguente motivazione: «La fiaba della Bella addormentata nel bosco possiede un’attualità che va oltre la storia che tutti conoscono, quella della fanciulla che cade in un oscuro sonno di morte: "è una attualità" che riguarda la paura del sonno (eterno) e la speranza del risveglio (altrettanto eterno), archetipi psicologici che fuggono da ogni determinazione temporale. Nisini, con questo suo romanzo inaspettato e sorprendente, che candido senza esitazione al Premio Strega 2023, compie un’operazione di raffinato recupero narrativo: smonta l’antica fiaba, riprende le sue versioni più nere e crudeli – da quella di Giambattista Basile fino ai più antichi modelli nordici – rimonta poi il tutto in un romanzo contemporaneo, ambientato ai giorni nostri. Si tratta di una soluzione narrativa che lavora quasi filologicamente sul passato per interpretare il presente, epperò lo fa attraverso un’operazione che va oltre la filologia stessa: il lavoro di recupero è puramente funzionale a quello della narrazione. La dimensione drammaturgica nel suo insieme, l’incomprensibile narcolessia di Aurora, l’ambientazione da archeologia industriale, spingono l’antica fiaba ormai “defiabizzata” a confrontarsi con temi oggi attualissimi: la superstizione, i limiti della scienza, la tensione morale prodotta dal confronto con l’ignoto». GIORGIO NISINI Dopo una laurea in Lettere e un dottorato di ricerca sull'opera narrativa di Pier Paolo Pasolini, Nisini insegna per alcuni anni Sociologia della letteratura presso l'Università La Sapienza di Roma. Collabora con la Galleria Nazionale d'Arte Moderna e Contemporanea

di Roma, per la quale cura un ciclo d’incontri-intervista con alcuni protagonisti del cinema italiano contemporaneo, poi raccolti nel volume Saggi e dialoghi sul cinema. Dal 2016 al 2019 è stato docente e ricercatore all'Università degli Studi di Bari "Aldo Moro". Attualmente insegna Letteratura italiana moderna e contemporanea all'Università La Sapienza di Roma. Nel 2008 pubblica il suo primo romanzo, La demolizione del Mammut, con cui vince il premio "Corrado Alvaro" opera prima e arriva tra i cinque finalisti del premio "Pier Vittorio Tondelli". Il suo secondo romanzo La città di Adamo, viene selezionato tra i dodici finalisti della LXV edizione del Premio Strega. I due romanzi, insieme a La lottatrice di sumo (presentato a Spazio5 il 24 febbraio 2015), compongono quella che l'autore ha definito "Trilogia dell'incertezza". Ha organizzato progetti culturali e collaborato con vari festival letterari come Pordenonelegge.it, Piceno d'autore e Caffeina. Dal 2017 è direttore artistico dell'Emporio letterario di Pienza.

[raeynbowboi]

Venus in Medieval Literature

Aphrodite, or rather Venus, appears in quite a few sources from medieval literature beyond the context of Ancient Greece. She appears in the story of Perceforest (the oldest version of Sleeping Beauty) where she leads the Scottish prince Troylus to the sleeping bedchamber of the cursed princess Zelladine of Zeeland (Netherlands) and tells him to get down with her. (kinda gross, but in this version Zelladine and Troylus have like... met each other and Troylus is away proving himself a worthy suitor when she’s put to sleep, so it's a lot less problematic than the more triggering versions of Sleeping Beauty) so in this story, Venus is serving the role of the Lilac Fairy in Tchaikovsky’s ballet or Merryweather from the Disney film. Venus helps the prince break Zelladine’s sleeping curse and saves the day. This story also includes Arthurian Grail stories, so not only is Sleeping Beauty canonically linked to Arthurian Legend, but Venus has a place in it as well, beyond being Arthur’s many centuries removed godly ancestor. In Chaucer's The Knight's Tale, the hero Palamon is one of two men fighting over the amazon princess Emilye, the other being his cousin Arcite. Palamon prays to Venus, and Arcite prays to Mars. So this is also one of the very few times when Venus and Mars are in opposition to one another. Palamon and Arcite challenge each other to combat for Emilye's hand. As the goddess of love, Venus wants to give Palamon the girl, but as the god of combat, Mars cannot simply allow Arcite to lose the battle. So, after Venus and Mars bicker back and forth, Uranus yells at them to shut up, and cuts the proverbial baby in half. Arcite wins the battle, but his horse falls on him, killing him. Mars gets the victory, but Palamon gets the girl. Venus and Mars are both content, Arcite dies, and Emilye gets royally screwed over because she asked Diana to help keep her chaste and the goddess pretty much told her to fuck off. Also, Theseus and Hippolyta are in this story, with Hippolyta being Emilye’s sister. They both appear together again in Shakespeare’s A Midsummer Night’s Dream, and both stories take place in Greece. Keep an eye on that, we’ll come back to it later. In another story, Venus is the ruler of Venusberg, a gigantic kingdom that exists below Germany, and a saintly knight called Tannhäuser ventures below the ground to her kingdom. This myth of Venus ruling over Venusberg and mortal men going into her realm is closely associated with tales of mortals wandering into fairyland and the court of the fairy queen. It also bears mythological similarities to the Tuatha de Danann of Irish mythology and their relationship to the Aos Si, or the People of the Mounds. The Tuatha de Danann were godlike figures rewritten as being fairies by Christian missionaries who wanted to erase the pagan elements from Irish mythology. Just like the Tuatha de Danann were recontextualized as faeries, the involvement of Venus and Themis in Perceforest was altered to being fairies in later adaptations of the Sleeping Beauty story. When the Tuatha de Danann lost the war with the human Milesians, they were banished to live below the hills. This is where they intersect with the Aos Si, the faeries who live below the hills of Ireland in an underground kingdom. Wouldn’t you know it, but the fairies are almost always ruled by a queen. Oberon is the only king to ever be named, but there's many named fairy queens including Mab and Titania, but also Caelia, Gloriana, and Nicnevin. Now, these could just be coincidental mirror stories of underground magical kingdoms ruled by a beautiful woman of great power, and the fairy queen has also been associated with Diana instead of Venus, but the Celts did originate from Germania and Gaul, so it's not entirely out of the question that Venus ruling over the underground kingdom of Venusberg flowed into the idea of Titania and her court of fairies living below the hills of Ireland. And as I said, we’re coming back to A Midsummer Night’s Dream. So in The Knight’s Tale, Venus absolutely exists, as the gods directly interfere with the plot, and Venus even speaks to Palamon. A Midsummer Night’s Dream doesn’t include Venus per se, but does include two characters from The Knight’s Tale, meaning that Venus would logically exist in that story too. Shakespeare also directly retells the story of the Knight’s Tale in his play The Two Noble Kinsmen. While this play distinctly lacks any pagan gods as characters, the fact that the story exists within Shakespeare’s pantheon of plays that had such prominent paganism in the original source would still suggest that Venus still exists in this play, but simply does not appear on stage. Regardless of whether Venus and Titania are merged figures in A Midsummer Night’s Dream, and the blatant removal of Venus from The Two Noble Kinsmen, if one subscribes to a Shakespeare-verse where all of his plays take place in a shared world or timeline, that would mean that Venus exists in all of Shakespeare’s works, and is a canon divine force in all of his plays. By extension, this would include the entire Roman pantheon of pagan deities, and if going by Chaucer’s version, Uranus would stand as the King of the Gods in Shakespeare’s plays.

#aphrodite #venus #canterbury tales #the knights tale #perceforest #sleeping beauty #king arthur #aos si #arthurian legend #Tuatha de Danann #titania #fairytale #fairy #faerie #fair folk #goddess #venusberg #chaucer #edmund spenser #geoffrey chaucer #the faerie queene #william shakespeare #a midsummer night's dream #roman mythology #dark ages #greek mythology #aphrodite cabin #medieval #medieval literature #middle ages

[false-guinevere]

I was reading the Troylus and Zellandine part in Perceforest and it’s funny how Lancelot’s ancestor is literally just Sleeping Beauty. Like, that’s not even the only enchanted sleep someone is cursed with in Arthuriana (which is also kind of funny. Was this just the go to spell for people?) but it’s still funny to think about

Not really much to add, just thought it was funny (and still messed up. Like the story is a Medieval sleeping beauty so that goes how you’d imagine it would so trigger warning for r*pe if you wanted to read it)

#just some random thoughts #arthuriana #lancelot #sleeping beauty? #perceforest #tw r*pe #fairy tales