head-kerchief

Beyond the Horizon: Chapter 40

Fic Update: Beyond the Horizon

Summary:  When Princess Emma’s ship is captured by the Jolly Roger and Captain Killian Jones, she offers herself as a hostage for ransom if he will let the ship and the other passengers go. With Emma, Killian remembers the honour he once held dear, and Emma catches glimpses of the gentleman Killian had been. Against all odds, the pirate and the princess begin to fall for each other.

Read this chapter on ff.net here


                                              Chapter Forty
                                                Pixie Dust


Killian took a deep breath when he came up on deck, inhaling the sweet scent that perfumed the air in the small cove where the Jolly was anchored. Lieutenant Courtice’s accusations had burrowed under his skin more than he wanted to admit, each expertly-aimed barb reminding him of the man he used to be. Or the man he still was, a few recent good deeds could hardly be enough to wash away the considerable sins of his past. The lieutenant clearly didn’t think so, and neither did Emma’s father, Killian could tell. There was no sign of the the two of them or of Emma’s mother, and he wondered if Courtice had gone to tell the king and queen about his many crimes, letting them know exactly why the name Killian Jones was feared and reviled across the sea. Perhaps he was even pressing his own suit, putting forth his name as a possible match for their daughter once they returned to the Enchanted Forest and regained their kingdom at last. He wasn’t a prince or a lord, but Killian was sure the lieutenant came from much more honourable stock than he did. The glory that would have redeemed the Jones family at long last had died along with Liam, when he’d been cast adrift in the world to forge his own destiny alone.

It was warm in the cove but not humid, not like the thick jungle on Neverland where sweat had beaded on his brow and plastered the linen of his shirt to his back as he’d followed Liam unknowingly into danger. Everything about that island had been wrong, it had felt wrong, it had looked wrong, it had even smelled wrong, though lush and green there had been an unmistakable whiff of decay hanging in the air like the rotting of overripe fruit left too long on the vine. But the Fairy Queen’s domain was as beautiful as a perfectly cut jewel and when he took another deep breath the smell was like a mix of all the good things he could think of. Freshly baked bread and highest quality rum, and the sky after a heavy rainstorm, when the clouds parted and everything had been washed clean and fresh from the downpour. But most of all it smelled like roses, a scent he was rather more intimately familiar with now than he ever had been before thanks to the soap he bought Emma every time they made port. The floral aroma was particularly stubborn, it clung to the collars of all his shirts, lingered in his bed linen and permeated the handkerchiefs she unabashedly stole from him while he pretended not to notice. Would the scent of roses remain even after she was gone, another ghost to taunt him in the dead of night when he was left alone in a cold bed and sleep wouldn’t come no matter how much rum he drank?

Keep reading

Untranslatable Irish Words Part 1
  • Ainbhlinn - Froth from mouth of decaying corpse.
  • Áirí - Ground manured in previous year; ground from which potatoes have been cropped.
  • Aiteall - Fine spell between showers.
  • Amainiris - The second day after tomorrow.
  • Amanathar -  The day after tomorrow; the second day after.
  • Béaláiste - Drink to seal bargain.
  • Bearrthóir - Tail-chewing animal.
  • Béillic - Flat stone with cavity underneath.
  • Brach - Discharge from eyes during sleep.
  • Bruán - Afterbirth of animal.
  • Buadán - 1. Stump of animal’s horn. 2. Bandage on dehorned animal. 3. Bandage on head; kerchief bound about head and forehead.
  • Buaile - Milking-place in summer pasturage.
  • Buaircín - Guard on tip of animal’s horn.
  • Cealdrach - Old burial ground; burial place for unbaptized infants.
  • Cídeog -  1. Covering for head and shoulders against rain or cold. 2. Person who is easily imposed upon; spineless creature.
  • Cinnire - Person leading an animal by the head.

anonymous asked:

What are the main differences between a married woman's outfit and an unmarried ones? thank you!

That matter differs between various regions, but there are a few general “rules”, for example:

  • sometimes it’s a difference between certain pieces of clothing, for example married women from some regions would wear slightly wider “dignifying” clothes, wear certain forms of jackets or coats, or different kinds of aprons and/or skirts.
  • sometimes it’s a subtle difference between patterns or amount of the embroidery or lace - in many areas the oldest/married women would often wear the most decorative clothing that they’ve been working on their whole life.
  • originally, the married women would also wear more of “quality” jewellery, for example from natural coral and silver, which was usually inherited with a marriage - young girls had been often wearing cheaper “bling”, created for example from tinted wood or glass beads. In the poorer regions it’s been known that girls were sometimes making jewellery out rowanberries stringed on a thread. However, in the modern times the contemporary ensembles usually buy the same kind of necklaces for their dancers, often made of plastic due to low budgets, therefore this difference could not always be spotted.
  • most often it’s the difference between the types of head coverings and hairstyle, for example only the unmarried women were allowed to wear flower decorations on the head, last time during the wedding in a form of the “flower crown”, and even wear the hair loose - while the married ones were covering the head with certain kerchiefs or caps [depending on the region] and usually tying the hair up for example in a bun. 

Below are examples of the contemporary-recreated costumes from Kraków [all already posted under my Kraków tag]:

The married woman [right] wears the white embroidered kerchief covering the head, with the hair hidden under it and tied up in a bun; has the highly decorative light jacket [originally could’ve been adorned with natural coral beads] and the cotton apron with embroidery. The unmarried one [left] has the hair braided [a typical hairstyle of a girl, with one or two braids] and wears the wreath, her apron is see-through, made of lace, she’s presented with the bodice only and her blouse has much wider sleeves. There’s also the differences in colours - much more vibrant [the meaningful red] for the unmarried woman and slightly toned down for the married one.

Married woman from Kraków [left] and unmarried one [right].

Married woman.

Unmarried woman, wearing the wreath and much more fitting bodice.

Decorative jacket and bodice with a natural coral necklace - outfit of a married woman, historical example from the turn of 19th/20th centuries.

When I  first visited Tashkent, in 1928, a conference of Communist women was announcing: “Our members in backward villages are being violated, tortured and murdered. But this year we must finish the hideous veil; this must be the historic year.” Shocking incidents gave point to this resolution. A girl from a Tashknet school gave her  vacation to agitating for women’s rights in her home village. Her dismembered body was sent back to school in a cart bearing the words: “That for your women’s freedom.” Another woman had refused the attentions of a landlord and married a Communist peasant; a gang of eighteen men, stirred up by the landlord, violated her in the eighth month of pregnancy and threw her body in the river.

Poems were written by women to express their struggle. When Zulfia Khan, a fighter for freedom was burned alive by the mullahs, the women of her village wrote a lament:

“O, woman, the world will not forget your fight for freedom! Your flame– let them not think that it consumed you. The flame in which you burned is a torch in our hands.”

The citadel of orthodox oppression was “Holy Bokhara”. Here, a dramatic unveiling was organised. Word was spread that “something spectacular” would occur on International Women’s Day, March 8. Mass meetings of women were held in many parts of the city on that day, and women speakers urged that everyone “unveil all at once.” Women then marched to the platform,tossed their veils before the speakers and went to parade the streets. Tribunes had been set up where government leaders greeted the women. Other women joined the parade from their homes and tossed their veils to the tribunes. That parade broke the veil tradition in Holy Bokhara. Many women, of course, donned veils again before facing their angry husbands. But the veil from that time on appeared less and less.

Soviet power used many weapons for the freeing of women. Education, propaganda, law all had their place. Big public trials were held of husbands who murdered wives; the pressure of the new propaganda confirmed judges who gave the death sentence for what old custom had not considered crime. The most important weapon for freeing women was, as in Russia proper, the new industrialisation.

I visited a new silk mill in Old Bokhara. Its director, a pale, exhausted man, driving without sleep to build a new industry, told me the mill was not expected to be profitable for a long time. “We are training village women into a new staff for future silk mills of Turkestan. Our mill is the consciously applied force which broke the veiling of women; we demand that women unveil in their mill.”

Girl textile workers wrote songs on the new meaning of life when they exchanged the veil for the Russian head-dress, the kerchief.

“When I took the road to the factory, I found there a new kerchief, A red kerchief, a silk kerchief, Brought with my own hand’s labour! The roar of the factory is in me. It gives me rhythm. It gives me energy.”

—  New People, The Stalin Era (1956), Anna Louise Strong