the man the myth the hero

Norse Gods (And Other Deities) List

Having seen various incorrect, incomplete and inaccurate lists of Norse gods circulating Tumblr, I have decided to write my own and also include common terminology alongside. I will also include other beings who exist within the old lore and modern traditions.

I have opted to include the names in Norwegian, with translations in parenthesise after, along with a brief summary of some of the associations given to some of those gods. Be aware that, as an overview, brevity is necessary here and the individuals should not be oversimplified to basic aspects in your practice!

Æser (Æsir, Male Gods)

  • Balder (Baldr, Baldur) - Light, purity, rebirth
  • Brage (Bragi) - Poetry, eloquence, wisdom and music
  • Delling (Dellingr) - The new day, dawn
  • Forsete (Forseti) - Justice and reconciliation
  • Frøy (Freyr) - Vaner, virility, fertility, the sacred religious position of royalty, prosperity, good weather and sunshine
  • Heimdall (Heimdallr) - The senses, premonition or foreknowledge
  • Hermod (Hermóðr) - Bravery, spirit, possibly a former mortal hero/king elevated to the Æsir
  • Hjuke (Hjúki) - Man, lunar activity, lunar phases, moon craters, brother of Bil (the Scandinavian children in the moon)
  • Hod (Höðr, Hodr) - The blind god, darkness, rebirth, second chances
  • Høne (Hænir, Hœnir) - Survival, sense/spirit, beauty,
  • Lodur (Lóðurr) - Blood, warmth, life, 
  • Loke (Loki) - Change, creativity, ambiguity, impulsiveness
  • Lyter (Lýtir) - Premonition, foresight, prediction, prophecy
  • Magne (Magni) - Strength, development, son of Tor
  • Meile - Son of Odin, brother of Tor
  • Mime (Mímir) - Wisdom, knowledge, memory, advice
  • Måne (Máni) - The moon, the night sky
  • Njord (Njörðr) - Vaner, the sea, harbours, ports, seafaring, wind, fishing, wealth/prosperity, and crop fertility
  • Od (Óðr) - Madness, fury, eagerness, excitement
  • Odin (Óðinn) - Father, war, battle, victory, death, wisdom, runes, magic, poetry, charms
  • Tor (Þórr, Thor) - Thunder, lightning, storms, rain, strength, protection, hallowing, healing, fertility
  • Ty (Týr, Tyr) - Law, sacrifice, heroism, glory, war
  • Ull (Ullr) - Skiing, archery, hunting, weapons, shields, personal combat, oaths
  • Vidar (Víðarr) - Vengeance, atonement, preparation, survival, silence
  • Vilje (Vili) - Will, willpower, moderation, the middle, wit, intelligence, touch, sense, motion
  • Ve (Vé) - Countenance, appearance, facial expression, speech, hearing, sight
  • Våle (Váli) - Revenge, bravery, daring, marksmanship, survival, rebirth

Åsynjer (Ásynjur, Female Gods)

  • Bil - Woman, lunar activity, phases of the moon, sister of Hjuke (the Scandinavian children in the moon)
  • Eir - Help, healing, protection, mercy, grace, calm
  • Fjorgyn/Jord (Fjörgyn/Jörð) - Earth, the world, nature, greenery
  • Frigg - Mother, love, fate, prophecy, marriage, birth, midwifery
  • Frøya (Freyja) - Vaner, fertility, love, passion, sex, sexuality, beauty, fertility, gold, magic, war, death
  • Fulla - domesticity, cleaning, housekeeping, listening, confidant, secrecy
  • Gersemi - Precious, beauty, blonde hair
  • Gjevjon (Gefjun) - Virginity, plowing, female independence 
  • Gnå (Gná) - Messenger, errands, crossing planes of existence, travel through land, air and water
  • Hnoss - Treasure, beauty, brunette hair
  • Idunn (Iðunn) - Youth, vigour, apples, love
  • Ilm - Fragrance, aroma, smells
  • Irpa - Guardian goddess, Hålogaland
  • Lin (Hlín) - Weddings, domestic sphere, flax, onion, fabrics
  • Lovn (Lofn) - Benevolence, kindness, gentleness, consolation
  • Nanna - Loyalty, empathy
  • Njorun - Soil, the land
  • Rind (Rindr) - Princess/goddess/giantess, mother of Våle from the East
  • Rån (Rán) - Sea, protection from drowning, fishing
  • Sigyn - Loyalty, burden, sadness
  • Siv (Sif) - Fields, wheat, fertility, family, wedlock
  • Sjavn (Sjöfn) - Love, sex, desire
  • Snotra - Wisdom, intelligence, cleverness, appropriate conduct
  • Sol (Sól) - The sun, warmth, daylight
  • Syn - Refusal, denial, speaking out, legal defence
  • Såga (Sága) - Seeress, all-seeing, companionship, drinking partner
  • Torgerd Hølgebrud (Þorgerðr Holgabrúðr) - Guardian goddess, Hålogaland, heathen shrines
  • Var (Vör) - Honesty, awareness, caution, carefulness
  • Vår (Vár) - Oaths (and punishing oath breakers), pledges, agreements, betrothal

Jotner (Jötnar, Elemental Giants)

  • Aurvandil - Star, planet, Orion & Big Dipper constellations
  • Bauge (Baugi) - Farmer, money, wages
  • Dag (Dagr) - Day, light, rides Skinfakse
  • Fornjot (Fornjótr) - Ancient giant, ancestor, original, owner
  • Frosti (Jökull) - Cold, winter, frost, ice, icicles, glaciers
  • Fårbaute (Fárbauti) - Hitting, striking, cruelty, danger, violence
  • Geirrød (Geirröd) - Entrapment, cruelty, aggression, violence
  • Gyme - Hills, Mounds
  • Helblinde (Helblindi) - “Hel Blinder”, “All Blind”
  • Hyme (Hymir) - Brewing, cauldron, thick skull
  • Kåre (Kári) - Wind, scathe, howl, sails
  • Loke (Loki) - Change, creativity, ambiguity, impulsiveness
  • Loge (Logi) - Fire, wildfire, 
  • Mime (Mímir) - Knowledge, wisdom, memory, counsel, Mimes Brønn (Mímisbrunnr)
  • Mokkurkalve - Clay, life, innocence, childishness
  • Norve (Narfi) - Narrow, oppressive, closed in, difficult birth
  • Rungne (Hrungnir) - Strength, brawling, fighting, whetstone
  • Snø (Snær) - Snow
  • Surt (Surtr) - Fire, heat, burning, blackness
  • Suttung (Suttungr) - Mead of poetry, orphaned, eagle
  • Tjaste (Þjazi, Thiazi) - Abduction of Idunn
  • Torre (Þorri, Thorri) - Black ice, frost, cold, winter
  • Trym (Þrymr, Thrymr) - Uproar, King of Jotner, 
  • Vale (Vali) - Unlucky, wolf, murdered his brother Norve
  • Vavtrudne (Vafþrúðnir) - Riddles, weaver of tales
  • Utgards-Loke (Útgarða-Loki) - The outer places, magic, illusion, beyond society, an alternate plane
  • Yme (Ymir) - The big bang, primordial, birth, the ancestor of all, elemental
  • Æge (Ægir) - Sea, ocean, sea creatures, protector of sailors

Gygrer (Gýgr, Elemental Giantess)

  • Angerboda (Angrboða) - Grief bringer, sorrow, Iron Wood
  • Aurboda ( Aurboða) - Gravel, mountains
  • Bestla - Mother to Odin, Vilje and Ve.
  • Driva (Drífa) - Snowfall
  • Fonn - Snowdrift
  • Gerd (Gerðr) - Beauty, light, fertility, earth
  • Grid (Gríðr) - Greed, vehemence, violence, impetuosity
  • Hel - Death, Helheim (the underworld), Náströnd (“Corpse Shore”)
  • Hyrrokkin - Fire smoked, smoke, strength, wolves, serpents
  • Jernsaksa (Járnsaxa) - Iron knife, mother to Magne
  • Lauvøy (Laufey) - Needle, slender, weak
  • Menglød (Menglöð) - Lives in a castle guarded by Fjölsviðr
  • Mjoll (Mjöll) - Powdered snow
  • Natt (Nótt) - Night, darkness, nightfall, counting time, rides Rimfakse
  • Skade (Skaði) - Damage, archery, hunting, skiing, winter, mountains

Vetter (Vættir, Beings) & Other

  • Alver (Elves) - Light/Dark/Black, personification of nature
  • Andvare (Andvari) - Dwarf, “careful one”, waterfall, fish, wealth, magic ring called Andvaranaut
  • Ask og Embla - The first humans, ancestors of humanity
  • Diser (Dísir) - Female protective deities/spirits, fate
  • Dverger (Dvergar) - Dwarfs, metallurgy, wisdom, smithing, mining, crafting
  • Einherjer (Einherjar) - Honoured dead, fallen in battle, sent to Folkvang or Valhalla
  • Fenrisulven (Fenrisúlfr) - Death, destruction, rage, the end of times, fen-dweller
  • Fjolne (Fjölnir) - Swedish king, Vaner, son of Frøy and Gerd
  • Gullveig/Heid (Heiðr) - Volva, seid, enigmatic, “Lust For Gold” or “Golden Drink”
  • Kvase (Kvasir) - Wisdom, knowledge, skaldship, poetry, mead, blood, juice
  • Midgardsormen (Jörmungandr, Midgard Serpent) - Sea serpent, poison, self-reflexivity, cyclicality
  • Norner (Norns) - Weavers of fate, Wyrd, destiny, birth, death
  • Sigurd Fåvnesbane - Stag, hero, wisdom, prophecy, speak to birds
  • Starkad (Starkaðr) - Jotun, hero, great warrior, many arms cut off by Tor
  • Troll - Isolated natural landmarks, strength, slow, dim witted, 
  • Valkyrjer (Valkyries) - Choosers of the slain, Odin’s maids, spirits, ferocity, death, ravens, wolves
  • Vanlande (Vanlandi) - Hero, Swedish king, Vaner, “Man from the land of the Vaner”, 
  • Vedfinn (Viðfinnr) - Father of Hjuke and Bil
  • Vetter (Vættir) - landvette, skogsvette, husvette, vannvette, sjøvette, havvette, hulder, nøkken, draugen, nisse, troll, huldrefolk, deildegasten, dradokke, trollkatt, basilisk, krake, utburd, lyktemenn, varulv, marmæl, lindorm
  • Volund (Völundr) - Blacksmith, magical powers, sword maker, hero, alvedrotten (Chieftan of elves)
‘Celtic’ Witchcraft

I remember in my early days trying to find resources on historical Celtic witchcraft. I wanted to learn about the witchcraft from the places I descended from. So, I searched for answers. I read book after book on the supposed witch practices found in Wales, Ireland, and Scotland (Raymond Buckland never steered me so wrong, and that’s really saying something). However, I remember feeling…unsatisfied. It didn’t seem historical or based in any pre-Gardnerian lineage. It seemed like Wiccan influenced witchcraft based in Gaelic and Gallic mythology. However, the authors of the books were claiming that it was truly historical and traditional. Lo and behold, I was correct. So then came the question “What is historical ‘celtic’ witchcraft and where can I find it?” 

First of all, there is no one Celtic witchcraft. The word ‘Celtic’ applies to both Gaels and Gauls (though it’s said that Gauls aren’t included in that term at all, but for now, we’ll use it). There are six nations covered under ‘Celt’; Wales, Ireland, Scotland, Brittany, The Isle of Man, and Cornwall. Any witchcraft that originates from those lands can be considered ‘Celtic’, but the use of that term can create confusion and misinformation. Though they may look similar at times, and though they are all witchcraft, they are not the same. Methods changed from environment to environment. The witchery has always been based in the Land. 

I’ll briefly describe the practices and lore found in each land, but it is by no means exhaustive. 

Cornwall

In the circles of traditional witchcraft, Cornish witchery has been made very clear and accessible with much thanks to the wonderful Gemma Gary. Cornwall has perhaps one of the strongest histories of magical practice out of the Celtic Fringe. Not only witches, but Pellars (cunning folk), were a large part of the culture. Folk magic, the basis of both witch and pellar magic alike, ran rampant through Cornwall. The Pellars of Cornwall held a very strong likeness to witches, so much so that some folklorists consider them the same. The Pellars made it a point to have a wide range of services available to their customer. That meant that they would both curse and cure. The magic of Cornwall often came in the form of small spell bags filled with either powders, folded written charms, or other magical ingredient. These bags did a number of things, from love conjuring, curse breaking, and spirit banishing to healing, luck magic, and finding lost possessions. According to Cornish witch lore, a witch’s power fluctuates with the seasons, and it was in the spring that a witch’s power was renewed. The different pellars and witches of Cornwall would also clash through reputation of power. Though they clashed, the witches of Cornwall would also gather for their sabbats, which were a strange thing to behold to outsiders. Witches, both young and old, would dance with the Devil around fires, faster and closer to the flames with each pass, and never be singed. The ability to spontaneously disappear is spoken of (which may suggest flying). Black animals, especially black cats, are often spoke of in Cornish witch lore. The association with witch and toad is especially strong here, and it can be seen as a familiar, a shapeshifting witch, a charm, or an indicator of a witch. 

Wales

Witchcraft that comes from Wales can be particularly tricky to find. The term ‘Welsh Witch’ has been popular since the early days of Stevie Nicks. This makes it notoriously difficult to find any historical references on actual Welsh witches. In actuality, there were two kinds of magical practitioner in Wales. The first was a wizard (known as a cunning man in England) and the second was a witch. Wizards were very popular and plenty in number in Wales. Their practice was based mainly in healing the ill and livestock. They also did favors, like giving love potions and undoing witch spells. One Welsh tale, however, tells about a conjuror who is unable to undo a witch’s spell on a butter churn, so the farmer must turn to another witch to reverse it. Welsh witches were thought to have great power. They were able to raise the dead, curse their enemies, and according to older legends, shape shift and fly. Observing the myth of a sorceress named Cerridwen and the legends of Morgan le Fey and Nimue, there comes a general idea of what a witch was in Wales and Welsh legend. The idea of someone brewing potions and poisons was most definitely associated with witches, but more broadly, elements of water and weather seem to have importance. Interaction with the fairies also holds a very strong importance in Welsh craft. Walking between worlds, particularly this world and the world of the Fairy (Avalon, anyone?), was a skill that many wizards, witches, and heroes of Welsh myth acquired. All in all, the witchcraft in Wales is quite similar to the witchcraft found in England, as is the interaction between Wizard (cunning folk or Wise Men and Women) and Witch. 

Brittany 

In Brittany, a very strong fear and dislike for witches is found that is unlike Wales. Witches in Brittany were thought to be many in number. The legends suggest that they targeted farmers especially, making sure always to turn milk sour and spoil butter. They were also accounted to be particularly dangerous and vicious. Any man who watched their Sabbat would either not be found, found dead, or found scared witless and unable to speak. The witches of Brittany, however, were also sought out by the townsfolk. Indeed, there were witch doctors to fix their issues, but the witches were sought out for love spells and favors. Witch-cats are also mentioned, which could be either a reference to familiars or shapeshifting. Most strangely, Breton witches are said to very rarely cast spells on their targets and instead cast spells on the animals and possessions of the target. Every village is said to have a local witch. Some villages are said to be completely filled with witches. Many of them carry cane-like sticks with which they cast their spells. They were also said to be skilled in spells to find things, like lost objects and buried treasure. The line between village conjuror/wizard and witch is difficult to draw here. They may choose to help or harm, depending on their inclinations. For that reason, they still hold a strong reputation in Brittany, despite it being a place noted for its skepticism. 

The Isle of Man

On the Isle of Man, both witches and magicians were an important part of the environment. The first thing you’ll find on the witches from the Isle is that they practiced much magic involving the weather and the sea. Magic was used to help the fishermen catch more fish, make sure the winds were good for travel, and settle storms at sea. A charm was made by a witch and given to a sailor that stored the winds inside. When he was at sea and in need of a gust, he would use the charm. Interestingly, the line between witch and cunning person seemed to blur here. Cunning folk were known as Charmers and Witch Doctors. Witches, however, were employed when needed. There was a perceived difference between the magic of different kinds of practitioners. Do not be mistaken, though. The fear and dislike of witches still existed. Many farmers feared the wrath of witches, especially when their crops failed and their cattle died. To reveal the witch responsible, they would burn whatever died. The person in pain the next day was thought responsible. As throughout all of Europe, witches were thought to have gained their power either through birth or through the Devil’s grace. However, witches were looked upon differently in the Isle than other places. Because of its long associations with magic, it had many kinds of magical practitioners and witches were not always considered to be the most powerful of them. Magicians, who practiced an art to compel and work with spirits and powers beyond other kinds of practitioners, were revered. They were usually compared to the image of Manannán Mac Lir, considered both a sea god and a powerful magician. The ability to fly and walk between worlds was also attributed to the witches and magicians of the Isle of Man, most likely due to the latter. 

Scotland

Witchcraft flourished in Scotland perhaps as much, if not more than, in Wales. Scotland’s witch trials are famous, and perhaps the most famous among them was Isobel Gowdie. In her free confession, she detailed a story that most labeled imaginary. She spoke of fairies, elf bolts, curses, shapeshifting, flying, and lewd activities with the Devil. When comparing it with the confession of Alison Pearson, another Scottish witch she had never met, a Scottish fairy tradition begins to appear. Alison also details stories of going under the hills to meet the fairies, as well as them making elf bolts. More trials begot more folklore and legends. Stories of witches working the weather to destroy crops, sink ships, and cause havoc spread. More tales of a Man in Black appearing to future-witches and witches alike began to run rampant. John Fian, a male witch, was famed for his botched love spell, teaching witchcraft, harshly bewitching people whom he didn’t like, and attempting to sink the fleet of King James VI with a storm. Much of Scotland’s witchcraft was influenced by Gaelic legend and myth. Scotland’s witchery was not Gaelic alone, however. Norse invaders came and brought their magic with them. In Orkney, a Scottish Isle filled with witch history, the Vikings came often. Their language and culture mingled with the Scots’. Soon, cunning women were referred to as Spae Wives. The word Spae comes from the Old Norse spá,which means ‘prophesize’These spae wives told fortunes, created charms, and protected against foul magical play. The witches of Scotland, however, proved a match for them. They killed cattle, cursed babies, and brought general havoc with them. 

Ireland

Historical Irish witchcraft is perhaps the most difficult to find out of all the Celtic regions, and this is for a few different reasons. The first being that many lineages of Wicca have taken Irish mythology and applied it to the Gardnerian influenced witchcraft that they have. Many times when the word ‘Celtic Witchcraft’ or “Celtic Wicca’ comes up, this is what is being referred to. The second reason that it’s difficult to find is because the witch trials in Ireland are few and far between. The trials barely touched Ireland, amounting to a whopping 4 trials. The generally accepted reason for this is that Ireland was extraordinarily lax with its witchcraft laws. Most times, using witchcraft against another person’s possessions or livestock resulted in prison time. Only by harming another magically would a witch be executed. Interestingly, many people took this as a sign that Irish witches were generally less severe than their other Celtic counterparts. Florence Newton, the famed witch of Youghal, put the assumption to rest. When a woman refused to give her any food, she kissed her on the street. The woman became extremely ill and began to see visions of Florence pricking her with pins and needles. Florence also kissed the hand of a man in jail. He became very ill, cried out her name, and died. In a Northern Ireland trial, eight women were accused of causing horrific visions and poltergeists in the home of a woman. The ability to create illusions is a trait attributed to fairies in Gaelic myth. Those fairies are said to have taught the witches their skills in both Ireland and Scotland. Irish witches were said to turn themselves into animals, especially hares and crows, to spy on their neighbors. They would also place spells on those whom they wish in their animal form. They were also said to have used bundles of yarrow and branches of elder to fly. These sticks they flew upon, before brooms, were known as ‘horses’. They were said to fly up out of the chimney of their own homes. A tale of witches using red caps to fly also appears in Irish lore. This is another example of their strong ties to the fairies. The similarity between Irish and Scottish witchery has been noted, as they both have strong ties to Gaelic lore.

Witchcraft from the Celtic lands is a complex and unique thing, changing between each of the six nations. To lump them under a single title would be to lose the subtleties and differences between each. Saying that Irish witchcraft and Welsh witchcraft are the same is a fool’s lie. Saying that they are similar is true. Shapeshifting, flying, fairies, storms, and charms are found in each. But they are different.
It isn’t a bad thing when the myths of these lands are paired with Wicca or Wiccan influenced witchcraft. However, the historical practices from those places mustn’t be overwritten. 

  • Starting to play borderlands: Wow this game is so campy and fun. It's so uncomplicated, it's just like a playable bad action movie, it's amazing.
  • After playing borderlands, borderlands 2, borderlands the pre-sequel, and tales from the borderlands:
  • Life is a hopeless cause. Every soul in life is either corrupt or trapped within a corrupt system. Heroes don't exist because in the end everyone is seeking to serve themselves. Death is inevitable and the afterlife is a myth.
Why I Love Professional Wrestling

30 DAY WRESTLING CHALLENGE

Day 30: Why You Are a Wrestling Fan/Why You Love It

WRESTLING HAS EVERYTHING YOU COULD WANT IN ENTERTAINMENT:

You have the childhood heroes

And anti-heroes

You have villains

(Or just a villain)

You have legends of old

And warriors of today

You have kings

And Queens

You have Underdogs

And Giants

You have the common man

And  creatures of myth

They perform for us

And bleed for us

They make us laugh

And cry

They sacrifice their bodies for us

And sometimes…

…even their lives

All to give us, the fans,  the greatest moments of joy and surprise. And to create moments that live forever.

It’s not just a ring, it’s a home. When I go to live events whether it’s RAW, SmackDown, a WWE Live Show, or an Indy show, I feel at home. I’m in a room surrounded by hundreds, sometimes thousands of people who love wrestling as much as I do. And wrestling fans are a family. I can say that every time I’ve gone to a live event I’ve met new people and I’ve had conversations, and it’s great to have a twenty-minute conversation about wrestling with the guy next to me who loves wrestling as much as I do while we wait for the show to start.

We are not a few, we are millions. I often forget this being from a small town where there aren’t a lot of professional wrestling fans around. But I’m always reminded when I’m standing in a room full of 16,000 people screaming as loud as I am. Or when I see events like Wrestlemania that have 60,000+ people in attendance. I know that I am never alone in professional wrestling.

It’s not just passion, it’s emotion. I love professional wrestling. And I’m passionate about it. But wrestling is emotional, and I don’t care what you say. I am not ashamed to say that professional wrestling has made me laugh, cry, and feel every emotion in between.

And that is why I love professional wrestling.

Greek Mythology

ARIES:

Aries the first sign of the greek zodiac, marking the beginning of spring and the start of a new cycle of life.

The story of Aries is linked with the myth of the Golden Ram, which saved two kids, a brother and a sister, from being sacrificed in order to appease the gods.

TAURUS:

The next sign of the greek zodiac is the constellation of Taurus (bull), associated with the legend of Theseus and the Minotaur.

According to myth, Theseus volunteered to be one of the youths from Athens who would be offered as food to the horrible monster Minotaur (half man, half bull) who stayed in Crete, in the labyrinth. But, when he was there and with the help of Ariadne, the legendary hero managed to kill the beast and thus relieve his city Athens from the terrible punishment imposed by the Cretan king Minos.

GEMINI:

The constellation of Gemini is the next sign of the greek zodiac. It is linked with the story of the twin brothers Castor and Polydeuces (Pollux in latin). Actually, they were not twins in the ordinary sense, since they had different fathers.

Their story starts when Zeus, king of the gods, wanted to have an affair with Leda, the lovely queen of Sparta. In order to fool her, he transformed himself into a beautiful swan.

In the course of time, Leda bore two eggs: One of them contained a baby girl named Helen (the same one who later was the cause of the Trojan War) and a boy called Pollux. These two were the divine children of Zeus.

The other egg opened up to reveal another girl and boy, Clytemnestra (who later became the wife of Agamemnon, the military leader of the Greeks in the Trojan War) and Castor. These were the mortal children of king Tyndareus, the legitimate husband of Leda.

Despite the fact that one brother was divine and the other mortal, the twins Castor and Pollux grew to be inseparable. They did everything together and they loved each other dearly.

Because they were so close, they were called by one name; the Dioscuri. As they were growing, they both loved all kinds of sport. Pollux was particularly good at boxing, while Castor was renowned for his skill and daring on horseback.

CANCER:

The constellation of the greek zodiac known as Cancer (Crab), is linked with the second labour of the mighty hero Hercules, when he was assigned by Eurystheus to kill Lerna Hydra, a horrible water snake with a hundred heads.

As the story goes, in the midst of Hercules’ struggle, Hera, who was the hero’s worst enemy, ordered a giant crab to go and help the Hydra by digging its claws into Hercules’ foot.

Howling with pain, the hero stamped on the crab furiously, crushing it to death.

Hera, being grateful for its support and in recognition of its attempt to help her, honoured the crab by placing its image among the stars, as the constellation of Cancer.

LEO:

Leo, the fifth constellation of the greek zodiac, is linked with Hercules’ very first labour, the capture of the Nemean Lion.

According to the myth, Hercules finally managed to kill the beast by strangling it to death. Then, he skinned the lion and took its pelt to wear it. He was then quite protected from his enemies, as the skin could not be penetrated from any known weapon of the time whether made of iron, bronze or stone.

After its death, the famous lion was put on the sky by Zeus, to become the constellation of Leo.

VIRGO:

The constellation of Virgo is associated with the story of Demeter and her daughter Persephone. For the ancient Greeks, the story of Demeter and Persephone helped to explain why the seasons change.

LIBRA:

The stars that form the golden scales of Libra lie halfway around the band of the greek zodiac, between Virgo and Scorpio.

Day and night are equal when the sun passes through the constellation of Libra. The scales are a symbol of balance and equity.

More specifically, the scales were considered to be the symbol of Dike, meaning Justice, who was a minor goddess of the Underworld.

The fact that the ancient greeks gave Libra a prominent place in the sky, signifies that they considered justice, equity and balance in general, to be the moral cornerstones of an ideal way of living.

SCORPIO:

The eighth constellation of the greek zodiac is the one with the name Scorpio. The story of the scorpion is connected with different versions of stories that involve the mighty hunter Orion - a hero who is represented by another familiar group of stars.

Orion was said to be the tallest and the most handsome man of the then known world. He was often seen hunting in the woods and hills of ancient Greece with his pack of dogs. His constellation shows him striding across the heavens flourishing a gleaming sword on his bejewelled belt.

Many of the stories concerning the constellations of Orion and Scorpio reflect the annual rising and setting of their constellations, which appear to pursue each other across the sky.

One story tells how Gaia had sent the scorpion to sting Orion, in order to punish him for being too boastful, claiming that he was so mighty that he could easily rid the whole earth of all beasts and creatures.

As soon as the scorpion was released from the breast of Gaia, it immediately stung Orion and its deadly venom sent him straight to his death.

The scorpion was set up on the sky by Gaia to mark her victory, while goddess Artemis, who had loved Orion, placed his image on the sky as well, forming his own constellation. Because Orion had cared so much for his hunting dog, Artemis also put up a star for his dog: This is Sirius, the brightest star in the heavens.

There is another story about Orion and the scorpion.

One day, when Orion was out in the woods, he caught sight of seven beautiful sisters, the daughters of Atlas and Pleione. Orion loved them all at first sight and began to chase after them.

The sisters, however, were terrified and cried out to Zeus to save them.

Zeus heard their pleas and helped them by turning them first into doves, so they could fly away from Orion, and then into the seven stars which are now called Pleiades.

According to myth, Orion was stung by the scorpion as a punishment for chasing the seven sisters. Zeus decided that the constellations of Orion and the Pleiades were arranged in the heavens, so that it seemed that Orion was in constant pursuit of the seven sisters, without ever becoming successful, just as the Scorpio seems always to be chasing Orion, without ever touching him.

SAGITTARIUS:

The constellation of Sagittarius (the archer),depicts a creature called centaur, which has the body and head of a man and the hindquarters of a horse.

He is named after Cheiron, the most famous and king of the centaurs. He was semi-divine, as he was the son of god Poseidon. He was taught by god Apollo and goddess Artemis, and from them he learned both wisdom and spirituality.

He dwelt in a cave high up in the rocky, snowy sides of Mount Pelion. He was the oldest and wisest of all the centaurs and very strong. In fact, he was so famous, that many kings had trusted their sons to teach them. Among the most famous of his students were Hercules, and Jason, who later became the leader of the argonauts.

As the myth goes, Cheiron was destined to suffer a gruesome death: When Hercules was returning home to Tiryns after killing the Erymanthian Boar, he had a violent encounter with some drunken centaurs, which he managed to drive away near the place where Cheiron lived.

By accident, however, one of the poisonous arrows that Hercules used to defend himself from his attackers, went astray and hit his old teacher. Cheiron, being semi-divine, would not die, having to suffer an excruciating pain, because of the poison.

He was in such an agony, that Zeus himself felt sorry for the poor centaur and permitted him to give up his divine status and give it to Prometheus, the creator of the human race. So, Cheiron finally was let to die, relieved from the intolerable pain that was inflicted on him from the wound.

CAPRICORN:

The constellation of the greek zodiac by the name of Capricorn, is as strange as that of Sagittarius. It is a sea god, with the head and half the body of a goat, and the tail of a fish.

The story of Capricorn is associated with the birth of Zeus, the father of all gods.

As the story goes, when Rhea gave birth to baby Zeus, she feared that her cruel husband Cronus would devour her child, just as he did with the previous ones that she gave birth to.

So, she secretly took her child to Crete, where he was safely kept in a cave on Mount Dicte. There, he was nursed and cared for by Amaltheia, whose name means “tender”. She was a goat nymph, and she looked after baby Zeus with the greatest love and devotion, feeding him on her own rich milk and sweet lavender-scented honey.

Zeus’s golden cradle was hung high upon a tree so that Cronus would never find him in Heaven or Earth, or even in the ocean.

When Zeus later became the lord of the universe, he did not forget his goat-mother, Amaltheia, who had nursed him so lovingly. He took one of her horns and turned it into the horn of plenty, which is always filled with whatever delicious food or drink its owner may wish for, and is never empty.

Finally, in recognition of all she had done for him, she set her image among the rest of stars on the greek zodiac, as the constellation of Capricorn.

AQUARIUS:

The constellation of Aquarius shows a person pouring water out of a jug. It is thought that the story behind this group of stars is that of Ganymede.

Ganymede was the son of king Tros, after whom Troy was named. The young prince was the most exquisite and handsome youth that ever lived, and was adored and admired by both gods and mortals.

Zeus, who was especially fond of beautiful people, was totally infatuated with Ganymedes’s external appearance. Thinking it would be appropriate for so handsome a mortal as Ganymede to live with the gods, the mighty god disguised himself as an enormous eagle. He then flew down to Earth, captured the handsome youth and brought him up to Olympus.

Up there on the heavenly palace, Zeus had to find a job for his young protegee. So, he decided that Ganymede should be given the special honour of being his personal cupbearer.

The position was considered to be highly distinguished, since the person who was assigned the duty of the cupbearer, was responsible for pouring into the glasses of the Olympians the divine drink called nectar. This was the special drink that bestowed on the gods their eternal youth and vigor.

Zeus was forever fond of his cupbearer. So, he honoured him by giving him a prominent position on the greek zodiac, as the constellation of Aquarius.

PISCES:

The image of the two fish swimming in different directions make the constellation of Pisces.

Aphrodite, the goddess of love and beauty, was thought to be the source of inspiration for this particular constellation being set in the stars.

After Zeus had fought his father, Cronus, he defeated the race of the giants, who were the children of Gaia, the mother earth.

In revenge for the destruction of her children, Gaia gave birth to a horrible monster, called Typhon. He was the largest and most frightening creature ever born. From the thighs down he was a mass of coiled snakes, while his arms were so long that when he spread them out he reached a hundred leagues each way.

Let loose by his mother Gaia, Typhon thundered towards the Olympian home of the gods, declaring war on all of them. The gods hurried to disguise themselves, in the hope that the horrible creature would not find them:

Zeus took the image of a ram; Hera, became a white cow; Artemis became a cat; Hermes turned into an ibis, while Ares became a wild boar.

Lastly, the goddess Aphrodite and her son Eros, dived deep into the ocean and took the shape of twin fish.

When the fierce monster was finally captured by Zeus and all of the Olympians were transformed back to their original form, Aphrodite, being grateful to the fish who had lent their form to her and her son when they were in distress, put up their image on the night sky. Thus, Pisces became the last constellation of the greek zodiac.

Cadenti Porrigo Demolotio

Ancient Greek Siren Harry

cadenti porrigo demolotio: I reach out my hand to the man who’s pulling.

Harry’s beauty was whispered through the valleys of Greece, attracting females and males to the island of Mykonos in hopes of hearing the green eyed siren’s song. Myths and legends told of heroes such as Odysseus and Heracles swayed by his beauty, even the goddess Aphrodite smitten by him and his son. He was no god of any sort; instead a nymph, if you will. An Oceanide.

Harry had skin kissed by the Greek sun. He had eyes that matched the wine colored sea he dwelled in and hair the color of whiskey. He knew he was beautiful too; people were willing to die to catch a glimpse of him, how could he not?

His voice was just as beautiful as he was. In the dead of night you could hear the distinct tune of his irresistibly sweet melody against the lapping waves on the sand. Though deemed as suicides, many had traveled to the island only to jump in the water in search of him only to be met with their fate under the sea. It wasn’t until Harry’s own fateful day where he meet his own siren of his dreams. Although she wasn’t a siren like he was.

She was human, and the most god damn beautiful human Harry had ever seen too. She was a sort of understated beauty, one that in a crowded marketplace in the famous city of Athens, Harry would be able to pick her out in a millisecond. She had lips the color of pomegranates and smudges of coal lined around her eyes to make them bigger than already possible. A soft, sweet gentle voice that Harry could hear when she was out that made his heart swell two sizes bigger.

How could he ever love another?


(Y/N) had traveled by boat to her birthplace of Mykonos. Every summer she would return to her childhood home and spend the season aiding her elderly parents around the house and the town. Living in a small cottage just on the coast of the island, her favorite thing to do was to garden and to sing, preferably at the same time. In the late evenings she would tend to the roses and watch the rhythmic percussion of the waves on the sand.

It wasn’t until one night the girl had wondered on the dark beach, wrapping her silk dress tighter around against her body. Her hair blew in tresses around her, momentarily restricting her vision until it was whipped away back behind her.

(Y/N) squinted, eyeing a blurry form in the distance with a look of confusion. Something had washed up; something big. A …shark? A seal? Coming closer, her jaw dropped open; it was a man. A man with a long, slender torso that turned from skin to scales into a long fish tail. He lay unmoving, twitching from time when a particularly strong gust of wind blew.

(Y/N) sunk down to her knees, observing him. She had only ever heard of nymphs in stories but undoubtedly knew from his appearance that he must of been one. His long hair lay strewn around his head in a disheveled mess and bits of sand covered his face all the way down to his torso. Clearly, he had been washed up. But how could such a strong creature, one so close to a human, allow itself to become so vulnerable?

(Y/N) reached out and dusted flecks of sand away from his forehead and eyes, noting that his skin, though a blue tint, was warm and he was in fact still breathing. She noted how long his eyelashes were and how they touched the apples of his cheeks, his lips a shade of a pink hibiscus. She felt herself becoming smitten with the man.

Harry jumped, startling the girl’s hand off of him with a gasp. From his view on the sandy beach, all he could see was the swirl of dark storm clouds above him and a frightened girl looking down on him. His girl.

“I’m sorry for startling you. What’s your name?” He whispered, lifting a hand up onto the girl’s jaw and cupping it sweetly. She followed his hand with hers and gave a slight eyebrow scrunch. He talked with an unusual accent, one that reveled he was not where she was from.

“(Y/N).”

“Lovely.” He coughed. “Can you help me back into the sea? I’m having trouble breathing.”

(Y/N) jumped up but the thought came to her mind; how was she suppose to drag a siren back into the ocean?

Harry held his arms out, encouraging her to take his hands. She did so with hesitation and lifted him off the ground only to find he weighed basically nothing. She felt like she was lifting a child up but he stood towering over her, wrapping his arms around her dainty neck to keep balance. (Y/N) stood shocked.

“Please.” He encouraged her, feeling her body rigid with hesitation.

She complied, using one arm to hoist his body up and carry him bridal style down to the water. She pushed her embarrassment to the side, as this was probably really damn strange looking. She wandered into the ocean waist deep, occasionally losing her footing against the waves that didn’t seem so gentle.

She loosened her hold on the siren, allowing him to slide into the sea. He did so quickly, diving under before coming back up with a refreshing laugh. Harry leaned over and took her hands, encouraging her to follow him deeper in the sea.

(Y/N) shook her head, pulling against his hold. “I can’t swim. I’ll drown.“

Harry had this funny look on his face, an odd smile matched with eyes that visibly shined even in the dead of night. He smoothly pulled her forward, her feet sliding off the sand and automatically kicking her weight above her. (Y/N) gasped, latching her grip onto the siren and wrapping her legs around his waist in a haste.

“I can’t swim!” She cried but a mistake it was, as now the siren floated the two of them deeper into the black ocean. The water was cold, surprising for a Greek summer and it had (Y/N)’s hair standing up on end. Her wet dress was weighing her down even harder onto Harry who had his strong arms wrapped around waist.

“Focus on me.” Harry spoke but it was difficult to hear him over the water spinning in waves around them. He had the same dreamy look on his face, seeming to appear unaware of (Y/N)’s horrified state.

Harry leaned in and kissed her lightly on the mouth, her body going in shock before melting into his as she reciprocated the kiss. Their noses bumped into each other as he worked his lips over hers, as he had never before kissied anybody. She clung to him as a child, momentarily forgetting the fact that she was freely floating in the sea.

The siren’s kiss made her feel warm inside but not warm enough to stop the fact that she was shivering. Harry tangled his hand in her hair, enjoying the sound of their lips against each other but her iron like grip on his shoulders made him pull away.

“I’m scared.” (Y/N) spoke. “Please take me back to shore.”

Harry frowned, not wanting their time to be up just yet.

“Tell me,” Harry sounded, his hand in her hair detaching and resting on the base of her neck. “Do you believe you can breathe underwater?”

“Would I be this scared in the middle of the ocean if I knew I could breathe underwater?”

Harry laughed, flicking his tail to keep them afloat. “What if I told you you could?”

(Y/N) shook her head. “I want to go home, I’m very tired. Please.”

“Okay, I’ll take you home. Hold onto me.”

And so, the siren trod the waters back to shore. (Y/N) let out a sigh of relief when her toes touched the sandy bottom of the floor. Without much of a goodbye or a look back, the girl ran back to dry land and up the path back to her tiny cottage.

Harry watched her, rising with anger. He took her on an adventure that no other had experienced and she repays him by running away? Here he was in love with her, so enamored but there she was trying to get away from him. He slapped the water surface angerly. 

Harry took a breath and started to sing a song of sorrow and heavy heart. Singing always calmed Harry down, making him feel like the calm after the storm. Most of the time, Harry didn’t even know he had started singing because he would fall into a state of semi-consciousness, one that would make him feel one with nature, one with the gods on Mount Olympus and one with Earth.

Unknowingly, Harry’s melody had drifted into the wind and on to (Y/N)’s ears. She stopped her hurried walk and fell in love with the siren all over again. It only took her a millisecond to decide her fate and she was running back, holding her dress up from her legs and sprinting back down to the beach she had just been running from minutes before. It felt like an invisible string was pulling her, yanking her back in the water and to the siren’s arms. She didn’t care anymore though.

Harry saw her running, letting the last note of his song curl slowly from his lips. She stumbled through the water, doing her best attempt of trying to swim towards him before meeting being enclosed in his embrace and planting her lips onto his.

“Take me away.” She breathed heavily. “I never want to be without you, please, take me away.”

It didn’t take Harry any more convincing than that to turn around swim deeper into the sea. Though awkward, (Y/N) clung to the side of him, completely hypnotized by the voice of a siren she didn’t even know the name of.

When the island of Mykonos was only a dot in the horizon, Harry turned to (Y/N) and with a dazzling smile, breathed, “Are you ready?”

(Y/N) nodded, struggling to keep herself a float. “I’m yours, I’ll go wherever you go.”

With that, Harry took her hand and dived down. Immediately the water burned (Y/N)’s lungs, paradoxically making them feel like a growing flame. She coughed and sputtered violently but continued to follow the siren blindly deeper into the darkness. Her eyes refused to adjust, only seeing a blur of Harry’s tail and red and black blotches. Her head pounded, every cell in her body screaming for oxygen but she didn’t care to fight. (Y/N)’s love for the man dragging her deeper only heightened with each second and soon, she began to fall.

It hurt so bad that… it didn’t anymore. Her body didn’t struggle and became in tune with the wishes of her heart. She was peacefully numb. Nothing except her love mattered.

All movement stopped and before she knew it she was just floating in the empty ocean. Harry’s hand had disconnected from hers and suddenly, she had never felt more lonelier. (Y/N)’s last memory before she died was the siren’s lips on hers, kissing the last bits of her life away. He held the water in her chest with his kiss and watched her diminish.

Misogyny in Much Ado About Nothing

I’ve read a lot of scholarly articles on Much Ado About Nothing that dismiss Don John as a terrible villain, or criticise Shakespeare for the lack of finesse in constructing him, but honestly, I’ve always felt like that’s the point.

Don John is no sly, silver-tongued Iago – he is crude, brash and malicious. He makes statements like “I am a plain-dealing villain,” goes about attended by idiot henchmen, and takes advice and inspiration for his plots from others around him.

But even so, this weak caricature of a villain nearly brings ruin upon all of Messina.

How?

Because, even before he had made plans to trick Claudio into thinking Hero was unfaithful, the culture of Messina had already done most of the work for him. Don John is not the true villain of this play; he is merely an agent. The real villain of Much Ado About Nothing is the culture of misogyny in Messina.

From the moment Benedick and the soldiers return to Messina, they engage in lewd sexual banter and joke about horns, adultery and cuckoldry. Leonato’s first instinct upon greeting them is to make such a joke, for when Don Pedro politely inquires if Hero is his daughter the old gentleman immediately quips, “Her mother hath many times told me so.” This banter speaks volumes about the underlying misogyny and anxieties about female sexuality that the men share, and it works to create an atmosphere that is ripe for Hero’s shocking rejection.

Thus, all Don John has to do is suggest to Claudio that Hero is unfaithful, offer him a sliver of proof, and the prince and Claudio, made susceptible by popular myths of female inconstancy, find the rest of the proof themselves. Claudio starts to see certain cues as evidence of Hero’s guilt where before they were badges of honour. He declares, “Her blush is guiltiness, not modesty.” And so Hero, by the simple machinations of a cardboard cutout villain, is publicly disgraced, left for dead, and threatened with death by her own father, showcasing how quickly those seemingly harmless jokes about women can escalate to actual violence.

What’s more, this culture of misogyny is what keeps Benedick and Beatrice apart. These two dorks start the play madly in love with each other, but their shared fear of horns and cuckoldry divides them. Beatrice is also repelled by Benedick’s attitude as a self-confessed “tyrant” to her sex, and patriarchal culture has convinced her that no marriage could ever be happy, and no man faithful. Both of them (but especially Benedick) must thus overcome and abandon patriarchal values and the culture of misogyny they are entrenched in. Again, the culture of Messina is the antagonist, not Don John.

Beatrice has the advantage of being resentful and rebellious towards patriarchal culture from the very beginning, and so it is Benedick’s conquering of his sexist attitude that becomes the axis on which the rest of the play turns. He starts off entrenched in a culture of toxic masculinity, but once he acknowledges his love for Beatrice, and after he sees Hero disgraced and left for dead, he becomes sickened by the views he once held. Beatrice flies into a rage at her cousin’s treatment, and in no uncertain terms rails against misogyny and the patriarchy and the culture that nearly killed Hero. She wishes she “were a man for his [Claudio’s] sake,” telling us that, were she a man, she would use her position of privilege and power to protect women rather than abuse them. Her next wish, “that I had any friend would be a man for my sake” is a challenge to Benedick to do what she, as a woman, cannot: defend her cousin with action, not words, and publicly oppose the culture of misogyny in Messina.

This makes her initial request, “Kill Claudio,” less a demand that Benedick murder his friend and more a plea that he break with the toxic culture of male camaraderie. And Benedick agrees. In the midst of a play saturated with jokes about women’s volubility and defined by the rejection of a supposedly unfaithful woman, he then makes the monumental decision to trust Beatrice. He listens to her when she grieves and finally asks her a single question: “Think you, in your soul that Count Claudio hath wronged Hero?” When she replies in the affirmative, her word is all the proof he needs to part with the prince and challenge his best friend.

When he meets with Don Pedro and Claudio, they are keen for him to validate their treatment of Hero with his witticisms, plainly desiring to hear the japes about cuckoldry he had trotted out at the start of the play. But with Hero almost “done to death by slanderous tongues,” Benedick knows tongues are as deadly as swords in Messina, and so leaves his wit in his scabbard. He challenges Claudio and informs the prince he intends to discontinue his company, officially cutting his ties with their little boys’ club.

Speaking to Margaret shortly after, Benedick claims he has “a most manly wit… it will not hurt a woman.” He no longer uses his tongue to scorn or denigrate women. Instead, he uses it to delight them, turning his efforts to poetry and song, and courting Beatrice with the jokes and witticisms he once reserved for his male friends. Shakespeare uses Beatrice to convince Benedick, and by extension the audience, of the shortcomings of masculine culture and shows us that true valour comes from men using their strength to protect women rather than hurt them: for this alone may Benedick call his wit “manly.”

Through their love, Benedick and Beatrice conquer the true villain of the play: misogyny. Don John, who is merely the agent, is instead undone by Dogberry and his idiot watchmen, who discover the plot and bring the truth to light. With all put right, the end of the play provides the denouement where Benedick, having proved his valour and cast off misogyny, is at last free to marry the woman he adores. He makes a speech where he mocks the old views about women and marriage he held, gaily advises the prince the marry, and tells Claudio “love my cousin,” the implication being that the only way Claudio and Hero will live happy is if Claudio follows Benedick’s example, throws off misogyny and loves and trusts his new wife as Benedick does Beatrice.

Much Ado About Nothing, quite simply, mocks the hypocrisy of patriarchal society at every turn. It questions why men should demand chastity in women when they display none themselves, and why women are thought of as sexually insatiable when experience generally showed the opposite. The play’s accompanying song Sigh No More is even about the unfaithfulness of men. The lyrics declare “Men were deceivers ever… to one thing constant never,” and the men of Much Ado tend to live up to this, being generally lusty and faithless while the women are constant and faithful. Shakespeare disproves common myths about female inconstancy by making Hero the blameless victim of men’s obsession with female chastity, a scapegoat onto whom all their repressed fears are projected. And Don John, the active agent of the culture of misogyny, is a bastard, living proof of men’s infidelity and unfaithfulness.

So yes, Don John is a terrible villain – but that’s precisely the point. His weak characterisation feeds neatly into the play’s subversive agenda. For what could this bitter, scheming man have accomplished had the culture of misogyny not predisposed Don Pedro and Claudio to suspect unfaithfulness? What power did he have over Benedick and Beatrice, and how did he serve as their antagonist?

Don John is not the true villain. Misogyny is. Hero’s shocking rejection and near-death proves how dangerous misogyny is, and how easily violent words lead to violent actions. Meanwhile, the witty, sparkling lovers journey together to overcome their internalised prejudices, and provide vivid proof of what happiness a marriage based on trust and true equality can bring.

Much Ado About Nothing is play about a battle of the sexes – and only once the two sides call a truce and join forces to overcome the real villain, misogyny, may the happy ending be achieved.

Top Ten Novelization Quotes:

I’ve been curiously following which novelization quotes got the most notes (to see if the fan favorites lined up with mine!) and now I proudly present to you, the top ten novelization quotes (ordered by number of notes): 

  1. “Where the Force would fail Chirrut, Baze would not.”
  2. “Most of all, he listened for Jyn. He listened for her struggles. He listened for her voice. He tried to determine which steady tread on the sand was hers.” - Cassian Andor, already hopelessly protective after knowing Jyn for 48 hours
  3. “Behind the man in white, stepping out of the smoke, came a bloody and limping Cassian Andor. He looked like a man who’d fallen twelve stories and clawed his way back to the top. He looked as beautiful as anyone Jyn had ever known.” 
  4. “Jyn had turned to [Cassian] from the control panel looking like the last survivor of a war, and she’d smiled in a way he’d never seen before. It hadn’t been a smile predicated on anticipation or courage, or one touched by sadness or doubt; just a smile so ordinary it seemed to change Jyn from a hero out a myth into a woman he might have known and understood.
    He hadn’t known her, didn’t know her, of course. There hadn’t been the time.”

  5. “No. No, I–I’m thinking I’ll keep it. As a reminder… That I volunteered for this. You know?” -Bodhi Rook, when Jyn offers to replace his Imperial flight suit 
  6. “I’m glad you came.” -Jyn Erso’s last words to Cassian Andor
  7. “‘Hey!’ Cassian called. He rushed to the bars, cried out, ‘Jyn Erso! Where is she?’
    No one answered.
    You’re a fool, Cassian told himself. They won’t talk to you. But they’ll try to spot your weakness.”

  8. “While the general had tried to intimidate, Cassian’s tone was casual and his eyes were keen. As if these were questions he’d ask over dinner to show he was interested in you as a person.” -In which Jyn Immediately thinks of going on a date while looking at Cassian
  9. “‘I sense anger in you,’ Chirrut said.
    Let the Imperials sense it, too, Baze thought.”

  10. “Jyn wasn’t sure if Cassian had gotten worse at hiding things or she was simply getting to know him too well.”

If your favorite didn’t make the list, send it to me! I’d love to hear what it is :)

Whatever you do, don’t think of a five year old Sally Jackson desperately wondering how her parents could leave her, not understanding why she was now all alone. 

Don’t think about a sixteen year old Sally Jackson having to drop out of high-school and take up several jobs to support her uncle, burying her dream of graduating and becoming a writer, because it was never going to happen now.

Don’t think about a seventeen year old Sally Jackson watching all her friends go on to college, slowly leaving her behind and forgetting about her. 

Don’t think about an eighteen year old Sally Jackson crying at her uncle’s funeral, because that was it, her family was fully gone, and she was all alone. 

Don’t think about a twenty year old Sally Jackson lying on the beach, after she found out Poseidon, the man she had fallen in love with so deeply and quickly, was a god, realising that he too would leave her. 

Don’t think about a twenty year old Sally Jackson finding out she was pregnant, and realising that her baby would be a demigod, and attract monsters… and then running into a man called Gabe at work that day.

Don’t think about a twenty-one year old Sally Jackson crying as she held her newborn baby, because if she was sure about one thing, it was that her baby was going to have a better life than she did, and she would never, ever leave him. 

Don’t think about her kissing her baby’s forehead, and, recalling all the myths her parents had told her when she was young of one particular hero, whispering, “I name you Perseus.”  

Let's Just Clear Some Things Up

Cassarole Clam: *gave us a token bi poc who’s only plotline is being a pet warlock and boyfriend of the token gay, who is a prejudiced biphobic asshole*

Show: *gave us Malec + actual FUCKING REPRESENTATION*

Harry Shum Jr: *the man the myth the legend, he created Magnus Bane*

Matthew Daddario: *he’s grumpyface™ and he doesn’t care what you think ; he is Alec Lightwood*

Cassandra Clare who?

anonymous asked:

Why does Jamie use the alias Alexander Malcolm in Voyager? I don't understand why he can't use his own name, hadn't he already been pardoned for his role in the Jacobite rebellion?

Ah, Jamie and his names––he really has and uses a lot of them, doesn’t he? 

Once Jamie has left Helwater with his pardon, he is able to go by his real name of James Fraser at Lallybroch again with relative ease; those are people who have always known him and who respect the role he has played in their lives: as laird, as a military leader, as the man who sacrificed himself for their protection and ensured survival (in arranging to be turned over for the money).

But while he may be technically pardoned, he is and will always be Red Jamie to the British authorities. He wasn’t just a Jacobite soldier but a convicted traitor (hence the need for a pardon). Just because he’s been freed and has cooperated with British authorities/figureheads (see the Lord John series, specifically The Scottish Prisoner), doesn’t mean they trust him. There are going to be lots of people in the British army, government, aristocracy, etc. who lost friends and family fighting in the Rising and Jamie, as a prominent figure, is probably someone that many of them thought should have been executed. They would look for him to step out of line in any way just so they could lock him up again or worse; his own name is simply too dangerous for him to use widely. But some random Scot named Alexander Malcolm? Not so much. When he moves to Edinburgh and begins working as a printer he uses Alexander Malcolm as a form of self-protection. Some of what he prints for patrons (and some of what he writes himself for printing and distribution) could easily catch the attention of the wrong people and land him in trouble especially if he were to do so under his own name (the article that Claire and company find in their search for him is critical of the British government in a way that probably would have gotten James Fraser arrested so he wrote it as Alexander Malcolm). Similarly, he uses a bit of an alias while engaging in his more illicit smuggling activities. Having so many names to go by keeps the authorities from putting the pieces together and realizing just what he’s up to. 

When the smuggling situation goes awry, word does get out to some authorities that the Jamie Roy behind it all is actually James Fraser and that causes problems for Jamie and Claire as they seek to go after Young Ian. At the time they leave Scotland the British Army is actively looking for James Fraser again so every time they encounter British officials (with the exception of Lord John who knows Jamie better than that and seeks to protect him) Jamie uses the Alexander Malcolm alias again (or variations thereof: Captain Alexandre anyone?) to keep from being recaptured by British authorities. This is why when he and Claire finally discover that they’ve landed in the American Colonies Jamie is so proud to be able to introduce himself as James Fraser (and his wife Claire) again without fear or repercussions (the way the colonial system worked at the time is difficult to explain but the legal system in place meant that the British Army couldn’t just arrest Jamie and drag him back to Scotland/England for a trial without going through the proper channels of the colony first which was time consuming and probably useless). 

There’s also the question of his notoriety among his fellow Scots. They may view him as a hero for the role he played and how close he was with the Bonnie Prince. He’s already assailed by former comrades who can’t seem to let go of the cause seeking to find a way to bring Charles and the Jacobite cause back again. He knows it’s over and isn’t one who enjoys or seeks that kind of attention so using the name Alexander Malcolm helps give Jamie a bit of anonymity amongst those who wouldn’t be able to appreciate the man beneath the myth of Red Jamie. 

That Jamie’s aliases are pulled from the list of his many names is what helps Claire and company track him in the historical record. They’re names she recognizes and associates with him but not everyone (even in his own time) would have; it’s simply too long a name for the authorities to bother themselves with or care about learning/knowing. 

things i want from the trials of apollo
  • a good, satisfying plot that doesn’t involve another great prophecy (bc three great prophecies being fulfilled three years in a row is just kind of dumb?? and also that’ll just beg the question: what makes these prophecies great anyway?)
  • new (hopefully diverse) characters!! diversity isn’t really a problem for rick but i’d love to see more characters of different cultures and how that all ties up with the whole greek-mythology thing
  • actual character development for said new characters!!!! and i mean like development that actually happens in each book, rather than building them up hugely in one book and then completely forgetting about them in the next (cough cough hazel and frank cough)
  • a villain with actual depth. this isn’t a huge issue really, but the main villains in both pjo and hoo both just wanted to take over the world because…just because. a villain with actual depth and reasoning to his/her thinking would be a lot more believable, too.
  •  apollo actually feeling remorse for being a shit parent?? and realizing that all these demigods actually have a super hard time of things and the gods aren’t really helping out and looking out for their children as much as they should
  •  apollo realizing zeus is a dick
  • basically apollo getting character development too
  • updates on camp jupiter!!
  • updates on characters we didn’t see a lot in the heroes of olympus: grover, chiron, clarisse, tyson, thalia, hylla etc
  • actual closure about the aftermath of the blood of olympus, because ughhh that book didn’t do shit in terms of wrapping things up properly
  • everyone beating the shit out of leo
  • APOLLO BEING VERY VERY BI
  • the seven (mostly percy and annabeth) taking the backseat on this one. not only because i’d like some other characters to come to the fore and get some development, but also because the seven demigods need some well-deserved rest.
  • references to dead characters like luke, beckendorf, silena, micheal yew, lee fletcher etc 
  • apollo losing at capture the flag
  • more of percy being completely done (bc i’m a greedy ho)
  • more mythology!! (which goes without saying, but i’d love to read some more about lesser-known myths)
  • just basically a fun book series, man :3

Constance Wu on Hollywood’s white savior problem: ‘Our heroes don’t look like Matt Damon’

Constance Wu has had it with Hollywood’s white savior complex.

The Fresh Off the Boat actress and two-time Television Critics Association Awards nominee posted a pointed letter to Twitter Friday, in which she criticized the whitewashing of Chinese history with the casting of Matt Damon in 2017’s action epic The Great Wall and called for Hollywood to change the narrative.

“We have to stop perpetuating the racist myth that only a white man can save the world,” Wu wrote one day after the trailer debut for The Great Wall, which features Damon as its dragon-slaying lead. “It’s not based in actual fact. Our heroes don’t look like Matt Damon. They look like Malala. (Gandhi). Mandela. Your big sister when she stood up for you to those bullies that one time.”

Wu went on to challenge the argument that it’s hard to finance and profit from movies that aren’t toplined by white talent, and urged studios to consider the message tacitly communicated by scores of films that revolve around white heroes and struggling communities of color.


“Money is the lamest excuse in the history of being human,” she wrote. “So is blaming the Chinese investors. (POC’s choices can based on unconscious bias too.) Remember it’s not about blaming individuals, which will only lead to soothing their lame 'b-but I had good intentions! but…money!’ microaggressive excuses. Rather, it’s about pointing out the repeatedly implied racist notion that white people are superior to POC and that POC need salvation from our own color via white strength. When you consistently make movies like this, you ARE saying that.”

Wu also questioned why projects starring entertainers of color aren’t given the benefit of the doubt — or the latitude to fail — that is afforded to projects starring white actors.

“If white actors are forgiven for having a box office failure once in a while, why can’t a POC sometimes have one? And how COOL would it be if you were the movie that took the 'risk’ to make a POC as your hero, and you sold the (expletive) out of it?! The whole community would be celebrating! If nothing else, you’d get some mad respect (which is WAY more valuable than money) so MAKE that choice.”

The actress punctuated the call to action by invoking the importance of representation, particularly for children whose dreams may expand or contract based on the images they see, which are still decidedly limited according to Hollywood’s announced 2016 slates.

“If you know a kid, you should care too,” Wu argued. “Because we WERE those kids. Why do you think it was so nice to see a nerdy white kid have a girl fall in love with him? Because you WERE that nerdy white kid who felt unloved. And seeing pictures of it in Hollywood’s stories made it feel possible. That’s why it moved you, that’s why it was a great story. Hollywood is supposed to be about making great stories. So make them.”

I’ll tell you what it was like to love him.

  It was like you were in the presence of a story,
Where he is legends waiting to be written, crushing stardust beneath his feet.
  Where he is more scars than man, hands trembling.

Where he thinks that if a hero lives long enough, they become monsters too.

  He is not a God.
  He is not supposed to live forever.
 
And yet,
  His name echoes in the dark.
  His name is remembered

You see,
  History will remember him, even if he doesn’t want it too.
  And the story will go,
  There was a boy who could move the stars,
  And played war like a game.
  Where he is meant to die a hero.

  But you,

You will remember the boy with magic lodged in his eyes,
  Who could challenge the sun with the brilliance of his smile,
And spoke to you in his silence.
  You will remember the boy who dipped his hands too deep in blood,
  Who fell into darkness and made Death a friend.
  Who is losing more than he won.

And you’ll wish history would forget him,
  So he could be just a man.
—  instead of the hero the world made him to be // L.H.Z

So, we’re reaching the season finale of the show…

And I want to, feel the need to adress certain things that haven’t been before, about certain characters.

James (Guardian)

I believe is common agreement between everyone his screen time has been redused a lot, and his plot has been leaving me edgy, and unsure.

James is the kind of man who’s strong, fiercy, who’s not afraid of fighting for what’s right, even if it coasts. However, he is still a man. Under the suit, he’s still vulnerable to outside perils. He’s human. Those who watched Teen Wolf will indentify themselves with it. Stiles was the only human of the show. And that brought a huge depth to his character. 

James might have a awesome suit and the skills. But just that can’t save him on the real world. Just being brave, smart and a good guy doesn’t mean he’s safe of danger. Just wanting to save the world doesn’t mean being able to. As I fully discoussed in another post, heroes have journeys. 

As someone deeply in love with myths, psychollogy and histroy, we all know the greek great heroes had their weekness. Aquiles with the ankle, Zeus with his pride. And if we look closely, in spite of where we live, our culture or beliefs, some of our legends, histories and myths are very similar (collective unconscious). James’s weekness is his humanity. I believe somewhere along the way he might loose the core of who he is as a hero, and something can push him in a path of redescovering himself - bulding up a new ego and self -. Because although he had a calling, he’s still has some thendecies he had previously. James will be the character that might have a moraly grey choice to atone. Because his story seem to be leading him towards that path of self sacrifice, abdicationg and pain. However, his fight will be different than others. He will be the one who will have to fight himself, the darkness that might be underneath.¹

He will have his inner monters to relinquish. And that is not as easy as it appears to be. Light versus darkness might be what set’s him up to be a great hero. Embracing both as his own self will be his path to make.

James is the man who might crumble due to the consequences of a mislead action. He will be the one to take a huge blow. Because being human not only means being vulnerable in flesh but in soul as well. He knows very well what he wants, who he is and what his mission on this planet. He’s the hero that already embraced his calling. But, if he fails, not only that might be a stake, but also his own identity. Not as Guardian. But as a man. Because beneath the mask there is a person whose life might be wrecked.

However, he can also be the hero that get’s up and fight. That after realizing this darkness is also a part of who he is, might use it as a shield. 

Lena Luthor (The lost daughter of the doomed family)

As we say in psychology, Lena Luthor throughout a great ammount of the season suffered what we call generalization. She’s a Luthor, therefore she can only be evil. 

Is she?

Lena is the embodiment of a strong woman. She carries within the archetype of Arthemis and Atena. Strong, brave, analytical, clever, witty. She’s not affraid to stand up and fight.

Raised as a Luthor, she has all the traits of one, but she also is the one person who fights with everything she has. When she first appeared, she wanted it to prove she was not like her parents. Will she? Or will she only become what society hopes she become.

Although some may believe she will be revelead as a bad person, I believe things go deeper than that. When analyzing certain character, we should never stop at the surfice of his actions. Lena has a past that is hard to let go. That itelself is a huge influence on who she is now - to quote Sarte:  Freedom is what you do with what’s been done to you. 

Lena has the potential to overcome the generalization she faces as a Luthor. She can be the hero that stripes out or her past, the persona she created in order to surive, and fully embrace a new person. She has the inteligence necessary to take her mother down and let go of the chains of her past.

However, this is not a easy path. Looking into the eyes of someone that was suppose to love and understand that won’t happen is not easy. Because she can look at Lillian and see herself. The woman she struggles not to become.

Is like looking between past and future. Between the pain and the insanety. The path Lena has to take is to find out who she is. Is she a Luthor - a bad woman whose past made her that way -, is she Lena, the woman that is trying to hard do overcome prejudices and misconceptions. 

Or is she both?

Because in the end. Darkness and light both live within. The incessant fight between good and evil is a conception the Catholic Church helped to create. We all, as Sirius so amazingly put it, have darkness and light inside of us. We all, even being good people, did things we aren’t proud off. 

Lena can represent the chance people with horribles histories have to own them up. Embrace them so they can let them go. She can prove that a last name doesn’t define who we are. She could be the hero that is not afraid to look at her past - which is a basis to ehr future - and learn from it. She can be the person who doesn’t have to pay for her father’s sins,

Mon-El (The fallen hero, the one who brings freedom)

We all must remember Moises. Yeah, that one. The biblical saviour.

As some may know, he was raised by the Egypcian imperator, grow up surronded by beautiful things and his family until one day he finds out his true origin. 

As hebrew.

Meanwhile, his people worked hours to no end as slaves in a broken empiry. In one of the greatest tales ever told, Moises goes from a coward, silent man, to the person that saved his people from slavery and delivered them to the Promised Land.

I bet it sounds familiar right?

Because it is. 

Mon-El came from a broken monarchy. Not only that but a ditactorship. A place where women were objetified, where he would rather not do anything and live in this beautiful castle while he’s own people suffered. Yeah, we all know that. He was a shitty person, that’s putting lightly.

However, his own story was meant to be this way. As I said hundred times already, Mon-El is the perfect defintion of the Hero Archetype. He came from to sky - symbolyzes regression, the ego going back to a more regress stated, means going towards the darkness and unknown -. Mon-El has a trajetory that’s a cicle,  he came as a coward, as someone who would run and hide if needed. And by each passing day, his ego builds himself up, forming a new identity, a new persona, someone braver, stronger, kinder.

Valor.

Someone of great courage, power, someone who deserves it. He’s not that person yet. But he can be. With the flying ring, he can rise - which literally means to go towards the sun, ilumination, rebirth, a new person-. Like hundreds of hero before, Mon-El will had to fall - die, change -, in order to rise.

He, the former Prince of Daxam, will be the one to go back to his home, and deliver his people.

The tree together can formate the triplice of the Hero Archetype. The fight between light and darkness, past and present, between who he was and who he is now. 

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