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metvmorqhoses · 5 months
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Lines from GrĂ­mnismĂĄl from the Poetic Edda
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metvmorqhoses · 5 months
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I love the ground under his feet, and the air over his head, and everything he touches, and every word he says – I love all his looks, and all his actions, and him entirely, and altogether. 
Emily BrontĂ«, from ‘Wuthering Heights’
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metvmorqhoses · 5 months
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Loki 2.06 Glorious Purpose
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metvmorqhoses · 5 months
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— Emily BrontĂ«, from "Wuthering Heights", originally published c. 1847.
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metvmorqhoses · 5 months
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I know what I want. I know what kind of god I need to be... for you. For all of us.
LOKI | 2.06 ‘Glorious Purpose’
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metvmorqhoses · 5 months
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« He's more myself than I am. Whatever our souls are made of, his and mine are the same. »
— Wuthering Heights, Emily BrontĂ«
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metvmorqhoses · 5 months
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metvmorqhoses · 5 months
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“I wish I were a girl again, half savage and hardy, and free; and laughing at injuries, not maddening under them! Why am I so changed? why does my blood rush into a hell of tumult at a few words? I’m sure I should be myself were I once among the heather on those hills.”
— Emily BrontĂ«, Wuthering Heights
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metvmorqhoses · 5 months
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Poem To The Moon - Gianni De Conno
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metvmorqhoses · 5 months
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Artemis smiled as Apollo opened the door to their oikos.
It was a beautiful house surrounding a garden filled to the brim with wildlife and even some vegetables. The walls were painted by Apollo himself and some even had mosaics on them. Artemis told her brother it was unnecessary but he wouldn’t listen, saying that if the garden and the outer walls have been left just as wild as she wished then the inner walls could be as colorful as he desired.
He was as dressed as a newly hatched baby bird, not that she could judge, her weapons where the only thing covering her pale skin. She looked as ready for battle as she was for xenia, as Leto was returning to Hyperborea. Apollo assured her of that fact a fortnight ago, eyes unwavering even now, eyes of the predator that he really was. Artemis was absolutely convinced that they looked laughable, hunter and predator working together.
She left the nymphs on the edge of the river Eridanos, Artemis knew they would wait for her, days and even centuries if they had to, although Artemis wondered how many of them would be pure by the time she came back.
She let Apollo drag her to the gynaeceum, where, on the klines, was the lovelies dress that she had seen. Stars woven together to play the part of a dress, just like she was
“Couldn’t let my sister not look the part of the hostess, could I?” He kissed her neck, knowing that’s the most she will let him do, knowing that she was only playing, just as they had when they we’re in the lovely forest for only a day, that lasted weeks, she could still fell those mortal’s terror when they realized that the day would not end, just as Apollo will never end. For what reason, not even Gaia herself knew, much less Artemis.
Artemis looked at her twin and her smile widened. She felt ready, sparks under her skin and an almost satisfied heart.
She put on the dress that Apollo gifted her. He watched.
He went to the andron. She followed.
He dressed. She watched.
She started to set the table. He brought the wine.
They get a cow and rip out its heart.
Apollo sets up everything for the symposia. Artemis cooks them dinner.
Divine siblings sit at the table waiting for their mother. They wait and wait and wait and wait

The dinner never gets cold. The hostess never rises and the host never speaks. Neither move.
The day doesn’t end. Babies are morn and made of stone. Mortal scream and scream and scream

The door opens. Apollo smiles. Artemis rises.
Nyx runs free, cloak falling freely behind her. Mortals scream in ecstasy. And a mother smiles at a predator playing the role of a hostess greats her in a place that she can’t bear staying for long, let alone calling it home.
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So, you inspired me to write this, I used some actual ancient Greek words
Oikos refers to three related but distinct concepts: the family, the family’s property, and the house.
gynaeceum - women's room
Greek houses would typically contain an ‘andron’, or men’s room. This was a sort of lounge where men would host friends and associates and hold ‘symposia’, essentially dinner parties.
By then the Greeks had a couch/bed called a “kline” that was used for lounging and sleeping (hence our word “recline”). 
I love this to bits.
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metvmorqhoses · 5 months
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lake 101123
taken a bunch of lake photos over the last couple of weeks think these are almost there but probably wrong
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metvmorqhoses · 5 months
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Nononono waitttt what do you mean about Good Omens season 2?? Why didn't you like it?
I personally thought it was better than season 1 - better paced. There wasn't a single boring moment. And sure, the plot maybe had fewer stakes, but seeing as this was a bridge season between season 1 (the of Good Omens book) and hopefully season 3 (the book that never came out, “668” or something like that), I thought it was good. Warm & fuzzy.
I need to know your opinion now
As abashed as I am to have to respond to such enthusiasm with, well... the very opposite of enthusiasm, please at least know that I consider the truth the best thing I have to offer in general and in regard to that unfortunate (yet somehow still-untouchable?) mess the second season of Good Omens has proven itself to be in particular, so accept it as some sort of well-intended even if perhaps unwanted gift.
This is probably the most unpopular opinion one can have on Tumblr right now, so I'll go straight to the point: Gaiman managed to ruin Good Omens (perhaps he isn't able to write it by himself, perhaps he got carried away with fan service, who knows), once one of the most delightful, witty, engaging, profound books/shows existent, changing its register and raison d'ĂȘtre in order to turn it into, per great popular request, the same lame simple plotless cheesy cookie-cutter gay romance without rime and reason apparently every single piece of media is deforming itself into lately.
The dramatic loss of... artistic quality this show suffered is appalling and even more appalling is the fact I seem to be one of the very few on this green earth to have even noticed? Did I perhaps read too much in the show before? I don't think so, it was indeed a masterpiece. I saw many die-hard fans of the series beyond puzzled at this last season too, straining themselves to try and make sense of it with wild theories, justifying them with the simple fact that Neil Gaiman is a genius and surely this hot mess must mean something, right? I wasn't aware the world was mostly populated by hysterically besotted people hailing Neil Gaiman's alleged greatness from dawn til dusk without contextualized merit, and the discovery didn't particularly excite me, to be quite honest. I think a healthy amount of fairness in the critique of any artist should always be the norm, but I digress.
I'll try to keep it as brief and matter-of-factly as possible, especially since some time has passed and the fumes of my rage aren't as scorching or as precise as they used to be lol
In a word, this season was subpar. Not only did it lack that original witty, ineffable meaningfulness, that intrinsic and very human sense of wonder and protectiveness towards life and its profound sense the original show brimmed with, but even from the most basic literary point of view, it literally lacked a plot worthy of this name, a story, characters that felt complex and real instead of caricatures who tried and reenact themselves, and in general what should have been, quite simply, good writing.
More than Good Omens' long-awaited season 2, this felt more like a high-budget filler fanfiction created by someone who didn't know what they were doing with story and characters most of the time, but who sure as hell wanted to please the audience to disastrous lengths.
The very first thing that irked me beyond belief, and it literally started from minute one, was the immediate, more or less subtle, change in acting from both Michael and David. Michael stressed it way more, with, in my opinion, quite tragic results, thing that from the start immediately allowed me to guess where they were going with their (already established as extremely complex) relationship, entirely turning the vibe from sophisticated allegory of Divine Comedy kind of love (love for your enemy, love for your friend, love in all its form and in its entirety) to banal romantic comedy-level gay drama, downgrading what Crowley and Aziraphale shared (the subtle abysses of it!) into the most boring and obvious of soap operas, obviously forcing them to act out of character in order to compensate (was any flash-back meaningful to their character or the story? Was there a writing reason behind any of them beyond writing for the sake of filling screen-time?).
Some relationships deserve to be left alone, alone in their subtlety and ambiguousness or you'll inevitably ruin them. Not everyone must kiss on screen, no matter how much the audience screams and throws up for it. This little woke drama completely ruined and eclipsed everything else those two characters were for each other, turning them from cosmic and devastatingly loyal best friends to petty and dumb lovers that need two plot devices (the messy pointless and quite frankly offensive representation-wise lesbians from across the street they literally met five minutes prior) to tell them they actually have feeling for each other and should share them. After literal millennia of this relationship, relationship that has its own inner workings and reasons, we needed the plot-lesbians to subvert the order of things and spur Crowley into action, obviously obtaining disastrous and lame results? Are we witnessing the interaction of immortal beings or five-year-olds? The only way I can genuinely make sense of this dumbness is considering those two female "characters" (that feel anything but real people) no more than that, characters, golems, put there by Metatron via the power of the Book of Life (again, so many Chekhov's guns with no use whatsoever in this season) in order to separate Az and Crowley using the only thing that could succeed in doing it - an ill placed declaration of love.
But even this doesn't match the true ĂȘtre of what Good Omens originally was nor comes full circle with the ineffable mystery season 1 ended with. It genuinely feels like Gaiman changed the whole rhyme and reason of the story, vibes, meaning, register, just to meet the modern needs of a category that is sadly phagocytizes everything else in both life and fiction. And I find it a true pity - and a bore.
And even leaving aside this personal boredom of mine at a non-existent plot that consisted in 1) a big mystery that promised cosmic repercussions (season 1 ended with the after-nonapocalyptic world that was slightly changed just because two enemies had loved each other and life too much not to oppose god's plan - fact that was probably god's plan all along), mystery that was actually no mystery at all (two random, from the original story's perspective, previous minor characters in literally ten supernatural minutes fell in love and run away together) and that meant virtually nothing in the grand scheme of things, but serving as a plot device so that the other two minor new characters could intrude into the protagonists' relationship so they could finally have the excuse to jump literary genre and kiss & queer tragedy the story away 2) an endless series of symbols, facts, episodes and characters that constantly seemed to hint at something but that in reality resulted in nothing story-wise (also, the change of heart in God's personality, first the witty and almighty trickster for the greater good, now the divine bully??), even leaving all this aside, I'm mostly disappointed the quality of the writing plummeted so inesorabily one of my comfort show turned into the symbol of an artistic era I'm utterly distraught to have to witness - the era of crowd-pleasers and un-imagination.
As for this being a filler season, writing in such an unresolved way (basic and predictable plot, colourless characters, cliché romance, hours of happenings that don't mean a thing in the current story) is unacceptable and a failure, even if you are a famous writer. You cannot waste hours of the audience's time going nowhere shielded by the sole future promise of sense. Writing doesn't work that way, and I'm sincerely appalled to see people noticing it and deciding to excuse it with a "surely next season everything will look genius!". It doesn't work this way. The faults were too many, they can't possibly be all resolved next season. This product wasn't great, even if your faves kissed and your little fanfictions came true.
The sad thing is, Good Omens used to be a work of art, not the next consumeristic piece of fiction to satisfy woke needs.
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metvmorqhoses · 7 months
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"The Mirror"
Phantom Italy (July 2023)
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metvmorqhoses · 7 months
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“What you, call monsters are superior forms, or forms simply beyond your understanding. Aren’t the gods monsters? Isn’t a man of genius a monster, like a tiger or a spider, like all individuals who live beyond social lies, in the dazzling and divine immorality of things? Why, I too then—am a monster!”
— Octave Mirbeau. The Torture Garden. (via criminal-delirium)
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metvmorqhoses · 7 months
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"I am the Angel of Death!" âšĄïž
Ramin Karimloo, Phantom Italy (July 2023)
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metvmorqhoses · 7 months
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— Mary Oliver, "What I Have Learned So Far"
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metvmorqhoses · 7 months
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I am the serpent (women and snakes motif 1/?)
Eva by Vittorio Zecchin  ‱  Boy, Snow, Bird by Helen Oyeyemi  ‱  New Worlds Old Cover Art by David McCall Johnston  ‱  Illustration by Yoshitaka Amano  ‱  “Troubling Resemblance” by Renée Vivien (tr. Jeanette H. Foster)  ‱  Lillith by John Collier  ‱  Sensuality by Franz von Stuck  ‱  “To The Snake” by Denise Levertov  ‱  The Space Between Garden and Eve by Adam Fuss  ‱  Borderlands/La Frontera: The New Mestiza by Gloria E. AnzaldĂșa
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