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blacknedsoul-blog · 4 months

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Annabel Lee Whitlock: The Hypocrite, the Vampire and the Femme Fatale. A review of archetypes

Good news: I'm on vacation. Bad news: I'm on vacation.

And that means rest. A positive externality. But on the other hand, it also means that my brain, which is constantly thirsting for stimulation, has lost eight hours of activity a day that it has to fill with something. You know what happens to orange tabbies who suddenly become quiet and behave as if possessed by all the demons of Ars Goetia? Well, sort of.

So my brain in need of stimulation decided to dust off my college notes and talk about archetypes, because it's a thorough enough job to keep me away from climbing walls or checking random stuff on the Internet for 10 hours a day.

What is an archetype?

Just to make sure we're all on the same page, an archetype (a "type character") is a writing model that describes a role and has certain characteristics.

The term was coined by Honoré de Balzac, a French writer obsessed with what he called "micro-history. His life's work, "La Comédie humaine", is a massive collection of more than 80 novels, which, when read, will give you more information about that historical period than any theoretical book on the subject.

You may not know this sir or the protagonist of "Illusions perdues", but you do know the archetype that Lucien Rumempré represents: a young from the provinces, full of dreams, who moves to the city only to discover that the lights are there to dazzle and distract from the misery.

But at the same time, the characters that come to mind are likely to be very different from the good Lucien. This is because the archetype is a different construct from the cliché.

If I had to explain the difference, I would say that the cliché is a recipe, while the archetype is a mold.

If you follow a recipe, you will always get results that are very similar, even if you make small variations in the recipe. But if you have a star cookie cutter, the contents of the cookies can be quite different: no one would dare say that a chocolate chip cookie tastes the same as an oatmeal cookie or a gingerbread cookie. Even if all three are cut in the shape of a star.

So I'm going to do a little review of the archetypes that Annabel notices. The differences, the similarities, and let's see what comes out.

The Hypocrite

Not "hypocrite" in the sense of a personality, but in the sense of a way of behaving in the world: The Hypocrite is a character whose way of relating to the world is a pantomime, whose role is to build themselves up to fit into a system (which, by the way, they despise). If they don't have what you want, they will at least pretend enough to make you think they do. Usually for personal gain.

The founder of this archetype is Julien Sorel, the protagonist of "Le Rogue et Le Noir", the most famous work of Stendhal, one of the most prominent writers of the literary realism founded by Balzac.

Julien is this poor boy, but smart enough to memorize the Bible, which makes him seem educated enough to get him a job as a tutor in a rich house, and eventually a priest's cassock.

A more modern example is Nick Wilde from Zootopia. This fox has decided that if he alone can be a con man, he will be one, though he desperately wants someone to see him as an individual beyond that. He hates the system that condemns him, but he wants to be a part of it and will play by the rules he is given in order to profit.

Annabel, like Julien and Nick, has built her entire identity around being what is expected of her, in her case a perfect Victorian high society lady. Something that has given her a tremendous amount of knowledge about how people move in such circles. And from her point of view, people are the same everywhere (Miss Marple would be proud of her).

And in this oppressive context that fosters an environment where people kill each other, she knows what currency to give in return for loyalty: people will look for a leader, someone competent, someone who knows what they're doing.

Annabel has no idea what's going on, what awaits them outside the Nevermore gate, or even if there's a way to escape. But she can pretend to know. The quietest person in the room wins, and she's the one who takes the prizes to achieve her goal. The performance is justified as a means to an end.

Another thing that characterizes stories with a Hypocrite as a relevant character is the exploration of the consequences of this lifestyle: identity is consumed by the role, the line between actor and character is lost, and the Hypocrite is often faced with the reality that they have put so much of themselves into the character they are playing that once it is exposed, there is nothing underneath, or at least nothing worth saving.

In Annabel's case, this is expressed in her utter horror at not being trusted by Lenore. She puts her hypocrisy at the disposal of her lover and comforts herself with the reward of her affection, but Lenore's love for her is the only thread that binds her own identity: that Lenore does not trust her means that the role has completely consumed her, the complete confirmation that she, as an individual, is no longer a disturbed poseur.

Related to this point, we have the final transversal line in the conflicts that Hypocrites tend to have: loneliness. When all their relationships are based on a carefully rehearsed performance, the Hypocrite knows that they are alone in the world, that no one really knows them, and they are usually so deep in the role by this point that they don't want to (or can't) leave it. The longing for honest relationships overlaps with their self-destructive tendencies.

As much as Annabel insists that it's her and Lenore against the world, that her life is meaningless without Lenore, and that she is enough, these phrases indicate that Annabel is painfully aware of how she is perceived by others, and though she tells herself that Lenore's love is all she needs, it seems more like a mantra to keep her sane than a reality.

As you may have noticed, the main difference from the usual Hypocrite is that Annabel has Lenore. A bit like Nick has Judy. But Nevermore is a story that takes the psychology of its characters much more seriously, so while Nick just needs someone to reach out to in order to form honest relationships, Annabel passes because she has no fucking idea how to form an honest, healthy bond.

That Annabel is extraordinarily self-destructive, emotionally dependent, and so afraid to step outside the box she knows so well are, in this light, natural consequences of the Hypocrite lifestyle.

The Vampire

Here we must make a leap to another movement: during the Romantic period, the Gothic novel was at its best, and it was Edgar Allan Poe who squeezed out the last drops of what this genre had to offer.

Now, looking at the bibliography, Annabel does not have much in common with the gothic heroine (that is something Lenore takes care of), neither on an aesthetic level nor on a value level. To find her in the works that inspire her, one must look in a slightly different direction: the female vampires of gothic fiction.

Aurelia ("Vampirismus" by E.T.A. Hoffmann), Carmilla ("Carmilla" by Sheridan Le Fanu), Clarimonde ("The death woman in love" by Théophile Gautier), the vampire in the poem "The Metamorphosis of the Vampire" by Baudelaire, the three vampire women, and Lucy ("Dracula" by Bram Stoker).

All these characters have something more in common than their fangs: they are beautiful women capable of making anyone who sees them fall completely into their arms, as opposed to their role of making the one they have chosen as their prey "fall".

The Gothic vampire is practically a succubus, but much less sexualized than one might think. Although many of these works, with the exception of the poem by the good Baudelaire (an author who should be fed separately on these matters), spare no pages in describing how beautiful they are, neither do they overly sexualize them, nor are they particularly flirtatious: even Clarimonde is dedicated to simply being there and letting her presence alone do the work.

This is something Annabel shares with the gothic vampire: though physically gorgeous, the framing in the comic doesn't tend to focus on her as an object of sexual desire, her beauty is highlighted, but in a way that is more akin to an ethereal or unattainable entity.

This is due to a mixture of two things: the Gothic novel is steeped in Catholic puritanism, and even if it is to present a villain who uses her attractiveness as a weapon, the erotic component is subtly exposed, and the vampire's angelic beauty offers a contrast to her status as an antagonist: beautiful on the outside, insidious on the inside.

This is another thing Annabel has in common with the gothic vampire: she is aware that her appearance gives her a haughty, elegant, and dignified air, identifiable enough to earn nicknames like "Queen" or "Queenie," and she knows how to capitalize on it. This contrasts with the darker parts of her personality.

Another thing that terrifies romantics about vampires is that these fangirl succubi possess a quality that makes us 21st-century readers raise an eyebrow because it's supposed to make us uncomfortable: a deep, honest, and sincere willingness to be affectionate.

In context, this makes sense: the vampire is a representation of sin, temptation, and lust. So their affection is something that leads the object of it away from the path of morality (this is the 19th century, this is really important).

I understand that because of the vampire's role in all of this, she is a devoted lover. Incredibly devoted, in fact: Clarimonde is Romuald's sugar mommy (no, I'm not kidding, I'm not exaggerating either), and Carmilla never stops showering Laura with affection and attention, satisfying this girl's craving for companionship after living in isolation.

Annabel does something similar: there is a genuine interest on her part to reach out and connect with Lenore, and in scenes like this, she goes out of her way to show her that she is an amazing person in her own right, rather than being her brother's shadow.

All kidding aside, I think of the archetypes I could find to analyze Annabel, this is the one that fits her best, even though she is not, well, literally a vampire. She seems to have several things in common with Carmilla in particular.

The Femme Fatale

We all have a more or less clear idea of what a femme fatale is: this extremely attractive, sexually active, badass woman who is there to make the male character's life miserable and has a 50% chance of smoking fine cigarettes with a cigarette holder. This is…partially true, but also highly inaccurate.

Although these characters can be traced back much further in mythology, this archetype gets its name and very specific form from Raymond Chandler, the founder of the noir novel. I'm not going to go into too much detail on this topic, as entire books could be written about it, so let's just focus on what's important.

The thing to understand about the context to understand the Femme Fatale is that we are in the 30-40's and although she has many more rights than 19th century women, the decadence shown in these works emphasizes that she is in a macho context where every single rule of the game is stacked against her. This is something that Femme Fatale is acutely aware of: no matter how well she plays the game, she will always lose.

This is something that Annabel shares with this archetype: she is very aware of the rules of the game, she knows backwards and forwards how the world works, so she is also aware that they are too heavily stacked against her to ever win. All she can do is resign herself, play the role as best she can, and find small distractions to cling to like a burning nail so as not to lose her head altogether.

Therefore, the Femme Fatale's approach to life is this: if the rules are stacked against her, that means she has the right to do whatever it takes to survive. These tactics usually include manipulation, deception, exploitation, and, of course, making the most of her sexual attractiveness because, unlike the vampire, she knows how to flirt and use sex as a weapon. What needs to be kept in mind here is that for this character archetype, the use of these wiles comes not because she is factory evil, but as a coping mechanism within a system she cannot win against. If this ultimately makes her a villain, it's more about her role within the story in which it plays out than anything about the archetype itself.

Here's an interesting difference between the Annabel we see in Lenore's memories and the one we see in the present day of the comic: Annabel used to be willing to play by the rules, but the thing she learned from Lenore is that cheating is more than possible. As a result, her attitude has become much closer to that of a Femme Fatale, using her extensive knowledge of the rules to her advantage, going with the flow for personal gain. Her methods are much closer to those of the Hypocrite (especially since we haven't seen Annabel use her body or affection as currency yet), but there are definitely similarities.

Another thing about the Femme Fatale (when she is NOT a villain) is that, like the Vampire, she operates within a duality: an exterior built to be sexy in a somewhat intimidating way (which is why the aesthetics of many of these characters can be interpreted within BDSM culture), but with some goodness in her heart. A really clear example of this is Vivian Sternwood from The Big Sleep (the first novel on the subject published by Raymond Chandler): her own father describes her as "rude, demanding, clever, and quite ruthless," and Marlow, our detective, will have a long series of uncomfortable encounters with her. But by the end of the novel, when he is faced with the same choice Vivian must have made in the past, he cannot help but realize that despite everything, this woman would rather keep painful secrets than harm her family, whom she loves dearly.

So if you're wondering why the framing of scenes like this looks familiar, that's why.

Add to that the three layers of how her aesthetic works: an angelic appearance for when she needs to play dumb, her gaslighting, gatekeeping, girlboss bullshit face for when she needs to demonstrate authority, and framing where it should make you directly uncomfortable.

Looks are one of the strengths of Femmel Fatale's performance. And it's one of the strengths of Annabel's performance.

Conclusions

One interesting thing about looking at Annabel in this light is to realize two things: first, that many of the archetypes her character seems to take notes from are often in the role of antagonists or, for that matter, villains.

The other is that these archetypes are quite well ordered and connected: the gothic vampire is the inspiration for the Femme Fatale of Noir (her beta version, if you can call it that), and the Hypocrite shares a historical writing period with many female vampires. From her conception, Annabel is constructed in a fairly orderly fashion, and believe me, that's a huge contrast to what's going to happen with Lenore (which I'll get to soon, but I need to brush up on my picaresque novel notes).

The last thing I want to point out in this review is this: unless you're a Nick Wilde-style Hypocrite, Hypocrites and Vampires in general tend to have utter destruction in store for them. The Noir, for its part, puts us in a situation where the Femme Fatale, even if she wants to change, is generally too deep in this tangle to get out.

So what I find interesting about Annabel in this regard is:

This is actually THE scene that shows us Annabel timidly stepping out of the scheme of things. She doesn't seem to want to change, in fact I'd bet she's terrified to change, but even though she's repeating her father's toxic pattern here, she's also breaking it without realizing it.

It's too early to tell if we'll see Annabel have some sort of redemption towards less harmful behavior, or if we'll end up seeing her become a villain altogether. But I'm really curious to see where this story goes with all of these elements.

#nevermore webtoon #annabel lee nevermore #annabel lee whitlock #So this is about 3000 words long #I want to die #Spoiler with Lenore we'll talk about rogues knights and womens with tuberculosis #femme fatale #hypocrite #vampire

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brassic-bitch · 5 days

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Out of Context Lines

The Rules: If you’re tagged, make a new post and share one or two sentences from your most recent unposted WIP with zero context.

Thanks for tagging me @t3acupz ✨

It's two sentences from my most recent AND unposted WIP which concern Solomon Lane (obviously...)

— "Tandis que Lane se noie dans la Seine, il se souvient d’où provient cette anarchie qui coule dans ses veines."/"While Lane drowns in the Seine, he remembers where comes from this anarchy that flows through his veins."

—"Cyliane became increasingly lost between the limit of reality and that of her visions. She acted as if Lane did not exist, or already more. She cried, ignored it, and reappeared, unaware of the horror that the MI6 agent felt as soon as she reacted like that. Her looks changed completely, her gestures went from an incomprehensible coldness to a tender affection and tears gave way to laughter. Sometimes Lane had the impression that she was playing with him, but the sincerity of the young woman during the lucid hours took over and she made disappear all fears of a smile, a slight touch of her lips against his own, of a scream of pleasure to shake the neighborhood, and any strangeness in her behavior were finally only a bad memory.

Sometimes she spoke to him to get the upper hand of those visions that were rotting her life, sometimes she closed in on herself and did not even address a glance to him. So Lane had to be quiet, not touch her, just be there for her when she emerges again. Lane just had to accept it."

"— Hey, she smiles one morning."

The night before, she had not ceased to push him away, to speak to him of senseless things and to envy a woman dressed in gold, before finding herself a glass of wine in her hand and naked in their bed. The only way Lane could prove it was just her.

And there would never be only her, no matter what happened."

—"Cyliane se perdait de plus en plus entre la limite de la réalité et celle de ses visions. Elle agissait comme si Lane n’existait pas, ou déjà plus. Elle pleurait, l’ignorait et réapparaissait, inconsciente de l’horreur dans laquelle plongeait l’agent du MI6 dès qu’elle réagissait ainsi. Ses regards changeaient du tout au tout, ses gestes passaient d’une froideur incompréhensible à une affection toute tendre et les pleurs faisaient place aux rires. Parfois, Lane avait l’impression qu’elle se jouait de lui, mais la sincérité de la jeune femme lors des heures lucides prenait le dessus et elle faisait disparaître toutes craintes d’un sourire, d’un léger effleurement de ses lèvres contre les siennes, d’un hurlement de plaisir à en ébranler le voisinage, et toute étrangetés dans son comportement n’étaient finalement qu’un mauvais souvenir.

Tantôt, elle lui parlait pour avoir le dessus de ces visions qui lui pourrissaient la vie, tantôt elle se renfermait sur elle-même et ne lui adressait pas même un regard. Alors Lane devait se faire silence, ne pas la toucher, se contenter d’être là pour elle lorsqu’elle émergerait de nouveau. Lane devait juste l’accepter.

— Hey, sourit-elle un matin.

La veille, elle n’avait pas cessé de le repousser, de lui parler de choses insensées et de jalouser une femme toute vêtue d’or, avant de se retrouver un verre de vin à la main et complètement nue dans leur lit. La seule façon pour Lane de lui prouver qu’il n’y avait qu’elle.

Et qu’il n’y aurait jamais qu’elle, quoi qu’il arrive."

yeah, okay... it's more that just one or two sentences but i couldn't decide !!! it's an fic (very strange who takes place twenty years before the events of Rogue Nation) that which i have been working for more than two months and for which i would give body and soul to make it perfect...

i apologize in advance if the english translation is not great, i write only in french, this kind of tag requires me to review everything x))

and i'm tagging anyone else who wants to do it ✨

#out of context lines #ask #my writing

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indelicateink · 9 months

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🎶✨Put 5 songs you actually listen to and tag 10 of your followers to do the same 🎶✨

thank you for tagging me @tiredmouse! i am slow, but I made it happen lol

tagging five of the songs that tend to come up in my--*checks smudged ink on palm* 38 iwtv playlists--while I work on my iwtv art

the most beautiful boy - felsmann + tiley reinterpetation - the irrepressibles

black black heart (feat. marie mai) - david usher

ghosts - single edit - ladytron

lights - ellie goulding

black dressed bride - michael amani, robbie rise

some of my WIP art. life happened/got in the way of completing this in May, on pause. les/lou/armand per the poll, with lestat as a shade in his last-seen murder!look. (but hey. the advantage of delay is NOW I KNOW TO DRAW HIM WITH LONGER HAIR lol)

tagging @greatgams @alcassin @basquettcase @bayoubodycount @blueiight @cbrownjc @cher-horowitz @cocktail-party-in-an-abattoir @demonicgodarmand @devotedchauffeur @thefairylights @greedandenby @la-femme-au-collier-vert @laughingacademy @lesfleursrouges @mysoulforcoffee @nlbv @penguinsandbats @prouvaireafterdark @taste-of-blood-and-altars @the-rogue-of-london-town @waxedpaperdoor i'm forgetting people please take pity on my feeble brain and share your music even if i forgot to tag you pleaseeee (and also. as always: no obligation to take part ofc!)

#i love music pls share ur music #meme #my art

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patoune-prod · 8 months

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Here is a Tifa, from my fic Avalanche (still a monster of a fic and still only in french, sorry)

Long story short: Avalanche is an alternate universe of Final Fantasy 5 to 12 (and a tiny sliver of Kingdom Heart ) but mainly around the FF7 cast.

Hojo went rogue A-la-Dr-Moreau twelve years earlier and terrorize Gaia with his techno-magical monsters, including Sephiroth, Sin, the sinspawns, the remnants, the heartless and a bunch lovely undeads called the Blissful. In this story, Avalanche is a very specialized seal team dedicated to protect Midgar and trying their best at finding Hojo and irritating Shinra while shoving their nose in his dark stuff. And Tifa, sadly, died during a mission, killed by Sephiroth while trying to protect Cloud. But for a few months, she was alive, well and ready to pummel Zack into the ground every time he call her Sous-tif (bra in french). No worry, they are childhood friend, it's totally normal from them. Now, Zack's twin brother, Cloud, it's another story. He may have a things for strong woman able to fold him in half with an angelic smile.

---

Voilà Tifa, de ma fic Avalanche (qui est toujours un monstre et en cours!) Je regrette vraiment de l'avoir tuée avant le début hein, j'adore torturer Cloud, mais un peu de finesse dans cette troupe de brutes n'aurait pas fait de mal. (Quoique question brutalité, elle se pose aussi pas mal) Mais pendant quelques mois, elle était vivante, en bonne santé, et toujours prête à incruster Zack dans le sol chaque fois qu'il l’appelait Sous-Tif. Nan mais, en tout amitié, hein? Ca date de leur enfance. Avec Cloud par contre, c'est une autre histoire. Il se pourrait qu’il ait un faible pour les femmes fortes capable de le plier en deux avec un sourire.

#cloud strife #tifa lockhart #final fantasy 7 #avalanche #avalanche extended universe #clip studio paint #fanart

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danganronpasurvivoraskblog · 11 months

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Rpg Anon: 1. Well. Personally I have no idea what persona to give to Hajime. For absolute bias, I was thinking of giving him Shiva, head god of the Hindu Pantheon, just cuz I thought a perfect persona for Mahiru would be Parvati, Shiva's wife(I am also Hinazumi Anon after all). But as much as I like this idea, I can't back it up too much. 2. Like I said before, I already made a bit of persona format for lots of dr characters (mostly dr2 cast) which I personally feel fits them the best. But yeah, if I treat these as alternate DLC P5 Phantom Thieves versions of the protagonist characters, I guess that could work. The builds might still be a bit similar to their originals but I guess I can tweak them around a bit.

//See, here's the thing. That would be good under the condition that I didn't have the constraint of fittng with Persona 5's theme as far as the party's initial Persona's go.

//If this was a Persona in general AU, i.e. it also incorporated the logic of Persona's 1 to 4, then I wouldn't have the problem, since throughout most of the series, the shadows and Persona's are based on gods and other fictional creatures.

//However, the common theme of Persona 5's party members and their Persona's, is that they are all based on history's most famous outlaws, including thieves, societal rebels, and people who shake the Foundation of the law.

//In the cases of the original cast:

Joker's initial Persona, Arsene, is based on Arsene Lupin, one of the most famous gentlemen thieves in media.

Morgana's Persona, Zorro, is a Spanish rogue who defends commoners and the indigenous people of the land against tyrannical officials and other villains.

Ryuji's Persona, Captain Kidd, is a pirate. That's literally all you need to know.

Ann's Persona, Carmen, is based on the character from the novella, and is a gypsy femme fatale.

Yusuke's Persona, Goemon, is literally just Japanese Robin Hood.

Makoto's Persona, Johanna, is based on a woman who became head priest in a society where only men could fill that role. She did so by disguising herself as a man and infiltrating the system.

Futaba's Persona is Necronomicon. It's not based off a person, but the tome that it is based on is notable for possessing forbidden knowledge from the ancient ones, and those who read it risk losing their minds.

Haru's Persona, Milady, a gentlelady criminal who serves as one of the main antagonists of The Three Muskateers.

Akechi's two Persona's both represent the will or rebellion. Everyone knows the story of both Robin Hood and Loki, and how both of them were known for rebelling against their respective society's.

Yoshizawa's Persona is Cendrillon or Cinderella, another character who famously disguised herself and broke her house's rules to go to the Prince's ball.

Sophia's Persona Pandora is based on Pandora's Box, a box containing all the evil's of the world that Pandora and her husband Epimetheus released.

Lastly, Zenkichi's Persona Valjean is based on the character from Les Misarables, who commits crimes but with the intention of providing for his family.

//Now, I have already gone over it in each individual post, but this is the theme for each character in the Persona 5 AU for Danganronpa:

Makoto's Persona, Mickey, is based on Michael Spillane, the "last of the gentleman gangsters" from Hell's Kitchen.

Black Rose, Kuripa's Persona, is based on a Phantom Thief by the same name from the anime Ashita no Nadja.

Hajime's Persona, Mephisto, as you probably know, is based on the demon, who was a familiar of the devil who defected from God.

Shuichi's Persona is based on Giacomo Casanova, a famous Italian adventurer and spy.

Kaede's Persona is based on Irene Adler, a character from Sherlock Holmes and one of his most fierce competitors.

Komaru and Toko's Persona's are a duo, being based on Clyde Barrow and Bonnie Elizabeth Parker, of Bonnie and Clyde fame.

//Personally speaking, I think I can get a pass on Hajime's Persona being Mephisto simply because I don't think it's any different from how Akechi's true Persona is Loki.

-Mod

#mod

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usergreenpixel · 2 years

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Hi, Citizens!

So, in my review of “Andrea Chénier” (the Frev opera) I mentioned that the real Chénier was a royalist (that’s the reason why he was actually executed) and even wrote an ode to Charlotte Corday.

Well, I found the ode! Not as proof I’m not lying, just as a fun tidbit.

The original version (from this website):

Quoi ! tandis que partout, ou sincères ou feintes,

Des lâches, des pervers, les larmes et les plaintes

Consacrent leur Marat parmi les immortels,

Et que, prêtre orgueilleux de cette idole vile,

Des fanges du Parnasse un impudent reptile

Vomit un hymne infâme au pied de ses autels ;

La vérité se tait ! Dans sa bouche glacée,

Des liens de la peur sa langue embarrassée

Dérobe un juste hommage aux exploits glorieux !

Vivre est-il donc si doux ? De quel prix est la vie,

Quand, sous un joug honteux, la pensée asservie,

Tremblante, au fond du coeur, se cache à tous les yeux ?

Non, non. Je ne veux point t'honorer en silence,

Toi qui crus par ta mort ressusciter la France

Et dévouas tes jours à punir des forfait.

Le glaive arma ton bras, fille grande et sublime,

Pour faire honte aux dieux, pour réparer leur crime,

Quand d'un homme à ce monstre ils donnèrent les traits.

Le noir serpent, sorti de sa caverne impure,

A donc vu rompre enfin sous ta main ferme et sûre

Le venimeux tissu de ses jours abhorrés !

Aux entrailles du tigre, à ses dents homicides,

Tu vins redemander et les membres livides

Et le sang des humains qu'il avait dévorés !

Son oeil mourant t'a vue, en ta superbe joie,

Féliciter ton bras et contempler ta proie.

Ton regard lui disait : " Va, tyran furieux,

Va, cours frayer la route aux tyrans tes complices.

Te baigner dans le sang fut tes seules délices,

Baigne-toi dans le tien et reconnais des dieux. "

La Grèce, ô fille illustre ! admirant ton courage,

Épuiserait Paros pour placer ton image

Auprès d'Harmodius, auprès de son ami ;

Et des choeurs sur ta tombe, en une sainte ivresse,

Chanteraient Némésis, la tardive déesse,

Qui frappe le méchant sur son trône endormi.

Mais la France à la hache abandonne ta tête.

C'est au monstre égorgé qu'on prépare une fête

Parmi ses compagnons, tous dignes de son sort.

Oh ! quel noble dédain fit sourire ta bouche,

Quand un brigand, vengeur de ce brigand farouche,

Crut te faire pâlir, aux menaces de mort !

C'est lui qui dut pâlir, et tes juges sinistres,

Et notre affreux sénat et ses affreux ministres,

Quand, à leur tribunal, sans crainte et sans appui,

Ta douceur, ton langage et simple et magnanime

Leur apprit qu'en effet, tout puissant qu'est le crime,

Qui renonce à la vie est plus puissant que lui.

Longtemps, sous les dehors d'une allégresse aimable,

Dans ses détours profonds ton âme impénétrable

Avait tenu cachés les destins du pervers.

Ainsi, dans le secret amassant la tempête,

Rit un beau ciel d'azur, qui cependant s'apprête

A foudroyer les monts, à soulever les mers.

Belle, jeune, brillante, aux bourreaux amenée,

Tu semblais t'avancer sur le char d'hyménée ;

Ton front resta paisible et ton regard serein.

Calme sur l'échafaud, tu méprisas la rage

D'un peuple abject, servile et fécond en outrage,

Et qui se croit encore et libre et souverain.

La vertu seule est libre. Honneur de notre histoire,

Notre immortel opprobre y vit avec ta gloire ;

Seule, tu fus un homme, et vengeas les humains !

Et nous, eunuques vils, troupeau lâche et sans âme,

Nous savons répéter quelques plaintes de femme ;

Mais le fer pèserait à nos débiles mains.

Un scélérat de moins rampe dans cette fange.

La Vertu t'applaudit ; de sa mâle louange

Entends, belle héroïne, entends l'auguste voix.

Ô Vertu, le poignard, seul espoir de la terre,

Est ton arme sacrée, alors que le tonnerre

Laisse régner le crime et te vend à ses lois.

Here’s the English version (from this website):

What! Everywhere, pretended or sincere,

Of cowards and of rogues the plaints and tears

Of their Marat’s ascension spread the news,

And, prideful priest of deity most foul,

A slimy would-be poet on the prowl

A noxious hymn upon his altar spews,

Yet truth keeps silent! Frozen, terrified,

By icy bonds of fear its tongue is tied,

Denying glorious deeds their just acclaim!

Is life so sweet then, and is death so frightful

When our free thoughts we must conceal and stifle,

Enslaving them under a yoke of shame?

No, I won’t honor you with silent praise

Who for the life of France gave up your days

To punish evils on the world released.

You armed yourself with steel, O maid sublime,

To shame the gods, and to undo their crime

Of giving human features to that beast.

The serpent coiling in his filthy lair

Saw your undaunted hand reach out and tear

Of his accursed days the poison thread.

You came to face the tiger gorged on killing,

Demanding restitution of the villain

For the warm flesh and blood of all the dead.

He saw you in the dimming light of day

Rejoice in triumph as you watched your prey.

“Go, vicious tyrant,” said your gaze, “begone!

Others will follow you into the night.

Bathing in blood has been your sole delight;

Now, fear the gods whilst bathing in your own.”

Illustrious maid! If Greece your like had harbored,

They’d raid their quarries for the purest marble

To raise your statues, to great heroes next;

Choirs at your tomb, in ecstasy most holy,

Would sing of Vengeance, goddess who works slowly

Yet strikes the tyrant when he least expects.

But here in France, to die by axe you’re fated.

It is the monster who is celebrated

Amidst his friends, monsters of lesser scale.

Oh! How you smiled — in what superb disdain

—

When thugs out to avenge the thug you’d slain

Believed the threat of death would make you pale!

Let them turn pale, those magistrates of hate,

Odious officials of an odious state:

At their tribunal, subject to their will,

Friendless and fearless in that awful hour,

You showed them that, though villainy have power,

One who renounces life is stronger still.

For months, beneath a sweet and cheerful look,

Your soul in its well-guarded secret book

Concealed the sentence on the scoundrel passed.

So smiles the azure sky, bright and alluring,

While, hidden still, a mighty storm is brewing,

Ready to shake the mountains with its blast.

Young, fair, led to your death, on that last ride

You looked resplendent like a lovely bride,

Your face, your gaze full of serenity.

Calm even on the scaffold, you despised

The baying crowds in outrage quick to rise,

A servile mob that still believes it’s free.

No, only virtue can be free. Our story

Is one of lasting shame, and yours of glory:

You were the only man, avenging maid!

And we, vile eunuchs, soulless, craven herd

Can murmur, woman-like, a plaintive word,

But our enfeebled hands can’t lift a blade.

You did not think one traitor sacrificed

To our ancestral spirits would suffice

A broken France from chaos to restore:

No, you had hoped that, by your courage shaken,

Our timid souls would finally awaken

And slay the plundering gang grown fat on gore.

One fewer snake crawls in this pit of slime.

Fair heroine of our forsaken time,

Virtue applauds you; hear her noble voice!

O virtue! When to evil laws succumb

And thunder sleeps, the dagger must become

Your sacred weapon and our only choice.

Well, that was an… interesting read. What do you think, Citizens?

#frev #french revolution #frev art #Frev poetry #history #andré chénier #andrea chénier #charlotte corday #jean paul marat

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t-marveland · 2 years

Text

𝐅𝐚𝐢𝐫𝐲 𝐓𝐚𝐢𝐥 | Rogue Cheney

ᵈʳᵃʷⁱⁿᵍ ᵐᵃᵈᵉ ᵇʸ ʰⁱʳᵒ ᵐᵃˢʰⁱᵐᵃ

𝐕𝐎𝐈𝐒𝐈𝐍

Rogue Cheney x Reader

Warnings : aucun

Mots : 767

Masterlist

❝hajimemashite ! ❞

PDV Rogue

JE SUIS TRANQUILLEMENT en train de dormir jusqu'au moment où je sens quelque chose me chatouiller le visage. Je bouge mon bras pour éloigner la chose qui est sur mon visage. J'ai seulement quelques secondes de répit avant que je sois de nouveau dérangé. Ça doit sûrement être Frosh qui veut que je le nourrisse. Je tente de l'éloigner plusieurs fois pour que je puisse continuer de dormir mais il n'abandonne pas et je suis obligé de me lever pour lui donner à manger.

Une fois cela fait, je vais m'habiller et me prépare pour partir faire les courses, samedi l'oblige. Quand je suis prêt, je sors de chez moi et je vois des camions de déménagement. C'est bizarre, je n'étais pas au courant d'un nouveau voisin, j'espère juste qu'il sera sympathique et pas trop bruyant, car je tiens à mon sommeil moi !

Je vais faire mes courses tranquillement et une fois celles-ci terminées, je retourne chez moi et je vois la nouvelle voisine sortir de chez elle. C'est une jeune femme qui devait avoir environ mon âge. Elle est vraiment très jolie. Je décide d'aller lui dire bonjour pour ne pas passer pour un malpoli quand même.

❝━ Bonjour, je m'appelle Rogue, je suis votre voisin d'en face.❞

Elle se tourna vers moi.

❝━ Vous êtes la nouvelle qui vient d'emménager en face n'est-ce pas ? Demandai-je.

━ Oui, en effet, je suis (T/P). Ravie de vous rencontrer. Dit-elle avec un sourire.

━ S'il y a un problème, n'hésitez pas à venir me voir, je serai là.❞

Elle sembla surprise de ce que je venais de dire mais sourit et je vis ses yeux pétiller.

❝━ Très bien merci.❞

Sur ces mots, on partit chacun dans nos appartements respectifs. En fermant la porte, je ne pus m'empêcher de penser à (T/P). C'est vrai, elle est gentille et polie au premier abord et elle est plutôt belle. J'ai vraiment hâte de lui reparler.

PDV (T/P)

Aujourd'hui était vraiment une super journée, j'ai enfin emménagé officiellement dans mon appartement et j'ai rencontré mon voisin d'en face qui s'appelle Rogue. Il a l'air gentil, poli et il est beau même si ça ce n'est pas le plus important. J'ai hâte de pouvoir le revoir et pourquoi pas commencer une nouvelle conversation.

Cela faisait quelques semaines que j'avais emménagé et tout se passa bien. J'avais eu l'occasion de revoir Rogue plusieurs fois, à mon plus grand plaisir. J'ai vraiment de la chance de l'avoir comme voisin. Il est polie, pas trop bruyant et n'a pas l'air de ramener des filles tous les soirs chez lui, ce qui est un très bon point.

Ce matin-là, je me réveille et me prépare pour aller au travail, comme tous les jours. Cependant, une fois installée dans ma voiture, elle refuse de démarrer. Je sors et essaye des choses en tous genres pour la faire marcher, mais rien n'y fait après tout, je n'y connais absolument rien en voiture. Je suis un peu stressée car je n'ai pas vraiment envie d'arriver en retard et ma voiture est mon seul moyen de transport.

C'est alors qu'une idée me vint. Pourquoi je ne demanderai pas à Rogue de me conduire au travail ? Il a bien dit que si j'avais besoin de quelque chose, il serait là. Parfait. Je me précipite chez lui et hésite un peu une fois devant la porte. Je n'ai vraiment pas envie de le déranger et d'abuser de sa gentillesse. Finalement, je prends mon courage à deux mains et sonne, il sort au bout de quelques minutes. Il paraît surpris de me voir, ce qui est totalement compréhensible.

❝━ Rogue ! J'ai besoin de toi, ma voiture refuse de démarrer et il faut que j'aille au travail !❞

Je regarde le sol, gênée.

❝━ Est-ce que tu peux m'y emmener s'il te plaît ?

━ Evidemment ! Attends, je vais chercher mes clés et je t'y amène.❞

Après cette journée, pour le remercier je l'ai invité à manger chez moi et au moment de partir, on s'embrassa.

❝━ Et voilà comment j'ai rencontré votre père les enfants.

━ Ouah maman, tu ne perdais pas de temps à ton âge ! Commenta mon fils.

━ Peut-être bien, mais sans ça vous ne seriez pas là alors estimez-vous heureux. Leur dis-je en rigolant.❞

#anime x reader #rogue cheney #fairy tail #x reader #reader insert

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startrektos2022 · 2 years

Text

Je viens de finir la saison 1 de TOS et voici mes principales observations:

-Le capitaine Kirk est un personnage cliché et ennuyant. Héros charismatique avec le sens du devoir et un air rebel. Mouais… il est présenté comme un charmeur, mais très peu de scène avec des femmes ont l’air « naturelle » dans le sens que, moi, en spectateur je ne vois pas pourquoi elle tombent en pâmoison. Il est répété que Kirk a un fort caractère et un leadership, mais je ne l’ai jamais vu dans la série. Il prend toujours des décisions assez moyennes, rien ne m’indique qu’il est « surhumain » comme plusieurs épisode laisse penser. Par exemple, dans l’épisode ou l’Entreprise va à la poursuite d’un vaisseau Romulien. C’est le seul épisode ou Kirk a vraiment l’air de savoir diriger un vaisseau, mais encore c’est explicitement dit par l’antagoniste qui mentionne à quel point le capitaine est intelligent. MAIS, c’est justement parce que le capitaine est un personnage ennuyant que cela permet de mette en lumière les autres personnages. Vers la fin de la saison 1, il y a une magnifique dynamique entre McCoy, Spock et Kirk. Et Kirk semble devenir un personnage un peu plus … complet. Son affection pour Spock, McCoy et le vaisseau est logique, implicite et j’y crois. Il semble vraiment être un helpless loverboy qui tombe en amour sur un claquement de doigt, c’est un trait de caractère qui peut être intéressant si développé correctement.

-Ensuite Spock est le meilleur personnage, la touche d’exotic cosmic nécessaire à une série Sci-Fi. Le design du personnage est vraiment bon, le teint de peau juste une touche non naturelle pour un humain, les sourcils, la posture et les pouvoirs magique qui arrive tout au long de la saison. Incroyable. Mon seul problème avec ce personnage c’est qu’il est overpower, il est fort, logique, fait de la télépathie, intelligent résistant à la plupart des maladies. Personnellement, j’adore sa performance dans l’épisode la « ménagerie 1&2 » quand il devient fuckinh rogue et qu’il vole l’entreprise pour une raison tout à fait émotionnelle. On voit avec terreur les dommages qu’il peut faire. Love it.

-McCoy, si Spock est le côté logique McCoy ce place en position émotionnelle. Coureur de jupon, mais genre drôle et pas malaisant comme Kirk. Mon seul problème c’est qu’il est un peu sous utilisé. Il parle souvent des émotions derrière une situation, mais j’au l’impression que le personnage manque d’empathie. Comparer à Spock qui a plus d’empathie que Kirk et McCoy combiné.

-lieutenant Uhura pas assez utilisé dans la série, mais je l’aime tellement. Forte de caractère, musicienne, intelligente 10/10. Aussi dans le premier épisode de la saison (il était des millions) on apprend qu’elle parle le Swahili. Et je trouve ça fascinant parce que cela signifie que sur terre les langues autre que l’anglais existent encore. L’origine varié des membres de l’équipage pose la question des humains en tant qu’un seul peuple unique ou différent peuple sous la bannière de la fédération ?

-Sulu mon cerveau a décidé que c’était le meilleur personnage de tout les temps. J’espère le revoir.

-Jacynthe elle était PARTOUT dans les premier épisode et elle n’apparait plus dans la fin de la saison. Autant j’aime sa coupe de cheveu autant je déteste comment son personnage est utilisé dans la série. Elle semble intelligente, douce et juste vraiment professionnelle, mais elle est utilisé comme damoiselle en détresse tout le fucking temps. Aussi, sa relation avec le capitaine est weird. Elle ne semble pas attiré par lui comme lui est attiré par elle. Ça ressemble vraiment à un milieu de travail toxic.

Mon top épisode :

1. Naked time (l’épisode du virus dans lequel Sulu se prend pour un chevalier et Spock deal mal avec ces traumas)

2. Les mines d’Horta (oui plus de fin pacifique avec des aliens non « humain »)

3. The city on edge of forever (yep)

4. La cage (l’épisode pilote, j’adore cet épisode un peu plus sombre et vraiment différent de la série)

5. Le dernier épisode de la saison (j’ai oublié le titre, mais tout le twist sur la lumière et voir McCoy inquiet pour Spock)

6. Hamlet on the space Deck (oui l’épisode ou une pièce de théâtre ambulant est sur le navire)

Les pires épisode :

1. Miri (beurk beurk beurk)

2. L’épisode ou ils trouve une planète de vacance (genre ok la fin? Juste un dude random qui fait « sike, haha votre ami est en vie et tout est chill)

3. L’épisode ou le capitaine se bat conte un lézard sur une planète (genre la fin moraliste alors que le capitaine EST PRÉSENTÉ COMME UN HOMME VIOLENT ALL THE FUCKING TIME)

4. L’épisode sur les dernier tyrant (avec Khan) ouais… la fin est poche. Vous avez essayé de nous tué? Voici une planète en cadeau

5. J’ai une relation amour-haine avec l’épisode de la plante qui rend heureux. Genre j’adore les scène entre spock et kirk, mais je vois juste pas pourquoi c’était « mal » tout le monde était en santé, libre, et heureux. Mais la le capitaine était genre « non pas de joie ici on a une mission vraiment banal qui n’est pas urgente à accomplir »

#star trek tos #french side of tumblr

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dailyrugbytoday · 5 months

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NY Sevens Rugby Tournament Fixtures & Stream | 2023 New York Rugby Sevens

New Post has been published on https://thedailyrugby.com/ny-sevens-rugby-tournament-new-york/

The Daily Rugby

https://thedailyrugby.com/ny-sevens-rugby-tournament-new-york/

NY Sevens Rugby Tournament Fixtures & Stream | 2023 New York Rugby Sevens

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