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FOR EVERY LOVELY GLOBE FLOWER, THERE IS A DEATHCAP MUSHROOM

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Sarah Maitland, author of From the Forest: A Search for the Hidden Roots of Our Fairy Tales, sees the magic of the fairy tale as being inexorably tied with the forest, with all of its hidden danger and beauty:
“(…) even the most being magic is not safe, cannot be safe, because it is unfamiliar, spooky, weird and eerie. The woods are chaotic and wild; life goes on unseen within them, and for every lovely globe flower, springing golden in a small patch of sunshine, there is a death cap—Amanita phalloides—shiny, olive and yellow, just as pretty, but deadly poisonous, lurking under the oak trees. And in the stories, for every kindly old woman who gives you a useful gift, there is a very similar one who may gobble you up, put you under an enchantment, or imprison you in a tower. All magic, even good magic, all spells, even kindly benign ones, carry the fear of the uncanny with them. Such magic is complex, twisted, strange, and should be feared.”

RENEWED SHALL BE THE STRINGS THAT WERE BROKEN

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Hugtto Pretty Cure - Episode 22
My Own Belated Review

RENEWED SHALL BE THE STRINGS THAT WERE BROKEN


I like how Ma Chérie just goes up to these two legends and says ‘give me my Melody Sword’
We begin directly where the previous episode left off, with the arrival of the original generation Cures, Cure Black and Cure White. Cure Ma Chérie is convinced that they are angels sent from above to deliver new Melody Swords to them. Of course, Black and White themselves have no idea what has happened.



Team Hugtto were surprised by Cure Black and Cure White's appearance and suprised there are other Precures too. Cure Black was panicking like her usual self, while Cure White tried to think through logically. 


Cure Ma Chérie immediately rushed to her Senior (senpai) cures asking for a new power-up and it was very awkward for the two seniors (senpai-tachi).

The two senior cures reverted back to muggle form and gathered at Harry's place. Nagisa still enjoyed her takoyaki (octopus balls) and Honoka with her popcorn made by her juniors. Lulu blamed herself for destroying Emiru's guitar in the last battle but Emiru claimed it was all right but Lulu could not understand Emiru's reasoning and they got into a little argument.



Moving on, the girls all return to their normal forms and go over to Harry’s place. As Nagisa and Honoka eat some snacks, we see that Lulu is still feeling down after what happened to Emiru’s guitar.
Lulu feels responsible for what happened to Emiru’s guitar
Emiru tells her that it is fine, but Lulu doesn’t believe that to be the case. When she tries to get Emiru to tell her more, all Emiru says is that she doesn’t want to explain. This arguments happens in front of everybody else, including Nagisa and Honoka. Hugtan is upset, so Emiru volunteers to go and change her nappy.
When Emiru goes, the other girls tell Lulu that Emiru was telling a white lie because she didn’t want Lulu to worry about her.

Hugtan comforts Emiru
Hugtan comforts Emiru, and then Nagisa shows up as well. Nagisa tells her that it is fine to fight occasionally – being best friends is all about being honest with each other, after all.
After that, both Lulu and Emiru separately decide that they want to make gifts for each other to apologise.

Nagisa told Emiru that it is okay for friends to have arguments once a while as a way to understand each other better since Emiru is still a kid and Lulu is like that older sister who needs a holding hand once a while (Nagisa herself has a younger brother, so her own sibling experience plays a part).


After hearing her encouragement, Emiru decided to make friendship bracelets for herself and Lulu as a gift while at the same time, Lulu was making a new guitar for Emiru together with Honoka and Saaya with Lulu suggesting something more...


Papple discovers that her love is unrequited

Meanwhile, over at Cryasse HQ, Papple makes a discovery that shakes her to her very core. The love she felt towards a certain person is a love that will never be returned.


After failing for the last time and ridiculed by Daigan, Papple went to find George for comfort but instead saw Gelos in his room, making herself at home in the canopy bed. Gelos even quoted lines from the Crane Maiden (Tsuru no Ongaeshi) story about how an old couple found out that a girl who made beautiful cloth for them, and whom they overworked for profit, was secretly a crane whose broken wing they had healed, and the crane left the old couple, in avian form, as soon as she had to migrate after her identify was revealed. 

Much to Papple's dismay, Gelos has wrested her place in her absence and has made herself at home.


In this case, Papple found out that George has never loved her at all and it was her own fantasy to think that George even cared about her. George didn't even look back when she arrived and Papple fled in despair.



Papple now realised that her world is ruined and used a fistful of negative energy on herself, turning her into a crazed daikaiju One-Winged Angel like Charalit before...




Before the battle, Emiru and Lulu meet up while the other girls watched from afar. 


The two girls squabbled a bit but realised both of them really care for each other.



 Nagisa and Honoka felt nostalgic as these two girls also have their differences in the beginning and became good friends in the end. (I was hoping Toei might do some updates from Nagisa and Honoka's flashback instead of using old clips like how Dragonball Super did some updates when they do flashbacks in recent episodes)


Both Emiru and Lulu exchanged their gifts and both girls got each a friendship bracelet and a new guitar with which Lulu hoped to perform with Emiru together...




Emiru and Lulu give each other gifts
Moving on, Lulu and Emiru finally confront each other. They pretty much tell each other that they are irreplaceable, and that’s why they did and said the things they did. Nagisa and Honoka recall having a similar fight before, with a brief flashback to it.
In the end, though, everything is good with Lulu and Emiru. They even exchange gifts – matching bracelets and guitars. Both girls have a dream of performing together.
Papple turns herself into a theender
Things aren’t so good with Papple, though. She has decided to end it all after her discovery from earlier, which means becoming a theender. Naturally, that means that it is time for Pretty Cures to step up once again.







Papple proves to be a fearsome foe, even managing to fight off all five Hugtto Cures. Just as it seems like she will deliver the finishing blow, we are reminded that there are two more Cures present. 




Team Hugtto went into battle against Papple but she was too strong and knocked them to the ground. Before Papple could obliterate them, Nagisa and Honoka transformed into Cure Black and Cure White and show why the Futari wa pair are the Kamen Rider Ichigo and Nigo of Precure! They might not be the strongest but their hand to hand combat is probably the most badass among all Precures!





Cure Ma Chérie lets out an excited squeal upon seeing those two transform, and honestly, I might have just done the same thing. You don’t get to be a PreCure for as long as those two do without learning how to kick an arse or two, and Cure Black and Cure White do it in truly spectacular style.



After receiving a thorough beatdown from Black and White, the theender begins to cry. Amour realises that it is Papple, and she asks to be allowed to go to her. Ma Chérie asks if they can both go, and they get the blessing of the other Cures.


Cure Amour detected that the monster is Papple and decided to help her together with Cure Ma Chérie. The pair entered Papple's physical body and saw Papple crying in despair and throwing a tantrum.






You know, they looked like a family together...

The pair told Papple that she can start all over again as long you love yourself and take the first step for a better future. A heart icon appeared on Papple's chest and the two girls gave a hug to her, telling her everything is going to be okay. 

Papple's failure is similar to how people react after an economic crisis when their world crumbles down. But as long as you don't give up and care for people you really love (not koi, but ai; not eros, but agape), the future is all right. 



Amour and Ma Chérie hug it out with Papple

Amour and Ma Chérie go inside the theender, where they find Papple. Papple is convinced that it is all over, but the Cures tell her otherwise. Her love may be unrequited, but that doesn’t mean that things have to end. The three hug it out, and then Amour and Ma Chérie return to the outside world.








Aishiteru! (I <3 u!)


Thank you! (In English in the source text)


The pair reappeared out of Papple's body and their Future Crystals created the Twin Love Guitars! With them, the pair used their attack -Twin Love Rock Beat- to purify Papple and save her soul. 







Twin Love Guitars
Cure Amour and Cure Ma Chérie gain a new power up upon their return, and it is absolutely perfect for them: the Twin Love Guitars. They unleash a new finishing move, Twin Love Rock Beat, and that allows Papple to come to terms with her feelings.




With their foe defeated, it is time to say goodbye to Nagisa and Honoka. Hugtan returns them to where they originally came from.
Honoka’s pretty composed, as opposed to Nagisa


The others wave Nagisa and Honoka off. Once they have been returned, there is a brief discussion about how Hugtan managed to summon them, but nobody really knows for sure.



After the battle, Nagisa and Honoka congrats the pair and Hug-tan used her powers to send Nagisa and Honoka back to their timeline. Although everyone is still confused on how Hug-tan could create such power, Emiru and Lulu finally established their friendship together... I NOW PRONOUNCE YOU WIFE AND WIFE...


Emiru and Ruru are now a matching pair
The episode ends here, and gives us a very special ending theme.
This episode… it touched upon the theme of suicide, didn’t it? Papple’s actions after discovering that the person she loved does not care for her, and the way she said it was ending it all… It’s easy to forget that this is a kids’ show, meant for a middle-grade central demographic, sometimes.
Of course, it ended on a happy note because this is PreCure, and Cure Amour and Cure Ma Chérie were there to talk it out with her. Still, there has been some pretty drastic happenings during this season.
The fight against Papple has been the best fight so far of this entire season, particularly with Cure Black and Cure White joining the fray. The instrumental version of their opening theme made an already awesome scene even better.
I am so glad that Hugtto! brought back the hard-hitting physical hand-to-hand combat after KiraKira PreCure à la Mode, as there was no way that Black and White’s cameo appearance here would have worked without it.
Nagisa and Honoka’s appearance here was wonderful, particularly as their mascot yousei were nowhere to be seen. The first few seasons of PreCure had some pretty annoying pixies – in fact, it wasn’t until Fresh that they actually introduced a mentor mascot I actually like.
If you would like to see more from Cure Black and Cure White, you could always check out the first two seasons of PreCure (ie Futari wa). If you don’t have the time to commit to those, you could always watch the Max Heart films – one of them features what might just be one of the most brutal fights in PreCure‘s history.
It’s amazing how Emiru and Lulu continue to be the stars of the show, even with the legendary duo that started it all showing up. Black and White got their moment to shine, but this episode didn’t stop being about our the two best characters. They exchanged gifts and got blessings from Cure Black and Cure White… yep, they’re practically married now.
Their new finishing move might just be the greatest one in PreCure history, but perhaps I’m a little biased because it involves guitars.
It looks like we have come to the end of the focus on Lulu and Emiru for now, and what a ride it has been! These past few weeks of Hugtto! PreCure have been the strongest I have ever seen the franchise, and I’ve loved every moment of it.

Next time, the Cures will be meeting one of Cryasse’s Corporation's big shots. Or rather two of them, an old and a new acquaintance.

What a conclusion as we come to the end of Emiru and Lulu's arc! This is probably one of the better heel turned head from the Precure multiverse and a heartwarming story about forgiveness and redemption.

Lulu, Emiru and even Papple all have their fair share in this arc which truly developed their characters for the better. Lulu started off as an emotionless gynoid whose sole purpose is to destroy the Cures however after alll the traps she created to and all the interactions with the girls, her alliance was shaken which finally lead to her "reboot" and joining the girls.

Lulu still suffered from guilt for all the things she did until Emiru opened her eyes. Emiru herself went through a character change. From Miss Overreacting in her debut episode until she wants to become a Precure so that she can help people, Emiru also learn something about herself especially her interactions with Lulu and Emiru's eccentric family.

Emiru learned how to stand up for herself from her brother's dated mindset, teaching Lulu like a surrogate sister, and learning the true meaning of being a shero. All these including the pros and cons of friendship in this episode, make Emiru and Lulu one of my favourite pairings in the Precure saga.

Papple though minimum also went through an arc of her own. She started off as an over-confident general but after many failures, was ridiculed by everyone including Gelos who is her junior (kouhai). She also became complacent with her relationship with George which seriously, I never find their romance to be believable. 

It was until she saw Gelos in George's room and realised George has never loved her at all. Her world crumbled and decided to take the last straw and go all berserker mode. But thanks to Cure Ma Chérie and Cure Amour's words of hope, Papple finally make peace with herself.  (Will we see her again like Charalit?) I really do want Papple to at least stay and joined Team Hugtto since seeing the three girls hugging together felt like a family.

How about our two guest stars-Nagisa and Honoka? It was nice to see them again and given something to do rather than a cameo like the All-Stars movies. Although short, Nagisa and Honoka gave some good advices to their juniors. Of course, their kickass battle with Papple might be short but it is what recent Precure seasons is lacking in the action department-awesome hand to hand fight scenes, flashy and gimmick items should only be used as a final attack.




MY OWN HUMBLE OPINION
Fare thee well, Papple. (One minute of silence, please...)

Speaking of Futari wa, the first Pretty Cure series ever, it was revolutionary. Not only because the two ur-Cures were more adept at hand-to-hand combat than at magical spells, but also because it did completely away with the Stock Shoujo Heroine pink lead (who usually has an easy-to-spell-out in katakana English alias like Flora, Whip, Yell, Peach, or -the codifier, the one who started it all- Moon; to reflect her academic and athletic ineptitude); Futari wa, sweeping the Idiot Heroine completely under the rug, gave us a Two-Person Band consisting only of a Smart Girl in White and a Big Girl in Black, the former an only child of rank and the latter a middle-class older sister. Neither one nor the other was simple-minded/book-dumb, since one of them was an ace student and chemistry scientist; while the other was an ace athlete and team leader. Not to mention that this was a Battle Couple of protagonists, instead of the usual West Coast Team role that Battle Couples had to play since the Infinity (or S) arc of a show that was not precisely titled Pretty Guardians Sailor Uranus & Neptune. Sadly, this formula would be carried on only for one more continuity of Pretty Cure series (Splash Star). Though, time and again, there was an exception to the book-dumb Stock Shoujo Heroine relatable character in pink, as a way to connect from those usual subversive roots (the pink Cure in Heartcatch, Tsubomi Hanasaki, was clearly the Smart Girl, spectacles and all, her character flaw being the common shyness/introversion and poor self-esteem of fictional bookworms in general; while DokiDoki gave us the Ace and Academic Athlete Mana Aida, clearly Nagisa and Honoka rolled into one, whose flaws were basically being too impulsive and tone deaf, and Mana is also the pink Cure who so far gives off the most leadership vibes -even though both the character and the series are loathed by the fanbase, generally uttering the words "MARY SUE" as a complaint). Still for today, I am thinking of the possibility of another Precure series without a Moon expy, and where the Battle Couple are not the West Coast Team/auxiliary, or ancillary, heroes.


That threesome hug between Amour, Ma Chérie, and Papple is heartwarming, and seeing the dethroned baroness in tears only ups the factor.

The Crane Maiden tale quoted by Gelos at Papple is definitely a cathartic moment (sucker for fairytale motifs as I am). And Papple's scenario reminded me of the Swedish turn-of-the-century literary fairytale Svanhamnen (The Swan Maiden's Wings) by feminist Helena Nyblom, an author who uses folkloric motifs (the Nordic variant of the motifs also found in Tsuru no Ongaeshi) to comment masterfully on gender roles: like in the usual accounts, we have a single young noble who steals a swan maiden's wings and forces her into marriage. As she watches the swans migrate south every autumn from her alcove window, she feels even more cooped up than now that she is as a married lady of rank. In the end, looking all over the castle and helped by her mother-in-law, who cannot bear to see her suffer, the swan maiden finds her wings and takes to the sky in the absence of her husband. The wings, and avian form, in this retelling are a metaphor for female agency, for female emancipation, and the husband controls the wife by concealing her "wings" in a secret place.
So, the negative emotion of the week is unrequited love, such a dead horse and such a powerful motivation, whether it be a man or a woman scorned, that it would take me a whole doorstopper to list all occurrences of this catalyst in fiction (let's see: Medea, Roderigo, Othello, Kriemhilde, Éponine, Scrooge, Snape, most recently Noir/Elysio... and I'm just scratching the tip of the iceberg!).
So we got a redoubtable One-Winged Angel form as the final boss of this cour, just in time when Pride Month has given way to KaiJuly...

Oooof…. it didn’t take long before I realized that I am actually done with Lulu’s and Emiru’s arc, and with the whole springtime cour; luckily we will be jumping straight into the plot in next week’s episode! As suspected, George is going to make his move and the enemy is going to make their move to finally capture Hugtan. About bloody time if I say so myself.
Thankfully Cure Black and White’s appearance was merely a cameo, and were virtually nonexistent in this episode, with the exception of doing their part in the fight. In fact, besides being part of the movie promotion and the anniversary event, and providing a parallel to Emiru’s and Lulu’s conflict, there was little point of them being there at all.
This episode was a bit of a weird one in terms of what went down. For starters, I wasn’t expecting Papple to experience the heartbreak, and I felt really bad for her because it certainly does look like George has cast her aside. She had hoped he would chase after her, but he has efficiently replaced her with Gelos. What a douchebag. Papple’s unrequited love pushes her to transform into the upgraded monster, but she was not nearly as tough as Charalit was. Frankly, I was so unimpressed with how her fight ended up playing out, that it felt like Emiru and Lulu were handed that power-up on a silver platter. It leaves a bad taste in my mouth not only because this was literally their third battle, but Emiru kept on obnoxiously demanding for the magical rod.
I don’t have really more to add, so let’s jump into the next episode, where shit is finally getting real!

So far, this cour finale was the perfect coda for our OTP in this continuity. Lulu Amour, Emiru Aizaki, I now pronounce you wife and wife. The Good Ship Emilu is finally declared seaworthy!

wilde und andersen---Kathrin Schauer

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------------------wilde und andersen--------------Kathrin Schauer


3.3.4. Das Gebet
Das Gebet nimmt einen wichtigen Platz in einigen Märchen beider Autoren (Andersen und Wilde) ein. Das Vergessen auf das Gebet, wie es Karen in „Die roten Schuhe“ und Kai in „Die Schneekönigin“ bei Andersen passiert, zieht Konsequenzen nach sich und nur ein Gebet kann sie retten. Karen denkt während ihrer Konfirmation nur an die roten Schuhe und während eines Kirchgangs vergisst sie wegen ihrer Schuhe das Vaterunser zu beten. Als Kai der Schneekönigin begegnet will er ebenfalls das Vaterunser beten, kann sich aber nur – in einer rationalen Vernunftswelt verloren – an das große Einmaleins erinnern. Karen kann sich selbst helfen, erfährt jedoch erst Vergebung, nachdem sie wahre Einsicht gezeigt hat, sie für sich alleine betet ohne sich anderen in der Kirche zeigen zu müssen.
(Canterville) Auch seine Seele findet keinen Frieden. Einst aus Eifersucht zum Mörder geworden, muss er als Geist in seinem früheren Schluss herum spuken. Nur ein unschuldiges Mädchen, das um ihn weint und für ihn betet und ihn zu wahrer Reue bewegt, kann ihn befreien. Kai kann sich ebenfalls nicht selbst retten. Zu sehr steht er im Bann der Schneekönigin. Es ist Gerda, die nach ihm sucht und ein kurzes Gebet für ihn spricht, das lautet: „Roserne vokser i Dale, der får vi Barn Jesus i Tale“. Dabei handelt es sich um zwei Zeilen des dänischen Kirchenliedes Den yndigste Rose er funden (1732, Die anmutigste Rose ist gefunden) des pietistischen Dichterpfarrers Hans Adolph Brorson aus dem 18. Jahrhundert. Diese zwei Zeilen des Liedes verwendet Andersen häufig in „Die Schneekönigin“. Es begleitet die Kinder von Beginn an und wird Teil ihres inneren Wandels.
Gerdas Liebe erlöst Kai von der Schneekönigin, immer begleitet von dem zweizeiligen Gebet gehen sie den Weg von der kindlichen Unschuld zur wahren Erkenntnis.

3.3.7. Glaube oder Wissenschaft
Glaube und Wissenschaft sind nur selten in Einklang zu bringen. Die (Natur-) Wissenschaft ist etwas Greifbares und Logisches. Im Gegensatz dazu kann man den Glauben weder sehen noch fühlen und selten verstehen. Man muss darauf vertrauen. Wer dieses Vertrauen nicht in Frage stellt, kann zur höheren Erkenntnis gelangen und die göttliche Liebe erfahren.
In „Die Schneekönigin“ kann Kai die Schönheit der Natur nicht mehr wahrnehmen, nachdem er eine Spiegelscherbe, von dem Spiegel den einst der Koboldkönig (oder der Rektor der Zauberschule, oder Satan selbst) geschaffen hat, ins Auge und eine ins Herz bekommen hat. Die Spiegelscherben bewirken, dass Kay alles verzerrt wahrnimmt und das Schöne und Gute nicht mehr erkennen kann. Sein Interesse gilt nur mehr den geometrischen Formen der Schneeflocken. Anstatt an sein Gebet, denkt er nur an die Mathematik. Wildes Student kennt nur seine (Lehr-)Bücher. Er beschränkt sich nur auf die Wissenschaft und erweitert seinen Horizont nicht darüber hinaus. Kai kann nicht anders als sich mit Logik zu beschäftigen, der Student versucht nicht einmal, sein Wissen über die Wissenschaft hinaus zu erweitern. Die Nachtigall ist das Gegenstück zum Studenten. Sie verkörpert die Liebe und das absolute Vertrauen. Gerda ist Kais Nachtigall. Ihre unerschütterliche Liebe und ihr Vertrauen, Kay finden und retten zu können, helfen ihr bei der Suche. Der Student ist unfähig das Lied der Nachtigall zu verstehen, da er im Grunde kein Verständnis von Liebe und Vertrauen hat, da diese keiner Logik folgen er aber nur dieser mächtig ist. Seine Liebe zur Professorentochter wird enttäuscht und er schwört der Liebe ab. Für ihn gibt es nur noch die Wissenschaft und seine Lehr-Bücher. So wird er die wahre Liebe nie erfahren. Die Nachtigall ist für ihre Überzeugung gestorben. Sie hat nie ihren Glauben verloren und die göttliche Liebe gelebt und erlebt. Kai muss für die Schneekönigin das Wort Ewigkeit zusammenfügen, aber kein Teil passt ins andere. Dies ist nicht mit Logik zu schaffen. Gerdas Liebe, die die Spiegelscherben zum Schmelzen bringt, und Kais und ihre Freude über die Wiedervereinigung, formen das Wort Ewigkeit. Kai ist gerettet, hat er doch im Gegensatz zum Studenten zum Glauben gefunden.
Doch auch bei Andersen und Wilde gibt es die bedingungslose Liebe. Denn alleine die bedingungslose, aber vor allem selbstlose Liebe lässt die kleine Gerda alle Hindernisse überwinden, um ihren Kai vor der Schneekönigin zu retten. Genau von dieser Liebe singt die heillos romantische Nachtigall in Wildes „The Nightingale and the Rose“. Die Nachtigall ist eine wahre Romantikerin, die an die Liebe als Ideal glaubt: „Surely love is a wonderful thing. It is more precious than emeralds […] nor can it be weighed out in the balance for gold.“ Für sie ist der Student ein wahrhaft Liebender, für dessen Glück sich der Tod lohnt. Doch anders als Gerda wird der Student diesem Ideal nicht gerecht und auch seine Auserwählte hat zu keiner Zeit diesem Ideal entsprochen. Die einzige Bedingung, die die Nachtigall an den Studenten stellt, ist ewig an seiner Liebe festzuhalten, allen voran sie in alle Ewigkeit zu Ehren und wie sie jedes Opfer dafür zu bringen. Denn in den Augen der Nachtigall ist die Liebe stärker als Philosophie oder Wissenschaft. Dass der Student sich wieder der Wissenschaft widmet, macht den Tod der Nachtigall, dem Symbol für wahre und bedingungslose Liebe, noch tragischer.

3.5. Das Spiegelmotiv
Der Spiegel ist ein zweideutiges Motiv. Zum einen steht er als Symbol für die Eitelkeit, zum anderen für Selbsterkenntnis, Klugheit und Wahrheit. Andersen und Wilde greifen diese Symbolik mehrfach in ihren Märchen auf.
In „Die Schneekönigin“ erzählt Andersen von einem Spiegel, den der Koboldkönig/Satan selbst gefertigt hat. Dieser verzerrt die Wahrheit und zeigt dem, der hineinblickt, nur das Schlechte und Hässliche. Mit den Träumen des jungen Königs verhält es sich ähnlich. Zwar hat sie nicht der Koboldkönig gemacht, aber sie führen dem König die negativen Seiten der schönen Dinge vor Augen, die er so liebt. Jedes noch so schöne und edle Gewand und jeder noch so schimmernde Edelstein verlieren an Glanz und Wert, wenn Blut und Tod an ihm haften und jeder König, der dies zulässt, ist für sein Amt unwürdig. Diese Wahrheit muss der junge König lernen, als er in den Spiegel blickt.

3.6.2. Der sprechende Blumengarten
Ganz anders verhält es sich mit den Blumendarstellungen in „Die Schneekönigin“ und „The Birthday of the Infanta“. Hier dient der sprechende Blumengarten vor allem als Füllelement und zur Verzögerung der Handlung. In beiden Märchen haben die Blumen die Fähigkeit zu sprechen. Die erste Station bei ihrer Suche nach Kai führt Gerda in den Blumengarten einer alten Frau. Jede einzelne Blume dort erzählt eine Geschichte aber keine kann Gerda bei der Suche nach Kai helfen. Die Blumen hören nicht zu und reden an Gerda vorbei. Sie halten sie auf und vertrödeln ihre Zeit.
Die Blumenszene nimmt ebenfalls einen sehr großen Platz im Wildes Märchen ein, ähnlich wie in Andersens „Snedronningen“ (1845, Die Schneekönigin). Anders als bei Andersen bringen sie die Handlung aber weiter bei Wilde, indem sie den Hauptcharacter über den Irrglauben seines Selbstbildes aufklären. Bei Andersen geben die Blumen im Abschnitt „Der Blumengarten der Frau die zaubern konnte“ keine Antworten. Sie erzählen nur Geschichten, die Gerda aufhalten sollen, sie aber nicht weiterbringen. Auch Andersen schmückt seine Märchen mit kunstvollen Beschreibungen aus, er übertreibt es jedoch kaum so wie Wilde. Die Märchen, die Kunst und Natur zum Thema haben, sind trotzdem noch in einfacher Sprache gehalten und wirken keineswegs überladen. Einzig ein paar Märchen, in denen er Stoff aus der Volkstradition bearbeitet, schmückt Andersen durch Beschreibungen und Wiederholungen so stark aus, dass sie in einzelnen Textpassagen regelrecht überladen sind.

3.11.1. Interaktion Mensch, Tier, Gegenstand
Sprechende Tiere, Pflanzen und Gegenstände treten im Märchen häufig in Erscheinung. In „Die Schneekönigin“ findet man sprechende Blumen.

3.11.4. Wanderschaft
In der Volkstradition zieht der Held aus, um Abenteuer zu erleben, daran zu wachsen und am Ende reifer zu sein. Bei Andersen und Wilde ist dies oft eine Reise zur Selbsterkenntnis. Gerda macht sich in „Die Schneekönigin“ auf die Suche nach Kai...

4. Konklusion
Aber auch der Student aus Wildes „The Nightingale and the Rose“ wird von seiner Angebeteten verschmäht, gibt aber wie der Kreisel, der Schmetterling oder der Halskragen aus Andersens Märchen „Flipperne“ (1848, Der Halskragen) die Liebe auf und widmet sich wieder anderen Zersträuungen, wie seine Lehr-Bücher, ohne jemals die wahre alles aufopfernde Liebe kennengelernt zu haben, für die Wildes Nachtigall stirbt und für die Andersens Gerda im Märchen „Snedronningen“ (1845, Die Schneekönigin) alle Hindernisse auf der Suche nach Kai überwindet.  Während bei Wilde das Ideal der Liebe mit der Nachtigall stirbt und in „The Remarkable Rocket“ (1888) die Dichter für den Tod der Liebe und der Romantik verantwortlich gemacht werden, überwindet die Liebe in Andersens „Die Schneekönigin“ alle Hindernisse.

LEGEND - THE ORIGIN OF PUSSY WILLOWS

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This is a Slavic legend, told in Poland and in Ukraine, that is generally considered an Easter classic. It is also starring the softest greyish Russian Blue kittens you can ever picture yourself! And it explains why some willows, in the springtime, grow blossoms so grey and soft and fluffy that they are not only called by the word for "kittens" in Slavic languages, but even "catkins," which means the same, in English!



THE ORIGIN OF PUSSY WILLOWS

 It seems that the fairies are always on the look-out for kind deeds, and whenever they find one they like to change it into something beautiful for the earth-children.
Now it was the small baby willow sapling that asked the big mother willow tree why it was she bore such lovely, soft gray pussies on her branches each spring.
And the mother willow replied: "There is always a reason, little one, for everything beautiful, and the reason why willows have pussies, so soft and gray, is because of a kind deed a willow tree did once, long ago. I will tell you about it." Then she told this story:
"The willow that did this kind deed grew on the bank of a deep river and her wide-spreading branches almost swept the surface of the water.
"One morning, while she was busy caring for her baby buds and new leaves, she heard rapid footsteps, and in another moment she saw a wicked-looking boy rush down to the edge of the river and throw something into the water with a great splash! Then he was off again as quickly as he had come.
"Now what do you suppose the big willow tree saw floating and struggling in the water, just beneath the shade of her limbs?
"Three of the softest, prettiest, gray kittens that anyone ever saw.
"They were just about the colour of blue curling smoke, and each one wore a pair of fuzzy, silver-gray mittens, with the daintiest of little pink cushions tucked underneath.
"Just as the willow tree was wondering what to do about it, she heard something else come flying down the path, jumping over bushes and stumps and scattering the dry leaves in her pathway as she ran.
"It was the mother of the dear little soft gray pussies, and when she reached the river's edge and saw her own baby kittens struggling in the deep water, she jumped right in, with a great splash, and tried her best to save their lives.
"Poor baby pussies! the water was getting into their pretty blue eyes and running into their noses and ears and mouths, and in a very few minutes they most surely would have been dead, had it not been for the kindness of the big willow tree.
" 'Quick, oh, quick!' she cried, bending her branches low over the water's edge. 'Catch my limbs, hold tight, and I will hold you above the water.'
"And then, one by one, the mother cat and her three baby kittens were caught up by the strong branches of the willow and held tight, until the brave mother cat brought each half-drowned kitten safely to the shore.
"In the snug hollow of the big willow tree she made them a bed and soon licked them all dry with the queer pink towel mother cats carry about in their mouths.
"The baby kittens seemed to like their new home very much, and in a few hours were as well and happy as ever.
"Perhaps they thought it was better to live in the woods with a kind willow tree than in a human house with an unkind earth-child.
I know the mother cat believed this, because she did not try to carry her kittens away, but began to make herself at home as they did.
"The willow tree was very glad of this and she enjoyed watching the baby kittens.
"They grew fatter and plumper and rounder every day, and their mother was kept busy trying to bring them up in just the right way.
"She showed them their soft, silver-gray mittens and told them how to keep them washed clean with their long, pink tongues.
"And she showed them their sharp little claws and told them how to use them and how to say 'sput-t!' and how to arch their gray backs when anything came to frighten them.

"So every day the baby kittens grew smarter. They even learned to climb to the very top of the big willow tree, and would sometimes curl up on her branches for a morning nap,—tiny little balls of silver-gray fuzz they seemed to be.



"It was then the willow tree loved them most, and the more she watched them asleep in her branches, the more she wanted some like them for her very own—some who would always stay with her and never run away.



"How the fairy queen did laugh when she heard of this wish! It seemed so very queer that a tree should want silver-gray pussies.
"But she had also heard about the kind deed of the big willow tree in saving the lives of the little gray kittens and their mother too; so, waving her jewelled wand over the willow tree, she sang:
" 'Willow fair, dear willow fair
silver-gray pussies shalt thou bear,
Because thy heart is kind and true,
This thy wish I grant to you.'
"And so it was and always has been since.



"Every spring the willow tree and all of her kindred are decked with soft fuzzy pussies of silver gray,—and even though you frighten them they never run away."

--------------------------------------------

Here is another version of the legend, this one told in verse:
The Legend of Pussy Willows
A Polish legend tells the tale
Of tiny kittens, oh, so frail.

Along the river's edge they chased.
With butterflies, they played and raced.

They came too close to the river's side
And, thus, fell in. Their mother cried.

What could she do but weep and moan?
Her babies' fate were yet unknown.

The willows, by the river, knew
Just what it was that they must do.

They swept their graceful branches down
Into the waters, all around.

To reach the kittens was their goal;
A rescue mission, heart and soul.

The kittens grasped the branches tight.
The willows saved them from their plight.

Each springtime since, the story goes,
Willow branches now wear clothes.

Tiny fur like buds are sprung
Where little kittens once had clung.

And that’s the legend, so they claim,
How Pussy Willows Got Their Name!


---------------------------------------------------

And now, a few facts ere we take our leave:

In fact willow flowers are called “catkins” — a botanical term derived from the Old Dutch word for kitten, “katteken,” basically a long inflorescence packed with many tiny flowers. The fur on a willow’s flowers collects the heat from spring’s meager sunshine and provides protection from the very real threat of frost or even snow at this time of year.
The buds of pussy willow are a welcome communiqué from friendlier, warmer months ahead. Waving in the wind, they represent the springtime we all imagine, beautiful and productive. 


REVIEW: AS OLD AS TIME

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THIS REVIEW CONTAINS SPOILERS. PLEASE READ AT YOUR OWN RISK.

Planeta has had translated As Old as Time. Never heard of it? Well, it's a famous novel by Liz Bradwell that is a rewriting of the great eighteenth-century fairytale, focused on the rhetorical question...:
What if Belle's mum was the fairy who turned the Prince into his inner Beast? What if she left her husband and child because muggle-fairy marriages rarely work, feigning her own death to keep them safe? What if the half-blood Belle herself, as a consequence, has inherited latent powers? 
Clever, restless bluestocking Belle is weary of her provincial life, dreaming to explore the wide world. However, everything changes when she becomes the prisoner of the Beast.

Upon touching the hidden red rose, her mind is filled with images of her missing mother, now revealed to be the one who cursed the selfish Prince and all of his courtiers. Will Belle and the Beast, together, unravel the mystery that tied their two families together years ago?
I was instantly hooked to the story told in a fleshed-out setting that emphasizes the period piece nature of the classic fairytale film: Belle eagerly reads Voltaire and listens to Mozart, aside from quoting Shakespeare... but this is only the tip of the iceberg.
Belle's Maman/Rosalind: In this AU, SHE'S STILL ALIVE!! And not only that, we get to follow the green-eyed, blonde charmante's love story (magic users are called charmants -male- and charmantes -female- in this story) with her husband Maurice, and we also get to know where Belle got her quick temper and sarcasm from. Introduced as a barmaid who turns a harasser's nose into a pig snout, catching the attention of the equally clever young inventor who witnesses the event, in a scene which quickly causes this tale as old as time to unfurl. Nine months later, we see these two young folks married and the parents of a healthy baby girl, but soon forced by an epidemic and growing unrest following the royal couple's death, not to mention a realmwide persecution of charmants, into exile: Maurice, with an infant Belle in his arms, leaves the capital of the little Ruritanian kingdom for a village on the French border, while Rosalind, ever so plucky, heads for the royal castle to try to reason with the pre-adolescent orphan prince and his courtiers, after which her husband and daughter know, for lustrums, nothing of her whereabouts. And yes, she enchanted the prince and courtiers in this version, but only because he was a spoiled only child bereft of his parents, influenced by his guardian, and oblivious to his people's plight, and who treated his servants and courtiers like inanimate objects. She soon realises the error of her ways, as, for every petal that falls off the rose, the Beast-Prince becomes less humane and more animalistic, wild and brutish and even literally thirsty for blood.
In the end, the family of three finally reunites and decides to make up for lost time, Belle and Rosalind deciding to take up the quest to find charmants living in exile throughout Europe and bring them back to the Château of what once was their native land.
Mr. Potts: In this AU, however, the husband of Beatrice Potts and father of Charles-Alistair "Chip" Potts is dead because he knew too much, and because of a dark secret. We first meet a twentyish Alaric Potts, a very friendly, hefty blond, in the company of Maurice and of Frédérick d'Arque, all three of them becoming friends and as thick as thieves.
M. d'Arque/Frédérick: As a kid, the character of Monsieur d'Arque on the animated screen gave me such willies that mum always had to rewind past the scene in question. If he was ridiculous in the live action version of the film (2017), in this novel he is not only a sinister presence, but even the real antagonist, Gaston being his hired muscle... Frédérick d'Arque is introduced as a clairvoyant young man who had to interrupt his university studies to become the court physician in the kingdom of charmants, and exerting such influence over the royals, especially the parents of the sickly little ailing prince/beast-to-be, that the Rasputin and Struensee parallels cannot be more evident; but these soon give way to Hitler parallels when epidemics and harvest failures decimate the population of the realm, and, though being a charmant himself (much like Hitler was short and dark and unlike Aryans), d'Arque, who had foreseen the crisis thanks to his clairvoyance (which he considers a curse), encourages the realmwide persecution and imprisonment/torture of his fellow charmants, even more so when the royal couple perishes due to the epidemic, and d'Arque is left as regent and guardian to the tweenage orphan prince, which basically gives him full powers to carry out the Final Solution he was hell-bent on.
The Final Solution parallels: There is as much Auschwitz as there is eighteenth-century nuthouse in the Maison des Lunes, whose director M. d'Arque, after the fall of the kingdom of charmants, experiments on the inmates -who live in squalour throughout their lifetime imprisonment- without any regard for their health or their lives. Rosalind and Lefou's aunt (the local madwoman), and many others (including Belle and Maurice when they are taken prisoner as well) all suffer a fate worse than death during their stay at the Maison des Lunes.
Changing the antagonist - Intolerance as the Real Beast: The change of antagonist in this adaptation is the twist that surprised me the most. "We don't like what we don't understand, in fact, it scares us," the villagers say in "Kill the Beast / The Mob Song," and here, in this version, with these Final Solution parallels and all, the Real Beast is not toxic hypermasculinity (as in the original and its fairytale source), but intolerance and the persecution of minorities and/or dissenters. That is a powerful message, and even more for a story set in the Age of Enlightenment (and with the French Revolution violence about to dawn), but also in the light of such persecutions throughout history.
The ending: after Monsieur d'Arque is finally vanquished, the love of Belle only restores the Prince to his human form in heart and soul, making him once more emotional, intelligent, and even wise at last, while Rosalind has only got enough power left to restore either the Prince or the staff of the castle to physical human form. Belle, loving her "man" warts and all and not caring at all for his appearance, but rather for his cleverness and kind heart, decides to keep him warm and horned and furry, and to ensure that all the courtiers and retainers whom Rosalind had turned into various objects become people at last. So the Beast stays a Beast, while all the staff return to their original human forms in one of the most cathartic, heartwarming moments ever in the novel. While Belle and Rosalind bond and plan to recover a lot of lost time together as mother and daughter, travelling around Europe and befriending other charmants who had escaped the persecution. Definitely, I need a lot of tissues for my re-read of this novel.

The playlist for reading this book:
"Autumn," Vivaldi
"Dio, mi potevi scagliar," Otello, Verdi
The Final Solution, Sabaton
Alla turca, Mozart
Eine kleine Nachtmusik, Mozart
An die Freude, Beethoven
Kárpátia, Ha látok csillagot
Kárpátia, Hallom az idők szavát
VillaZuk, Fiorecrì
VillaZuk, Il visconte dimezzato

El Otelo de Shakespeare

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El Magazín

elmagazin

El Otelo de Shakespeare

Por: María Paula Lizarazo Cañón
Al poco tiempo de haberse casado (el Bardo), sorpresivamente nació su primera hija, una niña llamada Susana. A lo largo de su vida matrimonial, visitaba a su esposa y sus tres hijos en Stratford esporádicamente: el teatro en Londres era entonces el dueño del tiempo de William Shakespeare; antes de consagrarse como autor, fue reconocido como gran actor.
Apasionado por los versos, nunca aprendió ni latín ni griego como lo exigía la academia en esos años. De niño, su familia fue perseguida a causa de continuar en la confesión católica en un reino anglicano, siendo que Inglaterra desde ese siglo (XVI) había roto su vínculo con la Iglesia Católica porque el entonces rey, Enrique VIII, sin previa autorización del Papa, anuló su matrimonio con la española Catalina de Aragón, hija de los Reyes Católicos, para contraer segundas nupcias con Ana Bolena.
La omnipresencia del amor en las obras de Shakespeare (1564 – 1616) es quizás uno de los reflejos más puros de la omnipresencia del amor en todas las historias de la humanidad. En aquel tiempo, la Reina Virgen de Inglaterra (Isabel I Tudor, hija de Enrique VIII) se las pasaba de baile en baile y de visita en visita, explorando tercamente (para la opinión) las profundas esencias del coqueteo de caricias infértiles. De ella se dice que sufrió de agenesia vaginal, una enfermedad que le impedía consumar el coito.
Los cercanos a la Corona y gran parte de los pueblerinos especulaban sobre la soltería de Isabel I, pues era preocupante el hecho de que nunca llegaría heredero alguno de la corona (y, de hecho, sería la última Tudor). Por contra, hay para quienes la preocupación residía en los clamores silenciosos de que no les pasara un embarazo premarital, es decir, un embarazo sin el precedente del permiso de un sacerdote para amar al amado.
Al parecer, ese absurdo permiso no lo tuvo Desdémona, en “Otelo: el moro de Venecia”, de Shakespeare.
Una noche, Yago y Rodrigo, impulsados por los celos y la envidia de que Otelo escogiera a Cassio como teniente, y el matrimonio que a escondidas habían cometido Otelo y Desdémona (la amada de Rodrigo), deciden llevar a cabo una intriga para acabar con las personas que les han fallado y privado de lo que es suyo por derecho.
En seguida, Otelo partió con sus hombres a una batalla, pero terminaron en un festín. Los celos de Yago y Rodrigo se regaban por dos corrientes. Una era por el cargo de Cassio, la otra por el amor de Desdémona. Entonces, Yago emborrachó a Cassio para provocar así una disputa con Rodrigo, en la que se interpuso Otelo dejando sin cargo a Cassio. Luego, Yago convenció a Cassio de que buscara a Desdémona y le implorara ayuda para recuperar su cargo; así sucedió. Tras oír a su esposa, Otelo naufragaba en un mar de dudas, dado que Yago, en una conspiración, le insinuó que Desdémona y Cassio encubrían amor.
A este punto de la tragedia, un pañuelo simbólico de amantes provocó un sinfín de confusiones y malentendidos, incitando así a la inocencia del hombre con primitiva experiencia a planear dos muertes: la de Desdémona y la de Cassio.
Pero, finalmente, es Yago quien se encarga de Cassio, botando la culpa sobre Rodrigo, quien, antes de refutar esa mentira, es muerto también por Yago. Emilia, esposa de Yago, llama a Desdémona y Otelo para dar cuenta de los muertos; no obstante, se revela a sí misma los sucesos y dice a todos que la infinitud de problemas los ha causado Yago, trayéndole dicha revelación la muerte  por cuenta de él.
Otelo no aguantó más la incertidumbre de los celos y dio  fin a la vida de Desdémona. Cassio, que no murió por las heridas que le abrió Yago, heredó el cargo de Otelo; los caballeros de Venecia encerraron al moro por haber asesinado a su esposa, pero este no aguantó la separación de su amada y optó por suicidarse antes que por vivir sin ella.
Esta tragedia ocurrida en el Chipre veneciano es una obra en la que Shakespeare intuyó y mostró que los humanos traen la muerte por razones de lo que el ucraniano Wilhelm Reich vendría a llamar peste emocional: una coraza social en la que los comportamientos son mecánicos, represivos y violentos, cultivados en todas las personas, pues se les ha convencido de verdades y valores absolutos, quitándoles la libertad de la autenticidad de ideas propias, sin importar a qué cultura o época pertenecen.
Tres años antes de su muerte, hacia 1613, Shakespeare dejó de escribir y regresó al primer lugar en el que, para suerte de nosotros, respiró este aire que respiramos: Stratford on Avon.
*Edición citada: William Shakespeare. Obras completas. Tomo IV. Editorial Aguilar.

THAT'S NOT THE DOCTOR WHOM I'D LIKE TO VISIT

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Hugtto! Pretty Cure
Episode 23 - My Own Review
THAT'S NOT THE DOCTOR WHOM I'D LIKE TO VISIT

Whilst the focus of Hugtto! PreCure has been on the newest additions to the team for the last few episodes, this one moves the plot forward. PreCures' enemies are only going to get stronger, and this is where they discover that. 


This episode starts with Cryasse Corporation revealing that PreCures awakening the Future Crystals is part of their plan. (LISTOL, YOU B****RD...)


We also see Lulu and Emiru giving Hugtan the power of their Future Crystals.




Our OTP are now officially part of the opening credits, though they aren’t the only new faces to appear.


The best things from this Abbey Road plus three opening pic: Emiru all hyperactive (ALLONS-Y!!), Lulu all dreadpan, and Homarry. Harry in a very pimp-looking zoot suit, with Hug-tan strapped to his abdomen, while Homare has this boyish, carefree look. Like a blonde Éponine. Which kind of pleasure baron would pimp this hoyden? Thus, we know that he is not her pimp and she is not his b*tch. There is a deeper relationship; and right now, at the beginning of this summer cour, itwill unfurl evn more...

The wild, catlike eyes of our new cadre, Bishin... now revealed to be a bifauxnen...



Dr. Trauma (in the top hat) and Listol (The taller fellow)

The Opening now includes Lulu and Emiru as expected but new generals have arrived for our girls to battle! Although I am expecting another change of the opening with probably the girls getting a new power-up later in the series and maybe an answer to Hug-tan and the Mysterious Gold Lady. 




At school, the girls overhearing their classmates talking about PreCures, and how cool they are for standing up to enemies that are bigger than they are.
After school, the girls go their separate ways, but not before deciding to call each other up to sort their plans out.



Hana encounters this mysterious man again
When she is alone, Hana decides to do some sketching. However, the rain starts to fall so she rushes over to a shelter – one that is occupied by the mysterious man she has met a couple of times before.

As they wait for the rain to pass, they end up talking about dreams. Hana doesn’t really know what her dream is, whereas the stranger dreams of a world of eternal happiness where smiles last forever.
When the rain clears up, a rainbow appears. Hana goes to get a better look at it, and when she turns around the man has vanished from sight.
Earlier in the episode, Hana met George under a shelter and he spoke of his dreams of creating an ideal world where everyone can smile. Hana liked the idea but he disappeared after that. 

Chief Daigan of Cryasse Corporation
Criasu Corporation make a move, with Daigan convinced that he could defeat PreCures in less than five minutes, unlike Charalit and Papple. He soon finds plenty of toge-power and calls forth a theender.
The source material this time: A woman is upset that the restriction to her device has been changed.
All five members of the PreCure ensemble transform and rush over to the scene. Daigan introduces himself, claiming that it will all be over in five minutes.
Daigan gets blasted
Daigan isn’t able to finish his sentence before he is attacked from behind. The person responsible is another Cryasse Corporation employee.


I didn't see this coming. Daigan who claimed he can take down the girls in five minutes was immediately ambushed after creating a theender. The attacker was a new general, Dr Trauma, who is the steampunk Evil Genius of Cryasse Corporation.
Doctor Trauma. Not the Doctor Whom I would like to visit...
Daigan was right in the end; it did take less than five minutes. In fact, by Doctor Trauma’s estimation, it was actually above five seconds.


Furthermore, when Cure Ange tried to heal Daigan, his body actually burned to nothing which is pretty dark and sad that Daigan was just a throwaway character (Probably why his summoning was very plain compared to the previous two generals)... but maybe he has become a loaded Chekhov's gun, right?
Ange tends to the injured Daigan
Cure Ange attempts to treat Daigan’s wounds, but it seems that the best she can do is soothe him before he disappears. She has a go at Doctor Trauma for attacking one of his own, but he really doesn’t care.


Now what will this li'l button do?
The theender gets a power-up
Doctor Trauma powers up Daigan’s theender, turning it into a Wild Theender (please insert Pokémon reference here!). It proves to be a powerful foe, with PreCures struggling to even damage it. As the fight goes on, the mysterious man from earlier appears.



Cure Yell attempts to protect him, but Harry reveals that he is actually the president of Criasu Corporation: George Kurai.
Yup. George is his first name and Kurai his surname. Suspicions about tall, dark Well-Intentioned Extremist confirmed.

He is able to take all of the Future Crystals, thus returning the Cures to their normal forms. He then freezes time – that is how he intends to create a world of eternal happiness.
Time freezes for everyone except Hugtan
Ever since the president appeared, Hugtan had been crying. She continues to cry and move even when time around her is completely frozen.



WILL YOU NOT SHUT THE HELL UP?

Later George reappeared during the battle and Harry saw him carrying a strange book (tome of forgotten eldritch lore?) and immediately warned the girls that the dark stranger is George Kurai, the head of Cryasse Corporation! George used his powers and took all the Future Crystals from the girls (which forced the girls to de-transform) and froze the world into a similar state like Harry's future!
 

 
When Kurai attempts to grab her, she calls out each of the PreCures by name. Except for Hana – she calls Hana ‘Mama’.





George even monologue that his ideal world is to have everything froze in time to maintain the beauty of it. Yeah, he is clearly not right in the mind somewhere... Evil shard of the Snow Queen's mirror inside him, maybe? Or Seeds of Evil/Dark Spores? (Side effects of both these forms of Corruption include: enhanced physical and mental capabilities, cynicism, envy of everyone else, extreme perfectionism, extreme rationality, and outright psychopathy!)

It is always a bad idea to make a Cure angry
Hana is able to start moving again, and her Future Crystal returns to her. Cure Yell leaps towards Kurai, and she attempts to punch him. He dodges it, but Cure Yell is able to safely rescue Hugtan.



With Hugtan back, time returns to the world and the other girls regain their Future Crystals.
With time moving again, PreCures are ready to do their thing


 Somehow Dr. Trauma recognized Harry in Hamster form..

Kurai decides it is best to retreat, surprised by the Cures' strength, leaving them to Doctor Trauma and the Wild Theender. The girls fight it, and Amour and Ma Chérie get the honour of finishing it off with their queer twin rock Finishing Move.
We end the episode with some intrigue, as Harry wonders why the White Crystal hasn’t had its power restored yet, and Cryasse Corporation brings out a member who seems to be rather dangerous.

MEANWHILE AT CRYASSE HQ?

 
As George gets back to his usual overlord's quarters (and overlord's ensemble!)...

...with Gelos to his beck and call...

... he commands Listol to free one Bishin, a fair-haired bifauxnen prisoner that has to be kept at bay with a laser door (and doesn't it look like he's wearing a straitjacket?). Looks like a wild card that even the Cryasse higher-ups dread!

GEORGE: Free Bishin on parole. 

And thus, we've got new theory fodder for this summer cour...

George was welcomed back by Gelos as he watched the previous battle. Ristle went to a cell and released a new general, Bishin...

MEANWHILE AT BEAUTY HARRY...
 And, in the meantime, Harry wonders why the White Crystal hasn’t had its power restored yet...
What on Earth could have quenched its light?
 Harry has been uneasy for the past few episodes, and it hasn’t gone unnoticed by Homare. 
HOMARE: Please swear that you will confide in me in your hour of need, when your secrets become too heavy for you alone to handle!

 Harry was monologuing to himself as he was carrying the White Future Crystal which Cryasse Corporation is after it. He wondered why nothing is going accordingly to the prophecy. Homare found him which again he tried to shun it off as nothing although Homare made him do a pinkie promise to tell them anything important to her.
She confronted him today, asking him to make a pinky promise that he won’t keep things to himself when it gets tough, but that is a promise that has already been broken, and he knows it. He has so many secrets, it is only a matter of time before they all come out.
 Locking their pinky fingers, Homare and Harry make a pinky promise that he will not keep his secret to himself when the going gets tough, but confide in her instead...
(YEAH FOR THIS HOMARRY MOMENT!!)

Moving on to another OTP of ours, Lulu and Emiru...


Although the girls are worried that Cryasse Corporation will double their efforts to defeat them, they are making plans for the summer holidays and the girls agreed to take the short break for now. Not knowing that the White Future Crystal in Harry's pocket is glowing, without him even having noticed it...
PRECIOUSSSSSSSSSSS...
 




This was a good episode – I’m liking the new villains so far. I guess with Daigan’s elimination, that is everyone who didn’t know what the president actually looked like out of the picture.
The mysterious man turning out to be George Kurai, president of Cryasse Corporation isn’t really a surprise. There was enough hints dropped before that he wasn’t exactly one of the good guys.
Talking of Cryasse, this episode further suggested that Harry has some link with them – most likely a former employee, a Defector from Decadence. It’ll be interesting to see that story thread play out.
Doctor Trauma is a decent addition to Cryasse Corporation’s cast, though it is Bishin that I am most eager to see more of.
I also think we should take a moment to mention that Cure Yell, who cast aside the sword in an earlier episode, didn’t even think twice about punching Kurai when he was making Hugtan cry. This was someone that she thought was actually a decent person not even five minutes beforehand.
Just goes to show: never anger a Cure.
The new ending theme seemed pretty good on first listen, but I’ll need to hear it a few more times before I can compare it to the first one.

At least we got a shot of our lesbian OTP together in their Precure forms...
 Next time, a pool party, rather appropriate for the season... #UnEstateAlMare

WOOT! FINALLY THE VILLAINS MADE THEIR MOVE!
We finally got the confirmation that George was in fact the big bad all long. The Dude in Blue (AKA Listol) was merely serving as a figurehead, the rest of the lot who he worked with were nothing but disposal fodder at the bottom of the chain, Chief Daigan didn’t even get a chance to show what he’s worth. Instead he was taken out within five seconds by an entirely new character, who is part of George’s inner circle of powerful elites. He goes by the name of Doctor Trauma, and is one heck of a creepy guy, even his name even freaks me out a bit. He has no qualms of taking out the weaker members of the company. His strength was no joke, the Precures couldn’t even hold up a fight against him.

Either way, now that Emiru’s and Lulu’s arc is finally over and dealt with (sobbing), I hope we get to see more of the Futari wa two again, or the group properly doing things together as a group of five.

As for George’s dream, I don’t think any of us are surprised. In fact it is more or less exactly what I expected based on what we knew about him, and what he has done: He wants to protect the smiles and happiness for all eternity by stopping time. I must say the conversation he and Hana had together was a chilling one to say the least. When she praised his dream, and how she would love to help him make it come true, I was like “OH NO. GIRL YOU HAVE NO FREAKING IDEA WHAT YOU’RE GETTING YOURSELF INTO!” Their concept of “Eternal Happiness” couldn’t be more different. Oof, that was a tough one to listen to. And if Hana briefly developed a crush on him, all of that quickly flew out the window when it was revealed he is the Big Bad, the Well-Intentioned Extremist.
But perhaps the most alarming part of all, was the fact the precures reclaiming the Future Crystals were all according to Cryasse’s plans. They wanted them to do it, probably because they are the only ones who can. Without the Future Crystals, George can’t fulfill his dreams of creating a perfect world. And now, having witnessed what Hana is capable of, George is already making revisions to their plans, and the most terrifying part of all: is that he is enjoying this. Rather than becoming impatient, he welcomes the challenge, eagerly anticipating who will come out on top.
And he isn’t alone. As mentioned earlier, his inner circle is no joke. Another new face by the name of Bishin, who has been locked up all this time will be joining them. Supposedly this guy has the ability to destroy everything. After seeing what Doctor Trauma brought to the fight, I sure hope this half of the show will make the fights a lot closer than they have been. The villains don’t have to be super dark in personalities to be threatening, there just needs to be a lot more put at stake than usual, and that could very well be Hugtan’s safety since George now knows she is the only one who was able to freely move as he began to cast the spell.

Harry has been uneasy for the past few episodes, and it hasn’t gone unnoticed by Homare. She confronted him today, asking him to make a pinky promise that he won’t keep things to himself when it gets tough, but that is a promise that has already been broken, and he knows it. He has so many secrets, it is only a matter of time before they all come out. But today we learned one of the biggest, and the most damning secret of all: Harry has been secretly protecting the White Crystal all long. If it weren’t in his hamster form, George probably would have been able to steal it away, unless he simply didn’t have it on him at the fight (which could have also been a possibility). We learned that its power is missing, which leads me to believe it probably originally belonged to Hugtan. However Harry doesn’t seem to realize it actually responds to the girls, as we saw it glowing in his pocket.
But even if it originally belonged to Hugtan, the chances are, if Hugtan is unable to have a magical growth spirt, Hana will likely be the one to inherit its power. I imagine this may end up being the key to a precure’s final and most powerful form. She will need that power when she faces off against George in the near future.

Emiru and Lulu are basically joined at the hip, their own mini circle of a sorts (VIVA EMILU!! <3 <3 <3), and Saaya and Homare are busy pursuing their own dreams. 

New Enemies, New Challenges... and we haven't even reach the midway of the season! Although I am happy that the main plot is developing since George has returned to claim his seat. But a few questions still lingered.

Why did Ristle create a puppet leader before George's return? In a previous episode, George met Harry and Hug-tan in the supermarket and Harry didn't mention a thing of George being the Big Bad. It was until Harry saw George holding that strange black book that he then recognize him as George Kurai.

George's ideal world is very similar to Elysio from the previous season; of how the world would become a better place when there's no conflict since time has freeze everything, preserving it from decay and violence, and to maintain eternal beauty. But his motives is still unknown for having such an ambition. There are over fifty ways one can become a Well-Intentioned Extremist, aren't there?

Although I got a feeling that George is not the true Big Bad but Ristle could be the one pulling all the strings, the Man behind the Man, since he is the one that comes  up with all the schemes. (Guys, it's Miki Shinichiro! He voiced Zamasu in Dragonball Super, one of the most dangerous villains in recent years, so I am expecting something similar from Ristle too)

Dr. Trauma is creepy and could be Cure Ange's opposite  since she tried to save Daigan but it was too late for him. Poor Daigan for bitting the dust without doing anything at all. But with the theender given that extra power-up, it could be time for the girls to get their next mid-season power-up in the upcoming episodes too.

Not much is said about Bishin who was released by Ristle although she is voiced by Arai Satomi who voiced Kathy the crystal ball in Mahou Tsukai, and Railgun fans will know her as the Mikoto-obsessed Kuroko. From her first lines with Ristle, it seems she could be the "Berserker" of the group... and who do you think is her opposite in Team Hugtto?



MY OWN HUMBLE OPINION...
We are still unaware of Papple's whereabouts as of now, but fortunately we got a brand new Cryasse cadre to make up for her absence, aside from another peek at our favourite hefty, bespectacled Mo Bro, albeit a pretty short one, right? And definitely, this eccentric is not the Doctor Whom I'd like to visit, as the title explains, his surname being one to run away really fast from. Besides, I quite enjoy the steampunk aesthetic, so there is definitely a plus when it comes to his attire!

On Dr. Trauma's Starscream potential: I feel backstabbing coming nearly a month away. Kurai better watch his back, I tell him (even though he'll pay no heed), especially around the finale of this summer cour (surely, Dr. Trauma is most likely to be an arc villain whose intrigues and backstabbing efforts will backfire in true Wallenstein fashion at the finale!). Now will Dr. Trauma and Listol become co-conspirators or not, as their shot in the opening foretells? And, should they conspire, will one of them stab the other in the back -who will betray whom?-

More on Daigan: Is our hefty Victorian Large Ham really sleeping with the fishies? The body has not been found yet, and, if it had left a charred trace, it must have been of considerable size. My own personal theory states that Daigan is kept imprisoned somewhere in another dimension or timeline, and that he shall return on a payback mission to warn George Kurai of Dr. Trauma's betrayal in extremis. Since both the pince-nez wearer and the doctor are both Victorians of about the same social rank, the most likely scenario is that they were recruited from the same epoch and most surely know one another. Were they friends or rivals? Or maybe even blood-related?
George and Kurai are one and the same person (his first name and surname, respectively): WHAM! That's a revelation to blow your mind, isn't it?
Who is this blond prisoner? Not Jean Valjean or Edmond Dantès for sure, but still this Bishin girl looks like someone who will be quite plot-relevant, what with that messy fair hair, those fierce catlike eyes with vertical pupils... (and didn't he appear to be wearing a straitjacket?) She may be a brand new cadre, one of Harry's estranged siblings, or both (Harry's sister brainwashed and crazy into Cryasse cadrehood)... Already a slew of theories are born circulating around this mysterious presence behind bars...
HOMARRY UPDATE! We now know that Homare and Harry can trust in one another, so sooner or later our blonde Étoile will get to know the secret when it feels to heavy a burden to carry alone for Mr. Harryham (VIVA HOMARRY... Little by little, these two come closer...)



IN NEXT EPISODE (24):

Un'estate al mare...

And even if you are a cadre or former cadre at a Standard Evil Organization Squad, now that Thermidor begins, it's time to throw routine out the window!

Charalit is the King of the Tube, with his most recent viral sensation clips! Could this be the song of the summer that brings on the Resurrection of Pop?

 Gelos shows off some scrumptious caffè-latte skin in her revealing swimsuit, while her three-piece-suited henchmen perspire in their ensembles (I think this is her gambit: her intention is to make them thirsty so they get drunk, and thus closer to her!)

Our bifauxnen wild card Bishin finally debuts upon the stage... and she is noticeably younger than Harry (would that make Harry the older brother?)... Let's see in which brand of show-biz she gets her kicks! And if she ever gets a pairing with anyone...

Finally, we are aware of Papple's and Daigan's whereabouts; while she poses in a hipster locale in her skin-baring sexpot baroness outfit (but won't the leather jacket make her even hotter? And what is she doing post-heel-face-turn?), while he remains trapped in the Mirrorverse, if not in a mirror prison...

PLEASURE PAST AND ANGUISH PAST

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PLEASURE PAST AND ANGUISH PAST

A Gundam Wing AU - a 3/4 Retelling of Goblin Market
Rewritten by Sandra Dermark
Dedicated to Marina Lancel Fiquet



Evening by evening,
boys heard the goblins cry:
“Come buy our orchard fruits,
come buy, come buy!:
Plump unpecked cherries,
Melons and raspberries,
Bloom-down-cheek’d peaches, 
Wild free-born cranberries,
Crab-apples, dewberries,
Pineapples, blackberries,
Apricots, strawberries;—
All ripe together
in summer weather,—
morns that pass by,
fair eves that fly;
Come buy, come buy:
Our grapes fresh from the vine,
Pomegranates full and fine, 
Rare pears and greengages,
Damsons and blueberries,
Taste them and try:
Currants and gooseberries,
Fire-like loganberries,
Figs to fill your mouth,
Citrus from the South,
Sweet to tongue and sound to eye;
Come buy, come buy!” 

Evening by evening,
among the brookside rushes,
Trowa raised his head to hear,
Quatre veiled his blushes:
Crouching close together
in the cooling weather,
with clasping arms and cautioning lips,
with tingling cheeks and fingertips.
“Lie close,” Trowa said,
pricking up his nutbrown head:
“We must not look at goblin men,
we must not buy their fruits:
who knows upon what soil they fed
their hungry thirsty roots?”
“Come buy!,” call the goblins
Hobbling down the glen.

“Oh,” cried Quatre, “Trowa, Trowa!
You should not peep at goblin men.”
Quatre covered up his eyes,
covered close lest they should look;
Trowa reared his glossy head,
and whispered like the restless brook:
“Look, Quatre, look, Quatre...
Down the glen tramp little men.
One hauls a basket,
one bears a plate,
one lugs a golden dish
of many pounds' weight.
How fair the vine must grow
whose grapes are so luscious;
How warm the wind must blow
through those fruit bushes...”
“No,” said Quatre “No, no, no;
their offers should not charm us,
their evil gifts would harm us.”
He thrust an index finger
in each ear, shut eyes and ran:
Curious, Trowa chose to linger
wondering at each merchant man.
One had a cat’s face,
one whisked a tail,
one tramped at a rat’s pace,
one crawled like a snail,
one like a wombat prowled obtuse and furry,
one like a badger tumbled hurry-skurry.
He heard a voice like voice of doves
cooing all together:
They sounded kind and full of loves
in the pleasant weather. 
 Trowa stretched his gleaming neck
Like a rush-imbedded swan,
Like a lily from the beck,
Like a moonlit poplar branch,
Like a vessel at the launch
when her last restraint is gone.

Backwards up the mossy glen
turned and trooped the goblin men,
with their shrill repeated cry,
“Come buy, come buy!”
When they reached where Trowa was
they stood stock-still upon the moss,
leering at each other,
Brother with queer brother;
Signalling each other,
Brother with sly brother.
One set his basket down,
one reared his plate;
one began to weave a crown
of tendrils, leaves, and rough nuts brown
(men sell not such in any town);
One heaved the golden weight
of dish and fruit to offer him:
“Come buy, come buy,” was still their cry.
Trowa stared but did not stir,
longed but had no money:
The whisk-tailed, foxy merchant bade him taste
In tones as smooth as honey,
the cat-faced one purred,
the rat-faced spoke a word
of welcome, and the snail-paced even was heard;
One parrot-voiced and jolly
cried “Pretty Goblin!” still for “Pretty Polly!;”—
One buzzed like a hummingbird.

But sweet-tooth Trowa spoke in haste:
“Good folk, I have no coin;
To take were to purloin:
I have no copper in my purse,
I have no silver either,
And all my gold is on the furze
That shakes in windy weather
Above the rusty heather.”
“You have chocolate upon your head,”
they answered all together:
“Buy from us with a nutbrown curl.”
He clipped a precious nutbrown lock,
then dropped a tear more rare than pearl,
then sucked their fruit globes fair or red:
Sweeter than honey from the rock,
Stronger than red rejoicing wine,
Clearer than water flowed that juice;
he'd never tasted such before,
how should it cloy with length of use?
He sucked and sucked and sucked the more
fruits which that unknown orchard bore;
He sucked until his lips were sore;
then flung the emptied rinds away
but gathered up one kernel stone,
and knew not was it night or day
as he turned home alone.

Quatre met him at the gate,
full of wisest eye-light:
“Dear, you should not stay so late,
for striplings is not good twilight;
should not loiter in the glen
in the haunts of goblin men.
Do you not remember Solo?
How he met them in the moonlight,
took their gifts both choice and many,
ate their fruits and wore their flowers
plucked from bowers
where summer ripens at all hours?
But ever in the noonlight,
he pined and pined away;
Sought them by night and day,
Found them no more, but dwindled and grew grey;
Then fell with the first snow,
while to this day no grass will grow
where he lies low:
I planted daisies there a year ago
that never bloom.
You should not loiter so.”
“Nay, hush,” said Trowa:
“Nay, hush, my lover:
I ate and ate my fill,
yet my mouth waters still;
Tomorrow night I will
buy more;" and clasped him in the cover:
“Have done with sorrow;
I’ll bring you plums tomorrow
fresh on their mother twigs,
Cherries worth getting;
you cannot think what figs
my teeth have met in,
what melons icy-cold
piled on a dish of gold
too huge for me to hold,
what peaches with a velvet nap,
pellucid grapes without one seed:
fragrant and cool indeed must be the mead
whereon they grow, and pure the wave they drink
with lilies at the brink,
and sugar-sweet their sap.”

Golden head by nutbrown head,
like two pigeons in one nest
folded in each other’s wings,
they lay down in their curtained bed:
Like two blossoms on one stem,
like two flakes of new-fall’n snow,
like two wands of ivory
tipped with gold for dreadful kings.
Moon and stars gazed in at them,
breeze sang to them lullaby,
lumbering owls forbore to fly,
not a bat flapped to and fro
'round their rest:
Cheek to cheek and chest to chest,
locked together in one nest. 
Early in the morning,
when the rooster crowed his warning,
as sweet and busy as e'er before,
Quatre rose with Trowa:
Fetched in honey, milked the cows,
aired and set to rights the house,
kneaded cakes of whitest wheat,
cakes for dainty mouths to eat,
next churned butter, whipped up cream,
fed their poultry, sat and sewed;
Talked as modest striplings should:
Quatre with an open heart,
Trowa in an absent dream,
One content, one sick in part;
One warbling for the mere bright day’s delight,
one longing for the night.

At length slow evening came:
They went with pitchers to the reedy brook;
Quatre most placid in his look,
Trowa most like a leaping flame.
They drew the gurgling water from its deep;
Quatre plucked lavender and golden flags,
then turning homeward said: “The sunset flushes
those furthest loftiest crags;
Come, Trowa, not another stripling lags.
No wilful squirrel wags,
all in their dens are fast asleep.”
But Trowa loitered still among the rushes
and said the bank was steep.

And said the hour was early still,
the dew not fall’n, the wind not chill;
Listening ever, but not catching
the customary cry,
“Come buy, come buy!,”
with its iterated jingle
of sugar-baited words:
Not for all his watching
once discerning even one goblin
racing, whisking, tumbling, hobbling;
Let alone the herds
that used to tramp along the glen,
in groups or single,
of brisk fruit-merchant men.

Till Quatre urged, “O, Trowa, come;
I hear the fruit-call but I dare not look:
You should not loiter longer at this brook:
Come with me home.
The stars rise, the moon bends her arc,
each firefly winks her spark...
Let us get home before the night grows dark:
For clouds may gather
though this is summer weather,
put out the lights and drench us through;
Then, if we lost our way, what should we do?”

Trowa turned as cold as stone
To find his comrade heard that cry alone,
that goblin cry,
“Come buy our fruits, come buy!”
Must he then buy no more such dainty fruit?
Must he no more such succous pasture find,
gone deaf and blind?
His life had been plucked from the root:
he said not one word in his heart’s sore ache;
But peering through the dimness, nought discerning,
trudged home, his pitcher dripping all the way;
So crept to bed, and lay
silent till Quatre slept;
then sat up in a passionate yearning,
and gnashed his teeth for stopped desire, and wept
as if his heart would break.

Day after day, night after night,
Trowa kept watch in vain
In sullen silence of exceeding pain.
He never caught again the goblin cry:
“Come buy, come buy!”—
he never spied the goblin men
hawking their fruits along the glen:
But when the noon waxed bright,
his face turned pale and grey;
he dwindled, as the fair full moon doth turn
to swift decay and burn
her fire away.

One day, remembering his kernel-stone,
he set it by a wall that faced the south;
dewed it with tears, hoped for a root,
watched for a waxing shoot,
but there came none;
It never saw the sun,
it never felt the trickling moisture run:
While with sunk eyes and faded mouth
he dreamt of melons, as a traveller sees
false waves in desert drouth
with shade of leaf-crowned trees,
and burns the thirstier in the sandful breeze.

He no more swept the house,
tended the hens or cows,
fetched honey, kneaded cakes of wheat,
brought water from the brook:
but sat down listless in the chimney-nook
and would not eat.

Tender Quatre could not bear
to watch his comrade's cancerous care
yet not to share.
He night and morning
Caught the goblins’ cry:
“Come buy our orchard fruits,
Come buy, come buy!”—
Beside the brook, along the glen,
he heard the tramp of goblin men,
the call and stir
poor Trowa could not hear;
longed to buy fruit to comfort him,
but feared to pay too dear.
He thought of Solo in the grave,
who should have taken war in stride;
But who for joys lads hope to have
fell sick and died
in his gay prime,
in earliest wintertime
with the first glazing rime,
with the first snow-fall of crisp wintertime.

Till Trowa dwindling
seemed knocking at death's door:
Then, Quatre weighed no more
better and worse;
but put a silver penny in his purse,
kissed Trowa, crossed the heath with clumps of furze
at twilight, halted by the brook:
And, for the first time in his life,
began to listen and look.

Laughed every goblin
when they spied him peeping:
Came towards him hobbling,
flying, running, leaping,
puffing and blowing,
chuckling, clapping, crowing,
clucking and gobbling,
mopping and mowing,
Full of airs and graces,
pulling wry faces,
demure grimaces,
Cat-like and rat-like,
badger- and wombat-like,
snail-paced in a hurry,
parrot-voiced whistler,
Helter skelter, hurry skurry,
chattering like magpies,
fluttering like pigeons,
gliding like fishies,—
Hugged him and kissed him,
squeezed and caressed him:
Stretched up their dishes,
panniers, and plates:
“Look at our cherries,
bite at our peaches,
Citrus and dates,
Grapes for the asking,
Pears red with basking
out in the sun,
Plums on their twigs;
Pluck them and suck them,
Pomegranates, figs...”—

“Good folk,” said Quatre,
mindful as any:
“Give me much and many:"—
Held out his coattails,
tossed them his penny.
“Nay, take a seat with us,
honour and eat with us,”
They answered grinning:
“Our feast is but beginning.
Night yet is early,
warm and dew-pearly,
wakeful and starry:
Such fruits as these
no man can carry:
Half their bloom would fly,
half their dew would dry,
half their flavour would pass by.
Sit down and feast with us,
Be welcome guest with us,
Cheer you and rest with us.”—
“Thank you,” said Quatre: “But one waits
at home alone for me:
So without further parleying,
if you will not sell me any
of your fruits though much and many,
give me back my silver penny
I tossed you for a fee.”—
They began to scratch their pates,
no longer wagging, purring,
but visibly demurring,
grunting and snarling.
One called him proud,
Cross-grained, uncivil;
Their tones waxed loud,
their looks were evil.
Lashing their tails
They trod and hustled him,
elbowed and jostled him,
clawed his fair face with their nails;
Barking, meowing, hissing, mocking,
tore his coat and soiled his stockings,
twitched his fair hair by the roots,
stamped upon his tender feet,
held his wrists and squeezed their fruits
against his mouth to make him eat.

White and golden Quatre stood,
like a lily in a flood,—
like a rock of blue-veined stone
lashed by tides obstreperously,—
like a lighthouse left alone
in a hoary roaring sea,
sending up a golden fire,—
like a fruit-crowned orange-tree
white with blossoms honey-sweet
sore beset by swarm of bee,—
like a royal virgin town
topped with gilded dome and spire
close beleaguered by a fleet
mad to tug her standard down.

One may lead a horse to water,
Twenty cannot make him drink.
Though the goblins cuffed and caught him,
coaxed and fought him,
bullied and besought him,
scratched him, pinched him black as ink,
kicked and knocked him,
mauled and mocked him,
Quatre uttered not a word;
Would not open lip from lip
lest they should cram a mouthful in:
but laughed in heart to feel the drip
of juice that syrupped all his face,
and lodged in dimples and in chin,
and streaked his neck, which quaked like curd.
At last the evil people,
worn out by his resistance,
flung back the penny, kicked their fruit
along whichever road they took,
not leaving root, or stone, or shoot;
Some writhed into the ground,
some plunged into the brook
with ring and ripple,
some scudded on the gale without a sound,
some vanished in the distance.

In a smart, ache, tingle,
Quatre went his way;
knew not was it night or day;
sprang up the bank, tore through the furze,
threaded copse and dingle,
and heard his penny jingle
bouncing in his purse,—
its bounce was music to his ear.
He ran and ran
as if he feared some goblin man
sought him with rant or curse
or something worse:
But not one goblin scurried after,
Nor was he pricked by fear;
The kind heart made him windy-paced
that urged him home quite out of breath with haste
and inward laughter.

He cried, “Trowa!” up the garden,
“Did you miss me?
Come and kiss me.
Never mind my bruises,
Hug me, kiss me, suck my juices
squeezed from goblin fruits for you,
goblin pulp and goblin dew.
Eat me, drink me, love me;
Trowa, make much of me;
For your sake I have braved the glen
And had to do with goblin merchant men.”

Trowa started from his chair,
flung his arms up in the air,
clutched his own fragile hair:
“Quatre... Quatre, have you tasted
for my sake the fruit forbidden?
Must your light like mine be hidden,
your young life like mine be wasted,
undone in mine undoing,
and ruined in my ruin...
Thirsty, cancered, goblin-ridden?”—
He clung about his lover;
Kissed and kissed him under the cover,
tears once again
refreshed his sunken eyes,
dropping like rain
after long sultry drouth;
Shaking with aguish fear, and pain,
he kissed and kissed with eager, hungry mouth.

His lips began to scorch,
That juice was absinthe to the tongue,
he loathed the feast:
Writhing as one possesed, he leapt and sung,
Rent all his shirt, and wrung
his hands in lamentable haste,
And beat his chest.
His quiff streamed like the torch
borne by a rider at full speed,
or like the mane of horses in their flight,
or like an eagle when she stems the light
straight towards the sun,
or like a caged thing freed,
or like a flying flag when armies run.

Swift fire spread through his veins, knocked at his heart,
met the fire smouldering there
and overbore its lesser flame;
he gorged on bitterness without a name:
Ah! fool, to choose such part
Of soul-consuming care!
Sense failed in the mortal strife:
Like a lightning-stricken mast,
Like a wind-uprooted tree
spun about, which nought can save,
like a foam-topped tidal wave
cast down headlong in the sea,
he fell at last;
Pleasure past and anguish past...
Is it death or is it life?

Life out of death.
That night long Quatre watched, astir,
counted his pulse’s flagging stir,
felt for his breath,
held water to his lips, and cooled his face
with tears and fanning leaves:
But when the first birds chirped about their eaves,
and early reapers plodded to the place
of golden sheaves,
and dew-wet grass
bowed in the morning winds so brisk to pass,
and new buds with new day
opened of cup-like lilies on the stream,
Trowa awoke as from a dream,
laughed in the innocent old way,
hugged Quatre once, not twice or thrice;
his skin showed not one speck of grey,
his breath was sweet as May,
and light danced in his eyes.

Days, weeks, months, years
afterwards... they told of their early prime,
those pleasant days long gone
of not-returning time:
Would talk about the haunted glen,
the wicked, quaint fruit-merchant men,
their fruits like honey to the throat
but poison in the blood;
(Men sell not such in any town):

And Trowa would tell how Quatre stood
in deadly peril to do him good,
and win the fiery antidote:
then, joining hands to lily hands,
 to the end they would cling together, 
dying like Enjolras and Grantaire:
“For like love no power is there
in calm or stormy weather;
to cheer one on the tedious way,
to fetch one if one goes astray,
to lift one if one totters down,
to strengthen whilst one stands.”


but your heart's so cold...

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But your heart's so cold


The palace looms before her, high into the dark sky. It gleams bright enough to drown out the stars surrounding. This is it. Lisa has made it here at last.

She thinks of all she has gone through to reach this place; this isolated kingdom glittering in a way that brought nothing but cold.

She thinks of the Princess and the Prince, as kind as they were clever, and the fast golden carriage they had given her to aid her journey.

She thinks of the crew of robbers, and the dark-eyed girl who had assured her safety until Lisa's departure.

She thinks of the blazing green-pink in the night sky as she rode further north.

She thinks of the two who helped her on her way through the tundra, the weather scientist and the wanderer.

Lisa takes this all in quietly. She is here for but one reason, and that one reason is him. So she ascends the steps of the palace and doesn't hesitate as she enters uninvited. Above all shone the moon.

Her shoes click and slip across the glassy floors. The coat given to her doesn't keep the chill from seeping in. The castle is eerily silent, lonely and dim. Lifeless. Still she continues. She eventually reaches a door more extravagant than the others around it. If she were to find the Snow Queen, and by extension Lenny, anywhere, then it must be here. She opens the door. The room inside is far too grand to be anything but the throne room, sparkling blue and silver and blindingly bright. If that weren't evidence enough, the queen sits on her throne.
But Lisa's eyes focus somewhere else, and she ignores the snow queen in favour of her brother.
Ice chips of puzzle pieces lay all around him, a scatter of shapes that don't seem to fit. She sits in front of him, ignores the way the floor makes her colder through the contact. "I'm here to bring you home, Lenny. Come back." Her voice seems to echo in the quiet.
It takes a while before he even shows he's heard, looking up after what must've been minutes. His eyes are empty, frozen. It's as if the ice from the castle has all entered them, blue reflecting blue, ice reflecting ice. Her heart seems to freeze in her chest, just for a moment. Then he looks back to the puzzle. "Can't do that."
Everything falls silent again. He says nothing else, and Lisa isn't sure what to do. She had never imagined coming all this way only to find that he refused to return with her. It would not have stopped her had she known; there must be a way to convince him to leave. If only she could understand the significance of the puzzle, why it had to be completed, and how she could break whatever spell had been put on him. Her gaze turns to the Snow Queen.
The Snow Queen was just like her palace - beautiful, but frozen. Between the silence, the dissonant glitter of her eyes, and the white of her hair spilling over her shoulders, it was as if she was merely an ice statue.
"What is wrong with him?"
"A shard of cursed mirror has entered his eye. There is nothing you can do; only he can change his fate. Go from here."
Lisa finally starts to understand. "He has to finish the puzzle? He can leave then?"
"I will have no more hold over him." The Snow Queen agrees. "But he will never succeed, as no one before him has"
Lisa doesn't bother to reply, and the queen says nothing more. There wasn't anything else to say.
So for hours, she watches Len try to put the pieces together. It shouldn't have been an issue, he had always been too smart for his own good, but neither of them got anywhere with it. Every time he attempted to piece things together, he claimed it wasn't right, and it started all over. It's impossible to tell how much time has passed within these walls. The skies are unchanging even out there, in this cold dark place at the end of the earth. Whatever the time, it's barely a dent in how long she's been searching, so she remains. And she waits.
She doesn't know when it happens, but she finds herself crying, something she hasn't done in years. She is tired after all of this. Her efforts have all been wasted, because this task is hopeless.

Her tears land upon the ice pieces, beginning to melt them even as Len reaches to pick one up. He stops. It doesn't only affect the ice on the outside; it begins to melt the ice fragmented in his heart, and in turn he grows warm again.
"Lise?"
"Don't tell me you're surprised that I came to get you."
The puzzle is nothing more than a puddle in the middle of a frozen floor, now.

They rise to leave this beautiful and terrible place. Lisa looks a final time to the Snow Queen, who only stares back with those ice-shard eyes.

She returns to the summer world of the living with her brother, and in only in the gold-bright light does she realize years have passed.
They're both older now, and perhaps a little wiser. Lisa wonders if, perhaps, that was the real purpose of all of this turmoil.

Notes:

Came up with this concept over a year ago, but I forgot about it until recently. I tried to write it in a fairy tale style to fit the theme- a couple of lines are taken directly from the original story. Not sure I like how it came out tbh.
Fun fact: This is my 50th story in this fandom.

THE MYTHOS OF AUTUMN - FRYE ON TRAGEDY

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Mythos
Northrop Frye asserts in Anatomy of Criticism (1957) that all narratives fall into one of four mythoi.  Each mythos has six phases, and is associated with a season of the European year (comedy with springtime, fairytale with summer, tragedy with autumn, and satire with winter).
  • Season: Autumn
  • Period of the day: Evening
  • Period of life: Late maturity (midlife - seniority)
  • Period of Western culture: Eighteenth century (from Renaissance to industrialism)
This phase of the mythos, associated with decadence, produces a mythos, or narrative category of literature, known as tragedy.
The argument is made more complex, however, by the fact that adjacent mythoi tend to merge. Tragedy and comedy contrast rather than blend; on the other hand, tragic extends from high epic to bitter and ironic realism. The procedure used to define each of the mythoi—including tragedy—follows a similar pattern throughout and derives from Frye’s attempt to answer three questions: What is the structure of each mythos? What are the typical characters of each? And what are the six phases within each category? It is more convenient, I think, to look at the method and structure of Frye’s argument from the viewpoint of these three questions than from the perspective of the mythoi considered seriatim. My aim is not to summarize the content of his lengthy exposition but to observe the kinds of criteria he employs to define such concepts as plot and character and to see how he uses these categories to differentiate the mythoi. Underlying his definitions of each of these is a method which remains fairly constant throughout. 
The first three phases of one mythos are always related 
to
 the first three of an adjacent mythos, but the relation is seen as occurring only within opposing halves of the major dialectic, whereas the relation between the last three phases of any two mythoi occurs only within the same half of the innocence-experience dichotomy. This means, for example, that there can be no merging between the first three phases of comedy and tragedy, since they are opposite, not adjacent, mythoi. It also means that there can be no relation between (say) the first three phases of tragedy and satire because both of these mythoi lie within the “realistic” half of the cycle.

Autumn / Tragedy: 
1. Complete innocence, 
2. Youthful innocence of inexperience, 
3. Completion of an ideal, 
4. Individual’s faults,  - To this fourth phase, high mimetic tragedy, belong Shakespearean tragedies in general.
5. Natural law, 
6.World of shock and horror

Phases 4–6 of tragedy and satire (including phase 4, high mimetic) are parallel to each other. The high mimetic satire is the irony of explicit realism and the all-too-human hero/ine; a good example may be Russian nineteenth-century novels, especially those by Lev Tolstoy.
Whatever combination of criteria Frye appeals to, it is clear that when he defines “phase” as a stage of a mythos, he is not referring to literary kinds, a topic reserved for the Fourth Essay. He is speaking rather of broad narrative movements which extend beyond, as well as cut across, individual literary works. A phase may be an isolable part of a whole work, like one book of The Faerie Queene or Dante’s vision of the Empyrean Heavens at the end of the Paradiso, or it may encompass a group of writings by a single author, like Shakespeare’s romantic comedies (A Midsummer Night’s Dream, As You Like ItThe Merry Wives of WindsorThe Winter’s Tale). A phase may include works whose common feature is a particular rhetorical convention, like the symposium device (AC, 202–3); or its definition may largely depend on the perspective of the audience, as in fifth-phase comedy.
As already indicated, Frye conceives of each phase of a given mythos as parallel to a phase in the adjacent mythos. To pose the issue as a question: What are the similarities between between tragic irony and ironic tragedy, and between tragic epic and epic tragedy? 
The distinction between any pair of these categories, Frye says, “is tenuous, but not quite a distinction without a difference” (AC, 177). 

Let us consider one more example in which we can observe still different criteria being used to establish the parallels. The similarity between second-phase epic (fairytale) and tragedy, Frye argues, is that both represent the innocent youth of the hero. In fairytale, this phase is “most familiar to us from the story of Adam and Eve in Eden before the Fall. [It] presents a pastoral and Arcadian world. . . . Its heraldic colors are green and gold, traditionally the colors of vanishing youth. . . . it tends to center on a youthful hero . . . [and] in later phases it is often recalled as a lost happy time or Golden Age” (AC, 199–200). The parallel phase of tragedy
corresponds to the youth of the storybook hero, and is in one way or another the tragedy of innocence in the sense of inexperience, usually involving young people. . . . The phase is dominated by the archetypal tragedy of the green and golden world, the loss of the innocence of Adam and Eve, who, no matter how heavy a doctrinal load they have to carry, will always remain dramatically in the position of children baffled by their first contact with an adult situation. (AC, 220)
Here the affinity is based on several distinctions. The stage in the life of the hero, the archetype of Adam and Eve, the vision of innocence or inexperience, the green- and golden-world imagery are all characteristics common to both second-phase tragedy and romance. Frye can thus establish the parallel relations between the phases by appealing either to a single criterion, like the size of the social unit in sixth-phase comedy and romance, or to a wide range of criteria like those just mentioned. The criteria can extend, moreover, from something as particular as imagery or the age of the hero to something as general as the vision of society embodied in a literary work.


Autumn: Tragedy
Introduction
In tragedy the focus is on individuals: the tragedy is in the hero/ine’s isolation, not the villain’s betrayal, in fact the villain is often part of the hero/ine.  The story begins with a hero/ine who has comparatively free will that moves him/her into a world of causation.  This world of causation is dependent on a belief in natural law or fate, although it does not necessarily attempt to answer questions about why these events happen so much as shows the effects of them. 
Plot
The basic revenge tragedy is at the heart of most tragedies although they can be considerably more complex:
·     Initial act: this act (a slight) provokes revenge and commonly comes from or is transmitted through another world, stretching the conception of nature and law beyond the visible world; it is not uncommon for this act to occur before the start of the story
·     Counterbalancing movement: an attempt is made to set the set things right
·     Resolution: in balancing out the first act, destruction is often spread beyond the individual hero/ine, affecting everyone else
At some point in the tragedy the audience must be able to see two possible futures for the tragic hero/ine: the one they could have had in which their path is more or less happy and peaceful... and the inevitable one.  The hero/ine cannot see both.
Characters
Tragic heroes reside at the top of the wheel of fortune, somewhere between the heavens and earth, between a paradisal freedom and a world of bondage.  They are inevitable conductors of power: instruments as well as victims of destruction.
Eiron
·     Withdrawing figure: decrees action
·     Soothsayer or prophet (counterpart to tricky slave): foresees the inevitable or at least more than the hero/ine does
·     Villain of Elizabethan drama (counterpart to vice): self-starting principle of malevolence, projection of author’s will
Alazon
·     Hero/ine (an impostor in the sense of being self-deceived by or dizzy with hybris): often begins as a semi-divine character, tragedy separates their divine pretence from his human actuality
·     Suppliant: often female, who presents picture of helplessness and destitution, which incites pathos; pity and terror are invoked by separation from the group
·     Messenger: focuses mood, usually announces catastrophe in Greek tragedy
The suppliant and messenger are structural counterparts to the bomolochoi (comic relief), or buffoons in comedy, although they do not possess the comic traits often associated with buffoonery.
·     Plain dealer (counterpart to the straight man in comedy): friend of the hero/ine or other outspoken critic of tragic action; represent social norms from which the hero/ine is gradually isolated; sometimes called a chorus character because serves the same role as the chorus in Greek tragedy
Traits
Time works to bring the inevitable causality and the catastrophic conclusion to the tragic process.  This conclusion makes love and the social structure irreconcilable and contending forces; tragedy is concerned with breaking up the family and opposing it to the rest of society.
Two reductive and useful but insufficient theories of tragedy:
·     Tragedy exhibits omnipotence of external fate.  This is insufficient because fate often becomes external only after the tragic process begins; the hero begins with free will.
·     An act that is primarily a violation of moral law, whether human or divine, sets the tragic process in motion.  This is insufficient because there are innocent sufferers in tragedy.
Tragedy lies somewhere between these two ideas.  It is helpful to consider this caveat: if the hero could not stand the story would be ironic, but if he hero could not fall it would be romantic.  The tragic hero must seem to be able to stand, but does not.
Phases of Tragedy
1.  Complete innocence: The hero who is dignified because of their innocence and courage is toppled; the hero is often a female in this phase
2.  Youthful innocence of inexperience:  The heroes and heroines are often young people first encountering the realities of adulthood; frequently a central character will survive so that the action closes with an adjustment to mature experience
3.  Completion of an ideal: The success or completion of hero/ine’s achievement is essential despite their tragic end, and a sense of serenity or peace often exists after their death because of their final accomplishment; these tragedies are commonly a sequel to a previous tragic event
4.  Individual’s faults: The hero/ine moves from innocence to experience, with their fall occurring as a result of hybris (overconfidence) and hamartia (fatal flaws). Shakespearean tragedy, in general, falls into this fourth mode, known as high mimetic tragedy.
5.  Natural law:  Natural law becomes prominent in these stories, overshadowing the hero/ine and allowing the audience to look down on the action; this phase includes any of the existential and fatalistic tragedies that deal more with metaphysical and theological questions rather than social or moral ones
6.  World of shock and horror:  These stories possess a strong element of demonic ritual in public punishments and depict a hero/ine in such deep agony or humiliation that they cannot achieve a heroic pose; cannibalism, mutilation, and torture are frequently present in this phase. Death, whether by suicide or unwittingly self-inflicted accident, comes as a release.

IMAGERY: Realistic
MODE: High mimetic
ANALOGY: Nature and reason
ORGANISING IDEAS: Love and form
This is but half of Frye’s claim, for he suggests also that a “full critical analysis” (AC, 158) will always want to take account of the latent content lying behind the manifest (i.e., displaced) content. As in Freudian analysis, the latent content is likely to be, if not repugnant, at least morally disagreeable. Frye’s illustration is from tragedy. This form shows, among other things, that humanity'ss acceptance of inevitability is a displacement of his bitter resentment against the obstacles that thwart his desires. “A Christian who believed the Greek gods, and those of any other polytheistic pantheon, to be nothing but devils would, if he were criticizing a tragedy of Sophocles, make an undisplaced or demonic interpretation of it. Such an interpretation would bring out everything Sophocles was trying not to say; but it could be a shrewd criticism of its latent or underlying demonic structure for all that” (AC, 157–58). In other words, the manifest content of Sophocles’ plays is a morally plausible form of what our latent, and therefore deepest, desires are. And it is this latent content which is structurally important for Frye because it lies in or near the realm of undisplaced myth. To be able to see this is to see “the factor which lifts a work of literature out of the category of the merely historical” (AC, 158). Thus 
Frye
 has made two claims about the value of seeing displacement as moral plausibility. On the one hand, it can help us to understand the meaning of individual archetypes, especially when their relation to some moral norm is unconventional. On the other hand, it can help us to see the mythical patterns, both angelic and demonic, which are structural principles of entire works.
 It is not insignificant that Frye’s own version of the “monomyth” is presented in connection with his theory:
The four mythoi that we are dealing with, [···] tragedy, [···] . . . be seen as four aspects of a central unifying myth. Pathos or catastrophe, whether in triumph or in defeat, is the archetypal theme of tragedy. 

That each of these four aspects of the “central unifying myth,” including pathos, appears also in the quest-myth, which has a fairytale or epic structure...

TRAGIC FICTIONAL MODES 

Tragic stories, when they apply to divine beings, may be called Dionysiac. These are stories of dying gods, like Hercules with his poisoned shirt and his pyre, Orpheus torn to pieces by the Bacchants or Maenads, Balder murdered by the treachery of Loki, Christ dying on the cross and marking with the words "Lamá sabachtani? Why hast thou forsaken me?" a sense of his exclusion, as a divine being, from the society of the Trinity. 
The association of a god's death with autumn or sunset does not, in literature, necessarily mean that he is a god "of" vegetation or the sun, but only that he is a god capable of dying, whatever his department. But as a god is superior to nature as well as to other men, the death of a god appropriately involves what Shakespeare, in Venus and Adonis, calls the "solemn sympathy" of nature, the word solemn having here some of its etymological connections with ritual. Ruskin's pathetic fallacy can hardly be a fallacy when a god is the hero of the action, as when the poet of The Dream of the Rood tells us that all creation wept at the death of Jesus Christ. Of course there is never any real fallacy in making a purely imaginative alignment between humanity and nature, but the use of "solemn sympathy" in a piece of more realistic fiction indicates that the author is trying to give his hero some of the overtones of the mythical mode. Ruskin's example of a pathetic fallacy is "the cruel, crawling foam" from Kingsley's ballad about a girl drowned in the tide. But the fact that the foam is so described gives to Kingsley's Mary a faint coloring of the myth of Andromeda. 
The same associations with sunset and the fall of the leaf linger in chivalric romance and fairytale, where the hero is still half a god. In romance or fairytale the suspension of natural law and the individualizing of the hero's exploits reduce nature largely to the animal and vegetable world. Much of the hero's life is spent with animals, or at any rate the animals that are incurable romantics, such as horses, dogs, and falcons, and the typical setting of romance is the forest. The hero's death or isolation thus has the effect of a spirit passing out of nature, and evokes a mood best described as elegiac. The elegiac presents a heroism unspoiled by irony. The inevitability in the death of Beowulf, the treachery in the death of Roland, the malignancy that compasses the death of the martyred saint, are of much greater emotional importance than any ironic complications of hybris and hamartia that may be involved. Hence the elegiac is often accompanied by a diffused, resigned, melancholy sense of the passing of time, of the old order changing and yielding to a new one: one thinks of Beowulf looking, while he is dying, at the great stone monuments of the eras of history that vanished before him. In a very late "sentimental" form the same mood is well caught in Tennyson's Passing of Arthur
Tragedy in the central or high mimetic sense, the fiction of the fall of a leader (he has to fall because that is the only way in which a leader can be isolated from his society), mingles the heroic with the ironic. In elegiac romance the hero's mortality is primarily a natural fact, the sign of his humanity; in high mimetic tragedy it is also a social and moral fact. The tragic hero has to be of a properly heroic size, but his fall is involved both with a sense of his relation to society and with a sense of the supremacy of natural law, both of which are ironic in reference. Tragedy belongs chiefly to the two indigenous developments of tragic drama in fifth-century Hellas and seventeenth-century Europe from Shakespeare to Racine. Both belong to a period of social history in which an aristocracy is fast losing its effective power but still retains a good deal of ideological prestige.
The central position of high mimetic tragedy in the five tragic modes, balanced midway between godlike heroism and all-too human irony, is expressed in the traditional conception of catharsis. The words pity and fear may be taken as referring to the two general directions in which emotion moves, whether towards an object or away from it. Naive chivalric romance, being closer to the wish-fulfillment dream, tends to absorb emotion and communicate it internally to the reader. Chivalric romance or fairytale, therefore, is characterized by the acceptance of pity and fear, which in ordinary life relate to pain, as forms of pleasure. It turns fear at a distance, or terror, into the adventurous; fear at contact, or horror, into the marvellous, and fear without an object, or dread (Angst) into a pensive melancholy. It turns pity at a distance, or concern, into the theme of chivalrous rescue; pity at contact, or tenderness, into a languid and relaxed charm, and pity without an object (which has no name but is a kind of animism, or treating everything in nature as though it had human feelings) into creative fantasy. In sophisticated romance the characteristics peculiar to the form are less obvious, especially in tragic romance, where the theme of inevitable death works against the marvellous, and often forces it into the background. In Romeo and Juliet, for instance, the marvellous survives only in Mercutio's speech on Queen Mab. But this play is marked as closer to chivalric romance and fairytale than the later tragedies by the softening influences that work in the opposite direction from catharsis, draining off the irony, so to speak, from the main characters. 
In high mimetic tragedy pity and fear become, respectively, favorable and adverse moral judgement, which are relevant to tragedy but not central to it. We pity Desdemona and fear Iago, but the central tragic figure is Othello, and our feelings about him are mixed. The particular thing called tragedy that happens to the tragic hero does not depend on his moral status. If it is causally related to something he has done, as it generally is, the tragedy is in the inevitability of the consequences of the act, not in its moral significance as an act. Hence the paradox that in tragedy pity and fear are raised and cast out. Aristotle's hamartia or "flaw," therefore, is not necessarily wrongdoing, much less moral weakness: it may be simply a matter of being a strong character in an exposed position, like Cordelia. The exposed position is usually the place of leadership, in which a character is exceptional and isolated at the same time, giving us that curious blend of the inevitable and the incongruous which is peculiar to tragedy. The principle of the hamartia of leadership can be more clearly seen in naive high mimetic tragedy, as we get it in The Mirror for Magistrates and similar collections of tales based on the theme of the wheel of fortune. 
In low mimetic tragedy, pity and fear are neither purged nor absorbed into pleasures, but are communicated externally, as sensations. In fact the word "sensational" could have a more useful meaning in criticism if it were not merely an adverse value-judgement. The best word for low mimetic or domestic tragedy is, perhaps, pathos, and pathos has a close relation to the sensational reflex of tears. Pathos presents its hero as isolated by a weakness which appeals to our sympathy because it is on our own level of experience. I speak of a hero, but the central figure of pathos is often a woman or a child (or both, as in the death-scenes of Little Eva and Little Nell), and we have a whole procession of pathetic female sacrifices in English low mimetic fiction from Clarissa Harlowe to Hardy's Tess and James's Daisy Miller. We notice that while tragedy may massacre a whole cast, pathos is usually concentrated on a single character, partly because low mimetic society is more strongly individualized. 
Again, in contrast to high mimetic tragedy, pathos is increased by the inarticulateness of the victim. The death of an animal is usually pathetic, and so is the catastrophe of defective intelligence that is frequent in modern American literature. Wordsworth, who as a low mimetic artist was one of our great masters of pathos, makes his sailor's mother speak in a flat, dumpy, absurdly inadequate style about her efforts to salvage her son's clothes and "other property"— or did before bad criticism made him spoil his poem. Pathos is a queer ghoulish emotion, and some failure of expression, real or simulated, seems to be peculiar to it. It will always leave a fluently plangent funeral elegy to go and batten on something like Swift's memoir of Stella. Highly articulate pathos is apt to become a factitious appeal to self-pity, or tear-jerking. The exploiting of fear in the low mimetic is also sensational, and is a kind of pathos in reverse. The terrible figure in this tradition, exemplified by Heathcliff, Simon Legree, and the villains of Dickens, is normally a ruthless figure strongly contrasted with some kind of delicate virtue, generally a helpless victim in his power. 
The root idea of pathos is the exclusion of an individual on our own level from a social group to which he is trying to belong. Hence the central tradition of sophisticated pathos is the study of the isolated mind, the story of how someone recognizably like ourselves is. broken by a conflict between the inner and outer world, between imaginative reality and the sort of reality which is established by a social consensus. Such tragedy may be concerned, as it often is in Balzac, with a mania or obsession about rising in the world, this being the central low mimetic counterpart of the fiction of the fall of the leader. Or it may deal with the conflict of inner and outer life, as in Madame Bovary and Lord Jim, or with the impact of inflexible morality on experience, as in Melville's Pierre and Ibsen's Brand.
 The type of character involved here we may call by the Greek word "alazon", which means impostor, someone who pretends or tries to be something more than he is. The most popular types of alazon are the miles gloriosus and the learned crank or obsessed philosopher. We are most familiar with such characters in comedy, where they are looked at from the outside, so that we see only the social mask. But the alazon may be one aspect of the tragic hero as well: the touch of miles gloriosus in Tamburlaine, even in Othello, is unmistakable, as is the touch of the obsessed philosopher in Faust and Hamlet. It is very difficult to study a case of obsession, or even hypocrisy, from the inside, in a dramatic medium: even Tartuffe, as far as his dramatic function is concerned, is a study of parasitism rather than hypocrisy. The analysis of obsession belongs more naturally to prose fiction or to a semi-dramatic medium like the Browning monologue. For all the differences in technique and attitude, Conrad's Lord Jim is a lineal descendant of the miles gloriosus, of the same family as Shaw's Sergius or Synge's playboy, who are parallel types in a dramatic and comic setting. It is, of course, quite possible to take the alazon at his own valuation: this is done for instance by the creators of the inscrutable gloomy heroes in Gothic thrillers, with their wild or piercing eyes and their dark hints of interesting sins. The result as a rule is not tragedy so much as the kind of melodrama which may be defined as comedy without humor. When it rises out of this, we have a study of obsession presented in terms of fear instead of pity: that is, the obsession takes the form of an unconditioned will that drives its victim beyond the normal limits of humanity. One of the clearest examples is Heathcliff, who plunges through death itself into vampirism; but there are many others, ranging from Conrad's Kurtz to the mad scientists of popular pulp fiction.



THE MYTHOS OF AUTUMN: TRAGEDY 

Thanks as usual to Aristotle, the theory of tragedy is in considerably better shape than the other three mythoi, and we can deal with it more briefly, as the ground is more familiar. Without tragedy, all literary fictions might be plausibly explained as expressions of emotional attachments, whether of wish-fulfilment or of repugnance: the tragic fiction guarantees, so to speak, a disinterested quality in literary experience. It is largely through the tragedies of Greek culture that the sense of the authentic natural basis of human character comes into literature. In romance the characters are still largely dream-characters; in satire they tend to be caricatures; in comedy their actions are twisted to fit the demands of a happy ending. In full tragedy the main characters are emancipated from dream, an emancipation which is at the same time a restriction, because the order of nature is present. However thickly strewn a tragedy may be with ghosts, portents, witches, or oracles, we know that the tragic hero cannot simply rub a lamp and summon a genie to get him out of his trouble. Like comedy, tragedy is best and most easily studied in drama, but it is not confined to drama, nor to actions that end in disaster. Plays that are usually called or classified with tragedies end in serenity, like Cymbeline, or even joy, like Alcestis or Racine's Esther, or in an ambiguous mood that is hard to define, like Philoctetes. On the other hand, while a predominantly sombre mood forms part of the unity of the tragic structure, concentrating on mood does not intensify the tragic effect: if it did, Titus Andronicusmight well be the most powerful of Shakespeare's tragedies. 
The source of tragic effect must be sought, as Aristotle pointed out, in the tragic mythos or plot-structure. It is a commonplace of criticism that comedy tends to deal with characters in a social group, whereas tragedy is more concentrated on a single individual. We have given reasons in the first essay for thinking that the typical tragic hero is somewhere between the divine and the "all too human." This must be true even of dying gods: Prometheus, being a god, cannot die, but he suffers for his sympathy with the "dying ones" or "mortals" (brotoi), and even suffering has something subdivine about it. The tragic hero is very great as compared with us, but there is something else, something on the side of him opposite the audience, compared to which he is small. This something else may be called God, gods, fate, accident, fortune, necessity, circumstance, or any combination of these, but whatever it is the tragic hero is our mediator with it. 
The tragic hero is typically on top of the wheel of fortune, halfway between human society on the ground and the something greater in the sky. Prometheus, Adam, and Christ hang between heavens and earth, between a world of paradisal freedom and a world of bondage. Tragic heroes are so much the highest points in their human landscape that they seem the inevitable conductors of the power about them, great trees more likely to be struck by lightning than a clump of grass. Conductors may of course be instruments as well as victims of the divine lightning: Milton's Samson destroys the Philistine temple with himself, and Hamlet nearly exterminates the Danish court in his own fall. Something of Nietzsche's mountain-top air of transvaluation clings to the tragic hero: his thoughts are not ours any more than his deeds, even if, like Faustus, he is dragged off to hell for having them. Whatever eloquence or affability he may have, an inscrutable reserve lies behind it. Even sinister heroes—Tamburlaine, Macbeth, Creon—retain this reserve, and we are reminded that men will die loyally for a wicked or cruel man, but not for an amiable backslapper. Those who attract most devotion from others are those who are best able to suggest in their manner that they have no need of it, and from the urbanity of Hamlet to the sullen ferocity of Ajax, tragic heroes are wrapped in the mystery of their communion with that something beyond which we can see only through them, and which is the source of their strength and their fate alike. In the phrase which so fascinated Yeats, the tragic hero leaves his servants to do his "living" for him, and the center of tragedy is in the hero's isolation, not in a villain's betrayal, even when the villain is, as he often is, a part of the hero himself. 
As for the something beyond, its names are variable but the form in which it manifests itself is fairly constant. Whether the context is Greek, Christian, or undefined, tragedy seems to lead up to an epiphany of law, of that which is and must be. It can hardly be an accident that the two great developments of tragic drama, in classical fifth-century Hellas and in seventeenth-century Europe, were contemporary with the rise of Ionian and of Renaissance science. In such a world-view nature is seen as an impersonal process which human law imitates as best it can, and this direct relation of humanity and natural law is in the foreground. The sense in Greek tragedy that fate is stronger than the gods really implies that the gods exist primarily to ratify the order of nature, and that if any personality, even a divine one, possesses a genuine power of veto over law, it is most unlikely that he will want to exercise it. In Christianity much the same is true of the personality of Christ in relation to the inscrutable decrees of the Father. Similarly the tragic process in Shakespeare is natural in the sense that it simply happens, whatever its cause, explanation, or relationships. Characters may grope about for conceptions of gods that kill us for their sport, or for a divinity that shapes our ends, but the action of tragedy will not abide our questions, a fact often transferred to the personality of Shakespeare. 
In its most elementary form, the vision of law (dike) operates as lex talionis or revenge. The hero provokes enmity, or inherits a situation of enmity, and the return of the avenger constitutes the catastrophe. The revenge-tragedy is a simple tragic structure, and like most simple structures can be a very powerful one, often retained as a central theme even in the most complex tragedies. Here the original act provoking the revenge sets up an antithetical or counterbalancing movement, and the completion of the movement resolves the tragedy. This happens so often that we may almost characterize the total mythos of tragedy as binary, in contrast to the three-part saturnalia movement of comedy. 
We notice however the frequency of the device of making the revenge come from another world, through gods or ghosts or oracles. This device expands the conceptions of both nature and law beyond the limits of the obvious and tangible. It does not thereby transcend those conceptions, as it is still natural law that is manifested by the tragic action. Here we see the tragic hero as disturbing a balance in nature, nature being conceived as an order stretching over the two kingdoms of the visible and the invisible, a balance which sooner or later must right itself. The righting of the balance is what the Greeks called nemesis: again, the agent or instrument of nemesis may be human vengeance, ghostly vengeance, divine vengeance, divine justice, accident, fate or the logic of events, but the essential thing is that nemesis happens, and happens impersonally, unaffected, as Oedipus Tyrannus illustrates, by the moral quality of human motivation involved. In the Oresteia we are led from a series of revenge-movements into a final vision of natural law, a universal compact in which moral law is included and which the gods, in the person of the goddess of wisdom, endorse. Here nemesis, like its counterpart the Law (Torah) in Judaeo-Christianity, is not abolished but fulfilled: it is developed from a mechanical or arbitrary sense of restored order, represented by the Furies, to the rational sense of it expounded by Athena. The appearance of Athena does not turn the Oresteia into a comedy, but clarifies its tragic vision. 
There are two reductive formulas which have often been used to explain tragedy. Neither is quite good enough, but each is almost good enough, and as they are contradictory, they must represent extreme or limiting views of tragedy. One of these is the theory that all tragedy exhibits the omnipotence of an external fate. And, of course, the overwhelming majority of tragedies do leave us with a sense of the supremacy of impersonal power and of the limitation of human effort. But the fatalistic reduction of tragedy confuses the tragic condition with the tragic process: fate, in a tragedy, normally becomes external to the hero only after the tragic process has been set going. The Greek ananke or moira is in its normal, or pre-tragic, form the internal balancing condition of life. It appears as external or antithetical necessity only after it has been violated as a condition of life, just as justice is the internal condition of an honest man, but the external antagonist of the criminal. Homer uses a profoundly significant phrase for the theory of tragedy when he has Zeus speak of Aegisthus as going hyper moiron, beyond fate. 
The fatalistic reduction of tragedy does not distinguish tragedy from irony, and it is again significant that we speak of the irony of fate rather than of its tragedy. Irony does not need an exceptional central figure: as a rule, the dingier the hero the sharper the irony, when irony alone is aimed at. It is the admixture of heroism that gives tragedy its characteristic splendor and exhilaration. The tragic hero has normally had an extraordinary, often a nearly divine, destiny almost within his grasp, and the glory of that original vision never quite fades out of tragedy. The rhetoric of tragedy requires the noblest diction that the greatest poets can produce, and while catastrophe is the normal end of tragedy, this is balanced by an equally significant original greatness, a paradise lost. 
The other reductive theory of tragedy is that the act which sets the tragic process going must be primarily a violation of moral law, whether human or natural; in short, that Aristotle's hamartia or "flaw" must have an essential connection with sin or wrongdoing. Again it is true that the great majority of tragic heroes do possess hybris, a proud, passionate, obsessed or soaring mind which brings about a morally intelligible downfall. Such hybris is the normal precipitating agent of catastrophe, just as in comedy the cause of the happy ending is usually some act of humility, represented by a slave or by a heroine meanly disguised. In Aristotle the hamartia of the tragic hero is associated with Aristotle's ethical conception of proairesis, or free choice of an end, and Aristotle certainly does tend to think of tragedy as morally, almost physically, intelligible. It has already been suggested, however, that the conception of catharsis, which is central to Aristotle's view of tragedy, is inconsistent with moral reductions of it. Pity and terror are moral feelings, and they are relevant but not attached to the tragic situation. Shakespeare is particularly fond of planting moral lightning-rods on both sides of his heroes to deflect the pity and terror: we have mentioned Othello flanked by Iago and Desdemona, but Hamlet is flanked by Claudius and Ophelia, King Lear by his wicked daughters and Cordelia, and even Macbeth by Lady Macbeth and Duncan. In all these tragedies there is a sense of some far-reaching mystery of which this morally intelligible process is only a part. The hero's act has thrown a switch in a larger machine than his own life, or even his own society. All theories of tragedy as morally explicable sooner or later run into the question: is an innocent sufferer in tragedy (i.e., poetically innocent), Iphigenia, Cordelia, Socrates in Plato's Apology, Christ in the Passion, not a tragic figure? It is not very convincing to try to provide crucial moral flaws for such characters. Cordelia shows a high spirit, perhaps a touch of wilfulness, in refusing to flatter her father, and Cordelia gets hanged. Joan of Arc in Schiller has a moment of tenderness for an English soldier, and Joan is burned alive, or would have been if Schiller had not decided to sacrifice the facts to save the face of his moral theory. Here we are getting away from tragedy, and close to a kind of insane cautionary tale, like Mrs. Pipchin's little boy who was gored to death by a bull for asking inconvenient questions. Tragedy, in short, seems to elude the antithesis of moral responsibility and arbitrary fate, just as it eludes the antithesis of good and evil. 
In the third book of Paradise Lost, Milton represents God as arguing that he made man and woman "Sufficient to have stood, though free to fall." God knew that Adam and Eve would fall, but did not compel them to do so, and on that basis he disclaims legal responsibility. This argument is so bad that Milton, if he was trying to escape refutation, did well to ascribe it to God. Thought and act cannot be so separated: if God had foreknowledge he must have known in the instant of creating Adam and Eve that he was creating beings who would fall. Yet the passage is a most haunting and suggestive one nonetheless. For Paradise Lost is not simply an attempt to write one more tragedy, but to expound what Milton believed to be the archetypal myth of tragedy. Hence the passage is another example of existential projection: the real basis of the relation of Milton's God to Adam and Eve is the relation of the tragic poet to his hero. The tragic poet knowsthat his hero will be in a tragic situation, but he exerts all his power to avoid the sense of having manipulated that situation for his own purposes. He exhibits his hero to us as God exhibits Adam to the angels. If the hero was not sufficient to have stood, the mode is purely ironic; if he was not free to fall, the mode is purely romantic, the story of an invincible hero who will conquer all his antagonists as long as the story is about him. Now most theories of tragedy take one great tragedy as their norm: thus Aristotle's theory is largely founded on Oedipus Tyrannus, and Hegel's on Antigone. In seeing the archetypal human tragedy in the story of Adam and Eve and their Fall from Grace, Milton was, of course, in agreement with the whole Judaeo-Christian cultural tradition, and perhaps arguments drawn from the story of Adam and Eve may have better luck in literary criticism than in subjects compelled to assume Adam's and Eve's real existence, either as fact or as a merely legal fiction. Chaucer's monk, who clearly understood what he was doing, began with Lucifer; and we may be well advised to follow his example. 
Adam and Eve, then, a rein a heroic human situation: on top of the wheel of fortune, with the destiny of the gods almost within their reach. Forfeiting that destiny in a way which suggests moral responsibility to some and a conspiracy of fate to others. What they have done is to exchange a fortune of unlimited freedom for the fate involved in the consequences of the act of exchange, just as, for one who deliberately jumps off a precipice, the law of gravitation acts as fate for the brief remainder of their life. The exchange is presented by Milton as itself a free act or proairesis, a use of freedom to lose freedom. And just as comedy often sets up an arbitrary law and then organizes the action to break or evade it, so tragedy presents the reverse theme of narrowing a comparatively free life into a process of causation. This happens to Macbeth when he accepts the logic of usurpation, to Hamlet when he accepts the logic of revenge, to King Lear when he accepts the logic of abdication. The discovery or anagnorisis which comes at the end of the tragic plot is not simply the knowledge by the hero of what has happened to him —Oedipus Tyrannus, despite its reputation as a typical tragedy, is rather a special case in that regard—but the recognition of the determined shape of the life he has created for himself, with an implicit comparison with the uncreated potential life he has forsaken. The line of Milton dealing with the fall of the devils, "O how unlike the place from whence they fell!", referring as it does both to Virgil's quantum mutatus ab illo and Isaiah's "How art thou fallen from heaven, O Lucifer son of the morning," combines the Classical and the Judaeo-Christian archetypes of tragedy—for Satan, of course, possessed an original glory. In Milton the complement to the vision of Adam on top of the wheel of fortune and falling into the world of the wheel is Jesus Christ standing on the pinnacle of the temple, urged by Satan to fall, and remaining motionless. As soon as Adam and Eve fall, they enters their own created life, which is also the order of nature as we know it. The tragedy of Adam and Eve, therefore, resolves, like all other tragedies, in the manifestation of natural law. They enter a world in which existence is itself tragic, not existence modified by an act, deliberate or unconscious. Merely to exist is to disturb the balance of nature. Every natural individual is a Hegelian thesis, and implies a reaction: every new birth provokes the return of an avenging death. This fact, in itself ironic and now called Angst, becomes tragic when a sense of a lost and originally higher destiny is added to it. Aristotle's hamartia, then, is a condition of being, not a cause of becoming: the reason why Milton ascribes his dubious argument to God is that he is so anxious to remove God from a predetermined causal sequence. On one side of the tragic hero is an opportunity for freedom, on the other the inevitable consequence of losing that freedom. These two sides of Adam's and Eve's situation are represented in Milton by the speeches of Raphael and Michael respectively. Even with an innocent hero or martyr the same situation arises: in the Passion story it occurs in Christ's prayer in Gethsemane. Tragedy seems to move up to an Augenblick or crucial moment from which point the road to what might have been and the road to what will be can be simultaneously seen. Seen by the audience, that is: it cannot be seen by the hero if he is in a state of hybris, for in that case the crucial moment is for him a moment of dizziness, when the wheel of fortune begins its inevitable cyclical movement downward. 
In Adam's and Eve's situation there is a feeling, which in Christian tradition can be traced back at least to St. Augustine, that time begins with the fall from grace; that the fall from liberty into the natural cycle also started the movement of time as we know it. In other tragedies too we can trace the feeling that nemesis is deeply involved with the movement of time, whether as the missing of a tide in the affairs of men, as a recognition that the time is out of joint, as a sense that time is the devourer of life, the mouth of hell at the previous moment, when the potential passes forever into the actual, or, in its ultimate horror, Macbeth's sense of it as simply one clock-tick after another. In comedy time plays a redeeming role: it uncovers and brings to light what is essential to the happy ending.
The subtitle of Greene's Pandosto, the source of The Winter's Tale, is "The Triumph of Time," and it well describes the nature of Shakespeare's action, where time is introduced as a chorus. But in tragedy the cognitio is normally the recognition of the inevitability of a causal sequence in time, and the forebodings and ironic anticipations surrounding it are based on a sense of cyclical return. In irony, as distinct from tragedy, the wheel of time completely encloses the action, and there is no sense of an original contact with a relatively timeless world. In the Bible the tragic fall of Adam and Eve is followed by its historical repetition, the fall of Israel into Egyptian bondage, which is, so to speak, its ironic confirmation. Panta rhei, everything returns. As long as the Geoffrey version of British history (which traced the British Celts to Trojan ancestors) was accepted, the fall of Troy was the corresponding event in the history of Britain, and, as the fall of Troy began with an idolatrous misapplication of an apple, there were even symbolic parallels. Shakespeare's most ironic play, Troilus and Cressida, presents in Ulysses (Odysseus!) the voice of worldly wisdom, expounding with great eloquence the two primary categories of the perspective of tragic irony in the fallen world, time and the hierarchic chain of being. The extraordinary treatment of the tragic vision of time by Nietzsche's Zarathustra, in which the heroic acceptance of cyclical return becomes a glumly cheerful acceptance of a cosmology of identical recurrence, marks the influence of an age of irony. 
Anyone accustomed to think archetypally of literature will recognize in tragedy a mimesis of sacrifice. Tragedy is a paradoxical combination of a fearful sense of Tightness (the hero must fall) and a pitying sense of wrongness (it is too bad that he falls). There is a similar paradox in the two elements of sacrifice. One of these is communion, the dividing of a heroic or divine body among a group which brings them into unity with, and as, that body. The other is propitiation, the sense that in spite of the communion the body really belongs to another, a greater, and a potentially wrathful power. The ritual analogies to tragedy are more obvious than the psychological ones, for it is irony, not tragedy, that represents the nightmare or anxiety-dream. But, just as the literary critic finds Freud most suggestive for the theory of comedy, and Jung for the theory of romance, so for the theory of tragedy one naturally looks to the psychology of the will to power, as expounded in Adler and Nietzsche. Here one finds a "Dionysiac" aggressive will, intoxicated by dreams of its own omnipotence, impinging upon an "ApolIonian" sense of external and immovable order. As a mimesis of ritual, the tragic hero is not really killed or eaten, but the corresponding thing in art still takes place, a vision of death which draws the survivors into a new unity. As a mimesis of dream, the inscrutable tragic hero, like the proud and silent swan, becomes articulate at the point of death, and the audience, like the poet in Kubla Khan, revives his song within itself. With his fall, a greater world beyond which his gigantic spirit had blocked out becomes for an instant visible, but there is also a sense of the mystery and remoteness of that world. 
If we are right in our suggestion that romance, tragedy, irony and comedy are all episodes in a total quest-myth, we can see how it is that comedy can contain a potential tragedy within itself. In myth, the hero is a god, and hence he does not die, but dies and rises again. The ritual pattern behind the catharsis of comedy is the resurrection that follows the death, the epiphany or manifestation of the risen hero. In Aristophanes the hero, who often goes through a point of ritual death, is treated as a risen god, hailed as a new Zeus, or given the quasi-divine honors of the Olympic victor. In New Comedy the new human body is both a hero and a social group. The Aeschylean trilogy proceeds to the comic satyr-play, which is said to have affinities with spring festivals. Christianity, too, sees tragedy as an episode in the divine comedy, the larger scheme of redemption and resurrection. The sense of tragedy as a prelude to comedy seems almost inseparable from anything explicitly Christian. The serenity of the final double chorus in the St. Matthew Passion would hardly be attainable if composer and audience did not know that there was more to the story. Nor would the death of Samson lead to "calm of mind, all passion spent," if Samson were not a prototype of the rising Christ, associated at the appropriate moment with the phoenix. 
This is an example of the way in which myths explain the structural principles behind familiar literary facts, in this case the fact that to make a sombre action end happily is easy enough, and to reverse the procedure almost impossible. (Of course we have a natural dislike of seeing pleasant situations turn out disastrously, but if a poet is working on a solid structural basis, our natural likes and dislikes have nothing to do with the matter.) Even Shakespeare, who can do anything, never does quite this. The action of King Lear, which seems heading for some kind of serenity, is suddenly wrenched into agony by the hanging of Cordelia, providing a conclusion which the stage refused to act for over a century, but none of Shakespeare's tragedies impresses us as a comedy gone wrong: Romeo and Juliet has a suggestion of such a structure, but it is only a suggestion. Hence while of course a tragedy may contain a comic action, it contains it only episodically as a subordinate contrast or underplot. 
The characterization of tragedy is very like that of comedy in reverse. The source of nemesis, whatever it is, is an eiron, and may appear in a great variety of agents, from wrathful gods to hypocritical villains. In comedy we noticed three main types of eiron characters: a benevolent withdrawing and returning figure, the tricky slave or vice, and the hero and heroine. We have the tragic counterpart to the withdrawn eiron in the god who decrees the tragic action, like Athena in Ajax or Aphrodite in Hippolytus; a Christian example is God the Father in Paradise Lost. He may also be a ghost, like Hamlet's father; or it may not be a person at all but simply an invisible force known only by its effects, like the death that quietly seizes on Tamburlaine when the time has come for him to die. Often, as in the revenge-tragedy, it is an event previous to the action of which the tragedy itself is the consequence. 
A tragic counterpart to the vice or tricky slave may be discerned in the soothsayer or prophet who foresees the inevitable end, or more of it than the hero does, like Teiresias. A closer example is the Machiavellian villain of Elizabethan drama, who, like the vice in comedy, is a convenient catalyzer of the action because he requires the minimum of motivation, being a self-starting principle of malevolence. Like the comic vice, too, he is something of an architectus or projection of the author's will, in this case for a tragic conclusion. " I limned this night-piece," says Webster's Lodovico, "and it was my best." Iago dominates the action of Othello almost to the point of being a tragic counterpart to the black king or evil magician of chivalric romance, and to this archetype's modern-day descendant, the dark overlord of high fantasy and space opera. The affinities of the Machiavellian villain with the diabolical are naturally close, and he may be an actual devil like Mephistopheles, but the sense of awfulness belonging to an agent of catastrophe can also make him something more like the high priest of a sacrifice. There is a touch of this in Webster's Bosola. King Lear has a Machiavellian villain in Edmund, and Edmund is contrasted with Edgar. Edgar, with his bewildering variety of disguises, his appearance to blind or mad people in different roles, and his tendency to appear on the third sound of the trumpet and to come pat like the catastrophe of the old comedy, seems to be an experiment in a new type, a kind of tragic "virtue," if I may coin this word by analogy, a counterpart in the order of nature to a guardian angel or similar attendant in chivalric romance,
high fantasy, and space opera. 
The tragic hero usually belongs of course to the alazon group, an impostor in the sense that he is self-deceived or made dizzy by hybris. In many tragedies he begins as a semi-divine figure, at least in his own eyes, and then an inexorable dialectic sets to work which separates the divine pretence from the human actuality. "They told me I was everything," says Lear: "'tis a lie; I am not agueproof." The tragic hero is usually vested with supreme authority, but is often in the more ambiguous position of a tyrannos whose rule depends on his own abilities, rather than a purely hereditary or de jure monarch (basileus) like Duncan. The latter is more directly a symbol of the original vision or birthright, and is often a somewhat pathetic victim, like Richard II, or even Agamemnon. Parental figures in tragedy have the same ambivalence that they have in all other forms. 
We found in comedy that the term bomolochos or buffoon need not be restricted to farce, but could be extended to cover comic characters who are primarily entertainers, with the function of increasing or focussing the comic mood. The corresponding contrasting type in tragedy is the suppliant, the character, often female, who presents a picture of unmitigated helplessness and destitution. Such a figure is pathetic, and pathos, though it seems a gentler and more relaxed mood than tragedy, is even more terrifying. Its basis is the exclusion of an individual from a group, hence it attacks the deepest fear in ourselves that we possess—a fear much deeper than the relatively cosy and sociable bogey of hell. In the figure of the suppliant pity and terror are brought to the highest possible pitch of intensity, and the awful consequences of rejecting the suppliant for all concerned is a central theme of Greek tragedy. Suppliant figures are often women threatened with death or rape, or children, like Prince Arthur in King John. The fragility of Shakespeare's Ophelia marks an affinity with the suppliant type. Often, too, the suppliant is in the structurally tragic position of having lost a place of greatness: this is the position of Adam and Eve in the tenth book of Paradise Lost, of the Trojan women after the fall of Troy, of Oedipus in the Colonus play, and so on. A subordinate figure who plays the role of focussing the tragic mood is the messenger who regularly announces the catastrophe in Greek tragedy. In the final scene of comedy, when the author is usually trying to get all his characters on the stage at once, we often notice the introduction of a new character, generally a messenger bearing some missing piece of the cognitio, such as Jacques de Bois in As You Like It or the gentle astringer in All's Well, who represents the comic counterpart. 
Finally, a tragic counterpart of the comic refuser of festivity may be discerned in a tragic type of plain dealer who may be simply the faithful friend of the hero, like Horatio in Hamlet, but is often an outspoken critic of the tragic action, like Kent in King Lear or Enobarbus in Antony and Cleopatra. Such a character is in the position of refusing, or at any rate resisting, the tragic movement toward catastrophe. Abdiel's role in the tragedy of Satan in Paradise Lost is similar. The familiar figures of Cassandra and Teiresias combine this role with that of the soothsayer. Such figures, when they occur in a tragedy without a chorus, are often called chorus characters, as they illustrate one of the essential functions of the tragic chorus. In comedy a society forms around the hero: in tragedy the chorus, however faithful, usually represents the society from which the hero is gradually isolated. Hence what it expresses is a social norm against which the hero's hybris may be measured. The chorus is not the voice of the hero's conscience by any means, but very seldom does it encourage him in his hybris or prompt him to disastrous action. The chorus or chorus character is, so to speak, the embryonic germ of comedy in tragedy, just as the refuser of festivity, the melancholy Jacques or Alceste, is a tragic germ in comedy. 
In comedy the erotic and social affinities of the hero are combined and unified in the final scene; tragedy usually makes love and the social structure irreconcilable and contending forces, a conflict which reduces love to passion and social activity to a forbidding and imperative duty. Comedy is much concerned with integrating the family and adjusting the family to society as a whole; tragedy is much concerned with breaking up the family and opposing it to the rest of society. This gives us the tragic archetype of Antigone, of which the conflict of love and honor in Classical French drama, of Neigung and Pflicht in Schiller, of passion and authority in the Jacobeans, are all moralized simplifications. Again, just as the heroine of comedy often ties together the action, so it is obvious that the central female figure of a tragic action will often polarize the tragic conflict. Eve, Helen, Gertrude, and Emily in the Knight's Tale are some ready instances: the structural role of Briseis in the Iliad is similar. Comedy works out the proper relations of its characters and prevents adopted heroes from marrying their biological sisters or mothers (ditto adopted heroines from marrying their biological fathers or brothers); tragedy presents the disaster of Oedipus or the incest of Siegmund. There is a great deal in tragedy about pride of race and birthright, but its general tendency is to isolate a ruling or noble family from the rest of society. 

The phases of tragedy move from the heroic to the ironic, the first three corresponding to the first three phases of romance, the last three to the last three of irony. The first phase of tragedy is the one in which the central character is given the greatest possible dignity in contrast to the other characters, so that we get the perspective of a stag pulled down by a pack of wolves. The sources of dignity are courage and innocence, and in this phase the hero or heroine usually is innocent. This phase corresponds to the myth of the birth of the hero in romance, a theme which is occasionally incorporated into a tragic structure, as in Racine's Athalie. But owing to the unusual difficulty of making an interesting dramatic character out of an infant, the central and typical figure of this phase is the calumniated woman, often a mother whose conjugal fidelity, and/or the legitimacy of whose child, is suspected. A whole series of tragedies based on a Griselda figure belong here, stretching from the Senecan Octavia to Hardy's Tess, and including the tragedy of Hermione in The Winter's Tale. If we are to read Alcestis as a tragedy, we have to see it as a tragedy of this phase in which Alcestis is violated by Death and then has her fidelity vindicated by being restored to life. Cymbeline belongs here too: in this play the theme of the birth of the hero appears offstage, for Cymbeline was the king of Britain at the time of the birth of Christ, and the halcyon peace in which the play concludes has a suppressed reference to this. 
An even clearer example, and certainly one of the greatest in English literature, is The Duchess of Malfi. The Duchess has the innocence of abundant life in a sick and melancholy society, where the fact that she has "youth and a little beauty" is precisely why she is hated. She reminds us too that one of the essential character istics of innocence in the martyr is an unwillingness to die. When Bosola comes to murder her he makes elaborate attempts to put her half in love with easeful death and to suggest that death is really a deliverance. The attempt is motivated by a grimly controlled pity, and is roughly the equivalent of the vinegar sponge in the Passion. When the Duchess, her back to the wall, says " I am the Duchess of Malfi still,""still" having its full weight of "always," we understand how it is that even after her death her invisible presence continues to be the most vital character in the play. The White Devil is an ironic parody-treatment of the same phase. 
The second phase corresponds to the youth of the storybook hero, and is in one way or another the tragedy of innocence in the sense of inexperience, usually involving young people. It may be simply the tragedy of a youthful life cut off, as in the stories of Iphigeneia and Jephthah's daughter, of Romeo and Juliet, or, in a more complex situation, in the bewildered mixture of idealism and priggishness that brings Hippolytus to disaster. The simplicity of Shaw's Joan and her lack of worldly wisdom place her here also. For us however the phase is dominated by the archetypal tragedy of the green and golden world, the loss of the innocence of Adam and Eve, who, no matter how heavy a doctrinal load they have to carry, will always remain dramatically in the position of children baffled by their first contact with an adult situation. In many tragedies of this type the central character survives, so that the action closes with some adjustment to a new and more mature experience. "Henceforth I learn that to obey is best," says Adam, as he and Eve go hand in hand out to the world before them. A less clear cut but similar resolution occurs when Philoctetes, whose serpent wound reminds us a little of Adam, is taken off his island to enter the Trojan war. Ibsen's Little Eyolf is a tragedy of this phase, and with the same continuing conclusion, in which it is the older characters who are educated through the death of a child. 
The third phase, corresponding to the central quest-theme of chivalric romance, high fantasy, and space opera, is tragedy in which a strong emphasis is thrown on the success or completeness of the hero's achievement. The Passion belongs here, as do all tragedies in which the hero is in any way related to or a prototype of Christ, like Samson Agonistes. The paradox of victory within tragedy may be expressed by a double perspective in the action. Samson is a buffoon of a Philistine carnival and simultaneously a tragic hero to the Israelites, but the tragedy ends in triumph and the carnival in catastrophe. Much the same is true of the mocked Christ in the Passion. But just as the second phase often ends in anticipation of greater maturity, so this one is often a sequel to a previous tragic or heroic action, and comes at the end of a heroic life. One of the greatest dramatic examples is Oedipus at Colonus, where we find the usual binary form of a tragedy conditioned by a previous tragic act, ending this time not in a second disaster, but in a full rich serenity that goes far beyond a mere resignation to Fate. In narrative literature we may cite Beowulf's last fight with the dragon, the pendant to his Grendel quest. Shakespeare's Henry V is a successfully completed romantic quest made tragic by its implicit context: everybody knows that King Henry died almost immediately and that sixty years of unbroken disaster followed for England—at least, if anyone in Shakespeare's audience did not know that, his ignorance was certainly no fault of Shakespeare's. 
The fourth phase is the typical fall of the hero through hybris and hamartia that we have already discussed. In this phase we cross the boundary line from innocence to experience, which is also the direction in which the hero falls. 
In the fifth phase the ironic element increases, the heroic decreases, and the characters look further away and in a smaller perspective. Timon of Athens impresses us as more ironic and less heroic than the better known tragedies, not simply because Timon is a more middle-class hero who has to buy what authority he has, but because the feeling that Timon's suicide has somehow failed to make a fully heroic point is very strong. Timon is oddly isolated from the final action, in which the breach between Alcibiades and the Athenians closes up over his head, in striking contrast with the conclusions of most of the other tragedies, where nobody is allowed to steal the show from the central character. 
The ironic perspective in tragedy is attained by putting the characters in a state of lower freedom than the audience. For a Christian audience an Old Testament or pagan setting is ironic in this sense, as it shows its characters moving according to the conditions of a law, whether Jewish or natural, from which the audience has been, at least theoretically, redeemed. Samson Agonistes, though unique in English literature, presents a combination of Classical form and Hebrew subject-matter that the greatest contemporary tragedian, Racine, also reached at the end of his life in Athalie and Esther. Similarly the epilogue to Chaucer's Troilus puts a Courtly Love tragedy into its historical relation to "payens corsed olde rites." The events in Geoffrey of Monmouth's British history are supposed to be contemporary with those of the Old Testament, and the sense of life under the law is present everywhere in King Lear. The same structural principle accounts for the use of astrology and other fatalistic machinery connected with the turning wheels of fate or fortune. Romeo and Juliet are star-crossed, and Troilus loses Criseyde because every five hundred years Jupiter and Saturn meet the crescent moon in Cancer and claim another victim. The tragic action of the fifth phase presents for the most part the tragedy of lost direction and lack of knowledge, not unlike the second phase except that the context is the world of adult experience. Oedipus Tyrannus belongs here, and all tragedies and tragic episodes which suggest the existential projection of fatalism, and, like much of the Book of Job, seem to raise metaphysical or theological questions rather than social or moral ones. 
Oedipus Tyrannus, however, is already moving into the sixth phase of tragedy, a world of shock and horror in which the central images are images of sparagmos, that is, cannibalism, mutilation, and torture. The specific reaction known as shock is appropriate to a situation of cruelty or outrage. (The secondary or false shock produced by the outrage done to some emotional attachment or fixation, as in the critical reception of Jude the Obscure or Ulysses, has no status in criticism, as false shock is a disguised resistance to the autonomy of culture.) Any tragedy may have one or more shocking scenes in it, but sixth-phase tragedy shocks as a whole, in its total effect. This phase is more common as a subordinate aspect of tragedy than as its main theme, as unqualified horror or despair makes a difficult cadence. Prometheus Bound is a tragedy of this phase, though this is partly an illusion due to its isolation from the trilogy to which it belongs. In such tragedies the hero is in too great agony or humiliation to gain the privilege of a heroic pose, hence it is usually easier to make him a villainous hero, like Marlowe's Barabas, although Faustus also belongs to the same phase. Seneca is fond of this phase, and bequeathed to the Elizabethans an interest in the gruesome, an effect which usually has some connection with mutilation, as when Ferdinand offers to shake hands with the Duchess of Malfi and gives her a dead man's hand. Titus Andronicus is an experiment in Senecan sixth-phase horror which makes a great deal of mutilation, and shows also a strong interest, from the opening scene on, in the sacrificial symbolism of tragedy. At the end of this phase we reach a point of demonic epiphany, where we see or glimpse the undisplaced demonic vision, the vision of the Inferno. Its chief symbols, besides the prison and the madhouse, are the instruments of a torturing death, the cross under the sunset being the antithesis of the tower under the moon. A strong element of demonic ritual in public punishments and similar mob amusements is exploited by tragic and ironic myth. Breaking on the wheel becomes King Lear's wheel of fire; bear-baiting is an image for Gloucester and Macbeth, and for the crucified Prometheus the humiliation of exposure, the horror of being watched, is a greater misery than the pain. Derkou theama (behold the spectacle; get your staring over with ) is his bitterest cry. The inability of Milton's blind Samson to stare back is his greatest torment, and one which forces him to scream at Delilah, in one of the most terrible passages of all tragic drama, that he will tear her to pieces if she touches him.


ALLONS ENFANTS DE LA PATRI-I-IE...

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Allons enfants de la Patrie... #14Juillet#PriseDeLaBastille#CoqGaulois#FêteNationale#LaMarseillaise #AllonsEnfantsDeLaPatrie #AllYouNeedIsLove





Les mecs du café Musain nous souhaitent aussi une joyeuse fête nationale!

#Enjoltaire #14Juillet#PriseDeLaBastille#FêteNationale#LaMarseillaise #AllonsEnfantsDeLaPatrie #AllYouNeedIsLove

CHANBARA AU:S (FOR WESTERN LITERATURE)

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CHANBARA OTHELLO - The first one:
Oni no Me mo Mi-mo Namida (Even Ogres have Tears in their Eyes)

Ever since he was orphaned and fled persecution from the Catholic League and Inquisition in his native Low Countries (so it's 30YW times or such) by stowing away on a clipper, Louis has been a stranger in this strange island nation as rent by war as the Europe he left behind. Towering head and shoulders over everyone else, blond, blue-eyed, bearded, and burned rosy by the hot sun, he's had to struggle for his life, and for a niche in the establishment, since he landed here as a pre-adolescent.
With his second-in-command and boyhood friend Ritsu-kun, an Osaka lowlife with his wits about him (and who sees the fair leader as more than just a friend), Louis Vreeswijk, now called Aka-Oni (Red Ogre), leads a rebel group against the shogunate. However, a botched castle-storming has the paths of Louis and Ritsu cross with those of Ayame, a kind-hearted heiress (and daughter of the iron lady dowager Kikuhime); her adopted brother and playmate Hideki, and her intended fiancé Ryóga. By Ayame's and Hideki's side, Louis finally sees that there are those who love him, instead of dreading him, for his strange features, seeing the man instead of the monster -and the feeling is mutual, reciprocated. Too sorry that a jealous Ritsu takes advantage of Ryoga's shyness, Hideki's weak head for liquor, and finally Louis's deepest fears about Ayame... all to keep the one he loves all for himself...

Cast:
Louis Vreeswijk (Othello)
Ayame Sengakuji (Desdemona)
Ritsu (Iago)
Ryóga (Roderigo)
Hideki Kisaragi (Cassio)
Akira (Emilia/Bianca; also significantly an onnagata, ie a crossdressing actor)

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SHARED FRENCH UNIVERSE - CHANBARA AU

Tachibana-ichizoku (Danglars): wealthy bourgeois from Osaka, the spotlight is on them in "Izumo no Michi" (The Road to Izumo - compare La route de Belgique)
  • Yúto Tachibana (Julien Danglars)
  • Michiru Tachibana (Hermione Danglars)
  • Akira Tachibana / "Akio Tsubaki" (Eugénie Danglars / "Léon d'Armilly")
  • Kaede Tsubaki (Louise d'Armilly)
  • Tachibana-jiiya (Étienne)
  • --
  • "Prince André d'Orange" / Yukio Fubuki ("Andrea Cavalcanti" / Benedetto)
  • --
  • Okuni of Izumo / Izumo no Okuni (historical character, fills in the roles of the Italian theatre directors who employ Eugénie and Louise - employs Akira and Kaede in her all-female troupe)

Pluijter-ichizoku (de Villefort): immigrants from the Low Countries who, in spite of the racism they encountered, have risen to become prominent Edo-based magistrates. However, the patriarch's remarriage has created a dysfunctional household:
  • Geeraert "Geert" Pluijter (Gérard de Villefort)
  • Renate Pluijter+ (Renée de Villefort+) 
  • Valeria Pluijter (Valentine de Villefort)
  • Cornelia "Oma" Pluijter (Composite character of Noirtier de Villefort + Mme. de Saint-Méran)
  • Willem "Will" (Barrois)
  • ---
  • Asagao Pluijter (Héloïse de Villefort - her given name means both "convolvulus" and "datura" ;) )
  • Shinobu-Edward Pluijter (Édouard de Villefort)
  • ---
  • Masayoshi (Maximillien Morrel; a stateless ronin)
  • Sayuri "Yuri-chan" (Julie Morrel; a war orphan and Masayoshi's adopted sister)


Jiyuu no Nakama (Amis de l'ABC): a rebel group at war against the shogunate and shinsengumi (praetorian guard) - they have their base at an izakaya, coming from different walks of life:
  • Atsushi Kurenai (Enjolras): lordling, the aloof leader. Wears a blond wig and actor's make-up courtesy of Fujiko -is naturally Asian, raven-haired-.
  • Kakeru (Combeferre): the scholar of the group, and the only sane man as he says; wears spectacles
  • Kenpachi Sengakuji (Courfeyrac): lordling, uses his umbrella/parasol as a weapon, concealing a rapier within the cane and spinning it around for hypnotic effect, as well as using it for a parachute
  • Fujiko (Fujitaka) Hanasaki (Jehan Prouvaire): lordling, an onnagata who provides the group with atrezzo and costumes - including Kurenai-kun's blond wig and make-up; he became a crossdressing performer to overcome stage fright
  • Tsukasa Yakushiji (Joly): a meek medicine seller and lovable eccentric - the medic of the group
  • Daikaku "Dai" (Grantaire "R"): idealises Kurenai-sama and would gladly die for him. A witty self-made trickster from Osaka and left-handed/left-footed drunken master of martial arts (drunken monkey/drunken fist style) who often signs with the kanji for "dai/big" alone (much like Grantaire signs with a capital R)
  • Takashi (Feuilly/Lesgle composite): an orphan from Hokkaido with a bald head and impossibly bad luck, he works at the izakaya where the others hang out
  • Yuuma Jinbashi (Marius Pontmercy): a translator and interpreter working for Europeans; disowned scion of the Narunogawa-ichizoku due to his father, Jinbashi-sama (the surname literally translates to "mercy-bridge"), being a freedom fighter. Finally, he marries Tsugumi Kisaragi
???-ichizoku (Korean immigrants who have risen to prominence in the military):
  • *** (Ferran Mondiego de Morcerf): a shinsengumi captain - who betrayed the lieutenant of his company to become next in line, and that was only his first atrocious feat - commits seppuku at the end of it all 
  • *** (Mercè / Mercedes Mondiego de Morcerf): Not originally his fiancée, but he forced her into marriage. Is very close to her boy, whom she dotes on and whose real father is a secret she keeps
  • Yong-Koo **** (Albert Mondiego de Morcerf): an innocent and sheltered young man of high rank whose life is suddenly overturned when Gozen-sama saves his life and frees him from a brigands' lair...
  • Frans van der Valk (Franz d'Épinay): Yong-Koo's European best friend since childhood. Holds a grudge against the Pluijters in general, and Geert Pluijter in particular. Frans is also in love with Yong-Koo; 'tis a pity his beloved is straight!

Gozen-sama (The Count) and his entourage of European servants
  • Gozen-sama (real name ****???): (Edmond Dantès): a sailor from Osaka, marooned since he was accused of plotting against the shogunate, now he has returned in French court dress and with a new identity
  • Heidi (Haydée): a coast pirate from the Low Countries and Gozen-sama's mistress, adopted daughter, and overall personal assistant
  • Han (Ali): another coast pirate from the Low Countries, a bear of a man, and Gozen-sama's bodyguard (looks like Han Solo mashed up with Chewbacca)

The Kagurazuka Ryoukan (The Sergeant's Inn - also the Bell and Bottle counterpart in Izumo no Michi):
  • Ritsu Kagurazuka (Sgt. Thénardier): former arquebusier (ashigaru)
  • Azusa Kagurazuka (Mme. Thénardier) ran the family inn even unmarried, before marrying the surnameless ashigaru
  • Isuzu Kagurazuka (Éponine Thénardier) - also, like Akira Tachibana, she is fond of the all-female Okuni Troupe as well as having feelings for Yuuma
  • Karin Kagurazuka (Azelma Thénardier)
  • "Gaku" Kagurazuka (Gavroche Thénardier)
  • ---
  • Tsubame -later adopted and surnamed Kisaragi- (Cosette Fauchelevent)

Kisaragi-ichizoku (not a proper clan, since it only consists of an older benefactor and his adopted child):
  • Yonjuuro Kisaragi -real name Shuntaro, surnameless- (Jean Valjean / Ultime Fauchelevent)
  • Tsubame Kisaragi (Cosette Fauchelevent) - later marries Yuuma and becomes Tsubame Jinbashi (Cosette Pontmercy)
  • ----
  • Toshiro Hijikata (Javert) - a real-life shinsengumi lieutenant and the founding father of the corps, of peasant birth and orphaned as a young child - here he takes on the role of Javert

Sengakuji-ichizoku (main branch of the clan):
  • Koichiro Sengakuji (Philippe de Chagny)
  • Kojiro Sengakuji (Raoul de Chagny)
  • ---
  • Christina Sengakuji, née Daaé (Christina Daaé); a refugee from the Low Countries who got on the wrong boat as a child when she and her father were about to leave for Sweden due to Habsburg persecution; was adopted by the Sengakuji brothers - she is also the latest member of the Okuni Troupe
  • ---
  • Nadeshiko Hanasaki (Carlotta) - a proper lady and the star of the Okuni Troupe; Christina's rival. She is also Fujiko's sister (Fujiko of Jiyuu no Nakama), although no one would tell

Narunogawa-ichizoku -high-ranking elite courtiers, faithful to the shogunate-
  • Yoshizane Narunogawa (Luc-Esprit Gillenormand): the patriarch, a century-old eccentric
  • Kikuhime Narunogawa+: the prodigal daughter, who ran off with a rebel and died in childbirth
  • Suiren Narunogawa: the dutiful daughter, Yuuma's aunt and governess
  • Suiren's children: a shinsengumi lieutenant and a pampered little girl




    RIGHT HERE, RIGHT NOW; WE PUT THE OFFER OUT

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    Hugtto! Pretty Cure
    Episode 24 - My Own Review

    RIGHT HERE, RIGHT NOW; WE PUT THE OFFER OUT



    On Lulu's swimsuit:
    On Emiru's swimsuit:
    On Homare's swimsuit: AT LAST SHE WEARS SHORTS!!


    CHARALIT: Masters of the night...
    PAPPLE: Master and a half!
    CHARALIT: Video-sharing influencer...
    PAPPLE: Don't make me laugh!
    (Sung in Baron-Cohen and Bonham-Carter voices. Honestly, these two ex-Cryasse cadres remind me of no other Thénardiers!)









    http://hallofanimefame.blogspot.com/2018/07/hugtto-precure-ep-24-top-4-moments.html
    https://rorymuses.wordpress.com/2018/07/15/hugtto-precure-episode-24-power-of-smiles/

    MY OWN HUMBLE OPINION
    #UnEstateAlMare...



    YAAAAAY... EMILU DEBUT IN THEIR LIVE PERFORMANCE!!! <3 <3 <3 <3 
    I get that Gelos has already debuted, but you’d think she would be a bit stronger. It honestly felt as though Gelos didn’t even try. Heck, after Dr. Trauma’s debut, her fight was well below the bar, and I am not impressed. It certainly didn’t help how her butlers appearance were weak as hell, making it feel as though they have have purpose to their existence besides being her accessories. And then to top things off, the fight couldn’t have been more boring. I don’t really care that this was supposed to be a ‘fun’ episode, they should have had a better follow up to last week’s fight, don’t drag it down again!
    I was surprised to see Charalit and Papple suddenly thrown into the mix, and as the ones responsible for recruiting Emiru and Lulu to join their talent agency (I knew it was only a matter of time before they would be scouted by anyone). If anything, if Lulu and Emiru were to get busy with that, this will only further isolate them from the group, given that it seems they have contrived to find the dream they want to pursue.
    It seems everything is still going according to George’s plans. Now more than ever. Honestly, I liked that we actually got to see at someone experience fear after having met the enemy. It is natural to feel that way. But what surprised me is how nobody but her mother noticed. And before long, it was something that was either quickly overshadowed by Emiru’s and Lulu’s performance, or will serve as an conflict that will grow over time. I honestly hope it’s the later, for story-telling sakes.


    Next week it looks like Homare will be back in the spotlight given her feelings for Harry. To top things off, not only Bishin will be making their (his? her?) debut and our favourite hamster’s secret is about to come out (about bloody time!). I am excited to see where this goes, hopefully it won’t disappoint.

    IN NEXT EPISODE (25):


    I would love our Étoile des Glaces to wear this tee, which would put the "marry" in Homarry!
    (Oh, Ginny Weasley, of course, would totally have one in her wardrobe as well...)

    THE QUEEN OF ZETA BOÖTIS

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    The Queen of Zeta Boötis




    The Rift she finds opens above the plane of Zeta Boötis. Gerda's breath catches. The network of stations stretches below her like a series of interconnected snowflakes. As always, the Swarm is beautiful. The pang she feels every time she catches sight of even the smallest scrap of their technology twists sharp and deep. She's home now.
    Doctor Peura's beacon pings in the periphery of her vision. Gerda pulls up her navigation display and traces the route back to him even though there's nothing for her to touch. Still, the act of reaching out and running her fingers through the holographic trail of Rifts and manmade Gates clears her head. She is not home.
    She widens the display. She is far from home. She follows the blue line recording her progress, past Mu Arae and Nu Lupi and their ancient oracles, past Iota Pucium and the smugglers, past Upsilon Andromedae and its generals, past Teegarden Station and its lonely AI, past it all clear back to Sol. That is home.
    The stations form a glittering ring around Zeta Boötis. And that is where Kai is. Gerda angles her Wasp towards the outermost ring of stations, following the tug of…whatever sits coiled behind her sternum. Something of her, or something of the Swarm that still lingers in her newest augmentations, the ones reverse engineered by Doctor Peura? She's not sure now. At Mu Arae, and even at Phi Boötis, where Doctor Peura had to stop, she'd been certain it was the bond she shares with Kai. They'd always done things in lockstep. Why wouldn't her oldest augmentations still be in tune with his?
    But now as she races towards the first ring of stations, the pull feels less like Kai and more like the twist of awe in her stomach when she watches the Swarm attack in their perfect formations. Something squeezes around her heart, calming its rapid beat and filling her with a sense of icy calm.
    Welcome home, my child.
    Home? But Sol is home. Or is Kai home?
    Yes. Kai is home, and Kai is here, so this must be home.
    A Rift blossoms before her, and a squad of drones bursts through and swirl around her. She eases her Wasp into its proper spot in the formation. Yes. This must be home. She fits in so well.
    Something twists in her chest, and her throat clenches tight. Sorrow, some distant part of her provides, that same distant part that came to her rescue at Teegarden. Left unacknowledged, it would turn to regret, and she's not one to live a life of regrets.
    She pulls out of formation and puts all available power in the Wasp's shields. She's barely fast enough. The drones turn on her, as fierce as they are breathtaking. Without her augmentations, she'd never have the reflexes to withstand their onslaught. Even as it is, she loses eighty-two percent of her shields and exhausts her ammunition breaking through the line.
    Resistance? Here? The tremor down her spine feels like a chuckle. How interesting. Shall I let you come closer, little girl?
    A plasma bolt tears through her Wasp's shields. Gerda rolls, but the damage is done. A solid hit to her portside thrusters. She spins, but she still has something resembling luck. She's angled towards one of the stations. One more hit will set her spiraling into it. She checks and double checks the seals on her suit.
    The drones swing back around. Gerda ejects and uses the debris of her poor little Wasp as cover. Between her momentum and the tiny thrusters on her suit, she can make it to the station, though if she doesn't grab on near an airlock, she'll die. The drones will spot her trick soon enough, and the station's hull can handle a spat of friendly fire to eliminate her.
    There! Gerda fires her tether. The tip of the magnet bounces off the hull. Gerda tightens her grip on the gun. "No!" The drones are coming. Between her sensory augmentations and her visor, she knows their exact location, their exact speed, and the trajectories of their most probable attacks. She doesn't have time for a second shot.
    The tether spins in a lazy arc, and then the magnet snaps tight. Gerda reels herself in, allows herself two relieved breaths, and then presses her palm to the airlock. Her faith in Doctor Peura is absolute. The nanites he injected in her do have the right codes. She will be able to enter the station.
    She will.
    One second. One point one. Two. Three. Her augmentations send a rush of adrenaline through her. Not that there's anywhere she can bolt once the drones are back in range. Still, it's nice to know her older augmentations still work flawlessly.
    And she may need that adrenaline once she's inside the station. Are more drones scurrying to her airlock, stingers ready?
    A pity she had to leave Mu Arae so quickly. Her plasma rifle would be handy. All she has on her is the torch Kai gave her years and years and years ago, and it's not much of a weapon.
    The airlock's handle twists beneath her. Gerda pushes it open and slides inside. The drones fire, but she's safe behind the hull. She keeps her gaze fixed on the airlock's inner door. A real pity about her plasma rifle. She curls her hand into a fist.
    The door pops open. The hallway outside is deserted. Gerda eases out, maximizing the sensitivity on her sensory augmentations. Nothing. This entire station is deserted.
    She still makes her way slowly through the hall. How many kilometers of corridors are in these stations? How many will she have to explore to find Kai? Her suit only has four more hours of air. After that, her choices are suffocate or risk the air in the stations. It's no doubt laden with Swarm nanites.
    That chuckling feeling strums down her spine again. So you do fear me.
    She fears failing. She'd lost a year at Teegarden. She can't afford to lose a year here. Every day, the drone programming drills deeper into Kai. He's waited five years. She won't make him (can't make him) wait six.
    You act as if he wants release. Oh, dear little girl, none of my children wish release. Remove your helmet, and I'll show you.
    No. Not now, not in four hours. Gerda presses her palm to the wall and sends one of the bursts Doctor Peura taught her. The echo of tiny spiders creeps over her scalp. She shudders. But the feeling's worth it, because now she has Kai's location. Two stations over, three levels down. She'll have to move fast to make it in four hours.
    * * *
    Gerda clings to a handhold, her arms burning in exhaustion. She's so close, but to get to Kai, she has to get through a recreation hall of sorts. Or is it a mess hall? The bits and bobs of Swarm technology in her newer augmentations don't offer up an answer. All she knows is that it's a massive hall with hundreds of insectoid drones. She's muted her hearing, but she can still hear the metallic tink tink tink of their legs as they scurry along the walls.She swings to the next handhold. No use cowering. The Queen knows she's here, so the drones know she's here. They'll attack or not according to the Queen's mood. The longer she stays still, the more air she wastes.
    The drones stop, and then in unison turn to face her. Gerda's pulse spikes, and her mouth goes dry, but she keeps pulling herself along the handholds. Apparently, the Queen's sport involves her finding Kai, or she'd be battling stronger gravity.
    She makes her way through the room and then climbs up a narrow hallway. A pair of drones skitter along behind her, but she refuses to pick up her pace. The spidery trail in her visor shows she's almost to Kai. Just a little further now. Just two more hours of air. She won't let fear shorten that time.
    The hallway opens into a large spherical room. Gerda pulls herself up over the rim of the opening and takes everything in. The room's walls are smooth and polished, gleaming like ice in the light from a tall dais, much too wide and much too tall for her to climb.
    But she'll have to, somehow, because Kai's kneeling at the top, his skin pale and translucent, reflecting the ripple of Swarm symbols streaming along the surface below him. He's working on some sort of puzzle, swiping at the surface with his fingers, trading one symbol for another dizzyingly fast.
    "Kai!"
    If he hears her, he gives her no indication. Gerda backs up and takes a running leap, but even in the low gravity, she can't get enough lift. She tries again and again and again until her breath's ragged and she's wasted so much air.
    Laughter ripples down her spine. You see. I've set him to a task, and his only wish is to finish it.
    "What task?"
    Take off your helmet, and I'll show you. You could help him. That is what you wish, isn't it?
    Yes…but not quite. Gerda presses her hands flat against the dais. If she could reach him, she could reach him, but there are no handholds, no imperfections in the surface she can use to haul herself up. And she feels so heavy now.
    Take off your helmet.
    No. She still has a half hour of air. Gerda slumps down and rests her back against the dais. "I'm here with you, Kai. For real, not just an echo like how I've been feeling you these past five years."
    No reply.
    She lets her hand fall to her belt. "I still have the torch you gave me. When I'm suited up, it's right here." She pats the case. "And when I'm planetside…"
    The torch! It's not much of a weapon, but it's perfect for cutting her way out of tight spots. Or for cutting serviceable handholds in a smooth surface. She sets to work.
    Twenty minutes of air. She won't make it halfway before fifteen. No, that's the Queen trying to discourage her. That thing isn't talking much now, but its laugher is a constant ripple down Gerda's spine. She pushes all doubt away.
    Fifteen now. Ten. Five, and she's almost at the top!
    Two. Gerda pulls herself over the edge. No time to savor it. One hundred seventeen seconds now. She crawls to Kai and curls her hands over his. "I'm here."
    He shakes her off.
    Gerda reaches for him again. "Kai, please."
    His fingers still. He looks up at her, cocking his head first to the left, then to the right, like the birds they used to watch search for worms.
    There's no helping it. She undoes the seals for her gloves and pulls them off so she can touch Kai, skin to skin, even though it exposes her to the Swarm nanites. She can reach him. She knows she can before the drone programming takes hold of her.
    Can you now?
    The ripple of laughter down her spine fades. Yes, she can. Gerda presses Kai's hands between hers. His skin is cold, and there's so little substance to him. He used to have massive hands. Now they're thin and too bony. "Kai."
    "I think…" He licks his lips. "I think I know you."
    Does he? Good. Maybe knows her name. She has one. She has to. Everyone does, right?
    No.
    That voice lies. It always has.
    He slides his hands free from hers and presses his fingers to her helmet. "I do." He slides his hands down and unfastens the locks, then lifts it off her. "You're…"
    "Who am I?" He has to know. If he doesn't, they're both lost.
    He touches her cheek, his fingers like pinpricks of ice. "Gerda."
    Yes! That's her name. "And you're Kai."
    And you are both mine.
    Kai shakes his head. "No. You gave me a task." He reaches down and slides one more symbol into place. "I finished it. Now I can go home."
    You think it's that easy? The surface beneath them shudders. A mass of drones scurry into the room and take flight, their metallic wings beating low enough to strum through Gerda. You think I will let you go?
    Gerda squeezes Kai's hand. "I passed a hangar two floors down. Care to steal a Wasp?"
    He raises his eyebrows. "Are you saying you came all this way to lead me to a life of piracy?"
    "Better pay than a marine. And technically, you're dead. Pirates tend not to do troublesome background checks."
    "I remember…your logic always twisted a little wrong."
    "My logic is flawless."
    Kai laughs. It's a dry, broken sound, but they can work on getting it back to what it once was. So now they have to escape. She squeezes his hand again and then picks up her torch. "Follow me."
    "I get lost when I don't."
    True. But she always finds him. Gerda takes a running leap and trusts him to follow.

    With Hammer, Plow, and Fire Bright

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    HER MAJESTY'S MOBILE AIRSTRIPS

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    ... with some assistance from Francesca “Franky” Cook (Angelina Jolie), commander of a mobile reconnaissance outpost for the Royal Navy.

    With insufficient fuel to make it there, they run into a Royal Navy flying aircraft carrier commanded by another of ... ex-flames, Commander Franky Cook.

    Franky leads the attack on the island lair ...
    •  Commander Francesca "Franky" Cook: She commands a Royal Navy flying aircraft carrier. Jolie had just arrived from the set of Lara Croft Tomb Raider: The Cradle of Life (2003) and agreed to work on the movie for three days. Despite her small role, she reportedly had conducted hours of interviews with fighter pilots in order to absorb their jargon and get a feel for the role.

    1. "Finding Frankie"– 5:02





    Mobile Airstrip


    The Mobile Airstrip was a atmospheric craft designed partly by Dexter Dearborn as an aircraft carrier capable of moving to areas out of reach for sea-faring craft.

    A Mobile Airstrip could be used as a mobile command post, a missile launching platform or a mobile aircraft command base. A standard airstrip carried as it's main defense force a large squadron of amphibious fighter craft, making it usable as a way of launching a large amount of craft into enemy territory. These craft proved critically useful in raiding an Island Base, where the amphibious craft escorted an allied vessel through a army of crab robots.
    A Mobile Airstrip is known to have at least a large amount of cannon, including small guns around the edge of the flight deck and 4 large turrets at each corner of the craft. It is safe to assume the airstrip has plenty more weapons than are visible, considering the size of the ship. Four rotors provide main thrust. The airstrip has radar and can launch radar imager missiles in addition to it's main radar.
    Mobile Airstrip Runway
    Rule Britannia

    The movie has the following Awesome, but Impractical machines:

    • Airborne Aircraft Carrier: Franky's heliocarrier, which serves as mobile recon outpost for the Royal Navy. The Royal Navy has a lot more of them, as seen in the end of the movie.
    Action Girl:
    • Never Trust a Trailer: Angelina Jolie is in the movie for all of 15 minutes, but you'd think she was a main character.
    • Noodle Incident:  when fellow fliers (and implied ex-lovers) Franky ...  share an incomprehensible nostalgia moment.
      ... and Franky: PROTECT THE RABBITS!!! PROTECT THE RABBITS!!!
      • Redshirt Army: Additionally, Franky's troops.
      • Franky and the Mysterious Woman however are typical modern Action Girls.
      • The rudder has jammed on a submersible plane and now it's heading right at the torpedo-spewing mechanical monstrosity guarding the underwater cave which is the destination. The robot fires a barrage of torpedoes, the amphibious craft seems done for...then Frankie passes her own plane in front of him, drawing the torpedoes off. Then she turns and bears down suicidally on the robot herself — but just before she and the torpedoes hit, she ejects, her ejector seat propelling her up through the water, then after she bursts out of the surface turning into a jetpack and flying her safely to the flying base. Happens in such quick succession it's kind of dizzying.
      • Fake Nationality: (US) Angelina Jolie plays "Franky". Jolie's accent was mocked by some critics, though she's merely riffing on the stiff-upper-lip jargon of British war propaganda.

    Commander Francesca "Franky" Cook

    Commander Francesca "Franky" Cook is a Royal Navy officer that runs the Mobile Airstrip.




    How will Mobile Airstrips factor into my 'verse?
    FYI, I am an absolute sucker for period military uniforms and outpost settings (also, secluded settings in general)...
    Maybe the manga/graphic novel adaptation of my Othello opera libretto (the one I translated last year) will take place IN THE SKY in such a Mobile Airstrip, with an equal-opportunity (when it comes to gender and sexual options) cast all in military uniform.
    --As I have said before, this is only a possibility--



    FAVOURITE QUOTES FROM LITERATURE

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    On reading:
    "A reader lives a thousand lives before dying. The one who has never read lives only one."
    Jojen Reed

    On waiting:
    "Pleasure and action make the hours seem short."
    William Shakespeare

    On phobias:
    "A phobia is a silliness you can’t control and it is a very frightening thing to have."
    Eva Ibbotson

    On casuality:
    "No one can escape being blown about by the winds of change and chance."
    Jethro (High Priest of Midian)

    On first impressions:
    “I don't know if you've ever noticed this, but first impressions are often entirely wrong.” 
    Lemony Snicket

    On how to commence a story:
    "All right, let us begin; and when we have reached the end of our story, we shall know so much more than we already know!"
    H.C. Andersen

    On altered states:
    "The best of life is but intoxication."
    Lord Byron








    JACK ZIPES - SNOW QUEEN EXCERPTS

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    (Catherine) Breillat is also "guilty" of a commercial and pretentious outlook in her most recent remake, La belle endormie (2010), a pastiche of Perrault's "Sleeping Beauty" and Andersen's "Snow Queen." This film contains a dash of feminism, since Breillat tries to transform the tales of Perrault and Andersen into a coming-of-age story with a sleeping beauty who ingresses into predictable experiences and escapes them in the manner of Andersen's tale, and it includes a few erotic scenes in a film that ultimately leads to nowhere. It's a film that reduces feminism to commonplaces. But, nevertheless, we should take Breillat seriously as a feminist filmmaker.
    In the photograph series My Doll (1996), (Meghan) Boody translates the setting of her provocative montages to the white, frozen Arctic, and alludes satirically to various Andersenian fairytales, in particular to "The Snow Queen." In these six photos, preadolescent girls appear in snowy landscapes, playing strange games or interacting with gigantic animals --a walrus, a mammoth, and also a mermaid--. The maidens have a melancholic look to them and seem to be indifferent to the icy waters and climate. They are out of place in a ruthless world.
    (Both excerpts from The Irresistible Fairy Tale by Jack Zipes -back-translation from the Spanish-.)

    L'ÉTOILE ET LA BÊTE

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    Hugtto Pretty Cure
    Episode 25 - My Own Review

    L'ÉTOILE ET LA BÊTE




    The Kagayaki family. Homare lives with the maternal branch (her mum and her mum's parents). Guess cowlicks run in the Kagayaki genome...







    1. friends at the summer festival
    This episode starts with Emiru and Lulu refusing to join Papple’s talent agency. We also see Homare getting ready for the summer festival.
    At the festival, everyone enjoys the various activities on offer.


    The girls and Harry with Hug-tan went to the local night festival and they saw Papple and company setting up stalls at the festival. Papple was also determined to get Lulu and Emiru to join her talent company which the duo declined the offer in the beginning of the episode.


    The girls also had fun and even Emiru's brother Masato came to the festival with Henri. (Did anyone notice an animation error? Henri was behind the girls when Minase was drawing the lot and he was not in the first photo. But when the girls were at Charalit's stall, Henri was walking with Masato and the girls welcomed them like they just met)

    Masato and Henri enjoy the festival together



    Lulu feels like she hasn’t had enough fun

    As the sun starts to set, Lulu says that she hasn’t nearly enjoyed herself enough yet. Emiru, Hana, and Saaya all go back with her, whilst Harry takes Hugtan and goes to find a spot to watch the fireworks. Homare accompanies them as well.











    Hug-tan had a mosquito bite! Quick, Immediate First Aid!

    You see, my little star. You are not the only one who had to suffer. I once was a streetrat - literally...


    The girls went to get more snacks, leaving Homare and Harry alone together, Homare asked him about his family which he replied he is an orphan and in his timeline, he is a hamster who help other hamsters like an older sibling.


    Homare also answered that her parents were divorced and she is staying with her mother and grandparents. Which I am okay with their backstories since Miki from Fresh and Kirara from Go! Princess have divorced parents too. It also showed that not everything is sunshine and rainbows for everyone.

    Homare and Harry take the opportunity to tell each other a little bit about themselves

    Homare and Harry end up talking about themselves. Harry reveals that he never knew his parents – as far as he knows, he is an orphan. In the future, he lived in a little nook with others like them, and just managed to get by day to day.
    Homare opens up about her parents as well – they divorced when she was younger. She took up ice skating when her dad was still around, but her mum said it was fine to keep at it.
    This conversation between Homare and Harry is soon interrupted, though.



    Bishin appeared in front of Harry and Homare... and Harry seemed to know Bishin personally. He immediately drew Bishin away from Homare as the rest of the girls rushed to the scene. 

    Bishin appears
    Bishin shows up, and they targets Harry. Harry gives Hugtan to Homare, and makes a run for it. Bishin chases after him, and Homare follows as well.
    Bishin eventually catches Harry, just as Homare and the other girls arrive. Bishin reveals that Harry used to be employed by Cryasse (confirming our Defector from Decadence theory!)...


    Bishin caught hold of Harry and they revealed that Harry is a former member of Cryasse Corporation which we kindly of guess that Harry has some connection with Cryasse since he knew the ins and outs, and when he saw Dr Trauma last episode which it was revealed that Harry was experimented upon by Dr Trauma and George.



    Harry was experimented on, and his chain necklace is actually a Power Limiter to keep his monstrous form in check.


    Bishin then removed Harry's necklace and he turned into a crazed monster. The girls transformed but do not want to hurt Harry.


    Bishin unleashes Harry’s true form
    Harry was headhunted by Criasu Corporation, together with Bishin. When he was there, they modded him and Bishin, removing the chain from Harry's neck, reveals his true form. They then has Harry attack PreCures – naturally, they transform.


    The Mysterious Rescuer and Bishin's Obsession.


    While the others are curbstomped by Beastly Harry, Étoile stands alone.

    Cure Étoile confronts the transformed Harry

    Harry proves to be a tough opponent, but Cure Étoile steps up to confront him. She says that Harry being a former Cryasse employee doesn’t matter, and even shakes off his attacks like they’re nothing. Of course, PreCures want to save Harry, and there’s only way to do that: with their finishing move.


    Cure Étoile used her Melody Sword to block his attacks and even used her aura to shield Harry's blast.





     Cure Étoile then offered her hand to Harry when he suddenly recalled a similar hand which came to his cage and saved him from madness. Harry was weakened and the girls purified him.








    Étoile’s feelings get through, and Harry reverts to his hamster form.








    Bishin tried to kill Cure Étoile, but Harry protected her. He told Bishin that he is no more a Cryasse employee and he will fight against them now. Bishin was fueled with anger and disappointment although I find Bishin's behaviour to akin to how a crazed ex-lover will react when their significant other is with another person and they want to murder the new boy- or girlfriend. 

    He tells Bishin that he is on the side of PreCures, and will fight to defeat the Cryasse Corporation. Bishin has no intention of giving up on Harry, but they retreats for now.
    As the fireworks start, this episode ends.

    Although I am not sure Bishin is male or female, since the appearance looked male and Satomi Arai is voicing Bishin. Anyway, I am pretty sure that Bishin is probably going to make life miserable for Harry and Homare in future episodes...



    As the fireworks start, this episode ends.
    Despite a Night Festival (Omatsuri) episode after last week's similar theme, this episode is on Harry and Homare's relationship. It is pretty clear that Homare has a crush on Harry but he acted indifferent since he has quite a dark past.

    So when Bishin revealed Harry's identify to the girls, Homare was shaken but being the tough girl she is, she was able to get through to Harry when he become a monster. Although the question of who was that mysterious person who saved Harry in the past and cause him to change sides? An older Hug-tan, the Golden Lady... or someone completely new?

    Not sure if Bishin has the same powers to corrupt people -for which we might have to wait and see- but looking at Bishin tormenting Harry, it is clear that their power level cannot be underestimated and they is probably Cure Étoile's rival, and evil counterpart, in the future.

    After having several hints dropped, Harry’s secret finally comes to light. It’s… well, it’s about what I expected. Aside from Harry’s true form – that was a surprise. Presumably Bishin also has similar forms (both a rodentian and a monstrous one).

    With Bishin not giving up on Harry, I suspect there will be betrayal towards the end. Most likely Bishin will turn against Cryasse Corporation, but if it goes the other way and Harry betrays PreCures… very unlikely, but I’m not going to write the face-heel turn off entirely. After all, this is the season that has given us a baby in a coma, Lulu completely shutting down, and suicide imagery.
    This episode was pretty good. Not the best that Hugtto! PreCure has to offer, but it wasn’t bad either.
    Next time, Saaya finally gets to be relevant again.



    MY OWN HUMBLE OPINION
    On the scrumptious Henrisato moment we had:
    OMG... Or should I say OTP!!! Also, it's quite the bold move that Henri wears a European-style corset and petticoats upon his kimono (lavender to match the colour of his eyes). While Masato has the more austere and masculine traditional ensemble. There they are together at the fête, together, snacking on some cotton candy... Let's make the announcement first of all: HENRISATO IS CANON!!! <3 <3 <3 <3
    On the Emilu progress in this episode: We haven't got as much Emilu this week as we have Henrisato, but it's all right. Anyway, we definitely needed far more Henrisato, and our prayers were answered at last...
    On Harry as the Beast to Homare's Belle:




    Tale as old as time, song as old as rhyme. A fearsome werebeast, every day more bereft of humanity, and an unconventional, spirited maiden who proves the only beauty bold enough to love the beast. I <3 fairytale motifs, and here using them to establish this pairing's character arcs really hits the spot (does that make Bishin the sorceress/faery who cursed the prince?)...
    On Homare's family structure: Like Yours Truly, here we have an only child (so far, only a hypothesis) with boyish short hair and matching honey eyes, whose parents are divorced. Yet another reason to connect with this badass -the only thing I have different from our Étoile is that she is missing the freckles!- It’s not that opening up how her parents are divorced and she lives with her mother isn’t important, that piece of information may not necessarily contribute to the story, but we have to remember this show is targeted to middle-grade children (as a core demographic), so it’s little things like this that helps them find someone to connect with. BTW, when I was a kid, I had dad issues just like Homare's.
    On Bishin:

    On how the Cryasse cadres time-travelling theory is bursting at the seams:




    Just have a peek at Harry's kinsfolk and tell me you don't have a sense of déjà-vu!
    From left to right, they resemble Papple (or Dr. Trauma?), Ristle, Bishin, Daigan (or Gelos?), and Charalit, respectively. If you notice their hairstyles, attire, and colour scheme.
    Now that it is confirmed and canon that Harry is a Cryasse Defector from Decadence (and a dangerous werebeast), the fact that the other cadres were similar rodentian furries is suddenly hinted at!

    It is also worth noting this was probably the first episode where they hinted Harry possibly developing feelings of his own towards Homare. He blushed seeing her in the yukata, thought she was very cute, and was ready to finally open up to her, only to have Bishin interrupt whatever he was going to say. It will be interesting to see if this actually goes anywhere, or of this will end up being Homare’s first and unrequited love.
    Alas, this episode wasn’t about the romance in the air, Harry and his true background! Honestly, for most part, Harry’s secret didn’t come across as a huge surprise, mainly because a lot of us have already had suspicions he was formerly affiliated with Cryasse. He and his friend Bishin were scouted by George Kurai, by being employed they were granted food, shelter, and power (at the cost of being modded).
    The necklace Harry wears is a form of a seal or chain, given to him by a Precure. We didn’t see who did it, but there is a good chance it may have been Hugtan, considering Harry was imprisoned at the time, and perhaps Hugtan wasn’t simply frozen in time, but captured for other reasons. I also don’t think it was coincidence we saw the white glow, given that we now know Harry is in possession of the White Crystal. This only further my suspicions the White Crystal originally belonged to Hugtan, and this is perhaps how the two of them ended up escaping together. As much as that would be a great way to follow up this episode, I don’t think we will see that happen since next week will be focusing on Saaya, (the poor girl have been been more or less written off the grid up until this point).
    Speaking of Saaya, I liked how she noticed Homare’s feelings for Harry, and was clever enough to go off with the girls so the two of them could have some alone time. I kind of want to see her tease her about it. I’m pretty much starving for the main trio to have some proper interactions again. They have been separated and doing their own thing for for too long, or else the screentime had been hijacked by Emiru and Lulu.
    Overall while it was a great episode, it definitely wasn’t perfect. Bishin’s debut was lacklustre, but I suppose it’s alright since we didn’t see them reveal any of their true powers. Today their objective was to have Harry redeem himself so he could work with Cryasse again. Since that failed, they retreated. That being said, I hope they does true out to be quite strong. We need stronger villains, hopefully Gelos will do a better job next week, because last week’s was one heck of a pathetic showing.

    IN NEXT EPISODE (26):

     At least Saaya finally stars in that drink advert...

    Next week, it is a Saaya focused episode (Finally!) which the girls went to see Saaya's actress mother Reira on the set of her latest movie. Saaya has also finally found out what she wants to do in her life?! Until then, see you in the next post!



    THE FROGS OF SERIPHOS

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    THE FROGS OF SERIPHOS
    The frogs of the island of Seriphos are silent, and no one has ever heard them croak on their native soil; but, if they are brought to any other place, they let out discordant and shrill ribbits. 'Tis still told by the islanders, full of local conceit, that when their foster child Perseus returned victorious from his fight against the Gorgon, he lay down for a sleep on the shores of a lake; but the frogs, with their croaking, did not allow him to fall asleep. And thus, the demigod asked his father Zeus to make them shut up. And Zeus, out of love for his son, condemned these frogs to perpetual silence.

    GRODORNA PÅ SERIFOS
    Grodorna påön Serifos är stumma, och ingen har aldrig hört dem kväka i deras födelseland, men, om de förs bort till vilken annan plats som helst, yttrar de disharmoniska och gälla kväkanden. Än berättas det påön, av människor fulla av orts-stolthet, att när Serifos' fosterbarn Perseus återvände segerrik från sin strid mot gorgonen, lade han sig ner för att sova vid en insjös strand; men grodorna, med deras kväkande, lät honom inte somna in. Slunda bad halvguden sin far Zeus att få grodorna att tiga. Och Zeus, av ren kärlek för sin son, fördömde dessa grodor till livstids tystnad.

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