Mostrando entradas con la etiqueta big bad wolf. Mostrar todas las entradas
Mostrando entradas con la etiqueta big bad wolf. Mostrar todas las entradas

domingo, 4 de mayo de 2025

CAPERUCITA - Para el día de la Madre



CAPERUCITA de Teresa Wills Montt

 ¡Caperucita Roja!


¡Pobre muñeca rubia, cuya historia tanto hemos escuchado sin penetrar nunca la tragedia de su alma de flor!


Como ustedes saben, Caperucita era buena, pero curiosa. Amó demasiado la plática del lobo feroz en la soledad del bosque, olvidando los buenos consejos de su madre. ¡Era tan melifluo el ladino lobo! Sabía mirar tan hondo con sus ojos encendidos como ascuas.


Caperucita no pudo escapar de esa red hábilmente entretejida de sutiles encantos, y murió, triturado el corazón entre los dientes de aguja… ¡Pobre Caperucita Roja, frágil cosita de sueño! ¡Con qué pena debemos llorar la muerte de tu alma de flor!


* * *


En un país cuyo nombre no recuerdo —de esto hace mucho tiempo—, vivía una señora viuda que poseía, como inmenso y único tesoro, una hija. Era la niña tan linda, tan blanca, tan rubia, tan suave, cual rayo de sol, cual copo de nieve; era ángel humano cuya carne fuese hecha de raso y pétalos.


La viuda adoraba a su hijita; ella correspondía a ese cariño con beata sumisión.


Caperucita debía su nombre al traje que siempre vestía: una hermosa capita y gorro de color rojo y que sentaba a las mil maravillas en sus cabellos de oro y nacarada tez.


Cuando Caperucita cumplió quince años, hízole saber la madre todos los peligros a que se expone una criatura sin experiencia, y todos los agrados que trae consigo la conducta honesta y obediente. La niña, emocionada, prometió seguir las amorosas enseñanzas.


Como la viuda fuese pobre, ayudábala su hija en los quehaceres domésticos, dedicando sus momentos de recreo a las gallinas, a las cuales daba de comer migajas de pan, y regando las flores, cuyos tallos ostentaban su frescura en las macetas del balcón.

Caperucita, diligente, se levantaba con el sol; la cesta bajo el brazo, ligera y bulliciosa, salía a hacer compras. Eran sus andares rítmicos, armoniosos; había tal gracia en la redonda carita, que provocaba el piropo a cuantos la veían.

Ella, naturaleza humilde, bajaba los ojos ruborizada y sonreía como el más casto de los querubines.

¡Pobre chiquilla rubia!

Una mañana hecha de luz, de cantos, de perfumes, Caperucita, embriagada de sol, sintió la irresistible tentación de ir a bañar sus piececitos al río. El agua clara era su juguete predilecto. ¡Cuántas veces hubo de amonestarla su mamá para que retirase las manecitas casi yertas del chorro del pilón!

Caperucita tenía la peregrina ocurrencia de formar un collar con cuentas de agua que brillarían multicolores al sol.

Esa tan bella mañana, no pudo la chica sustraerse al deseo de llegar hasta el río.

—¿Por qué ha de enojarse mamá —pensó— si vendré a tiempo para hacer la comida? y si me atraso, no le diré nada. —Conforme con su atolondrada reflexión salió, el cestito al brazo.


La roja gorrita colgada a las espaldas daba libertad a sus rubios bucles, cuyas ensortijadas hebras flotaban desordenadas al viento.


Juguetona, corcobeante, esta cabrita nueva despojóse de sus zapatos y en un cerrar de ojos estuvo dentro del agua hasta las rodillas.


El río, quieto, quieto, murmuraba apenas un rezo al follaje; parecía dormido en su urna de cristal.

¡Qué rica, qué fresca burbujeaba el agua!


En ansia indecible de agradecer el dulce bienestar que le regalaba la corriente, inclinose Caperucita hasta las ondas y les ofreció sus labios.


Fue tan musical el chasquido de aquel beso, como el ruido que al caer en el río haría una piedra preciosa.


¿Acaso no eran los labios de Caperucita, un corazón de paloma tallado en un solo rubí?


Inconsciente la chica en su felicidad, no había notado dos ojos como carbunclos chispeantes, que la observaban detrás de una barca en la orilla opuesta.


¡Qué iba a notar ella el lobo feroz!


Pero la humana fiera, estaba codiciosa de la imagen que se destacaba en medio de la brillante naturaleza, cual una esbelta flor primaveral.

De un brinco saltó a la barca, a espaldas de ella, y acercándose sin ser notado, la sorprendió con saludo amable impregnado de perfidias y de mieles.


—Buenos días, Caperucita Roja. Benditos mis OJOS que te ven y mi corazón, que a tu sonrisa se adelanta.


—Buenos días, señor, —respondió azorada la niña—, ¿por dónde ha llegado usted, que no le he visto?


—La corriente me trajo hasta aquí; venía de pescar. ¿Te gustan los pececillos rojos, Caperucita? Son tocayos tuyos.


—¡Oh, sí! —respondió juntando las manecitas; y agregó tristemente. — Pero no se pueden pescar; son tan ligeros como los gusanillos de luz que echa el sol sobre el río cuando va a morir.

—Caperucita, ¿quieres pescaditos? Yo iré a buscarlos para ti. Mañana los tendrás.

—¡Oh sí! ¡Oh sí! —exclamó llena de júbilo—; traeré una tacita de porcelana para llevarlos a casa.

—¿Me prometes que vendrás — preguntó el joven tomando una de las inquietas manitas— y no dirás nada a nadie?

—¿Por qué no podría contárselo a mamá? ¡Se pondría tan contenta!

—No, tontuela; mejor es ofrecérselos de improviso.

—Tiene usted razón. Pero ya es tarde y debo marcharme. Puede notar mi madre que he estado en el río. Adiós, señor pescador.

—Adiós Caperucita, hasta mañana.

* * *

Caperucita trabajó aquel día más contenta. El gorjeo de sus cantos subía hasta anidar en las madreselvas que tapizaban los viejos muros de la casuca. La viuda, embelesada, escuchaba empapando su alma en la dicha del tesoro.

No sabía la madre el secreto que aleteaba dentro del pecho juvenil, como pajarillo travieso que le hiciese cosquillas.

A la mañana siguiente, Caperucita volvió al río, pero llegó a casa sin los peces.

No obstante, continuaba en su garganta el arrullo de la alegría.

El lobo, el terrible lobo feroz, ya había destilado en su vida la venenosa gota verde de la esperanza.

Sin que lo notase la señora, volvió la chica muchas veces al río. Continuaba vacía la tacita de porcelana que había de guardar los pececillos.

Y los días pasaban, rápidos cual flechas a través de rayos lunares. Y así transcurrió un año.

Caperucita seguía cantando; pero un oído que fuese atento habría notado la tristeza de esas canciones. Además, la niña palidecía.

¿Qué tenía la dulce Caperucita? Ah! estaba enferma de ese terrible mal cuyo verdugo mata martirizando lentamente con sus garras sedosas y finas.

Caperucita amaba…

Y fue una noche, una noche de viento, de oscuridad, de tormenta, cuando la niña aprovechando el sueño de la madre abandonó el hogar, sin un gesto de piedad para ese inmenso dolor que dejaba dormido confiadamente.

El lobo feroz la había hechizado hasta hacerla olvidar los más sagrados sentimientos.

La madre enloqueció de pesar al verse impotente para encontrar el perdido tesoro.


¿Y ella? —me dirán ustedes.— ¿Ella, qué fue de la pobre Caperucita?


Cuentan los pescadores de aquel país, que una tarde, cuando venía el río revuelto, encontraron cerca de unos matorrales el cuerpo de la desdichada.


Estaban desencajadas sus preciosas mejillas, y aún conservaba las manecitas estrechamente unidas en gesto de imploración.


Una gran herida dejaba descubierto el corazón de donde manaba sangre roja, tan roja como sus labios que triunfaron de la muerte en un regio color de rubí.

Desde entonces todas las mujeres llevamos el corazón cubierto por una caperucita roja de nuestra sangre. Porque todas hemos sido heridas por el lobo de ojos brillantes, de gestos graciosos, de palabras melifluas…


FIN



sábado, 5 de abril de 2025

SUGARCANDY HOUSE: THE BELGIAN HANSEL AND GRETEL

 SUGARCANDY HOUSE,

or,

THE BELGIAN HANSEL AND GRETEL

Gleaned by Jean de Boschère

Jean and Jeannette were brother and sister. They lived near a big woodland, and every day they used to go to play there, fishing for sticklebacks in the streams, and making necklaces of red berries. One day they wandered farther from their home than usual, and all of a sudden they came to a brook crossed by a pretty red bridge. On the other side of the bridge, half hidden among the trees, they espied the roofs of a little pink cottage, which, when they came closer, they found to be built entirely of sugar-candy! Here was a delightful find for a little boy and girl who loved sweetstuff! They lost no time in breaking off pieces of the roof and popping them into their mouths.

Now in that candy house there lived an old werewolf whose name was Garou. He was paralysed in one leg, and could not run very fast, but in all other respects he was as fierce and[92] strong as he had been in his youth. When he heard Jean and Jeannette breaking off bits of his roof he growled out, “Who is touching my Sugar-Candy House?” Then he came limping out to see who it was, but by that time the children were safely hidden in the woods.

“Who dares to touch my Sugar-Candy House?” roared the wolf again.

Then Jean replied:

It’s the wind so mild,It’s the wind so mild,That lovable child!

This satisfied the old wolf, and back he went to his house, grumbling.

The next day Jean and Jeannette once again crossed over the little red bridge, and broke some more candy from the werewolf’s house. Out came Garou again, bristling all over.

“Who is touching my Sugar-Candy House?” he roared.

And Jean and Jeannette replied:

It’s the wind so mild,It’s the wind so mild,That lovable child!

“Very well,” said the werewolf, and he went back again, but this time there was a gleam of suspicion in his eye.

The next day was stormy, and hardly had Jean and Jeannette reached the Sugar-Candy House than the wolf came out, and surprised them in the very act of breaking a piece off his windowsill.

“Oho!” said he. “It was the wind so mild, was it? That lovable child, eh? Precious lovable children, I must say! Gr-r-r, I’ll eat them up!” And he sprang at Jean and Jeannette, who took to their heels and ran off as fast as their legs could carry them. Garou pursued them at a good speed in spite of his stiff paw, and although he never gained upon them, yet he kept them in sight, and refused[93] to give up the chase. The children looked back once or twice, and saw that the big bad wolf was still following them, but they were not very much afraid, because they were confident of their ability to outrun him.




[94]

All of a sudden they found their way barred by a wide river. There was no bridge or boat across it, and the water was very deep. What were they to do? Nearer and nearer came the wolf!

In the middle of the river some ducks were swimming, and Jan called out to them: “Little ducks! Little ducks! Carry us over the river on your backs, for if you do not the wolf will get us!”

So the ducks came swimming up, and Jean and Jeannette climbed each on to the back of one, and were carried safely over to the other bank.

Presently the wolf, in his turn, came to the river. He had seen how the children had managed to cross, and he roared out at the ducks in a terrible voice, “Come and carry me over, or I’ll eat you all up!”

“Very well,” answered the ducks, and they swam to the bank, and Garou balanced himself on four of them, one paw on the back of each. But they had no intention of carrying the wicked wolf to the other side, for they did not love him or any of his tribe, and, moreover, they objected to his impolite way of asking a favour. So, at a given signal from the leader, all the ducks dived in midstream, and left old Garou struggling in the water. Thrice he went down and three times he resurfaced, but the fourth time he sank never to rise any more.

That was the end of old Garou, and a good job, too, say I. I don’t know what became of his Sugar-Candy House, but I dare say, if you could find the wood, and the sun had not melted the candy, or the rain washed it away, you might break a bit of it off for yourselves.


lunes, 24 de septiembre de 2018

Le Petit Chaperon Rouge face à Cerbère

Expérimentation générique et dialogisme intertextuel : Perrault, La Fontaine, Apulée, Straparola, Basile


Ute Heidmann

According to Ute Heidmann, Perrault’s tales have very complex intertextual relations with other generic forms which already existed in other European literatures. Heidmann demonstrates here how Perrault experiments “generically” with the fairy tale and how he creates new generic forms from other tales by Apuleus, Straparola, Basile, or La Fontaine. This dialogic process is here underlined by the analysis of three particular fairy tales, Sleeping BeautyLittle Red Riding Hood (in this fragment) and Blue Beard. Heidmann shows how, by introducing key differences with the Latin, Italian and French models, Perrault succeeds in creating a new generic variation of the fairy tale : “the pseudo-naïve fairy tale”.


'[···] canis namque praegrandis, teriugo et satis amplo capite praeditus, immanis et formidabilis, tonantibus oblatrans faucibus mortuos, quibus iam nil mali potest facere, frustra territando ante ipsum limen et atra atria Proserpinae semper excubans servat vacuam Ditis domum. hunc offrenatum unius offulae praeda facile praeteribis ad ipsamque protinus Proserpinam introibis, quae te comiter excipiet ac benigne, ut et molliter assidere et prandium opipare suadeat sumere. sed tu et humi reside et panem sordidum petitum esto, deinde nuntiato quid adveneris, susceptoque quod offeretur rursus remeans canis saevitiam offula reliqua redime [···].'
[···] et offulae cibo sopita canis horrenda rabie domum Proserpinae penetrat. nec offerentis hospitae sedile delicatum vel cibum beatum amplexa, sed ante pedes eius residens humilis cibario pane contenta Veneriam pertulit legationem. statimque secreto repletam conclusamque pyxidem suscipit et offulae sequentis fraude caninis latratibus obseratis residua [···]

Apuleius, Asinus aureus.


The grandmother lived out in the woods, half a league from the village, and just as Little Red Riding-Hood entered the woods, a big bad wolf came across her. Red Riding-Hood did not know what a wicked creature he was, and was not at all afraid of him.

"Good-day, Little Red Riding-Hood," said he.

"Thank you kindly, Mr. Wolf."

"Whither away so early, Little Red Riding-Hood?"
"To my grandmother's."
"What have you got in your apron?"
"Cake and buttermilk; yesterday was baking-day, so poor sick granny is to have something good, to make her stronger."
"Where does your grandmother live, Little Red Riding-Hood?"
"A good quarter of a league farther on in the wood; her house stands under the three large oaks, the nut-trees are just below; you surely must know it," replied Little Red Riding-Hood.
The wolf thought to himself, "What a tender young creature! what a nice plump mouthful -- she will be better to eat than the old lady! I must act craftily, so as to catch both." So he walked for a short time by the side of Little Red Riding-Hood, and then he said, "See Little Red Riding-Hood, how pretty the flowers are about here -- why do you not look round? I believe, too, that you do not hear how sweetly the little birdies are singing; you walk gravely along as if you were going to school, while everything else out here in the woods is merry."
Little Red Riding-Hood raised her eyes, and when she saw the sun's rays and the butterflies dancing here and there through the trees, and pretty wildflowers and nuts growing everywhere, she thought, "Suppose I take grandmother a fresh bouquet, and a handful of nuts; that would please her too. It is so early in the day that I shall still get there in good time;" and so she ran from the path into the woods to pursue butterflies, and to look for wildflowers and nuts. And whenever she had picked one, she fancied that she saw a still prettier one farther on, and ran after it, and so got deeper and deeper into the woods.
Meanwhile the big bad wolf ran straight to the grandmother's house and knocked at the door.
"Who is there?"
"Little Red Riding-Hood," replied the wolf. "She is bringing cake and butter; open the door."
"Lift the latch, and the door will open," called out the grandmother, "I am too weak, and cannot get up."
The wolf lifted the latch, the door flew open, and without saying a word he went straight to the grandmother's bed, and devoured her. Then he put on her clothes, dressing himself in her négligée and nightcap, laid himself in bed and drew the curtains.
Little Red Riding-Hood, however, had been running about picking flowers, and when she had gathered so many that she could carry no more, she remembered her grandmother, and set out on the way to her.
She was surprised to find the cottage-door standing open, and when she went into the room, she had such a strange feeling that she said to herself, "Oh dear! how uneasy I feel today, and at other times I like being with granny so much." She called out, "Good morning," but received no answer; so she went to the bed and drew back the curtains. There lay her grandmother with her nightcap pulled far over her face, and looking very strange.

"Red Riding-Hood," word of mouth.

« Il te suffira de lâcher une galette »   le Petit Chaperon Rouge face à Cerbère



38La suite de la descente aux Enfers confronte Psyché à de nouveaux dangers qui permettent à Perrault de « fabriquer » son deuxième conte  : Le Petit Chaperon Rouge. De nouveau, Perrault introduit des différences significatives, non seulement par rapport à la fabella d’Apulée, mais aussi par rapport au « badinage » du conte galant de La Fontaine 52.



39Pour arriver chez Proserpine, Psyché affronte un énorme chien « aboyant d’un gosier tonitruant » et « formidablement monstrueux ». La tour bienveillante lui indique comment ne pas se faire dévorer par ce chien monstrueux  : « Il te suffira de lui lâcher une galette pour l’apprivoiser et qu’il te laisse passer. » Une fois le chien monstrueux apprivoisé, lui dit la tour, « tu seras vite chez Proserpine, qui t’accueillera courtoisement et bienveillamment, jusqu’à te proposer de t’asseoir à ton aise et de prendre un généreux repas ». Psyché devra absolument refuser cette proposition de s’installer « mollement » sur le siège confortable  : « Mais toi, assieds toi par terre et demande du pain noir à manger. » Psyché devra ensuite reprendre le récipient rempli et « racheter son passage au chien furieux » avec la « galette restante56 ». Si Psyché doit traverser les ténèbres munie de deux galettes et du récipient pour aller à la demeure de la Grande déesse des morts, le Petit Chaperon Rouge doit traverser un bois pour porter « une galette et un pot de beurre » à la maison de sa « Mère-grand ». À la différence notable de la protagoniste du conte ancien, si bien conseillée par la tour, celle du conte moderne ne reçoit aucun conseil avant de se mettre en chemin. Sa mère, dont il est pourtant dit qu’elle était « folle » d’elle, ne lui fait aucune recommandation avant de l’envoyer traverser le bois pour se rendre à la maison de sa Mère-grand.



40Le comportement de ce Petit Chaperon Rouge ignorant des dangers apparaît par la suite, comme l’exacte inversion de celui de Psyché qui exécute scrupuleusement les conseils de la tour. Au lieu de suivre le chemin mal frayé « directement »le petit chaperon rouge s’en va « par le chemin le plus long, s’amusant à cueillir des noisettes, à courir après des papillons, & à faire des bouquets des petites fleurs qu’elle rencontroit». Au lieu de passer sans « ouvrir la bouche et sans répondre aux sollicitations », elle s’arrête pour bavarder et répondre aux questions de « compère le Loup ». Malgré sa peur de la « grosse voix » contrefaite du Méchant Loup, elle entre dans la maison de sa Mère-grand avec beaucoup moins de précaution que sa sœur antique franchissant le seuil du palais de la Grande déesse des morts gardé par Cerbère. Au lieu de « fermer la gueule au chien aboyeur grâce au truc de la galette restante59 », comme le fait Psyché, le Petit Chaperon Rouge pose à la demande du Loup « la galette & le petit pot de beurre sur la huche ». Enfin et surtout, au lieu de refuser le « siège moelleux », comme le fait Psyché qui reste « humblement assise » par terre, « le Petit Chaperon Rouge se deshabille, & va se mettre dans le lit ». La scène du lit se termine par une dernière inversion de l’aventure infernale de Psyché. Au lieu de « ressortir des Enfers nettement ravigotée», le Petit Chaperon Rouge y reste définitivement  : « Ce Méchant Loup se jetta sur le petit chaperon rouge, & la mangea. » La protagoniste de Perrault fait donc précisément ce que la tour bienveillante avait dit à Psyché de ne pas faire. Le narrateur indique très clairement la raison de ce comportement fatal  : « La pauvre enfant [...] ne sçavoit pas qu’il est dangereux de s’arrester à écouter un Loup. »
41Les lecteurs qui lisent le conte du Petit Chaperon Rouge comme une réponse intertextuelle à cet épisode de l’histoire de Psyché en comprennent la « morale cachée » et « très sensée ». La fabella fournit à Perrault les éléments qui lui permettent d’inventer une nouvelle histoire à partir de l’épisode de la descente aux Enfers. Pour doter ce noyau d’histoire ingénieuse d’une morale utile, Perrault la transpose et la retourne. Ce « retournement » révèle surtout une chose  : la responsabilité de la mère qui n’a pas averti sa fille des mauvaises rencontres qu’elle pourrait faire en sortant seule. Vêtue d’un petit chaperon de couleur voyante, qui met en valeur ses attraits, il lui manque l’assistance d’un « Grand Chaperon », une duègne sensée protéger l’honneur des jeunes filles. La signification de ce terme vieilli et le jeu de langage ironique qu’il implique étaient certainement perçus par les lecteurs et lectrices de l’époque.

As Jane Ellen Harrison notes, in Mythology, "the Hebrew word for "good" meant primarily "good to eat" (p. x). Thus, perhaps, to some extent, the meaning of "good" continues on some subliminal level to point toward the idea "good to eat." Let's think about this: The divinely inspired Tower's advice to Psyche, that she must refuse the "magnificent meal" Persephone offers her emphasizes that, in Tartarus, no matter how things may appear, Psyche is threatened by what is NOT good.



Square 31 The BARLEY CAKE in the air that Psyche throws to the three-headed guard dog CERBERUS. The most difficult challenge for Psyche at this point is that she has to repeat each of these acts on her way up and out of the underworld: hide the second coin for the ferryman (Charon), the second cake for Cerberus, all the while refusing to succumb to pity. This is the first time in the myth that she has to show this self control. No gods or animals come to her aid. The painter (Lynn Taber) shows other broken offerings on the ground in front of the dog’s mouth. And the prickly pear, larger now, makes an appearance from the lower right hand corner, waiting for her return. 



Square 32 At PERSEPHONE’S TABLE, Psyche asks only for coarse bread and sits on the ground to eat as the tower instructed. All these ritual tokens mark Psyche as a visitor to the land of the dead. Her offerings set her apart from the dark life of the shades in (the realm of) Hades. In psychological terms it would mean that she does not identify with the unconscious. By this point Psyche is strong enough— having been tested by despair and suicidal feelings several times in the course of her journey—to carry out the tower’s orders. She maintains her egoconsciousness in the face of unconscious energy pulling her down and under. ... which adds to her heightened awareness of the responsibility she is carrying.


miércoles, 27 de junio de 2018

IN THE BACKROOM OF MEMORY

IN THE BACKROOM OF MEMORY
A Poem by Paz Díez-Taboada
Englished by Sandra Dermark, 
on the 19th of June MMXVIII

Dedicated to Ana Laviste Arner

They're still around here, playing ring-o'-roses;
blonde Mari Pepa and a chicken chick
who wistfully deceived his mother hen,
awaiting, eagerly, the fall of night,
for him to run away and see the Moon.
There was a dog as well, whose mournful tale
kept me awake for the long rainy nights.
Shaggy and mournful, he groaned for his life,
offered to craven master's clumsiness.
Soon, the stage was o'ertaken by Snow White,
the lovely princess sauntered on the boards.
With long white beard and doublet olive-green,
and pointy, floppy hat crowned with pompom,
I played Grumpy, the sternest of the dwarves.
¡The poor orphan was such a busy girl!
Yet my favourite was the looking-glass,
the wise mirror that kept in check the pride
of the vain Queen-Stepmother: sorceress
whose withered, knotty hand would offer death.
The one I loved the most was Little Red
Riding-Hood, with her cloak and honey-pot,
though I, sadly, did then not understand
that sometimes the bold huntsman did not come
to save the maiden from the Big Bad Wolf's
hairy clutches, that peeked beneath old Gran's
negligée sleeve-cuffs, lined with whitest lace.
Then, Cinderella opened both my eyes
to the worst of all evils: envious peers,
which force us to work hard for extra hours;
yet the Fairy Godmother wisely taught
us that in make-up lay power sublime,
in lovely dresses, and in fast escape,
although Prince Charming would insist too much.
Later came, pale and wan, her ashy blond
fair hair long to her ankles, Donkeyskin.
She staggers, on pale cover of a book,
wavering, slowly hunch-backed by the weight
of that huge donkey-head upon her back.
Then, 'twas my book again, Ali Baba,
that clever and good fellow, eyes as wide
as saucers as he watched the furious pace
of Forty Thieves storming into their den,
that dark cavern. Now, look and turn this page!
Upon the password, "Open, Sesame!",
the cavern filled with costly treasure hoard:
bracelets, tiaras, necklaces, and crowns,
chests that with dazzling diamonds overflow
clink, clink, clink; their straight edges say they are;
the spherical ones are pearls poom, poom, poom,
that pour out like a cataract of foam.
But most charming was Ricky of the Tuft,
with snoutlike nose and crooked doodle-back,
and those four strands of hair raised up like flames,
which opened the smiles of fair damosels...
In the end, wit and grace outshone the stance,
stupid and arrogant, of princes vain!
And one day came the hero, though so short,
so familiar and humble...! With high boots,
ceremonious and deft, he dropped the hat
with the cavalier brim airy and wide,
arched his lithe back, and answered, courteously,
to those covetous royals: Say, whose are
these lands in such full blossom, bounteous crops,
and castle once it was the ogre's keep...?
Everything is my master's, the Marquis's,
this lovely shire rightfully belongs to
my master, Lord Marquis of Calabash!
............................................................................
And thus, with childhood, they all marched away,
towards the backroom of my memory.
Yet Saturday and Sunday afternoons,
washed by the rain, when I clean all the house,
order the wardrobes, pick newspapers out,
and dust and shoo insistent moths away,
shake off the spiders of my everyday,
those old companions still parade once more,
and deftly stride forth, in tough Wellingtons,
Sir Thomas of the Thumb and Puss in Boots,
who, hat in paw, meows to me with a smile:
These flowering plants are my master's all.
Grandfather's portrait, the liquor flacon
that is so lovely, the books and LPs,
they're all forever, and they all belong
rightfully to my master and my lord,
my master, Lord Marquis of Calabash!

miércoles, 13 de diciembre de 2017

ONCE UPON 24 TIMES: STORY XIII

Story the Thirteenth:
Three of Pentacles -
The Three Little Pigs

The fool builds houses of cards,
or matches,
on mud, or quicksand.
The sage takes over abandoned forts
or bunkers,
made of sturdier stone,
that defy the iron tooth of time.
When the Big Bad Wolf knocks at the door,
the quicksand sinks,
and the cards or matches are scattered to the winds.
The fools are left homeless,
at the mercy of cruelty,
while the sages, within their fortresses,
remain safe and sound.

jueves, 7 de diciembre de 2017

ONCE UPON 24 TIMES - STORY VII

Story the Seventh
0 - Innocence (The Fool)
Red Riding Hood (The Mock Grandmother)

Congratulations! Today is your day;
you're on your first errand, you're up and away!

With your feet in your shoes and your brain in your head,
and that bottle of milk and that bun of fresh bread...

And, when you reach a fork, should you go left or right...?
Or right and three quarters, or maybe not quite?

You'd stay safe on the primrose path, of hardships bereft;
and thus, after quick thinking, decide to head left.

And when you've reached your goal, you're so calm and so sure
that a slight rapping knock of yours' will open the door.

So you may help yourself to red wine and red meat;
of what's been prepared for you you'll heartily eat...

And that wine's weak and salty... after us the flood;
will you e'er you know you consumed your own flesh and blood?

Shooed away, Granny's cat sauntered off as she hissed;
in vain you heard her warn of this dark Eucharist...

Skirt and corset and blouse, everything feeds the flame;
still, when all dressed up like Eve, you feel no shame.

(Only the blood-red, fire-red cowl is spared from the fire
for a nightcap)

And the one you call Grandmother lulls you to bed,
clad in nought but thin air and your hood so bright red...

And such dark-hairy hands, as if covered with fur...
and such sharp pointy ears, that so rarely occur...

"The thick hair on my limbs will keep you snug and warm,
and these keen ears will, ere you hear, warn us from storm..."

But, when push comes to shove, and you see that deep maw,
framed in bayonet fangs, at first you reel in awe...
(Down that throat you'll slip, raw!!)

In the end, wit and courage surge back into you,
and you ask "her," "May I please go out to the loo?"

"For the odour's too strong for your nose (you think 'snout')!"
So a ribbon's tied round your foot ere you walk out...

And, relieving yourself, in the shade of a tree,
you tie your leash around the trunk and dart off, free!

But what will Mum say when she finds you like that?
Will she wonder why you're only wearing your hat?
Will she understand if told by Grandmother's cat?
Will you ever find out what you ate
and what you drank that day, when it's decades too late?

Here the story breaks off, and the curtain will fall;
Werewolf, Girl, Mum, and Granny at the curtain call.

You've had an experience! Today is your day!
The real world is waiting; so get on your way!

jueves, 9 de julio de 2015

THE LGBTQ CHARACTERS OF MY CHILDHOOD

This is a rainbow post, part of the Month of Pride initiative.

I have known LGBTQ lifestyles since I was a child, in spite of being born and raised in a local community in the hinterland of Spain, with an über-Catholic bourgeois family. And you wonder why and how I became aware of the existence of free love?

Ladies and gentlemen, exhibit number one: It's So Amazing!, by Robie H. Harris, translated into Spanish.
AKA "The Book of Sexuality that Made Granny Ana (blessed be her soul) Freak Out."
This was the book that started it all. The one I found in the usual bookshop but my seventy-something and devoutly Catholic nan refused to purchase.
The book that caused me to be aware that love knows no distinction of gender or lifestyle. That love is free.

Exhibit number two: The cupbearers of royal gods.
The author of this blog and of this article is an Aquarius, who, having read all the usual fairytales, began to delve into classical mythology and found out that star signs have their roots in the Hellenistic world. In particular, her own sign depicts Ganymede, the cupbearer on Olympus and the only time Zeus had a different kind of fling. At his underwater palace of Euba, Zeus's brother Poseidon had about the same idea and spirited away another good-looking mortal prince, Pelops, to serve him and his court the nectar.
PS. "Échanson," "cupbearer," is one of my favourite French words.

Exhibit number three: A ladybug who is no lady.
This has always been one of my favourite Pixar characters, from the first time I saw the film.
Lashes? Check. Beauty mark? Check. Rosy lips? Check.
Name? Francis. Vocal range? Bass-baritone. Manners: Uncouth and badass.
Long story short: a he that looks like a she. And whose anger trigger is being called a "ladybug" (or "mariquita" in Spanish), in spite of being an unmistakeable Coccinella septempunctata.
For more information, Francis is an actor and a drag queen (what a profession!),
 and explicitly referred to by other bugs as being male ("a guy" and "he"). Except by those who think he is a she, that is!

Exhibit number four: Hinzite and Kunzite. (Highlight if you don't get the pun) 
For those who don't understand the pun: "Hinz und Kunz" is the German equivalent of "Fulano y Mengano" or "Tom, Dick, and Stanley."


The Catalan dub of Sailor Moon I watched on Club Super3 as a weekday afternoon cartoon gave Zoisite (the more feminine, strawberry blond one) a woman's voice and the pronoun "she" ("ella"), but I could see it was a man through the dub and the pronoun. Those shoulders were too broad and that chest too flat for Kunzite's fellow officer to be female, and besides, the other generals at Queen Beryl's service were also male and wore the same uniform... (After all, the military of several nations, like organized religion, has enforced gender seggregation for ages with rather queer results...)
Zoisite was the third fictional character whose death I wept in my life, after Mufasa and Bambi's mum. I mean, I'll kill Queen Beryl like I'll kill Scar and Gaston for ruining my childhood...

Exhibit number five: Peach Blossom and Snow Bunny.
The blond one's name is Yukito, "Snow Rabbit." The dark one's name is Tóya, "Peach Blossom." 
They are classmates in their late teens and rarely seen separated from one another, and both of them are suave and fond of the arts (though Tóya can be tough with his little sister and female admirers). 
Both of them have acted in their school production of Cinderella, with the whole cast in drag, Tóya starring as the orphan maid and Yukito as her unlikely fairy godperson. They have also starred together in a period film for school, though both of them played male roles in that one.
Tóya even sacrifices his supernatural powers to sacrifice a dying Yukito. 
And both of them are doubtlessly male.
Reader, you do the maths to realize what I knew from the moment I got to see these two in Cardcaptor on Club Super 3.

Exhibit number six: Your Anus and Neptune.


The teal-haired lady is called Michiru, a Pisces, a graceful and talented violinist and composer.
The person with short fair hair, who looks like me and like Brienne of Tarth, is called Haruka, an Aquarius endowed with rather masculine manners (like me), and is into every kind of racing. My first impression was that of Haruka being male, but after seeing her shirt a little closer and hearing her contralto voice, there was no doubt of her real gender.
Both girls are learned and well-educated wealthy scions in their late teens, and classmates as well, they date each other and are rarely seen without one another. At least by daylight. By moonlight, they're an invincible battle couple. 
And both are so badass and so cultured, always, that the Inner Senshi (the main five) are second to them.
And they also happen to be my Sailor Moon OTP since early childhood...

Exhibit number seven: A Fishy Eye.

At first, Fisheye hatched from an egg underwater in the Pacific, growing into a beautiful and poisonous dragonfish. A male dragonfish.
Then everything changed when the Dead Moon attacked.
Now Fisheye can breathe air and stand on his own two feet.
And, sent by his queen to find the golden dream mirror that conceals a powerful alicorn, 
he targets good-looking young men in creative professions (fashion designers, fairytale illustrators, ballet teachers...), whom he approaches donning women's clothing. And yes, he hangs around in bars (or, at least, in the Dead Moon's den of iniquity).
The Catalan dub I saw of Sailor Moon in Club Super3 gave Ull de Peix (that's literally "Fish-Eye") the Zoisite Treatment, which consists of a mezzosoprano voice (Castration implied? The pillar and the stones?) and the female pronoun "she" ("ella"). Still, with that fishy thorax shape and that fawning over young men, it was doubtless that Fisheye is male. Like in the case of Zoisite, I saw through the voice and the pronoun.

Exhibit number eight: Granny, what a pink frock you have! Granny, what a maid's uniform you have!

Every single Westerner has surely heard the story of Red Riding Hood as a child, and how the big bad wolf of the tale put the old grandmother's frock and bonnet on to fool the innocent girl (and how RRH fell for it, despite a big bad wolf resembling her nan as much as the MGM lion resembles Sean Bean).
In the Shrek saga, we are shown what Wolfie did after he expelled the stones the huntsman filled him with. Putting on the frock and bonnet that seem to have grown onto him, and hanging around in bars. A rightish fairy godmother has condemned him as "gender-confused..."
During Rumplestiltskin's usurpation of the Kingdom Far Far Away, Wolfie was employed at court as Royal Wigmaster (wig handler) to the crowned imp, trading his usual pink frock and bonnet for a French maid uniform. For such an eighteenth-century powdered wig needs a lot of care...

Exhibit number nine: He's a lumberjack and he's okay...
He goes to the lavatory squatting.
Not convinced?
He has buttered scones for tea.
Not convinced?
He likes to press wildflowers.
A little suspicious... Still not convinced?
He puts on women's clothing and hangs around in bars.
(I am imagining your reactions by now)
He wears high heels, suspenders, and a bra.
And he hangs around in bars...
And he wishes he were a girly just like his dear papa (and like his Austrian Onkel Walter).
(Sorry, rightish bigots out there, this is not the Brawny lumberjack...)
But this Monty Python sketch surprised me to the core.

Exhibit number ten: Fluorite and Black Steel



All right, I first got to know Fai and Kurogane when I was in my early teens (two or three years ere I met Renly and Loras), but soon they became an OTP of mine and I even purchased their exclusive chess piece figurines, which are among my greatest treasures.
These two have got amazing chemistry, much like other of my queer OTPs, coupled with the fact that I share Fai's hair colour, haircut, and cheerful upbeat personality (which made him part of my hit list). And there's also Fai's tendency to annoy Kurogane by calling him names like "Kurorin" and "Kuropon", with the dark warrior's subsequent anger, a running gag that always makes me laugh.
Their relationship unfolds like a flower, as we learn the tragic backstories of both strange companions and both of them come face to face with the past, showing that they do care for one another.