martes, 29 de diciembre de 2020

THE MANSION REARED BY DAEDAL JACK

 Behold the mansion reared by dædal Jack.


See the malt stored in many a plethoric sack,In the proud cirque of Ivan's bivouac.
Mark how the Rat's felonious fangs invadeThe golden stores in John's pavilion laid.


Anon, with velvet foot and Tarquin strides,Subtle Grimalkin to his quarry glides—Grimalkin grim, that slew the fierce rodentWhose tooth insidious Johann's sackcloth rent.


Lo! now the deep-mouthed canine foe's assault,That vexed the avenger of the stolen malt,Stored in the hallowed precincts of that hallThat rose complete at Jack's creative call.
Here stalks the impetuous Cow with crumpled horn,Whereon the exacerbating hound was torn,Who bayed the feline slaughter-beast that slewThe Rat predaceous, whose keen fangs ran throughThe textile fibers that involved the grainThat lay in Hans' inviolate domain.
Here walks forlorn the Damsel, crowned with rue,Lactiferous spoils from vaccine dugs, who drewOf that corniculate beast whose tortuous hornTossed to the clouds, in fierce vindictive scorn,The harrowing hound, whose braggart bark and stirArched the lithe spine and reared the indignant furOf Puss, that with verminicidal clawStruck the weird Rat, in whose insatiate mawLay reeking malt, that erst in Ivan's courts we sawRobed in senescent garb that seems in soothToo long a prey to Chronos' iron tooth.

Behold the man whose amorous lips incline,Full with young Eros' osculative sign,To the lorn maiden whose lact-albic hands,Drew albu-lactic wealth from lacteal glandsOf that immortal bovine, by whose hornDistort, to realm ethereal was borneThe beast catulean, vexer of that slyUlysses quadrupedal, who made dieThe old mordacious Rat, that dared devourAntecedaneous Ale, in John's domestic bower.

Lo, here, with hirsute honors doffed, succinctOf saponaceous locks, the Priest who linkedIn Hymen's golden bands the torn unthrift,Whose means exiguous stared from many a rift,Even as he kissed the virgin all forlorn,Who milked the cow with implicated horn,Who in fine wrath the canine torturer skied,That dared to vex the insidious muricide,Who let the auroral effluence through the peltOf the sly Rat that robbed the palace Jack had built.

The loud cantankerous Shanghai comes at last,Whose shouts arouse the shorn ecclesiast,Who sealed the vows of Hymen's sacrament,To him who robed in garments indigent,Exosculates the damsel lachrymose,The emulgator of that horned brute morose,That tossed the dog, that worried the cat, that kiltThe rat that ate the malt, that lay in the house that Jack built.

The anonymous poem above is actually a baroque expansion of an age-old nursery rhyme. Compare with the original! Should you not have understood some of the events occurring in the poem, the more laconic original may clarify any doubts:



     This is the house that Jack built.

Behold the mansion reared by dædal Jack.



    This is the malt that lay in the house that Jack built.
 
See the malt stored in many a plethoric sack,In the proud cirque of Ivan's bivouac.


This is the rat that ate the malt
that lay in the house that Jack built.

Mark how the Rat's felonious fangs invadeThe golden stores in John's pavilion laid.
This is the cat that chased the rat
that ate the malt that lay in the house that Jack built.
  
Anon, with velvet foot and Tarquin strides,Subtle Grimalkin to his quarry glides—Grimalkin grim, that slew the fierce rodentWhose tooth insidious Johann's sackcloth rent.
This is the dog that worried the cat
That chased the rat that ate the malt
That lay in the house that Jack built.
Lo! now the deep-mouthed canine foe's assault,That vexed the avenger of the stolen malt,Stored in the hallowed precincts of that hallThat rose complete at Jack's creative call.

This is the cow with the crumpled horn
That tossed the dog that worried the cat
That chased the rat that ate the malt
That lay in the house that Jack built.
Here stalks the impetuous Cow with crumpled horn,Whereon the exacerbating hound was torn,Who bayed the feline slaughter-beast that slewThe Rat predaceous, whose keen fangs ran throughThe textile fibers that involved the grainThat lay in Hans' inviolate domain.
This is the maiden all forlorn
That milked the cow with the crumpled horn
That tossed the dog that worried the cat
That chased the rat that ate the malt
That lay in the house that Jack built.
Here walks forlorn the Damsel, crowned with rue,Lactiferous spoils from vaccine dugs, who drewOf that corniculate beast whose tortuous hornTossed to the clouds, in fierce vindictive scorn,The harrowing hound, whose braggart bark and stirArched the lithe spine and reared the indignant furOf Puss, that with verminicidal clawStruck the weird Rat, in whose insatiate mawLay reeking malt, that erst in Ivan's courts we sawRobed in senescent garb that seems in soothToo long a prey to Chronos' iron tooth.
This is the man all tattered and torn
That kissed the maiden all forlorn
That milked the cow with the crumpled horn
That tossed the dog that worried the cat
That chased the rat that ate the malt
That lay in the house that Jack built.
 
Behold the man whose amorous lips incline,Full with young Eros' osculative sign,To the lorn maiden whose lact-albic hands,Drew albu-lactic wealth from lacteal glandsOf that immortal bovine, by whose hornDistort, to realm ethereal was borneThe beast catulean, vexer of that slyUlysses quadrupedal, who made dieThe old mordacious Rat, that dared devourAntecedaneous Ale, in John's domestic bower.
This is the priest all shaven and shorn
That married the man all tattered and torn
That kissed the maiden all forlorn
That milked the cow with the crumpled horn
That tossed the dog that worried the cat
That chased the rat that ate the malt
That lay in the house that Jack built.

Lo, here, with hirsute honors doffed, succinctOf saponaceous locks, the Priest who linkedIn Hymen's golden bands the torn unthrift,Whose means exiguous stared from many a rift,Even as he kissed the virgin all forlorn,Who milked the cow with implicated horn,Who in fine wrath the canine torturer skied,That dared to vex the insidious muricide,Who let the auroral effluence through the peltOf the sly Rat that robbed the palace Jack had built.
This is the rooster that crowed in the morn
That woke the priest all shaven and shorn
That married the man all tattered and torn
That kissed the maiden all forlorn
That milked the cow with the crumpled horn
That tossed the dog that worried the cat
That chased the rat that ate the malt
That lay in the house that Jack built.
The loud cantankerous Shanghai comes at last,Whose shouts arouse the shorn ecclesiast,Who sealed the vows of Hymen's sacrament,To him who robed in garments indigent,Exosculates the damsel lachrymose,The emulgator of that horned brute morose,That tossed the dog, that worried the cat, that kiltThe rat that ate the malt, that lay in the house that Jack built.

jueves, 24 de diciembre de 2020

CANTRIPS & CONTRAPTIONS XXIV - MORE ON ENJOLRAS + A SURPRISE!

 Dear reader, you already know Enjolras is an autumn sidhe in this AU

fey mien

powers

the whole Liam-Varich adoption issue



And here is the special wintertime surprise of today; GOOD YULE EVERYONE with this epic CHESHIRE TREE from our local mall El Saler here in Valencia ---- this Xmas it's Wonderland-themed decorations all over the place, so you can play croquet with the Red Queen of Hearts or celebrate an unbirthday party with the Mad Hatter! The crowner is of course the Cheshire Tree at the centre of it all...






miércoles, 23 de diciembre de 2020

THE SIX WIVES TANGO

 THE SIX WIVES TANGO

ARAGON: Nun!
BOLEYN: Head!
SEYMOUR: Son!
CLEVES: Uh uh!
HOWARD: Love affairs!
PARR: Henry!
CROMWELL: And now, the six merry queens of the Tudor Royal Court in their rendition of
The Six Wives Tango...
ARAGON: Nun!
BOLEYN: Head!
SEYMOUR: Son!
CLEVES: Uh uh!
HOWARD: Love affairs!
PARR: Henry!
ARAGON: Nun!
BOLEYN: Head!
SEYMOUR: Son!
CLEVES: Uh uh!
HOWARD: Love affairs!
PARR: Henry!
We had it coming,
we had it coming,
we only had ourselves to blame...
If you had been me,
and if you knew him,
he would have certainly done the same!!
ARAGON: Nun!
BOLEYN: Head!
SEYMOUR: Son!
CLEVES: Uh uh!
HOWARD: Love affairs!
PARR: Henry!
ARAGON: Nun!
BOLEYN: Head!
SEYMOUR: Son!
CLEVES: Uh uh!
HOWARD: Love affairs!
PARR: Henry!
ARAGON:
You know how people have these little habits that let you down.
Like Enrique.
Enrique wanted a male heir. Not a daughter; a son, a boy.
So this one day I am reading to my girl María and I'm really irritated because he prefer my handmaid and I'm really looking for some sympathy.
And there's Enrique with Anne on his arm, stealing a kiss. And telling me he wants a divorce.
So I said to him:
"You ask for that divorce one more time..."
And he did.
So I left the royal court for Kimbolton
and I cloistered myself.
Became a nun.
BOLEYN:
I met Henry at the Flemish court when we were adolescents, and he told me he was single.
We hit it off right away.
He'd leave for the lists or the tennis court, I'd fix him a drink, we'd have supper... and then I found out.
Single he told me? Single ma derrière!
He already had a wife: one of those Catholic Royals you know...
Still he divorced her, we tied the knot, had a little girl and a few abortions.
So one day, he sent me to the Tower ere he left for the tennis court; he'd laid eyes on the new handmaid, as usual.
You know some chaps can't attend their wives' execution!
I had it coming,
I had it coming,
I took for granted he'd be kind...
And then was bedded,
and then beheaded,
to no avail my wit and mind!
SEYMOUR:
Now I am lying on my sickbed,
tossing feverishly, burning with thirst,
wondering if I will make it through...
In storms my husband Henry, mad with elation!
"You gave me that male heir!!"
He was insane, and he kept on screaming:
"Our son's name shall be Edward!"
And then I went numb, icy cold.
And then everything went dark.
CLEVES:
Aber warum bin ich hier?
Trotz dass ich eine Ausländerin bin ist mein Leben ein Traum hier auf mein eigenes Schloss in Richmond...!
Ich weiss nicht warum Heinrich so enttäuscht mit mir war.
Das Porträt war wahrscheinlich schöner als mein Gesicht wirklich ist...
ARAGON:
Yeah but did you do it?
CLEVES:
Uh uh! Unschuldig!
HOWARD:
My husband Henry and I had this relationship,
and his courtier Thomas used to tag along with us.
I was particularly fond of Thomas and whenever it was just the two of us I showed him all of my erotic tricks in a row!
One, two, three, four, five,
Sexual foreplay, pecks, light slaps, long kisses, French kisses, one right after the other!
Now this one night we were at Whitehall Palace, the three of us, and I was thinking of my love affairs.
And we ran out of mead, and fearing the cupbearer would try to poison us, Henry left to get some.
He comes back, opens the door - and there's Thomas and Yours Truly performing Number Seventeen: the French kiss!!
I was in such a state of shock I blacked out, I don't remember a thing...
It wasn't until later, when I laid my head on the chopping block, I even knew I had to die.
I had it coming,
I had it coming,
I had it coming, all along...
I didn't do much
but if I'd done it,
who could have told me that I was wrong?
PARR:
I knew Henry Tudor for as long as I remember.
He was a really irritable chap... short-fused, a tyrant... and he was always trying to find himself.
He had spent decades trying to find himself
and on the way he'd found Catalina, Anne, Jane, Anna, and Kitty.
I guess we broke up because of irreconciliable differences.
He saw himself as alive
and I saw him dead.
The dirty bum bum bum bum...
The dirty bum bum bum bum...
I had it coming,
I had it coming,
I had it coming, all along...
I didn't do much
but if I'd done it,
who could have told me that I was wrong?
We had it coming,
we had it coming,
we only had ourselves to blame...
If you had been me,
and if you knew him,
he would have certainly done the same!!
ARAGON: You ask for that divorce one more time...
BOLEYN: Single ma derrière!
SEYMOUR: Our son's name shall be Edward!
CLEVES: Mein eigenes Schloss in Richmond!
HOWARD: Number Seventeen: the French Kiss!
PARR: Irreconciliable differences.
ARAGON: Nun!
BOLEYN: Head!
SEYMOUR: Son!
CLEVES: Uh uh!
HOWARD: Love affairs!
PARR: Henry!

CANTRIPS & CONTRAPTIONS XXIII - THE ESCHEAT

 The Escheat is basically the kithain law. 

Passed down and enforced by the nobility, its tenets are followed by both the Seelie and Unseelie Courts, though they may have disagreements on how to interpret them. Seelie tend to follow the letter of the law while the Unseelie try to find loopholes to work through.

Unlike Oaths, the authority to enforce these tenets is not backed by Glamour or the Dreaming. It is carried by the force of law, tradition, and custom. Occasionally, though, the Dreaming will still subtly work around the Escheat to make certain rulers follow its dictates and causing those who break them to suffer the consequences.


RIGHT OF DEMESNE - A Lord or Lady is the ruler of their domain. They are judge and jury over all crimes, large or small and their word is law. A noble expects obedience from vassals and respect from all others. In return a noble respects those nobles superior to them.


RIGHT TO DREAM - Mortals have the right to dream unhindered by Fae needs. The Dreaming will die if we steal directly from the font. No one is allowed to manipulate the creative process with Glamour. While the fae may inspire creativity, it is forbidden to instruct or infuse humans with Glamour.


RIGHT OF IGNORANCE - Do not betray the Dreaming to Banality. A Fae must never reveal themselves to humanity because Humanity will hunt them for their wisdom and power, overwhelming the fae with Banality and destroying their sacred places. The more humanity knows the more forcefully it will seek the Fae, draining the world of Glamour and petrifying them


RIGHT OF RESCUE - All Kithain have the right to expect rescue from the clutches of Banality. The fae are in danger together and must work together to survive. Never leave anyone behind. Kithain are required to rescue other faeries or other creatures of the Dreaming trapped by those who serve Banality.


RIGHT OF SAFE HAVEN - All places of the Dreaming are sacred. Kithain must not allow their faerie places to be endangered or threatened. All those who seek refuge in such a place must be admitted and these places must be kept free of Banality and worldly violence.

  • Reality - This tenet is a hard one to enforce because of the competition for the few Freeholds that have survived the Shattering. Rival claims to the same faerie place often lead to warfare that can enter the sacred boundaries of Glades and Freeholds, though this violence is usually restricted to chimerical weapons. Some lords will bar entrance to their households if they fear the visitor will waste the Glamour there. Despite the demands of hospitality on the nobilityMews are usually more inclined to admit a changeling seeking refuge without question.


RIGHT OF LIFE - No Kithain may spill the lifeblood of another Kithain. No Kithain shall bring salt tears upon the earth. No Kithain shall take from the Dreaming one of its own. Death is anathema.

  • Reality - This rule is almost universally upheld, especially since the Dreaming itself seems to enforce it by inflicting Banality upon a Changeling who kills another. When two Kithain meet in combat they usually use chimerical weapons, although there are exceptions, such as nonlethal duels to first blood. No "real" damage is caused by such chimerical combat. The loser, if "killed" merely dies temporarily to the Dreaming and returns to his or her mortal seeming until reawakened by an infusion of Glamour

martes, 22 de diciembre de 2020

DINERO POR NADA

 DINERO POR NADA

Una traducción cantable de Dire Straits (Money for Nothing)

por Sandra Dermark - 22 de enero, MMXX


Yo quiero, yo quiero,

yo quiero MTV...


NANANANANANANANANA

NANANANANANANANANA


Mira a esos chavales,

así es como se hace...

toca la guitarra en la MTV:

eso no es "tajo", es como se hace,

dinero por nada y chicas gratis; oh sí!


Eso no es "tajo", es como se hace,

Te digo, ninguno de ellos es vulgar:

tal vez te salga una ampolla en el meñique,

tal vez te salga una ampolla en el pulgar...


Hay que instalar hornos microondas,

entrega de electrodomésticos al por mayor...

Hay que mover un poco ese frigo,

hay que mover esa tele en color...


El mariquita del pendiente y maquillado,

del mariquita es su propio peinao...

El mariquita tiene avión privado,

el mariquita ese está forrao...


Hay que instalar hornos microondas,

entrega de electrodomésticos al por mayor...

Hay que mover un poco ese frigo,

hay que mover esa tele en color...


Tendría que aprender a tocar guitarra,

tendría que aprender de percusión...

Mira cómo ella se hace con la cámara,

podríamos tener algo más de diversión...


Y allí arriba esta él con sus ritmos tribales,

tocando los bongos como un chimpancé del Congo...

eso no es "tajo", es como se hace,

dinero por nada y chicas gratis; oh sí!


Hay que instalar hornos microondas,

entrega de electrodomésticos al por mayor...

Hay que mover un poco ese frigo,

hay que mover esa tele en color...


Mira a esos chavales,

así es como se hace...

toca la guitarra en la MTV:

eso no es "tajo", es como se hace,

dinero por nada y chicas gratis; oh sí!


Hay que instalar hornos microondas,

entrega de electrodomésticos al por mayor...

Hay que mover un poco ese frigo,

hay que mover esa tele en color...


CANTRIPS & CONTRAPTIONS XXII - THE MILITARY

The main military characters in Cantrips & Contraptions

Fernand/Ferran Mondiego de Morcerf - war criminal turned renowned general and proud husband and family father; with a wealth of war crimes and dark secrets (shoots himself as per canon once the truth about him is made public)

Théodule Gillenormand - lieutenant, his aide, youngest member of the Gillenormand clan and rivals with Marius

both are sleepers or mortals (muggles)


lunes, 21 de diciembre de 2020

CANTRIPS & CONTRAPTIONS XXI - THE OPÉRA GARNIER

Like the Musain, the opera company is actually a freehold; its members are actually

Eugénie Danglars - contralto playing breeches roles, unseelie troll kinain

Louise d'Armilly - soubrette, selkie

Christina Daaé - up-and-coming lyric soprano, seelie sidhe (ljusalv) kinain from Gothenburg, Sweden (Kingdom of Dalecarlia, in fae terms)

Carlotta - primadonna, sleeper or mortal (muggle)?


https://poto.fandom.com/wiki/Christine_Daa%C3%A9

https://poto.fandom.com/wiki/Main_Page