I’m not satanic but these are some damn good rules.
satan does not support rape, animal cruelty, or child abuse
when walking in open territory, bother no one. if someone bothers you, ask them to stop. if they do not stop, destroy them.
*Today on I Didn’t Know I was a Satanist”
‘The Byronic hero is a variant of the Romantic hero as a type of character, named after the English Romantic poet Lord Byron. Both Byron’s life and writings have been considered in different ways to exemplify the type. The Byronic hero first appears in Byron’s semi-autobiographical epic narrative poem Childe Harold’s Pilgrimage (1812–1818), and was described by the historian and critic Lord Macaulay as “a man proud, moody, cynical, with defiance on his brow, and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection”.’ (x).
I carry shame that never quiets,
It is the shame that never ceases.
Empty chairs and tables,
My friends will never come.The revolution sounded,Here the flame was ignited.A tomorrow was spoken of,And the tomorrow did not come.In that corner of tablesNew worlds were desired.And their voices declared it,Now I feel within meThe cry of liberty.It was a sacred communionAt that daybreak without sun.Forgive me my friends,Which have died and I live.It is the shame of my soul,Shame that will not cease.Their faces will not leave me,And the shadows pursue me.Empty chairs and tables,Where they will not sit.Friends don’t ask meIf the sacrifice was in vain.Empty chairs and tables,Where I will never see them again.…Wow, I kind of like these lyrics better? “Don’t ask me if your sacrifice was in vain” in particular, that sits a lot better than “what your sacrifice was for” which makes Marius sound like he wandered off to get a candy bar or something during the political bits of the meetings. Also “now I feel within me the cry of liberty” is DOING THINGS to me. And YES, “the shadows pursue me”, wow, they actually DO in that staging.
WHOOPS LOS MIS FEELS AGAIN, I make no apology! (and thank you for tagging me!)I agree, I like these more as well — especially the sacrifice in vain bit, because that gets Marius’ feelings across much better. Also, on ‘the shadows pursue me’, I feel like it gives a much more…idk, like, less static idea of it? ‘Phantom faces at the window/Phantom shadows on the floor’ just doesn’t give the same idea of Marius being unable to escape the memories and the guilt. Which, coupled with the emphasis on Marius’ shame at the fact that he’s alive when everyone else is dead (which isn’t really present in the English lyrics), gives me a lot of emotions.
Forgive me my total lack of eloquence — I’ve been attempting to make sense of nineteenth century colonialism for hours.
UGH good luck with the colonialism (NOT A PHRASE I SAY OFTEN). And yeah, I totally agree! These lines make Marius feel way more active. I think a lot of musical!Marius hate comes from him seeming to be so PASSIVE; the stage version doesn’t even necessarily give him his blow-up-the-barricade moment, so he sort of…exists, and then people do things around him, and die, and then he gets that awful AWFUL Don’t Ask Me line and sometimes seems to care about as much as I care about a paper cut and then he’s married. Musical!Marius: MAN OF ACTION. and Brick!Marius is not my FAVORITE character in the book (while Les Amis exist it’s a nine-character photofinish for that spot already) but GEEZ he DOES THINGS HE DOES A LOT OF THINGS and has Feels EVERYWHERE, not just about Cosette. I think these lines are a lot better for that?!? JUST MY OPINION OF COURSE because nothing’s more opioniny than musical preferences, but AUGH I like these lyrics!
…see, I don’t even have the colonialism excuse. I’m just over here drawing Amis in cuddlepiles.
My grandpa has Alzheimer’s so he has no idea who my grandma is but everyday for the last three or four months he brings her in flowers from their garden and asks her to run away with him and be his wife and everyday she says she already is and everyday the smile my grandpa gets on his face is the most beautiful heartfelt thing I have ever seen.
Savages. Let us explain that word. These bristling men clothed in rags, roaring and ferocious, who, in the Genesis of the revolutionary chaos, rushed upon old overthrown Paris with uplifted clubs and raised pikes, what did they want? They wanted the end of oppression, the end of tyrannies, the end of the sword, work for the man, instruction for the child, social gentleness for the woman, liberty, equality, fraternity, bread for all, the idea for all, the Edenization of the world, progress; and this holy, good, and sweet thing called progress they, driven to exasperation, claimed terribly with upraised weapons and curses. They were savages, yes; but the savages of civilization.
They proclaimed the right with fury; they wished to force the human race into Paradise, even if by trembling and horror. They seemed barbarians, yet they were saviors. They demanded light while wearing the mask of night.
And confronting these men, wild and terrible as we agree that they were, even if for good cause, there were men of quite another kind: smiling, embroidered, gilded, be-ribboned, in silk stockings, with white feathers, yellow gloves, and kid shoes, who, leaning upon a velvet-covered table near a marble chimney-piece, gently insist on the maintenance and preservation of the past, of the Middle Ages, of divine right, of fanaticism, of ignorance, of slavery, of the death penalty, and of war; and who glorify in a low voice and with great politeness the saber, the pyre, and the scaffold. For our part, if we had to choose between the barbarians of civilization and those civilized upholders of barbarism, we would choose the former.
See the thing about being an evil villain is that instead of letting your inner demons fester and weaken you, you can control them and ride your majestic, winged beasts of terror into battle against your enemies
I think I need this, lettered in a beautiful font, to hang at my desk.
I’m more than happy to pay my respects to Hannibal NBC show by this street art. THIS IS MY DESIGN :)
*from Russia with love =*
Le Canard enchaîné
From Wikipedia, the free encyclopedia
Le Canard enchaîné (French pronunciation: [lə.ka.na.ʁɑ̃.ʃɛ’ne] ; English: The Chained Duck or The Chained Paper) is a satirical newspaper published weekly in France. Founded in 1915, it features investigative journalism and leaks from sources inside the French government, the French political world and the French business world, as well as many jokes and humorous cartoons.
The name is a reference to Radical Georges Clemenceau’s newspaper L’homme libre (“The Free Man”) which was forced to close by government censorship and reacted by changing its name to L’homme enchaîné (“The Chained-up Man”); Le Canard enchaîné means “The chained-up duck”, but canard (duck) is also French slang for “newspaper”; it was also a reference to French journals published by soldiers during World War I. It was founded by Maurice Maréchal and his wife Jeanne Maréchal, along with H. P. Gassier. It changed its title briefly after World War I to Le Canard Déchaîné (“The duck unbound”, or “out of control”), to celebrate the end of military censorship of the press. It resumed the title Le Canard enchaîné in 1920. The title also conveys a double meaning, “canard” being a possible salicious rumour or whisper and “enchaîné” simply meaning linked, hence “the inside whisper”. It continued to publish and grow in popularity and influence until it was forced to suspend publication during the German occupation of France in 1940. After the liberation of France, it resumed publication. It changed to its eight-page format in the 1960s.
Many of the Canard’s early contributors were members of the Communist and Socialist parties, but it shed its alignment with those groups in the 1920s. Its current owners are not tied to any political or economic group. It now avoids any political alignment, and has gained a reputation for publishing incriminating stories and criticizing any political party with no preference. It is also fairly anti-clerical and lampoons the nobility. The Canard does not accept any advertisements.
Format of a typical issue
The Canard pages are peppered with satirical cartoons. Here, René Pétillon mocks wealthy businesspeople who offshore both their production and their capital
The Canard has a fixed eight page layout. Pages 1, 2-4 and 8 are mostly news and editorials. Page 2 is anecdotes from the political and business world. Pages 5–7 are dedicated to social issues (such as the environment), profiles, general humour and satire, Cabu’s “Beauf” comic strip, and literary, theater, opera and film criticism. One section, called l’Album de la Comtesse, is dedicated to spoonerisms.
The Canard is notable because of its focus on scandals in French governmental and business circles, although it does also cover other countries.
Some of the information published by the Canard clearly comes from very well-placed sources, likely including ministerial aides. Charles de Gaulle was a frequent target; he was known to ask, “What does the bird have to say?” (Que dit le volatile?) every Wednesday – the day Canard would roll off the presses. There are often verbatim and off-the-record quotes from major politicians, including the president and prime minister, usually aimed at another politician.
It also publishes satirical cartoons and jokes. The factual and jocular columns are cleanly delineated.
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