chloe. 21. split between norwich and lincolnshire. history student
I like medieval history and modernist literature
posted on Sunday, 31 Aug with 21 notes

artsy:

I do not want art for a few any more than education for a few, or freedom for a few.”—William Morris

c0ssette:

Vittorio Reggianini (Italian,1858-1938) “La soirée” detail.

ani-jul:

The Library of Nicholas II

get to know me meme » [1/6] artists: john william waterhouse

  1. Q: A major concern in A Song of Ice and Fire and Game of Thrones is power. Almost everybody – except maybe Daenerys, across the waters with her dragons – wields power badly.
  2. George R.R. Martin: Ruling is hard. This was maybe my answer to Tolkien, whom, as much as I admire him, I do quibble with. Lord of the Rings had a very medieval philosophy: that if the king was a good man, the land would prosper. We look at real history and it's not that simple. Tolkien can say that Aragorn became king and reigned for a hundred years, and he was wise and good. But Tolkien doesn't ask the question: What was Aragorn's tax policy? Did he maintain a standing army? What did he do in times of flood and famine? And what about all these orcs? By the end of the war, Sauron is gone but all of the orcs aren't gone – they're in the mountains. Did Aragorn pursue a policy of systematic genocide and kill them? Even the little baby orcs, in their little orc cradles? In real life, real-life kings had real-life problems to deal with. Just being a good guy was not the answer. You had to make hard, hard decisions. Sometimes what seemed to be a good decision turned around and bit you in the ass; it was the law of unintended consequences. I've tried to get at some of these in my books. My people who are trying to rule don't have an easy time of it. Just having good intentions doesn't make you a wise king.

The sky is overcast with continual rain and cloud

— Britain according to Tacitus, a Roman historian, in his book Agricola circa 98 CE. In other words, that island has been gloomy for as long as we have writing with which to call it gloomy. (via historical-nonfiction)

"It’s not about the days when everything has turned out right, no it’s more about the moments when she calls me in the night.
To make her cups of tea and wash the weary worries from her head
and then to draw the pain out slowly as I put her into bed.”

Enjolras was a charming young man, who was capable of being terrible. He was angelically beautiful. He was Antinous wild. You would have said, to see the thoughtful reflection of his eye, that he had already, in some preceding existence, passed through the revolutionary apocalypse.”

One vital difference between fifth-century Greeks and “us” (or the range of job-lot attitudes which that word represents) is that in their world seeing gods, coming into direct contact with divinity, was not evidence of madness. Or not in the way it is in ours. Our world generally tends to think seeing gods is evidence of madness because it is hallucinatory, because gods to not exist. “He’s been seeing things” means precisely the opposite. He has not been seeing things; not things that are really there. He has been making them up, “seeing” creations of his own disturbed imagination.

But the plays that stake out the claims of madness on Western imagination were produced for the precinct of a “mad” god. A real god, really present in “his” theatre. Dionysus’s persona connected interior violence, the violence of the mind and distorted perception, with exterior violence: the violence of tragedy’s action, its music, dances and murders. Seeing Dionysus was evidence of seeing Dionysus. That might well mean madness, not because Dionysus was not real, but because he was.

"Whom Gods Destroy": Elements of Greek and Tragic Madness, Ruth Padel (via argonauticae)

It’s not about the words. It’s about the memories lost inside the words.

Virginia Woolf, from Selected Letters (via c-ovet)

sansaqueens:

kings & queens of england {1066-1603} 

RF