The Superpowers Of Queen Guinevere

Brangain’s family in Arthuriana

As we all know, Brangain is Isolde’s handmaid, who helps her mistress with the whole affair shenanigans with Tristan. It was of interest for me to find out all there was to know about this minor character. This led me to research three different Arthuriana, two from the 13th century and the other from the 16th century.

The earliest of these Arthuriana is the French one, “Tristan en Prose” (which is also known as the Prose Tristan), written by Luce de Gat & Helie de Boron in the 13th century. According to Löseth (1890) and Curtis (1994), Brangain is a young lady of noble birth under the service of then Princess Isolde of Ireland (later Queen Isolde of Cornwall). She serves as one of her ladies-in-waiting. Interestingly, she’s not the only member of her family that comes to Cornwall as part of Isolde’s royal retinue.

In the part of Prose Tristan in which Tristan is hiding his identity in Ireland, there’s a tournament going down in which he disguises himself as a white knight. Brangaine helps him by providing him with armor and assigns her younger brothers, Mathael and Perrin (also called Perynin/Perinis), as his squires. After he’s discovered, he leaves for Cornwall in the company of Brangain’s brothers who laments their departing (Löseth, 1890; Curtis, 1994).

Much later in the narrative, Tristan is wounded by an arrow. King Mark sends one of his wife’s ladies-in-waiting, who is very much loved by the queen and is also a relative of Brangain (most likely a cousin) as his messenger. This cousin is very fond of Tristan and Tristan is fond of her as well. And she comes in the company of her younger brother, who is a squire (Löseth, 1890; Curtis, 1994).

Fast forward once more, another scene features Brangain’s niece, accompanied by her younger brother, a squire, whom she raised since he was an infant. Isolde sent her to Logres with a message for Tristan in order to meet to have some, ahem, alone time (Löseth, 1890).

By the end of Prose Tristan, though, out of all the relatives mentioned, only Perrin makes a reappearance. He sends a letter to his sister and her husband Governal telling them where Tristan and Isolde’s graves are located. Brangain and her husband come to the graveyard to mourn for Tristan and Isolde. Afterwards, Perrin and Tristan’s dog Husdent leave with Brangaine and her husband to the kingdom of Lyonesse (which Tristan gave to Governal) where he serves as his sister’s seneschal (Spector, 1973).

On the other hand, in the German Arthuriana “Tristan” by Gottfried von Strassburg (which was also written in the 13th century), Brangain is called Brangwen in the narrative. She’s most probably a niece of Queen Iseult the Wise (Iseult’s mother) from the maternal side of the family and a first cousin of Isolde (Iseult the Fair in the narrative) as well. She’s also called the Full Moon to Iseult the Wise’s sun and Iseult (Isolde) the Fair’s dawn. Moreover, she advises her aunt not to kill Tristan, accompanies Iseult to Cornwall and we all know the rest of the story (Von Strassburg, 2020).

In contrast, in the 16th century Spanish Arthuriana “Tristan de Leonis y el rey don Tristan el joven, su hijo” by an unknown author, Brangain is called Brangel. Brangel is Iseo la Brunda’s (Isolde in the narrative) handmaid and she has two younger brothers, who are assigned by Iseo to be Tristan’s squires in the tournament (which coincides with Prose Tristan) (Cuesta Torre, 1997).

Long story short, on the voyage to Cornwall Tristan and Iseo drink the love potion and consummate the passion they feel for one another. Iseo falls pregnant and they land in this island called “Ploto.”  Brangel and another of the ladies help Iseo give birth to her first child with Tristan, whom they also called Tristan. They also have a daughter named Iseo like her mother (because Tristan and Isolde can’t keep their hands off each other) (Cuesta Torre, 1997).

We all know the rest of the story. Anyways, Gorvalán (as in Governal in the narrative) and Brangel get married, but they don’t rule over Lyonesse. Instead, according to the will Tristan left, Governal is to be his son’s regent until he comes of age. Fast forward a few years, young Tristan becomes king and he and his sister Iseo become the godparents of Gorvalán and Brangel’s son Leonelo (in English Lionel) named after the city he was born in (Cuesta Torre, 1997).

If these sources are consolidated, the following can be thus concluded:

Brangaine is of noble birth and a first cousin of Isolde from the maternal side of the family. She’s the eldest of her two younger brothers, Perrin and Mathael. Moreover, she has a niece and a nephew from an older sibling. In addition, she also has cousins, one of them a lady-in-waiting and the other a squire.

Brangaine later marries Governal with whom she has a son named Lionel. She and her husband are King and Queen of Lyonesse after Tristan gave it to his tutor before he died. Her brother Perrin is their seneschal.

References

Cuesta Torre, M. L. (1997). Tristán de Leonís y el rey don Tristán el joven, su hijo: (Sevilla, 1534). Universidad Nacional Autónoma de México.

Curtis, R. L. (1994). The Romance of Tristan: The Thirteenth-century Old French “prose Tristan.” Oxford University Press.

Löseth, E. (1890). Le roman en prose de Tristan, le roman de Palamède et la compilation de Rusticien de Pise: Analyse critique d’après les manuscrits de Paris (E. Bouillon, Ed.). Macon, Protat Frères, Imprimeurs.

Spector, N. B. (1973). The romance of Tristan and Isolt. Northwestern University Press.

Von Strassburg, G. (2020). Tristan (A. S. Kline, Trans.). Poetry in Translation. https://www.poetryintranslation.com/PITBR/German/Tristanhome.php

It was a musical, but...I am not beating the allegations.

I shall take this as an opportunity to ramble about Rómeó és Júlia, the subject of said allegations by @unstark, who may have created a monster (/j; thank you for doing so).

The first thing to know is that I haven't read Romeo and Juliet since middle school and liked it well enough then but wasn't really enthused because I liked the poetic elements but found the romance somewhat grating. However, I am a theater kid/opera nerd at heart, and looking at different versions of things and analyzing the connections, sometimes to an obsessive degree, is one of the things I live for (that's part of the lure of Arthuriana).

The second is that Rómeó és Júlia (ResJ) is fantastic, in large part because the cast is incredibly talented. I've seen all or a good portion of several different language versions of the musical, which originated in France as Roméo et Juliette (RetJ), and they all have good or decent but reasonably similar Juliets and mostly fine to mediocre Romeos. In addition to having a good Juliet, this Romeo, played by Dolhai Attila, was quite charming as an actor as well as a great singer so the rest have been mostly downhill. I am afraid, though, that like most of the people on ResJ/RetJ Tumblr, the characters I found most interesting were Mercutio and Tybalt, who both vary wildly from production to production. In ResJ, Mercutio (who fans call Zolicutio because he's played by Zoltán Bereczki) is a force of nature, and I did not properly appreciate that the first time I watched it. He sings, dances almost constantly, acts well, and raps in Magyar, and he never seems to stop or slack in energy until he dies. Tybalt, on the other hand, is a deeply tortured soul who's occasionally comedic in his melodrama (he does the Mr. Bean walk once) but has genuine pathos. I originally watched the first half without subtitles and did not realize the...ahem...concerning nature of his thoughts about Juliet, but that's in almost every version of the musical, and it is not as big a trigger warning as the obvious one, which is that Romeo and Juliet includes onstage suicide and murder, as well as references to sexual content. This is probably the first thing anyone learns about Romeo and Juliet, but I thought I should put that out there to be safe. Anyway, Szilveszter Szabó was vastly different than how I pictured Tybalt while reading the play, but he was excellent and brought a new perspective to the character. You love to see it. Also, ResJ Benvolio is a punk with the heart of a golden retriever, another far-from-the-play take which works in its context.

Now, the 2010 French version. I followed ResJ with the RetJ revival because John Eyzen's Mercutio is the second most popular Mercutio on Tumblr, after the inimitable Zolicutio, and I wanted to see what the hype was about. He is vastly, vastly different, both from how I imagined Mercutio and how Mercutio is in any other production. Eycutio alternates between stillness and over-the-top energy. He may or may not be bad mental illness rep. He may or may not be beholden to the madness-inducing entities of Chaos. Eyzen fully embraced the vibes of "La Follie" and the Queen Mab speech Mercutio has in Shakespeare to create a very unstable dude who revels in unpredictability and danger to a greater degree than Zolicutio and has probably won Best-Haired Veronese Man three years in a row. He has a love/hate relationship with Tybalt and flirts with him while fighting. (Zolicutio also flirts with Tybalt, but less in a I've-secretly-liked-you-since-we-were-twelve-but-also-hate-you-and-we-kissed-at-a-party-once-but-you-pretend-you-don't-remember-and-I'm-going-to-make-that-hard-for-you way than an I-bet-you're-into-me-and-also-that-you'll-hate-this-and-I-could-be-into-you-but-it's-not-clear-and-I-canonically-kissed-Romeo-but-didn't-seem-serious-about-it-and-I-rap-about-not-liking-romance-and-it-might-be-to-hide/drown/prevent-the-pain-or-I-might-be-aroallo-and-thriving way). Tim Ross's 2nd Tybalt looks and acts like the unlikely and maltreated test-tube child of George Michael and Cruella de Vil, and I'm going to leave it about that, because I have rambled too long without mentioning that Romeo's costume is exceptionally terrible in this one, that I really did not like Escalus, and that the Nurse was fantastic. All in all, what this one has to recommend it is the excellent Nurse, plus Tybalt and Mercutio's unevenly acted but ultimately interesting dynamic, which is the stuff of Fanlore pages.

I have not watched all of the 2001 French original, even though many people say Cécilia Cara is the best Juliet, because the other Juliets are also good and apparently a bald Mercutio is one thing I cannot take. (I could under certain conditions. If he were a young cancer patient, then that would add an urgency to his fervor for living life to the fullest, and a suspicion that he's going to die painfully soon whatever he does could influence his recklessness, but him being considerably older and more sophisticated than Romeo is weird). I might watch more of it, but it's low priority.

Apart from those, I've watched large parts of the Italian and Israeli ones, which I prefer to the French ones in acting but not in singing. The Italian one is a lot more dramatic than the Israeli one, which is maybe the least dramatic RetJ variant ever but pulls it off really well. The characters seem like normal people you would meet who try their best but get caught up in a tragedy bigger than they can understand. Of special note, as usual, is that ever-shifting scene, the duel between Mercutio and Tybalt, and this is the most original take on it I've seen. What sets it apart is that THEY DON'T EVEN DISLIKE EACH OTHER. You get the sense that they've had a lighthearted rivalry since they were kids but they're sort of friends and it's all a game to them. It's also the only version I've seen where those two actually have fencing swords, so the fight looks more realistic, emphasizing that they're playing with fire. When he realizes Mercutio is dying, Tybalt is visibly devastated and seems to lose the will to live. I don't usually cry at movies or shows, but that is the version which brought me the closest to crying.

I would like to watch the 2019 Toho version, since it comes highly recommended, but am not sure where to and might have to wait a while on that one. After I'm done with the Italian one, I intend to watch the Russian one, the German one, and the alternate cast recording of the Hungarian one. As for the English one...well, I've listened to a bit of it, and it was awful.

If you want to watch multiple versions at once or see which ones you might like, there is a great playlist on YouTube where someone edited together parts of the videos of different versions. If you want an incoherent-without-watching-the-full-thing but possibly still entertaining look into it, watch this compilation someone made, which is extremely funny if you've actually seen the full musical.

If you've read this entire semi-coherent ramble, you're a trooper. I hope it was vaguely interesting. Have a wonderful day!

it’s really easy to become obsessed with a shakespeare play you just have to watch one version of it and then read the play and then go mad trying to watch every possible version of it you can find and then study several centuries worth of performance history and controversy

New headcanon that Gareth's hair color changed dramatically as he grew up and by the time he sees his older brothers again he resembles a different relative than whoever he used to look most like, so they don't recognize him but he seems eerily familiar to them

Gawain: You know, you remind me of my younger brother... Gareth [mentally]: He recognizes me! Gawain:...Gaheris. Gareth [mentally]: Facepalms

Proof That Jughead is Aromantic - Masterpost

*so we know he’s asexual in canon. but he could still feel romantic attraction!!1!1

what’s this? a screenshot from the writer’s twitter??? doesn’t prove anything. that’s just one comic. i’ll put an asterisk next to the comics by this guy to prove he’s the only one writing Juggie as aro.

i’m not convinced. that’s pretty open to interpretation; he’s probably interested

well… maybe that could mean he’s aro?

Keep reading

🧙, but also what's gringolet 👀

What's Merlin's deal, in your own words?

Merlin’s deal varies. He’s the result of mashing a few different characters into one, and he does a lot of dubious things in the texts which became most influential but does them on the side of the good guys so people want to like him and water him down into a less sinister figure. 

It’s the Historia Regum Britanniae which lays the groundwork for the character as we know him today. First a wunderkind, whose father is thought to have been an incubus, Merlin is nearly used as a human sacrifice as a child but talks his way out of it by explaining the real reason why King Vortigern’s tower keeps falling down. He’s later responsible for the construction of Stonehenge and for disguising Uther Pendragon as Gorlois so that Uther can sleep with Gorlois’ wife Igerna. She doesn’t know it’s Uther at the time, so Merlin is an accomplice to rape by deception. Later on, Merlin is the magical advisor to Uther’s son Arthur, and Arthur is considered a righteous king (even if he does some very dubious things from time to time). That puts Merlin on “the right side” most of the time going forward but also doesn’t make everything Merlin does morally justifiable. There are some texts where he’s downright antagonistic—the big example being Eachtra Mhelóra agus Orlando, where Arthur nearly has him burned at the stake for his crimes but Arthur’s daughter Melora says they should show him mercy—and some where he’s just very, very morally gray. There are exceptions. Myrddin Wyllt, the possibly-historical Welsh bard who appears in The Black Book of Carmarthen, is more sympathetic, almost Lancelotlike in personality: after inadvertently killing his own nephew in battle, he goes insane and wanders forlornly in the forest, talking to a piglet because his sister won’t forgive him. Then again, “didn’t want to kill a relative (but did anyway)” is a very low bar, and that’s not the Merlin iteration who’s in the public consciousness. 

The Merlin we see most in modern media is the archetypal wizard, the friendlier Gandalf figure who guides the righteous king, with his fouler deeds omitted or justified or glossed over, and that’s…fine. I guess. It takes away a lot of nuance, but if you want a wise, magical grandfather figure for your plucky young king, then Merlin is the closest option at hand and has a cultural resonance. I understand it, and I enjoy a good Merlin from time to time, but that’s not who he is, or at least not who he always is. I would appreciate more questionable Merlins—and they do exist. I would appreciate more meant-well-did-badly, non-Arthur-affiliated, bardic Myrddins, too. 

(P.S. At least in the BBoC translation I read, Myrddin himself says that he is “second only to Taliesin”. Mull on that a bit. Given Taliesin’s own questionable moments, I’m not sure whether it’s really a compliment or an insult).

What’s Gringolet?

Gringolet, my friend, is a horse. Not just any horse, however. Gringolet (also known as Ceincaled) is Gawain’s horse, and he is a force of nature, one of the Three Spirited Horses in the Triads. Gawain is a notorious horsegirl, so naturally he requires a horse as awesome and bloodthirsty as he is, and Gringolet is at least as well-regarded as his usual rider by members of the Arthuriana fandom (I’ve seen tier lists which ranked him higher than Gawain). In short, Gringolet is a phenomenon, and one I’m sure a Beri stan like yourself would appreciate, though I admit my enthusiasm for Gringolet is not as great as a lot of people’s because there are other awesome Arthurian horses (Guinevere’s gray palfrey who can go on water or land, Kay’s horse Gwineu Goddwf Hir, etc.) who remain overlooked while he hogs the limelight. That’s not Gringolet's fault, though. 

He also has his own Wikipedia page. Who among us can say that?

Thank you for the ask!

Crop-Eared Dog makes the overzealous descriptions in the Vulgate look tame

This is a quote about the villain, the Knight of the Lantern, who should consider getting a job at Vogue if being his brother’s seneschal doesn’t work out:

“And when they were in a pleasant state, drinking and pleasuring, the king arose standing, and he looks to the four broad-bordered quarters on each side of him all around ; and he saw one young champion, armed, accoutred, and equipped, approaching him; and a tunic of fine silk around his white skin; a wonderful gold-threaded mantle above his fair tunic; and a firm, close, well-woven breastplate about his slender, brightly beautiful, well-curved body; a handsome gold-hemmed scapular above that breastplate; and a goldenhilted, ingenious, broad-grooved sword on his left thigh. A beautiful, very firm, jewelled diadem of manifold art about his head; a shapely, studded, flesh-coloured shield on the ridge of his back, and lines of golden letters in the edges of that royal shield, to announce and proclaim that there was not at the back of shield or sword in the world a warrior or champion better than that mighty soldier. Two angled spears in his white right hand; he had a long, narrow, radiant face, and a grey, clear-glorious, fresh, brilliant, joyous eye in his head ; and he had a slender, shapely, handsome mouth, a smoothslow, quiet, kingly raising in his eyelids, springs of love in each of his royal cheeks; and the people of the world were inferior to him. And in this wise was he; a glistening, full-lighted lantern was in his left hand, and the king was watching him till he came to his presence; and King Arthur asks news of him.”

I mean, really. Describing Lancelot’s eyebrows is weird enough, but glowing descriptions of eyelid raising are on another level.

Still fighting with the html to adjust lettering sizes but the Medieval Literature list is now two pages long :^)

I've added an updated Parzival, Iwein, Erec, Iban, Wigalois, Wigamur, Jaufre, Tristano Riccardiano, an additional translation of The Mabinogion by Sinoed Davies, & more!

I once saw a crossover between BBC Merlin and The Hitchhiker’s Guide to the Galaxy, presumably based around the fact that both have characters named Arthur. It worked well—there are more overlaps—but in general it seems like bad policy. If we keep on mashing up television shows with classic literature based on names, sooner or later, the world will end up with Gilligan’s Wake, and what will we all do then?

“Dagonet the Fool” by Susan Spilecki

They call me "little man," "King Arthur's fool,"

And "simpleton," those lackeys at the court,

But this fool's mother had the Second Sight,

And sometimes when I caper for the king

I see more than Taliesin the bard

And Merlin the enchanter can, combined.

I stand before the dais, juggling:

The red balls first, then yellow, green and blue,

And when I add the gold and silver spheres,

The oval blur between my hands takes form.

A glowing, rainbow mirrow it becomes

Through which I see the king an older man.

His beard is shot with grey. Astride his horse

He sits up straighter than he would on land

When all the kingdom's cares, some awful guilt,

And the death of all his dreams lie on his back.

I see two rows of soldiers and a snake,

A sword unsheathed to kill it, turned on him--

I drop the balls and stammer out some jest,

A wish for pardon, while the courtiers roar.

He does not laugh. He sees my face go grey

With terror. Arthur thinks I fear his wrath.

He hands me the gold ball, rolled to his feet,

Says, "Dagonet, all people make mistakes."

He glances at his wife; she looks away.

Fool I may be, but even I can tell

There's something wrong when Guinevere looks down

Among the milling courtiers at one knight,

The tallest, bravest, handsomest in spurs:

At Lancelot, who never makes mistakes.

I scramble for the balls. He looks at me,

Then looks away, and shrugs his lion's mane.

Dismiss me as a fool, Sir Lancelot.

Better a fool in small things all my life

Than a great lord who, with one folly alone,

Casts all he loves to ruin at life's end.

Gawain's son Widwilt canonically packs pistols.

if you could give one (1) arthurian character a gun, who would it be and why?