I think as your job satisfaction gets lower and lower you should gain access to an increasingly broad and powerful suite of forbidden magic
NASA
will byers stan first human second
occasionally subtle
taylor price
almost home
YOU ARE THE REASON
cherry valley forever

祝日 / Permanent Vacation
Sade Olutola
ojovivo

PR's Tumblrdome
Xuebing Du

roma★

oozey mess
No title available

Discoholic 🪩
Keni

if i look back, i am lost

Love Begins
Show & Tell

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@endoplasmic-parakeet
I think as your job satisfaction gets lower and lower you should gain access to an increasingly broad and powerful suite of forbidden magic
What if Mike was short for Micycle
every now and then theres a text post that gets stuck in my damn head. here it is. im never going to be free of micycle
What if bike was short for bichael
in a way john watson is a fantasy (what if you had this brilliant enigmatic friend and what if he liked you in particular and what if he offered you the excitement of youth and adventures and a way out of boring society life and all without having to actually give up your status as a gentleman so you could have the best of both worlds) and in a way sherlock holmes is a fantasy (what if someone never got tired of you despite your various strange habits and mood swings and instead of simply tolerating you they genuinely liked you and what if you didn’t have to live alone forever and what if you never had to give up doing the things you love) and of course there’s the most fantastical part of it all (what if you could afford london housing prices)
One of my other favorite moments of the night, just because it was utterly genuine and human and brought the audience and the band together so perfectly.
Madeleines’s absolutely tiny, “sorry 😀” gets me every time 😭. And her smile is beyond blinding oh my Goddd. Joey is somehow both so charismatic and endearing here it’s insane. “The fuck am I sayin’?” I literally have no idea but I somehow adore you even more because of it
the first time verity imposes his skill bond with fitz he does so by touching her wrist… it is described as ‘an invasion’ / ‘instinct to struggle against him’ / ‘his grip was like iron’… the fool’s fingerprints, signifier of yet another skill bond, being on fitz’s wrist as well… there’s something to be said here but i haven’t read enough tawny man to say it…
You know what I think is really cool about language (English in this case)? It’s the way you can express “I don’t know” without opening your mouth. All you have to do is hum a low note, a high note, then another lower note. The same goes for yes and no. Does anyone know what this is called?
These are called vocables, a form of non-lexical utterance - that is, wordlike sounds that aren’t strictly words, have flexible meaning depending on context, and reflect the speakers emotional reaction to the context rather than stating something specific. They also include uh-oh! (that’s not good!), uh-huh and mm-hmm (yes), uhn-uhn (no), huh? (what?), huh… (oh, I see…), hmmn… (I wonder… / maybe…), awww! (that’s cute!), aww… (darn it…), um? (excuse me; that doesn’t seem right?), ugh and guh (expressions of alarm, disgust, or sympathy toward somebody else’s displeasure or distress), etc.
Every natural human language has at least a few vocables in it, and filler words like “um” and “erm” are also part of this overall class of utterances. Technically “vocable” itself refers to a wider category of utterances, but these types of sounds are the ones most frequently being referred to, when the word is used.
My favourite description of this is in Guards! Guards!
The dragon raised its head in a puzzled way and made a noise that was vaguely interrogative without being in any way a word.
Terry Pratchett
rtte episode and the entire plot is the gang trying to keep Hiccup from finding out his surprise birthday party they’re planning
I am printing these words out and gluing them backwards onto my forehead
I do think we should have gotten a “Rudyard ruins pride” special
btw it's so fucking stupid you can be anxious physically in your body even after you've decided mentally you don't care. I'm supposed to be in charge here
Can you imagine what living at the edge is like just casually?
You wake up, and already Fishlegs is off in a cave somewhere, almost dying, Snoutlout has accidentally taken Astrid's axe, and she's presently hunting him down across the entire base with a vengeance upon realising he broke it. The twins are either cheering her on or have managed to coat half the base in monstrous Nightmare gel, which is, in fact, not helping the situation at all. Heather is trying to establish any semblance of normalcy by stopping Astrid from killing Snotlout, and finally, Hiccup crashlands in after testing his latest version of the flight suit, smacks a map down on the table like "I KNOW WHERE VIGGO IS, LET'S GET HIM!"
The raw, unmatched power of a bunch of unsupervised 18-20-year-olds without jobs should be feared and admired.
On Verity-As-Dragon (spoilers for Everything)
This line from Kettricken in Tawny Man really stands out as a masterpiece of dramatic irony. In it, she is offended that the Six Duchies dragons are not "true" dragons. And she retorts by claiming Verity is "truest of them all". She means noble, brave, wise, etc. but based on what we learn about dragons later, she is right in many ways that she certainly didn't intend.
Repeatedly throughout the series we are intentionally invited to make comparisons between dragons, traditional ships-of-the-line and of course, liveships
When we first see Verity's dragon, it's immediately compared to a sailing vessel in two ways:
When he takes off for the first time, another nautical simile is employed (and a common one, the wings of dragons and the sails of sailing vessels are repeatedly compared to one another - pay attention to the number of times a dragon's wingbeats are described like the "snap of canvas from a sail" or other similar comparisons.):
Icefyre is also compared to a ship when he emerges from his slumber:
It's important to note that he shares one clear cut obsession (hunting) with true dragons already, dragons are constantly compared to his other obsession (shipbuilding/ships) and his third obsession (cartography) is based on an accumulation of ancestral knowledge, with information depicted from a dragon's-eye-view of the world. But why ships? Why dragons?
Verity is a Taker, and why Ships Matter.
Verity is true to the namesake of the Farseer line - literally King Taker. He was an Outislander who chased against their traditional matriarchal society and established his own kingdom in what is now Buck. We learn based on the Outislander creation myth and Outislander cutlure that the basic way of things is: women rule the homestead and ensure the survival of the clan, men go out and raid and occasionally come back to earn the right to mate. King Taker conquered Buck, and in the process married an Elderling woman who was probably responsible for his descendants possessing the Skill, despite her importance being ignored for most of Six Duchies history. He subsumes her for his own glory.
Makers (Mothers, Women, Homemakers) vs Takers (Fathers, Men, Breadwinner). The Makers grow, cultivate, grant life and handle the thousands of boring mundane tasks that make up daily life, while the Takers must go out and extract wealth from somewhere else, indulging their own desires in the process. Robin's depiction of the traditionally masculine Breadwinner role as the more selfish, transient and less necessary to the survival of the species, the family, the culture, etc. than the Homemaker role is one of her most recurrent themes. We see this dynamic everywhere (Ronica and Ephron, Tintaglia and Icefyre, Eda and El, Chivalry and Patience, Verity and Kettricken, Keffria and Kyle, Elderlings and Dragons, etc.)
The Farseers are literally the result of a Taker, breaking with a Maker society and building a new society ruled by Takers. The Skill is the Magic of Taking (using other people as batteries, entering the bodies and souls to change or remove things, healing via burning of other resources, possession, torture, sealing) while the Wit is the Magic of Making (fomenting new bonds, healing via a communication with natural processes, empathy, life sense). Verity uses Fitz to power his Skill, he uses Fitz to make his child, he uses other people (August, members of his navy) to achieve his goals, he subsumes Kettle to complete his dragon.
Why the ships by the way? For one, they, like the sea serpents, are a sea-bound lesser form of dragon. More importantly, the dream of a ship in ROTE is the dream of a powerful being that directs the energies and memories of multiple smaller beings to a greater purpose. The Crew are subsumed as individuals and become secondary to the will of the Captain and the needs of the Ship. To orchestrate all of his "little people" to form greater wholes that will achieve his goals is the whole point of Verity's navy, and he pours that same obsession into the dragon. And the liveships are literally made by destroying embryonic life for the purpose of molding it to acquisitive and extractive purposes.
Interestingly, although this next passage illustrates a matriarchal perspective from a female dragon, Dragons are essentially the Takers in their relationship with the Elderlings.
The dragons go and hunt, fill their bellies and sate their own desires, but often need to return to the cities of the Elderlings for grooming, for Silver, for the luxury and nurturing this race of Homemakers provides for them.
These dragons, much like deadbeat dads, leave half-finished Elderling babies everywhere that their Elderlings often have to shoulder the burden for, hoping their dragon will 'wise up' and take responsibility one day.
Interestingly, just before Verity enters his dragon, he displays the same, cold draconic lack of remorse shown by Mercor above:
Verity literally consumes a woman and possesses Fitz' body in order to complete his process. Even his great works come at a cost to others, who are often forgotten by history in the telling of 'his' deeds.
Kettricken is right, Verity was the truest of all dragons as we come to know them: Aloof, inattentive, detached, unconcerned with the 'little' people, enormously powerful, someone who could grant great boons at an often steep price to the receiver, a user, a taker, a hunter, a 'Great Person' whose legend is upheld by the many people who sacrificed so much to see their dream fulfilled. This is dragons as we come to know them over the course of 16 books, and Verity already was one from the beginning. He simply physically becomes what, on some level, he always was at the end of Assassin's Quest.
Takers, Makers, Maternal Fathers
Ultimately, Verity, Dragons and the great Takers of the story (no matter how well intentioned) illustrate Hobbs' basic idea: the Makers are more important. The people (usually depicted as women or homemakers) who build and maintain the home, the city, the society, the species are the most important and the adventurers, pioneers and plunderers are selfish at worst, a necessary evil in dire circumstances at best.
When Verity goes on his pipe dream quest, it is Patience and Kettricken who maintain the stability of Buck society. When Ephron dies, it is the Vestrit women who must keep the family and Bingtown proper alive. It is Tintaglia who works to keep dragonkind alive, not Icefyre.
Fitz has two Fathers: Chivalry (with Skill, the Paternal, Male, Taker Magic) and Burrich (with Wit, the Maternal, Female, Maker Magic). Chivalry disappears from Fitz' life against the advice of everyone and leaves him nothing. Burrich remains in Fitz' life and ultimately is the vessel by which Fitz is reborn via the Wit. He teaches Molly how to handle children properly and builds their homestead. Burrich's Maternality is ultimately his most redemptive quality and his status as Maker is the reason Chivalry is just a ghost and Burrich is actually a pivotal part of Fitz, Molly and their children's live.
Dutiful has two Fathers: Verity (truest of all dragons, Taker, enormously powerful in the Skill) and Fitz (erratic connection to the Skill, Witted). Verity enters Fitz' body and uses him as the vessel with which to create life. Fitz ultimately fits into the Homemaker role in his relationship to Hap (his most well-adjusted child) and Starling (deadbeat philandering Minstrel mom)((we love her)) and is more responsible for raising Dutiful and protecting him then Verity every was. His finest, most redemptive quality in his relationships with his children is his Maternality, his desire to be Homemaker.
This is why Tarman and the other dragons recognize Fitz as being claimed by a dragon. Because Verity is. Despite the nobility of many of his goals, his obsession, his single-mindedness, primacy of his own perspective, his subconscious need to use and consume others, his detachment from the finer details of mundane daily life turns him into a Dragon eventually. As these books say so often: We are as we are meant to be. Verity is the ultimate dragon, in both his range of positive and negative qualities. Hunter, explorer, adventurer, destroyer, user, abuser, Taker, Great Man, Hero. The difference between ROTE and many series is that we see the true cost such a man has on the people around them.
When we learn that the Mountain Kingdom was initially founded by two notable women in the final trilogy, it ties together this theme with an almost too-neat bow. A Matriarchal ruler (on a smaller scale, the homemaker) sees themself as Sacrifice. A Patriarchal ruler (smaller scale, the breadwinner) as Taker. Fittingly, the most Patriarchal ruler of them all, the Duke of Chalced, has destroyed his own bloodline and most sup the blood and flesh of Selden (bonded to a female dragon, often considered gentler and softer than other men), an Elderling (the Maternal or Maker species in their dynamic with dragons) in order to sustain his own life.
I have no idea how to end this, other than saying I will write more on this and am currently working on a video.
On Verity-As-Dragon (spoilers for Everything)
This line from Kettricken in Tawny Man really stands out as a masterpiece of dramatic irony. In it, she is offended that the Six Duchies dragons are not "true" dragons. And she retorts by claiming Verity is "truest of them all". She means noble, brave, wise, etc. but based on what we learn about dragons later, she is right in many ways that she certainly didn't intend.
Repeatedly throughout the series we are intentionally invited to make comparisons between dragons, traditional ships-of-the-line and of course, liveships
When we first see Verity's dragon, it's immediately compared to a sailing vessel in two ways:
When he takes off for the first time, another nautical simile is employed (and a common one, the wings of dragons and the sails of sailing vessels are repeatedly compared to one another - pay attention to the number of times a dragon's wingbeats are described like the "snap of canvas from a sail" or other similar comparisons.):
Icefyre is also compared to a ship when he emerges from his slumber:
It's important to note that he shares one clear cut obsession (hunting) with true dragons already, dragons are constantly compared to his other obsession (shipbuilding/ships) and his third obsession (cartography) is based on an accumulation of ancestral knowledge, with information depicted from a dragon's-eye-view of the world. But why ships? Why dragons?
Verity is a Taker, and why Ships Matter.
Verity is true to the namesake of the Farseer line - literally King Taker. He was an Outislander who chased against their traditional matriarchal society and established his own kingdom in what is now Buck. We learn based on the Outislander creation myth and Outislander cutlure that the basic way of things is: women rule the homestead and ensure the survival of the clan, men go out and raid and occasionally come back to earn the right to mate. King Taker conquered Buck, and in the process married an Elderling woman who was probably responsible for his descendants possessing the Skill, despite her importance being ignored for most of Six Duchies history. He subsumes her for his own glory.
Makers (Mothers, Women, Homemakers) vs Takers (Fathers, Men, Breadwinner). The Makers grow, cultivate, grant life and handle the thousands of boring mundane tasks that make up daily life, while the Takers must go out and extract wealth from somewhere else, indulging their own desires in the process. Robin's depiction of the traditionally masculine Breadwinner role as the more selfish, transient and less necessary to the survival of the species, the family, the culture, etc. than the Homemaker role is one of her most recurrent themes. We see this dynamic everywhere (Ronica and Ephron, Tintaglia and Icefyre, Eda and El, Chivalry and Patience, Verity and Kettricken, Keffria and Kyle, Elderlings and Dragons, etc.)
The Farseers are literally the result of a Taker, breaking with a Maker society and building a new society ruled by Takers. The Skill is the Magic of Taking (using other people as batteries, entering the bodies and souls to change or remove things, healing via burning of other resources, possession, torture, sealing) while the Wit is the Magic of Making (fomenting new bonds, healing via a communication with natural processes, empathy, life sense). Verity uses Fitz to power his Skill, he uses Fitz to make his child, he uses other people (August, members of his navy) to achieve his goals, he subsumes Kettle to complete his dragon.
Why the ships by the way? For one, they, like the sea serpents, are a sea-bound lesser form of dragon. More importantly, the dream of a ship in ROTE is the dream of a powerful being that directs the energies and memories of multiple smaller beings to a greater purpose. The Crew are subsumed as individuals and become secondary to the will of the Captain and the needs of the Ship. To orchestrate all of his "little people" to form greater wholes that will achieve his goals is the whole point of Verity's navy, and he pours that same obsession into the dragon. And the liveships are literally made by destroying embryonic life for the purpose of molding it to acquisitive and extractive purposes.
Interestingly, although this next passage illustrates a matriarchal perspective from a female dragon, Dragons are essentially the Takers in their relationship with the Elderlings.
The dragons go and hunt, fill their bellies and sate their own desires, but often need to return to the cities of the Elderlings for grooming, for Silver, for the luxury and nurturing this race of Homemakers provides for them.
These dragons, much like deadbeat dads, leave half-finished Elderling babies everywhere that their Elderlings often have to shoulder the burden for, hoping their dragon will 'wise up' and take responsibility one day.
Interestingly, just before Verity enters his dragon, he displays the same, cold draconic lack of remorse shown by Mercor above:
Verity literally consumes a woman and possesses Fitz' body in order to complete his process. Even his great works come at a cost to others, who are often forgotten by history in the telling of 'his' deeds.
Kettricken is right, Verity was the truest of all dragons as we come to know them: Aloof, inattentive, detached, unconcerned with the 'little' people, enormously powerful, someone who could grant great boons at an often steep price to the receiver, a user, a taker, a hunter, a 'Great Person' whose legend is upheld by the many people who sacrificed so much to see their dream fulfilled. This is dragons as we come to know them over the course of 16 books, and Verity already was one from the beginning. He simply physically becomes what, on some level, he always was at the end of Assassin's Quest.
Takers, Makers, Maternal Fathers
Ultimately, Verity, Dragons and the great Takers of the story (no matter how well intentioned) illustrate Hobbs' basic idea: the Makers are more important. The people (usually depicted as women or homemakers) who build and maintain the home, the city, the society, the species are the most important and the adventurers, pioneers and plunderers are selfish at worst, a necessary evil in dire circumstances at best.
When Verity goes on his pipe dream quest, it is Patience and Kettricken who maintain the stability of Buck society. When Ephron dies, it is the Vestrit women who must keep the family and Bingtown proper alive. It is Tintaglia who works to keep dragonkind alive, not Icefyre.
Fitz has two Fathers: Chivalry (with Skill, the Paternal, Male, Taker Magic) and Burrich (with Wit, the Maternal, Female, Maker Magic). Chivalry disappears from Fitz' life against the advice of everyone and leaves him nothing. Burrich remains in Fitz' life and ultimately is the vessel by which Fitz is reborn via the Wit. He teaches Molly how to handle children properly and builds their homestead. Burrich's Maternality is ultimately his most redemptive quality and his status as Maker is the reason Chivalry is just a ghost and Burrich is actually a pivotal part of Fitz, Molly and their children's live.
Dutiful has two Fathers: Verity (truest of all dragons, Taker, enormously powerful in the Skill) and Fitz (erratic connection to the Skill, Witted). Verity enters Fitz' body and uses him as the vessel with which to create life. Fitz ultimately fits into the Homemaker role in his relationship to Hap (his most well-adjusted child) and Starling (deadbeat philandering Minstrel mom)((we love her)) and is more responsible for raising Dutiful and protecting him then Verity every was. His finest, most redemptive quality in his relationships with his children is his Maternality, his desire to be Homemaker.
This is why Tarman and the other dragons recognize Fitz as being claimed by a dragon. Because Verity is. Despite the nobility of many of his goals, his obsession, his single-mindedness, primacy of his own perspective, his subconscious need to use and consume others, his detachment from the finer details of mundane daily life turns him into a Dragon eventually. As these books say so often: We are as we are meant to be. Verity is the ultimate dragon, in both his range of positive and negative qualities. Hunter, explorer, adventurer, destroyer, user, abuser, Taker, Great Man, Hero. The difference between ROTE and many series is that we see the true cost such a man has on the people around them.
When we learn that the Mountain Kingdom was initially founded by two notable women in the final trilogy, it ties together this theme with an almost too-neat bow. A Matriarchal ruler (on a smaller scale, the homemaker) sees themself as Sacrifice. A Patriarchal ruler (smaller scale, the breadwinner) as Taker. Fittingly, the most Patriarchal ruler of them all, the Duke of Chalced, has destroyed his own bloodline and most sup the blood and flesh of Selden (bonded to a female dragon, often considered gentler and softer than other men), an Elderling (the Maternal or Maker species in their dynamic with dragons) in order to sustain his own life.
I have no idea how to end this, other than saying I will write more on this and am currently working on a video.
On Verity-As-Dragon (spoilers for Everything)
This line from Kettricken in Tawny Man really stands out as a masterpiece of dramatic irony. In it, she is offended that the Six Duchies dragons are not "true" dragons. And she retorts by claiming Verity is "truest of them all". She means noble, brave, wise, etc. but based on what we learn about dragons later, she is right in many ways that she certainly didn't intend.
Repeatedly throughout the series we are intentionally invited to make comparisons between dragons, traditional ships-of-the-line and of course, liveships
When we first see Verity's dragon, it's immediately compared to a sailing vessel in two ways:
When he takes off for the first time, another nautical simile is employed (and a common one, the wings of dragons and the sails of sailing vessels are repeatedly compared to one another - pay attention to the number of times a dragon's wingbeats are described like the "snap of canvas from a sail" or other similar comparisons.):
Icefyre is also compared to a ship when he emerges from his slumber:
It's important to note that he shares one clear cut obsession (hunting) with true dragons already, dragons are constantly compared to his other obsession (shipbuilding/ships) and his third obsession (cartography) is based on an accumulation of ancestral knowledge, with information depicted from a dragon's-eye-view of the world. But why ships? Why dragons?
Verity is a Taker, and why Ships Matter.
Verity is true to the namesake of the Farseer line - literally King Taker. He was an Outislander who chased against their traditional matriarchal society and established his own kingdom in what is now Buck. We learn based on the Outislander creation myth and Outislander cutlure that the basic way of things is: women rule the homestead and ensure the survival of the clan, men go out and raid and occasionally come back to earn the right to mate. King Taker conquered Buck, and in the process married an Elderling woman who was probably responsible for his descendants possessing the Skill, despite her importance being ignored for most of Six Duchies history. He subsumes her for his own glory.
Makers (Mothers, Women, Homemakers) vs Takers (Fathers, Men, Breadwinner). The Makers grow, cultivate, grant life and handle the thousands of boring mundane tasks that make up daily life, while the Takers must go out and extract wealth from somewhere else, indulging their own desires in the process. Robin's depiction of the traditionally masculine Breadwinner role as the more selfish, transient and less necessary to the survival of the species, the family, the culture, etc. than the Homemaker role is one of her most recurrent themes. We see this dynamic everywhere (Ronica and Ephron, Tintaglia and Icefyre, Eda and El, Chivalry and Patience, Verity and Kettricken, Keffria and Kyle, Elderlings and Dragons, etc.)
The Farseers are literally the result of a Taker, breaking with a Maker society and building a new society ruled by Takers. The Skill is the Magic of Taking (using other people as batteries, entering the bodies and souls to change or remove things, healing via burning of other resources, possession, torture, sealing) while the Wit is the Magic of Making (fomenting new bonds, healing via a communication with natural processes, empathy, life sense). Verity uses Fitz to power his Skill, he uses Fitz to make his child, he uses other people (August, members of his navy) to achieve his goals, he subsumes Kettle to complete his dragon.
Why the ships by the way? For one, they, like the sea serpents, are a sea-bound lesser form of dragon. More importantly, the dream of a ship in ROTE is the dream of a powerful being that directs the energies and memories of multiple smaller beings to a greater purpose. The Crew are subsumed as individuals and become secondary to the will of the Captain and the needs of the Ship. To orchestrate all of his "little people" to form greater wholes that will achieve his goals is the whole point of Verity's navy, and he pours that same obsession into the dragon. And the liveships are literally made by destroying embryonic life for the purpose of molding it to acquisitive and extractive purposes.
Interestingly, although this next passage illustrates a matriarchal perspective from a female dragon, Dragons are essentially the Takers in their relationship with the Elderlings.
The dragons go and hunt, fill their bellies and sate their own desires, but often need to return to the cities of the Elderlings for grooming, for Silver, for the luxury and nurturing this race of Homemakers provides for them.
These dragons, much like deadbeat dads, leave half-finished Elderling babies everywhere that their Elderlings often have to shoulder the burden for, hoping their dragon will 'wise up' and take responsibility one day.
Interestingly, just before Verity enters his dragon, he displays the same, cold draconic lack of remorse shown by Mercor above:
Verity literally consumes a woman and possesses Fitz' body in order to complete his process. Even his great works come at a cost to others, who are often forgotten by history in the telling of 'his' deeds.
Kettricken is right, Verity was the truest of all dragons as we come to know them: Aloof, inattentive, detached, unconcerned with the 'little' people, enormously powerful, someone who could grant great boons at an often steep price to the receiver, a user, a taker, a hunter, a 'Great Person' whose legend is upheld by the many people who sacrificed so much to see their dream fulfilled. This is dragons as we come to know them over the course of 16 books, and Verity already was one from the beginning. He simply physically becomes what, on some level, he always was at the end of Assassin's Quest.
Takers, Makers, Maternal Fathers
Ultimately, Verity, Dragons and the great Takers of the story (no matter how well intentioned) illustrate Hobbs' basic idea: the Makers are more important. The people (usually depicted as women or homemakers) who build and maintain the home, the city, the society, the species are the most important and the adventurers, pioneers and plunderers are selfish at worst, a necessary evil in dire circumstances at best.
When Verity goes on his pipe dream quest, it is Patience and Kettricken who maintain the stability of Buck society. When Ephron dies, it is the Vestrit women who must keep the family and Bingtown proper alive. It is Tintaglia who works to keep dragonkind alive, not Icefyre.
Fitz has two Fathers: Chivalry (with Skill, the Paternal, Male, Taker Magic) and Burrich (with Wit, the Maternal, Female, Maker Magic). Chivalry disappears from Fitz' life against the advice of everyone and leaves him nothing. Burrich remains in Fitz' life and ultimately is the vessel by which Fitz is reborn via the Wit. He teaches Molly how to handle children properly and builds their homestead. Burrich's Maternality is ultimately his most redemptive quality and his status as Maker is the reason Chivalry is just a ghost and Burrich is actually a pivotal part of Fitz, Molly and their children's live.
Dutiful has two Fathers: Verity (truest of all dragons, Taker, enormously powerful in the Skill) and Fitz (erratic connection to the Skill, Witted). Verity enters Fitz' body and uses him as the vessel with which to create life. Fitz ultimately fits into the Homemaker role in his relationship to Hap (his most well-adjusted child) and Starling (deadbeat philandering Minstrel mom)((we love her)) and is more responsible for raising Dutiful and protecting him then Verity every was. His finest, most redemptive quality in his relationships with his children is his Maternality, his desire to be Homemaker.
This is why Tarman and the other dragons recognize Fitz as being claimed by a dragon. Because Verity is. Despite the nobility of many of his goals, his obsession, his single-mindedness, primacy of his own perspective, his subconscious need to use and consume others, his detachment from the finer details of mundane daily life turns him into a Dragon eventually. As these books say so often: We are as we are meant to be. Verity is the ultimate dragon, in both his range of positive and negative qualities. Hunter, explorer, adventurer, destroyer, user, abuser, Taker, Great Man, Hero. The difference between ROTE and many series is that we see the true cost such a man has on the people around them.
When we learn that the Mountain Kingdom was initially founded by two notable women in the final trilogy, it ties together this theme with an almost too-neat bow. A Matriarchal ruler (on a smaller scale, the homemaker) sees themself as Sacrifice. A Patriarchal ruler (smaller scale, the breadwinner) as Taker. Fittingly, the most Patriarchal ruler of them all, the Duke of Chalced, has destroyed his own bloodline and most sup the blood and flesh of Selden (bonded to a female dragon, often considered gentler and softer than other men), an Elderling (the Maternal or Maker species in their dynamic with dragons) in order to sustain his own life.
I have no idea how to end this, other than saying I will write more on this and am currently working on a video.
prev dont leave this in the tags
Literally the definition of imperialism and classism. Doesn’t matter how many peasants you sacrifice as long as the most powerful piece is left standing
Proximity of bishops to the rulers promotes theocratic oppression
the horse is so fuckable