the problem is that i need her hands pulling at my hair while im eating her out like yesterday …

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the problem is that i need her hands pulling at my hair while im eating her out like yesterday …
the fact that a gorgeous femme isnt pushing my head between their legs by my hair and grinding against it right now is criminal
@ butchmonologues on instagram
I love blocking people who post about how much they hate Jack because I’ve never seen a single reason they give that makes him any worse than what Hannibal did, and yes you are just racist.
You can dislike characters for whatever you want, but if your reason is that Jack treated Will terribly like I’m sorry I forgot Hannibal The Cannibal treated him so nice.
Just adding on to the character part of it. Like ik his character wasn't the most emotionally communicative, and occasionally came off as strict or harsh; but that's his fucking character. He's the hammer of justice as it were, he balances out everyone's treatment of Abigail the reality of the law.
But, he is FAR from a cold and unfeeling character. Remember this?
Yk, Jack being TERRIFIED at the fact he might lose Will like how he lost Miriam. And how he held Miriam right before she shot Chilton. And how he stuck by Bella's side and wanted to help her no matter what? I can go on, but I'm just trying to say that the fact that he's hated on more than Hannibal or any other white criminal characters is clearly due to racism.
ANALYSIS of The Great Red Dragon and the Woman Clothed with the Sun
Denada Permatasari. 9 September 2017.
Fig 1. William Blake’s The Great Red Dragon and The Woman Clothed with the Sun, circa 1803-5.
Fig 2. Under the same title and artist, circa 1800.
In this essay I will talk about just two out of four of Blake’s The Red Dragon series. The first painting (Fig. 1) was done in watercolour, chalk, and pen. Its dimension is 43.5 x 34.5 cm and was made circa 1803-5. The second (Fig. 2) was done in watercolour and its size is 15.75 x 12.75” (40 x 32.4 cm), made circa 1800. Currently, they are exhibited at different museums.
Both paintings are a part of a larger series, namely Apocalypse, commissioned by Thomas Butts. He commissioned Blake to illustrate biblical passages (Rosenblum and Janson 60), and the first Great Red Dragon painting (Fig. 1) in this essay are a representation of Revelations 12 verse 1-4 (qtd. in Lister 89):
1And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars;
2And she being with child cried, travailing in birth, and pained to be delivered.
3And there appeared another wonder in heaven; and behold a great red dragon, having seven heads and ten horns, and seven crowns upon his heads.
4And his tail drew the third part of the stars of heaven, and did cast them to the earth; and the dragon stood before the woman which was ready to be delivered, for to devour her child as soon as it was born.
I immediately note that Blake painted the dragon not as a conventional, fully-reptilian dragon but instead as a half-human, half-something else. Further research tells me that the winged, impressive figure is the devil, Satan (Hoagwood 3). The woman was painted brightly, as she is clothed with the sun, but oddly, she is in an unusual, unnatural horizontal pose. She looks up at him, shocked, as if she is in the middle of praying (shown by her hands above head) and then got interrupted by Satan’s unexpected presence. The devil also dominates the artwork, taking up two-thirds of the space, his outstretched wings going beyond the canvas.
I interpret this as Blake wanting to exert the power, the utter dominance of Satan against the bright woman below him, a show of good versus evil, and evil is winning. But the story obviously doesn’t end there, as I will get into the second painting and then conclude the paintings as a whole after I analyse them separately beforehand.
The second painting (Fig. 2) shows the devil now hovering above her, as a continuation of Revelations 12, verse 13-16 (New International Version):
13When the dragon saw that he had been hurled to the earth, he pursued the woman who had given birth to the male child.
14The woman was given the two wings of a great eagle, so that she might fly to the place prepared for her in the wilderness, where she would be taken care of for a time, times and half a time, out of the serpent’s reach.
15Then from his mouth the serpent spewed water like a river, to overtake the woman and sweep her away with the torrent.
16But the earth helped the woman by opening its mouth and swallowing the river that the dragon had spewed out of his mouth.
Now, the woman is in the possession of new eagle wings, and has her arms outstretched wide open, as if challenging the devil. The zig-zag lines around the woman are the river spewed from his mouth, but obviously it fails to drown to woman as he intended. The devil is still above the woman, but he no longer dominates the canvas, signifying the changed power dynamic between the two forces.
Knowing now that the paintings are chronological (even though Blake made the second painting earlier), I will say that Blake illustrates that at first glance, evil has the upper hand, but at the end, goodness triumphs. While this meaning is okay, I decided to further my research to include the artist and the time period, and my findings give me a deep insight that I didn’t expect.
First, I learned that Blake is “a private rebel who wished to refect virtually the entire system of art, society and religion … in favor of a grandiose private structure of new myths, new moral truths … of what he saw as the corrupt status quo.” (Rosenblum and Janson 59). His use of watercolour indicates that aspect rebellious aspect of Blake, as oil was the standard of creating art in his time era (mid-18th century Romanticism), as explained that Blake “rejected the formal and descriptive formulae of early nineteenth-century painting.” (Maheux 125) and he “vehemently opposed to oils—they did not please him or comport with his style” (Gilchrist 369).
Second, the social and political context during the time both paintings were produced. Blake witnessed and even taken part in the American and French revolutions that happened around 1800. Blake and most artists of his time considered those events as “a scriptural metaphor of what [was happening in that time] –a period of devastating and high-minded revolutions, of radical change …” (Rosenblum and Janson 60). He painted his version of Revelations as a representation of the fundamental shift in worldview that was happening, and this is further compounded by his religious upbringing.
Last but not least, in response of my initial understanding of placement and how it relates to power dynamics: The devil above, and woman below, is actually a recurring motif in Blake’s works, not necessarily a power show. The seer/visionary subject is placed below, with their visions above them (Hoagwood 1). This denounces my first understanding of the positioning choice of the subjects. Blake transformed a literal passage into a mythical one, “[his] vision destroys matter, leaving nothing but bolts of imaginative energy” (Rosenblum and Janson 60).
To finish, I conclude that The Great Red Dragon and the Woman Clothed in the Sun paintings reveals the historical attitude during the revolution era that was tightly interwoven with religious concerns, and also a novel way of depicting religious morality. The paintings make me realise that our perception of reality is deeply coloured by our upbringing and cultural values. Differences in interpretation will happen no matter what, hence this difference should be celebrated as it enriches my (and to an extension everyone’s) understanding of the world.
Bibliography
Rosenblum, Robert and H.W. Janson. 19th Century Art. Harry N. Abrams, Inc., New York, 1984. Print.
Lister, Raymond. The Paintings of William Blake. Cambridge University Press, 1986. Print.
The Bible. New International Version, 2011.
Hoagwood, Terence Allan. “Pictorial Apocalypse: Blake’s ‘Great Red Dragon and the Woman Clothed with the Sun’”. Colby Quarterly 21.1. March 1985. < http://digitalcommons.colby.edu/cgi/viewcontent.cgi?article=2577&context=cq>
Maheux, Anne. “An Analysis of the Watercolor Technique and Materials of William Blake”. Blake/An Illustrated Quarterly 17.4. Spring 1984. < http://bq.blakearchive.org/17.4.maheux>
Gilchrist, Alexander. The Life of William Blake. Volume 1. London: Mac-Millan and Co., 1863. Print.
Reba McClane, Francis Dolarhyde, and William Blake's The Tyger
The poem The Tyger written by William Blake explores the concepts of destruction, creation, and the duality of beauty and terror. I am attaching the poem below for convince, though, I absolutely recommend reading William Blake's poetry on your own time.
As many of you already know, William Blake's painting The Great Red Dragon and the Woman Clothed with the Sun is directly connected to the novel Red Dragon by Thomas Harris (obviously), so it is not too much of a stretch to assume that Blake's other works are as well, especially with the addition of a tiger in a crucial scene with Francis and Reba. The Tyger also has a sister poem entitled The Lamb which I will discuss in another post. The poem The Tyger discusses a marvel of god's creation, represented by a tiger, though, everything about the tiger seems to embody violence and terror. It poses questions such as, why would god create a such a terrifying creature if god is all-powerful? And, could someone be both the Tyger and the Lamb.
I won't be getting into all of the nitty-gritty of the poem's analysis, as this post is discussing its similarities to Francis Dolarhyde and Reba McClane. Though I would love to at a later date, as a William Blake fan.
The Tyger marvels at the 'fearful symmetry', questioning what force could create something so beautiful yet so destructive. Dolarhyde sees his own Becoming as something both marvelous, yet brutal and deadly, something beyond comprehension of the human mind. One of the poem's most famous lines reads: "Did he who made the Lamb make thee." This line directly mirrors Francis' extreme internal conflict, once being an uncorrupted, wounded child (represented by the Lamb)- his trauma transforming him into the monstrous Tyger. His murders proving to a part of himself that he is beyond his traumatic past, that he has Become something better, something Greater. Later, Reba McClane represents the Lamb in his day-to-day life, the gentle counterpart to his Tyger. Unlike most, she does not see him as ugly or pathetic. This causes a break in his extreme belief about his Becoming. If Reba can show affection for him, does that mean that he could possibly be still human? Her gentleness and care tempt him away from the Dragon, similarly to how the Lamb in The Tyger represents inherent innocence and goodness.
Reba eventually unknowingly challenges the question that the poem poses, can someone possibly be both the Lamb and the Tyger? Dolarhyde, despite his transformation into the Dragon, cannot end Reba's life. If he isn't the Tyger, then what is he? This doubt leads to his eventual downfall.
3X10 "And the Woman Clothed In Sun"
this is too much. i think i’m in love with her. i don’t know what to say.
so this has probably already been talked about in great detail since the end of the show (hannibal) but I just did a rewatch and I can't shut up about it. the incredible level of subtle details in this show is already insane but I noticed it much clearer in my rewatch during season 3 part two how quickly we see Will change.
during *The Great Red Dragon*, Will is back to mostly his pre-Hannibal self. We see him married with a family out in the country with his dogs and more specifically his clothes (I am going to be very specific about what he wears in this because it's these details that are so subtle but make his change so much more crispy). He's wearing very practical, warm weather clothes, looks like an outdoorsman.
like, reminder that this ↓
is how he shows up to meet Hannibal again for the first time in years. Glasses, coat, clearly clothes he would not think twice about wearing anywhere, kind of like how he dresses in season one. It's also in his expression and his stature (which bless Hugh Dancy for his portrayal of Will because I don't know who else could have done the subtle changes so eloquently)
now let me take you to the episode directly after (And the Woman Clothed with the Sun) he first sees Hannibal and has to come back to talk to him
i'm sorry??? Immediately with the crisp button down, tucked in, with the top buttons undone, hair slicked back, NO GLASSES and look. Look at how he stands and his expression and how comfortable he is, hands in pockets.
okay further evidence. And honestly arguably the scariest piece
it's the dead-eyed stare for me. We all know what happened to Chilton after this, and it's the fact that he knew what he was doing. God, Will was never more like Hannibal than he was at the end of season three. Clothes are not much different on purpose because he's playing the game now.
Sidebar that in almost all the scenes that he's bitchily talking to Bedelia, he's also very well dressed as if he's taking Hannibal's place in his manipulation of her.
By the time we see him in The Wrath of the Lamb, he has already decided that he wants Hannibal back. Vaguely suggesting to Jack to use Hannibal as bait for the Dragon, as if he didn't very well consider all the outcomes would likely lead to Hannibal escaping. The way they're looking conspiratorially at each other in the back of the van. How Will isn't even remotely surprised he walks out unscathed or how he doesn't question letting him drive them to wherever they're going to meet the dragon.
And once they get to the cliffside house, and they get settled and Will?
His shirt is tight, his expression is the SAME as the one Hannibal had in episode ONE season ONE, as he watches Hannibal BLEED OUT and wonders probably what they will do.
There are plenty of ways everyone that worked on this show displayed how Will was changing but I loved how they used his clothes to do it and how Hugh used his expressions to differentiate pre-Hannibal and post-Hannibal Will.
I could write a dissertation on this show it's insane and I will never shut up about my murderous gay husbands.
William Blake (1757-1827), Great Red Dragon Series (c. 1805-09): 1) “The Great Red Dragon and the Woman Clothed with the Sun,” 2) “The Great Red Dragon and the Woman Clothed with the Sun II,” 3) “The Great Red Dragon and the Beast from the Sea,” and 4) “The Number of the Beast is 666.”
i love the point in the hero’s journey where he gets bent over and railed until he cries
shoutout ppl w tooth gaps btw. or overbites. or underbites. or crossbites. or uneven teeth. or other dental conditions. and also ppl who don’t want to/can’t afford to get that stuff changed/"fixed". ily
additive edit from rbs n replies: also ppl with discolored teeth, and broken/damaged/decaying teeth, and missing/no teeth
and i'll probably keep adding stuff as i think of it. just know i love ur teeth and/or lack thereof. ur cool n ily
Hannibal (2013-2015)
3x02 - “Primavera”
we dont talk abt this scene enough this shit is so intimate like my god pls just fuck each other
i feel like this is a dying art called 'being a good human being' anybody else agree. anybody
If season 1 Will Graham was a little bit less absorbed in getting dick from his psychiatrist and more confident in his gut feeling just like Rachel from "something very bad is going to happen", he would have pieced it all together sooner