The book begins with Morgause boiling a cat alive as part of her disinterested and unnecessary attempt to achieve invisibility. Unsurprisingly, her four sons - brutal lads who would make perfect test cases for Siggy Freud - mimic her savagery as they mercilessly flog a donkey and torture, kill, and mutilate a unicorn. In all honesty, the scenes with the cat and unicorn damn near made me ill, proving once again that this series is not even remotely for youngsters.
Be careful who you c Dark stuff! Be careful who you choose as a read along partner! White contrasts the self-centered violence of the Orknians with the bungling, manic, almost slapstick exploits of King Pellinore, Sir Grummore, Sir Palomides, and the Questing Beast. The banter between the three men reminds of Abbott and Costello. And the scene where the actual beast behaves amorously toward the disguised-as-Questing-Beast duo of Palomides and Grummore is absolutely hilarious.
Alongside the deranged behavior of the Orknian royals, this comedy takes on more of a Waiting for Godot-like heaviness. Tragedy and comedy are never far apart in White's Arthurian universe. In the midst of this brutality and levity is the teacher-student relationship between Merlyn and Arthur. I loved Merlyn's lessons on power dynamics and the necessity of addressing cycles of violence. Some wisdom from Merlin: "The destiny of Man is to unite, not to divide. If you keep on dividing you end up as a collection of monkeys throwing nuts at each other out of separate trees.
There was just such a man [who forced reforms on human beings via threat of violence] when I was young--an Austrian who invented a new way of life and convinced himself that he was the chap to make it work. He tried to impose his reformation by the sword, and plunged the civilized world into misery and chaos. But the thing which [Hitler] had overlooked, my friend, was that he had a predecessor in the reformation business, called Jesus Christ. Perhaps we may assume that Jesus knew as much as the Austrian did about saving people. But the odd thing is that Jesus did not turn the disciples into storm troopers, burn down the Temple at Jerusalem, and fix the blame on Pontius Pilate.
On the contrary, he made it clear that the business of the philosopher was to make ideas available, and not to impose them on people. Interesting stuff! I love the freedom that Merlyn's living backwards through time gives to White as a storyteller. I'm really looking forward to the last two books in this series. It's a much darker and philosophical read than I'd anticipated. Now its on to Camelot and the Knights of the Round Table.
Should be fun! Oct 07, Darwin8u rated it really liked it Shelves: Technically, I've sorta read this. I mean, I've read 'The Queen of Air and Darkness' which is a more abridged, slightly darker, version of the same story. I think T. White cut this book down to the nubs a little to make 'The Once and Future King' more managable and probably more marketable. So, while I write that I've read, and while the 'Witch in the Wood' is often used interchangably with 'the Queen of Air and Darkness', they aren't identical twins or even dopplegangers.
It is like they are Technically, I've sorta read this. It is like they are kissing cousins, or perhaps they share the same mother.
Mar 25, Cole Wehling added it. It has a mellow plotline that follows foreshadowing to the letter. Many aspects of the story are foretold, and therefore the story could basically be explained without reading any of the actual text. The story stays right on the line of ridiculousness, occasionally crossing over at random intervals. In many pieces of the book, the reader feels that White simply did not feel like talking about something an The Queen of Air and Darkness is a relatively bland continuation of The Sword in the Stone.
In many pieces of the book, the reader feels that White simply did not feel like talking about something anymore, and moved on, midthought. In other places White could not stop talking about a single point, droning for pages and pages. The plotline of this story is purely linear, with no writing skills or techniques that persuade the reader to continue. Other than the occasional tangential rave, it might as well be a blow by blow bulleted presentation. The story is dragged over a well worn path in circles, taking breaks very infrequently to show any reason behind the continued publication of the book.
The emotional journeys of the characters is barely felt at all, with the intellectual message getting buried beneath chaotic dialogue and destructive word choice. Whenever any beneficial or entertaining element peeks out, almost to be seen, it is crushed by a random outburst or flurry of imagined words.
In conclusion, The plotline is clear but bland, the characters defined but weak, and the language barely understandable. They're too rich to fight King Arthur's not playing fair pick on someone poor.
An Analysis Of The Witch In "Into the Woods"
Feb 15, William Wren rated it liked it. Quite dark, actually the business with the cat seemed unnecessarily long, as was the unicorn. White has said he struggled with this one and it certainly seems that way. It is largely characterization, which is partly why it bounces back and forth between Arthur and the Orkney brood Gawain, Agravaine, Gaheris, and Gareth.
The book is entirely set-up. Jul 05, Megan rated it really liked it Shelves: reviewed. I can see why T. H White meant for these books to be read as a whole, and not as separate volumes. The humour has grown slightly, becoming darker, as Arthur has grown and the events surrounding his life mature and grow increasingly dangerous.
I would say this instalment comes across as somewhat of a humerus Greek Tragedy, as it falls into the pattern of invincible young hero who is desti I can see why T. I would say this instalment comes across as somewhat of a humerus Greek Tragedy, as it falls into the pattern of invincible young hero who is destined to be thwarted by a taboo he didn't know he was committing think Oedipus. This part of the saga really feels like material that could have been skipped over to me. It switches back and forth between the beginning of Arthur's reign and the origins of the future Sir Gawaine and his brothers.
There isn't much here that's of interest in and of itself. I think it would have been interesting to focus more on Arthur and his early days of kingship. There is some good stuff here about how he decides to set up the Round Table and the anti-war message, but I would have liked more This part of the saga really feels like material that could have been skipped over to me.
There is some good stuff here about how he decides to set up the Round Table and the anti-war message, but I would have liked more of that. Again, I suspect there's more of that coming in later books. It feels rather like White is supplementing Malory in this book, rather than writing his own take.
I think that's a bit unfortunate. Rather than rewriting the myth, he's bringing out his own focus on what's already there, and I'm not sure how much creativity there is in that. It's like White thought he wasn't allowed to reinterpret Malory or the myth of Arthur, or that he wasn't allowed to make it his own. I'm so used to authors retelling fairy tales and myths in their own way that White's approach seems a bit lacking to me. Oct 01, Becky R.
I love the mix of future historical events, such as the rule of Hitler, mixed into the conversations Merlin has with Arthur. The philosophy about war and happiness in the kingdom's people is all really interesting mixed in with the story. I highly recommend checking these out if you have not read them before. Aug 12, Suzy Kennedy rated it liked it Shelves: historical-fantasy , colour-green. A fun second book but at the end I kind of wondered what the point was. Its so short I may reread it soon when I can really focus on whats happening in the book. This is a very strange book.
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Book 2 of T. White's The Once and Future King It seems like five random and unconnected plots which all begin but never finish or join together. Granted - I have not yet read the sequels so I don't know if these plots will make sense later, but for now it was just weird. Some are silly: like the tale of the questing beast.
The Witch in the Wood
Some are gruesomely disturbing: like the take of This is a very strange book. Some are gruesomely disturbing: like the take of Gawaine and his brothers killing the Unicorn. The only parts I really enjoyed we're the conversations with Arthur, Kay, and Merlyn. Arthur learns much about the nature of war in this book. Merlyn is constantly teaching him, helping him, and giving him examples.
He teaches Arthur that his problem is that he doens't care about the serfs, the foot soldiers. Arthur and his knights have fun in war, and earn huge ransoms, while the people are murdered, raped, pillaged, etc Here are my two favorite lessons from Merlyn: 1. Merlyn tells Arthur there is never a reason to go to war, unless the other man starts it. Arthur points out "If one side was starving the other by some means or other - some peaceful, economic means which were not actually warlike - then the starving side might have to fight it's way out.
It had been a little bit of a lie. Kylo had thought of marriage, but it had been in a passing sort of way, the way a rose would think of the bite of winter. There were some things in this life that would never meet. Her face had never been entirely clear. That had never seemed to matter. For, oh, they were wonderful dreams. At first they had been as light and airy as whipped butter, filled with a laughing girl and a flowering meadow, yet as he grew older and more mature, the dreams matured as well— she matured as well; those hazel eyes, once glimmering innocently in sunlight, now were heavy-lidded and sensuous, reflecting the guttering flame of a candle as he moved above her.
Gnarled and stooping, the tree was probably nearly as old as the kingdom itself, and every inch of its bark was covered in thick, verdant moss. Someone had nailed a crooked hive box to the trunk, and globs of honey oozed over the moss down to the dirt. Enough of this musing, Kylo thought. Villains were never defeated with self-reflection and daydreaming; they were defeated with strength and steel. He was to destroy a witch. He never tired of the feel of it in his hand; its weight did more to comfort him than any warm flagon of honeyed wine ever had.
The broad blade glinted in the scant light that filtered down from a grey sky. He shifted his grip and eyed the broken side of the crossguard. A different knight would have taken it to the smithy to fix or melted it down into something new. Not Kylo. The jagged metal was a reminder, as much a part of himself now as one of the scars that marred his skin.
If his hand slipped in battle and the burrs and cracks gouged his skin, the pain helped to focus him, to drive him onward with the brutal encouragement of a whip. As he strode through the fresh snow, Kylo swung his sword with a controlled rotation of his wrist. Warming his muscles, loosening his joints. Kylo burst through the doorway and raised his sword with both hands. As his eyes fell on the figure at the other end of the room, he felt his heart stutter. Its hunched body was covered in thick fur, its clenching fingers outstretched like claws, and its head…. It had a face like a death mask—empty eye sockets, a hole where its nose should have been, sharpened fangs bursting from the upper jaw and sticking out over empty air.
Antlers curved up from its white forehead. With a brutal yell, Kylo swung his sword at its neck. The monster threw up its arms, and a shimmering disc appeared at its side. It had made a shield. The rage burbled in his veins, wanting to be let free, needing a release. He kept it inside. Not yet, he told it.
The witch was hardly a large enough foe to justify exhausting himself with a rage. He swung again, at the knees this time, and another magical barrier shimmered into temporary existence. It was much smaller than him, he realized, even with its furs, and it barely managed to duck out of the way of his blow. The witch looked up at the cry, just long enough for Kylo to see pale skin underneath the edge of the skull, the curve of a jawline, the corner of a mouth. A mask, then. Not that it made any difference. Everything from here would be simple: kill the witch, save the princess.
The witch struck out with an arm. He grunted at the force of it. The muscles in his arms burned, and it was a glorious feeling. A break formed in the snow-heavy clouds, and they parted to let a ray filter through rippled glass. The light was bright enough to glance over the dips and hollows of bone and illuminate the eyes behind the mask: wide, frightened eyes. The woman from his dream could not be this monster. She would not be this monster. He kept his sword raised.
The furs had slipped around her neck, and he aimed the tip of the blade at the tender skin in the hollow between her collarbones. Take her. I swear. He raised it. This might be a trick, a cunning way to force down his guard, to cast a spell on him when he least expected it. Fingers closed around his arm, clutching the leather and the steel, and he nearly jerked away before seeing that it was a young woman, large-eyed and dark-haired.
Should he return and finish her off? Magic was woven into the tree and the surrounding land like poisoned wool in a tapestry. Kylo jerked his attention to the princess at his side. He could see Beck at the edge of the trees, his ears pricked at the two of them. The film had its world premiere at the Sundance Film Festival , on January 27, A24 and DirecTV Cinema acquired distribution rights to the film.
The website's critical consensus reads, "As thought-provoking as it is visually compelling, The Witch delivers a deeply unsettling exercise in slow-building horror that suggests great things for debuting writer-director Robert Eggers. He doesn't need cheap tricks. Eggers merely directs us to look inside. While, at the same time, they combine to create an innately bewitching tale that keeps you on tenterhooks all the way up until its grandiose but enthralling finale.
However, some critics as well as audiences were less pleased with the film; Ethan Sacks, of the New York Daily News , wrote that while the film does not suffer from the cinematography, acting, or setting, early on it "seems that The Witch is tapping a higher metaphor for coming of age It doesn't take long into the film's hour and a half running time, however, to break that spell.
Not because it doesn't fit into the genre of horror, but because of the power of expectations. The less you know about this movie the better your experience will be, but everyone who saw it opening weekend probably walked in with too much knowledge and hype to really get as much out of it as they could have if the film had the veil of mystery. HitFix writer Chris Eggertson was critical of mainstream Hollywood; he said that The Witch "got under [his] skin profoundly", though he argued that it "did not have the moment-to-moment, audience-pleasing shocks that moviegoers have become accustomed to thanks to movies like Sinister and The Purge and Paranormal Activity and every other Blumhouse and Platinum Dunes title in the canon.
Horror authors Stephen King and Brian Keene both reacted positively towards the film; King tweeted significant praise for the film, stating, " The Witch scared the hell out of me. In short, the rejection of these films appears to people outside of horror fandom as a rejection of cinema as an art form. Julia Alexander of Polygon states that The Witch "asks people to try and understand what life would have been like for a family of devout Christians living in solitude, terrified of what may happen if they go against the word of God ".
THE WITCH IN THE WOODS
There are occasional references to His mercy but only as something to beg for, not something to trust in". A review by Adam R. Holz on Plugged In , a publication of the conservative Christian organisation Focus on the Family , heavily criticised the film, stating that. William is absolutely devoted to leading his family in holiness and the ways of the Lord, which should be a good thing. But the fruit of William's rigorous focus on dogmatic piety isn't a lifting of burdens, which we're told should happen in Matthew , or a joyful celebration of living life to the fullest, as is referenced in John ; rather it is deep fear and morbid meditations on hell, damnation and the forces of spiritual darkness.
Josh Larsen of Think Christian , however, offered a Christian explanation of the conclusion of the film, stating that in "encountering evil, the family in the film veers wildly back and forth between 'triumphalism' and 'defeatism,' two theological extremes" and "in refusing to allow for grace , they become easy pickings for the witch". A24 could have just as easily courted the approval of, say, theologians who have a fondness for Calvinism. The Witch takes place in Colonial America, and it unfolds from the perspective of period Christians who genuinely believe the woods around their tiny farm contain some sort of evil, supernatural being—and are ultimately proved correct.
From Wikipedia, the free encyclopedia. The Witch Theatrical release poster.
United States Canada  . Film portal Calvinism portal Occult portal New England portal. British Board of Film Classification. February 18, Retrieved February 18, Screen Daily. January 24, Retrieved May 8, Telefilm Canada.
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32 Witch Movies You Have To See
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