And now, a break to look at adorable snow leopards.
thetadelta: Snow leopard tail nomming compilation, because tails are just awesome.
Photos are from: tanidareal, leopatra-lionfur, denisesoden, rheazblaze, bledsoevball30, and eisenmann87 from DeviantART and barrybaskin from Flickr.
I love how they can manage to look judgmental and disapproving all while having their tails in their mouths.
I’ve reblogged this before, but I don’t care you’re not my mom.
Om nom nom, tasty tails.
Tail noms! :’)
Eccleston’s desire to be his own man and to work on projects that he believes in has paid off handsomely, but he is his own toughest critic.
“I’ve done things that perhaps the younger man would have said to the older man, ‘Why are you doing that?’ And the younger man would be right. When I’m gone, the only thing that will stand up is my British television work. It’s personal for me. It’s where my professional pride sits and it’s my touchstone.”
Christopher Eccleston, Radio Times, 2010
Des Esseintes had acquired his two masterpieces and, at night, used to sink into revery before one of them—a representation of Salomé, conceived in this fashion:
A throne, resembling the high altar of a cathedral, reared itself beneath innumerable vaults leaping from heavy Romanesque pillars, studded with polychromatic bricks, set with mosaics, incrusted with lapis lazuli and sardonyx, in a palace that, like a basilica, was at once Mohammedan and Byzantine in design.
In the center of the tabernacle, surmounting an altar approached by semi-circular steps, sat Herod the Tetrarch, a tiara upon his head, his legs pressed closely together, his hands resting upon his knees.
His face was the color of yellow parchment; it was furrowed with wrinkles, ravaged with age. His long beard floated like a white cloud upon the star-like clusters of jewels constellating the orphrey robe fitting tightly over his breast.
Around this form, frozen into the immobile, sacerdotal, hieratic pose of a Hindoo god, burned perfumes wafting aloft clouds of incense which were perforated, like phosphorescent eyes of beasts, by the fiery rays of the stones set in the throne. Then the vapor rolled up, diffusing itself beneath arcades where the blue smoke mingled with the gold powder of the long sunbeams falling from the domes.
In the perverse odor of the perfumes, in the overheated atmosphere of the temple, Salomé, her left arm outstretched in a gesture of command, her right arm drawn back and holding a large lotus on a level with her face, slowly advances on her toes, to the rhythm of a stringed instrument played by a woman seated on the ground.
Her face is meditative, solemn, almost august, as she commences the lascivious dance that will awaken the slumbering senses of old Herod. Diamonds scintillate against her glistening skin. Her bracelets, her girdles, her rings flash. On her triumphal robe, seamed with pearls, flowered with silver and laminated with gold, the breastplate of jewels, each link of which is a precious stone, flashes serpents of fire against the pallid flesh, delicate as a tea-rose: its jewels like splendid insects with dazzling elytra, veined with carmine, dotted with yellow gold, diapered with blue steel, speckled with peacock green.
With a tense concentration, with the fixed gaze of a somnambulist, she beholds neither the trembling Tetrarch, nor her mother, the fierce Herodias who watches her, nor the hermaphrodite, nor the eunuch who sits, sword in hand, at the foot of the throne—a terrible figure, veiled to his eyes, whose breasts droop like gourds under his orange-checkered tunic.
This conception of Salomé, so haunting to artists and poets, had obsessed Des Esseintes for years. How often had he read in the old Bible of Pierre Variquet, translated by the theological doctors of the University of Louvain, the Gospel of Saint Matthew who, in brief and ingenuous phrases, recounts the beheading of the Baptist! How often had he fallen into revery, as he read these lines:
But when Herod’s birthday was kept, the daughter of Herodias danced before them, and pleased Herod.
Whereupon he promised with an oath to give her whatsoever she would ask.
And she, being before instructed of her mother, said: Give me here John Baptist’s head in a charger.
And the king was sorry: nevertheless, for the oath’s sake, and them which sat with him at meat, he commanded it to be given her.
And he sent, and beheaded John in the prison.
And his head was brought in a charger, and given to the damsel: and she brought it to her mother.
But neither Saint Matthew, nor Saint Mark, nor Saint Luke, nor the other Evangelists had emphasized the maddening charms and depravities of the dancer. She remained vague and hidden, mysterious and swooning in the far-off mist of the centuries, not to be grasped by vulgar and materialistic minds, accessible only to disordered and volcanic intellects made visionaries by their neuroticism; rebellious to painters of the flesh, to Rubens who disguised her as a butcher’s wife of Flanders; a mystery to all the writers who had never succeeded in portraying the disquieting exaltation of this dancer, the refined grandeur of this murderess.
In Gustave Moreau’s work, conceived independently of the Testament themes, Des Esseintes at last saw realized the superhuman and exotic Salomé of his dreams. She was no longer the mere performer who wrests a cry of desire and of passion from an old man by a perverted twisting of her loins; who destroys the energy and breaks the will of a king by trembling breasts and quivering belly. She became, in a sense, the symbolic deity of indestructible lust, the goddess of immortal Hysteria, of accursed Beauty, distinguished from all others by the catalepsy which stiffens her flesh and hardens her muscles; the monstrous Beast, indifferent, irresponsible, insensible, baneful, like the Helen of antiquity, fatal to all who approach her, all who behold her, all whom she touches.
- Joris-Karl Huysmans, À rebours