hark !

— very drunk me, via notes app in phone, (what i think could possibly be the best thing I’ve ever written)

By Natasha Tarasova

A fawn curled up beside a fake deer which is used for target practice. 

Trash it up, Lewis Miller

Ulug Beg Madrassah. Samarkand, Uzbekistan.

https://www.instagram.com/p/CCQluCaFzAV/

Psyche Revived by Cupid’s Kiss, Antonio Canova (photo by Lauren)

Mary Oliver, Worm Moon

With cabochons of garnet, emerald, lapis lazuli, quartz and a central pearl.

joan of arc in art antonin mercié (1848-1900) / kay nielsen (c. 1914) / jules bastien-lepage (1879) / unknown artist (1837) / christopher whall (1922) / zoé-laure de chatillon (1869)

Arnaud Montagard 

pride and prejudice (2005, dir. joe wright)

what she means: why is Dorian Gray never played by people with blond hair? why is Dorian always depicted as all pale and dark? oscar literally describes his hair as gold like two seconds after we meet him. directors apparently feel like they have to make Dorian look dark dangerous and brooding, but he’s not supposed to look dark and dangerous and brooding. That’s the whole point. No one ever suspects him because he looks like an innocent little cherub with golden curls and rosy cheeks. His physical appearance is described with terms that Western literary tradition, during the nineteenth century in particular, associated with goodness and godliness, and this is intentionally juxtaposed with the blackness of his soul. If you intentionally play him as someone who looks like a Byronic hero, much of the symbolism of his character is lost, right?