I’m Polish. So, naturally, ever since it was revealed and confirmed that Mama Stilinski was Polish, and Stiles’s first name is of Polish origin, I’ve been trying to figure out what, in the name of god, Jeff Davis named him. My initial bets included names like Grzegorz, Krzysztof, Szczepan, Wacław, Bronisław, Kazimierz, Czesław, Mieczysław, Przemysław, Włodzimierz, Zdzisław, Zbigniew… Mściwój, Świętopełk (the last two being ancient names never really used these days). Whatever Jeff chose, it must be something hard to pronounce. Something with lots of rz, cz, sz, ś, ć, ę… gathered together.
My favourite of the bunch, however, is Wojciech (Wojtek for short). I think it just fits him perfectly, appearence-wise. It’s like when you see a person, and you just know ‘this is a Kate’, ‘that is a Dan.’ You know what I mean? Stiles/Dylan looks like a Wojciech to me. Could also be because I know a few guys who go by this name, and I think they all have similiar personalities. Anyway, my personal fondness aside, Wojciech is also perfect, because it’s essentially a Slavic name (it wasn’t borrowed from Latin or Greek). It was formed from words “woj” (wojownik = warrior, wojna = war) and “ciech” (joy), so it means ”the joy of war” or “smiling warrior”. And Wojciech doesn’t have an English equivalent (unlike for example Grzegorz or Krzysztof - Gregory and Christopher, respectively) that could be used by Stiles’s family and friends instead of making a nickname out of his last name (although you could argue, using Adalbert of Prague as an example, that Wojciech = Adalbert, but I don’t believe it is the same… the Saint was named Vojtěch at birth, and Adalbert is the name he took later on).
Okay, so now you know that I favour Wojciech, but that’s not really what I want this meta to be about. Here is what I do want to talk about:
I also just had this thought:
Chess and Go are fundamentally different games. Like, the only thing they have in common are meta: they have had incredible cultural impact and are both essentially war games on square wooden boards.
But where chess mimics a battle on a battlefield, Go mimics the war. Chess is about troops or even characters, single entities acting and reacting, and capable of deciding the game one way or another. Meanwhile, Go is about protecting and capturing whole territories - there are no troops, no characters, just the lines in the sand. Chess ends with one king falling, while Go ends when one player gives up or the whole board has been divided, all the lines solidified.
I think it might be significant that the final episode, the final move, belongs to Go, not chess.
There was some solid discussion yesterday about the upcoming scene where Stiles stabs himself with the last of Noshiko’s tails. This got me thinking about a particular plot point from The Fox and the Wolf that has really been bugging me: why did Noshiko save the fly?
…and I’m not sorry about the pun. It just fits, ya know?
Warning: speculation abounds below!
It is known that the game of chess originated in India. It was passed on to the medieval West through the intermediary of the Persians and the Arabs, a fact to which we owe, for example, the expression “check-mate”, which is derived from the Persian shah: “king” and the Arabic mat: “he is dead”.
The form of the chess-board corresponds to the “classical” type of Vāstu-mandala, the diagram which also constitutes the basic layout of a temple or a city. It has been pointed out that this diagram symbolizes existence conceived as a “field of action” of the divine powers. The combat which takes place in the game of chess thus represents, in its most universal meaning, the combat of the devas with the asuras, of the “gods” with the “titans”, or of the “angels” with the “demons”, all other meanings of the game deriving from this one.
Further, the warlike symbolism of the game relates it to the Kshatriyas, the caste of princes and nobles, as al-Mas‘ūdī indicates when he writes that the Hindus considered the game of chess (shatranj, from the Sanscrit Chaturanga) as a “school of government and defence”. King Balhit is said to have composed a book on the game of which “he made a sort of allegory of the heavenly bodies, such as the planets and the twelve signs of the Zodiac, consecrating each piece to a star …" It may be recalled that the Hindus recognize eight planets: the sun, the moon, the five planets visible to the naked eye, and Rāhu, the “dark star” of the eclipses; each of these “planets” rules one of the eight directions of space.
We have seen that each phase of a cycle, “fixed” in the scheme of 8 x 8 squares, is ruled by a heavenly body and at the same time symbolizes a divine aspect, personified by a deva. It is thus that this mandala symbolizes at one and the same time the visible cosmos, the world of the Spirit and the Divinity in its multiple aspects. Al Mas‘ūdī is therefore right to say that the Indians explain, “by calculations based on the chess-board, the march of time and the cycles, the superior influences which are exerted on this world, and the bonds which attach them to the human soul …”
The cyclical symbolism of the chess-board was known to King Alphonsus the Wise, who describes a very ancient variant of the game of chess, the “game of the four seasons”, which takes place between four partners, so that the pieces, placed in the four corners of the chess-board, move in a rotatory direction, analogous to the movement of the sun. The 4 X 8 pieces must have the colours green, red, black, and white; they correspond to the four seasons: spring, summer, autumn, and winter; to the four elements: air, fire, earth, and water, and to the four organic “humours”. The movement of the four camps symbolizes cyclical transformation
Moreover, the alternation of black and white corresponds to the two aspects of the mandala, which are complementary in principle but opposed in practice: the mandala is on the one hand a Purusha-mandala, that is to say a symbol of the Universal Spirit (Purusha) inasmuch as it is an immutable and transcendent synthesis of the cosmos; on the other hand it is a symbol of existence (Vāstu) considered as the passive support of divine manifestations. The geometric quality of the symbol expresses the Spirit, while its purely quantitative extension expresses existence. Likewise its ideal immutability is “spirit” and its limiting coagulation is “existence” or materia; here it is not materia prima, virgin and generous, which is being referred to, but materia secunda, “dark” and chaotic, which is the root of existential dualism. In this connection one may recall the myth according to which the Vāstu-mandala represents an asūra, personification of brute existence: the devas have conquered this demon and have established their “dwelling-places” on the stretched-out body of their victim; thus they confer their “form” upon him, but it is he who manifests them.
This double meaning which characterizes the Vātstu-Purusha-mandala, and which, moreover, is to be found in every symbol, is in a sense actualized by the combat which a game of chess represents. This combat, as we have said, is essentially that of the devas and the asūras, who dispute the chess-board of the world. It is here that the symbolism of black and white, already present in the squares of the chess-board, takes on its full value : the white army is that of Light, the black army that of darkness. In a relative domain, the battle which takes place on the chess-board represents, either that of two terrestrial armies each of which is fighting in the name of a principle, or that of the spirit and of darkness in man; these are the two forms of the “holy war”; the “lesser holy war” and the “greater holy war”, according to a saying of the Prophet Mohammed.
If the significance of the different chessmen is transposed into the spiritual domain, the king becomes the heart, or spirit, and the other pieces the various faculties of the soul. Their movements, moreover, correspond to different ways of realizing the cosmic possibilities represented by the chess-board: there is the axial movement of the “castles” or war chariots, the diagonal movement of the “bishops” or elephants, which follow a single colour, and the complex movement of the knights. The axial movement, which “cuts” through the different “colours”, is logical and virile, while the diagonal movement corresponds to an “existential”—and therefore feminine—continuity. The jump of the knights corresponds to intuition.
What most fascinates the man of noble and warlike caste is the relationship between will and destiny.
Al- Mas‘ūdī writes likewise that the king “Balhit”, who is said to have codified the game of chess, gave it preference over nerd, a game of chance, because in the former intelligence always has the upper hand over ignorance.
At each stage of the game, the player is free to choose between several possibilities, but each movement will entail a series of unavoidable consequences, so that necessity increasingly limits free choice, the end of the game being seen, not as the fruit of hazard, but as the result of rigorous laws.
It is here that we see not only the relationship between will and fate, but likewise between liberty and knowledge; except in the case of in-advertence on the part of his opponent, the player will only safeguard his liberty of action when his decisions correspond with the nature of the game, that is to say with the possibilities that the game implies. In other words, freedom of action is here in complete solidarity with foresight and knowledge of the possibilities; contrariwise, blind impulse, however free and spontaneous it may appear at first sight, is revealed in the final outcome as a non-liberty.
The “royal art” is to govern the world—outward and inward—in conformity with its own laws. This art presupposes wisdom; which is the knowledge of possibilities; now all possibilities are contained, in a synthetic manner, in the universal and divine Spirit. True wisdom is a more or less perfect identification with the Spirit. The Spirit is Truth; through Truth, man is free; outside truth, he is the slave of fate.
What if the fly is still in the jar buried under the Nemeton? And all the control the nogitsune has over Stiles is all due to the mental connection that Stiles shared with the Nemeton and not because the fly itself actually inside his body? Because if the fly was physically free, why would it need the foxfire boost Kira gave him.
What if Stiles had that picture of the tree roots marked ‘For Lydia’ to say LYDIA go look here. Find the jar. Kill the fly.
Anonymous asked: "We also have ASL speakers on site who translated it as “if the door is closed don’t open it” or something but Deaton said something like the door is ajar". Oh yes, I remember reading about it, but I meant about the final advice he gave them and not the accuracy of the translation: he said "you need to close the door as soon as possible" or something to that effect... you think he was lying/misleading with this advice? Hiding something yes, that's his default mode, but his advice seemed sound..
With Deaton it’s don’t know, it was the only confirmation they got about the doors being open in their minds, he told them to close the door but with no suggestion how to do it, he didn;t mention the down sides at all
but a lot of spiritual training is about learning how to open those doors, to open yourself to the spiritual and supernatural.
I don’t trust him and it was off, I wouldn’t have questioned him saying “something about doors maybe closing them” but he told them to close the door, but if you close the door with something inside you’re trapping it, a lot of training is about opening your chakras and things like that -
it struck me as very odd, we know his translation is wrong only because we have ASL speakers who translated it, not because the narrative told us. That’s why I’m suspicious. Imagine if we had been shown the latin for the kanima and there’s a huge difference between the word friend and master, there are people who have done the work there and we know Morell was wrong
but Deaton has been excluding Stiles from the start (we know he’s been working with Scott since 110 at least, but Stiles was completely unaware of this) and Stiles has a niggling doubt over him, part of me wonders if he deliberately didn’t give Stiles enough mountain ash for the warehouse because he wanted Stiles to fail, or he was testing him.
The more secretive Deaton is the less I trust him.
He did it again with the scroll, the whole “I don’t know what this says exactly BUT you should totally bite Stiles even though this might be terrible advice that will lead to Bad Things or Thing in My Favor.” He might be neither or bad, but at this point I’ll be disappointed if he’s good. He also is singled out with Jackson on the board, and he’s with the kind of power that gives him the ability to be a trickster himself with his own ideas of how the game should be going.