“Sir Guy’s Atonement” (Book 3), Ch. 23 (PG-13, S): Wed in London, April 17, 2015 Gratiana Lovelace (Post #732)

“Sir Guy’s Atonement” (Book 3), Ch. 23 (PG-13, S): Wed in London,  April 17, 2015 Gratiana Lovelace (Post #732)

avaSirGuysAtonementStoryCover-image-isRichardArmitage-inRH3epi5_086RanetJan1815GratianaLovelace-256x398[An Original Fan Fiction adaptation of the characters from the BBC’s Robin Hood;& a Sequel to “Sir Guy’s Dilemma” (Book 2) by Gratiana Lovelace]  (All Rights Reserved; No copyright infringement intended)

[From time to time, I will illustrate my story with my dream cast of: Richard Armitage as Baron Guy of Gisborne, Clive Standen as Lord Archer of Locksley, Emma Watson as Lady Roseanna Gisborne, Lucy Griffiths as Lady Marian in flashback, James McAvoy as Lord George Middleton, Toby Stephens as Prince John, etc.]

Author’s Mature Content Note: “Sir Guy’s Atonement” is a story of romance and intrigue set amidst Medieval times. As such there will be some passages in this story involving heartfelt love scenes (S) and some passages involving highly dramatic moments (D). I will label the maturity rating of those chapters accordingly. Otherwise, the general rating for this story is PG or PG-13 due to some mature situations and topics. If you are unable or unwilling to attend a movie with the ratings that I provide, then please do not read the chapters with those labels. This is my disclaimer.

Author’s Recap from the previous installment: Baron Guy of Gisborne having confessed his remorse over killing Lady Marian to the Madonna statue bearing Lady Marian’s likeness in St. Matthews Church in Locksley–and having the penultimate nightmare about that fateful day in the Holy Land, which precipitates his wife Lady Roseanna to suggest they hold a memorial service at which Baron Guy buries and secret letter he wrote to the deceased Lady Marian seeking her forgiveness–Baron Guy vows to live in the moment and to value his family. He is blessed with family–as are their extended family in the Middleton’s and Locksley’s. However their cousin’s the Oxbridge’s family–with the Earl Lord John still away for many years in the Holy Land and now suffering with possible life threatening injuries–feel the void of not having their husband and father with them. And Rebecca Lady Leicester will soon find herself at a crossroads of happiness or despair.


“Sir Guy’s Atonement” (Book 3), Ch. 23 (PG-13, S): Wed in London

It is a week later still in May 1199 that as King John entertains the nobles of the land visiting him–along with emissaries from foreign countries–that he learns through intermediaries at court in London and in Paris, that Lord John Oxbridge, Earl of Leicester was fatally LadyRebecca-worried-isTamsinEgerton-asGuinevere-inCamelot_Mar0115pathenl-crop-sizedwounded in the Holy Land and had succumbed to his injuries. King John had sent that message to the Earl’s widow, Rebecca Lady Leicester last week with his condolences for her loss. And the lady in question has gone into deep mourning [(2) right] and has yet to find a way to tell her children that the father they have never met has died. But of course, the now widowed young and lovely Lady Rebecca is now a much sought after marital prize on King John’s noble’s marriage market.

So Prince Johns summons the Earl’s wide, Lady Rebecca, to Court to match her with another noble–under the guise of providing protection to her, while really planning to reward one of his nobles and take a hefty betrothal tax from the lucky bridegroom. Lady Rebecca’s dowry was long since settled on Lord Leicester–and that now falls to his three year old son, Lord Graham, the new Earl of Leicester. But the prospective noble bride grooms are ripe for the fleecing in order to expand King John’s coffers.
And as the widowed Rebecca Lady Leicester and her small children are presented at court–to give their oath of fealty to the New King John, Lady Rebecca draws the interest of several nobles with hefty purses.   That is the way of noble marriages of this era–not necessarily made for love, nor with the women’s consent being vaguely considered, let alone, deemed necessary. Women are pawns, none more so than ladies of good breeding.

However, Sir Roderick as crown appointed protector of Rebecca, Lady Leicester–and the childhood sweetheart of her as his love Lady Becca–he will see no one but he become her husband, no matter what lands or coin he has to give to King John.

King John surveys that evening’s banquet in the great hall of one of his many London Palaces. As cousin’s by marriage, Rebecca Lady Leicester and her children sit with King John at the head table. Of course having children at a banquet is unheard of. But Lady Rebecca would not leave her children behind in their guest suite with their nurses–or she would stay there with them if they were not permitted to join her at the banquet. So King John relented. He has been approached already by two nobles seeking Lady Rebecca’s hand. And a pretty purse they do offer for her.

Leaning to his left, over his paramour of the moment Lady Canmoore’s head, King John asks cagily of Roderick.

King John: “So Merton! How does Lady Leicester fare with the news of her husband’s death?”SirRoderick-isChris-Hemsworth-as-thor-the-dark-world-6_Feb0515collidercom-cropto-armsling-undercape

Sir Roderick: “Sire. Lady Leicester is naturally upset and sorrowful–made more so because her children will now never know their father.” Sir Roderick narrows his eyes suspiciously [(3) right] at the King’s question, before returning to stab at the meat upon his plate.

King John: “Oh Yes, most appropriate.” King John waves his hand dismissively. “But their children should have a father. And several nobles–even a Duke–would be willing to do the deed.” And pay him a hefty betrothal tax, thinks King John.

Sir Roderick’s head lifts from his food and jerks to his right to stare incredulously at their king.
Sir Roderick: “Lady Rebecca is grief stricken.” He emphasizes. “No man should feign to tread upon her widow’s wound so quickly. It is base to suggest it.”

King John: “Your admonishment is uncalled for! I am only thinking of Lady Rebecca needing a permanent protector. You must return to your own lands soon.” That is not really King John’s reason, but it will suffice for now.

Then Sir Roderick realizing that he just chastised his King–with King John’s own eyes narrowing–Sir Roderick rephrases.

Sir Roderick: “Sire, I did not wish to imply that you hold that uncaring view. I only wish to state that Lady Rebecca is not likely to be receptive to entertaining marital prospects at this time.”

King John: “Well, life is for the living. And Lady Rebecca has a role and a duty to play in our noble family alliances.” A miffed King John states petulantly.

Sir Roderick: “All I ask you to consider is Lady Rebecca’s own feelings. Let her decide if she will be married and to whom she will be married.” Lady Rebecca is not aware of marital machinations being exerted on her behalf.

Lady Rebecca: “Sire? I must put my children to bed and beg to be excused.”

King John was so lost in thoughts of what price Lady Rebecca might fetch, he had completely forgotten that she was sitting next to him.

King John: “Oh! Oh, of course. But I should like to see you for a private audience before you go to sleep, my Dear.” King John asks nicely for a change–not as a command.

Lady Rebecca: “Very well, Sire.” She acquiesces with a small nod. What else can she do?


After Lady Rebecca leaves with her children to go to their guest bed chambers suite–with Sir Roderick as their escort–the Duke of Rotham and Baron Marsh independently step up to the dais to converse with King John about their hoped for betrothal to the lovely Lady Rebecca. King John hears each of their proposals in turn. They are handsome offers–both would fill King John’s personal treasury. But King John elects to wait to see if other proposals might be tendered.

After seeing Lady Leicester and her children situated in their guest suit, Sir Roderick returns to the banquet hall. It is tearing Sir Roderick up to know that his own meager title is no match for a Duke’s, or even for a Baron. And Sir Roderick loves his Lady Becca–as he believes she loves him. But love is not a commodity that Kings worry about. So Sir Roderick must find a way to make his suit of Lady Rebecca the most favored by King John.

And to his favor, Sir Roderick’s Staffordshire lands at the Northern edge of the middle west regions of England might prove a strategic stronghold against any Wales uprising should they decide to refocus their military strength last exercised throwing the Norman invaders out o f Wales in 1066 [(4)].

Seeing Sir Roderick approach him–striding like a wildebeest–King John stiffens.

King John: “What say you Merton? Not tired afterall? Hmmm?” King John raises one querying eye brow.

Sir Roderick:   “Nay, Sire. I merely wished to safely escort Lady Leicester and her children to their chambers. That duty discharged, I would speak to you on a most urgent matter. And my reason in returning to speak with you is two fold.” Sir Roderick pauses, waiting to hear if his sovereign will entertain his motions.

King John: “Well, out with it man! I do wish to sleep at some point–and I must yet speak with Lady Leicester this night before I may find my own rest.”

Sir Roderick: “First, I want to assure you that my well trained Staffordshire garrisons have repelled all Welsh attempts at raids.”

King John: “Good! If Wales were not such a strategic buffer between us and Ireland, I might PrinceJohn-smirking-isTobyStephens-inRobinhood-series3-epi6-pix0094_Jan3115ranet-crop-sizedwish we could chop Wales off of England and let it float away as an independent island.”  King John grins cheekily [(5) right]. Then he burst into laughter as if he made a jest. “Ha ha ha ha ha!” Of course, then everyone else laughs. Them thinking that it is best to laugh with their heads connected to their necks

Sir Roderick: “I wish to wed Lady Rebecca, myself.”

King John: “What? I did not know that you became a priest or monk?” Prince John teases. He knows of what Sir Roderick asks.

Sir Roderick: “Name your price and I will strive to meet it. You can ask nothing of me and I will not give it, to be Lady Rebecca’s husband.”

King John: “Anything?”King John’s eyes fill with mirth.

Sir Roderick: “Anything.” Sir Roderick nods his head with a sense of finality–he means it.

King John: “I want the Staffordshire Ruby for my crown that I am commissioning.”

The moments tick by. The Staffordshire Ruby is an egg shaped ruby that has been in the Merton family for decades–given to them by the present King’s father, King Henry. Sir Roderick sighs.

Sir Roderick: “Hhhh!” He had contemplated many possible requests from King John. However, the Staffordshire Ruby was not among them. The half moon shaped ruby stone is priceless and one of a kind. But then, so is Lady Rebecca. “Done!”

King John and Sir Roderick shake hands and then they both visit Lady Leicester to tell her the good news.


To say that Lady Leicester did not take the engagement proposal well, is an understatement. Though she loves her Roddy, Sir Roderick. She has reservations.

Lady Rebecca; “Sire, though I mourn my husband’s passing, I am not altogether certain that he has done so.”

King: “Nay Lady Rebecca. Lay your concerns to rest. I have declared John, Lord Leicester dead. You will marry with no impediments.”

Lady Rebecca: “But …”

Sir Roderick: “Lady Leicester, I will understand if you prefer another than myself to be a husband to you.   The duke and baron are both very fine men.

Lady Rebecca: “Nay Sir Roderick.” They both remain formal in the presence of others. “But I must away to the Leicester estates on the morrow. There is little time to think about betrothals.”

King John: “That is the spirit! Marry without delay. We will bless your and Sir Roderick’s union at mid day chapel before the luncheon feast.”

Realizing that King John will have his way, Lady Rebecca nods her assent. She is still wary, but she is powerless to stop her being married off. And if she must be married again, it will only be to her Roddy, Sir Roderick.


With the wedding that morning being a quick affair–barely time for vows as conducted by Fr. Bale–the midday repast and then evening dinner were delicious. They had been teased and good naturedly taunted about this being their wedding night. When little Lord Graham asked what all pf the fuss was about, his Mama Lady Rebecca replied cryptically for a three year old,

However now it is time for bed. And both Sir Roderick and his new wife Lady Rebecca are LadyRebecca-inNightgown-isTamsinEgerton-asGuinevere-inCamelot_Mar0115filmwebpl-crop-sizednervous as Sir Roderick steps into their now shared bed guest chamber at the palace and seeing the vision of the lovely Lady Rebecca in her nightdress [(6) right] standing on the balcony, gazing at the garden below.

Hearing approaching footsteps, Lady Merton turns to face her new husband.

Lady Rebecca: “Hhhh. I’m glad that it is you, Roddy. I could not take another leering audience with King John.”

Sir Roderick: Smiling broadly, Sir Roderick replies. “The gift of you as my wife that King John facilitated today puts me forever in his dept.” He walks up to her and envelopes her in his arms.   “You shall never know my absence from this day forward, Becca. And I will cherish you all the days of my lie.”

Sir Roderick tenderly kisses his Becca. His hands and arms eagerly pull her toward him and she goes willingly. After several minutes of their kisses and caresses deepening, Sir Roderick pulls away from Lady Rebecca and removes his robe, leaving him in just his thin drawers that do not disguise his loving ardor.   Lady Rebecca demurely turns her head and she demurely looks away from him. Then he gently pushes her robe off of her shoulders and lets it puddle at her feet.

Sir Roderick: “You are so beautiful, my Becca.” His lips trail kisses down her neck as she squeezes his powerful shoulders.

Lady Rebecca: “And you are so handsome!” She gazes at him longingly.

Then Sir Roderick lifts her into his arms and places her lying in their bed, before joining her there. Lady Rebecca holds her arms in front of herself, in front of her thin fabric covered breasts. She is shy about the intimacy they will share as husband and wife. Sensing her shyness, Sir Roderick draws her to him and rocks her gently in his arms as he strokes her back and kisses her forehead.

Sir Roderick: “I have thought so often of this moment–having you in my arms. I almost cannot believe it. It is like a dream.” He smiles sweetly.

Lady Rebecca: “A dream that we might waken from.” She looks at him questioningly.

Sir Roderick: “Nay, Becca. Our lives are finally ours to claim. And I claim you.”

Lady Rebecca: “I claim you.”

And then they tenderly embrace each other fully as their tongues entangle sensuously with each other, matching their arms and legs interlocking together. Sir Roderick kisses and caresses his lovely Becca, cherishing her as she has never been cherished before. And Rebecca gives herself fully and completely to her love Roddy, delighting in their mutual bliss. Theirs is a long and loving wedding night as they desirously acquaint themselves with each other as lovers and their marriage truly begins–as it should have done over four years ago when their parents separated them to wed each of them to others, who have now now passed on.

But even as Sir Roderick Merton and his new wife Lady Rebecca return to her children’s home at Gordon Castle in Leicester the next day before visiting his lands in Staffordshire, two others will also be returning in the future as well–impacting everyone’s lives beyond imagining. But first, these others, must be sought and cajoled to return.

To be continued with Chapter 24

                       “Sir Guy’s Atonement” (Book 3), Ch. 23 References, April 17, 2015 Gratiana Lovelace (Post #732)

1) My story cover for “Sir Guy’s Atonement” is a composite image of:
a) Sir Guy portrayed by Richard Armitage found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodefive/slides/5_086.jpg (crop-hair-manip-hi-res); and
b) The spectre image of Lady Marian is that of Lucy Griffiths who portrayed Lady Marian in the BBC series Robin Hood from 2006-2009 and was found at Hamilton Hodell Talent Management at http://www.hamiltonhodell.co.uk/cv/client_lucy-griffiths_id_100044.htm; image found at


2) Image representing Lady Rebecca Stafford Oxbridge, Lady Leicester is that of Tamsin Egerton portraying Guinevere in Camelot and was found at http://www.pathe.nl/gfx_content/allocine/medias/nmedia/18/79/21/tamsin-egerton_121324.jpg

3) Sir Roderick Merton is Chris Hemsworth in a still from Thor the Dark World(manip with left arm sling hidden under capte) that was found at http://cdn.collider.com/wp-content/uploads/thor-the-dark-world-chris-hemsworth6.jpg ; for more information, visit http://collider.com/thor-2-dark-world-images/

4) For a brief history of Medieval Wales, please visit http://www.wales.com/en/content/cms/English/About_Wales/History_ancestry/History_of_Wales/History_of_Wales.aspx

5) Prince John smirking image (crop) is Toby Stephens in the BBC’s Robinhood (2009) season 3, epi 6, pix 94 that was found at http://www.richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodesix/slides/ep6_0094.JPG

6) Image representing Lady Rebecca Stafford Oxbridge, Lady Leicester (on balcony in her night gown) is that of Tamsin Egerton portraying Guinevere in Camelot and was found at filmweb.pl at http://1.fwcdn.pl/ph/52/25/575225/259028.1.jpg


“Sir Guy’s Atonement” (Book 3), Previous Ch. 22 Blog Link with embedded illustrations (Post#729)




Posted in Love and Relationships | 1 Comment

Tuesday Musings: The Cadre of Girls in The Crucible, April14, 2015 Gratiana Lovelace (Post #731)

Pictured in the foreground of the Armitage Army Rumania (Thanks!) wallpaper with Farber quote share by Violet DB (Thanks!) in the image below of The Old Vic’s The Crucible rehearsals in early Summer 2014 are Richard Armitage as John Proctor and Natalie Gavin as Mary Warren, rehearsing Act 4 where Proctor is trying to get Mary to denounce the other girls for pretending and lying about seeing witches or being possessed. John Proctor hopes to exonerate his wife Elizabeth Proctor–along with Martha Corey, and Rebecca Nurse who are also being held in jail. It got me to thinking about the girls who put them in jail.


As I observed the “character” of the group of Salem girls unfold and evolve from a rag tag bunch of misfits to a respected/feared faction as I watched The Old Vic’s 2014 production of The Crucible on Digital Theatre last Saturday, I noticed aspects about this group of girls and the shifting sands of public opinion around and about them.

For one thing, I noticed that the girls’ body language and use of space changed over time. TheCrucible--girls-tryingto-waken-BettyParrish-TheOlVic_Apr1315GratianaLovelaceCapInitially the girls were dispersed in their placement in a room–such as them being in a panicky loose circle around the catatonic Betty Parrish’s bed [(my cap right)]. The girls each messily thrashed about the room trying to find ways of waking up their friend Betty–them not seemingly acting as a cohesive whole, yet.

2014--TheCrucible-rehearsal-act4_Apr1315ranet-sized-cropBut by the end of the play in Act 4, the girls’ movements were highly stylized, them seeming to walk together as one entity into the interrogation room where Proctor and Mary Warren were waiting to accuse them of bearing false witness. The girls’ strides seemed almost synchronized as they walked in a tightly packed side by side grouping. We can see a bit of this pack formation again returning to the rehearsal shot above (and cropped left) with the other girls standing closely together in the background–shoulders touching, staring determinedly, blindly forward. Chilling!

And I kept thinking about cliques in high school–the “mean girls”. You’re in, or you’re out–there is no in between. But with The Crucible, that “herd” mindset was taken to a new and maliciously evil level. It was almost like a scorched Earth campaign as the girls accused anyone and everyone one who had ever done them wrong, dismissed them, or begrudged their lying with their husband as Elizabeth Proctor had of Abigail Williams.

And in accusing others, the girls gained community stature–while the men in charge (Rev. Parrish, Rev. Hale, and Deputy Governor Danforth abandoned any sense god gave them and blindly accepted the girls’ accusations as fact.   I’m not sure which is worse–the girls’ false accusations or Parris, Hale, and Danforth’s eager promulgation of them without regard for the innocents they killed, the families devastated, the community disintegrated.

Lastly, I sensed that the illusion that the girls created for others— of a community fighting for its very soul–became a delusion for the girls, themselves. I felt that just as the girls convinced the townspeople of the “witches” in their midst through their pretend frenzies of demonic possession, the girls also convinced themselves of the rightness of their cause. And there is nothing as scary as persons who have gone from strategic pretense to cultish fanaticism.


And the Betty and Abigail choruses of “I saw Goody _____ with the devil” bantered back and forth in more and more feverish outbursts, whipped them up into almost a transcendantly frenzied mindset [(my cap right] –each of them feeding off of the other, supporting each others’ pretense.

TheCrucible--Proctor-isArmitage-andAbigail-isColley-byJohanPersson-BBCNews-03Jul14_Apr1115ranet-smlrI could see the belief in the girls’ eyes for their cause. And certainly belief and retribution were in Abigail Williams eyes.   Where in the beginning Abigail pleaded with John to take her back [(left)], Abigail’s eyes at the end of the play were cold, heartless, and unforgiving.

Abigail even felt invulnerable in arguing with Deputy Governor Danforth who briefly doubted her.

Abigail: I have been hurt, Mr. Danforth; I have seen my blood runnin’ out! I have been near to murdered every day because I done my duty pointing out the Devil’s people–and this is my reward? To be mistrusted, denied, questioned like s—. [slut?]

Danforth, weakening: Child, I do not mistrust you —

Abigail, in an open threat: Let you beware, Mr. Danforth. Think you to be so mighty that the power of Hell may not turn your wits? Beware of it! There is — Suddenly, from an accusatory attitude, her face turns, looking into the air above–it is truly frightened.”

Abigail Williams had plenty to begrudge the world.  Abigail was sexually used by the married man John Proctor, then thrown away, cast out of the Proctor home. Initially, Abigail sought to have John Proctor back–back in her bed where she could wield her power of sexual favors over him. But as Abigail realizes over time that their reunion is not to be, she intentionally or unconsciously decides that if she is not to have him, then she shall seek to exact her revenge upon John Proctor.  And that she surely did.

So the moral of this story is not merely hell hath no fury as a woman/Abigail scorned, but that even powerless girls when working in concert with each other can coalesce into a formidable force of wills–in this case, devastatingly so.



Posted in John Proctor, Love and Relationships, Richard Armitage, Society, Something About Love | Tagged , , , | 4 Comments

Experiencing The Crucible Starring Richard Armitage via DT; & 2015 Olivier Awards, April 12, 2015 Gratiana Lovelace (Post #730)

I am stunned beyond my own imaginings after experiencing Arthur Miller’s The Crucible, a 2014--TheCrucible-poster-avail-wRichardArmitageGlaring_Apr0915OldVic-viaVioletDB2014 production of The Old Vic Theatre (right) directed by the talented South African director Yael Farber–via my copy of it purchased through Digital Theatre. My reactions that I share below are my initial visceral responses to what I just witnessed, in viewing it Saturday night.


The Story:
Insecurity, neglect, loneliness, longing, lust, adultery, guilt, self-loathing, bitterness, desire, envy, pride, fear, betrayal, deceit, hatred, lies, accusation, frenzy, scorn, persecution, perseverance, contempt, murder, sin, agony, conscience, honor, love, and forgiveness are all in evidence in The Crucible. But no mercy.

And I had made the Richard Armitage wallpaper Proctor quote at right, long before TheCrucible--RichardArmitageasJohnProctorCryingOut_Aug0614byJohanPersson-viaenikoniTweet-GLmask-sized-enl-quote2(Aug0614) I saw the filmed version of The Crucible Saturday as I write this–my only having seen snippets of the play in video trailers. But Proctor’s final rousing “Because it is my name” speech still moved me deeply–then and now–more so for hearing Mr. Armitage proclaim those words so movingly.

In a broad sense, I did interpret one of the play’s messages, as John Proctor wails, that “God is dead” to let such evil flourish. Or that, we are dead if we let evil flourish. Who are we, if we do not stand up for what is right–and to see right done? We are just as guilty if we do not try to see right done.

However in The Crucible, the true wickedness in Salem is not the devil’s work, it is the work of men and women, neighbors, citizens, communities, and of government. And it is evil. With the subject matter of this play–be it the 1672 Salem witch trials, the mid 1900’s House UnAmerican Activities witch hunt hearings promulgated by Senator Joseph McCarthy, or modern day anywhere in the world where people are persecuted.


Grati’s aside: And frankly, on a more personal level–of my being a loving and much loved wife of 25 years and counting–I partially blame Elizabeth Proctor for her husband’s demise as much as I partially blame John Proctor, due to his adultery and pride at not wanting to be known as a less than honorable man.

Elizabeth reconciling her husband John’s death TheCrucible--RichardArmitageasProctor-andAnnaMadeleyasElizabeth_Aug0514OldVicfbbecause “He have his goodness now. God forbid I take it from him!”(The Crucible, Penguin Classics, 1995, p. 134) is not what I deem to be the viewpoint of a loving wife. She was a woman made bitter by his adultery, and I sense that in her words. However, if your husband does wrong by you and you cannot live with it, you divorce him–you do not see him killed and think it is a justice.

So I found that particular plotline arc not realistic–unless you read a lot of pulp novels and watch the current tv shows that seem to convey that violence is the only answer to all problems. It should be noted that after the historical John Proctor’s death by hanging, the historical Elizabeth Proctor remarried and had several more children with her new husband. I don’t see her remarriage as her indifference to her husband John Proctor’s death, but rather as her need–as a woman of her time–to gain the protection that a man afforded her then.

The Actors:
John Proctor was movingly and heartbreakingly portrayed brilliantly by British actor Richard Armitage (image left). I wept for John’s disintegration as an honorable man as his life and everything he had built were shattered as he lost his wife and his honor–then found them again in choosing death over lying to save himself. Proctor loved fiercely. And a man with 14 children certainly has prodigious sexual appetites–as the actor Richard Armitage once asserted as part of his character motivation. His first kiss with Elizabeth showed the strain of their relationship. But John’s and Elizabeth’s last and final soul searing kisses conveyed that their love had at last come full circle and healed [(collage by Ekaterina, below, as shared by VioletDB, Thanks!)].

Below is a video (by Wolke Strahl) interview with Richard Armitage and what he thought about his character of John Proctor:


yAnnaMadeley-atTheCrucible-onscreen-Premiere-byDavidJensen_Dec0214ranet-crop2Elizabeth Proctor (see previous image above with Richard Armitage as Proctor) was stoically portrayed by Anna Madeley (left) as a cold indifferent wife, barren of love in her heart for her husband John Proctor–both before his adultery due to her own insecurities, and after his adultery. However, Elizabeth let the wrong done to her by him strangle her heart–and his–until she could only realize love for him when it was too late, when he was about to die, for Abigail’s lie. See my comments about Elizabeth’s unforgiving ways in my story plot review section above.

Samantha-Colley_306x423-byDanielSatka-Apr1114pix_Apr1115DailyMail-smlAbigail Williams was a girl who turned her love/lust [(Johan PeTheCrucible--Proctor-isArmitage-andAbigail-isColley-byJohanPersson-BBCNews-03Jul14_Apr1115ranet-smlrrsson image right)] for John Proctor into a quest for power and recognition–until she no longer wanted love, she only lusted for power. Making her theatrical debut, Samantha Colley (image, left) mesmerized with her chillingly fierce determination to see others brought low–and ultimately killed by her accusations. She was ably surrounded by her coterie of village girls–most notably the easily persuaded  Mary Warren portrayed by Natalie Gavin.

AdrianSchiller_Apr1115movieberrycom-sizedReverend Hale
, church adjudicator turned penitent–hauntingly portrayed by Adrian Schiller (left, movieberry.com)–comes to Salem purporting to be a voice of reason, then falls prey to the madness as he makes prisoners out of people, that ultimately leads to their deaths. Hale’s eventual reversal and remorse when reason finally enters his mind is too late. And te deaths he caused will haunt him forever.

All of the ensemble cast gave outstanding performances. So, kudos to the rest of them.


Grati’s Final Thoughts about The Old Vic’s production of The Crucible, as filmed by Digital Theatre
And being an avid theatre goer, I enjoyed viewing this filmed version of The Crucible. I wish had could have also seen it in person, but the trip was too costly. So a huge thank you to everyone involved in getting this production filmed! From the very beginning to the very end, The Old Vic’s production of The Crucible was beautifully and masterfully performed and executed! So much so, that I wanted John Proctor to be judged innocent and live happily ever after with his wife Elizabeth. But as with true tragedies, they could no more escape their fate than could John have resisted his urges for Abigail. All was inevitable. Arthur Miller’s play was a true masterpiece. And Yael Farber’s direction of this stellar cast and production of The Crucible cannot be under praised. The look and feel and sound–the evocative music was fantastic!–and mood of the production were riveting! And as many posters proclaimed that this production–whether experienced in person or via film–was:


But hey, don’t take my word for it, here is a trailer for the production:


The Acclaim:
Standing ovations (below left, Angela S. tweet, thanks!), the five star reviews (below right), audience and fan praise alike have garnered much laudable attention for Richard Armitage and the cast and creatives of The Crucible. Well done everyone!

                    TheCrucible--RichardArmitageandCastinStandingOJun2714AngelaSassoTweet                  TheCrucible_Poster-with-5star-reviews_686x1020_Apr1115ranet-sml


And on Sunday, April 12, 2015, The Olivier Awards will present their honors for excellence in theatrical performance in London. And like many of us, I will be rooting for Richard Armitage to win for Best Actor and for The Crucible to win for Best Revival, etc.  Cheers! And, fingers crossed! Though sadly, Mr. Armitage has stated that his current filming commitments in Canada will prevent him from attending the ceremony in London. Whatever happens, Richard Armitage and The Crucible are winners already in my eyes!

And finally, below is a lovely wallpaper by the talented artist and fan Ann Boudreau to help us all celebrate Mr. Armitage’s nomination:


Posted in Drama, Fiction, Forgiveness, Graphic, Interview, John Proctor, Love and Relationships, Olivier Awards, Period Drama, Review, Richard Armitage, Social Justice, Something About Love, The Crucible, The Old Vic Theatre, Theatre, Video, Yael Farber | Tagged , , , , , , , , , , , , , , , , , | 18 Comments

“Sir Guy’s Atonement” (Book 3), Ch. 22 (PG-13, D): Forgiveness is an Illusory Dream, Part 2 , April 10, 2015 Gratiana Lovelace (Post #729)

“Sir Guy’s Atonement” (Book 3), Ch. 22 (PG-13, D): Forgiveness is an Illusory Dream, Part 2 ,   April 10, 2015 Gratiana Lovelace (Post #729)

avaSirGuysAtonementStoryCover-image-isRichardArmitage-inRH3epi5_086RanetJan1815GratianaLovelace-256x398[An Original Fan Fiction adaptation of the characters from the BBC’s Robin Hood; & a Sequel to “Sir Guy’s Dilemma” (Book 2) by Gratiana Lovelace] (All Rights Reserved; No copyright infringement intended)

[From time to time, I will illustrate my story with my dream cast of: Richard Armitage as Baron Guy of Gisborne, Clive Standen as Lord Archer of Locksley, Emma Watson as Lady Roseanna Gisborne, Lucy Griffiths as Lady Marian in flashback, James McAvoy as Lord George Middleton, Toby Stephens as Prince John, etc.]

Author’s Mature Content Note: “Sir Guy’s Atonement” is a story of romance and intrigue set amidst Medieval times. As such there will be some passages in this story involving heartfelt love scenes (S) and some passages involving highly dramatic moments (D). I will label the maturity rating of those chapters accordingly. Otherwise, the general rating for this story is PG or PG-13 due to some mature situations and topics. If you are unable or unwilling to attend a movie with the ratings that I provide, then please do not read the chapters with those labels. This is my disclaimer.

Author’s Recap from the previous installment: Sir Guy Baron of Gisborne is now a good man with a conscience. And the torment of Baron Guy killing Lady Marian still haunts him–so much so, that he begged forgiveness from the Madonna Stature in her likeness at St. Matthew’s Church in Locksley when he detoured overnight in Nottingham after swearing his oath of loyalty to the new King John. But, she did not respond–neither Lady Marion, nor the Madonna. And Baron Guy must somehow find a way to live with his guilt, to appease God until he can atone for what he has done. He needs to do this as much for his family, as for himself. For when Baron Guy is haunted by guilt, there is a ripple effect of sadness and grief throughout his family.


“Sir Guy’s Atonement” (Book 3), Ch. 22 (PG-13, D): Forgiveness is an Illusory Dream, Part 2

Visiting Locksley’s church did not have the calming effect upon Baron Guy of Gisborne that he had hoped that it would have–especially this time nearing Summer season of the year. Nothing has changed, nothing is improved, Baron Guy is not forgiven for killing Lady Marian. But at least he has returned home to her, his greatest blessing, his loving wife, his Lady Rose. And it will be she whom he turns to when the nightmares of remorse haunt his dreams–with more fiercesome reality and vividness than they have ever before tormented him.

For you see, Baron Guy finds every year in late Spring that as the anniversary of him killing Lady Marian draws nearer to Summer, his mood swings become more mercurial.   And the Gisborne-Middleton Manor estate staff, his wife, his children, and even his horse Pegasus know to steer clear of him. Baron Guy becomes depressed, morose, and more taciturn than usual for several weeks–mostly due to lack of sleep.

Because when Baron Guy tries to sleep, the dreams come, the nightmares invade his sleep. Guy-having-nightmares-isRichardArmiage-inRH3epi6_0013_Apr1915ranetAnd none–not even Baron Guy’s beloved wife Lady Roseanna–can banish his nightmares and soothe his soul. Tossing and turning in his bed in early May of 1199, Sir Guy [(2a) right] is in a deep sleep–but not a restful sleep. He is in a sleep that is beyond restless as he terrifyingly dreams once more of killing Lady Marian in the Holy Land.

Lady Roseanna had arisen earlier in the middle of the night to check on their now seven month old baby Lady Diana who lies peacefully in her nearby cradle–unaware of the turmoil in her father, Baron Guy’s, heart and soul. And with Lady Roseanna’s baby nursed and her Guy-thrashing-in-bed-w-nightmares-isRichardArmitage-inRH3epi6_0010_Apr0915ranetwrapper changed to a fresh one, Lady Roseanna returns to bed to find her husband, Baron Guy, thrashing about [(2b) right] upon their bed and talking to someone in his nightmare. Baron Guy has never done that before–talked while having his nightmares–and Lady Roseanna is forbodingly curious as to the details of the events surrounding Lady Marian’s death that torments her husband so.

In Baron Guy’s dream set in the Holy Land of seven years ago, he is Sir Guy and Lady Marian GuyWarningMariantoMove-inRH12-13-00326-isRichardArmitage_Jan1915RACis standing between him and King Richard lying on the ground after his shoulder was pierced by Sir Guy’s arrow. She is shielding the King with her body. However Sir Guy is intent upon killing King Richard and he warns Lady Marian to move out of his way [(3) right].

Dream Sir Guy: “Out of the way Marian. I must kill King Richard. Then I will have untold power and wealth. And then, you and I can finally be married.”

Dream Lady Marian: “I will not let you kill King Richard and harm England.” Lady Marian holds her arms out as a barrier–and she, steps back and steps forward, back and forward, her challengingly pivoting on the balls of her feet.   “And I will never be yours, Guy of Gisborne.” She hisses.

Dream Sir Guy: “No!” He chokes out hoarsely from the arid desert air. “Marian, you lie! You will be mine–for I love no other. I will never love another.”

Trying to waken her husband by gently shaking his shoulder–hoping to dislodge his hellish nightmare from his thoughts–Lady Roseanna has tears streaming down her cheeks for hearing her husband’s words of loving another. Lady Rose knows that she was not her husband’s first love–and knows now that maybe she is not his greatest love–even though her Baron Guy is both for her. However Baron Guy does not awaken, and he continues to toss and turn and to thrash about in their bed.  Baby Lady Diana gurgles fussily at the noise of her Papa’s loudness and her Mama Lady Roseanna quickly moves her crib further away from the bed.

Then Lady Roseanna returns to her husband and sits on the edge of their bed, feeling helpless to rouse Baron Guy from what tonight is his hell on Earth.

Dream Lady Marian: “No Guy!   I could never love you.   I love Robin Hood. I am going to LadyMarianSmilesBlissfullyatRefusingGuy--RH12-13-00343_isLucyGriffiths_Jan1915RACmarry Robin Hood.” The defiant Marian smiles blissfully [(4) right] in fully understanding her own heart after wavering between the two men for so long.

Lady Marian does not intend to taunt Sir Guy, but he takes it as such.

Sir Guy: “No! You will marry me! I love you with all of my heart, Marian!” At the end of his tether, Sir Guy snaps and rushes toward Lady Marian–to try to shake some sense into her–so that she will be his.

But in Sir Guy’s rage–in his hurt at Lady Marian’s rejection–he forgets that in his hand is a lethal weapon as he lifts his arms toward her.  Lady Marian is on a forward pivot before she realizes that Sir Guy’s sword is directly in front of her. And with both of them moving toward each other, the finely sharpened blade of Sir Guy’s sword pierces Lady Marian’s left side below her lung.

Sir Guy does not immediately know what he has done, as the startled look upon Lady Marian’s face also registers her shock and disbelief.  And the searing pain renders her speechless.

Sir Guy: “Marian!” Sir Guy cries out in gripping fear and despair at realizing that he has stabbed her–for he knows that he has dealt Lady Marian a fatal wound this time–having only injured her when he wrestled with her in her Night Watchman costume the previous year.

But harming Lady Marian was never Sir  Guy’s intention, nor his wish. Sir Guy loves Lady Marian like he loves no other. He gently lowers her to the ground, his sword still sticking out of her for fear of removing it causing her to bleed uncontrollably from ruptured veins and organs.

Dream Lady Marian: “Guy?” She whispers chokingly in confusion and agonizing pain. However, she is bleeding only marginally at the moment since the sword piercing her side closes off the blood flow. Her white gown is not yet stained with her blood.Guy-recoiling-in horror-atstabbing-Marian-isRichardArmitage-inRH2epi 12_213_122_Apr0915ranet

Sir Guy kneels beside Lady Marian and recoiling in horror at what he has done [(5) right]–gulping air as he sobs–Sir Guy pleads to Lady Marian.

Sir Guy: “I did not mean to … I would never hurt you, never! Marian, you are my life!” Sir Guy cups Lady Marian’s face in his hand, her tears wetting his hands.

In reality, Baron Guy is cupping his wife Lady Roseanna’s face in his hands–her tears of sorrow wetting his hands.

Lady Roseanna: “Guy!” Lady Rose chokingly whispers through her tears, trying to get his attention and wake him up. But Baron Guy thinks that he hears Lady Marian in his nightmare.

Dream Lady Marian: “Guy.”   She sighs with labored breathing since her every movement is wracked with the pain of being impaled upon Sir Guy’s sword.

Sir Guy: “Marian, My Love.” Tears are streaming down Sir Guy’s face. She will die and there is nothing he can do to stop it.

Then Robin Hood and his outlaws race into the courtyard just as Nottingham’s Sheriff Vasey also arrives on horseback, bellowing for Sir Guy to join him.

Vasey: “Gisborne!   We must away!” He bellows

Robin: Dropping to his knees beside Lady Marian, Robin looks in horror upon the scene. “What have you done, you devil!?!” He asks of Sir Guy.

Sir Guy: Sir Guy shakily stands. “I love Marian! I did not mean to …” Sir Guy says more to Lady Marian than to Robin Hood.

Vasey: “Gisborne!”  Sherriff Vasey howls high atop his horse, now within three feet of Sir Guy.

Lady Marian faints–and Sir Guy believes that she has died, and he cannot look upon what he hath wrought. So Sir Guy turns and takes two strides toward Sherriff Vasey on his horse and then hops up behind him. As Vasey gallops away from the scene, Sir Guy’s eyes look back until he can see Lady Marian no more, her white gown reminding him of the innocent pure spirit that he just killed.

Sir Guy: “Marian! Oh God!   Marian! What have I done!?!” Baron Guy wails as he sobs uncontrollably in his dream and in reality.

Lady Roseanna: Rousing herself to try again to awaken her husband from his nightmare, Lady Roseanna stands up from their bed and cups his face in her hands as she cryingly pleads in an urgent but hushed voice so as not to awaken their baby daughter sleeping nearby. “Guy, Guy, please wake up!   That is all in the past.”

At first Baron Guy’s arms shoot up and without him meaning to, and he forcefully grabs his Guy-waking-from-nightmare-isRichardArmitage-inRH3epi6_0015Apr1013ranet-hi-resshrpwife’s Lady Roseanna’s arms about her shoulders, shaking her. Baron Guy’s eyes flutter open [(6a) right], but are not in focus yet.

Sir Guy: “Marian? You’re alive! I thought I had lost you! Do not leave me every again, My Beloved!”

Lady Roseanna: Lady Roseanna’s tears now subside in her own numbed shock at the full realization of the depth of her husband’s pain, and she says meekly. “Guy, I am Rose–and I will never leave you, my husband.”

Baron Guy blinks several times. His vision begins to clear and he looks around him as he LadyRose-isEmmaWatson-inNoah-98020_Jan1915expresscoukrecognizes his bed chamber–with his wife Lady Rose in his arms before him. He also sees the slumbering form of their now seven month old baby daughter Lady Diana in her cradle nearby. Then Baron Guy looks upon the bereft face of his much younger wife, Lady Roseanna [(6b) right].

Sir Guy shakes his head as much to clear his mind as to dispel his wife’s concern. But it does not work, and she turns her head away from him to try to hide her tears that now flow again. Sir Guy has wounded his Lady Rose–not with a sword, but with expressing his love for Lady Marian with such unabashed emotion. Anguished to have caused his beloved wife pain, Sir Guy contritely apologizes.

Baron Guy: “Oh Rose. I am so sorry, My Love.”

Baron Guy touches her face and he gently turns her to look at him. Lady Roseanna gazes upon her husband with love and tenderness. Then she whispers stoically as she leans away from him, her back straight, her spirit bowed, with her eyes dropped from his gaze.

Lady Roseanna: “It is alright, Guy. I have always known that I was not your first love.”

Baron Guy: “Rose.” Baron Guy tries to appease her.

Lady Roseanna: Now she shakes her head. “Nay, Guy.” She looks up into his eyes, then she looks away again.  She agitatedly twists the fine linen fabric of her night gown between her fingers. Then In a very small voice, she asks the question that she has never dared ask before. “Husband? Do you … do you wish that she were your wife, instead of me?” Her breath hitches and stills, waiting for her husband’s response.

Baron Guy: “No! No! Never would I wish that!”   Baron Guy pulls Lady Roseanna into his arms and they lie down together as he gently kisses her face and lips repeatedly. Baron Guy tenderly embraces his wife and rocks her in his arms to soothe her worries. “You and our children are my life! I have only ever known love with you.” That is true, because though he loved Lady Marian, she did not love him. After several moments of calming–for both of them–he continues. “I wish … I wish that Lady Marian was alive–that I had not killed her. She, above all, did not deserve to die.” He states sorrowfully. “But, the deed cannot be undone. And I must bear the guilt for my actions in killing her, until I die.”

Lady Roseanna caresses her husband’s face.

Lady Roseanna: “It was an accident. You did not mean to kill her.” Lady Roseanna says meekly–for even as a much loved and loving wife of these four years, Lady Roseanna sometimes finds it difficult to reconcile the murderous man her husband Baron Guy was to the loving and respected man he is now.

Baron Guy: “Accident or not, she is still dead by my hand.   And I will never be free of my sin.” He states forlornly.

Lady Roseanna: Knowing well her husband’s melancholic musings, she counters softly.   “But our children and I have need of you. Cannot our love banish the ghosts of your past, banish this ghost from your past?”

Baron Guy: “It does, you do, My Lady.” But only in part–which he cannot bear to admit to her.

Lady Roseanna: “But not completely?” She discerns as his wife of seven years.

Baron Guy: “No. Not completely.” He responds solemnly. “But I am happier now than I have any right to be, Rose.” Then he pulls back and gazes lovingly at his wife, Lady Roseanna, as he tenderly caresses her face. “And I love and I am loved more now than I could have ever imagined.”

Lady Roseanna: “How can I help you, My Husband?” Lady Rose asks earnestly–for she loves her husband Baron Guy with all of her heart.

Baron Guy: “You do help me. But God’s penance for my sin of killing Lady Marian is to send me these nightmares at this time each year. I have no right to complain when I am alive and blessed with you and our family, and Lady Marian is dead and buried in an unmarked grave in the Holy Land, with none to visit her. She should have that respect, at least.” For Sir Guy did not attend Lady Marian’s makeshift funeral in the Holy Land, to beg her forgiveness–and that weighs heavily upon his mind and upon his heart.

Lady Roseanna: Lady Roseanna’s mind clears of her sorrow and an idea comes to the forefront of her thoughts. “Then let us show Lady Marian our respect, Guy.” He looks at her quizzically. “We will celebrate a funeral mass for Lady Marian and erect a marker in the Middleton Family graveyard for her.”

Baron Guy: Baron Guy looks incredulously at his generous and loving wife. “Why would you do this?”

Lady Roseanna: “Because I love you, and you loved her.” She caresses his face and moves his hair out of his eyes. “It is fitting and proper that she be remembered by us.”

Baron Guy: “Oh Rose, My Love! I do not deserve you!”

Baron Guy buries his face within Lady Roseanna’s neck and weeps. He weeps for his lost Lady Marian, and he weeps for the blessing of his Lady Rose and their children. Lady Roseanna gently rocks her husband within her arms until he falls asleep from exhaustion. And this time, Baron Guy does not dream–or at least, he cannot remember and awakens on the morrow better rested than usual after his nightmares.


In part, the hellishness of Sir Guy Baron of Gisborne’s dreams this night were made more troubling by his recent trip to Nottingham Castle to oversee some of the final rebuilding and fortifications expansions. Whilst staying as his brother Lord Archer’s guest at the now much expanded Locksley Manor, Baron Guy visited the Locksley church rebuilt as St. Matthew’s Church–in honor of Robin Hood outlaw Kate’s young brother whom Sir Guy had killed so long ago–had received its final and finishing adornment, a finely carved marble sculpture of the Madonna made in deceased Lady Marian’s likeness, to honor her.

But when Baron Guy beheld the Madonna and child sculpture, it was as if the Lady Marian Knighton herself was staring back at him through cold marble stone eyes [(7) right]. And StMatthewsMadonnaStatue--image-is-Lucy-GriffithsSep1713celebheightslistscom--manipwithveil-hires-oval-Apr0515GratiL-BW-stonecarving-sized-rustbkgrnBaron Guy had dropped to his knees in grief and humility, begging her for her forgiveness. He waited for a sign of his forgiveness–perhaps a shaft of light would illuminate the face of the sculpture, or she would speak to him in his mind. But though he welcomed her spirit to come forth to him, she did not. And eventually, Baron Guy realized that if his sins could not be expiated in this life, then he would pay for them in the next.  Baron Guy of Gisborne’s atonement must be made. But at what price?


After taking several days for preparations, Lady Marian is laid to rest in spirit in the Middleton Estate Family graveyard with a funeral mass and then burial service the following week with Baron Guy and his family present–including their three older children, his brother Lord Archer and Lady Saline, and Lord George and Lady Mary. Of course, there is no coffin, there is no body, there is not even a scrap of a memento of Lady Marian to bury. So Baron Guy writes to the spirit of Lady Marian, seeking her forgiveness. Baron Guy places his sealed letter in a leather pouch, and they bury that. Baron Guy does not reveal to anyone the contents of his letter to Lady Marian–only God knows what Baron Guy wrote. And Baron Guy’s heartfelt confession of his guilt and his repentance will forever be seared upon his heart.

The funeral mass and burial of Lady Marian with a temporary carved wooden grave Tuck-isDavidHarewood-inRH3epi1_087_Apr0815ranet-sizedmarker–until a carved stone marker is made to replace it–is a solemn occasion, lead by Brother Tuck who is visiting them on his way to the Holy Land on a delayed mission for the late King Richard. The solemn and spiritual Brother Tuck [(8) right] intones a final prayer for the memorial service as he glances sorrowfully at Baron Guy of Gisborne.

Brother Tuck: “We commit the soul of our sister, Lady Marian Knighton, to your tender care our heavenly father.   Her young spirit of generosity and compassion has touched all of our lives and she will be remembered. Give her soul repose from the pain of our temporal world, even as you give us peace as we are still in it. And with your promise of eternal life, we look forward to seeing her again when heaven opens its gates for us. For all of us are sinners seeking forgiveness. And through your son, you have granted us that forgiveness.”

Brother Tuck emphasizes God’s forgiveness, because he knows that the ashen faced Baron Guy of Gisborne needs to believe that he will be forgiven and enter heaven and be with his family one day. For that is Baron Guy’s greatest worry, that when he dies, he will spend eternity in purgatory alone, separated from those whom he loves. Baron Guy can bear many things, but not being alone again–as he was in the months after killing Lady Marian. Baron Guy was a bereft and friendless creature then, only saved from oblivion by the love of his Lady Rose.

Then the burial service concludes after the shallow grave is filled in and dirt covers over the leather pouch with Sir Guy’s letter in it. And they place flowers about the carved wooden marker–that will be replaced by a stone marker in due course–which simply says “Lady Marian Knighton, 1174 – 1194, A pure heart”.   And then they all walk back to the manor for refreshments.

Brother Tuck reaches out and clasps Baron Guy’s forearm as the ten and a half year old Seth Gisborne and the four year old Louis Gisborne stand next to their father.   And little Louis holds onto his Papa’s other hand and leans into his tall father’s legs.

Br. Tuck: “You have done well to honor Lady Marian in this way, My Son.” Br. Tuck intones sincerely.

Baron Guy: “Thank you, Br. Tuck.” Baron Guy nods humbly. Honoring Lady Marian in this way is but a small measure of his undying love and respect for her– and of his guilt over killing her.

Brother Tuck nods and walks back to the manor before he departs on his journey. Now it is just the Gisborne men–father and sons Seth and Louis. Baron Guy lifts his sleepy four year old son Louis into his arms as they walk back toward the manor.

Louis: Little Louis, squeezes his father’s neck and looks up at him with a shy adoring smile. “Papa? Seth has a question.” And little Louis is equally curious. Yet, in true brotherly fashion, he gets his brother to ask the question.

Baron Guy looks at his youngest son in his arms–still a sweet cherub of a boy at this point with his auburn hair so like his mother’s–but piercing blue eyes like his father. And then his gaze turns to his eldest son Seth, growing up strong and true–dark haired like his father, sometimes impulsive, but with his mother’s even temper.

Baron Guy:  “Yes, Seth?”

Seth: Seth coughs in nervousness to be put on the spot. “Kkkhh! Well Papa, we wondered who was the Lady Marian who died? I did not know of her.” Children are simple souls who get right to the heart of the matter.

But for Baron Guy of Gisborne, who Lady Marian was is complicated by who she was to him. And as far as his children know, their Mama was and is his only love. And technically, that is true. Because Baron Guy now realizes how inadequate his love was for Lady Marian, compared to his love for his wife and now his Baroness, the Lady Roseanna. His Lady Rose is everything to him–his confidante, his confessor, his mistress of merriment, his calm center, and his loving heart.

Nor, Baron Guy realizes, had Lady Marian loved him then–not even a little. But his beloved Lady Roseanna loves him fiercely–heart and mind and body and soul. He has only known love and happiness with his dear wife Lady Rose and the family that they have created together.   Thus, he cannot compare the two ladies, only contrast them. But he summons a response for his sons as they walk back to their manor home–him carrying a sleepy Louis in his arms.

Baron Guy:   Softly, he begins. “The Lady Marian Knighton was a lady whom I knew many years ago.” He does not say to his sons that he killed her. For Baron Guy knows that it would cause his sons distress. But he does add. “Before I met and married your Mama.”

Seth: “Oh.” Seth nods his head. But he thinks that his father must have thought well of the Lady Marian to honor her with burial this day. Then he looks up penetratingly at his father. “Was she a good lady?”

Baron Guy: “She was a very good lady–full of kindness and compassion for others.” He nods. And he realizes that though she would often encourage him to think of others, such as the villagers, her compassion was never directed at him. Then Baron Guy adds as an afterthought. “Seth, she had even held you once when you were a little baby.”

Seth: “She did?” Seth asks in astonishment. Baron Guy nods, remembering that Robin Hood’s outlaws had found and saved baby Seth who had been left in the woods to die by Sheriff Vasey’s men.   “Will you tell me, us, about her, Papa?”

Seth tilts his head toward his sleeping baby brother sucking his thumb as has his other arm tightly winds around his father’s neck in his sleep. As they reach Gisborne-Middleton Manor, Baron Guy smiles at the unyielding grip that the little fellow has on him–it is exceeded only by the strong bond of love that his father has for him. Baron Guy kisses his sleeping son Louis’ forehead and gently places him into his nurse’s waiting arms to take the little boy to his bedroom for his nap.

Baron Guy: “Hhhhh! Someday, Seth, perhaps. But for now, all you need to know is that Lady Marian had kind blue-green eyes, and that she helped people in trouble.” Baron Guy voices this statement with some finality, hoping that his explanation will be sufficient for his son Seth, for now. For the growing Seth has an eager inquisitive mind about all things.

Seth: Sensing his father’s sorrow, Seth relents. “Alright, Papa. I will pray tonight for the good Lady Marian with kind blue-green eyes.” Seth has not met anyone before with blue-green eyes. The people he has met have eyes that are either blue or green, or most often, brown. So her blue-green eyes sound intriguing to him.

Placing his hand upon Seth’s shoulder, Baron Guy looks deeply into his eldest son’s eyes and Guy-isRichardArmitage-almost-smiling_RH3epi12_023_Apr0815ranethe almost smiles, but not quite [(9) right]. Yet Baron Guy does not look as sad as he has felt recently.

Baron Guy: “Thank you, Seth. Lady Marian would like that.” Baron Guy could not be prouder of the strong and compassionate young man his son Seth is growing up to be. Though Baron Guy would take little credit for his son’s character–giving it mostly to his beloved wife Lady Rose–Seth idolizes his strong and good Papa, Baron Guy.

And somehow knowing that he and his family honor Lady Marian’s memory, gives Baron Guy a growing sense of peaceful resignation. Baron Guy believes that whenever death takes him is when his sins will be called to account–and not a moment sooner. So this life that is his now, is for the living. And he will focus upon that–his wife and his children–and he will endeavor to make their lives joyful and love filled.

With tears in her eyes, Lady Roseanna stands a few feet away holding onto the hands of their six year old daughter Lady Helen and their two year old daughter Lady Sarah–waiting for her husband to join them as she sees him walking toward them. Then the girls’ nurse collects them and takes them inside the manor. Lady Roseanna gazes hopefully at her husband Baron Guy. She prays that, in time, their having honored and remembered Lady Marian this day will help bring solace to the troubled heart of her husband, Baron Guy.

Baron Guy walks up to his wife Lady Roseanna and takes her loosely into his arms before they are yet inside the manor and on public display again for their visitors. Then he leans his head down and rests is forehead upon her forehead, finding comfort and solace in her touch.

Lady Roseanna: “How are you, My Love?”

Baron Guy:   “I am … I will be well, My Rose. Thank you!” He sighs gratefully.

Lady Roseanna: “What have I done to earn your thanks, my Husband?” She smiles at him caringly as she caresses his stubbled face with her hand.
Baron Guy: “You loved me when no one did. You showed me that I could find a purpose in my life beyond personal ambition. You honored a dead woman whom you will never meet, because she had meaning for me once. And you gave me our wonderful children–gifts so precious that none can compare.”

Lady Roseanna: “These precious gifts and love you have given me in equal measure, My Love.”Guy-and-Roseanna-kissing-areRichardArmitage-andDanielaDenby-Ashe-inNorth&South-epi4-340-Jan0114ranet-sized-brt-crop2brt

Baron Guy and his Lady Rose embrace and then kiss sweetly, tenderly, adoringly, and passionately [(10) right] –their love a healing balm between them, and especially for Baron Guy of Gisborne.

Yet what neither Lady Rose nor Baron Guy can know is that Lady Marian will not remain buried in Sir Guy Baron of Gisborne’s past. And for Baron Guy, his now perfect life and family will be turned upside down when an old spectre from his past misdeeds returns to haunt him–and has the potential to put his and his extended family’s future happiness in jeopardy.

Because the Gisborne’s are not the only family in possible distress this month of May 1199. As King John strives to make a marriage match that will bring only fleeting joy to the parties involved.

To be continued with Chapter 23


                       “Sir Guy’s Atonement” (Book 3), Ch. 22 References, April 10, 2015 Gratiana Lovelace (Post #729)

1) My story cover for “Sir Guy’s Atonement” is a composite image of:
a) Sir Guy portrayed by Richard Armitage found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodefive/slides/5_086.jpg (crop-hair-manip-hi-res);  and
b) The spectre image of Lady Marian is that of Lucy Griffiths who portrayed Lady Marian in the BBC series Robin Hood from 2006-2009 and was found at Hamilton Hodell Talent Management at http://www.hamiltonhodell.co.uk/cv/client_lucy-griffiths_id_100044.htm; image found at


2a) Baron Guy descending into his nightmare of killing Lady Marian in the Holy Land is Richard Armtiage in Robin Hood, series 3, epi 6, pix 15 found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodesix/slides/ep6_0013.JPG

2b) Baron Guy thrashing about with his nightmare of killing Lady Marian in the Holy Land is Richard Armtiage in Robin Hood, series 3, epi 6, pix 15 found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodesix/slides/ep6_0010.JPG

3) Lady Marian (portrayed by Lucy Griffiths) using her body as a shield to protect King Richard from Sir Guy (portrayed by Richard Armitage) killing him was found at richardarmitagecentral.co.uk/main.php?g2_itemId=58547&

4) Lady Marian (portrayed by Lucy Grifiths) standing in front of Sir Guy’s sword point to protect King Richard from Sir Guy killing him was found at richardarmitagecentral.co.uk/main.php?g2_itemId=58577&

5) Sir Guy (portrayed by Richard Armitage) recoiling in abject remorse about killing Lady Marian was found at richardarmitagenet.com/images/gallery/RobinHood/album/seasontwo/Episode1213/slides/rh212_213_122.jpg

6) Lady Roseanna Gisborne in Noah is Emma Watson found at http://images.dailyexpress.co.uk.s3.amazonaws.com/img/dynamic/79/590x/secondary/98020.jpg (broken link)

7) The image of Lady Marian’s countenance as the Madonna figure of St. Matthew’s Church in Locksley manip is a composite image of:
a) Lucy Griffiths who portrayed Lady Marian in the BBC series Robin Hood from2006-2009 and was found at Hamilton Hodell Talent Management at http://www.hamiltonhodell.co.uk/cv/client_lucy-griffiths_id_100044.htm;
b) and of a modified wimple that was masked from http://www.aveleyman.com/ActorCredit.aspx?ActorID=4524; for more about wimples, vist http://en.wikipedia.org/wiki/Wimple;

8) Brother Tuck is David Harewood found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodeone/slides/1_087.jpg

9) Baron Guy gazing at his growing son Seth is Richard Armtiage in Robin Hood, series 3, epi 12, pix 13 found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/episodetwelve/slides/12_023.jpg

10) Cropped image representing Sir Guy and Lady Roseanna kissing is of John Thornton (as portrayed by Richard Armitage) and Margaret Hale (as portrayed by Daniella Denby-Ashe) in the BBC’s 2004 Production of North & South, episode 4, pix 340 was found at richardarmitagenet.com/images/gallery/nands/album/episode4/slides/ns4-340.html


“Sir Guy’s Atonement” (Book 3), Previous Ch. 21 Blog Link with embedded illustrations (Post#728)

https://gratianads90.wordpress.com/2015/04/06/ sir-guys-atonement-book-3-ch-21-pg-13-d-forgiveness-is-an-illusory-dream-part-1-april-6-2015-gratiana-lovelace-post-728


Posted in Compassion, Creative Writing, Drama, Fathers, Fogiveness, Love and Relationships, Period Drama, Richard Armitage, Robin Hood, Romance, Sir Guy of Gisborne, Something About Love | Tagged , , , , , , , , , , , | 1 Comment

“Sir Guy’s Atonement” (Book 3), Ch. 21 (PG-13, D): Forgiveness is an Illusory Dream, Part 1, April 6, 2015 Gratiana Lovelace (Post #728)

“Sir Guy’s Atonement” (Book 3), Ch. 21 (PG-13, D): Forgiveness is an Illusory Dream, Part 1, April 6, 2015  Gratiana Lovelace (Post #728)

avaSirGuysAtonementStoryCover-image-isRichardArmitage-inRH3epi5_086RanetJan1815GratianaLovelace-256x398[An Original Fan Fiction adaptation of the characters from the BBC’s Robin Hood; & a Sequel to “Sir Guy’s Dilemma” (Book 2) by Gratiana Lovelace] (All Rights Reserved; No copyright infringement intended)

[From time to time, I will illustrate my story with my dream cast of: Richard Armitage as Sir Guy Baron of Gisborne, Clive Standen as Lord Archer of Locksley, Emma Watson as Lady Roseanna Gisborne, Lucy Griffiths as Lady Marian in flashback, James McAvoy as Lord George Middleton, Toby Stephens as Prince John, etc.]

Author’s Mature Content Note: “Sir Guy’s Atonement” is a story of romance and intrigue set amidst Medieval times. As such there will be some passages in this story involving heartfelt love scenes (S) and some passages involving highly dramatic moments (D). I will label the maturity rating of those chapters accordingly. Otherwise, the general rating for this story is PG or PG-13 due to some mature situations and topics. If you are unable or unwilling to attend a movie with the ratings that I provide, then please do not read the chapters with those labels. This is my disclaimer.

Author’s Recap from the previous installment: With King Richard being felled by an arrow in France–and dying of the infection that follows–Sir Guy cannot help but recall his attempt to kill King Richard in the holy land six years ago with an arrow, and then finish him off with his sword. Now a good man with a conscience, what transpired after still haunts Sir Guy–that he killed Lady Marian. Sir Guy’s now perfect life will be turned upside down when an old spectre from his past misdeeds returns to haunt him–and has the potential to put his and his family’s future happiness in jeopardy.

“Sir Guy’s Atonement” (Book 3), Ch. 21 (PG-13, D): Forgiveness is an Illusory Dream, Part 1

Sir Guy Baron of Gisborne had grudgingly traveled briefly to Court in London to give an oath of fealty to their new king, King John [(2)] –as all nobles were required to do in April and May of 1199. Baron Guy–as he wishes to be known informally amongst his family and close acquaintances–went to London in late April, because he wanted to get it done and put behind him. And yet, there are some aspects of his life that he can never put behind him.

And upon Baron Guy’s return home from London, he detours to Nottingham first–to pay a necessary visit to the Locksley village church, now named St. Matthew’s Church, after Hood outlaw Kate’s brother Matthew–whom he killed. It is a penance that Baron Guy feels that he must do, and it was not an easy one.

For now that Nottingham Castle and fortifications are almost rebuilt, so too is the old Locksley church–secretly financed by Baron Guy. The final adornment for the church of the statue of the Madonna Mary, carved out of marble–and bearing the countenance of Lady Marian as requested by Baron Guy–now resides in a prayer niche in the church.

After first greeting St. Matthew’s resident cleric, Brother Tuck, Baron Guy slowly enters the rebuilt St. Matthew’s Church in Locksley entirely alone. It is early evening in late April, He has ridden hard the last leg of his journey homeward because he knows that his stop in Locksley will detain him a day further from rejoining his wife and children. He clings to the hope that tomorrow he will be home, but tonight, he will be here, with her.

The deafening stillness of the modest St. Matthew’s Church surprises Baron Guy [(3) right] Guy-inLockselyChurch-isRichardArmitage-inRH3epi6_0139Jan1311ranetbrtcrop2as he walks down the side aisle along the rows of benches waiting for the congregants to fill them upon the morrow. He had expected a bustle of activity this early Saturday evening as both Brother Tuck and his flock prepares for services the next day. But all has been prepared already. The space is adorned here and there with fresh greens and flowers and fresh rushes upon the ground emitting a soft lilting scent of the forest–both to be pleasing to the nose, as well as, to help mask any odiferous bench partners during the Sunday worship service.

The lighted  candle sticks on pedestal holders stand on either side of the simple wooden altar serve as sentinels protecting it–casting a soft glow. However, there is not much of worth to a thief. There is no bible upon the altar since the written word is too precious and rare to leave sitting out for thieves intent upon desecrating this holy place–Brother Tuck will bring it with him upon the morrow. There is no gold plate–it, too, will be brought in during the services. But there is a fire mottled iron cross salvaged from the old burned church that is fixed to the wall above the altar for all to pray to. And as a church, the simple cross is all that is required.

Coming to stand before the step at the base level of the outer altar area side aisle where baptisms often occur, Baron Guy lifts his right foot to step onto it and draw nearer to the altar–with benches for the wealthier congregants to sit upon near the front. But his leg hovers in the air a moment, hesitating about his worthiness to disturb this holy place. And he slowly places his right foot down upon the rush covered ground again. No, the holiness of the altar inner area is not for him. His former sins are many, and his misdeeds put him out of favor with God–perhaps for eternity.

Baron Guy walks to the center, standing in front of the altar and he drops his head in an attitude of prayer, clasping and unclasping his hands in nervousness to be standing in supplication before God. The clammy sweat of his hands made cool by the early evening breeze through an open window under the eaves. And then he finds that he cannot be so disrespectful as to remain standing when he is a supplicant, petitioning god for forgiveness and in thanks.

So Baron Guy lowers himself to his knees [(4) right] and looks up at the iron cross as he Guy-kneeling-inprayer-inStMatthewsChurch-isNottinghamChapel-inRH3epi6pix138_Jan1311ranet_Apr0515_GratianaLManip-backwall-wcross-andGuyprays. It is a prayer that might not be fitting for one such as him–a sinner.  But it is a prayer from his childhood, one that his mother the Lady Ghislaine taught him. And he prays it now aloud in his deeply rich baritone voice, trembling with fear, for his fervent wish to believe the words and the promise of the 23rd Psalm.

Baron Guy [(5)spoken in Latin]:
“Domini est terra et plenitudo ejus; Et nihil mihi deerit.
Quia ipse super maria fundavit accubabit fundavit eum et super flumina.
Et animam meam refecit duxit me per semitas iustitiae propter nomen suum.
Nam, et si ambulavero in medio umbrae mortis, non timebo mala, quoniam tu mecum es, virga tua et baculus tuus ipsa consolabuntur me.
Parasti in conspectu meo mensam coram inimicis Impinguasti in oleo caput meum; Deo salutari suo.
Sed et benignitas et misericordia subsequetur me omnibus diebus vitae meae et habitabo in domo Domini in longitudinem dierum.”

Baron Guy (English translation):
“The Lord is my shepherd; I shall not want.
He maketh me to lie down in green pastures: he leadeth me beside the still waters.
He restoreth my soul: he leadeth me in the paths of righteousness for his name’s sake.
Yea, though I walk through the valley of the shadow of death, I will fear no evil: for thou art with me; thy rod and thy staff they comfort me.
Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over.
Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord for ever.”

Silence. None but the gentle breezes outside the eaves windows respond to his entreaties to God. Sir Guy Baron of Gisborne is happy in his life now with his wife Lady Rose and their children. But will this happiness last, he wonders? Why should he, of all people, be given happiness, when others, innocents, have died at his hand?

He hears another whoosh of the wind and his head turns to where he thinks he hears the sound coming from. His eyes rest upon a carved marble statue off to the other side aisle and partially obscured by a wooden screen. He knows what the figure is, even before he rises and begins walking toward it. Coming to stand before the figure of the Madonna and child, Baron Guy is struck with awe at the face gazing back at him.

For Sir Guy Baron of Gisborne is startled [(6) right] to see how much the Madonna statue Guy-inRH3-isRichardArmitage_Oct0614nightshadowtumblr-viarafranceactually resembles his memory of his unrequited love Lady Marian–the likeness helped considerably by the descriptions of her from Hood’s outlaw gang to the sculptor during its creation. And the babe in the Madonna’s arms reminds him of his son Seth–whom she held briefly when Seth was saved by Hood’s outlaws from the now dead Nottingham Sherriff Vasey’s soldiers leaving him in the woods to die.

The Madonna figure was specifically and secretly commissioned by him to honor Lady Marian. Her countenance is in a serene repose–not the usual vexed look that Lady Marian StMatthewsMadonnaStatue--image-is-Lucy-GriffithsSep1713celebheightslistscom--manipwithveil-hires-oval-Apr0515GratiL-BW-stonecarving-sized-rustbkgrnoften gave to him when he was Sherrif Vasey’s henchman, and she being the secret Night Watchman who vexed him before Robin Hood returned to Nottingham and assumed that mantle. To him, Lady Marian as the Madonna looks content and at peace [(7) right]. He hopes that Lady Marian has found a measure of both in heaven. For heaven is surely where she is now, he thinks. Her goodness will have brokered her entrance into heaven. He has no such assurances. For though he is good now, he was not always thus.

Sir Guy Baron of Gisborne closes his eyes, trying to remember even the slimmest of hopeful  Guy-comforting-Marian-isRichardArmitage-andLucyGriffits-inRH2epi7pix81Jan2712ranet-drknmemories that Lady Marian had felt fond of him. But it does not come. She had interacted with him as if she were a spy for England, trying to undermine his purpose and actions then as Sherriff Vasey’s lieutenant. When she had moved into the castle–for her own safety she was told–he saw her every day. And he cannot hope to remember even the faintest glimmer of a peaceful time between them–save one, when he comforted her [(8) right] just after her father was killed.

But he ruined that moment by then trying to seduce her. He cannot believe his blatant insensitivity then when he tried to seduce a grieving woman. Baron Guy hits his forehead in frustration at his stupidity and callousness. As he shakes his head in disbelief, he thinks that no wonder Lady Marian rejected him. He has made so many wrong and desperate choices during his life–except for the last six years wedded to his Lady Rose, who is his life. With her he makes the right choices.

And yet, Baron Guy’s heart in some small way still remembers Lady Marian’s sweet smile–even if it was false when given to him. He remembers how she loved riding the horse he gave her–even if she did so because it could take her away from him. And he remembers how soft her voice could be–almost a caress–or how strong and stubborn she was. Lord!   That woman was a tigress of contradictions and willful ways! He smiles at that. And Lady Marian was the first lady to whom he opened his heart–even though she did not want him. And though Baron Guy loves and is loved by his beautiful and gracious Lady Rose, Lady Marian resides in a small sheltered corner of his heart also.

Looking up at the Madonna statue with the peacefully serene countenance of Lady Marian, Sir Guy Baron of Gisborne gives her his farewell with muted regrets, in a deep soft hushed voice.

Baron Guy: “I would have loved you with my whole heart and with all my being–had you let me. But I know now that I was not the one for you. Yet, my loving you made me understand and appreciate the treasure who is my wife and mother of my children, My Lady Rose. So I thank you for the gift of my having loved you–even if you never loved me.” Baron Guy chokes back his tears to continue with his remorseful apologia. “And if I could take it all back, I would–every fight, every misunderstanding, every time we were on opposite sides.” Then he implores her pleadingly. “It was not my intention to kill you that day. I could never harm you! I am so sorry, so very sorry. Mea culpa, mea culpa, mea maxima culpa.” Tears stream down Baron Guy’s cheeks as he drops his head into his hands and he weeps.

With none but the statue to see and to hear him, Baron Guy lets his woeful tears pour forth for several long minutes–before he finally composes himself some time later and dries his Guy-isRichardArmitage-inRH3epi13_060Sep2013ranet-crop-sizedtear stained face. Then he mournfully gazes upon her one last time, his head tilted, straining to hear her response, wishing for her to respond. But there is only a cold marble silence from the serenely peaceful Madonna that bears the countenance of his Lady Marian. And he drops his head in resignation [(9) right].  She will forgive him not, withholding the forgiveness he craves. And Sir Guy turns away and swiftly departs St. Matthew’s Church–vowing never to look upon her face ever again.

This night, Baron Guy shares a meal with his brother Lord Archer and his family at Locksley Manor near Nottingham–charming his niece and nephews with fantastical stories of bears and elephants and fairies in the woods, as he often does with his own children–never once betraying the turmoil in his breast.   And then Baron Guy will return home upon the morrow after touring Nottingham’s rebuilding progress and parting from his brother. Nothing has changed, nothing is improved, Sir Guy Baron of Gisborne is not forgiven. But at least he is going home to her, his greatest blessing, his loving wife, his Lady Rose, and to their children. And it will be Lady Rose to whom Baron Guy turns for solace when the nightmares of remorse haunt his dreams once again–in the hope of finally laying his tormenting guilt to rest.

To be continued with Chapter 22
“Sir Guy’s Atonement” (Book 3), Ch. 21 References, April 06, 2015 Gratiana Lovelace (Post #728)

1) Story Logo for Sir Guy’s Atonement” is a composite image of:
a) Sir Guy portrayed by Richard Armitage found at richardarmitagenet.com/images/gallery/RobinHood/album/seasonthree/Episodefive/slides/5_086.jpg (crop-hair-manip-hi-res); and
b) The spectre image of Lady Marian is that of Lucy Griffiths who portrayed Lady Marian in the BBC series Robin Hood from2006-2009 and was found at Hamilton Hodell Talent Management at http://www.hamiltonhodell.co.uk/cv/client_lucy-griffiths_id_100044.htm; image found at


2) For information about the life, reign and death of King John of England http://en.wikipedia.org/wiki/John,_King_of_England

3) Baron Guy is Richard Armitage in Robin Hood series 3, epi6, pix 139 found at http://www.RichardArmitageNet.com

4) Baron Guy kneeling in St. Matthew’s Church manip is Richard Armitage in Robin Hood, series 3, episode 6, pix 138 found at http://www.RichardArmitageNet.com

5) The 23rd Psalm text was found at https://www.bible.com/bible/1/psa.23.kjv ; and the translation into Latin was one via Google Translate done via https://translate.google.com

6) Baron Guy is Richard Armitage (flipped image) in Robin Hood series 3 savedOct0614 from nightshadowtumblr via RichardArmitage France

7) The image of Lady Marian’s countenance as the Madonna figure of St. Matthew’s Church in Locksley manip is a composite image of:
a) Lucy Griffiths who portrayed Lady Marian in the BBC series Robin Hood from2006-2009 and was found at at Hamilton Hodell Talent Management at http://www.hamiltonhodell.co.uk/cv/client_lucy-griffiths_id_100044.htm;
b) and of a modified wimple that was masked from http://www.aveleyman.com/ActorCredit.aspx?ActorID=4524; for more about wimples, vist http://en.wikipedia.org/wiki/Wimple;

8) Sir Guy comforting Lady Marian after the death of her father is Richard Armitage and Lucy Griffiths in Robin Hood, series 2, episode 7, pix 81 found at http://www.RichardArmitageNet.com

9) Cropped image of Baron Guy (as portrayed by Richard Armitage) in the BBC’s production of Robin Hood series 3, episode 12 (pix 60) was found at .richardarmitagenet.com


“Sir Guy’s Atonement” (Book 3), Previous Ch. 20 Blog Link with embedded illustrations (Post#725)



Posted in Creative Writing, Drama, Family, Fan Fiction, Fogiveness, Love and Relationships, Period Drama, Richard Armitage, Romance, Sir Guy of Gisborne, Something About Love, Storytelling | Tagged , , , , , , , , , , , | 2 Comments

Happy Easter! April 04-05, 2015 Gratiana Lovelace (Post #727)


Original image courtesy of MS Office Clip Art.


“Mr Mister – Kyrie Eleison” in a video by hetead




“Mozart/Süssmayr: Requiem KV 626 (02/14) – Kyrie eleison” in a video by gabriella280659

Posted in Friendship, Holiday, Love, Music, Something About Love, Video | Tagged , , , , , | 10 Comments

WCW: A Little Richard Armitage Eye TheRApy and Olivier Awards #AskArmitage, April 01to 02, 2015 Gratiana Lovelace (Post #726)

My eyes have had one of their flare-ups this past week, so my vision has been spotty. And my having only recently been successful in downloading “The Crucible”–in the SD format–it seems rather ironic that I/eye am too tired vision wise to watch it at the end of the work day. Ha! Maybe I’ll get to it this weekend.


My impatience to be able to watch “The Crucible” reminded of that Night Gallery pilot episode directed by Stephen Spielberg where Joan Crawford’s rich but blind malicious woman paid a man for his eyes so she could see for 12 hours–only to have the city experience a blackout when she took off her bandages:


Yeah, I know, violins are playing in the background. Ha! No, I am not rich nor malicious, just vision challenged at the moment.   Ha! Tuesday night as I write this, I’m going to listen to Richard Armitage narrate “Sylvester” by Georgette Heyer (right). RA is a masterful storyteller!


So Wednesday, I think a little exquisitely talented British actor Richard Armitage eye theRApy is what the doctor ordered. Choosing just one image from all of the wonderfully talented Sarah Dunn portraitature of Richard Armitage was not easy. But I love RA’s joyous smile below in this 2014 Richard Armitage portrait by Sarah Dunn–he looks like he is suppressing a giggle. Sighhhhh!



Oh yeah, and don’t forget to #AskArmitage in time for his Best Actor Nominee Olivier Awards Twitterview Q&A on Thursday, April 2nd at 9am EST (New York) time:



Here was my standard wrap up interview question that I posed:


 Update April 2, 2015:  I pasted the Olivier Awards #AskArmitage Twitter Q &A’s in the comments down below.

Posted in AttRAction, Fangurling, Graphic, John Proctor, Olivier Awards, Portraits, Richard Armitage, Sexy, Something About Love, Storytelling, The Crucible, The Old Vic Theatre, Theatre, Video | Tagged , , , , , , , , , , , , , | 32 Comments