Santa is on strike due to global warming. All presents this year will be delivered by Sasha the Christmas Tiger. Milk and cookies may not be sufficient.
#today was my first 2022 hearing of ”Rudolph the Red-Nosed Reindeer” so it’s time for the annual reblog #Tumblr traditions #art #fanart #comics #X Men #crossovers #Christmas
A proper Suit of Armor, a must-have for any adVenture Capitalist. Great protection whether you’re dealing with a Bear or a Bull market.
Item: suit of chainmail
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#I’m having some kind of emotions here but I’m not sure what they are #I think this artwork has a lot to unpack #clothing #art #adventures in University Land
This Knit Venom Scarf Will Give ‘Em Something To Talk About: 👉 https://buff.ly/3HLw5pi p.s. Not a Venom fan? Knit in another color to make an awesome snake/serpent scarf.
this comic brought to you by my bachelors degree in linguistics
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#me‚ a th-fronter: this is just fae pronouns #we tried those‚ and they’re not *nonexistent* but they didn’t get super popular‚ didn’t *stick* like singular they did #galaxy brain: pronounce the *plural* they with a θ #language #comics #art #fun wif forn fronting #gender
The overwhelming dominance of free verse poetry in English sucks actually. It’s not a bad form but it IS bad that it’s the main form of english language poetry being published
I know everyone is conditioned to think rhyme, rhythm and meter is for either maudlin, sing-songy and childish poetry or excessively formal, pretentious poetry, but these things are just what makes phrases and lines memorable and punchy.
English naturally has rhythm and all poetry uses this stuff a little bit, it’s legitimately just What Make Word Sound Good
more importantly, rhyme, rhythm and meter are very connected to memory. there’s a reason why little songs and chants are our most enduring and effective memory tools
It occurs to me that most people don’t know how these things work so here:
How Poetic Rhythm, Meter, and Rhyme Actually Work!
People seem to only learn about rhyme in grade school, and they don’t appear to learn that rhymes other than perfect rhymes (rhymes where the ending ‘sound(s)’ perfectly match) exist.
When I first got into writing my own poetry, I repeatedly heard “don’t use rhymes like ‘true’ and ‘blue’,” but for some reason it’s hard to find an explanation of this.
So here it is. “True” and “blue” are perfect rhymes because the ending sounds are identical.
Most pairs considered ‘rhymes’ in poetry do not perfectly match like that. I’m sorry grade school and colloquial usage lied to you. Rhymes are sounds at the ends of lines (or even inside lines!) that echo each other. That’s it.
Here’s a set of rhymes that are at least close to perfect, from the song “You Shook Me All Night Long” by AC/DC:
She was a fast machine, she kept her motor clean/She was the best damn woman that I ever seen
However, imperfect rhymes are REALLY, REALLY COMMON and they often sound better. Here’s a couple rhyming lyrics from the song “Every Rose Has Its Thorn” by Poison:
Every rose has its thorn/Just like every night has its dawn
This still rhymes. It’s just not perfect.
Here’s the thing. Rhyme is supposed to make Poem Sound Good On Brain, and it is only about 20% of what makes poetry Sound Good On Brain.
To talk about meter, we have to talk about stress. Stress is, like rhyme, inexact, but it arguably messes stuff up a lot more if you don’t understand it.
To explain what stress is, imagine this scenario: You are seen walking hastily away from the zoo in a ski mask, carrying a large cage covered with a sheet that occasionally emits strange sounds. (I promise this will make sense in a second.)
Before you can leave the parking lot, though, you are stopped by an angry zookeeper. “Did you steal the capybara from its cage?” the zookeeper asks.
You make one of the following excuses (please read these aloud, it’ll help):
I didn’t steal the capybara from its cage.
I didn’t steal the capybara from its cage.
I didn’t steal the capybara from its cage.
What are you doing to the bolded word that makes the meaning of your excuse different? You’re putting emphasis, or stress, on it.
All English speech naturally has places that are stressed. Without stress, it sounds like a robot in a 1970′s cartoon is talking. Specifically, almost all multisyllabic English words have specific syllables that are always stressed. (There are some regional variations.) You can figure it out by simply reading the word aloud with the stress on different syllables until you find the one that sounds normal and not evil:
Walrus vs. Walrus
Giraffe vs. Giraffe
Tiger vs. Tiger
Baboonvs. Baboon
Ostrich vs. Ostrich
Raccoon vs. Raccoon
Penguin vs. Penguin
Gazelle vs. Gazelle
Gecko vs. Gecko
Vulture vs. Vulture
Okay, let’s leave the zoo. Try it with these words:
Divine
Shower
Convince
Pebble
Sidewalk
Carpet
Smoothie
Attract
Relax
Darkness
Garden
Surpass
Object
Wait, what’s that last one? That’s right, some English words are indistinguishable except for which syllable is stressed. “I object!” you might say at a wedding you don’t approve of. “It’s an unidentified flying object,” you might say if you glimpse an alien spaceship in a blurry picture.
Now try it with some three syllable words:
Immortal
Magenta
Poetry
Carnivore
Tomorrow
Entity
I feel like “entity” is a noun and “entity” would have to be a verb, if you catch my drift.
(You will notice that two-syllable English words typically have stress on the first syllable, and that three-syllable English words usually have stress on the second syllable or maybe the first.)
Single-syllable words have fuzzier rules. A single word can be stressed or unstressed depending on context. In general, content-heavy words are stressed, whereas connecting words that don’t have much meaning can kinda do what they want depending on the words around them.
English likes to periodically pick up stress, like a curious hiker periodically picking up rocks. You can barely say more than three syllables in a row without naturally emphasizing something.
This is convenient, because when stresses occur in a rhythmic pattern, ambiguous words will be swept along with the pattern.
Here’s another thing to read aloud. See which of the following couplets “sounds” better to you:
Both couplets have the same number of syllables (ten in each line), but only the first line is metered. You might recognize it–it’s iambic pentameter! This is a form of accentual-syllabic verse.
You will notice that “pent” means five, but there’s ten syllables. Fear not– “pentameter” refers to the number of feet in the line. In this case, it’s the number of iambs.
An iamb is an unstressed syllable followed by a stressed syllable. Giraffe is an iamb. Divine is an iamb. Any two syllables with that pattern can be.
There are three other main options for “feet” in English accentual-syllabic verse: trochees (stressed-unstressed), dactyls (stressed-unstressed-unstressed), and anapests (unstressed-unstressed-stressed). There is also the spondee (two stressed syllables) and pyrrhus (two unstressed syllables) but you can’t really write an entire poem with those (okay you TECHNICALLY can with the spondee, but there are only a few examples). Not all English meter is based on “feet,” but this is a good starting point.
When people think poetry, they think rhyme. Never meter. When people who haven’t studied poetry try to write poetry, they make it rhyme, but they don’t utilize meter.
This is not good, because in my opinion, rhyme, especially perfect rhyme, typically needs to be accompanied by some kind of rhythm to not sound like shit.
You know who can pull off perfect rhymes in poetry? Robert Frost. I’m going to put an entire poem here.
Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
This doesn’t have that cringy sing-songy effect that a lot of perfect rhyme creates, and I believe that this is BECAUSE the rhythm of the syllables is so formal and strict.
Imagine if it was like this:
These woods belong to someone I know.
He lives in the village though;
He will not see me stopping here
To watch his woods, all covered in snow.
This is so bad.
You can do really cool things with the combination of rhyme and meter. Here’s one of my favorite examples, with stresses bolded:
Now I’m falling asleep and she’s calling a cab
While he’s having a smoke and she’s taking a drag
Now they’re going to bed, and my stomach is sick
And it’s all in my head, but she’s touching his
What’s the pattern? Unstressed, unstressed, stressed. How many of these per line? Four. Anapestic tetrameter, my friends. Except, of course, for the last line, which we expectto rhyme with “sick.”
The pattern is so powerful that when you listen to the song, your brain fills in…a word rhyming with “sick,” and it really turns you upside down when the pattern isn’t finished as you expect.
“Mr. Brightside” isn’t the usual example of a song that is “poetic,” but there is a lot of very competent usage of poetic techniques in these lines. Pay attention to how rhyme is used here. “Cab” and “drag” are not perfect rhymes, but they echo. “Falling” and “calling” are perfect rhymes within one line. “Bed” and “head” are perfect rhymes in the middle of two consecutive lines. The words that end in “-ing” create echoes.
Rhyme is used, but it’s never used in the exact same pattern twice. The different rhyme patterns interweave with each other and create a lot of variety while still having continuity.
I don’t have a conclusion here. I just think it’s sad that this isn’t common knowledge, since we absolutely do have an intuitive understanding of when something scans and when it doesn’t—we know when something “sounds right.”
It disappears when we’re trying to write a poem on purpose, but it’s there when we’re parodying a song or slogan, or sharing variations of the “roses are red, violets are blue” meme.
*bursts through the wall like the kool-aid man* POETIC METER MY BELOVED
I would argue that the best free verse does have meter—you can create rhythms without being so structured—but that’s because English is such a rhythmic language, and poetry relies on that.
I remember in one of my college poetry classes, I kept turning in free verse poems that the professor kept using as examples of meter. There was one specific poem about the rhythm of walking and how my disability interferes with that, and my prof was praising it to the high heavens because the lines describing other people’s walking were in iambic pentameter but the meter started breaking down as I described my own pace. None of that was something I thought about while writing, but it was absolutely something I emphasized in revision.
In my opinion, poetry is less about ‘poetic ideas’ and more about how language crafts meaning. Obviously, prose writers pay close attention to the rhythm and flow of their sentences too, but what we think of as ‘poetic’ prose doesn’t actually always make for good poetry. Good poems use the musicality of language itself to make their point.
That first Iambic pentametre example BAFFLED me until I remembered that you probably say Raccoon with a different stress to how I do- those regional differences really matter!
Like, you definitely don’t have to know about poetry to write prose, but if you love the kind of prose that sings on a sentence level and you want to know how to do that, READ POETRY. Everything about poetry applies to prose – alliteration, rhyme, assonance, the visual structure and length of lines, and hoo boy howdy, does meter ever apply.
While you probably won’t use those poetry elements all the time, they will color your work, and when you need to have a showstopper sentence you can pull out those tools and make the words do exactly what you want. And the bittersweet joy of this is that most readers won’t realize why they are being so affected; they’ll think it’s just plot and character and setting and theme and not know that they’re being influenced by the very beat and flow of the words themselves.
There’s music underneath the words and that is why they sing.
>>Here’s another thing to read aloud. See which of the following couplets “sounds” better to you:
The first one is too repetitive, especially the first line where the iambs are all separate two-syllable words. It’s *slippery*: it goes in one ear and out the other, there’s nothing for the brain to grab onto.
The second one has more variation, a *rhythm* rather than a dull monotone beat. And its second line has exactly the same stress pattern as its first line, which gives it a nice echo.
—
>>And it’s all in my head, but she’s touching his
I expect this *would* work for me in audio, but in text my first thought for the missing word was “head”, that it was referencing the first half of the *same* line rather than the end of the previous line. It works out to the same meaning, but still.
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#apparently I am not getting a good grade in having an artistic instinct #reply via reblog #art #poetry #is the blue I see the same as the blue you see #this probably deserves some warning tag but I am not sure what
Okay okay but this is fascinating because it’s such a visceral example of how mythology works.
Most characters in mythologies are personifications of concepts, or embody some natural phenomenon – like the story of Hades and Persephone is there to explain why the seasons change, Persephone being spring, Demeter – summer, and the absence of them both resulting in death (Hade’s domain) and winter, and so we can’t have Persephone stay in underworld all year round or have Demeter steal her back to earth permanently, otherwise they myth would lose its core function.
Interpreting the myth without the lense of the natural phenomena that it explains would make it lose an integral part of itself, and therefore make the plot and characters seem strange or unnatural. Why does Demeter hate Hades so much, seeing how so many mothers are okay with Zeus doing atrocious things to their offspring just because he’s Zeus? Does Persephone actually want to stay or not? What’s with the bizarre arrangement?
Most modern interpretations strip myths of their natural contexts, making them character-driven instead of phenomena-driven, which just makes them land differently – they can still be fine stories, just not myths, not is the traditional sense.
And now we get to this beauty. This is absolutely a myth, the most classical kind. The relationship between characters, who are personifications of objects, phenomena or concepts (in this case, online platforms) used as an intuitively understood metaphor for an event (the demise of Twitter and the Tumblr userbase being unwilling to accept Twitter’s userbase).
It’s a story that can work as a so-called “explanation myths”. We have seasons because Persephone spends half a yesterday underworld and half a year with her mother. We don’t like Twitter because the Twitter God and Tumblr God broke up. Ladies and gents and other assorted respectables, we here are witnessing the creation of a perfect modern myth.
I thought about it way more than a non-feverish me would, and I’ve come to the conclusion:
The modern myth that is The Divorce of Tumblr and Twitter carries the themes of regression, corruption and downfall. Some of Twitter userbase used to be part of Tumblr userbase, but they left and changed (corruption). Now that Twitter is becoming uninhabitable (downfall), people are trying to return to Tumblr (regression, possible downfall of Tumblr), and to keep them off Tumblr is returning to its old cringe self (regression).
So, if we are to follow the themes, the logical conclusion would be to send the shoelaces back to the president.
There once lived a young man, handsome as daylight, bright and strong. He was known as Twitter, beloved by the people, a favorite of the gods. His chosen companion, Tumblr, was not dear to the people or the gods. He, a traveling storyteller, preferred solitude. His tales were strange and often unpleasant to the ears, but enchanting in their vulgarity.
One day, Tumblr’s patron goddess, Yahoo, enraged by his vulgar words, put a curse on him. He was not to utter vulgarities, speak of the pleasures of the flesh. His stories of lycanthrope companions were lost to the sands of time, and with them, his last listeners turned away from him.
Twitter watched others laugh at his beloved, turn him away from their doors, and a dark thought settled over him. He was perfect in every way, his only fault was the affiliation with the cursed taleweaver. And so, little by little, they drifted apart.
In his travels, Tumblr stumbled into the temple of Apollo, who bestowed upon him the gift of prophecy. He made acquaintance with the trifecta of wise temple maidens who induced visions through hallucinogenic incense. His stories changed, still bizarre and often vulgar, but at times full of wonder and truth.
At that time, Twitter enjoyed all the luxuries of the mortal world. He was the companion of kings, wealthy merchants, legendary heroes, wise philosophers.
One day, a man richer than rich, richer than the God of wealth, went to the senate of directors and asked to buy the most precious thing in the entire polis.
The senate thought long and hard, and said: “do you wish for our finest singer, the most sweet-voiced of the land, Spotifia? I am afraid I cannot part with her. ”
“No, ” said the rich man, his voice cold and harsh, “I said I have come to buy your most precious thing.”
“Have you come for our gambler, the chosen of the god of luck, MAXimil? They earn us more riches than you can offer. I shall not part with them. ”
“No,” the rich man repeated, “I have come to buy your most precious thing. I have come for Twitter.”
The senators laughed, then, for they knew this must be a joke. Twitter was too beloved by the gods to be owned as a servant. But the rich man did not smile. He offered money, then more and more still. As the goddess of hubris clouded his mind, he offered more money than he could afford to spend, more than the senate could afford to refuse, for it was enough gold to form armies five times the size of their polis.
And so Twitter, the proud Twitter, the untouchable Twitter who laughed at kings and scholars alike, became a servant.
As he was put onto a gilded ship to be sailed off to the rich man’s land, he prayed to the gods that granted him beauty and strength and a sharp tongue, but none answered. His cruelty and vanity made them turn away, and he was too full of his power to notice.
Finally, the young man remembered one more name. He called for Tumblr, his forgotten companion.
First time he called, the birds took off and flew in all directions. Second time he called, the animals fled in fear. Gathering all the strength he had, he called a third time.
His call shook the earth and the skies, and in an instant, Apollo’s taleweaver stood on the shore.
Twitter cried in relief. “My love!” he called, “save me! Save me, and I shall be yours for the eternity to come. I shall bask you in glory and riches. I shall make the people love you.”
Tumblr looked at the rich old man, at the gilded ship, gilded chains, at the other slaves that were meant to please the rich man during his trip, dressed in the finest clothes fit for kings and immortals.
“You’ll like your new life, dear. ” said Tumblr. “You are idle: he shan’t make you do much. You are prideful: he shall treat you like a god. You are vain, and so you might fear you might be forgotten, one servant among many. Fear not,” he smiled. “I shall sing a song of us.”
Brinens and Things - Tumblr Mirror 