Candy Crabz

RADISHN’T: Prithee, which one of you had planned to tell

Of diff'rent flavours gained by simple act

Of brewing tea with water hot, not cold?

MOTHMAN: Egad! you poured the water cold? Wherefore?!

FROG: An answer from you, Radish, I must beg.

RADISHN’T: Indeed I did, dear friends - why does this shock?

Without the guide of others I assumed

That heat was merely added for the sake

Of expediting this solution’s brewing!

Half a decade I have spent, or more,

Not questioning this worldview I had made.

In fact, I am myself a bit surprised

That you might think that I, your dearest friend,

Might have a patience of sufficient stock

To wait until a pot of water boils.

FROG: Three minutes overtaxes patience so?

The microwave will beep when it is done!

CATS'N: My friend, this answer vexes me the more!

Can it be true that thou dost boil by nuke?!

FROG: Are you in turn, my friend, so shocked to know

That I have not the patience, like our Root,

To boil upon the stove our favour’d drink?

CATS'N: It takes less than a minute!

FROG: On what plate?

Perhaps your dinner cooks atop the sun?

CATS'N: How long can take your stove to fill the task

Of boiling but a single cup alone?

FROG: In minutes?

CATS'N: Yes!

FROG: I counted seven, once.

CATS'N: Perhaps you ought to have your timepiece checked!

If on a middle heat you place the cup

You soon will have the scalding drink you crave.

Two minutes, in a mug upon the plate

Or even less, if you should have a pot.

FROG: You cause me tears - is this how thou dost live?

You place upon the iron stove a mug?

A mug, ceramic, filled with water cold?

How do these flames, though medium in height,

Not shatter like a glass this fragile thing?

Surely, then, your kitchen is bewitched

With magicks far beyond the mortal ken!

(The FOUR realise they have wandered into the THRONE ROOM. The ROYAL COURT watches with fascination.)

The fact that nearly every line is so metrically considered- near perfect iambic pentameter witb the occasional trochee for emphasis, but usually retaining a strong sense of rhythm nonetheless. And then the king comes in at the end, so wound in his disbelief that his response is reduced to prose.

And the even better thing about this is how easy it would have been to structure the king’s line into iambic pentameter: it is effectively already said as such because of the way wizardlyghost has phrased it, yet they haven’t!! They did not break the line, rendering what, by all typically of both Shakespearean canon and other periods context should be the character with the most command and authority in the whole play. If there was ever a more effective way to convey a genuine “what the fuck??”, I know of it not.

But it gets better!! Shakespeare regularly uses meter in order to represent class divide; the nobility usually speak in iambic pentameter, save for a few particularly chosen moments (e.g. Lady Macbeth’s descent into madness, Othello’s realisation of Desdemona’s “betrayal”) or just lines where Shakespeare needs to suggest high emotion or when a character is lost in thought. Supernatural characters like the fairies in A Midsummer Night’s Dream and the Witches in Macbeth usually speak in trochaic tetrameter, an inversion of iambic pentameter. Lower class characters, particularly those used for comic relief (usually under the influence of alcohol), speak with no structure at all: their language is plain prose. Therefore, if this is a conversation between these types of characters, as the prompt from silvergirachi suggests, why the hell are the characters speaking so eloquently???

Now, this is Tumblr. It is subsequently logical to assume that this may have merely been a humorous recreation (and a very good one at that) of the Shakespearean style in a way that is widely recognisable to an audience that may or may not have read a great deal of Shakespeare, which is understandable. However, logic is boring so I’m going to probe further into this to the point where future historians will look to this as an example of overanalysing.

The inherent eloquence of the characters here suggests an unusual subversion of the roles typically assumed in Shakespearean comedy. This could be interpreted along two major avenues: firstly, that the rhetoric displayed by the speakers is fundamentally representative of how truth can be expected even from the most seemingly pointless or ludicrous discussions. Furthermore, it could suggest that it matters not how well constructed your speeches are: if you talk bullshit, it’s going to sound that way despite your attempts to hide it.

This is similar but not identical to the second avenue of interpretation: there is the implication that the noblemen in the play are in fact the comic relief characters, therefore implying that the “common people” of the play are the ones whose influence, though not expressed in such a highly spoken manner, makes a lot more sense than whatever the hell this is. If this was a real Shakespeare play, I would call it a subtle exploration into the innate corruption of the rich and powerful. Well done, op.

Let the worlds pull.

Let reality stretch at every seam.

I do not stand upon the bridge.

I hold it.

There was never only a tunnel between worlds.

There were people—

straining, stumbling, choosing each other

Over and over again.

***

I finally finished Hero Pose™️ Ravio! Yippee!

Special thanks to everyone who helped me brainstorm the flowers for Hyrule and Lorule!

Art process and inspirations here:

Two-Spirit

Two-Spirit is a term created by Indigenous peoples of North America in 1990 to bring together the diverse gender identities and sexualities that exist within their cultures.

It is not a single gender. Each nation has its own traditions, names, and ways of understanding these experiences.

For many communities, Two-Spirit people held important social, cultural, and spiritual roles before European colonization.

The term should not be used by non-Indigenous people, as it is specifically connected to the cultures and experiences of the Indigenous peoples of North America.

Irawhiti (Māori)

Irawhiti is a Māori-language term used by some people to describe transgender or gender-diverse experiences.

The term is part of the contemporary revitalization of Māori language and culture, allowing Indigenous people to describe their identities through their own cultural frameworks.

Although it may be translated as "transgender" in some contexts, Irawhiti carries meanings connected to Māori cultural realities and should not be understood simply as a copy of Western gender categories. ( Flag design by Irauí on Tumblr. ) @irawhiti

takatāpui (Māori)

Takatāpui is a Māori term used by Indigenous LGBTQIA+ people in New Zealand.

Historically, the word referred to an intimate relationship between people of the same sex.

Today, many Māori people use the term to express both their Indigenous identity and their gender or sexual diversity.

More than a specific sexual orientation or gender identity, Takatāpui connects a person to their culture, ancestry, and community.

The term is part of the Māori cultural revitalization movement and demonstrates that gender and sexual diversity can be understood through Indigenous perspectives, not only through Western categories. ( Flag design by Irauí on Tumblr. ) @irawhiti

Māhū (Kanaka Maōli)

Māhū is a traditional Hawaiian cultural identity associated with people who embody both masculine and feminine qualities.

Historically, māhū people held important roles as educators, keepers of knowledge, healers, and transmitters of cultural traditions.

The arrival of colonization and Christian missions attempted to erase these identities, but many Native Hawaiians continue to preserve and revitalize the māhū identity today.

Māhū is not simply the Hawaiian equivalent of "transgender" or "nonbinary." It is a distinct cultural identity deeply connected to Hawaiian history, culture, and spirituality.

Tibira/ Tybyra

Tibira is a historical figure documented during the colonial period.

According to interpretations by Indigenous researchers and collectives, Tibira may be understood as a man who had relationships with other men, or as a person who lived with a feminine gender identity or expression, challenging the norms imposed by colonizers.

Their story is remembered as an example that gender and sexual diversity already existed among Indigenous peoples long before colonization. ( Made by me )

Çacoaimbeguira

Accounts of the Tupinambá people mention the çacoaimbeguiras.

According to interpretations by Indigenous researchers and collectives, they may be understood as women who had relationships with other women, or as people who lived with a masculine gender identity or expression outside the norms imposed by colonization.

Doodles of specifically Eve because I adore her and will follow her to the ends of the earth(watch as she dies horribly)

All characters belong to @brightgoat !!!!

Guides

How to make Crumbl Cookies!

How to bookbind!

How to pirate movies/shows

How to make frog plushies

How to make a Go-bag for emergencies

How to repair clothing

How to make different a03 kudos!

How to download videos/pictures/gifs from a website

How to make various chocolate desserts!

Tips and Tricks!

A03 formatting

Back stretches!

Depression tips

Adult cheat sheet

How to regulate and understand your emotions better

Disabling Windows 11 web search in search bar

Resources

Horror game recs!

Dca fic recs!

Hand references

Free Adobe photoshop

Artist resources

Free spotify

Pirating sites

Artist resources pt 2

Helpful random sites

Homemaking, gardening, sustainability

Free libraries!

Making stuff and doing things (free book pdf)

Healthcare (medicine discount websites, guide on how to pay hospital bills)

took a break from animating today and drew some gijinkas in my free time 👀