Liir

HAPPY HALLOWEEN!

FROM MIKE, ABBY, VANESSA, AND THE BAND!

Glinda is a graduate of the All Girls’ Academy for Magic and Sorcery, Fae is a homebrewing witch. Their magic could not be more different, and their pull to one another not more enticing. start from beginning

Fae finally reveals her past, and all the secrets that come with it...

amazing question

I really like OS jessie, just bc of that classic 90s style, Chronicles jessie the style does a good job of combining the sharp 90s anime look with the modern style and digital coloring and SM bc she's so much more expressive and they made an effort to make her face look different than james'

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.

THE WAY THROUGH THE WOODS

"It had taken almost a century of denial – and nearly two more of experimentation – before Palamon Keeper accepted it was, in fact, impossible for him to die."

NOSTOS AND THE FILIGREE LANTERN

"The earth opened up on a Tuesday, just before noon."

THE LIGHTNING HERDERS

"The first thing Third learnt about the town called Folly was that it had its own weather bubble, but the second - far more interesting thing - was that it was never supposed to exist."

UNNAMED LIBRARY MYSTERY

"Rogi didn’t know which was worse: the fact someone had broken the spine of the book abandoned in the alleyway or that it was the most obvious trap he’d ever seen."

HOLOFERNES HOLLOW

"And the mystery knight should defeat all challengers and name the wolf maid the queen of love and beauty" - George RR Martin

Some sword related content for your Saturday. :)

She had called Chris a hero, like he had never gone over to the Titan’s side. It reminded me of the way Annabeth sometimes talked about Luke. I decided not to bring that up.” - BoTL

“Clarisse sniffled and wiped her nose. "She was a hero, understand? A hero." 

I nodded. "Come on, Clarisse.”“ - LO

I just noticed that Clarisse demanded that people understood that both Chris and Silena were heroes. This could, of course, just mean that if she likes the person is because she sees them as capable heroes and she’ll defend her few friends regardless of how much they mess up, but I think it also shows a deeper understanding of the situation that maybe other heroes don’t get.

Clarisse understands war and perceives it differently than the other characters. She understands that taking a stand by itself, regardless of "good and bad” is still dangerous and demands guts. I don’t think she’d call Luke a hero, for instance, because he used other people and a titan and I think she’d see that as being a coward but - and the same goes for when she thought Percy died or when she told Percy in SoM that Annabeth was strong - that if you’re putting yourself on the line, she’ll see you a real hero and defend it. Not so obviously if she doesn’t like you (Percy, for instance) and bluntly if she cares for you (Silena and Chris). 

The other thing I really like about this is that you can easily see Percy’s development there. Just a book away he honestly believed that calling Chris a hero was a mistake she had made because she liked him and thus had her judgement torn, while, when it came to Last Olympian, he had already seen enough to know that “the traitors” were just as much of a hero as he was and that everyone has their own reasons. Percy even goes further enough to forgive Luke (something I believe Clarisse didn’t fully). This type of view is something I don’t see some other characters doing.

For instance, while Annabeth would forgive Luke and other people she has been close with, she’s more of grugde holder and Thalia is even worse. Thalia, much like her father, doesn’t exactly hold grudges, she literally just eliminates people from her life once they crossed her. It’s like she gives people one chance. She trusted Luke, stood by his side and once that was broken, she went there, unable to believe it, confirmed and it was enough for her to join the hunt and never look back. I love this trait on her, I’m a big Thalia fan because of this type of character construction. The way she takes control over every situation and doesn’t look back (even though I’m sure stuff still hurt her whether it’s Luke or her mother) and how her fatal flaw is ambition and she knows that well enough to deny the power by joining the hunt, it’s amazing.