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whit merule

@whitmerule / whitmerule.tumblr.com

The theme of this blog is 'things that are making me happy'. If you're looking for my Cats content, it's at @junkyard_gifs.I am on AO3 under the name 'whit_merule'. This is a hatred-free blog, and a safe space for your identity and for your fandom preferences. (I am a bisexual ace in my thirties, with 'she' pronouns.) Ship who you ship, love who you love, be whoever you really are as hard as you damn well can, and tag as appropriate for anything that might make others uncomfortable.
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dharmagun

Higgledy-piggledy unparliamentary green parrots quarrel outside in the trees

Squawking out epithets uncomplimentary Squads of unmannerly Oversized peas.

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roach-works

i loved this poem so much that i memorized it and to this day i sometimes mutter it under my breath to keep my welding tempo even

I find myself reciting this poem to myself every time I’m in the woods and the ring-neck parakeets are going off… No idea if these are the green parrots the author meant, but it’s very apropos.

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reblogged

people bitching about the usage of "too modern" words in fantasy or historical fiction is sometimes justified, but ultimately I think it's a waste of time because

  • all words exist within a specific time frame and it's pointless to avoid the fact that you're writing with the language of your own time
  • which words are actually "newer" than other words is sometimes wildly unintuitive

according to the dates given in the Oxford English Dictionary, if you wrote a book set in 1897, you could have your characters say "fuckable," (1889) "sexy" (1896) "uncomfy" (1868) "hellacious" (1847) "dude" (1877) "all righty" (1877) and "heck" (1887), but not "wiggly" (1932) "moronic" (1910) "uptight" (1934) "lowbrow" (1901) "fifty-fifty" (1913) "burp" (1932) "bagel" (1898) or use the word "rewrite" as a noun (1901)

Some more words where the date of their first known usage just Doesn't Sound Right:

  • hangry, as in the portmanteau of 'hungry' and 'angry' (1912)
  • dildo (1590)
  • yucky (1970)
  • grungy (1965)
  • freebie (1925)
  • shitty (1768)
  • boost (1815)
  • boss (1856)
  • TGIF, as in Thank God It's Friday (1941)
  • yay (1963)

Fucked up (1863) is much older than fuck you (1943) but older still is the now-obscure fucked out (1862) which means what it sounds like—exhausted from too much sex.

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honkingcrow

Dildo is from 1590??

Because of previous knowledge that one wasn't too surprising to me

this is from a book about graffiti in medieval and early modern europe I read once. can't remember the title but i'll add it if i find out

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whitmerule

.... and it goes on but you get the picture. Rochester goes on to satirise various noble ladies (and gents) and their amorous scandals. Bonus for other modern-sounding slang in the same poem, such as:

Mid 1600s, courtesy of this infamous rake of England's Restoration period.

... oh, and Chaucer (late 14C) uses 'cunt'. Though usually with a variant spelling ('queynt(e)') which makes for better puns ('queynt' is also the past participle of 'quench', ie, 'quenched, dead, spent'). And the word's considerably older than he. Remember that our first recorded usage of a word depends heavily on what texts have survived, and also on what words get written down, so they're automatically skewed away from casual/idiomatic /obscene words, which rarely get recorded until they're so well established as to be unavoidable for some reason or other!

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microsff

Poem: I lik the form

My naym is pome / and lo my form is fix’d Tho peepel say / that structure is a jail I am my best / when formats are not mix’d Wen poits play / subversions often fail

Stik out their toung / to rebel with no cause At ruls and norms / In ignorance they call: My words are free / Defying lit'rate laws To lik the forms / brings ruin on us all

A sonnet I / the noblest lit'rate verse And ruls me bind / to paths that Shakespeare paved Iambic fot / allusions well dispersed On my behind / I stately sit and wave

You think me tame /   Fenced-in and penned / bespelled I bide my time /   I twist the end / like hell

* “lik” should be read as “lick”, not “like”. In general, the initial section on each line should be read sort of phonetically.

Written for World Poetry Day, March 21, 2018. When I had this idea earlier today, I thought it was the worst, most faux hip pretentious idea for a shallow demonstration of empty wordsmithing skill in poetry ever. So I had to try to write it. I mean, how often do you get to fuse the iambic dimeter of bredlik - one of the newest and most exciting verse forms - with the stately iambic pentameter of the classic sonnet?

BREDLIK SONNET

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reblogged

MunkxDeme: My Sunlight

When Munkustrap was young he was absolutely smitten with a certain golden queen.

but he always became such a flustered mess around her he had never been able to confess his feelings. While he was not in any way shape or form a bad dancer but he wasn’t the most confident and so lacked any hope of impressing her during the Ball.

But what he was good at was composing. Munk could shape words to music like a master with a paintbrush. So he started writing her a song.

It wasn’t long after this Macavity started courting Demeter.

Now at the time Macavity wasn’t a known evil. He was training to be the tribe’s lead protector and was the future leader of the tribe. Munkustrap hadn’t exactly been subtle about his feelings for Demeter and Macavity probably wouldn’t have had much interest in her if Munk hadn’t expressed his feelings for the queen. But Munk loved and admired his big brother.

So when he saw them smiling as they danced together he kept his mouth shut. He took the paper the unfinished song was written on and put it in an old tin he hid in his den. the paper is still sitting in that tin to this day. untouched.

He didn’t mention it after Macavity revealed his true colors. He didn’t say anything after Demeter returned to the tribe. He never said a word after Demeter became his mate. But he would always call her his Sunlight.

“For now that my heart has beheld the sun

the moon is but a pale comparison.

I do not care how it may burn or how much it blinds.

For you are the greatest treasure I could ever find.”

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reblogged
I do like a cock with a nice red head. And it’s so erect!

It is indeed a proud and colorful cock.

I have a gentil cok, Croweth me day; He doth me risen erly, My matins for to say.   I have a gentil cok, Comen he is of gret; His comb is of red corel, His tail is of jet.   I have a gentil cok, Comen he is of kinde; His comb is of red corel, His tail is of inde.   His legges ben of asor, So gentil and so smale; His spores arn of silver white, Into the worte-wale.   His eynen arn of cristal, Loken all in aumber; And every night he percheth him In min ladyes chaumber.

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reblogged

he lets his hands dance across the piano keys. 

there was a rhythm therefore there was a way, a time and key signature at the start and a double bar line at the end to tell him to stop, to lift his foot from the pedal and raise his hands from the ivory keys as the cadence dulled out into the empty room. soft golden strands of hair hung in his face, right in front of his eyes, one soft curl tickling his nose as he stared down at the keys.

without thinking he put his hands back, starting off slow and delicate, starting off thinking about nothing, letting his fingers dance absently before he entered the main melody and he couldnt help himself. his eyes slipped closed, leaning towards the piano as he pressed harder, each note louder than the last. the delicate tune took a turn, filling the room with cherry blossom branches and flowers that opened their petals. he imagined himself at the side of the river, water skipping stones.

he imagined a pair of strong arms wrapping around his waist and pulling him close again the others chest, a nose nuzzling into his golden hair, a warm comfort coming from the man behind him who didnt exist.

  gabe? a voice muttered and he stopped played, an unfinished chord hanging in the hair. come back to bed baby, please? gabriels fingers fell back into the chords, forming a perfect cadence before he headed back into he bedroom, falling into the silk sheets with sam.

it wasnt often he couldnt sleep, but when he did he let himself get lost in music.

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whitmerule

nostop

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Oh no! I was so distracted with ducking and covering from April Fool’s that I forgot ‘Whan that Aprille’ day! And so, without further ado - the first 18 lines of Geoffrey Chaucer’s Canterbury Tales.

Whan that Aprille with his shoures soote   When April, with his sweet showers The droghte of Marche hath perced to the roote,      has pierced the drought [dryness] of March to the root And bathed every veyne in swich licour,     and washed every vein in that liquor Of which vertu engendred is the flour;        by whose virtue the flower is begotten — Whan Zephirus eek with his swete breeth     And when Zephir’s breeze with his sweet breath Inspired hath in every holt and heeth           Has inspired, in every holt and heath The tendre croppes, and the yonge sonne        The tender crops—and when the young sun Hath in the Ram his halfe cours y-ronne,         has run [completed] half his course in [the astrological sign of] the Ram And smale fowles maken melodye,            And small birds make melody That slepen al the night with open ye,        Who sleep all night with open eye (So priketh hem nature in hir corages:           (So much Nature goads them in their hearts)— Than longen folk to goon on pilgrimages,   Then folk long to go on pilgrimages And palmers for to seken straunge strondes,      And palmers [long] to seek strange strands [shores], To ferne halwes, couthe in sondry londes;              To far hallows known in sundry lands And specially, from every shires ende              And especially, from the end of every shire  Of Engelond, to Caunterbury they wende,         in England, they make their way to Canterbury The holy blisful martir for to seke,               To seek the holy blessed martyr [Thomas Beckett] That hem hath holpen, whan that they were seke.        Who has helped them when they were sick.

Context!

Why do we get all obsessive about these 18 lines? Not because they’re good poetry so much as because these 18 lines have been A Thing in English lit for so long. The bane and joy of every student, you must learn to recite these before you pass sort of thing. It’s not such a common thing anymore to have that as a serious requirement, but it’s one of those things where everyone’s just kind of fond of them now and recites them as something between a party trick and a joking rite of passage. For many people they are the first introduction to Middle English and to Chaucer, and so for those people who stick with it - or for those who don’t! - they have a kind of fondness of nostalgia.

As to what the lines mean themselves? Well, the literal translation is above - but that doesn’t explain the joke.

Basically it’s pretending to be (and succeeding brilliantly at being) both a) an entry into the long catalogue of Poems That Begin by Praising Spring, and b) Poems That Begin With A Long Complex Subclause With Many Subclauses To it Before Reaching The Main Verb. And Chaucer has good fun with both these conventions. Where’s the main verb? Line 12 of 18 - longen. “Then folk long...”. Everything before that is “when this happens, when that happens, at the time when this happens... then this”. But what have we been led to expect by this long catalogue of the amorous engenderings of spring? What is it that, by line 12, we expect that folks long to do?

.... why, go on pilgrimage, of course. What were you thinking of? Thomas Beckett got them through all their winter colds so off they go to Canterbury to say thank you. All nice and virtuous, nothing frivolous or salacious among these pilgrims, move along...

(Incidentally, Lydgate tried to either flatteringly copy Chaucer or outdo him with his prologue to the Siege of Thebes, which he wrote as if he himself had joined the pilgrimage to Canterbury and was telling another tale along the way.)

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Anonymous asked:

Hey! I love your blog, and you seem really well read? I was wondering if you'd ever read any of Carol Ann Duffy's poems and if so what you thought of them? I recently discovered her, and I think she's brilliant, honestly reading through 'The World's Wife' is fantastic. If you don't already know her, then I completely recommend her! :)

Hi anon! I know of her in general terms but I don’t think I’ve read any of her work. I shall follow up the rec, though - thank you! :)

eta: no, I tell a lie: I have seen her adaptation of Everyman. :) hence my immediate associations of her not being with poetry! But she did handle that very well.

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unsnyttru

The Wife’s Lament, Lines 1-4

Ic þis giedd wrece         bi me ful geomorre, minre sylfre sið.         Ic þæt secgan mæg, hwæt ic yrmþa gebad,         siþþan ic up weox, niwes oþþe ealdes,         no ma þonne nu.

“I tell this tale about myself, full of sorrow

About the sorrowful situation I am in.  I am able to relate

The miseries I have endured since I grew up,

New and old, though never worse than now.”

The language is a little stilted, but I always have trouble getting into the rhythm of a poem right away. It takes me until about ten or so lines in.

HEY LOVELY OE PEOPLE

FOLLOW THIS BLOG IT IS GONNA BE SUPER AWESOME BC THE PERSON RUNNING IT IS COOL

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A student of Old English imagines the Beowulfian version of "The Cat In The Hat" that could have been.

Hark! We have heard tales sung of the great storm, And the raindrops that fell like cold, wet spears, how they smothered the unshining sun!

There was Sally, sitter of stools, Batter of baseballs, brave in the outfield. The Warrior of Little League had fallen far! Slumped stool-sitter, and hater of sitting in stools, Wisher at the window, watching the whale-road deepen with water.

A boy-child and her brother, I had before been bird-chaser, Bare-footed grass-galloper, gazer at clouds, Celebrant of summer sunshine and silver dusk: That was good weather!

Now I was mourner of mud, of mirth-turned sorrow: Sorrow of sogginess, of sun-starved boredom. There was nothing to do!

Bump! We, window watchers, instead looked door-ward, Witnessed his walk, the wet-footed mat-stepper, Whisker-nosed wanderer, whimsically helmed, Creature of cunning: the Cat in the Hat!

“Hail, home-dwellers, heart-weary prisoners of rain-boredom,” he said. “Games have I gathered, goodly tricks, Salve for the storm slush, banishers of bench-sitting.”

Cat in the Hat was the name of this feline, And after storm-fall, he had set forth For our lofty house, to see the stool-sitters.

Suddenly then the cap-bearing creature was creating havoc: Festive and fun-seeking, he grabbed the fish, Flung it aloft, flushed and inflamed with its fear and its fury.

“Banish this beast, balancer of fish bowls!” Goldfish growled, groaning with the height-fear. But the high-climbing hatted one did not heed him, Instead, he became ball-hopper and balancer of books, One-footed wielder of cup and of cake, Bearer of umbrella-balanced toy ships and of milk-heavy dishes.

Then fell the cat, greeted the ground with his whiskers, Fallen and felled by a slip of the foot, fish-scolded and floor-seated.

The storied feline, sat stricken and helpless, Bewildered and stunned, staring aghast At the milk-saucer, the milk-stained books and ship, And the rain-like falling of cup and of cake.

But the hat-helmed feline rose to his feet, Spoke again: “I, boredom-banisher, storm-wanderer, Will show two tricks more: Things One and Two.”

Then ran the Things, kite-string carriers, Careless of framed hangings, manglers of mother’s dresses. Now the timber of the house trembled and sang, The two things crashed through the hall. We did not like their play!

So we, once window-watchers, instead wielded nets, Became Thing snatchers, and halted their raid. We said at last to the cat: “Take them away.”

Now the hatted cat hung his head low, Let his whiskers wilt with sorrow. He said, “Oh dear, you did not like our game?” Already he placed the home-breakers in their crate, Bore the box on his back, bowed his helmed head at the door. He was remembering when he had been a greeted guest in that hall, How he had been welcome to the window-watchers, Fur-footed traveler and hat-bearing friend. But now the stool-sitters had turned, Sally and brother. They had become defenders of the dinnerware, dauntless against foes, Champions of the china and of the fishbowl, though children still. No longer stool-sitters, but silverware savers, protectors of home. The cat could not wreak havoc as before!

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reblogged

For Bi Girls

When I first started college I wore my LGBTQ button on my book bag with conviction but now I wear it with shame because a bisexual college girl has become a cliche. My closet has many rooms. I am tired of being questioned by professors if I am gay because most of my protagonists are. I am tired of my boyfriend suggesting we have a threesome because we would both enjoy it. I am tired of being the exception to monogamy. I am tired of being a phase when “phase” is just another word for slut in my case I am tired of being painted as a drunk straight girl - my feelings for my best friend in high school cannot be compared to a hangover -  I am tired of feeling guilty for having a boyfriend all through high school because even though I didn’t love him he helped me survive in a small town where too many LGBTQ buttons were met with violence. When I first came out to my mother she slammed the closet door in my face. She said bisexuality did not exist that you are either straight or gay and being gay is fine but since I was her daughter she knew that I was doing this for attention.

She knew that I was doing this for attention. I am tired of being a private spectacle. I am tired of being a conversation you save until the fifth date I have opened the closet door but I have not stepped out because I am tired of being a trope but if i’m going to be a stereotype at least make me a permanent one.

I am tired of being seen as temporary. To my boyfriend, I am tired of proving my commitment to you. To my gay friends, I am sorry I didn’t fight the same battle as you. To my fellow bisexual college girls, be proud. To my mother,

do I have your attention now?

akb.

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Ich do invyte yow to joyne me yn a celebracioun across the entyre globe of the erthe. Yn thys celebracioun we shal reade of oold bokes yn sondrye oold tonges. Eny oold tonge will do, and eny maner of readinge. All are welcome. 

Geoffrey Chaucer (of 'hath a blog' fame) invites you all to join him on April 1 (aka, 'Whan that Aprille' day) in reading something or other in some old language, in order to "take joye yn alle langages that are yclept [called] ‘old,’ or ‘middel,’ or ‘auncient,’ or ‘archaic,’ or, alas, even ‘dead.’" 

He adds,

Ye maye, paraventure, wisshe to reade from the beginning of my Tales of Caunterburye, but ye maye also wisshe to reade of eny oothir boke or texte or scroll or manuscript that ye love. Ye maye even reade the poetrye of John Gower yf that ys yower thinge. 

Chaucer don't judge. Even if you choose to read John Gower, you strange and questionable person.

Coincidentally, I recorded (and rambled about) that same first eighteen lines of the Canterbury Tales a couple of weeks back, but on Monday I and the other members of the University of Melbourne's Middle English Reading Group made a video recording of all of us reciting/reading it - in a round. Word salad, as somebody said, but it was fun. :) It will be up on the website on Whan That Aprille day.

You should all do something too, if you can!

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nolikereally

in all this excitement, let’s not forget the TRUE reason for the season

on February 14, 3019, Gandalf the White arose from death in his true form and set out once more to walk the stones of Middle-Earth

MERRY GANDALFMAS

FORGET VALENTINE’S DAY I WANT GANDALFMAS

HAPPY GANDALFMAS EVERYONE

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whitmerule

THERE IS NO MASS FOR GANDALF IT IS ONLY GANDALF’S DAY WE HAVE NO GANDALF LITURGY :(

Few fragments remain of the original Laments, leaving us with a single line from the First Testament of the Sacred Texts (that is, Fellowship of the Ring):

Mithrandir, Mithrandir— O Pilgrim Grey!

The Reformed Laments of the Order of Jackson, whose sacred texts are considered apocrypha by the orthodoxy but have nonetheless been embraced as a method of proselytization and which are recognized by most Traditional branches of the faith as having significant sacred value, are much more extensive, if heavily modernized and presented in a blend of Quenya and Sindarin:

A Olórin i yáresse Mentaner i Númenherui Tírien i Rómenóri

Maiaron i Oiosaila Manan elye etevanne Nórie i melanelye?

Mithrandir, Mithrandir, A Randir Vithren ú-reniathach i amar galen I reniad lín ne mór, nuithannen In gwidh ristennin, i fae narchannen I lach Anor ed ardhon gwannen Caled veleg ethuiannen.

Translated, we read:

Olórin, who once was Sent by the Lords of the West To guard the lands of the East Wisest of all Maiar What drove you to leave That which you loved?

Mithrandir, Mithrandir, O Pilgrim Grey No more will you wander the green fields of this earth Your journey has ended in darkness. The bonds cut, the spirit broken The Flame of Anor has left this world A great light has gone out.

Obviously, this verse is problematic for more than one reason. The implication that ancient Lorien was aware of Gandalf’s angelic nature I can, grudgingly, accept, as Galadriel had multiple reasons to be in on the secret… although I question the inference that she would allow this information to be broadcast on the event of his death.

The idea that the Flame of Anor was limited to Gandalf is, however, perplexing, given that he literally speaks of the Sun’s power, and the sun hasn’t exactly disappeared. Perhaps there is a deeper secret here, an occult mystery concealed within the texts that the Jacksonian interpretations unwittingly touches upon. The Lady of Lorien, grieving one of the very few remaining natives of the West, might have produced verses which alluded to his angelic traits and powers without, in a contemporary context, explicitly stating them.

Thus, the elves singing the Lament for Mithrandir might very well have interpreted this as a largely hyperbolic and metaphorical text, intended to express grief and to be put away after the sharpness of loss had passed— that is, insisting that the departed (referred to by an archaic name, to honor his long history in Middle-Earth) was a gift of the Vala and a protector who seemed to move with divine purpose.

Calling him one of the Maiar, not to mention the wisest of them, might be considered a metaphor akin to ‘the brightest star’ etc etc, since the historical link between Lorien and the Maiar lies through Melian— a very different class of Maiar and very obviously different from Gandalf in presentation. For a people no doubt accustomed to artistic representations of Melian at the peak of her power, for whom Melian’s student is their ruler and the most powerful enchantress of postdiluvian times, comparing even their beloved Mithrandir must have seemed appropriate only for the immediacy of initial grief. The song would have quickly passed into obscurity.

The real interest here, then, lies in the final couplet: another seemingly enormous hyperbole, a declaration of nightfall without morning over the entire earth. The sun has gone out! Great darkness falls!

Had we no access to the original scriptures, we might very well pass this over, despite the earlier pseudo-hyperbolic nods to actual, established fact. However, knowing that Gandalf himself had earlier referred to the Flame of Anor, a suspicion begins to grow: perhaps the Flame of which they speak is an actual and important thing, some aspect of the nature of the changed world which occurred at the dawn of the Age of the Sun and Moon, an assigned power which Gandalf was “a” wielder.

Who else wielded this power? What was its nature? Does it still exist on this modern earth, or was it trodden out with the changed world at the end of the Fourth Age? Did it perhaps survive to near-modern times, as the King of the Greenwood may have lived as recently as the pre-Roman tales of Logres? Or was it one of the things which sustained strangeness and magic and the multiplicity of sapient beings in a single niche, and with its passage undermined all but the last traces of the Valar’s touch?

Students of Tolkien, blessings upon you. If you will please now turn your hymnals to Frodo’s Lament, the ushers will come up for the offertory.

whAT DID YOU DO? Meta and fanpoetry all at once? IT'S CHRIST- er- ASLANMAS.

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