#did I even do it back then? hmmm

[wolfsong-the-bloody-beast]

Apparently, if you keep coming back to kiss him repeatedly, he gives you approval and has some thoughts on two different occasions. 🙈

[the-sunlit-earth]

a lot of clipping to fix, but hey I got it moving at least! I'll get the Telvanni robe properly physic'd if it's the last thing I do >:0

[crossbackpoke-check]

Dysprosium, Mary Soon Lee

dysprosium, AN 66, is a silvery-white rare earth metal. its name is derived from the greek dysprositos, meaning “hard to get at”, owing to the difficulty in separating and isolating this rare earth element. dysprosium is used to measure neutron flux, to fuel reactors, and to activate phosphors. terfenol-d is a magnetorestrictive alloy, meaning that it changes shape when a magnetic field is applied, and is used to manufacture underwater acoustic systems.

jason “robo” robertson, dallas stars #21 for @simmyfrobby’s nhl periodic table poems <3

[sysig]

Red Eyes and Evil Time, practically the same thing right (Patreon)

[longagoitwastuesday]

So so indebted to u for posting those lovely illustrations from Cyrano <333 & even more so for yr tags!! I'm completely in love w yr analysis, please feel free to ramble as long as u wish! Browsing through yr Cyrano de Bergerac tag has given me glimpses of so many adaptations & translations I'd never heard of before! I'll be watching the Solès version next, which I have only discovered today through u ^_^ As for translations, have u read many/all of them? I've only encountered the Renauld & Burgess translations in the wild, & I was curious to hear yr translation thoughts that they might guide my decision on which one I buy first (not necessarily Renauld or Burgess ofc). Have a splendid day & sorry for the likespam! 💙

Sorry for the delay. Don't mind the likespam, I'm glad you enjoyed my tags about Cyrano, and that they could contribute a bit to a further appreciation of the play. I loved it a lot, I got obsessed with it for months. It's always nice to know other people deeply love too that which is loved haha I hope you enjoy the Solès version, it may well be my favourite one!

About translations, I'm touched you're asking me, but I don't really know whether mine is the best opinion to ask. I have read... four or five English translations iirc, the ones I could find online, and I do (and especially did, back when I was reading them) have a lot of opinions about them. However, nor English nor French are my first languages (they are third and fourth respectively, so not even close). I just read and compare translations because that's one of my favourite things to do.

The fact is that no translation is perfect, of course. I barely remember Renauld's, but I think it was quite literal; that's good for understanding the basics of the text, concepts and characters, but form is subject, and there's always something that escapes too literal translations. Thomas and Guillemard's if I recall correctly is similar to Hooker's in cadence. It had some beautiful fragments, some I preferred over Hooker's, but overall I think to recall I liked Hooker's more. If memory serves, Hooker's was the most traditionally poetic and beautiful in my opinion. Burgess' is a whole different thing, with its perks and drawbacks.

Something noticeable in the other translations is that they are too... "epic". They do well the poetic, sorrowful, grief stricken, crushed by regrets aspects of Cyrano and the play in general, but they fall quite short in the funny and even pathetic aspects, and that too is key in Cyrano, both character and play. Given the characteristics of both languages, following the cadence of the French too literally, with those long verses, makes an English version sound far too solemn at times when the French text isn't. Thus Burgess changes the very cadence of the text, adapting it more to the English language. This translation is the one that best sets the different moods in the play, and as I said before form is subject, and that too is key: after all, the poetic aspect of Cyrano is as much true as his angry facet and his goofy one. If Cyrano isn't funny he isn't Cyrano, just as he wouldn't be Cyrano without his devotion to Roxane or his insecurities; Cyrano is who he is precisely because he has all these facets, because one side covers the other, because one trait is born from another, because one facet is used as weapon to protect the others, like a game of mirrors and smoke. We see them at different points through the play, often converging. Burgess' enhances that. He plays with the language itself in form and musicality, with words and absences, with truths masking other truths, with things stated but untold, much like Cyrano does. And the stage directions, poetic and with literary value in their own right in a way that reminded me of Valle Inclán and Oscar Wilde, interact with the text at times in an almost metatextual dimension that enhances that bond Cyrano has with words, giving them a sort of liminal air and strengthening that constant in the play: that words both conceal and unveil Cyrano, that in words he hides and words give him away.

But not all is good, at all. Unlike Hooker, Burgess reads to me as not entirely understanding every facet of the characters, and as if he didn't even like the play all that much, as if he had a bit of a disdainful attitude towards it, and found it too mushy. Which I can understand, but then why do you translate it? In my opinion the Burgess' translation does well bending English to transmit the different moods the French text does, and does pretty well understanding the more solemn, cool, funny, angry, poetic aspects of Cyrano, but less so his devotion, vulnerability, insecurities and his pathetism. It doesn't seem to get Roxane at all, how similar she is to Cyrano, nor why she has so many admirers. It does a very poor job at understanding Christian and his value, and writes him off as stupid imo. While I enjoyed the language aspect of the Burgess translation, I remember being quite angry at certain points reading it because of what it did to the characters and some changes he introduces. I think he did something very questionable with Le Bret and Castel-Jaloux, and I remember being incensed because of Roxane at times (for instance, she doesn't go to Arras in his version, which is a key scene to show just how much fire Roxane has, and that establishes several parallels with Cyrano, in attitude and words, but even in act since she does a bit what Cyrano later does with the nuns in the last act), and being very angry at several choices about Christian too. While not explicitly stated, I think the McAvoy production and the musical both follow this translation, because they too introduce these changes, and they make Christian as a character, and to an extent the entire play, not make sense.

For instance, once such change is that Christian is afraid that Roxane will be cultured (McAvoy's version has that infamous "shit"/"fuck" that I detest), when in the original French it's literally the opposite. He is not afraid she will be cultured, he is afraid she won't, because he does love and appreciate and admires those aspects of her, as he appreciates and admires them in Cyrano. That's key! Just as Cyrano longs to have what Christian has, Christian wants the same! That words escape him doesn't mean he doesn't understand or appreciate them. The dynamics make no sense without this aspect, and Burgess (and the productions that directly or indirectly follow him) constantly erases this core trait of Christian.

Another key moment of Christian Burgess butchers is the scene in Arras in which Christian discovers the truth. Burgess writes their discussion masterfully in form, it's both funny and poignant, but it falls short in concept: when Cyrano tells him the whole discussion about who does Roxane love and what will happen, what they'll do, is academic because they're both going to die, Christian states that dying is his role now. This destroys entirely the thing with Christian wanting Roxane to have the right to know, and the freedom to choose, or to refuse them both. As much as Cyrano proclaims his love for truth and not mincing words even in the face of authority, Cyrano is constantly drunk on lies and mirages, masks and metaphors. It's Christian who wants it all to end, the one who wants real things, the one who wants to risk his own happiness for the chance of his friend's, as well as for the woman he loves to stop living in a lie. That is a very interesting aspect of Christian, and another aspect in which he is written as both paralleling and contrasting Cyrano. It's interesting from a moral perspective and how that works with the characters, but it's also interesting from a conceptual point of view, both in text and metatextually: what they hold most dear, what they most want, what most fulfills them, what they most fear, their different approaches to life, but also metatextually another instance of that tears/blood motif and its ramifications constant through the whole text. Erasing that climatic decision and making him just simply suicidal erases those aspects of Christian and his place in the Christian/Cyrano/Roxane dynamic, all for plain superficial angst, that perhaps hits more in the moment, but holds less meaning.

Being more literal, and more solemn, Hooker's translation (or any of the others, but Hooker's seems to love the characters and understand them) doesn't make these conceptual mistakes. Now, would I not recommend reading Burgess' translation? I can't also say that. I had a lot of fun reading it, despite the occasional anger and indignation haha Would I recommend buying it? I recommend you give an eye to it first, if you're tempted and can initially only buy one.

You can read Burgess' translation entirely in archive.com. You can also find online the complete translations of Renauld, Hooker and Thomas and Guillemard. I also found a fifth one, iirc, but I can't recall it right now (I could give a look). You could read them before choosing, or read your favourite scenes and fragments in the different translations, and choose the one in which you like them better. That's often what I do.

Edit: I've checked to make sure and Roxane does appear in Arras in the translation. It's in the introduction in which it is stated that she doesn't appear in the production for which the translation was made. The conceptualisation of Roxane I criticise and that in my opinion is constant through the text does stay, though.

[chirpsythismorning]

Will sitting on the icebox the whole drive back to Hawkins (20 HOURS) instead of just sitting next to El and Mike in the back was foreshadowing him distancing himself from them bc he thinks they want to be alone without him in the way sabotaging things

[spotsupstuff]

doin' a fuckshite again ✌, i'll see y'all artistically in five to seven business days this fucking script is so bitchily long. i swear to fuck if its gon be over 8 pages.

anyway Fish is gon be in it <3 fucking Finally he shows off properly

anyway,

[r0semultiverse]

Two Truths & a Lie Round 13

For people who can't see polls: Pick the lie.

I’ve posted ass image unclothed.

I’ve posted breasts image.

I’ve posted visible gock image.

[secondpersonpoetry]

ellen bass, “marriage”

[dimiclaudeblaigan]

just got to the stupid zaharas chapter and went through dimi and claude's conversation and my god

they really did not use a single quarter of a brain cell when putting that conversation into ag

"your issue is with the church, not with faerghus?" eh wot hootie tootie claude never had a problem with faerghus and hasn't been acting like it. makes it sound like they've been fighting each other (i.e. this is meant to fit gw but and they just copy/pasted the whole conversation bc it just makes no sense).

"we have nothing to gain by fighting you." yeah, you... haven't been and never said you were planning to.

"we could've been friends." and whhhhyyyy can't you? there is an entire zero bad blood between y'all and lorenz has already pretty much said this whole second half of the war thing has been proof of the friendship between the kingdom and alliance soooo...?

"had i joined with you" uh um but you literally did this has been ongoing for half the war now

additional funnies are claude just being so butthurt that dimitri is like this might endanger your life and claude is like aw shucks my life has been endangered since i was born i'm basically an endangered species!

also, dimitri saying it brings guilt to do the things claude would do bc he's been there. lel. claude had no guilt in gw tho (for killing rhea and all that shit).

but fr tho, it just seems like gw claude and dimi got warped into zaharas and the ag ones are just passed out in the normal world having the same yeehaw ass fever dream LIKE

this entire conversation legitimately makes worse than zero sense. i can only imagine how confused people were who played ag first and got this conversation bc it like, legitimately has no place in this route. this is like a fever dream on steroids that were laced with drugs.

i was lucky i was playing ag while simultaneously watching the other routes on youtube or i would have also been absolutely bonkers confused.

[tweedfrog]

Fellas I just experienced my first situation where a work superior tried to undermine me. Finally understand exactly what Jon Snow feels like

[httpiastri]

Hi i don't know if you know this but one of the bracelets that Paul wears is Elena's. The one with smiley faces there are pictures of her on ig wearing it before. Paul also gave her one of his pirelli hat.

oH ?? i had no idea 😵 ofc i had to go on a little stalk down both of their ig accs and… well….. 👀

[weskinz]

maybe if i go back on antidepressants ill ask for wellbutrin

[elegyofthemoon]

see if ff13 were more popular we couldve had an official translation

but noooooo i have to go crawling around desperately so i can get my hands on hope estheim chapters with fear of translations being spewed bad 🙄

[bistaxx]

k!Luzu is both the most tragic little man who gives me constant pain and grief but also a total loser who I want to bully /lovingly

[yuridovewing]

doesnt matter much bc idk how much content ill make for it anyways but i am so conflicted on whether i want the hawkleaf au to be in my hypothetical rewrite or not. because like i like the idea for that au because the melodrama gets pumped up even more and i love the whole "oh theyre firestar and tigerstars grandchildren.... but not the ones you think" thing, and how it makes the secret even more devastating, but also like. where the hell does that leave the windclan soap opera