#ofold

[espytalks]

I made the first recepie, the chicken parm casserole, today, and im sharing it cause it was pretty good, and very easy.

The only changes id make is add a bit more salt, add more cheese instead of breadcrumbs (i had eyeballed the measurements for the cheese and breadcrumbs) and cut the chicken up smaller.

I used whole wheat penne that i happened to have instead of the bowties she used, and they came out a biit too soft, i think; I'd add less water and cook it maybe 5 or 10 minutes less, but id check it, cause ya workin with raw chickin here.

[ananglishliker]

A further step with Anglish

Folk like Anglish for it doesn't brook the borrowed words, for it is a lutterer English. But there's something that unformithely comes along when swaping out ellandish words with those from the same tongue kinfolk: foroldness.

And this seems to be something Anglish-followers like, for I found an almost fulwrought foroldening of English staffcraft. And I'm not going to hide that I'm one of those who like foroldening, and that I liked to know about this deeper back-to-the-roots.

I'll be talking about was changed in this forolder Anglish here. I'll be reckoning the links to a more throughgone writ in the end of this writing.

Staffrow (Alphabet)

Only two bookstaffs are eked: Ƿƿ (/w/) and Þþ (/θ/, /ð/). Yes, it's not that gripping, but things truly get started with the switches!

⟨c⟩ as /s/ > s (cinder > sinder)

⟨ch⟩ & ⟨tch⟩ as /tʃ/ > c/ce (chin > cin/choke > ceoke)

⟨dge⟩ as /dʒ/ > dg (bridge >A curious mind is a terrible curse bridg)

⟨gh⟩ as yoreloreish [x~ɣ] > g (high > hig/night > nigt)

⟨ie⟩ as /i/ > ee (field > feeld)

⟨le⟩ as /əl/ > el (neetle > neetel)

⟨o⟩ as /ʌ/ > u (son > sun/some > sum)

⟨ou⟩ & ⟨ow⟩ as /aʊ/ > u/ue/uCe (hound > hund/sow > sue/loud > lude)

⟨ough⟩ as /aʊ/ & /ʌf/ > uge (plough > pluge/tough > tuge)

⟨qu⟩ as /kw/ > cƿ (queen > cƿeen)

⟨sc⟩ as /sk/ > sk (score > skore)

⟨sh⟩ as /ʃ/ > sc (ship > scip)

⟨th⟩ as /θ/ or /ð/ > þ (the > þe)

⟨u⟩ as yoreloreish /ju/ > eƿ (hue > heƿ)

⟨u⟩ as /ɜ/ > e/i (bury > berry/burden > berden)

v as /v/ > f (leave > leaf/over > ofer)

w > ƿ (water > ƿater)

⟨wh⟩ as yoreloreish /hw/ > hƿ (whelp hƿelp)

y as /j/ > g/ge (yes > ges/yore > geore)

⟨z⟩ as /z/ > s (graze > grase/fizzy > fisy)

Retchings for why it was switched to that in the link reckoning below.

Can you already see the forolderlooking from this? Here's a wordset I'll be brooking as forebisen:

Unforolded: The tough errand to dodge through the crowded boughs of a fern oak tree thared skill and lastingness. Forolded: Þe tuge errand to dodg þruge þe crueded buges of an fern oak tree þared skill and lastingness.

That truly pleases me and is aslaking seeing English truly looking like a Germanish tongue. I thought about writing in a more and more forolded way as I reckon the changes, but, for the sake of a flowsome reading for the reader, I'll leave this list aside, but, if you'd like to read wordsets looking as such, there are sere in the from leaf at the end of this upload.

This switching might be enough for some, but there are those, like me, who would like to go even further and see, too, a forolded speechcraft.

Theedness and some throughnesses (Conjugations and some details)

Before we get started with theedness, we understandendly will be brooking the forename "thou". A forolded theedness may be known for all, since it can be outlined through the twoth and the third atell:

Twoth: anward > -est; forthwitten > -edst

Third: anward > -eth

And that's all, hence you can make any wordset:

"The man giveth the boy a book"

"A woman walketh through the woods"

Underyet: there are some sunderly shapes: doth (does, spoke /dʌθ/), hath (has), saith (says, spoke /sɛθ/).

Asking

To make asks, we will leave out the ask markers "do" and "does". Instead, we'll put the tideword in the beginning of the wordset, as one does in Deutsch:

Does he know the answer? > Knoweth he the answer?

Where do you live? > Where livest thou?

Ofolder and chirten.

Naying

Also in naying wordsets "do" and "does" swind. Instead, we use "not" after the main tideword:

I know not.

He came not.

With wrayingly, the ea is putting "not" after a wrayingly forename, but before a meanname:

I love him not.

I have not the book.

If the wordset has a underwordset, "not" will be right before the latter:

The king thought not that he was in any danger.

Byings and kins (Declinations and genders)

Here is the knottiest thing to learn, though not the hardest - you'll only need some time. Byings and kins are a widegale ken, which, for me at least, is the most gripping thing in speechcraft, for it's where the tongue shapechanges the most.

The first thing we need to know is that English wonted to have kins: werely, wifely and neither. And byings: nemmeningly, wrayingly, streeningly and forgivendly. And it turns out not only the meannames, but also the beckoningly forenames, lithwords and ekends had their own kin and bying bendings. Although Anglish doesn't brook the forgivendly bying.

Unheeding the thoughts of how these bendings would have grew and going right to the retching way English would look like today, we have:

Markoff lithword

Unmarkoff lithword

Ekends

But ekends are not that ofold though. It's said the strong-weak shed would have likely been kept. So ekends can be either strong or weak, and their bending changes for it. Although we can overlook the weak one and brook the strong one only, I'll be brooking both for the sake of a rawer forolding.

On the other hand, the ea to bend it is easy: weak ekends are those whose meanname is with a lithword, kithing forename or it's in streeningly; strong ekends are those that are unmarkoff. Here is the bending:

With these changes, let us take a look at what our bisen wordset looks like now:

Unforolded: The tough errand to dodge through the crowded boughs of a fern oak tree thared skill and lastingness.

Forolded: Þe tuge errand to dodg þruge þe cruededen bugen annes fernes oakes trees þared skill and lastingness.

Dealnimmends (Participles)

Dealnimmends are like the ekends, and as such they would be bended with the same endings, if there were not an unbiseniness in them:

Kithings (Demonstratives)

The kithings, since they are also ekendish, also are bent:

Rimes (Numbers)

Believe it or not, rimes wonted to be bent in the past. The rimes "one, for some ground, were the only ones that are bent. Rimes are either mainly or endbirdly. And, since they can be brooked with lithword, they can also be either strong or weak. The mainly's benting is:

The endbirdly's benting is:

Ownerly forenames (Personal pronouns)

And going even further, we forolden the ownerly forenames:

The shapes "mine" is now brooked before words beginning with a clepend as "a(n)". The same for "thou", which becomes "thine".

Askinglies

And, alongside with it, the askinglies are also bent!

Kinshiply (Relatives)

Forget we not the kinshiplies:

And since "that" and "which" have now a streeningly bying, there's no more anyet in brooking "whose" for unmanly words, so:

Þe dog hƿose oƿner is far aƿay > Þe dog þas oƿner is far aƿay In þe ƿoods þere ƿas a birdling, hƿose huse was red > In þe ƿoods þere ƿas a birdling, hƿices huse was red.

---

There are still other changes that make it even more forolded, reliving raw shafts of the tongue, but I think this is enough for now. It's not like you would be wrong brooking only a stitch of the forolding anyway, since it's clearly underfangendly to not fully forolden. I shall likely make another upload on these foroldenings in the toward.

---

Froms:

Staffrow: https://anglisc.miraheze.org/wiki/Anglish_Alphabet

Theedness: https://anglisc.miraheze.org/wiki/Archaic_grammar

Byings and kins: https://anglisc.miraheze.org/wiki/Archaic_case_%26_gender

[anyonghalimaw]

sitting on a a bench ful ofold ppl in the grocery if ahnyone bitches at me ill pull out my literal Im Disabled card

[just-a-pinecone]

tw sort of mentioning death and shit??? not a vent just kinda like ranting i think

i dont want to die of old age, like i want my death to actually mean something i dont want to die and just be there i want my life and death to make a difference to make a statement and to help change things for the better and i know that sounds weird but like in away,,,,,,,, i dont want to die of something simple i want to live and die in a way that counts and i know its probably just some weird fantasy or whatever but like i dont want to die in a way that means nothing and changes nothing i want it to have purpose and meaning and my life and when people look back they'll see the point my death makes and stuff,,,liek i dotn wanna be on some sort of statistic but like idk it just feels like it would add meaning to somethjng to die ina. Meaningful way and i dont want to die young either i want to live long enough to do evryything i want and make a difference through my life and then my death,,,,,,,,,,,idk if tht is js somehting weitd. But yeah, like i dojt even mind if its given recognition i jaut want my life and death to make some sort of difference some sort of change for the better not just something that changed nothing i dont want to be remembered as a statistic i dont wanna be killed by illness or murder or old age i want to die in a way that gets peoples attention, but im not ready to die just yet i still have so much to do and i also know dying ofold age grows less and less likely as the years go by and it feels like the human race doesnt have long and neither do many of the other species and stuff but for surviving humans i want to have made a difference in society

[skillstopallmedia]

Old Orchard review | blue jeans on the beach

Sometimes, in the middle of a theatrical season, marked by committed, even militant speech, there is a little play that goes off the beaten track. Whose comforting, surprising words contrast with the cry of revolt of several contemporary artists. Posted at 8:00 a.m. Such is the case ofOld Orcharda dramatic comedy by Thomas Gionet-Lavigne (love each other, Lower Town…), an author from Quebec who…

[reshkhan]

Sarees from the Past: A Look at Heritage Styles

INTRODUCTIONOFOLDZARI

A saree is a traditional garment worn by women in India and many other countries in South Asia. It consists of a long, rectangular piece of fabric that is draped around the body in a specific way. Sarees are typically worn with a blouse and a petticoat and are a symbol of femininity, grace, and style. 

They have a rich history and cultural significance and have been worn for centuries as a form of traditional dress. Silk Sarees have evolved over time and have been influenced by various styles and traditions, and are now available in a wide range of materials, colors, and designs. 

Overall, sarees are an integral part of the cultural identity of many South Asian countries and are a testament to the skilled craftsmanship and artistry of the people who create them.

History and cultural significance of sarees

One of the most well-known heritage saree styles is the Kanjeevaram saree, which is made in the town of Kanchipuram in Tamil Nadu, South India. These sarees are made of silk and are known for their grandeur and opulence.

 They are characterized by their gold and silver zari work, bright colors, and intricate designs, which are inspired by temple

architecture and mythology. Another popular heritage saree style is the Banarasi saree, which is made in the city of Varanasi in Uttar Pradesh, North India. 

Types of sarees and unique features

The Paithani saree is another heritage style that is made in the town of Paithan in Maharashtra, West India. These sarees are made ofold silk and are known for their intricate gold and silver zari work, bright colors, and beautiful designs.

 Chikankari sarees are another heritage style that is made in Lucknow, Uttar Pradesh, and North India. 

These sarees are made of cotton and are known for their delicate embroidery work, which is done using a fine needle and thread. The designs on Chikankari sarees are inspired by nature and are created using a variety of embroidery techniques such as shadow work, cutwork, and fishbone.

Patola sarees are a heritage style that is made in the city of Patan in Gujarat, West India.. The patterns on Patola sarees are inspired by nature and mythology and are created using a variety of techniques such as resist dyeing, tie dye, and batik.

Sambalpuri sarees are another heritage style that is made in the Sambalpur region of Odisha, East India. These sarees are made of silk and are known for their intricate tie-dye designs and colorful patterns.

 The designs on Sambalpuri sarees are inspired by nature and are created using a variety of techniques such as bandha, ikat, and batik.

There are many other heritage saree styles as well, each with its own unique features and traditions. These sarees are not only a symbol of cultural identity but also a testament to the skilled craftsmanship and artistry of the people who create them.

The art and craftsmanship behind creating a saree

The art and craftsmanship behind creating a saree are truly remarkable. Sarees are made using a variety of techniques and materials, and the process of creating one is both intricate and time-consuming.

 Many sarees are made using handlooms, which are traditional weaving machines that are operated by hand. The fabric for a saree is created by interlacing threads of yarn on a handloom, and the resulting fabric is then cut and sewn into the desired shape and size.

In addition to the basic process of weaving the fabric, many sarees also feature intricate designs and patterns that are created using a variety of techniques such as embroidery, printing, and dyeing. These designs and patterns are often inspired by nature, mythology, and cultural traditions, and are created using a wide range of materials such as silk, cotton, and gold or silver thread.

Overall, the art and craftsmanship behind creating a saree is a testament to the skill and talent of the people who create them. Sarees are not only beautiful and timeless garments but also a reflection of the cultural traditions and artistic heritage of the people who wear them.

CONCLUSION

sarees are traditional garments with a rich history and cultural significance. They have evolved over time and have been influenced by various styles and traditions, and are now available in a wide range of materials, colors, and designs. Sarees are a symbol of femininity, grace, and style, and are an integral part of the cultural identity of many South Asian countries.

The art and craftsmanship behind creating a saree are truly remarkable and involve a variety of techniques and materials. Sarees are made using handlooms, and the fabric is then cut and sewn into the desired shape and size. Many sarees also feature intricate designs and patterns that are created using techniques such as embroidery, printing, and dyeing. These designs and patterns are often inspired by nature, mythology, and cultural traditions, and are a reflection of the artistic heritage of the people who wear them.

Overall, sarees are beautiful and timeless garments that represent the skilled craftsmanship and artistry of the people who create them. They are a testament to the rich cultural traditions and artistic heritage of South Asia and are a beloved and important part of the region's cultural identity.

[mx-autumn]

head in hands

its EMBARESSING 

[evilpawnjewelry]

I know that some may remember my post about this bead. It can be found under #EPJLilBird ❤ This antiquity bead has stolen my heart 💗 I appreciate all the inquiries about the wax and work in progress pix from my storyline. They can all be found on the Evil Pawn Jewelry Facebook page. • • Recreating very old or antiquity pieces must be done with great care. I once recreated a 500 year old metal African bead that was hollow and had cut outs all the way through. I guess I could say it’s therapeutic, aligning with the metal that is older than everything I touch and see on a daily basis. With the exception of the earth. The data withheld inside the metal almost unlocks itself even though you are working with new metal you are asking the old metal to be your guide, your map, your instructor… • • I’m so obsessed with this lil bird and her lil Birdling children. They will be on my medicine bag singing to me the passed down stories of their mother; the original bead. My lil bird Mama. 🐦 • • • • #OfOld #oldWorld #therapy #lilBird #epj #OldWorld #BirdsOfAFeather #create #WeAreCreators #evilpawnjewelry #adornyourselfinmetal

[charnelhouse]

Need harwin inside of me. I would trade my kidney—

haha i feel you

although i just saw stills/footage ofolder Aemond Targaryen and I choked

still team black tho

[libraford]

Just a glance on the critters I made this week. Turns out I had a handful ofold sketches along these lines as well, so I'm going to see if I can fit them into the coloring book.

[competenceknowsnobounds]

"Stop scaring the hostages." (From @liketheheros-ofold)

“I’ll stop when they stop. Being evil, that is.”

[lettuce-tv]

aoaosdhfridcbvfhgfjdkmcnbfveghdjscmnbfvhjcmdwncfbvghtjenc bvgrnfecs bvhsgdcfnbvehtnfcbvgrshjvgcfn hghi lletty . we rgoignbg ofold schhlll

hi !

[alexboettcher]

In the moment I travel a lot, mostly in Germany. I think it’s good to know your country where you live at. Because you never know where your heart beats the most. But am pretty sure, it’s the place where I live now. Whatever, in the moment I try to post more people photography’s but now like you can see, it’s the good old architecture picture. Now I am in Dresden, this in the east of Germany. That’s the place where the half of my family comes from. And this old things can be photograph in a new way like this here. Like I mean it’s a modern photograph and I like this perspective from this old gallery. And now enjoy it. Your Alexander Boettcher #old #good #dresden #dresdencity #travel #around #germany #and #enjoylife #brilliant #colors #nice #view #ofold #things #in #a #other #perspective #alexboettchertravels #alexboettcherphoto #alexboettcher (hier: Dresden, Germany)

[studythevedas]

Mandal 1. Sukta 1

Dedicated to Agni Devata

By Madhucchanda Rishi, disciple in the lineage of Rishi Vishwamitra

Metre: Gayatri

1)

Agnimile purohitam yadnasya devamrtvijam

Hotaram ratnadhatamam

I invoke, worship and research Agni, in all its forms, light of life, self refulgent lord of the universe, foremost leader and inspirer, blazing light of yagnik creation, high priest of cosmic dynamics, controller of natural evolution, and most generous giver of the treasures of life.

2)

Agnih purvebhirrishibhiridyo nutanairutaa

Sa devan eha vakshati

Agni, lord of light and power, is ever adorable by the saints, scholars and gentlemen ofold and modern times. May He bless us with divine vision, knowledge and power in this world.

3)

Agninaa rayimashrnavat poshameva divedive

Yashasam viravattamam

By virtue of Agni Devata, the light and energy of the universe, one advances in health and wealth, day by day, blessed with honour and fame of the highest order of valiant persons.

4)

Agne yaam yadnyamadhvaram vishwatah paribhurasi

Sa iddeveshu gacchati

Agni, lord pervasive of yadnya, you are all round protector and promoter of all yadnic acts of love, compassion and creation. May the yadnya advance and expand among the noblest powers of nature and humanity.

5)

Agnirhotaa kavikratuh satyashchitrashravastamah

Devo devebhiraa gamat

Agni, self refulgent lord of the universe, high priest of nature, poetic creator of the cosmic yadnya, wondrous and most resounding, come and bless us with the noblest gifts of life.

6)

Yadanga daashushe tvamagne bhadram karishyasi

Tavettat satyamangirah

Hey Agni, light of life, surely you would do good to the person who is generous. Dear as the breath of life, this is ever true of your divine nature.

7)

Upa tvagne divedive doshavastardhiya vayam

Namo bharant emasi

Agni, lord omniscent, day by day, night and day, with all our heart and soul, we come to you, bearing gifts of homage in faith and humility.

8)

Rajantamadhvaranam gopamrutasyadidivim

Vardhamanan sve daame

Bearing gifts of homage with faith and humility, we invoke lord Agni, self refulgent ruling lord of yadnic acts of love and compassion, protector of the earth and the environment and illuminator of the Divine word and Universal law, immanently growing with the expansive universe of His own creation.

9)

Sa nah piteva suunavegne supayano bhava

Sachasvaa nah svastaye

As a father is ever one with his child in love, so may Agni, the lord of life and light and father guardian of His creation, be ever close to us in love and benediction. Father of us all, give us the grace of life divine.

[rockbrary]

ASTRAL FORTRESS - The New Studio Album From The Legendary DARKTHRONE Due For Release OnPeaceville Records On October 28th 2022

ASTRAL FORTRESS – The New Studio Album From The Legendary DARKTHRONE Due For Release OnPeaceville Records On October 28th 2022

A NEW, STELLAR AND ECLECTIC JOURNEY OFOLD METAL IN THE DARKTHRONE ODYSSEY “On steady course away from all trends”Fenriz From their formation back in 1986, to becoming one of Norway’s finest and enigmatic musical exports (with a number of highly revered black metal masterpieces released in the early 90’s helping to solidify their legacy), Darkthrone has continued to evolve and challenge in equal…

[jonellezoraida]

Shape shift

Sometimes I get lost in the versesThe verses of words spokenWritten, given& painted intoImages that canRearrange themselvesHow the creator sees fitI shiftThe shapes of my bodyThe contour of my wordsAnd spill intoParagraphs & Play with my verbsMolding into sentencesThat are sometimes unheard.I shapeInto a chapterIn a book written byMe and the worldShifted byMe and the worldThese pages smell ofOld…