#so nothing is even spoken about

[immortalsins]

might have fucked up so its going on the blog

[ofbardsandmen]

nothing ever excites me more than a spontaneous genshin, or more particularly, mondstadt discovery. i sat diluc upon the barbatos statue as a nice spot to go afk on without being interrupted by repetitive idle animations and voicelines (sorry diluc, this is nothing personal). my volume was turned up more than regularly by accident, and my in-game music was off despite how much i like the original game soundtrack. aNYHOW- i was about to go afk when i heard some strange noises that i didn't recall hearing in mondt before. it made me pause and turn my volume up even more. in the video above, it's kind of hard to discern the brief sounds over the noise of the wind up on the statue and in mondstadt in general, but when the wind dies down a little, you can distinctly hear voices of people, and what shocked me the most – neighs of horses. i have no clue whether it is just me discovering this only now, after 4 years of playing this godforsaken game and clearly not having paid enough attention to mondstadt's sfx before, but i still felt the need to share this terribly interesting tidbit in case there's other clueless mondstadt enthusiasts like me.

[cent-scratchnsniff]

progressing through the myth of sisyphus again

[mariemariemaria]

Does anybody else feel like mental health awareness has done very little to help them in material reality

[akkivee]

me, a few days ago: well nagosaka doesn’t have original stories so idk ig they can surprise us without having vaguely manga only story refs :/

me @ me now: WHAT ARE YOU TALKING ABOUT THE FIRST RUN HAD COMPLETELY ORIGINAL STORIES WE GOT AN ORIGIN POINT FOR NAGOSAKA AND WEVE EVEN SEEN THOSE STORIES COME BACK AROUND AND GET RESOLVED WE WATCHED ROSASA GET UP ON STAGE AND PERFORM COMEDY TOGETHER IN THE BLOCK PARTY JYUSHI GOT TO STAND UP TO HIS TRAUMA AND HITOYA WAS ABLE TO MOVE FORWARD FROM HIS IN HARMONIOUS COOPERATION BUT YOU KNOW WHOSE ORIGIN STORIES HAVENT CIRCLED BACK AROUND YET REI AND KUUKOU—

[zoppzoop]

Vent

[cloud-ya]

the concept of infodumping is so... alien(?) to me. I cannot bring myself to talk about something for a long time, let alone getting into details because I usually forget or don't know them. even less well do I feel when I try to rumble about something with no feedback in form of attention or understanding. I can go on about that one polish rapper or whatever concept is only known to me among the people I know and talk to, but what of it when the only thing I get is silence, a casual "cool" thrown to acknowledge my messages or a change of topic. I wonder if it's something about adults never understanding things I like and me being awful at explaining, thus preferring to just hide them or brush them off as "nothing particular" or describing them as vaguely as possible (e.g. "just a video game"); also in fear of being perceived or judged

what is the opposite of infodumping?

[paradoxgavel]

i would like life events to stop occurring for the rest of the year please. i have had enough life events for a year.

[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.

[aviangrian]

thank god chappell roan didn’t release good luck babe in summer 22!

[ialwaysknewyouwerepunk]

.

[acourtofquestions]

Boots crunched in hay, and then he was knee to knee before her.

Aedion.

There was nothing kind on his face. No pity or warmth.

For a long minute, they only stared at each other.

Then the prince growled softly, "Your plan was bullshit."

She said nothing, and couldn't stop her shoulders from curving inward.

"Your plan was bullshit," he breathed, his eyes sparking. "How could you ever be her, wear her skin, and think to get away with it? How could you ever think you'd get around the fact that our armies are counting on you to burn the enemy to ashes, and all you can do is run away and emerge as some beast instead?"

"You don't get to pin this retreat on me," she rasped. The first words she'd spoken in days and days.

"You agreed to let Aelin go to her death, and leave us here to be slashed to bloody ribbons. You two told no one of this plan, told none of us who might have explained the realities of this war, and that we would need a gods-damned Fire-Bringer and not an untrained, useless shape-shifter against Morath."

Blow after blow, the words landed upon her weary heart. "We—"

"If you were so willing to let Aelin die, then you should have let her do it after she incinerated Erawan's hordes!"

"It would not have stopped Maeve from capturing her."

"If you'd told us, we might have planned differently, acted differently, and we would not be here, damn you!"

She stared at the muddy hay. "Throw me out of your army, then."

"You ruined everything." His words were colder than the wind outside. "You, and her."

Lysandra closed her eyes.

Hay rustled, and she knew he'd risen to his feet, knew it as his words speared from above her bowed head. "Get out of my tent."

She wasn't certain she could move enough to obey, though she wished to. Needed to. Fight back. She should fight back. Rage at him as he lashed at her, needing an outlet for his fear and despair.

Lysandra opened her eyes, peering up at him. At the rage on his face, the hatred She managed to stand, her body bleating in pain. Managed to look him in the eye, even as Aedion said again with quiet cold, "Get out."

Barefoot in the snow, naked beneath her cloak. Aedion glanced at her bare legs, as if realizing it. And not caring.

So Lysandra nodded, clutching Ansel's cloak tighter, and strode into the frigid night.

"Where is she?" Ren asked, a mug of what smelled like watery soup in one hand, a chunk of bread in the other. The lord scanned the tent as if he would find her under the cot, the hay.

Aedion stared at the precious few logs burning in the brazier, and said nothing.

"What have you done?" Ren breathed.

Everything was about to end. Had been doomed since Maeve had stolen Aelin. Since his queen and the shifter had struck their agreement.

So it didn't matter, what he'd said. He hadn't cared if it wasn't fair, wasn't true.

Didn't care if he was so tired he couldn't muster shame at his pinning on her the blame for the sure defeat they'd face in a matter of days before Perranth's walls.

He wished she'd smacked him, had screamed at him. But she had let him rage. And had walked out into the snow, barefoot.

He'd promised to save Terrasen, to hold the lines. Had done so for years. And yet this test against Morath, when it had counted ... he had failed.

He’d muster the strength to fight again. To rally his men. He just ... he needed to sleep.

Aedion didn't notice when Ren left, undoubtedly in search of the shifter with who he was so damned enamored.

He should summon his Bane commanders. See how they thought to manage this disaster.

But he couldn't. Could do nothing but stare into that fire as the long night passed.

[strawberrybyers]

when you think about it, mikevens feel like they have no choice but to talk shit about byler because not much conversation can be had to prove your ship is endgame with “will you be like my brother?” “what is wrong with you??” “i dump your ass!” “you think i’m a monster” “you never say it!” “eleven you’re being ridiculous what is this!?”

[wolpatinga]

[savage-rhi]

Cue the pink!

[blakbonnet]

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