#thou art translated!

[larapeteira]

This is perfect if for no other reason than its French transliteration of (H)ull represents the correct pronunciation better than standardized English!

I do also really like Souancy and Ainvernesse.

Litte could do with being Lydes (cf . Lyons and Lourdes) and Auxfort doesn't need flipping if you want to keep the internal transliteration rather than translation logic. I'd propose Neucassel-en-Tainnes for the same reason.

The British Isles but French influence got a bit out of hand

[pendragonartz]

[maybedr3am]

I need to finish the Whole part and fix things, but, you get the idea right? Just mixing music taste, that's all.

I hate and love having so many drawing/animation ideas, cuz' I never finish things DX!

[lurkingteapot]

to have, to live, to be with(out)

or an amateur's attempt at looking at Pat's "It's me who can't live without you" in Our Skyy 2 ep 15 4/4. Not fluent, just a nerd, standard disclaimers apply, fluent speakers please take me to school, etc. Transcription is into IPA.

ANYWAY. All this came up because @dimplesandfierceeyes asked about the literal translation of Pat's "I can't live without you" (I'd wailed about the way the Thai hit worse for me in a shared groupchat).

I was thinking about looking at the whole sequence because it adds a lot imo, but I'm not sure about two bits (Nanon, you're a great actor, but your diction as Pran is not beginner or intermediate friendly), so I'll just stick with that one phrase and the one that kicks the exchange off.

Pat starts off teasing Pran

ภัทร์: บอกมึงไง ไม่มีกูมึงอยู่ไม่ได้เลย Pat: "told you, didn't I -- you can't live without me" (second clause is breaks down to "((not have) me) (you (exist (not possible) (+ emphasis particle)")

Then there's the whole back and forth, and in the end, he concedes

ภัทร์: มึงก็รู้แล้วไง Pat: you already know this, too (+ fondly exasperated emphasis particle) ปราณ: ว่าไงครับ Pran: hm? so what is it? (Adding ครับ /krap/ for polite emphasis, sorta … lovingly teasing) ภัทร์: กูเองอะ อยู่ไม่ได้หรอก ถ้าไม่มีมึง Pat: It's me. [I] can't be. If [I] don't have you. (I myself -- exist not possible [emphasis particle] -- if not have you)

And the issue here, in translation, is with both the อยู่ไม่ได้หรอก /jù: mâj dâj rɔ̀ːk/ and the ถ้าไม่มีมึง /tʰâː mâj mi: mɯŋ/ because. They do mean exactly what the subs say! But translation, as always, also deals in nuance, in tone, overlap and gaps. And here, we're dealing with two pretty basic words that function juuuust differently enough from English in most cases that there's … wiggle room, I guess? for things to feel a little differently.

a) อยู่ /jù:/ means "to exist, to live (somewhere), to be (present)", so อยู่ไม่ได้ /jù: mâj dâj/ can be both "[someone/something] can't be" and "[someone/something] can't live" (which we could argue are similarly overlapping in English, but in Thai, it's one word for both -- there are separate, higher-register words for "to exist" and "to be alive" and "to dwell at place", but that's not what we're dealing with here). I suppose even the more dramatic translation of "I can't survive" would be an option for that particular clause, depending on context.

b) Thai uses มี /mi:/ as both "to have" and "to exist", sort of similar to how 有 you3 works in Mandarin or how ある and いる work in Japanese. Or even (sort of, if you squint) in English, if you think about "I have a friend" -- a person exists who is your friend, a friend is available to you (generally speaking, even if maybe not right now. They're your friend whether they're here with you this very moment or not).

But that means ถ้าไม่มีมึง is simultaneously both "if you don't exist" and "if I don't have you". Maybe there's less of a gap here in English than my brain is painting for me right now, too? It's not ambiguous in Thai, I don't think, but in English, in translation, obviously the subtitling team had to make a choice (and they made the most devastating choice possible because they know their audience, good job, translation team).

I'm pretty sure it's also – maybe notably, maybe obviously – NOT "I can't live when you're not there/not here" (as in, "not in the same place as I am"). I'd expect a ถ้ามึงไม่อยู่ if they wanted to express that, explicitly.

[phagodyke]

anyone else getting alecto vibes from charles baudelaire's le revenant. or just me 🧐

[archived-diegesis]

"κατόπιν εντολής σου, με κάλεσαν"

"Είσαι ο Δάσκαλός μου, που με κάλεσε πέρα ​​από τη μαραμένη σύλληψη του χρόνου...Γεννημένος όπως είναι η νέα σελήνη για να ασχοληθεί και να σκοτωθεί με τη ζοφερή σου εντολή..."

She couldn't help the grin that took over as she shook her head

" Nah, no worries I'm doing a bit - I can speak modern English just fine. Are you my Master? "

[gierosajie-art]

This might sound like the most insane thing but I have been looking around for a pretty snail to get tattooed (I raise snails as pets. No joke.) And I adore your earth snail! 😍 Could I get a lil tattoo of him?!

Snail pictures as proof!

Aww lil' guys

Anyway, sure!

[moldyfairyguts]

toxic doomed old man yaoi

shakespeare if he was woke

Iago: God forsake that doltish, doltish man! That he believeth each word to drop from mine own lips as though ‘twere holy writ, blindeth himself in his conceit... God save us all if that moor hadst remain’d powerful as he once was. Was! ‘Tis ever so sweet to speak of him in the past. My hatred for the man doth outlast his brief, fool’s life. Ay, good riddance I say, good riddance. It gives me somewhat to dwell upon, rather than mine own blood seepeth o’er my clothes – and yet, whilst I am so bruised and beaten, the thought dost creep o’er my mind, that I am glad Othello saw me not in such estate... good riddance, I say! And good riddance to his whore of a wife, loyal or nay! I stand triumphant, as I ever was, whilst they both do rot in the ground, many a pace betwixt them. Never have I known a fate more satisfying. If he were to cast me aside, then let him have naught by his side. Yet the question I can but ask myself still, is why doth mine heart ache so? The moor is dead by none but his own doing. Blind was he to mine own worth, casting me off like so. Say not mine hand was unforced. So why doth I ache so?

Were he alive, would he rue it? The fool, to end his own life... could he not be a man? Othello, thou art a fool if thou hear’st me now! By what reason or wit didst thou wed that woman? Did she know thee better than I? Did she know thee more deeply? Doth her devotion put mine years of loyalty to shame? I-

Ay, see me now! Pacing and railing against the walls of this accurs’d cell like a craz’d wretch. Nay, Othello, thou art not here. Good riddance to thee. Thou art dead, I am alive; thus I am the victor.

Yet it doth feel less noble than I had dreamt. There is no crowd to applaud me within these walls. In mine heart there smoulders a fire, yet beneath it lies an emptiness naught can fill. My hunger should have been sated the moment that blade pierc’d his belly, yet instead tis growing more keen as each day doth pass. And without him. Yet pass they do.

Nay, good riddance, The days pass as e’er they did, yet the man who wronged me doth not see their passage – that alone is reason for celebration. Were I free this moment, mayhap I’d travel to the nearest tavern and there proclaim my triumph to all ‘til my voice grew hoarse.

Yet, even as I say it, I dread that the instant I entered, the name “Othello” would lie presuppos’d on my tongue. Oh, heavens, whom do I seek to deceive? There is none but myself here. His name, which stirr’d naught but anger in my heart, used to do the opposite. Speak on, I shall not, for if there aught left to grip save mine hand upon mine wind, it is my dignity. These walls, they crack and whisper – I should know, for I have stood long upon the other side of them. For Othello’s sake, no less.

The fate he met, ‘twas by his own hand wrought. Cassio, his choice? That lecherous, fawning knave? Were I in Othello’s stead, I’d have cast off this mortal coil the moment such a decision was made. And yet, as he hearken’d to mine own supposed crimes, ere he did end his life in such selfish haste, I find myself longing that his reddened face and rueful eye had been set alight for another cause. Mayhaps a more selfish one. That red, perchance warm’d by mine lips upon his.

God, save me! Let some gaoler enter this cell and thrash me senseless for thinking thus, and let mine head be dash’d upon the cold stone floor for that I would not repent.

--

translated version for stupid harlots

Iago:

God forsake that stupid, stupid man! Believing every word to come out my mouth like it is the scripture itself, blinding himself with his own ego... god save us all if he was to remain as powerful as he was. Was – it’s ever so satisfying to speak of him in past tense now. My hate  for the man lives longer than he ever did. Good riddance, I say, good riddance. It gives me something to occupy myself with, rather than the way my own blood drips onto my clothes – while I’m beaten, the thought can’t help but enter my mind that I’m glad Othello never saw me like this... good riddance! And good riddance to his whore of a wife, faithful or not! I remain triumphant as always while they both rot in the ground, metres apart forever. I’ve never heard of a more satisfying fate. If he was to choose to not have me by his side, then he will have no one. The question, however, that I can’t help but ask myself, is why do I still ache? That idiot is dead because of no one’s fault but his own. He failed to recognise my worthiness, pushed me to the side like some sort of wingman, you cannot say my hand was not forced. So why do I ache like so?

If he was alive still, would he regret it? The fool, ending his own life like that... be a man! Othello, you moron, if you by any chance of the heavens can hear me now, you are a fool! Why in any sense of sanity you still held onto would you marry that woman? Did she know you better than I? Did she understand you more deeply than I? Did she stay by your side for god knows how long that put my years of loyalty to shame? I-

Look at me now. Pacing and yelling to the walls of this damned grey cell like some sort of deluded psychotic. No, Othello, you are not here. Good riddance. You are dead and I am alive, and  therefore I am the victor.

It feels less admirable than I had imagined it to feel.

There is no applause in this cell for me. There is a fire burning in my heart but just below it, my stomach is empty as it’ll ever be. My appetite should’ve been quenched the second that knife entered his belly but for some reason it’s getting worse as the days pass. Without him, they pass.

No, good riddance. The days pass as they always did and this time a man who has wronged me is not here to see it – that, in my books, is a cause for celebration. Why, if I was freed right now maybe I’d even go for a trip to the nearest tavern, and brag about my winnings to everyone I can see until my throat is raw.

However, and I truly may hate myself for this, I fear the second I storm in there and open my mouth to speak, the name “Othello” would already be presumed to be on my tongue. Oh, who am I to fool. There is no one here but me. Where his name, when spoken to me, now provokes ire and anger, it did so used to do the opposite. Speak on, I will not, for if there is one thing that I wish to hold on to other than my hand to my bleeding wound it is my dignity. These cracking cell walls, they speak. I should know; I’ve been on the other side of them for the majority of my time here. For Othello’s sake, nonetheless.

The fate he had he brought it on himself. Cassio was his choice? That good for nothing womanizer? If I were Othello I’d have killed myself the second that god-awful decision was made.

And yet, as he was told of my crimes, before he did end his own life so selfishly, I can’t help but wish the red in his face and the regret in his eyes could’ve been for a different reason. The flush of his face, maybe accompanied with my lips on his.

God, spare me! Let someone back into my cell to beat my wounds raw for thinking such a thing, and let my skull be cracked open on the cold, concrete floor for not wanting to take it back.

[reticent-writer]

Hiii, can you please write another fic about a teenage reader (16-18) and anybody from hazbin hotel. It can be about anything

HEloooo

Alastor x teen reader platonic

Headcannon by @ghostly-one: "During Alastor's absence, Reader went to the overlord meetings in his place"

✿✼:*ﾟ:.｡..｡.:*･ﾟﾟ･**･ﾟﾟ･*:.｡..｡.:*ﾟ:*:✼✿　

*knock knock knock*

You heard as you groaned and pushed your head up from your pillow.

"It's me, Y/n." You could hear the radio static through your door, "I have an errand to run and would like for you to join me."

"I'll be down in a minute." You replied as you started to get up.

------

"Oh, boy whats the plan, boss?"

"I like your suits."

"What are the antlers for?"

"Can I touch your ~staff thing~?"

"Are those your ears? or is it your hair? I can't tell."

The egg boiz were annoying the fuck outta you and Alastor. If you knew they would've tagged along, you wouldn't have come even if you were going to an overlord meeting.

"Hark Alastor, Y/n. How fare thee this day." Zestial appeared from nowhere in front of the both of you.

"Good evening Zestial, It's nice to see you again." You greeted with a smile as Alastor quickly threatened the eggs.

"Greetings Zestial." Alastor said as the sinners around you three started to take notice and run.

"Ah, the weather doth become this fine day."

"Indeed. Looks like we might have some acid rain this afternoon."

"If our luck doth hold! I do revel in the screams. How art thou? It has been an age since thou hath graced us with thy presence. Y/n hast been in thy lodging since thee've been gone." Zestial looked to you with a pleased expression as he patted your shoulder before continuing his conversation with Alastor.

"Some hath spun wild tales of you falling into... Holy arms."

"Hahaha Oh, I just took a well-earned sabbatical. Nothing serious. Though it's fun to keep everyone of their toes."

"There too hath been rumour of thy involvement with the princess and her recent flight of fancy. TELL ME, how does thou fall in such folly." Zestial would've creeped you out if you weren't used to his (and Alastor's) over-the-top and old-timey ways.

"That is more me to know. But please do guess. I'd love to know the theories."

"T'would be grander folly by far to assume the workings of your mind, Alastor. Thou hath been naught but an enigma since thy manifested in this realm."

"Coming from someone as ancient as you, I take that as quite the compliment."

The three of you made it the the building where the meeting would be taking place as you and Zestial stepped into the elevator you waiting for Alastor to tell the eggs to wait for him before pressing the button.

-------

You sat in between Alastor and one of Carmilla's daughters.

"Welcome, Hell sovereign overlords. I've invited you all here because you represent the controlling powers of out city. Together you own millions of souls. Souls at risk with the new extermination schedule. We need to discuss what can be done to minimize the impact to our interest." Carmilla said matter-of-factly. "Zestial, so good to see you, my friend."

"Enchanted as always Carmilla." He said as he sipped his tea.

Carmilla was about to look around the room when she spotted Alastor. The face that she made nearly made you laugh.

"Alastor?"

"Yes, I know I've been absent some time. I'm sure you've all been wondering." Alastor spoke like he'd been waiting 7 years just to say that.

"Not really. But welcome back in any case." She dismissed him. You could hear the static abruptly stop and had to bite your lip so you wouldn't laugh.

Once the meeting started you zoned out staring at the wall. To be honest you didn't really care about the meetings you were only there to show your face and now that Alastor is back it gave you less of a reason to care, but interesting things did happen quite often.

Like Velvette wanting a war with the exterminators.

✿✼:*ﾟ:.｡..｡.:*･ﾟﾟ･**･ﾟﾟ･*:.｡..｡.:*ﾟ:*:✼✿　

Zestial translation: It would be much more foolish to think that I understand how your mind works, Alastor. You have always been a mystery to me ever since you came into this world. (just thought it would be nice to add this.)

@ghostly-one

This is choppy and rushed but parade season is starting soon and I have a lot of performances before then too.

[bodhrancomedy]

Hey, a lot of people asked if I’d do another Shakespeare translation, so here it is.

“Where art thou Romeo,” has got to be one of the most misquoted and misunderstood lines in Shakespeare just after “If music be the food of love”.

Also, my phone got so hot filming this, it glitched the video.

(I’m a guy, by the way, but I’m fluid in Shakespeare characters 😂)

[talonabraxas]

A B R A C A D A B R A

The word Abracadabra is said to derive from an Aramaic phrase meaning "I create as I speak." However אברא כדברא in Aramaic is more reasonably translated as "I create like the Word."

In the beginning was the Word, and the Word was with God, and the Word was God. He was with God in the beginning. Through him all things were made."

In the beginning was the Word: the Logos, the sound frequency (vibration).

We know that speech means not just any kind of a vibration, but a vibration that carries information.

Thus, I create like the Word.

In the Hebrew language, the phrase translates more accurately as "it came to pass as it was spoken."

History:

The first known mention of the word was in the third century AD in the work Liber Medicinalis by Quintus Serenus Sammonicus, a physician to the Roman emperor, who suggests to wear an amulet containing the word written in the form of a triangle:

A - B - R - A - C - A - D - A - B - R - A A - B - R - A - C - A - D - A - B - R A - B - R - A - C - A - D - A - B A - B - R - A - C - A - D - A A - B - R - A - C - A - D A - B - R - A - C - A A - B - R - A - C A - B - R - A A - B - R A - B A

Abracadabra and the Gnostics:

Abracadabra was used as a magical formula by the Gnostics of the sect of Basilides in invoking the aid of beneficent spirits against disease and misfortune. It is found on Abraxas stones, which were worn as amulets. Subsequently, its use spread beyond the Gnostics.

Abraxas:

Have you ever been mesmerized while waiting for the sunrise? As you watch the horizon for that first burst of light, you get swept up in the eternal present moment. With baited breath, your sense of time is suspended, and you’re primed for a miracle. This is the “liminal zone,” the threshold between night and day, between here and there, between this and that. It’s the crossroads where anything is possible. And then the dawn breaks through, like a sudden burst of inspiration, like an act of creation: “Let there be light.” That is the magic of Abraxas, an enigmatic name that has perhaps always been closely associated with the power of the sun. This strange, mysterious name captures that magical, suspended, timeless moment: “all of time as an eternal instant.” Abraxas is the power of infinity—the promise of endless possibilities, the “cosmos” itself. In mythology, Abraxas is the name of a celestial horse that draws the dawn goddess Aurora across the sky. The name suggests a power that is not properly ours but rather a gift from another world.

But what of the name’s origin? It is likely, as an etymologist posited in 1891, that Abraxas belongs “to no known speech” but rather some “mystic dialect,” perhaps taking its origin “from some supposed divine inspiration.” Yet scholars, of course, search for a root. There are speculatory shreds of evidence which suggest that Abraxas is a combination of two Egyptian words, abrak and sax, meaning “the honorable and hallowed word” or “the word is adorable.” Abrak is “found in the Bible as a salutation to Joseph by the Egyptians upon his accession to royal power.” Abraxas appears in “an Egyptian invocation to the Godhead, meaning ‘hurt me not.’” Other scholars suggest a Hebrew origin of the word, positing “a Grecized form of ha-berakhah, ‘the blessing,’” while still others speculate a derivation from the Greek habros and sac, “the beautiful, the glorious Savior.” The name has appeared in the ancient Hebrew/Aramaic mystical treatises The Book of Raziel and The Sword of Moses, and in post-Talmudic Jewish incantation texts, as well as in Persian mythology.

An interesting occurrence of Abraxas is found in a papyrus from late antiquity (perhaps from Hellenized Egypt, though its exact origin is unknown). The papyrus contains “magical recipes, invocations, and incantations,” and tells of a baboon disembarking the Sun boat and proclaiming: “Thou art the number of the year ABRAXAS.” This statement causes God to laugh seven times, and with the first laugh the “splendor [of light] shone through the whole universe.”

The Basilideans, a Gnostic sect founded in the 2nd century CE by Basilides of Alexandria, worshipped Abraxas as the “supreme and primordial creator” deity, “with all the infinite emanations.” The god Abraxas unites the opposites, including good and evil, the one and the many. He is “symbolized as a composite creature, with the body of a human being and the head of a rooster, and with each of his legs ending in a serpent.” His name is actually a mathematical formula: in Greek, the letters add up to 365, the days of the year and the number of eons (cycles of creation).

“That a name so sacredly guarded, so potent in its influence, should be preserved by mystic societies through the many ages . . . is significant,” notes Moses W. Redding, a scholar of secret societies. Redding suggests that only in Freemasonry has this “Divine Word” been “held in due reverence.”

In Kabbalah:

As a carpenter the creator employs tools to build a home, so G'd utilized the twenty-two letters of the alef-Beit (the Hebrew alphabet) to form heaven and earth. They are the metaphorical wood, stone and nails, corner­posts and crossbeams of our earthly and spiritual existence. As in abracadabra "Αύρα κατ' αύρα" אברא כדברא, as he, she, it created the universe with; the Letter, The word, and the number.

As Kabbalist sages say G'd created the alef-beit, before the creation of the world. "The Maggid of Mezritch" explains this on the basis of the first verse in the Book of Genesis “בראשית ברא אלקים את השמים ואת הארץ—In the beginning G'd created the heavens and the earth.” Beresheet Barah Elokim Et (in the beginning God created the) The word את, (es or et) is spelled with an aleph, the first letter of the aleph-beit, and a tav, which is the last. The fact is, את, es, is generally considered to be a superfluous word. There is no literal translation for it, and its function is primarily as a grammatical device. So why is “es” present twice in the very first line of the Torah? It suggests that in the beginning, it was not the heavens and the earth that were created first. It was literally the alef-beit, aleph through to tav. The alpha and the omega, Without these letters, the very Utterances with which G'd formed the universe would have been impossible the Baal Shem Tov explains the verse, “Forever the words of G'd are hanging in the heavens.”

The crucial thing to realize is that G'd, creator, source did not merely create the world once. His Her It's words didn’t just emerge and then evaporate. Rather, G'd continues to create the world anew each and every moment. His Her It's, words are there constantly, “hanging in the heav­ens.” And the alef-beit is the foundation of this ongoing process of creation.

According to Kabbalah, Cabbalah and Qabbalah sages and scholars, when the same letters are transposed to form different words, they retain the common energy of their shared gematria. Because of this, the words maintain a connection in the different forms. We find a classic example of this with the words (הצר, hatzar, troubles), (רצה, ratzah, a desire to run passionately into the “ark” of spiritual study and prayer) and (צהר, tzohar, a light that shines from within). All three words share the same three letters: tzaddik, reish and hei in different com­binations. The Baal Shem Tov, explains, the connection between the words as follows: When one is experiencing trou­bles (hatzar), and one runs to study Spiritual txts and pray with great desire (ratzah), one is illuminated with a G'dly light from within (tzohar) that helps him or her transform there troubles into blessings, as it is said that the source of the twenty-two letters is even higher than that of the Ten Commandments.

As it states: “With you, is the essence of G'd", בך means “with you.” The (Beit which has a gematria of 2) and the (kaf = 20) added together equals 22. Through the twenty-two letters of the alef-Beit, we are all connected to the monad, G'd, Allah الله, the source, and each other through our words and language as words hold power as that which makes us All unique is language as language weaves everything together. These are the teachings of our holy teacher, as the The Zohar affirms that every sentence, every phrase, every word, and even every letter of the Bible exists simultaneously on several levels of meaning. This sacred work clearly declares, “Woe unto those who see in the Law nothing but simple narratives and ordinary words! . . . Every word of the Law contains an elevated sense and a sublime mystery.”

[Except from Path of the Sun Keepers by Paul Francis Young]

“Words have a magical power. They can bring either the greatest happiness or deepest despair; they can transfer knowledge from teacher to student; words enable the orator to sway his audience and dictate its decisions. Words are capable of arousing the strongest emotions and prompting all men's actions.” --Sigmund Freud

[lovaeri]

━━━━ the art of being seen ୨୧ 명재현

myung jaehyun ( 이찬영 ) x fmr bsfs2lvrs + smau fluff a teensy bit of angst highschool au yn is in denial for a lil

𝓢. where in, jaehyun has had feelings for his best friend for years and is looking for a way to subtly express his feelings for her. however, when a new transfer student arrives and begins taking interest in her, jaehyun is thrown into a dilemma. he now faces the difficult decision of either confessing his feelings directly to her or stepping back and risking losing her to someone else, all while trying to preserve their cherished friendship. ♡ @onedoornet

🪽 red velvet enjoyers bee simulator

001. wherefore art thou sigma

002. room forty

003. dont hurt em unc

004. bruh 😂 moment 😅

005. stayc mentioned

more soon｡｡

taglist is open ‹𝟹

all rights reserved; do not copy, translate or plagiarize any of my works 🐚

[the-magiarcheologist]

Reading the Ancient Magic Book Pages

I propose to you today a short analysis of the sections of text on the pages of the Ancient Magic book we find below the restricted section.

High-res images of the book’s pages have been shared by a kind soul. Here they all are:

I was working on a completely different post when I realised that the text on the last 2 pages was easily readable and written in Latin. So I just did a quick search and discovered that these are verses from the Vulgate (4th century translation of the Bible in Latin), more precisely from the Gospel of Luke from the New Testament.

A bit more research and I could find exactly which source they got this text from: the Book of Kells, a Celtic Gospel book written in Latin and illuminated in the Insular style (a combination of Celtic and Anglo-Saxon styles). The precise origins of the Book of Kells are debated but many believe it was created around the year 800 at the monastery founded by St Colum Cille on Iona Island in western Scotland.

Here I put side by side the pages of the Ancient Magic book and the pages from the Books of Kells where the text is from (folio 204r and 275r):

The verses they used are Luke 22:23

Et ipsi coeperunt quaerere inter se quis esset ex eis qui hoc facturus esset.

Which translates to:

And they began to enquire among themselves, which of them it was that should do this thing.

And on the second page, Luke 4:8-14

Et respondens Jesus, dixit illi: Scriptum est: Dominum Deum tuum adorabis, et illi soli servies. Et duxit illum in Jerusalem, et statuit eum super pinnam templi, et dixit illi: Si Filius Dei es, mitte te hinc deorsum. Scriptum est enim quod angelis suis mandavit de te, ut conservent te: et quia in manibus tollent te, ne forte offendas ad lapidem pedem tuum. Et respondens Jesus, ait illi: Dictum est: Non tentabis Dominum Deum tuum. Et consummata omni tentatione, diabolus recessit ab illo, usque ad tempus. Et regressus est Jesus in virtute Spiritus in Galilaeam, et fama exiit per universam regionem de illo.

Which translates to:

And Jesus answered and said unto him, Get thee behind me, Satan: for it is written, Thou shalt worship the Lord thy God, and him only shalt thou serve. And he brought him to Jerusalem, and set him on a pinnacle of the temple, and said unto him, If thou be the Son of God, cast thyself down from hence: For it is written, He shall give his angels charge over thee, to keep thee: And in their hands they shall bear thee up, lest at any time thou dash thy foot against a stone. And Jesus answering said unto him, It is said, Thou shalt not tempt the Lord thy God. And when the devil had ended all the temptation, he departed from him for a season. And Jesus returned in the power of the Spirit into Galilee: and there went out a fame of him through all the region round about.

I’m not christian and don’t know much about the Bible so I have no idea why they chose these particular verses. Maybe someone more educated than me will be able to chime in. My hunch is that these verses were just chosen at random from old manuscripts that the artists for the game were using as reference for the art style.

Now, since I was on a roll, I also looked at the text on the other pages. Pages 1 and 3 have some text written in some old form of Icelandic (figured that out from the few words I could sort of read on those pages). So I started looking into old Icelandic manuscripts but it took me a ridiculously long time to find the exact source the text is from! I was starting to go mad but here it is! It’s from an illustration of the Prose Edda found in the Icelandic manuscript ÍB 299 4to., in particular the illustration of the god Týr presented as Mars (folio 60r).

They took the short text in the little box and copy/pasted it mosaic style to give the illusion of the full page of text but you can see it’s just short sections that repeat over and over on both pages.

(To note: this manuscript is from 1764 so it’s sort of anachronistic for them to use this source for an Ancient Magic book that already existed in the Keepers time, meaning the Ancient Magic book is from the 15th century or older.)

Týr is one of the principal war gods in Norse mythology (alongside Odin and Thor) but he also presides over justice and the law. Latin texts often identified him as Mars (hence the subject of the illustration).

I could not find any transcription or translation of the text on the image, I could only decipher some words here and there such as «sigir hielldu» which google translate tells me could mean «victories held» in Icelandic. A bit further down there is «orrustu guð» which could mean «god of war». So it seems to be a short description of the god Týr and at the end there are roman numerals that identify the section in the Prose Edda where the story of Týr can be found.

Again, I can’t really see how this text makes particular sense in the context of the Ancient Magic book, probably just placeholder text from some of the sources they were studying as inspiration.

There is one last book page, but the text on this one is so blurred I didn’t even try to decipher it. Although I do note that the artist has traced over some letters which are: W S M I(?) I(?) I(?) Z N R(?) P(?) G W Q O U(?) H W R(?)

Don’t know… some of them are hard to read or could be not from the Latin alphabet. Again, I just can’t make sense of that. There are not enough vowels for it to be an anagram of an English or Latin phrase so… what else? I leave this mystery to others with more powerful brains than mine!

Anyway, this is it! Not really much to say about this but I think other people are also planning on looking into these book pages so maybe these findings can help them out!

[ineedtherapydesperately]

@valengory1234 you just sent me down an endless path imagining chloe speaking like shakespeare and being a shakespeare purist and shit like imagine the way she confessed to red or like flirts with red, or when she makes dirty jokes that nobody quite understands

like imagine chloe quietly confessing romeo and juliet style like but soft, what light through yonder window breaks? it is the east, and red is the sun. arise, fair sun, and kill the envious moon, who is already sick and pale with grief, that thou, her maid, art far more fair than she all because red dragged them onto a random rooftop on auradon prep to stargaze?? and red is just laying there, staring at the moon in complete shock, slowly attempting to translate everything because what the fuck, was that shakespeare?? and holy shit chloe is such a nerd?? because red NEVER bothered to learn shakespeare but it's so familiar and she feels like that little monologue was important?? and chloe is sat there, looking down at red lovingly, straight cheesing as she watches the love of her life attempt to understand her words

i already headcanon bridget calling red 'rose', but imagine chloe calling red that because of shakespeare?? because the man LOVED using rose imagery to talk about love, and just imagine chloe saying like a rose by any other name would smell as sweet which leads me to another idea about glassheart/charminghearts that i may post later if anyone is interested

like imagine chloe just sees red one day and starts reciting sonnet 18 at her, just because?? shall i compare thee to a summer’s day? thou art more lovely and more temperate- and red is just here, steadily growing redder, face absolutely matching her name because chloe, isn’t that like a love poem??? and chloe is here like well yes, i am trying to confess to you here if you don’t mind

ugggh imagine chloe fondly watching red scale the walls of auradon prep, running along the rooftops which is absolutely against the code of conduct, but chloe can't find it in herself to care because it's red, because red, you draw me, you hard hearted adamant, but yet you draw not iron for my heart is true as steel. let's ignore how this is contextually where helena is crying to demetrius and pretend that it's just chloe lamenting quietly to herself about her (not so) unrequited crush <3

imagine chloe rereading much ado about nothing (because she would absolutely reread shakespearian plays) and when red asks her how the play is, chloe says i mean, i'd much rather there be some to do about your nothing and red is confused because that didn't make sense?? only it makes sense if you take elizabethan era slang into account, which chloe, face completely straight, suggests red searches up, only to burst into borderline maniacal giggles when red's face once more flushes horrendously because chloe what the actual fuck?! because this is so out of chloe's character??? whether this happens before or after they're dating is anyone's guess

@blood-carnation here you go :D i have so many more scenarios in my mind hehe (my english nerd is showing 😔)

[asmodeus-682]

Random Hazbin Hotel scenario quotes.

(Not exactly incorrect quotes but can be seen as such)

Zestial: thou looks more tattered than a harlot's dress draped on a manure coated scarecrow

Velvette: excuse-a whst now?

Alastor: allow me to translate. Ahem, he said "you look more ugly than a scarecrow wearing a prostitute's dirty dress"

Velvette: ...fuck you old man

~~~~~

Vox: aww! My baby I missed you!!

Valentino: aww..how sweet, come her Voxxy

*Vox proceeds to push Valentino aside and runs to Vhark and hugs him*

Valentino, betrayed: ..fuckin' asshole..

~~~~

Charlie: so dad, any ideas on what to decorate the hotel with

Lucifer: huge duck

Charlie: wha-?

*Cue Lucifer summoning a 10ft tall rubber duck*

Lucifer: Big. Duck

~~~~

Zestial: I shall rip apart whomever chose to do this!!

Alastor: it- Zestial it's just a black eye-

Zestial: Thou art my son now and I will defend thee with my life!!

Alastor:

Literally everyone else present:

Alastor: I have a dad now :D

~~~~

Carmilla: what do you have there Zestial?

*camera pans to Zestial holding a teacup in one hand and Alastor in the other*

Zestial: tea

Alastor, who has just become an overlord: *aggressively snarling and trying to bite Zestial*

~~~~

Angel Dust: sooo- got any juicy dirt on Alastor?

Rosie, who is visiting the hotel: hm?

Husk: he means gossip Rosie

Rosie: ooooh!

Angel Dust: soo, anything ya got on him?

Rosie: he used to wear heels to appear taller but is damaged his hooves a lot so Zestial forced him to stop.

Angel Dust: HE HAS HOOVES!!?

[dedalvs]

Zhyler anon here again... I... I think you got the plural morpheme wrong. It fills me with apprehension and terror to correct you, someone I admire greatly, on your own language... but I have evidence (the Zhyler page on your website, on the "Relay Texts" page, links to the "Cursèd Relay", which links to a Zhyler text you translated in 2005(?!), which includes some grammar explanations, which includes the plural morpheme) 😭😭😭

So help me....

First you insult me by asking me to translate something into Zhyler, then you follow it up by pointing out a mistake, which leads me to discover two other mistakes, and to top it all off, you're using the word morpheme?! Who even are you?!

All right, now you have homework. First, watch this:

David's LCC1 presentation from literally 2006 that should have put an end to this whole morpheme nonsense

Then read this:

A kind of write up of the same presentation written eight years later because people were paradoxically still on about this morpheme nonsense

Then these three posts in this order on Tumblr.com, an obscure microblogging website you probably haven't heard of:

First post

Second post

Third post

Now for your question.

Yes, I got the frickin'-frackin' plural wrong! The stupid language is a stupid homage to not-stupid Turkish, and plurals in Turkish are associated with -lar/-ler. I turned that into the stupid past tense in stupid Zhyler and I STUPID FORGOT THAT in the first stupid post so I stupid got it wrong. Okay?!

But that's not all. Apparently in my own documentation I exclusively used IPA; I didn't have any kind of romanization. The romanization was invented for my website. I forgot this and so misread [j] as <j> (i.e. [dʒ]). I thought it was odd there was so much [dʒ] in this translation, so I feel better about that, but it means that every place you say <j> (and its associated orthographic letter) it should've been <y>. So that was wrong, too.

Anyway, after all that, I did correct the stupid translations, so here they are. First, enemies:

Then friends:

There! Art thou happy?! I'm not even going to get into how the plural is supposed to produce an even number of syllables but I don't remember what happened with case/possessive suffixes, so I don't know if it's literally supposed to be vedgayayum and širkÿyayum which seems ridiculous, but what isn't with this ridiculous language?

Now I banish thee once more!