#(referring to the fourth tag)

[draw-the-squad-like-this]

Literally a Meme Material

Draw your characters like this

[karizipan]

can anyojen hear me PLEASEEEEE

[scarapanna]

Magma stuff!!

Not on there rn since I'm gonna go eep for now but I'll give a heads up when I return there!

[madamerebloger]

Double trouble 👁👁

When viewer thinks they're safe⤴️

[solar-halos]

for this mood board monday, i present yet another ficboard. the board in question is of franka by @ongreenergrasses

[goosessideblog]

Thinking about A Square being returned wrong. Mirrored. Irreversible

A Sphere fucks up, and puts him down in the wrong direction, wrong side up. It's not like he remembers, but A Square certainly does. When he wakes up- it's too late.

The third dimension never phased him, but what about something so intrinsic as your own body, flipped the wrong way? The world becoming upside-down, having to relearn to navigate the places you called home. And it's such obvious proof of the third dimension, but what if it's all in your head? No one can tell with your features being confined to a corner, you can only try to explain the distress you're going through, but if you try you'll certainly be deemed a madman.

We know his knowledge changed him, but what if it changed him physically? In a way he can never return from? He could've passed it off as the strangest dream, denied it's truth, lived the rest of his life at peace, but how do you disprove something so concrete? Would he think himself insane too, after a while?

Someone let me access a two-dimensional being i have a hypothesis that needs to be tested

[motivated-by-pure-spite]

he's really playing into his jesus fixation huh

[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.

[unexpectedgeese]

There's something very Themes about how easy it is for meat to be viewed as its own entity, wholly separate from the creature it came from. Like. 

It’s about the level of wide-spread derealization required to live inside a meat grinder. This isn’t a person, it’s flesh– pure and disconnected from the suffering inherent to harvesting it. The objectification of consumption, both in a carnivorous sense and a capitalistic one.

And you can do the same thing on a personal level, and have a character view themselves as meat. You have someone that hates themselves so, so much that they split themselves in two, become a body and a brain, just so they have an ‘external’ object to project self-hate onto. Why can’t the body do what I want it to, be what I want it to be? (why am I weak? Why am I suffering? Why can’t I do what i’m told?)

[draw-the-squad-like-this]

(source) Draw your squad getting rescued

[imjustavenuxwithaboomerang]

ask game!! 10, 18, 22 🙃

omg questions yay!! great choices btw ask game here

10. least favorite character overall?

hmm probably missy and dale heheh don't really hate any of the characters that actually matter. actually no wait i don't vibe with jacey and i can't explain it (does he matter??? idk)

18. a character you wanted to have more depth/screentime

tbh angie (why have i mentioned so much of addie's family???) like this alien just crashed on earth, fell in love with a human, had a family, and then died, leaving a message for her kind to find, which required putting coordinates in her granddaughter ALL OFF SCREEN ???? WHAT??? and then probably just the main three aliens (but especially a-li and a-lan, cause a-spen at least got to (rightfully) crush on willa and zed and interacted with other people)

22. what's something you wish didn't happen?

hmmm i wish that zed never took the moonstone necklace (girl....z2 zed can fight me, still love him though) like i get why he did it but it's still theft and it ended up messing with his z-band and screwing up his chances of being president

[mayamelodyegg]

a bunch of krugchitas based on the little pochita bumpers after each chapter in the manga and different krugston universe episodesssss

name them all ! name them all ! :]c

[biioniic-biiohazard]

i spent like four hours on this help me

[ravs6709]

Hey math people do any of yall know a software that can allow me to graph a system of 4 differential equations without needing to define the solutions

(Either that or something that can allow me to solve for the solutions to the 4 equations)

[screamingay]

i did a little watercolor today! just trying out some stuff so i haven't finished any of them but it was good practice