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literaryvein-reblogs · 1 month ago

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Writing Notes: Enjambment

Enjambment - when the end of a phrase extends past the end of a line.

The definition of “enjambment” in French is “to step over.”

In poetry, this means that a thought “steps over” the end of a line and into the beginning of the next line, with no punctuation, so that the reader must read through the line break quickly to reach the conclusion of the thought.

The use of enjambment often creates a free-flowing poem that puts an emphasis on unexpected beats.

By allowing a thought to overflow across lines, enjambment creates fluidity and brings a prose-like quality to poetry. Poets use literary devices like enjambment to:

Add complexity. Enjambment builds a more complex narrative within a poem by fleshing out a thought instead of confining it to one line.

Create tension. Enjambment builds the drama in a poem. The end of the first line isn’t the end of a thought but rather a cliffhanger, forcing the reader to keep moving forward to find out what happens next. It delivers a resolution in the second line, or the third line, depending on the length of enjambment.

Build momentum. Enjambment moves seamlessly through line breaks where there is usually a forced pause in poetry. The brain wants to move quickly on to read the conclusion of the sentence, creating a faster pace and a momentum. It gives a poem a flow and energy.

Create an element of surprise. In some instances, enjambment is used as a plot twist technique, shifting to a conflicting idea from one line to the next, creating an element of surprise.

Play with syntax. Words in an enjambed poetic line are deliberately placed. A word used at the end of the line—where a pause occurs but the thought continues—is meant to be emphasized.

Complement performance. Enjambment was often used in the poetic dialogue in Shakespeare’s plays. The technique allows a character to flow with a thought instead of clunky, end-stopped lines that can disrupt the momentum of the performance.

Examples of Enjambment in Poetry

Here are examples that show how different poets have used enjambment. Read them aloud to hear the rhythm and where the poets place the emphasis in each line.

T.S. Eliot, The Waste Land (1922)

April is the cruelest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain. Winter kept us warm, covering Earth in forgetful snow, feeding A little life with dried tubers.

In his 434-line narrative poem The Waste Land, T.S. Elliot uses enjambment to evoke the momentum of the changing seasons. Eliot places commas in the middle of the lines to builds tension as the earth churns, ending most lines with verbs to describe and emphasize the metamorphosis taking place.

John Keats, Endymion (1818)

A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing.

Enjambed lines can take full advantage of rhyme schemes as seen in Keats’s Endymion. This technique of mixing enjambment with rhyme gives the illusion that there is closure after every second line, and mimics an open couplet — a two-line stanza that contains a single thought — but the enjambment pushes through and carries on.

William Shakespeare, Hamlet (1609)

To be, or not to be—that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune Or to take arms against a sea of troubles, And by opposing end them. To die- to sleep- No more; and by a sleep to say we end The heartache, and the thousand natural shocks That flesh is heir to. ‘Tis a consummation Devoutly to be wish’d. To die- to sleep. To sleep- perchance to dream: ay, there’s the rub! For in that sleep of death what dreams may come When we have shuffled off this mortal coil, Must give us pause. There’s the respect That makes calamity of so long life.

Shakespeare’s Hamlet is written for the stage. Enjambment is a literary device used to instruct the delivery of lines projected to an audience. In this soliloquy, as Hamlet prepares to avenge his father’s murder, the rhythm of enjambment mirrors his pensive train of thought as he processes and reflects on the meaning of life.

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#enjambment #poetry #writeblr #literature #writers on tumblr #writing reference #dark academia #spilled ink #writing prompt #creative writing #writing tips #light academia #writing notes #writing inspiration #writing ideas #poets on tumblr #writing resources

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conazo · 1 year ago

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Valentino writing tips: language

I’m not an expert by any means, but I thought I might provide some insight into how I, personally, handle the nasty moth's dialogue.

Like all languages, Spanish is highly regional. We don’t really know Val’s actual background as a Sinner, so your guess is as good as mine. Given his VA is Puerto Rican, however, I write Valentino as someone who speaks Caribbean Spanish (like me!). The three Spanish-speaking countries/territories in the Caribbean are: Puerto Rico, the Dominican Republic, and Cuba. I'm not familiar with Cuban Spanish, so we'll focus on the first two for now.

Some of these are more specific to one place than the other, but I’m mushing them together for simplicity’s sake (don't come at me).

Fun quirks of Dominican and Puerto Rican Spanish:

A habit of shortening words, like “ven pa’ca” (“come here”) instead of “ven para acá.” We frequently eat the letters “r,” “s” or “d” toward or at the end of some words.

Pronouncing “r” as “l” in some words.

Pronouncing “t” as a soft sound between a “th” and a “d.” Although this voice has a Spanish (from Spain) cadence, you can hear the modified “t” sound in “Valentino” here.

Fun Dominican and Puerto Rican words and phrases:

“Coño” as a casual curse, typically used as an expression of frustration (like “fuck!”). My username is basically a really intense version of coño, and is a very Dominican phrase.

“Diablo,” which means “devil,” is also commonly used as an exclamation.

“Hijo de la gran puta,” a classic that roughly parallels "son of a bitch," but literally translates to “son of a great whore.”

“Papi” or “papi chulo” (“cute daddy”) as a term of affection. “Papito” is the diminutive version of this phrase.

On that note, you can add “ito” to the end of just about anything to make it a diminutive (cutesy/smaller version). “Chulo” means cute, for example. “Chulito” is the even more affectionate/smaller version of that.

“Dique,” which is used to express doubt. Vox might say, “I am not obsessed with Alastor!” Valentino might mutter “diiiique” in response. This is a Dominican thing.

“Wepa,” which is something usually shouted in excitement. This is a Puerto Rican thing.

“Vaina,” which kind of means “thing,” often with a negative connotation. So, Valentino might look at one of Velvette’s designs, find it hideous, and say, “que vaina más fea, oof” (“what an ugly thing, oof”).

“Fó,” which is sort of “ew” or “gross,” usually re: bad smells. You shout it.

“Mano,” short for “hermano” (“brother”). Used between friends.

“Dímelo” (“tell me”) as a greeting. Something that would be said when answering the phone, for example.

“Cojer” as a means of saying “to take,” like taking something from a table. This word has a very different context in other regions. In Mexico, for example, the verb “cojer” is vulgar and means “to fuck.”

“Ahorita,” which in my experience means “later.” In other regions, it can mean “right now” or “later” depending on context.

Commonly used phrases in Mexican Spanish.

You’ll want to avoid these if you’d like his dialogue to be consistently Caribbean-inspired:

“Pinche”

“Verga”

“Wey”

“No mames/no manches”

“Qué padre”

“Chingar”

Calling acquaintances “primo” or “jefe”

I mention this Spanish dialect specifically because it's the most common one in the world. And hey, Val could be canonically Mexican or Mexican in your headcanon! That's cool, too. I'm just providing insight for consistency's sake.

Other insight:

“Ay dios mío!” is a generally overused phrase, in my opinion, and not actually said IRL as frequently as TV makes it seem. Just my experience, though.

“Ay” or “uy” are good filler sounds. You hear Val shout it when Niffty snaps at him.

Valentino canonically squeaks like a moth when passionate!

His voice takes on an echo/growl when he’s particularly angry.

Mixing English and Spanish is tricky. Spanglish is not uncommon in PR, DR, and the US, but usually only when speaking with someone else who is fluent in both languages. Valentino seems plenty fluent in English; he uses lots of contractions, complex sentence structure, and slang. He doesn’t need to inject Spanish phrases in favor of English ones when conversing with another English speaker. He does do it sometimes for emphasis (“the devil’s princesa” or “this chiquita”).

As cliché as it is, defaulting to a Spanish phrase in moments of alarm, anger, frustration, or affection is also not uncommon if you grew up in a Spanish-speaking home. If someone surprises me, I shout “coño” by default, for example.

Valentino uses pet names when referring to others, like "amorcito" (“little love”) and "Angie" over voicemail.

Generally speaking, Val likes to stretch his vowels to be theatrical ("he mooooved!"). He sometimes eats the ends of English words, like “fuckin’” instead of “fucking.” He also sometimes rolls his “r” for English words, like in “ungrrrateful whore!”

Val's accent isn’t consistently strong, which could be a stylistic choice, or he could just be prone to a kind of unique code switching, for lack of a better term. My friends say I speak English with a Spanish accent when conversing with my family, for example (it’s not intentional).

Okay that’s it, bye!

#valentino #hazbin hotel #writing #staticmoth #voxval #Vox

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sparks-chaotic-cove · 3 months ago

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SO! Bound Lore happened- was pretty good and whimsical today (March 1st, 2025)

We got a bit of luxtent today, so I went ahead and deciphered and translated it (tho im sure the discord is far ahead of me!)

Blank text:

[x] Detrudere (deht-true-deh-rey)

[x] Reddere (rehd-eh-rey)

[x] Ex haurire (ehcks (like saying 'x') hawr-ear-ay) (OR: exhaurire)

[(check)] Redde Furto (rehd-ay fur-toe)

Translation: (to the best of my ability)

[x] To push away (the verb is in the infinitive form, and can also be translated "thrust/force/drive away")

[x] to return (infinitive form, can also be translated "hand over", "deliver", "pay/give back", or "restore"

[x] to draw from/draw out/drain/empty (Infinitive, plus the preposition "ex" [which is used to convey going out of something- the word "exit" comes from it], however, this verb (haurire) can also be translated as "Drain", "devour", "drink", and "exhaust")(NOTE: exhaurire is very similar in meaning, but has a more sense of drawing out/emptying!)

[(checked)] Return the stolen article (Redde, which is actually the same word as "reddere" means "return"/"restore"/"pay/give back", and is in the imperative case- which translates as an order, and is the singular version of the imperative [example: "porta aquam! = "carry the water!" ]. Furto is usually translated as "theft"/"deception"/"trick", but I believe it's meant to be "the stolen item/article". It is in the ablative or dative case, but I believe it's meant to be the direct object?)

Image/Original:

#yes im translating this at midnight dont worry about it #anyways lore is gonna be fun #hows rune gonna return what he stole? (the magic)#guess we will have to seeeee #sparkrambles #boundsmp #skybound smp #skyboundsmp #rune ventura #rune boundsmp #bound smp #vast cadere #Atlas Abernathy

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ranticore · 8 months ago

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I thought I'd make a quick "here's how u pronounce" for some names/words in inver & hibernogallic (the french language spoken there)

If I was really hardcore about it I'd post voice clips of me saying the words but if I did then u would know that i am shocking bad at french

Inver - not pronounced like the real world place Inver. It's more like "awn-ver"

Esk - not what you think - try to mash "esk" and "ash" into one word while you say it Comes from the first syllable of Eiscir.

Félix - sorry fellas it's "fay-LEES" as in 'lease'.

Senca - that's "San-ka"

Islin - you can pelt me with sticks and rocks for this one. It's "Ish-la"

Ó Donnchadha [Islin's surname] - irl this is the root of "O Donohue" but it's not spoken that way. "Dun-a-ha" is the best way I can write that without explaining how lenition sounds ('cha')

Erica - short for Ericales so it's like "er-ee-ka", not the feminine form of Eric.

Sionnach [Eri's surname]- "shun-ach" again with the soft ch. You can google how to pronounce that one

Carhaix - no fuckin clue I think it's car-ay

Lough - just say "lock" don't even try anything else

D'Ouilly - it's like Dwilly but ppl in Inver sometimes call them Dawleys.

Sidhe - you know how to pronounce this one

Searrach - if you got Sionnach right then you can work this one out too I believe in you

Amhan - that's "awan" and yes from the same root as avon

Invergorken - from Inbhearr Ceann, locals would scrub out the middle syllable and just say "Inverken". You can tell an outsider by their more careful pronunciation

Síofra - "shee-fra"

Valéry - not like Valerie, heavy stress on the second syllable so it's "vaLERy"

Ye - everyone is wrong about this. It's not "yeh" it's YEE and it's a plural "you". Similar to yous, yeez, or y'all

Wycombe - a real place I've been to multiple times and we'd see the road signs and go ahh it's WHY-CUM-BEE but it is in fact pronounced wiccam or if you prefer, Wickham. Basically the only time I let a character have an English name.

Some additional notes on the language - it's mutually intelligible with hibernian and aquitanian but considered really ugly by native speakers of both those languages. The most common complaint is that it sounds like someone speaking their language through a mouthful of rocks

There are no standalone words for "yes" or "no" - when they are used (and I made sure while writing that they are not used often in dialogue), it's usually as an additional affirmative in a sentence, and not in answer to a question. I slipped up a few times tho

To answer a question in the affirmative or negative instead of saying yes or no, you just repeat the verb from the question - "did you sleep?"/"I did" - "have you seen this?"/"I haven't"

#mvf

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aikoiya · 1 year ago

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LoZ: TotK - Gerudo Language 3: Verbs

I've been seeing a lot of additions on the part of fans & I hope people keep going with this.

Anyway, I am basing this all off of both official Nintendo approved words, a bunch of other people's ideas, as well as a mix of Egyptian, Middle Eastern, Sanskrit, & Hindu words & random shit that I pull from betwinxt my booty-cheeks. So, be warned.

For the rest of my Gerudo Language Series, go here: Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, & Part 7.

GeruLang: Diacritic & Diagraphic Characters

Words with a * at the front indicate that I'm not the one who thought it up. Basically, a disclaimer.

A lot of them are likely from Va Ehenihv's site, so if anyone from there comes across this & wishes for me to remove some things from here, I am more than willing to discuss.

—

Here is the Gerudo alphabet:

And this is what I think the Gerudo's numerical system would look like based on the above alphabet & my personal headcanons.

—

Pronunciation & Diacritics:

When ' (called a 'Khàmza) is both proceeded & followed by a consonant, the 'uh' sound is added in between when spoken, but when it's proceeded or followed by at least 1 vowel, it isn't. Unless, it's proceeded by an 'H' that, itself, is proceeded by a vowel. Then, the 'H' is also treated as a vowel. Or when the consonants on both sides are the same. In which case, the 'uh' is not pronounced. Eg. Sol'lét is pronounced like 'sohleyt.’

A & a is pronounced like "uh."

Á & á is pronounced like "a," as in "bat." (When spelled in English phonetically, it's written "bæt" with a hard "a.")

À & à is pronounced like the "a" in "are."

Ā & ā is pronounced like "ay," as in "day."

Â & â is pronounced like the “ow” in how, now, wow, & cow in that is sounds more like “ahw.”

Ae sounds like a breathy, "Hhayh." And I mean there's a decent amount of breath in the imaginary "h"s, especially the first one. The first one is even a bit similar to a khet, but not as harsh, while the other 2 get progressively softer, before the last one where it's like the word itself is losing breath, leaving the last note seeming airy.

Č & č is pronounced with the “ch” sound.

E & e is pronounced with the short "e" sound.

È & è makes the "eh" sound.

É & é makes the "ey" sound.

Ē & ē makes the long "e" sound.

Ḫ, ḫ, & ח is pronounced “kh” or like the Scottish “ch” (as in loch). Makes the exact same sound as the Hebrew ח, called khet or khes, which originates more from the back of the throat, giving it a harsh, throaty sound.

I & i makes the short "i" sound, like the "ick" in "sick" & will be expressed as “ih.”

Ï & ï makes the long "e" sound, same as "ē."

Ī & ī makes the "eye" or “ai” sound.

J & j either sounds like 'y' or like 'ž/zh/jh' depending on the letter before it. 'Ž' or 'zh' or 'jh' as in 'zhuzh it up' or 'give it some jhoojh,' so sort of a buzzing or engine-revving sound. If the proceeding letter is a vowel or a vowel followed by an 'h,' it sounds like an 'h,' but if it is a consonant or the start of a word, it sounds like 'ž/zh/jh.' In the case of being proceeded by a 'd,' the 'd' is silent, but the 'j' still behaves as if proceeded by a consonant. However, if the 'j' is proceeded by ', then it automatically makes the 'jh' sound.

O & o sounds like ɒ or the short "o" sound, as in "on" or "off."

Ó & ó sounds like "oo," but shorter.

Ō & ō sounds like the "o" in "home."

Ô or ô sounds like the "aw" in dawdle or awe.

Oo is pronounced like the “oa” when a New Yorker stereotype says "oar." So, more like "oh-ah." The sound is produced by puckering the lips then widening the lips to lift & soften the sound at the end.

Rr is a voiceless alveolar trill that is the same as the rolling trill of a Spanish “rr,” but whispered. As such, in pronunciation, it will be expressed as either “rr” for simplicity or “r̥.”

U & u sounds like "uh," same as "a." Also sounds like the "i" in "third" or the "ea" in "earn" depending on how it's used.

Û & û sounds like ho͞o, or the long "oo" sound, but longer. It also acts as an automatic “h,” depending on the letter that it proceeds, it'll alter their pronunciation. EX: Sû sounds like “Shooo,” Pû sounds like “Phooo,” Xû sounds like either “Skooo” or “Shkooo,” & so on.

Ù & ù sounds like the long "oo" sound in "pool."

Ú & ú sounds like ʊ & o͝o, which represents the long "oo" sound in "book," “hook,” “look,” “cook,” “took,” “rook,” etc. - Think “When we read books, we read them towards the right.”

W sounds like “Vw” rather than simply “W.”

X & x is pronounced either like "sh" or "zh" depending on the situation. Except for when it's proceeded by an "h" or ', at which point, it comes out sounding like "sk" or "shk.”

Ž sounds like the “s” in “measure.”

And this is how I think the diacritics would be spelled.

Ā, É, & Ī all have 2 ways to write them, the 1st of each listed being considered formal & proper, while the 2nd listed are consider informal & casual.

I've also made a few digraphic characters.

---

Also, if you happen to see repeat words, like same Gerudo word used multiple times for vastly different things, I'd very much appreciate a heads up.

Grammar:

Names do not have ' in them as a rule.

-'ōt (Pronounced: -oht) = Very or so. Eg. Sàv'ōt means "very good" or "so good." Sàv'ōt being used as praise or to complement cooking or in other, more intimate situations.

-'té (Pronounced: -tey) = -th, -rd, -nd; a specified number in a numbered sequence. Eg. Uàf'té (Pronounced: oo-ahf-uh-tey) means 8th. The letters are regularly smaller than the number & are arranged one on top of the other in a column.

-'è = Suffix indicating "of." To be placed at the end of what is possessing. Eg. Goddess of the Sand would be Geru'è Vallah.

-'jï (Pronounced: -jhee or -zhee)= Possessive suffix. So, if something belongs to Aaqlet, then it's Aaqlet'jï. Much like with -'té, the 'j' & 'ï' are also smaller than the rest & stacked on top of each other in a column.

-éda = -ing. Suffix indicating that something is happening right now.

-'úl or úl (Pronounced: ool) = Indicating that something happened in the past. Past tense.

-en or -n = An indication of a word being plural. Both are technically correct, but 'en' is considered proper grammar. Some words already end in '-n' & when it isn't proceeded by an 'e,' you can just tack '-en' to the end. Making '-n' into '-nen.'

- -ae = Another way to indicate plurality. This is typically done when the word ends in '-a.'

Ih'- = A or an. Used as a prefix to a word.

Adï'- = Adoptive or surrogate. Used as a prefix.

Dōr'- = -less. To be without something.

-īs = -ful. To be full of something.

Kōli'- = Every-. Used as a prefix indicating all of something.

Muhs'- = Not or un-.

-ubé = -tion.

*Dulï'- = Any-. Used as a prefix in words such as anywhere, anything, anyone, ect.

- *Dulï'vomoq = Anyhow.

- Dulï'zī = Anyone.

- Dulï'mihd = Anywhen.

- *Dulï'fihk = Anywhere.

- *Dulï'fàyo = Anymore.

- *Dulï'xakè = Anybody.

- *Dulï'rekàna = Anything.

- *Dulï'tïto = Anytime.

-xē = An indication of something being more. Such as deeper, bigger, greater.

Wahl'- = And. Used as a prefix for the last item in a list.

Al'- = The. Traditionally has the ', but in situations where other prefixes are applied, the 2 prefixes are merged.

-qiz = Suffix used to mean “-en.” Like, awaken.

-ūn or -ám = -en or -an, but as in, a state of being something.

Lï'- = To. Used as a prefix to indicate an action, but only when "to" is necessary. Eg. Lï'kaa is "to do."

Yà- or -yà = Little or small. Used as either a prefix or suffix to indicate a diminutive. Often used in terms of endearment.

- Yàrï- or -yàrï = Tiny or teeny, but specifically in reference to the object of the speaker's attentions' cuteness as a side-effect of said smallness. Like, an ultra diminutive. Often used in terms of endearment as a suffix & is basically baby talk. - Vai will also often sing "yàrïyàrïyàrï~" at babies or puppies or kittens as a way to say how sweet & cute they are, thus being the equivalent to "coochi-coochi-coo," but what they're actually saying is "tiny-tiny-tiny." - Conveys great affection, but is strictly for platonic or parental use. Not normally for romantic use. Also often used to indicate an infant form of something, but in a baby-ish way. Eg. Gàtïyàrï for kitten. But it's used in a way so as to say, "Look at this little baby cat! Isn't it precious?!" So, not used as an official or scientific term.

-zī = One. Can be used as a suffix in addressments.

Và'- or Và- = A prefix referring to a female. Was once used to shorten long feminine terms, but is now used regularly.

Vo'- or Vō- = A prefix referring to a male. Was once used to shorten long masculine terms, but is now used regularly.

Ran or Dā- = Great, big, or glorious.

Fé or Nae = In. Also used as a prefix.

- Févūju or *Naevūju = Inside.

- Fé'lï or Nae'lï = Into.

Ta'- or Ta = Out.

- Ta'letraq = Outshine.

Vataa = Or.

- Taa or -taa = Or. Shorthand. Also used as a suffix at the end of items in a list of options.

Indicitive Prefixes:

*Nï’- = I (verb).

*So’- = You (verb).

*Fu’- = He (verb).

*Va’- = She (verb).

*Ween’- or Wēn’- = (Inclusive) We (verb).

*Neen’- or Nēn’- = (Exclusive) We (verb).

*Soen’- = Ya'll (verb).

*Foon’- or Fùn’- = (Masculine) They (verb).

*Vaan’- = (Feminine) They (verb).

*Shūn’- = (Masculine & Feminine; specifically in the plural sense, not for singular use) They (verb).

In modern days, when an indicative is followed by a verb, it can be used as a prefix for that verb.

Possessive Suffixes:

-nï = My.

-so = Your.

-fu = His.

-va = Her.

-ween = Our & your.

-neen = Our, not your.

-soen = Ya'll's.

-foon = Masculine their. This term has been nearly lost.

-vaan = Feminine their.

-shūn = Masculine & feminine their. Used to indicate that there are either both men & women or that the speaker isn't sure. For plural use only.

When not used to indicate possession, should be accompanied by a ‘. For instance, "bury me" would be Biru'nï. Otherwise, the word comes out more like "my bury," which makes very little sense.

Verbs:

When unaccompanied, verbs end with a "ù." The "to" at the beginning is generally just implied, but when the "to" is used in an actual sentence, the word starts with "Lï'-."

When "to be" words are actively used & require the "be," they start with the prefix "Zeq'-" or "Zo'-."

When both are required in the sentence, use "Lïzo'-."

When a verb requires “get,” it starts with the prefix “Tah’-.”

Zeqù = To be.

- Zù = To be. Shorthand.

- Zo = Be.

*Uayù = To have or own.

*Kaalù = To do.

Dù = To go.

*Yàkù = To carry.

Balù = To bring.

- al'Ântri’è Balïj = The Bringer of Demise.

Lhàrmsikù or Lhàrmkù = To hold.

- Lhàrmkah = Holder.

Sanhītù = To bear.

- Sanhītumù = To endure.

Litufūpàrù = To loom overhead.

Dôrù = To turn.

- Dôrnae'lù = To turn into.

- Dôrnae'lï = Turn into.

Zo'kodīqù = To be tight.

- Kodīqiz = Tighten.

Yajàbù = To wonder.

Tokhù = To open.

Haeduthù = To happen.

Jōshtànù = To sing.

- Jōshtàno = Sing.

- Jōshtia = Song.

Pàrasnù = To make.

Zo'kitabù = To be satisfied, satiated, or sated.

- Kitabae = Satisfy, satiate, or sate.

Zo'xànù = To be certain or sure.

*Qasù = To become.

Àmlōtù = To accept, agree with/to, or have a positive opinion.

- Àmlōta = Accept.

Īnshù = To will.

Yasheù = To feel.

*Xïhnù = To taste.

Hàvmaeù = To hear.

Pachūnù = To touch.

*Vur'nù = To see.

- Vur'hyaanù = To watch.

Nolù = To offer.

- Noli = Offer.

*Kàlù = To take.

Aktù = To give.

*Sāqsù = To live.

*Sorqù = To die.

Vashorqù = To destroy.

*Uàrù = To break.

- Uàrïr = Breaker.

*Situkolù = To dominate.

Gàtagù = To kill.

Uregàtù = To murder.

- Uregàta or Urego = Murder.

Gib'balù = To execute. Lit. “to bring death.”

Ghéshtànù = To conceive or create.

Nihayàntù = To end. To bring an ending. To close. To finish. To terminate. To bring terminatus.

Ântù = To end, conclude, finish, close, cease, doom, terminate, termitus, expire, expirate, evanish, surcease. Can be used to mean “to bring an end to something or someone in a dramatic fashion.”

Hālákù = To destroy, perdit, bane, end.

Vīlumaaptù or Vīluptqïràdù = To make extinct. Indicates something of a finality. To smother or snuff out.

- Vīlumaapti = Extinct. Indicates something of a finality. Smother or snuff out.

*Kàlehbù = To finish or complete.

Upyàzù = To visit.

Syātù = To pick/pluck.

Tàrāmbàstù or Tàrāmekù = To string something together. Ex. A necklace or words.

- Tàrābàsta or Tàrāmeka = String together.

Bīvtekù = To enchain. Lit. “to chain together.” Refers to the act of enchaining, or state of being enchained. As in, to chain or link together.

- Bīvteka = Enchain.

Sitaklàtù = To drape.

Tàzkrutù = To decorate.

Vistaarù = To expand.

Vistaar'ūpù = To expand upon; to explain.

- Vistaar'ūpàr = Expand upon.

Làgatù = To seem.

Hibù = To like. As in having a positive opinion of something.

- Nahibù = To dislike.

*Sahqaz'nù = To wish.

Tumainù = To hope.

Saarqù = To prepare.

- Saarqubé = Preparation.

*Būjù = To steal.

- *Màgbūjù = To steal (food).

- *Vībūjù = To steal (jewelry).

- *Rūbūjù = To steal (rupees).

- Chibūjù = To steal (a heart).

-- Chibūjhōr & Chibūja = A thief who steals hearts. Used to refer to heartbreakers, casanovas, lotharios, femme fatales, homme falates, ect. Regardless, it's used to mean someone who is charming, suave, but also dangerous. Though, mostly for your heart.

*Vaaqontù = To say/tell.

- *Sabottù = To speak/talk.

*Vaq'ribù = To laugh.

Rakàdù = To cry/weep.

Bokàdù = To weep/sob.

Huzkàdù = To grieve.

Yōjaytù = To connect.

Ehnyiqù = To tease.

Yukarsù = To flirt.

Judhaanù = To entice.

Qàblzù = To kiss.

Īmtù = To suck.

*Nonù = To hate.

- *Muhslàrnonù = To hold a grudge. Literally, "long hate."

*Màtù = To love (romantically).

- Màtu or Màt = Love.

- Zo'màtù = To be in love.

Tah'màtu'kàvtù or Tah'màt'kàvtù= To get married.

- Zo'màtu'kāvtù or Zo'màt'kāvtù = To be married.

Shàqù = To adore. Implies passionate affection & emotional investment. Can be used romantically. But when used alone, can also just express something you are legitimately passionate about. Regardless, It is associated with very deep & overwhelming feelings of affection. The use of Shàq always indicates a level of emotional investment & showcases an intensity that is endemic of deep-seated affections. When using it in reference to a hobby or passion, it displays strong commitment & enthusiasm. For instance, saying “Nï’shàq jōshtànéda” suggests that singing isn't just something you do casually, but rather something they consider to be a big part of their life. - I got the idea from the Arabic terms, Ana a'shaquka & Ana a'shaquki.

- Màtushàqù or Màt'shàqù = To love passionately.

- Zo'màtushàqù = To be deeply in love.

*Qabù = To want.

*Ehnù = To need.

- *Ehna = Need.

Āmàlù = To love (platonically or familially) or to care.

- Āmàl or Màl = Love (platonically or familially) or to care.

Hōmútakù = To lust for.

Nonmútakù or Tūs’mútakù = To find abherotic. To lust after someone you hate. Implicates a desire to dominate. Heavily associated with the idea of conquest. Psychosexualism.

Tūsatù = To dominate.

Fïtaanù = To enthrall. As in, to fascinate, mesmerize, seduce, echant, or bewitch.

- Mohdaasù = To thrall or enslave. As in enthrall; take captive. The state of being under the control of another person. Can be used to refer to one who is enslaved. Can also be used to refer to one under mind control.

Vákhya’tù = To imprime. Meaning to drive one's prey from their shelter.

- Vákhya'ta = Imprime. Lit. “to drive out.”

Yinaetárù = To enchase. 1) To set something into something, such as a gemstone. 2) To decorate with jewels or with inlaid ornaments. 3) To cut or carve, as with a weapon.

Bàzimayù = To scourse. Meaning to barter or exchange.

*Saadï'qù = To dance.

- Saadïna'qù = To dance passionately.

- Dïna'qù = To dance passionately. Shorthand.

- Judhaadïna = A passionate & fiery dance of enticement. Meant to attract a match by drawing a target into dancing with. Though, the more forward dancer may even simply sweep the individual that they're interested in into it.

*Vuqu'ambù = To walk.

*Uayù = To have or own.

*Vīqaanù = To know.

- Vīnù = To know. Shorthand.

*Strunù = To sell.

*Zo'rijù = To be sorry.

- *Rijō = Sorry.

Yàsanonsorqù = To forgive. Literally, “to let hate die.”

Letráqù = To shine.

Yasmàù = To allow.

- Yasmà'nï = Allow me.

Yàsaù = To let.

Kàrakù = To crank.

*Pàrmàgstù = To cook.

- *Brukākù = To bake.

- *Vlihngsù = To whip (as in cooking).

- Lobmàgù = To fry.

- Maezù = To mix/stir/combine.

- Shifamàgù = To grill.

- Tahnù = To grind.

- Fàzù = To beat (as in an egg).

- Sarù = To grate.

- Mahklù = To sift or separate.

- Sharù = To slice.

- Sharï = Slice.

- Qaxàrù = To peel.

Taqhànù = To distill.

*Pungù = To poison.

Makalù = To eat or consume.

*Hïhxù = To hunger.

- Zo'hïhxï = To be hungry.

- *Hïhxï = Hungry.

Màvātù = To feast.

Lràbù = To drink.

*Sekàjù = To thirst.

Zo'plexù = To be full.

- Plexō = Full.

Plixù = To fill.

*Laemedù = To swallow.

- *Laemedo = Swallow.

- Sāflaemedïr = Sword-swallower. An entertainer able to swallow swords. Alternatively, also used to refer to one who is especially skilled with swallowing “swords.”

Balù = To bring.

Zo’nerxù = To be wise.

Takàthurù = To breed.

Nàkahù = To fuck.

Vamàtù = To make love.

*Fāntù = To raise or rear (as in a child).

- *Fānta = Raise or rear.

Qûtù = To fall.

Birù = To bury.

Tumainù = To hope.

Yahdurù = To attend.

*Sàreqù = To praise; be thankful.

Fàsïhù = To divide or separate.

- Manfàsï = Division or separation.

*Uàrù = To break.

- Uàrïr = Breaker.

*Situkolù = To dominate.

*Zo'hehferù = To be afraid.

Zo'pashārù = To be wary.

Sàv'pashārù = To beware. Literally, “to have good wariness.”

Nerx'pashārù or Nérpashārù = To beware. Literally, “to have wise wariness.”

Zo'pashù = To be aware.

*Zo'jajànù = To be angry.

Zo’kātitù = To be bitter.

*Saktàrù = To abandon.

*Yusabù = To abuse.

*Otdanù = To accuse.

*Vemehnù = To adhere.

*Ehstejàmù = To anticipate.

Xipù = To argue.

Kalrànù = To arrest.

*Bràntù = To advise.

*Lōmatù = To answer.

*Qorù = To ask.

*Zo'muhsqorosù = To be loyal. Literally, "to be unquestioning."

Vinyàchù = To beg. Lit. “to humbly beseech.”

- Vinyasmù = To pray. Lit. “to humbly request.”

*Jkàrù = To assist or help.

- *Jkàdalù = To save or rescue.

- *Jkàdalï = Save or rescue.

Yarràktù = To protect.

*Sulpinù = To attack.

*Jomedù = To choke.

Vinyù = To humble.

*Dīstù = To bathe.

*Kàlehbù = To finish or complete.

*Vlïngsù = To whip (as in attacking or flogging).

*Pehmehstù = To hunt.

Yàzrupù = To plant (something in the ground).

*Īhtïhlàgù = To respect.

*Kàvtù = To bind.

- *Zo'kāvtù = To be bound.

Surrù = To pleasure.

Isûlfetù = To do or commit evil.

Yunqù = To infuse.

- Yunqae = Infuse.

- Yunqaerib = Infusion.

Zo'aembù = To be just.

- Aemba = Justice.

Xulù = To sew.

- Xularàzù = To embroider.

Kilù = To knot or tie.

- Ih'kilu = A knot.

Yànlinasù, Nūsjù, or Būntù = To weave.

- Būnti = Weave.

Koyusa = Style.

- Uay'koyusù = To have style.

- Zo'koyusù = To be stylish.

Yuelù = To declare.

Ïdeaù = To claim.

Shàrikù = To partake.

Làgù = To sleep.

Spànù = To dream.

Umehù = To wake.

Ledpù = To tire.

Bàrumù = To weary.

- Dunlàm = The world.

- Bàrulàm = World-weary; melancholy.

- Sâdad = A solemn & melancholic feeling of longing.

Nàhadù = To rise.

Laashàmù or Shàmomù = To wax (as in the moon).

- Shàmoma = Wax.

Laawàltù or Wàltadù = To wane (as in the moon).

- Wàltada = Wane.

Zo'mithù = To be with.

LoZ Cultural Masterlist 2

#loz #legend of zelda #botw #breath of the wild #totk #tears of the kingdom #gerudo #gerudo culture #gerudo language

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dedicationtv · 2 years ago

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New Episode Alert 🚨

🎧 Dedication Tv Podcast Episode 11 🎧

Available On All Podcast Streaming Networks‼️

Apple - https://podcasts.apple.com/us/podcast/dedication-tv-podcast/id1707968820?i=1000635406483

Spotify - https://open.spotify.com/episode/5dbSMVUa7CHjcjqu2DLk2P?si=ZldJjrNWSMe4IrlQWVZ-ow

#AyeVerb #AyeVerb Spaces #Aye Verb disses url #aye verb YouTube #dedication tv #dedication tv podcast #url tv

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apopcornkernel · 1 year ago

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since you're so interested in filipino language, does it follow the structure of [subject + verb + object + extension] like english or does it break that structure? in bangla, we have the [subject+ verb + object + extension] but we also break that structure so basically we can have [subject + object + verb]. for example, we can use both "ami take dekhte chaina" which roughly translated is "i her don't want to see" based on how the sentence is structured. this is why i have such a hard time trying to follow the english structure of subject-verb-object and sometimes end up mixing both structures

to use your same example, the tagalog equivalent would be "ayaw ko siyang makita" or "ayaw kong makita siya" = i don't want to see them.

ayaw ko siyang makita: don't want (modifier) - my (subject) - them (object) - see (verb)

ayaw kong makita siya: don't want (modifier) - my (subject) - see (verb) - them (object)

the -ng suffix, which basically means that it's modifying, is shifted around according to the sequence of words ^^ it's kinda hard to explain in text sorry and im already super offtrack 😭

honestly, I'm not very equipped to discuss tagalog conjugation, because 1) my first and best language is english, and 2) it's so complex 😭 once saw a white guy discussing it here actually, its all in english!! ↓

so back to your original question: does tagalog follow the structure of [subject + verb + object + extension] like in english?

my answer would be a yes, with caveat, because it's possible for a tagalog sentence to fall into this structure BUT there are many ways to structure a sentence in the first place

for your sample sentence of "i don't want to see her", i can't think of an un-nonsense way to fit it into that structure 😭 ayaw ko siyang makita/ayaw kong makita siya is the most natural way to say it imo. "ako ay (I am) ayaw (dont want) makita (see) siya (them)" sounds so weird

but hey, i could be wrong—disclaimer again, this is my 2nd language and not my 1st sgjdmfjf

i also struggle answering your question because it's kinda broad hsjdhdnd if you want a follow up maybe a more specific one would be easier 😓 unfortunately i wasnt able to pursue linguistics so i lack a lot of technical knowledge and terms which might have made this easier for us both huhu </3

#im sorry this is all over the place 😭 i love thinking and puzzling out language but i also keep second guessing myself bc well like i said #its my 2nd language not my 1st HSJSBAJAJ #also on the english mixing up thing that's so real... i actually notice it more when people speak/write taglish bc they adapt the #conjugating rules of the primary language and apply it onto the secondary/usually weaker language that's introduced #ask #poppy speaks #filipino #tagalog #phposting

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fiberpunk027 · 7 days ago

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Writing Challenge Weekend

OH MY GOODNESS! @thedissonantverses came back swinging with this one. I am in the editing stages right now with my main WIP and honestly this was a pretty big challenge for me. Grammar is not exactly my strong suit, which is probably a horrible thing for someone who is fond of writing to say.

Here's the challenge for those who want to try it out. It definitely made me think harder about sentence structure! To be fair I may have still made some mistakes, but I tried it!

This week's is brought to you by my dear pal @1queasycrow who had a brilliant idea!!! I think this will be really good if you're struggling with writer's block like I am at the moment. Okay so the goal here is to take a current wip of yours and write six or more sentences! They don't have to be connected but they should all start with a different part of speech: noun, pronoun, verb, adjective, adverb, preposition, (conjunction, and interjection are optional). If you need a refresher and there is zero shame if you do, here's a decent link! I challenge you to go in order and to highlight your beginning word.

This WIP excerpt comes from an upcoming fic featuring my Warden Zukal Tabris, Nathaniel Howe, and her wardens in Vigil's Keep as they navigate a visit from the First Warden and the King of Ferelden, Alistair. Set 4 years after the events of my last larger story featuring her, 'She Looks Right Through Me.'

More below the cut!

Nathaniel didn’t like any of it. Whatever they had done to ensure her survival was going to come to light whether she liked it or not. It didn’t sit right with him, having grown used to her keeping her confidence over the years. Not to mention, he didn’t trust the King to act on anyone’s best interests but his own. The man may have been a Warden once, but in taking the throne he’d forsaken his oath.

He still found himself troubled as he made his way to the training grounds for that day's conditioning. But when he stopped off at the armory to grab his bow he was shocked to find Zukal there helping none other than the King get outfitted in a spare set of armor.

“Good morning, Nathaniel!” she called out cheerfully no semblance of discomfort from the night prior. She tossed a helm toward the King. “See if that will fit your big shem head.”

“Hey! I thought you liked my ‘big shem head. It’s come in handy more than a few times,” he said in his defense. “Remember that time I headbutted a hurlock when I’d lost my sword?”

“I also remember the massive head injury you suffered for it,” she laughed.

“I still managed to keep it from stabbing Wynne and giving you a chance to skewer it’s guts.”

They certainly conversed back and forth like old friends, reliving their old battles and glories, but he still wasn’t convinced. Moving to retrieve his bow he hoped to quietly observe and not have to engage, but he had no such luck.

“It’s Howe, correct?” the King asked.

He stiffened. Either the King was quite good with names and faces or he’d been speaking to Zukal about him. He knew full well how she had discussed the King with him. Had she complained to him about his worst habits, her annoyances, and his faults?

“Aye,” he affirmed with a polite though stiff nod as he shouldered his bow and began to fill a quiver with practice arrows. They were blunted enough not to pierce but still quite painful to come in contact with.

“Sorry I missed breakfast,” she said, coming to his side leaving the King on his own trying to pick an appropriate sword for his use.

“Didn't realize you were missing,” he said brusquely, trying to watch for signs of distress at her proximity either to the King or himself.

As she leaned against the wall however she appeared fine, her gaze trained on the King’s antics as he swung a sword wildly. Relative discomfort or disdain, he could expect after all these years, not friendly affection. A twinge of jealousy needled at the back of his mind, but he pushed it away. There was no reason to act foolish just because another man had her attention this morning.

“Alistair had apology jam,” she explained, inclining her head toward him slightly.

“What, pray tell, is an apology jam?” he scoffed, trying not to laugh at the absurd idea.

“I’m still not sure, but it was an acceptable bribe to join him for breakfast.” So that’s where she’d been. The knowledge did nothing for the prickling annoyance in his mind. Was it really wise they be alone together?

“What’s that about?” he asked, watching warily as the King swiped a sword through the air.

“He’s going to help with the recruits this morning,” she said.

“Can he handle that?” Nathaniel was skeptical, but the monarch did look adept enough not to get himself or anyone else hurt.

“Why not? Besides, it might be fun to watch him try?” she suggested quietly, leaning closer to him. Their eyes finally caught and for a moment looked as if she wanted to say more, but her lips remained closed and she flicked away her eyes back to the King’s escapades.

He wondered if the King had questioned her about his escape from her room this morning. What had she said to him? What even could she say? As much as the mystery needled at him he had no desire to actually discuss the situation. It would be easier if they could pretend the whole thing never happened. Even better if everything could just go right back to the way it was before the First Warden’s carriage rolled into Vigil’s Keep. From his perspective things had been perfectly fine as they were-

“Nathaniel? Is everything all right?” she asked, looking at him with genuine concern, “I’ve been trying to get your attention and it’s like you’re not even there!”

“I’m perfectly fine,” he barked, not caring for the way she peered up at him critically.

“Okay forget I asked,” she muttered. Calmingly she raised her hands in defense, she pushed away from the wall leaving him behind and heading towards the door to the armory.

“I’m sorry.” He pressed his fingers to his forehead, feeling stupid for snipping at her when she was clearly just concerned. It was the King’s fault he was trapped in his own head right now.

“Please try not take whatever is going on in that brooding head of yours out on the recruits, okay?” she said, moving to walk out of the armory. “Are you coming Alistair?”

He wanted to counter and argue with her, but was interrupted as the King slapped him on the back following behind the Commander. Brooding was not what he was doing. He was reasonably worried for her, not that she would stop fraternizing with the enemy long enough to listen to him. This was going to be trouble he just knew it, but there was work to be done.

#writing challenge weekend #writing challenge #grammar challenge #this was hard #wip fanfiction #writing wip #Zukal Tabris #Warden Tabris #dragon age awakening #Nathaniel Howe #king alistair #Tabris x Nathaniel Howe #Warden x Nathaniel Howe #dragon age fan fiction #dragon age fan fic #dragon age wip

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