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"i wish to go to the festival"

@steps-of-the-palace / steps-of-the-palace.tumblr.com

💃🏼🎨😬
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till deactivation do us part

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flightyfinch

im so sad this is from a deactivated blog i feel like i just found a heartfelt message in an old locket at a garage sale

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lily-stabby

So imagine a DnD character who's whole motivation is 'X guy killed my parents and I need to find them' and the party just thinks 'ok, revenge quest, that's normal'

But when they finally find the guy the person with dead parents is just like "Hey buddy, long time no see. It's a shame we got separated, here's some money" and they're super chill.

The party is just confused and goes "Wait, why are you giving him gold?"

The guy just goes "Cause I owe him money?"

The party "But he killed your parents???"

"That's why I owe him money!"

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just-illegal
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This is a comment someone appended to a photo of two men apparently having sex in a very fancy room, but it’s also kind of an amazing two-line poem? “His Wife has filled his house with chintz” is a really elegant and beautiful counterbalancing of h, f, and s sounds, and “chintz” is a perfect word choice here—sonically pleasing and good at evoking nouveau riche tackiness. And then “to keep it real I fuck him on the floor” collapses that whole mood with short percussive sounds—but it’s still a perfect iambic pentameter line, robust and a lovely obscene contrast with the chintz in the first line. Well done, tumblr user jjbang8

I hate that my aesthetic sense agrees with this but everything you just said was correct

I went back to dig up this post because I was thinking about poetry.

This is one of those non-poem things that are among my favorite poems.

As the OP stated, the use of alliterative consonants is aesthetically just great, especially the placement of the strongest use at the end: “fuck him on the floor.” The use of “chintz” is indeed great word choice.

Because I’m insane, decided to scan the poem:

Not only is the second sentence, indeed, perfect iambic pentameter, the entire poem is perfectly metered, though the first sentence has four iambs rather than five.

There are further things I love about this poem, though: I like the casual connotations of “keep it real” juxtaposed with “chintz.” It causes me to interpret the “chintz” more strongly as meaning something fake, a facade. There is also of course the coarseness of “fuck,” which is a contrast with “chintz” but a different kind of contrast, gutsy and carnal where “chintz” is flimsy and inanimate.

And then there is the storytelling: there is SO MUCH storytelling in just these two lines. To break it down: The speaker is having sex with a married man, in the house he shares with his wife, which is “filled with chintz”—something that here connotes fakeness, in contrast with “keep it real.”

The illicit encounter in the poem takes place within a house filled with facade, the flimsy construction of the wife’s marriage and domestic sphere, but the encounter itself is a taste of something “real.” That’s a story, and it’s just two lines.

This is EIGHTEEN SYLLABLES, y’all. The amount of meaning condensed into these eighteen syllables is stunning, and it is so elegantly done.

From a technical standpoint (and ive taken 300- and 400-level poetry classes so I can say this) this is damn near flawless as a poem.

Kept thinking about this ever since I saw it and had to do something

there's art now

Ah dang to go further; the floor is framed as a refuge. As if there is literally no other space in this house that hasn't been populated by his wife with flimsy inanimate fakery. There is no space for this man in this house save for the floor. There is no space for him on the sofa, oon the counter tops, and most notably, no space for him in the marital bed.

I’d also like to point out the use of the word “has.” The wife has filled the house with chintz. She isn’t filling the house with chintz. She doesn’t fill the house with chintz. She has filled the house with chintz. Use of the past-tense makes the wife a subtly removed element in the story, someone whose presence we see in the environment, but who is blissfully distant during the actors throes of passion. There is an element of physical as well as emotional separation from the wife that is catalyzed by being fucked on the floor. Use of the past tense is an end to the wife presence in the actors life, a carnal catharsis amid cold fragility and emotional distance.

This is my new favourite post in the world

everyone cheer for the one (1) time tumblr had reading comprehension

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aliquistis

I love how bad Astarion is with his cover story. You meet him and he's like "I'm a magistrate" then he stealths, disarms a trap, double dashes and backstabs a goblin all while giggling about spilling blood and you're just like hm yeah that's the legal system for you

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i fucking love how izzy in the 5th episode is just kinda standing about? hanging out? the whole crew stands on roll call and he's sitting on a railing dangling his foot. comes to fetch stede and immediately leans his whole body on the doorway. follows stede around like a stray puppy. appears mysteriously in chairs. an absolute unit of a little guy.

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also though i love that the show is like yes ed did get the shit beat out of him and also shot and his head crunched in with a cannon and spent time dead in the hold but has no huge visible wounds as a result and he can basically get up and walk away. unkillable gays in this house

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izzy crying when he is given the leg is just so fucking meaningful

he saw the note, he saw the leg and he realised the crew actually care for him. enough to make him a new fucking leg. he realises he isn't alone anymore, he has people in his corner now.

like this cute ass mother fucking smile, like fuck you can see how much it meant to him. and he literally stops drinking, he stops isolating himself, he hangs out on deck showing off his new leg proudly because others had done something for him.

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