A form of art that places emphasis on words and language. In ancient times, poetry was memorised and carried by word of mouth. Today, most poems are written.
*Avoid any cliché, be original, or it will become boring and be regarded as poor.*
Poems may rhyme or not rhyme; there are so many ways to go with poetry... provided that the writer avoids any cliché, rambling, and doesn't state the subject of the poem directly.
*Avoid any cliché, be original, or it will become boring and be regarded as poor.*
Poems may rhyme or not rhyme; there are so many ways to go with poetry... provided that the writer avoids any cliché, rambling, and doesn't state the subject of the poem directly.
Some of moi's personal poetry:
#1255
An leabhar seo. Th’ann duilleagan (This book. There’s pages)
A dhìth. Stàdaidh guth, tòisichidh guth eile... (Missing. A voice will stop, another voice begins...) Tha ‘n cùl cho mòr! A’ dol air ais cho fada... (The back is so big! Going back so far...)
Is th’ann duilleagan reubta... (And there’s ripped pages...)
Amhaircibh na cànanan...! (Behold the languages...!)
Chan eil mi gan n-aideachadh. Th’iad cho gallda! (I’m not recognizing them. They’re so foreign!)
Cò bha iad gun do sgrìobh seo? Tha duilleagan (Who were they that wrote this? Pages are)
Traiste. Dè bha iad ag ràdh...? (Crumpled. What were they saying...?)
Chan eil ‘n cùl càil coimeasta (The back is nothing compared)
Ri mar a tha na duilleagan ri teachd mar... (To what the pages to come are like...)
Mòran meud nas motha na ‘n cùl, gu dearbh! (Many sizes greater than the back, of course!)
Th’iad dol gu bràgh! Th’iad falamh! (They’re going on forever! They’re empty!)
Th’iad nuadh! Th’ann faclan sgìobhadh (They’re new! There’s words writing)
Leòtha fhèin! Èirichidh duilleag nuadh bho càil! (By themselves! A new page rises from nothing!)
Dè bha reubta bho ‘n leabhar seo? Agus dè (What was torn from this book? And what)
Bhios sgrìobhta ‘san àm ri teachd...? (Will be written in the time to come...?)
#1255
An leabhar seo. Th’ann duilleagan (This book. There’s pages)
A dhìth. Stàdaidh guth, tòisichidh guth eile... (Missing. A voice will stop, another voice begins...) Tha ‘n cùl cho mòr! A’ dol air ais cho fada... (The back is so big! Going back so far...)
Is th’ann duilleagan reubta... (And there’s ripped pages...)
Amhaircibh na cànanan...! (Behold the languages...!)
Chan eil mi gan n-aideachadh. Th’iad cho gallda! (I’m not recognizing them. They’re so foreign!)
Cò bha iad gun do sgrìobh seo? Tha duilleagan (Who were they that wrote this? Pages are)
Traiste. Dè bha iad ag ràdh...? (Crumpled. What were they saying...?)
Chan eil ‘n cùl càil coimeasta (The back is nothing compared)
Ri mar a tha na duilleagan ri teachd mar... (To what the pages to come are like...)
Mòran meud nas motha na ‘n cùl, gu dearbh! (Many sizes greater than the back, of course!)
Th’iad dol gu bràgh! Th’iad falamh! (They’re going on forever! They’re empty!)
Th’iad nuadh! Th’ann faclan sgìobhadh (They’re new! There’s words writing)
Leòtha fhèin! Èirichidh duilleag nuadh bho càil! (By themselves! A new page rises from nothing!)
Dè bha reubta bho ‘n leabhar seo? Agus dè (What was torn from this book? And what)
Bhios sgrìobhta ‘san àm ri teachd...? (Will be written in the time to come...?)
by Lorelili May 13, 2005
Ao-coltach a' Bheurla, tha "fear" agus "bean" 'nan daoine air leth sa' Ghàidhlig.
(Unlike English, "man" and "woman" are separate people in Gaelic.)
(Unlike English, "man" and "woman" are separate people in Gaelic.)
by Lorelili March 19, 2006
AKA. Oral, Rectal, and Vaginal Pear.
A torture device shaped like a pear; had four segments which opened and closed at the turn of a screw at the top, like a flower opening its petals.
This torture gadget was inserted into the mouths or heretics, blasphemers, disturbers of the peace...
Or into the rectums of people convicted of sodomy. Homosexual men were especially vulnerable to this...
Or into the vaginas of women convicted of adultery or "sexual realtionships with Satan".
Often, the ends of the pear's segments were fitted with sharp tines, designed to rip into the throat, intestines, or cervix.
What ever cavity that the pear entered would face a range of things, from a slight expansion of the pear's segments and discomfort for the victim, up to total expansion and unrepairable (and very painful) mutilation of the cavity.
A torture device shaped like a pear; had four segments which opened and closed at the turn of a screw at the top, like a flower opening its petals.
This torture gadget was inserted into the mouths or heretics, blasphemers, disturbers of the peace...
Or into the rectums of people convicted of sodomy. Homosexual men were especially vulnerable to this...
Or into the vaginas of women convicted of adultery or "sexual realtionships with Satan".
Often, the ends of the pear's segments were fitted with sharp tines, designed to rip into the throat, intestines, or cervix.
What ever cavity that the pear entered would face a range of things, from a slight expansion of the pear's segments and discomfort for the victim, up to total expansion and unrepairable (and very painful) mutilation of the cavity.
by Lorelili March 25, 2005
The medium male singing voice in opera and non-classical music (although in choir, baritones must either choose the tenor or bass part). Baritones in opera have a range from G2 (the second G below middle C) to G4 (above middle C). This is the most common male voice type.
Sitting between the tenor and bass, the baritone typically plays supporting roles (fathers, older men, servants, friends of the hero) as well as the villain: corrupt legal authorities, evil prison wardens, and other nasty characters. Often teamed with the mezzo-soprano.
Many pop singers and Broadway singers are baritones, although the vocal categories used in opera are not applied to them. Examples include Robert Goulet, Elvis Presley, Mark Salling, Michael Buble, Bruce Springsteen, Jim Morrison, Ringo Starr, Eddie Vedder, John Cougar Mellencamp, David Lee Roth, Bing Crosby, Frank Sinatra, Nat King Cole, Neil Diamond, David Bowie, Jimi Hendrix, Eric Clapton, Johnny Cash, Tim Curry, Philip Quast, and Leonard Cohen
Sitting between the tenor and bass, the baritone typically plays supporting roles (fathers, older men, servants, friends of the hero) as well as the villain: corrupt legal authorities, evil prison wardens, and other nasty characters. Often teamed with the mezzo-soprano.
Many pop singers and Broadway singers are baritones, although the vocal categories used in opera are not applied to them. Examples include Robert Goulet, Elvis Presley, Mark Salling, Michael Buble, Bruce Springsteen, Jim Morrison, Ringo Starr, Eddie Vedder, John Cougar Mellencamp, David Lee Roth, Bing Crosby, Frank Sinatra, Nat King Cole, Neil Diamond, David Bowie, Jimi Hendrix, Eric Clapton, Johnny Cash, Tim Curry, Philip Quast, and Leonard Cohen
According to vocal weight/voice type, baritones are divided into at least four subcategories:
Lyric baritone: a light, mellow voice without the harshness of the dramatic baritones, he usually plays the comic relief. Examples include Thomas Allen, Thomas Hampson, Robert Merrill, Simon Keenlyside, and Nathan Gunn.
Cavalier baritone: a lyric baritone with a strong dramatic edge, albeit not a true dramatic voice. Plays powerful, virile characters. This is not a common voice.
Verdi baritone: Subset of the dramatic baritone, specializing in roles by Giuseppe Verdi; should have strong high notes and lots of squillo ("ping"). Examples include Tito Gobbi, Leonard Warren, Carlos Alvarez, and Dmitry Hvorostovsky.
Dramatic baritone: A powerful, rich, full, sometimes harsh voice reserved for many villains in opera. Examples include Juan Pons, Norman Bailey, and Tom Krause.
Bass-baritone: coming in both lyric and dramatic timbres, this voice combines the depth of the bass with the tessitura of the baritone. Examples include Bryn Terfel, George London, and Hans Hotter.
Lyric baritone: a light, mellow voice without the harshness of the dramatic baritones, he usually plays the comic relief. Examples include Thomas Allen, Thomas Hampson, Robert Merrill, Simon Keenlyside, and Nathan Gunn.
Cavalier baritone: a lyric baritone with a strong dramatic edge, albeit not a true dramatic voice. Plays powerful, virile characters. This is not a common voice.
Verdi baritone: Subset of the dramatic baritone, specializing in roles by Giuseppe Verdi; should have strong high notes and lots of squillo ("ping"). Examples include Tito Gobbi, Leonard Warren, Carlos Alvarez, and Dmitry Hvorostovsky.
Dramatic baritone: A powerful, rich, full, sometimes harsh voice reserved for many villains in opera. Examples include Juan Pons, Norman Bailey, and Tom Krause.
Bass-baritone: coming in both lyric and dramatic timbres, this voice combines the depth of the bass with the tessitura of the baritone. Examples include Bryn Terfel, George London, and Hans Hotter.
by Lorelili July 08, 2011
A female character in drama or literature. She is a sweet, pretty, if somewhat naive, young woman. To our modern eyes, she's often seen as this meek little mouse.
The ingenue is played by a light soprano in opera or musicals.
The ingenue is played by a light soprano in opera or musicals.
by Lorelili October 29, 2005
A unmarried woman, usually a young woman who may or may not have had sexual relations. Another word for "virgin" before "virgin" was imported by the French-speaking Normans.
In olden days, portrayed as a sweet, innocent, fawn-eyed girl who is naïve about sex.
"Girl" and "maiden" were once gender-neutral words that refered to a young person of either sex.
In olden days, portrayed as a sweet, innocent, fawn-eyed girl who is naïve about sex.
"Girl" and "maiden" were once gender-neutral words that refered to a young person of either sex.
by Lorelili September 02, 2006
Noun:
What one feels toward something or somebody despicable or worthless; contempt or disgust, the feeling that somebody is vile or a nuisance.
Verb:
To snub somebody, to treat them with disdain.
To scoff at somebody, to express disdain.
To reject, rebuff.
What one feels toward something or somebody despicable or worthless; contempt or disgust, the feeling that somebody is vile or a nuisance.
Verb:
To snub somebody, to treat them with disdain.
To scoff at somebody, to express disdain.
To reject, rebuff.
Michele Bachmann and her husband are regarded with scorn by the LGBT community.
Carmen scorned Julio as he begged her to come back to him; she'd had enough of him leeching off of her.
Carmen scorned Julio as he begged her to come back to him; she'd had enough of him leeching off of her.
by Lorelili August 04, 2011