1. Islam is the only religion not named after a person or a tribe.
2. The literary irreproducible miracle is well supported.

Even scholars agree. That's the consensus.
Arthur John Arberry said "to produce something which might be accepted as echoing however faintly the sublime rhetoric of the Arabic Koran, I have been at pains to study the intricate and richly varied rhythms which constitute the Koran's undeniable claim to rank amongst the greatest literary masterpieces of mankind."
Karen Armstrong said "It is as though Muhammad had created an entirely new literary form that some people were not ready for but which thrilled others. Without this experience of the Koran, it is extremely unlikely that Islam would have taken root."
Oliver Leaman said "the verses of the Qur'an represent its uniqueness and beauty not to mention its novelty and originality. That is why it has succeeded in convincing so many people of its truth. it imitates nothing and no one nor can it be imitated. Its style does not pall even after long periods of study and the text does not lose its freshness over time."
E.H. Palmer said "That the best of Arab writers has never succeeded in producing anything equal in merit to the Qur’an itself is not surprising."
Also, another quote "Scholar and Professor of Islamic Studies M. A. Draz affirm how the 7th-century experts were absorbed in the discourse that left them incapacitated: “In the golden age of Arab eloquence, when language reached the apogee of purity and force, and titles of honour were bestowed with solemnity on poets and orators in annual festivals, the Qur’anic word swept away all enthusiasm for poetry or prose, and caused the Seven Golden Poems hung over the doors of the Ka’ba to be taken down. All ears lent themselves to this marvel of Arabic expression."
Also, "Professor of Qur’anic Studies Angelika Neuwrith argued that the Qur’an has never been successfully challenged by anyone, past or present: “…no one has succeeded, this is right… I really think that the Qur’an has even brought Western researchers embarrassment, who wasn’t able to clarify how suddenly in an environment where there were not any appreciable written text, appeared the Qur’an with its richness of ideas and its magnificent wordings.”
Not to mention Hussein Abdul-Raof. "Hussein Abdul-Raof continues “The Arabs, at the time, had reached their linguistic peak in terms of linguistic competence and sciences, rhetoric, oratory, and poetry. No one, however, has ever been able to provide a single chapter similar to that of the Qur’an.”"
Yes, all of them are experts in Quran and in Literature. Lots of credible scholars say that the quran is inimitable.
Laid Ibn Rabah, one of the poets of the seven odes, stopped writing poetry and converted to Islam because of it.
The Qur'an's rhyme scheme is very organized, some of the best out there. Not to mention that it came out spontaneously.
It uses ten rhetorical devices in 3 words at one point. Someone tried to use more. Even though it does, people still mocked it for how it didn't meet the challenge. He used punctuation. (https://www.reddit.com/exmuslim/comments/18o5y0w/the\_rationalizer\_had\_a\_version\_of\_the\_quran/)

1. The Qur'an predicted that the Byzantines will win the Byzantine-Sassanid war within 9 years, even though they lost the recent battle.

The Romans have been defeated in a nearby land. Yet following their defeat, they will triumph within three to nine years.

(https://quran.com/30?startingVerse=3)
Now this is massive because it is unthinkable that a defeated army would win a war.

1. The Qur'an knew that pain receptors are in the skin.

Surely those who reject Our signs, We will cast them into the Fire. Whenever their skin is burnt completely, We will replace it so they will ˹constantly˺ taste the punishment. Indeed, Allah is Almighty, All-Wise.

(https://quran.com/en/an-nisa/56 )

1. The Qur'an knew about the rose nebula.

˹How horrible will it be˺ when the heavens will split apart, becoming rose-red like ˹burnt˺ oil!

(https://quran.com/en/ar-rahman/37 )

1. The Qur'an knew that wind holds the clouds up.

And it is Allah Who sends the winds, which then stir up ˹vapour, forming˺ clouds, and then We drive them to a lifeless land, giving life to the earth after its death. Similar is the Resurrection.

(https://quran.com/en/fati9 )
The USGS say, "Even though a cloud weighs tons, it doesn't fall on you because the rising air responsible for its formation keeps the cloud floating in the air. The air below the cloud is denser than the cloud, thus the cloud floats on top of the denser air nearer the land surface". (https://www.usgs.gov/special-topic/water-science-school/science/condensation-and-water-cycle?qt-science\_center\_objects=0#qt-science\_center\_objects)
The 'Scientific American' says, "Upward vertical motions, or updrafts, in the atmosphere also contribute to the floating appearance of clouds by offsetting the small fall velocities of their constituent particles. Clouds generally form, survive and grow in air that is moving upward". (https://www.scientificamerican.com/article/why-do-clouds-float-when/).
Peggy Notebaert Nature Museum says, "There are several reasons clouds float: first, the droplets in a cloud are small. Very small..................The second reason that clouds can float in the air is that there is a constant flow of warm air rising to meet the cloud: the warm air pushes up on the cloud and keeps it afloat". (https://www.naturemuseum.org/the-museum/blog/how-do-clouds-float#).
(https://www.reddit.com/DebateReligion/comments/eg25t7/the\_quran\_is\_a\_scientific\_gem\_quran\_miraculously/ )

1. The Qur'an knew that the atlantic and pacific ocean are different colors. They don't mix.

Q55:19-20

He merges the two bodies of ˹fresh and salt˺ water, yet between them is a barrier they never cross.

( https://quran.com/55?startingVerse=19)
If that's not true, how does one explain this photo. ( https://www.livescience.com/planet-earth/rivers-oceans/do-the-pacific-ocean-and-the-atlantic-ocean-mix)

1. The odd-even miracle.

Add the verse count to the chapter number, we get 57 odd and 57 even sums.
All 57 odd sums add up to 6555. Not only is that odd, that is all numbers from 1-114 added up.
All even numbers add up to 6290. That is how many verses in total there are in the Qur'an .
(https://www.reddit.com/exmuslim/comments/ds6juf/yaa\_ayyuhal\_kafiroon\_the\_quran\_is\_mathmetically/ )
Muhammad was illiterate, so how could he even remember his own numbers?
Also, a verse in the Qur'an hints at it, 89:3.

By the dawn, and the ten nights, and the even and the odd, and the night when it passes! Is all this ˹not˺ a sufficient oath for those who have sense?

( https://quran.com/89?startingVerse=1)

1. The Qur'an gets embryology right in considering that it looks like a leech at one point, looks like a lump with a bite taken out of it at another. Also in that hearing is before sight.

You can see Keith Moore, an embryologist show his work with this document. ( https://pdfs.semanticscholar.org/1194/79036bd3704127bbb25378174bfcd5b9f088.pdf)
Don't say "Galen" because Galen and the Qur'an contradict on embryology. Also, how did Muhammad know about Galen's work?
This paper by Nadeem Arif Najmi explains it in more detail. (https://www.call-to-monotheism.com/a\_muslim\_answer\_to\_criticism\_of\_\_embryology\_in\_the\_qur\_an\_\_\_by\_nadeem\_arif\_najmi)

1. The Qur'an knew about altitude sickness.

Whoever Allah wills to guide, He opens their heart to Islam. But whoever He wills to leave astray, He makes their chest tight and constricted as if they were climbing up into the sky. This is how Allah dooms those who disbelieve.

(https://quran.com/6?startingVerse=125 )
The highest mountain is Saudi Arabia is Jabal Dakkah, at 2585 meters. (https://peakery.com/jabal-dakah-saudi-arabia/ ) Already, altitude sickness has begun at that height (https://www.betterhealth.vic.gov.au/health/healthyliving/altitude-sickness ), but I don't think that Muhammad has even climbed that mountain.

1. The Qur'an knew that the ocean is darker as one goes in, and that there are internal waves in the ocean.

Or ˹their deeds are˺ like the darkness in a deep sea, covered by waves upon waves, topped by ˹dark˺ clouds. Darkness upon darkness! If one stretches out their hand, they can hardly see it. And whoever Allah does not bless with light will have no light!

(https://quran.com/24?startingVerse=40 )

1. The Qur'an knew about the water cycle.

Do you not see that Allah sends down rain from the sky—channelling it through streams in the earth—then produces with it crops of various colours, then they dry up and you see them wither, and then He reduces them to chaff? Surely in this is a reminder for people of reason.
(https://quran.com/en/az-zuma21)

We send down rain from the sky in perfect measure, causing it to soak into the earth. And We are surely able to take it away.

(https://quran.com/en/al-muminun/18 )
Infiltration and runoff mentioned.

We send fertilizing winds, and bring down rain from the sky for you to drink. It is not you who hold its reserves.

(https://quran.com/en/al-hij22 )
(https://www.thelastdialogue.org/article/water-cycle-mentioned-in-quran/#Miracle\_in\_the\_use\_of\_word\_%D9%85%D9%8E%D8%A7%D8%A1%D9%8B )
13/14. The Quran knew about the big bang. The Quran also knew that before the devonian age, life relied on water.

Do the disbelievers not realize that the heavens and earth were ˹once˺ one mass then We split them apart? And We created from water every living thing. Will they not then believe?
(https://quran.com/en/al-hij22 )
The second part could mean that even non-carbon life needs water.
Don't say Thales because Thales said that everything came from water, not life.
Bonus: The Sunnah knew that the Arab lands were once green.

The Last Hour will not come before wealth becomes abundant and overflowing, so much so that a man takes Zakat out of his property and cannot find anyone to accept it from him and till the land of Arabia reverts to meadows and rivers.

(https://sunnah.com/muslim:157c )
The Sunnah not only knew that arabia is turning green at the moment, it also knew that Arabia was once green. Ta'ood doesn't mean become, but it means revert. So, it does not mean that it will mean become.
There are lots more prophecies in the Quran and Hadith that have been fulfilled. You can see the yaqeen institute's list right here. (https://yaqeeninstitute.org/read/papeed/the-prophecies-of-prophet-muhammad )

Dear Poetry Fanciers,
Welcome back for a special Victorian edition of Poetry Corner, brought to you by u/NightAngelRogue and a splendid accompaniment for our upcoming read of The Thrilling Adventures of Lovelace and Babbage. Just a reminder, if there is a special poem you would like to feature in Poetry Corner, just send me a message and we'll get it the schedule!
_____________________________________________________________________________________________________________________ Joke:
Q: Nelson Mandela, Tuberculosis and Long John Silver walk in a bar. Who are they talking about as they go in?
A: Probably William Ernest Henley (1849-1903).
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Poet, journalist, literary critic, editor, publisher, translator and Victorian-extraordinaire, Henley, was a good friend to Robert Louis Stevenson, who he inspired to write the character "Long John Silver" in Treasure Island. Stevenson, writing to Henley-" I will now make a confession: It was the sight of your maimed strength and masterfulness that begot Long John Silver ... the idea of the maimed man, ruling and dreaded by the sound, was entirely taken from you". The friendship was a tumultuous and long one.
Henley's sickly daughter, Margaret, was the inspiration of "Wendy" in J.M. Barrie's Peter Pan. She would not live long past her 5th birthday, the only child Henley had with his wife, Hannah "Anna" Johnston Boyle. Tragedy had long painted his life even before this sad event. He was diagnosed with a rare form of tuberculosis at age 12, that affected his bones. His left leg had to be amputated below the knee when Henley was a young man, and he was often in the hospital with various abscesses that need to be drained. Frequent illness kept him out of school and interrupted his professional work. Henley eventually sought out the advice of Joseph Lister, who was pioneering new techniques, including antiseptic operating conditions and doing groundbreaking research on wounds, when his right foot become affected by the tuberculosis. Still, his ill-health did not keep him from practicing his art. While Lister kept him under observation at the Royal Infirmary of Edinburgh, from 1873-75, Henly wrote and published a collection of poems, which include today's selection, In Hospital (1903). This collection of poems is notable also because it was one of the earliest examples of free verse in English poetry. Henley and others in his group became known as the "Henley Regatta" for their championing of realism, such as the poor working conditions in the Victorian underbelly, in opposition to the Decadent movement in France and the Aesthetic movement closer to home. This would be the last collection of poetry and the most impactful of his work; his death would follow later that year. Unfortunately, a fall from a carriage reawakened the latent tuberculosis hiding inside him, which carried him off age 53. He was buried next to his daughter, in Cockaney Hatley, Bedfordshire. His wife would later also be buried alongside her family.
His legacy is one that is both inspiring and rather dispiriting. His poetry was used for jingoistic and imperialist causes, and to champion war, though much of it was about personal striving and inner resolve-the mythical "Stiff Upper Lip" of the Victorian era. This led to push back in the literary world, as D.H. Lawrence's short story, "England, My England and Other Stories" took flight from one of the lines from "Pro Rege Nostro", which is more patriotic than his usual work. Admittedly, he counted himself as a conservative and supported the imperial effort, as much of Victorian society did at this time. Still, his work fell into obscurity, with the main exception of "Invictus"-Latin for "unconquered". It is well known that Nelson Mandela recited this poem to his fellow inmates in Robben Island as a reminder to stay strong and keep one's dignity. There are also, of course, the Invictus Games, which are held for injured and sick service men and women and veterans in the UK.
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Winston Churchill to the House of Commons, September 9, 1941:
"“The mood of Britain is wisely and rightly averse from every form of shallow or premature exultation. This is no time for boasts or glowing prophecies, but there is this—a year ago our position looked forlorn, and well nigh desperate, to all eyes but our own. Today we may say aloud before an awe-struck world, ‘We are still masters of our fate. We still are captain of our souls.'” (link)
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Sidney Low, in "Some Memories and Impressions – William Ernest Henley". The Living Age (1897–1941) describing his friend:
"... to me he was the startling image of Pan come to Earth and clothed—the great god Pan...with halting foot and flaming shaggy hair, and arms and shoulders huge and threatening, like those of some Faun or Satyr of the ancient woods, and the brow and eyes of the Olympians." (link)
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Andrzej Diniejko on Henley as "poet as a patient" and his work predating modern forms of poetry "not only in form, as experiments in free verse containing abrasive narrative shifts and internal monologue, but also in subject matter". (link)
_______________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
"Invictus"
by William Ernest Henley
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
_____________________________________________________________________________________________________________________
This poem is in the public domain.
__________________________________________________________________________________________________________________________________________________________________________________________________________________________________________
Some things to discuss might be the title. How does the defiant spirit of this "Unconquered" opening play throughout the lines of the poem? There is also a reference to the Bible Verse Matthew 7:14 in the poem, "Because strait is the gate, and narrow is the way, which leadeth unto life, and few there be that find it". Why do you think this included? What lines stand out to you? How do you see him fit into the Victorian literary furniture, if you will? Have you heard this poem before? How does this fit in with the melancholy feel of the Bonus Poem, if you read it? What other poets do you enjoy from this era of literature?
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Bonus Poem: We'll Go No More a-Roving
Bonus Link #1: "Love Blows As the Wind Blows" (1911) song-cycle by George Butterworth, with Henley's poetry put to music and song.
Bonus Link #2: A literary review of the Victorian Era.
Bonus Link #3: Read the other poems included in the collection, In Hospital.
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If you missed last's month poem, you can find it here.

I stumbled upon this awesome Tunisian song on YouTube, but I'm kinda stuck on understanding the lyrics. They're written in the description, but I'm not fully getting them because of the dialect. Could someone lend me a hand and translate the lyrics into either English or traditional Arabic? I'd really appreciate it! Thanks a bunch in advance!

(Translated from French to English)
Those films are hard to find. I reviewed them because if I did not, who would?
Films viewed at the cinema library on May 15, 2024, in the Film Talks 2 series
Here are short reviews of seven of the eleven experimental short films screened at the cinematheque as part of the second part of Film Talks.
Leaving and Arriving par Lynn Loo (2017)
This film shows the departure and arrival of a train at the station filmed from inside a carriage. Arrival and departure share the same two-part screen. For the most part they are on screen simultaneously, but it also happens that the departure is shown independently of the arrival and the reverse is also true. In these cases, the other half of the screen is left blank. The originality of this film consists of superimposing part of the video showing the arrival and part of the video showing the departure in the center. This gives the impression that the train is stupid with two heads going in opposite directions. This creates an interesting setting to say the least, as two landscapes seen through the windows are both very similar and very different.
We can see this film as a late response to the Lumière brothers' film entitled The Arrival of a Train at La Ciotat Station . It's fascinating to see the progress we've made and such a simple event can still be a source of experimentation in the year 2020.

Available Light par William Raban (2016)
This film shows the reading of Capital by Karl Marx in accelerated fashion. The director chose to shoot only using natural winter light. An eccentric choice which presents a certain complexity because it makes reading the pages longer. But this choice remains in vain, because the film plays in fast motion and any feeling of difficulty or length evaporates. Reading a poorly lit page and a lit page seem equal. Besides, it seems a little pretentious to me to choose to film the reading of Capital if the difficulty of the subject of the book does not have more of an impact on the film. For example, we would have liked to see the reader go back to other pages, make annotations, highlight passages. None of this happens in the film and in my opinion it is a missed potential. For these reasons, the film does not seem to be of much interest.

Strontium by Malcolm Le Grice (2021)
With this film, the director decided to superimpose other less recognizable images on travel images, keeping only shades of blue and orange on the latter. The result of this experience gives the film a certain strength, there emerges an apocalyptic anxiety, perhaps even nostalgic, in seeing the first, so soft, images being covered and obscured by these tints of color. The feeling of anxiety can only be exacerbated by the soundtrack. Produced with the crashing sounds of a waterfall on rocks, it can be both gently nostalgic and terrifying when it evokes the radioactive fallout of an atomic explosion. This latter interpretation seems to be confirmed by the title of the work.
Intervals par Simon Payne (2023)
Stripes of primary colors of varying opacity intersect at different angles to form shapes, patterns, appearances of movement. This film is captivating. It seems impossible to distinguish the end of a finished movement and the beginning of another, as each image dissolves into the previous one. Thus the movements of the color bands blend into each other instead of ending. It's easy when watching this film to think of Norman McLaren's films, for example, Horizontal Lines and Vertical Lines . If now, making this type of film may seem easy, even programmable by computer, the fact remains that once again it has been proven that we can maintain the attention of an audience simply by playing with colors and tempos.
A State of Grace par John Smith (2019)
Thanks to its narration and editing, this film manages to construct a very simple story from images that we have all seen from the moment we read the safety instructions on a plane. By interpreting these images differently, by juxtaposing them in a judicious order, the director manages to make people laugh and reflect on anxiety. We read the safety instructions for an airplane, and we heard them from the pilot's mouth. They are familiar to us, but not to the narrator who takes a plane for the first time. With this film, the director manages to demonstrate the importance of editing and narration in cinema. Along the way, it also proves that experimental cinema can make people laugh.
Animal Studies par Guy Sherwin (1998-2023)
As the title suggests, this series of films is about animals. These play the main role in that no biological or taxonomic scenario or indication is given to their subjects. The camera just films their random movements and the material for the film is there. It is then somewhat modified. Some birds seem to dance with their shadows. Fireflies appear to trace lines of light against a starry background. The spiders seem to be performing a ritual. In short, with animals the filmmaker creates poetry. The films thus become much more than the simple study envisaged by the title.
The Oblique par Jayne Parker (2018)
Shots of magnolias to a soundtrack composed with a violin. The shots of magnolias and those with the violin alternate with each other. But, even when the violin is not on screen, we continue to hear its music making the pretty magnolia flowers even more moving. It is difficult to say if the magnolias are the illustration of the music played by the violin or if the violin is the voice of the magnolias. But, in any case, so much beauty cannot really leave the viewer indifferent.

Bit of a longer post, sorry bout that, but I felt it was time, perhaps once again, to point out the flaws and limitations in the CDC’s stats on sexual violence, specifically as they relate to the National Intimate Partner Sexual Violence Survey (NISVS), which is the source of all the fun stats on sexual violence that get thrown around by the 451 percenters. Who are the 451 percenters? Those the folks who believe and spread the lies bout sexual violence being endemic to society. Everyone’s a sexual predator! All 451 percent of women are violated, and all 451 percent of men are violators.
TL;DR: An analysis and rebuttal to the CDC and NISVS’s statistics on sexual violence. The CDC uses NISVS to generate the stats on punny sexual violence that make wild claims, like one third of all women, etc… the 451 percenters’ claims bout punny sexual violence. They use a ‘yes means yes’ method of determining what counts as punny sexual violence, which is aesthetics based. Elevating aesthetical concerns to ethically obligatory concerns is fascistic, and a grave moral fallacy. ‘Yes means yes’ is also puritanical, meaning it overly moralizes sexuality. Putting puritanical fascists in charge of determining how many punny sexual offenses are happening is like putting the KKK in charge of determining how many jews are sexual predators. “All 451 percent of them, obviously!”
Body Of The Post
‘Yes means yes’ is an aesthetical ethical concern, ‘Do I want it or not’. This is what the National Intimate Partner Violence Survey (NISVS) and the CDC use and reflect in their stats on sexual violence. Vibes. They are the ‘emmitt till got what he deserved’ crowd. Whistling at a lady is a criminalizable offense to these folks, a ‘punny sexual violence’.
‘No means no’ is an ethically obligatory concern, ‘Did I refuse it or not’. This is what the criminal stats on sexual violence use and reflect in their stats on sexual violence. Hard data. They are the ‘emmit till did nothing wrong’ crowd. Whistling at a lady is at most tasteless, emmitt till could do far better.
‘Wanting’ or ‘Not Wanting’ something does not consent make. I can want to fuck someone, but not consent to do so. I could not want to fuck someone, but nonetheless consent to do so. The former perhaps because I think it is a bad idea to fuck ‘em even tho I want to. The latter, perhaps because I think it is a good idea to fuck ‘em even tho I don’t want to.
The ‘yes means yes’ folks, the CDC & NISVS stats on sexual violence all mistake ‘wanting’ and ‘not wanting’ for ‘consenting’ and ‘not consenting’; these are not the same things. This is deliberate on their part too. They believe that ‘yes means yes’ is what ought to constitute a determination of sexual violence. Regardless of how y’all view that, it is a deeply controversial notion, and not necessarily reflective of what most people think of when they think of sexual violence.
‘Unwanted’ essentially means ‘I don’t like it’. It is a complaint bout the aesthetical qualities of the sexual encounter, not its consensualism. If this is at all unclear, the simplest method to understand why this is so is to note two unrelated aspects.
One is racism. People regularly ‘feel fearful’ of men for no reason at all, but they also feel fearful of men because of racism all the time. That fear factor ™ is what makes the encounter ‘coercion’ or ‘unwanted’. The person literally does nothing wrong, *just exists* and the other person freaks out.
Note in the quoted sections at the end of this post how much of the stats rely on fear and feelings to generate their numbers.
Two is the person came on too strong or in an undesirable way. The person flirts in a normal and perfectly fine way, but the other person freaks out. Think bout it people, for the love of god think bout it. ‘Coming on too strong’ and ‘an undesirable flirtation’ are being counted as ‘punny sexual violence’ in these stats.
It’s entirely puritanical, and entirely a concern bout aesthetics.
There are other sorts of coercive methods, but the point here is that the terms ‘unwanted’ and ‘coercion’ only really cash out as ‘I don’t like it for some reason or another’ in the CDC’s and NISVS’s stats.
When you see that lady spouting off bout her fears of mexican rapists, she’s reflected in these stats folks. They’re just surveys. People who lock their car doors in ‘bad neighborhoods’ are reflected in those stats.
These all translate to ‘I felt threatened’ (big black boy vibes) or ‘felt pressured’ (scary white guy vibes), or ‘felt in danger’ (native american coming to get you vibes), or ‘felt uncertain if you wanted it’ (arab terrorist vibes) or 'felt like I was being manipulated' (angry asian martial artists vibes) . Doesn’t have to be racism at play here either, women can be irrationally fearful of any man. Vibes.
The actions themselves are not criminalizable.
Non p-hacked stats try to avoid these kinds of obvious ambiguities in the language used to generate the 451 percenters’ stats. These folks however lean into the lies and deceptions, and deliberately use language designed to deceive people reading the stats into thinking that people have been harmed. They take language that means literally ‘I like or don’t like it’ and translate that to mean ‘I was sexually harassed, sexually assaulted, or even raped’.
This is how they inflate the numbers, so we get to the 451 percenters’ wacky ass beliefs; ‘451 percent of women will suffer egregious sexual violence to them at least fifty times in their lives’. All this means is vibes. 451 percent of women get some bad vibes bout some dudes.
You can hear it echoed in the bear or man discourse. Why do women choose the bear? Vibes and irrational fears. ‘We choose the bear because we don’t feel safe!’ translates directly to ‘Emmitt till whistled at me, and he’s a big black boy, that’s scary’ and ‘the mexican rapists are swarming over the border to get me’.
These are the stats that people point to when they try to justify their misandristic hot ass takes. They are self-referential to that same fear based aesthetic the stats are. The stats are reflective of peoples’ irrational fears, and people use those stats to justify their irrational fears, and people spread those fear based stats thereby spreading their unjustified fears. It’s a circle rub.
To criminalize these kinds of things is to be fascistic (treating aesthetics as if they were of obligatory concern), to believe that they are morally reprehensible is to be a puritan (overly moralizing sexuality).
The folks deriving these stats translate ‘unwanted’ (aesthetical ethics) to ‘sexual assault’, ‘sexual harassment’, or ‘rape’ (obligatory ethics), then lump everything together as ‘punny sexual violence’ to get the big numbers used to scare people and terrorize men. That’s called fascism.
“[T]here remains a likelihood of underreporting due to the sensitive nature of SV”.
This justification means that they do not trust people to report SV, ‘don’t believe women when they say they haven’t suffered any SV, manipulate the questions so they say yes to something they don’t think is SV, or which simply isn’t SV, and we’ll just call it SV of this or that sort. Later we’ll propagandize people so they too come to believe our puritanical misandristic hot ass takes.’
There is no lie nor hyperbole in what I am saying here. That is the rationale and the method. If you bone up on your academic lit in the topic, this is, well not verbatim what they say, I am lambasting them here, but this is the crux of what their argument and justifications are, and they explicitly hold that they ought be propagandizing people to their puritanical beliefs.
They push the fascistic (aesthetical ethical) and puritanical (overly moralized sexual ethics) discourse into the public by presenting stats that merely reflect fears and pretend that they are reflective of sexual violence. People then come to believe that those kinds of fear based concerns are actually sexual violence. An ‘unwanted flirtation’ becomes in their minds and only in their minds a sexual violence.
Emmitt till got lynched for whistling at a lady. They only disagree bout the racism, but he definitely deserved to be punished in some way like all men do for whistling at someone they think is hot af. Puritanism.
All just vibes, all but aesthetics, and all fascistically raised to a level of ethically obligatory concern.
“Just as SV is not limited to physically forced penetration, its perpetrators are not limited to strangers. Indeed, perpetrators of SV are more likely to be someone known to the victim. Sexual violence is a problem embedded in our society and includes unwanted acts perpetrated by persons very well known (e.g., family members, intimate partners, and friends), generally known (e.g., acquaintances), not known well or just known by sight (e.g., someone in your neighborhood, person just met) and unknown to the victim (e.g., strangers). “
Be afraid of everyone, any man out there could be your next rapist! That’s right ladies and gents, you’ve been raped several times already, you just didn’t know it. But don’t worry, the statisticians know better. They asked you an unrelated question you said yes to since you were too dumb to know that you were raped, and counted it as rape. Then they informed you that you ought be afraid of everyone in your community, lest they also rape you, unbeknownst to you of course. But again, don’t worry, the statistician will count those too.
As a measure of fear the 451 percenters capture, well or worse who knows, all the racism, sexism, bigotry, and various phobias in the society, and how those fears are transferred onto masculine bodies as imaginary perpetrators of punny sexual offenses. None of it is real, there are not 451 percent of sexual violences happening, 451 percent of men are not sexual predators, and 451 percent of women are not victims of sexual violence.
‘Safety culture’ mostly reflects irrational fears.
Ask the kkk how many black people are rapists, you’re gonna get a high number. Ask puritans how many people are punny sexual offenders, you’re going to get a very high number. Such is the most tame interpretation of what is going on. The 451 percenters are puritans, they’ve overly moralized sexuality, counting offenses to their sensibility rather than criminal actions.
Puritans informing you how ‘vile and wicked’ your sexual ways are; advocating to make their puritanical beliefs bout punny sexual offenses into legally enforceable laws. These are the same kinds of concerns bout a someone dressing too provocatively, such is a ‘punny sexual violation’ to the sensibilities of others.
The less tame version of this is that it is exactly what fascists do. Lie to people especially bout punny sexual offenses in order to ratchet up the fear levels in the population, so they run to them to solve the ‘problem’.
Could be both tho.
Either way, their misandry murders little boys. They celebrate terrorizing men, and rejoice in lynching folks. They’re despicable people.
Solutions?
Ruthlessly love them. Write them love poems, show them kindness and generosity of spirit, but give them not a dime in money, nor ever relent to their irrational fears. Extol their beauty and virtues, make love with them, utterly ruthlessly. Be overtly sexual bout it, in this give them no quarter, bring to an end their puritanism by giving them no plausible cause to be thus. No one under the duress of loves’ enticements and sexual pleasures be puritans. Be relentless, show them masculine sexuality; give them nothing to complain bout, but give them masculine sexuality. Don’t fall for their puritanism, be the boys of summer.
Respect a ‘no means no’ ethic as a code of obligatory actions. Use aesthetical ethics towards good sex with mutual respect given; don’t ever take that as a one way thing. Do not conflate the aesthetics of good sex, 'enthusiastic yeses’ with those of the ethics of obligation ‘no means no’. Don’t be puritans, don’t be fascists, be sex positivists.
Call out the stats when folks bring them up, refer people to these points, feel free to refer people to this post and/or the attached video. ‘But the CDC said’ is not a valid argument; they have put puritans in charge of determining punny sexual offenses. They find punny sexual offenses everywhere they look.
If you’re super coolio, start advocating against the CDC’s use of NISVS to determine what constitutes sexual violence. It doesn’t match with criminal data’s methods, it doesn’t utilize the metrics of ‘no means no’ which are the proper metrics to use, instead it utilizes what amounts to peculiar beliefs bout the aesthetics of sex as a means of measure for punny sexual offenses.
They are spreading a puritanical belief system bout punny sexual offenses, nothing more, and they are causing public health problems by spreading their lies. They are not counting sexual offenses, they are not a criminal justice system, they aren’t technically even in the business of understanding sexual violence. They are the Center For Disease Control, not the ‘center for social engineering sexual practices control’.
Original video on the topic, with some additional resources for understanding these issues in the description.
The Rest Of This Post Is References To The CDC, NISVS, And Crime Data Reports, Along With Some Quotes Thereof With Short Specific Retorts Highlighting The Relevant Info In The Quotes As It Pertains To The Post. This Is But A Small Sample Of How They Use Language Of Aesthetics To Make Their Ethical Claims, And How Their Language Is Misandristic.
sv_surveillance_definitionsl-2009-a.pdf (cdc.gov)
Fast Facts: Preventing Sexual Violence Violence Prevention Injury Center CDC
Key Terms & FAQs National Intimate Partner and Sexual Violence Survey (NISVS)Funded
Programs Violence Prevention Injury Center CDC
Some key quotes from this, Bolded text hereafter are coded for ‘yes means yes’ methods of understanding sexual violence, and sometimes misandristic language. Italicized text are quotes from the sources:
“Rape is defined as any completed or attempted unwanted [unwanted is an aesthetic criteria, not a consent criteria which is ‘a no was stated’ attempted while a real thing allows for further insertion of scary vibes to pad the stats, e.g. the blackness of the lover] ...includes times when the victim was drunk, high*, drugged, or passed out and unable to consent.* [puritanical belief bout drinking and drugs, e.g. one cannot consent if drunk or high. Note that it is separate from being drugged or passed out and unable to consent, and that criminally speaking being drunk or high is not indicative of a lack of capacity to consent, also note this is de facto applied to women only].
“Sexual coercion is defined as unwanted sexual penetration that occurs after a person is pressured in a nonphysical way. In NISVS, sexual coercion refers to unwanted vaginal, oral, or anal sex after being pressured in ways that include being worn down by someone who repeatedly asked for sex or showed they were unhappy; feeling pressured by being lied to, being told promises that were untrue, having someone threaten to end a relationship or spread rumors; and sexual pressure due to someone using their influence or authority.”
Unwanted is an aesthetic category, not a consent category. ‘Sexual coercion’ is not a criminal offense either. It is a puritanical belief bout sexuality that is based on a sex negative view, e.g. that sex is a bad unless and until magical words are said to make it into a good. Calling it ‘sexual violence’ is just lying. Coercion is defined misandristically to only be bout penetration, which precludes all the ways that women use sex and sexuality to manipulate, use, abuse, and harm people; note that there are essentially zero surveys done that include some ‘feminine coded coercive behavior’ into these stats. That is by design. Including not incidentally the way that women have historically and currently used irrational fears over their sexuality to terrorize men and get people murdered.
“Unwanted sexual contact is defined as unwanted sexual experiences involving touch but not sexual penetration, such as being kissed in a sexual way, or having sexual body parts fondled, groped, or grabbed.”
Unwanted is aesthetics, not consent. Also this literally describes flirting. I know they want to try and capture some other sort of notion, grossy mcgrosser pinning someone down and groping them, but all this describes here, and all the stats can possibly reflect, is flirting.
“Non-contact unwanted sexual experiences is defined as those unwanted experiences that do not involve any touching or penetration, including someone exposing their sexual body parts, flashing, or masturbating in front of the victim, someone making a victim show his or her body parts, someone making a victim look at or participate in sexual photos or movies*, or* someone harassing the victim in a public place in a way that made the victim feel unsafe.”
This category is quite broad and puritanical in its disposition, as it assumes there is something wrong with seeing naked images unless and until expressed verbal consent is given, and undoubtedly ignores the en masse flood of naked images of women online to which basically every guy is exposed to. Compare again to people who claim that women ought not be allowed to show their ankles as it causes a ‘harm’ to those who are ‘forced’ to see it. Exact same shite. Aesthetical concerns of wanted or unwantedness, and also notice the expressly stated vibes check ‘victim feel unsafe’. Look out for the black boys, they make them feel unsafe!
Crime/Law Enforcement Stats (UCR Program) — FBI
Quick Facts on Sexual Abuse Offenses (ussc.gov)
It’s worth mentioning that statistically speaking, if one uses the stats derived from crime data as opposed to statisticians making numbers up, the percentages of men who do sexual violence, depending a bit on how you count it, are: 0.0516% or .478% or .0957%. Although the video goes over this all in pretty good depth, just do a little sniff test here; are .478% of the male population sexually violating a third of all women, 55.5 million women?

I am in need of some advice. Someone I know is a doctor, and she typically has a consultation with her patients to understand their medical and family history, prior to the procedure. Today, a woman came into the clinic with her husband, and her husband was outside the room. She didn’t know English, Urdu or Arabic, which are the only languages the doctor knows, so they called in a translator. She looked like she had no life behind her eyes. The doctor had a gut feeling that there was some pent up trauma and emotional stress the woman was experiencing, so she asked her about it.
TRIGGER WARNING ⚠️ The woman said that her husband is physically and sexually abusive towards her, he had an affair with another woman 2 years prior, and he frequently sexually assaults their 15 year old daughter. Her elder daughter is married and she doesn’t know about her sister. They have shifted to Dubai from India. So, she can’t leave him or help her daughter because he will stop the financial support and she doesn’t have any family here, nor any money. She is not educated enough to get a job. And she said if he gets reported to the police, he is capable of killing both of them. She told the doctor not to call the authorities on him either. She cannot really communicate with the authorities either because she doesn’t speak the language (only Malayalam).
This is the first time the doctor has encountered something like this and she is concerned about how to handle this. Should she report him to the police? Or are there any other organizations here that help with these cases? I’m not informed enough about this but I figured that since this is a very huge community, you guys would have more knowledge.
For personal, safety, and confidentiality reasons, I will not reveal the identity of the doctor or patient.

I've read Homer and am now learning Attic by reading Xenophon's Anabasis. With both authors, I found that narrative was easy to understand, but speeches and rhetorical material were much harder. Right now I'm slogging my way through Xenophon's eulogy to Cyrus, and I'm finding the style difficult to understand. It's flowery and elaborate, just like you'd expect for a eulogy today. For this kind of hard material, I usually take 10 minutes on a single long sentence, and all I can really figure out to do is to take a pencil and try to write out a translation in the margin of the book. My first attempt is just word salad, so then I start trying to figure out what could be wrong, erasing and revising.
Sometimes the issue is just not knowing enough about the details of usage. E.g., I was working on a sentence with δεινὸν in it, and all I knew was the primary meaning, "terrible." It turns out that in Attic it can also mean "skillful," which made more sense.
Other times my issue is with grammar or idioms. I think Homer is more direct, like Robert Frost, while Xenophon is more like one of those awful wordy 19th century authors like Melville. I'd imagined that prose would have to be easier than poetry, but that doesn't seem to be the case.
Can anyone offer any advice on how to build proficiency with complex sentences?
One possibility that's occurred to me is to temporarily abandon Xenophon and switch to reading the New Testament. Although I'm an atheist, I know the synoptic gospels fairly well, so it seems like I'd have a big advantage because I already knew the contents of what I was reading. I've read Mark previously.
Are there textbooks I could look at that could help me get over this hump?
There is an 1889 student edition of Xenophon by Kelsey and Zenos that is quite nice. Here's a sample of their notes for the eulogy of Cyrus: https://archive.org/details/bub_gb_EzABAAAAYAAJ/page/256/mode/2up They seem to be aimed at a student whose level in Greek is very close to mine. Has anyone else used this type of text to gain proficiency? The book has a complicated structure and has a cryptic system of cross-references, which I would have to learn.

=BACKGROUND=

Gwýsene ⟪ثِتونج ځوېٓسِنہ⟫ ⟨th'Tundj Gwýsene⟩ /θɛˈtund͡ʒ ˈʝyːzɛnɛ/ (or "the least Germanic Germanic language") is a Germanic language descendant from Old English spoken in Nabataea (modern-day Jordan, Sinai, and northwestern Saudi Arabia). It takes place in a timeline where the Anglo-Saxons get kicked out of Britain by the Celts, therefore they sail all the way to Nabataea (I pride myself on my realism here) and settle there. Most of them eventually convert to Islam, and, as a consequence, Arabic becomes elevated to the language of academia, nobility, and poetry.
"English" as we know it still survives in-timeline as Englisc — basically Middle English with some modifications — spoken as a minority language in southeastern Britain (or Pritani as the Celts call it in-world).
==ETYMOLOGY OF GWÝSENE==
⟨Gwýsene⟩ ⟪ځوېٓسِنہ⟫ is derived from ځوېٓسِن (Gwýsen) + ـہ- (-e, adjectival suffix), the former from Middle Gwýsene جِٔويسّمَن (ɣewissman), a fossilization of جِٔويسّ (ɣewiss, "Geuisse") + مُن (mon, "man"), from Old Gwýsene יוש מן (yws mn, yewisse monn), from Old English Ġewisse monn.
⟨Tundj⟩ ⟪تونج⟫ is loaned from an Arabized pronunciation of Old Gwýsene תנג (tng, tunge) (from which descends the doublet ⟨Togg⟩ ⟪تُځّ⟫ /toɣ(ː)/, "tongue")
The Englisc exonym is ⟨Eizmenasisc⟩ /ɛjzmɛˈnaːsɪʃ/, From Brithonech (in-world Conlang) Euuzmenasech /ˈøʏzmə̃næsɛx/, from Middle French Yœssmanes /ˈjœssmanɛs/ (hence modern in-world French Yœssmanes /jœsman/ and Aquitanian (in-world) ⟨Yissmanes⟩ /ˈiːsmans/), from Middle (High) German \jewissmaneisch (hence modern in-world German *Jewissmännisch** /jəˌvɪsˈmɛnɪʃ/, Saxon Jewissmannisch /jɛˌvɪsˈma.nɪʃ/, and Hollandish Iweesmanis /iˈʋeːsmanɪs/), Ultimately from Middle Gwýsene جِٔويسّمَن (ɣewissman). Doublet of Englisc ⟨iwis mon⟩ /ɪˈwɪs mɔn/ + ⟨-isc⟩ /-ɪʃ/

=PHONOLOGY=

Consonants	Labial	Dental	Alveolar	Post-Alveolar	Palatal	Velar
Nasal	/m/		/n/
Plosive/Affricate	/p/ /b/		/t/ /d/	/t͡ʃ/ /d͡ʒ/¹		/k/ (/g/)²
Fricative	/f/ /v/	/θ/ /ð/	/s/ /z/	/ʃ/ /ʒ/¹	(/ç/)³ (/ʝ/)³	/x/ /ɣ/
Tap/Trill			/ɾ/ /r/
Approximant	/w/		/ɹ/ (/l/)⁴		/j/	/ɫ/

Vowels	Front	Central	Back
Close	/i/ /iː/ /y/ /yː/		/u/¹ /uː/¹
Near-Close	(/ɪ/)⁵ (/ʏ/)⁵
Mid	/e/ /eː/ /ø/ /øː/		/o/ /oː/
Open-Mid	(/ɛ/)⁵	(/ɐ/)⁵	(/ɔ/)⁵
Open	/æ/ /æː/		/ɑ/ /ɑː/

1. Nonnative phonemes
2. allophone of /k/ inter-vocalically
3. allophones of /x/ /ɣ/ near front vowels
4. allophone of /ɫ/ when not near any back vowels and/or velar consonants.
5. allophones in unstressed syllables

These are the phonemes of Standard Gwýsene, and, expectedly, they differ from dialect to dialect.
==EVOLUTION FROM OLD ENGLISH==
The Phonological evolution from Old English to Old Gwýsene are as follows:

• /g/ /j/ => /ɣ~ʝ/
• /h/ => /x/
• /f/ /θ/ /s/ => /v/ /ð/ /z/ word-internally
• /l/ => /ɫ/
• /x/ /ɣ/ => /ç/ /ʝ/ near /i/ /e/ /ø/
• /eo/ /eːo̯/ => /iɔ̯/ /iːɔ̯/
• /æɑ/ /æːɑ̯/ => /iɐ̯/ /iːɐ̯/
• /iy/ /y/ => /ø/
• /iːy̯/ => /øː/

From Old Gwýsene to Middle Gwýsene:

• /ŋk/ /ŋg/ => /kː/ /ɣː/
• /w̥/ /r̥/ /l̥/ /n̥/ => /fː/ /sː/ /ʃː/ /nː/
• /-çt/ /-xt/ => /-ç/ /-x/
• /r/ => /ɹ~ɻ/ post-vocalically
• /iɔ̯/ /iːɔ̯/ => /iɐ̯/ /iːɐ̯/
• /i/ /y/ /u/ => /ɪ/ /œ/ /ʊ/ when unstressed
• /e/ /ø/ /o/ => /ɛ/ /ɛ/ /ɔ/ when unstressed
• /æ/ /ɑ/ => /ɐ/ /ɐ/ when unstressed

From Middle Gwýsene to Modern Gwýsene:

• /p/ /t/ /k/ /b/ /d/ => /b/ /d/ /g/ /v/ /z/ word-internally
• /p/ /t/ /k/ /b/ /d/ => /f/ /s/ /x/ /v/ /z/ word-finally
• /wi/ => /wy/ => /yː/
• /ɪ/ /œ/ /ʊ/ => /ɛ/ /ʏ/ /ɔ/
• /ɔ/ => /ɐ/
• /i(ː)/ /u(ː)/ => /y(ː)/ /o(ː)/
• /o(ː)/ /æ(ː)/ /ɑ(ː)/ => /ɑ(ː)/ /e(ː)/ /æ(ː)/
• (/æː/ /uː/ => /i/ /ɑ/ in open syllables)
• /eː/ => /i/
• /iɐ̯/ /iːɐ̯/ => /eː/ /iː/

==DIALECT GROUPS==
Gwýsene has 4 main dialect groupings:
1- Southern Dialects
Spoken around in-world Áglästrélz /ˈɑːɣɫɐˌstɾeːɫz/ [ˈɑːʁɫ(ə)ˌsd̥ɾeːɫz]. Speakers of these dialects tend to pronounce:

• /Vm/ /Vn/ /Vɫ/ as syllabic [N̩] [ɫ̩]
• /ɹ~ɻ/ as [ɰ] in non-rhotic accents
• /w/ as [ɥ] near front vowels
• /p/ /t/ /k/ as [pʰ] [tʰ] [kʰ]
• /p/ /t/ /k/ as [b̥] [d̥] [g̊] word-internally
• /ɛ/ /ɐ/ as [ə]

Regarded as the oldest dialect by Gwýsens as it encompasses the original "homeland" (if we don't count the Anglo-Saxons that is). They're also considered the most "posh", and the standard accent is loosely based on the southern dialects.
2- Central Dialects
Spoken around in-world Keü-Nüvátra /keʏ ˌnʏˈvɑːtɾɐ/ [kɛɨ ˌnɨˈvɒːtɾɐ]. Speakers of these dialects tend to pronounce:

• /ç/ /ʝ/ as [h] [j]
• /p/ /t/ /k/ as [pʰ] [tʰ] [kʰ]
• /p/ /t/ /k/ as [p˭] [t˭] [k˭] word-internally
• /Vɹ/ /Vːɹ/ as [Vʴ] [Vʴːɹ]
• /ʏ/ /y/ /yː/ as [ɨ] [ʉ] [ʉː]
• /u/ as [ɯ] (though not that common)
• stressed /e/ /ø/ /o/ as [ɛ] [œ] [ɔ]
• /ɑ/ /ɑː/ as [ɒ] [ɒː]
• /æ/ /æː/ as [ä] [äː]

Central Dialects are considered posh by northerners and westerners, but not by southerners.
3- Western Dialects
Spoken in in-world Ettúr /ɛtˈtuːɻ/ [ətˈtuːɽ]. Speakers of these dialects tend to pronounce:

• /ç/ /ʝ/ as [x] [ɣ]
• /p/ /t/ /k/ as [p˭] [t˭] [k˭]
• /p/ /t/ /k/ as [b] [d] [g] word-internally
• /b/ /d/ as [β̞] [ð̞] word-internally, instead of /v/ /z/
• /ɹ~ɻ/ as [ɾ~ɽ]
• stressed /e/ /ø/ /o/ as [ɛ] [œ] [ɔ]
• unstressed /e/ /ø/ /o/ as [ə] [œ] [ə]
• /eː/ /øː/ /oː/ as [ɛː] [œː] [ɔː]

4- Northern Dialects
Spoken in in-world Ämma̋n /ɐmˈmæːn/ [(ʕ)ɐmˈmæːn]. Speakers of these dialects tend to pronounce:

• /ç/ /ʝ/ as [h] [j]
• /ɫ/ as [l]
• /p/ /t/ /k/ as [p˭] [t˭] [k˭]
• /p/ /t/ /k/ as [b] [d] [g] word-internally
• /b/ /d/ as [b] [d] word-internally, instead of /v/ /z/
• /ɹ~ɻ/ as [ɾ~ɽ]
• /Vɹ/ as [Vː], or [Vɾ] in rhotic accents
• /Vːɹ/ as [Vːː] or [Vː], or [Vːɾ] in rhotic accents
• /ʏ/ /y/ /yː/ as [ɨ] [ɨ] [ɨː]
• /ø/ /øː/ as [ə] [əː] or [ɵ] [ɵː]
• /ɑ/ /ɑː/ as [ä] [äː]

==LEXICAL DOUBLETS==
The differing analyses of the Old English sequences /xe͜o xæ͜ɑ/ & /je͜o jæ͜ɑ/ when the change from /e͜o æ͜ɑ/ to /iɔ̯ iɐ̯/ was taking place led to:

• In the south, /i/ was elided into the palatal /ç/ /ʝ/, yielding Modern Southern [χɑ xæ] [ʁɑ ɣæ]
• In the (at the time) North, /i/ was fully pronounced, yielding Modern Central [heː] [jeː]

For example, Old English heofon & geofon evolved into:

• [ˈχɑvɱ̩] & [ˈʁɑvɱ̩] in Southern dialects. Used natively in the south and the west and were adopted as the standard forms /ˈxɑvɐn/ & /ˈɣɑvɐn/
• [ˈheːvɐn] & [ˈjeːvɐn] in the Central dialects. Used natively in the center and north and considered nonstandard.

=ORTHOGRAPHY=

Gýsene uses the Arabic script natively alongside a romanization
==SCRIPT BACKGROUND==
Since Gýsen use of the Nabataean & then Arabic script preceded the Persians by centuries, the Gýsen Arabic script differs quite a bit from the Indo-Persian system:

1. Rasm: Gýsens writing in Nabataean (& carrying over to Arabic) tended to follow Aramaic & Hebrew convention for representing consonants, while the Persian convention was derived from the most similar sounding preexisting Arabic consonants, leading to drastic differences in pointing convention (i‘jām). As Islam spread, the 2 conventions spread in their respective halves of the Muslim World: The Indo-Persian-Derived Eastern convention, and the Gýsen-Derived Western convention:

(Loose) Consonant ↓	Western ↓	Eastern ↓
//v//	⟪پ⟫	⟪و⟫ ǀ ⟪ڤ⟫
//tʃ//	⟪ڝ⟫	⟪چ⟫
//p//	⟪ڢ⟫	⟪پ⟫
//f//	⟪ڧ⟫	⟪ف⟫

1. Vowel Notation: The western convention has a definitive way of expressing vowels when diacritics are fully written, while in the eastern convention diacritics often serve dual-duty due to limitations of Arabic short vowel diacritics.

==Script keys==

Romanization ↓	Arabic ↓	Standard Phoneme ↓
ä ǀ a	◌َ	/æ/ (stressed) ǀ /ɐ/ (unstressed)
e	◌ِ	/e/ (stressed) ǀ /ɛ/ (unstressed)
o	◌ُ	/o/ (stressed) ǀ /ɔ/ (unstressed)
a̋ ǀ ◌́	◌ٓ	/æː/ (standalone) ǀ /◌ː/ (coupled with other vowels)
a	ا	/ɑ/ (stressed) ǀ /ɐ/ (unstressed)
b	ب	/b/ ǀ /v/ (intervocalically)
g	ځ	/ɣ/ ǀ /ʝ/
d	د	/d/ ǀ /z/ (intervocalically)
h	ھ	/ç/
w ǀ u	و	/w/ (glide) ǀ /u/ (vocalic)
z	ز	/z/
ch	خ	/x/
t	¹ط	/t/
y ǀ i	ي	/j/ (glide) ǀ /i/ (vocalic)
k	ک	/k/ ǀ /g/ (intervocalically)
l	ل	/ɫ/
m	م	/m/
n	ن	/n/
tj	ڝ	/t͡ʃ/
-	¹ع	/Ø/ ǀ /◌ː/ (post-vocalically)
p	ڢ	/p/ ǀ /b/ (intervocalically)
s	¹ص	/s/
k	¹ق	/k/
r	ر	/ɾ/ ǀ /r/ (geminated) ǀ /ɹ/ (post-vocalically)
s	س	/s/ ǀ /z/ (intervocalically)
t	ت	/t/ ǀ /d/ (intervocalically)
y	ې	/y/ (stressed) ǀ /ʏ/ (unstressed)
f	ڧ	/f/ ǀ /v/ (intervocalically)
ö	ۊ	/ø/ (stressed) ǀ /œ/ (unstressed)
-	ء ǀ ئـ	initial vowel holder
v	پ	/v/
th	ث	/θ/ ǀ /ð/ (intervocalically)
tj	¹چ	/t͡ʃ/
dj	¹ج	/d͡ʒ/
dh	ذ	/ð/
j	¹ژ	/ʒ/
sj	ش	/ʃ/
dh	¹ض	/ð/
dh	¹ظ	/ð/
g	¹غ	/ɣ/ ǀ /ʝ/
v	¹ڤ	/v/
a ǀ ä	²ـى	/æ/ (stressed) ǀ /ɐ/ (unstressed)
e	²ـہ	/e/ (stressed) ǀ /ɛ/ (unstressed)
'l-	لٔـ	/‿(ə)ɫ-/
th'-	ثِـ	/θɛ-/

1. nonnative
2. only occur word-finally

=GRAMMAR=

Gwýsen grammar is extremely divergent from the Germanic norm, having been brought about by extremely harsh standardization efforts by the ruling class while backed by academia & scholars. It's heavily influenced by Arabic — being the encompassing liturgical, academic, and aristocratic language during the Middle to Early Modern Gwýsen periods.
==PRONOUNS==
^\this entire segment will use the romanization only]) The Pronouns themselves have remained relatively true to their Germanic origins, apart from the entire set of Arabic 3rd person pronouns & the genitive enclitics. Gwýsene still retains the Old English dual forms, but they're only used in formal writing:

1st Person	Singular	Dual	Plural
Nominative	ih /iç/	wi /wi/	wi /wi/
Accusative	mih /miç/	án /ɑːn/	ós /oːs/
Standalone Genitive	min /min/	ág /ɑːɣ/	ór /oːɹ/
Enclitic Genitive	-min /-mɪn/	-ag /-ɐɣ/	-or /-ɔɹ/

2nd Person	Singular	Dual	Plural
Nominative	thách /θɑːx/	gi /ʝi/	gi /ʝi/
Accusative	thih /θiç/	in /in/	iw /iw/
Standalone Genitive	thin /θin/	ig /iʝ/	iwar /ˈiwɐɹ/
Enclitic Genitive	-thin /-θɪn/	-ig /-ɪʝ/	-iwar /-ɪwɐɹ/

3rd Person Masculine	Singular	Dual	Plural
Nominative	chá /xɑː/	chama̋ /xɐˈmæː/	chám /xɑːm/
Accusative	hin /çin/	chama̋ /xɐˈmæː/	chám /xɑːm/
Standalone Genitive	his /çis/	chama̋ /xɐˈmæː/	chám /xɑːm/
Enclitic Genitive	-his /-çɪs/	-chama /-xɐmɐ/	-cham /-xɐm/

3rd Person Feminine	Singular	Dual	Plural
Nominative	hi /çi/	chana̋ /xɐˈnæː/	chán /xɑːn/
Accusative	hi /çi/	chana̋ /xɐˈnæː/	chán /xɑːn/
Standalone Genitive	hir /çiɹ/	chana̋ /xɐˈnæː/	chán /xɑːn/
Enclitic Genitive	-hir /-çɪɹ/	-chana /-xɐnɐ/	-chan /-xɐn/

==NOUNS==
Middle Gwýsene inherited the Old English nominal declension, but due to merging & reduction of (final) unstressed vowels, all endlings were dropped except for the accusative & dative plurals which were later generalized. Middle Gwýsene also dropped the neuter gender, merging it with the masculine & feminine genders based on endings

Regular Noun Declension	Singular	Plural
Masculine	-	-an /-ɐn/
Feminine	-	-as /-ɐs/

This has been standardized to all nouns, with some ablaut irregulars:

"Man" (man) ǀ "Bách" (book)	Singular	Plural
Masculine	man /mɑn/	menan /ˈmenɐn/
Feminine	bách /bɑːx/	bitjas /ˈbit͡ʃɐs/

...and some nouns retain colloquial plural forms more reminiscent of their Old English counterparts:

"Tjylz" (child) ǀ "Chänz" (hand)	Singular	(Standard) Plural	(Common) Plural
Masculine	tjylz /t͡ʃyɫz/	tjylzan /ˈt͡ʃyɫzɐn/	tjylro /ˈt͡ʃyɫɾɔ/
Feminine	chänz /xænz/	chänzas /ˈxænzɐs/	chänza /ˈxænzɐ/

===Possession===
Gwýsene has two distinct methods of indicating possession dur to the dropping of the genitive case:
1. A loaned version of the Arabic construct state (present in the standard language, urban areas, and most of the Northern and Western dialects). the Arabic definite article (-الـ) was loaned with its use in the construct state into Late Early Modern Gwýsene as a separate "letter form" [-لٔـ] and prescribed by Grammarians ever since as a "genitive" maker. This method also assumes definiteness of the noun it's prefixed to; it must be prefixed to eneg ("any") for indefinite nouns.
Bách 'lgörel /bɑːχ‿ɫ̩ˈʝøɹɛɫ/ ("the boy's book")

bách 'l - görel book ɢᴇɴ.ᴅғ - boy 

2. Use of a prefixed fär (equivalent to English "of", cognate with English "for") (present in rural areas and is generally viewed as a rural or "Bedouin" feature). This method does not assume definiteness, and a definite article is required.
Bách färth'görel /bɑːχ ˌfɐɹðəˈʝøɹɛɫ/ ("the boy's book")

Bách fär - th' - görel book of - ᴅғ - boy 

==ADJECTIVES==
Much like Nouns, adjectives decline for number and gender:

Regular Adjective Declension	Singular	Plural
Masculine	-	-an /-ɐn/
Feminine	-e /-ɛ/*	-as /-ɐs/

\due to its similarity with the common adjectival suffix* -e, adjectives derived that way would not decline for gender in the singular
==VERBS==
Gwýsen verbs are the most mangled, both by Arabization and regular phonological development. Gwýsen word order is VSO. Due to pronouns coming after the verb, they merged with the preexisting endings and formed unique endings that were later generalized to standard verb declension (rendering Gwýsene a pro-drop language)

Present Verb Conjugation	---
Infinitive	-en /-ɛn/
Present Participle	-enz /-ɛnz/
Past Participle	ge- -en /ʝɛ- -ɛn/
Singular Imperative	-
Plural Imperative	-on /-ɔn/
1ˢᵗ singular	-i /-ɪ/
1ˢᵗ plural	-swe /-swɛ/
2ⁿᵈ singular	-tha /-θɐ/
2ⁿᵈ plural	-gge /-ʝʝɛ/
3ʳᵈ singular masculine	-scha /-sxɐ/
3ʳᵈ dual masculine	-schama /-sxɐmɐ/
3ʳᵈ plural masculine	-scham /-sxɐm/
3ʳᵈ singular feminine	-sche /-sxɛ/
3ʳᵈ dual feminine	-schana /-sxɐnɐ/
3ʳᵈ plural feminine	-schan /-sxɐn/

the subjunctive is formed with a prefixed les- (if the verb is consonant-initial) or let- (if the verb is vowel-initial)
As a consequence to the fusional suffixes, the preterite suffixes completely merged with the present ones, so weak verbs need an auxiliary to indicate simple past, which segways us to-
===Auxiliary Verbs===
Most auxiliaries have 2 conjugations: an auxiliary conjugation & a standalone conjugation:

Sőn ("to be") Conjugations	Auxiliary	Standalone
Singular Imperative	ső /søː/	ső /søː/
Plural Imperative	sőn /søːn/	sőn /søːn/
Singular Subjunctive	ső /søː/	les-... /ɫɛs-../
Plural Subjunctive	sőn /søːn/	les-... /ɫɛs-.../
1ˢᵗ singular	ém /eːm/	émi /ˈeːmɪ/
1ˢᵗ plural	synz /synz/	synzwe /ˈsynzwɛ/
2ⁿᵈ singular	érs /eːɹs/	értha /ˈérðɐ/
2ⁿᵈ plural	synz /synz/	syngge /ˈsynʝ(ʝ)ɛ/
3ʳᵈ singular masculine	ys /ys/	ysscha /ˈyssxɐ/
3ʳᵈ dual masculine	synz /synz/	synzchama /ˈsynzxɐmɐ/
3ʳᵈ plural masculine	synz /synz/	synzcham /ˈsynzxɐm/
3ʳᵈ singular feminine	ys /ys/	yssche /ˈyssxɛ/
3ʳᵈ dual feminine	synz /synz/	synzchana /ˈsynzxɐnɐ/
3ʳᵈ plural feminine	synz /synz/	synzchan /ˈsynzxɐn/

There are 4 tense-related auxiliaries: Wesan (past auxiliary, "was"), Sőn (participle auxiliary, "be"), Bín (participle auxiliary, "be"), and Víden (future auxiliary, "will"):

Auxiliary Declensions	Wesan ↓	Sőn ↓	Bín ↓	Víden ↓
1ˢᵗ singular	wes /wes/	ém /eːm/	bí /biː/	va̋ /væː/
2ⁿᵈ singular	wir /wiɹ/	érs /eːɹs/	bys /bys/	vés /veːs/
3ʳᵈ singular	wes /wes/	ys /ys/	byth /byθ/	véth /veːθ/
dual/plural	wiran /ˈwiɹɐn/	synz /synz/	bíth /biːθ/	va̋th /væːθ/
Singular Imperative	wes /wes/	ső /søː/	bí /biː/	víz /viːz/
Plural Imperative	weson /ˈwezɔn/	sőn /søːn/	bín /biːn/	vídon /ˈviːzɔn/
Singular Subjunctive	wir /wiɹ/	ső /søː/	bí /biː/	víz /viːz/
Plural Subjunctive	wiren /ˈwiɹɛn/	sőn /søːn/	bín /biːn/	víden /ˈviːzɛn/

===Stong Verbs===
Most of the strong classes remain in Gwýsene, albeit with completely unorthodox ablaut patterns. They've been re-sorted based on patterns that I've Grammarians have found. Strong verbs also never need the past auxiliary.

Type (Gwýsene)	Corr. Type in Old English	Present stem vowel	Past singular stem vowel	Past plural stem vowel	Past participle stem vowel
I	VII.c	é /eː/	í /iː/	í /iː/	é /eː/
II	IV	e /e/	e /e/	i /i/	a /ɑ/
III.a	I	ý /yː/	a̋ /æː/	y /y/	y /y/
III.b	III.a	y /y/	ä /æ/	o /o/	o /o/
IV.a	II.a	í /iː/	í /iː/	o /o/	a /ɑ/
IV.b	II.b	a/á /ɑ(ː)/	í /iː/	o /o/	a /ɑ/
IV.c	III.b	é /eː/	é /eː/	o /o/	a /ɑ/
V.a	VI	ä /æ/	á /ɑː/	á /ɑː/	ä /æ/
V.b	VII.a	a̋ /æː/	i /i/	i /i/	a̋ /æː/
V.c	VII.e	á /ɑː/	í /iː/	í /iː/	á /ɑː/

=TRANSLATIONS=

==NUMBERS==

Number	Cardinal	Ordinal	Adverbial	Multiplier
1	A̋n /æːn/	Föress /ˈføɹɛss/	Mer /meɹ/	A̋nfélz /ˈæːnˌveːɫz/
2	Twin /twin/	Áther /ˈɑːðɛɹ/	Merdén /mɛɹˈdeːn/	Twýfélz /ˈtyːˌveːɫz/
3	Thrý /θɾyː/	Thryzz /ˈθɾyzz/	Thrémra̋s /ˌθɾeːˈmɾæːs/	Thryfélz /ˈθɾyˌveːɫz/
4	Fíwar /ˈfiːwɐɹ/	Fíradh /ˈfiːɹɐð/	Fírmra̋s /ˌfiːɹˈmɾæːs/	Fíwarfélz /ˈfiːwɐɹˌveːɫz/
5	Fýf /fyːf/	Fýfedh /ˈfyːvɛð/	Fýfmra̋s /ˌfyːvˈmɾæːs/	Fýffélz /ˈfyːfˌfeːɫz/
6	Sysj /syʃ/	Sysjedh /ˈsyʃɛð/	Sysmra̋s /ˌsysˈmɾæːs/	Sysjfélz /ˈsyʃˌfeːɫz/
7	Sévan /ˈseːvɐn/	Sévadh /ˈseːvɐð/	Sévmra̋s /ˌseːvˈmɾæːs/	Sévanfélz /ˈseːvɐnˌveːɫz/
8	Éht /eːçt/	Éhtadh /ˈeːçtɐð/	Éhmra̋s /ˈeːçˈmɾæːs/	Éhtafélz /ˈeːçtɐˌveːɫz/
9	Nygan /ˈnyʝɐn/	Nygadh /ˈnyʝɐð/	Nygamra̋s /ˌnyʝɐˈmɾæːs/	Nyganfélz /ˈnyʝɐnˌveːɫz/
10	Tőn /tøːn/	Tődh /ˈtøːð/	Tőmra̋s /ˌtøːˈmɾæːs/	Tőnfélz /ˈtøːnˌveːɫz/

==THE COLD WINTER IS NEAR==
‎‫بېث نيٓھ ثِوېٓنتِر ڝِٓلز، پِٓث ڝۊٓمسخى ستارم سنِوى. ڝۊم وِثنَن خُٓمسمين وِٓرم، برآثَرمين. سَلٓم! ڝۊم ھېذ، سېځّ ءَنز شّيٓڧ، ڧرِس ءَنز درېھّ. بېثِّس خُطَّمين. ھِپّسوى وِتِر، ءَنز زۊٓثِن، ءَنز مِٓلخ، بېثِّس ڧِرش ءُٓسڧرى ثِکآ. ءوٓ، ءَنز براث وِٓرم!‬
Byth ních thʼwýnter tjélz, véth tjőmscha starm snewe. Tjöm withnän¹ chósmin wérm, bráthärmin². Säläm³! Tjöm hydh, sygg ænz ssjíf⁴ ⁶, fres⁵ änz dryhh⁶. Bytthes⁷ chottämin⁸. Hevvswe weter, änz zőthen⁹, änz mélch, býtthes fersj ósfrä¹⁰ thʼká. Ó, änz brath!
be.3.ꜱɢ.ᴘʀᴇꜱ near ᴅꜰ-winter cold , ꜰᴜᴛ.3.ꜱɢ come-3.ꜱɢ.ᴍᴀꜱᴄ storm snowy . come.ɪᴍᴘ.ꜱɢ in house-1.ꜱɢ.ɢᴇɴ.ᴄʟ warm , brother-1.ꜱɢ.ɢᴇɴ.ᴄʟ . Welcome ! come.ɪᴍᴘ.ꜱɢ hither , sing.ɪᴍᴘ.ꜱɢ and dance.ɪᴍᴘ.ꜱɢ , eat.ɪᴍᴘ.ꜱɢ and drink.ɪᴍᴘ.ꜱɢ . be.3.ꜱɢ.ᴘʀᴇꜱ-that plan-1.ꜱɢ.ɢᴇɴ.ᴄʟ . have-1.ᴘʟ water , and beer , and milk, be.3.ꜱɢ.ᴘʀᴇꜱ-that fresh from ᴅꜰ-cow . Oh , and soup !

/byθ niːç θə‿ˈyːnzɛɹ tʃeːɫz veːθ ˈtʃøːmsxɐ stɑɻm ˈsnewɛ/
/tʃøm wɪðˈnæn ˈxoːsˌmɪn weːɹm ˈbɾɑːðɐɹˌmɪn/
/sɐˈɫæm tʃøm çyð syʝʝ‿ɐnz ʃʃiːf fres‿ɐnz dɾyçç/
/ˈbyθθɛs ˈxottɐˌmɪn/
/ˈçevvswɛ ˈwedɛɹ ɐnz ˈzøːðɛn ɐnz meɫχ ˈbyθθɛs feɹʃ ˈoːsfrɐ θəˈkɑː/
/oː ɐnz bɾɑθ/

1. the words for “in” and “on” merged to än, which was kept for “on”.‬
2. Gwýsens tend to use “brother” as an informal form of address‬.
3. Säläm is only used by Muslim Gwysens. Christian Gwysens prefer Pastos /pɐsˈtos/ (from Ancient Greek ‬ἀσπαστός).
4. comes from Old English hlēapan.
5. comes from old English fretan.
6. Drykken & Ssjípan are within a class of verbs that have a differing imperative stems than the usual inflected stems due to sound changes. In this case the usual stems are Drykk- & Ssjíp-, while the imperatives are Dryhh & Ssjíf. In the central and Low Northern dialects this particular /k/ => /ç/ is not present, and the imperative stem is also Drykk.
7. contracted from of Byth thäs (“that is”)‬.
8. from Arabic خُطَّة.
9. from Latin zȳthum.
10. contraction of old English ūt fra (“out of”).

The history of the Panjabi folk song "Jugni" is a captivating blend of storytelling, spiritual yearning, and a touch of mystery. Unlike a single song, "Jugni" represents a narrative style deeply embedded in Panjabi folk music for centuries. The word itself translates to "firefly" and is also used to describe a free-spirited woman. This symbolism reflects the multifaceted nature of Jugni performances.
The most widely accepted view suggests Jugni wasn't a specific song but a storytelling method used by Panjabi folk singers. It's likely that the themes explored in Jugni narratives ranged from everyday life experiences to spiritual reflections.
There's a theory suggesting a specific origin point around 1908, with folk singers Bishna and Manda credited for its creation. Both men hailed from the Majha region. According to a local lore, Manda (real name Mohammad) was a Muslim Mirasi from Hasanpur, Amritsar, while Bishna belonged to a Jatt family from the Kasur-Patti region. Their repertoire consisted mainly of traditional folk songs like Mirza and Tappe.
This theory behind Jugni's birth is interesting. It is said that around 1908, to celebrate the 50th year (golden jubilee) of Queen Victoria on the throne, a ceremonial flame traveled across British-ruled India, reaching every major city and district headquarters. Bishna and Manda, known for their stage performances, followed the flame wherever it went.
There's a discrepancy in how the word "Jugni" came about, but generally it's claimed that illiterate Bishna and Manda mispronounced "Jubilee" as "Jugni." Capitalizing on the festivities, Bishna and Manda incorporated the "Jugni" (or Jubilee) flame into their performances. They sang self-composed verses about the flame, accompanying themselves on traditional instruments like the Dhad and King. These catchy verses, referencing specific cities and villages, quickly gained popularity, inspiring others to create their own Jugni verses.
Their original 'Jugni-verse' was presumably: "Jugni jaa varhi Majithe, koi rann na chakki peethe, Putt gabhru mulak vich maare, rovan akhiyan par bulh si seete, Piir mereya oye Jugni ayi aa, ehnan kehrhi jot jagaee aa"
This 'Jugni's poetic style and versification later became a traditional method and started taking much more in it's clasp but the beginning of 'Jugni' always remained in some city or place:
"Jugni jaa varhi Ludhiane, Uhnun pai ge anne kaane, Maarn mukkian mangan daane, Piir mereya oye! Jugni kehndi aa, Jehrhi naam Ali da laindi aa"
As the "Jugni" flame traveled, Bishna and Manda's fame grew. However, the era was marked by public discontent towards British rule, including famines and oppression. This social unrest found its way into their Jugni verses, which often criticized the British Raj.
The popularity of these anti-colonial verses did not go unnoticed by the authorities. Bishna and Manda's performances were banned, forcing them to move their shows away from official festivities. Despite police intervention and crowd dispersal tactics, their revolutionary Jugni performances continued to inspire anti-British sentiment.
Tragically, their defiance ended with their arrest and torture by police in Gujranwala. They were reportedly buried in an unmarked grave, their voices silenced but their Jugni legacy living on in the hearts of the people. Both Bishna and Manda are said to have been around their 50s and unmarried, so it is said they died without heirs.
However, there are inconsistencies about this theory. Firstly, Queen Victoria's golden jubilee, which would be the most relevant jubilee for a celebration in 1908, actually occurred in 1887. Additionally, there's no historical record of a nationwide jubilee with a "Jugni" or "Jubilee" flame traveling across India for her coronation as Queen or Queen-Empress of the British Raj.
This discrepancy casts doubt on the accuracy of the story. It's possible that the details about the jubilee and the creation of Jugni are misremembered or embellished over time. Alternatively, there might have been a localized event around 1908 that involved some form of light or celebration, but it wouldn't have been the grand jubilee described in the story. It is possible that there was local events celebrating an end to the 1857 mutiny against British rule.
An alternative perspective comes from the acclaimed Panjabi folk singer Alam Lohar. He claimed to have coined the term "Jugni" inspired by Sufi poetry, and is credited with popularizing a specific style of Jugni singing. In his renditions, Jugni became a vehicle for expressing spiritual themes, often referencing God with terms like "saeen".
Lohar's own journey with Jugni began during his early performances in the 1930s, pre-dating the partition of Panjab. As a child prodigy, he sang Jugni extensively during this time. Unfortunately, limited recording facilities in British India prevented many of these early performances from being captured.
However, later in his career, Lohar released an LP record titled "Jugni" which became a huge success, achieving gold disc status in 1965. He recorded numerous variations of Jugni throughout his career, and some of these recordings are still available on LP records, black and white TV footage, and even YouTube.
Lohar's influence extends well beyond himself. Singers worldwide, including his son Arif Lohar, have been deeply inspired by his renditions of Jugni.
The passage also offers some interesting background on the word "Jugni" itself. It mentions a theory that Lohar might have been influenced by encountering the term in Sufi writings. Additionally, "Jugni" is noted to be a traditional Muslim prayer tool (Tasbih) and an ornament worn by Panjabi women. However, the connection between these uses of "Jugni" and the musical genre wasn't explicitly explained by Lohar.
Lohar's claim is contested by other Panjabi artists. They argue that Jugni existed well before him. This viewpoint strengthens the idea of Jugni being a long-standing narrative tradition.
Despite the debate on its exact origin, some aspects of Jugni's history are clear. It's an established Panjabi folk narrative style, likely referring to fireflies or a free spirit. Alam Lohar undeniably popularized a particular style of Jugni focused on spiritual themes. Renditions of Jugni have been made by many artists including Arif Lohar, Saleem Javed, Asa Singh Mastana, Surinder Kaur, Gurmeet Bawa, Kuldip Manak, Gurdas Mann, Harbhajan Mann, Rabbi Shergill, Malkit Singh, Babbu Mann, Diljit Dosanjh, Bilal Saeed, etc.
In conclusion, Jugni's history is a testament to the enduring power of Panjabi folk traditions. While its exact beginnings might be debated, Jugni's ability to capture the essence of a free spirit and the yearning for the divine continues to resonate with audiences.

My dad and mom are investors in a company with a Bahraini partner. They wanna close down the CR and return to our home country. Submitted the files for closing the business, but got a status update saying "Distinguished Gentlemen, Sorry, the transaction cannot proceed as the shares of one of the partners are under precautionary seizure. Thank you for your understanding" and in Arabic "السادة الافاضل ، المعذرة ، لايمكن المضي في المعاملة حيث ان حصص أحد الشركاء تحت الحجز التحفظي. وشكرا لتفهمكم". I don't even know if it translates correctly. When we found out, the Bahraini apparently has a case in another business (same main CR number and different sub number).
What can we do to close the business legally that only belongs to us and not be dragged into any of the other person's issues? What is the best way to handle this situation? Parents are mentally and physically exhausted by everything happening. If anyone can share advice on this,Thanks!

Here are the posts from the last week still marked as "Unknown." Please help identify them if you can!

Date	Title	Author
2024-05-08	[African> English] Flo me lah	u/Carl_is_Llama
2024-05-08	unknown to english	u/deon-vv
2024-05-08	[Unknown > English] looking to translate what is on this small piece of metal, possibly coin	u/Emergency-Fix1915
2024-05-08	Unknown > English	u/Delirious_solace
2024-05-08	[Unknown>English] Can someone translate this writing for me? Might be Arabic	u/Logical-Rise-1268
2024-05-09	[Unknown > English] Strange writing in my town. Bengali? Reddit please help!	u/Designer_Ad7620
2024-05-09	[unknown>english] pendant that was gifted	u/pizzamaje
2024-05-10	[Multiple languages > English] Can someone please translate this sentence? "tá an дайн on pakko tamat"	u/The_Dub_v
2024-05-10	[unknown>english]	u/Full_Mousse_8082
2024-05-10	Unknown > English Someone Yelled at me in a game	u/Optimal-Historian961
2024-05-10	[Unknown> English] Graffiti in Lithuania.	u/alaa2basi
2024-05-11	Unknown languages> English	u/Fit-Attention-1047
2024-05-11	Unknown > English	u/diogorocha_
2024-05-11	[Unknown > English] Looks like hindi or sanskrit to me, probably a mantra, but i couldn't find anything with a brief search(might be upside down)	u/Dezilious
2024-05-11	(Unknown > English) looking for some help identifying these 2 letters or numerals on this silver sugar bowl.	u/Sasquatchmess
2024-05-12	[Unknown > English] Google Translate Won't Read It	u/KiriChan02
2024-05-12	[Unknown > English] Found some paintings with those (manufacturer?) markings. Would appreciate to know what it says	u/THCheshko
2024-05-12	Unknown>English Ring w/ characters	u/Optimal_Ask_1066
2024-05-14	[ (Partially) Unknown > English ] Cabala from 1880's.	u/PerformanceVirtual64
2024-05-14	[Unknown > English] Something written on a car in what is perhaps a South Indian language	u/OldSeat7658
2024-05-14	Unknown > English	u/Big_Elephant_579
2024-05-15	[?>english]	u/Available-District47

Please make any identifications on the individual request pages.

Naturally, I came to know Orwell with 1984, which I read roughly three years ago in a Russian translation. I was at my humble beggining in discovering literature, and the book impressed me chiefly trough its deep theoretical base, the atmosphere of utter lack of hope and ingenious terms such as 'doublethink' - anyway, you probably know what I am talking about
Yet it was only much later that I read his other literary works - namely, those indicated in the title. There, I discovered Orwell as a great analytic of human psychology, an inventive storyteller. Both novels have a bleak atmosphere with a bit of dark humor and somewhat foreshadow themes that would appear in 1984.
In Keep the Aspidistra Flying, Orwell depicts a peculiar intellectual named Gordon Constock, almost thirty and "already moth-eaten." The gist is that he refused his status and prospects of a "good job" in order to avoid being subservient to "the Money God" - that is, he lowers himself on the social scale, living in self-imposed penury, working in a bookshop. Generally, this Gordon would seem like an off-putting person, constantly frustrated, whining and complaining, raving about the 'end of civilization', a little bit sexist, and a great deal pessimist. The reader is plunged into his interior monologue and obsessive thoughts, which are captivating to follow. The plot revolves around his fight with the Consumerist system - however, as you might have guessed, he is not a valliant knight in shining armor, but rather a vain nihilist with questionable worldview. This affects the relationship with other characters - his friend Ravelstorm (a self-proclaimed Marxist, who is distracted from thougths about the rough conditiond of the Proletariat by the soft appearance of his mistress), his self-abnegating sister Julia, etc. Also, Gordon tries to write poetry - and one of the poems is gradually 'conceived' throughout the novel, containing his impressions and emotions in a self-piteous, frustrated style - with quite a decent result I'd say. Besides, Orwell realistically describes some unpleasant aspects of London's life through the protagonist's actions: slums, squalor, drunkenness, and prostitution. Per general, a great read!
On the other hand, 'Coming up for air' describes a character who is an organic part of the system - a middle-aged clerk from a London's suburb, on the surface - a typical lower-middle-class and a family man, called George Bowling. The novel is written entirely through his perspective and keeps a rather melancholic tone. The narrator, with a rueful humor, talks a bit about himself, expressing a dissatisfaction with his menial life, yet remaining fatalistic about it. Then he starts an 80-or-so pages description of his pre-WW1 life and memories from a small town - and, frankly, it stirred my interest, being related in a vivid language. His rustic life is placed in contrast with the modern, after-war existence. This leads to nostalgia, and basically, the plot of the novel consists of an attempt to chase this feeling, to make it come true, to revive what has been long forgotten. The novel (published some months before the WW2) contains a distinct feeling of uncertainty, fear, and anguish about the future, expressed in various instances. The narrator asks himself what would become if the war starts - if the bombers arrive - which, as he thinks, will happen in 1941. But he fears not the destruction itself, but what would come after the pains of war - a new world of "rubber truncheons", slogans, suppression, hate. Something that Orwell will describe 11 years later in '1984'.
Overall, I think both books are worth reading. However, you have to expect that the protagonists - Gordon Comstock and George Bowling - might not be quite prepossesing.

Translation: B: If we were able to go to KCON LA I'd be very grateful& i think it will be fun, because well Jay is very good at English
J: Seunghun-hyung told me that whenever I speak English I sound mature opposed to Korean I sound fool like a puppy
B&M: Right
M: On his notes (app) he writes poetry too (in English) that was really cool, that was really fascinating
Jay: Everybody thank you so much for supporting bdu. Getting to be on that Kcon stage was an honor for all of us and we haven’t even debuted yet, so if all of you are looking for some fantastic vocals please look forward to the future with bdu! https://twitter.com/jaycrewi/status/1790313480924377242?t=6NlYzECbYYTje5jqzPp-1w&s=19 https://twitter.com/jayifia/status/1790321798120141221?t=2wQZiAq1q3mFZfv82cB4jg&s=19

the suicidal
step out
into death
who am i to judge ?
for what eternity holds
no-one knows
the low reading aged
if you write something they can’t understand
then according to them
its your fault
so they reject
this is the path of mediocrity
and cretinism
all religions schism, narratives of homogeneity require force to maintain (which can be extremely brutal historically)
Knock Out Asinine Nits
photos
staring out from a smooth granite block
if not quizzical
then should be
stuck in eternity
like that
somewhere
there must be a couple that mesh
and get along with each other
somewhere
i’m gone
the world rolls on
i disappear
and appear
the pages of a book that flick through
some words rest
and others don’t
skimming stones
eventually
stop
and sink
rhoticity explained to me, i now understand it, but otherwise i wouldn’t have had a clue except for the joking use of irish, scottish, canadian or usa accents
i think the zen term "seamless monument" is a metaphor for reality, you can’t penetrate it, there’s no artefact of manufacture since it has no seam, it can only be traversed, which btw is the basic philosophical problem of existence, there is no "inner" reality that subsumes "the detail of being"
“ I m currently 16 years old and a "child prodigy". I started university at 14. I have thus far only received one grade which was not an A+. It was an A-. I have memorized 100 digits of pi, the periodic table, and most of the Dungeons & Dragons rulebooks. I am learning Latin, Ancient Greek, Biblical Hebrew, Sahidic Coptic, Spanish, and Italian. I just like old languages. I don’t have to study long — I have a nearly photographic memory. When I do study, I just write things out over and over. I am a very visual thinker, so I remember pictures. Ask me anything ! ”
ed. she also has ehlers-danlos syndrome and is ADHD
in my view, the languages are a big mistake, they interfere with each other
“ Why do you think that ? ”
the languages you list are particularly disjunctive its a heavy learning burden with heaps of "opportunity costs" and the skill is becoming increasingly redundant with AI translators
also my experience of polyglots is they get damaged in some way
the brain is not infinitely capable, beware of burning it in waste of time activities, which to be honest a lot of so called education is
dr. alan cole argues that zen masters are in fact "made-over" daoist sages
i would go further and say that the koan system involves the same sort of "puzzling process" as the tao te ching
when you hear this sort of crap from the policy making elites, no wonder china is a problem !
the real impact of the one child policy may be the scarcity of anyone at the higher levels of government or policy being able to think straight
of course, this is to the advantage of the west and is the same problem japan had in WW2, idiots determining their strategic direction
boundaries crossing
abatement of being
from this perspective
everything looks crazy
really ?
do you ever listen to anything outside your own echo chamber ?
sad souls
in the twilight of their lives
mumbling gibberish
the words of others
are not your own
if you actually understood
why wouldn’t you use your own words ?
time separates
that childhood intensity
fades
as the branches grow apart
what was not seen at the time
is now seen
you are not well read and have an "anti-creative" mindset !
i’m getting on in years and just can’t be bothered to deal with your hubris
good-bye
ed. the net is full of these entitled gen Z’ers with a deeply entrenched intellectual inertia created by a malfunctioning education system
valves, muscle, connective tissue, timing
easy to see how it can go wrong as we get older
this dynamic core of existence in the center of our chests where every beat needs to be followed by another
i think religion can be regarded as a hallucination, the hallucination being that a literary work is real, perhaps most easily seen in the beliefs of ancient egypt, what are the pyramids and all those smaller tombs about ?
the reification of stories
these people
who
rather than bringing something to the table
only
take
and
are
impertinent
with
it
the puzzle of the poetry of others
seems to need the conversion
into something
i understand
"the girl on a bulldozer" (2022), a good tightly written kdrama
caodong poetry 23; verses on master fushan’s sixteen themes #4; touzi; translated by suru

1. not falling into life or death

on the day when the golden rooster heralds the coming spring
the jade hare conceives, entering the purple palace
reeds bloom on both shores, shadowing egrets
an old fisherman lifts his oar, dispersing mist, returning home
.
不落死活。 金雞日裏報春時。 玉兔懷胎入紫微。 兩岸蘆華映白鷺。 漁翁舉棹撥煙歸。
.
my reply
one day
the distance travelled
catches up with you
and you have arrived
.
one day
the distance travelled
catches up with you
you
have
arrived
ed. the terms in suru’s translation are very chinese and have a historical perspective, so i have "reworked" it into something modern that people will understand
“ ChatGPT-4 scored higher than 100% of psychologists on a test of social intelligence ”
hilarious
a tui calls
stunning the silence
my day is filled
with melody
ed. the tui is a new zealand native songbird
if you have ever attempted to count the number words in a book or whatever, which i have, count the number in a couple of paragraphs, then multiply by the inverse of whatever proportion of a page it is then multiply by the number of pages and i figure you get within 10% which is close enough
i’ve written millions of words, its like an exclusive club and its interesting to know who else is in it
giacomo casanova’s autobiography
the book comprises 12 volumes and approximately 3,500 pages (1.2 million words) covering casanova’s life from his birth to 1774
i have read most of it, people misunderstand him as a legendary lothario, but he is much more interesting than that

https://www.dn.se/sverige/sd-ville-starta-desinformationssajter-pa-arabiska/
In "Kalla fakta's" latest episode of the review "Trollfabriken", three of the Sweden Democrats' communicators discuss an idea of starting disinformation sites in Arabic.

• You should set up websites in Arabic where you explain that the Social Democrats want your children to become homosexuals, says one of them and continues:
  
• Get a sex change operation and marry your cousin.
  

Another person adds:

• We do that in the election campaign, absolutely.

Full translation in comments.

Hi, everyone! I wanted to ask if anyone has used the site WordReference before? My French professor had us use it for conjugation and translating single words like nouns and adjectives. I saw they have an Arabic option, and would like to use it for a worldbuilding project but I want to be sure my system works.
What I currently do is a translate a word, then copy the Arabic script into Google Translate so I can hear it spoken and get an anglized version to write down.
For example, I want the word Mosaic which gave me فسيفساء in WordReference (I chose the 3rd option based on the description). And then put that into Google Translate, which says its fasayfisa'
Does this work? Are there better sites to use for something like this? Any help would be greatly appreciated!

Before there were lush leaves on the trees
Where the birds would chirp and sing in Spring
Afternoons anon in full chorus and song
As I worked along, room ringing in beautiful birdsong
Translating cantos of the city, from country to country
Telling me how it will end, like Sophocles or Aristophanes
Twittering sweet blessings, happy endings, new beginnings.
Now, the dwindling trees siege a hot breeze,
No more sweet songs, the birds have gone, moved on
Someplace withal the prophecy, all the privacy in heaven and earth
Or to an Island to thee
Tying letters to their feet to eyes you hope they reach
critique 1: https://www.reddit.com/poetry_critics/comments/1crslv0/comment/l40hqjh/
critique:
https://www.reddit.com/poetry_critics/comments/1cri8de/comment/l40fngf/

I work as a translator in Mecca, assisting visitors and pilgrims with proficiency in both Arabic and English languages. Feel free to reach out to me anytime.

Well, for some context, I'm Catholic, technically I was never muslim, I almost converted, but the reason for stopping was more theological than the other flaws Well, in the meantime I remembered this challenge, I never took it seriously even when I was about to convert (I was already praying Isha but still going to church), but well, every time I see them mention this they always say quite subjective things
Sometimes they give evidence that is quite absurd, I mean, one of their best arguments is ''why didn't the pagans try to create an surah better than the Quran and debunk all the religion instead of battling them?''
Since they had already destroyed their houses, raped their women, destroyed their religion, etc. It seems to me that they simply took that as absurd and knew that whatever they brought they would subjectively reject, since this book itself, as I know, is a linguistic hell
I don't know the original Arabic but in any translation it gives me a headache to see how it is ordered and recited; even during my ''conversion''
Anyways, I found some criteria in the internet, If someone comes with new criteria, I will add to the list until the desired final text can be put together, or until they stop presenting this argument at least
1.- Something new that didn't resemble another texts
2.- ''Beatiful'', ''eloquent'' and ''can be understood by everyone''
3.- Create an new system, supposedly Quran create an new literature system that isn't poetry or prose
4.- create new lexicon, expressions and grammars that can still be understand if you read for first time without explanation; also give an new meaning to old words, and do this with one third of the words at least
5.- double meanings or things that i can only describe as text mysticism
6.- preservation and correct recitation
7.- something with theological and/or moral value
Most of these things don't apply to the Quran, but anyways...