> be Joyce> write Finnegan's Wake> create famous word: "bababadalgharaghtakamminarronnkonnbronntonnerronntuonnthunntrovarrhounawnskawntoohoohoordenenthurnuk"> word represents sound of thunderclap> bababada: repetition, mimics distant rolling thunder> algharagh: resembles Gaelic for "lightning"> tak: suggests sharp sound, like a lightning strike> amminarr: "am" (sound) + "minarr" (menace in Italian)> onnkonn: repetition, evokes echo of thunder> bronntonn: suggests heavy, brontide-like sound> erronntuonn: rumbling, echoing sounds> thunn: similar to "thunder"> trovarrhounawn: "trouvaille" (French for find) + "hoon" (loud noise)> skawntoo: playful twist on "scant" + "too," sudden cessation> hoohoorden: "who-ho-ho" (exclamation) + "orden" (order in Dutch/German)> enthurnuk: "en" (prefix) + "thurn" (turn) + "uk" (sound)>brainlets think it was just autism.Forever the GOAT.
you know What else souns like thunder? Farting. Clapping of bbig cheeks brudda
>>23558568I prefer Wagner's linguistic invention:Weia! Waga! Woge, du Welle, // Weia! Waga! Welter, you wave,walle zur Wiege! Wagalaweia! // swirl around the cradle! Wagalaweia!Wallala weiala weia! // Wallala weiala weia!>In his open letter to Friedrich Nietzsche of 12 June 1872 Wagner explained that Woglinde’s opening gambit is based on OHG heilawâc ( = water drawn from a river or well at some divinely appointed hour), recast by analogy with the eia popeia ( = hushabye) of children’s nursery rhymes.>In conversation with Cosima, Wagner described this passage as ‘the world’s lullaby’ (CT, 17 July 1869), a reading already suggested by Opera and Drama, where the composer imputes the birth of language to a melodic vocalization.>Two features of the Eddic line now mentioned — the variations in the length of the line and its free rhythm — undoubtedly served to recommend the Eddic metres to Wagner as a musician. In A Communication to my Friends he praises this method of versification “which, in keeping with true speech inflections, can be adapted to suit the most natural and lively rhythms; which is at all times readily capable of the most infinitely varied expression …” This is obviously a musician speaking.>As Wagner argued at length in Oper und Drama, the virtue of Stabreim is its ability to establish through phonology associations or antitheses between particular words and concepts. (Stabreim entails a use of language akin to music in so far as it allows the word to derive meaning from its place in a phonetic pattern rather as the musical note derives meaning from its place in a tonic pattern.) It is a verse form which, in Wagner's hands, demands that particular attention be paid not only to each word but also to each root-syllable.
>>23558568'ive, laugh, love,' is a Joyce quote from both Portrait and Finnegan's Wake.
>>23558685Actually it's a quote from Wagner's Ring Cycle, which Joyce had an in depth knowledge of.>Die in linder Lüfte>Weh'n da oben ihr lebt, lacht und liebt:>Lapped in gently wafting>breezes ye who now live, laugh and love:This isn't a joke. Wagner invented the phrase.
>>23558690holy shit.... lol
bump
>>23558568>>23558641try-hard faggots
>>23558568tonner and tuonn are supposed to be like the french and italian words for thunder. I think there's other languages in the mix too but I don't remember them. I think kamminarr is maybe finnish. But that's to say it's not just onomatopoeia
