tight and compact




School Grade: 6th (11 years old)

This character is a combination of 糸 thread, and 宿 lodge, here working phonetically to express “arrange.” Together this gives to “arrange threads.” Some scholars see its present meaning as borrowed, while others view it as an extension of drawing together loose/slack threads and thus making them “tight” and “compact.”




School Grade: Junior high school

This character is a combination of 臤 a non-general use character meaning both “hard” and “wise,” and 糸 thread. Here 臤 is a phonetic element expressing “entwine” while lending a meaning of “hard/compact.” Together with 糸 this gives “threads tangled in a tight not,” leading to the meanings of “tight/compact” in a broader sense. It can also be used figuratively to refer to a highly strung state of nerves. 


What is it about Pinguicula that is so endearing, so enthralling, so addicting? They have such a wide array of form, size and color (and don’t even get me started on their flowers). Each butterwort offers up a juicy leaf, spotted with dew. Some are long and thin like slim fingers pointing to the sky, others are round and translucent, bending down to touch the soil while others form tiny, tight rosettes of compact leaves like something you’d see on a fancy cupcake. They range in color from pale white to soft green to purple to every shade of pink imaginable.

We find them beautiful even when their leaves are speckled with the bodies of the insects they’ve lured to their deaths. Like some sort of mythical Greek God who is all vengeance and crushing power but whose perfection and sleek allure we can’t help but worship.

For the person who falls in love with Pinguicula; there is almost no end to collecting. Each one is a spectacular little piece of art and we want every one we see. Thank goodness they are relatively small and it is easy to build up a nice collection. Plus, who needs all that furniture in their living room? Really, can’t we all just huddle around the terrariums and watch the Pings instead of the T.V.?

anonymous asked:

Could/have you mentioned anything about how Stage/Theatre/Stunt Combat experience doesn't equal actual fighting experience? I do modern fencing, and I've had many people assume it's the same as stage combat and I've just had to correct them. Someone in stage combat suggested doing a bout with me, and I had to explain that I'm trained to go for the head and she has no mask to protect it. Also, there's the fact that they're doing it for show, whereas I'm landing hits.

We mention it occasionally, when we recommend media. Stunt fighting, but especially stage combat with swords, isn’t real combat. It’s designed to look good and be visible, especially to those in the back rows, and that means the strikes are huge especially in context to traditional fencing. Real combat involves a lot of tight, compact, and minute movements because it wastes less energy. This is especially true of fencing, which you know. Fencing is direct, where one advances on a single line, searching for or creating openings. It’s also very fast and contains the recognition that someone could hurt if the proper precautions aren’t taken.

Whereas stunt combat is designed to be entertaining, and often involves a great deal of circular motion. Like I said, the moves are huge, with a great deal of swinging, and often leave massive openings in the defenses. The first fencing sequence between D’Artagnan and Athos in the BBC’s Musketeers is a perfect example of stage fencing. In that context, it works because stage fencing is as much a tradition in the swashbucker genre as the swashbucklers, but it’s not an example of good sword combat.

Stage combat is choreographed, it doesn’t actually involve striking at the body in a significant way. Instead, you clash the swords together because, again, it’s for effect and not intended to hurt. It’s meant to be safe. The days of overeager crowds leaping onto stage with sword in hand to defend the honor of the play’s wrongly accused or start drunken brawls are long behind us. This can lead to more lax behavior because, again, the weapon is treated as a prop (which it is) instead of a weapon. It’s “safe” in a way a real sword or a real gun isn’t. It also gives you a lot more room to screw around. There’s a punch taught in stage combat that you’ll see commonly used in movies, it’s a roundhouse punch where when done right will cause no injury if the receiver rolls their head slightly and it can be done at full speed. You’ll see it often in shows like Supernatural, for example, and Buffy the Vampire Slayer. Like most stage combat/stunt fighting it’s an illusion. Good enough that dogs can’t tell it’s not bacon, as it were. It’s there to convince the audience something dangerous is happening, but it rarely

What you’re dealing with, and you have my sympathies, is something every martial artist in the U.S. goes through at some point or another. They will go through it their entire lives, whether they quit or not. This is mainly because Hollywood is the only access most people have to understand the combat arts, you have first hand information and you know what’s accurate. However, there will still be those people who believe their experiences on the subject are more accurate than yours. Whether it’s through what they’ve been told or experienced second hand through media. People will argue with you passionately for what they believe in or refuse to take you at your word. Some may even judge you for it. Some may resent you for the reality ruining their fantasy.

You will be facing incredibly invasive and frustrating questions for the rest of your life. You will have these same conversations over and over and over again, and some people will get irritated with you when you get frustrated. (Even though you’re frustrated because you just had this conversation with the last three people.) All I can say is that it’s a part of life.

No answers either Starke or I can give will soothe that inevitable aspect or fix it. They won’t stop those questions from coming. What I can say is take comfort in the fact you’re not alone.

Tell the person who wants to fence you: “no”. Or, at least, no in context of “not unless you want to come down to my fencing club”. Get them a day pass, put them in proper gear, be under the supervision of others, and have at it. (But, you know, also be kind.)



Hump Day Hunk

Racing’s Brice Dulin Has A Spring In His Step Every Time He Makes A Play For The Egg…He’s Talented, Tight, And Compact.

Woof, Baby!


Manly Monday: Beauty in Exile

There Are Two Types Of Rugby Players Whom I Find Incredibly Attractive…Locks And Scrum-Halves, Because Of The Height Of Each. Locks Are Often Well Over 6′5″, While Scrum-Halves Are Often 5′9″ Tall. Locks Are Lean And Strong, While Scrum-Halves Have Tight And Compact Physiques.

Matt Symons Of London Irish Is Incredibly Sexy. Standing 6′7″ Tall, He Is A Talented Egg Chaser In The Lineout, And He Possesses A Quiet Confidence, Not To Mention A Killer Smile.

Give Me Wood, Baby!

St Marina (c.1640-1650. Francisco de Zurbarán (Spanish,1598-1664). Oil on canvas. Museo Carmen Thyssen Málaga.

Using fairly tight, compact brushwork, Zurbarán lends brilliance to the colours and sharpens the contours by silhouetting the body against a dark background with an intense source of light that emphasises the flesh tones. St Marina wears a wide-brimmed hat and an white chemise with a frilled collar, bodice, skirt and overskirt. She holds a long rod, possibly an allusion to her martyrdom, and a prayer book, a symbol of learning and loyalty to the Gospel.