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Shadow of Love
Where dark beasts devour to feed
Conjured up ironically when love’s in need
Nefarious takes a vitriol stand
By which time it’s out of my hands!
Love so strong, fighting underneath
As blackness hurls despite my seethe
Begging for the vortex to break
Knowing every particle that’s at stake
A losing feat which way it turns
Whether slay the beast, or perpetual churns
As damage caused does reach its limit
Even with my endeavoured remit
A wise man once said love is a verb
Meaning it is a doing word
Nefarious like actions is not love make
Therefore loves very foundation shake
King of Swords thrice turned to me
I hereby grab the sword, wielding
Approach those shadows shielding
Slice through their density, to gain true clarity, and forge out disparity!
The Writer Behind DornDryad's Blog 
The Grammar of Love by Ian Glynn Perkins. Being “in love”, in witch phrase “love” is a noun dependent on a locative pronominal head, “love” is a place entirely outside of us & we are its passive occupants , typically having “fallen” into it. But, when “I love you”, love is a main verb, it is active, dynamic and created by me directly to you. Love is what you do, not what you get. love is hard work: “love under will”.
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Indeed. My verb reference was in a context hidden from public knowledge as the poem was about/or wrapped around my significant other, most of my A Fools Journey work is my facing each fragment of self and how it is integrated into my life, and how that integration corresponds to those close to me vs society as a whole. Grateful for your taking time to read my work and make comment 🙂
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pleasure. please reciprocate. you have talent & inspiration, but hone your skills at forms devices. “Love is the law love under will”
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FASCIST LINGUISTICS 101:
TOPICS: passive voice; perfect aspect; present tense, di-transitive verb, English verb phrase.
Take a statement like “concerns have been raised about. . .”, a classic English present perfect passive, and a trivial statement that actually says nothing substantive whatsoever:
The active main di-transitive verb in this verb phrase is “to raise (something) to (somewhere)”, in this case “concerns”. “Someone raises concerns to someone else”.
By generating the verb in the passive, “been raised”, the agency of the verb, i.e. the “someone” who is DOING the action of the verb (“raising concerns”), is completely obscured, and all that remains is the unconscious implication that logically there must be an agent.
All other information, including the actual presence of the agent as a subject of the verb, is deleted in the surface output, with nothing left to infer back to the agent’s identity, in absence of the optional prepositional phrase headed by “by” (indirect object) projected by passivisation (who raised concerns = concerns were raised by who?).
Passivisation also promotes the “concerns” to grammatical subject, topicalising them: i.e. logically, they have taken on a kind of artificial quasi-agency of their own, independent of any human authority: it is as if they raise themselves.
As noted, the recipient of the verb, to whom the concerns were raised, is also optionally deleted in the passive voice, and then like the agent, exists only in unconscious implication.
(That is, all that is actually projected in of the argument structure of the verb in output is the patient. Note the di-transitivity of “to raise” is itself obscured by the passive’s routine dual indirect objectification of transitive arguments).
By generating the passivised verb phrase in the perfect present, it is grammatically implied that, although still active in the present time, i.e. still presently meaningful, the actual process itself of raising concerns is completed: i.e. no more concerns can now be raised, further inculcating unconscious implied authority.
Pluralising this passive perfect present adds yet another layer of unconscious implication of authority: that of numbers: i.e. more than one, and by extension, many, or even, the majority.
Again, nothing is explicit, but the underlying processing structure yet again implies a default or tendency to implied appeal to obscure and meaningless authority.
Now, for example, apply these kind of principles to newspaper articles and headlines: e.g. “protesters have been injured during the police action”, or “civilians have been killed during airstrikes”.
copyright Ian Glynn Perkins all rights reserved
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Thanks Ian,
For taking time to aid in my re-education of linguistics particularly verbs usage. I admit my language is oft skewed, makes no grammatical sense at times, and is most often intentionally used to give ‘implication or obscurity’, especially in my poetry. However, it is a weak area of mine, as English has progressed, transformed or likely I simply didn’t finish that part of my English exam! I write, I compose, I read, I speak – all in this cauldron of mismatched ‘bad grammar vs intellectual vent’ I appreciate your input, as it is time I reviewed this as it was brought up by my other half (author) and dismissed under interpersonal dynamics. (Adds to calendar to revisit verbs and grammar in Khan Academy lol)
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English is not yr Mother tongue?
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Surely my English isn’t that bad? Haha British born and reared! I am just bad with linguistic technique and think/talk/write with an Olde English vocab most the time.
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I studied under https://en.wikipedia.org/wiki/Rodney_Huddleston
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I recommend his introductory text:
English Grammar: An Outline
Book by Rodney Huddleston
Goodreads
3.5/5
This elementary textbook provides a succinct step-by-step account of all the most important and central English construction and categories. Rodney Huddleston’s earlier work,An Introduction to the Grammar of English, was praised by reviewers for its clarity, and that is a particular strength of this new textbook as well. The book draws on descriptive and theoretical advances made in modern linguistics, but any significant departures from traditional grammar are pointed out. An important feature of the book is that it explains the major grammatical categories at both a language-particular level and a general level, so that it could be used as a concise reference work for English by students taking courses in language typology.
Author: Rodney Huddleston
First published: 24 Jun 1988
Number of pages: 228
Genres: Linguistics · Humanities
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Much appreciated. I shall add this to my Wishlist and research more regards his work, whilst taking time to re-educate in this area.
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