Truthfully, I don't really know why I'm writing this right now. I just saw the button to edit the user page, and had the urge to write something here. I have no idea what I want to write, but we'll make it up as we go.

And there's something. I say we, but it's really just me, talking to myself, yet there you are reading this, in what is my future, but your present. Time, and information, and writing things down is weird like that.

Well, whatever.

I don't think this is going to go in any sort of coherent direction.

Something I find that brings me comfort is music. I believe that to be true for many people.
But there's just something about music that expresses the human spirit and conveys emotions so much better than anything else.
If there is one thing in our world that truly possesses magic, I think that it is music.
I know my reasons for believing that, but I don't feel like taking the time to explain this to random future people.

Anyway, music and darkness.
Two things that make me feel comfortable. I know most people think of the darkness as scary, but truthfully, darkness is great. It's like an immaterial hug surrounding you on all sides.
At least, it is for me.
This might not make sense to you, but I prefer complete darkness, unable to see anything, to having a small amount of light to see.
Now, I like being able to see when I'm going to the bathroom in the middle of the night.
But what I mean is when I'm lying in bed, I want to not be able to see a difference between my eyes being open or closed.

I play piano, and I am rather good at it. At least, people say I am.
Whenever I play in recitals, I only focus on the few mistakes I made, believing I did terrible.
I missed maybe 5 notes and 3 chords, a bit of hesitation here and there.
Terrible, you're bad at this.
But the thing is, I was playing a 4 1/2 minute classical piece entirely from memory.
I don't know why I'm saying this.
Anyway, I somehow never understand just how impressive that actually is.
I think it's because I'm comparing myself to the other kids playing at the recital, instead of thinking of it compared to people who can't play piano. I don't know.

What I mean to say is, no matter how good I may be at something, no matter how skilled, I spend so long trying to get the tiny imperfections right, that I never step back to truly appreciate how good every other aspect of the thing is.

I know I'm not the only person to think like this.

So, maybe someone out there needs to hear this.

Take a step back from what you are working on. Look at the big picture. Focus on what you are getting right across the board, as opposed to the tiny little mess ups only you notice.

Back to music and darkness. Sitting in the dark, listening to music. Nothing beats it. If you ever get a chance, just sit down in the darkest place you can find, pop in some ear buds, and just vibe. Truly the greatest thing ever.

What have I achieved here?

No idea.

But, for whatever reason, I had this inexplicable urge to write stuff down on my profile for a website solely dedicated to My Little Pony Fanfiction.

To all you future people who may or may not be reading this, I just want you to know that tooth paste is actually just bone cleaner.

UglyPotato
(I've been lowkey thinking about changing my username, but I've never gotten around to it, nor can I think of any good replacements)

In William Shakespeare’s tragic drama Romeo and Juliet, the children of two opposing families fall in love, eventually leading them to their tragic end. The play is unique, in that it starts off as a comedy, and later transforms into a tragedy. Susan Snyder, a renaissance scholar and Professor in the Department of English Literature at Swarthmore College in Pennsylvania, looks into the play and analyzes how the genre takes such a sharp turn. According to Snyder in her article “Comedy Into Tragedy,” the differing rules of comedy and tragedy, as well as the death of Mercutio as the symbolic death of comedy work together to transform the play from a light-hearted comedy into a dark tragedy. 

In her article, Snyder highlights the opposing ideals and views on law that are held by tragedy and comedy, and how they lead to a sharper change in genre. In comedy, laws are often overturned or ignored, in favor of whoever is the quickest thinking, while “in the tragic world law is inherent: imposed by the individual’s own nature” (Snyder). Comedy relies upon change, and characters taking advantage of that change, whereas tragedy is based upon inevitability, and the idea that certain outcomes are unavoidable. Romeo and Juliet act in accordance with comedy, and move toward happiness through flexibility and clever choices, but upon the shift of genre into tragedy, “the once-favored lovers become its marked victims” (Snyder). Romeo and Juliet still act as if they have control over what happens, even after the shift, but the tragic genre has decided they are unable to avoid their fate, turning their clever solutions into their downfall. In addition to the differing rules of the genres, the death of Mercutio transforms the tone.

In the play, Mercutio is a quick-witted man always cracking jokes, and his death marks the transition from comedy into tragedy. As Snyder points out, “Mercutio has been, up to his death, almost the incarnation of comic atmosphere” and that “the element of freedom and play dies with him, and where many courses were open before, now there seems only one.” Mercutio is symbolic of comedy, and his death is like the death of comedy, as well as the birth of tragedy. Where before the play was like a game, where anything could happen, the death of both Mercutio and comedy locks the characters into their fate, where every choice will lead to the same tragic outcome. 

Because of the opposing rules of comedy and tragedy, as well as Mercutio’s death symbolizing the death of comedy, Romeo and Juliet transforms from a comedy into a tragedy. The differing rules lead to the actions of the characters having different effects. Mercutio’s death is symbolic to the death of comedy and the birth of tragedy, and as the birth of tragedy, it leads to the demise of the other characters. Were it not for these opposing rules, it is unlikely that the play would have been able to provide such a transition in genre without seeming awkward and clunky. 

Snyder, Susan. “Comedy into Tragedy.” Bloom’s Shakespeare Through the Ages, edited by 
Harold Bloom, vol 20, pp. 391-402. 2008.