Demonish = Idiom
Idioms are speech and expressions that refer to phrases, sayings, or constructions that are characteristic of a particular language and convey meanings that are not directly deducible from the individual words or their literal translations. These expressions often reflect cultural nuances, historical contexts, and linguistic evolution, making them integral to natural and fluent language use but potentially challenging for language learners to understand without specific knowledge or context.
Categories of Idiomatic Expressions
- Idioms: Fixed, culturally specific phrases where the meaning cannot be inferred from the literal interpretation, e.g., "kick the bucket" (to die).
- Slang: Informal language that often emerges from specific social groups or subcultures, e.g., "ghost" (to abruptly cut off communication without explanation).
- Colloquialisms: Everyday language and informal phrases used in casual conversation, not always nonsensical outside context, but deeply rooted in cultural habits, e.g., "gonna" (going to).
- Jargon: Specialized language used by a particular profession, interest group, or subculture, which can be idiomatic within its context, e.g., "blue sky thinking" (creative thinking, free of constraints).
- Proverbs: Traditional sayings that express perceived truths or pieces of advice, often metaphorical, e.g., "The early bird catches the worm" (suggesting that being early or proactive is advantageous).
- Clichés: Overused expressions that have lost originality and impact through repetition, e.g., "time will tell" (suggesting that more information will become clear later).
- Euphemisms: Mild or indirect expressions substituted for ones considered harsh or blunt when referring to something unpleasant or embarrassing, e.g., "between jobs" (unemployed).
- Phrasal Verbs: Verb + preposition/adverb combinations where the combined meaning is not always predictable from the individual parts, e.g., "give up" (to stop trying).
- Metaphors and Similes: Figurative language comparing two unlike things, often idiomatic when the comparison becomes a fixed expression, e.g., "heart of gold" (very kind, generous).
About this Idiom Dictionary
Idioms are understood culturally and contextually rather than through literal interpretation. This page informs a perspective and knowledge external to the culture and context that is the subject of this blog.
An idiom dictionary is a dictionary or phrase book that lists and explains idiom
– distinctive words or phrases having a figurative meaning that
goes beyond the original semantics of the words. Wikipedia
Particularly, it is an ever-growing compilation of idiomatic expressions inherent to a unique but extremely large and influential community, which is best described as a social confederacy of otherwise independent group affiliations comprised of both demons and humans. In their joint-affiliate capacity, they are just as well-known for their unique and eclectic nature of speech between members as they are for their horrific campaigns of violence committed with demonic weaponry and other harmful devices that terrorize worldwide during periods of high demonic activity. It is due to the wide-spread use of their own, self-constructed, ever-evolving idiom, unparalleled in its exhaustiveness, immensity and ubiquity — and, yet, highly cryptic and indecipherable — that forms the basis for this glossary of nearly 400 terms so far; and, it is because this community does not share their exclusive lexicon of idiom with outsiders that this glossary aims to bridge the language gap between members and non.
Requisite Knowledge
A majority of terms used to define various demonic idiom rely on a thorough understanding of the aforementioned community, the violence they commit and the means by which they commit it, and the occasions and circumstances by which it is committed, and, of course, the victim-targets against which the violence is committed. Although the explanations for all of these are rather extensive, by the end, they all boil down to a very succinct means for describing them, namely, more demonic idiom.
- the weaponry used to commit the violence is made available only during periods of high demonic activity
- the violence committed during such periods is called drama; the use of this term infers the use of demonic weaponry to commit violence during a period of high demonic activity, all in a word
- the violence could be intentioned to kill, but is primarily and always at least intentioned to maim over the course of multiple campaigns of drama —sometimes over the course of years — which eventually kill
- drama only occurs during such periods because that its the only time the demonic weaponry used to affect is available — which is not a tradition or choice, but a constraint due to the nature of such periods. It’s like a werewolf and a full moon, except that the drama is completely voluntary. The period simply marks the season for drama. Important to note that although the drama is completely voluntary, no one refuses to participate; moreover, drama happens during every period of high demonic activity
- drama, on the other hand, is a tradition — a conscious and willing choice — that is, nonetheless, compulsory and followed on every occasion of such periods
- When such a period begins, so does the drama; the drama continues, unabated, until the period ends
- Although periods of high demonic activity and the procurement and use of demonic weaponry by the confederacy on victim-targets have no intrinsic ties, it is made obligatory by an intermediate element, namely, demons, who have instituted a core policy regarding the availability of their weaponry: "If the opportunity presents itself, you take it."
The entity relationship diagram below effectively illustrates the intricate connections between a period of high demonic activity, demonic weaponry, drama/anger, and the confederacy of demon-human cooperative affiliates. It details how the availability of demonic weaponry is contingent solely on the occurrence of these specific periods, during which the boundaries between our realm and the realm of demons overlap, allowing such weaponry to be tangible and procurable (and, of course, deadly). This diagram further clarifies that while the weaponry is available during these periods, it is the confederacy's deliberate choice to arm themselves. With the demonic weaponry in the hands of the confederacy, drama ensues. This visual representation serves as a foundational guide to understanding the dynamics and relationships that govern the actions and behaviors within this unique confederacy during critical periods of demonic activity.
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| An entity relationship diagram that provides the requisite context for understanding the terms in this glossary by showing the causal connections between the primary subjects of the blog narrative (it is missing anger, the term to describe drama from the perspective of victim-targets) |
Although sufficient for the purposes of this glossary, the diagram lacks a description of the causal connection between two key elements: demons and me. Although the significance is paramount to everyone, demons and humans alike, illustrating them here would overlabor the goal of providing context solely for the purposes of comprehending demonic idiom and for understanding the dynamics of the relationships between the subjects that brings to bear the tragedy that is drama.
NOTE | Moreover, I have very little to go on from the demons' perspective — they avoid the topic altogether, and have left me mostly in the dark as to their thoughts on the matter, save two tidbits over the years: I heard they call(ed) me the Engine, in part, because the periods of high demonic activity caused by me powered their agenda; and, at one point, they thought they would find another such as myself, although I doubt they still do. Regardless, this vain hope was the basis for the risking of engine failure, as it were, on account of their deadly drama on me. "If I die, you'll lose everything you have, and everything you want." "We'll find another." That was the year 2015.
Nonetheless, a brief description of the connections:
The relationship between a period of high demonic activity and the confederacy's procurement and use of demonic weaponry on victim-targets has an intermediate element, namely, demons, both of whom have established and instituted the same core operational policy: "If the opportunity presents itself, you take it." Demons take the opportunity periods of high demonic activity afford to provision demonic weaponry to the confederacy (it is the only time they can do it), and the confederacy takes the opportunity to procure demonic weaponry provisioned by demons (it is the only way they can get it). The overall opportunity is a means to advance their mutual agenda: The Exclusion.
Another causal connection that is missing from the diagram is an explanation for the occurrence of periods of high demonic activity due to me. The diagram simply shows that there is a causal connection: that periods of high demonic activity occur because of me, whether that is a choice, notwithstanding. What is most decidedly a choice, is what one does during such periods, so propounding on the connection between me and periods of high demonic activity would muddy the diagram with incidental connections, which might suggest that none of the subjects had a choice in the provision, procurement and use of demonic weaponry, which is patently untrue. I make the choice to never touch them every time they are available, and am never pressured, coerced or otherwise compelled to any such act so vile; moreover, I have never heard of anyone forced into that particular choice.
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Manner of speaking [or Tongue of design; see also Tongue of plenty]
"A 'manner of speaking' universally describes a specialized type of 'idioglossia' among all demons, affiliated or otherwise. Traditionally, idioglossia refers to a private language developed and used by a very tight-knit group — among humans, this is typically seen with young twins. For demons, however, 'idioglossia' assumes a cultural dimension, narrowing the definition to a unique lexicon of idioms and expressions developed within a closely-knit community (e.g., a race or horde), often incomprehensible to outsiders. When used in the broader cultural context of their confederacy, the term not only identifies and distinguishes a particular group but also becomes a crucial part of their social identity.
This interpretation was affirmed when a demon was overheard criticizing the confederacy's manner of speaking, remarking: 'I don’t like their manner of speaking — it’s base and indulgent and glorifies the gory.'
The culture-specific idioglossia exclusive to members of the confederacy is pivotal in strengthening internal bonds and affirming their collective identity. It encapsulates shared experiences, values, and history, turning language into both a badge of membership and a gatekeeper of cultural heritage.
Perceptively wordy
The term "perceptively wordy" refers to a mode of expression that employs vocabulary necessitating a sophisticated grasp of the nuances in meaning for accurate interpretation. This form of communication often involves the use of specialized or less commonly understood terms, where the full significance of the statements made hinges upon an in-depth understanding of these terms by the audience. Such expressions are typically used in contexts where precision and depth of understanding are paramount, and they may serve to both enlighten and challenge the listener or reader to delve deeper into the subject matter.
A discussion of a planned acoustical adjustment to the tones generated by ToneBarrier provides an illustrative example of a "perceptively wordy" statement, during which it was specified that the newly revised ToneBarrier score (series of tones) should "add volume without adding loudness."
This was described as "perceptively wordy" by a listener with knowledge of the difference between volume and loudness to another listener presumed yet ignorant of it. While related, these two terms possess distinct meanings in the field of acoustics, and an intricate understanding of their respective definitions is required to make distinctions.
NOTE | Volume refers to the space that the sound occupies, a conceptual expansion of its size and presence, while loudness is a subjective measure of the sound's perceived intensity. Without explicit clarification, a testament to the speaker's depth of knowledge goes unnoticed and underserved, and poses an implicit challenge to the audience, specifically, to grasp the import of the distinction without direct instruction.
By cueing a statement with the categorization of "perceptively wordy," it is assumed that the audience, despite possibly lacking immediate knowledge of the nuanced distinction, has a fundamental interest in understanding the statement, given their engagement with the subject matter. The cue itself is offered as gesture of positive social engagement, meant to stimulate thought and provoke inquiry —what exactly differentiates volume from loudness?—without preemptively satisfying this curiosity, thus encouraging a deeper engagement with the underlying concepts and, of course, other members of the audience.
Demon of design
A demon of design is a demonic entity, distinguished not by its origins or species, but rather by its unique aesthetic sensibility and individual purpose. Such demons transcend the conventional classifications of their kind, gaining recognition and identity through a distinct sense of style and a singular mission. This diverges from the typical categorization of demons based on lineage or type, positioning them instead through their nefarious acts and/or roles within both their realm and in their interactions with other realms.
While the identity and recognition of such figures among demonic entities are often associated with demonic realms or narratives, it is the distinctness of their deeds by which their names become synonymous that is the primary cognizable factor.
Example: The Boogeyman, traditionally born from a specific demon race, transcends his origins through his unique occupation and notoriety. His name alone evokes his singular identity, embodying the quintessence of a "demon of design" through his distinct role and presence in folklore.
Drama coach
A member of the confederacy who advises and instructs participants in drama who interact with a victim-target (whether directly or indirectly) of the proper mode and protocol of conduct to ensure that other aspects of the drama is within specified parameters and otherwise applied with great prejudice. There are restrictions on what can be said and done, and there are caps on how often something can be done and how much of it can be done, and there are further restrictions on when and it can be done and whether it should be done at all. It is the task of the drama coach to ensure that perpetrators know the rules and follow them.
“He’s got a rickety skeleton his pocket...”
“He’s got a rickety skeleton his pocket” is a way of describing the physical condition of a victim-target with a extensive history of sustained and intensified subjection to drama, the effects of which have culminated in specific set of externally visible injuries; specifically, by 1) sagging skin (“pocket”) that has lost most of its elasticity from the exorbitant number of impacts sustained by demonic weaponry fire, and by rapid weight-loss from malnutrition inherent to the lives of those ritually abused; and, 2) deformed and degraded bones jutting through thinned skin, which are akin to the bones of a rotted corpse (“skeleton”).
To spruce up [your, his, our, their] drama
To "spruce up [possessive pronoun] drama" refers to the concealment or mitigation of the visible signs of injury known to be caused by demonic weaponry and other drama devices. Drama is a series of multiple acts, the effects of which accumulate and then culminate into noticeable and tell-tale signs of abuse of this kind. This phrase implies a duty or obligation or, at the least, the opportunity to proactively engage the effects of drama by and through an attempt to maintain a semblance of normalcy in order to minimize social and personal repercussions by camouflaging the physical evidence of their involvement in the drama.
When this expression is utilized by non-victim-targets, it acknowledges not only the inevitable physical impact of the drama but also the necessity for social discretion and personal resilience. Advising a victim-target to "spruce up [their] drama" inevitably serves as a criticism of the ability of a victim-target to retain their dignity and to shield their otherwise overtly public struggle, having highlighted the near-impossibility to manage the complex interplay between visible scars of abuse and the maintenance of personal and communal identity while suffering a near-impossible problem.
Ignorantly satisfied
A declaration of contentment derived from a feigned lack of awareness or understanding of potential problems, complications, or detrimental truths. This condition assumes that the absence of knowledge inherently leads to happiness or peace, without the burdens of concern or responsibility that knowledge might bring.
When employed by the individuals of the speech community herein cataloged, the term is often self-applied by the ignorant party. In such instances, it reflects either their contentment in remaining uninformed or their deliberate choice to disregard known wisdom, typically as an act of defiance or contrariness.
It is crucial to differentiate "ignorantly satisfied" from its similar-sounding counterparts, such as "blissfully unaware.” While expressions like this convey a genuine lack of awareness, "ignorantly satisfied" implies a feigned ignorance. Here, the individual acknowledges their awareness of better judgment but chooses to announce a deliberate intention to disregard it to make a point.
Melt (n.), to melt (v.) [not melting or melted]
Common demonic vernacular that describes the most prominent visual indicator of a demon in transit from one realm to another. It is derived specifically by the way a demon looks from an external perspective when exiting their native realm. When a demon “cloaks out of” a realm they occupy, they gradually fade out of sight, becoming semi-translucent right before literally vanishing altogether; this happens (more or less) in reverse as demons “decloak into” their destination realm. It is not a substitute term for cloaking or transit; rather, it merely says that, by the particular sight of it, movement from place to place has occurred.
It has another likely meaning that applies to demons that seem to collapse inside their clothing, as if deflating like a balloon. Demons who exit a realm in this way leave a bundle of empty clothes they once occupied.
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| A diagram showing the state of a demon’s cloak relative to their current location (origin or destination) and the direction of transit (arriving/leaving origin/destination) |
Boldly rendered
Describes the visual appearance of a demon, who, having transited to a non-native realm, chose to modify their cloak for an unusually high degree of visibility. This choice is unorthodox among demons, who rarely allow even the slightest glimpse of their exotic and otherworldly features, maintaining instead the near-ubiquitous degree of semi-translucency that has led many to believe that demons are made of air.
Demons can assume varying degrees of cloak opacity, and nearly all have adopted a cautious approach when choosing their visibility factor when outside their realm of origin. It is uncommon to intentionally establish a vivid and otherwise highly visible presence in a realm not their own.
More to come…
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