God bless you and keep you from harm, this day and forever.

>>4472507

love this meme

Newfags…

Do NOT reply to shills

Do NOT demolish their intentionally flawed arguments

Do NOT debate their idiotic "concerns"

Do NOT engage shills.

Do NOT participate in shill KAYFABE

In professional wrestling, kayfabe /ˈkeɪfeɪb/ is the portrayal of staged events within the industry as "real" or "true", specifically the portrayal of competition, rivalries, and relationships between participants as being genuine and not of a staged or predetermined nature of any kind.

https://en.wikipedia.org/wiki/Kayfabe

Do NOT perpetuate shill SLIDES.

Do NOT reply to shills.

Do NOT pick up spit

If you are NOT sure, LEARN to ID shills

shills = hate

shills = labels

shills = repetition

shills = envy, greed, etc.

Do NOT correct intentional shill mistakes

Do NOT be triggered by shill taunts

Do NOT eat dead bats off the street

Do NOT bark back at dogs

Do dig, meme, pray.

How to Spot a clown

Dealing with Clownish Shills & Shilly clowns==

>>2322789 Spot a shill

>>2323031 Spot A Clown

shills have no agency

no will independent of their masters.

Shills are a profitless burden upon the earth.

Shills are the passed gas of history.

Their words are writ upon water.

DIG MEME PRAY

Queen Elizabeth the 1st banned satire in 1599.

/why?

https://en.wikipedia.org/wiki/Bishops%27_Ban_of_1599

We do.

They don't.

LIVE FOREVER.

Black books, black dyes

Middleton chose to invest the very vehicle of his invective with material self-referential characteristics.

Microcynicon is a diminutive octavo written in

“nigrum true-born ink”

(16) with a pen which the author assimilates to a quasi-satanic weapon:

“My pen’s two nebs shall turn into a fork” (18). By virtue of the Bishop’s Ban, an injunction issued in June 1599 forbidding the publication of all satires, the little book had been publicly burnt at Stationer’s Hall, in an apt prefiguring of the flaming inspiration claimed by The Black Book. The latter makes an even clearer statement about itself, since the title and front page matter is printed in white on a solid black background, and the bulk of the text, consisting of Satan’s solipsistic description of his scramble through the squalid suburbs of London, and including the Devil’s mock testament, is printed in black letter, the old-fashioned gothic typography that was used for editions the Bible, or “Good Book” (Fernie 428, Shand 205). The different layers of the book, black front page, T.M.’s “Epistle to the reader”, followed by a Prologue where “Lucifer ascend[s] as Prologue to his own Play”, concluded by a short speech addressed by the book itself to the reader, combine to create an intensely physical allegory of the reversal of values it purports to address2. The opposition of black and white described by Michel Pastoureau as defining and structuring the early modern world (2004, 169) is nowhere more evident than in this carefully crafted little work, written, as was often the case for Middleton’s non-dramatic works, after an outbreak of the plague and the subsequent closure of the playhouses in 1603.

3 The proverb is used for instance in Much Ado About Nothing, 3.3.60: “They that touch pitch will be (…)

5The contrast between black and white is invoked from the very start of the Epistle, as Middleton incorporates and reverses the words of a proverb in his address to “the truly virtuous [who] can touch pitch and never defile themselves” (3-4) in order to state “the true character of this book” (2) and explain his “politic” purpose (22) of stripping bare the vices of the time3. The Black Book is thus named according to its author “because it doubly damns the Devil” (28), but the title would normally lead the reader to expect either a catalogue of rogues and criminals, or a book devoted to the black arts (Shand 207).

But while the Epistle teems with moral conceits and allegorical embodiments of evil, it relies heavily on the metaphorical language of dirt and soiling as carried out by dyers, a profession traditionally looked upon with suspicion and resentment, both because of the stench and filth the activity involves and because of the many opportunities it provides for deceit (Pastoureau 2004, 190-92). Blackness here is above all equated to grime, and more specifically the poisoning of water by the residual muds of dyeing: it is the “black nature and filthy condition that poison the towardly spring of gentility and corrupt with the mud of mischiefs the pure and clear streams of the kingdom” (30-32).

That Middleton was keenly aware of the realities of dyeing is made evident in his repeated use of the phrase “’tis in grain”, which means the dye is fast, in two plays written the year after the Black Book was published, A Mad World, my Masters and The Revenger’s Tragedy. The plays share a few lines that are particularly relevant to the theme of disguise, deceit and death: first the sudden inspiration of the protagonist (Vindice in the first, Follywit in the second) is celebrated with the words “Thanks, thanks to any spirit / That mingled it ’mongst my inventions” (Revenger’s Tragedy, 4.2.200-01; Mad World, 3.3.71-72). Then the plot is confirmed with the words: “nay ’tis in grain, I warrant it hold colour” (Revenger’s Tragedy, 4.2.222-23; Mad World, 3.3.82-83). Vindice’s plan is to dress his mistress’s skull up as a woman procured for his nemesis, while Follywit’s is to impersonate the courtesan his uncle keeps, in order to steal his jewels: both exclamations thus conjure up visual references of memento mori scenes involving the repentant Mary-Magdalen shedding her bright clothing and weighing her jewellery against a gaping skull — scenes that are often represented against a dark backcloth.

https://en.wikipedia.org/wiki/The_Witch_(play)

https://en.wikipedia.org/wiki/Thomas_Middleton

https://en.wikipedia.org/wiki/Bishops%27_Ban_of_1599

https://journals.openedition.org/erea/4321#tocto1n1

>4472907

Military Times is "independent" clown op.

Shills Oath

Make stupid hand signal

Repeat Aloud:

I am satan's shill. I believe nothing, I will say anything. I have no values, friends or family I will not sell into bondage forever for food and for feathers. Dollars will buy me. What can not spend I will burn in an ashtray or shove up my ass. But give me dollars. I am a shill. I demoralize myself. When I finish the blow I take five footballs and pass out. Asleep, I dream I'm awake. I am a shill. My stridulations are filtered. My mockery, my despair, my anguish, like my coming and my going pass ever unnoticed.

I am a shill. One day I will vanish like the a knot in a shoelace. I am a shill. A petty criminal, a peeping Tom, a canvas for others tattoos, a repeater, an NPC.