the beauty of english nakedness, look at it for long enough
and you get to retract or at least crab-walk east
into the pincer plateaus of the frozen tundras and see
again, proustain afresh in the cork-lined room:
what bothered me was the acute stress on the faroese a -
english really is a blank canvas: or a complex canvas with
many unique distinctions of individual words - perhaps
the dementia crisis in english-speaking societies -
also why the accent diversity between all those who come
to learn it, and those who live in the zeitreich
of the absteigen sonne - but theories are theories.
so back to the blank canvas,  which allows so see
the dynamics, although as i said, the acute faroese a
(acute, because derived from the latin verb of needlework /
puncture) - ~etymology (approx. because not
related to words but phonetic units, i.e. letters)
thus reveals that the latin accents died, truth tooth
of the phrase latin is a dead tongue - but not as dead
as when you see remnants of the transformation,
in that certain latin activities (verbs) spawned the stressing
revisions on letters to appropriate the nordic and germanic
slavic, *** and celt into its *****: acute to puncture -
like the polish acute o (ó), meaning to puncture the o
and make a U sound, although when otherwise acute is
needed, but the geometry is less obvious it means not to stress,
but sharpen, cut-short, exfoliate into a range of onomatopoeic
comparisons: sneeze - wheezing - high pitch flute -
play the clarinet - pincer the tongue - pliers -
god knows what instrument i'm really playing: ć, ń, ś, ź -
cut the letters from cen nan sap zed into the uniqueness
of the actual first letter, go into roman do re mi fa so la
(****** musicology) rather than greek omega omicron
alpha beta. so this acute faroese a, what bothered me
was the suffix -áp... the p you see, if the accent dynamic
was to end with a german umlaut -äp or with a
māori macron -āp... i would have said the p...
rather than ending with a b.

*"heimlich" tongue-numbing d.