The Love Song of J. Alfred Prufrock A Poem by T.S. Eliot www.poetryfoundation.org A pair of ragged clawsDo I dare disturb the universe?That is not it at allI have heard the mermaids singing lonelinessmelancholy
The Waste Land A Poem by T.S. Eliot www.poetryfoundation.org HURRY UP PLEASE ITS TIMEA handful of dustWho walks beside you?Has it begun to sprout?Fragments solitudesociety
Human kind cannot bear very much reality A Fragment by T.S. Eliot www.coldbacon.com Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. realitytime
The pernicious issue with pangrams The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform. Jonathan Hoefler, Text for Proofing Fonts www.typography.com Embracing Asymmetrical Design typographylanguagedesign