You find reasons to keep living Life is suffering. It is hard. The world is cursed. But still, you find reasons to keep living. Hayao Miyazaki, Princess Mononoke Prometheus sufferinghopelife
Subjected to some great trial Often in the past he had wondered what it would be like to be subjected (soma-less and with nothing but his own inward resources to rely on) to some great trial, some pain, some persecution; he had even longed for affliction. As recently as a week ago, in the Director’s office, he had imagined himself courageously resisting, stoically accepting suffering without a word. Aldous Huxley, Brave New World Prometheus painsuffering
Prometheus A Poem by Lord Byron www.poetryfoundation.org The lightnings trembledThe sum of human wretchednessMaking Death a Victory Subjected to some great trialA hierarchical system of senseYou find reasons to keep living deathsufferingpain
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