"It doth grow forever"?

or

"It groweth forever"?

in relation to you wanting an extra syllable Dunno what sort of style you want, though

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Every one of us has a beating heart, a pulsing soul, and a thinking mind inside of us and every heart and soul and mind has its limits.

My art

well, umm... yeah, it would be sort of alienating to have a 'doth' or 'groweth' in the middle of a poem that uses modern, if a bit formal, english. I also like 'grows' because that extra 's' sounds gets you to linger just a touch longer on that sillable before moving on.
Another thing with 'doth' is that it is realy just an archaic form of the verb 'to do,' which in this context would be 'it does grow' so then why 'doth?' and with 'it does grow' or even 'it doth grow' the added word is only that, an added word, it adds no meaning or clarification, it does not aid sense, in fact it only confuses it, if something 'grows' it must obviously 'do' so, so everybody reading it would ask 'why is that word there?' and all they could say is that was just an extra thing to boost the line to eleven sylables, and the same thing would have to be asked about 'groweth.'
'Groweth' is really just an archaic 'grows,' so the only real reason for using it is if you diliberatly want the language to be archiac, or aliantating, and the only reason to want it to be archaic is that it is alianating, but that isn't really necissary in a poem because the rhyme work does that for you, and I wasn't really looking for allianation, thats one of the reasons I tried to hide the rhyme in enjamblement.
But really, this sort of thing is why I love poetry, it forces one to look at each individual word, each sound even, both in terms of denotation and connotation, and how this impacts the poem and the sound and the sense and the tone. Do you write poetry? I find it has helped allot with developing a style in prose writing as well. I have found your style to be quite strange at times (who says 'nary!?' ), what sort of books do you read? oh, and did you end up watching Amadeus?

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"Art is what poetry can't describe; Poetry is what art can't picture."

"When the established members of academia start becoming vocal as to how poor your art is, then you know you're on to something."

I've written one poem. I think it's in my gallery somewhere :3

I plum forgot about Amadeus, but I was reading your dA notes you sent me not an hour ago, as I was using your populatory formulae to calculate how many people live where in Riiga. I'm trying to finish describing each of North Nidonn's kingdoms, you see, and will put those up with the next big update, hopefully within a day or two. Why did I say that? Oh yeah, cos I saw it in your note. I'll have to look at thine Amadeusness once my internet is restored from its currently dialup-like status.

I don't really read many books at all. The last one I read was called "Jonathan Strange and Mr Norrell" and that was mid-last year and I read it cos it was a birthday present. Before that, the last book I read was maybe four years prior...

I say "nary", but I higgeldypiggeldy my language up a terribly lot of times, and say things that do improper on purposeful reason, in case you didn't just notice. It makes it more funnerer for myself and saves me from admitting when I actually make a mistake, but, like I nary do, so like, it dun matter, aboot eh? Eh?

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Every one of us has a beating heart, a pulsing soul, and a thinking mind inside of us and every heart and soul and mind has its limits.

My art

Yeah, I understand the whole fun with words thing, I love puns and alliteration and I have nothing against a loss of grammar if it works in the context, in fact last Thursday I had an exam on 'Under Milk Wood' by Dylan Thomas and he often just throws grammar away entirely but he does so in some absolutely amazing ways - I'm getting distracted, I'll come back to Milk Wood, but as for putting that sort of thing into a piece of prose that is in otherwise normal English, I just don’t understand why! Don’t you find it alienating?
Hmm... Alienating... I notice it’s a word I'm using quite a bit, so I had best make sure we're all on the same page as to what I mean by that. Alienation is a term and technique often used in the theatre, and it refers to when something is done to deliberately stop the audience from being involved, because if they get too involved in the happening, they forget about the meaning. Alienation focuses the audience on the message and moral of a play or piece of writing by excluding their emotional attachment to the plot or characters. In Amadeus, for instance (and I won't give anything away!) alienation is achieved through the play within a play format, and also through the incredibly dramatic nature of some scenes.
You achieve the same effect through the occasional insertion of a term or word that is a bit archaic, or by a slight digression from strict grammar, on this occasion you have made an extreme example of this for the purpose of demonstration, which is cool, but when you do it, it just doesn’t seem to me to be adding anything, I can understand why ‘a terribly lot of times’ is cool, but I don’t understand the point of changing the tense, or switching singular to plural, I mean... why?
Ok, back to Under Milk Wood, here is the first sentence or two.

“To begin at the beginning:
It is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched, courters’-and-rabbit’s wood limping invisible down to the sloeblack, slow, black, crowblack, fishingboat-bobbing sea.”

Ok, so you see the difference right? “It is spring, moonless night” instead of “it is a spring, moonless night.” It’s not a big difference, but now when he says its spring, it isn’t just a way of describing the night, it becomes an important subject in its own right, it is not a spring night; it is spring... and a night. What this does is also add a surreal air to the passage, which is important because about o fifth of the play (it’s a radio play, by the way, a ‘lay for voices’ is describing the dreams of the towns inhabitants. Because it is a radio play, the voice is used not only to describe the setting, but also to become the setting, read it out; can you feel how the words form the bobbing of the sea as you say them? Can you hear the waves lapping at the hulls of the fishing boats in the repeated B sound?
And what about ‘the hunched, courters’-and-rabbit’s wood limping invisible?’ What does that even mean?! There’s an invisible forest with a bit of cramp going for a walk down to the seaside!? But the thing is, it doesn’t matter, all that matters is the feel of the language, the implication and the sound of it.
But can you see how all that works? Can you see the difference between that and just throwing ‘Nary’ or ‘doth’ into the middle of a sentence? Not that I’m saying you can’t do that, but I just want to know why!
Back to Under Milk Wood, this is from the Reverend’s evening prayer poem,

“We are not wholly bad or good
Who live our lives under Milk Wood,
And Thou, I know, wilt be the first
To see our best side, not our worst.”

Do you see how ‘thou’ and ‘wilt’ distract the listener from their involvement in the character, and how it reminds them they are listening to a prayer, how it puts one in mind of an old fable, and reminds them to look at the moral suggested? The line ‘we are not wholly bad or good’ is basically what most of the play is about, and Dylan Thomas uses that alienation to get the listener to think about that moral.

I suspect I am in danger of being quite boring, and sending you rocking a-bye-baby down slow the slowing and down silent street of the black and gentle sleeping dreams and yawns of days-gone-by... so I shall cease this particular comment, and go and have a look at that poem of yours. Toodle-pip!

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"Art is what poetry can't describe; Poetry is what art can't picture."

"When the established members of academia start becoming vocal as to how poor your art is, then you know you're on to something."

Oh I don't put it into prose. I only use it in talking to people, because I talk like that sometimes. It amuses people who know a bit of English, but it amuses me most. That's about the only reason I have and it's reason enough for me :3

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Every one of us has a beating heart, a pulsing soul, and a thinking mind inside of us and every heart and soul and mind has its limits.

My art