Tornado acrostic poem

Course Title: Exploring the Panorama of Poetry
Course Description: This course delves into the rich tapestry of poetic forms, guiding students through the exploration and creation of fifty distinct styles of poetry. From classic sonnets to innovative forms like golden shovel and palindrome poetry, students will gain a comprehensive understanding of poetic expression, learning the nuances of each style and honing their creative skills.
Week 1-2: Introduction to Poetry and Sonnets - Overview of poetry styles - In-depth study of sonnets - Writing Exercise: Crafting a sonnet on personal experiences
Week 3-4: Embracing Haiku and Villanelle - Understanding the elegance of haiku - Exploring the repetitive beauty of villanelles - Writing Exercise: Composing haikus inspired by nature
Week 5-6: Limericks and the Art of Humor - Decoding the humor in limericks - Crafting limericks with wit and wordplay - Writing Exercise: Creating humorous limericks on everyday topics
Week 7-8: Free Verse and Acrostic Poetry - Liberating creativity through free verse - Playing with words in acrostic poems - Writing Exercise: Expressing emotions through free verse
Week 9-10: Ghazal and Tanka Mastery - Unveiling the beauty of ghazals - Crafting tankas with precision - Writing Exercise: Creating a ghazal on themes of love and longing
Week 11-12: Cinquains and Pantoum Prowess - Perfecting the art of cinquains - Embracing the rhythmic challenges of pantoums - Writing Exercise: Developing a pantoum on personal growth
Week 13-14: Sestina and Rondeau Exploration - Mastering the intricacies of sestinas - Crafting rondeaus with musicality - Writing Exercise: Composing a sestina on the theme of time
Week 15-16: Triolets and Kyrielles - Understanding the charm of triolets - Embracing the structure of kyrielles - Writing Exercise: Crafting a triolet on the beauty of simplicity
Week 17-18: Ode to Joyful Ballads - Writing joyful odes - Crafting narrative ballads - Writing Exercise: Creating an ode celebrating personal achievements
Week 19-20: Epic Journeys and Blank Verse - Exploring epic storytelling - Mastering the art of blank verse - Writing Exercise: Composing a blank verse poem reflecting on personal reflections
Week 21-22: Petrarchan Musings and Terza Rima Mastery - Delving into Petrarchan sonnets - Crafting poems using terza rima - Writing Exercise: Writing a Petrarchan sonnet on conflicting emotions
Week 23-24: Renga Collaboration and Prose Poetry - Collaborative renga creation - Experimenting with prose poetry - Writing Exercise: Crafting a prose poem inspired by a vivid memory
Week 25-26: Concrete Poetry and Narrative Art - Creating visual impact with concrete poetry - Mastering the art of narrative poetry - Writing Exercise: Developing a narrative poem based on personal experiences
Week 27-28: Pastoral Elegies and Morning Aubades - Writing pastoral poetry - Crafting mournful elegies - Writing Exercise: Composing an aubade capturing the essence of dawn
Week 29-30: Ekphrastic Marvels and Found Poetry Adventures - Creating poetry inspired by art - Crafting poems through found materials - Writing Exercise: Developing an ekphrastic poem based on a chosen artwork
Week 31-32: Epigrams and Clerihew Laughter - Crafting witty epigrams - Writing humorous clerihews - Writing Exercise: Composing a clerihew about a contemporary figure
Week 33-34: Quatrains and Double Dactyl Delight - Mastering the art of quatrains - Crafting light-hearted double dactyls - Writing Exercise: Creating a quatrain reflecting on the beauty of simplicity
Week 35-36: Terzanelles and Haibun Adventures - Crafting terzanelles with precision - Exploring the combination of prose and haiku in haibun - Writing Exercise: Composing a haibun narrating a meaningful travel experience
Week 37-38: Golden Shovel Challenges and Villancico Celebrations - Creating poems using the golden shovel technique - Crafting festive villancicos - Writing Exercise: Developing a golden shovel poem using a line from a favorite poem
Week 39-40: Tercet Beauty and Sevenling Narratives - Embracing the charm of tercets - Crafting sevenlings with narrative flair - Writing Exercise: Composing a sevenling reflecting on a vivid childhood memory
Week 41-42: Palindrome Reflections and Parallelismus Membrorum Insights - Creating palindrome poetry - Crafting poems using parallelismus membrorum - Writing Exercise: Developing a palindrome poem exploring balance in life
Week 43-44: Rubaiyat Contemplations and Blues Poem Expressions - Exploring Persian poetry with rubaiyats - Crafting poems inspired by the blues - Writing Exercise: Composing a rubaiyat on themes of love or mortality
Week 45-46: Erasure Transformations and Anaphora Intensity - Crafting poetry through erasure - Mastering the use of anaphora - Writing Exercise: Creating an erasure poem using a page from a novel or newspaper
Week 47-48: Tetractys and Sijo Harmonies - Crafting tetractys with specific syllable counts - Exploring traditional Korean poetry with sijo - Writing Exercise: Developing a sijo capturing a moment of beauty or introspection
Week 49-50: Blitz Poem Exploration and Epitaph Conclusions - Crafting blitz poems with rapid expression - Writing poignant epitaphs - Final Project: Compose an original poem using a style of the student's choice, reflecting personal growth throughout the course.
Assessment: - Weekly writing exercises - Participation in collaborative projects - Midterm and final projects showcasing mastery of chosen styles
Materials: - Poetry anthologies - Artworks for ekphrastic exercises - Writing journals - Selected readings for each style
Prerequisites: None. Open to all students with an interest in poetry and creative expression.

1. Sonnet:
   A 14-line poem, traditionally written in iambic pentameter, with various rhyme schemes such as Shakespearean (ABABCDCDEFEFGG).
   
2. Haiku:
   

A three-line Japanese poem with a 5-7-5 syllable count, typically capturing a moment in nature.

1. Free Verse:
   Poetry without a fixed rhyme or meter, allowing for greater freedom and natural flow of expression.
   
2. Villanelle
   

: A 19-line poem with a specific structure, containing five tercets followed by a concluding quatrain, using only two rhymes.

1. Acrostic:
   A poem where the first letter of each line, when read vertically, spells out a word or message.
   
2. Limerick
   

: A humorous five-line poem with a specific meter and rhyme scheme (AABBA).

1. Ghazal:

A form of poetry with rhyming couplets and a repeating refrain, often exploring themes of love and loss.

1. Tanka

: A Japanese form of poetry with a 5-7-5-7-7 syllable count structure, focusing on nature and emotions.

1. Sestina:
   A complex poem with six stanzas of six lines each, ending with a three-line envoi; the same six words end the lines in a shifting pattern.
   
2. Cinquain
   

: A five-line poem with a specific syllable count for each line (2-4-6-8-2), often used to capture a moment or emotion.

1. Rondeau:
   A 13-line poem with a rhyme scheme and repetition of specific words, often emphasizing themes of love.
   
2. Pantoum
   

: A form of poetry with repeating lines, where the second and fourth lines of each stanza become the first and third lines of the next.

1. Ode:

A lyrical poem expressing strong emotions or deep feelings, often addressed to a particular person or thing.

1. Elegy:
   A mournful poem, typically written in remembrance of someone who has passed away.
   
2. Ekphrastic
   

: A poem inspired by a work of art, often describing or reflecting on the visual piece.

1. Concrete Poetry:
   Poems where the arrangement of words on the page forms a visual representation of the subject.
   
2. Prose Poetry
   

: A hybrid of prose and poetry, characterized by its free-flowing structure and poetic language within prose form.

1. Epigram:

A short, witty, and often satirical poem or statement, typically with a clever or humorous ending.

1. Quatrain

: A four-line stanza or poem with various rhyme schemes, commonly used in ballads and hymns.

1. Epitaph

: A short poem or inscription on a tombstone in memory of the deceased.

Week 3: Limericks and the Art of Humor
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.

Week 7: Limericks and Acrostic Poetry - Lecture and Discussion
Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks - Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.

• Discussion Questions:
  1. What appeals to you about the whimsical nature of limericks?
  2. How does the AABBA rhyme scheme contribute to the humor in limericks?
  3. Can you think of any famous limericks or poets known for this style?

Day 2: Analyzing Limericks - Part 1 - Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.

• Discussion Questions:
  1. How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
  2. What humorous themes or scenarios are commonly found in limericks?
  3. Share your thoughts on the importance of concise storytelling in limericks.

Day 3: Analyzing Limericks - Part 2 - Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern limericks evolved in terms of themes and structure?
  2. In what ways does the whimsical nature of limericks allow for creative expression?
  3. Share examples of humorous scenarios that might work well in a limerick.

Day 4: Crafting Limericks - Part 1 - Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three lines of a limerick?
  2. How can you establish humor and rhythm within the concise structure?
  3. Share examples of humorous scenarios you might explore in a limerick.

Day 5: Crafting Limericks - Part 2 - Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.

• Discussion Questions:
  1. Why are the final two lines crucial in providing resolution and a punchline in a limerick?
  2. How can a limerick deliver a humorous twist or surprise within its structure?
  3. Share and discuss individual limericks, highlighting successful elements.

Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry - Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.

• Discussion Questions:
  1. What interests you about the creative use of acrostic forms?
  2. How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
  3. Can you think of any famous acrostic poems or poets known for this style?

Day 7: Analyzing Acrostic Poetry - Part 1 - Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.

• Discussion Questions:
  1. How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
  2. What unique perspectives or insights can arise from using acrostic forms in poetry?
  3. Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.

Day 8: Analyzing Acrostic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in acrostic poetry. - Exploring the diverse ways poets engage with vertical arrangements.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in acrostic poetry?
  2. In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for acrostic poetry.

1. Sonnet:

• Definition: A 14-line poem, often expressing love or deep emotion, with various rhyme schemes.
  
• Example: Write a sonnet exploring the theme of unrequited love.
  

1. Haiku:

• Definition: A traditional Japanese poem with three lines and a 5-7-5 syllable count.
  
• Example: Craft a haiku capturing the essence of a serene moment in nature.
  

1. Villanelle:

• Definition: A 19-line poem with five tercets followed by a quatrain, using repeated lines.
  
• Example: Create a villanelle about the passage of time and its impact on memories.
  

1. Limerick:

• Definition: A humorous, five-line poem with a distinctive rhythm (AABBA).
  
• Example: Compose a limerick about a quirky character or situation.
  

1. Free Verse:

• Definition: Poetry with no set rhyme scheme or meter, allowing for free expression.
  
• Example: Write a free verse poem exploring the complexities of human relationships.
  

1. Acrostic:

• Definition: A poem where the first letter of each line spells out a word or message.
  
• Example: Create an acrostic using your name, describing your personality or aspirations.
  

1. Ghazal:

• Definition: A poetic form with rhyming couplets and a repeating refrain.
  
• Example: Craft a ghazal expressing the bittersweet nature of love and longing.
  

1. Tanka:

• Definition: A Japanese poem with five lines and a 5-7-5-7-7 syllable count.
  
• Example: Write a tanka capturing the fleeting beauty of a sunset.
  

1. *Cinquain:

• Definition: A five-line poem with a specific syllable count per line (2-4-6-8-2).
  
• Example: Create a cinquain describing the essence of a quiet winter evening.
  

1. Pantoum:

- *Definition:* A poem with repeating lines and a specific pattern, often used for reflection. - *Example:* Craft a pantoum exploring the cyclical nature of life and change. 

Week 1: Introduction to Poetry and Sonnets
Day 1: Overview of Poetry Styles - Activity: Icebreaker - Introduce yourself through a poetic name acrostic. - Lecture: Brief history of poetry, introduction to various styles. - Discussion: What draws you to poetry? Share your favorite poems.
Day 2: Understanding Sonnets - Activity: Analyze a classic sonnet together. - Lecture: Explanation of sonnet structure (Shakespearean and Petrarchan). - Discussion: Share initial impressions and feelings about sonnets.
Day 3: Writing Exercise - Crafting a Sonnet - Activity: Break down sonnet structure with examples. - Assignment: Write a sonnet exploring a personal experience or emotion. - Vocabulary Words: Quatrain, Couplet, Volta.
Day 4: Peer Review and Feedback - Activity: Peer review workshop for sonnets. - Lecture: Discuss common challenges and strategies in sonnet writing. - Discussion: Share insights gained from reviewing peers' work.
Day 5: Recap and Reflection - Activity: Reflect on the week's lessons and exercises. - Lecture: Overview of upcoming weeks. - Assignment: Write a short reflection on what you've learned about poetry and sonnets.
Study Guide Questions for Week 1: 1. What is the basic structure of a sonnet? 2. Compare and contrast Shakespearean and Petrarchan sonnets. 3. How does the volta contribute to the meaning of a sonnet? 4. Discuss the role of rhyme and meter in sonnets. 5. Explore your personal connection to poetry. What emotions or themes resonate with you?
Quiz: A short quiz assessing understanding of sonnet structure, key terms, and the historical context of poetry.
Week 2: Embracing Haiku and Villanelle
Day 1: Understanding Haiku - Activity: Analyze classic haikus. - Lecture: Explain the traditional structure and themes of haikus. - Discussion: Share thoughts on the simplicity and depth of haikus.
Day 2: Crafting Haikus - Activity: Write haikus individually. - Lecture: Discuss the significance of nature in haikus. - Discussion: Share and discuss individual haikus.
Day 3: Unraveling the Villanelle - Activity: Analyze a famous villanelle. - Lecture: Explore the structure and repetition in villanelles. - Discussion: Discuss the impact of repeated lines on the overall theme.
Day 4: Writing Exercise - Composing a Villanelle - Activity: Break down the process of crafting a villanelle. - Assignment: Write a villanelle on the theme of memory or loss. - Vocabulary Words: Tercet, Refrain, Envoi.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for villanelles. - Lecture: Discuss the challenges and beauty of crafting repetitive forms. - Discussion: Share insights gained from reviewing peers' villanelles.
Study Guide Questions for Week 2: 1. What defines a haiku? Discuss its structure and thematic elements. 2. Explore the cultural significance of nature in haikus. 3. What is the structure of a villanelle, and how does repetition contribute to its impact? 4. Discuss the emotions evoked by repeated lines in a villanelle. 5. Reflect on the process of crafting a villanelle. What challenges did you face?
Quiz: Assessment on the understanding of haikus, villanelles, and the effective use of repetition in poetry.

1. Haiku for Hanukkah:
   
   • Craft a series of haikus capturing the essence of Hanukkah, focusing on the symbolism of light, the menorah, and the joy of shared traditions.
2. Sonnet of Diwali Delights:
   
   • Write a sonnet that explores the colors, lights, and festivities of Diwali, incorporating themes of triumph over darkness and the spirit of renewal.
3. Kwanzaa Villanelle:
   
   • Create a villanelle that reflects on the seven principles of Kwanzaa, exploring the repeated refrains to convey a sense of unity, purpose, and cultural celebration.
4. Las Posadas Limericks:
   
   • Compose a set of limericks capturing the humorous and heartwarming moments of Las Posadas, focusing on the characters and the reenactment of the journey to Bethlehem.
5. St. Lucia's Day Free Verse:
   
   • Write a free verse poem that explores the sensory experience of St. Lucia's Day, using vivid imagery to convey the sights, sounds, and emotions of the candlelit processions.
6. Winter Solstice Cinquains:
   
   • Create a series of cinquains that capture the anticipation, stillness, and eventual rebirth associated with the Winter Solstice.
7. Chinese New Year Acrostic:
   
   • Compose an acrostic poem using the words "Chinese New Year," incorporating each letter to convey the energy, symbolism, and cultural richness of the celebration.
8. Ganna Elegy:
   
   • Write an elegy that reflects on the Ethiopian Christmas (Ganna), exploring themes of faith, tradition, and the emotional resonance of the holiday.
9. Oshogatsu Haiga:
   
   • Combine haiku with visual elements in a haiga to capture the serene beauty and cultural significance of Oshogatsu, incorporating traditional New Year imagery.
10. Global Celebrations Ghazal:
    
    • Craft a ghazal that weaves together the diverse elements of global holiday celebrations, exploring the shared threads of joy, love, and cultural exchange.

I always wondered what it would be like if the Wol had their own Trail I found nothing to very little about the subject so Im asking here about it this has been on my mind for a while
My Wol Fight consist of a normal boss fight and the extreme which would consist of 3 parts, two phases, and a transition event
the song for the normal trial and phase 1 of the Extreme would be {One Hero's Journey - Calico} With the beginning of phase 1, it would start simply using moves from the classes from simple aoe spells, cleaves, and the occasional tank buster

• 75% they would start combining skills such as rating pools of water and following up with a raid-wide fire, ice, or lightning spell, using ranged attacks that differ from stacks and spreads, at
• 50% thing would be the same but will go faster shorter cast times, have faster skills, and will start causing Dot damage to healers.

When brought to 25% the Wol will start the Transition This would consist of a combination of Hydalen and the Warrior of Light boss fights with the Crystals starting to empower them and having to be destroyed the normal fight effectively ends here, the song for the Transition phase would be { March of the lost - Code Vein }
in the extreme the Wol will use the Azem crystal and create an Lb3 combo attack that the tank will lb3 to survive his health will return to 100% and the barrier around the arena will break allowing players to fall , the song for Phase 2 would be { Apex of the world - FETH }
Phase two will Start using moves from Jobs instated, Using higher tier skills and spells while being supported by those summoned by Azems Crystal that functions like adds, while nothing much changes the Wol gets access to abilities like double cast and triple cast which will cause a quick choice of in-or-out of the pool with combos like Areo, Fire or lighting, ice, ice. a phoenix will spawn and cause a regen effect for a short while.

• when the Wol reaches 75% the wol would call another summoner and they will summon Ifirt a corneal aoe mid-speed, garuda a donut aoe fast speed, and Titan a Proximity slow speed, the two would summon different aeons intendem at the end summoning Bahamut to incase 3/4 if the stage in a aoe.
• at 50% the Wol would summon a white and black mage and equip a red mage weapon this phase will test the player's knowledge of aether the Wol will cause a knockback from the center raising a giant stone pillar the blackmage with then target 4 players with a lighting spead debuff and if the afflicted isn't inside the stone they cause a painful aoe around them the stone will then enter an active state and will explode, the white mage will follow but causing a Water Spread debuff on the other 4 though this attack does not kill if they fail to stand in the stone it will cause a raid wipe.

The White mage will then begin to cause a tornado knockback effect (a player can only take two hits before getting knocked off)the Wol will begin to cause Ice proximity on four sides of the arena that will create a temporary ice pillar black mage would then start causing players to have fire debuff, four random players afflicted with this will need to take a hit from the tornado to take of this (if they hide or are near the pillars when the debuff goes off the pillar disappears) this will repeat 4 times by the 4th time the tornado will fade and the last four will need to destroy the pillars before they explode covering the section in icy floor for the rest of the fight.

• at 25% will be the evade game as the Wol will rapidly change jobs with a costume change which the players have five to ten seconds to see before the attack happens the appears in this order

1. Paladin ( will cause aoes of falling swords to spawn from the center then going either clockwise or counterclockwise)
2. Warrior ( will cause an earthshaker on all players )
3. Monk ( will cause a knockback from the center of the arena )
4. Dragoon ( will cause a proximity in four sections of the arena )
5. Bard ( 2 players will have the stack effect and a healer with a prey affect [the off tank will need to take the prey effect] )
6. Scholar ( will hit everyone with an Acceleration bomb effect that won't go off until blue mage )
7. Dark knight ( will affect four players with the chase marker )
8. Astrologion ( will affect 6 players with 6 different effects the players must match the effect to get rid of them falling to do so will cause a nasty debuff depending on the job of the players the other two have a flare effect and a spread )
9. Machinist ( the Wol will spawn a current which will target a player with a prey effect if the player is hit three times they will gain a moderate damage down for 2 min )
10. Ninja ( cause a 4-segment event which starts with a single stack then a single flare he then will summon shadow clones, followed by a Multiple attack stack and several spreads )
11. Samari ( will begin to start Zantesukin if the players don't destroy the sword it will result in a raid wipe )
12. Gunbreaker ( will cause a spinning cross aoe around the area twice )
13. Dancer ( will spawn 8 sigles on the ground and the players must much the patterns else they suffer a damage debuff this goes on for four times before a Raide wide attack happens, get 4 debuffs and its a k.o, )
14. Sage ( will cause healers and tanks to tether with white or red [ White will need to close while red needs to be pulled ] if the tethers are not broken then half of the players max hp will be siphoned to the Wol )
15. Reaper ( will effect each player with a numbered effect and will teleport to each player to deliver an instint aoe attack )
16. Blue mage ( will begin to dramatically cast ultima but when the skill bar ends a rabbit will poff ontop of his head [ if the players forgot about the Acceleration bomb they suffer damage ] )

the Wol will suffer a damage debuff this will be the time to use a lb3 on him

• At 10% or less the Wol will begin the Blade of Light Attack if the players fail to kill him before the end of the cast time it will be a raid wipe

Quotes from the Normal trial

• Intro (I have not earned the title Warrior of light for nothing steel yourself's)
• Beginning (Let us see if you have what it takes)
• 75% (Perhaps I've been going too easy on you but no more)
• 50% (Tis bout time I take this seriously)
• 25% (No more games Fall or fly)
• Deafet (Well done perhaps there's more to you lot after all)

Wandering mistral poem
( In the darkness of the night, a warrior of light appears A beacon of hope in a world consumed by fear They stand tall and strong, ready to fight With courage and determination, they shine bright
They carry the burden of the past Yet never losing sight of the future, steadfast Their spirit unwavering, their resolve unbroken In the face of adversity, they remain unspoken
A warrior of light, a symbol of strength In a world where chaos and hate extend their length They bring peace and love, they bring hope A guiding force in a world struggling to cope
So let us all be warriors of light Bringing love and unity, shining bright In a world that so desperately needs The courage and strength of those who lead )
Quotes from the Extreme Trail

• Intro (I earned my title for a reason it's time you see why greater man Failed)
• Beginning (For those you slaughter I will not Hesitate)
• 275% (Is the best your force can muster, disappointing)
• 250% (It's time I rid the world of you)
• 225% (No I will not be made to kneel)
• Crystal 1 breaks (if I Fall here)
• Crystal 2 breaks (they will suffer)
• Crystal 3 breaks (If you reach them)
• Crystal 4 breaks (You will not hesitate to... to)
• Crystal 5 breaks (NO I will not allow that)
• Crystal 6 breaks ( I WILL NOT FAIL THEM)
• [ the Wol causes a knockdown as he picks himself up energy surging from him as he holds the Azem crystal aloft ]
• Azem crystal (it's clear that I cannot defeat you alone so I shall defeat you allied)
• LB3 combo (We shall show you the true power of the Light of which you disown)
• 100% (that you still live no matter I will not fail)
• 75% (If the power of the primal failed to lay me low how do you hope to)
• 50% (The power of the Aether Surgise through me like a touring tempest/Not even the coldest of hells could snuff my lifes fire)
• 25% ( THIS IS THE END OF YOUR GENOCIDE RIGHT HERE RIGHT NOW!)
• After the 16 combo (no impossible that you still stand have I failed them)
• 10% (no No NO if I must surrender up my all to save them then so be it... Forgive me, everyone)
• defeat (At least I've given them time to prepare)

AND that's that if you read this all the way you have my thanks this has been going around my head for a long while and its finally good to get it out there. CV~
edit: fixing typos

Course Title: Exploring the Panorama of Poetry
Course Description: This course delves into the rich tapestry of poetic forms, guiding students through the exploration and creation of fifty distinct styles of poetry. From classic sonnets to innovative forms like golden shovel and palindrome poetry, students will gain a comprehensive understanding of poetic expression, learning the nuances of each style and honing their creative skills.
Week 1-2: Introduction to Poetry and Sonnets - Overview of poetry styles - In-depth study of sonnets - Writing Exercise: Crafting a sonnet on personal experiences
Week 3-4: Embracing Haiku and Villanelle - Understanding the elegance of haiku - Exploring the repetitive beauty of villanelles - Writing Exercise: Composing haikus inspired by nature
Week 5-6: Limericks and the Art of Humor - Decoding the humor in limericks - Crafting limericks with wit and wordplay - Writing Exercise: Creating humorous limericks on everyday topics
Week 7-8: Free Verse and Acrostic Poetry - Liberating creativity through free verse - Playing with words in acrostic poems - Writing Exercise: Expressing emotions through free verse
Week 9-10: Ghazal and Tanka Mastery - Unveiling the beauty of ghazals - Crafting tankas with precision - Writing Exercise: Creating a ghazal on themes of love and longing
Week 11-12: Cinquains and Pantoum Prowess - Perfecting the art of cinquains - Embracing the rhythmic challenges of pantoums - Writing Exercise: Developing a pantoum on personal growth
Week 13-14: Sestina and Rondeau Exploration - Mastering the intricacies of sestinas - Crafting rondeaus with musicality - Writing Exercise: Composing a sestina on the theme of time
Week 15-16: Triolets and Kyrielles - Understanding the charm of triolets - Embracing the structure of kyrielles - Writing Exercise: Crafting a triolet on the beauty of simplicity
Week 17-18: Ode to Joyful Ballads - Writing joyful odes - Crafting narrative ballads - Writing Exercise: Creating an ode celebrating personal achievements
Week 19-20: Epic Journeys and Blank Verse - Exploring epic storytelling - Mastering the art of blank verse - Writing Exercise: Composing a blank verse poem reflecting on personal reflections
Week 21-22: Petrarchan Musings and Terza Rima Mastery - Delving into Petrarchan sonnets - Crafting poems using terza rima - Writing Exercise: Writing a Petrarchan sonnet on conflicting emotions
Week 23-24: Renga Collaboration and Prose Poetry - Collaborative renga creation - Experimenting with prose poetry - Writing Exercise: Crafting a prose poem inspired by a vivid memory
Week 25-26: Concrete Poetry and Narrative Art - Creating visual impact with concrete poetry - Mastering the art of narrative poetry - Writing Exercise: Developing a narrative poem based on personal experiences
Week 27-28: Pastoral Elegies and Morning Aubades - Writing pastoral poetry - Crafting mournful elegies - Writing Exercise: Composing an aubade capturing the essence of dawn
Week 29-30: Ekphrastic Marvels and Found Poetry Adventures - Creating poetry inspired by art - Crafting poems through found materials - Writing Exercise: Developing an ekphrastic poem based on a chosen artwork
Week 31-32: Epigrams and Clerihew Laughter - Crafting witty epigrams - Writing humorous clerihews - Writing Exercise: Composing a clerihew about a contemporary figure
Week 33-34: Quatrains and Double Dactyl Delight - Mastering the art of quatrains - Crafting light-hearted double dactyls - Writing Exercise: Creating a quatrain reflecting on the beauty of simplicity
Week 35-36: Terzanelles and Haibun Adventures - Crafting terzanelles with precision - Exploring the combination of prose and haiku in haibun - Writing Exercise: Composing a haibun narrating a meaningful travel experience
Week 37-38: Golden Shovel Challenges and Villancico Celebrations - Creating poems using the golden shovel technique - Crafting festive villancicos - Writing Exercise: Developing a golden shovel poem using a line from a favorite poem
Week 39-40: Tercet Beauty and Sevenling Narratives - Embracing the charm of tercets - Crafting sevenlings with narrative flair - Writing Exercise: Composing a sevenling reflecting on a vivid childhood memory
Week 41-42: Palindrome Reflections and Parallelismus Membrorum Insights - Creating palindrome poetry - Crafting poems using parallelismus membrorum - Writing Exercise: Developing a palindrome poem exploring balance in life
Week 43-44: Rubaiyat Contemplations and Blues Poem Expressions - Exploring Persian poetry with rubaiyats - Crafting poems inspired by the blues - Writing Exercise: Composing a rubaiyat on themes of love or mortality
Week 45-46: Erasure Transformations and Anaphora Intensity - Crafting poetry through erasure - Mastering the use of anaphora - Writing Exercise: Creating an erasure poem using a page from a novel or newspaper
Week 47-48: Tetractys and Sijo Harmonies - Crafting tetractys with specific syllable counts - Exploring traditional Korean poetry with sijo - Writing Exercise: Developing a sijo capturing a moment of beauty or introspection
Week 49-50: Blitz Poem Exploration and Epitaph Conclusions - Crafting blitz poems with rapid expression - Writing poignant epitaphs - Final Project: Compose an original poem using a style of the student's choice, reflecting personal growth throughout the course.
Assessment: - Weekly writing exercises - Participation in collaborative projects - Midterm and final projects showcasing mastery of chosen styles
Materials: - Poetry anthologies - Artworks for ekphrastic exercises - Writing journals - Selected readings for each style
Prerequisites: None. Open to all students with an interest in poetry and creative expression.

1. Sonnet:
   A 14-line poem, traditionally written in iambic pentameter, with various rhyme schemes such as Shakespearean (ABABCDCDEFEFGG).
   
2. Haiku:
   

A three-line Japanese poem with a 5-7-5 syllable count, typically capturing a moment in nature.

1. Free Verse:
   Poetry without a fixed rhyme or meter, allowing for greater freedom and natural flow of expression.
   
2. Villanelle
   

: A 19-line poem with a specific structure, containing five tercets followed by a concluding quatrain, using only two rhymes.

1. Acrostic:
   A poem where the first letter of each line, when read vertically, spells out a word or message.
   
2. Limerick
   

: A humorous five-line poem with a specific meter and rhyme scheme (AABBA).

1. Ghazal:

A form of poetry with rhyming couplets and a repeating refrain, often exploring themes of love and loss.

1. Tanka

: A Japanese form of poetry with a 5-7-5-7-7 syllable count structure, focusing on nature and emotions.

1. Sestina:
   A complex poem with six stanzas of six lines each, ending with a three-line envoi; the same six words end the lines in a shifting pattern.
   
2. Cinquain
   

: A five-line poem with a specific syllable count for each line (2-4-6-8-2), often used to capture a moment or emotion.

1. Rondeau:
   A 13-line poem with a rhyme scheme and repetition of specific words, often emphasizing themes of love.
   
2. Pantoum
   

: A form of poetry with repeating lines, where the second and fourth lines of each stanza become the first and third lines of the next.

1. Ode:

A lyrical poem expressing strong emotions or deep feelings, often addressed to a particular person or thing.

1. Elegy:
   A mournful poem, typically written in remembrance of someone who has passed away.
   
2. Ekphrastic
   

: A poem inspired by a work of art, often describing or reflecting on the visual piece.

1. Concrete Poetry:
   Poems where the arrangement of words on the page forms a visual representation of the subject.
   
2. Prose Poetry
   

: A hybrid of prose and poetry, characterized by its free-flowing structure and poetic language within prose form.

1. Epigram:

A short, witty, and often satirical poem or statement, typically with a clever or humorous ending.

1. Quatrain

: A four-line stanza or poem with various rhyme schemes, commonly used in ballads and hymns.

1. Epitaph

: A short poem or inscription on a tombstone in memory of the deceased.

**SPOILER WARNING AGAIN** I mention little moments that occurred at various points throughout the season.
Not sure if any MBTI enthusiasts also liked the recent Shogun TV show, so I’m not sure if this post will generate much activity, but here are my thoughts.
I loved the series and wanted to explore some of the characters’ types. Of note, I haven’t read the books, so these assessments are based only on the TV show.
I'm sure there are grammatical and spelling errors, please ignore them!
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YOSHII TORANAGA - INTJ
Introverted intuition: Envisioning an outcome far off in the distance and feeling very dedicated to that vision. Not multiple options of what could be/what he’s hoping for but one thing—Shogun. His vision of himself in power, as Shogun, and of a peaceful Japan. His far-reaching plan to become Shogun (seems it may have been started all the way back when Akechi Jinsai killed the Taiko? Unclear to me if Toranaga pushed him to do it or not). Able to get a sense of the nature of others (this is how he can then apply Te so effectively to use the people around him to serve his Ni goal). His observant nature, his studying of the wind. They did an excellent job of having so many shots where Toranaga is just watching everything and everyone around him (understanding how he could use Yabushige and his playing of both sides; him saying to Mariko and John there’s a shadow over them, and him questioning Markio about what’s between them). His ability to understand Hiromatsu’s plan—without them needing to talk about it, he can understand how Hiromatsu’s death would benefit his plan to seem defeated. The way the different types of hawks symbolize John, Yabushige, and Mariko to him. Of course, he’s human and can’t anticipate everything—he understood his son but underestimated how reckless Nagakado was; I think he may have been surprised by his brother’s betrayal—but I think they did a good job of showing this as a strength of his.
Extroverted thinking: Makes concrete plans to bring his Ni vision to life in the real world. Uses the world around him, including the people associated with him, as tools to achieve his goals (and highly values the tools/people he feels are most useful). Able to really understand, create, work within, and manipulate systems and hierarchies (for example, he utilized the weaknesses of the Council of Regents’ structure to manipulate them). He is annoyed with distractions, poor strategy, and small talk (he got increasingly frustrated by his son’s lack of insight, Buntaro fixated on Mariko and John, John fixated on his ship). Wants the most efficient strategy to win (minimize loss, cost, etc.). Feels confident leading, giving orders, etc.
Introverted feeling: Hides his true intentions and feelings from most people and does so effectively. Because he’s so secretive and hard to read, few know the depths of his feelings and beliefs. He certainly has his cold and calculating side (which becomes even more apparent in the last episode). I think he also truly loved Mariko and Hiromatsu, and that all of the tears he shed for them were genuine. By the end of the last episode, his fondness for John also seemed genuine. He doesn’t show much affection toward his wife (wives? Wife and consort?), but he is respectful to them and seems to try and keep them safe (maybe a personal value of his not to be harsh to them or something). He appreciates poetry and uses it to express his feelings in a more understated way. Also, NiFi work together to help him understand people—Ni gives him data about what someone might do, Fi helps him understand why.
Extraverted sensing: The endpoint is fixed, but the path to his goal is adaptable when required (he didn’t plan for Nagakado to kill those people or for the earthquake, but when those things happened, Toranaga accepted reality and adjusted his plans). Not only does he study the wind, he adapts to the way it changes. He likes to watch the falcons and appreciates their different hunting styles, especially the elegance of his primary falcon. He grew to be good with a sword (of course I’m sure any child would have a hard time being a second…). He is able to pick up diving pretty quickly.
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TODA MARIKO - ISTJ
Introverted sensing: Respects her culture’s customs—loyal to her leader, listens to her abusive husband and doesn’t speak ill of him in public (despite hating him), thinks it’s important for everyone to have their purpose, focused on the samurai having their swords, understands the power structures and customs well. As Ochiba says, she understands what she’s to do, where she’s to go, and what role she should play without being told. Cannot let the memories of the past go or the heavy weight of her family name, those things haunt her, her whole life and take up a significant part of her days (and it was Toranaga that interpreted her father’s actions—sending her away to save her (and also to follow Toranag?)—Mariko didn’t come to that conclusion on her own). Generally comfortable with the routine/sticking to the plan (she wants to die but otherwise she isn’t longing to break away from what the group is doing).
Extroverted thinking: A good strategist in her own right (negotiating the price with Gin, the way she handled the translations (didn’t always say exactly what was said), her understanding of how to play her role once she gets to Osaka and part of that is by manipulating the power structure). She understands how to use her words effectively to accomplish a goal rather than just express herself (comforting Toranaga, giving Ochiba a clue Ishido wouldn’t understand). Even in small ways she is good at making sure what needs to get done, gets done: helps Fuji give up her son; negotiates with Fuji to stay with John for 6 months (because Toranaga wants Fuji to do that, so Mariko comes up with a plan to accomplish the task), and gets John set up in his home in Ajiro (the vibe of ok everyone, here he is, he needs swords, he needs a bath, etc. making sure those practicalities are handled).
Introverted feeling: Like Toranaga she hides her emotions well when she wants to—the queen of maintaining a blank face and giving off a cold vibe. Buntaro, for example, is surprised at the end that she never cared for him (when she reveals that in the tea room). She feels close to John after he steps up to second her because he’s finally honoring what she’s doing, how she feels, and what she believes instead of trying to force something else on her. The cross was so meaningful to her because of its emotional significance, and it never left her body until the scene where she thought she’d have to kill herself (this has SiFi tones as well because it’s particularly related to intense past experiences). I think she, like Toranaga, appreciates that poetry can allow for emotional expression in a more subtle way. Si and Fi can interact by Fi imbuing reflections of the past with strong emotional tones (so she doesn’t just remember her father’s betrayal, it also deeply pierces her emotionally whenever she thinks of it). She also has an emotional attachment to the customs—when Toranaga is without his swords after the earthquake, she is very distressed about it. Similar to Toranaga, her Si and Fi work together to help her understand people—Si gives her data about what someone might do (based on how they’ve acted in the past, ), Fi helps her understand why they do what they do—this is why she was better at understanding Ochiba no Kata, Mariko grew to know her and understand her motivations steadily over time.
Extraverted intuition: I think this is part of what makes her good at poetry—being able to make quick connections between words and concepts, even ones that seem disparate. I think this also helps her be so adept at her translator role (understanding the essence of what’s being said by the speaker and thinking of ways to express the same sentiment/general idea while using words that are not offensive to the receiver).
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USAMI FUJI - ISFJ
Introverted sensing: Similar to Si explanation for Mariko—for example, she was so unhappy about having to be John’s consort, but once she’s committed herself to the role she does it to the fullest (when she takes John’s gun and promises to care for it while also pointing it at Omi, making sure there’s dinner and that the house is clean, making sure the gardener was killed for disobeying John and touching that bird). At the end her calling isn’t to find freedom, build a new social structure (like Gin), or try to find power—she is comfortable with and comforted by the idea of becoming a nun (something long established, something she can more confidently predict and envision).
Extraverted feeling: Once she settles into her role, she is good at meeting the needs of others and trying to maintain a stable emotional atmosphere (make sure we throw the soup out far away so the smell won’t bother everyone; make sure we have the right dishes, if we don’t let me offer a quick but warm apology to smooth over any insults). Comparing Mariko and Fuji, if John says something that Mariko finds offends her own beliefs or the cultural structures in place enough, she says something to him (pushes back/argues; “your words gave the bird meaning”, clearly insinuating the situation he’s upset about is his own fault and expresses disapproval; vs Fuji trying to follow his logic and ultimately apologizing and offering to kill herself to stop his anger when they can’t seem to understand each other). Maybe Fuji would push back/argue on occasion, but when we see her interactions with John she just meets the needs he’s expressed or protects him in her own way (when John and Buntaro are drunk at dinner, she tries to apologize (on John’s behalf) for his bad behavior; when John asks her to arrange a meeting with Toranaga and help him with his message, she does so no questions asked). More outwardly emotionally expressive (really big reaction when her son and husband were to die (understandable of course) and when she’s told she has to be John’s consort vs Mariko's more internal distress at being sent away to marry Buntaro or preparing to kill herself or face her death when the door blew open). Mariko does have a significant external emotional expression after Buntaro physically abuses her after that tense dinner, but Fuji’s response is to match her intensity and try to calm things down to make sure the emotions in the house are what they should be (Fuji says something like “if you disturb this home, you dishonor the Anjin.”). At first, Fuji wants to die with her son and husband but by the end has let go of the idea, come to peace with what happened, and will instead become a nun and be in an environment with a clear way to behave and a relatively set and predictable emotional landscape (vs Mariko’s more long-lasting desire to die after her father died). Giving John her family swords as a clear sign of her commitment to her role and appreciating him giving her something and acknowledging what she’s doing.
Introverted thinking: Less focused on the external implementation of plans, systems, etc.; less focused on strategizing; less focused on having clear goals and thinking about how to make them a reality. Instead, focuses on what makes sense to her—well, you said if the bird was touched, whoever touched it would have to die, but it was disturbing the peace in the neighborhood so it had to be removed…so the gardener removed it, and we killed him. We did exactly as you instructed, so why are you getting upset? John is horrified, but, to Fuji, it’s confusing to her why the gardener’s death doesn’t make sense to John. When John recommends she spread her loved ones’ ashes in the ocean, she sees this as reasonable (there’s no way the ashes can go to the family grave, how will I take it to the church, and John says this is honoring them and helping their spirit move on—it’s a reasonable idea).
Extraverted intuition: We don’t get to see as much of this with her? If anyone noticed anything please do share!
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ANJIN-SAN / JOHN BLACKTHORNE - ESFP
Extraverted sensing: Skilled pilot and finds the action associated with being on the ship exciting. Understands how the boat moves (when he’s directing the men how to row and how to prevent it from flipping, when he gets Toranaga’s ship out of the harbor, surprising even Toranaga). He also has skill with his guns and the cannons. A good in-the-moment and responsive thinker—his outburst in an early scene protects the guards from opening all of the boxes so Toranaga’s plan won’t be ruined, quick to action whenever there’s an attack and smart about how to take out opponents (like during the shinobi attack with his hand through the wall move and trying to block the door). Good awareness of his physical surroundings (gets the sense he'll be ambushed in the woods for ex). Heartily enjoys food and drink and wants external glory (or at least he thought he did—to be the first to sail to Japan and back to England, to gain respect in his home country, to have lots of money and die in a big home with his “trophies” if you will). A key part of his relationship with Mariko goes beyond words and is about when their fingers brush or of course when they sleep together. He has family back home (maybe kids? I can’t remember), and he may have feelings for them, but Mariko is right here in front of him, and it makes his feelings for her more intense that she’s with him in the present.
Introverted feeling: His whole character arc is seeing the value in honoring others, being aware of and a part of a community, and looking beyond your personal goals and desires. I think he will hold Mariko in his heart forever and that her actions and beliefs will influence him. It’s important to him to speak out against religious hypocrisy.
Extraverted thinking: He’s actually a good and animated leader. His style is different than Toranaga’s, but his SeTe work together to make him effective (like in the ending scene when they’re trying to pull the boat out of the water). I think this is part of what Toranaga sees in John/part of John’s use as a tool for Toranaga. In the end scene, the positions they’re standing in seem meaningful—Toranaga is alone and on high monitoring everyone else, looking ahead to the future, while John is amongst the people, having experiences with them, giving orders but also giving them energy and expressing appreciation for their hard work. Both of their roles are important and now they kind of understand each other and their respective roles. John tries to plan a way to use the Japanese people and get out of Japan. Even though he’s ultimately unsuccessful, he was trying to get his ship and get out nearly until the end. He kept trying to come at Toranaga from different angles (I have no role here let me go; fine, give me a bigger role and let me have my ship, and I’ll sail for you; I’ll return and get my men, then we’ll get back to the ship, etc.). His plans are more I’ll take this action now, another good SeTe example is when he threatened to kill himself at the end if Toranaga didn’t stop killing the villagers. It was an in-the-moment decision (it seemed so anyway) but based on a structure/strategy he’d learned (to die in protest).
Introverted intuition: He comes to at least sense that Toranaga is looking beyond what everyone else is focusing on. Even if he doesn’t fully see the picture Toranaga does, he’s confident enough to tell that catholic guy, “if you think it’s over, you don’t know your opponent, and you aren’t seeing the full picture” (summarizing, not an actual quote). He comes to understand how elegant? Toranaga’s plan was (he comments that Toranaga doesn’t have to get his hands dirty or waste a bunch of soldiers; he just had to sacrifice one woman). He also has a clear vision of his future, and he clung to it until he truly had a change of heart (then that future vanished and he had to reimagine a life in Japan).
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KASHIGI YABUSHIGE - ESTP
Extraverted sensing: In-the-moment problem solver, like John. Like when he first arrived in Ajiro early in the season, he was quickly planning with Omi how they could use the ship to their advantage (of course with Toranaga’s more long-range based thinking, he had spies in Ajiro and already knew about the ship). Good physical awareness as well (when he wasn’t able to save that guy on the cliff, he knew when it was time to give up and was ready to kill himself), seems he’s a skilled fighter (at least from the little scene we see where he’s criticizing John for being unable to use a sword). For his torture/punishment, he likes the externally perceptible suffering of the person (likes to hear the screaming in real-time; vs say Mariko who is content with just internally knowing how much Buntaro suffers because she won’t give him any emotional reactions). Even when he had to commit Seppuku, he’s quick and decisive about it, and does it in his style (vs the other very symbolic versions we saw earlier in the show).
Introverted thinking: Focused on an individualized plan for his survival. For him, SeTi led to his quick tactical changes (I’ll back this guy, never mind this one. Hm, things not looking so good anymore let me figure out how to get back in the other’s good graces, etc.). With TiFe, his plans often included an element of charming/getting friendly with other people (I’ll convince them I’m an asset, I’ll offer this thing to this person to try and please them). Always trying to figure out how he can make it through all of the craziness, how to play both sides, not caring so much about long-term plans, or making people follow him—he wants to live. He seemed like a genuinely curious person who wanted to understand things. He seemed to be developing some kind of internal system to rank different deaths, it was kind of like his own experiment (you could envision him keeping notes, writing the different deaths down, explaining the reasoning for the rankings). Frustrated when he doesn’t understand what’s going on/when things don’t make sense to him—why did Toranaga send you, Mariko? What’s his plan? Why would you start a winter poem when it’s spring? When is Crimson sky, and how will it work? He has a bit of a harder time than the Te users trying to effectively use his chess pieces (by the time he tries to give John to Ishido, John is pretty much irrelevant to Ishido).
Extraverted feeling: Based on some comments and review podcasts and videos I saw—a lot of people really like Yabushige; he was a popular character. People didn’t necessarily respect him, but they found him charming and funny. I think his Fe was part of that charm (when talking with either Ishido or Toranaga, he had a very laidback “we’re all on the same side; calm down, calm down, you can trust me”, kind of that smooth-talker energy; his interactions with Omi were much less formal and distant than Toranaga’s interactions with his son. Yabushige made sure Omi was respectful, but there was more warmth between them). He was even pretty close with his main servant guy whereas none of Toranaga’s more lowly servants are seen having frequent semi-casual (while still respectful) interactions. Toranaga had to kill him in the end but smiled at him too—even though Yabushige couldn’t be trusted and had betrayed Toranaga in many ways, there was still some measure of fondness Toranaga had for Yabushige. He didn’t think about or understand the emotional impact of things until they happened, and then his emotions caught him off guard. He was so shocked about Mariko’s death, his role in causing her death, and his feelings about it that he has a mental breakdown at the end (seeing the fish, frantic on the ship back to Ajiro stopping his clothes off and talking about trying to escape to England). He wanted good social standing (liked it when the soldiers were cheering his name and got annoyed when they started cheering Toranaga’s name instead; wants to be close to and feel privy to the plans of the most powerful figures). His sexual preference was also interesting--he was more of an observer, watching his servant and Kiku’s enjoyment and feeding off of that was arousing for him. Kiku can quickly assess that that’s what might please him, but Yabushige himself almost seems surprised that he’s into it (less aware of his inner emotional self than an Fi user). Finally, he’s rarely alone. I know they all have servants and stuff but Toranaga or even John would have moments where they were just sitting/standing alone and reflecting. Yabushige usually had Omi or his servant or someone else close to him and would interact with them.
Introverted intuition: He sees through Toranaga in the end and comes to understand the true nature of a life like his vs a life like Toranaga’s. He sees that Toranaga is power-hungry and just as vicious and focused on his own powesuccess/survival as much as anyone else—it’s just that Toranaga hides his intentions better. Yabushige also realizes he was one of Tornado’s chess pieces all along, that the leaders/the “great men” use the lives of those beneath them as tools to serve whatever greater purpose they want.
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Didn't do the full, function-by-function thing for these, but here are a few more I thought about:
Toda Hirokatsu “Buntaro” — ISTP
Yoshii Nagakado — ESFP
Ochiba no Kata - INFJ
Gin — ENFJ

Week 3: Limericks and the Art of Humor
Day 1: Decoding Limericks - Activity: Analyze classic limericks for rhythm and humor. - Lecture: Discuss the AABBA rhyme scheme and distinctive rhythm. - Discussion: Share favorite humorous poems and discuss elements that make them funny.
Day 2: Crafting Limericks with Wit - Activity: Write limericks individually, focusing on humor and rhythm. - Lecture: Explore the balance of humor and structure in limericks. - Discussion: Share and discuss individual limericks, highlighting successful elements.
Day 3: Understanding Free Verse - Activity: Analyze free verse poems for structure and expression. - Lecture: Introduce the concept of free verse and its flexibility. - Discussion: Discuss the liberation and challenges of writing without a strict structure.
Day 4: Writing Exercise - Expressing Emotions in Free Verse - Activity: Explore emotions and write a free verse poem. - Assignment: Craft a free verse poem exploring a personal experience or emotion. - Vocabulary Words: Enjambment, Cadence, Anapest.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for free verse poems. - Lecture: Discuss the artistic freedom and impact of free verse. - Discussion: Share insights gained from reviewing peers' free verse poems.
Study Guide Questions for Week 3: 1. What defines a limerick, and how does its rhythm contribute to its humor? 2. Discuss the importance of the AABBA rhyme scheme in limericks. 3. How does free verse differ from structured forms of poetry? 4. Explore the challenges and benefits of writing without a strict form in free verse. 5. Reflect on the emotions and experiences expressed in your free verse poem.
Quiz: Assessment on limericks, the AABBA rhyme scheme, and the principles of free verse.
Week 4: Free Verse and Acrostic Poetry
Day 1: Embracing Free Verse - Activity: Analyze diverse free verse poems for individual expression. - Lecture: Discuss famous free verse poets and their impact on the genre. - Discussion: Share personal reactions to the artistic freedom of free verse.
Day 2: Crafting Emotion in Free Verse - Activity: Write a free verse poem expressing a specific emotion. - Lecture: Explore the role of emotions in free verse and the use of vivid imagery. - Discussion: Share and discuss individual poems, highlighting emotional impact.
Day 3: Understanding Acrostic Poetry - Activity: Analyze acrostic poems for clever wordplay. - Lecture: Explain the concept of acrostic poetry and its various forms. - Discussion: Share examples of creative acrostic poems.
Day 4: Writing Exercise - Personal Acrostic - Activity: Craft an acrostic poem using your name or a chosen word. - Assignment: Write an acrostic poem exploring a theme or concept. - Vocabulary Words: Strophe, Stanza, Consonance.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for acrostic poems. - Lecture: Discuss the playfulness and creativity of acrostic poetry. - Discussion: Share insights gained from reviewing peers' acrostic poems.
Study Guide Questions for Week 4: 1. Explore the role of emotions in free verse poetry. How does it differ from structured forms? 2. Discuss the impact of vivid imagery in free verse. How does it contribute to the overall message? 3. What defines acrostic poetry, and how is it different from other forms? 4. How can clever wordplay enhance the impact of an acrostic poem? 5. Reflect on the creative process and thematic exploration in your acrostic poem.
Quiz: Assessment on understanding free verse, emotional expression in poetry, and the principles of acrostic poetry.

Skype: an acrostic poem
Stupid app that
Kills my chances to see
Your beautiful face.
Perhaps I should
Express my disappointment
Sirs or madames,
Unbeknownst to you, your app
Crashing all the time puts the
Kibosh on my plans of
Seeing my love.
Attend to this posthaste please
Signed, with contempt,
Someone you've disappointed.

Week 7: Limericks and Acrostic Poetry - Lecture and Discussion
Objective: - Explore the whimsical nature of limericks and the creative use of acrostic poetry. - Understand the structure and humor in limericks. - Discuss the artistic possibilities of using acrostic forms.
Day 1: Introduction to Limericks - Lecture: - Definition and characteristics of limericks. - Explanation of the AABBA rhyme scheme and humorous themes.

• Discussion Questions:
  1. What appeals to you about the whimsical nature of limericks?
  2. How does the AABBA rhyme scheme contribute to the humor in limericks?
  3. Can you think of any famous limericks or poets known for this style?

Day 2: Analyzing Limericks - Part 1 - Lecture: - In-depth analysis of classic limericks. - Exploration of the distinctive rhythm and structure.

• Discussion Questions:
  1. How does the AABBA rhyme scheme and rhythm contribute to the comedic timing in limericks?
  2. What humorous themes or scenarios are commonly found in limericks?
  3. Share your thoughts on the importance of concise storytelling in limericks.

Day 3: Analyzing Limericks - Part 2 - Lecture: - Discussing modern variations and themes in limericks. - Exploring the versatility of the form.

• Discussion Questions:
  1. How have modern limericks evolved in terms of themes and structure?
  2. In what ways does the whimsical nature of limericks allow for creative expression?
  3. Share examples of humorous scenarios that might work well in a limerick.

Day 4: Crafting Limericks - Part 1 - Lecture: - Step-by-step guide on crafting the first three lines of a limerick. - Emphasis on establishing humor and rhythm.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first three lines of a limerick?
  2. How can you establish humor and rhythm within the concise structure?
  3. Share examples of humorous scenarios you might explore in a limerick.

Day 5: Crafting Limericks - Part 2 - Lecture: - Step-by-step guide on crafting the final two lines of a limerick. - Emphasis on creating resolution and punchline.

• Discussion Questions:
  1. Why are the final two lines crucial in providing resolution and a punchline in a limerick?
  2. How can a limerick deliver a humorous twist or surprise within its structure?
  3. Share and discuss individual limericks, highlighting successful elements.

Homework Assignment: - Craft a limerick focusing on a humorous scenario or theme.
Study Guide Questions: 1. Reflect on the challenges of crafting the first three lines of your limerick. How did you establish humor and rhythm? 2. How did you approach creating resolution and a punchline in the final two lines of your limerick? 3. What insights did you gain from the process of crafting a limerick?
Quiz: Assessment on the understanding of limericks, their AABBA rhyme scheme, and the use of humor within the concise form.
Day 6: Introduction to Acrostic Poetry - Lecture: - Definition and characteristics of acrostic poetry. - Exploration of arranging words vertically to create hidden messages.

• Discussion Questions:
  1. What interests you about the creative use of acrostic forms?
  2. How might the arrangement of words vertically enhance the poetic experience in acrostic poetry?
  3. Can you think of any famous acrostic poems or poets known for this style?

Day 7: Analyzing Acrostic Poetry - Part 1 - Lecture: - In-depth analysis of classic acrostic poems. - Exploration of the different approaches to selecting and arranging words.

• Discussion Questions:
  1. How does the vertical arrangement of words contribute to the overall impact of acrostic poetry?
  2. What unique perspectives or insights can arise from using acrostic forms in poetry?
  3. Share your thoughts on the relationship between the hidden message and the overall theme in acrostic poems.

Day 8: Analyzing Acrostic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in acrostic poetry. - Exploring the diverse ways poets engage with vertical arrangements.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in acrostic poetry?
  2. In what ways does the incorporation of vertical arrangements broaden the possibilities in written expression?
  3. Share examples of themes or concepts suitable for acrostic poetry.

1. Sonnet:

• Definition: A 14-line poem, often expressing love or deep emotion, with various rhyme schemes.
  
• Example: Write a sonnet exploring the theme of unrequited love.
  

1. Haiku:

• Definition: A traditional Japanese poem with three lines and a 5-7-5 syllable count.
  
• Example: Craft a haiku capturing the essence of a serene moment in nature.
  

1. Villanelle:

• Definition: A 19-line poem with five tercets followed by a quatrain, using repeated lines.
  
• Example: Create a villanelle about the passage of time and its impact on memories.
  

1. Limerick:

• Definition: A humorous, five-line poem with a distinctive rhythm (AABBA).
  
• Example: Compose a limerick about a quirky character or situation.
  

1. Free Verse:

• Definition: Poetry with no set rhyme scheme or meter, allowing for free expression.
  
• Example: Write a free verse poem exploring the complexities of human relationships.
  

1. Acrostic:

• Definition: A poem where the first letter of each line spells out a word or message.
  
• Example: Create an acrostic using your name, describing your personality or aspirations.
  

1. Ghazal:

• Definition: A poetic form with rhyming couplets and a repeating refrain.
  
• Example: Craft a ghazal expressing the bittersweet nature of love and longing.
  

1. Tanka:

• Definition: A Japanese poem with five lines and a 5-7-5-7-7 syllable count.
  
• Example: Write a tanka capturing the fleeting beauty of a sunset.
  

1. *Cinquain:

• Definition: A five-line poem with a specific syllable count per line (2-4-6-8-2).
  
• Example: Create a cinquain describing the essence of a quiet winter evening.
  

1. Pantoum:

- *Definition:* A poem with repeating lines and a specific pattern, often used for reflection. - *Example:* Craft a pantoum exploring the cyclical nature of life and change. 

Next month will mark a year since I first met you. I felt something I had never felt before. It was so real, so ancient. I’ll never know if it was love, just admiration, a past life history, or what. It was so unexpected and unconventional, that I wrote a poem about you that very night. It was an acrostic poem that spelled out your name and all the ways you immediately knocked me off my feet out of nowhere. The pedestal that I placed you on was awfully high. I’ll never know why you felt the need to betray me like you did. And I’ll never know if you were just a two faced person the whole time. And then you lied about it, like I am stupid enough to believe your excuse. I think that hurt even worse. You said you want the world to be a better place, but at the same time, you try to destroy good people trying to do good things in it. Why?!?! 💔 What do people gain from being like this? It honestly turned out to be a blessing in disguise. Your pedestal collapsed like an imploded building. When the dust and ash settled, I dug my heart out of the rubble, patched it up & carried on. Like I always do. Trust is everything to me. I have no ill will toward you. I hope the very best for you still.

Week 1: Introduction to Poetry and Sonnets
Day 1: Overview of Poetry Styles - Activity: Icebreaker - Introduce yourself through a poetic name acrostic. - Lecture: Brief history of poetry, introduction to various styles. - Discussion: What draws you to poetry? Share your favorite poems.
Day 2: Understanding Sonnets - Activity: Analyze a classic sonnet together. - Lecture: Explanation of sonnet structure (Shakespearean and Petrarchan). - Discussion: Share initial impressions and feelings about sonnets.
Day 3: Writing Exercise - Crafting a Sonnet - Activity: Break down sonnet structure with examples. - Assignment: Write a sonnet exploring a personal experience or emotion. - Vocabulary Words: Quatrain, Couplet, Volta.
Day 4: Peer Review and Feedback - Activity: Peer review workshop for sonnets. - Lecture: Discuss common challenges and strategies in sonnet writing. - Discussion: Share insights gained from reviewing peers' work.
Day 5: Recap and Reflection - Activity: Reflect on the week's lessons and exercises. - Lecture: Overview of upcoming weeks. - Assignment: Write a short reflection on what you've learned about poetry and sonnets.
Study Guide Questions for Week 1: 1. What is the basic structure of a sonnet? 2. Compare and contrast Shakespearean and Petrarchan sonnets. 3. How does the volta contribute to the meaning of a sonnet? 4. Discuss the role of rhyme and meter in sonnets. 5. Explore your personal connection to poetry. What emotions or themes resonate with you?
Quiz: A short quiz assessing understanding of sonnet structure, key terms, and the historical context of poetry.
Week 2: Embracing Haiku and Villanelle
Day 1: Understanding Haiku - Activity: Analyze classic haikus. - Lecture: Explain the traditional structure and themes of haikus. - Discussion: Share thoughts on the simplicity and depth of haikus.
Day 2: Crafting Haikus - Activity: Write haikus individually. - Lecture: Discuss the significance of nature in haikus. - Discussion: Share and discuss individual haikus.
Day 3: Unraveling the Villanelle - Activity: Analyze a famous villanelle. - Lecture: Explore the structure and repetition in villanelles. - Discussion: Discuss the impact of repeated lines on the overall theme.
Day 4: Writing Exercise - Composing a Villanelle - Activity: Break down the process of crafting a villanelle. - Assignment: Write a villanelle on the theme of memory or loss. - Vocabulary Words: Tercet, Refrain, Envoi.
Day 5: Peer Review and Feedback - Activity: Peer review workshop for villanelles. - Lecture: Discuss the challenges and beauty of crafting repetitive forms. - Discussion: Share insights gained from reviewing peers' villanelles.
Study Guide Questions for Week 2: 1. What defines a haiku? Discuss its structure and thematic elements. 2. Explore the cultural significance of nature in haikus. 3. What is the structure of a villanelle, and how does repetition contribute to its impact? 4. Discuss the emotions evoked by repeated lines in a villanelle. 5. Reflect on the process of crafting a villanelle. What challenges did you face?
Quiz: Assessment on the understanding of haikus, villanelles, and the effective use of repetition in poetry.

1. Haiku for Hanukkah:
   
   • Craft a series of haikus capturing the essence of Hanukkah, focusing on the symbolism of light, the menorah, and the joy of shared traditions.
2. Sonnet of Diwali Delights:
   
   • Write a sonnet that explores the colors, lights, and festivities of Diwali, incorporating themes of triumph over darkness and the spirit of renewal.
3. Kwanzaa Villanelle:
   
   • Create a villanelle that reflects on the seven principles of Kwanzaa, exploring the repeated refrains to convey a sense of unity, purpose, and cultural celebration.
4. Las Posadas Limericks:
   
   • Compose a set of limericks capturing the humorous and heartwarming moments of Las Posadas, focusing on the characters and the reenactment of the journey to Bethlehem.
5. St. Lucia's Day Free Verse:
   
   • Write a free verse poem that explores the sensory experience of St. Lucia's Day, using vivid imagery to convey the sights, sounds, and emotions of the candlelit processions.
6. Winter Solstice Cinquains:
   
   • Create a series of cinquains that capture the anticipation, stillness, and eventual rebirth associated with the Winter Solstice.
7. Chinese New Year Acrostic:
   
   • Compose an acrostic poem using the words "Chinese New Year," incorporating each letter to convey the energy, symbolism, and cultural richness of the celebration.
8. Ganna Elegy:
   
   • Write an elegy that reflects on the Ethiopian Christmas (Ganna), exploring themes of faith, tradition, and the emotional resonance of the holiday.
9. Oshogatsu Haiga:
   
   • Combine haiku with visual elements in a haiga to capture the serene beauty and cultural significance of Oshogatsu, incorporating traditional New Year imagery.
10. Global Celebrations Ghazal:
    
    • Craft a ghazal that weaves together the diverse elements of global holiday celebrations, exploring the shared threads of joy, love, and cultural exchange.

I think maybe all of us at SOME point has thought that maybe MARLO is an acronym for something (HAM I Right?????? ***cricket noises***) Anyways here are two of my poetic renditions of what MARLO maybe stands for! (Lol if you feel extra creative make your own poem starring whatever each letter maybe stands for)
The name of this poem is:
MARLO: DIFFERENT MEDIA
Movies
Advertisements
Radio
Literature
Outside Media
-Written By Luz-y-Luna
The name of this next poem is
MARLO: WALLY'S MASTERPIECE
My
Art
Reflects
Life
Outside (I apparently know no other words starting with "O" )
-Written by Luz-y-Luna