Examples of oxymoron in poems

keming: mortifying mortising and spasmodic spacing

2012.05.09 23:00 frozenburger keming: mortifying mortising and spasmodic spacing

A subreddit dedicated to the fine art of keming and other examples of bad spacing in typography.
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2013.10.20 11:26 tilnewstuff Where everyone is a quantum scientist...

For only the very smartest braggarts.
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2016.08.21 20:45 Arlaine Dedicated to instances of graphic design tombstoning

Dedicated to instances of graphic design tombstoning, a form of conflicting design which often results in hilarity.
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2024.05.19 18:55 BadProof2060 If you want something, be the person who has it.

I read a quote recently that said “if you want something be the type of person who has it.” So, for example, if you would like to receive love letters, be the type of person who writes them. If you would like to be invited to parties, be the type of person who hosts them, so on and so forth.
I’m trying, still, after two years to process the grief of losing you and to process the grief of all that was lost during our relationship, including pieces of my innocence and my dignity, pieces, I dare say, I will never be able to recover. You hurt me in the worst ways imaginable yet still I can’t hate you. I won’t. Everybody says that I should and that whatever love I have fantasized in my head towards you is merely the limerence that results from Stockholm Syndrome. An obsession one would hold towards a hateful caregiver in an infantilized state.
Though, I’m not so sure. I am loathe to believe the love I hold towards you is fetishized grief. I am hoping that by putting these letters out into the void I will gain some temporary relief from the pain of your absence, at the least, and at most I will begin to build a bridge over that dark and glowering moat of grief that has kept me tethered to the past, tethered to the abusive and turbulent relationship which left me with nothing but debt to be repaid by a wandering life of pain, misery, and an emptiness never to be filled by love in the same way.
Oh how I admired you, oh man of mine. How I wanted to grasp onto every word that came out of your mouth when you were discussing your ideas. How your poems, though a little prose-like and robotic, made me sink faster into the pit of infatuation. I was in love with you. Obsessed. I wish I could have recorded the sound of your voice when you talked about science. I wish I could have mended the pain of your abandonment in adolescence. I wish I could have been the support you needed even when you pushed me away and put me down. I wish I could have healed the parts of you that were so broken to make you believe that stealing from me would somehow fill your empty cup.
But you cut off the bottom of the glass and no amount of debauchery could ever leave you more full than you were before. No amount of purity stolen from me could mend the agony you had held onto for far too long.
I am still left wondering, now, without you even by my side to soothe the wounds you had inflicted, why you chose me to steal from? Was everything really as you said? Was I too unlovable for the mistakes I had made in the past? Hadn’t I more than atoned for them with everything you had put me through? Was I really someone you loathed, who you couldn’t rest easy with at night? Was I really such a burden because I was too nervous around the crowds you chose to surround us with at the nightclubs or too sheepish about my femininity to ever be as sexy as you wanted? Where is the line? What was real and what was fake? Was there anything you liked about me at all, or did you just enjoy the joy and admiration I had for you?
When will my lonely heart stop pining over someone who hates me? If you hated me so, why didn’t you simply leave? Why did you always persuade me back into staying with your sweet words and your grand gestures?
I would say I miss you, but to miss someone is to know them truly and be abashed by their absence. I don’t know you anymore so I can’t miss you. Did I ever know you?
Part of my life has come full circle and now I am starting to wonder if any of it was ever real? The memories are so fleeting and time has warped along with everything around it. I feel alone in this universe. Nothing feels real. Were we just a dream? A requiem for a nightmare? Did any of it ever happen? Why has it all just faded into a distant memory, seared like a firestone against the forefront of my subconscious?
How are you? Do you think this way too? Why did you hurt me so much that I had no choice but to leave? Was I really so reprehensible?
Or, was it you whom you hated for your inability to love someone who had given everything to be with you?
All I know is that I didn’t deserve to be discounted and discarded the way I was. I may never be able to recover some of the innocence I lost while we were in it, but my heart, with each passing day, still feels mightily pure. Your hatred did not win, and my love for you does not cease.
From M. To J.
submitted by BadProof2060 to UnsentLetters [link] [comments]


2024.05.19 18:18 holeinwater Day 31 of picking a favorite MM lyric: Polar Opposites, The Lonesome Crowded West

Day 31 of picking a favorite MM lyric: Polar Opposites, The Lonesome Crowded West
“I don’t feel and I feel great” won for best lyric of Truckers Atlas. Today’s song is Polar Opposites, let’s see what you have to say on this lovely Sunday!
❗️❗️❗️REMEMBER❗️❗️❗️ Check the comments for your lyric BEFORE commenting yourself and upvote if someone already posted it. I will NOT be compiling votes for the same lyric on different comments.
Alright y’all - we are going verse by verse, song by song, album by album picking our favorite lyrics off of every song from every album in order.
Previously I did not specify when I asked for favorite “lyrics.” Some folks have submitted verses, and some folks have submitted whole stanzas. The purpose of this is to get single verses (maaaaaaybe two lines), but not a whole stanza/paragraph worth of lyrics.
Quick reminder that a VERSE is “a single line in a poem” (in our case songs) and a STANZA is “a distinct set of lines in a poem” (in our case songs).
Example:
Stanza: “Well we scheme, and we scheme, but we always blow it We've yet to crash, but we still might as well enjoy it Standing at a light switch to each east and west horizon Every dawn you're surprising And the evening was consoling saying ‘See it wasn't quite as, bad as’”
Verse: “we’ve yet to crash but we still might as well enjoy it.”
So with that cleared up, drop your favorite line below and others will upvote their favorites!
Rules:
  1. Don’t be a dick! Everyone is entitled to their own opinion and your opinion does not invalidate theirs.
  2. Read the comments to look for your lyric before you post and upvote accordingly. I will NOT be compiling different comments with the same lyrics and adding upvotes together.
  3. This is supposed to be FUN! Engage with your community, share your stories or experiences, and spend some time appreciating the lyricism.
  4. At the end, we will have a vote-off of the favorite lyrics from every album, then those lyrics will face off against all the other albums, and we will find out what the ultimate fan favorite Modest Mouse lyric is.
submitted by holeinwater to ModestMouse [link] [comments]


2024.05.19 16:09 adulting4kids Literary Devices Thesis Topics

  1. Thesis: The Power of Epistrophe in Shakespearean Tragedy
  1. Thesis: Anadiplosis as a Tool for Moral Reflection in Victorian Literature
  1. Thesis: Aposiopesis in Gothic Fiction: Unveiling the Unspeakable
  1. Thesis: The Rhetorical Force of Epizeuxis in Lincoln's Gettysburg Address
  1. Thesis: Chiasmus in F. Scott Fitzgerald's "The Great Gatsby": Symmetry and Disillusionment
  1. Thesis: Enjambment and Modernist Experimentation in T.S. Eliot's Poetry
  1. Thesis: Paraprosdokian in Oscar Wilde's Satirical Wit
  1. Thesis: Anaphora in Langston Hughes' Poetry: Giving Voice to the Harlem Renaissance
  1. Thesis: Hendiadys in Jane Austen's Social Commentary
  1. Thesis: Litotes in George Orwell's "1984": The Art of Understatement in Dystopian Discourse
Note: These examples are for illustrative purposes and provide a starting point for further exploration in literary analysis. It's essential to consult the actual texts and relevant scholarly articles for in-depth research.
submitted by adulting4kids to writingthruit [link] [comments]


2024.05.19 14:40 adulting4kids Poetry Class Week Two

Week 2: Haikus and Free Verse - Lecture and Discussion
Objective: - Explore the concise beauty of haikus and the expressive freedom of free verse. - Understand the traditional structure and themes of haikus. - Discuss the flexibility and artistic possibilities in free verse.
Day 1: Introduction to Haikus - Lecture: - Definition and structure of haikus (5-7-5 syllable pattern). - Explanation of the traditional themes and nature focus.
Day 2: Analyzing Haikus - Part 1 - Lecture: - In-depth analysis of classic haikus. - Exploration of the 5-7-5 syllable pattern and its impact.
Day 3: Analyzing Haikus - Part 2 - Lecture: - Discussing modern variations and themes in haikus. - Exploring the flexibility of the form.
Day 4: Crafting Haikus - Part 1 - Lecture: - Step-by-step guide on crafting the first two lines of a haiku. - Emphasis on capturing a moment or emotion.
Day 5: Crafting Haikus - Part 2 - Lecture: - Step-by-step guide on crafting the third line of a haiku. - Emphasis on creating a sense of resolution.
Homework Assignment: - Craft a haiku focusing on capturing a specific moment or emotion.
Study Guide Questions: 1. Reflect on the challenges of crafting the first two lines of your haiku. How did you capture a moment or emotion? 2. How did you approach creating a sense of resolution in the third line of your haiku? 3. What insights did you gain from the process of crafting a haiku?
Quiz: Assessment on the understanding of haikus, the 5-7-5 syllable pattern, and the expressive possibilities within this concise form.
Day 6: Introduction to Free Verse - Lecture: - Definition and characteristics of free verse. - Emphasis on the absence of a strict rhyme or meter.
Day 7: Analyzing Free Verse - Lecture: - In-depth analysis of classic free verse poems. - Exploration of the varied structures and rhythms.
Day 8: Crafting Free Verse - Part 1 - Lecture: - Step-by-step guide on embracing the freedom of expression in free verse. - Emphasis on the importance of imagery and emotion.
Day 9: Crafting Free Verse - Part 2 - Lecture: - Discussing various techniques to enhance rhythm in free verse. - Exploration of line breaks and pacing.
Day 10: Peer Review and Feedback - Activity: - Peer review workshop for free verse poems. - Focus on providing constructive feedback on expression, imagery, and rhythm.
submitted by adulting4kids to writingthruit [link] [comments]


2024.05.19 14:01 AutoModerator Translation requests into Latin go here!

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submitted by AutoModerator to latin [link] [comments]


2024.05.19 08:13 OptimalVanilla GPT-4o test replication

GPT-4o test replication
Not that GPT-4o is available, I thought I’d run through the same examples given on the demo website to try and recreate them. What I receive is nothing like what is shown on the demo and almost the same as 6 months ago so I don’t realise what is so special about the 4o apart from the speed. The results are dramatically different, even though they supposedly use the same model.
Recent Tests with ChatGPT: (Prompts copied from GPT-4o demo site) https://openai.com/index/hello-gpt-4o/
1. Font Showcase: I requested a demonstration of text in a futuristic retro font. While the result was interesting, it was mostly rubbish compared to what is on the GPT-4o demo site. 2. 3D Rendering of the OpenAI Logo: The generated image was okay but nothing special. 3. Diary Entry Poem: The handwritten poem was gibberish and it didn’t match the readable, realistic handwriting samples I saw on the demo site 
  1. Blocks just don’t make any sense
These differences got me thinking: why can’t ChatGPT replicate the same high-quality results as the GPT-4o demo, even though they’re based on the same underlying model?
submitted by OptimalVanilla to ChatGPT [link] [comments]


2024.05.19 08:07 stell_bell72 How I improved my S2 score - from 62 to 80

Hi all,
I wanted to share a little bit about succeeding in S2 from the perspective of someone that is not a 'natural' essay writer nor from a humanities background. Someone that started at a very average S2 score despite lots (and lots and lots) of effort.
I have now sat GAMSAT 5 times in total and I think this underscores a severe lack of exceptional ‘talent’ in any specific area of GAMSAT, and speaks to the fact that you CAN make huge improvements in your scores over time with the *right* type of effort.
(Long post for context but feel free to scroll to TLDR)
Context: I am from a science background and have been out of uni for ~6 years now. I have never been a writer and apart from finding the humanities quite interesting, have never explored its theory in a structured way. I am also not a huge ‘reader’ as many people that seem to do well in this section might be. I am just a person that has opinions on things (as does every one of you!).
My first sitting I signed on with a prep company that had a very structured and formulaic approach to essay writing. They gave students ways to explore topics and ideas to ground them when prompts felt ‘difficult’ + strategies to always be able to ‘write something’. And although I am sure this helped me learn more about the humanities and the fundamentals of classic essay writing - my scores were not great. The first sitting, after ~5 months of intense essay practice critiqued by professionals I came away with a score of 62 and utter confusion about where I had gone wrong. In the few sittings following this I did basically the same thing again and again thinking I just needed more practice (I wrote many ‘classic’ essays, critiqued them and worked on my timing). My scores in subsequent sitings improved slightly however maxed out at around 66 in S2.
I felt myself really confined by the classic essay style most resources espouse. I would find myself spending loads of mental energy thinking about things that I thought were really important for a 'good' essay - like exactly how my topic sentence would link to the next line, or how my analysis would ‘tick the boxes’, if my example was the best one to use or if my concluding statement was linked to my opening one (you get the picture). This would drain my creativity and also created so much friction in my writing.
I knew I could do better, but when it came down to putting my thoughts on paper, it fell apart.
Last year I decided to try to attack S2 differently. I started to dispense with the classical framework and starting writing pieces that were interesting for me to write. That I genuinely enjoyed creating. I often wrote reflectively and explored the prompt in a way that related to my life or my view point. I wrote essays starting with ‘When I was a child…’ or ‘In my life I have …” (whatever felt to me like a nice opening to the topic in my little brain). This way of writing both allowed me to write more clearly (I didn’t have to hyper-analyse it as much and therefore it came out less clunky) but also with much more relevance to things I actually knew about! This sort of writing naturally lends itself to be a little more creative or reflective but by no means does it have to be wildly different to a usual essay - it just had a little more flare and less strict* structure. I still wrote something that resembled an introduction (sometimes simply through vignette), I still had 2-3 analysing paragraphs, I still had something that felt conclusive at the end. But by stretching the bounds of each area, I came up with writing that was much less prohibitive and more exploratory.
In my first attempt at this new style of writing, I scored in the 70's, and I think this was truly down to not committing enough to the cause. I toed the line between classic essay with a little bit of my own flare - but no where near what I knew I wanted to or could do. This most recent sitting I gave myself permission to write how I wanted and completely forget any of the 'rules' of a good classic essay. I leant into it completely.
This paid off - I scored an 80, simply through writing in a way that felt true to me.
By far my greatest and most valuable piece of advice would be to write in a way that feels most natural and enjoyable to YOU. I am sure this has been said before, but I can’t quite underscore how much of a difference this makes to overall execution on the day, as well as ability to grind through essay after essay & continue to make improvements.
I should add here that throughout my S2 journey I worked with a tutor on and off (who became a great friend) throughout my attempts. First few attempts we worked very much by the books writing classic essays, but when I shared with them my desire to try something different they were really supportive and open to working with me to get the best out of it. We used every session from then on to critique my essays. This was really valuable as its important not to cross the line between a personal piece of writing and something that is totally un-relatable to others (after all, we are writing on prompts that are human at their core) - a good piece of writing makes someone think and reflect themselves. My tutor was amazing and their insights gave me feedback on stylistic things that worked or did not. They also checked in at times if It was becoming more of a monologue/train of thoughts rather than a reflective and insightful piece - which I would be cautious of whenever you are writing this way. In saying this, I absolutely DO NOT think having a tutor is necessary to get a good score in S2. I shared my essays with friends and would get feedback on if certain sentences felt clunky or if I was painting a picture that did not come across how I had hoped. I knew I had unlocked something good when I shared an essay with my partner - he was initially reading it slumped on the couch, and suddenly sat up and his eyes widened as he read on. If you can make people feel something, you're a good way there! (And if you're asking yourself if you can - you CAN. You're a human with thoughts and feelings and personal experiences that are unique to you. Use this to your advantage.)
TLDR: 1) Try very hard to quieten the noise around what makes a ‘good’ GAMSAT essay and be selective about which recommendations work well for you (and which do not). There are literally a million ways to create a solid piece of writing and if the ‘classic’ analytical or discursive structured essay does not roll off the tongue for you - take this as a sign that it is OK to explore other styles of writing. This is not to say that every person should try to write poems (I never wrote a poem), or to write creatively. All this means is that *if* you feel the classical structure of an essay is *distracting* you from what the goal of S2 is (to respond thoughtfully to a prompt from your own perspective) then consider stretching the bounds of your writing. 2) Get critique on your work (again and again) from various sources - if you can afford tutoring, great use it for critique, if not, friends and family are amazing for this!
**Disclaimer** - this advice won't be for everyone. For some people, writing in a very formulaic defined way is the best way to get their thoughts across - and this is fine! I am just sharing my experience of finding a much better way for my brain. I have many friends that I studied for GAMSAT with who wrote great (classic style) essays and scored super well with them! These people probably would have hated/not been comfortable with my style of writing. Choose your own adventure, but make changes if something is not working.
If people are interested I am happy to post links to my best essays where I explored this type of writing
Good luck with your essays everyone!
Please feel free to DM if you have any questions :)
submitted by stell_bell72 to GAMSAT [link] [comments]


2024.05.19 06:51 GrownUpGirlScout Nancy Cunard, Parallax, and (Taylor's Version of) Modernism

Nancy Cunard, Parallax, and (Taylor's Version of) Modernism

I did not entirely intend to end up this deep down a rabbit hole, but here we are!

The other night after reading the wonderful The Eras Tour Follies post-GO READ THAT POST, everything in there relates to ALL of this as Loie Fuller was a modernist choreographer and so her art relates strongly to everything I will be discussing. Pretty much everything I present here emphasizes the idea that Taylor is leaning into a very specific type of performance art. Anyway, after reading that, facebook suggested to me a post from a page with follies in the name and between that and the line “my swift imagination”, my attention was captured. From the post-
“‘You shall not prison, shall not grammarise / my swift imagination.’ So declares a poem Nancy Cunard wrote in 1919, at the age of twenty-three. The speaker of “In Answer to a Reproof” casts herself as “the perfect stranger / outcast and outlaw from the rules of life”. Conveying something of Cunard’s defiance of social norms, the poem seems to prophesy her later cutting of ties to both her mother and her country. For Jane Marcus, it constitutes “the declaration of independence of female modernism”.Cunard began her writing career as a poet, and her long poem Parallax was published by Virginia Woolf’s Hogarth Press in 1925.
Jane Marcus wrote a book called Nancy Cunard: Perfect Strangers which was released in 2020 (post-humuously, the book was finished by her research assistant.) It seems like it was a small university press type deal and not widely available in print, though it seems sites like jstor may have it available in its entirity. The book summary-
“Nancy Cunard: Perfect Stranger reshapes our understanding of a woman whose role in key historical, political, and cultural moments of the 20th century was either dismissed and attacked, or undervalued. Here, Jane Marcus, who was one of the most insightful critics of modernism and a pioneering feminist scholar, is unafraid and unapologetic in addressing and contesting Nancy Cunard’s reputation and reception as a spoiled heiress and “sexually dangerous New Woman.” Instead, with her characteristic provocative and energetic writing style, Marcus insists we reconsider issues of gender, race, and class in relation to the accusations, stereotypes, and scandal, which have dominated, and continue to dominate, our perception of Cunard in the public record. In the wake of inadequate histories of radical writing and activism, Nancy Cunard: Perfect Stranger brings its subject into the 21st century, offering a bold and innovative portrait of a woman we all thought we knew.”
I was mostly going to get into her poem Parallax, but after having looked up the entirety of “In Answer to a Reproof”, I HAVE to bring that up as well. Her work isn’t super widely available online, but I did find this weird little poorly formatted archival site that seems to have the full text of her collected poetry . I haven’t read it all (yet), but to start with I’d direct you towards the poems “Outlaws”, “Monkery” and “The Love Story”, but when I read the opening lines to “In Answer to a Reproof” my jaw DROPPED.
“Let my impatience guide you now, I feel
You have not known that glorious discontent
That leads me on : the wandering after dreams
And the long chasing in the labyrinth
Of fancy, and the reckless flight of moods —
You shall not prison, shall not grammarise
My swift imagination, nor tie down
My laughing words, my serious words, old thoughts
I may have led you on with, baffling you
Into a pompous state of great confusion.”
“The long chasing in the labyrinth” “shall not grammarise my swift imagination” (grammarise or gramarize can mean to analyze or describe), are both lines and ideas resonate a lot with what we know about Taylor and her work. The poem is saying, "you will not hold me to these interpretations you have of me, even if I was the one using my words to lead you on and confuse you.”
“...I have concluded we are justified
Each in his scheming ; is this not a world
Proportioned large enough for enemies
Of our calibre ? Shall we always meet
In endless conflict ? I have realised
That I shall burn in my own hell alone
And solitarily escape from death”
The burning imagery, the implications of a deep emotional rift between enemies who might be lovers? This poem, and honestly a lot of her others, have that sort of vibe. This part is justifying the need of enemies in the world and bringing attention to the role of destiny in the fate of two such adversaries. The poem text is available the collected poems I linked above, there is also this handwritten original from Yale’s archives on Nancy Cunard (had to go to the original to figure out what word she was using for solitarily because the formatting was so wonky on the other, lol)
Let’s move on to Parallax! As mentioned above, the poem was originally published by Virgina Woolf’s literary press. It is a long form poem based on the The Waste Land, also a long form poem by T. S. Eliot. This is from the wiki page on The Waste Land-
“widely regarded as one of the most important English-language poems of the 20th century and a central work of modernist poetry…The Waste Land does not follow a single narrative or feature a consistent style or structure. The poem shifts between voices of satire and prophecy, and features abrupt and unannounced changes of narrator, location and time, conjuring a vast and dissonant range of cultures and literatures.”
These ideas are all VERY important in modernism. And modernism is VERY relevant to the idea of what Taylor does, but ESPECIALLY what she is currently doing with TTPD.
Modernism was about rejecting the old ideas of things, and trying to rebuild, especially in the aftermath of WW1. Artists,writers, and musicians strongly embraced the idea of the visibility of the artist in their work. They no longer felt compelled to uphold the status quo and traditional methods (of poetry, of painting, of music, of literature, of architecture), they experimented with forms and processes that would be visible to the viewer in ways that had not been common or fashionable in the art world in the past.
Stream of consciousness writing, unreliable narrators, and multiple points of views were new things being explored, especially in writing (A Room of One’s Own by Virgina Woolf being a great and relevant example of this, also go check out the first edition cover-Midnights much…). The artists wanted to invite deeper thought about what was being said and by whom.The way modernism referenced the past was also very relevant. Modernism was known for creating entirely new interpretations of traditional works. Rewriting traditional narratives, creating parodies, satire, incorporating aspects from many other sources and being referential to those sources (the idea of artistic collages, and incorporating old media into new works was being heavily explored).
The definition of Parallax is “the apparent displacement or the difference in apparent direction of an object as seen from two different points not on a straight line with the object”especially : the angular difference in direction of a celestial body as measured from two points on the earth's orbit.”
Okay so I honestly have a hard time wrapping my head around this, but…put your finger in front of your eyes, look beyond your finger, and then alternate closing one eye at a time. The way your finger appears to jump? That is an example of parallax. The closer an object is, the more drastically it appears to move when observed from different places. The further the object, the less it moves. (I find it interesting that Taylor’s shows have been speeding up and going faster? Almost like as she gets closer to…whatever she’s heading towards, the faster, the more drastic the change?)
These are typical visual representations of parallax
https://preview.redd.it/qk5mz85a8b1d1.png?width=1141&format=png&auto=webp&s=22232367790ba25ca7bbab72a39fdffe9e96d703
https://preview.redd.it/ry2565v38b1d1.png?width=733&format=png&auto=webp&s=4c820f59ffcf5307910723217a64dd3e54b986a6
Which majorly reminds me of this.
https://preview.redd.it/jzdd6h4e8b1d1.png?width=1892&format=png&auto=webp&s=613b0265f22a95ddbde729ea23907dabd395f3f3
And I know that there’s only so much one can do with lights on a stage, but I find the visual parallels and the different perspectives during the TTPD set interesting.
https://preview.redd.it/hdepna4h8b1d1.png?width=2134&format=png&auto=webp&s=9fcd00f1e7bd6f72918634100b8cf32bd4e7a9a2
https://preview.redd.it/kmedb1di8b1d1.png?width=1793&format=png&auto=webp&s=a03fe6fbb2e238d15c4858f3f797a7602a9d94de
https://preview.redd.it/7zm1varj8b1d1.png?width=2091&format=png&auto=webp&s=1d3797ec39235a046429f5164e7d995af4fe53e5
And from the lyric video of “I Can Do it With a Broken Heart”
https://preview.redd.it/98d87po19b1d1.png?width=1886&format=png&auto=webp&s=43d6f598c1493d88f2a3cf94f30dbb25a15cff21
https://preview.redd.it/ex2ew8349b1d1.png?width=1888&format=png&auto=webp&s=7069f52988b92e60edd03f76ff8ffe812c1ff7c7
Let’s get back to the poem!
Here is Parallax by Nancy Cunard
Scan from google books of the original printing of the book.
A website with an easy to read full text version.
It's long, but it's WELL worth reading. Very very rich imagery and themes which seems to go along with Taylor's use of similar themes and images
“Provisioning of various appetite.
Midnights have heard the wine’s philosophy
Spill from glass he holds, defiant tomorrows
Pushed back.”
\*
“Think now how friends grow old—
Their diverse brains, hearts, faces, modify;
Each candle wasting at both ends, the sly
Disguise of its treacherous flame . . .
Am I the same?”
\*
"Without prompter for the love-scene or the anger-scene.
And . . . You and I,
Propelled, controlled by need only,
Forced by dark appetites;
Lovers, friends, rivals for a time,
thinking to choose,
And having chosen, losing."
Again, long but well worth reading.
For a couple years, Nancy had a relationship with a man named Lois Aragon. I found this research paper about Aragon’s personal interest in fairy tales and in the author Lewis Carol. Cunard was instrumental in assisting Aragon to create a printed French translation of the Lewis Carol nonsense poem The Hunting of the Snark. The paper includes this bit, (part of?) a poem Aragon wrote for Cunard during their first trip together-to London. It is a love poem which uses ideas and imagery from Alice in Wonderland (the pdf of this pastes to nonsense so, screenshot.)
https://preview.redd.it/s2fc5indab1d1.png?width=944&format=png&auto=webp&s=bb1970d7e6a9ae102351ade13bff00e321c9f2b5
So as interesting as I found all of these connections, I did at many points wonder if I was in fact thinking about all of this way too much.
BUT THEN.
BUT THEN.
I decide, I’m just…gonna google Nancy Cunard and Taylor Swift. See if anything, at all, comes up.
https://www.dailymail.co.uk/tvshowbiz/article-11956353/Taylor-Swift-films-new-bank-robbery-themed-music-video-Cunard-Building-Liverpool.html
The Cunard Building. She filmed the video for I Can See You. In. The. Cunard. Building. The Cunard Building, which was built for the Cunard Steamship Company. Nancy Cunard’s family.
So now I officially feel like I’ve lost my mind, but I am even more interested in…where this is going and what is the POINT of it all? All of this suggests to me that TTPD has been HIGHLY HIGHLY staged and planned and executed in ways which seem to encompass all of the ideas of modernism, while making reference to modernists and their work (Louie Fuller, Virginia Woolf). She is using herself and her life, as well as them and their works, as the references for the writing. Leaning into the unreliability of her narration, the parody, and the multiple points of views from switching narrators.
And that concludes my post on...introducing Nancy Cunard as a highly probable (in my opinion anyway) inspiration for Taylor's work and life, as well as giving even more context and understanding to what we already knew-she's performing. But trying to be sophisticated about it? And trying to point at a lot of references in order to make us think about the deeper meaning.
I'm EXHAUSTED. And so happy I've finished this. Thank you thank you to this sub for the assistance, moral support, brilliant information, and incredible connections that make us all more knowledgable and better critical thinkers. <3 <3 <3
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2024.05.19 02:16 Fine-Grapefruit-4193 Tamschei Koschlin

Tamschei Koschlin

Overlaps in Koschei and Tamlin's stories

just reading koschei wiki and wondering why too much of it matches tammy
Koschei ACOwiki:
He is regarded as a powerful sorcerer who has a fondness for imprisoning women. He is the sorcerer who cursed Vassa turning her into a firebird by day, and woman by night and bound her to his lake.
  • Maas goes out of her way to write Tamlin as Feyre's imprisoner
  • We still don't know what the Spring Court pool of starlight does, it could connect to the lake
Koschei wikipedia:
Koshchei often given the epithet "the Immortal", or "the Deathless," is an archetypal male antagonist in Russian folklore.
The most common feature of tales involving Koschei is a spell which prevents him from being killed. He hides "his death" inside nested objects to protect it. For example, his death may be hidden in a needle that is hidden inside an egg, the egg is in a duck, the duck is in a hare, the hare is in a chest, the chest is buried or chained up on a far island. Usually he takes the role of a malevolent rival figure, who competes for (or entraps) a male hero's love interest.
  • Where's Tammy's heart?
  • entrapped male hero's love interest: checks out
In The Tale of Igor's Campaign Konchak is referred to as a koshey (slave). The legendary love of gold of Koschei is speculated to be a distorted record of Konchak's role as the keeper of the Kosh's resources.
  • Spring Court Tithe: love of gold, keeper of resources
Koschei's life-protecting spell may be derived from traditional Turkic amulets, which were egg-shaped and often contained arrowheads (cf. the needle in Koschei's egg).
the needle in koschei's egg?
It is thought that many of the negative aspects of Koschei's character are distortions of a more nuanced relationship of Khan Konchak with the Christian Slavs, such as his rescuing of Prince Igor from captivity, or the marriage between Igor's son and Konchak's daughter. Konchak, as a pagan, could have been demonised over time as a stereotypical villain.
  • Plenty of Tammy apologist posts can back up a reexamining of Tamlin's character distortion, which caused him to read as a demonized villain
Nikolai Novikov also suggested the etymological origin of koshchii meaning "youth" or "boy" or "captive", "slave", or "servant". The interpretation of "captive" is interesting because Koschei appears initially as a captive in some tales.
  • Tam's also technically a slave to Amarantha when we meet him

In folk tales

He usually functions as the antagonist or rival to a hero. Common themes are love and rivalry.
In other tales, Koschei can cast a sleep spell that can be broken by playing an enchanted gusli. Depending on the tale he has different characteristics: he may ride a three- or seven-legged horse; may have tusks or fangs; and may possess a variety of different magic objects (like cloaks and rings) that a hero is sent to obtain; or he may have other magic powers.
  • Tam antagonizes Rhys plenty
  • enchanted gusli: stringed instrument. Harp? Stryga's viol?
  • horse, tusks, fangs, other magic powers: Tam's beast form, wind manipulation, shifting, glamouring, winnowing, healing
  • rings: feyre's engagement ring sounds like aelin's. what king's tomb did aelin steal the rings from? whose sarcophagus would need to be buried that remotely, that deep under an inaccessible mtn, guarded by Little Folk and barrow wights?
The parallel female figure, Baba Yaga, as a rule does not appear in the same tale with Koschei, though exceptions exists where both appear together as a married couple, or as siblings. Sometimes, Baba Yaga appears in tales along with Koschei as an old woman figure, such as his mother or aunt.
In the tale, also known as "The Death of Koschei the Deathless", Ivan Tsarevitch encounters Koschei chained in his wife's (Marya Morevna's) dungeon. He releases and revives Koschei, but Koschei abducts Marya. Ivan tries to rescue Marya several times, but Koschei's horse is too fast and he easily catches up with the escaping lovers. Each time Koschei's magical horse informs him that he could carry out several activities first and still catch up. After the third unsuccessful escape, Koschei cuts up Ivan and puts his body parts in a barrel which he throws into the sea. However, water of life revives Ivan. He then seeks out Baba Yaga to ask her for a horse swifter than Koshei's. After undergoing several trials he steals a horse and finally successfully rescues Marya.
  • Cut up body parts thrown in a barrel and sea water...Jurian in the Cauldron's dark freezing waters being resurrected?
  • idk how Baba Yaga fits, maybe Baba Yaga is "Lorin"
Tsar Bel-Belianin's wife the Tzaritza is abducted by Koschei (the wizard). The Tsar's three sons attempt to rescue her. The first two fail to reach the wizard's palace, but the third, Petr, succeeds. He reaches the Tzaritza, conceals himself, and learns how the wizard hides his life. Initially he lies, but the third time he reveals it is in an egg, in a duck, in a hare, that nests in a hollow log, that floats in a pond, found in a forest on the island of Bouyan. Petr seeks the egg, freeing animals along the way – on coming to Bouyan the freed animals help him catch the wizard's creatures and obtain the egg. He returns to the wizard's domain and kills him by squeezing the egg – every action on the egg is mirrored on the wizard's body.
  • Could easily turn this into a "Elain gets taken, Az goes spying to find her, figures out how to kill Koschei, turns out Koschei was disguised as Tammy, so no one's left to run Spring Court, let's give Spring Court to Elain as a sorry you got kidnapped consolation gift."
In "The Snake Princess" (Russian "Царевна-змея"/%D0%A6%D0%B0%D1%80%D0%B5%D0%B2%D0%BD%D0%B0-%D0%B7%D0%BC%D0%B5%D1%8F)), Koschei turns a princess who does not want to marry him into a snake.
  • Who are you Viper Queen?
  • Who is Syrinx? Where'd Jesiba get him? If Syrinx and Tamlin are both chimera, are there other links btwn their characters?
Koschei hears of three beauties in a kingdom. He kills two and wounds a third, puts the kingdom to sleep (petrifies), and abducts the princesses. Ivan Sosnovich (Russian Иван Соснович) learns of Koschei's weakness: an egg in a box hidden under a mountain, so he digs up the whole mountain, finds the egg box and smashes it, and rescues the princess.
  • 3 beautiful archeron sisters
  • instead of putting the Archerons to sleep, Tam glamours them when he abducts Fefe
  • We still need to find out what's under Ramiel

Opera and ballet

  • [Koschei is the] villain in Igor Stravinsky's ballet The Firebird.
    • Benois recalled that Pyotr Petrovich Potyomkin, a poet and ballet enthusiast in Diaghilev's circle, proposed the subject of the Firebird) to the artists, citing the 1844 poem "A Winter's Journey" by Yakov Polonsky that includes the lines:
And in my dreams I see myself on a wolf's back Riding along a forest path To do battle with a sorcerer-tsar In that land where a princess sits under lock and key, Pining behind massive walls. There gardens surround a palace all of glass; There Firebirds sing by night And peck at golden fruit.
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2024.05.18 21:52 Jaded-Mycologist-831 Anyways here’s poems + History Boys

Tissue
Polysemous title- Tissue • Tissue- paper + skin (human life is fragile [criticises arrogance, encourages us to protect]) • Also paper (not alive) + skin (alive)- criticises monotony of life, not really living • Tissue paper- found in bibles and holy texts, but fragile (overinflated importance of identity causing wars and discrimination, really it’s very fragile and identity isn’t real, we’re all just people (tissue as in skin)) • Tissue- used to wipe away tears, togetherness can reduce suffering • Tissue- medical term for deep skin- poem shows deeper nature of humans and our potential for goodness, can be wounded and damaged by outside influences but can always heal
"Paper that lets the light shine through, this is what could alter things" - reference to religious texts paper, light as Jesus and Allah (power of religion) - or coexistence with nature (Dharker is a Muslim Calvinist)
Enjambment- freedom, lack of control of humans, rejecting constraints
Free verse- same thing
"Let the daylight break through capitals and monoliths" - power of nature, criticism of authority, weakness of humans- “break” violent personification, destroying authority, daylight + break = sunrise + hope
"The sun shines through their borderlines" - nature overcomes human segregation identity, criticism of war, power of nature) sibilance shows power, “their” still shows separation, criticise that
"fly our lives like paper kites" - childish metaphor, mocking control of money over life (criticism of authority)
"the back of the Koran" - “the” repetition shows importance, “back” shows it is hidden/shunned by society, still holding onto identity
"Transparent" - repetition, criticism of dishonesty of authority
Exposure
"Merciless iced east winds that knive us" - personification of wind shanking people (first line not about war but nature- more significant) (power of nature)- subtle sibilance (just as dangerous as bullets but most people don’t realise)- Germans were in the east, but the only thing from there is wind
ABBAC rhyme, structure is built only to be taken down (tension of soldiers expecting fight but let down)
Pararhyme- unsatisfying for reader, reflects how the soldiers are always nervous but never get to chill
“What are we doing here?” Rhetorical question to criticise authority, or actual question to show PTSD confusion, can be asking what they are DOING or why they are HERE
"For love of God seems dying" ok 1. The soldier's love of God is dying 2. God's love for the soldiers is dying 3. To show love of God, you should die
"forgotten dreams" - juxtaposition, loss of hope, forgotten dreams on purpose to be less sad? war made them forget? “forgotten” disassociated from PTSD, “dreams” as happiness from the past that seems unreal
“a dull rumour of some other war" reference to the Bible and Armageddon, metaphorical end of the world for the soldiers be suffering "sudden successive flights of bullets streak the silence" - sibilance represents sound of bullets, jolting reader out of relative lack of noises, feel like soldiers
Epistrophe "but nothing happens" cyclical structure, stuck in suffering
“we” “us” “our” collective pronouns, shared experience, comradeship, loss of identity, relatable to all soldiers
Kamikaze
Title- single word, only military rank- only seen as a kamikaze pilot by others
Structure- 6 lines per stanza but free verse and lots of enjambment- conflict between control and freedom (military/social expectations/duty vs love for family/nature/memories/life)
Constant shifts between first person and third person- disconnect from family due to shame
“Her father embarked at sunrise” -sunrise as power of nature + Japan’s military flag- conflict
“a shaven head full of powerful incantations” -incantations are deliberately vague- orders from military? prayers? inner conscience against it? It’s “powerful” tho and influences him, and it’s “full” showing his distress, shaved head like most kamikaze pilots
“green-blue translucent sea” beautiful imagery, “translucent” shows how things are unclear but getting clearer- nature helps him decide what to do
Describes fishes “like a huge flag”- patriotic semantic field shows brainwashing, but reduces as the poem goes on, simile shows how he is starting to disconnect and change his mind,
also as “a figure of eight”- shows thoughts of pride and prosperity-
“The dark shoals of fishes/flashing silver as their bellies/swivelled towards the sun” - • sibilance shows ocean noises and beauty, “dark” -> “flashing silver” things get brighter and easier to see- knows what to do thanks to nature • “Silver”- medals he would have gotten for being a kamikaze pilot, but true reward is in nature • “Sun”- represents beauty of nature and also Japanese flag- conflict but now there’s also nature in the mix • Belly up- death on his mind
“bringing their father’s home safe/-yes, grandfather’s boat- safe” repetition of “safe” shows reason to come back- wants to return to family, memories
“a tuna, the dark prince, muscular, dangerous.” • first mention of danger = power in the whole poem, danger to the mission as it causes the pilot to have doubts, true power is in nature and memory • First full stop in the poem and lots of commas- makes us stop and think like the pilot about what he’s abt to do
“laughed” “loved” at the end of the poem- all in past tense- nothing left for the soldier
“we too learned to be silent”- “learned” should be positive but contrasts with what they learnt- criticises how they were taught shame by the older generations- but it’s said in first person, the daughter is criticising this and teaching her children not to think that way
Poppies
Title- honours and grieves dead soldiers, short single word title shows full intent of the poem and how the mother’s life is consumed by grief
Dramatic monologue- emphasis on the domestic impact and how the soldier isn’t present in the poem
Free verse, enjambment- chaotic, lack of control over the son, distressed
Domestic + military semantic fields- life has been ruined by war
“Spasms of paper red, disrupting a blockade of yellow bias”- mix between war + domestic • “spasms” and “red” is injury and pain- mother is worried or is hurt by letting go (spasms is involuntary muscle action- involuntary letting go), • “paper” is the fragility of the son • “blockade” is military language showing her worry abt the conflict, how she wants to “block” her son from going into the military • “disrupting” the fabric - the son becoming a soldier disrupts the peace or she is trying to disrupt him from going to war
“The dove pulled freely against the sky, / an ornamental stitch”- dove represents peace and grief- she and her son is at peace with death, “pulled freely” is an oxymoron- inner conflict with grief or letting her son go, the comma shows a pause to reflect on the grief, the “ornamental stitch” metaphor for the mother (pretends to hold it together)
“I was brave”- takes down ideas of just the soldier’s bravery but also the mother’s, but past tense shows current weakness from grief
“Sellotape bandaged around my hand” • Bandage shows wounds • Sticks them together one last time- cat hairs are removed, no more reason to stay • Claustrophobic feeling- stuck in the domestic role, can’t go and protect the son
“Blackthorns of your hair”- religious connotations of Jesus on the cross, sacrificed for the country- metaphor for the son
History Boys
"Enemy of education" war metaphor and alliteration, opposition between true understanding of literature and grades only used shallowly “Cheat’s Visa”
"a fact of life" indisputable and unchangable, in opposition with Irwin's views on history (truth does not matter to him until now?)
Drummer Hodge: Intertextuality, Tom Hardy (the poet) represents Hector, sympathising with the ordeal of the youth, Drummer Hodge represents the Boys, thrown into the chaos of life without proper guidance
"She's my western front" war metaphor objectifies Fiona, personal pronoun further expresses how women were seen as objects to be owned
“... all the other shrunken violets you people line up" [you people] segregates gay people, [shrunken violets] derogatory language
"Some of the literature says it will pass" looking to literature for solace and comfort during a sexuality crisis
"All literature is consolation" Dakin changes his mind on literature symbolising him changing to Irwin's side. No need to look for solace in literature when he can pursue Irwin
Parallels with "all knowledge is precious" from Hector - A.E. Housman, one of the first intertextualities and used in the intro to establish his character
“cunt-struck” “a cunt”- Mrs Lintott repeats the colloquialism “cunt” twice, to describe Dakin as “cunt-struck” and Headmaster as “a cunt”. This is the hardest swear in the play and is used show that it wasn’t a slip of the tongue, and to break down stereotypes of women being gentle and passive
“history is women following behind with the bucket” - her big scene about women in history at the end of the play (which is typical for Alan Benett’s plays such as “Kafka’s Dick”) so it would be recent and stay in the audience’s mind when the show ended
Irwin intro as politician in the future "etc., etc." while talking abt freedom- that man gives no fucks about freedom really, just waffling on (first impression for the audience too!!)
Parallel with Holocaust debate- Lockwood uses the SAME EXACT PHRASE while talking abt how the holocaust was bad, (dismissiveness of mass genocide? in this education system? it’s more likely than you think) then goes on to argue that they should be unique with their arguments- Irwin passed on thr mindset even on such an important subject
Hector is set up to be looking cool and all (motorcycle scene dramaticness, greek name connotations, fav teacher) but is absolutely uncool when we get to know him- purposeful? "studied eccentricity" and all. clinging onto youth?
Posner is actually rather helpful as the "dictionary person" bc i doubt the audiences know what "otiose" means
SCRIPPS IS THE MOST RELIGIOUS ONE AND CLOSEST TO POSNER it can dismantle the idea that religion is against queerness
Irwin didnt know how nietzche was pronounced bc from what we know of him he would call Dakin out on that
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2024.05.18 20:48 _N-i-X_ I need HELP with typing...

So I've been into these systems for three years now, but I've recently come to doubt my whole typology. I'm not going to say what I've been typed as before though, because I'd like to avoid bias.
It'd be cool if you tried to type me in other systems as well, such as Enneagram, Socionics, Psychosophy/Attitudinal Psyche, Big 5, Temperaments, Jungian...
  1. I'm a very closed off person who needs a lot of time to recharge since people wear me out, but I've been told I come across as a highly energetic, hardworking and overall as an inspiring and determined person. For instance, I always strive for the best, even if that means sacrificing my comfort (like going to one of the best universities in my country even if it's like over 100 km from home and I have to wake up at 5 AM everyday), and I'm always passionate about pursuing something to improve myself, because I'd hate to feel like I'm wasting time lazing around.
  2. People see me as someone responsible to rely on, they have told me I'm a good listener and understand them well, I give honest advice while also taking into consideration their feelings and reactions (I don't want to come across as offensive and insensitive), and in general I like giving a good impression. I mean, I can't stand fake people, but I still feel it's important to portray yourself in a good light. I think you must treat others the same way you'd like to be treated, that is, with respect (but, of course, if they cross me, I'll act spiteful towards them, since that's what they deserve).
  3. Despite trying to be reasonable at all times and doing my best not to come across as overly emotional, I'm very anxious and tend to catastrophize, so while it's not usual, when it happens, my outbursts are strong. Then, I feel like trash after it all happens, since I perceive it as me having made a fool of myself. My feelings tend to escalate quickly, and sometimes due to something that it's not THAT important, so it's helpful to have someone slow me down and help me see the big picture. I can also be too straightforward as well, to the point that I sometimes end up being reckless. For example, there has been multiple times where I suddenly felt the urge to insult someone because they did something that offended me; in those cases I fortunately had a friend to shut me up and distract me from it because they know I might not be able to wait until they're out of sight to complain about them.
  4. While at a distance I might seem intimidating and stern, people close to me see me as innerly soft, sensitive and pretty much a romantic prone to sentimentality. I've always had a hard time with processing emotions, because since I was a kid I've been taught "emotions are for the weak", so I tried to repress them. It wasn't until I discovered my passion for poetry that I finally learned to come into contact with them and understand them without shame. Currently, I feel like I have an easier time expressing myself and I'm not as repelled of my own feelings like I was in the past... Many people have actually told me, to my surprise, that my face is amusingly expressive, like I'm transparent even if I try my best to hide myself from the world. That said, I communicate my feelings through poems, so while I'd like the other person to take the initiative in this regard, I'll try to reciprocate it my way.
  5. However, I can also be quite passive and insecure when I feel oppressed and vulnerable in my environment (I feel like the whole world is against me in such circumstances), so I tend to walk on eggshells most of the time just in case. I'd say I'm mostly awkward, and I never know how to interact with my surroundings properly. If I've done it well, it's likely that I've just been lucky. This has led me to be isolated most of my life, and despite the fact that I currently have some connections with people, I feel like it's still not enough. I'm very private, secretive, and harbour trust issues; but I also crave intense connection with people I've taken a liking to (after a long time assessing if they're trustful enough for me to grow attached to them, since I place a lot of value on loyalty and suffer a lot when those close to me suddenly disappear from my life). I'm really compassionate with others, so some people have taken advantage of my kindness to then stab me in the back when I least expected it, which has made me become outwardly distant and unapproachable through the years (when the truth is that I'm just terrified of people). I've always had this impulse to help and protect those in need when they couldn't stand up for themselves, so it's curious how much compassion I could feel for others when I couldn't feel it for myself. Anyway, I still hold those around me to high standards, which I apply to myself as well.
  6. On the other hand, I place a lot of value to my appearance too. Like poetry, my own style is a way to express who I am as a person, and I can't understand nor find myself attracted to people who don't care at all regarding this part of themselves... It's as if they're neglecting one of the most important ways to make themselves appealing to both themselves and others. For me, it's also a way to feel better about myself, since the attractiveness and health of the body is just as important as that of the mind.
  7. Now, I suck at everything related to numbers or economics. They're so boring and uninteresting to me that my brain shuts down when something related to it comes up (I already suffer enough in law school whenever I'm forced to do subjects involving financial law or the like). I've always been more drawn to humanitarian subjects like languages, literature...
  8. I'm highly impatient (I get easily frustrated when something doesn't go my way like "it's supposed to", and I can grow envious and resentful towards someone that did it better than me), irritable (I'm peaceful until something or someone crosses me), and pessimistic (if something remotely bad happens, then that means it's all doomed to fail). I can be intolerant as well, easily despising someone others might be indifferent to, and I've been told to be impulsive too when I fail to guard myself from what makes me react aggressively either to others or myself. In addition, I cannot deal with people that are too aloof to descifer, like it's obvious they're keeping something from me, but they will lie and tell me "it's okay" while it's obvious that it's not, and their facial expressions are so dull that I won't even be able to extract the minimum out of them. In such circumstances I might flare up to try to get them out of their shell in order to know whatever they're hiding away from me; but that typically ends up driving them away from me further (which pisses me off to no end). I like straightforward people who are not cowards and will make things clear from the beginning, even if it hurts.
  9. Regarding my mannerisms, they're mostly stiff, instead of smooth or soft. As I said, I come across as energetic even if I slept 4 hours that day, I walk and talk VERY quickly (people who speak and move slowly get on my nerves), and I can be very expressive and loud if I'm feeling comfortable enough with the person I'm with (I can even look extroverted next to my quieter friends). I also don't have any shame at all when it comes to myself; I can talk about anything weird or rant about my nerdy interests and creepy fixations to the point of becoming obnoxious without giving a damn about the reaction of the other person. I may even enjoy making the other person embarrassed and teasing them, since it's hilarious. Fortunately, I'm good at eliciting interest in others, so oftentimes I can drag them into the abyss of my obsessions and teach them all about it.
  10. Aside from poetry, my other interests are varied. For instance, I also love reading old books, writing stories, creating original characters and researching whichever area of interest I'm into at the moment. I like to maintain an active lifestyle too. In the future, I strive to become financially successful (that's why I'm in a career that is going to bring me a lot of opportunities), independent, and travel and learn as much as I can to improve both myself and my talents. I'm overall a very individualistic person, but I'd like to meet more people who align with my values as well; without at least someone by my side with whom I can share myself I become depressed.
I'd appreciate it if someone is willing to try to type me via chat too, if that's more comfortable for you.
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2024.05.18 20:33 Unlawfulfoetus109764 How's this poetry essay, too late for my teacher to mark it so though i'd ask for your thoughts

How do the poets present the effects of conflict in Poppies and one other poem?

In this essay, I am going to explore how Jane Weir presents conflict as affecting someone not directly involved in war by analysing how Weir presents the mother of a young soldier feeling during a war. I will contrast this by discussing how Simon Armitage presents someone directly involved in the Iraq War (Guardsman Tromans) as being mentally scarred by his involvement. I will mainly focus on how war effects people emotionally / mentally, whilst also exploring how Armitage presents the physical effects of conflict in Remains. Additonally, i will consider how the idea of propaganda during wartime affects how people feel about the conflict.
In Poppies, Weir decided to make the poem be through the lens of a mother. The name of the mother or son is never given, rather she utilises vague pronouns such as “You” to describe the son, perhaps this was deliberate as to make the poem reflect a universal experience, which may highlight how many people conflict can effect, therefore presenting conflict as having a major effect, not just on the people fighting it, but everyone. Also, “Armistice Sunday” is a combination of Armistice Day and Rememberance Sunday, perhaps Weir has left the war being remembered ambiguous, as to increase the number of people who share this experience, yet again foregrounding the sheer number of people who have felt this way. It creates the impression that Weir has made this poem to act as a microcosm for the shared experience of every mother with a young son going to war, therefore reflecting the sadness and fear those not fighting in the war feel, raising the awareness of this issue to those who hadn’t considered it as a result. In contrast Armitage created Remains to highlight the experience and effect of conflict on only one person – Guardsman Tromans. Remains juxtaposes Poppies, since Remains cannot really be seen as an attempt by Armitage to reflect a common experience from war. This is because the poem can literally be viewed as a first hand account from Tromans himself. This may be indicated by the fact that Armitage has made the poem have an unreliable narrator, which can be interpreted as Tromans himself trying to distance himself from the “looter” that he killed, as if it will alleviate him from the guilt and psychological effects of the killing. This is seen at the start of the poem where the looter is described as being “Probably armed, possibly not.”. Here, two adverbs “Probably...possibly” are utilised in short succession to foreground how Tromans is trying to make himself believe that the looter was a danger to him, which would give him a reason to kill the looter, however, the comma acting as a hesitation and “Possibly not” suggests Tromans believes the looter couldn’t hurt them. When coupled with the fact that Tromans is so clearly emotionally disturbed by this moment, one can interpret that the man was not armed, perhaps being the reason for Tromans guilt.
Also, in the first half of Remains Armitage presents the physical effects of conflict by describing the brutal murder of the looter. He creates a semantic field of agony and suffering which contrasts the playful imagery created before “Tackle some looters...”. As a result the death of the looter is foregrounded via the juxtaposition, as it would have made the reader shocked. Also, the verb “Tackle” suggests that Tromans before the murder may have not viewed war that seriously, perhaps indicating he has been so greatly disturbed by the murder as it made him realise the war was real. It also gives connotations to the WWI propaganda poet Jessie Pope, who convinced many young men that war was “a game”. The idea of propaganda affecting people during conflict is explored in Poppies too. In the first two stanzas it is unclear whether the mother is sending a child of to school, or a young man to war. This may suggest how the mother was affected by propaganda, since she is not immediately frightened by her son going to war. Additionally, the son is described as being “Intoxicated” when the world is presented to him. This verb may suggest the young man as being almost drunk on excitement, like he himself believes that the war will be a fun game, rather than a horror. Whilst it may seem the mother also believes the war may be a “game”, Weir utilises biblical imagery through the hair of the boy being described as “gelled blackthorns”. “Blackthorns” may allude to the crown of thorns Jesus wore during his crucifixion. As a result, it could be inferred that the Mother thinks her son is being sent to war as a sacrificial lamb, undergoing great pain to ultimately assist in salvation (ending the war).
As discussed earlier, Armitage creates a semantic field of agony through the way he describes the looter’s death in Remains. An example of how this is achieved is through the declarative metaphor “I swear, I see broard daylight on the other side”. “I swear” suggests that Tromans wholeheartedly knows the severity of the murder. This further suggests just how significant the mental effects of the war have been on Tromans, as he has replayed this scene so many times he is fully sure this happened. “Broard daylight” is visceral imagery created by Armitage, suggesting the man was shot so many times there is a hole big enough to see daylight on the other side. This is coupled with the euphemism “Sort of inside out”, this almost suggests that the looter was in such a bad state that Tromans cannot even bring himself to describe the image, or that his vocabulary is this limited, which foregrounds how this experience is uniquely his, as the narrative voice reflects Tromans own. By using these techniques, Armitage presents the physical effects of war as being strong enough not just to kill someone, but to completely destroy the body itself.
Finally, both of the poets highlight how the effects of war are long-lasting on those affected. In Remains, Tromans’ PTSD is shown in the second half of the poem. This is after the volta “And then I’m on leave”, Armitage suddenly includes a volta after the description of the murder to show Tromans’ poor psyche due to his PTSD. Whilst in the first half, Tromans clearly recounts his experience with high detail, the second half shifts in topic and location suddenly, suggesting that Tromans is entering and exiting the world, perhaps the “drink and drugs” he is self medicating with are causing him to lose large track of time. But i think Armitage does this to show how Tromans’ PTSD occurs so often and suddenly. It also explains how Tromans is able to recount his experience in Iraq so clearly. As he has replayed the moment so many times, showing how conflict affects people long after the fact. Similarly, in Poppies the mother hopes to hear her son’s “Playground voice”. This suggests the mother wanting to remember her son as a child, we can interpret he is dead as she is at the “war memorial”. By doing this, Weir creates the impression that the Mother has, and never will have closure regarding her son’s death, as she wants to hear him one more time. We can infer his death was a result of war, therefore showing how war effects people after it has ended, since people are still grieving for those who died in the process.
In conclusion, both Weir and Armitage present war as having long-lasting powerful effects, both emotionally and physically in Armitage’s case. They present how war has wide-reaching effects, as well as arguably stronger effects on individuals directly involved in conflict. The theme of propaganda stemming from conflict affecting people is also suggested in both poems.
submitted by Unlawfulfoetus109764 to GCSE [link] [comments]


2024.05.18 20:01 SexxxMelaneexxx Terza Rima

Unlocking the Beauty of Terza Rima**
Summary:
Terza rima is a poetic form originating from Italy, traditionally associated with Dante Alighieri's "Divine Comedy." It consists of tercets (three-line stanzas) linked by a rhyme scheme (ABA, BCB, CDC, and so on), with the final stanza often a rhymed couplet.
Examples:
  1. Classical: "The Divine Comedy" by Dante Alighieri.
  2. Modern: "Acquainted with the Night" by Robert Frost.
  3. Modern: "Ode to the West Wind" by Percy Bysshe Shelley.
Tips for Creative Writing:
Questions for Exploration:
  1. How does the interlocking rhyme scheme contribute to the poem's overall structure?
  2. Can you identify any modern poems or songs that use terza rima?
Additional Resources:
Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore.
Step 2: Craft the first tercet (ABA).
Step 3: Build on the narrative or emotion in the next tercet (BCB).
Step 4: Continue the pattern, leading to a concluding rhymed couplet.
Example: In the twilight's embrace, whispers linger (A), Reflecting shadows dance, a silent figure (B). Beneath the moon's glow, memories trigger (A).
Remember: Terza rima offers a structured canvas for poetic exploration and narrative development.
submitted by SexxxMelaneexxx to writingthruit [link] [comments]


2024.05.18 19:57 SexxxMelaneexxx Triolet

Mastering the Repetitive Beauty of the Triolet**
Summary:
A triolet is a short poetic form with eight lines, typically characterized by a specific rhyme scheme and repeated lines. The first, fourth, and seventh lines are the same, as are the second and eighth lines. This creates a rhythmic and melodic pattern within the poem.
Examples:
  1. "A Triolet" by Christina Rossetti.
  2. "Triolet on a Line Apocryphally Attributed to Martin Luther" by A. E. Stallings.
  3. "Triolet" by Robert Bridges.
Tips for Creative Writing:
Questions for Exploration:
  1. How does the repetition of lines contribute to the triolet's impact?
  2. Can you think of everyday situations or emotions that could be beautifully expressed through a triolet?
Additional Resources:
Creative Writing Prompt:
Step 1: Choose a theme or emotion for your triolet.
Step 2: Craft a captivating refrain that encapsulates the essence of your chosen theme.
Step 3: Develop the narrative or emotion within the remaining lines, incorporating the refrain.
Example: In twilight's embrace, shadows softly fall (A) In twilight's embrace, shadows softly fall (A) A dance of darkness, a poetic sprawl (B) In twilight's embrace, shadows softly fall (A)
Remember: The triolet's concise structure offers a canvas for exploring depth within brevity.
submitted by SexxxMelaneexxx to writingthruit [link] [comments]


2024.05.18 19:01 Gwyn_Michaelis Concept: Miracles are born from writing.

When an author metaphorically pours their heart and soul into their writing, whether it be a novel, poem, song, or any other kind of writing, they also literally pour magic power into it, although it will be dormant for a while. After many years, that power will awaken, and reading these magical writings can cause miraculous events to happen.
For example, let's say someone is trapped indoors due to incessant rain, and decides to read some old poetry to pass the time. One of the poems is about a storm reaching its end and the sky clearing up. The person reads the poem, and then looks up to see that the rain has stopped and the sky is clear. For another example, let's say a person has badly injured their legs and is now in a wheelchair. They read a book about someone who, although wheelchair-bound, dreams of being able to walk again someday. After reading, the person realizes that their legs are completely healed, and they can walk again.
Another way this can work is through delusion. Let's say that an ancient grimoire is discovered that gives instructions on how to summon a demon that can grant you a wish in exchange for you giving up your soul. The reality is that the demon never existed. The author of the grimoire was insane, and would often have vivid hallucinations. However, when someone follows the grimoire's instructions, the demon appears and offers the wish, just as it was written. The demon came into existence because of the author putting their delusions into writing.
This is an idea I came up with a few years ago, but I don't know if I'll actually use it in any writing of mine. Feel free to draw inspiration from this is you want.
submitted by Gwyn_Michaelis to magicbuilding [link] [comments]


2024.05.18 17:18 nmmju GCSE tips for extremely lazy people

Not sure if this will help anyone but I hope it helps atleast one person. these tips are from me, diagnosed with major depressive disorder, the king of demotiviation and procrastination and lack of caring, so u can trust these tips!
1) Drink water and eat - Obviously. But drink atleast 2 cups of water a day (dehydration= headaches= not good for revising and doing exams) and eat some fruits, vegetables, meat etc. ensure you aren't eating cereal all the time for example. Just get a little bit of extra nutrition I don't even care how you do it, when I was younger my parents couldn't afford fruit so I would pick blackberries off bushes and wash and eat them. There's no reason not to eat atleast some fruit/veg, if you can't afford meals you should get free school meals and surely your school has a banana for you or something.
2) Clean your room - I don't just mean pick up some stuff off the floor, vacuum the floor and open windows so all the dust goes. Wipe down surfaces and make sure your school stuff is atleast accessible and you know where it is. My french teacher gave us revision resources but i lost them in my room and everyone else was cramming using that and I had nothing lol. Even if it's in one big stack just ensure you know where it is. AND MAKE SURE YOUR PENCIL CASE IS READY. in over 5 mocks i came to school without even a black pen. not good.
3) Positive mindset - i know it's cringe when you see those "believe in yourself" quotes but if you're depressed/burnt out to the point you hate yourself and see no point in continuing, ditch the nihilism and embrace the cringey inspirational quotes, it's worth it to get an ounce of your self-esteem back.
4) REVISION!!!! - Revise how you want. I use a range of rainbow-coloured highlighters to annotate war poems. Juxtaposition maybe. But if it helps you concentrate just do it! I've also been made fun of for showing up to exams with wet, crumpled pieces of paper with completely illegible writing rather than "aesthetic" organised notes like the others. But guess who gets the grade 9s? Hint: not the people who spend 8 hours writing one cursive sentence and highlight every word. I do, because I'm more focused on learning than decorating. I'm the girl who sits on the dirty ground outside to scribble away with my 5p biro while I get weird looks, because I couldn't find another place to study. I'm not saying you have to do that but what I'm saying is, now isn't the time to CARE what other people think, you NEED those grades even if it means wearing those glasses you hate so you can actually read, getting teased by people for being a nerd, or missing out on video game or youtube time.
Figure out whether you: A) revise too much and are too hard on yourself B) don't revise and procrastinate C) revise the perfect balance so your health and academics are both good
and adjust accordingly. Personally I'm person B but I'm aiming to be person C today, it's not too late. Good luck to everyone doing exams and I hope you're all taking care of yourself and others during this time too. Best of luck :-)
submitted by nmmju to GCSE [link] [comments]


2024.05.18 16:06 adulting4kids Obscure Literary Devices Writing Class Assignments

  1. Device Identification Exercise:
  1. Creative Writing Prompts:
  1. Literary Analysis Essays:
  1. Collaborative Storytelling:
  1. Speech Writing and Delivery:
  1. Literary Device Showcase:
  1. Rewriting Exercises:
  1. Debate on Stylistic Choices:
    • Organize a debate where students defend or critique an author's use of a specific literary device in a given text.
  1. Literary Device Scavenger Hunt:
  1. Themed Poetry Slam:
- Task students with creating a thematic poetry slam where each participant focuses on a different literary device. - Host a class poetry slam event where students perform their pieces and discuss their choices. 
  1. Interactive Online Quizzes:
- Curate online quizzes or interactive activities that allow students to self-assess their understanding of literary devices. - Provide instant feedback to reinforce learning. 
  1. Peer Review and Feedback:
- Implement peer review sessions where students exchange their creative writing assignments and provide constructive feedback on the integration of literary devices. - Encourage discussions on the effectiveness of different approaches. 
  1. Literary Device Journal:
- Assign students a literary device to track in their personal reading over a set period. - Have them maintain a journal documenting instances of the device, their interpretations, and reflections on its impact. 
  1. Literary Device Bingo:
- Create bingo cards with different literary devices - As students encounter instances of these devices in class readings or discussions, they mark off the corresponding squares on their bingo cards. 
  1. Real-world Application Project:
- Challenge students to find examples of literary devices in advertisements, speeches, or news articles. - Present their findings, discussing how the devices are employed for persuasive or artistic purposes in the real world. 
submitted by adulting4kids to writingthruit [link] [comments]


2024.05.18 15:32 Gambit-Accepted DAK Battlegroups And DLC Ideas

DAK Battlegroups And DLC Ideas
With the recent additional content for DAK, I’ve had a lot of ideas poking around in the back of my head about new battlegroups that could be developed and other related ideas for DAK. Having a creative bent of mind, I decided to do a write up of these ideas for publication, ideally to influence what comes out later, but mostly for my own enjoyment. This is what this post contains.
The perspective I’m coming from in this post is that, to me, it would be non-sensical for Relic to develop another sequel to Coh, as the release of Coh3 has demonstrated that you have to compete directly with the predecessors, leading to schisms in the playerbase. Moving to Coh3 made a lot of sense, as the technology required updating, but now that that is done, I feel doubling down on DLC for Coh3 in terms of new factions, battlegroups and content is the way to go, unless some fundamental technology leap happens in the next 10 years. Coh3 should be treated as the ‘platform’ on which Coh is developed. Even if we have to wait another 5 years for another faction, this probably makes the most sense. This way, the effort that would go to porting functionality to a new game, can be spent on creating new content and new features for the already existing game.
In terms of the design of the battlegroups, I wanted to make them thematic, different from existing battlegroups, unique and mostly historically accurate. The interesting aspect of DAK battlegroups is that you have a limited pool of units to work with.
Without further ado, here are my battlegroup ideas:
https://preview.redd.it/ln47ig1ct61d1.png?width=1308&format=png&auto=webp&s=931bc2205f9585526dc0543c3b24fb7f15611ccc
Central Idea: Logistics, augmenting Halftrack Deployment System. The battlegroup focuses on mobility and efficient resource expenditure.
Opel Blitz Fuel Truck: The Opel Blitz Fuel Truck should have two effects with the lockdown, when locked down on fuel, it should increase the rate of fuel supply, probably by more than a normal cache, however when locked down in base, it should reduce fuel cost of the vehicles in the selected structure, so kind of like officer supervision. This would encourage more active micro management of the unit. When it dies it should have a large AOE explosion, meaning friendly units should avoid it and also that it can be driven towards enemy units, kinda like a less efficient Goliath that you can't manually detonate, I can’t see this being anything but ludicrously fun. You really could go nuts with the audio design on that. Top Up Vehicle should be an ability that can be targeted on friendly vehicles. Once done, the target vehicle has faster speed, acceleration and deceleration for a fixed distance. Note this is a fixed distance, instead of time, so if the vehicle doesn't move, it won't 'expend' the ability.
Recharge Halftrack Deployment: This feeds into DAK’s tempo playstyle by allowing you to muster units rapidly. The situations where I see this being useful are early in the game when you want to get double call ins early to build out your composition at a discount or later in the game where you’re trying to mass late game armour quickly. For instance, calling in a P4 as a stopgap measure before calling in a Tiger 90 seconds later, especially if you build up a bank in the lategame.
Panzer III Munitions Supply Vehicle: Largely self explanatory, its like the Munitions Store for US, except mobile and provides different buffs. I could see this unit being coupled with ATGs and LeIGs being strong, as well as recharging snares faster, it compliments that infantry and support weapon playstyle nicely. The unit also can drop MG42s and Mortars, which give DAK manpower efficient access to more team weapons, diversifying potential builds.
Vehicle ROF Ability: Self explanatory. Could see it being strong on Marders, Tigers and Stug Ds. You could make this a global ability but here I’ve stuck with a unit ability.
Ability/Upgrades Discount: This essentially makes Unit Upgrades and Unit Abilities 50% cheaper for the duration. Its thematically appropriate and potentially a strong ability. If you could pair this with the Panzer III Muntions Vehicle, grenades would be cheaper but also recharge faster, although this combination could apply to a whole bunch of different things. Strategies where you rush this ability to ‘mass upgrade’ MG34s on the PGs could be a thing, although you’d need a fair bit of munitions banked up. One thing that could be experimented with is applying this to mines, where you could pop this to spam out mines, depending on how expensive the ability is, the calculus might add up.
Panzer I Command Tank: Feeding into that tempo style again, this early game vehicle would have roughly the potency against infantry as a 250, albeit with better armour. However, the main appeals are the capping and mobility bonuses, these would allow you to rapidly gain map control and would give you an edge when switching sides of the map. For flanking manoeuvres, this would also come in handy, one combination that would be strong would be your vehicles ‘Topped Up’ with the mobility bonuses from the Opel Blitz Fuel Truck and your infantry buffed by the Pzr I Command Tank, meaning your forces can get off flanks or respond to threats much faster.
Withdraw & Refit: Again interacting with the Halftrack Deployment System, this allows you to trade in vehicles that are not needed for resources, exactly like with Brits. I could see this being useful when you want to get rid of 250s that you have spare.
Panzer III S-Mine Launchers: This would be an ability on the Panzer III that allows it to launch S-Mines. I could see this being implemented in 2 ways, either exactly like the Tiger S-Mine launcher ability, which would be really strong for flanking AT Guns or chasing down squads, or if that’s too strong, more like the grenade ability on the Sturmtiger in Coh2. Again, this synergises with the Panzer III Munitions Vehicle and the Ability/Upgrades Discount ability.
Panzer III Side Skirts: Self explanatory, improves the armour and health of your Panzer IIIs after a unit upgrade is purchased. I wouldn’t be in favour of this being an instant upgrade to all units. This would again synergise with the Ability/Upgrades Discount ability.
Lorraine Schlepper Mobile Artillery: Finally, mobile artillery, not unlike the Wespe, giving DAK another tool in the box at their disposal.
https://preview.redd.it/japhac3bt61d1.png?width=1496&format=png&auto=webp&s=3e701d51062abcefb4181342300ec17de4d2fcf1
Central Idea: Fire, anti-cover. It would be strong against team weapon camp gameplay.
Incendiary Grenade Assault: Its essentially the exact same as the Assault Gren grenade assault, except Panzer Grens have access to it and its better at denying cover. So I see this being useful when you want to dislodge infantry in cover or make a Team Weapon move, as they won’t be able to jump back into cover or move back.
Detonating Shot: This ability is available for; Paks, Marders, P3s, Tigers, P4s, Stugs, Flak 36s. While active, if you land a kill shot on a vehicle, that vehicle will blow up causing AOE damage to nearby units. How good this should be will need to be tested. The basic counter play would be just to split up your units, but that requires micro. On the flip side, using the ability well also requires micro and good timing, so there’s a skill factor involved. This ability can also be used on ATGs and Indirect fire units (including emplacements), and if you land the kill shot on these units while the ability is active, it not only explodes but also, importantly, destroys the weapon outright. So you wouldn’t need to focus the decrewed weapon afterwards. This is pretty strong against team weapon play.
Indirect Incendiary Rounds: Exactly like it was in Coh2 for the same units. It also applies to the 254 Artillery observer. All of these barrages are good for area denial and also killing off emplacements.
21cm Nebelwerfer 42: A heavier version of the Nebelwerfer, relative to Wehr’s one. This would have higher alpha damage on it’s shells and the flame dot damage to boot. Only 5 rockets though.
Incendiary Creeping Barrage: Self-explanatory, area denial tool, good against team weapons and emplacements. Strong for denying VPs.
Double Flamethrower Panzer Pios: Strong upgrade naturally, but expensive. In order to get the double flamethrowers you need to buy each flamethrower for 50 munitions. It makes the squad a massive target.
Flammpanzer I Assault Group: This is very much a shock callin, you’d get this to drive your opponent off the map in the early stages of the game. Relative to the L6/40 with the flamethrower upgrade, this would be more potent as it retains the coaxial MG. Relative to the Flammpanzer III, it would have less health but come earlier. Combined with the Panzer Pios, it’s a strong power spike which would be especially good on urban maps.
Inspired Assault: Exactly like it was in Coh1, it was an interesting ability.
Sd. Kfz. 233 Armoured Car: In the great pantheon of DAK light vehicles, where does the 233 fit? It would be most comparable to the Stummel and the Scott, being effective against Team Weapons and Camp playstyle. Unlike the Stummel, it would be more effective at short range, as it retains an MG42 and has the canister round, as well as having more health. Relative to the 8 Rad, it would be worse at chasing infantry on retreat (although you already have the Flammpanzer I), but it would be far more proficient against units at range, units in cover and team weapons. Relative to the StuG D, it would be faster, cheaper and require less teching, but would have worse armour.
Heavy Incendiary Bomb Drop: Extremely good against team weapon camp, emplacements and units capping VPs. Could potentially neutralise points like the Dive Bomb in Coh2?
https://preview.redd.it/aipq57z9t61d1.png?width=1020&format=png&auto=webp&s=0bba7347d9d2321fca701d0e1b97fac68f4d1a0f
Central Idea: Heavy Team weapon play, this battlegroup is the only one that ‘goes against the grain’ of the DAK traditional playstyle by offering you more of a camp based strategy.
250 Reinforce: Essentially a utility ability that congeals with the rest of the battlegroup. Although I could see it being useful in combination with Assault Grens as well.
Pak 36 ATG: Light ATG, effective against Light Vehicles. Unlike the Pak 38, it requires no tech, so you can get it early and allows you to tech T2 while still having ATG support. The Stielgranate 41 shot improves it’s penetration against vehicles, although at the cost of munitions.
Tobruk Bunkers: Variety of emplacements, lots of photos of the DAK using these in WW2, hence the origin of their name. For defence in depth, these are going to be strong, you could have one of the Panzerturms in the back to prevent light vehicles or infantry from breaking in. The 360 Bunker is not fundamentally different from the Wehr AA piece, however, to make it more skilful, it would be cool if you have to manually switch the firing arc.
Flak 37 AA: A larger and more powerful AA than the Wehr Flak 30. This would be more effective against light vehicles and infantry, although could be made slower to move around, and have slower pack up and setup times, to balance it. My thinking is something like the speed of Pak 40s in camo would be slow enough to make indirect highly effective against them. It would encourage using them in conjunction with a tow vehicle, moving them around the battlefield quickly would be impossible without a tow vehicle, although not strictly necessary.
Rapid Suppression Barrage: This is mostly a standard off-map, except that the shells also cause suppression. My thinking with this is that it should cover a broad area, with a relatively short delay between each shell, with each shell having a large AOE suppression. Perhaps the effect would be best compared to the Nebelwerfer from Coh1, minus the flame. What you essentially use it for is area denial and forcing off squads.
MG131 HMG Team: Essentially a ‘premium’ HMG team, the same way the MG42 and DSKH were considered premium in Coh2. Its suppression and damage would be far better than the MG34. It should perform relatively well against light vehicles, like the .50 Cal did in Coh2. The HE rounds ability I see performing better against units in cover, potentially even allowing you to perform cover suppression.
Sd. Ah. 52 Supply Trailer: The Supply Trailer requires some explanation. My thinking with this is that its a brand new unit type, which loosely can be defined as a support weapon. How it works is that infantry squads can crew it, push it around, vehicles can tow it, etc. When in a position, it provides an aura which in this case gives nearby units additional construction options as well as increasing pio construction speeds and giving vehicles the ability to hull down. However, the unit shouldn't require pop cap and moreover, you can actually manually decrew it and it will still provide you the benefits. So for example, let's say it spawns in your base and you want to setup a strong point, you can crew it with a squad, wheel it over to a house near the frontline and then decrew it. Units within its vicinity would still be benefiting from the aura. When you want to move it, recrew it again, or tow it, to a new location. The beauty of this dynamic is that your opponents can steal these units from you like an ATG, so while they don't take up popcap and would be relatively cheap (say 100 to 150 manpower), you're still incentivised to protect them. You can also attack move them with AT guns etc, would be interesting to play around it. I think it would make for an fun dynamic, but would need to be coded from scratch. It also indirectly makes tow yet more useful. With this trailer specifically, it’s aura will make the area around it a point where you can dig in. Multiple squads would be setting up sandbags, vehicles would be able to hulldown and it can also distribute medical supplies.
Off-map Mortar Creeping Barrage: Fairly straight forward light off-map.
Hold The Line: This allows you to hold onto territory easier. A global ability, while in capture circles, your infantry will be hardier. Moreover, they can also reverse the capping progress of your opponent when you contest the capture with your own unit, although you can’t use this to capture territory that is contested. This will be really powerful in VP wars.
15 cm sIG 33 Heavy Infantry Support Gun: The star of the battlegroup. This would be like an LeIG but dialled up to 11. It would have 110 range direct autofire (so like Free Fire Drills), but with a slower ROF. The team would be able to move it around without tow, but like the Flak 37, it would be incredibly slow, like a Pak 40 in camo. The demolition shot would have a much shorter range, like 50, but be incredible against emplacements, although if you manage to get vehicles or team weapons it would be deadly as well. The trick shot nature of this should make it easier to avoid. So kind of like a Sturmtiger but much easier to notice and dodge, while also being less powerful. Realistically you would need to use tow to get it around, but its not strictly required.
https://preview.redd.it/4yg3itn8t61d1.png?width=1012&format=png&auto=webp&s=bb6f1e7b2a4c8d145cfe231db303b0474c33d4e9
Central Idea: Vision, having awareness of the battlefield and executing flanks. Conceptually this battlegroup is the opposite of Battlefield Espionage.
Horch 108 Recon: A heavy ‘ultra light’, which sounds like an oxymoron, but to put this on a scale, it would be better than the Krad as a harassment tool, but not as good as the 250. However, the 250 can’t cap and this can, whereas the Krad is cheaper, faster and has more vision while stationary. So there are trade offs to all 3. The Flak 38 gives the Horch better scaling than the krad. Relative to the Dingo, the Dingo should win, but one would expect the fight with the US Jeep to be more even, if not slightly Horch favoured.
Forward Observation Posts: These are equivalent to the battlefield espionage beacons, except they’re focused on providing LOS. You set them up with infantry and they can be faced to an area to provide sight. I could see these being super handy on the edge of the map, overlooking a flanking route.
Sd. Kfz. 263 Panzerfunkwagen: The Panzerfunkwagen would be a solid sight tool. The MG would be roughly as good as a 250, so you might want to use it aggressively early on, but you’d mostly be using it as a mobile sight platform. With cautious movement, you would be able to spot your opponents forces from camo and the Mark infantry ability should have a short cooldown and be free. You’d mark several units and they would make they more vulnerable to small arms. This would reward active micro management.
Timed Infantry Sight: Amazing for executing flanks, you can detect enemy units before they see you. This should make getting around MGs and picking your engagements far easier.
Panzer Commander Upgrade: Exactly like Coh2.
Suppressive Fire: Gives various units access to a suppressive fire ability. Coupled with the sight abilities, you can trigger this before an opponent’s unit comes into range.
Sd.Kfz.6/3 AT Halftrack: Weaker than the Marder in terms of health, the ATHT has the benefit of providing mobile AT without needing to tech T2. The ranged shot works well in conjunction with the sight tools allowing you to get off shots against more powerful vehicles without taking shots in return.
Temporary 222 Recon Group: Double 222s arrive off-map, they are in your control and you can use them how you please. However, after 75 seconds, they turn to AI control and leave the battlefield. By the time they reach the front, you’ll have roughly 60 seconds to ‘go nuts’ and do as much damage as possible. They don’t require manpower, fuel or popcap. This feeds into DAK’s tempo, all-in playstyle. So I could see a player building an 8-Rad and then using this ability, using the sight tools to determine where the ATGs are and then going all in, the 222s are relatively expendable. The 222s should benefit from the armoury upgrades, so in the lategame you could use this ability to jam captures or sneak off to grab a VP. As an opposing player, mines, hand held AT and snares are your friends. 222s should basically require 1 snare to cause engine damage. Some people have said they don't like temporary units, I haven't seen a good argument against them yet.
Bf 110 Autocannon Heavy Strafing Run: A heavy anti infantry strafing run, akin to the IL-2 strafe in Coh2. It would also be of variable length. Let's say X is your first click and Y is your second, which marks the end and direction of the run, the default run is diagram A, but you can drag the cursor of point Y as far as you want, with a maximum of either 35 range or when you don't have enough munitions banked up for the run. This gives you the flexibility of deciding how much you want to spend and where it will land. A well placed strafe on retreat could be devastating. The cursor should highlight the munitions cost as you drag from point x to point y.
Me 210 Light (SC50) Bombing Run: This is a much lighter bombing run than the US carpet bombing. It should be single line and relatively fast, the damage of the shells should be roughly equivalent to 5.5 inch artillery shells.
https://preview.redd.it/qi30nfn7t61d1.png?width=1417&format=png&auto=webp&s=200547a5ba6b66003c79100161f2613bc96b8c4f
Central Idea: Map presence, retaining position. The battlegroup was inspired by the invasion of Crete.
Luftwaffe Ground Forces: Somewhat similar to the Coh1 equivalent, they would be a fairly weak combat squad with lots of utility. In this case, they would have various construction options as well as being able to heal squads. L.P.Z. Light AT Mines would be more spamable than your standard mines, would be cheaper and only detonate on vehicles. If the vehicle is on less than 80% health, it would cause an engine crit. As an alpha damage, probably 75% of the standard mine would be sufficient. It would require 2 of these mines to detonate on a full health vehicle to engine crit it basically. Dosenmines are essentially like S-Mines and would be planted in patches. The M30 Drilling Shotgun Shot ability would be targeted on a squad and would have short range of about 5. You’d more or less use it like you would a grenade, except it like a throwing knife and the Sniper Shot ability, it can’t be dodged. More than likely, you’d get just one of these squads to augment your composition, with PGs as the mainline.
DFS 230 Glider HQ: Essentially a standard glider, you can drop it in to provide in field reinforcement. However, this glider can also heal nearby squads and recrew team weapons. In addition, the DFS 230 has roof top MG15 upgrade, which turns it into something akin to a light MG emplacement. So there are a few ways I see this being useful. One would be to drop the glider so that it covers your cut off, upgrade the MG and it will make it much harder for your opponent to cut you off and you’ll get infield reinforcement with healing. Maps like Famonville and Road to Tunis, this would be immensely useful. Another use would be in intense VP wars, at the end of the game you want to secure a flank VP, you drop the glider in and upgrade the MG, in many ways its like an auto build, quick deploy MG emplacement, that can also reinforce. Great for map control.
250 W/ Flak 38: Fairly vanilla, like the other 250 callins except with a Flak 38. The Flak 38 would have identical performance to the Flak 30 of Wehr, one way to differentiate them would be to give the gun shield heavy cover properties, but reduce the unit to 4 men to compensate.
Ju-87 Multi Vector MG Strafes: Essentially 3 separate strafes that you call in one after the other. The difference between this and a standard MG strafe is that these strafes give you what is essentially a ‘bulk buy discount’, but also, since they can be targeted in 3 totally separate places within LOS, your opponent has to react quickly to dodge all 3 of them. Its acts as a micro spike test, where you quickly throw them down and they quickly have to dodge. The skill of placing them all fast and accurately needs to be matched by the skill in dodging them all. Moreover, when combined with an attack with units, it can create an overwhelming set of threats.
Bomb Drop Overwatch: The most comparable ability to this would be sector artillery. However, in this case, its planes dropping bombs on units that come into the territory. Its not exactly a loiter though as the planes wait off map, they can still be shot down however. In terms of how strong the bombs should be, it would require testing but somewhere between a 5.5 inch shell and the US Dive Bomb would be a good place to start. Ideally a broad AOE, with only a small zone of full damage. This tool would essentially be used for area denial and be really strong in VP wars.
Ready Reinforcements: A fairly straight forward ability that speeds up reinforcement and allows quick return to the battlefield, again allowing you to retain field presence. Another feature of this ability is that it speeds up in field reinforcement and allows infantry to sprint in friendly territory outside of combat, being able to react to hot spots faster.
Junkers Ju 52 Reinforcement Pass: This is most comparable to the Paradrop Reinforcements of US, except where that ability is a stream of reinforcements over a long duration, this ability is more geared towards a burst of reinforcements all at once. There’s an element of skill in its deployment, as you’re incentivised to line up as many squads lengthwise as possible to maximise reinforcements dropped per munitions expenditure. Since its substantially longer than wide, you could have several squads in different engagements all ‘caught’ in the line and all benefiting from the ability. I could see this happening when you have multiple squads spread across the centre of the map and all located within the area of effect. The ability can be used to swing engagements and keep units in the field.
Paradrop 4.2cm Pak 41 Team: Self-explanatory, the performance of the Pak would be better than both the Pak 36 and the 38, as well as being more mobile than the 38. Useful to quickly deploy AT to a trouble spot.
Temporary Bolster: During the duration of the ability, squads can get an extra man. So Panzer grenadiers can go from 5 to 6 (or from 6 to 7), MG34s go from 4 to 5, Paks likewise etc. This applies to all infantry and support weapons. Once the ability ends, the extra model doesn’t leave, but when the squad drops back to normal numbers of models, it won’t return to the bolstered level until the ability is reactivated. What this ability allows you to do is augment the heath and DPS of your squads temporarily, making them more survivable in the field. Obviously though, the extra models are not free, costing both manpower and munitions.
Temporary Fallschirmjägers Assignment: Like the 222 assignment in the previous battlegroup, this involves you taking control of 2 squads which leave the battlefield after a period of time. In this case, 2 squads of MP40 Falls are dropped where you like and then can be used to sow carnage for 75 seconds from when they touch the ground. Their MP40s make them ideal for flanking team weapons, they have smoke grenades and the can throw short range snares. So you could potentially drop them in behind the lines with the intention of catching a vehicle trying to back up from the front line. One massive use of this ability will be in VP wars, where you drop them onto a VP in the lategame to swing the match in your favour. They don’t cost manpower, population or upkeep, but require a lot of munitions.
Historical Accuracy Notes
A few notes on what is inaccurate or anachronistic. The Panzer III Munitions Vehicle, as far as I know, wasn’t used in Africa but on the Eastern Front. There was another, the Lorraine Schlepper Munitions Vehicle, that was used in Africa for the exact same purpose and this could be used instead, but the benefits of the P3 are reduced development cost as some of the voice lines and the vehicle sounds can be reused. I’m also not so sure whether Side Skirts were used on P3s in North Africa, I haven’t seen photo evidence in any case.
The MG131, while used in a ground HMG role, I haven’t seen evidence of it being used by the DAK in North Africa. About ten Sd.Kfz.6/3 AT Halftracks were used, some people might object to that unit on these grounds. I haven’t seen evidence of the Pak 41 being used in North Africa, I’m also fairly sure they didn’t paradrop them. The M30 Drilling Shotgun was used in North Africa…but only by downed pilots. The Madsen Belt Fed MG was a Luftwaffe contract gun, but I haven’t seen evidence of it being used in North Africa. Likewise with the Panzerhandmine 3. Needless to say, all these are exceptions. Otherwise, to the best of my knowledge, these designs are historically congruent.
Design Notes
I deliberately avoided using Italian Units in these designs. Following from what I said about Relic doubling down on Coh3, I feel it makes sense for them to eventually create an Italian Faction, so I didn’t want to cannibalise that faction, especially when the DAK already has plenty of material to play with.
What to do with the remaining units in the files?
There are several other units in the game files that I haven’t used here. This was intentional. Several people having been calling out for the substitute vehicle feature from Coh1:
https://preview.redd.it/ijcq0sb6t61d1.png?width=1280&format=png&auto=webp&s=62585a9618ad9fb793d9ce95dcaccacf61dabaaa
As a feature it makes a lot of sense, I feel the community would be far more interested in small and frequent content drops like these instead of cosmetics and they could be priced to be more profitable than battlegroups at less development cost. They would ideally be more frequent as well, bringing players to the game. I feel games like War Thunder and WOT benefit from the sheer variety of units and I can’t see how this wouldn’t apply to Coh. Whenever they release, the units will be similar enough to the units they replace that they won’t disturb balance much, meaning less emergency balance hotfixes.
I feel this is what makes the most sense for the units already modelled, for example, the Panzer II is fundamentally serving the exact same role as the 8-Rad, they’re both 20mm autocannon light vehicles. Its hard to imagine a build where you would build both of them in the same composition and trying to make them different would be clumsy. We see this with the L6/40s, which are also similar to the 8 Rad and have been specialised to be worse against infantry and better against vehicles, to mixed results. Then there’s the 250/9. Adding another autocannon light vehicle via a battlegroup wouldn’t be that different from what we already have but as a substitute vehicle it makes a lot of sense. This logic can be applied to most of the vehicles already in the game files. The substitutions I would advise would be:
https://preview.redd.it/rermeob5t61d1.png?width=584&format=png&auto=webp&s=9a507899379f8fcd8c50d3ae04d85f8982f7ca12
The Panzerjäger I is already in the game files and could be substituted for the Marder. It would have less health and worse pen, but could be made significantly cheaper. This would be an interesting trade off in the composition. Alternatively, there’s the Marder III H which also could be made as a substitute, it would largely have the same performance but could have an MG upgrade and have a different starting price.
https://preview.redd.it/1jsj20n4t61d1.png?width=698&format=png&auto=webp&s=8be575f13ce97a2cd6c3e773ce16d67885949a5c
The Sturmpanzer II would have a much larger up front damage, closer to a Brummbär, but would have a lot less health and far worse frontal armour. You wouldn’t be tanking Bazooka shots like you do with the StuG D but it would be significantly more deadly.
https://preview.redd.it/gza0pvy3t61d1.png?width=526&format=png&auto=webp&s=c3425632265b68ee6e8d47216ceb8d6c0f36b83b
For the Opel Blitz Flak 38, it would be cool if this worked more like the Flak HT in Coh2, with the set up time and suppression. So this unit could be made cheaper and have the same role as the Flakvierling, but be more finicky to use.
Others:
https://preview.redd.it/mtp4c3a3t61d1.png?width=702&format=png&auto=webp&s=32e312dabe55957321e2ec9af9e8f89f89709906
https://preview.redd.it/n0klnvo2t61d1.png?width=652&format=png&auto=webp&s=e5825bd63a95e22090b3b9f52a8f820e61054537
https://preview.redd.it/59hqrd02t61d1.png?width=617&format=png&auto=webp&s=428ac413c7d8617936417072a1e74e0116285c46
https://preview.redd.it/9xmco9e1t61d1.png?width=813&format=png&auto=webp&s=3f34a21b37f36313900d7dc0cc2f0fa025370b03
Conclusion
This is what I would do with the remaining DAK content, short of a rework. The battlegroups are unique, fairly historically accurate, thematic and interesting. The concepts can at least be stolen and repurposed elsewhere. If there’s anything clearly broken or so amazing that it needs a shout out, feel free to let me know. I have other ideas for the other factions but I'm still pondering them.
PS. This is a repost from before, when I initially posted this I didn't understand how Reddit worked.
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2024.05.18 14:41 adulting4kids Poetry Class Week Three

Week 3: Villanelles and Ekphrastic Poetry - Lecture and Discussion
Objective: - Explore the structured repetition of villanelles and the visual inspiration of ekphrastic poetry. - Understand the fixed form of villanelles and their emotional impact. - Discuss the interplay between visual art and written expression in ekphrastic poetry.
Day 1: Introduction to Villanelles - Lecture: - Definition and characteristics of villanelles. - Explanation of the ABA ABA ABA ABA ABA ABAA rhyme scheme.
Day 2: Analyzing Villanelles - Part 1 - Lecture: - In-depth analysis of classic villanelles. - Exploration of the emotional impact through repetition.
Day 3: Analyzing Villanelles - Part 2 - Lecture: - Discussing modern variations and themes in villanelles. - Exploring the versatility of the form.
Day 4: Crafting Villanelles - Part 1 - Lecture: - Step-by-step guide on crafting the first four lines of a villanelle. - Emphasis on creating a strong thematic foundation.
Day 5: Crafting Villanelles - Part 2 - Lecture: - Step-by-step guide on crafting the final three lines of a villanelle. - Emphasis on creating resolution and impact.
Homework Assignment: - Craft a villanelle focusing on a theme or emotion that lends itself well to repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first four lines of your villanelle. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final three lines of your villanelle? 3. What insights did you gain from the process of crafting a villanelle?
Quiz: Assessment on the understanding of villanelles, the ABA rhyme scheme, and the emotional impact of repetition.
Day 6: Introduction to Ekphrastic Poetry - Lecture: - Definition and characteristics of ekphrastic poetry. - Explanation of the relationship between visual art and written expression.
Day 7: Analyzing Ekphrastic Poetry - Part 1 - Lecture: - In-depth analysis of classic ekphrastic poems. - Exploration of how poets respond to visual stimuli.
Day 8: Analyzing Ekphrastic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in ekphrastic poetry. - Exploring the diverse ways poets engage with visual art.
Day 9: Crafting Ekphrastic Poetry - Part 1 - Lecture: - Step-by-step guide on responding to visual art in writing. - Emphasis on capturing the essence and emotion of the artwork.
Day 10: Crafting Ekphrastic Poetry - Part 2 - Lecture: - Discussing the role of personal interpretation and creativity in ekphrastic poetry. - Exploring the potential for multiple ekphrastic responses to a single artwork.
Homework Assignment: - Craft an ekphrastic poem in response to a chosen piece of visual art.
Study Guide Questions: 1. Reflect on the challenges of responding to visual art with written expression in your ekphrastic poem. How did you capture the essence and emotion? 2. How did personal interpretation shape your creative process in crafting an ekphrastic poem? 3. What insights did you gain from the process of crafting an ekphrastic poem?
Quiz: Assessment on the understanding of ekphrastic poetry, the relationship between visual art and written expression, and the creative possibilities in responding to visual stimuli.
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2024.05.18 14:29 adulting4kids Week One Poetry

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.
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2024.05.18 14:22 adulting4kids Poetry

  1. Renga:
- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 
  1. Prose Poetry:
- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 
  1. Concrete Poetry:
- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 
  1. Narrative Poetry:
- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 
  1. Pastoral:
- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 
  1. Elegy:
- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 
  1. Aubade:
- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 
  1. Ekphrastic:
- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 
  1. Found Poetry:
- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 
  1. Epigram:
- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 
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2024.05.18 14:11 adulting4kids Prompt Poetry

  1. Imagery: Prompt: Choose a setting (real or imaginary) and describe it using detailed sensory imagery. Imagine the sights, sounds, smells, and textures to create a vivid scene, just like a painter with words.
  2. Metaphor: Prompt: Compare a personal experience to an everyday object or phenomenon in an unexpected way. For example, "My heart is a compass that always points to the north of your laughter."
  3. Simile: Prompt: Write a series of similes to express intense emotions. For instance, "As brave as a lion facing the storm, as fragile as a petal in the wind."
  4. Rhyme: Prompt: Craft a short poem or lyrics with a consistent rhyme scheme. Experiment with different rhyme patterns (ABAB, AABB, etc.) to enhance the musicality of your writing.
  5. Meter: Prompt: Compose a poem with a specific meter, such as iambic pentameter. Pay attention to the syllabic beats in each line to create a rhythmic flow.
  6. Alliteration: Prompt: Create a tongue-twisting line using alliteration. Focus on the repetition of initial consonant sounds to add a playful or musical quality to your writing.
  7. Assonance: Prompt: Write a passage where the vowel sounds within words echo each other. Experiment with different vowel combinations to create a melodic effect.
  8. Personification: Prompt: Choose an inanimate object and personify it. Describe its actions, thoughts, and emotions as if it were a living being.
  9. Symbolism: Prompt: Select an object or element and explore its symbolic meaning. Connect it to broader themes or emotions in your writing.
  10. Enjambment: Prompt: Write a poem where the thoughts flow continuously from one line to the next without a pause. Explore how this technique can create a sense of movement or urgency.
  11. Repetition: Prompt: Repeat a word or phrase throughout a poem for emphasis. Consider how repetition can enhance the overall impact and meaning of your writing.
  12. Free Verse: Prompt: Embrace the freedom of expression by writing a poem without adhering to rhyme or meter. Allow your thoughts to flow organically, exploring the beauty of formless verse.
  13. Stanza: Prompt: Divide your writing into stanzas to create distinct sections with varying themes or tones. Explore how the organization of lines contributes to the overall structure of your work.
  14. Theme: Prompt: Choose a universal theme (love, loss, freedom, etc.) and explore it through your lyrics. Delve into the nuances and perspectives associated with the chosen theme.
  15. Tone: Prompt: Write a poem that conveys contrasting tones. Explore how shifts in tone can evoke different emotions and responses from the reader.
  16. Connotation: Prompt: Select a word with strong connotations and use it in a poem. Explore the emotional baggage and cultural associations tied to the word within the context of your writing.
  17. Irony: Prompt: Craft a poem with elements of irony. Create situations or lines that convey a meaning opposite to the literal interpretation, adding layers of complexity to your writing.
  18. Allusion: Prompt: Reference a well-known song, book, or historical event in your lyrics. Explore how the use of allusion can enrich the depth and meaning of your writing.
  19. Syntax: Prompt: Experiment with sentence structure to create different effects. Play with word order, sentence length, and punctuation to convey specific emotions or rhythms in your writing.
  20. Diction: Prompt: Choose a specific mood or atmosphere you want to convey and carefully select words that evoke that feeling. Pay attention to the impact of your word choices on the overall tone of your writing.
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