Rhyming poems about honesty

Eivor is a bit of a strange protagonist.
She’s basically flawless and without blame. She’s brash and bold, proud and unashamed — brave and wise far beyond her years, yet able to be soft and compassionate when not brandishing spears. She’s got a knack for leadership, a strong moral compass and an even stronger muscular system with which to enact justice.
And she’s got bars?
As someone not deeply versed in medieval European histories, imagine my shock and confusion upon discovering that Assassin’s Creed: Valhalla included rap battling.
My first experience with Flyting had me asking so many questions about what I just witnessed that I couldn’t wait to begin Googling. I figured flyting probably was historically accurate, but if that’s the case, then what else can it tells us about the medieval warrior and about Eivor’s characterization?
I set off to find out.
--
Wikipedia and howstuffworks combined gave me a robust definition of flyting.
A ritual, poetic exchange of insults practiced mainly between the 5th and 16th centuries. Examples of flyting are found throughout Scots, Ancient, Medieval and Modern Celtic, Old English, Middle English and Norse literature involving both historical and mythological figures. The exchanges would become extremely provocative, often involving accusations of cowardice or sexual perversion.
The idea behind flyting was to influence public opinion of the participants and raise both of their profiles. And each participant wanted to make himself look better than the other, even if they were friendly.
Not only that, but flyting’s also the first recorded use of shit as an insult. That right there is worth this whole essay and then some.
--
I came away from those definitions with some small Euphoria, as they reinforce what I already expected from Ubisoft — historically accurate and (arguably) immersive side activities grounded in realism.
Unfortunately, none of the flyting foes that Eivor faces in this fantasy are founded in any real-world flyters. I was particularly frustrated when I realized Fergal the Faceless and Borghild the Alewife’s Bane were fictional features, not real historical fiends of rhythm and rhyme.
Two of Eivor’s syntax competitors are “real” in some sense, however.
In Norse mythos, Odin, Thor, Loki, Freyja and more would handle their Family Matters over a flyte from time to time, dueling wits and words as competition and entertainment.
In fact, one flyte we do see in game — Odin as he flytes over the river with Thor in the Asgard Arc — is likely a reference to a real medieval Norse poem; The Hárbarðsljóð.
In it, Thor jaunts back to Asgard after a journey in Jötunheim. He comes to a junction in which he must jump a large river, and thus hunts down a ferryman to shepherd him across. The ferryman, Hárbarðr, is Odin in disguise. He then begins to diss guys.
Ahem. ‘Guys’ being Thor, obviously.
First, Odin drops a yo-mama joke:

Of thy morning feats art thou proud, but the future thou knowest not wholly; Doleful thine home-coming is: thy mother, me thinks, is dead.

He keeps going, taking more shots than a First Person Shooter, this time saying Thor dresses like a girl:

Three good dwellings methinks, thou hast not; Barefoot thou standest and wearest a beggar’s dress; Not even hose dost thou have.

Thor says watch your mouth before I clap back:

Ill for thee comes thy keenness of tongue, if the water I choose to wade; Louder, I ween, than a wolf thou cryest, if a blow of my hammer thou hast.

Odin replies by saying Thor’s wife is fucking another dude:

Sif has a lover at home, and him shouldst thou meet; More fitting it were on him to put forth thy strength.

The version we play out in game isn’t identical to the real-world poem, but carries some similarities; Thor’s threatening to cross the river to fight Odin as well as his boasting of slaying giants are present in each.
Ratatosk is the only other ‘real’ flyting enemy in Valhalla. While Odin doesn’t flyte with Ratatosk in Norse myth to my knowledge, the flyting against the squirrel is thematically accurate, at least.
Ratatosk’s purpose is to scramble up and down Yggdrasil, scurrying spoken messages from the eagle that sits at its peaks to the snake that slithers at its base. The nature of Ratatosk’s messages is in line with the act of flyting — the mischievous rodent carries falsehoods and aggressive statements to stir up drama and distrust between bird and serpent.
Flyting took place not only in poems and folklore, but in town squares and royal court. It was a facet of medieval life and social interaction. This weaving of prose then, in this time period, seemingly was just about as much of an admired skill as the swinging of a sword. It’s no wonder our unbreakable warrior Eivor is so proficient with word.
--
Like, really proficient with word.
I mean, I know it’s me choosing the dialogue options, but sheesh, is there anything she can’t do?
Actually, Eivor’s expertise in flyting is strange to me. It feels random and unearned — out of character, even. It comes more unexpectedly than Kendrick Lamar’s Not Like Us.
It probably only feels out of character, however, due to our modern understanding of proficiency with words versus proficiency with might. Our current interpretation of verbal ability compared to physical ability would perceive verbal ability as the ‘softer’ of the two skillsets. Physical strength is typically interpreted as tough and more dominant. You don’t expect to see an MMA fighter composing poetry, do you? The qualities that modern thought attributes to writing and physicality don’t mesh.
But in reality — and historically accurately in Valhalla — medieval warriors weren’t just blind berserkers. They were actually artists, poets and writers.
We’ve already demonstrated how Odin and Thor — Norse myth’s most famous warriors — carried out flyting. Thus, medieval Vikings would’ve surely done the same. Beyond Vikings though, the Illiad contains instances of public, ritualized abuse. Taunting songs are present in Inuit culture while Arabic poetry contains a form of flyting called naqa’id. Further, Japanese Samurai were known to be frequent composers of haiku, while Japanese culture also gave birth to Haikai, poetry in which vulgar satire and puns were wielded.
This historical accuracy ends up eliminating the randomness of Eivor’s flyting ability. Despite her verbal finesse feeling unearned, we can surmise historically that Eivor has practiced the wielding of words plenty in her life before we take over as the player. She’s dedicated time to this.
Now that we know why she has it, we can take a closer look at what it does for her.
--
So, Eivor can rap. She can match you with her axe or she can match you with her words. She’s just about unbeatable.
Her mastery of words demonstrates on some level that she’s not all Push Ups and might is right. She’s not all bruiser and bluster, burn and berserk. She’s an appreciator of the finer things — the more abstract, mental skills that require brain power, deftness and finesse.
This duality of strength and genius rounds out Eivor into a deeper, richer, more admirable character. More than just raw muscle in pursuit of glory, Eivor’s mastery of verse demonstrates her prioritizing not just her body, but her mind.
And it goes a long way for her.
Eivor can use her prowess with prose to progress past pointless plot points throughout Valhalla’s plethora of arcs and missions. It’s just a stat check in the end, but with enough practice flyting and enough charisma gained, Eivor unlocks new dialogue options that bend the world around her to her will.
Witch hunters in Eurvicscire on the brink of terrorizing Moira can be dispersed verbally rather than brawled or killed. There’s an entire riddle-solving fetch quest in Wincestre that can be skipped completely by telling King Aelfred’s abbot fuck off (figuratively). Eivor’s sharpening of her mind protects her body, saves her time, and allows her to frictionlessly fell her endeavors.
Her articulate advances don’t just alter her into admirability, they allow her to influence people and progression. With semantics from her mouth and twists from her tongue, Eivor can have her way whenever she wishes. In a game this large, I’m only left longing that the opportunity to make use of this charisma wasn’t relegated to niches.
Regardless, if medieval England is butter, Eivor’s tongue is the hot knife that behooves her move through her subduing more smoothly.
It all just goes to show that ̶m̶i̶g̶h̶t̶ flyte is right.

Hi guys, I wrote this poem about a relatively new love and it’s exactly the way that I feel but i don’t know if i should share it with them. Let me know what u think.
The things I should say to you
A thousand bolts adorn the door A door that I never asked for One that was built brick by brick Over time that has burned off a crumbling wick
So much time spent in front of this door I’ve grown quite familiar with what lies before A garden of sorts, filled with shrubs and ivy All the invasive things that make this life feel a little more lively
I feel like I was born without a key And a piece of my soul exists outside of me So I search and I search for that one wildflower The thing that could make centuries feel like days and decades like hours
Then you appeared, not just as a fleeting trace But as the sun redefining the entire space You inverted shadows and light, turned ounces into pounds The first one to open my mind to looking at my garden upside down
I can now see the flowers underneath it all You helped me dig just deep enough to uncover a remedy in my fall I’ve gone from “What good is a garden that’s all dug up?” To wanting to sit on my knees for hours; each plant I will pluck
Because with you it isn’t scary; you make me feel a calmness I’ve never felt before The silence that we share would bring the heavens to the floor You are the missing piece to a puzzle that is already complete You add something otherworldly—your protective fleet
I said it to my mom and I’ll say it again - I can’t believe you’re real The symphonies you breathe into me are ones I thought only Romeo and Juliets could feel It’s the kind of love that feels like a musical note perfectly in time To make you feel seen, I would make every aspect of you rhyme
I can say I’ve never been a builder and it would be true My hands more comfortable constructing barriers than building anew But I would build homes to give you space Teach my table to have a seat, to reserve for you a place
I’ve found so many wildflowers already in the places our love has grown I know our table will one day be covered in gardens that we’ve sown I feel the most beautiful peace when I lay my head on you to rest I wonder if God's trying to speak to me through the music I hear in your chest

Please let me know what you guys think of this poem. It’s exactly how I feel about a new love but I don’t know if i should share it with them.
A thousand bolts adorn the door A door that I never asked for One that was built brick by brick Over time that has burned off a crumbling wick
So much time spent in front of this door I’ve grown quite familiar with what lies before A garden of sorts, filled with shrubs and ivy All the invasive things that make this life feel a little more lively
I feel like I was born without a key And a piece of my soul exists outside of me So I search and I search for that one wildflower The thing that could make centuries feel like days and decades like hours
Then you appeared, not just as a fleeting trace But as the sun redefining the entire space You inverted shadows and light, turned ounces into pounds The first one to open my mind to looking at my garden upside down
I can now see the flowers underneath it all You helped me dig just deep enough to uncover a remedy in my fall I’ve gone from “What good is a garden that’s all dug up?” To wanting to sit on my knees for hours; each plant I will pluck
Because with you it isn’t scary; you make me feel a calmness I’ve never felt before The silence that we share would bring the heavens to the floor You are the missing piece to a puzzle that is already complete You add something otherworldly—your protective fleet
I said it to my mom and I’ll say it again - I can’t believe you’re real The symphonies you breathe into me are ones I thought only Romeo and Juliets could feel It’s the kind of love that feels like a musical note perfectly in time To make you feel seen, I would make every aspect of you rhyme
I can say I’ve never been a builder and it would be true My hands more comfortable constructing barriers than building anew But I would build homes to give you space Teach my table to have a seat, to reserve for you a place
I’ve found so many wildflowers already in the places our love has grown I know our table will one day be covered in gardens that we’ve sown I feel the most beautiful peace when I lay my head on you to rest I wonder if God's trying to speak to me through the music I hear in your chest

I've seen a lot of people in this sub reddit say they find songwriting difficult so I thought I'd contribute with some advice I found helpful years ago. I'm essentially going to copy a blog I wrote years ago and hope that someone finds it useful. Obviously this isn't the only way to do it, but this might help some people get started.
When you listen to bands like The Beatles, it’s easy to believe that songwriting is a difficult process. Although equally, when you listen to the average popular radio station, where every song repeats the same couple of words over and over again, you might think the opposite – it’s very easy.
Well, I’m going to let you in on a little secret… I don’t think good songwriting, in many genres, is very hard at all. I’m not claiming I’m an amazing songwriter or that your heroes aren’t great artists. But many people have a belief that songwriting is more difficult than, say, writing an article. It isn’t. I genuinely believe anyone with a little musical background can do it.
You could argue that, in order to write a song, you need a basic understanding of music, how to structure a song and knowledge of the English language to write lyrics. But, really, most popular songs are often structured in the same way and have very simple chord sequences – and yes, this includes most Indie, rock, metal, R&B, rap and dance music. How poetic a song is, lyrically, very much depends on the artist.
If you are interested in my particular songwriting process to help you get started, I’ve tried to put together my thoughts and internal process when it comes to songwriting. And honestly, some of it is just knowing what to do to get you started…and then practice…
What do you need to write a song?
Forget guitar solos, drums and basslines at the beginning – those are bells and whistles that are added later. For the time being, you just need to know that, for a very basic song, you need an understanding of:

• English
• Chords
• Song structures

Doesn’t sound that hard, does it? Well, it’s a little more complicated than that. Firstly, once they have a grasp of these, creative people often start bending these rules, making songwriting SEEM complicated. Secondly, armed with an understanding of the above, songwriters need the following to get started:

• Inspiration
• A story to tell

Many average songwriters have these covered – but that doesn’t mean their audience will connect with it. The more savvy songwriters understand that in order the make people listen to their songs, they also need to focus on two things, which are just as important to good songwriting:

• A hook (or memorable repetition on a theme)
• Tension building and release of that tension

These 4 guiding lights of songwriting fuse together during the creative process. The inspiration will inform the hook, which, in turn, will steer the story in a certain direction and the tension building will come as a natural progression from that. Therefore, when writing a song, in my opinion, you should go in this order.
Inspiration

• Hook
• Story
• Structure
• Tension building and adding instruments

When you lay it out in simple terms like this suddenly songwriting doesn’t seem as daunting, does it? I’ll take you through each one. Remember, the golden rule for songwriting with all of these points, record your ideas so you don’t forget them. Ideas are fleeting…

• Inspiration

It’s hard to talk about this one because inspiration is such a visceral feeling. I admit that, initially, my inspiration to write songs came from something horrific that happened to me. It helped, no doubt. But, I since learned that anything can give me inspiration. And I’ll be honest, you can make your own.
Some people think they just aren’t the creative type and therefore can’t get inspired. I know a lot of musicians who can copy guitar riffs, drum beats, bass lines or vocals brilliantly, but they don’t feel like ‘they have anything to say so can’t write their own music’. Bullshit.
There are 100 ways to start a song. Many come from humming a tune, thinking of a catchy lyric, playing a guitar sequence or a mixture of these.
What do you do if you don’t have any inspiration? Just think ‘what do I want to sing about?’ Once you have a topic in mind we’ll move to step two and help you find some inspiration via the hook. You can make your own…
Hook
The ‘hook’ is a theme that will be memorable to your audience. But it’s more than that – it’s the core of your song. This will, probably, end up as your chorus. Therefore, although this isn’t a ‘rule’ as such, you’ll find it easier to write your hook first. There are a million ways to find a hook, but my preferred method is:

• Think of a topic
• Find a catchy line, related to that topic
• Try it with some melodies
• Mix together different versions of the melody and lyrics to see what works naturally

For example, for one of my songs, ‘Slow Down‘ I wanted to write about how people would be much happier if they slowed down a little. I noticed a book with the subtitle ‘The Things You Only See When You Slow Down’. This easily went with a natural melody I had in my mind, and, voilà, I had a hook. I then tried this with several chord sequences and tried several different incarnations of the lyrics before I settled on the one that fitted best. See, not that hard…
You can also add another, none lyrical, hook to your song later – guitar riffs and basslines can be memorable, for example. Remember, if you want your song to be remembered, use your secondary hooks in several places, such as the intro, before the 2nd verse and in the outro.
Story
Once you have a hook, it’s time to build your story around it. This is arguably the most arduous, but also the most interesting and creative, part of songwriting. Generally, it means writing two verses that fit with the chorus and other hooks you just wrote (musically and lyrically). It’s really important to ensure that the whole song flows naturally together, so you’ll have to do a lot of testing. But, with the hook completed, you are half way there already.
To use the same example above, for ‘Slow Down‘ I used the metaphor of a train to represents society relentlessly going too fast. As in poetry, try keeping it vague but meaningful. If you struggle with rhymes, it’s easy to look them up these days, but always make sure they sound natural in context. Musically, this song is a good example of how simplicity can work because it’s the same three chords throughout the song, except for the bridge and outro.
Structure
People who are very creative or very into music care about structure. No-one else does. Therefore, it’s a good idea to have a template to work to for your basic songs and stretch these rules once you’ve written some. Generally, it goes – intro, verse, chorus, verse, chorus, bridge, chorus.
You can play around with this, but the template is there for you to use. It allows for repetition (in order to stick in people’s heads) and will also speed up your songwriting process because it’s one less thing to think about. Remember, you can always change the structure later if you want it to be a bit different – it’s not that hard to switch around.
Tension building and other instruments
OK, so now you have your basic song, it’s time to finish up with tension building and adding instruments. There are a few principles to remember and you will be ok at this point…

• Think about your audience
• If you want to make your chorus sound bigger, make what comes before it sound smaller
• Don’t let every instrument play in every section
• Add stops and breaks to add tension
• Consider adding vocal harmonies in important places

Can anyone be a songwriter?
In all honesty, like with most things in life, songwriting is just practice. Sure, some people will find it easier than others and some people have more natural moments of inspiration, but I honestly believe anyone can do it if they want to. So, if you are musically inclined, why not try some of my above ideas and see if they work for you?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Clerihew:

- *Definition:* A whimsical, four-line biographical poem with irregular meter. - *Example:* Craft a clerihew about a famous historical figure or a friend with a humorous twist. 

1. Quatrain:

- *Definition:* A stanza or poem consisting of four lines, often rhymed. - *Example:* Write a quatrain reflecting on the beauty of simplicity in everyday life. 

1. Double Dactyl:

- *Definition:* A light, humorous poem with strict structure and two quatrains. - *Example:* Create a double dactyl capturing a comical moment or character. 

1. Terzanelle:

- *Definition:* A hybrid of the terza rima and villanelle, with 19 lines and a specific rhyme scheme. - *Example:* Craft a terzanelle exploring the cyclical nature of seasons and life. 

1. Haibun:

- *Definition:* A combination of prose and haiku, often describing a journey or experience. - *Example:* Write a haibun narrating a meaningful travel experience, complemented by haikus. 

1. Golden Shovel:

- *Definition:* A form where the last word of each line is taken from an existing poem. - *Example:* Create a golden shovel poem using a line from your favorite poem or song. 

1. Villancico:

- *Definition:* A Spanish poetic and musical form, often festive and celebratory. - *Example:* Craft a villancico capturing the joy of a special occasion or holiday. 

1. Tercet:

- *Definition:* A stanza or poem consisting of three lines. - *Example:* Write a tercet expressing the beauty of resilience in the face of adversity. 

1. Sevenling:

- *Definition:* A seven-line poem with a specific pattern and often narrative in nature. - *Example:* Compose a sevenling reflecting on a vivid childhood memory. 

1. Palindrome Poetry:

- *Definition:* A poem that reads the same backward as forward. - *Example:* Write a palindrome poem exploring the balance between chaos and order. 

1. Sonnet:

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

1. Haiku:

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

1. Villanelle:

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

1. Limerick:

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

1. Free Verse:

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

1. Acrostic:

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

1. Ghazal:

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

1. Tanka:

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

1. *Cinquain:

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

1. Pantoum:

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

I don't understand why American and to some extend - anglophone writers decided that rhymes and meters are awful and should be left for little children, but I genuinely think that American poems are much worse for that. The extra constraints of a rigid meter and rhyming ends test a writer's creativity and forces them to use different words and unusual metaphors.
It is particularly puzzling, given that there are some great english poems out there. "Raven" by Edgar Alan Poe is a little formulaic-sounding IMO, but at the same time it is a beautiful poem, and meter is a big part of its beauty. One cannot help but read it with a somber kind of rhythm to it. Here is an experiment - try to read this and see how you feel (changes are italicized):

Ah, distinctly I remember it was in the bleak October; And each separate dying coal wrought its ghost on the floor. Eagerly I wished the tomorrow;—vainly I had sought to borrow From my books surcease of sorrow—sorrow for the lost Lenore— For the rare and radiant maiden whom the angels name Lenore— Nameless here forever.

It sounds awful! What's even weirder is that sometimes I see a poem almost fill a meter, but then scoot away at the last moment. I am not even talking about deliberate broken meter, like "The Second Coming" by W.B. Yeats - I still don't like it but I understand it is meant to be broken - I am talking about where it feels like the author failed to write in a meter for no reason. I don't have a lot of examples ready to go, but here is one:

For all sad words of tongue and pen,

The saddest are these, 'It might have been'
It would have been so easy to just delete "these" and it would have - IMO - sounded so much better. Every now and then I listen to a song and get this same kind of "blunder" - and it ruins it for me every time. Please discuss!

Hi guys,
Love, love, and love. That is all I desire here.
Me:
A Texan through and through, with roots in small towns and residence in the big city. I am currently pursuing a career in health-care as a medical student, and I moved to Chicago for that reason. Finally, I am of South Asian descent, which adds a touch of cultural richness to the mix.
Hobbies/Interests: If we share the same interests, then that is great. It's not necessary, though. I value a connection over shared hobbies.
One of my favorite pastimes is watching movies. I have frequent movie nights. Some showings include: "Inception", "Godzilla Minus One", "The Thing" (1982), "Whiplash", and "Shutter Island". Snacks and drinks are included. Terence Fletcher is mean, but my cooking is meaner. I enjoy exploring various cuisines at restaurants, and I enjoy trying new recipes when cooking at home. A few of my favorite cuisines are: Thai, Mediterranean, and Indian. I balance out the snacking, drinking (virgin), and eating by being active. I frequently run, walk, and lift. You might have seen me running on Bloomingdale Park Trail or walking along Union Park. A few other interests are reading, boardgames, videogames, and learning a language. I love the competitiveness, strategizing, and fantasy involved in boardgames, but I think Robinson Crusoe has the upper hand in those areas. I think it would be fun to have our conversations in another language and whisper sweet nothings to each other. Mon amour. Mahal ko.
Personality:
I am a combination of reserved and adventurous, leaning towards seriousness yet showcasing a playful side when I'm comfortable with someone. I find comfort in being a homebody, but I do emerge from my cave. I strive to go the extra mile for my partner, and I always try to showcase of my love for someone through cards, poems (albeit poorly written), and physical affection.
Physical Description:
My hair cascades in subtle curles at mid-neck-length. I am a fan of the clean-shaven aesthetic, but I occasionally sport well-maintained stubble. My complexion is caramel that is accompanied by dark brown eyes. I have a slim-to-average physique, and I stand at a height of 5'7".
You:
I am searching for someone who values a healthy and active lifestyle, someone who takes care of themselves physically. While physical compatibility is important, I value a shared commitment to overall wellness. Intimacy and romance (sweet sweet love) are important to me, and I like physical affection a lot (a lot). Admittedly, I do like someone that is slightly clingy. It's nice to feel wanted. I would like someone that is vulnerable because it builds a stronger connection. I deeply appreciate the intimacy it fosters. I desire a partner who values companionship and reciprocity, understanding that mutual effort and appreciation are fundamental. I'm drawn to qualities like open-mindedness, calmness, and versatility in a potential partner. A lot of sweetness, a dash of spice, and a little chemical X.
Stuff:
Religion & Politics:
I'm personally not religious. I'm open-minded towards all religious affiliations and welcome the opportunity to learn about different faiths. Similarly, my political stance isn't easily boxed into conservative or democratic ideologies. I value the continuous evolution of my political beliefs, emphasizing independent thinking and the avoidance of polarizing partisan politics.
Kids & Pets:
I've made the decision not to have children. For me, it's about prioritizing my partner, hobbies, and career. I opt not to have pets due to lifestyle constraints, financial considerations, and personal preferences. I simply have no interest in having pets, but I'd be willing to accommodate.

• Consistent communication and a genuine desire to converse are all that I ask. Please. If you're not interested, honesty is appreciated – I won't take it personally.

Been down so long that it’s like Fuck the up now
Feeling as auxiliary as the random words between rhymes in a poem about crying
This time the thing you think you’ve lost isn’t just in your hand
Soak the moment in
You feel as confused and mistaken as one that checks for mail on Sunday
Off for five days straight so you could really use a day off
You axed around for trees but instead…
Oh dear dear dear moneys tight because My power of attorney I had to sell for a 5th it’s price for a 5th of McCormicks vodka last night
And even our milk man is out of man-milk
And the Dow has ceased to ch-ching
So back with I to the cabbage patch by way stork of course
It was all just a novel idea fancied but I simply could not afford it and I asked to be a girl anyway
So out with the bathwater to the yard again shame of the neighborhood
Oh towns’ Martyred goat
You were a sinew and blood pulp already before a soul had a moment to cast the first stone
Thoughts asunder Thoughts asunder

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.

• Discussion Questions:
  1. What appeals to you about the concise structure of haikus?
  2. Why do you think nature is a common theme in traditional haikus?
  3. Can you identify any famous haikus or haiku poets?

Day 2: Analyzing Haikus - Part 1 - Lecture: - In-depth analysis of classic haikus. - Exploration of the 5-7-5 syllable pattern and its impact.

• Discussion Questions:
  1. How does the 5-7-5 syllable pattern contribute to the rhythm of haikus?
  2. What emotions or images are conveyed through the haikus analyzed?
  3. How does the traditional nature focus enhance the themes of haikus?

Day 3: Analyzing Haikus - Part 2 - Lecture: - Discussing modern variations and themes in haikus. - Exploring the flexibility of the form.

• Discussion Questions:
  1. How have modern haikus evolved from traditional themes?
  2. In what ways does the flexibility of haikus allow for more diverse expression?
  3. Share your thoughts on the artistic possibilities in breaking away from traditional structures.

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.

• Discussion Questions:
  1. How can you effectively capture a moment or emotion in just two lines?
  2. What challenges do you anticipate in adhering to the 5-7 syllable pattern?
  3. Share examples of moments or emotions that might inspire haikus.

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.

• Discussion Questions:
  1. Why is the third line of a haiku crucial in providing resolution?
  2. How can a haiku evoke a sense of completeness within the 5-7-5 structure?
  3. Share and discuss individual haikus, highlighting successful elements.

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.

• Discussion Questions:
  1. What intrigues you about the absence of rhyme and meter in free verse?
  2. How does free verse differ from more structured poetic forms?
  3. Can you think of any famous poets known for their use of free verse?

Day 7: Analyzing Free Verse - Lecture: - In-depth analysis of classic free verse poems. - Exploration of the varied structures and rhythms.

• Discussion Questions:
  1. How does the absence of rhyme and meter contribute to the overall feel of free verse poems?
  2. What impact does varied structure and rhythm have on the reader's experience?
  3. Share your thoughts on the artistic freedom provided by free verse.

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.

• Discussion Questions:
  1. How can you effectively convey emotion in free verse without relying on rhyme?
  2. What challenges do you anticipate in embracing the freedom of expression?
  3. Share examples of imagery or emotions you might explore in free verse.

Day 9: Crafting Free Verse - Part 2 - Lecture: - Discussing various techniques to enhance rhythm in free verse. - Exploration of line breaks and pacing.

• Discussion Questions:
  1. How can you create a sense of rhythm without a strict meter in free verse?
  2. Why are line breaks important in the pacing of a free verse poem?
  3. Share and discuss individual free verse poems, highlighting successful elements.

Day 10: Peer Review and Feedback - Activity: - Peer review workshop for free verse poems. - Focus on providing constructive feedback on expression, imagery, and rhythm.

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.

• Discussion Questions:
  1. What intrigues you about the structured repetition of villanelles?
  2. Why is the ABA ABA ABA ABA ABA ABAA rhyme scheme significant in villanelles?
  3. Can you think of any famous villanelles or poets known for this style?

Day 2: Analyzing Villanelles - Part 1 - Lecture: - In-depth analysis of classic villanelles. - Exploration of the emotional impact through repetition.

• Discussion Questions:
  1. How does the repetition in the villanelles contribute to their emotional resonance?
  2. What themes or emotions are effectively conveyed through this structured form?
  3. Share your thoughts on the impact of repetition on the reader.

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

• Discussion Questions:
  1. How have modern villanelles evolved in terms of themes and structure?
  2. In what ways does the fixed form of a villanelle challenge or enhance creativity?
  3. Share examples of emotions or themes that might work well in a villanelle.

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.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first four lines of a villanelle?
  2. How can you establish a strong thematic foundation within this repetition?
  3. Share examples of themes or emotions suitable for a villanelle.

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.

• Discussion Questions:
  1. Why is the final three-line structure crucial in providing resolution in a villanelle?
  2. How can a villanelle evoke a sense of completeness within the repeated lines?
  3. Share and discuss individual villanelles, highlighting successful elements.

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.

• Discussion Questions:
  1. What interests you about the interplay between visual art and poetry in ekphrastic works?
  2. How might visual stimuli enhance or influence the creative writing process?
  3. Can you think of any famous ekphrastic poems or poets known for this style?

Day 7: Analyzing Ekphrastic Poetry - Part 1 - Lecture: - In-depth analysis of classic ekphrastic poems. - Exploration of how poets respond to visual stimuli.

• Discussion Questions:
  1. How does the visual inspiration impact the themes and imagery in ekphrastic poetry?
  2. What unique perspectives or insights can arise from responding to visual art?
  3. Share your thoughts on the relationship between the visual and the written in ekphrastic works.

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.

• Discussion Questions:
  1. How have modern poets expanded the themes and approaches in ekphrastic poetry?
  2. In what ways does the incorporation of visual art broaden the possibilities in written expression?
  3. Share examples of visual art that you believe would inspire compelling ekphrastic poems.

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.

• Discussion Questions:
  1. What challenges do you anticipate in responding to visual art with written expression?
  2. How can you capture the essence and emotion of an artwork in your ekphrastic poem?
  3. Share examples of artworks that you find particularly inspiring.

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.

• Discussion Questions:
  1. How does personal interpretation influence the creative process in ekphrastic poetry?
  2. In what ways can multiple poets respond differently to the same piece of visual art?
  3. Share and discuss individual ekphrastic poems, highlighting successful elements.

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.

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.

Hi guys,
Love, love, and love. That is all I desire here.
Me:
A Texan through and through, with roots in small towns and residence in the big city. I am currently pursuing a career in health-care as a medical student, and I moved to Chicago for that reason. Finally, I am of South Asian descent, which adds a touch of cultural richness to the mix.
Hobbies/Interests: If we share the same interests, then that is great. It's not necessary, though. I value a connection over shared hobbies.
One of my favorite pastimes is watching movies. I have frequent movie nights. Some showings include: "Inception", "Godzilla Minus One", "The Thing" (1982), "Whiplash", and "Shutter Island". Snacks and drinks are included. Terence Fletcher is mean, but my cooking is meaner. I enjoy exploring various cuisines at restaurants, and I enjoy trying new recipes when cooking at home. A few of my favorite cuisines are: Thai, Mediterranean, and Indian. I balance out the snacking, drinking (virgin), and eating by being active. I frequently run, walk, and lift. You might have seen me running on Bloomingdale Park Trail or walking along Union Park. A few other interests are reading, boardgames, videogames, and learning a language. I love the competitiveness, strategizing, and fantasy involved in boardgames, but I think Robinson Crusoe has the upper hand in those areas. I think it would be fun to have our conversations in another language and whisper sweet nothings to each other. Mon amour. Mahal ko.
Personality:
I am a combination of reserved and adventurous, leaning towards seriousness yet showcasing a playful side when I'm comfortable with someone. I find comfort in being a homebody, but I do emerge from my cave. I strive to go the extra mile for my partner, and I always try to showcase of my love for someone through cards, poems (albeit poorly written), and physical affection.
Physical Description:
My hair cascades in subtle curles at mid-neck-length. I am a fan of the clean-shaven aesthetic, but I occasionally sport well-maintained stubble. My complexion is caramel that is accompanied by dark brown eyes. I have a slim-to-average physique, and I stand at a height of 5'7".
You:
I am searching for someone who values a healthy and active lifestyle, someone who takes care of themselves physically. While physical compatibility is important, I value a shared commitment to overall wellness. Intimacy and romance (sweet sweet love) are important to me, and I like physical affection a lot (a lot). Admittedly, I do like someone that is slightly clingy. It's nice to feel wanted. I would like someone that is vulnerable because it builds a stronger connection. I deeply appreciate the intimacy it fosters. I desire a partner who values companionship and reciprocity, understanding that mutual effort and appreciation are fundamental. I'm drawn to qualities like open-mindedness, calmness, and versatility in a potential partner. A lot of sweetness, a dash of spice, and a little chemical X.
Stuff:
Religion & Politics:
I'm personally not religious. I'm open-minded towards all religious affiliations and welcome the opportunity to learn about different faiths. Similarly, my political stance isn't easily boxed into conservative or democratic ideologies. I value the continuous evolution of my political beliefs, emphasizing independent thinking and the avoidance of polarizing partisan politics.
Kids & Pets:
I've made the decision not to have children. For me, it's about prioritizing my partner, hobbies, and career. I opt not to have pets due to lifestyle constraints, financial considerations, and personal preferences. I simply have no interest in having pets, but I'd be willing to accommodate.

• Consistent communication and a genuine desire to converse are all that I ask. Please. If you're not interested, honesty is appreciated – I won't take it personally.

Hi guys,
Love, love, and love. That is all I desire here.
Me:
A Texan through and through, with roots in small towns and residence in the big city. I am currently pursuing a career in health-care as a medical student, and I moved to Chicago for that reason. Finally, I am of South Asian descent, which adds a touch of cultural richness to the mix.
Hobbies/Interests: If we share the same interests, then that is great. It's not necessary, though. I value a connection over shared hobbies.
One of my favorite pastimes is watching movies. I have frequent movie nights. Some showings include: "Inception", "Godzilla Minus One", "The Thing" (1982), "Whiplash", and "Shutter Island". Snacks and drinks are included. Terence Fletcher is mean, but my cooking is meaner. I enjoy exploring various cuisines at restaurants, and I enjoy trying new recipes when cooking at home. A few of my favorite cuisines are: Thai, Mediterranean, and Indian. I balance out the snacking, drinking (virgin), and eating by being active. I frequently run, walk, and lift. You might have seen me running on Bloomingdale Park Trail or walking along Union Park. A few other interests are reading, boardgames, videogames, and learning a language. I love the competitiveness, strategizing, and fantasy involved in boardgames, but I think Robinson Crusoe has the upper hand in those areas. I think it would be fun to have our conversations in another language and whisper sweet nothings to each other. Mon amour. Mahal ko.
Personality:
I am a combination of reserved and adventurous, leaning towards seriousness yet showcasing a playful side when I'm comfortable with someone. I find comfort in being a homebody, but I do emerge from my cave. I strive to go the extra mile for my partner, and I always try to showcase of my love for someone through cards, poems (albeit poorly written), and physical affection.
Physical Description:
My hair cascades in subtle curles at mid-neck-length. I am a fan of the clean-shaven aesthetic, but I occasionally sport well-maintained stubble. My complexion is caramel that is accompanied by dark brown eyes. I have a slim-to-average physique, and I stand at a height of 5'7".
You:
I am searching for someone who values a healthy and active lifestyle, someone who takes care of themselves physically. While physical compatibility is important, I value a shared commitment to overall wellness. Intimacy and romance (sweet sweet love) are important to me, and I like physical affection a lot (a lot). Admittedly, I do like someone that is slightly clingy. It's nice to feel wanted. I would like someone that is vulnerable because it builds a stronger connection. I deeply appreciate the intimacy it fosters. I desire a partner who values companionship and reciprocity, understanding that mutual effort and appreciation are fundamental. I'm drawn to qualities like open-mindedness, calmness, and versatility in a potential partner. A lot of sweetness, a dash of spice, and a little chemical X.
Stuff:
Religion & Politics:
I'm personally not religious. I'm open-minded towards all religious affiliations and welcome the opportunity to learn about different faiths. Similarly, my political stance isn't easily boxed into conservative or democratic ideologies. I value the continuous evolution of my political beliefs, emphasizing independent thinking and the avoidance of polarizing partisan politics.
Kids & Pets:
I've made the decision not to have children. For me, it's about prioritizing my partner, hobbies, and career. I opt not to have pets due to lifestyle constraints, financial considerations, and personal preferences. I simply have no interest in having pets, but I'd be willing to accommodate.

• Consistent communication and a genuine desire to converse are all that I ask. Please. If you're not interested, honesty is appreciated – I won't take it personally.

Some very quick Background for context-So Magical Thinking is something kids do naturally its part of development, *find out more by googling if interested * like believing in the penny they throw in the a well will make a wish come true, it's fairly benign and most non traumatized kids outgrow it, BUT it can be used by a child in abuse situations especially where you live/ depend on your abuser (my father) Anyway a child uses it subconsciously as a way to feel you have control.
(should be of note as an adult this could be considered a form of OCD and worth talking to someone professional about)
This is my poem processing how I used this mechanism as a survival tool Hope you like it or it inspires you 🩷
Magical Thinking By: Cait W
When I was young I believed in magic Thought birthday wishes came true I looked to Wizards, To Alice, and OZ For proof I was magical too
Imagined falling down the rabbit hole Whenever you came near Rescued Ozma from the Nome Kings clutches Her gentle voice in my ear
Looked up to the stars Even prayed to God Though I knew I wouldn't find him
Everything would be okay If I counted each stair as I climbed them
Threw many pennies in fountains Hoped the Fae would answer my call Caught ladybugs and sent them off with my plea let me end it all
Read sentences backwards Then it became a game Scramble the letters What would I rhyme The words directed my play
I never stopped believing in magic Still look for it everyday Its that little girl With light in her eyes Still wishing My pain away

Week 5: Sonnets and Found Poetry - Lecture and Discussion
Objective: - Explore the traditional elegance of sonnets and the creative use of found poetry. - Understand the structure of sonnets and the impact of rhyme and meter. - Discuss the artistic possibilities of creating poetry from existing texts in found poetry.
Day 1: Introduction to Sonnets - Lecture: - Definition and characteristics of sonnets. - Explanation of the traditional sonnet structures (Shakespearean and Petrarchan).

• Discussion Questions:
  1. What appeals to you about the traditional elegance of sonnets?
  2. How does the structure of sonnets, particularly rhyme and meter, contribute to their impact?
  3. Can you think of any famous sonnets or poets known for this style?

Day 2: Analyzing Sonnets - Part 1 - Lecture: - In-depth analysis of classic sonnets (Shakespearean and Petrarchan). - Exploration of rhyme schemes, meter, and emotional depth.

• Discussion Questions:
  1. How does the structure of Shakespearean and Petrarchan sonnets differ?
  2. How does rhyme and meter contribute to the emotional impact of sonnets?
  3. What themes or emotions are effectively conveyed through sonnets?

Day 3: Analyzing Sonnets - Part 2 - Lecture: - Discussing modern variations and themes in sonnets. - Exploring how contemporary poets adapt and expand on the traditional form.

• Discussion Questions:
  1. How have modern sonnets evolved in terms of themes and structure?
  2. In what ways do contemporary poets use sonnets to address current issues?
  3. Share examples of themes or emotions suitable for a sonnet.

Day 4: Crafting Sonnets - Part 1 - Lecture: - Step-by-step guide on crafting the first eight lines of a sonnet. - Emphasis on establishing the thematic foundation.

• Discussion Questions:
  1. What challenges do you anticipate in crafting the first eight lines of a sonnet?
  2. How can you establish a strong thematic foundation within this structure?
  3. Share examples of themes or emotions you might explore in a sonnet.

Day 5: Crafting Sonnets - Part 2 - Lecture: - Step-by-step guide on crafting the final six lines of a sonnet. - Emphasis on creating resolution and impact.

• Discussion Questions:
  1. Why are the final six lines crucial in providing resolution in a sonnet?
  2. How can a sonnet evoke a sense of completeness within the structure?
  3. Share and discuss individual sonnets, highlighting successful elements.

Homework Assignment: - Craft a sonnet focusing on a theme or emotion that lends itself well to the traditional structure.
Study Guide Questions: 1. Reflect on the challenges of crafting the first eight lines of your sonnet. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final six lines of your sonnet? 3. What insights did you gain from the process of crafting a sonnet?
Quiz: Assessment on the understanding of sonnets, their traditional structures, and the emotional impact of rhyme and meter.
Day 6: Introduction to Found Poetry - Lecture: - Definition and characteristics of found poetry. - Exploration of creating poetry from existing texts.

• Discussion Questions:
  1. What interests you about the creative use of existing texts in found poetry?
  2. How might the process of repurposing words and phrases from other sources impact the creation of poetry?
  3. Can you think of any famous found poems or poets known for this style?

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

• Discussion Questions:
  1. How does the process of repurposing existing texts contribute to the unique qualities of found poetry?
  2. What unique perspectives or insights can arise from using found material in poetry?
  3. Share your thoughts on the relationship between the source material and the resulting found poem.

Day 8: Analyzing Found Poetry - Part 2 - Lecture: - Discussing modern variations and themes in found poetry. - Exploring the diverse ways poets engage with existing texts.

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

Day 9: Crafting Found Poetry - Part 1 - Lecture: - Step-by-step guide on selecting source material and extracting words for found poetry. - Emphasis on creating meaning through selection and arrangement.

• Discussion Questions:
  1. What challenges do you anticipate in selecting source material and extracting words for found poetry?
  2. How can you ensure that the selected words create meaning and convey your intended message?
  3. Share examples of themes or concepts you might explore in found poetry.

Day 10: Crafting Found Poetry - Part 2 - Lecture: - Discussing the role of experimentation and creativity in found poetry. - Exploration of different techniques for arranging found words.

• Discussion Questions:
  1. How does experimentation play a role in the creative process of found poetry?
  2. In what ways can different techniques of arranging found words impact the overall effect of the poem?
  3. Share and discuss individual found poems, highlighting successful elements.

Homework Assignment: - Craft a found poem using existing texts and experimenting with different arrangements.
Study Guide Questions: 1. Reflect on the challenges of selecting source material and extracting words for your found poem. How did you create meaning through selection and arrangement? 2. How did experimentation and creativity contribute to the creative process of your found poem? 3. What insights did you gain from the process of crafting a found poem?
Quiz: Assessment on the understanding of found poetry, the creative use of existing texts, and the impact of different arrangements in found poems.

Write a poem about a poem when you don't know what to write. When the thoughts get caught inside your head, when they keep you up at night.
It's okay if it means nothing. In fact, it won't most of the time. Just put something on paper, it doesn't even have to rhyme.
( a reprint without authorization)

I recently read Richard Wright’s autobiography which dealt in part with his tumultuous time as a member of a U.S. communist group in the 1930’s. I also read a number of Orwell’s essays written shortly after the Spanish civil war in which he discusses the ideology. One thing Orwell brought up that I thought was interesting (partly quoted below) was the pervasive self-censorship by communist western writers during that time. Makes sense - nearly all US/UK communist parties were more or less emulating USSR standards.
Among the many issues Wright encountered while he was a member was the constant peer pressure to censor not just what he said in official writings (eg for their magazine), but also his own work. If any party member stepped out of line (or was even perceived to have - which was troublesome due to how much paranoia raged throughout the group) all sorts of bullying tactics were use. Such as expelling, threatening, shunning, attempting to get former members fired at their job, assaulting them on the streets, or worst of all being called a Trotsky-isk (it’s like being called a mix of Benedict Arnold, Hitler, and a 5 month old puppy that a spoiled child has grown bored of)
This censorship counters something I have noticed is more common in writers/artists than the average person - the desire for freedom of expression. what about the movement was appealing enough for writers to fight for something that denies this? (and perhaps huge portion of the entire literary canon)
But the core question is this: what caused writers / artists to be drawn to communism at higher rates than most other professions?
Most often when reading the work of those actively in favor, they talk earnestly of social and economic equality for all. But if that was truly their primary end goal, socialism alone seems more closely to align with it without the need for censorship. Furthermore, socialism was a moderately prevalent & established ideology at the turn of the 20th century (and had a number of notable writers gaining success releasing works with overarching socialist themes - eg Upton Sinclair & Jack London & Orwell). Was it just seen as old hat (too slow, ineffective) at that point? Or is the focus on the employed lower class just not personally applicable enough for an artist fortunate enough to survive on the profit of their art?
A while ago I read an essay by Chomsky in which he quoted a bit by either Marx or Engels indicating that the ideology has always hinted at a sort of aristocratic literati. Was this what really brought so many writers in (more than fixing economic inequality issues already addressed by socialism)? Sure, the revolution theoretically frees the workers & disposed of great economic inequality, but ( better yet) with our artistic skills we will be reserved a special place right at the foot of the ideological ruler’s throne! Who cares if it’s as jester or propagandist, we will still find ourselves comfortably sat near the table of power. not in the fields toiling, but amongst the intellectual elites. They can see through the propaganda.
(This brings to mind an article by a journalist stuck in an air conditioned hotel somewhere like Qatar with a bunch of other journalists during the Iraq war c. 2003. Every day they would come out to watch a news conference by a low ranking general who never appeared to know anything nor have any updates. The part that irked me was when the journalist wrote that every journalist in that room was rolling their eyes & joking about the bullshit waste of time… yet the journalists continued writing up & sending out the regurgitated bullshit en masse, acting like they were getting break news & the US people were being informed of it.
The journalists all know they’re being toyed with, so if those people who read the trickle down news conference updates and believed anything but the same - they were contemptuously stupid & deserve their own eye roll, no doubt.
Completely ignoring another option entirely - don’t carry on with the charade of being a government mouth piece… the press could print meaningful journalism or push real questions to the 1 star or call them out on the obfuscation [who else could? Only media allowed]. No, just an eye roll and jokes amongst themselves while they continue to perfectly fulfill their place as the apparatchiks, but at least they know it’s a farce.)
too pessimistic?
Orwell:

On the whole the literary history of the thirties seems to justify the opinion that a writer does well to keep out of politics. For any writer who accepts or partially accepts the discipline of a political party is sooner or later faced with the alternative: toe the line, or shut up. It is, of course, possible to toe the line and go on writing—after a fashion. […] Literature as we know it is an individual thing, demanding mental honesty and a minimum of censorship.
The atmosphere of orthodoxy is always damaging to prose, and above all it is completely ruinous to the novel, the most anarchical of all forms of literature. […] it is a product of the free mind, of the autonomous individual. No decade in the past hundred and fifty years has been so barren of imaginative prose as the nineteen-thirties. There have been good poems, good sociological works, brilliant pamphlets, but practically no fiction of any value at all. From 1933 onwards the mental climate was increasingly against it. Anyone sensitive enough to be touched by the Zeitgeist was also involved in politics. Not everyone, of course, was definitely in the political racket, but practically everyone was on its periphery and more or less mixed up in propaganda campaigns and squalid controversies. Communists and near-Communists had a disproportionately large influence in the literary reviews. It was a time of labels, slogans, and evasions. At the worst moments you were expected to lock yourself up in a constipating little cage of lies; at the best a sort of voluntary censorship ('Ought I to say this? Is it pro-Fascist?') was at work in nearly everyone's mind.
It is almost inconceivable that good novels should be written in such an atmosphere. 'Good novels are not written by by orthodoxy-sniffers, nor by people who are conscience-stricken about their own unorthodoxy. Good novels are written by people who are not frightened.