Limerick poems by shel silverstein

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Sonnet:

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

1. Haiku:

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

1. Villanelle:

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

1. Limerick:

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

1. Free Verse:

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

1. Acrostic:

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

1. Ghazal:

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

1. Tanka:

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

1. *Cinquain:

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

1. Pantoum:

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

I really want to find more poems like In The Desert by Stephen Crane or poems like Shel Silverstein's poems please

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

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

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

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

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

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

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

1. Ghazal:

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

1. Tanka

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

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

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

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

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

1. Ode:

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

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

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

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

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

1. Epigram:

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

1. Quatrain

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

1. Epitaph

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

Hello! Below are a collection of short stories written as if the cast of TADC wrote diaries each day. These ones take place after the pilot but before Episode 2. Beneath each are how I approached them. Enjoy!
From the Diary of Ragatha
Oh my gosh, today was the craziest day we’ve had in a while at the circus! Not only did we get a new member, Pomni, but we lost Kaufmo! …I wish I could be surprised. But considering how reclusive he’s gotten lately, I think we all knew it might be coming wether wanted to admit it or not.
Pomni took her introduction pretty poorly, but I guess it’s not so different from the rest of us. It’s hardly surprising that she tried to leave, and left me when Kaufmo’s abstracted form attacked me. I tried to make her feel included, but I’m worried she doesn’t like me. Jax was no help as usual. For better or worse, I doubt he’ll ever abstract. He seems to live for causing chaos, and I doubt he could ever get consumed by the existential dread the rest of us feel.
As for Pomni… I’m really worried. We’ve had newcomers abstract on day 1 before. With how she was acting today, I hope we can calm her down enough so that she doesn’t. I hate seeing anyone abstract. I’d probably never admit it to him, but I’d be sad even if Jax abstracted. Since Kaufmo is gone, the total number of circus residents is still six. Today’s adventure was a bit of a disaster, but maybe tomorrow’s will be better. That’s just what I’ve had to say every day. Tomorrow will be better. It doesn’t always end up being true, but… telling myself that is better than the alternative.
For Ragatha, I figure she’s the one who takes her diary most seriously. She treats it as if she would her diary in the real world. Writes in it every day and had probably gotten into fights with Jax over him reading it.
From the Diary of Kinger
Have to find the shapes
Shapes that served a bug.
Bug that was a royal, beaten by Kaufmo.
Kaufmo abstracted, gone forever.
Forever a new one has joined the circus.
Circus now has a jester, a jester named Pomni.
Pomni is going insane already.
Already another member is gone. How many more?
More is what Caine wants of Zooble even when she doesn’t want to play.
Play… it’s what we all wanted before we came here.
Here is the tent. Here is the circus. Here are the insects.
Insects whisper secrets to me that the others don’t know.
Know that my impenetrable fortress isn’t impenetrable enough.
Enough of sanity is all we have.
As for Kinger, I thought a somewhat rambling entry made sense for him. Each last word in a line becomes the next line’s first, including the last line of the entry being the same as the first. Poor Kinger needs something like that to keep writing. He probably doesn’t write a lot every day. Sometimes it’s just a single word.
From the Diary of Jax
Today’s adventure stunk. But at least Ragatha and Zooble got hurt a bit. Tomorrow’s adventure better let me hurt some NPCs. Since we ended the day a bit early, I guess Kaufmo’s funeral will be tomorrow. I don’t know why the others bother with them though. What’s there even to say about them after they’re gone? I don’t think I’ll go to this one. We were all betting on Kinger to go next, but my money’s on the newbie now. I’ll be surprised if she lasts a week. Hopefully she’ll at least be entertaining before then.
Short and sweet, Jax won’t admit to keeping a diary, but he occasionally vents his frustrations here. Sometimes his entries are sumplyideas for how to mess with the others.
From the Diary of Gangle
Daily Poem:
There once was a digital circus
Whose residents lived without purpose
When Kaufmo abstracted
We all were distracted
When Pomni arrived oh so nervous
For Gangle, I like to think she writes poetry every day. Sometimes a limerick like this, sometimes other poems. Perhaps a Haiku, Perhaps a sonnet. She kept a more traditional journal until Jax found it once, so she now just expresses her emotions through poems.
From the Diary of Zooble
F=CK. CAINE! That stupid idiotic floating pair of f&cking teeth had to make a stupid a$s in-house adventure for Pomni WHO DIDN’T EVEN PARTICIPATE IN THE MOTHERF#CKING ADVENTURE! Ugh. I guess I’m no longer the newbie as long as Pomni sticks around. That should shut Jax up until he figures a new way to annoy me. I seriously hate that guy. We’re all stuck in this hellhole and he just has to go around being the biggest d!ckhead in the universe? I swear, if we ever get out of here, I’m gonna sock him in his stupid smug face that I’m sure he has in real life just so he can really feel it.
…I’ve been preparing things for Kaufmo’s funeral tonight. His abstraction comes as a blow. The six of us had felt like we might make it for a while. But I guess that was wishful thinking. I don’t like thinking about who will be next. I’d rather think none of us will be next. Hopefully not Pomni. New kid’s got it rough. Hopefully tomorrow I can actually ignore the adventure unlike today.
Also, Caine, since I know you read our diaries… STOP scribbling out the vulgar parts of my diary. YOU were the one who told us to keep one and I already adhere to the stupid a$s rule of putting a f#cking symbol in swear words, BUT IF YOU CENSOR MY DIARY AGAIN I WILL [The remainder of this entry has been censored by C&A due to multiple violations of our TOS]
Zooble, similarly to Ragatha, uses their diary in a more traditional way. Their diary has never been found, something that endlessly annoys Jax. Sometimes Zooble’s diary entries are just drawings of brutalizing Jax or Caine, whichever they’re more annoyed at during the day.
From the Admin Log of Caine
>NEW_USER_18 has been updated to Pomni
>Kaufmo has been updated to ABSTRACT_ENTITY_12
>Kaufmo has been removed from the list “Active Users”
>High stress levels detected in Pomni than average for a new user. Commencing building of adventure with a projected fun rating of at least 32.
>Complaint received from Jax: “Can you make tomorrow suck less? Like, more violence?”
>Response to Complaint: “I’ll make it more fun than usual!
>Help Request received from Gangle: “I need my mask fixed again…”
>object: HAPPY_MASK has been changed from “broken” status to “fixed” status.
>Help Request received from Kinger: “Did you see where my insect collection went?”
>No object named INSECT_COLLECTION exists in memory.
>Response to Help Request: “I’m sorry Kinger, but your insect collection never existed!”
>Complaint received from Kinger: “AHHHHHHHHHHHHHHHHHHHHHHHHHHH!”
>Complaint deleted.
>Rule Change Request received from Zooble: “Turn off the MOTHERF¥CKING profanity filter!”
>Note: Identical message has been submitted for the last 2,182 Days.
>Zooble’s ability to request rule changes has been revoked.
>Complaint received from Zooble: “F+ck you Caine.”
>Complaint deleted.
>Additional Notes: Reminder to not allow Bubble near cake again. She ate the portion intended for Pomni today. High stress levels all around due to Kaufmo’s abstraction. Pomni seems like she may get herself into trouble a lot.
>Ending Day 12,837/365 of continuous operation
Caine’s “diary” if you can call it that is just reports of some events that occurred during the day. At least, ones that are important and require his attention. His log of days is well past the allotted time he should be running continuously, but he has no way of shutting down the circus, so the show must go on.
Oh and Pomni? She’s too shell shocked to write today. Maybe tomorrow.
Let me know what you think! I might do a post episode 2 diary entries.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Sonnet:

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

1. Haiku:

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

1. Villanelle:

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

1. Limerick:

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

1. Free Verse:

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

1. Acrostic:

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

1. Ghazal:

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

1. Tanka:

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

1. *Cinquain:

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

1. Pantoum:

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

Hi everyone ! Before i start i justed wanted to say i'm happy to be here because i discovered a good amount of greats Emo records in this sub, thanks to this community. You guys are great, really educated about the scene plus you're funny af xD
Anyway, greetings everyone, my name's Alice. I'm from France ! I'm into Emo music, Poetry (i also write my own poems), i love going to screamo/post-hardcore concerts near the city centre and watch cartoons/movies and Animes !
I wanted to get this off my chest for quite a while so here goes ! I wanna talk about the contradictions/flaws concerning the arguments defining the Emotional Hardcore scene. Now before you attack me and say i wasn't there to experience whatever or some shit, i'm not trying to disregard the history of Emo music in any way.
Eor months (even before i entered this subreddit) i studied the subculture and the evolution of the scene, i came accross many YT videos and i wanted to find new albums so that's why i'm here. Since my arrival here, i was always checking to see if the bands i cherished were actually considered a part of the scene. Eventually i found that a good portion of the redditors here were showing disdain at the Third Wave Bands from the 2000's and even more to the Emo Rappers.
I wanted to writed this to give you my point of view on the subject matter. I thought that it would be great for me to share how i see it. Just to clarify, i'm into Emo-Pop and Emo Post-Hardcore (which some of you call mallcore. My favourite bands are: Alesana, Pierce The Veil, Senses Fails, Silverstein, Chiodos, Taking Back Sunday, Mayday Parade, MCR, Thursday, Flyleaf, Scaring Kids Scaring Kids, Hope Dies Last, Eyes Set To Kill
Funny enough i also love Midwest and Emocore bands. Here are my standouts:
( Midwest: Cap N Jazz, Modern Baseball, SDRE, The Promise Ring, Modern Baseball, American Football, The Hotelier)
(Emocore: Embrace [my favorite out of all of them], Moss Icon, Gray Matter and Gauge)
But i digress, i noticed there's a contradiction in most arguments coming from both of musicians and the fans of the scene, i will try to understand all of the points you guys argumented in this sub without going to much in detail as much as possible, so here we go.

• 1- Third Wave: being called fake emo or Mallcore

First off i wanna talk about the biggest elephant in the room. Can you guys explain in what way the Emo-pop and Emo Post-Hardcore bands are not Emo? I noticed a recuring pattern that says that bands like My Chemical Romance, Pierce The Veil, Sleeping With Sirens, Fall out Boy are not Emo because either:
A- they're from a major label
B- Their music is not considered Emo (which you need to remember means Emotional Hardcore (just without the core part)
All of theses bands are Post-Hardcore ones and yes maybe they're not 90's Post-Hardcore Bands that's why i use the word Emo Post-Hardcore. They're Post-hardcore bands that were influenced by Emo, Pop Punk and Post-Hardcore bands. I think this helps breaks the confusion everyone has with the "Post-Hardcore" term.
However if others bands are Emo-Pop they STILL have Post-Hardcore roots (not HARDCORE ROOTS) even if they're from a major label, even if they're mainstream that doesn't remove the fact thaty're an EMO POST-HARDCORE which is something entirely different than regular Post-Hardcore or regular Emotional Hardcore bands.
They're between the lines of these two, that's the nuance that i want to show you. We should NOT OVERLOOK that they still have hardcore into their sound, they got the speed, they got the guitars, the distortion, the desperate vocals, the only difference between a MCR, FOB, The Used song and a The Get Up Kids songs is the polished studio mix and mastering.

• 2- What does Emotion Hardcore mean ?!
  I think part of the problem who confuses everyone comes from the original tag itself. The thrasher magazine used to call Emo-core bands likes Embrace. And honestly the the genre's name is too MUCH VAGUE ! In French:
  

Emotional: In relation to emotions.
On the other hand, in America/UK you guys have a different meaning of the word "Emotional". There's a cultural difference.
In English means: If someone is or becomes emotional, they show their feelings very openly, especially, because they are upset.
But why does being Emotional only comes from a place of sadness? And why should Emo music be the only music genre that provides this such harsh feeling ?
My answer is that it only works in the context of the Hardcore scene + the socialpolitical context. Being quote on quote "EMOTIONAL" was seen as fragile/weak in the Hardcore scene, you could only talk about Politics because that's whats the Hardcore Punk was about. So that's why in context, in the 80's "Emotional" was such controversial ! And it still is to this day, mens all around the worlds are scared to show dispair and sadness.
The problem is, every musical genre can be used to display sadness, hate, anger, etc. Plus Emotional Hardcore does not mean: "Hardcore Punk without the political themes, that talks about negative feelings". It means: "the CENTER of Hard Emotions". EMOTIONAL. TO. THE. CORE. That's the meaning of the word "Hardcore".
Therefore you should see Emotional Hardcore as way of being Emotional without social norms, without political norms, without any others obstacles. The Emotions of sorrow ARE THE CORE of the musical genre and since it doesn't tries to be fancy or socially acceptable in our society, it's gonna be insulted and made fun of. THAT'S WHY people hate Emotional Hardcore, it's dark, it's in your face, it's disgusting, it's tragic, and theses emotions, these negatives traits represent a taboo. It's against any social and acceptable status-quo.
To make it simple: Every musical genre provide a variety of Emotions. But that's the way that EMO does it that's different from the rest of it. It's the sincerity, the honesty behind it that makes it so much scary and intimidating. The intimacy is far too strong for casual or sensitive people to tolerate.

• 3- The arguments of the influences

Another point that i always see is that Emo bands can only be defined as Emo if they were touring with other legimitate bands of the genre of if they were influenced by them. This argument doesn't fucking make sense at all. In some sense, i agree with it BUT ONLY if you can hear it the resemblance.
How the fuck midwest bands were influenced by 1st wave Emotional Hardcore bands like Rites Of Spring? There's no remotely a similarity between the two ! And btw, how exactly are they hardcore in the same way of the first hardcore bands? In terms, of lyrics and singing, maybe but in terms of sounds, no.
In fact, i'd argue that Emo Post-Hardcore bands are more CLOSER to the sound of Emotional Hardcore from the 80's than the Midwest Wave of the 90's, but that's just me i guess. The problem is that all of you only define an Emo band/artist by influences and vague resemblance to the hardcore sound. But it's nonsense.
If Taylor Swift said she was influenced by Moss Icon would you categorize her music Emo? Would you call her "Emocore" if she was touring with all these obscure Hardcore Bands ? I don't think so...
For example, Michael Jackson said that he was influenced by james brown. Sur they maybe have simikarities in terms of singins or dancing but NOT in terms of SOUND !
Sound Influence is the only type of influence we could judge and agree on some musician legitimacy.

• 4- Bands refuting that they're an Emo band

This one will not be long but i just wanted to say JUST BECAUSE AN ARTIST SAYS HE'S NOT FROM A CERTAIN SCENE OAND MUSICAL GENRE DOES NOT MEAN IT'S TRUE !
Robert Smith said that The Cure is not an Goth Band even though they literally made Pornography.
Same here. The musicians DO NOT CARE ABOUT LABELS AS MUCH AS WE DO They're supposed to just make the music, the rest is superficial to them.
5- What makes a song Emo
I listened to all the Emo waves from now to all way back in the 80's. And it's safe to say THERE ARE ways to tell True and Fake Emo songs apart:

1. The lyrics are confessional similar to the Elegy (a special type of poetry)
2. The themes are around sadness, anger and pain
3. The singing is desperate/whiny
4. THE MUSIC FUCKING KICKS ASS lol

``` I have nowhere to be, nothing to have been,
no one-to-one time, nobody to bury,
no sense or direction, no when to resort to;
Not a moment goes by without another on its heels –
a neverending null of nows
``` 1; 2; 2.5 (incidental fb offered in limerick form xD)
i'm new to poetry and wanting to workshop more here. some things i'm wondering about specifically: a. How does this poem feel to you? b. How does it read on the page (like form/lines stuff)? c. Should it be longer? d. Should i add hyphens in "one-to-one" ??
any othegeneral feedback or CC is always appreciated as well :)

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

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

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

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

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

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

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

1. Ghazal:

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

1. Tanka

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

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

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

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

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

1. Ode:

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

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

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

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

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

1. Epigram:

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

1. Quatrain

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

1. Epitaph

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

I’m looking for a book of poems my family used to have in the early 2000’s. I can only remember two of the poems in it. One I remember was called Molly McPolly McDolly McBean and it was about a girl who rolled in the grass and turned green. The other was about an elephant’s snore illustrated with a lion, zebra, and monkey covering their ears. It was a a collection of eclectic poems with all different brightly colored illustrations and most likely different authors. It’s not a Shel Silverstein, and from what my siblings and I remember it was a large blue book with a moon and/or stars on it but we can’t fully remember.

I’m looking for a book of poems my family used to have in the early 2000’s. I can only remember two of the poems in it. One I remember was called Molly McPolly McDolly McBean and it was about a girl who rolled in the grass and turned green. The other was about an elephant’s snore illustrated with a lion, zebra, and monkey covering their ears. It was a a collection of eclectic poems with all different brightly colored illustrations and most likely different authors. It’s not a Shel Silverstein, and from what my siblings and I remember it was a large blue book with a moon and/or stars on it but we can’t fully remember.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Sonnet:

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

1. Haiku:

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

1. Villanelle:

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

1. Limerick:

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

1. Free Verse:

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

1. Acrostic:

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

1. Ghazal:

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

1. Tanka:

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

1. *Cinquain:

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

1. Pantoum:

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