TL;DR Mawage. Mawage is what bwings us togethah today. Mawwiage, that bwessed awwangement, that dweam wifin a dream!
Our Chairman and these Regarded APES have come here to make this tweasured agweement in front of their family and fwiends, pwomising their commitment in this holy and magnificent pwace, today and each day fowawd.
We would not be here today without wuv. Wuv, twoo wuv between these two. Twoo wuv will follow you forevah, so tweasure your wuv, Mr. Chairman with your Highly Regarded Apes, always.
My wife of 21yrs, who is pursuing her doctorate in Psychology to enhance her Marriage and Family counseling practice, has always been a supportive listener, especially throughout this saga. We watched together the events in 2021 unfold in real-time and in a recent discussion concerning market manipulations and the media's role in it all she interjected with unexpected psychological insights. What felt like a gentle change in the subject matter led to an unexpected and insightful conversation about narcissists, divorcing a narcissist, and the tactics of navigating them in your personal and professional lives.
Miracle Max: “'To blave.' And as we all know, 'to blave' means 'to bluff.' So, you're probably playing cards and he cheated…”
Did you know that there are divorce attorneys who specialize in dealing with cases involving narcissistic spouses? These attorneys are typically well-versed in high-conflict divorce scenarios and understand the psychological dynamics that can arise when one party exhibits narcissistic behaviors. They focus on strategies to manage manipulation, gaslighting, and other tactics that a narcissistic spouse might use to control or prolong legal proceedings.
Specialized attorneys in this area offer guidance on how to maintain clear and documented communication, set firm boundaries, and protect oneself legally and emotionally. Their expertise is particularly valuable in helping clients navigate the complexities of custody battles, financial disputes, and other contentious issues where a narcissistic spouse may attempt to use legal strategies to their advantage.
During our conversation my highly regarded ape-ette, outlined a total of 7 “Acts” in the Narcissist’s playbook.”

1. Denial
2. Minimization
3. Deflection
4. Rationalization
5. Displacement
6. Generalization
7. Victim Blaming

If you have ever had dealings with a Narcissist you know all to well these acts are rarely played in any kind of orderly fashion. Infact, their “playbill” is so well known that a short poem was created by Dyana Craig called “The Narcissist's Prayer”:

1. That didn't happen.
2. And if it did, it wasn't that bad.
3. And if it was, that's not a big deal.
4. And if it is, that's not my fault.
5. And if it was, I didn't mean it.
6. And if I did, you deserved it.

For the purposes of this post and to fully wrap our heads around the manipulative actions by those in the media, the financial system, in government, or our personal lives, we expanded upon the above as follows:

1. "That did not occur."
2. "And if it did, it was not that severe."
3. "And if it was, it is not a significant matter."
4. "And if it is, it is not my fault."
5. "And if it was, I did not intend it."
6. "And if I did, there were extenuating circumstances."
7. "And if there weren't, you provoked me into it."
8. "And if you didn't, others would have reacted the same way."
9. "And if they wouldn’t, the real issue is being blown out of proportion."
10. "And if it isn't, everyone makes mistakes."
11. "And if they don’t, I am under a lot of stress."
12. "And if I did, you deserved it."

These 12 narcissistic acts can be grouped into these stages that reflect a progression in the way responsibility, blame, and reality are manipulated by the media.
Stage 1: Denial

• "That did not occur." - Absolute refusal to acknowledge the reality of the event.

Stage 2: Minimization

• "And if it did, it was not that severe."
• "And if it was, it is not a significant matter." - These steps serve to downplay the severity and importance of the event, suggesting it is unworthy of concern or reaction.

Stage 3: Deflection

• "And if it is, it is not my fault."
• "And if it was, I did not intend it." - Shifts focus from the act itself to the intention behind it or external factors, deflecting responsibility away from the self.

Stage 4: Rationalization

• "And if I did, there were extenuating circumstances."
• "And if there weren't, you provoked me into it."
• "And if you didn't, others would have reacted the same way." - Attempts to provide reasons or excuses for the behavior that justify it or align it with normal responses.

Stage 5: Displacement

• "And if they wouldn’t, the real issue is being blown out of proportion." - This step attempts to shift the discussion from the actions to the reactions of others, suggesting an overreaction.

Stage 6: Generalization

• "And if it isn't, everyone makes mistakes."
• "And if they don’t, I am under a lot of stress." - These steps attempt to dilute personal responsibility by invoking common human faults or personal stress, suggesting that any errors are part of broader, understandable human conditions.

Stage 7: Victim Blaming

• "And if I did, you deserved it." - The final step, which shifts all remaining blame to the victim, positioning them as deserving of the actions or consequences.

These stages reflect a progression from outright denial to subtle and overt forms of manipulation, ending with a complete inversion of blame. Each stage is designed to protect the narcissist’s self-image and deflect any responsibility for their actions onto others or external circumstances.
For those of use that have been around since the beginning and has endured all of the above reminds me of one of my favorite parts in the Princess Bride:
Westley: Aha! Your pig fiance is too late! A few more steps and we'll be safe in the fire swamp. Buttercup: We'll never survive. Westley: Nonsense! You're only saying that because no one ever has. Westley: It's not that bad...Well I'm not saying I'd like to build a summer home here but the trees are actually quite lovely.
We begin unwinding all financial and manipulative aspects of the now very dead relationship that once existed. We document everything and those weary and nervous and we pick back up with…
Buttercup: We'll never succeed. We may as well die here. Westley: No, no. We have already succeeded. I mean, what are the three terrors of the Fire Swamp? One, the flame spurt - no problem. There's a popping sound preceding each; we can avoid that. Two, the lightning sand, which you were clever enough to discover what that looks like, so in the future we can avoid that too…
We navigate the shills, the media pundits, and hedge fund market making Mayo loving thunts, aka the R.O.U.S’s. Through it all, we arrive at the events of the day! Our mascot triumphantly returns and now the Media is pulling a Prince Humperdink as if we are going to fall for it.
Buttercup: We did it! Westley: Now, was that so terrible? Humperdink: Surrender! Westley: You mean you wish to surrender to me? Very well then, I accept. Humperdink: I give you full marks for bravery. Don't make yourself a fool. Westley: Ah, but how will you capture us? We know the secrets of the fire swamp. We can live there happily for some time, so whenever you feel like dying, feel free to visit.
Navigating and enduring the demise of your first narcissist relationship is, in my opinion, the fire swamp. Reading all the DD ( • )( • ) and easily recognizing all of manipulations and cheating tactics being used and not reacting to them is what makes apes say “We can live there happily for some time, so whenever you feel like dying, feel free to visit.”
Last but not least… our current marriage to our chairman, is bliss compared to our prior sham marriage where belief in a free and fair once existed. Remember, narcissists are married to the devil for time and all eternity!
I share this so that further discussion can continue and help everyone understand the kinds of people we are up against. They will never change, they will never care, and if they are fined or even found guilty of a crime, they will always and forever be the victim.

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.

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satisfy, sauce, save, saving, say, scale, scandal, scare, scatter, scenario, scene, schedule, scheme, scholar, scholarship, school, science, scientific, scientist, scope, score, scream, screen, script, sea, search, season, seat, second, secondary, secret, secretary, section, sector, secure, security, see, seed, seek, seem, segment, seize, select, selection, self, sell, Senate, senator, send, senior, sense, sensitive, sentence, separate, sequence, series, serious, seriously, servant, serve, service, session, set, setting, settle, settlement, seven, several, severe, sex, sexual, shade, shadow, shake, shall, shallow, shape, share, sharp, she, sheet, shelf, shell, shelter, shift, shine, ship, shirt, shock, shoe, shoot, shooting, shop, shopping, short, shortly, shot, should, shoulder, shout, show, shower, shrug, shut, shy, sibling, sick, side, sigh, sight, sign, signal, significant, significantly, silence, silent, silver, similar, similarly, simple, simply, sin, since, sing, singer, single, 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weather, web, website, wedding, week, weekend, weekly, weigh, weight, welcome, welfare, well, west, western, wet, what, whatever, wheel, when, whenever, where, whereas, whether, which, while, whisper, white, who, whole, whom, whose, why, wide, widely, widespread, wife, wild, wildlife, will, willing, win, wind, window, wine, wing, winner, winter, wipe, wire, wisdom, wise, wish, with, withdraw, within, without, witness, woman, wonder, wonderful, wood, wooden, word, work, worker, working, workout, workplace, works, workshop, world, worried, worry, worth, would, wound, wrap, write, writer, writing, wrong, yard, yeah, year, yell, yellow, yes, yesterday, yet, yield, you, young, your, yours, yourself, youth, zone.

I wasn’t around when Stevie was at her peak. Does this action and the content of the poem match to you who Stevie has been as an artist? Does she feel like a natural match/collaboratocomparison to Taylor Swift?
For additional context: the double album is about Taylor’s failed relationship with Matty Healy of 1975. Taylor references Stevie and herself in first album closing song “Clara Bow”, suggesting she was compared to Stevie when she was starting, and the future pop stars will be comparable to Taylor.
In the context of all this, what are your thoughts?
Poem: https://www.vanityfair.com/style/story/stevie-nicks-taylor-swift-the-tortured-poets-department
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PS. I’m trying to be posting this neutrally, but for disclaimer I was quite shocked Stevie at 75yrs old got involved like that, and do not think their work quality and importance is comparable (edit bc apparently this needs to be explocitly stated: Stevie is a legend, icon).
But am curious what others think who may have same or different perspectives on these two musicians, and specifically have been around experiencing and understanding music for longer than since ~2009. I feel my frame of reference for Stevie’s choices is lacking, for example.
edit: I know who she is and listened to Fleetwood Mac to an extent, but I don’t have a grasp of her “character type” if you will. Is writing poems for a pop star smth you would expect from her?

[I wrote this article about Macbeth for my college's newspaper, and I thought this subreddit might enjoy reading it!]
I have joked before that Shakespeare’s two favorite subjects–surpassing love, murder, madness, and crossdressing–are botany and birds. If you’ve been to New York City you might be aware of the “Shakespeare Garden” in Central Park, whose theoretical aim (though it proves nigh-impossible in practice) is to house specimens of all the plants which Shakespeare mentions in his plays. As it turns out, Bard quotes make for quite a diverse garden: there are roses which assuredly would smell as sweet by any other name; there are daffodils, that come before the swallow dares, and take the winds of March with beauty; there’s holly, heigh-ho; there’s rosemary, that’s for remembrance, there’s pansies, that’s for thoughts, there’s fennel for you, and columbines–no word on whether or not they could find any violets, though. I suppose there’s no objection to be made against those who complain that Shakespeare’s language is “flowery”; even as vicious a villain as Iago deigns to express his philosophy on life by way of botanical metaphor: “Our bodies are our gardens, to the which our wills are gardeners.” And, of course, the plot of A Midsummer Night’s Dream revolves around a magical flower which makes people fall in love.
I doubt anyone will object to my claiming of birds as Shakespeare’s other poetical fixation: I suspect that the majority of falconry knowledge which most non-falconers have today comes from reading footnotes in their copies of Shakespeare plays, explaining exactly what Richard II means by “How high a pitch his resolution soars,” or why Hamlet says “Hillo, ho, ho” to Marcellus. But while plants are so common in Shakespeare that I don’t know of one play which we might say is especially densely forested with references to them, there is one play that stands out as particularly full of birds in comparison with the rest of the Shakespearean canon. That play is Macbeth.
This is the sort of thing that one only notices after having read a play so many times that the actual events of the plot become akin to the meter of a poem–beats which must be hit, and which start to feel so natural that one hardly notices them–and one’s attention drifts away from the big, important speeches and toward the more utilitarian words and odd little moments that bridge them. I am not the first to point it out, but it is, all the same, a delightful quirk of the play, and could be a good way for Sophomores to throw their classmates for a loop in seminar [Note: Students at our college study Macbeth during their Sophomore year.]: why are there so many birds in Macbeth?
KING. Dismay’d not this/Our captains, Macbeth and Banquo? SERG. Yes,/As sparrows eagles… -Act I, Scene II
LADY. …The raven himself is hoarse/That croaks the fatal entrance of Duncan… -Act I, Scene V
BAN. This guest of summer,/The temple-haunting martlet, does approve/By his loved mansionry, that the heaven’s breath/Smells wooingly here: no jutty, frieze/Buttress, nor coign of vantage, but this bird/Hath made his pendent bed and procreant cradle… -Act I, Scene VI
LADY. Hark! Peace! It was the owl that shriek’d, the fatal bellman… -Act II, Scene II
LADY. I heard the owl scream and the crickets cry. -Act II, Scene II
PORTER. …come in, tailor; here you may roast your goose… -Act II, Scene III
PORTER. ‘Faith, sir, we were carousing till the second cock… -Act II, Scene III
LENNOX. New hatch’d to the woeful time: the obscure bird/Clamour’d the livelong night… -Act II, Scene III
OLD MAN. …On Tuesday last,/A falcon, towering in her pride of place,/Was by a mousing owl hawk’d at and kill’d. -Act II, Scene IV
MACBETH. …Light thickens; and the crow/Makes wing to the rooky wood… -Act III, Scene II
MACBETH. If charnel-houses and our graves must send/Those that we bury back, our monuments/Shall be the maws of kites. -Act III, Scene IV
MACBETH. Augurs and understood relations have/By magot pies and choughs and rooks brought forth/The secret’st man of blood. -Act III, Scene IV
LADY MACDUFF. …the poor wren,/the most diminutive of birds, will fight,/Her young ones in her nest, against the owl. -Act IV, Scene II
LADY MACDUFF. How will you live? SON. As birds do, mother. LADY MACDUFF. What, with worms and flies? SON. With what I get, I mean; and so do they. LADY MACDUFF. Poor bird! Thou’ldst never fear the net nor lime,/The pitfall nor the gin? SON. Why should I, mother? Poor birds they are not set for. -Act IV, Scene II
FIRST MURDERER. What, you egg! -Act IV, Scene II
MACDUFF. …there cannot be/That vulture in you… -Act IV, Scene III
MACDUFF. …O hell-kite! All?/What, all my pretty chickens and their dam/At one fell swoop? -Act IV, Scene III
MACBETH. The devil damn thee black, thou cream-faced loon!/Where got’st thou that goose look? SERVANT. There is ten thousand– MACBETH. Geese, villain? -Act V, Scene III
Above I have listed every ornithological reference that I’ve found in the Scottish Play; as we peruse them, we certainly cannot conclude that every individual reference is of the same kind, or carries the same import. I will not pretend, for example, that, just because geese and ravens are both birds, the Porter’s invitation for the imagined English tailor to cook his goose in Hell merits as much attention as Lady Macbeth’s ominous declaration that “the raven himself is hoarse”. Nor do I think that any individual reference particularly demands explication; by itself, any one of these bird-invocations seems perfectly natural. Shakespeare’s talent is such that he can repeat a motif in such a way that on the macro level it is obvious yet on the micro level it hardly feels present. But that macro level is what interests me here: what impression is created, on the whole, by the presence of so many birds in this play? I have a theory, which, though it may seem far-fetched, I think merits at least some consideration, and which, at the very least, I have not seen stated elsewhere, and so may make a novel contribution to the conversation.
Macbeth is both Shakespeare’s most supernatural tragedy and his most Sophoclean; these two superlatives are inextricably related. The appellative Weird given to the opening scene’s three Sisters–derived from the Old English wyrd, meaning destiny, and famously given its more familiar connotation by Shakespeare himself in this very play–is, among the Bard’s works, unique to Macbeth; and just as that word appears nowhere else in Shakespeare, so is the concept it represents absent in all tragedies but this one. Though Hamlet may cry out against outrageous fortune, and though Othello may rhetoricize about how no man can control his fate, it is only in Macbeth that we truly feel that the events we see play out before us are fated, predestined, inevitable. [See Note 1.] The ghost in Hamlet commands his son to revenge his foul and most unnatural murder, but does not tell him it is certain that he will succeed; indeed, would not the drama be sapped of its intrigue if that level of certainty were present? Meanwhile, the supernatural interlopers in Macbeth offer the Scottish thane not a mission, but a prophecy: All hail, Macbeth! that shalt be king hereafter! From its mystical opening word–When, not If–the Scottish play makes us aware of the certainty of all that is to befall our tragic antihero. Macbeth is thus a different sort of tragedy than Shakespeare’s others, and it works by an inverted mechanism. While the tragedy of, for example, Desdemona’s death is that it may have been prevented, the tragedy of Macbeth’s destruction is that it represents the fulfilment of fate; and this is the very same mechanism by which Oedipus Rex operates, complete with its own “Weird” character in the form of the seer Tiresias. Though Calvin managed to accept that some men are destined for greatness and others for ruin, this idea is, to Shakespeare and Sophocles, nothing short of agonizing–the stuff of tragedy.
Now: what does all of this have to do with birds? Consider these words from Antigone, spoken by Tiresias to Creon:
You shall learn, when you hear the indications of my art! As I took my place on my ancient seat for observing birds, where I can mark every bird of omen I heard a strange sound among them, since they were screeching with dire, incoherent frenzy and I knew that they were tearing each other with bloody claws, for there was a whirring of wings that made it clear… (Lloyd-Jones translation)
Consider next these words from Oedipus Tyrannus, spoken defensively by Oedipus to Tiresias:
Why, come, tell me, how can you be a true prophet? Why when the versifying hound was here did not you speak some word that could release the citizens? Indeed, her riddle was not one for the first comer to explain! It required prophetic skill, and you were exposed as having no knowledge from the birds or from the gods. No, it was I that came, Oedipus who knew nothing, and put a stop to her; I hit the mark by native wit, not by what I learned from birds. (Lloyd-Jones translation)
The practice of divining the future from birds–be it from their behaviors, their cries, or their innards–was, to Sophocles and his contemporaries, not superstitious hokum, but a practical science at which one could be skilled or unskilled, and it bodes ill for Oedipus that he is so quick to disregard it in favor of his own native wit. [See Note 2] By Shakespeare’s day, the practice had long been relegated to the realm of outdated hocus-pocus, but the Bard still saw some truth in it; in Macbeth, there is a recurring sense that, when the world is sick with some great wrong, its first symptoms manifest in the behavior of birds. When the “fatal bellman” the owl shrieks in the night, Lady Macbeth takes it as a sign that her husband is about his bloody business. The day after the murder of Duncan, as Ross converses with an Old Man about the strange things they’ve seen the previous night, “unnatural/Even as the deed that’s done”, the killing of a falcon by a mousing-owl–an omen straight out of Sophocles–is mentioned before the madness and cannibalism of Duncan’s horses, even though the latter would surely be more immediately noticeable and ghastly than the former.
These are the most obvious examples of birds as ill omens in Macbeth; yet even the more innocuous invocations of birds throughout the rest of the play continually turn our thoughts back to the ancient Greek understanding of fate and prophecy, and thereby remind us that, however savagely he may fight at Dunsinane, Macbeth’s fate is as fixed as that of Oedipus. The birds have already foretold all.
Note 1: The closest thing there is to this kind of fatalness in another Shakespearean tragedy is the several superstitious occurrences in Julius Caesar–both the soothsayer’s message of “Beware the ides of March” and the bestial portents such as the lack of a heart in an offering and the whelping of a lioness in the streets. Still, I will insist that these omens do not convey a sense of fatedness to the audience as strongly as the Weird Sisters in Macbeth by virtue of their being told to Caesar himself, not to Brutus, the play’s true protagonist, and by the fact that Shakespeare elsewhere uses dialogue to throw some doubt upon the idea of predestination: "Men at some times are masters of their fates:/The fault, dear Brutus, is not in our stars,/But in ourselves, that we are underlings." -I.ii
Note 2: The Liddell-Scott Greek Lexicon identifies at least two separate verbs referring to bird-based divination, both of which are present in the quoted passages: Tiresias uses ορνϊθοσκοπέομαι, observe birds, interpret their flight and cries, while Oedipus uses οιωνίζομαι, take omens from the flight and cries of birds. The latter term comes from οιωνος, a large bird, bird of prey, such as a vulture or eagle, and so distinguished from a common bird, while the former comes from ορνις, which more generally refers to a bird, including birds of prey and domestic fowls. Birds of both kinds are present in Macbeth; there are οιωναι, such as the “falcon, towering in her pride of place”, as well as ορνες, like the Porter’s goose and cock. I therefore see little value in interrogating the kinds of birds invoked by Shakespeare, the specific cultural associations and significance of the owl, the raven, or the wren; rather, if we reduce them down to their barest existence as birds, animals of the class Aves, and consider them in an ancient Greek light, then things become a bit clearer.

I’m not entirely sure why I’m writing this or what I hope to gain from it. There are many things wrong with me, and it feels overwhelming.
Here are some preliminary things about me to get as much context as possible. I'm 20 years old. I'm turning 21 in July. I'm Indian-American. I will graduate college half a year early in December in a subject I hate. I'm currently on anti-depressants (a small dosage).
At first, I thought my depression was just stress about the future or my obsession with a crush. I barely know him, and he’s more a character I've created in my mind. He’s probably straight. A losing game. I know I’m destined to be alone. I’m superficial and plagued by insecurities about my body that nothing can fix.
I’m not smart enough for STEM. Forget being average—I’m not even competent. This leaves me feeling like I have nothing else. Whatever small talent I have in writing seems useless because I lack the strength, willpower, and discipline to achieve anything significant.
Moreover, I hate my parents. I've realized that I've let their burdens unfairly affect me, and I feel guilty about this. I'm still grappling with whether this guilt, or even this hatred, is valid.
I’m always confused and tired, and sharing these feelings with others makes me uncomfortable. I have a therapist who makes me feel heard, but I don't think I've been improving through our sessions.
I've stopped being able to enjoy anything anymore. Writing poems helped for a bit, but now I get drained even thinking about doing anything. I wish time would stop. I wish my brain could just shut the fuck up and turn itself off.
I just don’t know anymore...

I’m not entirely sure why I’m writing this or what I hope to gain from it. There are many things wrong with me, and it feels overwhelming.
Here are some preliminary things about me to get as much context as possible. I'm 20 years old. I'm turning 21 in July. I'm Indian-American. I will graduate college half a year early in December in a subject I hate. I'm currently on anti-depressants (a small dosage).
At first, I thought my depression was just stress about the future or my obsession with a crush. I barely know him, and he’s more a character I've created in my mind. He’s probably straight. A losing game. I know I’m destined to be alone. I’m superficial and plagued by insecurities about my body that nothing can fix.
I’m not smart enough for STEM. Forget being average—I’m not even competent. This leaves me feeling like I have nothing else. Whatever small talent I have in writing seems useless because I lack the strength, willpower, and discipline to achieve anything significant.
Moreover, I hate my parents. I've realized that I've let their burdens unfairly affect me, and I feel guilty about this. I'm still grappling with whether this guilt, or even this hatred, is valid.
I’m always confused and tired, and sharing these feelings with others makes me uncomfortable. I have a therapist who makes me feel heard, but I don't think I've been improving through our sessions.
I've stopped being able to enjoy anything anymore. Writing poems helped for a bit, but now I get drained even thinking about doing anything. I wish time would stop. I wish my brain could just shut the fuck up and turn itself off.
I just don’t know anymore...

Hey guys. Just wondering if there’s any resonance with my situation. Would love to hear some advice.
I have three kids and one is special needs. My STBXW and I are still in the same house, and I’m preparing to move out, looking for a home near them so that I can be the father I want to be.
Sadly my other two kids have claimed I’m playing favorites because of the extra attention that the special needs child gets. They are gray walling me, responding at most with one word answers. Come to think of it I don’t think they’ve ever responded to my “I love you”s in about 8 years. Just “yeah” or “OK”.
They’re 14 and 12 so I know it’s that time. But they’ve been doing this for years and it’s freaking killing me. Their mother gets I love you’s all the time.
I’m not perfect, but I’m trying my best to be a good father. I’ve been alternately more stern than my STBXW, simply to set the expectations for their future and social health. I’ve tried lowering my expectations as well, for an extended time to no avail.
One of them has already lost good friends due to perceived poor intentions. I don’t think it’s just me, but I feel like I’ve failed 100% as a father.
I’m afraid I’ll become even more estranged after the divorce and there’s nothing I can do.
I wrote them a poem today telling them I love them all the same. Not confident in the outcome.

Sounds silly right? I would usually be panicking about money but I am decidedly not allowing that. This week is my week of self care.
And I pretty much did what I always do. Sat in the grass. Went for a walk. Wrote. Thought. But I wasn’t bound to the constraints of a workday or being in front of a screen so it was liberating. Scribbling notes for future poems.
I have an idea for one where I am the object being pressed into clay to indicate a trade. Put me in the oven. Record that history. The imprint of a woman. Round bits creating deeper divets. The shadow of my life on an orange tablet, just another transaction.
I ache. It feels like someone is pulling away or leaving. I want to be closer not farther. I want to be whole.

Poem: what color am I By: Rashek Chandler
They told me who I am Made me feel less than a man Took control of my thoughts They stoled the identity of who I am Blind to my own image I only can see who they are If being another color was so honorable Why are we so torn a part Why are we divided by the heart Maybe I'm not getting the picture Maybe someone should do the art What color am I supposed to be When they taught us never to read When they showed us never to think And killed us when we begin to speak
What color am I Why do they hate my life What can I do to survive
What color am I Am I going blind Can the same suit co-exist Some one open my eyes My sister and brother hate me Yet they look like I do Their hatred turns against me My shame for them tears me apart That they would love someone else other than me Did I cause this to happen Did I do this to my self Did we put this pressure on ourselves
What color am I What shade of black am I
My screams are confusing My future is beyond evolution My pain is the deepest black ever seen No clouds No sun No trees No ocean No wind to feel the breeze Just the same people who look like me Unable to be free

(It got too long, sorry, but I needed to explain) I (27F) met this INTJ online (28M) and we talked for about 3 months. Our messages were really deep and we exchanged and shared many values and it felt like we developed a deep connection and shared many views or future visions (marriage, kids etc).. we became closer until we almost every day alept on the phone (he is from another country). He said so many seeet things which even surprised me and I'm a bit shy in the beginning to say such things. But he made me thaw and open up more and more until we both became kinda lovey dovey like a couple. (But wanted to wait till we meet) I wanted to go to his country again anyway, but he gave me another reason to look forward to it a lot. It seemed so obvious that we will start a relationship after meeting that we even searched for Airbnbs together (like for 2 people).
So I went there, he was picking me up from the airport with flowers. But within the first days of my 1,5 month stay he told me he thinks he can't have a relationship now.
Now about all the more confusing things (only the things he did): - He said he started to worry earlier, so not just suddenly. But to me he kept the lovey dovey behaviour up till we met. He even kissed me the first weekend we stayed together. And he cried in my arms while talking about the not being together. - He still spent my whole stay together with me everyday, even though he had to come late after work. He cared so much for me, always asked me if I'm hungry and brought food etc. or cooked for me - Everyday before and after his work we hugged each other and wished us a good day - He told his mom and brother about me during my stay, how kind I am etc and told me his mom said she wants to meet me (why would he mention that though?) - Even though he mentioned one worry is money and time he invited me to eat out a lot and always insisted to pay except for the times I managed to give my card earlier. Even though I told him I don't care about money or his job. We all started somewhere. And I care about him as a person. - I asked for more reasons and he said there are so many worries, more about himself and that he can't tell me everything - He mentioned that I have so many "perfect girlfriend" attributes and something a man would want and wife material, but maybe some men could also think they are not good enough (maybe he also thought that?) - I told him that I usually don't like situations like this, like couple behavioubeing close like this without relationship. He agreed but he said that I am different/we are different. And when I mentioned that maybe because of that we shouldn't stay together in one place he looked really sad and in the end we stayed together till the end and I tried my best to maybe lose his fears/make him feel comfortable and enjoy time with him - He has nobody to talk to other than his family and me, because he prefers to be alone and has no friends. so it meant even more to me that he spent so much time and seemed to like me. - He said I'm a gift to him, the biggest one in his life - He told me how precious I am to him - He said he wants to always help me - He called me "cutie" in my language a lot - We practiced our languages together - Towards the end he opened up more and became more and more comfortable with me, he also mentioned then that he doesn't know if he is deserving of a relationship and when I told him that he seems quite confused he admitted that - He also became more "close" Like hugs or cuddling (not more), like initiated by him - Sometimes he said things quite randomly/surprisingly, like when we were outside he one time said that usually when he is alone he feels nothing, but with me he is happy. Later he also said that multiple times again, that with me every moment was happy and he thanked me for that - He said he also feels guilty, but guilt is not a big reason to spend time with me, if he wouldn't like spending time with me, he wouldn't - Till the end I was in his phone as "My home " with a emoji with the hearts around the head - He made me a very expensive gift in the last night before I left (even though he mentioned that his job isn't that great etc), he thought about it from before I went there - he held my hand when we went to the airport - He said I shouldn't worry too much and we will meet again and can still text, call and maybe videocall
All this effort and how he thinks about me, but being so unsure about his feelings confused me so much. I always wondered why would make someone such effort even after rejecting someone and spend so much time? So I believed in his words and I thought he is just confused and very unsure about himself and his life, from what I felt.
After I left the country he wrote things like he wants to go home together and how thankful he is and happy he was etc. We still texted afterwards but I also always kept the hope, even afterwards. He said I can't change his decision easily, but why are his actions so different from his decision? I asked him clearly if we really won't be ever able to be together, because I thought it's easier for me to accept it and move on after a clear statement. But even the response to that was unclear. Because he said something like "For your sake I think it's right to say that this is right. But you also could feel my heart"
I left him a birthday gift before I left, becaus his birthday was upcoming. And he sent me pictures after opening and also longer messages how it's touching and to thank me a lot. And also saying that I am luck to him and etc. It made me happy that the personalised gift seemed to mean a lot to him. But some days later I noticed he texted less and his responds took so long. (for the first time in months) So I asked him if he is OK? And that I thought he maybe wants to not text that much anymore or that there is a problem.. but it made him go into lecture mode, that I shouldn't assume things, because that's not the case etc. So I felt a bit sorry to express my feelings but I also told him that he also can always tell me when he needs space or something and I just try to understand him better. But he also told me he wished I wouldn't try to understand better. In my case I think an effort to understand each other better is needed though for human relationships. He later also apologised in the middle of the night, that he never wanted to hurt me but did now and that he just doesn't want me to hurt alone anymore. And I also thanked him for caring about me (since his lecturing way is also one of his ways of caring and it also helps me).
He also said if he wouldn't want to text with me or value me he wouldn't do this lecturing and just not respond. After that we exchanged a few longer positive/appreciative messages for 2 days and onto my last one he only put a heart reaction and didn't reply anymore. He liked my story when I wrote a poem in his language which was about him (nobody would know) and saying he shouldn't be too hard on himself. He still looks at my story and didn't change the stickers on his profile (which represented us) etc. I wondered if I should reach out, because it's on my mind everyday too much. Since almost 3 weeks now. But I also said and did everything I could during our time. And I also want to give him space to figure himself and his life out because he spent so much time on me before and he seems very confused about what he wants in life.. I still don't think he is someone who just says meaningful things easily..
I feel like it can't be the end like this.. Do you think he would come back by himself after some time?

Vapor Trail is the seventh tune on the seventeenth studio album Vapor Trails (2002). How do you rank this song? The choices range from skippable (You can almost see the circuits blowing) to amazing (The treasure of a life).
Writing credits: Music: Geddy Lee, Alex Lifeson, Lyrics: Neil Peart
Retrospective band member quote: "Obviously, having gone through what Neil went through, and what we all went through, it was definitely going to impact where this record was going to go. To me the record is very optimistic. It's all about recovery and about hope, about a future, rebirth and moving forward. There are some dark moments, some sad moments, but generally, it's really about those things I just mentioned." -Alex in Martin Popoff's book Driven: Rush in the '90s and 'In the End' (2021)
Rush Official YouTube Channel link
This song was never performed live. Lyrics in this song and 'Ghost Rider' were partially inspired by the poem 'Funeral Blues' by W.H. Auden (1936).
View Poll

My ex with whom I am friends now asked me if I want to see his old poems written about me. We mutually decided that because we have known each other for almost 7 years we would be friends and respect boundaries (that protects us emotionally). So because he asked me a question I told him I don't want to because going back in past would not help us. And he reacted with how he feels rejected for having feelings.
Tell me something am i being wrong? I was not comfortable knowing it because I knew I would feel sad (again) and be troubled emotionally for days. I am already a people pleaser and it gets difficult for me to say NO. This time I tried and again felt bad.
This situation got me confused about the difference between keeping boundaries and being honest about feelings/reactions.
Edit : Thank you everyone for sharing your advice and perspective. It helped to think more critically and understand boundaries better. I will keep this in mind in future:)

The War Scroll, also known as the "War of the Sons of Light Against the Sons of Darkness," is a unique text within the Dead Sea Scrolls that portrays an apocalyptic battle between the forces of good (Sons of Light) and evil (Sons of Darkness). This scroll provides insight into both historical and symbolic elements.
Historical Accuracy:
The War Scroll, while containing detailed military tactics and an epic narrative of the ultimate confrontation, doesn't explicitly reference any specific historical event or timeframe. Some scholars believe it could be a product of the community's anticipation of a future messianic conflict or a reflection of their own community's struggles against opposing forces during their time. Interpreting the historical accuracy of the scroll often involves exploring the context of the Qumran community and the turbulent times in which they lived.
Symbolism and Esoteric Wisdom:
The War Scroll goes beyond a mere description of a physical battle. It portrays a cosmic conflict between the forces of light and darkness, reflecting not just a literal warfare but also a symbolic and spiritual struggle. The text emphasizes righteousness, divine intervention, and the victory of good over evil.
Within the study guide, activities and exercises could involve dissecting the symbolic elements present in the War Scroll, exploring the deeper meanings behind the battle tactics and the metaphysical implications of the conflict. Understanding the symbolism could involve group discussions, comparative analysis with other ancient texts with similar themes, and exploring the impact of this symbolic representation on the community's beliefs and practices.
Here are a few activities and exercises to explore the symbolism and historical context of the War Scroll from the Dead Sea Scrolls:

1. Symbolism Analysis:

Provide excerpts from the War Scroll and encourage participants to identify and discuss the symbolic meanings behind elements like the "Sons of Light" and the "Sons of Darkness," various weapons, and the strategies outlined for battle. Group discussions or written reflections can help participants explore the deeper layers of meaning.

1. Comparative Analysis:

Compare the War Scroll's themes with similar apocalyptic or eschatological texts from different cultures or religions, such as apocalyptic passages in the Book of Revelation in the Christian Bible or apocalyptic texts from other ancient traditions. Create worksheets or discussion prompts to highlight similarities and differences in themes, symbols, and beliefs about cosmic battles.

1. Historical Context Exploration:

Present historical information about the era when the Dead Sea Scrolls were written. Discuss the political, social, and religious climate of that time, including the turmoil in the region, to understand how these factors might have influenced the composition of the War Scroll. Encourage participants to consider the possible motivations behind the text's creation.

1. Creative Interpretation:

Encourage creative expression by asking participants to create artwork, poems, or short stories inspired by the themes and imagery found in the War Scroll. This exercise allows individuals to engage more deeply with the symbolic elements and interpret them in their own unique ways.

1. Role-playing or Debates:
   Organize a role-playing activity where participants take on the roles of "Sons of Light" and "Sons of Darkness," debating their ideologies, motivations, and strategies for the ultimate battle. This exercise helps in understanding differing perspectives and interpreting the conflicts presented in the scroll.
   

Interpretative variations regarding the river's crossing in different ancient texts reflect the unique religious, philosophical, and cultural perspectives embedded within these narratives. These differences in interpretation offer insights into diverse worldviews and varying theological frameworks present in ancient texts:

1. Mesopotamian Context:

• In Mesopotamian mythology and literature, the Euphrates River often held symbolic significance as a boundary between the known civilized world and the wild, unknown realms. The crossing of the Euphrates could symbolize journeys into unexplored territories or transitions between order and chaos. This perspective reflects a worldview rooted in the physical and geographical division of lands.

1. Biblical Context:

• In biblical texts, such as those in the Book of Revelation or Old Testament prophecies, the crossing of the Euphrates carries eschatological significance. It may represent a divine intervention or a decisive moment in God's plan, marking the commencement of apocalyptic events. This interpretation aligns with the biblical narrative of divine judgment and the unfolding of God's ultimate purpose in history.

1. Gnostic or Apocryphal Context:

• Gnostic or apocryphal texts often interpret the river's crossing as a symbolic liberation or awakening. It might signify the release of spiritual forces or the ascent to higher consciousness, reflecting a philosophical perspective emphasizing spiritual enlightenment and liberation from material constraints.

1. Greco-Roman Interpretation:

• In Greco-Roman literature, crossings of rivers were often associated with mythological journeys or transitions between realms. The crossing of the Euphrates might symbolize a transition from mundane existence to a realm of mystery or spiritual significance, reflecting a cultural perspective rooted in mythology and cosmology.

These varied interpretations highlight the richness and diversity of religious, philosophical, and cultural frameworks present in ancient texts. The river's crossing serves as a flexible symbol that adapts to different narratives, conveying themes of transition, judgment, liberation, or cosmic transformation based on the unique perspectives of each tradition.
Exploring these interpretative variations allows participants to appreciate the complexity of symbolism within ancient texts and provides insights into how different cultures and belief systems interpreted common motifs like the river Euphrates. It showcases the intricate interplay between religious, philosophical, and cultural elements shaping the symbolism and theological implications embedded in these narratives.
The river Euphrates, a prominent geographic feature in ancient texts, embodies universal themes that transcend specific cultural contexts. Identifying these universal themes helps reveal shared human concepts of transition, boundaries, and transformative events across diverse ancient traditions:

1. Threshold and Transition:

• The Euphrates often symbolizes a boundary between known and unknown territories. Its crossing represents a transition from one state to another, signifying a pivotal moment of change or passage. This theme of crossing a threshold echoes the human experience of transitions in life, moving from familiar to unfamiliar realms.

1. Boundary and Separation:

• As a geographical boundary, the Euphrates signifies separation between distinct territories or civilizations. This concept of demarcation resonates with universal human experiences of setting boundaries, delineating spaces, or marking divisions between different aspects of life.

1. Transformative Events:

• Crossing the Euphrates is often associated with cosmic or transformative events in ancient texts. This universal theme reflects the human fascination with the concept of epochal change, cosmic upheavals, or moments of divine intervention that reshape the course of history.

1. Symbol of Power and Control:

• The river might represent a symbol of power, control, or geopolitical significance. Crossing it could signify shifts in dominance, challenges to established authority, or the assertion of influence. This theme resonates with human narratives of power struggles and shifts in societal dynamics.

1. Metaphor for Spiritual Journeys:

• Across cultures, rivers are often used metaphorically to represent spiritual journeys or quests. The crossing of the Euphrates might symbolize the pursuit of enlightenment, the passage to higher realms of understanding, or the quest for spiritual transformation.

These universal themes associated with the river Euphrates highlight fundamental aspects of the human experience—transitions, boundaries, transformative events, power dynamics, and spiritual journeys. The river's symbolism in ancient texts speaks to shared human aspirations, struggles, and beliefs that transcend cultural boundaries and resonate across different epochs and civilizations.
By identifying and discussing these universal themes, participants gain a deeper appreciation for the profound symbolism embedded in ancient texts and recognize the timeless relevance of concepts such as transition, boundaries, and transformative events in shaping human narratives and aspirations.

1. Historical Context:

• What historical events or societal conditions might have influenced the composition of the War Scroll?
  
• How does the historical context of the Dead Sea Scrolls' discovery contribute to our understanding of this text's significance?
  

1. Symbolism and Esoteric Wisdom:

• How does the War Scroll use symbolism to convey spiritual or cosmic themes?
  
• What esoteric wisdom or deeper spiritual insights can be derived from the portrayal of cosmic conflict and divine intervention within the text?
  

1. Comparative Analysis:

• Compare the themes and symbolism of the War Scroll with other apocalyptic texts from different cultures (e.g., Book of Revelation, The Book of Daniel). What common motifs or differences in interpretation do you observe?

1. Parallelism in Biblical Texts:

• Explore connections between the War Scroll and other biblical texts. How does the language, imagery, or themes in the War Scroll intersect with passages from the Hebrew Bible or New Testament?

1. Community Beliefs and Practices:

• How might the apocalyptic expectations depicted in the War Scroll have influenced the beliefs and practices of the community that produced it?
  
• Discuss the impact of such intense anticipation of cosmic conflict on communal life and religious rituals within the community.
  

1. Cultural Significance of Cosmic Battles:

• Across various ancient cultures, why do you think depictions of cosmic battles and eschatological events were significant? What might these narratives represent in a broader cultural context?

1. Interpretive Variations and Unique Perspectives:

• Explore the diverse interpretations of specific passages or symbols within the War Scroll. How do different scholars or traditions interpret these elements, and what underlying factors might influence their interpretations?

1. Personal Reflection and Modern Relevance:

• Reflect on how the themes of cosmic conflict, righteousness, and spiritual warfare in the War Scroll might resonate in contemporary society or personal belief systems.

1. Theological and Philosophical Implications:

• Discuss the theological and philosophical implications of a cosmic battle between forces of light and darkness. How does this theme intersect with broader philosophical inquiries or theological doctrines?

1. Literary and Symbolic Analysis:

- Analyze the narrative structure and symbolic elements present in specific passages of the War Scroll. How do these elements contribute to the text's overarching themes and meanings? 

These study questions aim to provoke critical thinking, promote in-depth exploration of themes, encourage comparative analysis, and stimulate discussions on the multifaceted nature of the War Scroll's content and its significance within ancient and contemporary contexts.

1. Archaeological and Linguistic Analysis:

- How does the physical condition of the Dead Sea Scrolls, including the War Scroll, impact our understanding of their preservation and historical context? - Discuss the linguistic peculiarities or unique textual features found within the War Scroll and their implications for translation and interpretation. 

1. Apocalyptic Expectations and Messianic Concepts:

- Explore the portrayal of messianic figures or anticipated saviors within the War Scroll. How do these concepts align with or diverge from contemporary expectations of a messianic figure in other ancient texts or religious traditions? 

1. Impact of Apocalyptic Literature:

- Analyze the enduring influence of apocalyptic literature, such as the War Scroll, on subsequent religious, literary, or cultural traditions. How have these texts shaped later beliefs or inspired artistic and literary works? 

1. Ethical and Moral Frameworks:

- Discuss the ethical or moral implications of the cosmic conflict depicted in the War Scroll. How do the themes of righteousness and wickedness contribute to the text's underlying moral framework? 

1. Role of Prophecy and Revelation:

- Explore the role of prophecy and revelation within the War Scroll. How do the prophetic elements contribute to the text's portrayal of future events and cosmic justice? 

1. Experiential and Ritualistic Elements:

- Investigate potential ritualistic or experiential dimensions associated with the teachings or beliefs conveyed in the War Scroll. How might the community have engaged with these teachings in their religious practices or communal activities? 

1. Literary Genre and Interpretation:

- Discuss the classification of the War Scroll within the broader genre of apocalyptic literature. How does its classification influence our understanding and interpretation of its themes and symbolic elements? 

1. Relevance in Modern Scholarship:

- Reflect on the ongoing scholarly debates or discoveries related to the War Scroll. How have modern interpretations evolved, and what implications do these new perspectives have on our understanding of the text? 

1. Intersection of Faith and Scholarship:

- Consider the interplay between faith-based interpretations and scholarly analyses of the War Scroll. How might religious convictions or theological frameworks influence academic research and vice versa? 

1. Future Research and Interpretative Avenues:

- Propose potential avenues for future research or areas of exploration concerning the War Scroll. What unanswered questions or unexplored aspects merit further investigation? 

The composition of the War Scroll, along with other Dead Sea Scrolls, was likely influenced by several historical events and societal conditions prevalent during the time of its writing, which is estimated to be between the 2nd century BCE and the 1st century CE:

1. Hellenistic Rule and Cultural Influence:

• The region where the Dead Sea Scrolls were found was under Hellenistic influence due to the conquests of Alexander the Great and the subsequent control by the Seleucid Empire. This era saw a clash between Hellenistic culture and Jewish traditions, leading to cultural tensions and a desire to preserve religious and cultural heritage.

1. Political Turmoil and Resistance Movements:

• The Jewish people experienced political unrest, particularly during the Maccabean Revolt against Seleucid rule. This period was characterized by resistance movements, attempts to preserve Jewish identity, and fervent anticipation of a messianic figure to deliver them from foreign oppression.

1. Religious Sects and Spiritual Expectations:

• Various religious sects existed within Judaism, each with its own interpretations and expectations of messianic redemption, purity laws, and theological doctrines. The community associated with the Dead Sea Scrolls, often believed to be the Essenes, likely had distinctive theological beliefs and a strong apocalyptic worldview.

1. Anticipation of Cosmic Redemption:

• There was a widespread belief in the imminent arrival of a messianic figure or a divine intervention that would bring about cosmic redemption, ushering in an era of righteousness and divine rule. This anticipation of apocalyptic events and a cosmic battle between forces of light and darkness is reflected in the War Scroll's themes.

Regarding the historical context of the Dead Sea Scrolls' discovery, its significance lies in multiple facets:

1. Preservation of Ancient Texts:

• The discovery of the Dead Sea Scrolls, including the War Scroll, provided an invaluable collection of ancient manuscripts that significantly expanded our understanding of ancient Jewish texts, religious beliefs, and the diversity of Jewish thought during the Second Temple period.

1. Insights into Jewish Sectarianism:

• The scrolls shed light on the diversity of beliefs and practices among Jewish sects during that time. Understanding the beliefs and expectations of the community associated with the Dead Sea Scrolls helps contextualize the theological and apocalyptic themes present in the War Scroll.

1. Confirmation of Scriptural Accuracy:

• The Dead Sea Scrolls' discovery contributed to confirming the accuracy and preservation of certain biblical texts, highlighting the continuity of textual transmission across centuries and supporting the authenticity of biblical manuscripts.

1. Impact on Biblical Studies and Scholarship:

• The discovery of the Dead Sea Scrolls revolutionized biblical studies, providing scholars with invaluable primary sources for studying ancient Judaism, the development of biblical texts, and the context in which these texts were composed.

The historical context of political upheaval, religious expectations, and the preservation of texts within the Dead Sea Scrolls contributes significantly to understanding the milieu in which the War Scroll was written. It provides a backdrop against which the themes of cosmic conflict, eschatological anticipation, and religious fervor within the War Scroll can be comprehended.

**** TRIGGER WARNING!!! ****
This poem speaks about PTSD from a career as a paramedic. There is suggested trauma throughout the poem.
I am a very amature writer. And there are some spots in this poem that feel clunky. I would appreciate any feedback to fix that problem. It doesn't have a title yet.
~
Red and white. Red and white. Red and white flash at me throughout the night.
Transporting me to another place and time. Old memories revist me at the most inconvenient time.
Red and white. Red and white. Red and white speeding throughout the night.
To a motorcycle crash, Up by Whiskey Creek pass. A couple on a leisurely ride, Unaware this would be where one of them would die.
Ran off the road by a truck who fled the scene. A coward who didn't stay to hear their deafening screams.
Red and white. Red and white. Red and red and red Runs from his head.
The panic and fear chokes me even now. Gripping my lungs, my spine, my chest. Until I'm a crumpled ball, heaped in a mess. Tears run down because I couldn't do enough. Failing to provide life saving skills that would prove to be the right stuff.
Red and white. Red and white. Red and white and black stain my mind.
Knowing he wasn't the only one I left behind. Trauma and death of every kind, 7 years of torture keeping me confined.
Red and white. Red and white. I can't STAND to see the flashing red and white.
It cripples me with fear, and grief, and pain. Altering my life, I dont think I'll ever be the same.
A diagnosis of PTSD, And an uncertain future lay before me.
Red and white. Red and white. The life of a paramedic racing to the scene.
Who's fate will be next? God, I hope it isn't me.

I'm a 25 year old brown-black haired, brown eyes open minded guy who is a Muslim, of Indian and Arabian ancestry, brought up in Saudi Arabia and India and now live in Massachussets, United States.
I'm an open minded Non-judgemental guy and don't mind talking to women who have been through a lot in their lives or with a past or who are atheists or belong to any other religion.
I promised myself that I wouldn't get married until I find someone I think about when I close my eyes, see when I open my eyes, dream of when I'm asleep, even the thought of her makes me smile and makes me feel more alive.
Someone I can laugh, flirt with, talk deeply about life with and comfort her through thick and thin.
Someone I can write poems and songs about, hold hands and cuddle with, the lady who gives me the strength to get through this world. Someone I can live with in any part of the world as long as this woman is next to me because for me home is where my love is and I want to find such a strong love for me.
I'll know that she's the one when...
I'm too scared to lose her and even thinking about it makes me cry. I can imagine my whole life with her, her happiness becomes my happiness, her pain becomes mine and I would want to do anything to ensure that she knows that I'm here for her whenever she needs me, comfort her through thick and thin. Most importantly if she shows the same level of passion for me that I'd have for her like I would when I'd be in love with her, then she is the one for me.
My greatest dream...
To find true love, and someday have a family of my own in the future. To be surrounded by people who care about me as much as I would care about them. I never had all of that in my life as my biological family never made me feel home and I don't want anybody to go through that pain ever. Someday I want to have a son of mine whom I want to love so much and give him all the love and care he deserves that I never got.
This is me >>
https://imgur.com/a/x5Stlg7

I'm a 25 year old brown-black haired, brown eyes open minded guy who is a Muslim, of Indian and Arabian ancestry, brought up in Saudi Arabia and India and now live in Massachussets, United States.
I'm an open minded Non-judgemental guy and don't mind talking to women who have been through a lot in their lives or with a past or who are atheists or belong to any other religion.
I promised myself that I wouldn't get hitched until I find someone I think about when I close my eyes, see when I open my eyes, dream of when I'm asleep, even the thought of her makes me smile and makes me feel more alive.
Someone I can laugh, flirt with, talk deeply about life with and comfort her through thick and thin.
Someone I can write poems and songs about, hold hands and cuddle with, the lady who gives me the strength to get through this world. Someone I can live with in any part of the world as long as this woman is next to me because for me home is where my love is and I want to find such a strong love for me.
I'll know that she's the one when...
I'm too scared to lose her and even thinking about it makes me cry. I can imagine my whole life with her, her happiness becomes my happiness, her pain becomes mine and I would want to do anything to ensure that she knows that I'm here for her whenever she needs me, comfort her through thick and thin. Most importantly if she shows the same level of passion for me that I'd have for her like I would when I'd be in love with her, then she is the one for me.
My greatest dream...
To find true love, and someday have a family of my own in the future. To be surrounded by people who care about me as much as I would care about them. I never had all of that in my life as my biological family never made me feel home and I don't want anybody to go through that pain ever. Someday I want to have a son of mine whom I want to love so much and give him all the love and care he deserves that I never got.
This is me >>
https://imgur.com/a/x5Stlg7