Rhyme poems by shel silverstein

Unveiling the Allure of the Ghazal Form**
Summary:
A ghazal is a poetic form with Middle Eastern origins, typically composed of rhyming couplets and a repeating refrain. Each line of the poem shares a common meter, and the last word of the second line in each couplet rhymes throughout the poem.
Examples:

1. "The Beloved" by Rumi.
   
2. "Ghazal" by Agha Shahid Ali.
   
3. "The Ghazal of What Hurt" by Peter Cole.
   

Tips for Creative Writing:

• Embrace Repetition: The consistent refrain creates a melodic quality.
  
• Convey Emotional Intensity: Ghazals often explore themes of love, loss, and longing.
  
• Play with Imagery: Use vivid imagery and metaphor to enhance the emotional impact.
  

Questions for Exploration:

1. How does the repetition of the refrain contribute to the overall tone of the ghazal?
   
2. Can you think of other cultural traditions that incorporate similar poetic forms?
   

Additional Resources:

• Read the works of contemporary poets like Fatimah Asghar and Safia Elhillo for modern ghazals.
  
• Explore classical ghazals by Mirza Ghalib for insights into the traditional form.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore in your ghazal.
Step 2: Craft the first rhyming couplet with a meaningful refrain.
Step 3: Continue developing the theme in subsequent couplets, maintaining the rhyme scheme.
Example:
In the night's embrace, a silent moonlight gleams (A) Lost in the echoes, the heart silently dreams (A) Whispers of love in the gentle night's streams (A) A ghazal's refrain, where longing redeems (A)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Clerihew:

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

1. Quatrain:

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

1. Double Dactyl:

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

1. Terzanelle:

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

1. Haibun:

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

1. Golden Shovel:

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

1. Villancico:

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

1. Tercet:

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

1. Sevenling:

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

1. Palindrome Poetry:

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

1. Sonnet:

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

1. Haiku:

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

1. Villanelle:

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

1. Limerick:

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

1. Free Verse:

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

1. Acrostic:

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

1. Ghazal:

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

1. Tanka:

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

1. *Cinquain:

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

1. Pantoum:

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

1.Gilbert Braddocke[Male-Human-Forager]]:Gilbert Braddocke is a lost adventurer, navigating their way back to the city from foraging materials.When guiding him back, you'll stumble across mobs that need to be killed.Once youve reached the spawnpoint(or in this case the city), Gilbert will reward you with a generous amount of materials.
2.Anne of the Hills[Female-Human-Bard and Poet]:Anne is a bard and poet that likes writing songs,tunes and poems away from society.She may be found in different parts of the mountanous areas of the origins, seen in a crouched position, playing her harp.If you can help her figure good rhyming words for her song, she can reward you with her jeweled pin which is an accessory for your dragon.
3.Amalia Eks[Female-Human-Fruit Vendor]:Amalia is a middle aged vendor dedicated in selling fruits for her family, She can be seen struggling to push a cart of fruits to the entrance of the undercity.If you help Amalia push her fruit cart to the entrance of the undercity, She will reward you with a generous amount of fruits.
4.Hamilton the Historian[Male-Human-LoreKeeper]:Hamilton is a historian dedicated in uncovering the secrets of the origins world.He needs your help in locating all of the stone pieces of a statue scattered around the origins world, in return for a unique stone sculpture of a dragon., dating back to prehistoric times.
5.Demetrius[Male-Rocirus-Lost Dragon]:Demetrius is a lost Rocirus, wandering alone in the city of Origins hoping to find it's adventurer.This mission will be on the course of 2 parts with the first part of the mission will be about handing posters to the locals in hopes of spreading awareness that someone has found their lost dragon.The second part of the mission will be all about locating Demetrius's owner, following the townfolks directions.This mission will conclude with Demetrius and his owner being reunited, the player will be gifted the first half of a pendant, gifted by Demetrius in the first part of the mission, while the second part of the mission gives the second half of the pendant gifted by the owner.

Just a comparison I thought would be amusing:
Author:
J.R.R. Tolkien (1892-1973). British Linguistics professor.
Muhammad (570-632). Arab political & religious leader.
Genre:
Explicitly fictional fantasy narrative, composed 1938-1948, published 1955.
Religious text allegedly authored by God, composed 599-632, compiled and canonized 650.
Style:
Mostly contemporary English prose. Occasionally more archaic, epic style and vocabulary for dramatic effect. Extensive fictional vocabulary from invented languages, many songs and poems evocative of old or early modern English. Held by many readers to be a work of great beauty, some critics consider it poorly written and in need of editing.
Rhyming verse in classical Arabic. Held to be the purest standard of literary Arabic by Muslims and some scholars of Arabic. Some scholars observe a decline in poetic quality over the period of composition. Others claim there are sentence fragments. Many vocabulary terms and names of ambiguous origin.
Influences:
The author was a translator of "Beowulf", an Old English poem from 975 AD likely dating from oral tradition contemporary to the Qur'an, and acknowledged it as a major influence. Other influences from Norse and Greek mythology, as well as the Bible, parts of which the author also translated.
Christian, Jewish, and Zorastrian oral tradition; possibly the Bible, but if so in an oral form. The story of Dhul Qarnayn adopts incidents from the Alexander Romance. The Qur'an also contains many poetic forms common in pre-Islamic Arabic poetry.
Themes:
The pleasures of friendship, good and evil, the addictive nature of power, redemptive sacrifice.
The end of the world and last judgment, God's power and sovereignty over creation, the need to obey God's commands.
Supernatural Elements:
Magic, wizards, elves, and other supernatural beings. Magical and miraculous events are always given an explicit moral valence, elves and wizards representing "good" magic which operates to the benefit of the protagonists, chief antagonist Sauron and his allies representing "evil" magic, particularly in the form of the One Ring, which is ultimately to the harm of the protagonists. God is never explicitly mentioned, and there are a few references to "the Valar" who may be angels, but are never involved in the plot.
God/Allah is announced as the author of the work, and its provenance to be from the angel Gabriel. Jinns/genies are referred to, and have an inconsistent moral valence, at times referred to as devils/antagonists, at other times regarded as having free will and a duty to worship like that of humans. Witchcraft (e.g. Surah Falaq) is regarded as evil.
Attitude towards religion:
The author wrote: "The Lord of the Rings is of course a fundamentally religious and Catholic work; unconsciously so at first, but consciously in the revision. That is why I have not put in, or have cut out, practically all references to anything like 'religion', to cults or practices, in the imaginary world. For the religious element is absorbed into the story and the symbolism".
Deals explicitly with religion as its purpose: "Today I have perfected your faith for you, completed My favor upon you, and chosen Islam as your way" (Surah Maidah).
Attitude towards myth and folklore:
Tolkien felt strongly about the value of myths and legends to convey truth, as shown in this exchange: "“Do we walk in legends or on the green earth in the daylight?” “A man may do both,” said Aragorn. “For not we but those who come after will make the legends of our time. The green earth, say you? That is a mighty matter of legend, though you tread it under the light of day!”. Characters also frequently express a desire to be remembered in songs and legends by their descendants, which is also a Biblical theme (Matthew 26:13).
the Qur'an resents its own apparent description as folklore: "And they say, “˹These revelations are only ancient fables which he has had written down, and they are rehearsed to him morning and evening.” (Surah Al-Furqan). It is ambiguous on the value of myths and folklore in general, taking those that it incorporates as literal history revealed by God, and does not discuss the desire of people to be remembered on Earth after their deaths.
Attitude towards warfare:
"I do not love the bright sword for its sharpness, nor the arrow for its swiftness, nor the warrior for his glory. I love only that which they defend". Explicitly stated by the character Farimir, this theme is implicitly developed in the plot.
Initially similar; "had it not been for Allah's repelling some men by means of others, cloisters and churches and oratories and mosques, wherein the name of Allah is oft mentioned, would assuredly have been pulled down". In other contexts advocates war for its own sake: "Fight those who believe not in Allah or the Last Day, nor hold that forbidden which has been forbidden by Allah and His Messenger, nor acknowledge the Religion of Truth, from among the People of the Book, until they pay the Jizyah with willing submission and are subdued".
Attitude towards women:
Only a few named female characters, the most strongly drawn being the Elf Queen Galadriel and the noblewoman Eowyn. Gender roles are most explicitly dealt with in the latter's story, in which she rules her uncle's kingdom in his absence, but would prefer to win glory in combat, and disputes with Aragorn that her assigned role is valuable. No clear prescriptions on women's dress or behavior, barely any description for that matter.
Men are "a step above" women and therefore their providers. Women are instructed to dress in particular ways and their role in legal testimony and inheritance is specified as half that of a male. Maryam, the mother of Jesus, is the only named female character.
Attitude towards Jesus Christ:
Jesus Christ, who the author worshiped as God, is represented allegorically in the figure of Aragorn, an initially mistrusted man who is revealed as the heir to the kingdom of Gondor. He comes to this kingdom via the "paths of the dead", and is revealed as king through his skillful powers of healing. The characters of Frodo, who suffers for others, and Gandalf, who is resurrected from the dead, are also seen as literary archetypes of Christ.
Isa Bin Maryam is a prophetic character, and the Christian tradition of the virgin birth is recounted, along with some of the miracle stories, and a denunciation of Christians for worshiping him as the Son of God. It is said that on Judgement Day God will interrogate Jesus as to whether he inspired these legends himself, and find him innocent. He is referred to as "Al-Massih", which may be "The Messiah", but the term is not explained. The Qur'an seems ignorant of the Christian traditions regarding him as a king that Tolkien drew upon.
Attitude towards Paganism:
Some critics regard it as much a pagan work as a Christian one, as Tolkien drew so much on pre-Christian Germanic and Celtic Folklore. The only reference to paganism is wrt to the practice of cremation: "We shall burn like the heathen kings of old" declares the character Denethor, when he decides he and his family will be burned rather than buried.
Paganism is held consistently to be the greatest evil and sin in the eyes of God, and military force is justified in discouraging/abolishing it, except for the Arabian pagan traditions of pilgrimage to the Kaaba and "the sacred months", which are regarded as having been originally monotheistic.
Attitude towards drinking Alcohol:
Drinking beer is seen as a pleasant and harmless recreational activity among the "hobbits", and drinking wine is a normal beverage among men and elves.
Initially regards drinking alcohol as a normal activity, and only proscribes excessive drunkenness. Eventually takes a firmer stand, all-but-banning it, which became an outright ban in exegesis.
Views of Sex & Marriage:
All relationships are depicted as ending in monogamous marriages. The in-world legend of Beren and Luthien, as well as the marriage of Aragorn and Arwen, were influenced by Tolkien's real-life marriage. Some critics consider the work sexless, repressed, or pre-adolescent for how little interest it shows in these topics.
Extensive discussions of sex and marriage, permitting polygamy and concubinage, regulations for divorce. Contains no discussion of romance or depictions of romantic pairs.
<\b> Views of Preemptive Murder <\b>:
"It's a pity Bilbo didn't kill Gollum when he got the chance'. 'Pity? It's a pity that stayed Bilbo's hand. Many that live deserve death. Some that die deserve life. Can you give it to them, Frodo? Do not be too eager to deal out death in judgment. Even the very wise cannot see all ends. My heart tells me that Gollum has some part to play in it, for good or evil, before this is over'".
In Surah Al-Kahf, Moses observes Khidr killing a young man for apparently no reason. Khidr justifies:“his parents were true believers, and we feared that he would pressure them into defiance and disbelief"
Translation:
Being a translator himself, Tolkien was sensitive to the issues involved in reproducing his text in other languages, ultimately writing a guide for translators in 1967. It has been translated into 38 languages, and there is much debate about which translations are best, particular with multiple translations into German and Hebrew.
The Quran is considered by many a "linguistic miracle" and challenges its audience to produce verses of a similar quality. For this reason, many Muslims consider the text inherently untranslatable, and historically have prioritized its memorization and recitation in Arabic over translation. Translations have been made, however, and are available in hundreds of languages. There is much debate over proper translation of the 7th century Arabic text.
Legacy and Impact:
Over 150 million copies of the novel have been sold, and it has massively influenced fantasy literature in English and related languages, as well as inspiring several successful films. It is regarded as a masterpiece of Christian allegorical fiction, and is also treasured by atheists and nonreligious, its emphasis on love of the natural world informing the hippie movement. Companies Palantir and Anduril are named after fictional terms from the book.
Islam is the second-largest world religion, and adherents cite the Qur'an as their primary source of religious belief and law. Whether this has to do with the text of the Qur'an itself is debatable, as most of these adherents have not read it in a language they understand, and rely on a clergy to interpret it for them, but in terms of ownership, citation, and distribution it is one of the most popular books of all time.

Doesn't exist Will never exist Will become destroyed eventually if it ever exists
//
You should post these so people can read them Poetry is meant to change minds Evoke emotion Criticize society Spark change or growth
//
Make it rhyme, make it aesthetic Use big words and complex metaphors Care more about the perception of art You exist only to inspire and serve Commodify your human existence
//
Dissected, pulled apart stanza by stanza Line by line Word by word choice Pieced together for optional consumption Presented to the viewer Pin back this strip leave another covered A moth in a museum A corpse bled dry for examination
//
Electrical excitement zaps down my skin My first poem posted, My first positive response Terrified catch in my breath My first mean comment
//
There's a quote, Don't take criticism from whom You wouldn't take advice
//
Grand ideas complex goals Escape the "rat race" become an artist Pretentious, aspirational Poems don't have to be good when they're for me Throw tradition to the wind It's still a poem if I say it is A cute line that sums it all up
Genuinely thank you for taking the time to read this. Any thoughts are welcome. Specifically, I don't like the part in the last stanza about the "rat race" so if anyone has any ideas on rewording that, it would be helpful.
https://www.reddit.com/OCPoetry/comments/1d15l62/comment/l5thth7/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button
https://www.reddit.com/OCPoetry/comments/1d19b73/comment/l5tkppt/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

Week 2: Haikus and Free Verse - Lecture and Discussion
Objective: - Explore the concise beauty of haikus and the expressive freedom of free verse. - Understand the traditional structure and themes of haikus. - Discuss the flexibility and artistic possibilities in free verse.
Day 1: Introduction to Haikus - Lecture: - Definition and structure of haikus (5-7-5 syllable pattern). - Explanation of the traditional themes and nature focus.

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

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

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

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

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

Day 4: Crafting Haikus - Part 1 - Lecture: - Step-by-step guide on crafting the first two lines of a haiku. - Emphasis on capturing a moment or emotion.

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

Day 5: Crafting Haikus - Part 2 - Lecture: - Step-by-step guide on crafting the third line of a haiku. - Emphasis on creating a sense of resolution.

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

Homework Assignment: - Craft a haiku focusing on capturing a specific moment or emotion.
Study Guide Questions: 1. Reflect on the challenges of crafting the first two lines of your haiku. How did you capture a moment or emotion? 2. How did you approach creating a sense of resolution in the third line of your haiku? 3. What insights did you gain from the process of crafting a haiku?
Quiz: Assessment on the understanding of haikus, the 5-7-5 syllable pattern, and the expressive possibilities within this concise form.
Day 6: Introduction to Free Verse - Lecture: - Definition and characteristics of free verse. - Emphasis on the absence of a strict rhyme or meter.

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

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

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

Day 8: Crafting Free Verse - Part 1 - Lecture: - Step-by-step guide on embracing the freedom of expression in free verse. - Emphasis on the importance of imagery and emotion.

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

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

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

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

There are many people these days that are impressed with pre-Islamic Arabic poetry specifically, and classical Arabic poetry in general to the point of sanctifying it, and they consider that any criticism of pre-Islamic poetry is a criticism of the Quran itself. That is, because they believe that the Quran came challenging those poets that came during its age.
But isolating the challenge to come with a rhetoric that can match the Quran's rhetoric is something not limited to a certain age or era, let alone a specific group of poets. The Quran came to challenge everyone from Arabs and non-Arabs to write a book that can match its rhetoric. I won't comment on such a challenge but I've only mentioned it to explain a misconception.
In the modern age, there aren't many people interested in poetry, and the ones I've seen on Arab/Islamic circles are very delusional about Arabic poetry specifically, and the Arabic language generally. They believe that the Muallaqat are the highest form of Arabic literature to ever exist. Yet there are doubts whether these were real poems from that era, or simply forged by post-Islamic people (see On Pre-Islamic Poetry by Taha Hussein), and it is absolutely not true that these poems were ever hanged on the Kaaba before Islam). That is simply a legend.
Having that said, it is really sad to see the shallowness of the average person's knowledge in classical Arabic literature. If you go on a post where someone requests recommendations on classical Arabic poetry, you will find several replies listing the same 7 odes, and the occasional mention of Mutanabbi. Hell, I've even seen a post where someone asked for recommendations, then another person pasted the entire text of "واحر قلباه ممن قلبه شبم", where another person requested a tl;dsummary of the poem, and no one responds.
This might seem as a very benign thing, but it is really a problem when there is barely anyone who knows slightly more than the average person (who knows nothing). I think the main reason for the false impressions of that is because many people are taught from a young age to memorise these poems in school, yet the teachers almost never take time to explain, interpret, analyse, or even just tell you the unknown terms used. It's all memorisation and sanctification to them.
Having known all of this, what really makes these few poems great? In my personal opinion these poems aren't that good, they are all very repetitive and have the same themes (contemplating ruins, romance, pride, and enthusiasm), and they are all very similar to each other. They are also relatively short, the longest of them being 100 verses. So I think that the main reason for the fascination with them is their relation to the proposed challenge of the Quran, and how people isolate that challenge to them, and draw the comparison from there, and that is a very weak challenge if that's the case, because a 600 page book that is full of proverbs and stories can't be the same as some 70 verse poem about nostalgia, romance, and attending battles.
Then, why pre-Islamic poetry specifically? Pre-Islamic poetry wasn't the highest form of literature before Islam, the highest form of literature was their conversations between them. Why is that? Because when you aren't isolated between rules such as rhyme and meter, you have a lot more freedom in the words you choose, and in that, you can be a lot more meaningful with your words. Imagine if the Quran was written in metered verse, it would be almost impossible to read and understand without at least a 30-volume commentary on the book.
And it is important to say, that pre-Islamic poetry was Arabic literature in its infancy, what came after it was far greater, especially during the Abbasid era and the 5 centuries that came after it, because that era was an era of science, it is the era when the Hadith was documented, when the ancient Greek philosophy was translated, when prosody was invented, when the dictionaries were being collected. So are you really comparing the literature of that era with the literature of the later, and more advanced eras?
Now what I conclude from this, is that the younger generation should look more into the true part of classical literature. For fun, not as a chore. Because there are many good books from that time, and many good authors and poets. But I also refrain you from sanctifying our heritage and making it something infallible, and to always have a good spirit when discussing and reading Arabic literature, without degrading the heritage of other nations, and making unnecessary comparisons between a specific Arab author and Shakespeare for example. And I will provide a list of recommended books.
The doctor's dinner party (the free Arabic pdf is on the Arabic section of the website): https://www.libraryofarabicliterature.org/books/9781479827480/the-doctors-dinner-party/
The Maqamat of Abu Zeid, a story of 50 chapters about a thief: https://www.libraryofarabicliterature.org/books/9781479810567/impostures/
Forgotten Abbasid Poets, a collection of unknown poets and their discographies from the Abbasid era: https://archive.org/details/4116pdf
This edition of the Diwan of Abu Nuwas: https://archive.org/details/20211008_20211008_1501/mode/2up
The Diwan of Amin Al-Jundi: https://www.noor-book.com/%D9%83%D8%AA%D8%A7%D8%A8-%D8%AF%D9%8A%D9%88%D8%A7%D9%86-%D8%A7%D9%84%D8%B4%D9%8A%D8%AE-%D8%A7%D9%85%D9%8A%D9%86-%D8%A7%D9%84%D8%AC%D9%86%D8%AF%D9%8A-pdf
The Horse and the Donkey, an animal fable by Al-Maarri: https://archive.org/details/20200128_20200128_0852
Plato in Islam, a collection of old translations of Plato's dialogues: https://archive.org/details/al_952

Listen here: Pacific Standard Time
It’s ten AM in Tacoma, and my first novel better be a New York Times Bestseller. Don’t know how to write anything but poems even though this was supposed to be my attempt at prose.
I am no pro. An amateur at best Mediocrity meets fear And I’m doing my best. Because at least I’m writing And at least I’m rhyming And at least I’m trying
I really need you to like this poem. I really need you to like my poems. My writing is fragile Cannot stand disapproval Critique feels like Open heart surgery And I’m wide awake.
You forgot to put me out You forgot to put me under The critique pulls me under The crushing weight of my low self-esteem.
When you have no self-esteem Your backpack is no lighter And your backpack is not yours When you carry it for another Carry it not out of service But out of validation Then your backpack is not yours.
In kindergarten, my best friend had a dark green backpack. I’m five and I’m scouring the shelves in the nearby Walmart For that dark green backpack So I can have one, too. Convinced if I can find that dark green backpack Convince my mom to buy that dark green backpack Then maybe I’ll feel more like her Be more like her Be more like anyone And less like me.
It’s 27 years later, and I never found that dark green backpack So we never bought that dark green backpack So I never got To be more like her And less like me.
In a world where consumerism is rampant You’d think they’d have mass produced More dark green backpacks But maybe I got to the shelf After all the other five year olds Had found the backpack That would make them more like anyone else And less like themselves.
It’s 27 years later, and I’m still picky about my backpacks And I have never bought one of my own. All mine have been free Or hand-me-downs.
The purpose of a backpack Is the contents. But that is not where we’re taught to look That is not what we’re trained to see.
You see, a backpack Can carry inside a beating heart On its way to the operating room When you pass me in the hallway The straps spread evenly on your shoulders I don’t know the life that you’ve lived I don’t know the life that you’re carrying I just know Your backpack is not designer.
In the operating room It’s my body on the table. It’s my chest cavity splayed open. Ribs bent but Not broken
Your backpack ripped open Heart cold but Not frozen
Harvested But not hungry
Uprooted To be Implanted
My backpack is no lighter My backpack is not designer But this backpack Is mine.
I don’t know what it looks like But I know it can hold and I know how it feels.
It sits unevenly On my shoulders Sometimes painfully On my shoulders But its weight brings me comfort And its contents even more.
It’s late morning in Tacoma and endings are hard I’ll never have a bestseller if I write to just discard.
Sharing feedback with others:
1 if_i_die_i_want_the_last_great_cruise_to_be/ by u/lettuceandcucumber
2 Flower Pedal Nightmare by u/tango-sore

When I was a kid in late 80s, early 90s, growing up in South Africa, we had this set of ten books of children's literature starting with nursery rhymes and ending with novel length stories.
The books were all hardback, and different colour covers including blue, red, grey, green, brown (2 books in each colour I think, the colour sequence repeated itself 6 through to 10).
First book was blue, and was filled with nursery rhymes and poems.
Second book was red, and had short stories - mostly like Aesop's Fables and similar.
Third book was grey, and had stories like Alice in Wonderland, Pinocchio etc. Not the disneyfied version, the original darker ones with what looked like original illustrations.
Fourth book was I think green, may have had Arabian Night stories (Ali Baba and the Forty Thieves etc.)
Can't remember exactly the order of types of stories contained in the following books, though I do clearly remember the sixth book was blue again, but here had stories based on holidays around the world I think. Specifically there was the lovely story The Country Bunny and the Little Gold Shoes by Du Bose Heyward with the illustrations by Marjorie Flack.
I am fairly certain one of the later books was focussed on American stories as I seem to recal something about horse, cowboys or ranchers or something. Cannot recall ATM what the themes were after that.
It was as if the books were designed to be read in order as your childhood reading level advanced.
It has been driving me insane trying to find out what this collection was, but I remember the books as I read my way through all of them and they were a significant part of my childhood. I don't know if the books were only published in South Africa or internationally but as many of the stories are international, I hope someone else remembers this collection!
Any ideas gratefully received!

Unlocking the Beauty of Terza Rima**
Summary:
Terza rima is a poetic form originating from Italy, traditionally associated with Dante Alighieri's "Divine Comedy." It consists of tercets (three-line stanzas) linked by a rhyme scheme (ABA, BCB, CDC, and so on), with the final stanza often a rhymed couplet.
Examples:

1. Classical: "The Divine Comedy" by Dante Alighieri.
   
2. Modern: "Acquainted with the Night" by Robert Frost.
   
3. Modern: "Ode to the West Wind" by Percy Bysshe Shelley.
   

Tips for Creative Writing:

• Embrace Unity: The interconnected rhyme scheme adds coherence to the poem.
  
• Explore Themes: Terza rima lends itself well to exploring complex themes or narratives.
  
• Rhyme Creatively: Experiment with word choices to create a harmonious and rhythmic flow.
  

Questions for Exploration:

1. How does the interlocking rhyme scheme contribute to the poem's overall structure?
   
2. Can you identify any modern poems or songs that use terza rima?
   

Additional Resources:

• Read more of Dante Alighieri's work, particularly "Purgatorio" and "Paradiso."
  
• Explore T.S. Eliot's "The Waste Land" to see a modernist take on terza rima.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion to explore.
Step 2: Craft the first tercet (ABA).
Step 3: Build on the narrative or emotion in the next tercet (BCB).
Step 4: Continue the pattern, leading to a concluding rhymed couplet.
Example: In the twilight's embrace, whispers linger (A), Reflecting shadows dance, a silent figure (B). Beneath the moon's glow, memories trigger (A).
Remember: Terza rima offers a structured canvas for poetic exploration and narrative development.

Mastering the Repetitive Beauty of the Triolet**
Summary:
A triolet is a short poetic form with eight lines, typically characterized by a specific rhyme scheme and repeated lines. The first, fourth, and seventh lines are the same, as are the second and eighth lines. This creates a rhythmic and melodic pattern within the poem.
Examples:

1. "A Triolet" by Christina Rossetti.
   
2. "Triolet on a Line Apocryphally Attributed to Martin Luther" by A. E. Stallings.
   
3. "Triolet" by Robert Bridges.
   

Tips for Creative Writing:

• Choose a Captivating Refrain: Craft a refrain that can be interpreted in multiple ways.
  
• Explore Emotional Layers: Use repetition to emphasize different emotions with each iteration.
  
• Mind the Syllabic Count: Maintain a consistent syllabic count for each line.
  

Questions for Exploration:

1. How does the repetition of lines contribute to the triolet's impact?
   
2. Can you think of everyday situations or emotions that could be beautifully expressed through a triolet?
   

Additional Resources:

• Explore triolets by French poets from the 17th century for historical context.
  
• Read contemporary poets like Mary Jo Bang for innovative approaches to the triolet form.
  

Creative Writing Prompt:
Step 1: Choose a theme or emotion for your triolet.
Step 2: Craft a captivating refrain that encapsulates the essence of your chosen theme.
Step 3: Develop the narrative or emotion within the remaining lines, incorporating the refrain.
Example: In twilight's embrace, shadows softly fall (A) In twilight's embrace, shadows softly fall (A) A dance of darkness, a poetic sprawl (B) In twilight's embrace, shadows softly fall (A)
Remember: The triolet's concise structure offers a canvas for exploring depth within brevity.

Week 3: Villanelles and Ekphrastic Poetry - Lecture and Discussion
Objective: - Explore the structured repetition of villanelles and the visual inspiration of ekphrastic poetry. - Understand the fixed form of villanelles and their emotional impact. - Discuss the interplay between visual art and written expression in ekphrastic poetry.
Day 1: Introduction to Villanelles - Lecture: - Definition and characteristics of villanelles. - Explanation of the ABA ABA ABA ABA ABA ABAA rhyme scheme.

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

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

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

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

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

Day 4: Crafting Villanelles - Part 1 - Lecture: - Step-by-step guide on crafting the first four lines of a villanelle. - Emphasis on creating a strong thematic foundation.

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

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

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

Homework Assignment: - Craft a villanelle focusing on a theme or emotion that lends itself well to repetition.
Study Guide Questions: 1. Reflect on the challenges of crafting the first four lines of your villanelle. How did you establish a strong thematic foundation? 2. How did you approach creating resolution and impact in the final three lines of your villanelle? 3. What insights did you gain from the process of crafting a villanelle?
Quiz: Assessment on the understanding of villanelles, the ABA rhyme scheme, and the emotional impact of repetition.
Day 6: Introduction to Ekphrastic Poetry - Lecture: - Definition and characteristics of ekphrastic poetry. - Explanation of the relationship between visual art and written expression.

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

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

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

Day 8: Analyzing Ekphrastic Poetry - Part 2 - Lecture: - Discussing modern variations and themes in ekphrastic poetry. - Exploring the diverse ways poets engage with visual art.

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

Day 9: Crafting Ekphrastic Poetry - Part 1 - Lecture: - Step-by-step guide on responding to visual art in writing. - Emphasis on capturing the essence and emotion of the artwork.

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

Day 10: Crafting Ekphrastic Poetry - Part 2 - Lecture: - Discussing the role of personal interpretation and creativity in ekphrastic poetry. - Exploring the potential for multiple ekphrastic responses to a single artwork.

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

Homework Assignment: - Craft an ekphrastic poem in response to a chosen piece of visual art.
Study Guide Questions: 1. Reflect on the challenges of responding to visual art with written expression in your ekphrastic poem. How did you capture the essence and emotion? 2. How did personal interpretation shape your creative process in crafting an ekphrastic poem? 3. What insights did you gain from the process of crafting an ekphrastic poem?
Quiz: Assessment on the understanding of ekphrastic poetry, the relationship between visual art and written expression, and the creative possibilities in responding to visual stimuli.

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

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

A Luc Bat is a traditional Vietnamese verse form that consists of alternating lines of six and eight syllables. The structure typically follows a pattern where each six-syllable line (short line) is followed by an eight-syllable line (long line). The final short line of the poem rhymes with the preceding long line, creating a rhyme scheme that continues throughout the poem.
The term "Luc Bat" translates to "six-eight" in English, reflecting the alternating line lengths. This form is often used for narrative poetry and has been employed in various Vietnamese literary works.
😅😅😅😅😅😅😅😅
In the pot, a symphony of flavors brews (6) Simmering broth, a dance that slowly stews (8) Carrots and onions, a colorful blend (6) Aromas rise, a savory trend (8)
Chunks of beef, tender and succulent (6) Herbs and spices, a fragrant testament (8) Potatoes absorb the savory delight (6) Stew's embrace, a comforting night (8)
With ladle in hand, we savor each spoon (6) A hearty concoction, a culinary tune (8) In the warmth of stew, memories accrue (6) A bowl of comfort, a homely view (8)