Rhyming poems about caves

I'm the same guy that posted that the Independent Order of Odd Fellows cemetery by Acker park was in disrepair and tried finding resources to help turn it around. Here's the link if anyone is interested. I'm still trying.
While walking through the cemetery I came across a gravestone marked "G.M. Robbins - The "End of the Trail" for "Yellowstone Pete" after 25,000 miles by mule train, may he rest in peace" and it got me interested in finding out more about the person. It turns out that Yellowstone Pete holds a place in Americana culture, and really did travel by mule train. There are several pictures linked here that have him, his wife, and mules. I'd love to hear more about him if anyone has more details.
Imgur album of photos I collected. The one that has "OH HOW WE HATE TO WORK" is a postcard that I ordered from Etsy while researching Yellowstone Pete.
There's even a poem about his only daughter.
Yellowstone Pete's Only Daughter was originally published in the book “Rhymes from a Round-up Camp, 1903, and written by Wallace David Coburn in 1894. The book of poetry has been published in 21 different editions. Coburn wrote the preface of the book in Malta, Montana.
Yes, this is the Milk River Valley,
And that's the old ranch that you see,
Where Yellowstone Pete lost his daughter,
The pride of the 7 U. P.
Was she pretty?-Well, stranger, your knowledge
Of these parts is shore incomplete,
When you ask such a comical question
'Bout the daughter of Yellowstone Pete.
Why, man! If the heavens were bluer,
And pansies were deeper in hue ,
They couldn't "size up" with her peepers,
Which shone like the spring poet's dew.
Her teeth were like snowdrops made whiter,
Her hair like the sealskin she wore,
Only softer and silkier and browner,
And she was true blue to the core.
Was old Yellowstone Pete's only daughter,
Whose voice was the envy of birds,
As she warbled at night to the long-horns,
Or when pointing her father's trail herds.
She was happy and good and as loving
As an angel could possibly be,
With always a smile and a greeting,
For tough old cow-punchers like me.
But what I was startin' to narrate,
Before you cut into the game,
Was a love affair she tangled up in,
And the tragical end of the same.
You see, she was borned in this country,
Her mother, a woman of gold,
Kissed her baby and lined out for Heaven,
When Beauty was seven days old.
The boys, you see, nicknamed her "Beauty,"
And each one, he fought for his turn
At feedin' her out of the bottle,
But dress her -- we never could learn.
So Pete he sent off for a nurse girl
And a teacher (not stunning for looks),
To give her the care of a woman,
And learn her the knowledge of books.
Thus Beauty grew up at the home ranch,
And learned how to shore ride and shoot,
Also play and sing on the pianer,
And to tie down a wild steer to boot.
And charming-- why, partner, the sunbeams
They scrapped for the sweets of her face,
And the alkali dust and the zephyrs
They jockeyed to get second place.
So was it a wonder young Dawson,
The son of a neighbor of Pete,
Lost his heart to this rose of the prairie,
And his love for her couldn't be beat?
“Buck"-- that was the handle he went by,
Had pre-empted some learnin' at school,
Was a handsome and big, manly feller,
And in a gun-fight was shore cool.
And there wasn't no man round the country,
Could ride with him down the Red Lane,
He could rope, fork, and ride with clean saddle
Any outlaw that ever wore mane.
They'd been youngsters and brought up together,
And Dawson was shorely dead game,
His father a wealthy old-timer,
All burdened with early-day fame.
Yes, Beauty loved "Buck," that was certain,
But a gal's ways are never foreseen,
And you can't tell what's liable to happen
Be-tween the betwixt and between.
So when a young feller from college
Comes a-romancin' like out this way,
Well, things looked a little promiscuous,
And there was the devil to pay.
Of course, he was welcomed by Beauty,
As the flowers are welcomed in May;
His college pin pleased her, I reckon,
And he had a girl-catchin' way.
But wait till I roll me a smoke, pard,
To filter my bad feelin's down,
Makes me wanter shore squander some powder
When I ponder on that sneakin' houn'.
Well, we was all out on the round-up,
When this college masher, you see,
Ran off with old Yellowstone's daughter,
The pride of the 7 U. P.
Now, old Pete he shore worshipped his daughter,
Loved her better than money or life,
For she was the pride of his old age--
The gift of his beautiful wife.
So he and young Dawson together,
With hearts like the lead in their guns,
Hit the trail of this college-bred villain,
And secured him before many suns.
The gal they found up in Butte City­-
He'd deserted her up there, you know;
But Dawson caught him near the border,
Where numerous cottonwoods grow.
And there, in the depths of the forest,
With the beasts and the birds lookin' on,
They fought to the death with their bowies,
Till the Eastern-bred feller was gone.
And Beauty-- she married "Buck" after,
But never seemed happy or gay,
Like the Beauty we'd worshipped from childhood,­-
She just drooped, shrunk, and withered away.
Yes, she paled like the flowers in summer,
And died with the leaves in the fall ;
And we buried her close to her mother,
While the sunshine went out of us all.
Poor old Pete, his hair white as the snowdrift,
And eyes that stare vacant and old,
Sits and sobs at the foot of two gravestones,
All alone, whether hot days or cold.
All alone? No, for Buck often joins him,
Grim and stern, with his face like a stone;
Never smiling nowdays like he used to,
When he tries he winds up with a moan.
No, the sun don't shine quite as it used to,
And the wind has a lonesomer sound,
As it sings soft and mournful in summer,
And howls when old winter comes round.
Here are the links to original photos:
https://www.gettyimages.com/detail/news-photo/yellowstone-pete-passes-through-yellowstone-pete-news-photo/161995779
https://www.worthpoint.com/worthopedia/rppc-goldie-marion-robbins-aka-1904877006
https://www.phillipscountynews.com/story/2016/09/14/news/yellowstone-petes-only-daughte4302.html
https://www.findagrave.com/memorial/52400720/goldie-marion-robbins/photo

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. There are plenty more examples of the burly and the brawn, the Viking and the warrior breaking out poetry and song. Other poems and sagas include the same thing, among the most famous of which is Egil’s Saga — Egil, a tough Viking warrior, would frequently break out into prose throughout the saga’s telling.
Beyond Vikings though lie other other examples from around the world. 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.

The Horus Heresy Book 18: Deliverance Lost by Gav Thorpe So last week, we got a lot of response and we would like to explain that we only hated it because we worked ourselves up talking and discussing it and coming to the realisation it didn't add up to a good book. I hope that clarifies things 😃
18 books in and we get our first full one from the point of view of the Raven Guard. The “Night Lords who got some therapy” have not been having a good time with Isstvan V and the massacring of their forces. We get to see what is required to try to rebuild a legion following the betrayal and then what happens when there is more betrayal.
This book builds upon the short story “The Face of Treachery”, also written by Gav Thorpe (go read our previous review Horus Heresy Book 16: Age of Darkness, an anthology : 40kLore (reddit.com) and give us an upvote hint hint) with the Alpha Legion setting up sleeper agents within the Raven Guard, which turns out to be highly useful as a new secret weapon is developed. Perhaps even more so than “Legion”, this story shows just how devious the Alpha Legion are.
‘What do you wish to ask of me, my son?’ ‘The Raven Guard verge on being a spent force, but I would rebuild them if I had the chance,’ said Corax. ‘Yet I cannot spare a warrior from the fighting to come, nor the time to raise up a new generation of the Legion. I seek your permission to launch attacks against the traitors, to mark our final passing in the glory of battle.’ ‘You wish to sacrifice your Legion?’ The Emperor seemed genuinely surprised. ‘In what cause?’ ‘I do not do it out of woe but necessity,’ explained Corax. ‘I must atone for the failure at Isstvan, for it will tear me apart as surely as my wounds did, if allowed to fester in my heart. Forgive me, but I cannot defend Terra, idly awaiting my fate to come to me.’ The Emperor did not reply for some time, his brow creased slightly with deep thought. Corax waited patiently, eyes fixed to the Emperor’s face. ‘I concur,’ the Master of Mankind said eventually. ‘It is in your nature to cry havoc and wreak the same upon your foes. Yet there is no need for sacrifice. I am reluctant, but you have my trust, Corvus. I will grant you a gift, a very precious gift.’
And another quote that we loved:
‘In Egypt's sandy silence, all alone, Stands a gigantic Leg, which far off throws The only shadow that the Desert knows: "I am great OZYMANDIAS," saith the stone, "The King of Kings; this mighty City shows The wonders of my hand". The City's gone, Nought but the Leg remaining to disclose The site of this forgotten Babylon. We wonder, and some Hunter may express Wonder like ours, when thro' the wilderness Where London stood, holding the Wolf in chase, He meets some fragments huge, and stops to guess What powerful but unrecorded race Once dwelt in that annihilated place.’
The primarch considered the words, but could not divine their meaning. His mentors on Lycaeus had taught him of poetry, of rhyme and metre and cadence, but he had never quite been able to see the appeal. Poems reminded him too much of the work-songs the prisoners had invented to keep up their spirits while they had hewn with pick and laser drill at the unforgiving stone of the penal colony. The last three lines left Corax feeling disquieted, though, as if the Emperor had suspected that his Imperium could not endure any more than the great empires of mankind's long history.”
Synopsis
“When I was a young boy My father took me into the city To see a marching band He said, "Son, when you grow up Would you be the saviour of the broken The beaten and the damned?" He said, "Will you defeat them? Your daemons, and all the non-believers The plans that they have made?" "Because one day, I'll leave you a phantom To lead you in the summer To join the black parade” Corvus Corax M31.1312
The Raven Guard are still barely alive on Isstvan V and are rescued by Commander Branne, who was guided by prophetic dreams. Beyond two ships sent back to Deliverance, his homeworld, Corax and his remaining forces head to Terra to see the Emperor. That’s good.
However, the Alpha Legion have surgically modified some of their Space Marines to look like slain Raven Guards and even implanted memories into them, to act as sleeper agents and pass on relevant intel. That’s bad.
Corax meets with Dorn and Malcador, and learns that the Emperor is a little busy currently and is unable to meet with him. Getting annoyed Corvus is met psychically by the Emperor, who gives him knowledge of how to access the remains of the ‘Primarch Project’.
With this knowledge Corax can restore his legion, possibly to even greater strength than before Isstvan.
But to get the knowledge, the Raven Guard have to get through a technological Labyrinth that is constantly changing and preventing them access (essentially a ‘Dungeons and Dragons’ moving maze). Corax uses his massive super duper primarch brain power and solves the labyrinth to keep it open. Inside is the ‘Primarch Project’, which can be used to make new Space Marines and quickly mass produce them.
The first of these new marines, dubbed the Raptors, are trained and deployed, striking a Word Bearer garrison hard. Estimates project the traitor legions will be outnumbered in months.
The Alpha Legion cannot allow this, so they rebalance the scales. A genetic poison, concocted from daemon blood, is introduced to the Raptors gene seed.
Soon the Raptors show rapid signs of mutation, morphing into hideous crowlike monsters. There is a certain irony that they resemble the same mutated Word Bearer possessed marines that struck them down on Isstvan. In a show of mercy or desperation, Corax allows the Raptors to remain. It is likely they will serve their legion until their use is no longer required. Omegon (the other primarch of the Alpha Legion) then attacks the gene seed project and chaos breaks out as the sleeper agents emerge and start slaughtering everything in their way. The mutated Raptors are released to fight back and prevent the Alpha Legionnaires escaping. Luckily, a Mechanicum super soldier has arrived to pick up the gene seed and I'm sure he is an upstanding member of society who can be fully trusted….
Corax is annoyed but determined. The remaining Alpha Legion agents are discovered and executed. It is time to strike against Horus and an unlucky unit of Emperor’s Children are wiped out by cunning lightning strikes and feints. The Raven Guard are victorious and plan to harry the Warmaster’s forces in their slow advance on Terra….
Review: Good ideas that do not always come together into a great plot. We genuinely really like this book but there are a few parts that just don’t work.
Labyrinth is an odd design choice; why have a primarch project that can only be solved by a primarch? It is very odd to seclude it in this particular way. Why not stick it on Mars in the Labyrinth? This is the second Labrinth the Emperor is keeping secrets in; why!? It doesn’t really achieve much by keeping it in there. Do we really think Pertarabo or Magnus would not be able to solve it if they turned up? Then they take the super secret project to a world currently experiencing a rebellion…Brilliant, just brilliant. Why not do the mass recruiting experiments on Terra until it is working? It might have made more sense to steal it and raise the stakes and betray Dorn and Malcador, but working for the greater good of the Imperium. It is a minor thing but it slows the book down considerably and you know Corvus is going to solve the puzzle, so there is no tension.
The attack on the Emperor's Children is such bolter porn. The attack on the Perfect Fortress is so not Slaaneshi; it's just a place that needs attacking by the Loyalists and is never mentioned again. Where are the weird palaces of pleasure and the civilians being turned into drugs?
Tinfoil Hat Time We do not have an answer to this one - but did the Alpha Legion send psychic messages to Deliverance? Because if not, why bother to have sleeper agents to a dead legion that was trapped on Istvaan V? Tinfoil Hat Time
I really enjoyed the scene where an Alpha Legion sleeper agent is nearly unmasked during combat training. He uses a move that is only known to the Alpha Legion, and is questioned by the other marines. “I saw someone use it on Isstvan” - he says and teaches the other Raven Guard. Internally he knows Alpha Legion marines will die due to his lapse in concentration.
I do fully sympathise with Omegon on throwing the whole Cabal plot out of an airlock.
Score: 7.5/10 - An solid good book with interesting ideas that just has a few issues from ideas that do not really make sense. We would recommend rereading this one for the cool bits and maybe breezing through the weirder bits. We are incredibly happy to meet Corax and have a more humanised primarch character who considers what they are doing and thinks about it.
Cover: The motion blur on Corvus is superb. He does look like a grim dark Beatle with that mop top unfortunately, but it does seem to suit him. Space marine is looking the right way finally. It might be set in the Perfect Fortress, but we are not 100% sure.
Heresy Watch: In the aftermath of Isstvan V, the Raven Guard have been decimated but Corvus has escaped and is determined to carry on harassing Horus with hit and run strikes. As a giant invisible birdman, he demonstrates he is more than capable of it. Interestingly, the Emperor’s Children stationed at the Perfect City seem to still be protecting the civilians there. The Alpha Legion are fully acting for themselves; they prevent the Raven Guard using the modified gene seed, give Horus flawed intel for it and end their relationship with the Cabal. They are acting for themselves. The Emperor is struggling to deal with the mess Magnus created and has to psychically communicate through Malcador (apparently 2 years before it happens. Let's not bring that up again).
Legion Watch/Number of Book(s):
Dark Angels: 4
: 2
Emperor’s Children: 7
Iron Warriors: 5
White Scars: 2
Space Wolves: 4
Imperial Fists: 8
Night Lords: 3
Blood Angels: 1
Iron Hands: 3
: 2
World Eaters: 9
Ultramarines: 5
Death Guard: 4
Thousand Sons: 5
Sons of Horus: 8
Word Bearers: 9
Salamanders: 2
Raven Guard: 4
Alpha Legion: 5
The Emperor: 7
Another entry for Rogal Dorn. Major characters from various traitor legions show up in the novel, inflating their count. Salamanders and Blood Angels are still forgotten about.
Tropes Watch: Are we the baddies?: 33
The Emperor has a ever shifting Labyrinth containing his secret projects, which has serious Bond villain vibes.
The Alpha Legion literally replace their faces with dead Raven Guard to become undercover agents.
It's definitely not gay: 19 “The Emperor reached out a hand and Corax felt hot fingers upon his brow. Energy flowed through the primarch, knitting his shattered bones, stemming his pouring blood, healing wounded muscles and organs. The primarch gasped, filled with love and adoration.” C’mon man, that's your Dad…. Given that description of injuries shouldnt Corax already be dead? Anyway?
How not to parent 101: 23
Oh Corvus. The poor guy is a little crazed in his quest to get the Raptor project working and it all goes horribly wrong. It was a big gamble and it did not pay off (due to Alpha Legion sabotage but still…)
The Emperor psychically meeting with Corax is an afterthought! And only when Corax gets mad. The son has literally returned home from hell and is confronted by evil stepmother Malcador who says that “dad is way too busy”. If The Emperor cared he would have put plans in place to send a message, help, or even just ask if Corax is ok?
Erebus!!!: 17 Besides the actual Erebus being here and worming his way as usual, Athithirtir is bloody annoying and tries to order Omegon to follow the Cabal. He fully deserves his fate, having alerted the Alpha Legion to what the Raven Guard were doing.
“Alpharius sat down, reluctantly accepting the Warmaster’s invitation, darting a warning look at Erebus just as the Word Bearer opened his mouth to speak. ‘Save your posturing for those that are swayed by it,’ said Alpharius. ‘Your change of loyalty proves the vacuity of your proselytising. You are privileged to stand in the presence of your betters, and should know not to speak until spoken to.’ The primarch enjoyed the contortions of anger that wracked the First Chaplain’s face, but Erebus heeded the warning and said nothing.” All it took was a primarch to finally shut him up.
Does this remind you of anything?: 32
Vicente Sixx (the Raven Guard Chief Apothecary) also doubles up as a singer and bass player in his spare time. His covert name is probably Dr Feelgood.
The super secure labyrinth is basically a one shot DnD dungeon.
Idiot Ball: 1 New trope this week after we keep noticing it. Why did the Alpha Legion sleeper agents stick around after the attack? They knew the Raven Guard knew there were agents, and they all get identified by their DNA and killed shortly thereafter. The Alpha Legion seem to be either amazingly smart and well prepared or absolute idiots. The Custodes have had it for weeks, so it's nice for someone else to have it. There is an argument for someone holding the Idiot Book for every book and we may list them all next week....

Growing up my grandmother always had cassette and VHS tapes that had little children’s poems/nursery rhymes/songs on them. They weren’t mainstream ones either, like Mother Goose or classic Fairy Tales. I remember one specifically that I used to know all of the words to. It was about a young child finding a caterpillar one day and when looking for it later realizes that it’s gone. They tell their mother and then they learn it’s become a butterfly. What I can remember loosely goes a little something like this: “I saw a fuzzy caterpillar crawling on the ground…..it was nowhere to be found…. 

….I asked my mom why…she said he became a great big butterfly!” (Please keep in mind I was about 4 singing these things so this is a very vague memory of the words)
The whole thing possibly is in an AB rhyme scheme and may have had a little tune to go along with it. My grandmother is very, very old now and can’t remember much of it either. We would really like to know what the name of the poem or even what media it may have been published in.

 Any ideas? Thank you! 

Hello! Ive been looking for this book for forever and the longer it goes the more I have forgotten!
What I remember: The book is a fantasy novel, I believe about a young girl going to a boarding school for magic? I remember it having a dark cover and the prologue was a poem, I think it was the school song and potentially had mention of a siren or counting to 13.
Some of this could be books mixed up with each other but the one thing I remember distinctly is the poem on the inner cover page being a rhyme and very witchy sounding.
I read this book in primary school when I was around 11ish (im 28 now) and it was in my school library. It was difficult to read, but it was definitely for the older primary school kids (grade 5-6) and was a novel I believe. It was also a paperback.
If you can help me find it, it would ease my mind so much! Thanks in advance!

One reason why people might resist a change toward using genderless language and genderless practices involves the difficulty of change itself. While genderless alternatives can make many tasks so much easier (such as using “they” variants instead of “he or she” variants for a hypothetical person), breaking the gendered habits ingrained in so many aspects of daily life might seem daunting for people. This is where media and literature come in.
In a world where gender’s pervasiveness might seem inescapable, media and literature can essentially “lead by example”, demonstrating cohesive stories, worlds, and people without gender. When more and more people are exposed to this kind of media, they will no longer have to search for genderless terminology or other information on their own time; instead, they can learn by osmosis, and this exposure will help them develop the skills and awareness to navigate and influence the world without any gender-based biases.

Here are some ideas for genderless media to develop:

Genderless Stories — Authors, poets, playwrights, and fan-fiction writers alike can incorporate gender-neutral names, pronouns, and descriptions into their stories. This enables character development and plot to be guided by more unique elements of the story rather than gendered stereotypes or plot devices. Previously gendered traits can also be subtly combined in an androgynous mixture, and this subversion of norms will draw audience attention as something novel and iconic.
Genderless Music — Songs, musicals, and operas can benefit greatly from a genderless lens. First of all, many gendered words (especially pronouns) are often extraneous to the message of a song or poem, acting as filler words or easy rhymes, which detract from the meaning or significance of the art. In an artform so sensitive to timing, it becomes essential that every word serves a purpose, and most gendered words only serve a gendered purpose, or they can be easily replaced by a genderless alternative. Furthermore, people singing genderless songs will not have to change the words to match their identity, so more people will be able to participate in the art without qualms.
Genderless Films and Videos — Whether you’re a content creator, photographer, filmmaker, or hobbyist, you can use gender-neutral language and gender-blind filming in your videos. Consider the relative positioning of the camera and subjects through a lens of objectivity, and try to avoid gendered influences on the focus of screen-time and audio mixing. This can be done through an emphasis on purposefulness, as gender should not be the decisive factor in the message of the art nor its development.
Genderless Video Games / Video Game Mods — Video games and other games provide an interactive experience that many people seek out to challenge their skills or relax. Making games or altering them to be genderless gives people an escape, not just from the rigors of the day but also from gender. Providing genderless options in character creation, interaction, and leveling allows people to navigate the world of gaming in a more genuine and accessible way without being stressed by these divisions.
Not only can genderless media and literature encourage more people to receive and realize a genderless world, but it can also improve the quality of writing and storytelling. Quite a few artists nowadays portray or design characters according to worn-out gendered tropes, and this diminishes the complexity and uniqueness of the characters themselves while also contributing to the biased behaviors of people exposed to these caricatures. This cheapening of characters and plots can be seen in the personalities, narratives, and camera angles used to portray characters of different genders.
By presenting media, and literature in a gender-neutral way, biases hidden by gendered justifications can be uncovered, art can become more significant and unique, and people can be enabled to realize a genderless world.
Feel free to comment here about genderfree, genderless, and gender-neutral projects you’ve come across or worked on. You can also make your own post under the Resources or Product Promotion flairs respectively.

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. 

A ten-syllable multi-verse text related to the second decade of the Hijri was discovered near the city of Sulaimani in Kurdistan (Cave of the Thousand Men) by a young Englishman. Its weight is ten syllables in each verse and five syllables after it. It has endowment or peace... this weight is common among Kurds and famous poets such as (Saidy), (Molla Tharyan) and (Ahmed Bagh Kumasi) and... as well as the modern poets and teachers of Kurdistan, all poems and songs and sonnets They compose and sing themselves with the same ten-syllable weight... The Kurdish piece (Hormozgan) is said in the old Kurdish-Hawrami language and is important and worthy of attention among the nobles and scholars of Kurdistan. These poems also have rhymes, but in a conjugative way, meaning that both verses or, as it is called today, both stanzas have the same type of rhyme, and all the poems written by the Kurds of this weight are the same......
The pome :
{ hormazgān rimān ātirān kužān wē-šān šārdinā gawra gawrakān zōrkari arab kirdinā xāpūr gunā u pāla hatā šārazūrzan (žan) u kanīkān u dīr (dīl) ba-šinā mērd āzā tilī wa rūy i hūinā rawušt zarduštra mānawa bē-das bazīkā nē-kā hormaz wa hūickas. }
Translation :
{ The places of Ahura Mazdā were destroyed, the fires extinguished;They hidthemselves, the great of the great.The bully Arabs ruinedThe villages and towns as far as Šahrazūr. Women and girls went into exile, The noble(free)menweltered in blood.The religion of Zaraθuštra was left forsaken; (As if) Ahura Mazdā does not have pity to anyone. }
As you can see here, the Pahlavi language is the same as the current Kurdish language with a very slight change. This confirms that the Pahlavi language is an ancient Kurdish language, and this poetry is written in the ancient Kurdish language (Pahlavi). There are several people from our neighbors who claim that the Pahlavi language belongs to them, but at the same time they communicate with each other using one of the Arabic dialects mixed with Kurdish, Hindi, Turkish and French!! As a Kurdish woman, I can fully understand this poetry without even looking at the translation. This text is clearly written in the southern Kurdish dialect (Xwarîn), and is very close to the Sorani and Hawrami dialects of the Kurdish language. I challenge those who claim that the Pahlavi language belongs to them, to try to understand only a small part of this poetry without reading the translation! For your information, “Pahlavi and the Pahlavi language” are the same Fayli Kurds who live in Iraq and southern Kurdistan and speak the Fayli dialect aka "Pahlavi", and this confirms that "Pahlavi" is the ancient form of the Kurdish language.

Yes. ISIS does exactly what Muhammad did in the 7th century. And it also adopts a lot of what the subsequent “rightly guided” caliphs did. Because after all, ISIS is a Salafi organization (Salaf- as in “Al-Salaf Al-Saleh” = the rightly guided predecessors - referring to the four “rightly guided” caliphs following Muhammad).
Long answer:
Let’s take a look first what ISIS is doing. If we can agree what these “atrocities” are, then we can look further and dig deeper whether we can find something similar in Islamic scripture and history.
So, here’s what ISIS does:
BEHEADING OF PRISONERS
Scriptural base:
Qur’an 8:12- “I will instill terror into the hearts of the unbelievers: smite ye above their necks and smite all their finger-tips off.”
Qur’an 47:4- “Therefore, when ye meet the Unbelievers (in fight), strike off their heads; at length; then when you have made wide Slaughter among them, carefully tie up the remaining captives”: thereafter (is the time for) either generosity or ransom: Until the war lays down its burdens.”
What Muhammad did:
Then the Messenger of Allah commanded that ditches should be dug, so they were dug in the earth, and they were brought tied by their shoulders, and were beheaded. There were between seven hundred and eight hundred of them. The children who had not yet reached adolescence and the women were taken prisoner, and their wealth was seized.
Tafsir Ibn Kathir - The Campaign against Banu Qurayzah
Narrated Aisha . . . No woman of Banu [tribe] Qurayzah was killed except one. She was with me, talking and laughing on her back and belly (extremely), while the Apostle of Allah . . . was killing her people with the swords. Suddenly a man called her name: Where is so-and-so? . . . I asked: What is the matter with you? She said: I did a new act. [Aisha] said: The man took her and beheaded her. [Aisha] said: I will not forget that she was laughing extremely although she knew that she would be killed. (Abu Dawud)
TAKING FEMALE SEX-SLAVES
Scriptural base:
Qur’an - 4:24 - "And all married women are forbidden unto you save those captives whom your right hand possess. It is a decree of Allah for you.
What Muhammad did:
Sunan Abu Dawud, Vol. 2, # 2150:
Abu Said al-Khudri said: "The apostle of Allah sent a military expedition to Awtas on the occasion of the battle of Hunain. They met their enemy and fought with them. They defeated them and took them captives. Some of the Companions of the apostle of Allah were reluctant to have intercourse with the female captives in the presence of their husbands who were unbelievers. So Allah, the Exalted, sent down the Quranic verse, "And all married women (are forbidden) unto you save those (captives) whom your right hands possess". That is to say, they are lawful for them when they complete their waiting period." (See Qur’an 4:24 above)
Sahih Bukhari Vol.3 #432
Narrated Abu Said Al-Khudri that while he was sitting with Allah's messenger we said, "Oh Allah's messenger, we got female captives as our booty, and we are interested in their prices, what is your opinion about coitus interruptus?" The prophet said, "Do you really do that? It is better for you not to do it. No soul that which Allah has destined to exist, but will surely come into existence."
Sahih Muslim, Vol.2, #3371
Abu Sirma said to Abu Said al Khudri: "O Abu Said, did you hear Allah's messenger mentioning about al-azl (coitus interruptus)?" He said, "Yes", and added: "We went out with Allah's messenger on the expedition to the Mustaliq and took captive some excellent Arab women; and we desired them for we were suffering from the absence of our wives, (but at the same time) we also desired ransom for them. So we decided to have sexual intercourse with them but by observing azl" (withdrawing the male sexual organ before emission of semen to avoid conception). But we said: "We are doing an act whereas Allah's messenger is amongst us; why not ask him?" So we asked Allah's messenger and he said: "It does not matter if you do not do it, for every soul that is to be born up to the Day of Resurrection will be born".
Kitab al-Tabaqat al-Kabir, page 151
"He [the Lord of Alexandria] presented to the prophet Mariyah, her sister Sirin, a donkey and a mule which was white....The apostle of Allah liked Mariyah who was of white complexion and curly hair and pretty.... Then he cohabited with Mariyah as a handmaid and sent her to his property which he had acquired from Banu al-Nadir."
Tabari's History, volume 39, page 194
"He (Muhammad) used to visit her (Mariyam) there and ordered her to veil herself, [but] he had intercourse with her by virtue of her being his property."
THROWING DOWN HOMOSEXUALS FROM ROOFS AND STONING THEM AFTERWARDS
Scriptural base:
Qur'an 4:16 If two men among you are guilty of lewdness, punish them both. If they repent and amend, Leave them alone; for Allah is Oft-returning, Most Merciful.
Sunan Abu Dawud 38:4447 Narated By Abdullah ibn Abbas : The Prophet (peace be upon him) said: If you find anyone doing as Lot's people did, kill the one who does it, and the one to whom it is done.
What Muhammad and companions did:
Mishkat, vol. 1, p. 765, Prescribed Punishments
Ibn Abbas and Abu Huraira reported God's messenger as saying, 'Accursed is he who does what Lot's people did.' In a version...on the authority of Ibn Abbas it says that Ali [Muhammad's cousin and son-in-law] had two people “burned” and that Abu Bakr [Muhammad's chief companion] had a wall thrown down on them.
Modern Exegesis:
Sheikh Muhammed Salih Al-Munajjid, Islam Q&A, Fatwa No. 5177
Abu Bakr al-Siddeeq judged in accordance with this, and he wrote instructions to this effect to Khaalid, after consulting with the Sahaabah. ‘Ali was the strictest of them with regard to that. Ibn al-Qasaar and our shaykh said: the Sahaabah agreed that [the person who does homosexual acts] should be killed, but they differed as to how he should be killed. Abu Bakr al-Siddeeq said that he should be thrown down from a cliff. ‘Ali (may Allaah be pleased with him) said that a wall should be made to collapse on him. Ibn ‘Abbaas said, they should be killed by stoning. This shows that there was consensus among them that [the person who does homosexual acts] should be killed, but they differed as to how he should be executed. This is similar to the ruling of the Prophet (peace and blessings of Allaah be upon him) concerning the person who has intercourse with a woman who is his mahram [incest], because in both cases intercourse is not permitted under any circumstances. Hence the connection was made in the hadeeth of Ibn ‘Abbaas (may Allaah be pleased with him) who reported that the Prophet (peace and blessings of Allaah be upon him) said, “Whoever you find doing the deed of the people of Loot, kill them.” And it was also reported that he (peace and blessings of Allaah be upon him) said: “Whoever has intercourse with a woman who is his mahram, kill him.” And according to another hadeeth with the same isnaad, “Whoever has intercourse with an animal, kill him and kill the animal with him.” (Narrated by Ahmad, 2420; Abu Dawood, 4464; al-Tirmidhi, 1454; al-Haakim, 4/355).
Imam Sirajudeen Bakrin, Nigerian Tribune, December 30, 2011
However, there is a divergence of opinions on the methodology to be used in executing the punishment. While some scholars such as Abu bakr [the first Rightly-Guided Caliph] and Ali [Muhammad's son-in-law and the fourth Rightly-Guided Caliph ] were of the view that such a person should be beheaded and set on fire thereafter, Umar [the second Rightly-Guided Caliph] and Uthman [the third Rightly-Guided Caliph] thought the wall should be fell on him. To Ibn Abbas [Muhammad's cousin], he should be taken to the tallest building in the town, thrown upside down while some men stand on the ground waiting to meet him with stone in replication of the destruction done to the people of Lut (Lot) by Allah.
STONING OF ADULTERERS
Scriptural base & what Muhammad did:
Sahih Bukhari (6:60:79) - Two people guilty of illegal intercourse are brought to Muhammad, who orders them both stoned to death.
Sahih Muslim (17:4192) - "in case of married (persons) there is (a punishment) of one hundred lashes and then stoning (to death). And in case of unmarried persons, (the punishment) is one hundred lashes and exile for one year"
Sahih Muslim (17:4196) - A married man confesses to adultery. Muhammad orders him planted in the ground and pelted with stones. According to the passage, the first several stones caused such pain that he tried to escape and had to be dragged back.
Sahih Muslim (17:4206) - A woman who became pregnant confesses to Muhammad that she is guilty of adultery. Muhammad allows her to have the child, then has her stoned.
The description is graphic: "Khalid b Walid came forward with a stone which he flung at her head and there spurted blood on the face of Khalid and so he abused her."
Ibn Ishaq (970)

• "The adulterer must be stoned." These words were a part of Muhammad's farewell address to his people on the occasion of his final pilgrimage to Mecca.

ASSASSINATION OF POLITICAL OPPONENTS & “SLANDERERS OF ISLAM”
What Muhammad did:
Bukhari vol.3 book 45 ch.3 no.687 p.415.
(687) Narrated Jabir bin 'Abdullah: Allah's Apostle said, 'Who would kill Ka'b bin Al-Ashraf as he has harmed Allah and His Apostle? Muhammad bin Maslama (got up and) said, 'I will kill him.' So, Muhammad bin Maslama went to Ka'b and said, 'I want a loan of one or two Wasqs of foodgrains.'" After dickering over what to hold as mortgage, they agreed that Muhammad bin Maslama would mortgage his weapons. So he promised him that he would come with his weapons next time."
Source: Ibn Ishaq, pp. 675-76 / 995-96.
Asma was a poetess who belonged to a tribe of Medinan pagans, and whose husband was named Yazid b. Zayd. She composed a poem blaming the Medinan pagans for obeying a stranger (Muhammad) and for not taking the initiative to attack him by surprise. When the Allah-inspired prophet heard what she had said, he asked, "Who will rid me of Marwan’s daughter?" A member of her husband’s tribe volunteered and crept into her house that night. She had five children, and the youngest was sleeping at her breast. The assassin gently removed the child, drew his sword, and plunged it into her, killing her in her sleep.
The following morning, the assassin defied anyone to take revenge. No one took him up on his challenge, not even her husband. In fact, Islam became powerful among his tribe. Previously, some members who had kept their conversion secret now became Muslims openly, "because they saw the power of Islam," conjectures Ibn Ishaq.
Al-Tabari vol.9 p.167:
Al-Aswad was assassinated because he claimed that he was a prophet, after coming out of the Khubban cave. He was killed a day or two before Mohammed's death.
Al-Tabari vol.9 p.121
"The Messenger of God called me and said, 'It has reached me that Khalid b. Sufyan b. Nubayh al-Hudhali is gathering a force to attack me. He is either in Nakhlah or 'Uranah, so go to him and kill him.'"
Abu Dawud vol.1 no.1244 p.328
"He (the prophet) said, :Go and kill him. I saw him when the time of the afternoon prayer had come. I said : I am afraid if a fight takes place between me and him (Khalid b. Sufyan), that might delay the prayer. I proceeded walking towards him while I was praying by making a sign. When I reached near him, he said to me : Who are you? I replied : A man from the Arabs ; it came to me that you were gathering (any[sp] army) for this man (i.e. the Prophet). Hence I came to you in connection with this matter. ... I then walked along with him for a while; when it became convenient for me, I dominated him with my sword until he became cold (dead)."
Al-Tabari vol.8 p.122
According to Ibn Ishaq: Kinanah b. al-Rabi' b. Abi al-Huqayq who had the treasure of the Banu al-Nadir, was brought to the Messenger of God, who questioned him, but he denied knowing where it [the treasure] was. Then the Messenger of God was brought a Jew who said to him, "I have seen Kinanah walk around this ruin every morning." The Messenger of God said to Kinanah: "What do you say? If we find it in your possession, I will kill you. "All right he answered. The Messenger of God commanded that the ruin should be dug up, and some of the treasure was extracted from it. Then he asked him for the rest of it. Kinanah refused to surrender it, so the Messenger of God gave orders concerning him to al-Zubayr b. al-'Awwam, saying, "Torture him until you root out what he has." Al-Zubayr kept twirling his firestick in his breast until Kinanah almost expired [died]; then the Messenger of God gave him to Muhammad b. Maslamah, who beheaded him to avenge his brother Mahmud b. Maslamah."
The list goes on.
CONCLUSIONS:
All the included sources are Muslim sources. A lot of scholars are using this material to come up with Fatwas and also material for their sermons.
If you have read through my brief write-up, you can see that what ISIS is doing today is almost an exact carbon copy of what Muhammad and his warband were doing back then.
Therefore I urge you all to study all the facts about Muhammad and Islam first, before defending the narrative that ISIS is not Islamic.

I broke up with my on again off again boyfriend since middle school nearly three years ago. He and I were best friends/dating for 12+ years. We were each others first kiss in 6th grade, and we loved each other all the way up until our senior year of college. We used write each other poems, he’d get me build a bears with his voice in it, we’d write each other notes in the sand in the beach, he bought me Louis Vuitton and Gucci when we were in college, and so much other little things that don’t really matter, but still mean a lot to me to this day. Until the last year or so, our relationship was literally like a movie. I could talk about it for hours. I miss those days. I think of them fondly.
I won’t go into major details about our break up, but just know it was one of those breakups where you feel forced to break up with them because they completely changed/started to treat you different. Let’s pretend his name is Tommy. I didn’t want to break up with Tommy. I ADORED Tommy. Like, literally would sometimes cry while thinking of him because of how much love and care I had in my heart for him. We had been in a long distance relationship, close distance, everything in between. His family loved me, and mine loved him. My family toook him to Key West, Disney World, the beach, and so much more. Tommy was like my parents son. When we broke up, I completely lost myself. I would give up my body to guys just so they could spend the night so I could have somebody to sleep beside. Writing this is bringing me close to tears, because I truly regret doing that. I obviously was lost, until I meet this great guy who I dated for about a year. I ended up breaking up with him too because I resented him for making me unfollow Tommy and his family on social media, talking badly about him, etc.
About 6 months after I broke up with Tommy, I found out he had been telling people I “emotionally cheated on him” which is not true whatsoever. He made me look like the “bad guy” (probably because he was hurt) and all of our mutual friends from childhood, boys and girls, no longer speak to me. Meanwhile, I had only been speaking highly of him and wanted to still be friends, I even considered our break up a “break” at this point. So, naturally, to hear such a blatant and nasty lie was very hurtful. To think he was telling others I cheated on him when all I wanted to do was love him unconditionally was not a good feeling. I shrugged this off ike I didnt care, but I do. Now, I believe the lie and believe maybe I am the bad guy for breaking up with him. Also during this time, I found out Tommy was diagnosed with heart failure at the age of 22. We are both 24 now. If he does not get a transplant soon, he will die. This has been confirmed by a FB post from his mother. When I found out, I once again told myself I didn’t care. A few months later, I had a total breakdown one evening and told my parents I can’t handle it. Against my best judgement and normal character, I caved and texted him for the first time since we broke up. I said something along the lines of “Hey Tommy, this is xxxx. I wanted to lyk you are in my prayers and of course my family. If you ever need anything at all we are all here for you”. Send. No reply. Frantically a few days later, again against my character, I texted him again. I said something like “If you want me to leave you alone I will please just let me know what you want me to do”. Send. No reply. Damn, thats still gut wrenching to think about.
Here two years after his diagnosis, and three years after our breakup, I would be kidding myself if I didn’t admit that I dream of him every night, think of him at least once a day, and regret ever leaving him even though I know it was the right thing to do. Sometimes I wonder if he never got the diagnosis, if I would be over our break up now. The anxiety I feel daily about the fear of him dying is nearly unbearable. I have a new boyfriend now whom I feel like I neglect because of this entire situation, and I truly don’t know how to fix it. Every time I get a memory on social media, it’s of him since we were together for so long. All my major memories in my life (firsts, proms, graduations, vacations, etc) are with/of him. I feel like I can’t escape it. I’ve tried to forget and that just seems to have made things worse because I feel like I never gave myself time to heal. At this point, I feel like I should be healed. I am starting to get scared that this is going to affect me long term, and that I will never get over it. Some days it bothers me a lot (like today, to which I had to write for advice to strangers on the internet) and other days I rarely think of it at all. I have a family history of mental illness, and I every so often think of suicide even though I know realistically I’d never do it. I’m currently taking Buspar after being on Prozac for 15+ years. Advice is appreciated. I sincerely thank you if you read this far.
TLDR- I broke up with my first love 3 years ago and still think of him nearly daily. I think part of this is due to the fact that he is now unexpectedly dying from heat failure, and I live in constant fear that he will pass any day now. Please help with tips on how to get over this/how to move forward.

EXT. CAMELOT - CASTLE DAY
(The castle of Camelot stands over grassy hills and crystal clear rolling rivers and seas. Gray clouds cover the sky and hundreds of soldiers and knights can be seen riding toward the castle. Text appears on the screen reading “CAMELOT” and then “CENTURIES AGO”.)
INT. CASTLE - THRONE ROOM - DAY
(MORGANA LE FAY (Centuries-Old), a beautiful middle aged appearing woman with sharp features and long flowing black hair, sits on the throne and holds Excalibur, the Crown of Camelot sits upon her head. Knights and soldiers march in linear motions through the hall. DEWIN (30s), a scruffily charming magician, enters in handcuffs, with guards behind him. Dewin marches up and presents himself to Morgana. Everyone in the room halts.)
MORGANA: State your name.
DEWIN: You know my name, Morgana.
MORGANA: State your name.
DEWIN: Dewinson of Merlin.
MORGANA: You are being tried with treason and conspiracy against the crown. Do you plead guilty to these crimes?
DEWIN: That depends.
MORGANA: On what?
DEWIN: Who you consider the crown to be.
(Dewin slips his handcuffs off and as he does three Blue Jays come flying out of his sleeve and begin to fly around the room.)
MORGANA: Enough foolishness. I find you guilty of the accusations placed upon you.
DEWIN: Then kill me.
MORGANA: Hm?
DEWIN: Let’s skip past the chatter and get my head on a platter. You see what I did there? Chatter platter.
MORGANA: Silence! Death is far too good for you.
DEWIN: Do your worst, no matter what Camelot will fall.
MORGANA: Is that a threat?
DEWIN: A threat would be something I plan on doing to you myself, the fall of Camelot, well that will be purely your doing.
(Morgana gets off the throne and draws a glowing circle around Dewin with Excalibur, as she does so Dewin lets out a small laugh.)
DEWIN: Binding me? My imprisonment shall not halter the winds of time.
MORGANA: I banish you.
DEWIN: What?
MORGANA: From this plane of time and place I banish you.
DEWIN: Not even you have the power to do that. Banishment spells have been hidden away for ages.
MORGANA: Hidden away in scrolls buried in this very castle. Dilflannu o’r awyren hon.
DEWIN: No.
MORGANA: Dilflannu o’r amser hwn.
DEWIN: No, no, stop.
MORGANA: Dilflannu o’r meddwl. Rwy’n eich gwahardd!
(Morgana’s eyes turn purple and electricity sparks all around Dewin and seems to be sucking the energy out of him.)
EXT. LONDON - FOREST - DAY
(A plain and put together autumnal forest. Text appears over the screen reading “LONDON” and then “EIGHTEEN EIGHTY FIVE”. Electricity sparks and Dewin appears in the forest dazed and confused. He is covered in scars and almost immediately passes out face forward into the ground.)
EXT. LONDON - FOREST - DAY
(As night begins to dawn Dewin is still incapacitated. A carriage led by a horse named, Sally, comes through the forest and halts at Dewin. ALDEN SMITH (Early 40s), a plump and posh man with a defining bushy mustache, cautiously hops out of the carriage. Alden looks around for a moment before spotting Dewin. Alden approaches Dewin and checks his pulse through his arm. Alden’s eyes linger on Dewin for a moment before looking up.)
ALDEN: Hello!? Is anybody there!?
(Alden waits for a moment before looking back down at Dewin. Alden sighs and then lifts Dewin up and into the carriage before hopping in himself. Alden pulls on the horse’s reins and it begins to march forward.)
EXT. LONDON - WICING DRIVE - NIGHT
(Alden drives his carriage down Wicing Drive and parks in front of a townhome, Twenty Six Wicing Drive. Alden gets out of the carriage, carrying Dewin, and walks up the steps. MINERVA SMITH (Early 40s), a stern yet radiant woman, opens the door in shock.)
ALDEN: It’s a long story.
INT. TWENTY SIX WICING DRIVE - LIVING ROOM - NIGHT
(A stereotypical Victorian living room made primarily of oak and illuminated by two small oil lamps and a burning fireplace. Dewin is still incapacitated and lies on the table covered in bandages, Alden and Minerva hover over him. Bottles of ointment sit next to Dewin.)
MINERVA: What were you doing in the woods?
ALDEN: It’s the fastest cut home.
MINERVA: And you just-
(Minerva is interrupted by Dewin’s sighing as he wakes up.)
DEWIN: Ah! Where am I? Who are you?
MINERVA: My name is Minnie, and this is my husband, Alden.
DEWIN: What’s happening?
ALDEN: I found you all bruised in the middle of the forest. Do you know what happened to you?
DEWIN: Morgana le Fay banished me.
(Alden and Minerva glance at each other.)
MINERVA: Oh lord, I think you're a bit confused.
DEWIN: I am not confused. I am Dewin, son of Merlin. Now if you don’t mind, I’d like to ask if you could take me to a sage or healer?
MINERVA: Of course, Alden can take you tomorrow morning, but for the night you can stay here.
DEWIN: Why, thank you.
ALDEN: Minnie, may I speak to you in the other room?
MINERVA: Of course.
(Alden and Minerva step into the kitchen.)
INT. TWENTY SIX WICING DRIVE - KITCHEN - NIGHT
ALDEN: We can not keep this man in our home. He is mentally insane.
MINERVA: Which means we must watch over him.
ALDEN: I am looking out for our safety.
MINERVA: And where would we take him?
ALDEN: I don’t know. He is as mad as the Doeth man!
MINERVA: Then that’s where we’ll take him.
ALDEN: Stick to nuts together?
MINERVA: The man has some common sense and he’s very compassionate.
ALDEN: Perfect.
EXT. LONDON - ALDRICH’S HOUSE - NIGHT
(Alden and Minerva Dewin sit in their carriage with Dewin outside of a small house that is slightly separated from the other homes on the street.)
DEWIN: So this is the home of a healer?
ALDEN: According to him. I will go to the door alone, I do not want to scare him.
(Alden gets out of the carriage and starts heading towards the home.)
MINERVA: So you really do believe that you are the son of Merlin.
DEWIN: I know who my father was. Why is this such a puzzle for you and your husband to wrap your heads around?
MINERVA: Why I’ve only heard stories of Camelot, myths of ancient pasts.
DEWIN: So Morgana not only shifted my place but also the time.
(Alden knocks on the home's door and is greeted by ALDRICH DOETH (Hundreds Of Years Old), an older looking man with crystals strapped around his neck.)
ALDRICH: Doctor Smith, have they finally sent someone to take me away to a nuthouse?
ALDEN: On the exact contrary, I’ve found a wounded man who claims to have been sent here by Morgana le Fay.
ALDRICH: That’s what the shift was!
ALDEN: What? You know what it doesn’t matter, as long as you’re willing to take this man.
ALDRICH: Yes, yes, bring him to me.
ALDEN: Minerva, send him up!
(Dewin comes up to the door.)
DEWIN: Hello.
ALDRICH: My goodness, the energy pulsates off of you.
DEWIN (TO ALDEN): This is the healer?
ALDEN: Yes. Now if you two don’t mind I think I will be headed back on my way.
ALDRICH: Are you sure, Doctor? It’s getting rather late, you and your wife are welcome to stay here.
ALDEN: Thank you, but there’s no need.
(Rain starts pouring out of the sky out of nowhere and thunder and lighting begin.)
ALDRICH: What about now, Doctor?
ALDEN: Minnie! We’re staying here tonight!
INT. ALDRICH’S HOUSE - LIVING SPACE - DAY
(A cluttered mess of books, candles, and potions. Aldrich, Alden, Minerva, and Dewin sit on Aldrich’s circular array of couches and chairs.)
ALDRICH: Before we dive in I suggest you go wash off, Dewin. The washroom is that small one to your left.
DEWIN: Thank you, Aldrich.
(Dewin gets up and goes into the washroom.)
ALDRICH: I know what you two think of me, the neighborhood’s resident crazy.
MINERVA: Not at all, Mister Doeth.
ALDRICH: Don’t lie, Minerva, our actions all come back to bite us.
ALDEN: So we think you're mental, what of it?
ALDRICH: There are dark forces amongst us, Mister and Misses Smith. I believe that Dewin is here to save us.
ALDEN: I appreciate you letting us stay here, but I think it’s time we leave.
ALDRICH: I will change this storm into an earthquake to keep you here if I must.
ALDEN: Come on, Minnie.
(Alden and Minerva get up and go to leave when the whole room begins to shake.)
ALDEN: What’s happening!?
ALDRICH: I warned you.
(Aldrich makes silencing symbols with his hands and the storm and the shaking stops.)
ALDRICH: Now will you listen to me?
(Alden and Minerva both sit back down.)
ALDEN: What are you?
AlDRICH: A magician, a clairvoyant, a healer, I am all of those things and more.
ALDEN: Why do you want us here so badly?
ALDRICH: I don’t think it’s a coincidence that you are the one who found Dewin, Doctor Smith. He needs a guide in this vast new world. Prophecy states that when the second coming of the Camelot war comes, the savior will have a protector.
ALDEN: And why me?
ALDRICH: There are questions that only we can answer ourselves.
(Dewin comes out of the washroom and sits back down.)
ALDRICH: Dewin, please tell me exactly how you arrived here.
DEWIN: Morgana le Fay used an ancient banishing spell on me.
ALDRICH: The fall of Camelot.
(Suddenly a wind sweeps through the room that blows out all the candles.)
MINERVA: Mister Doeth, are you doing this?
ALDRICH: No.
(A match is lit in the center of the room to reveal GWENWYN LIGHTWOOD (Centuries-Old), a green draconic humanoid woman in black robes and a hood.)
GWENWYN: Aldrich.
ALDRICH: Lady Lightwood.
GWENWYN: I’ve tracked a shift in magic to your home.
ALDRICH: It is this boy, he was banished here from Camelot.
(Gwenwyn goes up to Dewin and takes her hood off to reveal her scaly appearance. Alden gasps in disbelief. Gwenwyn runs her finger down Dewin’s cheek.)
GWENWYN (TO ALDRICH): Hm. I presume you wish to let him roam freely?
ALDRICH: With guidance, yes.
GWENWYN: If one thing goes wrong you will be punished.
ALDRICH: I know.
DEWIN (TO GWENWYN): Who are you?
GWENWYN: The last of the dragons. Just as Aldrich is the last descendent of the Family Merlin.
DEWIN (TO ALDRICH): You're a descendant of my father?
ALDRICH: Of his sister, I have many of her poems and spell tombs still intact here.
GWENWYN: Magic is rare these days, endangered, most people don’t even know it exists. So are we under agreement on the boy, Aldrich?
ALDRICH: Yes, but something is still troubling. If you and I both felt Dewin’s presence then-
GWENWYN: Benjamin did too.
DEWIN: Who is Benjamin?
ALDRICH: A descendant of Morgana who wishes to rule the earth under her ideals.
GWENWYN: A very very dangerous man who will certainly kill me if he finds me here.
(Gwenwyn’s match extinguishes and after a moment the candles all reignite but Gwenwyn is gone.)
ALDEN: By Jove!
ALDRICH: So do you all accept this challenge?
DEWIN: What challenge?
ALDRICH: Defeating Benjamin Fayle.
DEWIN: Of course!
ALDEN: Absolutely not.
ALDRICH: Are you that repulsed by compassion?
ALDEN: I can’t risk Minerva of I’s life on what could all be me hallucinating.
ALDRICH: You're risking the world for a craven excuse.
ALDEN: Goodbye.
(Alden gets up.)
ALDEN: Let’s leave, Minnie.
MINERVA: Thank you for your hospitality, Mister Doeth, and good luck.
(Alden leaves, followed by Minerva.)
EXT. LONDON - ALDRICH’S HOUSE - NIGHT
(Alden and Minerva ride through the street in their carriage.)
MINERVA: We were definitely drugged.
ALDEN: Absolutely.
EXT. LONDON - WICING DRIVE - NIGHT
(Alden and Minerva hop out of their carriage.)
ALDEN: I’m going to bring Sally back to the stables.
MINERVA: Goodnight, love you.
ALDEN: I love you most.
(Minerva goes up and enters Twenty Six Wicing Drive as Alden detaches Sally from the carriage and begins to guide her down the cobbled sidewalk with one of his hands on her reins.)
EXT. LONDON - FOREST - NIGHT
(Alden guides Sally through the forest to a set of stables. Sally suddenly rears up and neighs in terror.)
ALDEN: What is it Sally?
(Sally suddenly breaks off her reins and runs towards the stables. A figure in a dark purple hood and robe sweeps past Alden and their eyes glow purple. Alden screams.)
INT. TWENTY SIX WICING DRIVE - BEDROOM- DAY
(Alden and Minerva lay next to each other asleep in bed. Alden wakes up screaming which awakens Minerva.)
MINERVA: What’s the matter?
ALDEN: Just a night terror.
MINERVA: We did the right thing with Dewin, he’s with someone like him now.
ALDEN: Is that really a good thing? I think I’m going to go to the pub.
MINERVA: This early in the morning?
ALDEN: I need to clear my head after yesterday.
INT. GRIFFIN’S TAIL PUB - DAY
(A traditional Victorian pub. Dewin sits at the bar and is served by BRYNN CROWING (Early 30s), a charming bartender.)
BRYNN: What can I get you, Mate?
DEWIN: Just a pint of mead, please.
(Brynn goes and pours Dewin a pint of mead that she brings back to him and he begins drinking.)
BRYNN: I like your outfit, it’s very medieval.
DEWIN: It was made by the tailor of Sir Gawain.
(Brynn gives a light chuckle.)
BRYNN: What’s your name?
DEWIN: Dewin, and yours?
BRYNN: Brynn.
(Alden enters and sees Dewin. Alden leaves, but as he does he spots another person in a dark purple robe and hood with glowing purple eyes.)
DEWIN: You're very beautiful.
BRYNN: Why, thank you.
DEWIN: Would you like to go for a stroll?
BRYNN: My shift here doesn’t end till six.
DEWIN: Then I’ll see you then.
BRYNN: I guess you will.
(Dewin finishes his mead and drops two silver coins with dragons etched into them on the bar before swiftly leaving. Brynn picks up the coins and looks at them with confusion and yearning.)
EXT. LONDON - ALDRICH’S HOUSE - DAY
(Alden knocks on the door and Aldrich opens it.)
ALDRICH: I’ve been expecting you, come in.
(Alden follows Aldrich into the home.)
INT. - ALDRICH’S HOUSE - LIVING SPACE - DAY
(Alden and Aldrich sit across from each other.)
ALDRICH: Can I offer you some tea?
ALDEN: No thank you, I want to be in the clearest state of mind possible here.
ALDRICH: So what ignited your appearance here?
ALDEN: I’ve been seeing these people.
ALDRICH: Who are “these people”?
ALDEN: They wear these dark robes and their eyes glow purple.
ALDRICH: Faley’s society.
ALDEN: What?
ALDRICH: Benjamin Faley, the evil man I mentioned last night. Is this what caused you to believe?
ALDEN: What are you saying?
ALDRICH: That you believe in magic.
ALDEN: You're mad.
ALDRICH: Exactly, so the fact that you came to me shows that there’s at least one lingering thought in your mind that magic is reality and reality is magic.
(There’s a moment of silence between Alden and Aldrich.)
ALDRICH: Where have you been seeing the people you mentioned?
ALDEN: Everywhere that Dewin has been.
ALDRICH: Oh no, oh no, no, no.
ALDEN: What is it?
ALDRICH: Dewin is going out with a woman tonight.
ALDEN: Already? He’s only been here for a day.
ALDRICH: He's charming but also so foolish. You must watch them, in case Faley strikes or even worse this woman is working for him.
ALDEN: What could I even do to stop that?
ALDRICH: You are destined to protect Dewin, and at this point your logic for denying all of this is purely irrational. You're not hesitating because you think it’s not real, you're hesitating because you know it is. He is meeting her at six outside of the “Griffin’s Tail”.
ALDEN: I’m not going.
ALDRICH: We both know that you will.
ALDEN: Farewell, Mister Doeth.
ALDRICH: May the spirit of Merlin be with you, Doctor Smith.
(Alden gets up and leaves.)
EXT. LONDON - GRIFFIN’S TAIL PUB - NIGHT
(Dewin stands outside of the pub when Brynn comes out of the side door and walks towards him.)
BRYNN: I wasn’t expecting you to show.
DEWIN: Why wouldn’t I?
BRYNN: Most men flirt and then leave, half of them are married.
DEWIN: They are not true gentlemen then.
BRYNN: I suppose not.
DEWIN: Shall we begin walking?
BRYNN: Sure.
EXT. LONDON - STREETS - NIGHT
(Dewin and Brynn stroll down the streets of London. Alden follows them from a distance.)
DEWIN: This world is so beautiful.
BRYNN: Compared to all the other worlds you’ve been to?
DEWIN: Well Camelot obviously has a better scenic view.
BRYNN: Camelot?
DEWIN: My home land.
BRYNN: You're full of jokes.
DEWIN: I’m not joking.
BRYNN: What?
(Suddenly someone grabs Brynn into an alleyway and she screams. Dewin quickly turns to see no one beside him and runs after her, followed by Alden.)
EXT. LONDON - ROOFTOP - NIGHT
(The clear skies suddenly turn gray and ominous as Dewin arrives on the roof of a building to see three people with glowing purple eyes in the dark purple robes and hoods with one standing in the center holding Brynn with a dagger to her neck. Alden arrives on the rooftop.)
ALDEN: Bloody hell!
DEWIN: Let go of her!
(The three people take off their hoods and their eyes go to normal shades. The person holding Brynn is revealed to be DABRIA (30s), a menacing looking woman.)
DABRIA: Dim mynd i mewn dim dianc.
(A purple hazy force field appears around the edges of the rooftop.)
DABRIA: So you are the one sent to stop us.
DEWIN: What do you connote?
DABRIA: We are the Citadel of le Fay.
DEWIN: Oh no.
DABRIA: Who are you?
DEWIN: My name is Dewin, I am the son of Merlin, and I demand that you let Brynn go.
DABRIA: Why? Is she your protector?
BRYNN: Dewin, what are they talking about!?
(Dewin starts to move his hands around and a wispy blue energy begins to come out of them.)
DABRIA: Get him!
(The two other people with Dabria rush towards Dewin to attack him, but he uses the energy he created to push them around and drop them both to the ground. Dabria drops Brynn and her dagger and Alden rushes to pick up the dagger and succeeds.)
DABRIA: You are foolish, Dewin.
(Dabria pulls a gun out of her robes and shoots it at Dewin but he turns the bullet into a flower. Dabria shoots more but each time Dewin does the same thing until Dabria is out of bullets. Alden sneaks up behind Dabria and stabs her in the back. Dabria shrieks in pain and then disappears in a cloud of black smoke. Brynn gets up off of the ground.)
BRYNN: What the hell just happened?
DEWIN: Are you okay?
BRYNN: Not mentally. What in the world is going on here? How did you turn bullets into flowers!?
DEWIN: I told you I’m from Camelot.
(Alden drops the dagger.)
ALDEN: Did I just kill that woman?
DEWIN: Most likely not, you didn’t stab deep enough to hit any organs.
BRYNN: What do we do now?
DEWIN: Go home and call it a night.
BRYNN: I can’t forget about this.
DEWIN: I’m not asking you to.
ALDEN: If any of us speak of this people think we’re insane.
DEWIN: Then don’t speak of it.
BRYNN: Will I see you again, Dewin?
DEWIN: Did you enjoy tonight?
BRYNN: I was almost killed.
DEWIN: That doesn’t answer my question.
BRYNN: Meet at the pub on Friday after my shift.
INT. TWENTY SIX WICING DRIVE - LIVING ROOM - NIGHT
(Alden and Minerva lay next to each other.)
MINERVA: Do you think the Citadel will return?
ALDEN: Unequivocally.
MINERVA: What have we gotten into?
INT. BENJAMIN’S LAIR - NIGHT
(A cavern full of crystals and magical runes. BENJAMIN FALEY (30s or 40s), an attractive but uptight looking man, sits on his throne. Dabria enters and walks to face the throne, she bows and then gets back up.)
BENJAMIN: Did you find him?
DABRIA: Yes, Master Faley.
BENJAMIN: And did you find his protector?
DABRIA: Yes, but it’s not the girl.
BENJAMIN: Then who?
DABRIA: A Doctor Alden Smith.
BENJAMIN: Did you kill the doctor?
DABRIA: He deeply wounded me.
BENJAMIN: Then the battle goes on.
DABRIA: For Morgana.
BENJAMIN: For Morgana.
INT. ALDRICH’S HOUSE - LIVING SPACE - NIGHT
(Aldrich and Dewin sit across from each other drinking tea.)
ALDRICH: There are many things in this world, Dewin…
INT. GWENWYN’S CAVE - NIGHT
(Gwenwyn stands in the middle of a circle of candles. She stretches out her hands and forms magic blue charts and graphs with a picture of Dewin.)
ALDRICH (VOICE OVER): Forces we can’t explain…
EXT. LONDON - ALLEYWAY- NIGHT
(Brynn wears only her undergarments and takes a few coins from a man.)
ALDRICH (VOICE OVER): Secrets we hide…
INT. BENJAMIN’S LAIR - NIGHT
(Benjamin sits on his throne.)
ALDRICH (VOICE OVER): And villains we must defeat.
INT. ALDRICH’S HOUSE - LIVING SPACE - NIGHT
ALDRICH: You are the key to this all, Dewin, you are the son of Merlin.

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

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

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.

I had a strange relationship with deconstruction as my dad was trained at a university level to do apologetics. He was an LDS chaplain in the Army, and every night for scripture study, we got discourses on the nuances of our faith and justifications for every question we ever had. I didn’t swear until I was 18 years old, or drink caffinated anything until about that time as well, because it was never a matter of justification. It was what my family, my tribe, my people did, to go to church on Sunday, and to be worthy. I was senior patrol leader and assistant to the bishop if that clarifies who I was. I didn’t have “God will reveal it in due time” parents. I had “Here’s the answer, here’s contemporary discussion about it. Here’s some reading material if you want to learn more” parents, except for they were wicked smart, and had biased conclusions.
I was called to serve in the Mexico City East mission. Shortly before opening my mission call, I broke up with my girlfriend at the time. i left BYU-I and went home to prepare. I received my endowments after lying to my stake president about my worthiness to enter the house of the lord. I came clean, and he threatened to not let me go out for a year because I was unclean. The prick made me talk to a therapist to be cleared for the mission field. The therapist had a brain and let me go out. When I was giving my mission farewell speech, I wrote it to include the teachings of many religions in it. I had drawn inspiration from the 13th article of faith “We believe all things, hope all things-“ and wrote a poem about how Adam and Eve related to the Resurection and Atonement of christ. My dad tells me the stake president was shifting in his seat like he wanted to pull me down from the pulpit. Prick.
The CCM was a pleasure to attend because of my district. The guys in my district there held a secret thanksgiving feast after hours when we were supposed to be in bed with food we had smuggled out of the cafeteria. We had look outs so we wouldn’t be caught by the patrolling teachers. My district was placed under surveillance because of politics against our spanish teacher who we could tell actually cared about us, and we were transferred into a classroom with one sided mirrors, and microphones hanging from the ceiling. An apostle came to speak to the entire CCM, and I thought we would get a chance to meet with him directly, or that he would be even remotely accessible in some way. He was kept away from us, separate and removed even though we had the same mission. I played a lot of volley ball, and got into shape enough that I touched the rim of a basketball hoop for the first time while I was there.
My first companion was a native speaker, and liked to spend the mornings in the cyber (Internet Cafe). He would make sure I was on LDS.org while he looked at softcore porn on instagram. We would spend hours there, and I was disappointed that this was the mission.
We went to a previous investigators house, and while there, we saw preparations for an animal sacrifice. These guys were putting alcohol, cocaine, and blowing smoke onto a white chicken, and placed in into a cardboard box with a bunch of black chickens. They showed us a room full of weapons, with blood and feathers strewn all over the floor. We noped the fuck out, and went home.
I requested an emergency transfer after spending most days in the cyber, watching my companion deface JW’s property, and being an all around dick to me by telling me how to shower and how to sleep.
For his replacement, the person that would help me with his bastion of knowledge, they gave me a white guy who spoke as much Spanish as I did because he was only a transfer further into his mission than me. They made this poor kid senior companion to me before his first transfer was over. Why? Because the kid was a workaholic.
The first thing this elder and I did when we got to our apartment was to pick up and leave to go to the house of a member who had just died. We sang at the wake. I sang in a language I didn’t know, for people I didn’t know, with a companion I didn’t know. We sounded pretty damn good. The elder began setting appointments with the non-believing family members during the service. I just sat and watched the mindless kids chase the family dog.
This elder skipped lunch every day, and made me do the same. We knocked every door in our area twice that transfer. One time, he got very sick, and was delirious out in the sun with me while we were walking. I made us go home for lunch that day, and he made me promise to wake him up after thirty minutes so we could get back to the Lord’s work. Three hours later he woke up, chewed me out for letting him sleep that long, and then begrudgingly thanked me for making him rest.
One time, while walking, this Elder expressed to me that he also had some questions, but he was afraid to share the details because he knew my own testimony was fragile. I pressed him for details of his plight, and he revealed to me the darkest part of church history that he had learned while we were in the CCM, that Joseph Smith had drank alcohol while in Carthage Jail before he died. Thoughts of Fanny Alger, of Mountain Meadows Massacre, and of my own mother’s rather recently implemented looser interpretation of the word of wisdom all flashed through my head. This guy was supposed to be my teacher? All I could do was express how sorry I was for his confusion, and told him to have faith. Heaven knew I couldn’t help him.
One night with this companion, it was storming hard, and the streets were flooded. This guy refused to let us go home. We climbed along fences to avoid getting our already wet shoes soaked, and waded through a foot of water to get to the doors that were slammed in our faces. There was a loose wire on a door bell, and when I rang it, I was shocked by the completed circuit the water made. Rejection after rejection piled up. Finally, my “senior” companion said that this was the last row of houses. On the last house of the last row, there was a family that was all deaf. The father opened the door, and was suprised to see us and didn’t know who we were. I remembered the sign for Jesus from my grandparents who started and ran the ASL endowment ceremony in the Saint George temple. The family was thrilled we knew the sign. When I asked if we could come in, the family politely waved goodbye and closed the door on our faces.
Another time when it rained, something fell into my eye. It was one of those freak nature accidents, and small enough that I couldn’t figure out how to get it out without a mirror. The thing stayed wedged in the corner of my eye for hours before we got home and I could finally get the foreign object out. Looking at it on my finger, I could see it was a small green spider. Days later, still in pain, I pulled what I can only assume was accumulated webbing from the spider that I’d crushed against my eyeball off of my lower eye lid. The pain stopped after that.
I bought a $500 camera. It was stolen within a month.
This Elder and I had the good luck before transfers to baptize two children. They would have been baptized anyways, so I didn’t do any actual converting, but I taught a few lessons, got in the water and did the dunk. Bucket list item, check.
I didn’t have enough time for laundry on P-Day, so I’d wash my outfit and dry in on the radiator through the night. Transfers happen, and my new companion lied to our land lords about the electricity bill, paying it in full but not giving a reason as to why it was so high. I didn’t care anymore, I just needed something clean to wear, but these land lord had treated me and my previous companion well, better than the previous landlord who had stolen our cleaning supplies. I felt these people deserved honesty. My senior companion capitulated eventually, and he and I butted heads regularly after that on the morality of things. I think in hindsight he was a smarter and better man than I was.
The new land lords, the “Lagunez Family”, were wonderful. They included us in their activities, and I felt like I had some people in my corner. When I eventually came home from my mission, a daughter of the family had written me a goodbye letter. She is currently serving a mission. They made some great music, and I have “Infiltradors” on CD, the official name of the band the father of the family was a part of (he was the drummer).
I knew the whole area by heart by that point, so I navigated us to our appointments. Half of the landmarks I watched for to know our location were interesting buildings with unique colors. The other half of my landmarks were dead dogs whose decaying corpses had become second nature to see. I began marking how much time had passed by how deeply a certain dog on a certain dirt path’s chest was caved in.
There was an apartment complex in my area that I had been told not to proselytize in because “It’s dangerous.” Turns out, those people didn’t have any money, so the church didn’t want them. That complex was past the dog and to the east about ten blocks.
My companion and I knocked on a door, and visited a man who was missing his legs. His daughter was there, putting dirty water on the aching wounds. He had a single room for a house, and wheezed when he spoke. He couldn’t afford medication. He still went out and worked all day for his daughter, and gave her whatever money he made, trusting her to keep him alive somehow. The church expected this man to pay tithing. The church expected me to tell this man to pay tithing.
I got the chance to hike up a mountain. At the top, I played chess with a chess set I’d procured from one of the best rapid chess players I’ve ever met. He had been the ward mission leader. He was a good man, a good father, and I wish him the best.
I found another man who was deaf and spoke sign language. I sat with him, and convinced him to come to church all by myself while my companion talked with some tienda tender. I was so excited because this was my own personal project and it was going well. The man came to church, and I sat with him through sacrament meeting. In Sunday school (I can’t believe I did this), I accidentally drooled on the guy. I was just talking so he could read my lips, and I guess I forgot to swallow at some point because a dolup of spit landed on his arm. I apologized profusely, and he played it off, but I never saw that investigator again.
My companion and I knocked a door one day, and a man answered. He wore tattered clothes, and maggots were burrowing into and out of his feet. He muttered something about the stars, missing his wife, and he began to tear up. My eyes stung from the stench. The door closed. Somehow, I knew the man would be dead in a matter of weeks.
I had lost hope that I was doing anything worth while. I looked down on the Doc Martins that had stayed with me five months at this point. I was angry with myself for being so useless in the field, angry with the church for giving me leaders that didn’t listen to my needs or perspective, angry with my mom for drinking while I had to teach people that it was a sin, angry with my dad for giving me the skills and knowledge to justify anything, even pedophilia in the early days of the church, to the point where I could look someone in the eye, and knowing the kind of man Smith was, tell them he was a good man and a true prophet of God. Suddenly a man approached us. He said he recognized us as missionaries, and asked about our message. This never happened. People didn’t just come up to us unless they were crazy or dangerous. But this was a public place, and this guy was genuine. My companion talked to him, and gathered his story, but I was plotting something else. I was done with not caring about these people in a way that mattered. I was tired of walking in another man’s shoes, a man who wasn’t me, who believed different things than me. The chopped leg, the rotting dogs, the infested feet, it all swirled into a single thought in that moment.
What would Jesus do?
I walked over to the man, and in broken Spanish asked him to stand next to me. He did so, and I compared my shoe size to his foot. It was a perfect match. He protested, but I didn’t let him get a word in edge wise. I took off my shoes, put them on his dirty feet, and laced them up nice and tight. Those shoes had cost a ton, and had been meant to last the whole mission. All I had left at this point were my fancy dress shoes that gave my blisters back at the apartment. I didn’t care. I walked home in my socks that day, happy as a lark.
Covid-19 hit a month later. I was one of the few they brought home instead of quarantining. After having served only 6 months. I told God if he wanted me to stay home, he’d have to make them release me.
They released me. I think I was one of maybe a hundred missionaries that were released due to Covid. The church realized their mistake pretty soon after I was released. Once Covid infrastructure began to develop, they didn’t release any more. I guess I didn’t serve a full two years, but I did serve a full mission.
My brother served, and he nearly killed himself due to intense depression brought on by Covid quarantine and poor leadership (I’ve got a few mission president stories, but those are for another time).
I learned lying to someone’s face from my mission, and spent the rest of my time at BYU-I as “nuanced” until the last two years, over which the most epic hoe phase imaginable became my new mission. I spent those years terrified of getting a call from the honor code office.
I’m married now, with my degree irrevocably in my possession. I have friends and loved ones that are in the church and are working on their mission papers. I’m beginning to feel powerless again. I’m seeing the decay again, not on legs, feet, or dogs anymore, but in the souls of the people who the church raises to do their dirty volunteer work. I see them like the animal sacrifices I saw being prepared. I’m not sure what shoes I have left to give to those people that I know are going to be in pain.
My parents are out completely now. It was a long time coming, but they are out and so much happier. I’m working on building a new relationship with my family, one based off of the fact that we won’t be together forever, so we have to make the most of our time together now.
Happy Sunday guys, best of luck to you all. And most importantly, chupa la piña.

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