1. Font Showcase: I requested a demonstration of text in a futuristic retro font. While the result was interesting, it was mostly rubbish compared to what is on the GPT-4o demo site. 2. 3D Rendering of the OpenAI Logo: The generated image was okay but nothing special. 3. Diary Entry Poem: The handwritten poem was gibberish and it didn’t match the readable, realistic handwriting samples I saw on the demo site 

Hi all,
I wanted to share a little bit about succeeding in S2 from the perspective of someone that is not a 'natural' essay writer nor from a humanities background. Someone that started at a very average S2 score despite lots (and lots and lots) of effort.
I have now sat GAMSAT 5 times in total and I think this underscores a severe lack of exceptional ‘talent’ in any specific area of GAMSAT, and speaks to the fact that you CAN make huge improvements in your scores over time with the *right* type of effort.
(Long post for context but feel free to scroll to TLDR)
Context: I am from a science background and have been out of uni for ~6 years now. I have never been a writer and apart from finding the humanities quite interesting, have never explored its theory in a structured way. I am also not a huge ‘reader’ as many people that seem to do well in this section might be. I am just a person that has opinions on things (as does every one of you!).
My first sitting I signed on with a prep company that had a very structured and formulaic approach to essay writing. They gave students ways to explore topics and ideas to ground them when prompts felt ‘difficult’ + strategies to always be able to ‘write something’. And although I am sure this helped me learn more about the humanities and the fundamentals of classic essay writing - my scores were not great. The first sitting, after ~5 months of intense essay practice critiqued by professionals I came away with a score of 62 and utter confusion about where I had gone wrong. In the few sittings following this I did basically the same thing again and again thinking I just needed more practice (I wrote hundreds of ‘classic’ essays, critiqued them and worked on my timing). My scores in subsequent sitings improved slightly however maxed out at around 66 in S2.
I felt myself really confined by the classic essay style most resources espouse. I would find myself spending loads of mental energy thinking about things that I thought were really important for a 'good' essay - like exactly how my topic sentence would link to the next line, or how my analysis would ‘tick the boxes’, if my example was the best one to use or if my concluding statement was linked to my opening one (you get the picture). This would drain my creativity and also created so much friction in my writing.
I knew I could do better, but when it came down to putting my thoughts on paper, it fell apart.
Last year I decided to try to attack S2 differently. I started to dispense with the classical framework and starting writing pieces that were interesting for me to write. That I genuinely enjoyed creating. I often wrote reflectively and explored the prompt in a way that related to my life or my view point. I wrote essays starting with ‘When I was a child…’ or ‘In my life I have …” (whatever felt to me like a nice opening to the topic in my little brain). This way of writing both allowed me to write more clearly (I didn’t have to hyper-analyse it as much and therefore it came out less clunky) but also with much more relevance to things I actually knew about! This sort of writing naturally lends itself to be a little more creative or reflective but by no means does it have to be wildly different to a usual essay - it just had a little more flare and less strict* structure. I still wrote something that resembled an introduction (sometimes simply through vignette), I still had 2-3 analysing paragraphs, I still had something that felt conclusive at the end. But by stretching the bounds of each area, I came up with writing that was much less prohibitive and more exploratory.
In my first attempt at this new style of writing, I scored in the 70's, and I think this was truly down to not committing enough to the cause. I toed the line between classic essay with a little bit of my own flare - but no where near what I knew I wanted to or could do. This most recent sitting I gave myself permission to write how I wanted and completely forget any of the 'rules' of a good classic essay. I leant into it completely.
This paid off - I scored an 80, simply through writing in a way that felt true to me.
By far my greatest and most valuable piece of advice would be to write in a way that feels most natural and enjoyable to YOU. I am sure this has been said before, but I can’t quite underscore how much of a difference this makes to overall execution on the day, as well as ability to grind through essay after essay & continue to make improvements.
I should add here that throughout my S2 journey I worked with a tutor on and off (who became a great friend) throughout my attempts. First few attempts we worked very much by the books writing classic essays, but when I shared with them my desire to try something different they were really supportive and open to working with me to get the best out of it. We used every session from then on to critique my essays. This was really valuable as its important not to cross the line between a personal piece of writing and something that is totally un-relatable to others (after all, we are writing on prompts that are human at their core) - a good piece of writing makes someone think and reflect themselves. My tutor was amazing and their insights gave me feedback on stylistic things that worked or did not. They also checked in at times if It was becoming more of a monologue/train of thoughts rather than a reflective and insightful piece - which I would be cautious of whenever you are writing this way. In saying this, I absolutely DO NOT think having a tutor is necessary to get a good score in S2. I shared my essays with friends and would get feedback on if certain sentences felt clunky or if I was painting a picture that did not come across how I had hoped. I knew I had unlocked something good when I shared an essay with my partner - he was initially reading it slumped on the couch, and suddenly sat up and his eyes widened as he read on. If you can make people feel something, you're a good way there! (And if you're asking yourself if you can - you CAN. You're a human with thoughts and feelings and personal experiences that are unique to you. Use this to your advantage.)
TLDR: 1) Try very hard to quieten the noise around what makes a ‘good’ GAMSAT essay and be selective about which recommendations work well for you (and which do not). There are literally a million ways to create a solid piece of writing and if the ‘classic’ analytical or discursive structured essay does not roll off the tongue for you - take this as a sign that it is OK to explore other styles of writing. This is not to say that every person should try to write poems (I never wrote a poem), or to write creatively. All this means is that *if* you feel the classical structure of an essay is distracting you from what the goal of S2 is (to respond thoughtfully to a prompt from your own perspective) then consider stretching the bounds of your writing. 2) Get critique on your work (again and again) from various sources - if you can afford tutoring, great use it for critique, if not, friends and family are amazing for this!
**Disclaimer** - this advice won't be for everyone. For some people, writing in a very formulaic defined way is the best way to get their thoughts across - and this is fine! I am just sharing my experience of finding a much better way for my brain. I have many friends that I studied for GAMSAT with who wrote great (classic style) essays and scored super well with them! These people probably would have hated/not been comfortable with my style of writing. Choose your own adventure, but make changes if something is not working.
If people are interested I am happy to post links to my best essays where I explored this type of writing
Good luck with your essays everyone!
Please feel free to DM if you have any questions :)

i’ve seen a lot of people come up with some really wild speculations like vessel is a secret chemist and such but here’s my take he’s just a nerd for things such as mythology, alchemy, philosophy, religions which all kind of ties in together. like for example the symbol used for bloodsport is very similar to the alchemic symbol for vinegar. now normally i would think that’s a reach, however considered throughout the discography there’s many religious references and the man is a whore for details, there’s not really any coincidences i’ve realized. in catholicism wine = blood of christ.
“When we eat and drink the bread and the wine of the Supper with expectant faith, we thereby have communion with the body and blood of our Lord and receive the forgiveness of sins, life, and salvation.”
in the lyrics of bloodsport he says “I want to be forgiven I want to choke up chunks of my own sins Even if the sky cracks in mourning And the heavens just won't open up for me Would you invite me in again? Let me pay for my arrogance?”
this goes back to the alchemic symbol for vinegar. wine turns into vinegar. there’s actually a blog titled “An Alchemists Tale: Turning Wine Into Vinegar” which if you think about the concept of wine turning to vinegar, that’s kind of the whole premise of the song.
in many songs he says things that are a reference to the emerald tablet
“Beneath the stormy seas Above the mountain peaks It's all the same to me It makes no difference I've seen my days unfold Done the impossible I'll turn my walls to gold to bring you home again”
Medieval and early modern alchemists associated the Emerald Tablet with the creation of the philosophers' stone and the artificial production of gold. It has also been popular with nineteenth- and twentieth-century occultists and esotericists, among whom the expression "as above, so below "of the second verse of the Tablet has become an often cited motto.
Aqua regia is also referenced in the emerald tablet. then moving on to mythology. the whole concept of the deity Sleep seems to be a play on a combination of Morpheus and Hypnos.
Morpheus, son of Hypnos, the personification of Sleep, was the god of Dreams.
The god Morpheus’ skill at transforming himself into such a life-like apparition managed to deceive even the most discerning person. The Greek gods often chose him as their messenger to appear in the dreams of mortals. Dreams could liberate the desires, hopes, and imaginations of the sleeper. However, such dreams could also portray false realities, and so betray the receiver into untoward action.
anyways those are just some of the things i’ve noticed that i haven’t seen people talk about much i could be reaching but he’s a very intentional person and it just made sense to me

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

So I've been into these systems for three years now, but I've recently come to doubt my whole typology. I'm not going to say what I've been typed as before though, because I'd like to avoid bias.
It'd be cool if you tried to type me in other systems as well, such as Enneagram, Socionics, Psychosophy/Attitudinal Psyche, Big 5, Temperaments, Jungian...

1. I'm a very closed off person who needs a lot of time to recharge since people wear me out, but I've been told I come across as a highly energetic, hardworking and overall as an inspiring and determined person. For instance, I always strive for the best, even if that means sacrificing my comfort (like going to one of the best universities in my country even if it's like over 100 km from home and I have to wake up at 5 AM everyday), and I'm always passionate about pursuing something to improve myself, because I'd hate to feel like I'm wasting time lazing around.
   
2. People see me as someone responsible to rely on, they have told me I'm a good listener and understand them well, I give honest advice while also taking into consideration their feelings and reactions (I don't want to come across as offensive and insensitive), and in general I like giving a good impression. I mean, I can't stand fake people, but I still feel it's important to portray yourself in a good light. I think you must treat others the same way you'd like to be treated, that is, with respect (but, of course, if they cross me, I'll act spiteful towards them, since that's what they deserve).
   
3. Despite trying to be reasonable at all times and doing my best not to come across as overly emotional, I'm very anxious and tend to catastrophize, so while it's not usual, when it happens, my outbursts are strong. Then, I feel like trash after it all happens, since I perceive it as me having made a fool of myself. My feelings tend to escalate quickly, and sometimes due to something that it's not THAT important, so it's helpful to have someone slow me down and help me see the big picture. I can also be too straightforward as well, to the point that I sometimes end up being reckless. For example, there has been multiple times where I suddenly felt the urge to insult someone because they did something that offended me; in those cases I fortunately had a friend to shut me up and distract me from it because they know I might not be able to wait until they're out of sight to complain about them.
   
4. While at a distance I might seem intimidating and stern, people close to me see me as innerly soft, sensitive and pretty much a romantic prone to sentimentality. I've always had a hard time with processing emotions, because since I was a kid I've been taught "emotions are for the weak", so I tried to repress them. It wasn't until I discovered my passion for poetry that I finally learned to come into contact with them and understand them without shame. Currently, I feel like I have an easier time expressing myself and I'm not as repelled of my own feelings like I was in the past... Many people have actually told me, to my surprise, that my face is amusingly expressive, like I'm transparent even if I try my best to hide myself from the world. That said, I communicate my feelings through poems, so while I'd like the other person to take the initiative in this regard, I'll try to reciprocate it my way.
   
5. However, I can also be quite passive and insecure when I feel oppressed and vulnerable in my environment (I feel like the whole world is against me in such circumstances), so I tend to walk on eggshells most of the time just in case. I'd say I'm mostly awkward, and I never know how to interact with my surroundings properly. If I've done it well, it's likely that I've just been lucky. This has led me to be isolated most of my life, and despite the fact that I currently have some connections with people, I feel like it's still not enough. I'm very private, secretive, and harbour trust issues; but I also crave intense connection with people I've taken a liking to (after a long time assessing if they're trustful enough for me to grow attached to them, since I place a lot of value on loyalty and suffer a lot when those close to me suddenly disappear from my life). I'm really compassionate with others, so some people have taken advantage of my kindness to then stab me in the back when I least expected it, which has made me become outwardly distant and unapproachable through the years (when the truth is that I'm just terrified of people). I've always had this impulse to help and protect those in need when they couldn't stand up for themselves, so it's curious how much compassion I could feel for others when I couldn't feel it for myself. Anyway, I still hold those around me to high standards, which I apply to myself as well.
   
6. On the other hand, I place a lot of value to my appearance too. Like poetry, my own style is a way to express who I am as a person, and I can't understand nor find myself attracted to people who don't care at all regarding this part of themselves... It's as if they're neglecting one of the most important ways to make themselves appealing to both themselves and others. For me, it's also a way to feel better about myself, since the attractiveness and health of the body is just as important as that of the mind.
   
7. Now, I suck at everything related to numbers or economics. They're so boring and uninteresting to me that my brain shuts down when something related to it comes up (I already suffer enough in law school whenever I'm forced to do subjects involving financial law or the like). I've always been more drawn to humanitarian subjects like languages, literature...
   
8. I'm highly impatient (I get easily frustrated when something doesn't go my way like "it's supposed to", and I can grow envious and resentful towards someone that did it better than me), irritable (I'm peaceful until something or someone crosses me), and pessimistic (if something remotely bad happens, then that means it's all doomed to fail). I can be intolerant as well, easily despising someone others might be indifferent to, and I've been told to be impulsive too when I fail to guard myself from what makes me react aggressively either to others or myself. In addition, I cannot deal with people that are too aloof to descifer, like it's obvious they're keeping something from me, but they will lie and tell me "it's okay" while it's obvious that it's not, and their facial expressions are so dull that I won't even be able to extract the minimum out of them. In such circumstances I might flare up to try to get them out of their shell in order to know whatever they're hiding away from me; but that typically ends up driving them away from me further (which pisses me off to no end). I like straightforward people who are not cowards and will make things clear from the beginning, even if it hurts.
   
9. Regarding my mannerisms, they're mostly stiff, instead of smooth or soft. As I said, I come across as energetic even if I slept 4 hours that day, I walk and talk VERY quickly (people who speak and move slowly get on my nerves), and I can be very expressive and loud if I'm feeling comfortable enough with the person I'm with (I can even look extroverted next to my quieter friends). I also don't have any shame at all when it comes to myself; I can talk about anything weird or rant about my nerdy interests and creepy fixations to the point of becoming obnoxious without giving a damn about the reaction of the other person. I may even enjoy making the other person embarrassed and teasing them, since it's hilarious. Fortunately, I'm good at eliciting interest in others, so oftentimes I can drag them into the abyss of my obsessions and teach them all about it.
   
10. Aside from poetry, my other interests are varied. For instance, I also love reading old books, writing stories, creating original characters and researching whichever area of interest I'm into at the moment. I like to maintain an active lifestyle too. In the future, I strive to become financially successful (that's why I'm in a career that is going to bring me a lot of opportunities), independent, and travel and learn as much as I can to improve both myself and my talents. I'm overall a very individualistic person, but I'd like to meet more people who align with my values as well; without at least someone by my side with whom I can share myself I become depressed.
    

I'd appreciate it if someone is willing to try to type me via chat too, if that's more comfortable for you.

How do the poets present the effects of conflict in Poppies and one other poem?

In this essay, I am going to explore how Jane Weir presents conflict as affecting someone not directly involved in war by analysing how Weir presents the mother of a young soldier feeling during a war. I will contrast this by discussing how Simon Armitage presents someone directly involved in the Iraq War (Guardsman Tromans) as being mentally scarred by his involvement. I will mainly focus on how war effects people emotionally / mentally, whilst also exploring how Armitage presents the physical effects of conflict in Remains. Additonally, i will consider how the idea of propaganda during wartime affects how people feel about the conflict.
In Poppies, Weir decided to make the poem be through the lens of a mother. The name of the mother or son is never given, rather she utilises vague pronouns such as “You” to describe the son, perhaps this was deliberate as to make the poem reflect a universal experience, which may highlight how many people conflict can effect, therefore presenting conflict as having a major effect, not just on the people fighting it, but everyone. Also, “Armistice Sunday” is a combination of Armistice Day and Rememberance Sunday, perhaps Weir has left the war being remembered ambiguous, as to increase the number of people who share this experience, yet again foregrounding the sheer number of people who have felt this way. It creates the impression that Weir has made this poem to act as a microcosm for the shared experience of every mother with a young son going to war, therefore reflecting the sadness and fear those not fighting in the war feel, raising the awareness of this issue to those who hadn’t considered it as a result. In contrast Armitage created Remains to highlight the experience and effect of conflict on only one person – Guardsman Tromans. Remains juxtaposes Poppies, since Remains cannot really be seen as an attempt by Armitage to reflect a common experience from war. This is because the poem can literally be viewed as a first hand account from Tromans himself. This may be indicated by the fact that Armitage has made the poem have an unreliable narrator, which can be interpreted as Tromans himself trying to distance himself from the “looter” that he killed, as if it will alleviate him from the guilt and psychological effects of the killing. This is seen at the start of the poem where the looter is described as being “Probably armed, possibly not.”. Here, two adverbs “Probably...possibly” are utilised in short succession to foreground how Tromans is trying to make himself believe that the looter was a danger to him, which would give him a reason to kill the looter, however, the comma acting as a hesitation and “Possibly not” suggests Tromans believes the looter couldn’t hurt them. When coupled with the fact that Tromans is so clearly emotionally disturbed by this moment, one can interpret that the man was not armed, perhaps being the reason for Tromans guilt.
Also, in the first half of Remains Armitage presents the physical effects of conflict by describing the brutal murder of the looter. He creates a semantic field of agony and suffering which contrasts the playful imagery created before “Tackle some looters...”. As a result the death of the looter is foregrounded via the juxtaposition, as it would have made the reader shocked. Also, the verb “Tackle” suggests that Tromans before the murder may have not viewed war that seriously, perhaps indicating he has been so greatly disturbed by the murder as it made him realise the war was real. It also gives connotations to the WWI propaganda poet Jessie Pope, who convinced many young men that war was “a game”. The idea of propaganda affecting people during conflict is explored in Poppies too. In the first two stanzas it is unclear whether the mother is sending a child of to school, or a young man to war. This may suggest how the mother was affected by propaganda, since she is not immediately frightened by her son going to war. Additionally, the son is described as being “Intoxicated” when the world is presented to him. This verb may suggest the young man as being almost drunk on excitement, like he himself believes that the war will be a fun game, rather than a horror. Whilst it may seem the mother also believes the war may be a “game”, Weir utilises biblical imagery through the hair of the boy being described as “gelled blackthorns”. “Blackthorns” may allude to the crown of thorns Jesus wore during his crucifixion. As a result, it could be inferred that the Mother thinks her son is being sent to war as a sacrificial lamb, undergoing great pain to ultimately assist in salvation (ending the war).
As discussed earlier, Armitage creates a semantic field of agony through the way he describes the looter’s death in Remains. An example of how this is achieved is through the declarative metaphor “I swear, I see broard daylight on the other side”. “I swear” suggests that Tromans wholeheartedly knows the severity of the murder. This further suggests just how significant the mental effects of the war have been on Tromans, as he has replayed this scene so many times he is fully sure this happened. “Broard daylight” is visceral imagery created by Armitage, suggesting the man was shot so many times there is a hole big enough to see daylight on the other side. This is coupled with the euphemism “Sort of inside out”, this almost suggests that the looter was in such a bad state that Tromans cannot even bring himself to describe the image, or that his vocabulary is this limited, which foregrounds how this experience is uniquely his, as the narrative voice reflects Tromans own. By using these techniques, Armitage presents the physical effects of war as being strong enough not just to kill someone, but to completely destroy the body itself.
Finally, both of the poets highlight how the effects of war are long-lasting on those affected. In Remains, Tromans’ PTSD is shown in the second half of the poem. This is after the volta “And then I’m on leave”, Armitage suddenly includes a volta after the description of the murder to show Tromans’ poor psyche due to his PTSD. Whilst in the first half, Tromans clearly recounts his experience with high detail, the second half shifts in topic and location suddenly, suggesting that Tromans is entering and exiting the world, perhaps the “drink and drugs” he is self medicating with are causing him to lose large track of time. But i think Armitage does this to show how Tromans’ PTSD occurs so often and suddenly. It also explains how Tromans is able to recount his experience in Iraq so clearly. As he has replayed the moment so many times, showing how conflict affects people long after the fact. Similarly, in Poppies the mother hopes to hear her son’s “Playground voice”. This suggests the mother wanting to remember her son as a child, we can interpret he is dead as she is at the “war memorial”. By doing this, Weir creates the impression that the Mother has, and never will have closure regarding her son’s death, as she wants to hear him one more time. We can infer his death was a result of war, therefore showing how war effects people after it has ended, since people are still grieving for those who died in the process.
In conclusion, both Weir and Armitage present war as having long-lasting powerful effects, both emotionally and physically in Armitage’s case. They present how war has wide-reaching effects, as well as arguably stronger effects on individuals directly involved in conflict. The theme of propaganda stemming from conflict affecting people is also suggested in both poems.

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

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

Tips for Creative Writing:

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

Questions for Exploration:

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

Additional Resources:

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

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

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

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

Tips for Creative Writing:

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

Questions for Exploration:

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

Additional Resources:

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

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

When an author metaphorically pours their heart and soul into their writing, whether it be a novel, poem, song, or any other kind of writing, they also literally pour magic power into it, although it will be dormant for a while. After many years, that power will awaken, and reading these magical writings can cause miraculous events to happen.
For example, let's say someone is trapped indoors due to incessant rain, and decides to read some old poetry to pass the time. One of the poems is about a storm reaching its end and the sky clearing up. The person reads the poem, and then looks up to see that the rain has stopped and the sky is clear. For another example, let's say a person has badly injured their legs and is now in a wheelchair. They read a book about someone who, although wheelchair-bound, dreams of being able to walk again someday. After reading, the person realizes that their legs are completely healed, and they can walk again.
Another way this can work is through delusion. Let's say that an ancient grimoire is discovered that gives instructions on how to summon a demon that can grant you a wish in exchange for you giving up your soul. The reality is that the demon never existed. The author of the grimoire was insane, and would often have vivid hallucinations. However, when someone follows the grimoire's instructions, the demon appears and offers the wish, just as it was written. The demon came into existence because of the author putting their delusions into writing.
This is an idea I came up with a few years ago, but I don't know if I'll actually use it in any writing of mine. Feel free to draw inspiration from this is you want.

Not sure if this will help anyone but I hope it helps atleast one person. these tips are from me, diagnosed with major depressive disorder, the king of demotiviation and procrastination and lack of caring, so u can trust these tips!
1) Drink water and eat - Obviously. But drink atleast 2 cups of water a day (dehydration= headaches= not good for revising and doing exams) and eat some fruits, vegetables, meat etc. ensure you aren't eating cereal all the time for example. Just get a little bit of extra nutrition I don't even care how you do it, when I was younger my parents couldn't afford fruit so I would pick blackberries off bushes and wash and eat them. There's no reason not to eat atleast some fruit/veg, if you can't afford meals you should get free school meals and surely your school has a banana for you or something.
2) Clean your room - I don't just mean pick up some stuff off the floor, vacuum the floor and open windows so all the dust goes. Wipe down surfaces and make sure your school stuff is atleast accessible and you know where it is. My french teacher gave us revision resources but i lost them in my room and everyone else was cramming using that and I had nothing lol. Even if it's in one big stack just ensure you know where it is. AND MAKE SURE YOUR PENCIL CASE IS READY. in over 5 mocks i came to school without even a black pen. not good.
3) Positive mindset - i know it's cringe when you see those "believe in yourself" quotes but if you're depressed/burnt out to the point you hate yourself and see no point in continuing, ditch the nihilism and embrace the cringey inspirational quotes, it's worth it to get an ounce of your self-esteem back.
4) REVISION!!!! - Revise how you want. I use a range of rainbow-coloured highlighters to annotate war poems. Juxtaposition maybe. But if it helps you concentrate just do it! I've also been made fun of for showing up to exams with wet, crumpled pieces of paper with completely illegible writing rather than "aesthetic" organised notes like the others. But guess who gets the grade 9s? Hint: not the people who spend 8 hours writing one cursive sentence and highlight every word. I do, because I'm more focused on learning than decorating. I'm the girl who sits on the dirty ground outside to scribble away with my 5p biro while I get weird looks, because I couldn't find another place to study. I'm not saying you have to do that but what I'm saying is, now isn't the time to CARE what other people think, you NEED those grades even if it means wearing those glasses you hate so you can actually read, getting teased by people for being a nerd, or missing out on video game or youtube time.
Figure out whether you: A) revise too much and are too hard on yourself B) don't revise and procrastinate C) revise the perfect balance so your health and academics are both good
and adjust accordingly. Personally I'm person B but I'm aiming to be person C today, it's not too late. Good luck to everyone doing exams and I hope you're all taking care of yourself and others during this time too. Best of luck :-)

1. Device Identification Exercise:

• Provide excerpts from various texts and ask students to identify and annotate instances of specific literary devices.
  
• Discuss their findings as a class, exploring different interpretations and applications of the devices.
  

1. Creative Writing Prompts:

• Assign each student a specific literary device and ask them to craft a short story or poem that prominently features that device.
  
• Encourage creativity and exploration of the device's nuances in their narratives.
  

1. Literary Analysis Essays:

• Assign students a literary work (poem, speech, or prose) and ask them to write an essay analyzing the author's use of a chosen literary device.
  
• Emphasize the impact of the device on the overall theme and tone of the work.
  

1. Collaborative Storytelling:

• Divide the class into small groups and have each group create a collaborative story.
  
• Assign a different literary device to each group, instructing them to incorporate it seamlessly into their narrative.
  

1. Speech Writing and Delivery:

• Have students choose a social or political topic and write a persuasive speech using anaphora or epizeuxis to enhance their rhetorical impact.
  
• Organize a speech delivery session where students showcase their use of repetition for emphasis.
  

1. Literary Device Showcase:

• Assign each student or group a different literary device and ask them to prepare a presentation showcasing its historical origins, notable examples, and contemporary usage.
  
• Encourage multimedia elements such as visuals or short video clips to enhance engagement.
  

1. Rewriting Exercises:

• Provide sentences or paragraphs containing common expressions and ask students to rewrite them using more complex literary devices.
  
• Discuss the impact of the changes on tone, mood, and overall meaning.
  

1. Debate on Stylistic Choices:
   • Organize a debate where students defend or critique an author's use of a specific literary device in a given text.

• Encourage students to articulate how the device contributes to or detracts from the effectiveness of the work.

1. Literary Device Scavenger Hunt:

• Provide a list of literary devices and have students search for examples in books, articles, or online.
  
• Discuss their findings in class, exploring how different authors use the same device in diverse ways.
  

1. Themed Poetry Slam:

- Task students with creating a thematic poetry slam where each participant focuses on a different literary device. - Host a class poetry slam event where students perform their pieces and discuss their choices. 

1. Interactive Online Quizzes:

- Curate online quizzes or interactive activities that allow students to self-assess their understanding of literary devices. - Provide instant feedback to reinforce learning. 

1. Peer Review and Feedback:

- Implement peer review sessions where students exchange their creative writing assignments and provide constructive feedback on the integration of literary devices. - Encourage discussions on the effectiveness of different approaches. 

1. Literary Device Journal:

- Assign students a literary device to track in their personal reading over a set period. - Have them maintain a journal documenting instances of the device, their interpretations, and reflections on its impact. 

1. Literary Device Bingo:

- Create bingo cards with different literary devices - As students encounter instances of these devices in class readings or discussions, they mark off the corresponding squares on their bingo cards. 

1. Real-world Application Project:

- Challenge students to find examples of literary devices in advertisements, speeches, or news articles. - Present their findings, discussing how the devices are employed for persuasive or artistic purposes in the real world. 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1. Renga:

- *Definition:* A collaborative form of Japanese poetry, alternating three and two-line stanzas. - *Example:* Collaborate with a friend to create a renga exploring the changing seasons. 

1. Prose Poetry:

- *Definition:* Poetry written in prose form, blurring the lines between poetry and prose. - *Example:* Write a prose poem capturing the essence of a vivid dream or memory. 

1. Concrete Poetry:

- *Definition:* Poems that visually resemble their subject matter, often taking on unique shapes. - *Example:* Create a concrete poem reflecting the theme of unity or disintegration. 

1. Narrative Poetry:

- *Definition:* Poems that tell a story, often with characters and a plot. - *Example:* Craft a narrative poem based on a personal experience or fictional tale. 

1. Pastoral:

- *Definition:* Poetry idealizing rural life, nature, and simplicity. - *Example:* Write a pastoral poem celebrating the beauty of a countryside landscape. 

1. Elegy:

- *Definition:* A poem mourning the loss of someone or something. - *Example:* Compose an elegy reflecting on the passage of time and the inevitability of change. 

1. Aubade:

- *Definition:* A morning poem often focused on the parting of lovers at dawn. - *Example:* Write an aubade exploring the tender moments before sunrise. 

1. Ekphrastic:

- *Definition:* Poetry inspired by or describing a work of art. - *Example:* Craft an ekphrastic poem in response to a painting or sculpture you admire. 

1. Found Poetry:

- *Definition:* Creating poetry by rearranging existing texts or found materials. - *Example:* Create a found poem using newspaper headlines or fragments of a novel. 

1. Epigram:

- *Definition:* A brief, witty, and often satirical poem. - *Example:* Write an epigram commenting humorously on a contemporary social issue. 

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

So I've been into these systems for three years now, but I've recently come to doubt my whole typology. I'm not going to say what I've been typed as before though, because I'd like to avoid bias. It'd be cool if you tried to type me in other systems as well, such as Enneagram, Socionics, Psychosophy/Attitudinal Psyche, Big 5, Temperaments, Jungian...

1. I'm a very closed off person who needs a lot of time to recharge since people wear me out, but I've been told I come across as a highly energetic, hardworking and overall as an inspiring and determined person. For instance, I always strive for the best, even if that means sacrificing my comfort (like going to one of the best universities in my country even if it's like over 100 km from home and I have to wake up at 5 AM everyday), and I'm always passionate about pursuing something to improve myself, because I'd hate to feel like I'm wasting time lazing around.
   
2. People see me as someone responsible to rely on, they have told me I'm a good listener and understand them well, I give honest advice while also taking into consideration their feelings and reactions (I don't want to come across as offensive and insensitive), and in general I like giving a good impression. I mean, I can't stand fake people, but I still feel it's important to portray yourself in a good light. I think you must treat others the same way you'd like to be treated, that is, with respect (but, of course, if they cross me, I'll act spiteful towards them, since that's what they deserve).
   
3. Despite trying to be reasonable at all times and doing my best not to come across as overly emotional, I'm very anxious and tend to catastrophize, so while it's not usual, when it happens, my outbursts are strong. Then, I feel like trash after it all happens, since I perceive it as me having made a fool of myself. My feelings tend to escalate quickly, and sometimes due to something that it's not THAT important, so it's helpful to have someone slow me down and help me see the big picture. I can also be too straightforward as well, to the point that I sometimes end up being reckless. For example, there has been multiple times where I suddenly felt the urge to insult someone because they did something that offended me; in those cases I fortunately had a friend to shut me up and distract me from it because they know I might not be able to wait until they're out of sight to complain about them.
   
4. While at a distance I might seem intimidating and stern, people close to me see me as innerly soft, sensitive and pretty much a romantic prone to sentimentality. I've always had a hard time with processing emotions, because since I was a kid I've been taught "emotions are for the weak", so I tried to repress them. It wasn't until I discovered my passion for poetry that I finally learned to come into contact with them and understand them without shame. Currently, I feel like I have an easier time expressing myself and I'm not as repelled of my own feelings like I was in the past... Many people have actually told me, to my surprise, that my face is amusingly expressive, like I'm transparent even if I try my best to hide myself from the world. That said, I communicate my feelings through poems, so while I'd like the other person to take the initiative in this regard, I'll try to reciprocate it my way.
   
5. However, I can also be quite passive and insecure when I feel oppressed and vulnerable in my environment (I feel like the whole world is against me in such circumstances), so I tend to walk on eggshells most of the time just in case. I'd say I'm mostly awkward, and I never know how to interact with my surroundings properly. If I've done it well, it's likely that I've just been lucky. This has led me to be isolated most of my life, and despite the fact that I currently have some connections with people, I feel like it's still not enough. I'm very private, secretive, and harbour trust issues; but I also crave intense connection with people I've taken a liking to (after a long time assessing if they're trustful enough for me to grow attached to them, since I place a lot of value on loyalty and suffer a lot when those close to me suddenly disappear from my life). I'm really compassionate with others, so some people have taken advantage of my kindness to then stab me in the back when I least expected it, which has made me become outwardly distant and unapproachable through the years (when the truth is that I'm just terrified of people). I've always had this impulse to help and protect those in need when they couldn't stand up for themselves, so it's curious how much compassion I could feel for others when I couldn't feel it for myself. Anyway, I still hold those around me to high standards, which I apply to myself as well.
   
6. On the other hand, I place a lot of value to my appearance too. Like poetry, my own style is a way to express who I am as a person, and I can't understand nor find myself attracted to people who don't care at all regarding this part of themselves... It's as if they're neglecting one of the most important ways to make themselves appealing to both themselves and others. For me, it's also a way to feel better about myself, since the attractiveness and health of the body is just as important as that of the mind.
   
7. Now, I suck at everything related to numbers or economics. They're so boring and uninteresting to me that my brain shuts down when something related to it comes up (I already suffer enough in law school whenever I'm forced to do subjects involving financial law or the like). I've always been more drawn to humanitarian subjects like languages, literature...
   
8. I'm highly impatient (I get easily frustrated when something doesn't go my way like "it's supposed to", and I can grow envious and resentful towards someone that did it better than me), irritable (I'm peaceful until something or someone crosses me), and pessimistic (if something remotely bad happens, then that means it's all doomed to fail). I can be intolerant as well, easily despising someone others might be indifferent to, and I've been told to be impulsive too when I fail to guard myself from what makes me react aggressively either to others or myself. In addition, I cannot deal with people that are too aloof to descifer, like it's obvious they're keeping something from me, but they will lie and tell me "it's okay" while it's obvious that it's not, and their facial expressions are so dull that I won't even be able to extract the minimum out of them. In such circumstances I might flare up to try to get them out of their shell in order to know whatever they're hiding away from me; but that typically ends up driving them away from me further (which pisses me off to no end). I like straightforward people who are not cowards and will make things clear from the beginning, even if it hurts.
   
9. Regarding my mannerisms, they're mostly stiff, instead of smooth or soft. As I said, I come across as energetic even if I slept 4 hours that day, I walk and talk VERY quickly (people who speak and move slowly get on my nerves), and I can be very expressive and loud if I'm feeling comfortable enough with the person I'm with (I can even look extroverted next to my quieter friends). I also don't have any shame at all when it comes to myself; I can talk about anything weird or rant about my nerdy interests and creepy fixations to the point of becoming obnoxious without giving a damn about the reaction of the other person. I may even enjoy making the other person embarrassed and teasing them, since it's hilarious. Fortunately, I'm good at eliciting interest in others, so oftentimes I can drag them into the abyss of my obsessions and teach them all about it.
   
10. Aside from poetry, my other interests are varied. For instance, I also love reading old books, writing stories, creating original characters and researching whichever area of interest I'm into at the moment. I like to maintain an active lifestyle too. In the future, I strive to become financially successful (that's why I'm in a career that is going to bring me a lot of opportunities), independent, and travel and learn as much as I can to improve both myself and my talents. I'm overall a very individualistic person, but I'd like to meet more people who align with my values as well; without at least someone by my side with whom I can share myself I become depressed.
    

I'd appreciate it if someone is willing to try to type me via chat too, if that's more comfortable for you.

So I've been completely enamored with this setting in the last few months. The commitment to grimdark is tone perfect and outside of old WH and 40k, reminds me a bit of the Prince of Nothing series in how it takes it's thematic inspirations from real-life and morphs into something new, but with the added benefit of being a game and with such stellar artwork by Mike!
The forces of heaven exemplify this tone so perfectly. Antioch, Pilgrim and the Sultanate are noble in their fight to save humanity from being devoured by the personifications of evil but in doing require cultures that would be abominable to us in the real world.
Antioch seems to be a collections of nations that are theocratic, feudalistic and authoritarian with everything in the service of survival. A full time war economy is going to be industrial hellscape in it's own right. The Pilgrims are just straight up lunatics, their casualties probably rake up the pounds of human flesh just as much the demons but it's deemed holy because it is all for god. The Sultanate needs more lore, but given they are isolated behind the iron wall and with the distrust of the Christians, I think it is safe to assume that they are going to have a good deal of xenophobia in regards to those who do not believe in Allah.
This is all great, in grimdark even the "good" factions have nuance and I find an exploration of these cultural pressures to be tantalizing to my brain and opens up so many avenues of interesting storytelling. The implementation of real life figures make it all the better and I'm really excited for the interpretations.
Which is why I'm a little disappointed in the forces of hell as I find that they do not have the same potential that the forces of heaven do right now. The visual design aspect is just as wonderful, but I don't see them having the same thematic nuance that excites me.
The mentioned hell characters seem to be solely demonic and one dimensional whose only aim is to get more power in the games of hell. The heretic legion claims 1/3 of humanity but all established lore is just constant human suffering with the promise of even more suffering if the forces of hell wins. It just does not seem believable why anyone would join hell if really you have only a 1% chance of being an elite hell lord while the rest of the 99% are just naked half-corpses roiling in a fire pit in a nameless section of hell. In addition, the lack of historical figures in the faction really robs the character connection for a player faction.
The black grail makes sense for a lack of nuance as it's recruitment is by virulent enslavement. That faction may stay as a mindless, cruel and uncaring mass for those who like that kind of theme but I think the general forces of hell can use some thematic expansion. A few suggestions.

1. Make hell enticing as the propagator of earthly desires and individual human will, whereas heaven is the cessation of all that makes a human a human. Claim that hell is the only reason humans can even have a personality and sense of self (the true "original sin"), it just comes with all the negative aspects too. When the devil gifted Adam the apple, he gave them joy and sadness, rage and contentment etc. Have hell be the way for humans to enjoy paradise on earth by giving them ways to become immortal, either by demonic magic or in case of the grail through undeath.
   
2. Have hell claim that life on earth is the real paradise and heaven is even worse than hell. Take a 'Paradise Lost'-esque approach and claim to be in God's presence is even more torturous than all the skin flaying and bloodletting combined, you just have no will to resist it since you are a part of him in heaven. This is why the original fallen angels decided to rebel against heaven in order to escape it all. After all, heaven's angels can't even be looked at without your eyeballs melting out of your socket so how do you think it will be when you are in god's full power? Hell is merely a place to that is necessary to destroy the soul completely(maybe to be reincarnated?) as it takes millennia of torture to finally be rid of god's grasp. Of course, this could all be absolute bullshit but I would leave it to interpretation if it's true or not.
   
3. Pagan cultures can be represented as they were forced to join Hell or be destroyed by the monotheistic religions. These would probably need some new factions but it could allow some historical figures to be present and demonic analogues to their mythological deities and creatures could be used. Some examples:
   

• Norse: I could imagine this faction as a kind of guerilla force that attacks from the ocean and the forests. Perhaps some demonology that are fae-ish in nature that plays off the Christian folklore that was taken from pagan cultures. Besides the obvious naval raiding force, some goblin type demons that seek to trick people into the forest type lore to terrorize the populaces. I could see Leif Erikson and Harald being potential inclusions.
  
• Aztec: I'm fascinated by Moctezuma and I see great potential in him for this setting. Perhaps he made a pact with hell that requires mass amounts of human sacrifice to hell to avoid the extinction of his people? I could see storylines of him as a political maneuverer in trying to keep hell off his back with the sacrificial tithes while at the same time doing deals with the forces of heaven to be free of hell's grasp. Bonus points for lake of blood Tenochtitlan and Camazotz warriors with macuahuitl-gun hybrids that shoot stakes of obsidian.
  

More just brainstorming than anything and wanted to bounce some ideas around.

Term: Personification

Definition: Personification is a figure of speech in which human characteristics are attributed to non-human things, animals, or abstract concepts.
Example: "The wind whispered through the trees."
Freewrite Prompt: The night sky beckoned with its twinkling eyes, each star a guardian watching over the slumbering world below.

I’m a middle school teacher and our final unit for the year happens to be poetry. Of course, I have already themed this unit for The Tortured Poets Department :) I would like to use some Taylor lyrics as examples of figurative language for students to identify. It could be from any Taylor album and it needs to be appropriate for middle schoolers. Any suggestions?
I’m specifically looking for: metaphor, simile, personification, alliteration, and symbolism (easy for a non-Swiftie middle schooler to understand). Thank you!!