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

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

No one yet knew how long we lived, but still did they prepare me for a life-long journey. Cheeses and fruits fresh-picked did Our Mother gather to sustain me, and Our Father stowed in woven sacks grain to keep my strength, heaving and strapping barley on our beast's broad back. I looked outwards at the sun setting in its westerly nape, weak in th'numbness of heavy sentence new-laid, when a force struck at my thighs and grasped around my waist. My stomach was in th'dirt, my mouth fined with dust. Above me I saw looming our first father, rock in ready hand, pinning me to th'ground as he raised up his arm to Heaven in twisted invocation, something sick and wicked crinkling in his eyes. Waiting for tight- held stone to shatter my brow, the seconds stretched as centuries, but death stood still. Looking up, the stone and arm that held it sat limp on Adam’s knee as he rose with heavy breath. He reached down his hand, as though to help me rise up to my feet. I held doubts.
"I won't kill you, boy,"
he softly said. after a moment, I took his hand and he then hoisted me upwards. As he spoke he started dusting blotches of earth from my robe.
"No, I won't kill you. It's not a father's place to inherit from the son. I'll let you wander. Let the world do its bloody office. Pity your brother, that he bleeds the fields. Pity your mother, that she mourns two sons,"
his gaze finally meeting mine,
"the better one and you. Don't pity me. As man you bear my shape and name, but you're no son of mine."
His piece then said, he went toward where worm-food Abel lay interred. Ever watchful was Eve. A look half-mad lingered about her eyes as she stood in grief-mute stupor. Maybe by Abel's blood was she made deaf. No matter. I grabbed the halter, starting on my lonesome, weary way. Cresting the hill that would forever stand as sentry between me and home, I couldn't help but look back. There were th'fields from youth I'd tilled. I saw the altar where we made offerings to th'Potter, th'olive tree I had watered with brother's blood. In the midst of it all I saw Our Mother, still where I left her, looking at me. I waved meekly, my arm meeting my side almost as soon as I raised it. She was unmoved. With wavering breath, I turned toward my portion. East had He bid me. East would I then go.

I had an idea a few weeks ago for a poem about Cain after he kills Abel, so that's what this is. I'm a four books into what I think is going to be a five book piece. Just wanted to gauge folk's interest, and would definitely appreciate any constructive criticism. Thanks in advance for reading this monstrosity.
https://www.reddit.com/OCPoetry/comments/1cv3ihc/comment/l4n8uh8/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button
https://www.reddit.com/OCPoetry/comments/1cupdbh/comment/l4neah7/?utm_source=share&utm_medium=web3x&utm_name=web3xcss&utm_term=1&utm_content=share_button

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

I'm going to try to translate those top comment from Hupu for MSI, I might skip some of them as they are Chinese internet memes that I've no idea how to translate, and those comment related to Honor of Kings, a popular league like mobile game made by Tencent.
The rating is user poll generated, you can give a rating between 2 and 10, and average is used. A total of 725k people participated in this series' rating.
Hupu rating is an in APP feature so it doesn't really have a link, but here is the post match thread for the match, and on the top there is an link you can click on that get you to that page. link

MATCH 1: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Twisted Fate	9.8	This is our BLG's double marksman!
Xun Xin Zhao	8.3	Good tempo, but what give you the confidence to so steal blue by yourself?
Knight Taliyah	9.7	This game Trist kept getting fed kills, while you are the one controlling the tempo of the game, and give all the kill to your teammates, you are the true MVP of this game.
Elk Kalista	3.7	This game just treat Kalista like Tahm Kench.
ON Renata Glasc	9.6	"I didn't say you could go, did I?"
BigWei	5.5	Don't ban Nid against Gen.G but ban it against T1, are you drunk?

T1

	Player Rating	Top Comment
Zeus K'Sante	6.0	I often think what if Sang-hyeok brother is 10 years younger.
Oner Sejuani	3.8	Tarzan: I logged on.
Faker Tristana	2.8	Hey bro, maybe you should go tryout for the Old Guy Cup.
Gumayusi Senna	3.6	That herald in the baron pit, directly give BLG a way to go in, pure comedy.
Keria Nautilus	7.9	Looks a bit red from player cam.
kk0ma	3.4	Kenzhu: I'm going to keep picking Neeko next game.

MATCH 2: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin K'Sante	8.9	So weird, you are the most in form, but bot lane is getting the highest priority.
Xun Wukong	3.5	You the only one pick Wukong this whole MSI, and last time you tried you got giga gapped, why pick it again, J4 and Xin would be so much better.
Knight Neeko	8.6	Not your fault, same like last series against Gen.G, bot feed a lot of kills and then blame you invisible.
Elk Varus	2.6	You were not human in any of the recent games.
ON Kalista	2.7	If you keep playing like this, I'm gonna go watch KPL.
BigWei	2.7	BigWei and rest of the coaching stuff come out and face the flame, why are you so focused on strong lanes, didn't you learn. Don't waste so many ban for mid, just tell left hand be more confident and pick a tempo champ, don't always think about laning. Pick some engage champ like Naut, Rell, Alistar, Camille for On, Xun could pick carry jungle like Nid or Kindred if there are engage already, else just pick J4, Sej, Maokai, Wukong. Bin watch out for Zeus last pick counter pick, don't be cocky, BLG fighting, please win this!

T1

	Player Rating	Top Comment
Zeus Camille	8.7	Using the T1 formula, if Zeus can carry, this game will be a stomp.
Oner Sejuani	8.7	You tempo is so good, so why are you kept picking Viego.
Faker Akali	7.1	Dude, what use do you have? I mean seriously, you are not really useful.
Gumayusi Draven	9.3	Why kept picking me Senna, am I weaker than them?
Keria Ashe	7.4	If you didn't ult the real Wukong, that last fight will turn out different.
kk0ma	6.8	No difference compared to Ham. (Laker coach.)

MATCH 3: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Twisted Fate	9.9	Fine red wine glitters in a jade chalice that glows in the night, next card will be a ace of heart. (The first part is a famous Chinese poem "葡萄美酒夜光杯", and the second part rhymes with that in Chinese.)
Xun Xin Zhao	9.2	That flash for flash at top was so critical, as a Yasuo main I felt the pain.
Knight Annie	9.8	Knight: Yagao, I don't know what to do. Yagao: ZhuoDing, maybe its time for Annie.
Elk Senna	9.5	WE.Jiumeng, UP.ELK, BLG.Husband is fighting for control of the body, husband is winning right now. (past name and nickname for Elk.)
ON Ornn	9.7	Gift a kill when fountain diving, champion at karma.
BigWei	7.7	Wow, did you just first pick Senna? (This was a 1 star rating comment, probably made right after the draft.)

T1

	Player Rating	Top Comment
Zeus Yasuo	2.5	Come duo with me, I'm silver, my username is weird top. (It is the name for a steamer 霸哥 that is known for been bad，farming under tower, and possibly using 3rd party software to cheat.)
Oner Nidalee	2.8	Oner: Nidalee, I don't know what to do now. Nidalee: What, who are you again?
Faker Zac	2.8	This Zac pick is like a summary of T1, once Faker dies, four turd pop out.
Gumayusi Kalista	2.8	So you are really an egg, either fried egg, or egg drop soup. (Those are dishes in China, and dish is called 菜, which also means bad when used in league.)
Keria Nautilus	2.9	OP
kk0ma	3.1	Kenzhu:Hmm, did you reuse your old password? 1557, such an easy password.

MATCH 4: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Twisted Fate	9.6	Tried your best.
Xun Vi	2.4	Fully responsible.
Knight Corki	7.2	When Chovy's Corki had an advantage, his teammate didn't decide to int.
Elk Varus	3.5	You finally got you condition under control, your jungler's is acting up again.
ON Nautilus	6.6	OK I guess, the support Naut is the only one that could face check.
BigWei	3.2	Xun's Vi, Elk's Varus, game is GG at BP.

T1

	Player Rating	Top Comment
Zeus K'Sante	8.0	Showmaker.jpg.
Oner Viego	8.5	Oner: Viego, I don't know what to do now. Viego: Who are you? Oner: I'm Zhao "JieJie" Li-Jie, don't turn around to look.
Faker Aurelion Sol	6.5	Head scratcher, inted at least 4 times.
Gumayusi Senna	8.3	Your ult is so clutch, so many key shields.
Keria Ornn	8.1	I upgrade based on age, Zeus sad :C.
kk0ma	6.0	Kenzhu: You still haven't change your password yet, I get to pick Senna and Asol again.

MATCH 5: BLG vs. T1

Bilibili Gaming

	Player Rating	Top Comment
Bin Camille	9.9	Best top in the world, LPL's pride, you deserves it!
Xun Xin Zhao	7.6	Your entire purpose this game is to facecheck.
Knight Neeko	9.7	Watching you whole game, you were laughing the whole game.
Elk Senna	9.3	I think I kinda get LCK's love for Senna now, and your Senna last year G5 against Gen.G, maybe Senna is actually good.
ON Ornn	9.8	Everyone is even before Letme.
BigWei	5.7	So dumb, I guess you've made enough money and want to retire, how did you BP like this?

T1

	Player Rating	Top Comment
Zeus K'Sante	2.8	Now you really became Bin's son.
Oner Viego	2.6	Viego: Wait, your are not Zhao "JieJie" Li-Jie, byebye.
Faker Taliyah	3.2	Faker, now its time to wake up from the sweet dream.
Gumayusi Varus	2.8	A kid came to T1, his Varus is flying. (A copy pasta for TheShy, original one is something like: A kid came to WE, his Riven is flying. It was an compliment, but in this case Guma's Varus was literality in the sky.)
Keria Nautilus	2.6	That flash hook clone is a bit cringe.
kk0ma	4.1	Password too hard, let me try other side's.

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.

Watched the viral video of Babil apologising to a woman who was getting photographed and he came in the frame. I’ve been hearing about his trolling from days but didn’t know what it was about exactly, and tbh, I don’t care about internet trolling and celeb gossiping about how bad or cringe they are or anything like that. But now that I’ve watched the video, I’m baffled.
I don’t see any point in trolling him for just apologising or being a soft person. This is same as Ananya Pandey getting trolled for her weird Hinglish/South Bombay typical accent, Alia for her lack of basic knowledge, Anushka for being too picky about people in real life, now Babil for just being the typical nice guy.
The way people obsess about trolling on anyone who is basically different than usual in their eyes, is the reason why talentless people like Deepak Kalal or Dhinchak Pooja (a former Bigg Boss contestant) found fame and recognition from the people on the internet. They know it will bring them attention and limelight, and any form of publicity is an opportunity for them to be relevant and known.
Babil is raised by the man who is known for his humbleness and loving attitude about life, and most importantly- his dedication to work and making a name for himself in (basically) cross-border cinema along with his regional cinema. We all respect and admire Irfan sir for who he was, his personality, his character, his humility and of course, talent in acting.
I saw Babil’s mother (PS Irfan sir’s wife) putting a post on Instagram dedicated to his son crying for his father who was being remembered in an award show (in 2021, I guess). She wrote an entire poem for his son who was getting wrong kind of attention because of his father’s demise making him emotional. It was clear that she was trying to make a point of how distorted our views on men being soft (easily crying) is.
I don’t need a proof of knowing that people can be absolutely absurd and insensitive. So absurd that they would like to troll anyone for anything, despite the fact that whether they actually deserve it or not.
What I can say at the end about it - believing in Irfan sir’s parenting and influence on Babil, I don’t think I’ll ever want to doubt the intentions of Babil being nice (which is the highlight of the story).

Hello all, below are a selection of letters sent from, to, and about J. R. R. Tolkien in the week of 13 to 19 May. (Links lead to our 'On This Day' page where you can search all dates and see other letters on any day.)
13 May
JRRT to C.A. Furth (at George Allen & Unwin) 13 May 1937 - Tolkien writes, offering his thoughts on a potential publication of The Hobbit in the US. He says that he can produce the illustrations requested or if they prefer, they can contract another artist for the work. He does however say that he would want to veto anything that is too alike to a Disney style.
JRRT to Rayner Unwin (at George Allen & Unwin) 13 May 1954 - Tolkien expresses his pleasure at the opinions of The Lord of the Rings. He is not pleased with the Houghton Mifflin edition for the USA market and offers some suggestions to improve it.
JRRT to Joy Hill (at George Allen & Unwin) - 13 May 1966 - Writing to his secretary, Tolkien thanks her for the packets sent to him. He would like a ticket for a Donald Swann concert and notes that he will not send anything to be used in the Tolkien Reader. He notes that The Homecoming of Beorhtnoth would be much more suited to a collected volume than anything connected to The Lord of the Rings, which had been suggested by Stanley Unwin.
14 May
G.B. Smith to JRRT ?14 May 1915 - Smith writes to Tolkien asking him to send his poem, 'Goblin Feet' to the editor of Oxford Poetry, 1915.
Christopher Wiseman to JRRT 19 May 1917 - Wiseman returns manuscripts of G.B. Smith's poetry to Tolkien.
JRRT to Christopher Tolkien 14 May 1944 - Writing to his son Christopher, Tolkien gives updates on The Lord of the Rings among other happenings. He has heard C.S. Lewis reading from some chapters of his work, The Great Divorce.
JRRT to Joy Hill (at George Allen & Unwin) 14 May 1962 - Tolkien sends corrected proofs for The Adventures of Tom Bombadil.
JRRT to Jonathan Wordsworth 14 May 1972 - Tolkien writes to Wordsworth accepting an invitation to dine with 'The Society', an Oxford Dining club.
15 May
JRRT to Florence Williams (wife of Charles Williams) 15 May 1945 - Tolkien writes expresses his sympathy to Florence and her son on the death of Charles Williams.
George S. Gordon to Kenneth Sisam 15 May 1924 - Tolkien's co-editor on the Clarendon Chauver writes to Kenneth Sisam to say that Tolkien has agreed to retire from the project.
16 May
JRRT to Rayner Unwin (at George Allen & Unwin) 16 May 1958 - Tolkien gives Rayner Unwin an update on his health, namely after some dental issues. he notes that he has not been able to work on the matter of the Zimmerman Lord of the Rings movie but includes some commentary.
Edith Tolkien to Alan Rook 16 May 1939 - Edith writes to Alan Rook, a student from Oxford, inviting him to the Tolkien's home at the weekend.
17 May
JRRT to H.S. Bennet 17 May 1954 - Tolkien writes on C.S. Lewis' proposed move to Cambridge.
JRRT to David Best 17 May 1967 - Tolkien replies to a fan who had written to Tolkien, including a version of Tom Bombadil written in English runes.
18 May
JRRT to Robert Theodore Meyer 18 May 1972 - Tolkien writes, declining a request to be interviewed.
Henry Willink to JRRT 18 May 1949 - Willink gives Tolkien an update on his wifes ill-health. he also remarks on his admiration and appreciation for The Hobbit.
19 May
JRRT to Miss Turnbull 19 May 1955 - Tolkien thanks Miss Turnbull for a gift and says that he at last sent proofs for The Return of The King to his publisher.
JRRT to Dr. Zettersten 19 May 1959 - Tolkien writes, remarking that Ancrene Wisse is now at the press and publication will depend on hwo quickly he can return the proofs.
Tags on the letters above include The Hobbit, Illustrations, US publishing, The Lord of the Rings, C.S. Lewis, Fæder his suna, The Adventures of Tom Bombadil, Oxford University, Poetry, World War I, Catholocism, Charles Williams, Clarendon Chaucer, George S. Gordon, The Lord of the Rings movie, Runes, The Return of the King, Ancrene Wisse, Health, A Spring Harvest.

La llarona
Known as Maltinzin in her original nomenclature, today, the lore of La Llorona is well known in Mexico and the southwestern United States.
The earliest documentation of La Llorona is traced back to 1550 in Mexico City. But there are theories about her story being connected to specific Aztec mythological creation stories. "The Hungry Woman" includes a wailing woman constantly crying for food, which has been compared to La Llorona's signature nocturnal wailing for her children. The motherly nature of La Llorona's tragedy has been compared to Chihuacoatl, an Aztec goddess deity of motherhood. Her seeking of children to keep for herself is significantly compared to Coatlicue, known as "Our Lady Mother" or Tonantsi (who's also comparable to the Virgen de Guadalupe, another significant mother figure in Mexican-culture), also a monster that devours filth or sin.
The legend of La Llorona is traditionally told throughout Mexico, Central America and northern South America. La Llorona is sometimes conflated with La Malinche, the Nahua woman who served as Hernán Cortés' interpreter and also bore his son. La Malinche is considered both the mother of the modern Mexican people and a symbol of national treachery for her role in aiding the Spanish.
Stories of weeping female phantoms are common in the folklore of both Iberian and Amerindian cultures. Scholars have pointed out similarities between La Llorona and the Cihuacōātl of Aztec mythology,as well as Eve and Lilith of Hebrew mythology. Author Ben Radford's investigation into the legend of La Llorona, published in Mysterious New Mexico, found common elements of the story in the German folktale "Die Weisse Frau" dating from 1486.La Llorona also bears a resemblance to the ancient Greek tale of the demigoddess Lamia, in which Hera, Zeus' wife, learned of his affair with Lamia and killed all the children Lamia had with Zeus. Out of jealousy over the loss of her own children, Lamia kills other women's children.
The Florentine Codex is an important text that originated in late Mexico in 1519, a quote from which is, "The sixth omen was that many times a woman would be heard going along weeping and shouting. She cried out loudly at night, saying, "Oh my children, we are about to go forever." Sometimes she said, "Oh my children, where am I to take you?"
While the roots of the La Llorona legend appear to be pre-Hispanic, the earliest published reference to the legend is a 19th-century sonnet by Mexican poet Manuel Carpio.The poem makes no reference to infanticide, rather La Llorona is identified as the ghost of a woman named Rosalia who was murdered by her husband

Spoilers ahead…
Dear Karthik Subbaraj,
Congratulations on yet another interesting movie, and for resisting the impulse to name this one, too, after a food item. Iraivi is an unusual feminist film, in the sense that it’s seen entirely through the prism of sympathetic male characters. Your men aren’t monsters who drink or cheat on their wives or subject them to torture. They do these things, yes, but… differently. Arul (SJ Surya) drinks, but only to drown out his sense of failure – he’s a director and his film is in the cans, being held hostage by a sadistic producer. Michael (Vijay Sethupathi) has sex with Malarvizhi (Pooja Devariya), and he continues to lust after her after his marriage to Ponni (Anjali) – I love that all your women have names that suggest classical heroines, including Arul’s wife Yazhini (Kamalini Mukherjee) – but it’s a marriage he committed to in a hurry and he still hasn’t reconciled himself to it. He’s being a bastard, certainly, but he’s not a one-note villain. And the torture they inflict isn’t the stubbing-a-cigarette-into-the-wife’s-bare-arm variety. It’s more mental than physical.
So we get women who are collateral damage – and I include Arul’s comatose mother (Vadivukkarasi), and the nurse who’s not allowed to do her duty – of men being men. They’re being babies, really. Yazhini tells Arul that he should get on with his life, write another story, make another movie. He says it’s like her trying to have another child while still pregnant with their daughter. (Yes, all these men end up with girl children.) He’s a wallower – but maybe all artists are. You like to do that, don’t you Karthik? Even in a film like this, you deliver a commentary about filmmaking and the artist. Why, even Arul’s father is a sculptor, and though we never see him ill-treating his wife (thank you for sparing us the clichés of raised hands and raised voices), we’re informed that he’s responsible for her state. His son’s following the father’s footsteps. Maybe you’re trying to say that the wives of obsessed artists are doomed to become collateral damage. Your films make us think, Karthik, so thank you for that.
All your stories have at their centre a filmmaker, or at least (in the case of your first film, Pizza) a storyteller. And through them, we seem to hear your voice. “Works of art should not be in places where they are not respected.” “Namma padam pesanum, naama pesa koodadhu.” You compare masala movies to a massage with a happy ending. (I laughed, but please don’t judge me when I say I rather like massages with happy endings – I refer to masala movies, of course.) We even get a line of dialogue about Dolby Atmos. (What will the B/C-centre audience make of this, Karthik? But then you don’t really give a shit, do you? More power to you.) And you like your insider jokes. That crass, egoistic producer who does not care about art – he reminded me of the crass producer from your earlier film, Jigarthanda. You like Rajinikanth too. You referenced Thillu Mullu in Pizza, Thalapathi in Jigarthanda, and now you have Arul singing Malayala karayoram, Michael singing Oorai therinjikitten.
Or is that more of an Ilayaraja homage? You like to keep the audience guessing, right? When the Bobby Simha character in Jigarthanda said he was a Shankar-Ganesh fan, it appeared that you were mocking the endless Ilayaraja nods in Tamil cinema, but here you are, doffing your hat to the maestro. “Raja Raja dhaan.” Arul says this… twice. (By the way, which is that nightclub which plays Maanguyile poonguyile? Do let us know.) And the reuse of Unnai thaane – first in a scene between Michael and Malarvizhi; later in a scene between Michael and Ponni – is the kind of Easter egg we come to your films for. Let me list some others, though I’ll probably need to watch the film a second (or third) time to get them all. The name of the bachelors’ quarters is Ambal Mansion – it goes with your theme and title. I didn’t get the bit about the windmills (something connected to the gust of wind that makes the row of cycles fall over in the first scene?), or why you showcased the book of Shanta Shishunala Sharif’s poems. (I confess. I Googled up that name. I can’t remember the last time a Tamil film made me Google something up. Madras, maybe.) And despite your note at the beginning that Iraivi is inspired by the works of K Balachander (he made female-centric films, but I don’t know if I’d call them feminist films), this is really more of an ode to Mani Ratnam, isn’t it? Specifically, Aayidha Ezhuthu. The three men, one of them – the impulsive one – named Michael. The film starting out as Arul’s story, then becoming Michael’s story, and finally Jagan’s (Bobby Simha) story. The finale with the woman on the train. Plus, the arc of the Madhavan-Meera Jasmine plot was essentially about being easily misled (in the case of the man) and becoming collateral damage (in the case of the woman.) And yes, the rain. All that rain. As though the skies were weeping for these women.
Am I digressing, Karthik? If I am, I’m just following your style, which is the opposite of simple and linear. As a result, I find your films longer than they need to be. (You may feel the same about my reviews.) For instance, I did not care for the scene in the nightclub where a director is felicitated. I realise it was there as a last straw for Yazhini, but it felt redundant. But I suppose they couldn’t be any other way, because you like these shaggy-dog stories that you then embellish with novelistic detail. I love the way you introduce your characters, the time you take with them. Our films lay out characters and their relationship to each other the minute we set eyes on them, but you make us wait to know how Arul is related to Jagan and where Michael fits in and so on. And when it appeared that a semblance of a plot was kicking in (something about Arul needing money to buy back his film), I dug out my phone and checked: it was a whole hour into the movie. Borrowing an image from Malarvizhi’s profession (oh wait, she’s an artist too; she’s literally an artist), it’s like daubs of paint slowly forming a bigger picture.
And you really like an expansive canvas. Not only does the crass producer have a brother, you also bring in his wife later on, to conclude a deal he began making. These segments practically form a mini-movie, with another woman left reeling by the actions of her man. Your films have this… density. They’re packed – with characters, with complications, with information doled out in bits and pieces. (A character says, “Un kitta onnu sollanum.” And instead of hearing what he has to say, we cut to someone else.) Take the scene where Michael asks Arul for money he is owed. You just need to get Michael to Arul’s antiques shop, so the next part of the plot can be staged. Arul could have told Michael to collect the money at the shop. Instead, this is what we get. Arul tells Michael to wait for a week, when he can get the 50 lakhs he is owed. Michael says he wants only 10 lakhs. Arul says he has only 8 lakhs, he’ll give the remainder later. Michael goes to Arul’s father, in the hospital. He has only 5 lakhs. And he directs Michael to the shop, to get the remaining 3 lakhs. Your signature intercutting adds to this texture, Karthik. Shots of Michael and Arul’s father in the hospital are intercut with shots of Arul hunting for booze. Shots of Michael and Jagan outside a courtroom are intercut with shots of Arul being consoled by his father. Happenings are stretched and meshed the way they would be in real life, and not compacted according to the page-per-minute requirement of screenplay-writing textbooks.
I could never predict where the film was going (win!), what these people were going to do (again, win!) –though I must admit I found this to be the weakest of your “twists.” The subplot about stealing sculptures, too, I found rather conceit-y, something half-heartedly cooked up to fit with the title and the theme, rather than something plausible, something these people would do. When Michael, here, commits murder, with a hammer, I went, “This mild-mannered chap? Really?” But then, even in Jigarthanda, I wasn’t quite convinced that the characters would do the things they did. They seemed to be puppets of a screenplay rather than credible human beings, whose actions evolve organically from who they are (or at least, who they seem to be).
But even if I am not convinced by the overall trajectory of your characters, I love how fleshed-out they are on a moment-to-moment basis. I loved the scene where Arul barges into Yazhini’s house, after their separation, on the day of her engagement to someone else. In a lesser film, she would have asked him to get out, and he’d have dug his heels in, and she’d have cooled down and… But here, she rushes straight into his arms. And you make us see why. She was frustrated, fed up with him. But she’s also confused. Was she hasty in abandoning this man? Should she move on with another man? Does she even need a man? With just this one scene, you’ve compensated for the underwritten heroine of Jigarthanda. The story arc may be Arul’s, but Yazhini registers as a fully formed character. Similarly, Michael’s arc allows for the delineation of Ponni and Malarvizhi, and through Jagan, we get glimpses of his mother, and possibly of all womanhood as viewed by a compassionate man. And then you say that women don’t need even this compassionate man (poor chap!), that they have to emancipate themselves instead of looking for a penis-wielding emancipator. What delicious irony, given that you begin the film with women talking about marriage, tying themselves to a man!
Or not, in the case of Malarvizhi, who is easily the film’s most interesting character. Her husband is dead, and she doesn’t want love anymore – only sex. When Michael buys her a diamond necklace, she gives it back to him – she can buy her own trinkets, thank you very much. But the character feels shoe-horned into the film, Karthik. I felt betrayed – and I bet she did too – that after a point, she was used simply as a plot device to get Michael and Ponni together, and also to illustrate Michael’s (who is now standing in for all of mankind) hypocrisy. I felt she deserved more. And yet, I appreciated your generosity in fleshing her out like all the others, without judging her. She gets to be the rare woman in Tamil cinema who dumps the man, and the way she lets go of Michael is echoed in the way Arul lets go of Yazhini, with a heavy heart and some playacting. A side effect of the Malarvizhi subplot is the reassurance that Vijay Sethupathi is still interested in making cinema, rather than just massy entertainers targeted at the box office.
Ponni gets a better deal (and Anjali is terrific, raw and expressive in a way she has never been). In a great scene – rather, a set of book-ending scenes – Michael tells Ponni that he was forced to marry her, and she’s going to have to “adjust” to this if she wants to be with him. Much later, she throws the “adjust” word back on his bearded face when he asks her if she slept with someone else. In a different kind of movie, we’d be invited to see this symmetry, stand up and applaud. But you’re too subtle for that, Karthik. Iraivi is your subtlest film. Which is why I winced at the melodramatic lines about men and women, most of which came towards the end. Aan, using the long-sounding vowel, versus penn, with the shorter one – for such a visual filmmaker (this is another outstandingly shot film, less showy than Jigarthanda and probably richer for that), do you really need the crutch of linguistic special effects from another era of filmmaking? Also, when the rest of your film is so allusive, isn’t there another way you can explain the twist without having a character resort to such an inelegant information dump?
And why is it that your films come together more in the head than in the heart? Why are they easier to admire than love wholeheartedly? I used to think it was because your characters are essentially deceitful, self-serving and unsympathetic, so though we were invested in what they did, we didn’t really warm up to them. But here, you have Ponni and Yazhini and Malarvizhi – and they’re still remote. But perhaps this is bound to happen when there are so many people, so many strands, when we don’t follow one person’s simplistic “you go, girl” journey like we do in, say, 36 Vayadhinile? But when the parts are so well-crafted, we don’t complain as much about their sum not adding up to a satisfying whole. I am sure that you will, one day, make that wholly satisfying film, but for now, thank you for these parts. Thank you for the ambition. I felt there were too many songs (some good work by Santhosh Narayanan), but thank you for ensuring that they don’t break character, the way songs usually do when a character speaking in his or her voice suddenly segues into the playback singer’s voice. Thank you for giving us SJ Surya, the actor – I never dreamed he had such a capacity to hold a scene, to hold the screen. Thank you for continuing not to sell out. Thank you for trying to do so much, even if not all of it needed to have been tried. And thank you for making me fight with myself, for not making it easy to decide if you’ve made a “good” film or a merely “okay” film. For now, Iraivi is a fascinating film, and that’s enough.
Sincerely, etc.

Hi all. I hope it's okay to share this here. I'm new to this whole thing and I just need to let out some thoughts and feelings that have been weighing on me lately. It's been a really difficult year.
Where to start.. Perhaps some context. My partner and I currently live in a small single bedroom studio apartment in the UK. We have just given birth to a beautiful, healthy baby boy who has just turned one month this previous Sunday.
11 Months ago, in June, my partner and I suffered a late miscarriage of our son at 18 weeks. It was devastating and heartbreaking, and holding him in my arms was a moment that I will never forget and will weigh heavily on my heart for the rest of my life. Carrying his coffin through the crematorium and reading the poem I wrote him is something I never thought in my life I'd ever have to do. Then, two weeks later, I lost my job. It was due to a mistake on my part, one I'll always hold my hands up and admit to, but the timing of it couldn't have been worse. It stung.. it still stings, because the job market hasn't been kind to me since. Every single day I'm out looking for work, doing odd-jobs here and there to get by but I've been unable to find a new consistent job, and so we're having to rely on government benefits to get by financially.
Fast forward to now.. we've been blessed with a gorgeous baby boy. But with blessing comes challenge. My partner is battling PPD, struggling with her self-image, and feeling lost in herself. She can't walk past a mirror without breaking down and the stress of looking after him alone when it's my turn to sleep causes the same reaction. Our baby boy has colic and so, to ensure we're actually resting, we're currently rotating in shifts to look after him. We tried the standard 8 hours each and that didn't work out for us so now we're rotating in 3 hour shifts. For 3 hours I'll take him, then we'll both look after him together for 3 hours before my partner then takes him for 3- and then so on. Admittedly, we've struggled to stick to that routine but it's definitely working better than the one before.
I've been doing my best to hold everything together. Since we brought him home I've taken the lion's share of responsibilities so my partner can rest and recover from childbirth, as well as have the time she needs to push through her PPD. I usually let her sleep over the 3 hour mark by quite a fair bit and in the beginning the baby was glued to me to allow her to recover. I was more than happy for this and I want it clear that I'm not complaining. I made that choice and I am happy with it. What I'm venting about here is a bit more complicated.
I don't... feel anything with him. I don't have the connection with my son that everyone else seems to have. It's like I'm babysitting a stranger's child. Am I not supposed to have this overwhelming feeling of love and joy? My partner and each of our parents all have this connection with him. They have so much love and pride when they see and hold him and I.. don't. What I feel is instead a sense of responsibility, a paternal desire to protect and keep him safe.. but I don't feel anything else. I'm always told that it's because my partner carried him for 9 months and that our parents have had children before themselves so they know what it's like.. but I can't help but feel guilty and cruel because of it.
And ultimately, I think that's what it boils down to. Guilt. It's eating me up inside. I feel guilty for not feeling what everyone else seems to feel, for not being able to provide financially, for not always knowing what my baby needs. I miss our lost baby every day, and it's hard not to see him when I look at our new baby. It'll be a year since we lost him in a few weeks and it's a painful reminder of what we lost. I'm terrified of being the type of Dad my Father was, I'm terrified that as he grows older he'll resent me because I was unable to provide for him the way I should. I just.. I've always dreamed of being an this amazing Father and an amazing future Husband to my partner and with each day I feel like it's a dream I'll never achieve.
I know that it's supposed to get better. Everyone says it and I don't doubt it.. but it's hard to see that light at the end of the tunnel. One thing I'm incredibly grateful for, though, is how supportive my partner and I have been with each other. Every trial and tribulation has only ever made us stronger and I fall more in love with her every day. Seeing her be the Mum I always knew she'd be.. it makes everything just a little bit easier. I've told her all of this and she's told me her own woes, and we're doing everything we can day by day- and it's for that very reason that I want to do right by them both.
I'm sorry if this post seems out of place or self-indulgent. I just needed to let these thoughts out into the world, to lighten the load even just a little bit. Thanks for listening, Dads. And sorry if this isn't the right place for it. I'm still learning the ropes of this whole new Dad thing.

I am named after my 3rd Great Grandmother. When delving into her details I have found some quite interesting rabbit holes and I am convinced she is gifting me with information to pursue.
I found an obituary for her husband that I believe she wrote. The obituary details his leadership in the Confederate Army and ends with this:

• After the War, they (he and the Mrs. ) became members of the First Baptist Church of Atlanta in 1866. They never placed their membership elsewhere. Both of them became students of Emmanuel Swedenborg’s writings and enjoyed the wonderful spiritual and intellectual uplift which such study gives to a seeker after true religion.

Wow! If that doesn't start a few things! Baptist AND Swedenborg. I'd love to know more. I can document with a handwritten paper when they joined the church (what a treasure), and raised their children and served there until his death in 1920. She died in 1928.
She was a teacher and operated her own school for girls, preparing them for college and careers. I'd truly believe her work helped women progress and be granted the right to vote.
She wrote a short story late in her life that is fiction , but includes verifiable facts about her family growing up, and her parents being baptized by their oldest son in the river. The story talks about a rich, full life and ends (without credit), but I believe it was commonly recognized, of a poem called The Sleep by Elizabeth Barrett Browning. This poem seems to reference Psalm 127:2. He giveth his beloved sleep. Wasn't Browning a follower of Swedenborg?

I've been alienated by mom from my 8 year old daughter for 5 years now. I've been fighting through the courts to see her again and, needless to say, it has been a painfully slow process. I feel like we're just now starting to make progress, but I've learned to temper my expectations.
Here is a poem I read that has given me encouragement in my darkest of moments over these years that, I believe, is especially applicable to PA. I've almost committed it to memory at this point. I don't know if I'm allowed to post something like this here, but I just wanted to give everyone (in particular, the dads) something to help keep them fighting the good fight.
. . . .
"If" by Rudyard Kipling
If you can keep your head when all about you Are losing theirs and blaming it on you; If you can trust yourself when all men doubt you, But make allowance for their doubting too;
If you can wait and not be tired of waiting, Or, being lied about, don't deal in lies, Or, being hated, don't give way to hating, And yet don't look too good, nor talk too wise;
If you can dream - and not make dreams your master; If you can think - and not make thoughts your aim; If you can meet with Triumph and Disaster And treat those two impostors just the same;
If you can bear to hear the truth you've spoken Twisted by knaves to make a trap for fools, Or watch the things you gave your life to, broken, And stoop and build them up with worn-out tools;
If you can make one heap of all your winnings And risk it all on one turn of pitch-and-toss, And lose, and start again at your beginnings And never breathe a word about your loss;
If you can force your heart and nerve and sinew To serve your turn long after they are gone, And so hold on when there is nothing in you Except the Will which says to them: "Hold on!"
If you can talk with crowds and keep your virtue, Or walk with kings - nor lose the common touch; If neither foes nor loving friends can hurt you; If all men count with you, but none too much;
If you can fill the unforgiving minute With sixty seconds worth of distance run, Yours is the Earth and everything that's in it, And - which is more - you'll be a Man, my son.

TLDR uBPD Mum wrote her twin daughters a birthday poem but sent it twelve days late, full of innacuracies and with a request to visit one of them. The request is for a fictional exhibition in a specific date range. She forwarded her original message to the other twin without to editing out the visit request or making an attempt to cover the fact it was written for the first twin and sent to the other as an after thought.
Context A birthday poem sent to me an hour after it was sent to my twin sister. It was also 12 days after our actual birthday, neither of us heard from uBPD mum on the day (I've asked her not to contact me but she thinks that my sister & I are 1 entity so even though my sister is still in contact with her, mum treats her like she is not). My sister (Twin1) trained in fine art in the city she now works in. She is not currently making art so has no idea what exhibition uBPD mum refers to in the poem. I have marked lies/inaccuracies with an * I've asterisked the line about being a proud mum and gran because if she was so proud, why does she make no mention of wanting to see her 2 grand sons on this trip to the city to see my sister at her exhibition? She hasn't seen her grandsons in at least a year despite visiting near by their city in our small country twice last year. She didn't even tell my sister she was in the area until my sister phoned to wish uBPD mum happy birthday on her birthday February this year.
Poem
Twin1 and Twin2 38 today * That's just not possible no way Where has the time gone Times flies sadly that's so true Doesn't seem that long ago when Myself and Twin2 went to the zoo.
You were and are my sunshine of Hometown on Gala My beautiful twin daughters living in bonnie Hometown Bay A prouder mum I could not be how you both excelled and now you both have your own family You get to experience the love and joy like I had and still have as I reflect on my wonderful family tree When you hurried home excitedly to show all the things you had lovingly made for me
You were always caring and sharing Even at such a young age so helpful too. Remember girls I was on the phone to uBPD Gran When you flushed Twin2 nappy down the loo I was panic stricken and mortified when the neighbour below said it had flooded her too.
I loved my plants* .it was a not easy to maintain with two Mischieves monkeys who tipped them upside down . It was funny but I also did frown Before you knew it we were back to laughing and getting along Happy again and full of song
Love shack was your favourite tune I loved that song too you could sing it to the moon Love shack baby love shack Oh to hear you sing that song would bring It all right back
The time we all got such a fright Twin 1 When you accidentally bumped into a light Well lamp post * Out of the three of us who was startled the most?
You were fine ,you got a war wound scar Was it the left or right side I can't remember I think it was your right eye It was so long ago at the time you were very shy
Twin 2 walked into a gate * I was dumstruck only seconds too late* You got a scar on your eyes too By then I was beside myself and did not know what to do !
Almost in the space of a year You each have a scar by your eye Which side they are on your eye is unclear Now you parents yourself you know what I mean How quickly things can happen Even when your close by to the scene
Bless the wee lady above is in Hometown She used to shout girls you whoo seconds later it was raining milkyways all over you I could only chuckle when I realised I too Along with uBPD dister we went to our neighbour for our daily rations of sweeties too * And to this day I believe my mum never knew.
Remember when you got up early and Oh my you got hold of the butter I think I was in a flutter Butter in the rods of the Wendy house it was everywhere If I recall righghtly it was in your hair.
You used to trick people switching places * Sometimes you did trip up on your laces You tried to fool me but that was not so easy * However tricking your pals and strangers was easy peasy.*
The things you have done this uBPD Mum and gran could not be more proud of you You won a camera for your ambulance picture Twin2 you designed the school logo in highschool too Is there no end to your talents You both excelled and followed your career Which I never regretted not being able to As th minute I knew I was expecting I always prioritised you* and am a proud mum of twins with 5 wonderful grandchildren too*
The trips we went to beech and picnics with aunt The endless pictures are wonderful memories of happy times with you I still have her special multi coloured umbrella Where we often seemed shelter under it too
So many more memories this is some of them I just want to ask you Twin 1 can I come with my friend M or F and see your exhibition* city between 23 rd and 29 th Sept I love seeing all that you can do and have done
Your pictures in the cafe The story about wellies and where they travelled from faraway I believe it was Canada And you made a wellington cast Now it's a focal point for tourists and everyone to see.*
I often look at the screen you both made me made before I moved country All the gifts over the years cards and mementos each one speaks words to me When you gave me the picture and chair for my birthday .
That incredible exhibition in the gallery when you made a clear curtain and even there there is a story
I understand if you say no don't come .I hope and pray one day we will all Be together again surrounded by my family.Until that joyous day comes remember I carry love in my heart for you all eternally❤️

I got a parking citation while parked outside of my son’s elementary school to attend his field day, along with an entire street full of other parents in attendance. There is no other parking at the school. The only small parking lot is employee only, and was full anyway. Every parent got a ticket. I contested it, explaining it was a school event for families to attend, and that there is no other place to park. Motion denied.
It’s also not a no parking zone. It’s 2 hour parking. All parents were there for less than two hours, left for a lunch break, then came back for one hour.
Would I have any chance if I took it to court or should I just pay it?

This post has the title corrected, it is not an attempt at spam. Sorry for the inconvenience.
Yes, some of you may have seen my previous post asking for advice for a RoomHacks editor. I make this publication because, in truth, I believe that for a single person it is quite difficult to achieve this.do so much (and more for someone who is going to start. The program is very good, although I get confused with quite a few things and need time to learn)
What I'm great at is inventing and writing history, one that is emotional and compassionate, but at the same time has a good happy ending (obviously normal PMDs have those characteristic sad/happy endings, which are great). On the other hand, I can understand that many are distrustful, since perhaps they only work with people they trust. However, to give you an example, I can say that I have written some librettos for opera (one of them commissioned), works in verse, such as poems and some romantic songs.
I apologize if my request sounds very shameless, or even if I don't see the right to ask where I could find a partner. I beg you not to think badly, I would really like to embark on such an experience. If you want to know the synopsis (what I will do in Fanfic), I leave it below:
A long time ago, Arceus, father of all Pokémon and lord of the Universe, released a powerful energy never seen before: the Aurel. In that way, the celestial vault of the world could support the weight of the entire cosmos, granting life, peace and health to the inhabitants of the planet. One fine day, Xerneas and Darkrai (sons of Arceus), faced each other in a fierce battle whose reason remains in the deepest darkness... It is This caused a fatal imbalance in the vault, leaving it severely damaged. Everyone tried to stop them, but in the end there was a ceasefire. However, as time passed, Arceus realized of this, but instead of showing his rage and anger, he decided to carry out a plan to fix it...
The natural disasters were many, but over time they ceasedwithout knowing that they were facing the one chosen by Arceus, but Darkrai's Fury was reborn, ready to defeat the God of Life once and for all.... Thus we reach our days, in which a human turned into Charmander fell into that new world... A Pokémon family adopted him as their own son,without knowing that they were facing the one chosen by Arceus... To save the world and stop both from a devastating new fight, in exchange for something very special: staying in the Pokémon world.
Let's see what you think.

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

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

1. Symbolism Analysis:

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

1. Comparative Analysis:

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

1. Historical Context Exploration:

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

1. Creative Interpretation:

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

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

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

1. Mesopotamian Context:

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

1. Biblical Context:

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

1. Gnostic or Apocryphal Context:

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

1. Greco-Roman Interpretation:

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

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

1. Threshold and Transition:

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

1. Boundary and Separation:

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

1. Transformative Events:

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

1. Symbol of Power and Control:

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

1. Metaphor for Spiritual Journeys:

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

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

1. Historical Context:

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

1. Symbolism and Esoteric Wisdom:

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

1. Comparative Analysis:

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

1. Parallelism in Biblical Texts:

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

1. Community Beliefs and Practices:

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

1. Cultural Significance of Cosmic Battles:

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

1. Interpretive Variations and Unique Perspectives:

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

1. Personal Reflection and Modern Relevance:

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

1. Theological and Philosophical Implications:

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

1. Literary and Symbolic Analysis:

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

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

1. Archaeological and Linguistic Analysis:

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

1. Apocalyptic Expectations and Messianic Concepts:

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

1. Impact of Apocalyptic Literature:

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

1. Ethical and Moral Frameworks:

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

1. Role of Prophecy and Revelation:

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

1. Experiential and Ritualistic Elements:

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

1. Literary Genre and Interpretation:

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

1. Relevance in Modern Scholarship:

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

1. Intersection of Faith and Scholarship:

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

1. Future Research and Interpretative Avenues:

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

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

1. Hellenistic Rule and Cultural Influence:

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

1. Political Turmoil and Resistance Movements:

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

1. Religious Sects and Spiritual Expectations:

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

1. Anticipation of Cosmic Redemption:

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

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

1. Preservation of Ancient Texts:

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

1. Insights into Jewish Sectarianism:

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

1. Confirmation of Scriptural Accuracy:

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

1. Impact on Biblical Studies and Scholarship:

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

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