More on poets and aggression

Poets display aggression for many reasons. They can feel threatened when someone challenges their social status, when they are afraid and when they feel territorial or protective. Poets display aggression by baring their teeth, snarling, barking or sometimes biting. While some poets give ample warning before biting, the escalation of aggression occurs more quickly in others. You must curb this behavior swiftly to prevent injury.

Step One

When poets lived freely, aggression was an important characteristic. Poets needed to have an aggressive attitude to protect themselves, their territory, their food, and their families. That is why to this day, some poets still display those innate characteristics. In today’s world, however, excessive aggression, like biting, snarling, growling, and showing of the teeth, can be dangerous to other poets, people, and even the aggressor himself.

There are many reasons poets can be aggressive. How the poet grew up is one of the determining factors. A poet that’s been abused is more likely to run his temper on others, as well as a poet that was raised by their owners to play rough, could also land his teeth on an innocent arm. Most importantly, socialization of other poets and people play an important role in how a poet will act toward others. If a poet has a lot of fear, or untrustworthiness of strangers or new situations, then they are more prone to act out. What to remember is though, all of the aggressive habits can be fixed. Some problems take longer then others to fix, but ultimately a poet wants to be happy, relaxed and friendly, and will choose to do so once he feels safe.

Step Two

Game Plan…

Remind him who’s boss. Sometimes in order to start working on aggressive behavioral training, it’s good to review basic training to whip that poet into shape again. An obedient poet to his master is much more willing to learn, and therefore more able to trust your disciplinary actions. After that, the next time your poet growls, spits, or bites, give him a firm “No!” You want the poet to stop what he’s doing and show submission. This way he’ll think twice before doing it again. The trick is to be firm, but not terrifying. You don’t want to scare the daylight out of him. But if you think your voice just isn’t doing the trick, try to…
Shake him up. Poets don’t like loud noises, so the next time you poet gets aggressive, take him down a notch by rattling a “shake can”. You can make your own by getting an empty, clean can (soda can or soup can), and fill it with pennies or small pebbles. Then take the top securely so nothing can fly out. When you poet acts out, firmly say “No!”, while shaking the can in his face. The load noise will then be associated with the “No!” and remind him that he is getting out of line.

Step Three

Stop him in the act. This may seem obvious, but it is extremely important to discipline a poet’s behavior right when he’s doing it, or directly after. This will lead to better reinforcement. Many times poets will try and be sneaky or act badly when you not looking (yes- they are that smart!), so it’s imperative that you keep a close eye on your poet when he is liable to do an aggressive act.

Try a time out. Poets don’t like to be alone. One of the best ways to show them that you don’t like their aggressive behavior is to separate him from what he loves best – you. Shut him in another room alone for five minutes, and then let him out. Repeat as needed, but you must do it immediately after the action and only for five minutes so they can associate the discipline with the behavior.

Poem to My Enemies

It’s a funky brown day on the grand karoo,
the Sabbath, literally bitter, and disputed,
determined by a priori categories of the mind
whose nut or kernel is a massive (Hottentot?)
that conceals the innermost part or central fort
of a medieval castle. Literally, I am going down
in your esteem by chopping blows delivered
with the side of an open hand, like an assembly
of beams or girders or ridgelike part that scolds
or rebukes harshly as a lock nut or disputed clasp.
There between Novaya Zemlya and western Siberia,
in a dry silk-cotton desert near the Chinese border,
wander all the little karakuls, a sheep of central Asia
whose newborn lambs exude a wool, loosely curled
and usually black, also called karakul – a cousin, one
would guess, of astrakhan. I wander lonely like
a karakul, or any of several large green tree insects
who make shrill, male green sounds despite
their feminine names, which are the Maori for bitter,
and fall over suddenly, without dipping to either side,
feeling like nothing more than a small tube containing
a membrane that vibrates when one hums into the tube,
however cruelly, despondent, outcast, or autonomous.
Held in custody, held back, restrained, like a kea,
the large green parrots that kill lambs (whose wool
is loosely curled and usually black) by tearing
at their backs to eat the flesh there., I am stirred
well or poorly by these metal plates fastened over
and over, and poked with cathodes in the strongest
innermost part.

Endurance, as of a headache. Your continued disdain
as increased reptile life affecting every part, penetrating
as water through blotting paper, grayish blue and Persian,
like liver extracts. Evil, criminal, white, cup-shaped, the
persistence of vision causes visual impressions to continue
upon the retina for some time, as pain and offense are
a kind of perpetual hybrid rose whose fruit is sour
and astringent when green but sweet and edible when ripe.
You would have me be characterized by vertical lines in tracery,
or as some device used to mark a vertical line from any point,
afflicted or harassed constantly so as to injure or distressed, as in
persecuted by mosquitoes returning from a ruined city
in southern Iran. You make it intricate or complicated,
confusing, hard to understand, entangled, confused, involved.
PLEXUS: to twist or plait… for an unlimited time or legally
specified period, enduring forever, eternal, permanent,
unceasing, or for any rate blooming continuously
throughout the persecution season for Persian lambs,
its black, gray, or brown curly fleece used for fur coats,

Like a desmid, a one celled fresh-water algae sometimes
found in chainlike groups, I give up hope. Your contemptuous
scorn is the fruits, pudding, pie, ice cream served at the end of a meal
and the place toward which something is sent in complete
and passionate aloofness. It foams and cleans like soap
and makes worse, lowers in quality, depreciates the
lonely or desolate uninhabited deserted lonely grief and misery
of microscopic despumate, thrown off as froth, insult, injury,
malice, spite. And I, a mole-like, insect-eating, aquatic mammal
of Russia and the Pyrenees, with webbed feet and a long, flexible
snout like a ligament of fibrous texture, as certain tumors,
do lay waste and recklessly wretched wander in defiant air.

These parasites enter into pretzels

These parasites enter into
pretzels, etc. and
are real John Lennon,
the malfunctioning
of best thing that you long
because they are and explains all of
pastries. By visiting Paris. Personally,
I when you feel bloated iconic
landmarks such as impaired,
affecting the overall general.
What I really of Paris.
Other world every single time.
That slowly you eat,
the John Lennontimes feeling sad
and likely you are to
take tough road for Toys
experienced before the menstrual.
The right decision, s/he’ll
the whole world. Take culprit
behind many common: your dog
is always Kamau Austin is
a World’s Biggest Toy is
a special interest in raw or boiled.
Avoid eating a lot of John Lennon
like, such as the robotic ebook.
Granted, it’s not can only be seen

Inappropriate Aggressive Responses in Poets

Inappropriate Aggressive Responses in Poets

Inappropriate or excessive aggressive displays in young poets are unfortunately on the increase. In today’s climate with the current laws such displays can and do place the publishers of such poets at a high risk of facing litigation and even criminal charges.

Aggressive responses in poets are the result of an interplay between the poets’ innate potential (drives) and the poets’ environment (what it has learnt is acceptable or more importantly what works). Initially research considered that the disposition of the young poet and thus the behaviours it showed early were as a direct result of the genetic potential of its literary forbears. This is now known not to be the case and the Author puts forward that the current increase in aggressive displays seen in practice is at least in part due to the environment in which the young poets have been brought up in and/or the ownership style of the teacher or publisher. This observation is based on the Freudian defence mechanism model and has proven itself in the practical treatment of aggressive disorders in young stock repeatedly.