reply to u/Ag_2402 at https://reddit.com/r/typewriters/comments/1nwl0jb/brother_charger_11/

Remove the ribbon and compare what's happening bilaterally. Use the mirror symmetry of the two sides and the ribbon reverse functionality to puzzle out what's wrong. Is something stuck? Broken? Bent? Missing? Comparing the broken side to the working side should help to solve the puzzle.

Look closely at the mechanics of what's going on. Are the gears turning at all? Is there a pawl that holds the forward motion properly? Does something need to be bent back into place? Is there a missing spring perhaps?

Beyond this doing searches for ribbon advancement on YouTube (especially Phoenix Typewriter's channel) may unearth some illustrative help.

Some of the advice here may be helpful: https://typewriterdatabase.com/RD-Typewriter-Tips.index.manual

my visual cortex loves the point-symmetric "tunnel visions" from 1:50<br /> aka: visual cortex form constants, resonance between external and internal patterns<br /> this is also why kids in school are forced to write on "lined paper" aka "ruled paper"...

imbalance in quality of individual contributions leads to frustration. There is no situation of pure knowledge or skills or development symmetry: There are no two individuals in the world with the same knowledge (Dillenbourg, 1999).

In symmetry with the very first line of the poem.

Again the verb, 'Love,' is separated from the subject, 'Thou and I' through enjambment. By highlighting the words "thou and I," it again emphasizes that the lovers are the core subject of this poem.

Source: Lit Chart https://www.litcharts.com/poetry/john-donne/the-good-morrow

In symmetry with the second to last line of the third stanza.

This enjambment separates the verb, 'Did,' from the subject, 'Thou and I,' as if the speaker is distinguish them from the immature past who are now awaken from it.

Source: Lit Chart https://www.litcharts.com/poetry/john-donne/the-good-morrow

the correspondence in size, form, and arrangement of parts on opposite sides of a plane, line, or point; regularity of form or arrangement in terms of like, reciprocal, or corresponding parts.