Northern Drive to St Lucy
Hurricane Season in Barbados. Are you ready for it? Click on Picture for Today's Weather Forecast.Have a super day come rain or shine.
Thursday, October 26, 2017
Thursday, October 19, 2017
Wednesday, October 4, 2017
Humanity Rose
To great extent, people mean so much more
In the jails we lock up males and females
Nevertheless, people we must adore
With human kindness let no one curtails.
People like roses are found far and near
Among Asia and lands across the sea
Petals are those families there to care
And cherish those colours and names we see.
The mind becomes the interpretive dance
As eyes behold the wonderful valley
In Arkles Bay where trees do dance and prance
Around those homes, children do play gladly.
As delicate as rose-petals unwind
But tough as thorns, which grow to guard the stem
Yet beautiful mid shine and rain behind
The rainbow of love from us we give them.
Fragile is life, and round the globe lies strife
Nature is stressed; oceans in deep motion
Tsunami waved to cut with butcher's knife
With vengeful acts, God's work of creation.
As folks did eat beneath the Christmas tree
Never a thought that plates would crash on floor
Instincts made animals and birds to flee
The leap-year tide did wash dead shoals ashore.
The day Tsunami washed away the ground
His waves were more that fifteen meters high
The pelts of folks did carpet ground around
Heaps of carrion fumes perfumed the sky.
The blooms of earth did wash away that day
By Davy Jones a fraught with bloody rage
On Boxing Day beneath a sky so grey
Now growing poppies write their story page.
What great sadness lingers in minds not clear
The loss surpassed Ivan in Grenada
This catastrophic blow still Ache's fear
That sent after shocks beyond Nevada.
The heavy ruin plays on most CDs
To cue the minds to graves with drab decor
As fingers scratched for life amid debris
They longed once more for blissful days of yore.
To keep this hope alive with will to strive
Humanity rose with great devotion
As people across the globe took the drive
They sent dough to souls with deep emotion.
Their cries of praise reached on high Jehovah
For hearts of gold that eased the souls' laments
To lands of the Asian Diaspora
Life-water flows out of those gory tents.
© Paterika Hengreaves
Composed in Arkles Bay, New Zealand on Boxing Day 2004 after watching TV footage on the aftermath of the Asian Tsunami and the billions of dollars collected from around the world to assist the recovery efforts of these Tsunami survivors.
Who is this "Davy jones?"
"Davy jones" means the bottom of the sea or ocean
According to the Etymology Dictionary, this term first surfaced in "The Spirit of the Sea" in 1751 in Smollett's "The Adventures of Peregrin Pickle (Chapter 15) as an ominous and terrifying fiend who presides over all the evil spirits of the deep, and is often seen in various shapes, perching among the rigging on the eve of hurricanes, shipwrecks and other disasters.
Other interesting accounts come from
Davy Jone's Locker "bottom of the Sea" is 1803, from nautical slang of unknown origin.
Another premise is that it might as well come from the biblical Jonah, regarded as unlucky by sailors.
http://poetrynest.blogspot.com/2006/12/humanity-rose.html
In the jails we lock up males and females
Nevertheless, people we must adore
With human kindness let no one curtails.
People like roses are found far and near
Among Asia and lands across the sea
Petals are those families there to care
And cherish those colours and names we see.
The mind becomes the interpretive dance
As eyes behold the wonderful valley
In Arkles Bay where trees do dance and prance
Around those homes, children do play gladly.
As delicate as rose-petals unwind
But tough as thorns, which grow to guard the stem
Yet beautiful mid shine and rain behind
The rainbow of love from us we give them.
Fragile is life, and round the globe lies strife
Nature is stressed; oceans in deep motion
Tsunami waved to cut with butcher's knife
With vengeful acts, God's work of creation.
As folks did eat beneath the Christmas tree
Never a thought that plates would crash on floor
Instincts made animals and birds to flee
The leap-year tide did wash dead shoals ashore.
The day Tsunami washed away the ground
His waves were more that fifteen meters high
The pelts of folks did carpet ground around
Heaps of carrion fumes perfumed the sky.
The blooms of earth did wash away that day
By Davy Jones a fraught with bloody rage
On Boxing Day beneath a sky so grey
Now growing poppies write their story page.
What great sadness lingers in minds not clear
The loss surpassed Ivan in Grenada
This catastrophic blow still Ache's fear
That sent after shocks beyond Nevada.
The heavy ruin plays on most CDs
To cue the minds to graves with drab decor
As fingers scratched for life amid debris
They longed once more for blissful days of yore.
To keep this hope alive with will to strive
Humanity rose with great devotion
As people across the globe took the drive
They sent dough to souls with deep emotion.
Their cries of praise reached on high Jehovah
For hearts of gold that eased the souls' laments
To lands of the Asian Diaspora
Life-water flows out of those gory tents.
© Paterika Hengreaves
Composed in Arkles Bay, New Zealand on Boxing Day 2004 after watching TV footage on the aftermath of the Asian Tsunami and the billions of dollars collected from around the world to assist the recovery efforts of these Tsunami survivors.
Who is this "Davy jones?"
"Davy jones" means the bottom of the sea or ocean
According to the Etymology Dictionary, this term first surfaced in "The Spirit of the Sea" in 1751 in Smollett's "The Adventures of Peregrin Pickle (Chapter 15) as an ominous and terrifying fiend who presides over all the evil spirits of the deep, and is often seen in various shapes, perching among the rigging on the eve of hurricanes, shipwrecks and other disasters.
Other interesting accounts come from
Davy Jone's Locker "bottom of the Sea" is 1803, from nautical slang of unknown origin.
Another premise is that it might as well come from the biblical Jonah, regarded as unlucky by sailors.
http://poetrynest.blogspot.com/2006/12/humanity-rose.html
Monday, June 12, 2017
Thursday, March 16, 2017
Thursday, January 19, 2017
Wednesday, November 16, 2016
Comments on "The Tear-filled Heart"
The
Tear-filled Heart Rhyme scheme: aaAbAbAbAbAbAbAbAbAbAb
What a travesty? (Set me free) aa
From brutality, (set me free ) Refrain
Your ways are far too agrestic
The vulgarity; set me free Aa
Your lies; no Qantas jets you own;
From depravity, set me free Aa
Even cats and dogs need respect
From bestiality, set me free Aa
In your mess you have lost your wits;
Have no chastity; set me free Aa
A rat will always be a rat;
From your vanity, set me free Aa
Your Texas ranch is my prison
From calamity, set me free Aa
So many sad days I endure
From barbarity, set me free Aa
Trumpery is now my nightmare
From insanity, set me free Aa
I see clearly you cannot love
You must Cassidy, set me free Aa
Your RiRi is on bended knees
From tragedy, please set me free. Aa
(July 17, 2015)
The Ghazal is a poem of five to fifteen couplets. It is made up of a short monorhyme. The first two verses rhyme with a repeated rhyme in the second of each succeeding couplet. The Ghazal usually deals with themes of love in a melancholy mood. The roots of the Ghazal blossomed in seventh-century Arabia and gained prominence in the thirteenth- and fourteenth-century much credit to such poets as Rumi and Haftz. In the eighteenth-century, the Ghazal was used by poets writing in Urdu, a mix of the medieval languages of Northern India, including Persian. Among these poets, Ghalib is the recognized master.
(July 17, 2015)
The Ghazal is a poem of five to fifteen couplets. It is made up of a short monorhyme. The first two verses rhyme with a repeated rhyme in the second of each succeeding couplet. The Ghazal usually deals with themes of love in a melancholy mood. The roots of the Ghazal blossomed in seventh-century Arabia and gained prominence in the thirteenth- and fourteenth-century much credit to such poets as Rumi and Haftz. In the eighteenth-century, the Ghazal was used by poets writing in Urdu, a mix of the medieval languages of Northern India, including Persian. Among these poets, Ghalib is the recognized master.
Indian musicians such as Ravi Shankar and Begum
Akhtar popularized the Ghazal in the English-speaking Diaspora during the
1960s. The poet Agha Shahid Ali introduced the Ghazal in its classical form to
Americans. Ali practiced his poetic
craft in USA universities before cancer took his life in December of 2001. He
left with English Poetry writers’ a legacy on how to write a Ghazal based on
its traditional roots since it appeared from his many poetic statements he was
not particularly a fan of Ghazal in free verse. His guidelines on how to write
an English Ghazal suggested the following:
No enjambments between couplets
Couplets should be linked to a strict
formal scheme
The rhyme scheme and refrain should
remain the same throughout the Ghazal
Each line should have the same length
inclusive of rhyme and refrain whether the verses
are metrical or syllabic
The last couplet should be a
signature couplet
The scheme of rhyme and refrain
should emerge from the opening couplet of the Ghazal
These pointers have influenced how the poem, “The Tear-filled Heart” is written. During
the composition of this English Ghazal, every effort was made to ensure that
the poem reflected this “constant longing”. The Ghazal is defined by this
constant longing. This conforms to Ali's view. The poem, "The Tear-filled Heart" has eleven tetrameter couplets. A couplet has two successive
verses of poetry, is usually of equal length and rhythmic correspondence with
end-words that rhyme. The couplet is the shortest stanza form. It is joined
frequently with other couplets, to form a poem with no stanzaic divisions.
A monorhyme is a poem in which all the verses have
the same end rhyme. An end rhyme is a rhyme occurring in the terminating word
or syllable of one verse of poetry with that of another verse, as oppose to
internal rhyme.
The rhyme scheme used in this poem is - aaAbAbAbAbAbAbAbAbAbAb representing
as well the eleven stanzas in the poem. In a rhyme scheme, repeated rhymes are
shown in capital letters.
A refrain can sit on a stanza, verse, or phrase, generally pertinent to the central theme, which is repeated verbatim, usually at regular intervals throughout a poem, most often at the end of a stanza.
A refrain can sit on a stanza, verse, or phrase, generally pertinent to the central theme, which is repeated verbatim, usually at regular intervals throughout a poem, most often at the end of a stanza.
Subscribe to:
Posts (Atom)