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Sunday, December 10, 2006

THE PANTOUM

Author's Comments

Victor-Marie Hugo is responsible for introducing the Malaysian Pantun to European writers. The Pantoum is a fixed form consisting of a varying number of four-line stanzas (quatrains) with a rhyme scheme of abab. The second and fourth lines of each stanza are repeated to form the first and third lines of the succeeding stanza, with the first and third lines of the first stanza forming the second and fourth of the last stanza, but in reverse order, so that the opening and closing lines of the poem are identical. The poems listed below are my modest attempts at creating the Pantoum:

* That Possums’ Wear

* The Asian Tsunami of 2004

Victor-Marie Hugo (February 26, 1802 - May 22, 1885) was a French poet, novelist, playwright, essayist, visual artist, statesman and human rights campaigner. He was recognized as the most influential Realist writer of the 19th Century. His birthplace was Besancon, France and is burial spot is in Paris, France.

What sets apart the Pantoum from the original Malaysian Pantun? The Pantun follows the same rhyme and line patterns of the Pantoum but differs in these essential respects. Though it is traditionally improvised, the theme or the meaning is conveyed in the second to lines of each quatrain, while the first two lines present an image or allusion which may or may not have an obvious connection with the theme.

An allusion is an implied or indirect reference to something assumed to be known, such as a historical event or personage, a well-known quotation from literature or famous work of art. It can be used by the poet as a means of imagery, since like a symbol; it can suggest ideas by connotation. Like allegories and parodies, its effectiveness depends upon the reader’s acquaintance with the reference alluded to in the write.

Imagery is any literary reference to the five senses (sight, touch, smell, hearing, taste). Essentially, imagery is any words that create a picture in one’s head. Such images can be planted by using figures of speech, such as similes, metaphors, personification, and assonance.

An allegory is the figurative illustration of truth or generalization about human conduct or experience in a narrative or description by the use of symbolic fictional figures and actions which the reader then interprets as a likeness to the subject’s properties and circumstances. Though similar to a series of symbols and an extended metaphor, the meaning of an allegory is more direct and less subject to ambiguity than a symbol. The allegory is distinguishable from an extended metaphor in that the literal equivalent of an allegory’s figurative comparison is not usually expressed. The best know allegory is English Literature is Edmund Spenser’s poem, “The faerie Queene.”

A parody is a ludicrous imitation, usually intended for comic effect but more so for ridicule, of both the style and content of another work. The humour depends upon the reader’s familiarity with the original. Sir John Suckling’s poem, “A Ballad upon a Wedding” is a parody of an epithalamium (a wedding song or poem in honour of the bride and bridegroom).

That Possums' Wear

(In Pantoum)

That possums’ wear!
It is unsightly, without a doubt,
On willows, and pollard outerwear.
The trees are finding it hard, this spring, to sprout.

It is unsightly, without a doubt.
We see such headless trunks, without leaves.
The trees are finding it hard, this spring, to sprout;
When rain doth fall, amid the breeze.

We see such headless trunks, without leaves,
On barren lands that slip away,
When rain doth fall, amid the breeze;
Afforestation is the challenge, day by day.

On barren lands that slip away,
Veggie roots no longer cling, to the ground.
Afforestation is the challenge, day by day,
When, omnivorous possums everywhere, abound.

Veggie roots, no longer cling to the ground,
So bees and birds, don’t build their nests,
When omnivorous possums, everywhere abound;
They are such invasive squirmy pests.

So bees and birds, don’t build their nests;
On account of these marauding bush tail rats,
For they are such invasive pests,
So very fat, they look like tabby cats.

On account of these marauding bush tail rats,
The environment, we must protect from this ragtag lot,
So very fat, they look like tabby cats;
They need to be dealt with on the spot.

The environment, we must protect from this ragtag lot,
Because their sticky underwear, truly clings.
They need to be dealt with on the spot;
We say, make their pelts, into all sorts of things.

Because their sticky underwear, truly clings,
On willows and pollard outerwear;
We say, make their pelts, into all sorts of things,
That possums’ wear.

©Paterika Hengreaves
Spring 2004/New Zealand

The Asian Tsunami of 2004

(In Pantoum)


Tsunami is only nodding in a water-bed, this creep,
After his Yuletide feast,
This beast, is never truly asleep
In the deep ocean in the east.

After his Yuletide feast,
Drunk with human gore,
In the deep ocean in the east,
And drenched in water, is the beast.

Drunk with human gore;
Churning, tossing and snoring as before,
And drenched in water, is the beast
In a restless mood.

Churning, tossing and snoring as before,
Thinking what his next meal would include.
In a restless mood,
Bereaved families, ride the waves of despair.

Thinking what his next meal would include,
After the devastation in Aceh and elsewhere,
Bereaved families, ride the waves of despair;
Horrendous events as such, flooded their minds.

After the devastation in Aceh and elsewhere,
The threat of hurricanes, cyclones and Kick ‘em Jenny,
Horrendous events as such, flooded their minds;
In reminiscent, of the Caribbean mighty, gusty winds.

The threat of hurricanes, cyclones and Kick ‘em Jenny,
Words of advice, from meteorologists are many.
In reminiscent, of the Caribbean mighty, gusty winds,
Much preparedness constantly must be.

Words of advice from meteorologists are many:
This beast, is never truly asleep,
Much preparedness constantly must be,
Tsunami is only nodding in a water-bed, this creep.

©Paterika Hengreaves
Summer 2004/New Zealand

OPEN FORM

Author's Comments

Open Form poetry for all intent and purposes is really Free Verse. It relies on the spontaneous process which comes when the poet is not ruled by poetic constructs. This is so because the use of regular rhythmic patterns, that is, the metrical feet is abandoned. Also, it does not usually rhyme but when there is rhyming it is natural and does not send off the feeling of being forced.

To sum this up, Open Form has freed itself from all the shackles commonly associated with traditional poetry. This liberation as it were, does free the mind from dictates established, but there is an upside and a downside to this paradigm shift, the latter being greater. Persons well versed in the traditional ways of writing poetry invariably do not find difficulty when it comes for them to write Open Form. This is therefore not hard to understand why. However, it is usually not the case the other way around.

I make no apologies for saying that Open Form does little in the way of pushing the poetic bar to newer and daring heights. Poets with a passion for aesthetic nature of poetry find themselves pushing poetry to even greater heights. They are not contented to merely be caught up in poetic complacency that is more often than not the case with Open Form for which this style has the tendency to do. Especially when Open Form poetry does not exhibit a rich imagery and a rhythmic cadence that is powerful. In the final analysis, without these two important aspects of Open Form for which there is no other way to evaluate its greatness, it is not hard to see this form being relegated to what some may say just another display of verbal diarrhea.

Mind you, I’m not saying that Open Form is bad poetry, all I’m trying to say is that it tends to stymie poetic growth especially when its imagery is not vibrant or the cadence flawed as is the case of much published free verse poetry. So, in a way as free as Open Form may sound without some basic structure for guidance it falls flat on its face. So can there be such a thing as free verse! Just think about that. We tend to pull down time tested walls to build on shifting sands but sooner or later we find ourselves shifting gears and returning to base camp again, and that’s what’s happening to poetry today. People are returning to structures of yesteryear or at least acknowledging the good to be gained when poetry is pushed far beyond the qualifying bar.

I like to give Jack his jacket once I know that it will fit well. I said that to say this, I have great respect for E. E. Cummings who experimented radically with form, punctuation, spelling and syntax by way of abandoning traditional techniques and structures to create a new, highly idiosyncratic means of poetic expression. He created the way for all and sundry to delve into poetry even more so for those who some people would say have no passion for academia. He amassed this gigantic following among the youth because his artistry’s simplicity and playful mode on his topics of war and sex.

No doubt, from reading the aforesaid, you may rush to conclude that I don’t like Open Form or wouldn’t write it. Far from the truth. I like all forms of poetry though some may score a higher rating nevertheless I try my head and hands at them all. It is the challenge they present and the satisfaction of striving for versatility in my creative artistry. However, there are essential aspects which I need to get from poetry whether from reading it or from writing it; to read me is to know me and here is the opening line of a poem, “If poetry be the food of the senses....” that gives a peek into what my poetic needs and what can bring me great and sustainable satisfaction. Click here to read the full poem.

My Pet Animals

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Ash and Ginger

Ash and Ginger
Ash (in foreground) died from old age

Ginger

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Thames

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Founder of the Barbados Labour Part (BLP) Sir Grantley Adams

Founder of the Barbados Labour Part (BLP) Sir Grantley Adams
Died November 28, 1971 at the age of 73

Founder of the Democratic Labour Party (DLP), Sir Errol Walton Barrow

Founder of the Democratic Labour Party (DLP), Sir Errol Walton Barrow
Died June 1987 at the age of 67

-

*

In plenty and in time of need When this fair land was young Our brave forefathers sowed the seed From which our pride was sprung A pride that makes no wanton boast Of what it has withstood That binds our hearts from coast to coast The pride of nationhood

Chorus:

We loyal sons and daughters all Do hereby make it known These fields and hills beyond recall Are now our very own We write our names on history's page With expectations great Strict guardians of our heritage Firm craftsmen of our fate

The Lord has been the people's guide For past three hundred years. With Him still on the people's side We have no doubts or fears. Upward and onward we shall go, Inspired, exulting, free, And greater will our nation grow In strength and unity.

Chorus

We loyal sons and daughters all Do hereby make it known These fields and hills beyond recall Are now our very own We write our names on history's page With expectations great Strict guardians of our heritage Firm craftsmen of our fate

There was an error in this gadget

The tree that gave Barbados its name

Independent Barbados Shelved Guy Fawkes Night

Click on title to read poem

Halloween Poetry - Pirates of the Caribbean

Poems for September 11

Click on Titles to read poem

Flashbacks
(Diastic Reading Through Procedures)
Heroes
(Reversed Telestich)
No Friendly Sky Anymore
(in Diastic)
No Friendly Sky Anymore
(in Free Verse)
Nine Eleven's Broken Promise
(Iambic Tetrameter abab)
Ode to Sweet Revenge - Ground Zero Never
(in Irregular Ode)

Hello Sweden

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Midsummer's Day Exquisiteness

Sample Didactic Poems

Didactic Poetry is intended to convey instruction and
information as well as pleasurable reading. It can assume
the mode and features of imaginative works by infusing knowledge in a variety of forms such as dramatic poetry, satire, parody, among others. There is the popular view that allegory, aphorisms, apologues, fables, gnomes and proverbs are specific types of Didactic Poetry because of their close affinity.

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Hurricane Preparedness Watch
If Words
Rhyming For So

Too Sweet

Royal Wedding Cake for Prince William and Kate Middleton

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Limerick Poems

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.

Click on the Title to read poem

Laugh it Off
She Asks
Wiener Souse



Barbados' National Festival of Culture July 1 to August 1

Click title to read Poem

Kadooment Day
Sugarcane

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Ticket to Antarctica

To all the people in New Zealand

Thank God only minor damage has been caused by this 7.0 Earthquake in New Zealand's North and South Islands.

Kia ora

Robb Kloss - Musing from Aoteaora
Marja Blom - Dutchcorner
Bob McKerrow - Wayfarer
Pete Mcgregor - pohanginapete

Send me a shout that you are okay.

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Map of Quaking Earth

Map of Quaking Earth
(For the period: January 2010 - March 7, 2010) We cannot stop earthquakes but we can reduced the death rate.

New World Earthquakes for 2010 (Haiti) (Chile)

The Quaking Earth

Haiti Under Rubble from 7.0 Earthquake (January 12, 2010)

Chile Under Rubble from 8.8 Earthquake (February 27, 2010)

Natural disasters whenever and wherever they occur impact our lives. My thoughts and prayers are with the people of Haiti and Chile and elsewhere battling with the uglyness of disasters.





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National Anthems of New Zealand

Anthem 1

Māori Version

E Ihowā Atua,
O ngā iwi mātou rā
Āta whakarangona;
Me aroha noa
Kia hua ko te pai;
Kia tau tō atawhai;
Manaakitia mai
Aotearoa

Ōna mano tāngata
Kiri whero, kiri mā,
Iwi Māori, Pākehā,
Rūpeke katoa,
Nei ka tono ko ngā hē
Māu e whakaahu kē,
Kia ora mārire
Aotearoa

Tōna mana kia tū!
Tōna kaha kia ū;
Tōna rongo hei pakū
Ki te ao katoa
Aua rawa ngā whawhai
Ngā tutū e tata mai;
Kia tupu nui ai
Aotearoa

Waiho tona takiwā
Ko te ao mārama;
Kia whiti tōna rā
Taiāwhio noa.
Ko te hae me te ngangau
Meinga kia kore kau;
Waiho i te rongo mau
Aotearoa

Tōna pai me toitū
Tika rawa, pono pū;
Tōna noho, tāna tū;
Iwi nō Ihowā.
Kaua mōna whakamā;
Kia hau te ingoa;
Kia tū hei tauira;
Aotearoa

English Version

God of Nations at Thy feet,
In the bonds of love we meet,
Hear our voices, we entreat,
God defend our free land.
Guard Pacific's triple star
From the shafts of strife and war,
Make her praises heard afar,
God defend New Zealand.

Men of every creed and race,
Gather here before Thy face,
Asking Thee to bless this place,
God defend our free land.
From dissension, envy, hate,
And corruption guard our state,
Make our country good and great,
God defend New Zealand.

Peace, not war, shall be our boast,
But, should foes assail our coast,
Make us then a mighty host,
God defend our free land.
Lord of battles in Thy might,
Put our enemies to flight,
Let our cause be just and right,
God defend New Zealand.

Let our love for Thee increase,
May Thy blessings never cease,
Give us plenty, give us peace,
God defend our free land.
From dishonour and from shame,
Guard our country's spotless name,
Crown her with immortal fame,
God defend New Zealand.

May our mountains ever be
Freedom's ramparts on the sea,
Make us faithful unto Thee,
God defend our free land.
Guide her in the nations' van,
Preaching love and truth to man,
Working out Thy glorious plan,
God defend New Zealand.

Anthem 2

God Save the Queen

God save our gracious Queen,
Long live our noble Queen,
God save The Queen.
Send her victorious,
Happy and glorious,
Long to reign over us:
God save The Queen.

O Lord our God, arise,
Scatter our enemies,
And make them fall;
Confound their politics,
Frustrate their knavish tricks;
On thee our hopes we fix:
God save us all.

Thy choicest gifts in store
On her be pleased to pour,
Long may she reign.
May she defend our laws,
And ever give us cause
To sing with heart and voice,
God save The Queen.

Note: The second verse of 'God Save The Queen' is commonly omitted.

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Today's Featured Poem in Blank Form

Charlie Douglas
by Bob McKerrow

Guests Poets' Poems

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Centre Piece

Centre Piece
Yellow Candles

Ohio Sunrise July 6, 2007

Ohio Sunrise July 6, 2007

More on Paterika

Patricia (aka Paterika) obtained her post-primary education at the SDA Secondary School in Barbados and its affiliate College (Caribbean Union College) in Trinidad and Tobago. She graduated from Shaw College of Business, Toronto, Canada in 1969. She received the Canadian International Development Agency (CIDA) scholarship in 1976 to study Teacher Education at McGill University, Montreal, Canada in 1980. Also, the British Council Award to study Information Technology at Tresham College, Kettering in Northamptonshire, United Kingdom in 1991. She published her first book of poems in 2005 while in New Zealand. Her flair for writing came to the fore in the many articles she wrote for “Image”; a magazine published by the Police Wives Association of Barbados (PWA) during the late eighties and early nineties.

Her community outreach activities stemmed from her involvement with the Lions Club North of Barbados as one of its Secretaries and where she worked closely with the Education Committee of that Club. She is a founder member of the Police Wives Association of Barbados. She held for a long time, the post of Secretary before becoming one of PWA’s Presidents.

Patricia started her career as a young teacher in the Primary School System of Barbados. This career-span lasted more than forty years. During her career climb, she took time off for study-leave and travel. Her many years spent in academia allowed her to hold the position of a Primary School teacher, Secondary School teacher, Head of Business Studies, Chief Examiner for Caribbean Examinations Council, Education Officer seconded to the Division of School Management and Supervision in 1993 to the Barbados Ministry of Education. In 1997, she returned to her substantive post of Tutor at Erdiston Teachers’ Training College, a position she held for seventeen years. Patricia’s classroom teaching has been influenced by the philosophy of constructivism. She is a proponent of curriculum integration and believes that themes are the fusion blocks for it, and that it requires the use of thematic lesson plans and topic webs. Now Tutor Emeritus she devotes much of her time to travel both local and overseas and to writing in the muse.

Patricia writes under the pseudonym of Paterika Hengreaves. In her voluminous book of poetry, Volume 1 was published in New Zealand in 2005 whereas; Volume 2 was published in 2007 by AuthorHouse, USA. In each volume she has poems which depict such forms as the ballad, cinquain, epic, haiku, ode, pantoum, paradelle, senryu, sestina, sonnet, tanka, terza rima triolet, villanelle and free verse. She has developed a new poetic form called the Hendianne Sonnet found in Volume 2. This Hendianne Sonnet is made up of three quatrains and an ending couplet with all the verses written in Iambic Pentameter. The first quatrain introduces the theme or problem. The next two quatrains provide the resolution. A “twist” comes at the beginning of the last quatrain. This turn signals a change in the tone, mood or stance of the poem. The end-rhymes in each verse follow a determined rhyme scheme. The influence of the Shakespearean Sonnet can be seen in the structure of the Hendianne Sonnet.

Paterika speaks passionately about her poetry. The intended purposes of her poetry is to bring pleasure reading to all members of the family; to enhance the capabilities for self-instruction in the various poetic genres, and to provide a ready assortment of classroom support materials for constructivists educators in the primary, secondary and tertiary levels of the education system. She equates the success of her undertaking in terms of the achievement of any one of these goals.

It is not at all surprising to see that her career has enormous impact on the layout and purposes served by her poetry book. The visual impact of this book of poems is truly marvellous. Paterika is an artist “par excellence” who has a rare gift of painting picturesque scenes with words steeped in such imagery and thought that her readers feel compel to visit each poem again and again. Since 2005 on World Diabetes Day, Paterika has given donations from the proceeds of the sale of her poetry book to the Diabetes Association of Barbados.

Poetry For All Seasons: Poems, Forms and Styles by Paterika Hengreaves

Overview:

It is a poetry book for teachers and persons who find much pleasure in reading poetry in its various genres. All the poems in this delightful book carry with them comments and relevant notes from the poet. These poems and commentaries should provide useful resource materials for classroom instruction; for persons who wish to horn the skills of writing and the reading of poetry on their own, and for persons who like to read poetry for the pleasure it brings.

Poetry is one of the ways educators have at their disposal for integrating concepts across Language Arts, Social Studies, Business Studies, Natural Sciences, Natural History, Mathematics, Home Economics, Health and Family Life, Movement and Dance. In this book, educators are sure to find themes which relate to aging, animals, birds, celebrations, communications, death, entertainment, the environment, exploration, horticulture, health, insects, leadership, leisure, legends, marketing, manufacturing, myths, seasons, specialization, technology, tourism, travel, waste management, water. The list is by no means exhaustive. So, in a remarkable way, this poetry book accomplishes three main goals:

1. A textbook for teaching poetry

2. A resource book for constructivist teachers,
tutors and instructors

3. Pleasure reading for all members of the family


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Publisher: AuthorHouse
Publication Date: September 2007
ISBN: 9781434306708
Pages: 200
Pictures: 23
Product Dimensions: 11 x 8.2 x 0.4 inches
Shipping Weight: 1 pound
Type: Paperback

Available from:
Cloister Bookstore Ltd
Hinks Street
Bridgetown
Barbados, West Indies
Telephone: (246) 426 2662
Email:
cloisterbookstore@caribsurf.com

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Quoting Maya Angelou

Education helps one's case Cease being intimidated by strange situations