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 treed 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 waves to cut with butcher'knife With vengeful ats, 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, birds to flee The leap-year tide did wash dead shoals ashore The day Tsunami washed away the ground By Bavy Jones a fraught with blood rage On Boxing Day beneath a sky so grey Mow growing poppies write their story's 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 Navada. The heavy rouirns plays on most CDs To cue the minds to graves with drab decor As fingers scratched for life amind debris They longed one more for blissful days of yore To keep this hope alive with will to strive Humanity rose with great devotion As people avross the globe took the dive 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.

Love

Lasting in the very mind it could Oneness when hearts are good Valuable as any diamond should Endearing it is and so very pure. Lend an ear as we speak on the topic my friend Observably it may not be hard to comprehend Variable they may say but this you should know Each new day is love on display. Let us accept through faith that God is love Only His love is dogmatically so very sound Valuable it is for it drives ad fuels the thirssty soul Everlastingly it flow over the ountains of life. Longingly we search for such goodness for we know Out there His arms hugs us all and so Vastly interactive it gives us the wids to reach the mountaintop Endless love He gives all and generations yet to come.

Poetry Fundamentals

As far as I know, many elements are woven into a poem for vary effects. Particular structures may be used to expand the literal meaning of the words, or to evoke emotional or sensual responses. Sometimes, such devices as assonance, alliteration, onomatopoeia and rhythm are used to achieve musical or incantatory effects. In poetry, you’ll find use being made of ambiguity, symbolism, irony and other stylistic element of poetic diction. These by and large, tend to leave a poem open to multiple interpretations. In poetry, this is very good for it stretches creativity to higher heights, as it were. Now, just look at the way metaphors and similes when they exist in a poem, they create a resonance between otherwise disparate images. Such layering of meanings tends to form connections not perceived previously. We must also recognize that similar forms of resonance may exist between individual verses, in their patterns of rhyme or rhythm. These devices are useful plug-ins in the hands of poets. They all have tremendous impact on the poem’s content, voice, image and imagery.

What is Content?

Poetry is a literary genre and the person who writes poetry is the poet. Content is what the poet conveys (facts, ideas, and impressions) in the poem. The arrangement of content is dictated by the particular form or genre used. In order to present this content to the audience or readers the poet must provide a voice.

Provide a voice! What do you mean?

The poet assigns someone who will speak the words written in the poem. The person who elucidates the content of the poem is called the “voice”. Voice can also mean the “aura”. Aristotle referred to aura that is created from the element in the artistic production that induces a perception by the audience or reader of the moral qualities of the speaker or character as the “ethos. In narrative poetry, the persona is the “I” or the implied speaker as in the case of lyrical poems. Sometimes the poet would identify a created character as the speaker. However, in the absence of such a specific attribution, the term persona is applied.

What good does this do?

This allows for no automatic assumption that the creative work done is the expressed experiences or views of the poet. The good thing about the identification of a character or characters by poets is that it prevents any potential ambiguity. It also enables poets to give expression to things they would prefer not to have attributed to themselves.

How does the poet draw in the audience or readers?

The poet uses words arranged artistically to paint “mind-pictures” to the captured audience or readers by using a variety of poetic techniques and devices. Those mental constructs that people come up with after processing the various components of a poem is called the image. These mental constructs are created from the analysis and synthesis of the various components on the poet’s canvas. The poet’s canvas provides a panoramic view of the words, syntax, figurative language, figures of speech (for example, simile, metaphor, personification, hyperbole, symbol, synecdoche and metonym), trope, style (for example, diction, rhetorical devices, sounds and rhythmic patterns), texture, tone, aesthetics and layout carefully woven into the poem. This canvas or panoramic view that poets create is what we call the imagery and from it, mental images are formulated in the mind of the audience or readers. They in turn (the audience or readers) decide for themselves whether the poem was an enjoyable read by awakening their emotions in the desired direction.

© Paterika Hengreaves

Accentual-Syllabic Meter

Open Door Poetry

Patricia Doreen Hendy

The Emeritus Tutor of Erdiston Teachers' Training College, Barbados

Patricia Doreen Hendy is a graduate of McGill University. She writes poetry in all forms and issues under her penname, Paterika Hengreaves on her blogs: poetrynest.blogspot.com and poetrydish.blogspot.com. She has travelled extensively in the Caribbean, North America, England and New Zealand. On her arrival in the island known as the "Long White Cloud" in April of 2004 she became a member of the "Hibiscus Coast Writers" founded in 1993 and whose Patron is Brian Morris (NZIBS). This group of writers met once each week at 1.00 p.m.at Red Beach Methodist Church Hall, Whangaparaoa with Dee Evans who was the group's President at the time.

She has two children (Francoise and Charles). She married in 1966 Edgar Hendy he died on June 6, 1995. She has six sisters and two brothers. Two of her sisters have died (Nurse Angela Barnes) died 2006 in Ohio, USA and (Nurse Sheila Brome, a ward Sister at the Queen Elizabeth Hospital, Barbados) died in 2014).

She believes that one's environment is more influential than heredity in determining one's development. Her teaching career spanned 1961 to 2004. She taught students in the primary, secondary and tertiary education of the Barbados Ministry of Education. Fourteen years (1979-2000) she worked with the Caribbean Examination Council in the structuring of examination materials for Business Education in Secondary Schools and as a marker and Chief Examiner. She became a Business Education Tutor at Erdiston Teachers' Training College in 1989. In 1993 she became an Education Officer in the Division of Management and Supervision at the Barbados Ministry of Education Youth Affairs and Culture. She returned to Erdiston in 1997 and retired from Erdiston College in 2004. Her hobbies are crochet, gardening, travelling and writing poetry.

Teaching in 21st century classroom is about learning across the curriculum. Students must see those connections that integrate the various subjects being taught in schools and those purposes these subjects serve beyond those formal school years. Teachers have embrace the philosophy of constructivism in designing their teaching environment so what they need the most, are appropriate resource materials that help students to make vital connections, develop the ability to transfer concepts across subject lines and use process skills (discussing, writing, classifying, listening, drawing, dramatizing, recognizing, composing) during their learning activities.

These important truths about learning and the role resource materials play in knowledge acquisition place poetry in an expanded light that goes beyond providing pleasurable reading for lovers of this art form as seen and as is manifested in the book "Open Door Poetry."

This book offers a frame-work of ideas and interprets poems that are written in traditional and non-traditional formats, genres and comments are provided on each poem bring focus on roles performed by personas. This book provides dynamic resource materials for teachers whose students are in the range of 12-16 years in secondary school or the high school. "Open Door Poetry" places poems beyond the border of reading, writing and performance by providing a conduit for arousing learners' senses in the learning process and facilitates interdisciplinary teaching approaches in student centered classrooms.

The poems as featured in "Open Door Poetry" are designed to provide resource materials for teachers who use thematic webs,thematic lesson plans and interdisciplinary teaching approaches in student centered classrooms. Themes such as implicit and explicit are in the 288 poems are there to be extracted under the guidance of their teachers in student centered classrooms.  Poetry is no longer the "Cinderella" on the school's curriculum; it is a filter and a connector per se.

Daniel & King Darius praising God ✞ mezmur ለእግዚአብሔር የሚሳነው የለም

Postal History of Barbados in poetry