From the beginning of time, poetry has been a means for population to express their deepest emotions and create healing in ritual and ceremony. In Greek mythology, we know that Asclepius, the God of Healing, was the son of Apollo, god of poetry. Hermes served as messenger in the middle of the two worlds to recap in the middle of the gods and humanity. He carried the caduceus, "the winged rod with two serpents intertwined, which has come to be a seal of the healing profession" (Poplawski, 75). Poems have also been viewed as carriers of messages from the unconscious to the conscious mind. Wherever population secure to mark a moment, they speak from heart to heart, with poetry.
Bloom Energy
The Therapeutic benefit of Poetry
In the counseling office, possibly you have read a poem to a client that seemed to capture an issue she/he was struggling with, offering not only understanding, but hope. After the tragedy of 9/11, the airwaves and internet rang with poems of solace. When war in Iraq was imminent, a website industrialized where population could send poems expressing their feelings: Poets Against the War. Within days, thousands of poems were posted.
The Therapeutic benefit of Poetry
The Therapeutic benefit of Poetry
Mary Oliver, in her poem, "Wild Geese," says, "Tell me about despair, yours, and I will tell you mine." (Oliver, 110) Joy Harjo, in "Fire" says. "look at me/I am not a separate woman/I am the continuance/ of blue sky/I am the throat of the mountains." (Harjo, 25) The fourteenth century Persian poet Lala speaks about poetry:
I didn't trust it for a moment
but I drank it anyway,
the wine of my own poetry.
It gave me the daring to take hold
of the darkness and tear it down
and cut it into puny pieces. (Barks, 11)
These are lines to carry in our hearts, because they open us to beauty, a sense of self, healing, truth, and human connection, and all this in just a few words!
At conception, we are born to the rhythm of the heart, growing in the fluid darkness until one day we stretch our way into light. With our first cry, we make our first poem, a sound that reverberates in our mother's heart, and when she cries in response, we hear our first poem. And so it continues, the voices of those who care for us carry all of the emotions we will come to know as our own, words, that if written down, would be poetry. It's that simple. Poetry is giving sound and rhythm to silence, to darkness, giving it a shape, turning it to light. When we read a poem that speaks to our experience, there is a shift, a click within. Someone has understood our darkness by naming their own. We feel less alone. Therapeutically, the "I" of us gathers energy and insight. Our world expands.
The following poem illustrates the plan of writing a poem to give darkness and suffering a voice. It was written by a participant in Phyllis' poetry therapy group, part of an laberious day treatment agenda for women addicted to alcohol and drugs. This poem states the truth of the author's contact in a haunting and beautiful way, giving the reader the occasion to recap to what it feels like to be "broken."
Today I didn't care
whether or not they stared
didn't have time to put on airs.
Yesterday was a dissimilar story
wanted to look like a morning glory
fresh and sharp couldn't tell
I was up all night.
Sometimes I can hide behind
my colored lines other times
I feel like a stained glass
window that's just been shattered
pretty pieces everywhere. (Klein, 16)
Rather than diminish the excellence of the poet's art, the poetry therapist enhances it. Poet Gregory Orr, in his book Poetry and Survival says "...the elaborative and intense patterns of poetry can...make population feel safe...the grand disordering power of trauma needs or demands an equally considerable ordering to include it, and poetry offers such order" (Orr, 92). Poetry structures chaos.
Dr. James W. Pennebaker, one of the most widely published researchers on the benefits of writing, says in his book, occasion Up: The healing Power of Expressing Emotions, that writing about emotional topics improves the immune system by reducing "stress, anxiety and depression, improves grades in college (and) aids population in securing new jobs." (Pennebaker, 40). "Disclosing secrets beneficially reduces blood pressure, heart rate, and skin conductance." (Pennebaker, 52). Gregory Orr says that when we share secrets "we take a small step from survival to healing; a step analogous to the one a poet makes when he or she shares poems with someone else reader or an audience." (Orr, 88)
In a therapeutic environment, the trained facilitator addresses the healing elements of poetry: form and shape, metaphor, metamessage, the words chosen, and the sounds of the words together (alliteration and assonance). These elements, in relationship with each other, carry the weight of many feelings and messages at once, creating a link from the inexpressive internal world to external reality, from the unconscious to the conscious.
Because a poem has a border, a frame, or structure, as opposed to prose, the form itself is a security net. Strong emotions will not run off the page. A poetry therapist might ask his/her clients to draw a box in the center of the paper and write the words inside. Metamessage implies the potential to carry some messages in one line that "strike at deeper levels of awareness than overt messages" (Murphy, 69). Straight through the capacity to carry multi-messages, clients are able to contact merging as well as individuation/separation. The poem allows for a trial disunion and then a return to the therapist for merging and "refueling" Straight through the therapist's understanding of the poem. If the therapist says he/she appreciates a singular metaphor and how the words flow, the client feels loved and heard. In reading a poem aloud, the client may come to be caught up in his/her own rhythms and feel caressed.
An foremost question students of poetry therapy ask is how to find the right poem to bring to a group or individual. The best poems to start with are those that are understandable, with clear language, and a strong theme, as well as emotions that reflect some hope. someone else requisite element is that the poem must resonate with the mood and/or situation of the group or individual. This is called the isoprinciple, a term also used in music therapy for the same purpose. Dr. Jack Leedy says that "the poem becomes symbolically an understanding- someone/something with whom he/she can share his/her despair" (Leedy, 82)
A woman in Perie's cancer/poetry reserve group recently published a book of her poems and writings titled, I Can Do This: Living with Cancer-Tracing a Year of Hope. This title contains the requisite word hope, for that is what we need in our lives to reserve us and heal. In her poem. "The Uninvited Guest," Beverley Hyman-Fead writes:
I feel fortunate my tumors came to me
in the fall of my life...
I'm grateful for this uninvited wake-up call, ...
Would I have appreciated the beautiful
images the moon makes in the still of the night?
No, I have my tumors to thank for that. (54)
She was able to write this poem in response to a Rumi poem called "The Guest House." This poem, written so long ago, reframes the meaning of suffering saying:
This being human is a guest house,
Every morning a new arrival.
A joy, A depression, a meanness....
Welcome and entertain them all!
Even if they're a crowd of sorrows...
Be grateful for whoever comes,
because each has been sent
as a guide from beyond. (Barks, 1995, 109)
Perie chose this poem to bring to the cancer reserve group because it might engage the attention of the group members, possibly to think about how their illness was a "guide," and what they had learned about themselves in the struggle. someone else foremost response might be: "This makes me so angry! How could I ever want to invite in the darkness?" whatever the emotional reaction, the poem is a catalyst for helping the reader to access and express feelings in a supportive, safe environment. Reading a poem a second time helps the client feel even more deeply the content and emotion. Also, lines spoken candidly will often form the first lines of poems.
After a poem is read, the therapist might then ask participants for lines in the poem that speak to them, or to which lines they are most drawn. This might be followed by questions for argument of an emotional nature. Considering the Rumi poem, the therapist might recommend they discuss: What am I to contact in this life? What am I not sharp in? How can my place of work or home be a Guest House? How is the Guest House like your heart? Comments center colse to what the poem emotionally means to the reader, not what the poem means intellectually. Straight through group discussion, time to write and read what was written in the group, both members and facilitator can learn to think differently, possibly applying newly formed concepts to existing behaviors and attitudes.
For instance, if one has felt like he/she was victimized by illness, Straight through argument and writing of this or someone else pertinent poem, she/he might be enabled to begin reasoning about how to move toward acceptance. Even writing about rage toward illness is an foremost step. There is a beginning of some resolution within the poem. Rumi says to be grateful, and in her poem, Beverley, who is far along in her emotional healing process, is able to thank her illness, which gives her hope.
Another kind of healing that poems can contribute is visible by poems written in response to the other. Here are excerpts from poems that Perie and Phyllis wrote:
Maybe angels are
mistakes
corrected,
old times resurrected, misguided love
back on course to lift the inner flute...
The moon is ripe with hope
but don't look there, angels hover
at elbow bend, in the middle of your toes
rows of them, wings of leaves or breeze...
Notice when they arrive
how their wings vary,
some traditional-fully feathered...
others blossomed like heather...
There are those with only goosebumps
not all the time on the back,
and some no wings at all,
just scratched knees trying to get off the ground.
- Perie Longo
Phyllis responded:
Maybe angels
were with me the day
my sister and husband were run down
on the road in New York, guided my
thoughts to what it would feel like to get hit
as I crossed the road in San Francisco.
Surely angels, familiar with misfortune
and emergency rooms,
watched as my sister and her husband,
almost as big as a small
bear, stepped off the curb, his size what saved them.
Accident angels hovered, caressed, willed them
to survive. Saw the ambulance come.
Did friendship angels, familiar with compassion and coincidence,
know I wouldn't be told for a week?
Did they bring me to the sangha* and the teacher who spoke
about bearing unbearable pain?
Perhaps they remember what it was like to walk,
have shoulders without wings.
Do they know when humans will enter the next life,
and when the unopened tulips
on my table will bloom, die, resurrect?
*sangha-a Buddhist congregation
Gregory Orr talks about "The Two Survivals"-survival of the poet, in that the poet struggles to engage with the disorder to write a poem, and in the act of writing, "bring order to disorder." The other survival is that of the reader, who connects with poems that "enter deeply into" him or her, foremost to "sympathetic identification of reader with writer." (Orr, 83-84) This kind of relationship can be heightened with direct dialogue because the reader and writer cross back and forth from one role to the other, deepening the possibility for empathy and sympathetic identification.
To elucidate this concept, we return to the two poems we wrote about angels. Perie wrote her poem when her daughter was going Straight through a very difficult period. For Perie, the whole poem is for her daughter whose nickname was "angel-pie." The last three lines of the poem, and some no wings at all /just scratched knees/trying to get off the ground, is a message to encourage and empower her daughter, and more broadly for whatever who is feeling discouraged, traumatized, or troubled. When Phyllis received Perie's poem, she took the theme of angels and wrote her own house story about terrible pain and hope. The poems transcend the theme of angels because there is an even deeper content here-the theme of lowly population becoming heroes, and the rebirth and reconciliation that can come from tragedy. Also, as is often the case with poetry, there is an unconscious relationship as both authors write about family.
In speaking about poetry, it is also foremost to recognize that it can be an intimidating form of expression, carrying with it a need for perfection or a feeling like "I could never write a poem-my writing isn't good enough." In poetry therapy with groups or individuals, poems are never edited. Editing belongs in a poetry-for-craft setting. The objective of poetry therapy is to use the poem as an entry point for the writer, and it is a helpful way to work with transcendence of the inner editor, that resides in us all. To address a way to think about writing poetry, we turn to the words of our colleague, Robert Carroll, Md, who writes,
Read it aloud
pass it Straight through your ears
enjoy the
ride and
know
the incompatibility in the middle of poetry and prose
is that poetry is broken
into lines-
that is all.
(Carroll, 1)
Anyone can write poetry! It is our natural right and human instinct. All we have to do is allow the words to move and inspire us. The National relationship for Poetry Therapy (Napt): Promoting growth and healing Straight through language, symbol, and story (http://www.poetrytherapy.org), has much beneficial information on its website including more examples of how to use poetry therapy with clients. We, in the Association, are like-minded psychiatrists, psychologists, college professors, public workers, marriage and house therapists, and educators-all of us are also poets, journal writers, and storytellers who have experienced healing Straight through the written and spoken word, and want to share it with other clinicians as a skill they might like to develop. Poetry for self-expression and healing is used with mothers, children, and adolescents; battered women, the elderly, the depressed, the suicidal; those living with final illness, the bereaved, those with Hiv, the mentally ill, and now hurricane victims and soldiers returning from Iraq who suffer post traumatic stress. We also exchange poems with each other, over the country, that have been efficient in helping others heal. This exchange continues the healing rhythm and heart of poetry therapy.
As Jelaluddin Rumi says:
Out Beyond ideas of wrongdoing and right doing there is a field. I'll meet you there. (Barks, 1995, 36 )
Let's find each other along the way.
References
Barks, C. (tr.) (1992). Naked Song. Maypop Books.
Barks, C. (tr.) with John Moyne. (1995). The requisite Rumi. Ny: Castle Books.
Barks, C. (tr.) and Green, M. (1997). The Illuminated Rumi. Ny: Broadway Books.
Carroll, Robert, Md, (2005) "Finding Words to say it: The healing Power of Poetry" eCam 2005:2(2)161-172.
Harjo, Joy, (2002), How we Became Human, Ny: W.W. Norton and Company.
Hyman- Fead, B. (2004) I can do this/ Living with cancer: tracing a year of hope. Santa Barbara Cancer Center: Wellness agenda Publishing.
Klein, Phyllis, ed. (2001). Our Words-The Women of Lee Woodward center Speak Out, Sf: Phyllis Klein and Women and Children's Family.
Leedy, J.J. (Ed.). (1985) Poetry as healer: Mending the troubled mind. Ny: Vanguard. Orr, G. (2002) Poetry as survival. Athens, Ga: The University of Georgia Press.
Murphy, J. M. (1979). The therapeutic use of poetry in Current Psychiatric Therapies, vol. 18. Jules Masserman, ed. Ny: Grune & Stratton, Inc., pp. 65-72.
Oliver, M. (1993). Wild geese. New and selected poems. Boston: Beacon Press.
Pennebaker, J. (1990) occasion Up: The healing power of expressing emotions. Ny: Guilford Press.
Poplawski, T. (1994) Schizophrenia and the Soul in The Quest, August, 74-79.
"This description appeared in the July/August 2006 issue of The Therapist, the publication of the California relationship of Marriage and house Therapists (Camft), headquartered in San Diego, California. This description is copyrighted and been reprinted with the permission of Camft. For more information with regard to Camft, please log on to http://www.camft.org."
Mono no aware: the Japanese attractiveness aesthetic
Mono No Aware: The Essence of Japan
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Life is a cycle of seasons, and the transitions between seasons can be worrisome. Often there may be minor disruptions in life style, which are soon resolved. But when they persist, there is a crisis. Midlife is one such duration which has been recognized as a duration of possible crisis.
Midlife sets in somewhere between the end of the 30s and the late 40s. It is clear from the premenopausal years that occur later. Up till the 1900s, only about 10% of women reached middle age. Their roles were well defined within the exiguous sphere of home and family, as wife, mother, domestic drudge. Midlife crisis was unheard of.
Midlife emergency In Women
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Some thoughprovoking minds think about how carbon dioxide is formed. Carbon dioxide that is gift in the climate is a chemical compound that is composed of two oxygen atoms that are covalently bonded to a carbon atom. Carbon dioxide is a gas if at suitable temperature and pressure and exists at this form in the earth's atmosphere. It is estimated that the concentration of the gas is at 387 ppm by volume but this number is about to convert due to human activities.
How Carbon Dioxide is Formed
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
What season do roses grow and need clear kinds of maintenance and care is of great point to the enjoyment and delight you will have from your rose gardening hobby.
What Season Do Roses Grow - How to Grow Roses
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Some captivating minds think about how carbon dioxide is formed. Carbon dioxide that is present in the atmosphere is a chemical blend that is composed of two oxygen atoms that are covalently bonded to a carbon atom. Carbon dioxide is a gas if at standard temperature and pressure and exists at this form in the earth's atmosphere. It is estimated that the concentration of the gas is at 387 ppm by volume but this whole is about to turn due to human activities.
How Carbon Dioxide is Formed
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Some inspiring minds think about how carbon dioxide is formed. Carbon dioxide that is gift in the climate is a chemical composition that is composed of two oxygen atoms that are covalently bonded to a carbon atom. Carbon dioxide is a gas if at approved temperature and pressure and exists at this form in the earth's atmosphere. It is estimated that the attentiveness of the gas is at 387 ppm by volume but this whole is about to convert due to human activities.
How Carbon Dioxide is Formed
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
What tulip care should you use to contend your tulip orchad after tulip petals droop and wilt? The tulip blossoming period is gorgeous - and swift. Your orchad may show blossoms in early, mid or late Spring, from early April to late early June. Most tulip flowers bloom for about two weeks before the petals curl up and wither.
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
One Direction - Little Things
Tube. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
What season do roses grow and wish obvious kinds of maintenance and care is of great significance to the enjoyment and delight you will have from your rose gardening hobby.
What Season Do Roses Grow - How to Grow Roses
One Direction - Little Things
Video Clips. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
What tulip care should you use to speak your tulip orchad after tulip petals droop and wilt? The tulip blossoming period is beautiful - and swift. Your orchad may show blossoms in early, mid or late Spring, from early April to late early June. Most tulip flowers bloom for about two weeks before the petals curl up and wither.
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
One Direction - Little Things
Tube. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
Post bloom Tulip Care - Pruning Your Flowers After They Bloom
What tulip care should you use to utter your tulip organery after tulip petals droop and wilt? The tulip blossoming period is beautiful - and swift. Your organery may show blossoms in early, mid or late Spring, from early April to late early June. Most tulip flowers bloom for about two weeks before the petals curl up and wither.
Post bloom Tulip Care - Pruning Your Flowers After They Bloom
One Direction - Little Things
Tube. Duration : 3.63 Mins.
One Direction - Little Things
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
'Little Things' -- Taken from the brand new album 'Take Me Home' released 12th November in the UK / 13th November US & Canada. Pre-order TAKE ME HOME Now: iTunes: smarturl.it Amazon: amzn.to Official Store: myplay.me Music video by One Direction performing Little Things. (C) 2012 Simco Limited under exclusive license to Sony Music Entertainment UK Limited
From the beginning of time, poetry has been a means for citizen to express their deepest emotions and originate curative in ritual and ceremony. In Greek mythology, we know that Asclepius, the God of Healing, was the son of Apollo, god of poetry. Hermes served as messenger between the two worlds to tell between the gods and humanity. He carried the caduceus, "the winged rod with two serpents intertwined, which has become a stamp of the curative profession" (Poplawski, 75). Poems have also been viewed as carriers of messages from the unconscious to the aware mind. Wherever citizen procure to mark a moment, they speak from heart to heart, with poetry.
Bloom Energy
The Therapeutic advantage of Poetry
In the counseling office, maybe you have read a poem to a client that seemed to capture an issue she/he was struggling with, offering not only understanding, but hope. After the tragedy of 9/11, the airwaves and internet rang with poems of solace. When war in Iraq was imminent, a website industrialized where citizen could send poems expressing their feelings: Poets Against the War. Within days, thousands of poems were posted.
The Therapeutic advantage of Poetry
No URL
Mary Oliver, in her poem, "Wild Geese," says, "Tell me about despair, yours, and I will tell you mine." (Oliver, 110) Joy Harjo, in "Fire" says. "look at me/I am not a isolate woman/I am the continuance/ of blue sky/I am the throat of the mountains." (Harjo, 25) The fourteenth century Persian poet Lala speaks about poetry:
I didn't trust it for a moment
but I drank it anyway,
the wine of my own poetry.
It gave me the daring to take hold
of the darkness and tear it down
and cut it into small pieces. (Barks, 11)
These are lines to carry in our hearts, because they open us to beauty, a sense of self, healing, truth, and human connection, and all this in just a few words!
At conception, we are born to the rhythm of the heart, growing in the fluid darkness until one day we stretch our way into light. With our first cry, we make our first poem, a sound that reverberates in our mother's heart, and when she cries in response, we hear our first poem. And so it continues, the voices of those who care for us carry all of the emotions we will come to know as our own, words, that if written down, would be poetry. It's that simple. Poetry is giving sound and rhythm to silence, to darkness, giving it a shape, turning it to light. When we read a poem that speaks to our experience, there is a shift, a click within. Man has understood our darkness by naming their own. We feel less alone. Therapeutically, the "I" of us gathers energy and insight. Our world expands.
The following poem illustrates the belief of writing a poem to give darkness and suffering a voice. It was written by a participant in Phyllis' poetry therapy group, part of an arduous day rehabilitation schedule for women addicted to alcohol and drugs. This poem states the truth of the author's caress in a haunting and gorgeous way, giving the reader the chance to tell to what it feels like to be "broken."
Today I didn't care
whether or not they stared
didn't have time to put on airs.
Yesterday was a dissimilar story
wanted to look like a morning glory
fresh and spellbinding couldn't tell
I was up all night.
Sometimes I can hide behind
my colored lines other times
I feel like a stained glass
window that's just been shattered
pretty pieces everywhere. (Klein, 16)
Rather than diminish the excellence of the poet's art, the poetry therapist enhances it. Poet Gregory Orr, in his book Poetry and Survival says "...the elaborative and intense patterns of poetry can...make citizen feel safe...the astronomical disordering power of trauma needs or demands an equally great ordering to contain it, and poetry offers such order" (Orr, 92). Poetry structures chaos.
Dr. James W. Pennebaker, one of the most widely published researchers on the benefits of writing, says in his book, chance Up: The curative Power of Expressing Emotions, that writing about emotional topics improves the immune theory by reducing "stress, anxiety and depression, improves grades in college (and) aids citizen in securing new jobs." (Pennebaker, 40). "Disclosing secrets beneficially reduces blood pressure, heart rate, and skin conductance." (Pennebaker, 52). Gregory Orr says that when we share secrets "we take a small step from survival to healing; a step analogous to the one a poet makes when he or she shares poems with another reader or an audience." (Orr, 88)
In a therapeutic environment, the trained facilitator addresses the curative elements of poetry: form and shape, metaphor, metamessage, the words chosen, and the sounds of the words together (alliteration and assonance). These elements, in association with each other, carry the weight of many feelings and messages at once, creating a link from the inexpressive internal world to external reality, from the unconscious to the conscious.
Because a poem has a border, a frame, or structure, as opposed to prose, the form itself is a security net. Strong emotions will not run off the page. A poetry therapist might ask his/her clients to draw a box in the town of the paper and write the words inside. Metamessage implies the potential to carry any messages in one line that "strike at deeper levels of awareness than overt messages" (Murphy, 69). Straight through the capacity to carry multi-messages, clients are able to caress merging as well as individuation/separation. The poem allows for a trial disunion and then a return to the therapist for merging and "refueling" Straight through the therapist's comprehension of the poem. If the therapist says he/she appreciates a single metaphor and how the words flow, the client feels loved and heard. In reading a poem aloud, the client may become caught up in his/her own rhythms and feel caressed.
An important request students of poetry therapy ask is how to find the right poem to bring to a group or individual. The best poems to start with are those that are understandable, with clear language, and a strong theme, as well as emotions that reflect some hope. another vital element is that the poem must resonate with the mood and/or situation of the group or individual. This is called the isoprinciple, a term also used in music therapy for the same purpose. Dr. Jack Leedy says that "the poem becomes symbolically an understanding- someone/something with whom he/she can share his/her despair" (Leedy, 82)
A woman in Perie's cancer/poetry hold group recently published a book of her poems and writings titled, I Can Do This: Living with Cancer-Tracing a Year of Hope. This title contains the vital word hope, for that is what we need in our lives to hold us and heal. In her poem. "The Uninvited Guest," Beverley Hyman-Fead writes:
I feel fortunate my tumors came to me
in the fall of my life...
I'm grateful for this uninvited wake-up call, ...
Would I have appreciated the gorgeous
images the moon makes in the still of the night?
No, I have my tumors to thank for that. (54)
She was able to write this poem in response to a Rumi poem called "The Guest House." This poem, written so long ago, reframes the meaning of suffering saying:
This being human is a guest house,
Every morning a new arrival.
A joy, A depression, a meanness....
Welcome and entertain them all!
Even if they're a crowd of sorrows...
Be grateful for whoever comes,
because each has been sent
as a guide from beyond. (Barks, 1995, 109)
Perie chose this poem to bring to the cancer hold group because it might engage the attentiveness of the group members, maybe to think about how their illness was a "guide," and what they had learned about themselves in the struggle. another important response might be: "This makes me so angry! How could I ever want to request in the darkness?" whatever the emotional reaction, the poem is a catalyst for helping the reader to entrance and express feelings in a supportive, safe environment. Reading a poem a second time helps the client feel even more deeply the article and emotion. Also, lines spoken candidly will often form the first lines of poems.
After a poem is read, the therapist might then ask participants for lines in the poem that speak to them, or to which lines they are most drawn. This might be followed by questions for argument of an emotional nature. Considering the Rumi poem, the therapist might propose they discuss: What am I to caress in this life? What am I not spellbinding in? How can my place of work or home be a Guest House? How is the Guest House like your heart? Comments town around what the poem emotionally means to the reader, not what the poem means intellectually. Straight through group discussion, time to write and read what was written in the group, both members and facilitator can learn to think differently, maybe applying newly formed concepts to existing behaviors and attitudes.
For instance, if one has felt like he/she was victimized by illness, Straight through argument and writing of this or another pertinent poem, she/he might be enabled to begin reasoning about how to move toward acceptance. Even writing about rage toward illness is an important step. There is a beginning of some resolution within the poem. Rumi says to be grateful, and in her poem, Beverley, who is far along in her emotional curative process, is able to thank her illness, which gives her hope.
Another kind of curative that poems can contribute is illustrated by poems written in response to the other. Here are excerpts from poems that Perie and Phyllis wrote:
Maybe angels are
mistakes
corrected,
old times resurrected, misguided love
back on course to lift the inner flute...
The moon is ripe with hope
but don't look there, angels hover
at elbow bend, between your toes
rows of them, wings of leaves or breeze...
Notice when they arrive
how their wings vary,
some traditional-fully feathered...
others blossomed like heather...
There are those with only goosebumps
not always on the back,
and some no wings at all,
just scratched knees trying to get off the ground.
- Perie Longo
Phyllis responded:
Maybe angels
were with me the day
my sister and husband were run down
on the road in New York, guided my
thoughts to what it would feel like to get hit
as I crossed the road in San Francisco.
Surely angels, familiar with misfortune
and emergency rooms,
watched as my sister and her husband,
almost as big as a small
bear, stepped off the curb, his size what saved them.
Accident angels hovered, caressed, willed them
to survive. Saw the ambulance come.
Did friendship angels, familiar with compassion and coincidence,
know I wouldn't be told for a week?
Did they bring me to the sangha* and the teacher who spoke
about bearing unbearable pain?
Perhaps they remember what it was like to walk,
have shoulders without wings.
Do they know when humans will enter the next life,
and when the unopened tulips
on my table will bloom, die, resurrect?
*sangha-a Buddhist congregation
Gregory Orr talks about "The Two Survivals"-survival of the poet, in that the poet struggles to engage with the disorder to write a poem, and in the act of writing, "bring order to disorder." The other survival is that of the reader, who connects with poems that "enter deeply into" him or her, important to "sympathetic identification of reader with writer." (Orr, 83-84) This kind of association can be heightened with direct dialogue because the reader and writer cross back and forth from one role to the other, deepening the possibility for empathy and sympathetic identification.
To by comparison this concept, we return to the two poems we wrote about angels. Perie wrote her poem when her daughter was going Straight through a very difficult period. For Perie, the whole poem is for her daughter whose nickname was "angel-pie." The last three lines of the poem, and some no wings at all /just scratched knees/trying to get off the ground, is a message to encourage and empower her daughter, and more broadly for whatever who is feeling discouraged, traumatized, or troubled. When Phyllis received Perie's poem, she took the theme of angels and wrote her own house story about terrible pain and hope. The poems transcend the theme of angels because there is an even deeper article here-the theme of lowly citizen becoming heroes, and the rebirth and reconciliation that can come from tragedy. Also, as is often the case with poetry, there is an unconscious association as both authors write about family.
In speaking about poetry, it is also important to recognize that it can be an intimidating form of expression, carrying with it a need for perfection or a feeling like "I could never write a poem-my writing isn't good enough." In poetry therapy with groups or individuals, poems are never edited. Editing belongs in a poetry-for-craft setting. The objective of poetry therapy is to use the poem as an entry point for the writer, and it is a helpful way to work with transcendence of the inner editor, that resides in us all. To address a way to think about writing poetry, we turn to the words of our colleague, Robert Carroll, Md, who writes,
Read it aloud
pass it Straight through your ears
enjoy the
ride and
know
the variation between poetry and prose
is that poetry is broken
into lines-
that is all.
(Carroll, 1)
Anyone can write poetry! It is our natural right and human instinct. All we have to do is allow the words to move and inspire us. The National association for Poetry Therapy (Napt): Promoting increase and curative Straight through language, symbol, and story (http://www.poetrytherapy.org), has much beneficial data on its website including more examples of how to use poetry therapy with clients. We, in the Association, are like-minded psychiatrists, psychologists, college professors, collective workers, marriage and house therapists, and educators-all of us are also poets, journal writers, and storytellers who have experienced curative Straight through the written and spoken word, and want to share it with other clinicians as a skill they might like to develop. Poetry for self-expression and curative is used with mothers, children, and adolescents; battered women, the elderly, the depressed, the suicidal; those living with concluding illness, the bereaved, those with Hiv, the mentally ill, and now hurricane victims and soldiers returning from Iraq who suffer post traumatic stress. We also exchange poems with each other, across the country, that have been efficient in helping others heal. This exchange continues the curative rhythm and heart of poetry therapy.
As Jelaluddin Rumi says:
Out Beyond ideas of wrongdoing and right doing there is a field. I'll meet you there. (Barks, 1995, 36 )
Let's find each other along the way.
References
Barks, C. (tr.) (1992). Naked Song. Maypop Books.
Barks, C. (tr.) with John Moyne. (1995). The vital Rumi. Ny: Castle Books.
Barks, C. (tr.) and Green, M. (1997). The Illuminated Rumi. Ny: Broadway Books.
Carroll, Robert, Md, (2005) "Finding Words to say it: The curative Power of Poetry" eCam 2005:2(2)161-172.
Harjo, Joy, (2002), How we Became Human, Ny: W.W. Norton and Company.
Hyman- Fead, B. (2004) I can do this/ Living with cancer: tracing a year of hope. Santa Barbara Cancer Center: Wellness schedule Publishing.
Klein, Phyllis, ed. (2001). Our Words-The Women of Lee Woodward town Speak Out, Sf: Phyllis Klein and Women and Children's Family.
Leedy, J.J. (Ed.). (1985) Poetry as healer: Mending the troubled mind. Ny: Vanguard. Orr, G. (2002) Poetry as survival. Athens, Ga: The University of Georgia Press.
Murphy, J. M. (1979). The therapeutic use of poetry in Current Psychiatric Therapies, vol. 18. Jules Masserman, ed. Ny: Grune & Stratton, Inc., pp. 65-72.
Oliver, M. (1993). Wild geese. New and selected poems. Boston: Beacon Press.
Pennebaker, J. (1990) chance Up: The curative power of expressing emotions. Ny: Guilford Press.
Poplawski, T. (1994) Schizophrenia and the Soul in The Quest, August, 74-79.
"This narrative appeared in the July/August 2006 issue of The Therapist, the publication of the California association of Marriage and house Therapists (Camft), headquartered in San Diego, California. This narrative is copyrighted and been reprinted with the permission of Camft. For more data with regard to Camft, please log on to http://www.camft.org."
The Therapeutic advantage of Poetry
Bloom Energy
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Meaning surely "a sensitivity to things," mono no aware is a understanding describing the essence of Japanese culture, invented by the Japanese literary and linguistic specialist specialist Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word *aware*, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes charm as an awareness of the transience of all things, and a polite sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.
Bloom Energy
Mono No Aware: The Essence of Japan
Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual religious doctrine and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of charm described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.
Mono No Aware: The Essence of Japan
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According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more arresting than full. The sakura or cherry blossom tree is the epitome of this understanding of beauty; the flowers of the most sublime variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a singular week. The field of a thousand poems and a national icon, the cherry blossom tree embodies charm as a transient experience.
Mono no aware states that charm is a subjective rather than objective experience, a state of being finally internal rather than external. Based largely upon classical Greek ideals, charm in the West is sought in the greatest perfection of an external object: a sublime painting, excellent statue or intricate musical composition; a charm that could be said to be only skin deep. The Japanese ideal sees charm instead as an experience of the heart and soul, a feeling for and appreciation of objects or artwork--most generally nature or the depiction of--in a pristine, untouched state.
An appreciation of charm as a state which does not last and cannot be grasped is not the same as nihilism, and can best be understood in relation to Zen Buddhism's religious doctrine of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in *Zenrin Kushū* (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."
With its roots in Zen Buddhism, *mono no aware* is bears some relation to the non-dualism of Indian philosophy, as linked in the following story about Swami Vivekananda by Sri Chinmoy:
*"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in petite eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that charm is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, charm is not charm at all. And charm is worthy of its name only when it has been appreciated.*
The founder of *mono no aware*, Motoori Norinaga (1730-1801), was the pre-eminent specialist of the Kokugakushu movement, a nationalist movement which sought to take off all covering influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa duration of the Shinto religion. Contradictorily, the work on of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an covering influence, it was by this point unable to be extricated.
Meaning surely "a sensitivity to things," mono no aware is a understanding describing the essence of Japanese culture, invented by the Japanese literary and linguistic specialist specialist Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word aware, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes charm as an awareness of the transience of all things, and a polite sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.
Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual religious doctrine and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of charm described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.
According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more arresting than full. The sakura or cherry blossom tree is the epitome of this understanding of beauty; the flowers of the most sublime variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a singular week. The field of a thousand poems and a national icon, the cherry blossom tree embodies charm as a transient experience.
Mono no aware states that charm is a subjective rather than objective experience, a state of being finally internal rather than external. Based largely upon classical Greek ideals, charm in the West is sought in the greatest perfection of an external object: a sublime painting, excellent statue or intricate musical composition; a charm that could be said to be only skin deep. The Japanese ideal sees charm instead as an experience of the heart and soul, a feeling for and appreciation of objects or artwork--most generally nature or the depiction of--in a pristine, untouched state.
An appreciation of charm as a state which does not last and cannot be grasped is not the same as nihilism, and can best be understood in relation to Zen Buddhism's religious doctrine of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in Zenrin Kushū (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."
With its roots in Zen Buddhism, mono no aware is bears some relation to the non-dualism of Indian philosophy, as linked in the following story about Swami Vivekananda by Sri Chinmoy:
"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in petite eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that charm is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, charm is not charm at all. And charm is worthy of its name only when it has been appreciated.
The founder of mono no aware, Motoori Norinaga (1730-1801), was the pre-eminent specialist of the Kokugakushu movement, a nationalist movement which sought to take off all covering influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa duration of the Shinto religion. Contradictorily, the work on of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an covering influence, it was by this point unable to be extricated.
Mono No Aware: The Essence of Japan
Bloom Energy
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Tulip bulbs are time fascinating to plant and nurture. Some exotic bulbs are costly. However, tulips can bloom again next year, if you utter them correctly. You can save extra money in the fall, as well as the time and exertion to replant a new tulip garden. If you want to regrow your tulips, the best gardening practice is to "deadhead" those wilted tulip flowers. Why is this important?
Bloom Energy
Post bloom Tulip Care - Pruning Your Flowers After They Bloom
When the tulip petals fall from the flower, a seed pod is left on the stem. The tulip plant will continue to feed the seed pod by extracting nutrients from the soil. Since the flower won't bloom again, the seed pod robs the tulip bulb of the energy it needs to regenerate. When the pod is removed, the plant draws energy from the environment and stores it in the tulip bulb. So, if you take off the seed pod, you give the tulip bulb the opportunity to renew itself.
Post bloom Tulip Care - Pruning Your Flowers After They Bloom
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Deadheading a tulip flower is easy to do. Simply take a pair of organery shears and snip off the seed pod about one inch below the seed pod on the tulip plant. Once you have removed the flower from the plant, leave the rest of the vegetation alone. Allow the plant dry up and turn brown naturally. Don't even water the plant. After the leaves turn yellow or brown, prune the vegetation down to the dirt.
If you keep the tulip bulbs underground, they will remain dormant until the fall months. In July, you can dig up the bulbs, shave their roots, and allow them to dry. Place the bulbs in a plastic bag and freeze them until fall planting season. Allow the tulip bulbs to warm up to room climatic characteristic and then replant them.
Despite the best care, tulip bulbs do not all the time grow back again the following year. Many bulbs will re-flower for one-to-two years. However, the tulips will be smaller and have less vibrant colors. Make sure to replenish your garden. Buy and plant more bulbs in the fall, at a density of five bulbs for every quadrate foot of organery space.
Get the best prices on tulip bulbs by pre-ordering them in late spring and summer when nurseries offer a sale on bulbs. If you want a definite tulip species, you will receive a better opportunity of getting it, if you pre-order. Many on-line organery centers guarantee your order and hold your shipment until the planting season in September. If you wait to order your bulbs in the fall months, you may pay more and the flowers you want may not be available.
Practice good tulip care. Prune and deadhead your tulip plants at the right time. You can get a jump start on next year's garden.
Post bloom Tulip Care - Pruning Your Flowers After They Bloom
Bloom Energy
Tags:
Tulip bulbs are time provocative to plant and nurture. Some exotic bulbs are costly. However, tulips can bloom again next year, if you speak them correctly. You can save extra money in the fall, as well as the time and attempt to replant a new tulip garden. If you want to regrow your tulips, the best gardening custom is to "deadhead" those wilted tulip flowers. Why is this important?
Bloom Energy
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
When the tulip petals fall from the flower, a seed pod is left on the stem. The tulip plant will continue to feed the seed pod by extracting nutrients from the soil. Since the flower won't bloom again, the seed pod robs the tulip bulb of the energy it needs to regenerate. When the pod is removed, the plant draws energy from the environment and stores it in the tulip bulb. So, if you remove the seed pod, you give the tulip bulb the opening to renew itself.
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
No URL
Deadheading a tulip flower is easy to do. Naturally take a pair of orchad shears and snip off the seed pod about one inch below the seed pod on the tulip plant. Once you have removed the flower from the plant, leave the rest of the vegetation alone. Allow the plant dry up and turn brown naturally. Don't even water the plant. After the leaves turn yellow or brown, prune the vegetation down to the dirt.
If you keep the tulip bulbs underground, they will remain dormant until the fall months. In July, you can dig up the bulbs, shave their roots, and allow them to dry. Place the bulbs in a plastic bag and ice them until fall planting season. Allow the tulip bulbs to warm up to room climatic characteristic and then replant them.
Despite the best care, tulip bulbs do not all the time grow back again the following year. Many bulbs will re-flower for one-to-two years. However, the tulips will be smaller and have less vibrant colors. Make sure to replenish your garden. Buy and plant more bulbs in the fall, at a density of five bulbs for every square foot of orchad space.
Get the best prices on tulip bulbs by pre-ordering them in late spring and summer when nurseries offer a sale on bulbs. If you want a exact tulip species, you will receive a better opening of getting it, if you pre-order. Many on-line orchad centers guarantee your order and hold your shipment until the planting season in September. If you wait to order your bulbs in the fall months, you may pay more and the flowers you want may not be available.
Practice good tulip care. Prune and deadhead your tulip plants at the right time. You can get a jump start on next year's garden.
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
Bloom Energy
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From the beginning of time, poetry has been a means for habitancy to express their deepest emotions and originate healing in ritual and ceremony. In Greek mythology, we know that Asclepius, the God of Healing, was the son of Apollo, god of poetry. Hermes served as messenger between the two worlds to impart between the gods and humanity. He carried the caduceus, "the winged rod with two serpents intertwined, which has come to be a seal of the healing profession" (Poplawski, 75). Poems have also been viewed as carriers of messages from the unconscious to the known mind. Wherever habitancy gather to mark a moment, they speak from heart to heart, with poetry.
Bloom Energy
The Therapeutic benefit of Poetry
In the counseling office, perhaps you have read a poem to a client that seemed to capture an issue she/he was struggling with, offering not only understanding, but hope. After the tragedy of 9/11, the airwaves and internet rang with poems of solace. When war in Iraq was imminent, a website advanced where habitancy could send poems expressing their feelings: Poets Against the War. Within days, thousands of poems were posted.
The Therapeutic benefit of Poetry
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Mary Oliver, in her poem, "Wild Geese," says, "Tell me about despair, yours, and I will tell you mine." (Oliver, 110) Joy Harjo, in "Fire" says. "look at me/I am not a separate woman/I am the continuance/ of blue sky/I am the throat of the mountains." (Harjo, 25) The fourteenth century Persian poet Lala speaks about poetry:
I didn't trust it for a moment
but I drank it anyway,
the wine of my own poetry.
It gave me the daring to take hold
of the darkness and tear it down
and cut it into miniature pieces. (Barks, 11)
These are lines to carry in our hearts, because they open us to beauty, a sense of self, healing, truth, and human connection, and all this in just a few words!
At conception, we are born to the rhythm of the heart, growing in the fluid darkness until one day we stretch our way into light. With our first cry, we make our first poem, a sound that reverberates in our mother's heart, and when she cries in response, we hear our first poem. And so it continues, the voices of those who care for us convey all of the emotions we will come to know as our own, words, that if written down, would be poetry. It's that simple. Poetry is giving sound and rhythm to silence, to darkness, giving it a shape, turning it to light. When we read a poem that speaks to our experience, there is a shift, a click within. Person has understood our darkness by naming their own. We feel less alone. Therapeutically, the "I" of us gathers energy and insight. Our world expands.
The following poem illustrates the opinion of writing a poem to give darkness and suffering a voice. It was written by a participant in Phyllis' poetry therapy group, part of an laberious day medicine program for women addicted to alcohol and drugs. This poem states the truth of the author's palpate in a haunting and beautiful way, giving the reader the opening to impart to what it feels like to be "broken."
Today I didn't care
whether or not they stared
didn't have time to put on airs.
Yesterday was a distinct story
wanted to look like a morning glory
fresh and tantalizing couldn't tell
I was up all night.
Sometimes I can hide behind
my colored lines other times
I feel like a stained glass
window that's just been shattered
pretty pieces everywhere. (Klein, 16)
Rather than diminish the excellence of the poet's art, the poetry therapist enhances it. Poet Gregory Orr, in his book Poetry and Survival says "...the elaborative and intense patterns of poetry can...make habitancy feel safe...the grand disordering power of trauma needs or demands an equally suited ordering to comprise it, and poetry offers such order" (Orr, 92). Poetry structures chaos.
Dr. James W. Pennebaker, one of the most widely published researchers on the benefits of writing, says in his book, opening Up: The healing Power of Expressing Emotions, that writing about emotional topics improves the immune law by reducing "stress, anxiety and depression, improves grades in college (and) aids habitancy in securing new jobs." (Pennebaker, 40). "Disclosing secrets beneficially reduces blood pressure, heart rate, and skin conductance." (Pennebaker, 52). Gregory Orr says that when we share secrets "we take a small step from survival to healing; a step analogous to the one a poet makes when he or she shares poems with someone else reader or an audience." (Orr, 88)
In a therapeutic environment, the trained facilitator addresses the healing elements of poetry: form and shape, metaphor, metamessage, the words chosen, and the sounds of the words together (alliteration and assonance). These elements, in connection with each other, carry the weight of many feelings and messages at once, creating a link from the secret internal world to external reality, from the unconscious to the conscious.
Because a poem has a border, a frame, or structure, as opposed to prose, the form itself is a protection net. Strong emotions will not run off the page. A poetry therapist might ask his/her clients to draw a box in the town of the paper and write the words inside. Metamessage implies the potential to carry any messages in one line that "strike at deeper levels of awareness than overt messages" (Murphy, 69). Straight through the capacity to convey multi-messages, clients are able to palpate merging as well as individuation/separation. The poem allows for a trial separation and then a return to the therapist for merging and "refueling" Straight through the therapist's insight of the poem. If the therapist says he/she appreciates a single metaphor and how the words flow, the client feels loved and heard. In reading a poem aloud, the client may come to be caught up in his/her own rhythms and feel caressed.
An leading examine students of poetry therapy ask is how to find the right poem to bring to a group or individual. The best poems to start with are those that are understandable, with clear language, and a strong theme, as well as emotions that reflect some hope. someone else valuable element is that the poem must resonate with the mood and/or situation of the group or individual. This is called the isoprinciple, a term also used in music therapy for the same purpose. Dr. Jack Leedy says that "the poem becomes symbolically an understanding- someone/something with whom he/she can share his/her despair" (Leedy, 82)
A woman in Perie's cancer/poetry preserve group recently published a book of her poems and writings titled, I Can Do This: Living with Cancer-Tracing a Year of Hope. This title contains the valuable word hope, for that is what we need in our lives to preserve us and heal. In her poem. "The Uninvited Guest," Beverley Hyman-Fead writes:
I feel fortunate my tumors came to me
in the fall of my life...
I'm grateful for this uninvited wake-up call, ...
Would I have appreciated the beautiful
images the moon makes in the still of the night?
No, I have my tumors to thank for that. (54)
She was able to write this poem in response to a Rumi poem called "The Guest House." This poem, written so long ago, reframes the meaning of suffering saying:
This being human is a guest house,
Every morning a new arrival.
A joy, A depression, a meanness....
Welcome and entertain them all!
Even if they're a crowd of sorrows...
Be grateful for whoever comes,
because each has been sent
as a guide from beyond. (Barks, 1995, 109)
Perie chose this poem to bring to the cancer preserve group because it might engage the attention of the group members, perhaps to think about how their illness was a "guide," and what they had learned about themselves in the struggle. someone else leading response might be: "This makes me so angry! How could I ever want to ask in the darkness?" anyone the emotional reaction, the poem is a catalyst for helping the reader to entrance and express feelings in a supportive, safe environment. Reading a poem a second time helps the client feel even more deeply the content and emotion. Also, lines spoken artlessly will often form the first lines of poems.
After a poem is read, the therapist might then ask participants for lines in the poem that speak to them, or to which lines they are most drawn. This might be followed by questions for seminar of an emotional nature. Inspecting the Rumi poem, the therapist might suggest they discuss: What am I to palpate in this life? What am I not tantalizing in? How can my place of work or home be a Guest House? How is the Guest House like your heart? Comments town around what the poem emotionally means to the reader, not what the poem means intellectually. Straight through group discussion, time to write and read what was written in the group, both members and facilitator can learn to think differently, perhaps applying newly formed concepts to existing behaviors and attitudes.
For instance, if one has felt like he/she was victimized by illness, Straight through seminar and writing of this or someone else pertinent poem, she/he might be enabled to begin mental about how to move toward acceptance. Even writing about rage toward illness is an leading step. There is a beginning of some resolution within the poem. Rumi says to be grateful, and in her poem, Beverley, who is far along in her emotional healing process, is able to thank her illness, which gives her hope.
Another kind of healing that poems can furnish is visible by poems written in response to the other. Here are excerpts from poems that Perie and Phyllis wrote:
Maybe angels are
mistakes
corrected,
old times resurrected, misguided love
back on procedure to lift the inner flute...
The moon is ripe with hope
but don't look there, angels hover
at elbow bend, between your toes
rows of them, wings of leaves or breeze...
Notice when they arrive
how their wings vary,
some traditional-fully feathered...
others blossomed like heather...
There are those with only goosebumps
not always on the back,
and some no wings at all,
just scratched knees trying to get off the ground.
- Perie Longo
Phyllis responded:
Maybe angels
were with me the day
my sister and husband were run down
on the road in New York, guided my
thoughts to what it would feel like to get hit
as I crossed the street in San Francisco.
Surely angels, customary with misfortune
and crisis rooms,
watched as my sister and her husband,
almost as big as a small
bear, stepped off the curb, his size what saved them.
Accident angels hovered, caressed, willed them
to survive. Saw the ambulance come.
Did friendship angels, customary with compassion and coincidence,
know I wouldn't be told for a week?
Did they bring me to the sangha* and the teacher who spoke
about bearing unbearable pain?
Perhaps they remember what it was like to walk,
have shoulders without wings.
Do they know when humans will enter the next life,
and when the unopened tulips
on my table will bloom, die, resurrect?
*sangha-a Buddhist congregation
Gregory Orr talks about "The Two Survivals"-survival of the poet, in that the poet struggles to engage with the disorder to write a poem, and in the act of writing, "bring order to disorder." The other survival is that of the reader, who connects with poems that "enter deeply into" him or her, leading to "sympathetic identification of reader with writer." (Orr, 83-84) This kind of connection can be heightened with direct dialogue because the reader and writer cross back and forth from one role to the other, deepening the possibility for empathy and sympathetic identification.
To justify this concept, we return to the two poems we wrote about angels. Perie wrote her poem when her daughter was going Straight through a very difficult period. For Perie, the whole poem is for her daughter whose nickname was "angel-pie." The last three lines of the poem, and some no wings at all /just scratched knees/trying to get off the ground, is a message to encourage and empower her daughter, and more broadly for anyone who is feeling discouraged, traumatized, or troubled. When Phyllis received Perie's poem, she took the theme of angels and wrote her own family story about terrible pain and hope. The poems transcend the theme of angels because there is an even deeper content here-the theme of ordinary habitancy becoming heroes, and the rebirth and reconciliation that can come from tragedy. Also, as is often the case with poetry, there is an unconscious connection as both authors write about family.
In speaking about poetry, it is also leading to recognize that it can be an intimidating form of expression, carrying with it a need for perfection or a feeling like "I could never write a poem-my writing isn't good enough." In poetry therapy with groups or individuals, poems are never edited. Editing belongs in a poetry-for-craft setting. The objective of poetry therapy is to use the poem as an entry point for the writer, and it is a helpful way to work with transcendence of the inner editor, that resides in us all. To address a way to think about writing poetry, we turn to the words of our colleague, Robert Carroll, Md, who writes,
Read it aloud
pass it Straight through your ears
enjoy the
ride and
know
the distinction between poetry and prose
is that poetry is broken
into lines-
that is all.
(Carroll, 1)
Anyone can write poetry! It is our natural right and human instinct. All we have to do is allow the words to move and inspire us. The National connection for Poetry Therapy (Napt): Promoting increase and healing Straight through language, symbol, and story (http://www.poetrytherapy.org), has much useful information on its website together with more examples of how to use poetry therapy with clients. We, in the Association, are like-minded psychiatrists, psychologists, college professors, public workers, marriage and family therapists, and educators-all of us are also poets, journal writers, and storytellers who have experienced healing Straight through the written and spoken word, and want to share it with other clinicians as a skill they might like to develop. Poetry for self-expression and healing is used with mothers, children, and adolescents; battered women, the elderly, the depressed, the suicidal; those living with concluding illness, the bereaved, those with Hiv, the mentally ill, and now hurricane victims and soldiers returning from Iraq who suffer post traumatic stress. We also exchange poems with each other, across the country, that have been sufficient in helping others heal. This exchange continues the healing rhythm and heart of poetry therapy.
As Jelaluddin Rumi says:
Out Beyond ideas of wrongdoing and right doing there is a field. I'll meet you there. (Barks, 1995, 36 )
Let's find each other along the way.
References
Barks, C. (tr.) (1992). Naked Song. Maypop Books.
Barks, C. (tr.) with John Moyne. (1995). The valuable Rumi. Ny: Castle Books.
Barks, C. (tr.) and Green, M. (1997). The Illuminated Rumi. Ny: Broadway Books.
Carroll, Robert, Md, (2005) "Finding Words to say it: The healing Power of Poetry" eCam 2005:2(2)161-172.
Harjo, Joy, (2002), How we Became Human, Ny: W.W. Norton and Company.
Hyman- Fead, B. (2004) I can do this/ Living with cancer: tracing a year of hope. Santa Barbara Cancer Center: Wellness program Publishing.
Klein, Phyllis, ed. (2001). Our Words-The Women of Lee Woodward town Speak Out, Sf: Phyllis Klein and Women and Children's Family.
Leedy, J.J. (Ed.). (1985) Poetry as healer: Mending the troubled mind. Ny: Vanguard. Orr, G. (2002) Poetry as survival. Athens, Ga: The University of Georgia Press.
Murphy, J. M. (1979). The therapeutic use of poetry in Current Psychiatric Therapies, vol. 18. Jules Masserman, ed. Ny: Grune & Stratton, Inc., pp. 65-72.
Oliver, M. (1993). Wild geese. New and superior poems. Boston: Beacon Press.
Pennebaker, J. (1990) opening Up: The healing power of expressing emotions. Ny: Guilford Press.
Poplawski, T. (1994) Schizophrenia and the Soul in The Quest, August, 74-79.
"This report appeared in the July/August 2006 issue of The Therapist, the publication of the California connection of Marriage and family Therapists (Camft), headquartered in San Diego, California. This report is copyrighted and been reprinted with the permission of Camft. For more information regarding Camft, please log on to http://www.camft.org."
The Therapeutic benefit of Poetry
Bloom Energy
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Springtime is the most foremost duration of time for what season do roses grow questions to query your attention. Spring is the season that new increase emerges from the dormant buds with buds near the top of the stems growing first.
Bloom Energy
What Season Do Roses Grow - How to Grow Roses
You need to be in constant alert for suckers which should be removed swiftly to preclude them from sapping too much energy from the main plant. If they are not at once removed, they will appear to be more vigorous than your main rose plant and will take over and dominate the primary plant.
What Season Do Roses Grow - How to Grow Roses
No URL
Spring pruning should be done to form and articulate well shaped plants and to preclude rose plants from becoming leggy or top heavy. The most pruning should be done on the thin bendy stems which are unlikely to produce the beautiful anticipated flowers. Leave the stronger healthy branches, but do prune away dead or diseased wood.
During midsummer, most roses are still in heavy bloom, but many of the most beautiful blooms will have passed for this season. Unless they set hips, all varieties of roses should be dead-headed which will encourage more blooms. Dead-heading is the term used to communicate the removing of old blooms, and is ordinarily done by choosing a leaf joint under the wilted flowerhead that is facing outward, and cutting away the stem above this joint. The new bud which is secret under the leaf stalk will flourish and produce a new flower.
Apply your second serving of rose food which will continue to sustain natural increase into the autumn. You will want to continue watering, as well as pest and disease control. Continue to watch for and take off recently industrialized suckers and any diseased leaves.
By late summer increase has slowed down considerably, so what season do roses grow concerns will wish less maintenance, and you will only need to do light precautionary control and take off diseased leaves. Continue watering and training the climbers and rambler varieties.
In early autumn some may be still blooming, but you will notice the ceasing of massive amounts of new blooms. Keep up pest and disease control and minimum watering. Rose hips have now been fully formed and some rose varieties will begin to show their magnificent autumn colors.
By mid autumn your rose plants are almost ready for their dormant period. Cut down on watering but continue controlling disease. Rake the fallen leaves up, and destroy them because they may comprise disease spores. After the flowering has completed in the autumn, tidy up the rose bushes by trimming them back a little. Make sure to take off any long sections of stems above where the buds were, because there will not be any new increase in that area, and will at last die back to the next node below, and is vulnerable to becoming diseased. This pruning will also help to keep your rose plants from being damaged by strong winter winds.
Once they are fully dormant, your responsibilities will comprise taking hardwood cuttings, moving and transplanting mature roses which can be done at any point before early spring when their increase cycle begins again. You also may want to apply winter washes to help preclude disease spores and blackspot over the wintering period. Take steps to safe tender varieties from the winter frost.
What Season Do Roses Grow - How to Grow Roses
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Tulip bulbs are time fascinating to plant and nurture. Some exotic bulbs are costly. However, tulips can bloom again next year, if you contend them correctly. You can save extra money in the fall, as well as the time and effort to replant a new tulip garden. If you want to regrow your tulips, the best gardening institution is to "deadhead" those wilted tulip flowers. Why is this important?
Bloom Energy
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
When the tulip petals fall from the flower, a seed pod is left on the stem. The tulip plant will continue to feed the seed pod by extracting nutrients from the soil. Since the flower won't bloom again, the seed pod robs the tulip bulb of the energy it needs to regenerate. When the pod is removed, the plant draws energy from the environment and market it in the tulip bulb. So, if you remove the seed pod, you give the tulip bulb the occasion to renew itself.
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
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Deadheading a tulip flower is easy to do. Simply take a pair of orchad shears and snip off the seed pod about one inch below the seed pod on the tulip plant. Once you have removed the flower from the plant, leave the rest of the vegetation alone. Allow the plant dry up and turn brown naturally. Don't even water the plant. After the leaves turn yellow or brown, prune the vegetation down to the dirt.
If you keep the tulip bulbs underground, they will remain dormant until the fall months. In July, you can dig up the bulbs, shave their roots, and allow them to dry. Place the bulbs in a plastic bag and ice them until fall planting season. Allow the tulip bulbs to warm up to room climatic characteristic and then replant them.
Despite the best care, tulip bulbs do not always grow back again the following year. Many bulbs will re-flower for one-to-two years. However, the tulips will be smaller and have less vibrant colors. Make sure to replenish your garden. Purchase and plant more bulbs in the fall, at a density of five bulbs for every square foot of orchad space.
Get the best prices on tulip bulbs by pre-ordering them in late spring and summer when nurseries offer a sale on bulbs. If you want a definite tulip species, you will receive a great occasion of getting it, if you pre-order. Many on-line orchad centers warrant your order and hold your shipment until the planting season in September. If you wait to order your bulbs in the fall months, you may pay more and the flowers you want may not be available.
Practice good tulip care. Prune and deadhead your tulip plants at the right time. You can get a jump start on next year's garden.
Post blossom Tulip Care - Pruning Your Flowers After They Bloom
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Also the attentiveness of this gas varies by seasons due to some factors. So the quiz, about how carbon dioxide is formed is just easy to answer. The attentiveness of the carbon dioxide will fall while the spring since this is the time when plants are in full bloom and these plants absorb the carbon dioxide. The attentiveness of the carbon dioxide starts to shoot up once again while fall and winter as this are the times when most plants go dormant, die and these plants decay. But the attentiveness of this gas in the earth's climate is thinkable, to rise in the next few years. Because of human activities, the attentiveness of this gas has risen in the last 150 years.
Bloom Energy
How Carbon Dioxide is Formed
How carbon dioxide is formed and multiply? This composition increases and the formation of new carbon dioxide can be traced as well to a whole of reasons but it is through human activities that this gas has formed to record levels. Based on some facts, around 22 percent of the current atmospheric carbon dioxide can be directly traced to the actions of humans. This gas is formed and produced by animals, plants, fungi and other organisms while their respiration process, and parts of these are absorbed by the plants around for photosynthesis to happen. This gas is also formed as a by-product of the combustion process of the fossil fuels in cars.
How Carbon Dioxide is Formed
No URL
Volcanism is another source of this gas on earth. From such natural activity, how carbon dioxide is formed? The emissions that can be traced to volcanic activity are carefully as minor in terms of global scale. another event that helped in the formation of the gas is the land-use change. For example, the broad deforestation that is happening right now contributes a necessary ration of the gas. It has been estimated that these changes in land use has led to the emission of at least 1.7 Pg C every year in the tropics. Stationary sources of energy can be partly blamed as well for the formation of carbon dioxide. The production of electricity particularly the coal-burning sector contributes in the generation of the gas. Other sources that are stationary contain the industrial sector, the emissions arrival from oil extraction, the refinement and the transportation of oil and also the domestic and the industrial fossil fuel use. Aside from stationary sources that can form these gases, mobile sources are great contributors as well. The transport-related production of this gas has been growing for quite some time. These mobile sources contain road transport, air and nautical transport. Industries as well those are non-energy linked helps in the formation and the creation of this gas. Examples of industries are the lime and the cement factories. And ultimately biomass burning is a contributor as well.
How Carbon Dioxide is Formed
Bloom Energy
Tags:
Also the concentration of this gas varies by seasons due to some factors. So the examine about how carbon dioxide is formed is just easy to answer. The concentration of the carbon dioxide will fall during the spring since this is the time when plants are in full bloom and these plants Ant. Eject the carbon dioxide. The concentration of the carbon dioxide starts to shoot up once again during fall and winter as this are the times when most plants go dormant, die and these plants decay. But the concentration of this gas in the earth's atmosphere is imaginable to rise in the next few years. Because of human activities, the concentration of this gas has risen in the last 150 years.
Bloom Energy
How Carbon Dioxide is Formed
How carbon dioxide is formed and multiply? This blend increases and the formation of new carbon dioxide can be traced as well to a whole of reasons but it is straight through human activities that this gas has formed to article levels. Based on some facts, nearby 22 percent of the current atmospheric carbon dioxide can be directly traced to the actions of humans. This gas is formed and produced by animals, plants, fungi and other organisms during their respiration process, and parts of these are absorbed by the plants nearby for photosynthesis to happen. This gas is also formed as a by-product of the combustion process of the fossil fuels in cars.
How Carbon Dioxide is Formed
No URL
Volcanism is another source of this gas on earth. From such natural activity, how carbon dioxide is formed? The emissions that can be traced to volcanic activity are considered as minor in terms of global scale. another event that helped in the formation of the gas is the land-use change. For example, the total deforestation that is happening right now contributes a essential ration of the gas. It has been estimated that these changes in land use has led to the emission of at least 1.7 Pg C every year in the tropics. Stationary sources of energy can be partly blamed as well for the formation of carbon dioxide. The yield of electricity particularly the coal-burning sector contributes in the generation of the gas. Other sources that are stationary consist of the commercial sector, the emissions advent from oil extraction, the refinement and the communication of oil and also the domestic and the commercial fossil fuel use. Aside from stationary sources that can form these gases, mobile sources are great contributors as well. The transport-related yield of this gas has been growing for quite some time. These mobile sources consist of road transport, air and nautical transport. Industries as well those are non-energy associated helps in the formation and the creation of this gas. Examples of industries are the lime and the cement factories. And finally biomass burning is a contributor as well.
How Carbon Dioxide is Formed
Bloom Energy
Tags:
Springtime is the most prominent duration of time for what season do roses grow questions to quiz, your attention. Spring is the season that new growth emerges from the dormant buds with buds near the top of the stems growing first.
Bloom Energy
What Season Do Roses Grow - How to Grow Roses
You need to be in constant alert for suckers which should be removed quickly to forestall them from sapping too much energy from the main plant. If they are not promptly removed, they will appear to be more vigorous than your main rose plant and will take over and dominate the traditional plant.
What Season Do Roses Grow - How to Grow Roses
No URL
Spring pruning should be done to manufacture and verbalize well shaped plants and to forestall rose plants from becoming leggy or top heavy. The most pruning should be done on the thin bendy stems which are unlikely to produce the beautiful unbelievable flowers. Leave the stronger healthy branches, but do prune away dead or diseased wood.
During midsummer, most roses are still in heavy bloom, but many of the most beautiful blooms will have passed for this season. Unless they set hips, all varieties of roses should be dead-headed which will encourage more blooms. Dead-heading is the term used to relate the removing of old blooms, and is usually done by choosing a leaf joint under the wilted flowerhead that is facing outward, and cutting away the stem above this joint. The new bud which is underground under the leaf stalk will flourish and produce a new flower.
Apply your second serving of rose food which will continue to support natural growth into the autumn. You will want to continue watering, as well as pest and disease control. Continue to watch for and remove recently industrialized suckers and any diseased leaves.
By late summer growth has slowed down considerably, so what season do roses grow concerns will need less maintenance, and you will only need to do light precautionary control and remove diseased leaves. Continue watering and training the climbers and rambler varieties.
In early autumn some may be still blooming, but you will consideration the ceasing of massive amounts of new blooms. Keep up pest and disease control and minimum watering. Rose hips have now been fully formed and some rose varieties will begin to show their magnificent autumn colors.
By mid autumn your rose plants are practically ready for their dormant period. Cut down on watering but continue controlling disease. Rake the fallen leaves up, and destroy them because they may comprise disease spores. After the flowering has completed in the autumn, tidy up the rose bushes by trimming them back a little. Make sure to remove any long sections of stems above where the buds were, because there will not be any new growth in that area, and will ultimately die back to the next node below, and is vulnerable to becoming diseased. This pruning will also help to keep your rose plants from being damaged by strong winter winds.
Once they are fully dormant, your responsibilities will comprise taking hardwood cuttings, spellbinding and transplanting mature roses which can be done at any point before early spring when their growth cycle begins again. You also may want to apply winter washes to help forestall disease spores and blackspot over the wintering period. Take steps to protect tender varieties from the winter frost.
What Season Do Roses Grow - How to Grow Roses
Bloom Energy
Tags:
Also the concentration of this gas varies by seasons due to some factors. So the quiz, about how carbon dioxide is formed is just easy to answer. The concentration of the carbon dioxide will fall during the spring since this is the time when plants are in full bloom and these plants digest the carbon dioxide. The concentration of the carbon dioxide starts to shoot up once again during fall and winter as this are the times when most plants go dormant, die and these plants decay. But the concentration of this gas in the earth's climate is unbelievable to rise in the next few years. Because of human activities, the concentration of this gas has risen in the last 150 years.
Bloom Energy
How Carbon Dioxide is Formed
How carbon dioxide is formed and multiply? This compound increases and the formation of new carbon dioxide can be traced as well to a number of reasons but it is straight through human activities that this gas has formed to article levels. Based on some facts, nearby 22 percent of the current atmospheric carbon dioxide can be directly traced to the actions of humans. This gas is formed and produced by animals, plants, fungi and other organisms during their respiration process, and parts of these are absorbed by the plants nearby for photosynthesis to happen. This gas is also formed as a by-product of the combustion process of the fossil fuels in cars.
How Carbon Dioxide is Formed
No URL
Volcanism is other source of this gas on earth. From such natural activity, how carbon dioxide is formed? The emissions that can be traced to volcanic performance are considered as minor in terms of global scale. other event that helped in the formation of the gas is the land-use change. For example, the farranging deforestation that is happening right now contributes a significant division of the gas. It has been estimated that these changes in land use has led to the emission of at least 1.7 Pg C every year in the tropics. Stationary sources of energy can be partly blamed as well for the formation of carbon dioxide. The yield of electricity particularly the coal-burning sector contributes in the generation of the gas. Other sources that are stationary comprise the market sector, the emissions advent from oil extraction, the refinement and the communication of oil and also the domestic and the market fossil fuel use. Aside from stationary sources that can form these gases, mobile sources are great contributors as well. The transport-related yield of this gas has been growing for quite some time. These mobile sources comprise road transport, air and maritime transport. Industries as well those are non-energy linked helps in the formation and the creation of this gas. Examples of industries are the lime and the cement factories. And ultimately biomass burning is a contributor as well.
How Carbon Dioxide is Formed
Bloom Energy
Keywords:
However, the 20th century has seen an foreseen, lengthening of the life span, with women living well into their 7th or 8th decade. So, colse to 40 years or thereabouts, when the company of child bearing is over, and children begin to pronounce their independence, there looms before women a stretch of life that appears to be like a vacuum. Husbands may also be passing straight through their own midlife crisis, and are like irritable hedgehogs. Or in a reversal of roles, they come to be overly dependent on their wives. Women begin to feel trapped.
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Midlife emergency In Women
A woman may feel that life is passing her by. "Who am I?" she wonders. "Does my life count for anything?" An inexplicable loneliness overcomes her as though she has no real self identity. Aware of her moderately fading charm and energy, she sinks into depression. This feeling of worthlessness is compounded if there is marital dissatisfaction. The 20th century saw revolutionary changes taking place in every aspect of life. Education, employment covering the home, collapse of the joint house system, migration to the impersonal atmosphere of cities, changing sex roles, women's liberation movements, youth culture, and rapid advances in Science and technology - these have created a kind of insecurity in the customary woman. As she tries to keep pace with changing times, stress becomes her portion.
Midlife emergency In Women
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It is against this background that Midlife crisis assumes significance. Whether single, married or widowed, approximately 2/3rds of women pass straight through this phase. A occupation oriented spinster high up in the supervision hierarchy suddenly decided that she cannot live alone anymore. She conjures up pictures of being incarcerated in some Home for the Aged, and the hope alarms her. So she frantically advertises in the newspapers for a convenient spouse, and may imprudently take an undesirable mate, or enter into a live-in relationship. A sober middle aged widow may settle to give herself a new image. She may visit a beautician to have her hair styled, her eyebrows plucked, and her wrinkles ironed out with Botox. She may even begin to use heavy make-up and dress like a teenager. She may flirt outrageously with eligible men, or have an affair with man younger than her son. Habitancy notice, gossip and snigger, but the woman throws propriety to the winds, and is brazen about her behavior.
A spinster with unfulfilled maternal desires may settle to have a baby out of wedlock or offer to 'rent her womb.' Some psychologists say that Midlife crisis is just a convenient excuse for irresponsible behavior. But it can be argued that if this was the case, why wait till middle age to indulge one's self? Middle Age is merely a transitory phase, and is not something to be feared but welcomed. crisis ordinarily occurs when there is a lack of preparation. E. M. Blaicklock says "Middle Age is the time when life's fruits begin to ripen."
It must be prepared for. It is a time to take stock of one's self, and study one's life style. One needs to identify factors that can contribute to a crisis and address them individually. Is there fear of losing one's youth, sex petition and beauty? Do a few strands of grey, or sagging breasts or weight gain generate panic? One psychiatrist says, "Feeling good and finding good is connected to a equilibrium between mind and body." And Longfellow assures us that "Age is no less an chance than youth itself, though in another dress."
Exercise, a balanced diet, relaxation, and a normal interest in the world around, will put the radiance back into middle aged faces.
Has the marriage association come to be boring? Then one needs to put more effort into changing it. A exiguous more loving, communication and caring can go a long way in setting things right. The husband may also be passing straight through midlife crisis and may be disinterested or unable to riposte to her feelings. A woman must therefore pronounce her needs directly and specifically, production him understand that she is passing straight through a difficult phase and wants his comprehension and love. A good husband will not only be emotionally supportive of his wife, but also give her the space she needs to form her sense of self worth. If a woman is suddenly widowed in middle age, her depression may increase. Or she might rush into an affair which is not a sensible thing to do while under stress.
For a woman who has spent the best years of her life being an exemplary mother, who has found identity and fulfillment in her children, the realization that they don't need her anymore, and a wide generation gap is developing between them, makes her feel marginalized and useless. Midlife is also a time when one becomes vulnerable healthwise. Diseases like obesity, hypertension, diabetes, the need for diet restriction, medication, exercise, make her Aware of her mortality. She begins to brood over her situation and gets bogged down in self pity. Dwindling money resources and stringencies brought on by retirement, also pose a threat to her peace of mind.
All these stress factors have a snowballing effect, which can undermine a woman's self trust and bring about altered behavior like, depression, irritability, irrational behavior, assertiveness or abnormal sexual interest. In fact, this phase is like passing straight through a 'second emotional adolescence.'
Anticipating and preparation for middle age can make the transition smoother. Life doesn't end at that stage. Floyd and Thatcher say, "Middle Age is a time for discovery, not stagnation. It is a time ripe for fresh beginnings - a threshold to a rich stimulating future. If approached with good humour and flexibility, and an openness to change, the middle years and beyond can be the best half of life." Life has many dissimilar seasons. At each season a woman needs to reassess her values from dissimilar perspectives. Whether single, married or widowed, she needs to bloom in her own identity, and not be a rubber stamp of her husband or a door mat for her children; nor should she let herself be exploited even by her own family. She too must be a decision maker and pronounce herself when necessary.
Hobbies and new interests make life interesting. "Unlock your creativity," exhorts Ann Morrow Lindbergh. Music, reading, travel, painting are mood elevators.
Good friends are assets in difficult times. They act as confidantes or as sounding boards when one needs to get something off one's chest. They lend retain in times of stress and depression. Groups like "Emotions Anonymous" help its members to open up and talk about their problems. They learn from each other's experiences and help each other mutually, to redefine their ideas and values. They come to be happy and confident. Synthetic props like drugs and alcohol are not the answer, neither is an extra marital affair a solution. It may only lead to guilt feelings that are hard to shake off.
Husbands and children must perceive that their supportive love can work magic in overcoming midlife crisis. But unless a woman verbalizes her needs and fears, they cannot know.
Finding time for introspection, refusing to condemn one's self for imaginary short comings, and an awareness of the temporary nature of such a crisis, is half way to overcoming it. Habitancy tend to put God last when faced with a crisis. Paul's words in Philippians 3:13 are encouraging. "I am still not all I should be, but I am bringing all my energies to bear out one thing; forgetting the past, and finding to what lies ahead." Prayer surmounts many a crisis.
Midlife is the pre- autumn season of one's life. Autumn is sure to follow, and will light up one's personality with the golden hues of maturity and peace. Life will begin again with a new vision for what is left of the future.
Midlife emergency In Women
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Meaning surely "a sensitivity to things," mono no aware is a understanding describing the essence of Japanese culture, invented by the Japanese literary and linguistic expert expert Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word *aware*, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes attractiveness as an awareness of the transience of all things, and a polite sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.
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Mono No Aware: The Essence of Japan
Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual doctrine and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of attractiveness described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.
Mono No Aware: The Essence of Japan
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According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more animated than full. The sakura or cherry blossom tree is the epitome of this understanding of beauty; the flowers of the most famous variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The field of a thousand poems and a national icon, the cherry blossom tree embodies attractiveness as a transient experience.
Mono no aware states that attractiveness is a subjective rather than objective experience, a state of being finally internal rather than external. Based largely upon classical Greek ideals, attractiveness in the West is sought in the ultimate perfection of an external object: a famous painting, exquisite model or intricate musical composition; a attractiveness that could be said to be only skin deep. The Japanese ideal sees attractiveness instead as an feel of the heart and soul, a feeling for and appreciation of objects or artwork--most commonly nature or the depiction of--in a pristine, untouched state.
An appreciation of attractiveness as a state which does not last and cannot be grasped is not the same as nihilism, and can great be understood in relation to Zen Buddhism's doctrine of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in *Zenrin Kushū* (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."
With its roots in Zen Buddhism, *mono no aware* is bears some relation to the non-dualism of Indian philosophy, as connected in the following story about Swami Vivekananda by Sri Chinmoy:
*"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in little eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that attractiveness is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, attractiveness is not attractiveness at all. And attractiveness is worthy of its name only when it has been appreciated.*
The founder of *mono no aware*, Motoori Norinaga (1730-1801), was the pre-eminent expert of the Kokugakushu movement, a nationalist movement which sought to take off all covering influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa period of the Shinto religion. Contradictorily, the affect of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an covering influence, it was by this point unable to be extricated.
Meaning surely "a sensitivity to things," mono no aware is a understanding describing the essence of Japanese culture, invented by the Japanese literary and linguistic expert expert Motoori Norinaga in the eighteenth century, and remains the central artistic imperative in Japan to this day. The phrase is derived from the word aware, which in Heian Japan meant sensitivity or sadness, and the word mono, meaning things, and describes attractiveness as an awareness of the transience of all things, and a polite sadness at their passing. It can also be translated as the "ah-ness" of things, of life, and love.
Mono no aware gave name to an aesthetic that already existed in Japanese art, music and poetry, the source of which can be traced directly to the introduction of Zen Buddhism in the twelfth century, a spiritual doctrine and practise which profoundly influenced all aspects of Japanese culture, but especially art and religion. The fleeting nature of attractiveness described by mono no aware derives from the three states of existence in Buddhist philosophy: unsatisfactoriness, impersonality, and most importantly in this context, impermanence.
According to mono no aware, a falling or wilting autumn flower is more gorgeous than one in full bloom; a fading sound more gorgeous than one clearly heard; the moon partially clouded more animated than full. The sakura or cherry blossom tree is the epitome of this understanding of beauty; the flowers of the most famous variety, somei yoshino, nearly pure white tinged with a subtle pale pink, bloom and then fall within a single week. The field of a thousand poems and a national icon, the cherry blossom tree embodies attractiveness as a transient experience.
Mono no aware states that attractiveness is a subjective rather than objective experience, a state of being finally internal rather than external. Based largely upon classical Greek ideals, attractiveness in the West is sought in the ultimate perfection of an external object: a famous painting, exquisite model or intricate musical composition; a attractiveness that could be said to be only skin deep. The Japanese ideal sees attractiveness instead as an feel of the heart and soul, a feeling for and appreciation of objects or artwork--most commonly nature or the depiction of--in a pristine, untouched state.
An appreciation of attractiveness as a state which does not last and cannot be grasped is not the same as nihilism, and can great be understood in relation to Zen Buddhism's doctrine of earthly transcendence: a spiritual longing for that which is infinite and eternal--the source of all worldly beauty. As the monk Sotoba wrote in Zenrin Kushū (Poetry of the Zenrin Temple), Zen does not regard nothingness as a state of absence, but rather the affirmation of an unseen that exists behind empty space: "Everything exists in emptiness: flowers, the moon in the sky, gorgeous scenery."
With its roots in Zen Buddhism, mono no aware is bears some relation to the non-dualism of Indian philosophy, as connected in the following story about Swami Vivekananda by Sri Chinmoy:
"Beauty," says [Vivekananda], "is not external, but already in the mind." Here we are reminded of what his spiritual daughter Nivedita wrote about her Master. "It was dark when we approached Sicily, and against the sunset sky, Etna was in little eruption. As we entered the straits of Messina, the moon rose, and I walked up and down the deck beside the Swami, while he dwelt on the fact that attractiveness is not external, but already in the mind. On one side frowned the dark crags of the Italian coast, on the other, the island was touched with silver light. 'Messina must thank me,' he said; 'it is I who give her all her beauty.'" Truly, in the absence of appreciation, attractiveness is not attractiveness at all. And attractiveness is worthy of its name only when it has been appreciated.
The founder of mono no aware, Motoori Norinaga (1730-1801), was the pre-eminent expert of the Kokugakushu movement, a nationalist movement which sought to take off all covering influences from Japanese culture. Kokugakushu was enormously influential in art, poetry, music and philosophy, and responsible for the revival while the Tokugawa period of the Shinto religion. Contradictorily, the affect of Buddhist ideas and practises upon art and even Shintoism itself was so great that, although Buddhism is technically an covering influence, it was by this point unable to be extricated.
