One Direction - Little Things

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

One Direction - Little Things

One Direction - Little Things

One Direction - Little Things

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Mono No Aware: The Essence of Japan

Mono no aware: the Japanese charm aesthetic

Mono No Aware: The Essence of Japan

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

One Direction - Little Things

One Direction - Little Things

One Direction - Little Things

No URL One Direction - Little Things

The Therapeutic advantage of Poetry

Poetry Therapy and the Impact of Poetic Dialogue

The Therapeutic advantage of Poetry

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

One Direction - Little Things

One Direction - Little Things

One Direction - Little Things

No URL One Direction - Little Things

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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

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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 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

Tags:

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

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.

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.

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."