Monday, April 28, 2014

19 LOVE LESSONS ~ #Haikus Poetic Tee "Here, take a sip"

Action speaks louder
But a soothing voice delights
Ask ears of whispers.

With love, trust your heart
Do it not to please others
You choose the life, lived.

Make a commitment
If you truly love, shout it!
Reassure both hearts. :)

Of what use is quite
When words are a heart's lifeline
A drowning love saved.

Many a sad human
Walks the streets, regal and rich
Poor heart, beats within.

Pride deprives a soul
Think thou not safe from distress
If your heart shuns love.

Come to love, open
Say "I love you", feeling it
Let death do its worst.

Show how much you love
Ain't enough, till the ears hear
"I love you" whispered. :)

Many a mistake made
Never saying "I love you"
Till love's missed, long gone. :)

A heart beating pains
Of loss. Anguish understands best
Pour out tears "O eyes". :'(

You hurt alone, weak
You lost, then another you seek
The heart's not so smart.

To love's to let go
By no means loving you less
Self sacrifice one makes.

Years on, still you think
Why you let go, your best love
Streamed off under bridge.

Old, gray, bristled bones
You still turn now and then
Hope, love calls your name.

Regrets come to you
Wreaking havoc to a heart
Weakened by distress

Love on, live on love
Thin line between love and hate
Choose former not latter.

Drink love of me Soompth
To quench your thirst of hunger
Contentment, kill me.

O my tomorrow
Come to me as a soother
When am lack, of choice

Find my heart afloat
Saturated with your love
Sourced from Fountainmyne.

(c)(r)2014 tijjani m. m.
all rights reserved.

Sunday, April 27, 2014


And now let's take an adventure into the mind and find the ever elusive answer to the question:


What is love? Five theories on the greatest emotion of all.
It's the most popular search on Google – but what's the answer? Experts in fields from science to fiction share their thoughts.
They are: Jim Al-Khalili, Philippa Perry, Julian Baggini, Jojo Moyes and Catherine Wybourne.

"What is love" was the most searched phrase on Google in 2012, according to the company. In an attempt to get to the bottom of the question once and for all, the Guardian has gathered writers from the fields of science, psychotherapy, literature, religion and philosophy to give their definition of the much-pondered word.

Hear them...

The physicist: 'Love is chemistry'

Jim Al-Khalili
Biologically, love is a powerful neurological condition like hunger or thirst, only more permanent. We talk about love being blind or unconditional, in the sense that we have no control over it. But then, that is not so surprising since love is basically chemistry. While lust is a temporary passionate sexual desire involving the increased release of chemicals such as testosterone and oestrogen, in true love, or attachment and bonding, the brain can release a whole set of chemicals: pheromones, dopamine, norepinephrine, serotonin, oxytocin and vasopressin. However, from an evolutionary perspective, love can be viewed as a survival tool – a mechanism we have evolved to promote long-term relationships, mutual defence and parental support of children and to promote feelings of safety and security.

• Jim Al-Khalili is a theoretical physicist and science writer

The psychotherapist: 'Love has many guises'

Philippa Perry
Unlike us, the ancients did not lump all the various emotions that we label "love" under the one word. They had several variations, including:

Philia which they saw as a deep but usually non-sexual intimacy between close friends and family members or as a deep bond forged by soldiers as they fought alongside each other in battle. Ludus describes a more playful affection found in fooling around or flirting. Pragma is the mature love that develops over a long period of time between long-term couples and involves actively practising goodwill, commitment, compromise and understanding. Agape is a more generalised love, it's not about exclusivity but about love for all of humanity. Philautia is self love, which isn't as selfish as it sounds. As Aristotle discovered and as any psychotherapist will tell you, in order to care for others you need to be able to care about yourself. Last, and probably least even though it causes the most trouble, eros is about sexual passion and desire. Unless it morphs into philia and/or pragma, eros will burn itself out.

Love is all of the above. But is it possibly unrealistic to expect to experience all six types with only one person. This is why family and community are important.

• Philippa Perry is a psychotherapist and author of Couch Fiction

The philosopher: 'Love is a passionate commitment'

Julian Baggini
The answer remains elusive in part because love is not one thing. Love for parents, partners, children, country, neighbour, God and so on all have different qualities. Each has its variants – blind, one-sided, tragic, steadfast, fickle, reciprocated, misguided, unconditional. At its best, however, all love is a kind a passionate commitment that we nurture and develop, even though it usually arrives in our lives unbidden. That's why it is more than just a powerful feeling. Without the commitment, it is mere infatuation. Without the passion, it is mere dedication. Without nurturing, even the best can wither and die.

• Julian Baggini is a philosopher and writer

The romantic novelist: 'Love drives all great stories'

Jojo Moyes
What love is depends on where you are in relation to it. Secure in it, it can feel as mundane and necessary as air – you exist within it, almost unnoticing. Deprived of it, it can feel like an obsession; all consuming, a physical pain. Love is the driver for all great stories: not just romantic love, but the love of parent for child, for family, for country. It is the point before consummation of it that fascinates: what separates you from love, the obstacles that stand in its way. It is usually at those points that love is everything.

• Jojo Moyes is a two-time winner of the Romantic Novel of the Year award

The nun: 'Love is free yet binds us'

Catherine Wybourne
Love is more easily experienced than defined. As a theological virtue, by which we love God above all things and our neighbours as ourselves for his sake, it seems remote until we encounter it enfleshed, so to say, in the life of another – in acts of kindness, generosity and self-sacrifice. Love's the one thing that can never hurt anyone, although it may cost dearly. The paradox of love is that it is supremely free yet attaches us with bonds stronger than death. It cannot be bought or sold; there is nothing it cannot face; love is life's greatest blessing.

• Catherine Wybourne is a Benedictine nun

Source:, Thursday 13 December 2012 12.18 GMT


... by Poetic Tee "Here, take a sip"

She wanted me
To love her alone
She said "You can't love
Two persons or things
Equally all at the same time
It's either one or the other
But never the two together
Loving two is impossible"
She'd say

I told her
"My heart is a human's
It is made of many hearts
Each with a pulse pulsating
Each a rythm of love beating
Each capable of a love purified
One, three, seven or even more
A different love for everything
Love, Unlimited"

I want to know
What it means
To really  love someone?
Is it about caring so much?
Or is it the sincere missing?
Not wanting to see love hurt
Always wanting to be with you
Never seeing my love's plain faults
Whispering "O, how much I love you"

Is it love to love a mother?
How about loving my daughter?
One special one for my only son?
She has a unique love for her father
Can all these be qualified as real love?
Or is it, "it" only if it's for you my dearie?
Is loving God, a job, a city, a feeling also love?
Or must it be just for one's passionate lover?
O heart! Tell me 'What art thou capable of?'

"I am indeed a book of hearts
In me are pages uncountable
Blank is each, until my author writes
A letter, words, sentences or several paragraphs
Then for keeps I hold with nostalgia a treasure
Of how truly cherished is a delightful soul or thing
From the billions that breath existence on earth
How much each is loved unlike any other
A chapter for each story of love"

(c)2014 tijjani m. m.
all rights reserved

Friday, April 25, 2014


... by Poetic Tee "Here, take a sip"

Sickle cell kills
But only if God Wills
Some say it has no cure
But none of them is sure
There's no sickness on earth
That lacks a cure except death
Oops, less I forget there's old age too
But treat that by being a young @ heart boo

(c)(r)2014 Tijjani M. M.
all rights reserved

There is medicine for sickle cell in Kano by a Trado-medical doctor. His name is Khamis Kibiya and his place Sangarib Trado-medical Center is located along Zaria Road opposite Gidan Glass, Gyadi-gyadi Quarters. His numbers are 08033499827 and 08028349463. Please call him and make arrangements to visit him in Kano. This is for all Sickle Cell patients world wide. He has cured my 2 children of the sickness. One a boy, now in JSS 3 has not had a crisis in the last 11 years. For the first 2 years of his life, it was unimaginable pains for him and for us. His sister is just about 2 years now and since we discovered she was SS too, we took her to him and as Allaah (God) Wills, it has been close to 8 months now without her showing any more signs of the sickness. Please if you care for yourself or your loved ones suffering from the traumatic disease, take the chance and verify for yourself. You never know this might be the end of that unending hospital visitations.

Someone asked if he has cures for other ailments? That I can not outrightly vouch for. But, as far as the dreaded sickle cell anaemia is concerned, may Allaah SWT bear me Witness. I decided to inform because people are dieing due to the disease as Allaah Willed in the belief that it has no cure, but indeed there's a cure for it. My two kids are living proofs. So, if you know or anybody knows of someone who is a sickler patient, they should please and please contact him.

 It is taking away so many more due to ignorance. Nasir El-Rufai just announced the death of a daughter from their family yesterday on facebook. I saw the post today and it made me decide to let the world know that THERE'S A CURE FOR SICKLE CELL ANEMIA IN KANO, NIGERIA!

We surely need to inform the world about this and we will. But, this is for those who have already committed the "mistake" of marrying sickle cell carriers and so likely to have sickler offsprings. Just to let them know that all hope is not lost.

THE WORD "i" (poetry)


Poetic Tee "Here, take a sip" has written several interesting poems over the years and different persons across the literary world each have found one piece or another their favourite. From poets to authors, writers to simple lovers of poetry.

But, the one million dollar question is, which one is the poet's personal favourite poem, the one he considered as his very ultimate creative work?

It is a strange, engaging, mysterious, but very unique piece. Written in a moment, with only one stroke, one strike, one letter, one word and as one stanza. It is simple, yet very complicated. It has turned out to be the most attractive, most intriguing, most popular, most mind engaging and the most widely read of all his poems.

With over 2179 hits on one particular website alone, where some other write ups were getting 1788, 1579, 1350 and 1089 among the Top 10 and one piece being hit only 3 times, it is arguably a piece that is worthy of its reputation.

Well, let me stop all this talking and introduce you to my very best, my most captivating piece, that is guaranteed to leave you in wonder and amazement. Read it with rapt attention please. Your comments, if any, are highly welcome. Here it is:

THE WORD “i” ……By Poetic Tee “Here, Take A Sip”


(c)(r)2008 tijjani m. m.
all rights reserved.


'Amr b. Sharid reported his father as saying:
One day when I rode behind Allah's Messenger (SAWS), he said (to me): Do you remember any poetry of Umayya b. Abu Salt. I said: Yes. He said: Then go on. I recited a couplet, and he said: Go on. Then I again recited a couplet and he said: Go on. I recited one hundred couplets (of his poetry). This hadith has been reported on the authority of Sharid through another chain of transmitters but with a slight variation of wording.
Reference : Sahih Muslim 2255 a, b
In-book reference : Book 41, Hadith 1
Abu Huraira reported Allah's Messenger (SAWS) as saying:
The truest word spoken by an Arab (pre-Islamic) in poetry is this verse of Labid: " Behold! apart from Allah everything is vain."
Reference : Sahih Muslim 2256 a
In-book reference : Book 41, Hadith 3
Abu Huraira reported Allah's Messenger (SAWS) as saying:
The truest word uttered by a poet is this verse of Labid: " Behold! apart from Allah everything is vain," and Umayya b. Abu Salt was almost a Muslim.
Reference : Sahih Muslim 2256 a
In-book reference : Book 41, Hadith 4
Abu Huraira reported Allah's Apostle (SAWS) as saying:
The truest couplet recited by a poet is:" Behold! apart from Allah everything is vain," and he made no addition to it.
Reference : Sahih Muslim 2256 d
In-book reference : Book 41, Hadith 6
THE ABOVE ENDORSEMENT is not blanket on all kinds of poetry please. Indulging in poetry comes with a reservation. So poets should beware what they say or write. Hear my Rasool SAWS again.
Abu Huraira reported Allah's Messenger (may peace be opon him) as saying:
"It is better for a man's belly to be stuffed with pus which corrodes it than to stuff) one's mind with FRIVOLOUS poetry." Abd Bakr has reported it with a slight variation Of wording. ~ *Emphasis mine*
Reference : Sahih Muslim 2257
In-book reference : Book 41, Hadith 8
Sa'd reported Allah's Apostle (SAWS) as saying:
It is better for the belly of any one of you to be stuffed with pus rather than to stuff (one's mind) with poetry.
Reference : Sahih Muslim 2258
In-book reference : Book 41, Hadith 9
Abu Sa`id Khudri reported:
We were going with Allah's Messenger (SAWS). As we reached the place (known as) Arj there met (us) a poet who had been reciting poetry. Thereupon Allah's Messanger (SAWS) said: Catch the satan or detain the satan, for filling the belly of a man with pus is betting than stuffing his brain with poetry.
Reference : Sahih Muslim 2259
In-book reference : Book 41, Hadith 10
So, be among the former poets that the Rasool would ask your verses be recited to him (SAWS), rather than the latter, who is the voice of satan, agent of the devil, stuffing the minds and brains of a man with your vain poetry.

LOVE ON A SOUL TRAIN - ‪#‎LimerickPoem‬ Poetic Tee "Here, take a sip"
He stood a midget, taller than a mountain
Her heart's king, but pauper for certain
She finds in him herself, drunk and lost
Ocean deep desires, drownin' her lust
Love she found, riding on a soul train
(c)(r)2014 Tijjani M. M.
All Rights Reserved

Thursday, April 17, 2014


... by Poetic Tee "Here, take a sip"

O Heavens, reach down
Feel my heart with a light touch
That I may know peace.

(c)2014 tijjani m. m.
all rights reserved


.... by Poetic Tee "Here, take a sip"

The moon swimming in space pays homage
To the pre-dawn star, engages in a tètè-a-tété

O Sirius! O thou morning star
Each day's start off, you bear witness
As dawn breaks, shimmering light upon homes
Even when caves were neighbours to vast wilderness

O Moon of a silvery soft shining glow
Love blossoms, photosynthesizing off thee
Come, whisper a serenading lullaby in my ears
Enrich my heart with tales of now as you did of aye

Observe the haster of late, pray tell me of him
Has he yet kindled the fire to burn in or turn about
O thou my crescenting companion
Our master never cease to amaze me

As his primitivity metamorphosized into digitality
What would it profit him to deny himself peace
Bliss unquatified by subjecting further knowledge
To resist death choking one more life out of his billions

Saw the hooded one on holiday in Honolulu
As man volunteers daily, surpassing his quotas
In wars, insurgents, riots, murders and wanton killings
Of self. Is there a worse fool than the burning candle?

I thought by now with his progress, no man
Would sleep under open heavens except by choice
But look at the rising number of homeless, destitutes too
Yet, he boasts of scrapping the sky with man-made mountains

Walking in his birth garments, just like the lowlies
Each sees civility in his sectorial path, happy or sad
He prides himself in caging, in turn he is caged by blind desires
Lost is his conscience. Lust is his crown, "All hail King of the Beasts!"

Man to man, woman to woman and even the dogs too
Let the heavens cringe to hell! O, he'll get his bull satiated first
Man to a baby, teethers or a moaning suckle. But no to mammary
Who's the father, who's the mother, daughter or the son? How confusing

O mooniyara, look. Another queue of 'lagwanis' is formed
To choose from them, for them, by them a self-enriching set
Who would spread their wings in flight, while they belly-crawl
Giving them promises only God can fulfill. Are they gods too?

The strong usurps the weak and the weak? The weaker
Child in adult roles, gray growth at tender ages. Poor souls
Lies for sell, fraud is trade-licensed as truth becomes a burden
Diseases, resources waste, trafficking now beyond drugs to slaves

Pollutions, famines, earthquakes and mudslides
Droughts, floods, blasts and assassinations of all good
More rooms, less space. More height, less breath. More for less
As he grows in reading power, he has staunted in his thinking process

Man seems a failure where it matters most; uplifting mankind
How can he seek oneness, free of freedom of the one within
Then he seeks another as he looses control of the first gift
Blindly seeking to live forever, when tomorrow never comes

O my brilliant heavenly transverse
Each time the Riser showers Bluebeauty warmth
Hope fills me as I look to see something different of him
But things keep getting worse from BC to AD. Tomorrow, perhaps.
Let me float along my orbit then
Till our parts cross again. Adieu O fair fairy.

(c)(r)2014 Tijjani M. M.
all rights reserved

Sunday, April 13, 2014


A symbolic narrative in which the surface details imply a secondary meaning. Allegory often takes the form of a story in which the characters represent moral qualities. The most famous example in English is John Bunyan's Pilgrim's Progress, in which the name of the central character, Pilgrim, epitomizes the book's allegorical nature. Kay Boyle's story "Astronomer's Wife" and Christina Rossetti's poem "Up-Hill" both contain allegorical elements.

The repetition of consonant sounds, especially at the beginning of words. Example: "Fetched fresh, as I suppose, off some sweet wood." Hopkins, "In the Valley of the Elwy."

Two unaccented syllables followed by an accented one, as in com-pre-HEND or in-ter-VENE. An anapestic meter rises to the accented beat as in Byron's lines from "The Destruction of Sennacherib": "And the sheen of their spears was like stars on the sea, / When the blue wave rolls nightly on deep Galilee."

A character or force against which another character struggles. Creon is Antigone's antagonist in Sophocles' play Antigone; Teiresias is the antagonist of Oedipus in Sophocles' Oedipus the King.

The repetition of similar vowel sounds in a sentence or a line of poetry or prose, as in "I rose and told him of my woe." Whitman's "When I Heard the Learn'd Astronomer" contains assonantal "I's" in the following lines: "How soon unaccountable I became tired and sick, / Till rising and gliding out I wander'd off by myself."

A love lyric in which the speaker complains about the arrival of the dawn, when he must part from his lover. John Donne's "The Sun Rising" exemplifies this poetic genre.

A narrative poem written in four-line stanzas, characterized by swift action and narrated in a direct style. The Anonymous medieval ballad, "Barbara Allan," exemplifies the genre.

Blank verse
A line of poetry or prose in unrhymed iambic pentameter. Shakespeare's sonnets, Milton's epic poem Paradise Lost, and Robert Frost's meditative poems such as "Birches" include many lines of blank verse. Here are the opening blank verse lines of "Birches": When I see birches bend to left and right / Across the lines of straighter darker trees, / I like to think some boy's been swinging them.

A strong pause within a line of verse. The following stanza from Hardy's "The Man He Killed" contains caesuras in the middle two lines:

He thought he'd 'list, perhaps,
Off-hand-like--just as I--
Was out of work-had sold his traps--
No other reason why.

An imaginary person that inhabits a literary work. Literary characters may be major or minor, static (unchanging) or dynamic (capable of change). In Shakespeare's Othello, Desdemona is a major character, but one who is static, like the minor character Bianca. Othello is a major character who is dynamic, exhibiting an ability to change.

The means by which writers present and reveal character. Although techniques of characterization are complex, writers typically reveal characters through their speech, dress, manner, and actions. Readers come to understand the character Miss Emily in Faulkner's story "A Rose for Emily" through what she says, how she lives, and what she does.

The turning point of the action in the plot of a play or story. The climax represents the point of greatest tension in the work. The climax of John Updike's "A&P," for example, occurs when Sammy quits his job as a cashier.

Closed form
A type of form or structure in poetry characterized by regularity and consistency in such elements as rhyme, line length, and metrical pattern. Frost's "Stopping By Woods on a Snowy Evening" provides one of many examples. A single stanza illustrates some of the features of closed form:

Whose woods these are I think I know.
His house is in the village though.
He will not see me stopping here
To watch his woods fill up with snow.

An intensification of the conflict in a story or play. Complication builds up, accumulates, and develops the primary or central conflict in a literary work. Frank O'Connor's story "Guests of the Nation" provides a striking example, as does Ralph Ellison's "Battle Royal."

A struggle between opposing forces in a story or play, usually resolved by the end of the work. The conflict may occur within a character as well as between characters. Lady Gregory's one-act play The Rising of the Moon exemplifies both types of conflict as the Policeman wrestles with his conscience in an inner conflict and confronts an antagonist in the person of the ballad singer.

The associations called up by a word that goes beyond its dictionary meaning. Poets, especially, tend to use words rich in connotation. Dylan Thomas's "Do Not Go Gentle into That Good Night" includes intensely connotative language, as in these lines: "Good men, the last wave by, crying how bright / Their frail deeds might have danced in a green bay, / Rage, rage against the dying of the light."

A customary feature of a literary work, such as the use of a chorus in Greek tragedy, the inclusion of an explicit moral in a fable, or the use of a particular rhyme scheme in a villanelle. Literary conventions are defining features of particular literary genres, such as novel, short story, ballad, sonnet, and play.

A pair of rhymed lines that may or may not constitute a separate stanza in a poem. Shakespeare's sonnets end in rhymed couplets, as in "For thy sweet love remembered such wealth brings / That then I scorn to change my state with kings."

A stressed syllable followed by two unstressed ones, as in FLUT-ter-ing or BLUE-ber-ry. The following playful lines illustrate double dactyls, two dactyls per line:

Higgledy, piggledy,
Emily Dickinson
Gibbering, jabbering.

The dictionary meaning of a word. Writers typically play off a word's denotative meaning against its connotations, or suggested and implied associational implications. In the following lines from Peter Meinke's "Advice to My Son" the references to flowers and fruit, bread and wine denote specific things, but also suggest something beyond the literal, dictionary meanings of the words:

To be specific, between the peony and rose
Plant squash and spinach, turnips and tomatoes;
Beauty is nectar and nectar, in a desert, saves--
and always serve bread with your wine.
But, son,
always serve wine.

The resolution of the plot of a literary work. The denouement of Hamlet takes place after the catastrophe, with the stage littered with corpses. During the denouement Fortinbras makes an entrance and a speech, and Horatio speaks his sweet lines in praise of Hamlet.

The conversation of characters in a literary work. In fiction, dialogue is typically enclosed within quotation marks. In plays, characters' speech is preceded by their names.

The selection of words in a literary work. A work's diction forms one of its centrally important literary elements, as writers use words to convey action, reveal character, imply attitudes, identify themes, and suggest values. We can speak of the diction particular to a character, as in Iago's and Desdemona's very different ways of speaking in Othello. We can also refer to a poet's diction as represented over the body of his or her work, as in Donne's or Hughes's diction.

A lyric poem that laments the dead. Robert Hayden's "Those Winter Sundays" is elegiac in tone. A more explicitly identified elegy is W.H. Auden's "In Memory of William Butler Yeats" and his "Funeral Blues."

The omission of an unstressed vowel or syllable to preserve the meter of a line of poetry. Alexander uses elision in "Sound and Sense": "Flies o'er th' unbending corn...."

A run-on line of poetry in which logical and grammatical sense carries over from one line into the next. An enjambed line differs from an end-stopped line in which the grammatical and logical sense is completed within the line. In the opening lines of Robert Browning's "My Last Duchess," for example, the first line is end-stopped and the second enjambed:

That's my last Duchess painted on the wall,
Looking as if she were alive. I call
That piece a wonder, now....

A long narrative poem that records the adventures of a hero. Epics typically chronicle the origins of a civilization and embody its central values. Examples from western literature include Homer's Iliad and Odyssey, Virgil's Aeneid, and Milton's Paradise Lost.

A brief witty poem, often satirical. Alexander Pope's "Epigram Engraved on the Collar of a Dog" exemplifies the genre:

I am his Highness' dog at Kew;
Pray tell me, sir, whose dog are you?

The first stage of a fictional or dramatic plot, in which necessary background information is provided. Ibsen's A Doll's House, for instance, begins with a conversation between the two central characters, a dialogue that fills the audience in on events that occurred before the action of the play begins, but which are important in the development of its plot.

Falling action
In the plot of a story or play, the action following the climax of the work that moves it towards its denouement or resolution. The falling action of Othello begins after Othello realizes that Iago is responsible for plotting against him by spurring him on to murder his wife, Desdemona.

Falling meter
Poetic meters such as trochaic and dactylic that move or fall from a stressed to an unstressed syllable. The nonsense line, "Higgledy, piggledy," is dactylic, with the accent on the first syllable and the two syllables following falling off from that accent in each word. Trochaic meter is represented by this line: "Hip-hop, be-bop, treetop--freedom."

An imagined story, whether in prose, poetry, or drama. Ibsen's Nora is fictional, a "make-believe" character in a play, as are Hamlet and Othello. Characters like Robert Browning's Duke and Duchess from his poem "My Last Duchess" are fictional as well, though they may be based on actual historical individuals. And, of course, characters in stories and novels are fictional, though they, too, may be based, in some way, on real people. The important thing to remember is that writers embellish and embroider and alter actual life when they use real life as the basis for their work. They fictionalize facts, and deviate from real-life situations as they "make things up."

Figurative language
A form of language use in which writers and speakers convey something other than the literal meaning of their words. Examples include hyperbole or exaggeration, litotes or understatement, simile and metaphor, which employ comparison, and synecdoche and metonymy, in which a part of a thing stands for the whole.

An interruption of a work's chronology to describe or present an incident that occurred prior to the main time frame of a work's action. Writers use flashbacks to complicate the sense of chronology in the plot of their works and to convey the richness of the experience of human time. Faulkner's story "A Rose for Emily" includes flashbacks.

A character who contrasts and parallels the main character in a play or story. Laertes, in Hamlet, is a foil for the main character; in Othello, Emilia and Bianca are foils for Desdemona.

A metrical unit composed of stressed and unstressed syllables. For example, an iamb or iambic foot is represented by ˘', that is, an unaccented syllable followed by an accented one. Frost's line "Whose woods these are I think I know" contains four iambs, and is thus an iambic foot.

Hints of what is to come in the action of a play or a story. Ibsen's A Doll's House includes foreshadowing as does Synge's Riders to the Sea. So, too, do Poe's "Cask of Amontillado" and Chopin's "Story of an Hour."

Free verse
Poetry without a regular pattern of meter or rhyme. The verse is "free" in not being bound by earlier poetic conventions requiring poems to adhere to an explicit and identifiable meter and rhyme scheme in a form such as the sonnet or ballad. Modern and contemporary poets of the twentieth and twenty-first centuries often employ free verse. Williams's "This Is Just to Say" is one of many examples.

A figure of speech involving exaggeration. John Donne uses hyperbole in his poem: "Song: Go and Catch a Falling Star."

An unstressed syllable followed by a stressed one, as in to-DAY. See Foot.

A concrete representation of a sense impression, a feeling, or an idea. Imagery refers to the pattern of related details in a work. In some works one image predominates either by recurring throughout the work or by appearing at a critical point in the plot. Often writers use multiple images throughout a work to suggest states of feeling and to convey implications of thought and action. Some modern poets, such as Ezra Pound and William Carlos Williams, write poems that lack discursive explanation entirely and include only images. Among the most famous examples is Pound's poem "In a Station of the Metro":

The apparition of these faces in the crowd;
Petals on a wet, black bough.

The pattern of related comparative aspects of language, particularly of images, in a literary work. Imagery of light and darkness pervade James Joyce's stories "Araby," "The Boarding House," and "The Dead." So, too, does religious imagery.

A contrast or discrepancy between what is said and what is meant or between what happens and what is expected to happen in life and in literature. In verbal irony, characters say the opposite of what they mean. In irony of circumstance or situation, the opposite of what is expected occurs. In dramatic irony, a character speaks in ignorance of a situation or event known to the audience or to the other characters. Flannery O'Connor's short stories employ all these forms of irony, as does Poe's "Cask of Amontillado."

Literal language
A form of language in which writers and speakers mean exactly what their words denote. See Figurative language, Denotation, and Connotation.

Lyric poem
A type of poem characterized by brevity, compression, and the expression of feeling. Most of the poems in this book are lyrics. The anonymous "Western Wind" epitomizes the genre:

Western wind, when will thou blow,
The small rain down can rain?
Christ, if my love were in my arms
And I in my bed again!

A comparison between essentially unlike things without an explicitly comparative word such as like or as. An example is "My love is a red, red rose,"

From Burns's "A Red, Red Rose." Langston Hughes's "Dream Deferred" is built entirely of metaphors. Metaphor is one of the most important of literary uses of language. Shakespeare employs a wide range of metaphor in his sonnets and his plays, often in such density and profusion that readers are kept busy analyzing and interpreting and unraveling them. Compare Simile.

The measured pattern of rhythmic accents in poems. See Foot and Iamb.

A figure of speech in which a closely related term is substituted for an object or idea. An example: "We have always remained loyal to the crown." See Synecdoche.

Narrative poem
A poem that tells a story. See Ballad.

The voice and implied speaker of a fictional work, to be distinguished from the actual living author. For example, the narrator of Joyce's "Araby" is not James Joyce himself, but a literary fictional character created expressly to tell the story. Faulkner's "A Rose for Emily" contains a communal narrator, identified only as "we." See Point of view.

An eight-line unit, which may constitute a stanza; or a section of a poem, as in the octave of a sonnet.

A long, stately poem in stanzas of varied length, meter, and form. Usually a serious poem on an exalted subject, such as Horace's "Eheu fugaces," but sometimes a more lighthearted work, such as Neruda's "Ode to My Socks."

The use of words to imitate the sounds they describe. Words such as buzz and crack are onomatopoetic. The following line from Pope's "Sound and Sense" onomatopoetically imitates in sound what it describes:

When Ajax strives some rock's vast weight to throw,
The line too labors, and the words move slow.

Most often, however, onomatopoeia refers to words and groups of words, such as Tennyson's description of the "murmur of innumerable bees," which attempts to capture the sound of a swarm of bees buzzing.

Open form
A type of structure or form in poetry characterized by freedom from regularity and consistency in such elements as rhyme, line length, metrical pattern, and overall poetic structure. E.E. Cummings's "[Buffalo Bill's]" is one example. See also Free verse.

A humorous, mocking imitation of a literary work, sometimes sarcastic, but often playful and even respectful in its playful imitation. Examples include Bob McKenty's parody of Frost's "Dust of Snow" and Kenneth Koch's parody of Williams's "This is Just to Say."

The endowment of inanimate objects or abstract concepts with animate or living qualities. An example: "The yellow leaves flaunted their color gaily in the breeze." Wordsworth's "I wandered lonely as a cloud" includes personification.

The unified structure of incidents in a literary work. See Conflict, Climax, Denouement, andFlashback.

Point of view
The angle of vision from which a story is narrated. See Narrator. A work's point of view can be: first person, in which the narrator is a character or an observer, respectively; objective, in which the narrator knows or appears to know no more than the reader; omniscient, in which the narrator knows everything about the characters; and limited omniscient, which allows the narrator to know some things about the characters but not everything.

The main character of a literary work--Hamlet and Othello in the plays named after them, Gregor Samsa in Kafka's Metamorphosis, Paul in Lawrence's "Rocking-Horse Winner."

A metrical foot with two unstressed syllables ("of the").

A four-line stanza in a poem, the first four lines and the second four lines in a Petrachan sonnet. A Shakespearean sonnet contains three quatrains followed by a couplet.

The point at which a character understands his or her situation as it really is. Sophocles' Oedipus comes to this point near the end of Oedipus the King; Othello comes to a similar understanding of his situation in Act V of Othello.

The sorting out or unraveling of a plot at the end of a play, novel, or story. See Plot.

The point at which the action of the plot turns in an unexpected direction for the protagonist. Oedipus's and Othello's recognitions are also reversals. They learn what they did not expect to learn. See Recognition and also Irony.

The matching of final vowel or consonant sounds in two or more words. The following stanza of "Richard Cory" employs alternate rhyme, with the third line rhyming with the first and the fourth with the second:

Whenever Richard Cory went down town,
We people on the pavement looked at him;
He was a gentleman from sole to crown
Clean favored and imperially slim.

The recurrence of accent or stress in lines of verse. In the following lines from "Same in Blues" by Langston Hughes, the accented words and syllables are underlined:

I said to my baby,
Baby take it slow....
Lulu said to Leonard
I want a diamond ring

Rising action
A set of conflicts and crises that constitute the part of a play's or story's plot leading up to the climax. See Climax, Denouement, and Plot.

Rising meter
Poetic meters such as iambic and anapestic that move or ascend from an unstressed to a stressed syllable. See Anapest, Iamb, and Falling meter.

A literary work that criticizes human misconduct and ridicules vices, stupidities, and follies. Swift's Gulliver's Travels is a famous example. Chekhov's Marriage Proposal and O'Connor's "Everything That Rises Must Converge," have strong satirical elements.

A six-line unit of verse constituting a stanza or section of a poem; the last six lines of an Italian sonnet. Examples: Petrarch's "If it is not love, then what is it that I feel," and Frost's "Design."

A poem of thirty-nine lines and written in iambic pentameter. Its six-line stanza repeat in an intricate and prescribed order the final word in each of the first six lines. After the sixth stanza, there is a three-line envoi, which uses the six repeating words, two per line.

The time and place of a literary work that establish its context. The stories of Sandra Cisneros are set in the American southwest in the mid to late 20th century, those of James Joyce in Dublin, Ireland in the early 20th century.

A figure of speech involving a comparison between unlike things using like, as, or as though. An example: "My love is like a red, red rose."

A fourteen-line poem in iambic pentameter. The Shakespearean or English sonnet is arranged as three quatrains and a final couplet, rhyming abab cdcd efef gg. The Petrarchan or Italian sonnet divides into two parts: an eight-line octave and a six-line sestet, rhyming abba abba cde cde or abba abba cd cd cd.

A metricalfoot represented by two stressed syllables, such as KNICK-KNACK.

A division or unit of a poem that is repeated in the same form--either with similar or identical patterns or rhyme and meter, or with variations from one stanza to another. The stanzas of Gertrude Schnackenberg's "Signs" are regular; those of Rita Dove's "Canary" are irregular.

The way an author chooses words, arranges them in sentences or in lines of dialogue or verse, and develops ideas and actions with description, imagery, and other literary techniques. See Connotation, Denotation, Diction, Figurative language, Image, Imagery, Irony, Metaphor, Narrator, Point of view, Syntax, and Tone.

What a story or play is about; to be distinguished from plot and theme. Faulkner's "A Rose for Emily" is about the decline of a particular way of life endemic to the American south before the civil war. Its plot concerns how Faulkner describes and organizes the actions of the story's characters. Its theme is the overall meaning Faulkner conveys.

A subsidiary or subordinate or parallel plot in a play or story that coexists with the main plot. The story of Rosencrantz and Guildenstern forms a subplot with the overall plot of Hamlet.

An object or action in a literary work that means more than itself, that stands for something beyond itself. The glass unicorn in The Glass Menagerie, the rocking horse in "The Rocking-Horse Winner," the road in Frost's "The Road Not Taken"--all are symbols in this sense.

A figure of speech in which a part is substituted for the whole. An example: "Lend me a hand." See Metonymy.

The grammatical order of words in a sentence or line of verse or dialogue. The organization of words and phrases and clauses in sentences of prose, verse, and dialogue. In the following example, normal syntax (subject, verb, object order) is inverted:

"Whose woods these are I think I know."

A three-line stanza, as the stanzas in Frost's "Acquainted With the Night" and Shelley's "Ode to the West Wind." The three-line stanzas or sections that together constitute the sestet of a Petrarchan or Italian sonnet.

The idea of a literary work abstracted from its details of language, character, and action, and cast in the form of a generalization. See discussion of Dickinson's "Crumbling is not an instant's Act."

The implied attitude of a writer toward the subject and characters of a work, as, for example, Flannery O'Connor's ironic tone in her "Good Country People." See Irony.

An accented syllable followed by an unaccented one, as in FOOT-ball.

A figure of speech in which a writer or speaker says less than what he or she means; the opposite of exaggeration. The last line of Frost's "Birches" illustrates this literary device: "One could do worse than be a swinger of birches."

A nineteen-line lyric poem that relies heavily on repetition. The first and third lines alternate throughout the poem, which is structured in six stanzas --five tercets and a concluding quatrain. Examples include Bishop's "One Art," Roethke's "The Waking," and Thomas's "Do Not Go Gentle into That Good Night."

YET, I AIN'T A POET (poetry) Poetic Tee "Here, take a sip" 

I ain't a poet
Nor do i know the rules of poemry
All i know is
Am endowed with an ability to write
A line or two that i desire read
Caring less if
A Recon praises it, a Decon "kills" me or "Whatever!"

I ain't a poet
Nor do i know what it is i write
Someone discovering said "This is poetry"
No its not!
Just a string of words
I happen to scribble
Less it gets lost, forgotten

I ain't a poet
Nor do i care for rules of rhymery
For some come trained, Ph. D'd
I? i just find it natural
Gushing forth bone marrow to veins
Accompanying the reds
To nooks & cranies

I ain't a poet
So call me not an author
Pardon, forgive a novice's pour
In fact, read not what is not worthy
Of a refined mind like yours
Comment, critique? "Naaah!"
Me dead metaphor

I ain't a poet
So look not for A B, A B
Or A A, B B. Is there A B C D?
26 letters of the alphabets
Taught in kindergarten to kids
That grow to become writers
Critics and Emeritus

I ain't a poet
Admit it i have, so what?
Does that stop
The words craftsman in me
The inspiration within
Nor do i miss a glance stolen
Definitely not a smile of admiration

I ain't a poet
Yes, i am just "I"
Wearing a smile
Feeling inspired
Pen and paper in hand
Qwerty keys awaitingly beckon
To reveal a mind's flow, mine

Yet, I ain't a poet.

Tijjani M. M.
(c)(r) 20130426


... by Poetic Tee "Here, take a sip" 

What is happiness
But a feeling of goodness
From you in others

For a heart seeks it
By generating happiness
Outside its own self

Once you feel it, deep within
Then it's happiness

You feel its full glow
Radiating from inside out
Showing on your face

Happiness brightens you
People can tell you are pleased
With what you have done

As you make others
Happiness affects your being
Flushing out your veins

Strive your utmost best
Say "Don't worry, Be Happy"
Practice it, Live it

Only one life to live
Be it on top or bottom
Pursue happiness

(c)(r) 2013 Tijjani M. M.
All Rights Reserved


... by Poetic Tee "Here, take a sip" 

The one
Who reads only
And learns not, to listen
Has a directed, defined, refined focus

But the one
Who can listen
Not only hears earth surrounding mysteries
Discussing, expressing, exchanging

But can also hear
The stars meditating
High up in the heavens
And even way beyond the universe

Tijjani M. M. (c)(r) 20140111
All Rights Reserved


... by Poetic Tee "Here, take a sip" 

True love wants nothing
More, than the presence of thee
In your lover's heart

(c)(r)20012014 tijjani m.m.
all rights reserved

HOPE (poetry)

.... Written by Poetic Tee "Here, take a sip" 

You pessimist
killing it already?
but you can't
it is what
the most successful
most resilient of humans
survive on.

It is
that keeps us going
one day
into the next
without which
life will be

It is
for a better tomorrow
that keeps us planning
for it today
before we go
to sleep.

Is what's making
most of us
patient to bear
doing our acts

Had it not been
for it
many would have
given up
out of demands
of a sunrise to sunset
each day.

For the most gracious
of tranquility
as a reward
for patience
and perseverance
through this journey
called life.

Could there be
a purpose in
the pursuits of life
and even beyond
if hope ceases
to exist?
Could there be?

Tijjani M. M.
(c)(r) 020313

WISE FOOLS (poetry)

.... Written by Poetic Tee " Here, take a sip" 

Many are forced to be wise
not because they desire wisdom
but due to its inevitability.

And many are forced to be fools
not because they desire foolishness
but due to their inability to resist it.

(c)(r) 160114 Tijjani M. M.


.... Written by Poetic Tee " Here, take a sip" 

He craves and desires
For her perfect love
A struggle on his part
To take what belongs
To him not, as is usual
And he knows it

Impossible though it is
For him to get her all
The much he succeeds
In reigning in and over
Justifies the quest that
Ends in groans and wails

For the scene plays itself out
Until it is made manifest
Without an ioata of doubt
That the trap has snapped
And "the wise" is captured
For keeps, free-falling for aye

After achieving the aim
Of entrapping her soul
For a lamentable company
A dare is then thrown
For any to wrest-free
The frozen-in-a-moment catch

But for any gullible soul
That allows itself lured
A choice by itself is made
To justifying its loss
Thus the wait till eternity
Begins slowly, in earnest

Therefore, sit not with him
For he has often said it
"A deal with me is sealed
With your soul's blood.
Once made, and you get in
Know it, there's no getting out."

Yet, much as light reveals
What scary darkness covers
Patiently, the night again
Creeps in and oust out the day
A circle repeating itself
Shedding and shredding endings.

(c)(r) 160114 Tijjani M. M.


.... Written by Poetic Tee " Here, take a sip" 

Can there be
a more fool-hardy
creature than a parasite
worst among the lot
the one senseless enough
not to live in symbiotic
relationship with its host?

Like all such self-centered
life-sucking menaces
they survive on the body
that shelters them
to feed their desire
by the way, some are
sexless in nature
though they might be
positive or negatively

One thing common
to parasitism though is
a parasite rely
solely, strictly on
its host body for
all its life requirements.
while some are total
others are semi-
then there are those
that give back to the host
somethings of benefit
in exchange for the

for propagation
and continuity, though
asexual in nature,
yet they each
have devised a means
to reproduce their kind
and thus ensure
spread and continuing
all can do this,
except one

Always an exception
as the famed adage goes
well, this one is unique
worst than a mere parasite
which can give birth to
its kind for perpetuation
this doesn't do that
even remotely
reproduce its own kind
to replenish its population?

Rather, it preys
on its hosts' body
taking one vital organ
after another
not just to keep
its insatiable quest alive
to continuously visit
its benefactor with
but annihilation
itself inclusive
in the process

It takes on the heart
nervous system
defense mechanism
muscles and others
but does it go
through the pain
the body experiences
for each part
its host looses as a result
of its termination frenzy?
of course not.

Laying it bare
a mother hen
lays her precious eggs
goes through incubation
hatch them, feeds them
not to sustain her own
but to benefit others as well
only for
a bird of prey to swoop in
on a her chicks
picking one at random
for its tasty meal
oblivious of its being
the last

And because the unique
parasite lacks that
sense of loss
it equally does not
know the anguish
of any bloodly feel
as it invites to an end
that lacks continuity by
snatching away
from its loving host
to devour the conscience
and sub-consciousness
of each soul
of a body part

And for any taken
who pays or replaces
the missing functional part,
that unreproductive lot?
who only takes "pleasure"
nay joy
in sacrificing its only means
of survival in a quest
that's sure to end
both itself and its own
basic source?

Once it commences
to treat with sameness
all organs in the kill
Each lacking in its ability
to regenerate or grow
back into a functional part
neither for itself
nor for its ungrateful guest
nor for other sensory organs
brains etc
like all the other ones
they slowly but surely
cease to exist.

the unique parasite
remains free
of the host's pains
so, the demand is one way
with no benefit
to the other
now, could it ever be
fair and just
the parasite be allowed
to continue eating
into its host

And yet
some are querying
why the body
should get sick
complaining of its parts
being slowly damaged
reduced, terminated
of its efforts to refuse
the shamefaced abuse
just like a farmer
resisting a wolf's strive
towards pushing
his only sheep stock
to extinction.

(c)(r) 190114 Tijjani M. M.

MUSE, LET LOOSE (poetry)

... by Poetic Tee "Here, take a sip" 

Is 'Muse' a she?
Is that why we attract
So much, "she" and I?
I've always thought
My muse was an 'it'
Neither a crude beast
Nor its beauty
It loves me much
But I love it much more.
Who did this!? Astrid Sauney!
Now, see what you've done!
Unchained it, let it loose!
You've excited my muse
And it's pouring forth
In a gush
In a rush!
O my Gosh!!!

(c)(r) tijjani m.m.
all rights reserved


.... Written by Poetic Tee " Here, take a sip" 

many don't trust
in the future
nor do they believe
in it
but they do
only in this hour
so live every second
just for the moment.

Already aware
that elusively
"Tomorrow never comes"
they rush into
living life in now, even
beyond a full 24 hours
before the upper lid
engages the lower
in a slumbering embrace.

Having the impression
patience is an illusion
that when the eyes
close in sleep
there'll be no today
when awakeness
stirs them up again
in another tomorrow,
Oops... today.

Yet, after a resltless rest
their shutters
open to reveal
a brand new day
proving them wrong
again and again. For
what patience gives one not
the murder of it
can never achieve.

(c)(r) 170114 Tijjani M. M.


“Whoever believes in Allah 
and the Last Day
should speak good things
or keep silent.

Whoever believes in Allah
and the Last Day
should be courteous and generous
to his neighbor.

Whoever believes in Allah
and the Last Day
should be courteous and generous
to his [traveling] visitor.”

Prophet Muhammad (pbuh)
Who said it about 1435 years ago thus: 

1 OUT OF 6 SURVIVES (poetry)

.... Written by Poetic Tee " Here, take a sip" 

The rest of the gang were suave and fly
One was light, defined and proportioned
Another was flaunting insured wealth
Among them one with irresistible charms
Then the handsome, sexy, 6-pack dude
Smart, intelligent though ugly and short
Quack quack quack duck of the lot, was I

Beauty was game, the more the gamier
To pass? A befitting queen of her pack
Else fit only for the dogs, the squandrels
And like wolves to a lion kill they hang off
Have your fill and they instantly pounce
How many a covets found solace amidst
Gnashing fangs, slurps and drools, not I

Many would make a pick of a bunny bunch
The handsome dudes go for the j'los
The light and defined take to the delicate
The rich are allowed by the expensive
The intelligent one attracts the smart
The charmer win them all, mostly the naive
The innocent end up with company, that's I

So we rolled, in rides, on roads, in towns
Party here, birthdays there, even picnics
Fashionable, formidable, anything edible
Clean, fast, sharp and smooth operators
We lost none, but won many, many more
Guys resisted, but the bunch was a force
So, the curves protested and decamped to I

Time was for wasting on its wasters
And waste it we did in a squandermania
Virgins in the morning, ladies for lunch
Corporate babes in the afternoon
Spinsters for dinner, perhaps supper
And as a nightcap, well the runaways do
Many indulged and paid dearly, but not I

Right from the on set, with pupils dilated
The 6th sense fully operational, in-mode
As others jumped and pranced in Rio
A mathematician was busy calculating
How long to last from sunrise to sunset
Inspired by a source for look man, be wise
While the price was being paid, reserved I

(c)(r) 160114 Tijjani M. M.
All Rights Reserved


.... Written by Poetic Tee "Here, take a sip" 

O, I hate growing up
Didn't know it comes with
So much responsibilities
And the expectations?
O please, let me be
That can be another... Ohh!

I remember
Once I was young and free
Oh how free, of anything, everything
Except of what really mattered
Eating, playing and being pampered
There was so much joy and laughter
Lots of laughters
And the occassional
"Do this", "Stop that!" or "Qzzy!"
From a gentle and sometimes
Warning, but loving voice.

Wearing my only shoes
Often without even one
I'd invite my best friend
"Bashan! Peen, peen, come let's go!"
Offering him a ride on "Chakkas"
My imaginary monster bike
Which color was it? Who cares
Mimicking the loudest of sounds
Holding tight the handle bars
With him clutching my shirt tail
We'd run on the streets
Turning, swerving and rushing on
Horn-honking to avoid obstacles
Of all kinds.
O how much fun we had

On certain days
"Myocar" gave us the thrill run
A special car that can be a mini for me
Or a stretcher accomodating us all
Especially when other friends of mine
Are coming in on the fun ride
I'll grip the steering wheel
Making sure all are belt-up and secure
Each of us holding the others' shoulders
Girls inclusive sometimes
We'd start off with only I or 2 of us
Then stopping to pick more friends
Till we are like a long centipede
Gleefully we'll move in unison
With childish chatters and complains
Bringing smiles and laughter on faces
Along the street
That was devoid of cars

But the best childhood moments
Of all, for me?
My favourite? Well, it's being all alone
Spreading my wings and flyyyyyyyy
Was I a bird or a plane, may be an insect
I didn't even know.
I guess it was a plane
For I'll stretch out
My two hands at shoulder level and
Taking a runway run, I'll take-off
Into the "sky" and once up there
I become freeeeeeeeee...
Even in my sleep I'd often flyyyyyyyy

Suddenly all that changed
We move and I grew up
O, how I hate growing up
Didn't know it comes with
So much responsibilities
And the expectations?
"Honey! Honey, where are you?"
Boooooom! Reality check!

(c)(r) 190114 Tijjani M. M.
all rights reserved


... by Poetic Tee "Here, take a sip" 

As the sun sets west
Tinging the sky twilight red
A day dies to night.

(c)(r) tijjani m.m.
22012014 @17:13:18
all rights reserved


.... Written by Poetic Tee "Here, take a sip" 

You can,
yet you don't
too often.
you are wasting you
for the world.

Write pls.

It is
the only thing
you are bequething
to the rest of us
who are not going to
share in
on your inheritance
or your will.

(c)(r) 240114 Tijjani M. M.
all rights reserved


.... Written by Poetic Tee "Here, take a sip" 


One would
pick a piece of wood
spend time to carve
a masterpiece

Another would
pick a similar piece
with it kindle a fire
to warm a soul

a purpose
with an aim


(c)(r) 240114 Tijjani M. M.
all rights reserved


... by Poetic Tee "Here, take a sip" 

What distinguishes
a bard
from ordinary folks

Is that, he
riding on his muse

Beyond the surface
beyond assumptions
beyond pretention
beyond imagination
beyond reasoning
beyond doubt
beyond knowledge
beyond certainty
beyond intelligence
beyond intellectualism
beyond spirituality
beyond mere faith
beyond the senses
beyond the sixth
beyond the seventh, if there is
beyond wisdom
beyond the universe
beyond eternity
beyond infinity

Arriving at the edge
of all known boundaries
and unknown dimensions

Kneeling at the source pool
through the stargate
dividing life and death

To reach to it
to scoop
only a handful

To drink of what
he alone finds there
and refreshingly return

Back through impossibility
to put to words

Which only words can describe
what words can not describe
for lack of a means better

In order to
make you believe
what was it, experienced

Only but a few
find it fit
to accept

would it different
from one far superior?

(c)(r) tijjani m. m.
@15:08:18 20140203
all rights reserved


…by Poetic Tee “Here, take a sip”

One says
"This guy's good"
Yet, a "critic" says
“You ain't a poet!”
Take both
in good faith
and heartily
laugh it out…

Go and read
this poem titled
'Yet, I Ain't A Poet'
It'll gladden you
In fact, please you
making you
accommodate critics
of your works.

You see
You actually need them
depending on
how you use
their critical swipes
they could be fuel
for your brilliance
I tell you.

They burn
to keep you
to the very top!
How could you
feel bad
with such
vital ingredients
for success?

So, cherish
honor and
respect them
Rejoice with
the fact
that your work
is worthy
of their time
and words.

©® 2014 Tijjani M. M.
All rights reserved


... by Poetic Tee "Here, take a sip" 

You are beautiful
not of body or physique
but of mind and soul.

And of voice
of your soul
which can be heard
not from your mouth
As mere sounds
but through your words
used to express
such deep rooted emotions

You are so scary
with your precision
as a words sculpturess.

what you present
is not poetry alone
but an original
priceless, sculptured piece.

This piece is
nothing, but pure

(c)(r) tijjani m. m.
@19:58:09 20140203
all rights reserved