so much better to have (intimate) company on days/nights like these.
And if we've no place to go... let it snow/rain/hail/sleet.... all to its content.

Oh lovely Stan, I love the sound of the rain on the tent as I am tucked in my warm sleeping bag, its extra fine as a contrast. I have said it before that if you want to hear my sound, then buy Danish Mints and crunch them i your moth and you will hear the same sound.

But the is was the tin roof, maybe there's someone here on Neopoets who lives in Australia and has a tin roof too as they often have there?

I enjoy your little episodes in your life, they are warm and sensed so well, then made into little songs of poetry for us to share. Thank you Stan and my love to you both, Ann.

There is a tenderness in the intimacy of this most humble work. Where two are content in their surroundings and environment.

The only thing I might change would be to keep syllable counts consistent in each line. Some of the rhyme sounds a bit forced as well. For example:

"The sound of rain on roof of tin
sometimes can cause an awful din"

May sound a bit smoother as:

"Our life have never been sound proof
much like the rain on our tin roof
and causes us to raise our voice
deciding on a program choice."

(took a liberty here - but only my opinion)

All in all, this piece holds the classic charm of tenderness in verse and finds a place that everyone can relate to in life.

Very strong and quite enjoyable. Thank you. A good read this morning. ~Pamela

... comments on the rhythm, so I'll confine my comments to that. Apologies in advance for their being critical.

I know that regularity of meter in not necessarily the be-all and end-all of poetry. However, I believe that you're striving for it here. You classify the poem as 'Western classical' (I know we don't have much choice in the matter of these classifications) for a start. The stall you set out is iambic tetrameter. The most obvious characteristic of that rhythm, to a reader, is that he or she expects that it should continue throughout the poem - you could say that the first line establishes the heartbeat of the poem, it's what draws the reader in and on, it's a very compelling rhythm.

The first two lines are regular iambic tetrameter, no question, but then lines come which are anything but. Line three could be regularised by substituting 'by' for 'before', line four seems to miss a stressed syllable between 'and' and 'conspire'. The following stanzas vary the prosody in similar ways.

Now, there is nothing inherently wrong with breaking rhythmic patterns if that's what we really want to do. However I think was need to be aware of this particular pitfall - what we lead our readers to expect by the initial rhythm.