Mar 2019
Is poetry a way to cope with pain?
My chest throbs dully in low agony.
You see, heartache is a physical thing.
It hurts as if it's any wound to me.
I'm not afraid to state my malady,
Depression is what resides in my brain.
And it's the way it manifests, I hate
In doubting in myself, and what I'm worth
In old memories, losses, things of weight
Frustrations pop and boil as on a hearth
Sometimes I wish for return to the earth,
But I've been down that road, in bitter pace.
I write, not for the pain, which wont relieve.
However, when it's shared, it will indeed.
My chest throbs dully in low agony.
You see, heartache is a physical thing.
It hurts as if it's any wound to me.
I'm not afraid to state my malady,
Depression is what resides in my brain.
And it's the way it manifests, I hate
In doubting in myself, and what I'm worth
In old memories, losses, things of weight
Frustrations pop and boil as on a hearth
Sometimes I wish for return to the earth,
But I've been down that road, in bitter pace.
I write, not for the pain, which wont relieve.
However, when it's shared, it will indeed.
Ok I have something... different to share
The Unnamed Sonnet form is a form I created out of love for the rhyme-scheme of the Italian Sonnet, and for Shakespeare's use of the volta when used in the last couplet. I feel like it's a good deviation from the traditional kinds of sonnets because it fills a needed role. In the Unnamed Sonnet form you have the ability to talk about one idea, in two different ways, and then tie them together at the volta, which because of this will usually end up at the couplet. It is harder to do this in a Shakespearean Sonnet due the theme being carried by three quatrains. Similarly in the Italian Sonnet, the Octave usually controls the theme, then the sestet draws to the conclusion. I feel like two sestets followed by a couplet is a strong way to convey one point in two ways. Or to convey two points, separately, while still drawing a strong conclusion. I will eventually get around to naming it, the name is tied into the first one of it's kind, of which I had to strip it's name.
Would love this critiqued
The Unnamed Sonnet form is a form I created out of love for the rhyme-scheme of the Italian Sonnet, and for Shakespeare's use of the volta when used in the last couplet. I feel like it's a good deviation from the traditional kinds of sonnets because it fills a needed role. In the Unnamed Sonnet form you have the ability to talk about one idea, in two different ways, and then tie them together at the volta, which because of this will usually end up at the couplet. It is harder to do this in a Shakespearean Sonnet due the theme being carried by three quatrains. Similarly in the Italian Sonnet, the Octave usually controls the theme, then the sestet draws to the conclusion. I feel like two sestets followed by a couplet is a strong way to convey one point in two ways. Or to convey two points, separately, while still drawing a strong conclusion. I will eventually get around to naming it, the name is tied into the first one of it's kind, of which I had to strip it's name.
Would love this critiqued
