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A best friend is someone you tell secrets to, right?
But what if it were the same person to hold you at night?
As the sun goes down and the stars appear,
It's that someone whom you tell your biggest fear.

Your dearly beloved, whether a guy or a girl
Suddenly becomes your whole world,
And you laugh and you sing and you dance all around,
As your best friend twirls you round and round

And in the truth of the morning, everything is okay
You see that your beloved is here to stay.
Holding you tightly and never letting go
All during the disappearance of the moonlight glow.

And it is them you want to spend the rest of your life
Alongside them, your dear husband or wife.
And 70 years after you said "I do"
You manage to say one last "I love you"

Then you'll drift away to a heavenly sleep
With the one who you love so deep.
And eternal time you will spend together
With your dearly beloved, always and forever.
Ethan Robison Sep 2011
Well you see the thing to understand is poetry is a gospel to the world.
At first you feel as if it is oppressive chains tying you down to the soiled earth with every simplistic tick tock.
That is at least until you discover this world has no rules for an adventurer of free verse.
Your words now flow like an expeditious brook as long as you use metaphors with pretentious words.  

However rules exist it is plain to see.
Some poems go aabb.
Those are simple ones to find.
Those are the ones stuck in your mind.

Now one more step, aabbc.
Those are a little more artsy.
You draw your crowd in.
Get under their skin,
And finish a little bit different.

And now it's time for set number three.
One that can simply astound.
The great, magnificent abab.
Those make a poet nearly profound.

There are  couplets, sonnets, and monoryhms.
And now for the last one, all in good time.
I wanted you all to hear them like chimes,
But all that I had I left you in these lines.
Romantic Poetess Jan 2011
How do we begin
The music
Of love making?
Are we sure
That the language we share
Is harmonic?

Who arranges the pulse of the piece?
Who decides which beats are
Accented
Which beats
Are not?
Will they give rise
To our motif?
Will our phrases
Use repetition or contrast
Be weak or strong
****** or repose?

Will our passage
Be AABB
Or AABA?
How many themes
And how many variations

Will we play
on our
delicate instruments?
Will our cycle be
a symphony
or will we
happily create
a one movement work
with an air
of spontaneous inspiration
and call ourselves
a rhapsody?
LD Goodwin Apr 2013
K-popper Psy
Buzzing like a pesky fly
To out do his "Gangnam Style" hit
But you can't polish cat ****!



*Clerihew
         A Clerihew is a comic verse consisting of two couplets and a specific rhyming scheme, aabb invented by Edmund Clerihew Bentley (1875-1956) at the age of 16. The poem is about/deals with a person/character within the first rhyme. In most cases, the first line names a person, and the second line ends with something that rhymes with the name of the person.
Harrogate, TN  April 2013
Mark Addison May 2016
After taking a gulp of water, M. opens a new Word document, inhaling deeply. He begins to write a sort of Introduction or Author’s Note:

‘This is to be my first real poem. No *******, cheesy rhyming or painfully forced verbiage. I am now only a seeker of truth…’

M., having just crushed two Focalin pressed pills, rolls a five-dollar bill and proceeds to insufflate, pausing momentarily when the line is halfway finished; he exhales before immediately finishing it off. His sinus burns fiercely. There is something masochistic about his preferred method of ingestion w/r/t pills. And but with a sudden albeit expected (in fact, M. was utterly beholden to it) rush of vitality, M. spends the next ten minutes finishing his half-page poetic manifesto [sic] (which term he actually wrote as a heading. “Poetic Manifesto”, that is), before beginning what he considers to be the first stanza. He likes that the location of the beginning of his poem is ambiguous. And so he begins thusly, consciously avoiding conventional rhyme scheme, instead opting for what he considers to be abstract.

‘My first poem, ostensibly an attempt at catharsis, was in fact a failed expression of my latent desire to be accepted. For today it’s a poem and last week a novel; tomorrow I’ll ferociously ******* some fashionably obscure, formidably pretentious prose [sic]. Consuming all but absorbing nothing…’

If he is to discover vicious truths [sic] in his writing, he cannot hold anything back. He thinks of a double-entendre using the word ‘blunt’, but decides not to employ it. Perhaps yesterday. Suddenly, M. begins to ruminate on his poem from the day before, which had earned him the opposite of acclaim from his peers. He must simply do the opposite of what he had done before! When he resumes writing, M. eventually begins to subconsciously fall back into the 12-syllable AABB rhyme scheme of his yesterday’s poem.

‘…Perhaps the following phase will stick for more than a wretched week.
Why have I wasted words on wan, vapid, wheezing lines
Of sickeningly phony, sophomoric, pseudo-sentimental ****?
Surely you see the salient theme,
That from which I hide,
Refusing to acknowledge life’s flaccid, tan **** as it floats in front of me,
Beckoning me forth,
A one-eyed, furiously fetid viper...’

M. chortles at his alliterative stanza’s ending. ‘This is how I write,’ he mutters to himself, maintaining a straight face. He writes without pause for nearly an hour. He is pleased.

‘…A generalist—that’s what I tell myself I am,
Because simply knowing a few facts,
Even for forty or fifty fields,
Is surely worthy of that
Respect which is given to those men and women
Who earn it by grinding away
At that which determine the sycophant vermin
Is worthy of lifting a lash…’

Hours pass. The poem approaches two thousand words in length. After taking a truncated cigarette break (the break, not the cigarette, was truncated), M. continues where he left off.*

‘…Believe you not for a second the frost-bitten-phallus,
That Freudian façade [sic],
The false faces I display to fake friends
Whose frequent fornication
Fills my mind with fossilized fleas,
******-spiritual formication [sic]
For which there’s no vaccine…

…Once I’ve come down from the mountainous apogee atop which I sit,
Calmly surveying the ever-receding landscape through the lens of fleeting euphoria
Which, fading faster always, gives way to—no, I will not say it—I refuse to legitimate her lies.
As I descend with increasing speed,
specters of judgment torment me into insanity…
    
B  r  e
a   t  h
     e  ;

...this feeling I simply cannot bear—
their sirens threaten to burst my eardrums.
Although it’s undoubtedly pathetic,
I can no longer lie to myself;
I desire the approval
of those specters
who haunt
m-
e
...’

M. begins to hyperventilate, panicking at his embarrassment at publishing such a bad poem the day before. He grasps his heart, which is beating out of his chest. The fear of cardiac arrest simply increases his anxiety. Laying down on the ****-carpeted floor, M. attempts to meditate, imagining this to be how it might feel to do TM on *******. Minutes then an hour pass.
Suddenly, a much-welcomed epiphany presents itself to M.; as if it fluttered through his window and hovered, eerily still in the way that only hummingbirds can be, just in front of his face. So obvious does it seem (the epiphany) that he begins to laugh maniacally in the pitch of a female voice either pre-pubescent or near-dead; a kind of


YEE!    

YEE!      

YEE!    

HEEEE!

HE!

HEE!                      

HEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEE!


sound.
After minutes of uncontrollable mirth, M. holds his abdomen and makes the lugubrious [sic], delirious noises of tired suffering. After a few more YEE’s and HEEEE’s escape, he begins to regain control, trying not to focus on what he’d realized w/r/t futility as it relates to shame, but certainly ensuring that he won’t forget. M. sits in his chair with a old-man grunt, the sort of noise over which wives divorce their husbands.
He sips water.
M. opens a new document and begins to type:


For what do we write, we talentless wretches?
To publish some
gooey garbage
in hopes
that some fleet of demonic tween-age sociopaths
adopts our work as part of the canon of cuntiness?  

Not we, the veritable “un-poets”,
Our haphazardly-conceived writing stinks,
No, it reeks of fetid, smegmatic phalluses;
Of a ****** of maniacal madmen,
Blue-balled after an abysmal night/morning
Tossing crumpled ***** of money
At Patti’s plump-lipped, positively putrid-looking

&&&&               *****               &&&&

In an I-95 truck stop;
“Taste **** and *****
At Trucker Tom’s ***** Taphouse
                                        Where friends meet
                                            and literally throw money
                                              into syphilitic snatches.”

We write for the duty of identity,
We who might be found with a serious face on,
Writing rhyming, rhythmic,
quasi-**** lines of lead-heavy, snobbish lifeforce-larcen.
The sort of **** that keeps you from getting up in the morning.

But of course we are writers, as sure as the sea
Is blue, the day is long, who daresay that I am wrong?
And he who
doth [sic] dare,
I point to that long
******* I posted
ere the day began.
There lies his evidence though it belongs in the can.
Sometimes when you get drunk and write you're able to reach levels of truth and realness that are elusive to the sober mind. This was obviously not one of those times, but I think the result is sort of interesting. The poem sort of depended on a weird format which is not possible on HelloPoetry, but it was intended to have the same effect as the 'B  r   e
           a  t
           h  e   '
or whatever in the middle.
Kushal Sep 2018
I think the biggest mistake I ever made
As I wrote these words upon a page,

Was the thinking that these lines were a limited stage
Thinking that my work was defined by a structure
Of quatrains or sestets or rhyming couplets.

Was thinking that there even needed to be structure
That there needed to be a rhyme.
My mistake was thinking that poetry has a look
That poetry has a flow, a correct way in which it has to be done
But poetry is not the amount of lines that you write
Or the amount of times you can rhyme the words at the end of a sentence

Because words that rhyme can still amount to no substance
Because poetry cannot be defined by AABB
Because my poetry is nothing but a depiction of me

So now I write from my heart
From my soul
From me as a whole
And if my emotion slips through the cracks
Filling this void with exuberant emotion
Then so be it
Because this is my showcase
And this is me
And on this page
Is my poetry
I wrote this years ago when a poetry workshop visited and we spoke to some poets. I have no doubt that this was one of those events that changed the way i write. It seems like a draft at a first glance, with a lack of punctuation and an odd structure but this was just something i wrote in one. I didn't go back or remove words, I just left it as it was when i finished it because to me it just seemed...pure.
Caro Jun 2020
I used to write poems
Who knew how to rhyme
Easy words hung out together
Matching pace, keeping time

But now I like my proses
That don’t have to try so hard
I can write each phrase
Quick as it catches ablaze
No rhythm in it’s ways
Just minding its own business
As it swirls across my page

But I guess it’s not the words themselves
That put in the effort
That craft phrases so pristine
You’d think they’d been conceived by Robert Redford
(Oof)

It’s my latent mind
That no longer lives in the land of
Rhyme
Where AABB and ABA
Just aren’t my preoccupation
They don’t rise me to another station
Of talent and prowess
Of being the very best

I just want to write out how I feel
And not worry how it sounds
That is until I go back
And see how emotions lack
In words that don’t capture me
Don’t rapture me
With their romanceless apathy

I forgot that poetry is poetry because it is an art
That a lion is more a lion for his mane than for his heart.
Would a balding lion still best the other beasts?
Perhaps
But if so,
Wouldn’t you know
That a bald lion is a she
The one who hunts and bears new beasts
The one who bleeds and shares her meat
The one who mangles cub thieves
And I’m sure the one who untangles
Knots in the mane of the he

I digress from this feminist lioness
But I like this point of view
That sometimes beauty is better
And sometimes better is use
But I also already knew that
And if you’re still reading, so did you

My point is that though I am
Smarter now
Older
More mature
With thoughts that vibrate higher
And far less victim overtures
My poetry has suffered
And I enjoy it less
And now to create
Swooning phrases capped in rhythm
I must confess
That I labor

In my old way of feeling I found it easier to create
But in my new way of thinking

Ah
There it is.
In my new way of being I think
I choose when to be swayed by an emotion
Rarely being overtaken
But also rarely feeling forsaken
Accepting calmly an occasion where my intentions are mistaken
No matter,
I remain unshaken

There we go
I’ve got it back
A little rhyme
Picking up the slack
And in the evening I’ll have a snack
Some carbs
Some sugar
And the extra poundage won’t give me anxiety attacks
Cellulite on my thigh
Doesn’t make me want to cry
I’m not so lonely
I am content
I am ambitious
I pay my rent
I don’t overeat
Or undereat
I just want to feel sated
I’m not frustrated
I don’t feel hated
And my gratefulness is never belated
I’m happy
I am not manic
An unanswered text won’t send me into a panic
I moisturize
I don’t have bags under my eyes
I don’t compromise
I won’t lie
And when I care I really try
I love my home
And love my skin
I love my bumpy shins
I don’t feel stressed about my age
Or the passing of time
So I suppose I won’t fret
That my words won’t always rhyme
Selling the elixir of youth
It sounds so shrewd uncouth
Selling meaningful beauty
It’s sold as a woman’s duty

What would you do to achieve?
That which the commercials deceive
Women buy into the hype, at what cost
Spending obscene amount of money lost

Pressuring woman to feel less inferior
A fake false façade on the exterior
The true essence of a woman lives within
A smile, her luminescent grin

Her radiant inner beauty shines through
Naturally cultivated as she grew
The light Shines in her eyes and in her face
From God’s beauty and loving Grace

A modern quatrain with rhythm AABB
The commercials try to sell creams and lotions in elixirs while the stars are drinking babies blood to keep them young. There should be a warning sign on these labels women buy into the height spending thousands of dollars to keep your use to try to look like that star on TV but not even they look like that.

— The End —