Crypt of Flesh

Crypt of Flesh

From the start
I knew my
fornicate-
hated fate.

Stripped away,
just torn out
from my own
genesis.

No wake, no
funeral,
no last rite,
thrown away.

Choice is yours,
come what may,
to have me
die like this:

Encased in cold darkness,
my casket's made of fear.
I'm malice growing inside of you
as death's day's drawing near.

The face of my killer,
never to pass my eyes.
It's murder, slaughter, carnage and death...
embryonic demise.

                     Conscious bitch! (How can you)
                 lie awake (while they)
rip apart
my life?

               Forced to die, (I'm being)
           Mutilate(d. Why)
can't you see?
        I am a(live!)....

Verse Form: A complex self-elegy or lament.

The first four and last two quatrains are 3-3-3-3
These are to mimic a heart-beat and have a prolonged caesura which is
actually an enjambment at the end of each line.
1-2-3-//
1-2-3-//...

The result is a two foot catalectic line.

The parts of lines that are in parentheses in the last two quatrains are read
over the caesura - between beats, so to speak.

Ideally, each quatrain should contain two end-rhyming lines and one "opposing"
vowel sound. Placement is open for maximum emotive effect.

Word play, slant(near) rhymes, the mixing of iambic, trochaic, anapaestic,
and dactylic meters, and internal rhymes are encouraged or may be ignored,
again, with the most attention to emotive effect.


The fifth and sixth quatrains are 6-6-9-6
The first two and last lines of these quatrains form Iambic Trimeter, while
the third should be written in headless Iambic Pentameter.

Assonance, consonance, alliteration, internal direct and slant rhymes are
all encouraged to heighten emotional power.

Quatrain 5 should be highly metaphorical.
Quatrain 6 should be concrete reality.


a,b,c,d and f = normal end-line/end quatrain rhymes
i = internal rhymes with-in a line.
e = end rhymes within a quatrain
oe = opposing or converse sibilance to ending rhymes within a quatrain
ie = internal and end rhyme combinations
[y] = variants within brackets denote further rhymes

Line1: - - -
Line2: i - i[oe]
Line3: - - e
Line4: i - ie[a]

Line5: - - -
Line6: - - e
Line7: - - e
Line8: - - oe[b]

Line9: i - i[e]
Line10: - - e
Line11: - - oe
Line12: - - a

Line13: - - eo
Line14: - - e
Line15: - - e
Line16: - - b

Line17: -- -- --
Line18: -- -- -c
Line19: - -- -- -- --
Line20:-- -- -c

Line21: -- -- --
Line22: -- -- -d
Line23: - -- -- -- --
Line24: -- -- -d

Line25: - - oe (---)
Line26: - - e (--)
Line27: - - e
Line28: - f

Line29: - - - (---)
Line30: - - - (--)
Line31: - - -
Line32: - - -(f)

* Please note that there are many more recurring rhymes and slant rhymes
but to show them and their relationship to each other makes this explanation a bloody mess*