It got deleted. Will you rebel and read?

Question

THE LONELY ROAD

Sweet departure

becoming a new vow,

marriage entwined

with promises

for a new age,

cohabitant with rage,

with sorrow,

a new life

purchased by

compromise.

Walking a road

clipped from magazines,

paved with pictures

that I will never be.

Unworthy of that,

the gloss, the sheen,

therefore, unworthy

of you.

Answer 1

Not only will I read, I will offer my devoted praise for this uncomprimising perspective on an ill-fated relationship, "clipped from magazines, paved with pictures".  I can relate all too well to these words, to "the Lonely Road". You have created a scenario that is all too common but nevertheless tragic.  The poem is written with undeniable beauty and clarity. Thank you.

Answer 2

It bothers me because I think I answered this one... and I don't remember what I said...

Answer 3

Why in the world was it deleted? Sorry, stupid question...

Young people today seem to be more interested in having big, fam-glam weddings than they are in the actual meaning of marriage. It's heart-breaking and wallet breaking, usually for the parents....

Answer 4

I read, I enjoyed, I said so.

Answer 5

Clip a well done and post it on you frig.

Answer 6

It is so hard for me to read this (and a great deal more of your work.) I have spent years, even decades, trying to remove my self from these feelings. Then you come along and rip the scabs of healing right off. Owwwwch!

Answer 7

Very good write you did there. I even imagine the scenery, the emotions all braided in one good poem.

Good job!

Answer 8

My heart is broken, how many of us have felt this?

When will we learn?  A true tragedy in the classic sense.

Thank you.

Answer 9

well some things you just dont need.

Answer 10

The challenge I have in reading what Elaine P charmingly calls your `esoteric love/hate poems' is that the passion they depict is altogether more Greek than Elizabethan, in the same sense that Edmund in King Lear is vexing, for his supernatural, and indeed supertextual, relationship with the force he calls `Nature;' this force, even Shakespeare, in a voice closer to his own than Edmund's, renounces in Julius Caesar (`not in our stars, but in ourselves').  In the third stanza of this poem's crocodile plea of unworthiness, I find-- paradoxically-- a psychologically vivid opacity of character.   Yet, this opacity seems altogether more credible when the Eumenides are blamed, than magazines.  I feel this is a much more supine relationship to society than the punning second stanza takes (`cohabitant with rage'), yet the tone of the third stanza seems altogether too battered to entertain its prior urbane distance, as Hamlet does throughout, for instance, very much in contradistinction to Lear.