by Matthieu Giroux
The best way to understand his emotions is to read the poem later. A poem is just two endings with identical pronunciation, with about as many syllables per rhyme line.
We practice first with the rhyme in ing as :
* Loving is appropriating.
A strong rhyme, on two syllables for example, rises out the rhyming words. If the words are identical, the words must be used extensively or the rhyme’s meaning must be the most important. For example :
* Being loved is understanding his loved.
But we can use metaphors, which are comparisons without comparator, if we want :
* Love how you solve.
At the beginning we can rather use simplicity while seeking for truth :
* I don’t like you, do you ?
Then our search for truth adds meaning :
* I don’t love you, seeking for you.
The admonition only works with sincerity. Confessing is beautiful. Simplicity tells. Sincerity is that permits to find readers while writing. For example :
* Very strong, I’m wrong.
We look for truths, then for a truth, then for our truth, then for the truth. When we’re leaving, we’re looking for truths. That is why our soul is not united. We have to test truths with others, so a mysterious truth will summon us briefly. Then we’ll be looking for his truth for a long time.
Here is a poem that finds a truth :
* Almost nothing rising
* We want everything
* Little things
* Are we thugs ?
* What do we want ?
Asking questions helps to catch the beginner into his subject. So rhymes must link with meaning in this case.
I wrote this article thanks to a young Beninese poet to whom I say :
• You think you’re following me, you’re actually leading me. Your soul has spoken.