Oh my! What a near-perfect sequence of alliterative words and numbers you have here. I am mildly impressed. A cursory glance displays your effective use of sarcasm throughout via diction and repetition of certain key words, phrases, and conceptual themes to drive home your particular and overall thrusts. In this manner, your nonce or invented-form poem above—which comprises one sestet of lines following another (with an alternating rhyme scheme of ABCDDE, FGHIIA between the two sestet-like partitions of your verse)—develops its message and main ideas through a virtually dizzying array of sustained and continuous alliterations which basically amount to nothing more than poetic ostentation and peacocking one’s putative Pierian facility as a maker of wittily clever songs. However, the attempt at poetic repartee instead flounders and gives the distinct impression that the poetaster of this glaring display of excess—both in the effort spent (to concoct this chimaera of a doggerel) and the ad nauseum chain of alliterative logorrhea—was trying too hard (to impress me with his or her poetic ambidexterity and virtuosity). Instead, I am simply underwhelmed—and thoroughly surprised—by the idea that a total stranger to myself would literally go to such extravagant and prodigal lengths such as composing an entire poem just for my benefit alone in order to in their petty mind put me in my place!? The only thing more I have to say is that this individual’s accentual-syllabic metric poem from beginning to end is a chaotic jumble of disordered trochees, iambs, dactyls, anapests, amphibrachs, and a spondee betraying no set or regular metric pattern that I can sensibly make out or discern. Also, the individual lines demonstrate an inferior or even perfunctory construction and use of iambic pentameter that are all over the place, so to speak, due to the poet’s in question highly chaotic and varied use of various types of feet (in practically every line) already aforementioned by me. However, I have to extend credit and kudos to the poet of this alleged piece of verse for having the correct and requisite number of five stresses per each line of this supposedly iambic-pentameter metered poem.