I give up: just what traditional fixed form is this, exactly? I've been racking my brains - and my reference books - to see if it even approximates any of them, but I can't see what you have done. Without knowing the intended form, I feel I can't comment on your use of rhyme or metre here.
A couple of minor technical points. The capital C of "Cynical" may just be a typo (the preceding punctuation mark is a comma, so shouldn't be followed by a capital); but if not, it begs the question of why "man" wasn't also capitalised (to indicate a title, like Caped Crusader). If that was the intention, I can see the point of it; but as it is, I am left uneasy as to the correct reading.
And those inverted commas are, I feel - though this is only my own taste speaking - unnecessary to the movement of the poem. If you wrote it down as
I said: there has to be
a meaning for misery,
a reason the days are long,
a reason these nights feel wrong.
that would still work very effectively, but (I think) allow a somewhat more fluid movement to the stanza on the page and therefore in the reader's mind. Ending the "quotation" with quotation marks isn't necessary in itself, because the end of the stanza marks it off effectively enough (that's what line ends and stanza ends are for). Then the chorus (for want of a better term) appears, so it's quite clear that the quotation doesn't continue after the stanza end.
Repetition. Very useful, and it can be a powerful tool for orchestrating the reading. However, the fourth line of the chorus is not identical in the first instance to its appearance in the second and third instances. This suggests, to me, that you have lost control a bit and become unsure of exactly what you want to do with this power. I expected, myself, to see the final line read slightly differently - "Will you help me change?" or even "Will you make me change?" You can see that this opens up another interesting set of questions.
More generally, I think you have left yourself out on a limb, poetically speaking, by weak control of your range of imagery. "steel house" works well enough, as it merges into the castle idea, even if castles are more or less by definition made of stone - but where do these trees come from? What is their point, their use in advancing the argument you present? And "mystery" - you start off by saying you are "soaking in mystery" (presumably meaning something along the lines of "puzzlement" or even "confusion"), but later complain that "This life holds no mystery" (where I suspect you intend something more like "irrational delight" or "entrancing purpose"). It seems to me that as a poet you have been too careless in your thoughtful choice of words to make the poem work.
Nevertheless, I agree with the others that you have posed some interesting questions and made a useful point. It's just that I think your message, as it stands, is weakened and confused by a lack of control which betrays the strength of purpose. You might care to look at "Tuesday night" in my gallery, to see what I've written on a theme similar to the first part of your message. Comments very welcome, of course.