It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same for love.
And were an epitaph to be my story I'd have a short one ready for my own. I would have written of me on my stone: I had a lover's quarrel with the world.
(Soft petals, yes, but not so barren quite,
Mingled with these, smooth bean and wrinkled pea;)
And go along with you ere you lose sight
Of what you came for and become like me,
Slave to a springtime passion for the earth.
How love burns through the Putting in the Seed
On through the watching for that early birth
When, just as the soil tarnishes with weed,
The sturdy seedling with arched body comes
Shouldering its way and shedding the earth crumbs.
In A Glass of Cider It seemed I was a mite of sediment That waited for the bottom to ferment So I could catch a bubble in ascent. I rode up on one till the bubble burst, And when that left me to sink back reversed I was no worse off than I was at first. I'd catch another bubble if I waited. The thing was to get now and then elated.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.