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.
Nothing not built with hands of course is sacred.
But here is not a question of what's sacred;
Rather of what to face or run away from.
I'd hate to be a runaway from nature.
Keats mourned that the rainbow, which as a boy had been for him a magic thing, had lost its glory because the physicists had found it resulted merely from the refraction of the sunlight by the raindrops. Yet knowledge of its causation could not spoil the rainbow for me. I am sure that it is not given to man to be omniscient. There will always be something left to know, something to excite the imagination of the poet and those attuned to the great world in which they live (p. 64)
There is no love.
There's only love of men and women, love
Of children, love of friends, of men, of God:
Divine love, human love, parental love,
Roughly discriminated for the rough.
Now no joy but lacks salt That is not dashed with pain And weariness and fault; I crave the stain Of tears, the aftermark Of almost too much love, The sweet of bitter bark And burning clove.
There is much in nature against us. But we forget:
Take nature altogether since time began,
Including human nature, in peace and war,
And it must be a little more in favor of man.
It is absurd to think that the only way to tell if a poem is lasting is to wait and see if it lasts. The right reader of a good poem can tell the moment it strikes him that he has taken an immortal wound-that he will never get over it.