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.
Haven't you heard, though,
About the ships where war has found them out
At sea, about the towns where war has come
Through opening clouds at night with droning speed
Further o'erhead than all but stars and angels
And children in the ships and in the towns?
Nature's first green is gold, Her hardest hue to hold. Her early leaf's a flower; But only so an hour. Then leaf subsides to leaf. So Eden sank to grief, So dawn goes down to day. Nothing gold can stay.
The best thing we're put here for's to see; The strongest thing that's given us to see with's a telescope. Someone in every town, seems to me, owes it to the town to keep one.
The poet, as everyone knows, must strike his individual note sometime between the ages of fifteen and twenty-five. He may hold it a long time, or a short time, but it is then that he must strike it or never. School and college have been conducted with the almost express purpose of keeping him busy with something else till the danger of his ever creating anything is past.
People who read me seem to be divided into four groups: twenty-five percent like me for the right reasons; twenty-five percent like me for the wrong reasons; twenty-five percent hate me for the wrong reasons; twenty-five percent hate me for the right reasons. It's that last twenty-five percent that worries me.