In reading the first lines of the next four verses we must avoid monotony.
Like a poet hidden
In the light of thought,
Singing hymns unbidden,
Till the world is wrought
To sympathy with hopes and fears it heeded not:
Like a high-born maiden
In a palace tower,
Soothing her love-laden
Soul in secret hour
With music sweet as love, which overflows her bower:
Like a glowworm golden
In a dell of dew,
Scattering unbeholden
Its aerial hue
Among the flowers and grass, which screen it from the view:
Like a rose embower'd
In its own green leaves,
By warm winds deflower'd,
Till the scent it gives
Makes faint with too much sweet these heavy-winged thieves.
Vary, if only for variety, the pitch on which you begin each of these first lines. Let the first three words of the eighth verse, "like a poet," ascend in pitch. Keep the voice level in the first line of the ninth verse, "like a high-born maiden." Let the pitch fall in the first words of the tenth stanza, "like a glowworm golden." And again keep the tone level on the first line of the next stanza, "like a rose embower'd." I leave to you the analysis of the rest of the poem:
Sound of vernal showers
On the twinkling grass,
Rain-awaken'd flowers,
All that ever was
Joyous, and clear, and fresh, thy music doth surpass.
Teach us, sprite or bird,
What sweet thoughts are thine:
I have never heard
Praise of love or wine
That panted forth a flood of rapture so divine.
Chorus hymeneal
Or triumphal chaunt
Match'd with thine, would be all
But an empty vaunt—
A thing wherein we feel there is some hidden want.
What objects are the fountains
Of thy happy strain?
What field, or waves, or mountains?
What shapes of sky or plain?
What love of thine own kind? what ignorance of pain?