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Tennyson follows his feelings in creating each line. He follows the music in his head. If you had asked him, at the end of the day, to describe the prosody of the poem to you, he would no doubt have had to think for a moment before he could answer you, not because he was ignorant of the terms, but because he had been writing a poem, not a metrical exercise. At every point, he was exerting his free will. And the outcome of that exertion was the form.
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Ch. 4: The Sense of Form (pp. 24-25)

 

James Fenton

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The statement of ideas in a poem may have to do with logic. More profoundly, it may be identified with the emotional progression of the poem, in terms of the music and images, so that the poem is alive throughout.
Another, more fundamental statement in poetry, is made through the images themselves — those declarations, evocative, exact, and musical, which move through time and are the actions of a poem.

 

Muriel Rukeyser

 

The language of the game is interesting. You can think of the pauses as caesuras, breaks between the lines. As a poem the game is composed of a number of short lines representing the pitches. The number of lines per batter form a stanza. Then there is a space. Sometimes the stanzas become breathless, rushing full paragraphs that build rapidly on each other until the poem-inning explodes. The poem lives for this sudden blossoming out of prosodic regularity. Should someone make a computer analysis of baseball prosody, I believe that they would come up with something close to the prosody of some great American lyrical epic, Whitman’s Leaves of Grass, let’s say, or Doc Williams’s Patterson.... The game is definitely an epic ... formed of many lyrical moments dependent on silences for their effectiveness. An unfolding story punctuated by brief emotional swellings.

 

Andrei Codrescu

 

There neither exists nor can exist any work more thoroughly dignified — more supremely noble than this very poem — this poem per se — this poem which is a poem and nothing more — this poem written solely for the poem's sake.

 

Edgar Allan Poe

 

When a poet is being a poet — that is, when he is writing or thinking about writing — he cannot be concerned with anything but the making of a poem. If the poem is to turn out well, the poet cannot have thought of whether it will be saleable, or of what its effect on the world should be; he cannot think of whether it will bring him honor, or advance a cause, or comfort someone in sorrow. All such considerations, whether silly or generous, would be merely intrusive; for, psychologically speaking, the end of writing is the poem itself.

 

Richard Wilbur

 

The creation of a poem, or mathematical creation, involves so much sense of arrival, so much selection, so much of the desire that makes choice — even though one or more of these may operate in the unconscious or partly conscious work-periods before the actual work is achieved — that the questions raised are very pertinent. . . . The poet chooses and selects and has that sense of arrival as the poem ends; he is expressing what it feels like to arrive at his meanings. If he has expressed that well, his reader will arrive at his meanings. The degree of appropriateness of expression depends on the preparing. By preparing I mean allowing the reader to feel the interdependences, the relations, within the poem.
These inter-dependences may be proved, if you will allow the term, in one or more ways: the music by which the syllables resolve may lead to a new theme, as in a verbal music, or to a climax, a key-relationship which makes — for the moment — an equilibrium; the images may have established their own progression in such a way that they serve to mark the poem’s development; the tensions and attractions between the poem’s meanings may mark its growth, as they must if the poem is to achieve its form.
A poem is an imaginary work, living in time, indicated in language. It is and it expresses; it allows us to express.

 

Muriel Rukeyser