Lyric poetry is, of course, musical in origin. I do know that what happened to poetry in the twentieth century was that it began to be written for the page. When it's a question of typography, why not? Poets have done beautiful things with typography - Apollinaire's 'Calligrammes,' that sort of thing.

Generally speaking, rhyme is the marker for the end of a line. The first rhyme-word is like a challenge thrown down, which the poem itself has to respond to.

One does not become a guru by accident.

Modernism in other arts brought extreme difficulty. In poetry, the characteristic difficulty imported under the name of modernism was obscurity. But obscurity could just as easily be a quality of metrical as of free verse.

Babies are not brought by storks and poets are not produced by workshops.

Some of my educated Filipino friends were aspiring poets, but their aspirations were all in the direction of the United States. They had no desire to learn from the bardic tradition that continued in the barrios. Their ideal would have been to write something that would get them to Iowa, where they would study creative writing.

A glance at the history of European poetry is enough to inform us that rhyme itself is not indispensable. Latin poetry in the classical age had no use for it, and the kind of Latin poetry that does rhyme - as for instance the medieval Carmina Burana - tends to be somewhat crude stuff in comparison with the classical verse that doesn't.