In a lyric poem, the shorter the lines, the more imperative that one achieves perfect rhyme, but in the expression of any idea, there are only so many words that will permit it; in a work of that kind, imperfect rhyme is jarring—it stands out like a sore thumb, as the idiom colourfully puts it. Presently, with lexical economy, I am foregoing all manner of good imperfect rhyme in an attempt to compose in perfect rhyme the laconic—and, I hope, pithy—“Cranes and Sheep”.

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