oetry is not without its rules, and just as in every other discipline they must first be assimilated before they can be effectively broken, so in Poesy, there are basic mechanisms a poet must grasp and diligently seek to master in his work.
A failure to comprehend and appreciate the principles of expressive language is a scourge upon it. Nearly all compositions in the style would be vastly improved had the poet a rudimentary understanding of what makes a poem a poem.
Writing something that resembles a poem does not make it one. How much of what one reads today has themes not worth contemplating, blurted out (for composed they are not) in lumbering stanzas that do nothing to give them form?
For a poem to be good, it must resound in the halls of human experience. It must elevate the mundane through a celebration of language and a distillation of thought that compels the reader to exclaim: Yes! I know—I feel—your meaning!
Perhaps. Consider what we who long for a sublimation of the modern experience are presented with in vers libre: the poetic equivalent of Yeezy—crude phrasal fragments that barely resemble language, unworthy of the ear and soul.