POND SONG 4.49
Reserved in the porosity is the pure trust, the pure yes. G&B 257
the pond at low tide__broken clouds bright puddles
a crow flies over slowly__a gull settles
down in black water__big oil behind
the rainbows at your feet__the heart resigns
returns to the void__across the shallows clouds
move beyond the shadows__skies appear and roads
pond songs 
Broken as the subject of clouds as predicate really says what happens to the brightt puddles. And rainbows predicated by big oil. Too bad for planet earth as paradise. Ersatz good for Dick Cheney and the Bushes and their grandchildren.
What about the moving happy ending?
Yes, you’re right. I got stuck on ‘the heart resigns’ which is a hard thing to do, letting go. After resigning there can be movement, a clearing, and that can be happy. It is in the poem.
It’s “in” or “follows” the inner form, which is like the ancient Chinese principle-pattern followed by many of the great poets. These songs are also based on metrical patterns adapted from those used by classic Chinese poets. Ideologically they draw on The Zhuangzi as well as Western mystical texts.
How do you reconcile Chinese metrical patterns with the English language?
The way a translator with scruples might try to do. See, for example, Arthur Cooper, Li Po and Tu Tu, Penguin classics. Of course I am not “strict” about it; I’m interested in proportionality, chiasmus, sound patterns, etc, all pointing to that doubling of significance noted by Geoffrey Hill and quoted in a recent blog post. The musical meaning that unifies above the words on the page.