The poem is built on the scaffold of an elaborate syntax. About half of its lines depend on caesural pause so that the voice is continually halting in the lingering satisfaction of adulation. Each half line is elaborately balanced against its complement -"sighed," "sigh"; "moved," "moved"; "container," "contain." Each single line is an end-stopped unit, which swings into the next, usually by the association of some quality. The consequent feeling is of a continual, spontaneous elaboration of the lover's graces.