Seeing the magnolias and dogwoods and cherries in nearly full blossom this week, I agree wholeheartedly.
Christopher Sanders, "Study of Long Grass Near Polstead" (c. 1961)
Green, blue, yellow and red --
God is down in the swamps and marshes,
Sensational as April and almost incred-
ible the flowering of our catharsis.
A humble scene in a backward place
Where no one important ever looked;
The raving flowers looked up in the face
Of the One and the Endless, the Mind that has baulked
The profoundest of mortals. A primrose, a violet,
A violent wild iris -- but mostly anonymous performers,
Yet an important occasion as the Muse at her toilet
Prepared to inform the local farmers
That beautiful, beautiful, beautiful God
Was breathing His love by a cut-away bog.
Patrick Kavanagh, Come Dance with Kitty Stobling and Other Poems (1960).
In order to create a passable sonnet in this instance, Kavanagh breaks "incredible" at "incred-" in line 3 in order to obtain a rhyme for "red" in line 1. Given his joy over Spring, I think that he should be forgiven. And what but joy could lead to the rhyming of "marshes" and "catharsis"?
"Beautiful, beautiful, beautiful God/Was breathing His love by a cut-away bog" is marvelous. (Although I'm not certain that "God" and "bog" is a true rhyme!)
Christopher Sanders, "Sunlight through a Willow Tree at Kew" (c. 1958)