The iambic stresses also emphasise important one-syllable words 'love', 'seorh', 'breath' and 'height'. The repetition of the alliterative 'th' sound in 'depth' and 'breadth' adds a softness to the tone of the poem. It takes her feelings out of the realm of the ordinary. 'Being' and 'Ideal Grace' are capitalised, as are 'Right' and 'Praise', used later in the poem, to emphasise the importance of these concepts. Note the word 'Grace', which means 'with God's love and approval', as if her love is sanctioned by the Almighty. So, these hyperbolic iambic pentameter lines begin the elaboration promised in the first line it's the kind of love the human soul is capable of at its maximum potential mystical and inexplicable. Their love must be enjoyed in all dimensions of physical and spiritual passion. The phrase 'depth and breadth and height' is a spatial metaphor for the multi-dimensional and all consuming love that she stands for. When she says that she loves him with the best 'my soul can reach' she is saying that her love is as an act of blind groping or seeking for the mystical: hence, 'feeling out of sight.' This conflation of two senses is an example of synaesthesia.

She can only repeat an inadequate phrase as they are beyond description. The implication is that she is overwhelmed by her feelings. She also repeats 'I love thee' mid line, totalling nine times. The first 'I love thee' begins a pattern of repeated phrases that begin five of the lines, a technique known as anaphora.

Does a sonnet need iambic pentameter