The writing of a poem is like a child throwing stones into a mineshaft.
You compose first, then you listen for the reverberation.
The horror of the Twentieth Century was the size of each new event, and the paucity of its reverberation.
I have been using delay and reverberation since the middle 1960s.
I use them to make what is almost inaudible to the ear, audible. I do not use them to play loudly but to make the higher harmonics heard.