The sun and the moon being lover's! I never thought of it that way! What a concept, Emma...did you think that up? Wow, how truly fascinating a read...and a clever, clever mind!
well the sky hangs a little lower after reading this piece, collects moon light in a jar and sunlight in cabin pressure, which by night or day have an affect on the inner child who reaches higher and dreams in the arms of mother nature, rocking the earth from birth until the last breath has expired..
' Mirroring souls caught in a cyclical lovers dance ~ Reaching out for the other at dawn and dusk ~ Losing one another time and again ' : reminds me of an eternal dance moving further and further into space. Such a beautiful creation this is, formed from gasps of love and timeless promises.
Can't analyse the technicalities, can only read the words and feel them or not - in this case the former!
I would query one or two lines specifically, where I'm sure you could use a lighter touch;
"Slowly the stars fade out and night dissipates in morning mist
Ocean breezes begin murmuring the promise",
It's that "and night dissipates" where any stress seems a bit uncomfortable, and if you're not going to stress the word night, I wonder whether the image would suffer if you took it out completely;
"Slowly the stars fade out and dissipate in morning mist".
The other line I question is;
"His rending ardour glowing sultry upon her face",
A 'rending ardour' which 'glows sultry'? This strikes a strange chord, which is fine, but reading this I feel pulled two ways, with the sudden injection of 'rending ardour', checked straight away by the 'sultry glow'; backpedalling, of sorts, and I would say the same applies with the rhyme 'face', which takes the stress, and 'embrace'; a device that seems to bind the lines together whilst the image strives to seperate.
This may seem a little particular, but that middle quatrain is the heart of your poem; a good deal at the bookends is passive-descriptive, but on the one side you have promise, on the other, dis-illusion, and as the poem reaches its peak, it perhaps should strive to quicken- the thirst of love which then, frustrated, falls forlorn back into cycle, you know? I would suggest a dash of more buyoant meter here, at least, and a bare scattering of punctuation, to keep the syntax clean.
That said, "Twinkling cousins as patient companions" and your "Gentle clouds and albatross" capture the mood with a rare elegance. The balance between the first and last stanzas, the whole circular structure of the poem, is a fine idea and carried well, and I thoroughly enjoyed reading your poetry.