Lisp cannot be completely redefined. You can’t avoid parentheses, and if you stray too far from common idiom, you’re no longer writing Lisp, you’re writing something else using Lisp syntactic forms.
Well, you can with reader macros, assuming you’re willing to consider an init file that you only look at when you write sufficiently avoidant.
It’s not done though, because experience has shown it’s not really worth it.
I disagree here. To take rhyming as an example. It's possible to have a poem where every line rhymes AND a poem where there is no rhyme at all. It's not as simple as saying 'okay the lines in this text don't rhyme so it can't be a poem'. The same is true of the things like spacing and meter. These are all massively variable, and the result doesn't even have to be bound by the usual rules of grammar. English - or any other natural language - is much more variable than Lisp.
For me the defining feature of poetry is that the form and nature of the language used in a text may suggest meaning over and above what the individual words say. This definition is subjective, and suggests that the poetry is in the eye of the beholder, but is more honest than a simplistic checklist of features to look out for.
This whole poetry topic is really besides the point anyways.
> English - or any other natural language - is much more variable than Lisp.
I don't feel like you are actually addressing what I'm saying, so let me reiterate it more clearly. I'm not making any assetions about the absolute creative power of lisp or writing. It is the author of the article who points out that lisp's distinguishing feature, compared to other programming languages, is it's ability to specialize and mutate its own verbiage/syntax to better fit certain problems or modes of thinking. I am simply pointing out the irony that this charactistic of lisp also distinguishes it significantly from natural language, even though the author is attempting to argue that programming lisp and writing literature are similar.