Five short lines, and the first is a sentence people use to comfort themselves. "Sooner or later, it's over" shrugs toward a future where the hurt will have ended. The poem never says what "it" is. It could be grief, a relationship, a bad night, or the pain itself. That blank works in the poem's favour, because anyone who has been through something unbearable can fill it in. The line also sounds more tired than hopeful, like a fact the speaker knows and cannot feel.
Then the poem turns on itself. "I just don't want to miss you tonight" drags the horizon from "sooner or later" down to a single evening. The word "just" tries to make the wish sound small and casual, but the rest of the poem undermines it. "Miss" is also doing double duty. It can mean to feel someone's absence, but it can also mean to fail to catch something, as in missing a train. Either the speaker is afraid of being swallowed by longing, or afraid of letting the moment to reach this person slip away. The poem keeps both readings open, and the "you" stays without a face or a name.
The middle lines are where the poem's title comes alive. "With my mind swarming with horrible thoughts. / With my body trembling from saddness." Both begin with the same "With my...", a repetition that feels like piling on, one symptom stacked on the next. Each is a fragment with no main verb, and each ends in a full stop, so the sentences never really arrive anywhere. Grammatically they hang between the lines above and below, and they could belong to either. The mind and the body are set side by side as two fronts of the same attack. "Swarming" is the strongest word here. It suggests insects or a crowd, something many-bodied and out of the speaker's control. "Trembling" is the quieter partner, a small physical word after a big mental one. Both are -ing forms, which keep the action unfinished, as if neither the thoughts nor the shaking has a stopping point.
The last line returns to the second, but it has changed. "Don't want" has become "cant afford," and a preference has hardened into a necessity. "Afford" borrows from money: the speaker is spending something and is almost out of it. Because "tonight" ends both the second and fifth lines, the poem has an identical rhyme, a word rhyming with itself. There is no other rhyme and no regular metre. The lines are plain, speech-like and uneven in length. The repeated ending does the work a rhyme scheme would do elsewhere, closing a frame around the two "With" lines so that the distress sits inside a single, fixed night.
The poem's name matters too. "Intensity" tells us what the poem is about without describing it, and the lines then enact the feeling rather than explain it. If "the great flood" is the name the poem is signed with, it fits closely, since being overwhelmed is exactly what the text describes. Nothing is known here about the writer, so the poem has to stand on its words alone. In the version given, "saddness" and "cant" look like quick, unpolished typing. That could be accident, but they match the raw, unedited feel of the writing.
What makes the poem worth reading is its compression. In five lines it moves from the consoling long view to the panic of the present, and it never resolves. "Sooner or later" is still true by the end, but it has stopped helping. The poem suggests that when pain is at its most intense, time shrinks until only tonight matters, and the speaker has to get through it.