Intended or not, I think it more intriguing to take it as it is - an inversion of the usual appropriation of grief. Ordinarly, grief tests us - that is, we know or experience it and pass through its many trials. But, given Delores' rendering, it is grief that gets tested. For that, we perhaps must look at a paradoxical question concerning grief itself. If we take Delores' inversion in the first line as intentional, then Maggies problem with the second line disappears.
Inversion is a mechanism employed throughout the piece.
The view preceeds the instrument of viewing. Cries issues from the silence. The substantial is used to protect one from nothing. The child leads. Here I would disagree for a reason equal to the one above, but opposite in its source.