Is this the genuine, then: the act of finding? For Moore, as for Blake, established authority is by definition a fraud. He talks on and on of evil and good, hell and heaven, history, and more; he is pleased that he is now an idol. The second image is of the barnacles which generally remain on the side of the wave cannot remain in there and move swiftly, swim towards the other places. The more conversational tone punctuation changes conveyed was, however, also secured by other changes that Moore included in her 1935 revisions. Even if they do not read it by heart, still it will be a good feeling to read a poem. .
Indeed, Moore writes her definition of poetry largely by spelling out the ways we do not have poetry, as she progressively abandons the definitions and examples she puts forth. Love is a mystery and takes great effort to investigate. Ithaca: Cornell University Press, 1975. The poem varies in length with each publication, changing from thirteen lines to almost forty lines, and then to three lines, respectively. It is tempting to dwell on the infectiousness of such a hermeneutical conundrum, but let us return more directly to the poem's ineluctable raw material: silence. We have only their raw materials and their intentions.
It is sometimes visible and sometimes invisible because it is colorless and transparent. Her contrast between having a poem being genuine and then another being raw makes the poem dramatic and. It the observer aims to catch it, he gives up his plan because of its shaking movement. But as we realize the failure of images, we also get a glimpse of the deepest efforts of poetrythe quest to find, within the transient, a sense of the genuine that is abstract enough to allow for a range of contents, and fluid enough to merge into the state of grace achieved by individual poems. It should be said that Moore is not an austere moralist in upholding the value of sincerity. The ending of this poem, also reinforces the problem that Moore confronted in her work: the inescapable tension between codified social convention and the urge to modify that convention so that it is less irksome to the individual. The best way to explain this level of vraisemblance and naturalization may be to say that citing or opposing conventions of genre brings about a change in the mode of reading.
Grace and the literal are one. But the poem is modernist in form and deeply symbolic and multiple in meaning. Bertram Hartmann commenting on the vicissitudes of the lives of married people as well as a biblical reference to King Ahasuerus. Is Moore discovering the magnitude of uselessness or overcoming it? In 1934, she allowed the three-stanza version to appear in The New Poetry, although at the time she was probably at work on her revision of the five-stanza version for Selected Poems. The science of psychology is this a dig at Freud? In short, the poet has attempted to interest the readers who dislike poetry and tried to strike their minds which can certainly see something unusual and informative in any poem that they read. It seems that the water and the seashore are having war and the creatures residing in it are innocent victims without any faults. This longer version, in turn, grew out of the original thirteen lines printed in Observations.
A Homemade World: The American Modernist Writers. The last version, appearing in the Complete Poems of 1967, is four lines long, having been cut from a poem of thirty-eight lines that appeared in the Selected Poems of 1935 and the Collected Poems of 1951. Hence the poet is admitting before the readers that she does not like poetry just like them. So, our speaker is down on poetry. Hands that can grasp, eyes that can dilate, hair that can rise if it must, these things are important not because a high-sounding interpretation can be put upon them but because they are useful. The imagination must continually catch itself in its complacencies and wipe away the smudge of accumulated thought.
French can perhaps compete more successfully than any other modern language with Greek. From Marianne Moore: Woman and Poet. There are essentially two modes of response. In the light of a preference for free verse in the late teens and early twenties, she converted it and other poems written originally in syllabic stanzas into free verse. For one thing, the poem of four lines is so brief that it invites misinterpretation.
That the problems with the thirteen-line version may have been internal is born out by Moore's rapid dismissal of this version and by its lack of critical acceptance, even by her peers and critics. The endless ramification and refinement of his dialectic, his devious processes of conclusion, make his work a reductio ad absurdum of scholastic ways of reasoning. To my mind it dramatizes the insistent fact that many poems are comprised of what we might call a kernel and a context, and that often, in fact, the kernel does reside in the first line or lines. In regard to the poem itself, however, these changes in punctuation were usually subject to the tastes of the times throughout Moore's lifetime. I do not know how to get a full understanding of anything in this poem, especially things such as themes and allusions so I do not really have anything to say about either of those things so I am going to move on.
The poet continues that someone can still discover something genuine while a poem. Chambers Dictionary of Synonyms and Antonyms 1989 ed. During the course of her career she has entertained her readers with a very unique view about death. Revision, whether within the text or between texts, is an essential part of Moore's aesthetic. Perhaps this same doubleness obtains in Moore's use of the genuine.
While resolution may be held out as the ideal, paradox clearly has a delight of its own. The topic of this poem is superiority of people. Since their article excluded contributions to anthologies, Willis' and Driver's work overlooked one important version of the poem. When they become so derivative as to become unintelligible, the same thing may be said for all of us, that we do not admire what we cannot understand: the bat holding on upside down or in quest of something to eat, elephants pushing, a wild horse taking a roll, a tireless wolf under a tree, the immovable critic twitching his skin like a horse that feels a flea, the base- ball fan, the statistician-- nor is it valid to discriminate against 'business documents and school-books'; all these phenomena are important. Perhaps Miss Moore felt that she was following her own advice on compression.