under Reading this poem engages us in precisely the process that the poem describes: Puzzled by the "it," we must recover what the early drafts offered and understand why that fails to define poetry. Thoughts Of Our Love Fill My Mind Poem About Coming To Terms With A Break-Up
Consequently, this poem is frequently interpreted as an attempt to realize the unrealizable. Marianne Moore: Imaginary Possessions. She added, however, a significant caveat: "an indebted thing does not interest us unless there is originality underneath it. The quickest and most general means for doing that is to shift from what Moore shares with noniconic painterly strategies to her departures from its characteristic concerns. "It is not surprising, given her view of poetry as a process of competing dualities, that Moore should have gone through many revisions, never fully settling on one. But what, precisely, do they say? So long as one needs these supplemental metaphors to define poetry , one is condemned to the distance of attempting to explain the genuine -the site of perpendicularity and polish—in terms of merely illustratory materials, which are thus necessarily only partial realizations of what they attempt to instantiate. Visible Language 10 (Spring 1976): 157-72.Rosenthal, M. L. "Comment: Poets and Critics and Poet-Critics." 1 (Fall 1977): 10.---. Omissions are not accidents because they are perhaps the only way of negotiating between the accidental and the essential. In her reading at Harvard, in fact, Moore mentions that "In Lieu of the Lyre" struck her as "something that was neither prose nor verse, that might pass for both." SAGETRIEB 12.2The final version of "Poetry," a poem that began in Poems (1921) as thirty lines, became thirteen lines in Observations (1921), then thirty-eight lines in the Selected Poems of 1935 and the Collected Poems of 1951, is in the Complete Poems of 1967 four lines long. [MMR 259]. ) "Introduction." In descriptive terms, the new version shows rather than tells its point, a method very characteristic of Moore's technique. In her prose analogue to "Poetry," "Subject, Predicate, Object" (1948), Moore restates what the "I" ( as "we") specifically "dislikes" nearly forty years later:Of poetry, I once said: "I, too, dislike it"; and say it again of anything mannered, dictatorial. Copyright © 1981 by Harvard University Press. We do read poetry, do become for moments "literalists of the imagination," but we cannot sustain our transformation. Ranta).
What goes inside and what stays outside of "Poetry" raises the larger question of what—and who—belongs inside and outside of Poetry.From "The Many-Armed Embrace: Collection, Quotation, and Mediation in Marianne Moore's Poetry." 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. "'New' Poetry since 1912." . Not surprisingly, therefore, an Objectivist credo erases the "enigmas" of the thirteen-line version, and in the three-stanza version this credo rather stridently amplifies what had once been Moore's discreetly discursive tone. the same thing may be said for all of us, that weWhile grasping hands, dilating eyes, and rising hair are associated with the genuine as actions that occur spontaneously and cannot be controlled, they are also laden with associations of gothic fakery and disingenuousness.
ln 1936 [sic] three words dropped out. Throughout Moore's work her many quotations from secondary sources -- precisely the realm of "business documents and school-books" argue for the value of such sources by claiming her work's dependence on them for its (redefined) authority.Along with the citation from Tolstoy, the two other phrases set in quotation marks in "Poetry" can be understood to remark on Moore's quotation technique. But where money may move in limited circuits and maintain its strength, Moore's model specifically insists that the circuits of poetic authority be opened wide. We do have the peculiar illusion of an answer, by virtue of the very struggle of getting to this point.
1919-67).
A transcript of a carbon of it was printed in the Marianne Moore Newsletter, "not as finished work but as documentation of MM's interests at the beginning of her career as a critic" ("MM Surveys English Literature" 13). Love Forever Poem To Husband In Prison is analogous to the intrusion of "'real toads'" upon the traditional poetic decorum of "'imaginary gardens.'"
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