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+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #62833 (https://www.gutenberg.org/ebooks/62833)
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-The Project Gutenberg EBook of Poems, by Marianne Moore
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll
-have to check the laws of the country where you are located before using
-this ebook.
-
-
-
-Title: Poems
-
-Author: Marianne Moore
-
-Release Date: August 3, 2020 [EBook #62833]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK POEMS ***
-
-
-
-
-Produced by Paul Marshall, Tim Lindell and the Online
-Distributed Proofreading Team at https://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive/American Libraries.)
-
-
-
-
-
-
-
-
-
-Transcriber’s Notes:
-
-  Underscores “_” before and after a word or phrase indicate _italics_
-    in the original text.
-  Small capitals have been converted to SOLID capitals.
-  Typographical errors have been silently corrected.
-
-
-
-
-                                 POEMS
-
-                           BY MARIANNE MOORE
-
-
-                                LONDON
-                           THE EGOIST PRESS
-                 _2 Robert Street, Adelphi, W.C._
-
-                                 1921
-
-           _Several of these poems appeared in_ THE EGOIST;
-              _others in_ THE DIAL, OTHERS _and_ CONTACT.
-
-
-
-
-                            CONTENTS
-
-    PEDANTIC LITERALIST                                      5
-    TO A STEAM ROLLER                                        6
-    DILIGENCE IS TO MAGIC AS PROGRESS IS TO FLIGHT           6
-    THOSE VARIOUS SCALPELS                                   7
-    FEED ME, ALSO, RIVER GOD,                                8
-    TO WILLIAM BUTLER YEATS ON TAGORE                        8
-    HE MADE THIS SCREEN                                      9
-    TALISMAN                                                 9
-    BLACK EARTH                                             10
-    “HE WROTE THE HISTORY BOOK,” IT SAID                    12
-    YOU ARE LIKE THE REALISTIC PRODUCT OF AN IDEALISTIC
-        SEARCH FOR GOLD AT THE FOOT OF THE RAINBOW          12
-    REINFORCEMENTS                                          13
-    ROSES ONLY                                              13
-    IN THIS AGE OF HARD TRYING NONCHALANCE IS GOOD, AND     14
-    THE FISH                                                14
-    MY APISH COUSINS                                        16
-    WHEN I BUY PICTURES                                     17
-    PICKING AND CHOOSING                                    18
-    ENGLAND                                                 19
-    DOCK RATS                                               20
-    RADICAL                                                 21
-    POETRY                                                  22
-    IN THE DAYS OF PRISMATIC COLOR                          23
-    IS YOUR TOWN NINEVEH?                                   24
-
-
-
-
-POEMS
-
-BY MARIANNE MOORE
-
-
-
-
-PEDANTIC LITERALIST
-
-
-    Prince Rupert’s drop, paper muslin ghost,
-      white torch—“with pow’r to say unkind
-        things with kindness, and the most
-          irritating things in the midst of love and
-            tears,” you invite destruction.
-
-    You are like the meditative man
-      with the perfunctory heart; its
-        carved cordiality ran
-          to and fro at first, like an inlaid and roy’l
-            immutable production;
-
-    then afterward “neglected to be
-      painful” and “deluded him with
-        loitering formality,
-          doing its duty as if it did it not,”
-            presenting an obstruction
-
-    to the motive that it served. What stood
-      erect in you, has withered. A
-        little “palm-tree of turned wood”
-          informs your once spontaneous core in its
-            immutable reduction.
-
-
-
-
-TO A STEAM ROLLER
-
-
-    The illustration
-    is nothing to you without the application.
-      You lack half wit. You crush all the particles down
-        into close conformity, and then walk back and forth on them.
-
-    Sparkling chips of rock
-    are crushed down to the level of the parent block.
-      Were not “impersonal judgment in æsthetic
-        matters, a metaphysical impossibility,” you
-
-    might fairly achieve
-    it. As for butterflies, I can hardly conceive
-      of one’s attending upon you, but to question
-        the congruence of the complement is vain, if it exists.
-
-
-
-
-DILIGENCE IS TO MAGIC AS PROGRESS IS TO FLIGHT
-
-
-    With an elephant to ride upon—“with rings on her fingers and bells
-        on her toes,” she shall outdistance calamity anywhere she goes.
-    Speed is not in her mind inseparable from carpets. Locomotion arose
-        in the shape of an elephant, she clambered up and chose
-    to travel laboriously. So far as magic carpets are concerned, she
-        knows that although the semblance of speed may attach to
-        scarecrows
-    of æsthetic procedure, the substance of it is embodied in such of
-        those tough-grained animals as have outstripped man’s whim to
-        suppose
-    them ephemera, and have earned that fruit of their ability to endure
-        blows, which dubs them prosaic necessities—not curios.
-
-
-
-
-THOSE VARIOUS SCALPELS
-
-
-    Those
-    various sounds consistently indistinct, like intermingled
-            echoes
-      struck from thin glass successively at random—the
-      inflection disguised: your hair, the tails of two
-            fighting-cocks head to head in stone—like sculptured
-            scimitars re-
-          peating the curve of your ears in reverse order: your eyes,
-            flowers of ice
-
-    and
-    snow sown by tearing winds on the cordage of disabled
-            ships: your raised hand
-      an ambiguous signature: your cheeks, those rosettes
-      of blood on the stone floors of French châteaux, with
-            regard to which guides are so affirmative:
-          your other hand
-
-    a
-    bundle of lances all alike, partly hid by emeralds from
-            Persia
-      and the fractional magnificence of Florentine
-      goldwork—a collection of half a dozen little objects
-            made fine
-          with enamel in gray, yellow, and dragonfly blue: a lemon, a
-
-    pear
-    and three bunches of grapes, tied with silver: your dress, a
-            magnificent square
-      cathedral of uniform
-      and at the same time, diverse appearance—a species of
-            vertical vineyard rustling in the storm
-          of conventional opinion. Are they weapons or scalpels?
-            Whetted
-
-    to
-    brilliance by the hard majesty of that sophistication which
-            is su-
-      perior to opportunity, these things are rich
-      instruments with which to experiment but surgery is
-            not tentative: why dissect destiny with instruments
-            which
-          are more highly specialized than the tissues of destiny
-            itself?
-
-
-
-
-FEED ME, ALSO, RIVER GOD,
-
-
-    lest by diminished vitality and abated
-    vigilance, I become food for crocodiles—for that quicksand
-    of gluttony which is legion. It is there—close at hand—
-        on either side
-        of me. You remember the Israelites who said in pride
-
-    and stoutness of heart: “The bricks are fallen down, we will
-    build with hewn stone, the sycamores are cut down, we will change to
-    cedars”? I am not ambitious to dress stones, to renew
-        forts, nor to match
-        my value in action, against their ability to catch
-
-    up with arrested prosperity. I am not like
-    them, indefatigable, but if you are a god you will
-    not discriminate against me. Yet—if you may fulfil
-        none but prayers dressed
-        as gifts in return for your gifts—disregard the request.
-
-
-
-
-TO WILLIAM BUTLER YEATS ON TAGORE
-
-
-    It is made clear by the phrase,
-    even the mood—by virtue of which he says
-
-    the thing he thinks—that it pays,
-    to cut gems even in these conscience-less days;
-
-    but the jewel that always
-    outshines ordinary jewels, is your praise.
-
-
-
-
-HE MADE THIS SCREEN
-
-
-    not of silver nor of coral,
-    but of weatherbeaten laurel.
-
-    Here, he introduced a sea
-    uniform like tapestry;
-
-    here, a fig-tree; there, a face;
-    there, a dragon circling space—
-
-    designating here, a bower;
-    there, a pointed passion-flower.
-
-
-
-
-TALISMAN
-
-
-    Under a splintered mast,
-    torn from ship and cast
-            near her hull,
-
-    a stumbling shepherd found
-    embedded in the ground,
-            a sea-gull
-
-    of lapis lazuli,
-    a scarab of the sea,
-            with wings spread—
-
-    curling its coral feet,
-    parting its beak to greet
-            men long dead.
-
-
-
-
-BLACK EARTH
-
-
-    Openly, yes,
-    with the naturalness
-        of the hippopotamus or the alligator
-        when it climbs out on the bank to experience the
-
-    sun, I do these
-    things which I do, which please
-        no one but myself. Now I breathe and now I am sub-
-        merged; the blemishes stand up and shout when the object
-
-    in view was a
-    renaissance; shall I say
-        the contrary? The sediment of the river which
-        encrusts my joints, makes me very gray but I am used
-
-    to it, it may
-    remain there; do away
-        with it and I am myself done away with, for the
-        patina of circumstance can but enrich what was
-
-    there to begin
-    with. This elephant skin
-        which I inhabit, fibred over like the shell of
-        the coco-nut, this piece of black glass through which no light
-
-    can filter—cut
-    into checkers by rut
-        upon rut of unpreventable experience—
-        it is a manual for the peanut-tongued and the
-
-    hairy toed. Black
-    but beautiful, my back
-        is full of the history of power. Of power? What
-        is powerful and what is not? My soul shall never
-
-    be cut into
-    by a wooden spear; through-
-        out childhood to the present time, the unity of
-        life and death has been expressed by the circumference
-
-    described by my
-    trunk; nevertheless, I
-        perceive feats of strength to be inexplicable after
-        all; and I am on my guard; external poise, it
-
-    has its centre
-    well nurtured—we know
-        where—in pride, but spiritual poise, it has its centre where?
-        My ears are sensitized to more than the sound of
-
-    the wind. I see
-    and I hear, unlike the
-        wandlike body of which one hears so much, which was made
-        to see and not to see; to hear and not to hear;
-
-    that tree trunk without
-    roots, accustomed to shout
-        its own thoughts to itself like a shell, maintained intact
-        by who knows what strange pressure of the atmosphere; that
-
-    spiritual
-    brother to the coral
-        plant, absorbed into which, the equable sapphire light
-        becomes a nebulous green. The I of each is to
-
-    the I of each,
-    a kind of fretful speech
-        which sets a limit on itself; the elephant is?
-        Black earth preceded by a tendril? It is to that
-
-    phenomenon
-    the above formation,
-        translucent like the atmosphere—a cortex merely—
-        that on which darts cannot strike decisively the first
-
-    time, a substance
-    needful as an instance
-        of the indestructibility of matter; it
-        has looked at the electricity and at the earth-
-
-    quake and is still
-    here; the name means thick. Will
-        depth be depth, thick skin be thick, to one who can see no
-        beautiful element of unreason under it?
-
-
-
-
-“HE WROTE THE HISTORY BOOK,” IT SAID
-
-
-    There! You shed a ray
-      of whimsicality on a mask of profundity so
-      terrific that I have been dumbfounded by
-    it oftener than I care to say.
-      _The_ book? Titles are chaff.
-
-    Authentically
-      brief and full of energy, you contribute to your father’s
-      legibility and are sufficiently
-    synthetic. Thank you for showing me
-      your father’s autograph.
-
-
-
-
-YOU ARE LIKE THE REALISTIC PRODUCT OF AN IDEALISTIC SEARCH FOR GOLD
-AT THE FOOT OF THE RAINBOW
-
-
-    Hid by the august foliage and fruit of the grape vine,
-    twine
-      your anatomy
-        round the pruned and polished stem,
-          chameleon.
-          Fire laid upon
-        an emerald as long as
-      the Dark King’s massy
-    one,
-    could not snap the spectrum up for food as you have done.
-
-
-
-
-REINFORCEMENTS
-
-
-    The vestibule to experience is not to
-        be exalted into epic grandeur. These men are going
-    to their work with this idea, advancing like a school of fish
-        through
-
-    still water—waiting to change the course or dismiss
-        the idea of movement, till forced to. The words of the Greeks
-    ring in our ears, but they are vain in comparison with a sight like
-        this.
-
-    The pulse of intention does not move so that one
-        can see it, and moral machinery is not labelled, but
-    the future of time is determined by the power of volition.
-
-
-
-
-ROSES ONLY
-
-
-    You do not seem to realise that beauty is a liability rather than
-      an asset—that in view of the fact that spirit creates form we are
-                justified in supposing
-        that you must have brains. For you, a symbol of the unit, stiff
-      and sharp, conscious of surpassing by dint of native superiority
-    and liking for everything self-dependent, anything an
-
-    ambitious civilisation might produce: for you, unaided to attempt
-      through sheer reserve, to confute presumptions resulting from
-                observation, is idle. You cannot make us
-        think you a delightful happen-so. But rose, if you are
-      brilliant, it is not because your petals are the
-                without-which-nothing of pre-eminence.
-                You would look, minus
-    thorns—like a what-is-this, a mere
-
-    peculiarity. They are not proof against a worm, the elements, or
-      mildew but what about the predatory hand? What is brilliance
-                without co-ordination? Guarding the
-        infinitesimal pieces of your mind, compelling audience to
-      the remark that it is better to be forgotten than to be remembered
-                too violently,
-    your thorns are the best part of you.
-
-
-
-
-IN THIS AGE OF HARD TRYING NONCHALANCE IS GOOD, AND
-
-
-    really, it is not the
-      business of the gods to bake clay pots. They did not
-        do it in this instance. A few
-          revolved upon the axes of their worth
-      as if excessive popularity might be a pot;
-
-    they did not venture the
-      profession of humility. The polished wedge
-        that might have split the firmament
-          was dumb. At last it threw itself away
-      and falling down, conferred on some poor fool, a privilege.
-
-    Taller by the length of
-      a conversation of five hundred years than all
-        the others, there was one, whose tales
-          of what could never have been actual—
-      were better than the haggish, uncompanionable drawl
-
-    of certitude; his by-
-      play was more terrible in its effectiveness
-        than the fiercest frontal attack.
-          The staff, the bag, the feigned inconsequence
-      of manner, best bespeak that weapon, self protectiveness.
-
-
-
-
-THE FISH
-
-
-    wade
-    through black jade.
-      Of the crow-blue mussel shells, one
-        keeps
-        adjusting the ash heaps;
-      opening and shutting itself like
-
-    an
-    injured fan.
-      The barnacles which encrust the
-        side
-        of the wave, cannot hide
-      there for the submerged shafts of the
-
-    sun,
-    split like spun
-      glass, move themselves with spotlike swift-
-        ness
-        into the crevices—
-      in and out, illuminating
-
-    the
-    turquoise sea
-      of bodies. The water drives a
-        wedge
-        of iron through the iron edge
-      of the cliff, whereupon the stars,
-
-    pink
-    rice grains, ink
-      bespattered jelly-fish, crabs like
-        green
-        lilies and submarine
-      toadstools, slide each on the other.
-
-    All
-    external
-      marks of abuse are present on
-        this
-        defiant edifice—
-      all the physical features of
-
-    ac-
-    cident—lack
-      of cornice, dynamite grooves, burns
-        and
-        hatchet strokes, these things stand
-      out on it; the chasm side is
-
-    dead.
-    Repeated
-      evidence has proved that it can
-        live
-        on what cannot revive
-      its youth. The sea grows old in it.
-
-
-
-
-MY APISH COUSINS
-
-
-   winked too much and were afraid of snakes. The zebras, supreme in
-   their abnormality; the elephants with their fog-colored skin
-     and strictly practical appendages
-       were there, the small cats and the parrakeet—
-         trivial and humdrum on examination, destroying
-       bark and portions of the food it could not eat.
-
-  I recall their magnificence, now not more magnificent
-   than it is dim. It is difficult to recall the ornament,
-     speech, and precise manner of what one might
-       call the minor acquaintances twenty
-         years back; but I shall never forget—that Gilgamesh among
-       the hairy carnivora—that cat with the
-
-   wedge-shaped, slate-gray marks on its forelegs and the resolute tail,
-   astringently remarking: “They have imposed on us with their pale,
-     half fledged protestations, trembling about
-       in inarticulate frenzy, saying
-         it is not for all of us to understand art, finding it
-       all so difficult, examining the thing
-
-   as if it were something inconceivably arcanic, as
-   symmetrically frigid as something carved out of chrysopras
-     or marble—strict with tension, malignant
-       in its power over us and deeper
-         than the sea when it proffers flattery in exchange for hemp,
-       rye, flax, horses, platinum, timber and fur.”
-
-
-
-
-WHEN I BUY PICTURES
-
-
-    or what is closer to the truth, when I look at
-      that of which I may regard myself as the
-        imaginary possessor, I fix upon that which would
-      give me pleasure in my average moments: the satire upon curiosity,
-          in which no more is discernible than the intensity of the
-          mood;
-
-    or quite the opposite—the old thing, the medi-
-      æval decorated hat box, in which there
-        are hounds with waists diminishing like the waist of the
-        hour-glass
-      and deer, both white and brown, and birds and seated people; it
-      may be no more than a square
-          of parquetry; the literal biography perhaps—in letters stand-
-
-    ing well apart upon a parchment-like expanse;
-      or that which is better without words, which means
-        just as much or just as little as it is understood to
-      mean by the observer—the grave of Adam, prefigured by himself; a
-        bed of beans
-        or artichokes in six varieties of blue; the snipe-legged hiero—
-
-    glyphic in three parts; it may be anything. Too
-      stern an intellectual emphasis, i-
-        ronic or other—upon this quality or that, detracts
-      from one’s enjoyment; it must not wish to disarm anything; nor may
-          the approved tri-
-          umph easily be honoured—that which is great because something
-          else is small.
-
-    It comes to this: of whatever sort it is, it
-      must make known the fact that it has been displayed
-        to acknowledge the spiritual forces which have made it;
-      and it must admit that it is the work of X, if X produced it; of
-          Y, if made by Y. It must be a voluntary gift with the name
-          written on it.
-
-
-
-
-PICKING AND CHOOSING
-
-
-    Literature is a phase of life: if
-      one is afraid of it, the situation is irremediable; if
-    one approaches it familiarly,
-      what one says of it is worthless. Words are constructive
-    when they are true; the opaque allusion—the simulated flight
-
-    upward—accomplishes nothing. Why cloud the fact
-      that Shaw is selfconscious in the field of sentiment but is
-      otherwise re-
-    warding? that James is all that has been
-      said of him but is not profound? It is not Hardy
-    the distinguished novelist and Hardy the poet, but one man
-
-    “interpreting life through the medium of the
-      emotions.” If he must give an opinion, it is permissible that the
-    critic should know what he likes. Gordon
-      Craig with his “this is I” and “this is mine,” with his three
-    wise men, his “sad French greens” and his Chinese cherries—Gordon
-      Craig, so
-
-    inclinational and unashamed—has carried
-      the precept of being a good critic, to the last extreme. And Burke
-      is a
-    psychologist—of acute, raccoon-
-      like curiosity. Summa diligentia;
-    to the humbug, whose name is so amusing—very young and ve-
-
-    ry rushed, Cæsar crossed the Alps on the “top of a
-      diligence.” We are not daft about the meaning but this familiarity
-    with wrong meanings puzzles one. Humming-
-      bug, the candles are not wired for electricity.
-    Small dog, going over the lawn, nipping the linen and saying
-
-    that you have a badger—remember Xenophon;
-      only the most rudimentary sort of behaviour is necessary
-    to put us on the scent; a “right good
-      salvo of barks,” a few “strong wrinkles” puckering the
-    skin between the ears, are all we ask.
-
-
-
-
-ENGLAND
-
-
-    with its baby rivers and little towns, each with its abbey or its
-      cathedral;
-      with voices—one voice perhaps, echoing through the transept—the
-    criterion of suitability and convenience; and Italy with its equal
-        shores—contriving an epicureanism from which the grossness has
-        been
-
-    extracted; and Greece with its goats and its gourds, the nest of
-      modified illusions:
-      and France, the “chrysalis of the nocturnal butterfly” in
-    whose products, mystery of construction diverts one from what was
-        originally one’s
-        object—substance at the core: and the East with its snails, its
-        emotional
-
-    shorthand and jade cockroaches, its rock crystal and its
-      imperturbability,
-      all of museum quality: and America where there
-    is the little old ramshackle victoria in the south, where cigars are
-        smoked on the
-        street in the north; where there are no proof readers, no
-        silkworms, no digressions;
-
-    the wild man’s land; grass-less, links-less, language-less
-      country—in which letters are written
-      not in Spanish, not in Greek, not in Latin, not in shorthand
-    but in plain American which cats and dogs can read! The letter “a”
-        in psalm and calm when
-        pronounced with the sound of “a” in candle, is very noticeable
-        but
-
-    why should continents of misapprehension have to be accounted for by
-      the
-      fact? Does it follow that because there are poisonous toadstools
-    which resemble mushrooms, both are dangerous? In the case of
-        mettlesomeness which may be
-        mistaken for appetite, of heat which may appear to be haste, no
-        con-
-
-    clusions may be drawn. To have misapprehended the matter, is to have
-      confessed
-      that one has not looked far enough. The sublimated wisdom
-    of China, Egyptian discernment, the cataclysmic torrent of emotion
-        compressed
-        in the verbs of the Hebrew language, the books of the man who is
-        able
-
-    to say, “I envy nobody but him and him only, who catches more fish
-      than
-      I do,”—the flower and fruit of all that noted superi-
-    ority—should one not have stumbled upon it in America, must one
-        imagine
-        that it is not there? It has never been confined to one
-        locality.
-
-
-
-
-DOCK RATS
-
-
-    There are human beings who seem to regard the place as craftily
-      as we do—who seem to feel that it is a good place to come
-      home to. On what a river; wide—twinkling like a chopped sea under
-          some
-          of the finest shipping in the
-
-    world: the square-rigged four-master, the liner, the battleship,
-      like the two-
-      thirds submerged section of an iceberg; the tug—strong moving
-      thing,
-      dipping and pushing, the bell striking as it comes; the steam
-          yacht, lying
-          like a new made arrow on the
-
-    stream; the ferry-boat—a head assigned, one to each compartment,
-      making
-      a row of chessmen set for play. When the wind is from the east,
-      the smell is of apples; of hay, the aroma increased and decreased
-          suddenly as the wind changes;
-
-    of rope; of mountain leaves for florists. When it is from the west,
-      it is
-      an elixir. There is occasionally a parrakeet
-      arrived from Brazil, clasping and clawing; or a monkey—tail and
-          feet
-          in readiness for an over-
-
-    ture. All palms and tail; how delightful! There is the sea, moving
-      the bulk-
-      head with its horse strength; and the multiplicity of rudders
-      and propellers; the signals, shrill, questioning, peremptory,
-          diverse;
-          the wharf cats and the barge dogs—it
-
-    is easy to overestimate the value of such things. One does
-      not live in such a place from motives of expediency
-      but because to one who has been accustomed to it, shipping is the
-          most congenial thing in the world.
-
-
-
-
-RADICAL
-
-
-    Tapering
-    to a point, conserving everything,
-      this carrot is predefined to be thick.
-        The world is
-        but a circumstance, a mis-
-          erable corn-patch for its feet. With ambition,
-          imagination, outgrowth,
-
-    nutriment,
-    with everything crammed belligerent-
-      ly inside itself, its fibres breed mon-
-      opoly—
-      a tail-like, wedge-shaped engine with the
-        secret of expansion, fused with intensive heat
-        to the color of the set-
-
-    ting sun and
-    stiff. For the man in the straw hat, stand-
-      ing still and turning to look back at it—
-        as much as
-        to say my happiest moment has
-          been funereal in comparison with this, the con-
-          ditions of life pre-
-
-    determined
-    slavery to be easy and freedom hard. For
-      it? Dismiss
-      agrarian lore; it tells him this:
-        that which it is impossible to force, it is
-        impossible to hinder.
-
-
-
-
-POETRY
-
-
-    I too, dislike it: there are things that are important beyond all
-      this fiddle.
-      Reading it, however, with a perfect contempt for it, one discovers
-      that there is in
-      it after all, a place for the genuine.
-        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; 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 twinkling his skin like a horse that
-      feels a flea, the base-
-      ball fan, the statistician—case after case
-        could be cited did
-        one wish it; nor is it valid
-          to discriminate against “business documents and
-
-    school-books”; all these phenomena are important. One must make a
-      distinction
-      however: when dragged into prominence by half poets, the result is
-      not poetry,
-      nor till the autocrats among us can be
-        “literalists of
-        the imagination”—above
-          insolence and triviality and can present
-
-    for inspection, imaginary gardens with real toads in them, shall we
-      have
-      it. In the meantime, if you demand on one hand, in defiance of
-      their opinion—
-      the raw material of poetry in
-        all its rawness and
-        that which is, on the other hand,
-          genuine then you are interested in poetry.
-
-
-
-
-IN THE DAYS OF PRISMATIC COLOR
-
-
-    not in the days of Adam and Eve but when Adam
-      was alone; when there was no smoke and color was
-    fine, not with the fineness of
-      early civilization art but by virtue
-    of its originality, with nothing to modify it but the
-
-    mist that went up, obliqueness was a varia-
-      tion of the perpendicular, plain to see and
-    to account for: it is no
-      longer that; nor did the blue red yellow band
-    of incandescence that was color, keep its stripe: it also is one of
-
-    those things into which much that is peculiar can be
-      read; complexity is not a crime but carry
-    it to the point of murki-
-      ness and nothing is plain. A complexity
-    moreover, that has been committed to darkness, instead of granting
-      it-
-
-    self to be the pestilence that it is, moves all a-
-      bout as if to bewilder with the dismal
-    fallacy that insistence
-      is the measure of achievement and that all
-    truth must be dark. Principally throat, sophistication is as it al-
-
-    ways has been—at the antipodes from the init-
-      ial great truths. “Part of it was crawling, part of it
-    was about to crawl, the rest
-      was torpid in its lair.” In the short legged, fit-
-    ful advance, the gurgling and all the minutiæ—we have the classic
-
-    multitude of feet. To what purpose! Truth is no Apollo
-      Belvedere, no formal thing. The wave may go over it if it likes.
-    Know that it will be there when it says:
-      “I shall be there when the wave has gone by.”
-
-
-
-
-IS YOUR TOWN NINEVEH?
-
-
-    Why so desolate?
-      And why multiply
-        in phantasmagoria about fishes,
-          what disgusts you? Could
-            not all personal upheaval in
-              the name of freedom, be tabood?
-
-    Is it Nineveh
-      and are you Jonah
-        in the sweltering east wind of your wishes?
-          I, myself have stood
-            there by the aquarium, looking
-              at the Statue of Liberty.
-
-
-
-
-        Printed at the Pelican Press, 2 Carmelite Street, E.C.
-
-
-
-
-
-End of the Project Gutenberg EBook of Poems, by Marianne Moore
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-<pre>
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-The Project Gutenberg EBook of Poems, by Marianne Moore
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll
-have to check the laws of the country where you are located before using
-this ebook.
-
-
-
-Title: Poems
-
-Author: Marianne Moore
-
-Release Date: August 3, 2020 [EBook #62833]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK POEMS ***
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-
-
-Produced by Paul Marshall, Tim Lindell and the Online
-Distributed Proofreading Team at https://www.pgdp.net (This
-file was produced from images generously made available
-by The Internet Archive/American Libraries.)
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-</pre>
-
-<hr class="chap" />
-
-<h1>POEMS</h1>
-
-<p class="f150 space-below3"><b>BY MARIANNE MOORE</b></p>
-
-<p class="center">LONDON<br />THE EGOIST PRESS<br />
-<i>2 Robert Street, Adelphi, W.C.</i></p>
-
-<p class="center">1921</p>
-
-<p class="center space-above3 space-below3"><i>Several of these poems appeared in</i>
-<span class="smcap">The Egoist</span>;<br />
-<i>others in</i> <span class="smcap">The Dial</span>, <span class="smcap">Others</span>
-<i>and</i> <span class="smcap">Contact</span>.</p>
-
-<hr class="chap" />
-<p class="f150"><b>CONTENTS</b></p>
-<hr class="r5" />
-
-<table border="0" cellspacing="0" summary="TOC" cellpadding="0" >
-  <tbody><tr>
-      <td class="tdl">PEDANTIC LITERALIST</td>
-      <td class="tdr"><a href="#Page_5">&nbsp;5</a></td>
-   </tr><tr>
-      <td class="tdl">TO A STEAM ROLLER</td>
-      <td class="tdr"><a href="#Page_6">&nbsp;6</a></td>
-   </tr><tr>
-      <td class="tdl">DILIGENCE IS TO MAGIC AS PROGRESS IS TO FLIGHT</td>
-      <td class="tdr"><a href="#DILIGENCE">&nbsp;6</a></td>
-   </tr><tr>
-      <td class="tdl">THOSE VARIOUS SCALPELS</td>
-      <td class="tdr"><a href="#Page_7">&nbsp;7</a></td>
-   </tr><tr>
-      <td class="tdl">FEED ME, ALSO, RIVER GOD,</td>
-      <td class="tdr"><a href="#Page_8">&nbsp;8</a></td>
-   </tr><tr>
-      <td class="tdl">TO WILLIAM BUTLER YEATS ON TAGORE</td>
-      <td class="tdr"><a href="#YEATS">&nbsp;8</a></td>
-   </tr><tr>
-      <td class="tdl">HE MADE THIS SCREEN</td>
-      <td class="tdr"><a href="#Page_9">&nbsp;9</a></td>
-   </tr><tr>
-      <td class="tdl">TALISMAN</td>
-      <td class="tdr"><a href="#TALISMAN">&nbsp;9</a></td>
-   </tr><tr>
-      <td class="tdl">BLACK EARTH</td>
-      <td class="tdr"><a href="#Page_10">10</a></td>
-   </tr><tr>
-      <td class="tdl">“HE WROTE THE HISTORY BOOK,” IT SAID</td>
-      <td class="tdr"><a href="#Page_12">12</a></td>
-   </tr><tr>
-      <td class="tdl">YOU ARE LIKE THE REALISTIC PRODUCT OF AN IDEALISTIC</td>
-      <td class="tdr">&nbsp;</td>
-   </tr><tr>
-      <td class="tdl">&nbsp;&emsp;&emsp;SEARCH FOR GOLD AT THE FOOT OF THE RAINBOW</td>
-      <td class="tdr"><a href="#YOU">12</a></td>
-   </tr><tr>
-      <td class="tdl">REINFORCEMENTS</td>
-      <td class="tdr"><a href="#Page_13">13</a></td>
-   </tr><tr>
-      <td class="tdl">ROSES ONLY</td>
-      <td class="tdr"><a href="#ROSES">13</a></td>
-   </tr><tr>
-      <td class="tdl">IN THIS AGE OF HARD TRYING NONCHALANCE IS GOOD, AND&emsp;&nbsp;</td>
-      <td class="tdr"><a href="#Page_14">14</a></td>
-   </tr><tr>
-      <td class="tdl">THE FISH</td>
-      <td class="tdr"><a href="#FISH">14</a></td>
-   </tr><tr>
-      <td class="tdl">MY APISH COUSINS</td>
-      <td class="tdr"><a href="#Page_16">16</a></td>
-   </tr><tr>
-      <td class="tdl">WHEN I BUY PICTURES</td>
-      <td class="tdr"><a href="#Page_17">17</a></td>
-   </tr><tr>
-      <td class="tdl">PICKING AND CHOOSING</td>
-      <td class="tdr"><a href="#Page_18">18</a></td>
-   </tr><tr>
-      <td class="tdl">ENGLAND</td>
-      <td class="tdr"><a href="#Page_19">19</a></td>
-   </tr><tr>
-      <td class="tdl">DOCK RATS</td>
-      <td class="tdr"><a href="#Page_20">20</a></td>
-   </tr><tr>
-      <td class="tdl">RADICAL</td>
-      <td class="tdr"><a href="#Page_21">21</a></td>
-   </tr><tr>
-      <td class="tdl">POETRY</td>
-      <td class="tdr"><a href="#Page_22">22</a></td>
-   </tr><tr>
-      <td class="tdl">IN THE DAYS OF PRISMATIC COLOR</td>
-      <td class="tdr"><a href="#Page_23">23</a></td>
-   </tr><tr>
-      <td class="tdl">IS YOUR TOWN NINEVEH?</td>
-      <td class="tdr"><a href="#Page_24">24</a></td>
-   </tr>
- </tbody>
-</table>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
-<p class="f200"><b>POEMS</b></p>
-<p class="f150"><b>BY MARIANNE MOORE</b></p>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="PEDANTIC" id="PEDANTIC">&nbsp;</a>
-  <h2 class="nobreak">PEDANTIC LITERALIST</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Prince Rupert’s drop, paper muslin ghost,</span>
-<span class="i2">white torch—“with pow’r to say unkind</span>
-<span class="i4">things with kindness, and the most</span>
-<span class="i6">irritating things in the midst of love and</span>
-<span class="i8">tears,” you invite destruction.</span>
-</div><div class="stanza">
-<span class="i0">You are like the meditative man</span>
-<span class="i2">with the perfunctory heart; its</span>
-<span class="i4">carved cordiality ran</span>
-<span class="i6">to and fro at first, like an inlaid and roy’l</span>
-<span class="i8">immutable production;</span>
-</div><div class="stanza">
-<span class="i0">then afterward “neglected to be</span>
-<span class="i2">painful” and “deluded him with</span>
-<span class="i4">loitering formality,</span>
-<span class="i6">doing its duty as if it did it not,”</span>
-<span class="i8">presenting an obstruction</span>
-</div><div class="stanza">
-<span class="i0">to the motive that it served. What stood</span>
-<span class="i2">erect in you, has withered. A</span>
-<span class="i4">little “palm-tree of turned wood”</span>
-<span class="i6">informs your once spontaneous core in its</span>
-<span class="i8">immutable reduction.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
-<div class="chapter"><h2 class="nobreak">TO A STEAM ROLLER</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">The illustration</span>
-<span class="i0">is nothing to you without the application.</span>
-<span class="i2">You lack half wit. You crush all the particles down</span>
-<span class="i4">into close conformity, and then walk back and forth on them.</span>
-</div><div class="stanza">
-<span class="i0">Sparkling chips of rock</span>
-<span class="i0">are crushed down to the level of the parent block.</span>
-<span class="i2">Were not “impersonal judgment in æsthetic</span>
-<span class="i4">matters, a metaphysical impossibility,” you</span>
-</div><div class="stanza">
-<span class="i0">might fairly achieve</span>
-<span class="i0">it. As for butterflies, I can hardly conceive</span>
-<span class="i2">of one’s attending upon you, but to question</span>
-<span class="i4">the congruence of the complement is vain, if it exists.</span>
-</div></div></div>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="DILIGENCE" id="DILIGENCE">&nbsp;</a>
-  <h2 class="nobreak">DILIGENCE IS TO MAGIC AS<br /> PROGRESS IS TO FLIGHT</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">With an elephant to ride upon—“with rings on her fingers and bells on her toes,”</span>
-<span class="i4">she shall outdistance calamity anywhere she goes.</span>
-<span class="i0">Speed is not in her mind inseparable from carpets. Locomotion arose</span>
-<span class="i4">in the shape of an elephant, she clambered up and chose</span>
-<span class="i0">to travel laboriously. So far as magic carpets are concerned, she knows</span>
-<span class="i4">that although the semblance of speed may attach to scarecrows</span>
-<span class="i0">of æsthetic procedure, the substance of it is embodied in such of those</span>
-<span class="i4">tough-grained animals as have outstripped man’s whim to suppose</span>
-<span class="i0">them ephemera, and have earned that fruit of their ability to endure blows,</span>
-<span class="i4">which dubs them prosaic necessities—not curios.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span></p>
-<div class="chapter"><h2 class="nobreak">THOSE VARIOUS SCALPELS</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Those</span>
-<span class="i0">various sounds consistently indistinct, like intermingled</span>
-<span class="i8">echoes</span>
-<span class="i2">struck from thin glass successively at random—the</span>
-<span class="i2">inflection disguised: your hair, the tails of two</span>
-<span class="i8">fighting-cocks head to head in stone—like sculptured</span>
-<span class="i8">scimitars re-</span>
-<span class="i6">peating the curve of your ears in reverse order: your eyes,</span>
-<span class="i8">flowers of ice</span>
-</div><div class="stanza">
-<span class="i0">and</span>
-<span class="i0">snow sown by tearing winds on the cordage of disabled</span>
-<span class="i8">ships: your raised hand</span>
-<span class="i2">an ambiguous signature: your cheeks, those rosettes</span>
-<span class="i2">of blood on the stone floors of French châteaux, with</span>
-<span class="i8">regard to which guides are so affirmative:</span>
-<span class="i6">your other hand</span>
-</div><div class="stanza">
-<span class="i0">a</span>
-<span class="i0">bundle of lances all alike, partly hid by emeralds from</span>
-<span class="i8">Persia</span>
-<span class="i2">and the fractional magnificence of Florentine</span>
-<span class="i2">goldwork—a collection of half a dozen little objects</span>
-<span class="i8">made fine</span>
-<span class="i6">with enamel in gray, yellow, and dragonfly blue: a lemon, a</span>
-</div><div class="stanza">
-<span class="i0">pear</span>
-<span class="i0">and three bunches of grapes, tied with silver: your dress, a</span>
-<span class="i8">magnificent square</span>
-<span class="i2">cathedral of uniform</span>
-<span class="i2">and at the same time, diverse appearance—a species of</span>
-<span class="i8">vertical vineyard rustling in the storm</span>
-<span class="i6">of conventional opinion. Are they weapons or scalpels?</span>
-<span class="i8">Whetted</span>
-</div><div class="stanza">
-<span class="i0">to</span>
-<span class="i0">brilliance by the hard majesty of that sophistication which</span>
-<span class="i8">is su-</span>
-<span class="i2">perior to opportunity, these things are rich</span>
-<span class="i2">instruments with which to experiment but surgery is</span>
-<span class="i8">not tentative: why dissect destiny with instruments</span>
-<span class="i8">which</span>
-<span class="i6">are more highly specialized than the tissues of destiny</span>
-<span class="i8">itself?</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
-<div class="chapter"><h2 class="nobreak">FEED ME, ALSO, RIVER GOD,</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">lest by diminished vitality and abated</span>
-<span class="i0">vigilance, I become food for crocodiles—for that quicksand</span>
-<span class="i0">of gluttony which is legion. It is there—close at hand—</span>
-<span class="i4">on either side</span>
-<span class="i4">of me. You remember the Israelites who said in pride</span>
-</div><div class="stanza">
-<span class="i0">and stoutness of heart: “The bricks are fallen down, we will</span>
-<span class="i0">build with hewn stone, the sycamores are cut down, we will change to</span>
-<span class="i0">cedars”? I am not ambitious to dress stones, to renew</span>
-<span class="i4">forts, nor to match</span>
-<span class="i4">my value in action, against their ability to catch</span>
-</div><div class="stanza">
-<span class="i0">up with arrested prosperity. I am not like</span>
-<span class="i0">them, indefatigable, but if you are a god you will</span>
-<span class="i0">not discriminate against me. Yet—if you may fulfil</span>
-<span class="i4">none but prayers dressed</span>
-<span class="i4">as gifts in return for your gifts—disregard the request.</span>
-</div></div></div>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="YEATS" id="YEATS">&nbsp;</a>
-  <h2 class="nobreak">TO WILLIAM BUTLER YEATS ON TAGORE</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">It is made clear by the phrase,</span>
-<span class="i0">even the mood—by virtue of which he says</span>
-</div><div class="stanza">
-<span class="i0">the thing he thinks—that it pays,</span>
-<span class="i0">to cut gems even in these conscience-less days;</span>
-</div><div class="stanza">
-<span class="i0">but the jewel that always</span>
-<span class="i0">outshines ordinary jewels, is your praise.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
-<div class="chapter"><h2 class="nobreak">HE MADE THIS SCREEN</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">not of silver nor of coral,</span>
-<span class="i0">but of weatherbeaten laurel.</span>
-</div><div class="stanza">
-<span class="i0">Here, he introduced a sea</span>
-<span class="i0">uniform like tapestry;</span>
-</div><div class="stanza">
-<span class="i0">here, a fig-tree; there, a face;</span>
-<span class="i0">there, a dragon circling space—</span>
-</div><div class="stanza">
-<span class="i0">designating here, a bower;</span>
-<span class="i0">there, a pointed passion-flower.</span>
-</div></div></div>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="TALISMAN" id="TALISMAN">&nbsp;</a>
-  <h2 class="nobreak">TALISMAN</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Under a splintered mast,</span>
-<span class="i0">torn from ship and cast</span>
-<span class="i8">near her hull,</span>
-</div><div class="stanza">
-<span class="i0">a stumbling shepherd found</span>
-<span class="i0">embedded in the ground,</span>
-<span class="i8">a sea-gull</span>
-</div><div class="stanza">
-<span class="i0">of lapis lazuli,</span>
-<span class="i0">a scarab of the sea,</span>
-<span class="i8">with wings spread—</span>
-</div><div class="stanza">
-<span class="i0">curling its coral feet,</span>
-<span class="i0">parting its beak to greet</span>
-<span class="i8">men long dead.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
-<div class="chapter"><h2 class="nobreak">BLACK EARTH</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Openly, yes,</span>
-<span class="i0">with the naturalness</span>
-<span class="i4">of the hippopotamus or the alligator</span>
-<span class="i4">when it climbs out on the bank to experience the</span>
-</div><div class="stanza">
-<span class="i0">sun, I do these</span>
-<span class="i0">things which I do, which please</span>
-<span class="i4">no one but myself. Now I breathe and now I am sub-</span>
-<span class="i4">merged; the blemishes stand up and shout when the object</span>
-</div><div class="stanza">
-<span class="i0">in view was a</span>
-<span class="i0">renaissance; shall I say</span>
-<span class="i4">the contrary? The sediment of the river which</span>
-<span class="i4">encrusts my joints, makes me very gray but I am used</span>
-</div><div class="stanza">
-<span class="i0">to it, it may</span>
-<span class="i0">remain there; do away</span>
-<span class="i4">with it and I am myself done away with, for the</span>
-<span class="i4">patina of circumstance can but enrich what was</span>
-</div><div class="stanza">
-<span class="i0">there to begin</span>
-<span class="i0">with. This elephant skin</span>
-<span class="i4">which I inhabit, fibred over like the shell of</span>
-<span class="i4">the coco-nut, this piece of black glass through which no light</span>
-</div><div class="stanza">
-<span class="i0">can filter—cut</span>
-<span class="i0">into checkers by rut</span>
-<span class="i4">upon rut of unpreventable experience—</span>
-<span class="i4">it is a manual for the peanut-tongued and the</span>
-</div><div class="stanza">
-<span class="i0">hairy toed. Black</span>
-<span class="i0">but beautiful, my back</span>
-<span class="i4">is full of the history of power. Of power? What</span>
-<span class="i4">is powerful and what is not? My soul shall never</span>
-</div><div class="stanza">
-<span class="i0">be cut into</span>
-<span class="i0">by a wooden spear; through-</span>
-<span class="i4">out childhood to the present time, the unity of</span>
-<span class="i4">life and death has been expressed by the circumference</span>
-</div><div class="stanza">
-<span class="i0">described by my</span>
-<span class="i0">trunk; nevertheless, I</span>
-<span class="i4">perceive feats of strength to be inexplicable after</span>
-<span class="i4">all; and I am on my guard; external poise, it</span>
-<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
-</div><div class="stanza">
-<span class="i0">has its centre</span>
-<span class="i0">well nurtured—we know</span>
-<span class="i4">where—in pride, but spiritual poise, it has its centre where?</span>
-<span class="i4">My ears are sensitized to more than the sound of</span>
-</div><div class="stanza">
-<span class="i0">the wind. I see</span>
-<span class="i0">and I hear, unlike the</span>
-<span class="i4">wandlike body of which one hears so much, which was made</span>
-<span class="i4">to see and not to see; to hear and not to hear;</span>
-</div><div class="stanza">
-<span class="i0">that tree trunk without</span>
-<span class="i0">roots, accustomed to shout</span>
-<span class="i4">its own thoughts to itself like a shell, maintained intact</span>
-<span class="i4">by who knows what strange pressure of the atmosphere; that</span>
-</div><div class="stanza">
-<span class="i0">spiritual</span>
-<span class="i0">brother to the coral</span>
-<span class="i4">plant, absorbed into which, the equable sapphire light</span>
-<span class="i4">becomes a nebulous green. The I of each is to</span>
-</div><div class="stanza">
-<span class="i0">the I of each,</span>
-<span class="i0">a kind of fretful speech</span>
-<span class="i4">which sets a limit on itself; the elephant is?</span>
-<span class="i4">Black earth preceded by a tendril? It is to that</span>
-</div><div class="stanza">
-<span class="i0">phenomenon</span>
-<span class="i0">the above formation,</span>
-<span class="i4">translucent like the atmosphere—a cortex merely—</span>
-<span class="i4">that on which darts cannot strike decisively the first</span>
-</div><div class="stanza">
-<span class="i0">time, a substance</span>
-<span class="i0">needful as an instance</span>
-<span class="i4">of the indestructibility of matter; it</span>
-<span class="i4">has looked at the electricity and at the earth-</span>
-</div><div class="stanza">
-<span class="i0">quake and is still</span>
-<span class="i0">here; the name means thick. Will</span>
-<span class="i4">depth be depth, thick skin be thick, to one who can see no</span>
-<span class="i4">beautiful element of unreason under it?</span>
-</div></div></div>
-<hr class="chap" />
-
-<p><span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span></p>
-<div class="chapter"><h2 class="nobreak">“HE WROTE THE HISTORY BOOK,” IT SAID</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">There! You shed a ray</span>
-<span class="i2">of whimsicality on a mask of profundity so</span>
-<span class="i2">terrific that I have been dumbfounded by</span>
-<span class="i0">it oftener than I care to say.</span>
-<span class="i2"><i>The</i> book? Titles are chaff.</span>
-</div><div class="stanza">
-<span class="i0">Authentically</span>
-<span class="i2">brief and full of energy, you contribute to your father’s</span>
-<span class="i2">legibility and are sufficiently</span>
-<span class="i0">synthetic. Thank you for showing me</span>
-<span class="i2">your father’s autograph.</span>
-</div></div></div>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="YOU" id="YOU">&nbsp;</a>
-  <h2 class="nobreak">YOU ARE LIKE THE REALISTIC PRODUCT<br /> OF AN IDEALISTIC SEARCH FOR GOLD<br />
-      AT THE FOOT OF THE RAINBOW</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Hid by the august foliage and fruit of the grape vine,</span>
-<span class="i0">twine</span>
-<span class="i2">your anatomy</span>
-<span class="i4">round the pruned and polished stem,</span>
-<span class="i6">chameleon.</span>
-<span class="i6">Fire laid upon</span>
-<span class="i4">an emerald as long as</span>
-<span class="i2">the Dark King’s massy</span>
-<span class="i0">one,</span>
-<span class="i0">could not snap the spectrum up for food as you have done.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
-<div class="chapter"><h2 class="nobreak">REINFORCEMENTS</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">The vestibule to experience is not to</span>
-<span class="i4">be exalted into epic grandeur. These men are going</span>
-<span class="i0">to their work with this idea, advancing like a school of fish through</span>
-</div><div class="stanza">
-<span class="i0">still water—waiting to change the course or dismiss</span>
-<span class="i4">the idea of movement, till forced to. The words of the Greeks</span>
-<span class="i0">ring in our ears, but they are vain in comparison with a sight like this.</span>
-</div><div class="stanza">
-<span class="i0">The pulse of intention does not move so that one</span>
-<span class="i4">can see it, and moral machinery is not labelled, but</span>
-<span class="i0">the future of time is determined by the power of volition.</span>
-</div></div></div>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="ROSES" id="ROSES">&nbsp;</a>
-  <h2 class="nobreak">ROSES ONLY</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">You do not seem to realise that beauty is a liability rather than</span>
-<span class="i2">an asset—that in view of the fact that spirit creates form we are justified in</span>
-<span class="i12">supposing</span>
-<span class="i4">that you must have brains. For you, a symbol of the unit, stiff and sharp,</span>
-<span class="i2">conscious of surpassing by dint of native superiority and liking for everything</span>
-<span class="i0">self-dependent, anything an</span>
-</div><div class="stanza">
-<span class="i0">ambitious civilisation might produce: for you, unaided to attempt through sheer</span>
-<span class="i2">reserve, to confute presumptions resulting from observation, is idle. You</span>
-<span class="i12">cannot make us</span>
-<span class="i4">think you a delightful happen-so. But rose, if you are brilliant, it</span>
-<span class="i2">is not because your petals are the without-which-nothing of pre-eminence.</span>
-<span class="i12">You would look, minus</span>
-<span class="i0">thorns—like a what-is-this, a mere</span>
-</div><div class="stanza">
-<span class="i0">peculiarity. They are not proof against a worm, the elements, or mildew</span>
-<span class="i2">but what about the predatory hand? What is brilliance without</span>
-<span class="i12">co-ordination? Guarding the</span>
-<span class="i4">infinitesimal pieces of your mind, compelling audience to</span>
-<span class="i2">the remark that it is better to be forgotten than to be remembered too</span>
-<span class="i12">violently,</span>
-<span class="i0">your thorns are the best part of you.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
-<div class="chapter"><h2 class="nobreak">IN THIS AGE OF HARD TRYING<br /> NONCHALANCE IS GOOD, AND</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">really, it is not the</span>
-<span class="i2">business of the gods to bake clay pots. They did not</span>
-<span class="i4">do it in this instance. A few</span>
-<span class="i6">revolved upon the axes of their worth</span>
-<span class="i2">as if excessive popularity might be a pot;</span>
-</div><div class="stanza">
-<span class="i0">they did not venture the</span>
-<span class="i2">profession of humility. The polished wedge</span>
-<span class="i4">that might have split the firmament</span>
-<span class="i6">was dumb. At last it threw itself away</span>
-<span class="i2">and falling down, conferred on some poor fool, a privilege.</span>
-</div><div class="stanza">
-<span class="i0">Taller by the length of</span>
-<span class="i2">a conversation of five hundred years than all</span>
-<span class="i4">the others, there was one, whose tales</span>
-<span class="i6">of what could never have been actual—</span>
-<span class="i2">were better than the haggish, uncompanionable drawl</span>
-</div><div class="stanza">
-<span class="i0">of certitude; his by-</span>
-<span class="i2">play was more terrible in its effectiveness</span>
-<span class="i4">than the fiercest frontal attack.</span>
-<span class="i6">The staff, the bag, the feigned inconsequence</span>
-<span class="i2">of manner, best bespeak that weapon, self protectiveness.</span>
-</div></div></div>
-
-<hr class="chap" />
-<div class="chapter">
-  <a name="FISH" id="FISH">&nbsp;</a>
-  <h2 class="nobreak">THE FISH</h2>
-</div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">wade</span>
-<span class="i0">through black jade.</span>
-<span class="i2">Of the crow-blue mussel shells, one</span>
-<span class="i4">keeps</span>
-<span class="i4">adjusting the ash heaps;</span>
-<span class="i2">opening and shutting itself like</span>
-</div><div class="stanza">
-<span class="i0">an</span>
-<span class="i0">injured fan.</span>
-<span class="i2">The barnacles which encrust the</span>
-<span class="i4">side</span>
-<span class="i4">of the wave, cannot hide</span>
-<span class="i2">there for the submerged shafts of the</span>
-<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
-</div><div class="stanza">
-<span class="i0">sun,</span>
-<span class="i0">split like spun</span>
-<span class="i2">glass, move themselves with spotlike swift-</span>
-<span class="i4">ness</span>
-<span class="i4">into the crevices—</span>
-<span class="i2">in and out, illuminating</span>
-</div><div class="stanza">
-<span class="i0">the</span>
-<span class="i0">turquoise sea</span>
-<span class="i2">of bodies. The water drives a</span>
-<span class="i4">wedge</span>
-<span class="i4">of iron through the iron edge</span>
-<span class="i2">of the cliff, whereupon the stars,</span>
-</div><div class="stanza">
-<span class="i0">pink</span>
-<span class="i0">rice grains, ink</span>
-<span class="i2">bespattered jelly-fish, crabs like</span>
-<span class="i4">green</span>
-<span class="i4">lilies and submarine</span>
-<span class="i2">toadstools, slide each on the other.</span>
-</div><div class="stanza">
-<span class="i0">All</span>
-<span class="i0">external</span>
-<span class="i2">marks of abuse are present on</span>
-<span class="i4">this</span>
-<span class="i4">defiant edifice—</span>
-<span class="i2">all the physical features of</span>
-</div><div class="stanza">
-<span class="i0">ac-</span>
-<span class="i0">cident—lack</span>
-<span class="i2">of cornice, dynamite grooves, burns</span>
-<span class="i4">and</span>
-<span class="i4">hatchet strokes, these things stand</span>
-<span class="i2">out on it; the chasm side is</span>
-</div><div class="stanza">
-<span class="i0">dead.</span>
-<span class="i0">Repeated</span>
-<span class="i2">evidence has proved that it can</span>
-<span class="i4">live</span>
-<span class="i4">on what cannot revive</span>
-<span class="i2">its youth. The sea grows old in it.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span></p>
-<div class="chapter"><h2 class="nobreak">MY APISH COUSINS</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i3">winked too much and were afraid of snakes. The zebras, supreme in</span>
-<span class="i3">their abnormality; the elephants with their fog-colored skin</span>
-<span class="i5">and strictly practical appendages</span>
-<span class="i7">were there, the small cats and the parrakeet—</span>
-<span class="i9">trivial and humdrum on examination, destroying</span>
-<span class="i7">bark and portions of the food it could not eat.</span>
-</div><div class="stanza">
-<span class="i2">I recall their magnificence, now not more magnificent</span>
-<span class="i3">than it is dim. It is difficult to recall the ornament,</span>
-<span class="i5">speech, and precise manner of what one might</span>
-<span class="i7">call the minor acquaintances twenty</span>
-<span class="i9">years back; but I shall never forget—that Gilgamesh among</span>
-<span class="i7">the hairy carnivora—that cat with the</span>
-</div><div class="stanza">
-<span class="i3">wedge-shaped, slate-gray marks on its forelegs and the resolute tail,</span>
-<span class="i3">astringently remarking: “They have imposed on us with their pale,</span>
-<span class="i5">half fledged protestations, trembling about</span>
-<span class="i7">in inarticulate frenzy, saying</span>
-<span class="i9">it is not for all of us to understand art, finding it</span>
-<span class="i7">all so difficult, examining the thing</span>
-</div><div class="stanza">
-<span class="i3">as if it were something inconceivably arcanic, as</span>
-<span class="i3">symmetrically frigid as something carved out of chrysopras</span>
-<span class="i5">or marble—strict with tension, malignant</span>
-<span class="i7">in its power over us and deeper</span>
-<span class="i9">than the sea when it proffers flattery in exchange for hemp,</span>
-<span class="i7">rye, flax, horses, platinum, timber and fur.”</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
-<div class="chapter"><h2 class="nobreak">WHEN I BUY PICTURES</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">or what is closer to the truth, when I look at</span>
-<span class="i2">that of which I may regard myself as the</span>
-<span class="i4">imaginary possessor, I fix upon that which would</span>
-<span class="i2">give me pleasure in my average moments: the satire upon curiosity,</span>
-<span class="i6">in which no more is discernible than the intensity of the mood;</span>
-</div><div class="stanza">
-<span class="i0">or quite the opposite—the old thing, the medi-</span>
-<span class="i2">æval decorated hat box, in which there</span>
-<span class="i4">are hounds with waists diminishing like the waist of the hour-glass</span>
-<span class="i2">and deer, both white and brown, and birds and seated people; it may be no</span>
-<span class="i2">more than a square</span>
-<span class="i6">of parquetry; the literal biography perhaps—in letters stand-</span>
-</div><div class="stanza">
-<span class="i0">ing well apart upon a parchment-like expanse;</span>
-<span class="i2">or that which is better without words, which means</span>
-<span class="i4">just as much or just as little as it is understood to</span>
-<span class="i2">mean by the observer—the grave of Adam, prefigured by himself; a bed of</span>
-<span class="i4">beans</span>
-<span class="i4">or artichokes in six varieties of blue; the snipe-legged hiero—</span>
-</div><div class="stanza">
-<span class="i0">glyphic in three parts; it may be anything. Too</span>
-<span class="i2">stern an intellectual emphasis, i-</span>
-<span class="i4">ronic or other—upon this quality or that, detracts</span>
-<span class="i2">from one’s enjoyment; it must not wish to disarm anything; nor may the</span>
-<span class="i6">approved tri-</span>
-<span class="i6">umph easily be honoured—that which is great because something else</span>
-<span class="i6">is small.</span>
-</div><div class="stanza">
-<span class="i0">It comes to this: of whatever sort it is, it</span>
-<span class="i2">must make known the fact that it has been displayed</span>
-<span class="i4">to acknowledge the spiritual forces which have made it;</span>
-<span class="i2">and it must admit that it is the work of X, if X produced it; of Y, if made</span>
-<span class="i6">by Y. It must be a voluntary gift with the name written on it.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span></p>
-<div class="chapter"><h2 class="nobreak">PICKING AND CHOOSING</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Literature is a phase of life: if</span>
-<span class="i2">one is afraid of it, the situation is irremediable; if</span>
-<span class="i0">one approaches it familiarly,</span>
-<span class="i2">what one says of it is worthless. Words are constructive</span>
-<span class="i0">when they are true; the opaque allusion—the simulated flight</span>
-</div><div class="stanza">
-<span class="i0">upward—accomplishes nothing. Why cloud the fact</span>
-<span class="i2">that Shaw is selfconscious in the field of sentiment but is otherwise re-</span>
-<span class="i0">warding? that James is all that has been</span>
-<span class="i2">said of him but is not profound? It is not Hardy</span>
-<span class="i0">the distinguished novelist and Hardy the poet, but one man</span>
-</div><div class="stanza">
-<span class="i0">“interpreting life through the medium of the</span>
-<span class="i2">emotions.” If he must give an opinion, it is permissible that the</span>
-<span class="i0">critic should know what he likes. Gordon</span>
-<span class="i2">Craig with his “this is I” and “this is mine,” with his three</span>
-<span class="i0">wise men, his “sad French greens” and his Chinese cherries—Gordon Craig, so</span>
-</div><div class="stanza">
-<span class="i0">inclinational and unashamed—has carried</span>
-<span class="i2">the precept of being a good critic, to the last extreme. And Burke is a</span>
-<span class="i0">psychologist—of acute, raccoon-</span>
-<span class="i2">like curiosity. Summa diligentia;</span>
-<span class="i0">to the humbug, whose name is so amusing—very young and ve-</span>
-</div><div class="stanza">
-<span class="i0">ry rushed, Cæsar crossed the Alps on the “top of a</span>
-<span class="i2">diligence.” We are not daft about the meaning but this familiarity</span>
-<span class="i0">with wrong meanings puzzles one. Humming-</span>
-<span class="i2">bug, the candles are not wired for electricity.</span>
-<span class="i0">Small dog, going over the lawn, nipping the linen and saying</span>
-</div><div class="stanza">
-<span class="i0">that you have a badger—remember Xenophon;</span>
-<span class="i2">only the most rudimentary sort of behaviour is necessary</span>
-<span class="i0">to put us on the scent; a “right good</span>
-<span class="i2">salvo of barks,” a few “strong wrinkles” puckering the</span>
-<span class="i0">skin between the ears, are all we ask.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span></p>
-<div class="chapter"><h2 class="nobreak">ENGLAND</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">with its baby rivers and little towns, each with its abbey or its cathedral;</span>
-<span class="i2">with voices—one voice perhaps, echoing through the transept—the</span>
-<span class="i0">criterion of suitability and convenience; and Italy with its equal</span>
-<span class="i4">shores—contriving an epicureanism from which the grossness has been</span>
-</div><div class="stanza">
-<span class="i0">extracted; and Greece with its goats and its gourds, the nest of modified illusions:</span>
-<span class="i2">and France, the “chrysalis of the nocturnal butterfly” in</span>
-<span class="i0">whose products, mystery of construction diverts one from what was originally</span>
-<span class="i8">one’s</span>
-<span class="i4">object—substance at the core: and the East with its snails, its emotional</span>
-</div><div class="stanza">
-<span class="i0">shorthand and jade cockroaches, its rock crystal and its imperturbability,</span>
-<span class="i2">all of museum quality: and America where there</span>
-<span class="i0">is the little old ramshackle victoria in the south, where cigars are smoked on the</span>
-<span class="i4">street in the north; where there are no proof readers, no silkworms,</span>
-<span class="i8">no digressions;</span>
-</div><div class="stanza">
-<span class="i0">the wild man’s land; grass-less, links-less, language-less country—in which</span>
-<span class="i8">letters are written</span>
-<span class="i2">not in Spanish, not in Greek, not in Latin, not in shorthand</span>
-<span class="i0">but in plain American which cats and dogs can read! The letter “a” in psalm</span>
-<span class="i8">and calm when</span>
-<span class="i4">pronounced with the sound of “a” in candle, is very noticeable but</span>
-</div><div class="stanza">
-<span class="i0">why should continents of misapprehension have to be accounted for by the</span>
-<span class="i2">fact? Does it follow that because there are poisonous toadstools</span>
-<span class="i0">which resemble mushrooms, both are dangerous? In the case of mettlesomeness</span>
-<span class="i8">which may be</span>
-<span class="i4">mistaken for appetite, of heat which may appear to be haste, no con-</span>
-</div><div class="stanza">
-<span class="i0">clusions may be drawn. To have misapprehended the matter, is to have confessed</span>
-<span class="i2">that one has not looked far enough. The sublimated wisdom</span>
-<span class="i0">of China, Egyptian discernment, the cataclysmic torrent of emotion compressed</span>
-<span class="i4">in the verbs of the Hebrew language, the books of the man who is able</span>
-</div><div class="stanza">
-<span class="i0">to say, “I envy nobody but him and him only, who catches more fish than</span>
-<span class="i2">I do,”—the flower and fruit of all that noted superi-</span>
-<span class="i0">ority—should one not have stumbled upon it in America, must one imagine</span>
-<span class="i4">that it is not there? It has never been confined to one locality.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
-<div class="chapter"><h2 class="nobreak">DOCK RATS</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">There are human beings who seem to regard the place as craftily</span>
-<span class="i2">as we do—who seem to feel that it is a good place to come</span>
-<span class="i2">home to. On what a river; wide—twinkling like a chopped sea under some</span>
-<span class="i6">of the finest shipping in the</span>
-</div><div class="stanza">
-<span class="i0">world: the square-rigged four-master, the liner, the battleship, like the two-</span>
-<span class="i2">thirds submerged section of an iceberg; the tug—strong moving thing,</span>
-<span class="i2">dipping and pushing, the bell striking as it comes; the steam yacht, lying</span>
-<span class="i6">like a new made arrow on the</span>
-</div><div class="stanza">
-<span class="i0">stream; the ferry-boat—a head assigned, one to each compartment, making</span>
-<span class="i2">a row of chessmen set for play. When the wind is from the east,</span>
-<span class="i2">the smell is of apples; of hay, the aroma increased and decreased</span>
-<span class="i6">suddenly as the wind changes;</span>
-</div><div class="stanza">
-<span class="i0">of rope; of mountain leaves for florists. When it is from the west, it is</span>
-<span class="i2">an elixir. There is occasionally a parrakeet</span>
-<span class="i2">arrived from Brazil, clasping and clawing; or a monkey—tail and feet</span>
-<span class="i6">in readiness for an over-</span>
-</div><div class="stanza">
-<span class="i0">ture. All palms and tail; how delightful! There is the sea, moving the bulk-</span>
-<span class="i2">head with its horse strength; and the multiplicity of rudders</span>
-<span class="i2">and propellers; the signals, shrill, questioning, peremptory, diverse;</span>
-<span class="i6">the wharf cats and the barge dogs—it</span>
-</div><div class="stanza">
-<span class="i0">is easy to overestimate the value of such things. One does</span>
-<span class="i2">not live in such a place from motives of expediency</span>
-<span class="i2">but because to one who has been accustomed to it, shipping is the</span>
-<span class="i6">most congenial thing in the world.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span></p>
-<div class="chapter"><h2 class="nobreak">RADICAL</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Tapering</span>
-<span class="i0">to a point, conserving everything,</span>
-<span class="i2">this carrot is predefined to be thick.</span>
-<span class="i4">The world is</span>
-<span class="i4">but a circumstance, a mis-</span>
-<span class="i6">erable corn-patch for its feet. With ambition,</span>
-<span class="i6">imagination, outgrowth,</span>
-</div><div class="stanza">
-<span class="i0">nutriment,</span>
-<span class="i0">with everything crammed belligerent-</span>
-<span class="i2">ly inside itself, its fibres breed mon-</span>
-<span class="i2">opoly—</span>
-<span class="i2">a tail-like, wedge-shaped engine with the</span>
-<span class="i4">secret of expansion, fused with intensive heat</span>
-<span class="i4">to the color of the set-</span>
-</div><div class="stanza">
-<span class="i0">ting sun and</span>
-<span class="i0">stiff. For the man in the straw hat, stand-</span>
-<span class="i2">ing still and turning to look back at it—</span>
-<span class="i4">as much as</span>
-<span class="i4">to say my happiest moment has</span>
-<span class="i6">been funereal in comparison with this, the con-</span>
-<span class="i6">ditions of life pre-</span>
-</div><div class="stanza">
-<span class="i0">determined</span>
-<span class="i0">slavery to be easy and freedom hard. For</span>
-<span class="i2">it? Dismiss</span>
-<span class="i2">agrarian lore; it tells him this:</span>
-<span class="i4">that which it is impossible to force, it is</span>
-<span class="i4">impossible to hinder.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
-<div class="chapter"><h2 class="nobreak">POETRY</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">I too, dislike it: there are things that are important beyond all this fiddle.</span>
-<span class="i2">Reading it, however, with a perfect contempt for it, one discovers that there</span>
-<span class="i8">is in</span>
-<span class="i2">it after all, a place for the genuine.</span>
-<span class="i4">Hands that can grasp, eyes</span>
-<span class="i4">that can dilate, hair that can rise</span>
-<span class="i6">if it must, these things are important not because a</span>
-</div><div class="stanza">
-<span class="i0">high sounding interpretation can be put upon them but because they are</span>
-<span class="i2">useful; when they become so derivative as to become unintelligible, the</span>
-<span class="i2">same thing may be said for all of us—that we</span>
-<span class="i4">do not admire what</span>
-<span class="i4">we cannot understand. The bat,</span>
-<span class="i6">holding on upside down or in quest of something to</span>
-</div><div class="stanza">
-<span class="i0">eat, elephants pushing, a wild horse taking a roll, a tireless wolf under</span>
-<span class="i2">a tree, the immovable critic twinkling his skin like a horse that feels a flea,</span>
-<span class="i8">the base-</span>
-<span class="i2">ball fan, the statistician—case after case</span>
-<span class="i4">could be cited did</span>
-<span class="i4">one wish it; nor is it valid</span>
-<span class="i6">to discriminate against “business documents and</span>
-</div><div class="stanza">
-<span class="i0">school-books”; all these phenomena are important. One must make a distinction</span>
-<span class="i2">however: when dragged into prominence by half poets, the result is not</span>
-<span class="i8">poetry,</span>
-<span class="i2">nor till the autocrats among us can be</span>
-<span class="i4">“literalists of</span>
-<span class="i4">the imagination”—above</span>
-<span class="i6">insolence and triviality and can present</span>
-</div><div class="stanza">
-<span class="i0">for inspection, imaginary gardens with real toads in them, shall we have</span>
-<span class="i2">it. In the meantime, if you demand on one hand, in defiance of their opinion—</span>
-<span class="i2">the raw material of poetry in</span>
-<span class="i4">all its rawness and</span>
-<span class="i4">that which is, on the other hand,</span>
-<span class="i6">genuine then you are interested in poetry.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
-<div class="chapter"><h2 class="nobreak">IN THE DAYS OF PRISMATIC COLOR</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">not in the days of Adam and Eve but when Adam</span>
-<span class="i2">was alone; when there was no smoke and color was</span>
-<span class="i0">fine, not with the fineness of</span>
-<span class="i2">early civilization art but by virtue</span>
-<span class="i0">of its originality, with nothing to modify it but the</span>
-</div><div class="stanza">
-<span class="i0">mist that went up, obliqueness was a varia-</span>
-<span class="i2">tion of the perpendicular, plain to see and</span>
-<span class="i0">to account for: it is no</span>
-<span class="i2">longer that; nor did the blue red yellow band</span>
-<span class="i0">of incandescence that was color, keep its stripe: it also is one of</span>
-</div><div class="stanza">
-<span class="i0">those things into which much that is peculiar can be</span>
-<span class="i2">read; complexity is not a crime but carry</span>
-<span class="i0">it to the point of murki-</span>
-<span class="i2">ness and nothing is plain. A complexity</span>
-<span class="i0">moreover, that has been committed to darkness, instead of granting it-</span>
-</div><div class="stanza">
-<span class="i0">self to be the pestilence that it is, moves all a-</span>
-<span class="i2">bout as if to bewilder with the dismal</span>
-<span class="i0">fallacy that insistence</span>
-<span class="i2">is the measure of achievement and that all</span>
-<span class="i0">truth must be dark. Principally throat, sophistication is as it al-</span>
-</div><div class="stanza">
-<span class="i0">ways has been—at the antipodes from the init-</span>
-<span class="i2">ial great truths. “Part of it was crawling, part of it</span>
-<span class="i0">was about to crawl, the rest</span>
-<span class="i2">was torpid in its lair.” In the short legged, fit-</span>
-<span class="i0">ful advance, the gurgling and all the minutiæ—we have the classic</span>
-</div><div class="stanza">
-<span class="i0">multitude of feet. To what purpose! Truth is no Apollo</span>
-<span class="i2">Belvedere, no formal thing. The wave may go over it if it likes.</span>
-<span class="i0">Know that it will be there when it says:</span>
-<span class="i2">“I shall be there when the wave has gone by.”</span>
-</div></div></div>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
-<div class="chapter"><h2 class="nobreak">IS YOUR TOWN NINEVEH?</h2></div>
-
-<div class="poetry-container"><div class="poem"><div class="stanza">
-<span class="i0">Why so desolate?</span>
-<span class="i2">And why multiply</span>
-<span class="i4">in phantasmagoria about fishes,</span>
-<span class="i6">what disgusts you? Could</span>
-<span class="i8">not all personal upheaval in</span>
-<span class="i10">the name of freedom, be tabood?</span>
-</div><div class="stanza">
-<span class="i0">Is it Nineveh</span>
-<span class="i2">and are you Jonah</span>
-<span class="i4">in the sweltering east wind of your wishes?</span>
-<span class="i6">I, myself have stood</span>
-<span class="i8">there by the aquarium, looking</span>
-<span class="i10">at the Statue of Liberty.</span>
-</div></div></div>
-
-<hr class="chap" />
-<p class="center">Printed at the Pelican Press, 2 Carmelite Street, E.C.</p>
-<hr class="chap" />
-
-<div class="transnote bbox">
-<p class="f120 space-above1">Transcriber’s Notes:</p>
-<hr class="r5" />
-<p class="indent">Typographical errors have been silently corrected.</p>
-</div>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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