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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..bfa1589 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #62833 (https://www.gutenberg.org/ebooks/62833) diff --git a/old/62833-0.txt b/old/62833-0.txt deleted file mode 100644 index 2f9bd68..0000000 --- a/old/62833-0.txt +++ /dev/null @@ -1,1322 +0,0 @@ -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 - -*** END OF THIS PROJECT GUTENBERG EBOOK POEMS *** - -***** This file should be named 62833-0.txt or 62833-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/8/3/62833/ - -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.) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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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.) - - - - - - -</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"> 5</a></td> - </tr><tr> - <td class="tdl">TO A STEAM ROLLER</td> - <td class="tdr"><a href="#Page_6"> 6</a></td> - </tr><tr> - <td class="tdl">DILIGENCE IS TO MAGIC AS PROGRESS IS TO FLIGHT</td> - <td class="tdr"><a href="#DILIGENCE"> 6</a></td> - </tr><tr> - <td class="tdl">THOSE VARIOUS SCALPELS</td> - <td class="tdr"><a href="#Page_7"> 7</a></td> - </tr><tr> - <td class="tdl">FEED ME, ALSO, RIVER GOD,</td> - <td class="tdr"><a href="#Page_8"> 8</a></td> - </tr><tr> - <td class="tdl">TO WILLIAM BUTLER YEATS ON TAGORE</td> - <td class="tdr"><a href="#YEATS"> 8</a></td> - </tr><tr> - <td class="tdl">HE MADE THIS SCREEN</td> - <td class="tdr"><a href="#Page_9"> 9</a></td> - </tr><tr> - <td class="tdl">TALISMAN</td> - <td class="tdr"><a href="#TALISMAN"> 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"> </td> - </tr><tr> - <td class="tdl">   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  </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"> </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"> </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"> </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"> </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"> </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"> </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"> </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> - - - - - -End of the Project Gutenberg EBook of Poems, by Marianne Moore - -*** END OF THIS PROJECT GUTENBERG EBOOK POEMS *** - -***** This file should be named 62833-h.htm or 62833-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/2/8/3/62833/ - -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.) - - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the United -States without permission and without paying copyright -royalties. 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