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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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