There is no single way to do a close reading of a poem.
Quite obviously, however, her reasoning is serious. She refers to a kind of poetry that is neither honest nor sincere but that has found fashionable approval by virtue of its very obscurity.
The last version, appearing in the Complete Poems ofis four lines long, having been cut from a poem of thirty-eight lines that appeared in the Selected Poems of and the Collected Poems of This longer version, in turn, grew out of the original thirteen lines printed in Observations.
The last revision was, I think, a mistake. For one thing, the poem of four lines is so brief that it invites misinterpretation. The words "dislike" and "contempt" overshadow the idea that poetry has also a place for the genuine and, without knowing the earlier versions, a reader might very well feel confused.
What poetry is she referring to? It isn't clear in the short version. In this case the concision itself results in a kind of obscurity.
The middle version is the one I like best. The thirteen lines in Observations are thin by comparison to the longer poem of The Observations version makes clear that Miss Moore is denigrating a particular kind of modern poetry in which intellectualization has led to incomprehensibility, but it does not, as the longer version does, seek to define what poetry ought to be.
The longer version does this. The raw material for poetry abounds, it is everywhere, is anything, but it must be imaginatively grasped. Imagination proceeds from a deeper source than intellection. When, in "Melanchthon," Miss Moore speaks of the "beautiful element of unreason" underlying the poet's tough hide, I think she is talking about the place where imagination grows.
The "element" is genuine because it cannot be otherwise, its source mysterious, hidden under layers of the rational mind. Poetry, then, when it is genuine, is a collision of this private vision with the outside world.
It is an imaginary garden full of real toads. This is thought that needs emphasis; I miss it in the four-line poem. Perhaps Miss Moore felt that she was following her own advice on compression.
What we find valuable in style is "the principle that is hid. But in the final version of "Poetry" the virtue of compression has been carried too far. The hidden principle has been too well hidden. The Cage and the Animal. Joyce Moore used the poetic imagination to represent the transformative power of the arts over social tradition.
Her original version of "Poetry," the one relegated to the "notes" section of her Complete Poems, presents not only her view of the operations of the imagination but that of twentieth-century American poets in general. As with Moore's abstraction through particulars, her investment in the power of the imagination in the arts is convincing proof of her denial of bourgeois conventions--there is no room for the imagination in a society based on pragmatic, materialistic lifestyles.
Not only that, but the very fact that Moore reduced the overt presentation of this poem to a few lines in the body of this poetry collection illustrates her reluctance to admit her critique of the bourgeoisie and her reliance on the imagination to escape it.
By introducing this poem with "I, too, dislike it," Moore acknowledges the inherent triviality of poetry; it fulfills no "practical" function and, therefore, has no apparent role in culture.
Her ironic tone in this line, however, negates its surface meaning and reinforces her belief in the power of the imagination to find a place for poetry in establishing meaning in culture. She treats it the way Wallace Stevens treats his notion of reality--as poetry's goal.
Unlike Stevens, though, Moore does not believe that poetry is transcendental; its reason for existence is entrenched in its ability to capture a sincere response to life's experiences, those that accurately reflect the social context of the poet.
Moore believes that physical. Moore wants poetry to function in the same way--rather than being so complex and difficult that it connects only to our intellect, it should stimulate us also through our physical senses.
Human behavior is equally difficult to comprehend: Despite our lack of comprehension of "phenomena," we must confront them repeatedly, following that human instinct to investigate and describe.
Even though abstract poetry is obscure, Moore poses, it is worth our attention because it is no more difficult to understand than anything else around us: But, Moore says, there are dull things that really are useless, such as bad poetry, and it is bad poetry that makes her think at first that she "dislikes" the genre entirely.We would like to show you a description here but the site won’t allow us.
Analysis of Ode “We are the Music Makers” by Arthur William Edgar Website Contributors Apr 2, 1 This ode by the British poet of Irish descent, Arthur O’Shaughnessy, is one of the oldest forms of poetry and is a.
The Poems and Quotes on this site are the property of their respective authors. All information has been reproduced here for educational and informational purposes. In short lyrics and prose poems, he reveals the detailed strangeness of ordinary things.
Gathered from six chapbooks that were regionally distributed, this volume is Hennen’s long-overdue introduction to a national audience. I tell them that reading a poem aloud a few times can help them get an overall feel for the language, rhyme, and rhythm of the poem. Visualize the images, clarify words and phrases.
When I discuss visualizing, I ask the students what does the quotation "there are pictures in poems and poems . Nov 28, · An Analysis of Yeats' The Second Coming Yeats' poem "The Second Coming," written in and published in in his collection of poems Michael Robartes and the Dancer, taps into the concept of the gyre and depicts the approach of a new world order.