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.3The tentativeness, contractility, acquires more purely the theme of 48Kenneth Burkejeopardy in Bird-Witted (What Are Years), reciting the incident of the three large fledgling mocking-birds, awaiting their no longer largermother, while there approachestheintellectual cautious-ly c r e e p ing cat.If her animals are selected for their fastidiousness, theirfastidiousness itself is an aspect of contractility, of jeopardy. The Pangolin (What Are Years), a poem which takes us through odd nocturnal journeys tothe joyous saluting of the dawn, begins: Another armoured animal and ofa sudden you realize that Miss Moore s recondite menagerie is almost athesaurus of protectivenesses.Thus also, the poem in which occur the linesanent visible and invisible, has as its conclusion:unsolicitude having swallowed upall giant birds but analert gargantuanlittle-winged, magnificentlyspeedy running-bird.This oneremaining rebelis the sparrow-camel.The tentativeness also manifests itself at times in a cult of rarity, acollector s or antiquarian interest in the present, a kind of stylistic tourism.And it may lead to a sheer word play, of graduated sort (a Laforguian delightin showing how the pedantries can be reclaimed for poetry):The lemur-student can seethat the aye-aye is notan angwan-tíbo, potto, or loris.Yet mention of the aepyornis may suggest the answer we might have given,were we up on such matters, to one who, pencil in hand and with thenewspaper folded to make it firmer, had asked, What s a gigantic bird, foundfossil in Madagascar in nine letters? As for her invention, invisible, I can tsee it.Tonally, the contractility reveals itself in the great agility, even 49Motives and Motifs in the Poetry of Marianne Moorerestlessness, which Miss Moore imparts to her poetry by assonance, internalrhyme, and her many variants of the run-over line.We should also note thosesudden nodules of sound which are scattered throughout her verses, suchquick concentrations as rude root cudgel, the raised device reversed, trim trio on the tree-stem, furled fringed frill, or tonal episodes moresustained and complex, as the lines on the birds in Ireland (already quoted),or the title, Walking-Sticks and Paper-Weights and Water-Marks, or.the redbirdthe red-coated musketeer,the trumpet-flower, the cavalier,the parson, and thewild parishioner.A deer-track in a church-floorbrick.One noticeable difference between the later selection and the earlierone is omission of poems on method.In Selected Poems there were a greatmany such.I think for instance of: Poetry, containing her ingeniousconceit, imaginary gardens with real toads in them ; Critics andConnoisseurs ; The Monkeys ; In the Days of Prismatic Colour ; Picking and Choosing ; When I Buy Pictures ; Novices (on action inlanguage, and developed in imagery of the sea); The Past is the Present ( ecstasy affords / the occasion and expediency determines the form ); andone which propounds a doctrine as its title: In This Age of Hard Trying,Nonchalance is Good and. But though methodological pronouncements of this sort have droppedaway, in the closing poem on The Paper Nautilus, the theme doesreappear.Yet in an almost startlingly deepened transformation.Here,proclaiming the poet s attachment to the poem, there are likenesses to thematernal attachment to the young.And the themes of bondage and freedom(as with one hindered to succeed ) are fiercely and flashingly merged.NOTES1.In passing we might consider a whole series of literary ways from this point of view.Allegory would deal with correspondences on a purely dogmatic, or conceptual basis.Inthe article on Vestments, for instance, in the Encyclopædia Britannica, we read of various symbolical interpretations : (1) the moralizing school, the oldest, by which as in the caseof St.Jerome s treatment of the Jewish vestments the vestments are explained as typicalof the virtues proper to those who wear them; (2) the Christological school, i.e.that which 50Kenneth Burkeconsidered the minister as the representative of Christ and his garments as typical of someaspects of Christ s person or office e.g.the stole is his obedience and servitude for oursakes; (3) the allegorical school, which treats the priest as a warrior or champion, who putson the amice as a helmet, the alb as a breastplate, and so on. A work constructed aboutthe systematic use of any such theories of correspondence would, to our way of thinking,be allegorical.The symbolic would use an objective vocabulary for its suggestion of thesubjective, with the subjective motive being organizationally more important than theobjective one.The specific literary movement called Symbolism would exemplify thisstress to a large extent, but would also gravitate towards Surrealism, which stresses theincongruous and contradictory nature of motives by the use of gargoyles as motifs.Imagism would be personalistic, in the idealistic sense, in using scenic material as thereflection, or extension of human characters.The objectivist, though rooted in symbolicand imagist concerns, would move into a plane where the object, originally selected byreason of its subjective reference, is studied in its own right.(The result will be descriptive poetry.And it will be scientific in the sense that, whereas poetry is a kindof act, the descriptiveness of science is rather the preparation for an act, the delayed actionof a Hamletic reconnaissance in search of the accurate knowledge necessary for the, act.And descriptive poetry falls across the two categories in that it acts by describing the scenepreparatory to an act.) Naturalism has a greater stress upon the scenic from the polemicor depreciatory point of view (its quasi-scientific quality as delayed action, or preparationfor action, often being revealed in that such literature generally either calls for action inthe non-esthetic field or makes one very conscious of the fact that a solution is neededbut is not being offered).True realism is difficult for us to conceive of, after so long astretch of monetary idealism (accentuated as surrealism) and its counterpart, technologicalmaterialism (accentuated as behaviorism and operationalism), while pragmaticphilosophies stress making and doing and getting in a localized way that obscures therealistic stress upon the act.The German term, Realpolitik, for instance, exemplifies a crudebrand of pragmatism that completely misrepresents the realistic motive.Thecommunicative nature of art gives all art a realistic ingredient, but the estheticphilosophies which the modern artist consciously or unconsciously absorbs continuallyserve to obscure this ingredient rather than to cultivate it.2.This is cited from the poem that follows the one on Marriage, and is in turn followedby Sea Unicorns and Land Unicorns [ Pobierz caÅ‚ość w formacie PDF ]
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.3The tentativeness, contractility, acquires more purely the theme of 48Kenneth Burkejeopardy in Bird-Witted (What Are Years), reciting the incident of the three large fledgling mocking-birds, awaiting their no longer largermother, while there approachestheintellectual cautious-ly c r e e p ing cat.If her animals are selected for their fastidiousness, theirfastidiousness itself is an aspect of contractility, of jeopardy. The Pangolin (What Are Years), a poem which takes us through odd nocturnal journeys tothe joyous saluting of the dawn, begins: Another armoured animal and ofa sudden you realize that Miss Moore s recondite menagerie is almost athesaurus of protectivenesses.Thus also, the poem in which occur the linesanent visible and invisible, has as its conclusion:unsolicitude having swallowed upall giant birds but analert gargantuanlittle-winged, magnificentlyspeedy running-bird.This oneremaining rebelis the sparrow-camel.The tentativeness also manifests itself at times in a cult of rarity, acollector s or antiquarian interest in the present, a kind of stylistic tourism.And it may lead to a sheer word play, of graduated sort (a Laforguian delightin showing how the pedantries can be reclaimed for poetry):The lemur-student can seethat the aye-aye is notan angwan-tíbo, potto, or loris.Yet mention of the aepyornis may suggest the answer we might have given,were we up on such matters, to one who, pencil in hand and with thenewspaper folded to make it firmer, had asked, What s a gigantic bird, foundfossil in Madagascar in nine letters? As for her invention, invisible, I can tsee it.Tonally, the contractility reveals itself in the great agility, even 49Motives and Motifs in the Poetry of Marianne Moorerestlessness, which Miss Moore imparts to her poetry by assonance, internalrhyme, and her many variants of the run-over line.We should also note thosesudden nodules of sound which are scattered throughout her verses, suchquick concentrations as rude root cudgel, the raised device reversed, trim trio on the tree-stem, furled fringed frill, or tonal episodes moresustained and complex, as the lines on the birds in Ireland (already quoted),or the title, Walking-Sticks and Paper-Weights and Water-Marks, or.the redbirdthe red-coated musketeer,the trumpet-flower, the cavalier,the parson, and thewild parishioner.A deer-track in a church-floorbrick.One noticeable difference between the later selection and the earlierone is omission of poems on method.In Selected Poems there were a greatmany such.I think for instance of: Poetry, containing her ingeniousconceit, imaginary gardens with real toads in them ; Critics andConnoisseurs ; The Monkeys ; In the Days of Prismatic Colour ; Picking and Choosing ; When I Buy Pictures ; Novices (on action inlanguage, and developed in imagery of the sea); The Past is the Present ( ecstasy affords / the occasion and expediency determines the form ); andone which propounds a doctrine as its title: In This Age of Hard Trying,Nonchalance is Good and. But though methodological pronouncements of this sort have droppedaway, in the closing poem on The Paper Nautilus, the theme doesreappear.Yet in an almost startlingly deepened transformation.Here,proclaiming the poet s attachment to the poem, there are likenesses to thematernal attachment to the young.And the themes of bondage and freedom(as with one hindered to succeed ) are fiercely and flashingly merged.NOTES1.In passing we might consider a whole series of literary ways from this point of view.Allegory would deal with correspondences on a purely dogmatic, or conceptual basis.Inthe article on Vestments, for instance, in the Encyclopædia Britannica, we read of various symbolical interpretations : (1) the moralizing school, the oldest, by which as in the caseof St.Jerome s treatment of the Jewish vestments the vestments are explained as typicalof the virtues proper to those who wear them; (2) the Christological school, i.e.that which 50Kenneth Burkeconsidered the minister as the representative of Christ and his garments as typical of someaspects of Christ s person or office e.g.the stole is his obedience and servitude for oursakes; (3) the allegorical school, which treats the priest as a warrior or champion, who putson the amice as a helmet, the alb as a breastplate, and so on. A work constructed aboutthe systematic use of any such theories of correspondence would, to our way of thinking,be allegorical.The symbolic would use an objective vocabulary for its suggestion of thesubjective, with the subjective motive being organizationally more important than theobjective one.The specific literary movement called Symbolism would exemplify thisstress to a large extent, but would also gravitate towards Surrealism, which stresses theincongruous and contradictory nature of motives by the use of gargoyles as motifs.Imagism would be personalistic, in the idealistic sense, in using scenic material as thereflection, or extension of human characters.The objectivist, though rooted in symbolicand imagist concerns, would move into a plane where the object, originally selected byreason of its subjective reference, is studied in its own right.(The result will be descriptive poetry.And it will be scientific in the sense that, whereas poetry is a kindof act, the descriptiveness of science is rather the preparation for an act, the delayed actionof a Hamletic reconnaissance in search of the accurate knowledge necessary for the, act.And descriptive poetry falls across the two categories in that it acts by describing the scenepreparatory to an act.) Naturalism has a greater stress upon the scenic from the polemicor depreciatory point of view (its quasi-scientific quality as delayed action, or preparationfor action, often being revealed in that such literature generally either calls for action inthe non-esthetic field or makes one very conscious of the fact that a solution is neededbut is not being offered).True realism is difficult for us to conceive of, after so long astretch of monetary idealism (accentuated as surrealism) and its counterpart, technologicalmaterialism (accentuated as behaviorism and operationalism), while pragmaticphilosophies stress making and doing and getting in a localized way that obscures therealistic stress upon the act.The German term, Realpolitik, for instance, exemplifies a crudebrand of pragmatism that completely misrepresents the realistic motive.Thecommunicative nature of art gives all art a realistic ingredient, but the estheticphilosophies which the modern artist consciously or unconsciously absorbs continuallyserve to obscure this ingredient rather than to cultivate it.2.This is cited from the poem that follows the one on Marriage, and is in turn followedby Sea Unicorns and Land Unicorns [ Pobierz caÅ‚ość w formacie PDF ]