Poetry, Marianne Moore
1. I, too, dislike it: there are things that are important beyond all this fiddle.
2. Reading it, however, with a perfect contempt for it, one discovers in
3. it after all, a place for the genuine. Hands that can grasp, eyes
4. that can dilate, hair that can rise if it must, these things are important not because a
5. high-sounding interpretation can be put upon them but because they are
6. useful. When they become so derivative as to become unintelligible,
7. the same thing may be said for all of us, that we do not admire what
8. we cannot understand: the bat holding on upside down or in quest of something to
9. eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
10. a tree, the immovable critic twitching his skin like a horse that feels a flea, the base-
11. ball fan, the statistician-- nor is it valid to discriminate against "business documents and
12. school-books"; all these phenomena are important. One must make a distinction
13. however: when dragged into prominence by half poets, the result is not poetry,
14. nor till the poets among us can be "literalists of the imagination"--above
15. insolence and triviality and can present for inspection, "imaginary gardens with real
16. toads in them," shall we have it. In the meantime, if you demand on the one hand,
17. the raw material of poetry in all its rawness and that which is on the other hand
18. genuine, you are interested in poetry.
Moore, Marianne. "Poetry." Poets.org. N.p., n.d. Web. 19 Apr. 2016.
The first five lines of Poetry PRIMARILY make use of