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 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 Now I breathe and now I am sub- merged the blemishes stand up and shout when the object Sun, I do these things which I do, which please no one but myself. Openly, yes, with the naturalness of the hippopotamus or the alligator when it climbs out on the bank to experience the Moore was perfectly and inhumanly removed, at such a moment, from her fellow human beings.” ‘I see and I hear,’ muses the poet-elephant, who accuses man, seen through his eyes, of self-delusion, of having eyes and seeing not, of having ears and hearing not . The poem is agitated by all of Moore’s central concerns: the nature of power, the nature of identity, the impassivity of selfhood, the wounds of circumstance, the failures of human perception. t surely ranks among her most natural and beautiful pieces. The one on the elephant is, or ought to be taken as, a poem about Moore herself-her most personal and ‘ lyric’ poem . In Part of Nature, Part of Us: Modern American Poets (Harvard University Press, 1980), Helen Vendler, Porter University Professor Emerita at Harvard University, writes, “There is no doubt that some of early poems on animals or objects are also, even principally, about human beings. “Black Earth” appears in Marianne Moore’s first collection, Poems (The Egoist Press, 1921).
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