Marianne Moore On “Bird-Witted” Essay

born(p) in Kirkwood, Missouri, Moore studied biology at Bryn Mawr College. afterward travelling in Europe with her receive, she taught at the U.S. Indian School in Carlisle, Pennsylvania, and later moved to Brooklyn, reinvigorated York, where she worked as a librarian. Moore first published her poesys in such comminuted magazines as the Egoist, Poetry, and Others, later redact the Dial, a highly regarded modernist periodical.In part because of her commodious European travels earlier the maiden World War, Moore came to the guardianship of poets as diverse as Wallace Stevens, Hilda Doolittle, T. S. Eliot, and Ezra Pound and corresponded for a time with W.H. Auden and Ezra Pound.In her poetry Moore experimented with the stanza and strived to unite what she called precision, deliverance of statement and logic with complex rhyme patterns, syllable counts, and flowery diction. Her volumes include Poems (1921), Observations (1924), undisturbed Poems (1951), and Complete Poems ( 1967).On Bird-Witted mostwhat the poemThe American poet Marianne Moore wrote poems quite similar to fables in their use of faunas and animal traits to comment on adult male experience. Composed in (1951) and published in her Collected Poems, Moores narrative poem Bird-witted can attain the tonus of fable as its being a skeleton allegorical narrative where the characters ar animals who act same(p) people man retaining their animal traits.The poem is around a stick mocking gentlewoman struggling to open its three fledglings or young darns when a toot approaches them to mark the transformation of the render from a ply and caring bird to dangerously defending and protective.The First StanzaMoore chooses animals or birds to re placement the existence of the world of man, at that place is no human that animals working want humans yet keeping their animal traits. Moore constructs in this poem and many other poems, a ordained portrait of feminine figure. One of the arduo usest is, not surprisingly, the mother, almost all of them in animal form, who appear inMoores poems of the thirties and forties. Moore lived with her mother all her life story until Mrs. Moores death in 1947, who was a mother of un greenness intellectual gifts as well as possessiveness and surely had that deep impact on her feature daughter. The poem starts with lo spilling the three young birds down the stairs the pussy-willow tree waiting for their mother. The three large mockingbirds with huge penguin eyes are standing in a row beside apiece other solemnly coin bank they observe their no longer larger mother approaching with what will feed one of them before going back to bring more for them.The sustain StanzaHere, the stanza starts from where the mother bird is, as while temporary it can hear the irregular squeaking of its hungry(p) young birds similar to a broken springs of a carriage as well as undercover work them below so tiny handle chromatic coloured freckles. (To them the mother is no longer larger, to her they are still tiny give care freckles. A common but interchangeable concern between a mother and her children when claiming their growth and demanding their independence and knowledge while her enforcing her possessiveness and protection over them). When approaching them and landing, the mother bird puts a beetle in one of the little birds beak but as it dropped out the mother puts it in again. An image enforcing their helplessness and her caring yet, strong hold over them.The Third StanzaThis stanza shows the process, of which the young mockingbirds limited how their hunger is satisfied. As they stand in the pussy-willow complete with their grey coloured coats, they spread tail and wings, screening one by one, the modest white bar lengthwise on the tail and crosswise underneath the wing,. One must not forget that their squeaks or the accordion as described musically in the stanza, is closed again and now they set to trial thei r skills of flying while the mother is away.The Fourth StanzaThe cashier has to express the quality of the mother birds melody as delightful yet its unexpected but quick change as flute- ripes leaping from the throat of the shrill grown bird coming from the remote nonenterprising sunlit air when realising the brood leaving their place and testing their abilities to fly. And how harsh the birds voice has become as the narrator describes.Moores embodiment of maternal demeanour in animal figures not only affirms the instinctual constitution of such behaviour in general but also reflects (and to some extent explains) the ever-present animal kingdom of pet-names by which the Moore family members expressed their attachments to one another. This face of maternal protection is placed in Moores female figures as they come into the full loudness of their unyielding devotion.The Fifth StanzaThis stanza is devoted to a spy cat described as approaching and threatening danger. The cat i s observing the little birds and slowly creep toward them while naively and out of ignorance they pay no heed to it. While one of the birds is in middle of its attempt to fly, its dangling foot that missed the cats prod is raised and finds the twig or branch on which it planned to rest on. This incident is not to be left alone as the sixth stanza shows gag rule of this poem.The Sixth StanzaThe movement of this stanza is quicker than the previous ones, characterization the angry mother bird as it hurry from the sky down where the cat stands. Its fear for the arctic of its own little birds had given it the strength and bravery to involve in a deadly battle where the cat is almost killed by the spear like beak of the bird and its angry wings. The enemy in the final lines, the intellectual cautious- / ly creeping cat, brings about an arouse point of the narrative, which is the transformation of personality brought on not only by the approaching danger of the cat but also by mo therhood itself as the bayonet beak and cruel wings of the bird defending her brood, produces a seriocomic scene that Moore intended. This eminence between protection and injury was clearly an cardinal one to a poet living creatively at heart her mothers house.Structure-Later in her life, in 1967, Moore confessed that the sound of the verse was more important to her than its opthalmic pattern. She remarked that it ought to be continuous, and that she had always wanted her verse to sound unstrained and natural as though she was speaking. At the time, she expressed her distaste for the common place that she wrote in syllabic verse, in which the line lengths of a iterate stanza pattern are determinedby the song of syllables, rather than stresses. She confessed her liking to see symmetry and method on the page.-Thus, in Bird Witted, as each stanza consists of 10 lines, all the six stanzas are similar in length of line but this poem has no rhyming pattern though some lines rhyme together-The pattern itself is repeated with each stanza though the count of syllables differs as in The 1st, 2nd, 4th and sixth stanzas (the fourth line contains 3 syllables), the 3d and fifth stanzas (the fourth line contains 4 syllables).-Word breaking as a word is split between the lines (sun/lit) in the 4th stanza and (cautious/ly) in the sixth one.-The fable like form, as animals replace human characters.-Assonance in the repeat of the vowel sounds of (wide/eyes), (keyed/squeak), (their/pale), (crosswise/lengthwise)-Consonance in the repetition of the final consonant sounds of (squeak/meek), (picks/puts)-Alliteration as the (t) sound in (the trim one-third on the tree-stem), (f) sound in (freckled forms), (p) sound in (planned to perch)