Its beauty lacks spirit, just as the king lacks life. And once again Moore has surprised the careful reader, has done her magic with painstaking precision and accuracy, giving us an awareness that is not the expected view about time, history, and art.
The living swan, with "gondoliering legs," though it has locomotion and can look with apparent disapproval at the world around it, still suffers from a blind limitation in time and history. Thus, with the most delicate of signals, Moore sets up a "swan song" for both the ear and the mind. The poet has brought the attentive reader to a new dimension of a multifaceted truth, to a real intuition, which is for Bergson the highest stage in the evolution of understanding.
By not attempting to establish her authority through cultural mirrors, Moore has moved assuredly through changing visions--visions which locate the cause for their own decentered consciousness, "The king is dead. It was rumoured at the time that the magazine would close that year, suggesting that this may be a swan song for the magazine - celebrating the brilliance of its era - but also suggesting that the old must give way to the new.
Since the late s, some chintz cloth has come to be thought of as sleazy or tawdry. The real swan, by contrast, may appear a bit foolish as it takes its gondoliering sea legs ashore A literary analysis of no swan so fine waddles up the river bank. However, by shifting her vision from something to be mourned to something that is itself mournful, she introduces a slight note of comedy into this tragic scene.
The pattern is altered only in the last line, where the addition of one syllable disrupts the pattern and forces the reader to break the pace. However, in these poems the others are the visual and verbal embodiment of a culture which is passing and changing.
She is, I would suggest, offering a kind of Hegelian dialectic in her thesis, antithesis, and synthesis, although the argument is never really brought to a permanent solution.
U of Alabama P, Never one to assure or coddle her readers in any way, Moore hints at the same lure of escape, deftly questions its efficacy, and then steps aside without offering any conclusion.
The poem thus argues effectively for each point of view. Only echoes of another era, ghosts from another moment in history, inhabit the environs now. But over time, the beautiful glazed cotton cloth called chintz has been tinged by the pejorative. That is the only realistic thing to do.
It is interesting that Moore has the china swan perched among everlastings, flowers that keep their color and shape beyond their actual life span, retaining a kind of beauty even when dried and preserved. And what does that reveal about the dead fountains and about why the real-life swan is not "so fine as" its artificial counterpart?
One longs for strict forms capable of containing and controlling the complexity of the age, but a form that hopes to control the chaos automatically becomes suspect. Despite this it has a vitality and life force not present in the china swan to which it is compared.
But there remains one all-important phrase in the poem. That "hollowness," no matter how artfully captured in the renovation of Versailles or in the china swanremains shallow.
The term "swan" has a literary meaning too; it has come to mean the poet, one who sings sweetly a song of unusual beauty, excellence, or purity. The Poetry of Marianne Moore. Indeed, Prufrock and Mauberly address the problem of identity in a culture which no longer reflects them.
For it may also suggest a showiness, a contrived artifice, like the era of the Versailles fountains, now rendered "so still," even when preserved in the new life of art.
It, too, conveys a sense of timelessness - just as every generation of swans contains unique, unrepeatable individuals, so each human era is unique - the past gives way to the present and the present to the future.
Versailles may be gone, but it is still inspiring new art forms. The elegant setting of the china swan, amidst "polished sculptured flowers," becomes a prison.
That same artifice continues to elicit awe, even when its beauty is reduced to static potential. One senses, though, that the artwork swan, although it has its own kind of duration, is somehow deficient. The quote suggests that no water can be as still as a dry, man-made fountain.
In both cases, the implicit focus is on the response of the human observer, rather than the actual swans.
It remains to provide a sense of timelessness - perched on the everlastings, it has an existence beyond the limitations of days and years.
On one level, the poem reads as an outraged indictment of artifice and stasis. So too is the quality of the swan created by artifice. Similarly, there is no living swan like the chintz china one lodged in the Louis XV candelabrum captured in time among the carved dahlias, seaurchins, and appropriately everlastings.
I wonder if I will be the only one to suggest it!!! Nonetheless, any institution, even one associated with what at one point must have seemed the avant-garde, must be ready to greet the new king.
It retains the beauty of the living swan, and is a reminder of the brilliance of the historical court.
Michelle Whitehead previously Chapman - I was married in March. The poem then goes on to describe a living swan, at once haughty and ridiculous - so fine when skimming across the water, but losing its elegance when seen from underneath.No Swan So Fine by Marianne killarney10mile.com water so still as the dead fountains of killarney10mile.com No swan with swart blind look askance and gondoliering legs so fine as the chinz china.
Page. "No Swan No Fine" is a free-versed, fourteen-lined poem written by Marianne Moore for the 20th anniversary edition of the Poetry Magazine. It was rumored at the time that the magazine would end its year - suggesting that the poem was a swan song for.
No Swan So Fine By Marianne Moore "No water so still as the dead fountains of Versailles." No swan, with swart blind look askance and gondoliering legs, so fine. Unlike most editing & proofreading services, we edit for everything: grammar, spelling, punctuation, idea flow, sentence structure, & more.
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