Moore, Marianne
(Kirkwood, Miss. 1887-1972 New York, N.Y.) : Dichterin, Schriftstellerin
[Permission for quotations by Cynthia Stamy and Qian Zhaoming].
[Permission for quotations by Cynthia Stamy and Qian Zhaoming].
Subjects
Index of Names : Occident
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Literature : Occident : United States of America
Chronology Entries (72)
| # | Year | Text | Linked Data |
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| 1 | 1905-1972 |
Marianne Moore and China : general. Quellen Animals in paintings from Asia. Boston Museum of Fine Arts (1965). Baynes. Vol. 1-2. (New York, N.Y. : Pantheon Books, 1950). (Bollingen series ; 19). Bynner, Witter. Laotzu. The way of life according to Laotzu [ID D30328]. [With notations]. Candolle, Alphonse de. Origin of cultivated plants. (New York, N.Y. : D. Appleton, 1886). Master bronzes : selected from museums and collections in America. February 1937. Confucius. The analects of Confucius. Transl. and ann. by Arthur Waley [ID D8879]. [With notations]. Confucius. Shih-ching : the classic anthology defined by Confucius. [Transl. by] Ezra Pound. [ID D29062]. Confucius. The unwobbling pivot and The great digest. Transl. by Ezra Pound. [ID D29063]. [1951, With notations]. Confucius to Cummings : an anthology of poetry. Ed. by Ezra Pound [ID D30334]. Costumes from the Forbidden City. Metropolitan Museum of Art (March 1945). Cottrell, Annette B. Dragons. (Boston : Museum of Fine Arts, 1962). Davis, Frank. The Chinese dragon. In : Illustrated London news ; Aug. 23 (1930). Davis, Frank. The unnatural history of China : the lions of Buddha. In : Illustrated London news ; vol. 178 (1931). Eaton, Evelyn. Go ask the river [ID D30339]. Encyclopedia Britannica. European and Oriental sculpture. Anderson Galleries (Dec. 1928). Exhibition of early Chinese paintings and sculptures. Bourgeois Gallery, New York (Nov.-Dec. 1922). [With notations]. Fang, Achilles. Rhymeprose on literature. In : Harvard journal of Asiatic studies (1951). Franck, Harry Alverson. Roving through southern China [ID D3164]. Guang, Rusi. Chinese wit, wisdom and written characters [ID D30337]. Hackney, Louise Wallace. Guide-posts to Chinese painting. (Boston : Houghton Mifflin Co., 1927). Ji, Lu ; Hughes, E[rnest] R[ichard]. The art of letters : Lu Chi's "Wen fu", A.D. 302 [ID D30329]. Lin, Yutang. The Chinese theory of art [ID D30330]. The lost flute, and other Chinese lyrics [ID D30333]. Master bronzes. (Buffalo : Buffalo Fine Arts Academy, Albright Art Gallery, 1937). Paine, Robert Treat. Animals in paintings from Asia. (Boston : Museum of Fine Arts, 1956). Pallister, Bury. The China collectors : Parker companion. (London : Sampson Low, Marston, Low and Searle, 1874). Pound, Ezra. Instigations of Ezra Pound ; together with an essay on the Chinese written character [ID D22141]. Reed, Stanley. Oriental rugs and carpets. (New York, N.Y. : Putnam, 1967). The silent zero, in search of sound. Transl. by Erich Sackheim [ID D30336]. Sitwell, Osbert. Escape with me ! : an Oriental sketch book.[ID D3453]. Studies in Chinese literature. Ed. by John L. Bishop. [ID D10623]. Sze, Mai-mai. The tao of painting : a study of the ritual disposition of Chinese painting [ID D30310]. Sze, Mai-mai. The way of Chinese painting [ID D30335]. [Inscribed "For Marianne Moore this pocket version! Affectionately, Mai-mai Sze, November 24, 1959"]. Topsell, Edward. Historie of foure-footed beastes. (London : Printed by William Iaggard, 1607). The treasure of Luhan. In : Metropolitan Museum of art bulletin. (Dec. 1919). Wilhelm, Richard. The I ching : or, Book of changes. Rendered into English by Cary F. Baynes. Vol. 1-2. (New York, N.Y. : Pantheon Books, 1950). (Bollingen series ; 19). Worcester Art Museum news bulletin and calendar. (1955). [Article on Chinese jades and photos of Zhou dynasty dragon]. Xue, Tao. I am a thought of you [ID D30338]. Sekundärliteratur 1971-1972 David Happell Hsin-Fu Wand : Marianne Moore states in the epigraph to her Complete poems : "Omissions are not accidents". We can assume that she is reticent about what she does not know well and that she will only "talk about them when I understand them". She never makes direct references to or gives quotations of classical Chinese poetry in her work. But we find in her poetry some allusions to Chinese objects d'art. She finds 'precision' and 'fastidiousness' in many things Chinese. 1995 Lina Unali : Marianne Moore searched in the Orient and in China in particular, for new sources of artistic inspiration and regeneration. Sometimes this only led to a rephrasing of traditional values in more agreeable terms. 1997 Beinecke Rare Book & Manuscript Library, Yale University http://brbl-archive.library.yale.edu/exhibitions/orient/mod10.htm. Marianne Moore's interest in China stemmed in part from her friendship with a Presbyterian missionary family and her visits to New York galleries. Always intrigued by the exotic, she regularly sought elements of "the wisdom of the East" to illustrate her moral points. 1999 Cynthia Stamy : As a young adult, Moore was experiencing the East as strange and peculiar. China's unfettered ability to resist American religious assimilation, the Christian framework which was so important for the Moore family, must have made it seem seven more alien, and possibly more exotic. Her affinity for scholarly work on Chinese subjects from poetry to painting, calligraphy, chinoiserie, textile design, and religious history is evident not only in her poetry and appended notes, but also in prose work throughout her writing career. Moore was involved in the imaginative production of the Orient ; she posited China as a repository of wisdom, forbearance, peace, and tranquility. At different times, Moore uses Chinese poetry, art, and philosophy to resist the dictates of contemporary verse forms, the influence of European literature and art, the restrictions of a masculine logic, and the imposition of the demands of contemporary politics and mass culture. Moore's fascination with dragons of the Far East can be seen as symptomatic of her apparent need to invest China and things Chinese with an originary potency, to place moral statements against a ground of the ancient and even prehistoric. Moore practices a kind of poetic primitivism in her poems that include Chinese supernatural creatures which allies her work with that of modernist painters who engaged in a similar practice of juxtaposition. Moore's deployment of things Chinese in her poems is augmented by her respect for Chinese ingenuity and tradition. Her selectivity in choosing China's art, but not her history, China's imperial past, but not her peasantry, is itself a dated orientalist response which reflects an impression of China suited to her own needs. Moore's original use of the Chinese 'fu' style of poetry is one successful instance of her consisten ingenuity in finding and employing 'new' form in her poetry. While Moore was not the first modern poet to prefer a Far Eastern form for expressing feelings and truths found in observations of nature, she used the model of the Chinese 'fu' in distinctive ways. The self-conscious antiquarianism of her repeated borrowing of 'fu' techniques exposes Moore's sens of the problematic nature of modernity, as she employed this ancient formal tributary model to pose questions about the moral and cultural significance of the present. Moore's 'fu'-inspired poems exhibit the kind of authority and didacticism which often characterize an ancient poetry. Like the Imagists and the practioners of the 'fu', Moore in her poetry exhibits a sustained use of a form of free verse within a very exacting structure. Her use of syllabic verse does not create its own rhythm and, therefore, the reader's attention is called to prose rhythms within the poem. The influences Moore seems to have absorbed from the 'fu', both in terms of structure and subject-matter, are distributed widely throughout her work and can be found in poems written both early and late in her career. Her interrelationships between the human and the natural were central to both the Confucian and Taoist traditions philosophies which Moore studied and referred to in her prose and poetry. Moore's syllabic verse also forms link with the Chinese language, in which each character is a single syllable. Moore's familiarity with Chinese scrolls was such that she was capable of making references to a specific type of scroll which depicted characteristic scenes of the larger rivers in China. 2003 Qian Zhaoming : Marianne Moore showed a passion for the artifacts of late imperial China – the Yuan, Ming, and Qing products – throughout her long career. Moore is fond of going to Chinese art exhibitions primarily because they promise to educate her eyes. As her correspondence reveals, she takes delight not only in examining the exhibits but also in recounting her prized items. Moore's interest in Chinese art is primarily an interest in Chinese animal pictures illustrating an approach that might be called 'imaginative objectivism'. By studying Chinese animal pictures, Moore benefits more than just recapturing some images in her own poetry. The true value for Moore of the Chinese tradition of treating animals is that it braces up her objection to the Western bias of the animal genre. She had attended many Chinese art shows where she has the freedom of examining for herself how Chinese painters turn themselves into 'instruments' of actual life. The Tao of painting by Mai-mai Sze awakened Moore to its true meaning and possibilities. It encouraged her to rethink the value of her own ambiguity and reserve in some early experiments. From Sze she has learned to overlook the distinction between Confucianism and Daoism / Buddhism. 2006 Victoria Bazin : Marianne Moore deploys imagery and tropes in circulation in the newspapers and literature she was reading on the subject of China and Chinese art and culture. Moore's respect for Eastern difference might appear to be an enlightened attempt to refuse the Orientalist impulse to accumulate knowledge of the 'other' thereby reinforcing Western hegemonic power, the fact that her poetic observations of 'China' reproduce it as a site of exotic and unfathomable otherness suggests its general complicity with European exoticism. |
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| 2 | 1905.1 |
Letter from Marianne Moore to Mary and John Warner Moore ; Thursday, November 2, 1905. A great many of the girls have Atlantic City plush bears and every girl I know has a China animal or grotesque likeness of one. |
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| 3 | 1907-1915 |
Moore, Marianne. Notebook. [Notations on two meetings of the local Ladies' Missionary Society]. The meeting was opened with prayer ; after which, the roll was called, each of those present reciting a verse of scripture as her name was called… the subject for discussion - 'The Chinese' was introduced… Mrs. King read an article on the Chinese & their peculiarities…Mrs. Barr & Mrs. Merwood read articles on the easiest ways & means to adopt, to convert the Chinaman… Notebook Pound – Li Po. Epitaph And Li Po also died drunk He tried to embrace a moon In the yellow river. |
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| 4 | 1908 | Marianne Moore received a Chinese carved wooden tray as a birthday present. |
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| 5 | 1911 | Marianne Moore visits the Exhibition of Chinese and Japanese Paintings at the British Museum. |
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| 6 | 1915 |
Letter from Marianne Moore to John Warner Moore ; December 12, [19]15. http://www.poets.org/viewmedia.php/prmMID/16808. Zaroubi Himurjian took us for luncheon to a Turkish restaurant, the Constantinople. We had soup and pieces of meat roasted on skewers and meat fried in grapeleaves and rice and pastry and ice cream. We then saw some ancient Chinese rugs at an Armenian wholesale rug place and an importer there took us to see the processes of silk making. |
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| 7 | 1916 |
Moore, Marianne. Notebook 1916-1921. 14 March (1916) Includes notes about the architecture of the Temple of Heaven in the Forbidden City. |
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| 8 | 1919 |
Letter from Marianne Moore to John Warner Moore ; Nov. 2, 1919. Yamanaka's had enormous lengths of silk, a red one, a white one, and a blue one hanging in the window and then to fill in the space, a venetian red one which made the whole thing kook neither American nor Chinese. |
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| 9 | 1920-1966 |
Moore, Marianne. The complete poems [ID D30312]. 1920 Moore, Marianne. Picking and choosing. In : Dial ; April (1920). … Gordon Craig with his "this is I" and "this is mine", with his three wise men, his "sad French greens", and his "Chinese cherry"… 1921 Moore, Marianne. England. In : Moore, Marianne. Poems. (London : The Egoist Press, 1921). “…The sublimated wisdom of China, Egyptian discernment, the cataclysmic torrent of emotion compressed in the verbs of the Hebrew language…” 1921 Marianne Moore. He made this screen. In : Moore, Marianne. Poems. (London : The Egoist Press, 1921). He made this screen not of silver nor of coral, but of weatherbeaten laurel. Here, he introduced a sea uniform like tapestry; here, a fig-tree; there, a face; there, a dragon circling space -- designating here, a bower; there, a pointed passion-flower. 1922 Moore, Marianne. People's surroundings. In : Dial ; June (1922). …When you take my time, you take something I had meant to use ; the highway hid by fir trees in rhododendron twenty feet deep, the peacocks, hand-forged gates, old Persian velvet, roses outlined in pale black on an ivory ground, the pierced iron shadows of the cedars, Chinese carved glass, old Waterford, lettered ladies ; landscape gardening twisted into permanence… a green piece of tough translucent parchment, where the crimson, the copper, and the Chinese vermilion of the poincianas set fire to the masonry and turquoise blues refute the clock… 1923 Moore, Marianne. Bowls. In : Secession ; no 6 (July 1923). on the green with lignum vitae balls and ivory markers, the pins planted in wild duck formation, and quickly dispersed – by this survival of ancient punctilio in the manner of Chinese carved carving, layer after layer exposed by certainty of touch and unhurried incision… 1923 Moore, Marianne. Novices. In : The chapbook : a monthly miscellany ; no 36 (April 1923). … averse from the antique with "that tinge of sadness about it which a reflective mind always feels, it is so little and so much"… Note : Line 15 : "The Chinese objects of art and porcelain disperses by Messrs. Puttick and Simpson on the 18th had that tinge of sadness which a reflective minde always feels ; it is so little and so much". Arthur Hadyn, Illustrated London News, February 26, 1921. 1924 Moore, Marianne. Sea unicorns and land unicorns. In : Dial ; Nov. (1924). …Thus personalities by nature much opposed, can be combined in such a way that when they do agree, their unanimity is great, "in politics, in trade, law, sport, religion, China-collecting, tennis, and church-going". 1924 Moore, Marianne. Well moused, lion. In : The Dial ; no 76 (Jan. 1924). Review of Stevens, Wallace. Harmonium. (New York, N.Y. : A.A. Knopf, 1923). http://www.jstor.org/stable/441107. … One feels, however, an achieved remoteness as in Tu Muh's [Du Mu] lyric criticism. : "Powerful is the painting… and high is it hung on the spotless wall in the lofty hall of your mansion"… In his positiveness, aplomb, and verbal security, he has the mind and the method of China ; in such controversial effects as : Of what was it I was thinking ? So the meaning escapes… 1932 Moore, Marianne. No swan so fine. In : Poetry ; vol. 41, no 1 (Oct. 1932). "No water so still as the dead fountains of Versailles." No swan, with swart blind look askance and gondoliering legs, so fine as the chinz china one with fawn¬ brown eyes and toothed gold collar on to show whose bird it was. Oswald, Elaine ; Gale, Robert L. On Marianne Moore’s life and career. http://www.english.illinois.edu/maps/poets/m_r/moore/life.htm "No Swan So Fine" suggests that a beautiful china swan, symbol of art, has serenely outlasted Louis XV of France, its cocky whilom owner. 1933 Moore, Marianne. The plumet basilisk. In : Hound & horn ; vol. 7, no 1 (Oct/Dec. 1933). In Costa Rica In blazing driftwood the green keeps showing at the same place ; as, intermittently, the fire opal shows blue and green. In Costa Rica the true Chinese lizard face is found, of the amphibious falling dragon, the living firework… As by a Chinese brush, eight green bands are painted on the tail – as piano keys are barred by five black stripes across the white… Note : Lines 13-15 : Frank Davis, 'The Chinese Dragon', Illustrated London News, August 23, 1930 : "He is the god of Rain, and the Ruler of Rivers, Lakes, and Seas. For six months of the year he hibernates in the depths of the sea, living in beautiful palaces … We learn from a book of the T'ang Dynasty that 'it may cause itself to become visible or invisible at will, and it can become long or short, and coarse or fine, at its good pleasure'." A dragon "is either born a dragon (and true dragons have nine sons) or becomes one by transformation." There is a "legend of the carp that try to climb a certain cataract in the western hills. Those that succeed become dragon." Sekundärliteratur 1999 Cynthia Stami : In an early manuscript version of 'The plumet basiliks' Moore included four additional stanzas. These lines show that Asia, and particularly China, provide a source of that myth and story so critical to establishing this remove : "This is the feather basilisk of travellers' tales, of which a pair stood bodyguard beside Confucius' crib : aquatic thing lizard-fairy detested by such dragonhood as Michael fought." "When two plumet territories touch, the masters of them are dramatic without shedding blood, exerting charm as Chinese dragon – whiskers in a crystal handle charm ; or as thick- flowering orchids gather dragons, in the East, by forming clouds for them." 1934 Moore, Marianne. Nine nectarines. In : Poetry ; vol. 45, no 2 (Nov. 1934). Arranged by two's as peaches are, at the intervals that all may live – eight and a single one, on twigs that grew the year before – they look like a derivative ; although not uncommonly the opposite is seen – nine peaches on a nectarine. Fuzzless through slender crescent leaves Of green or blue or both, in the Chinese style, the four pairs' half-moon leaf-mosaic turns out to the sun the sprinkled blush of puce-American-Beauty pink applied to beeswax gray by the uninquiring brush of mercantile bookbinding. like the peach 'Yu', the red- cheeked peach which cannot aid the dead, but eaten in time prevents death, the Italian peach nut, Persian plum, Ispahan secluded wall-grown nectarine, as wild spontaneous fruit was found in China first. But was it wild ? Prudent de Candolle would not say. One perceives no flaws in this emblematic group of nine, with leaf window unquilted by 'curculio' which someone once depicted on this much-mended plate or in the also accurate unantlered moose or Iceland horse or ass asleep against the old thick, low-leaning nectarine that is the color of the shrub-tree's brownish flower. A Chinese "understands the spirit of the wilderness" and the nectarine-loving kylin of pony appearance – the long- tailed or the tailless small cinnarmon-brown, common camel-haired unicorn with antelope feet and no horn, here enameled on porcelain. It was a Chinese Who imagined this masterpiece. Notes : (1) "The Chinese believe the oval peaches which are very red on one side, to be a symbol of long life… According to the word of Chin-noug-king, the peach 'Yu' prevents death. If it is not eaten in time, it at least preserves the body from decay until the end of the world." Alphonse de Candolle, Origin of Cultivated Plants (Appleton, 1886 ; Hafner, 1959). (2) New York Sun, July 2, 1932. The World Today, by Edgar Snow, from Soochow, China. "An old gentleman of China, whom I met when I first came to this country, volunteered to name for me what he called the 'six certainties'. He said : 'You may be sure that the clearest jade comes from Yarkand, the prettiest flowers from Szechuen, the most fragile porcelain from Kingtehchen, the finest tea from Fukien, the sheerest silk from Hangchow, and the most beautiful women from Soochow." (3) Line 41 : Kylin (or Chinese unicorn). Frank Davis, Illustrated London News, March 7, 1931. "It has the body of a stag, with a single horn, the tail of a cow, horses's hoofs, a yellow belly, and hair of five colours." Sekundärliteratur 1971-1972 David Happell Hsin-Fu Wand : "Nine nectarines" was originally entitled "Nine nectarines and other porcelain". The might have gained her knowledge of the kylin not only through the Illustrated London news but also through her coinnoisseurship of Chinese porcelain. Moore introduces to her American readers a familiar symbol in classical Chinese art, 'the nectuarine-loving kylin, better known to the Chinese as the qilin, the fabulous beast resembles the Chinese dragon in its appearance. That the kylin is gentle evene benevolent is attested by a description in the Shi jing. Because a kylin 'was seen just before the birth of Confucius', it is regarded as a personal emblem of Confucius. 1995 Lina Unali : The poem is an appreciation of Chinese culture, of Chinese porcelain, of the objects painted on it, of their significance. At the root of Moore's inspiration there is always a need to communicate a dynamic discovery of new values objectified in natural elements and in artefacts, the products of artistic of literary creation. Her attitude is fully positive, surprised, enchanted. 1999 Cynthia Stamy : Moore used only a single Chinese word, in 'Nine nectarines' referring to the 'yu' peach to which the Chinese attribute longevity and life-saving qualities. If she did not understand the fundamentals of pronunciation of the Chinese language, then it is likely that this syllable functioned for her as a proper noun or as and adjective. 2003 Qian Zhaoming : In June 1934, when Moore sent her poem Nine nectarines to 'Poetry' to be published together with The Buffalo, she offered the title 'Imperious ox, imperial dish' for both pieces. Evidently she was aware that her objet d'art adorned with a nectarine or peach motif was once a dish reserved in China for imperial use. Her image goes beyond a single picture to include features of several peach motifs on Ming-Qing wares. 2006 Victoria Bazin : In Nine nectarines the dialectic of the exotic and the everyday is embedded in the Chinese porcelain plate or, more specifically, the image depicted by the Chinese artist on the plate. The poem is a tribute to the art of the Chinese, then in terms of its sources, it becomes possible to trace the exotic back to its everyday origins. The poem reinforces 'china' as a site of exotic difference by repeatedly pointing to its own difficulties in translating this ancient art into its own Western terms. The attempt to translate pictures into words is compared to the attempts of the Western speaker to understand the inscrutable culture of the Orient. Subjects, verbs and conjunctives are excluded from a language intent on reproducing itself as a materially dense and complex moment rather than a sequential narrative. Yet the poem falters frequently in its attempt to imitate its graphic counterpart. In spite of itself, it offers information that refers to narrative sequence and chronology noting that the nectarines grow 'on twigs that grew the year before'. The art of the Chinese becomes not a form of enquiry or 'observation' but a distillation of something ancient, mystical and ultimately untranslatable. The accuracy of the Chinese artist's representational scene is linked rhetorically to the peach, the fruit that, according to Chinese lore, 'cannot aid the dead, but eaten in time prevents death'. Moore's poem is inscribed by the desire, producing an idealized image of Chinese art that is unfathomable and therefore beyond the reach of modernity's rationalizing processes. 'China' represents a Western and distinctly modernist fantasy of ideological immunity, signaling both the desire for and the impossibility of art forms 'untouched' by modernity. The attempt to resist co-opting 'China' to maintain its otherness, its distinctiveness from the Western imagination only serves to reveal the extent to which it is not 'a Chinese who imagined this masterpiece'. 1935 Moore, Marianne. Half deity. In : Direction ; no. 1 (Jan.-March 1935). Defeated but encouraged by each new gust of wind, forced by the summer sun to plant, she stands on rug-soft grass ; though some are not permitted to gaze informally on majesty in such a manner as she is gazing here. Moore, Marianne. Note to Half deity in What are years (1941). The note cites an interview by Edmund Gillian : 'Meeting the Emperor Pu Yi' (New York Sun ; no 1, Dec. 1934) and Pu Yi's remark : 'It is not permitted'. Sekundärliteratur Cynthia Stamy : The half deity is also 'half worm' – a butterfly. The poem takes on a parallel significance, reflecting on the unnatural restrictions which imperial life in China imposed. 1941 Moore, Marianne. He "Digesteth Harde Yron". In : Partisan review ; vol. 8, no 4 (1941). He "Digesteth Harde Yron" …in S¬like foragings as he is preening the down on his leaden-¬skinned back. The egg piously shown as Leda's very own from which Castor and Pollux hatched, was an ostrich¬ egg. And what could have been more fit for the Chinese lawn it grazed on as a gift to an emperor who admired strange birds, than this one who builds his mud-made nest in dust yet will wade in lake or sea till only the head shows. 1941 Moore, Marianne. Smooth gnarled crape myrtle. In : Moore, Marianne. The collected poems. (New York, N.Y. : Viking Press, 1941). A brass-green bird with grass- green throat smooth as a nut springs from twig to twig askew, copying the Chinese flower piece – business-like atom in the stiff- leafed tree's blue- pink dregs-of-wine pyramids of mathematic circularity… as in the acrobat Li Siau Than, gibbon-like but limberer, defying gravity, nether side arched up, cup on head not upset – China's very most ingenious man. 1951 Moore, Marianne. Critics and connoisseurs. In : Moore, Marianne. Collected poems. (New York, N.Y. ; Macmillan, 1951). There is a great amount of poetry in unconscious fastidiousness. Certain Ming products, imperial floor coverings of coach- wheel yellow, are well enough in their way but I have seen something that I like better… 1956 Moore, Marianne. Logic and "the magic flute". In : Moore, Marianne. Like a bulwark. (New York, N.Y. : Viking Press, 1956). Up winding stair, here, where, in what theater lost ? was I seeing a ghost – a reminder at least of a sunbeam or moonbeam that has not a waist ? by hasty hop or accomplished mishap, the magic flute and harp somehow confused themselves with China's precious wentletrap… 1956 Moore, Marianne. Tom Fool at Jamaica. In : Moore, Marianne. Like a bulwark. (New York, N.Y. : Viking Press, 1956). "Chance is a regrettable impurity." Sekundärliteratur David Hsin-Fu Wand : Marianne Moore has the habit of quoting from other writers, including such lines from the Yi jing. 1959 Moore, Marianne. O to be a dragon. (New York, N.Y. : Viking Press, 1959). If I, like Solomon, … could have my wish – my wish … O to be a dragon, a symbol of the power of Heaven – of silkworm size or immense ; at times invisible. Felicitous phenomenon ! Note : Dragon : see secondary symbols, Volume II of The Tao of Painting, translated and edited by Mai-mai Sze, Bollingen Series 49 (New York : Pantheon, 1956 ; Modern Library edition, p. 57). Sekundärliteratur 1972 David Happell Hsin-Fu Wand : Moore was appropriating a symbol commonly found in both classical Chinese art and literature. For the dragon as a symbol in her poetry is not the evil Occidental dragon, it is the benevolent Chinese dragon which befriends the people, and especially the framers, to whom it brings rain and fertile crops. Moore's wish 'to be a dragon' is an invocation to 'the power of heaven' to help her become adaptable or flexible in her own writing. Although she uses the symbol of the Chinese dragon, she does not sound like any classical Chinese poet. This is because the form and rhythm of her poem are idiosyncratically Moore's and do not bear the slightest resemblance to those of any Chinese poem. She utilized the Chinese symbol to serve her own purpose, since she harnesses the Chinese dragon as her muse in her poetic journey. 1995 Lina Unali : Moore describes the mythical animal of the Chinese tradition as a symbol of power and expresses her wish to identify with it. The meaning of the poem is to be found in the relationship between two different artistic and intellectual experiences, both acquired by the poet, that of the Chinese iconographic tradition and of Taoism as expounded by Chinese masters such as Laozi and Zhuangzi. In Moore the dragon became the emblem of a multiplicity of elements that she probably felt Western culture had not been able convincingly to produce though most of her favourite animals shared some of the traits of the Chinese dragon. In her poetic imagination the dragon's power lies in the immense number of its often contrasting all-positive capacities. The dragon is interpreted by Moore as a powerful symbol of all beneficent tendencies, of all vitality, beauty, respect for human life, elevation, power on earth and in the heavens. 1999 Cynthia Stamy : Moore chose from among several species of a dragon the 'long' dragon, a bringer of rain and a whimsical spirit of changeable aspect. 1962 Moore, Marianne. Blue bug. In : The New Yorker ; May 26 (1962). … bug brother to an Arthur Mitchell dragonfly, speeding to left, speeding to right ; reversible, like "turns in an ancient Chinese melody, a thirteen twisted silk-string three-finger solo". There they are, Yellow River-scroll accuracies. 1966 Moore, Marianne. Tell me, tell me. (New York, N.Y. : Viking Press, 1966). … It appeared : gem, burnished rarity and peak of delicacy – in contrast with grievance touched off on any ground – the absorbing geometry of a fantasy : a James, Miss Potter, Chinese "passion for the particular", of a Tired man who yet, at dusk, Cut a masterpiece of cerise… |
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| 10 | 1920 | Marianne Moore visited the De Zayas Gallery, New York. A photograph of the Zayas Gallery catalogue of Chinese jades, bronzes, stones, and pottery exists in the Moore library. |
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| 11 | 1923 |
In March and April Marianne Moore visited and revisited the Exhibition of Chinese paintings at the Metropolitan Museum of Fine Arts, New York, whose dragons, horses, buffaloes, and insects gave her a lesson on how seriously and artist might go about portraying nonhumans. Letter from Marianne Moore to John Warner Moore ; March 25, 1923. Tuesday we went to the Metropolitan with Mr. Wheeler to see the Chinese paintings. We pored over them, read the descriptions and made a complete survey of the collection. The animals were beautiful, a dragon appearing in a cloud, horses, water buffaloes and insects. There is a white falcon which as Mr. Wheeler said somewhat overrating it : 'it's like hammered silver'. Letter from Marianne Moore to John Warner Moore ; April 8, 1923. Yesterday we called on Mr. Faggi's friend, Miss Rubenstein, whom he asked us to call on about Christmas time. She was out and as she lives near the museum, we went over to look again at the Chinese paintings, stopping first to see the armor. One of the attendants took charge of us and discanted on history, armor making, the relative size of collections, the silk flags hanging from the roof and we were much benefitted. Letter from Marianne Moore to Bryher ; May 5, 1923. We have seen a loan exhibition of very old Chinese paintings at the Metropolitan, which would I think, interest you ; one of 'spirited horses' – a series of white horses with scarlet pompoms and smoky manes and tails ; one of a dragon in the clouds, concealed but for a few claws ; Enjoying the Breeze in a Fishing-Boat which made me think of the Oxford punt, and one of supremely delicate brush work called Herd Boys Returning Home in which two elderly peasants are mounted on water oxen upon whose skin whorls are indicated with minute brush strokes in a darker colour so blended as to be imperceptible except upon scrutiny. We also examined the manuscript of a poem on Wang Wei : 'He took ten days to paint a river and five days a rock. A masterpiece cannot be4 produced in haste or by pressure. It was after bestowing such pains as these that Wang Tsai allowed his work to remain. Powerful is the painting of the Fang Hu mountains of the Kuen Lun Range, and high it is hung on the spotless wall in the lofty hall of your mansion'. Since seeing the pictures, my only diversion has been the circus. |
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| 12 | 1923 |
Moore, Marianne. Review of Hymen by H.D. [Hilda Doolittle]. In : Broom ; no 4 (Jan. 1923). "In this instinctive ritual of beauty, at one old and modern, one is reminded of the supernatural yellows of China." |
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| 13 | 1924 |
Moore, Marianne. The Lost Flute of the Book of Franz Toussaint. In : The Dial ; no 77 (Sept. 1924). [Review]. The Lost Flute of the Book of Franz Toussaint, translated by Gertrude Joerissen (Brentano). In this collection of Chinese lyrics, early and modern, the decoratively perfect poetic properties of the East are like the titles of the poems, themselves, dazzling. The subject matter of a number of the poems seems insufficient or unworthy, but there are certain masterpieces, and since the labor of translation has been undertaken with delight, the reader deplores an ingratitude which permits him to confiscate the meaning of words with which he quarrels. |
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| 14 | 1924 |
Moore, Marianne. Well moused, lion. In : The Dial ; no 76 (Jan. 1924). [Review of Wallace Stevens' Harmonium. (New York : Alfred A. Knopf, 1923]. In this book, Stevens calls imagination "the will of things", "the magnificent cause of being", and demonstrated how imagination may evade "the world without imagination"… One feels, however, an achieved remoteness as in Tu Muh's [Du Mu] lyric criticism : "Powerful is the painting… and high is it hung on the spotless wall in the lofty hall of your mansion"… In his positiveness, aplomb, and verbal security, he has the mind and the method of China ; in such controversial effects as : Of what was it I was thinking ? So the meaning escapes, And certainly in dogged craftsmanship. Infinitely conscious in his processes, he says Speak even as if I did not hear you speaking But spoke for you perfectly in my thoughts. Note : Tu Muh [Du Mu] : Tang period Chinese poet whose work Marianne Moor4e had seen at the Metropolitan Museum in an exhibition of Chinese paintings, 7 April 1923. |
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| 15 | 1925 |
Moore, Marianne. "Literature the noblest of the arts". In : The Dial ; no 79 (Oct. 1925). [Review of The collected essays and papers of George Saintsbury, 1875-1920.] "The contributor who is not allowed to contribute", says Mr. Saintsbury, "is fierce as a matter of course ; but not less fierce is the contributor who thinks himself too much edited, and the contributor who imperatively insists that his article on Chinese metaphysics shall go in at once, and the contributor who, being an excellent hand at the currency, wants to be allowed to write on dancing : and, in short, as the Shepherd says, all contributors." |
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| 16 | 1926 |
Moore, Marianne. "New" poetry since 1912. In : Anthology of magazine verse for 1926. Ed. by William Stanley Braithwaite. (Boston : B.J. Brimmer, 1926). The "new" poetry seemed to justify itself as a more robust form of Japanese poetry – that is perhaps to say, of Chinese poetry – although a specific and more lasting interest in Chinese poetry came later. |
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| 17 | 1926 |
Moore, Marianne. Roving through southern China. In : The Dial ; no. 81 (July 1926). [Review of Roving through southern China, by Harry A. Franck (Century)]. [ID D3164]. In this 'plain' account of people, of places, and of methods of travel in southern China – with many photographs – a seemingly experiences elasticity of judgment is, in matters not topical nor topographical, multifariously contradicted. The religious philosopher, the political scientist, the student of civilization would, in certain opinions diverge from this author : the 'littérateur' would not accompany him. Mr. Franck is scientific as a wanderer if not as a thinker or as a writer. His itinerary is impressive and he is, if one may have in one's feet a science which one has not in one's head, an accomplished traveler. |
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| 18 | 1927 |
Moore, Marianne. Comment. In : The Dial ; vol. 83 (Aug. 1927) "Among all the kinds of serpents there is none comparable to the Dragon." [Edward Topsell, 1658]. |
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| 19 | 1927 |
Moore, Marianne. Academic feeling. In : The Dial ; no 82 (May 1927). One cannot be dead to the sagacity inherent in some specimens of sharkskin, camellia-leaf, orange-peer, semi-eggshell, or sang-de-boeuf glaze ; nor be blind to the glamour of certain 'giant', 'massive', 'magnificent' objects in pork-fat or spinach-green jade as shown last winter in the collection of Mr. Lee Van Ching at the Anderson Galleries. [Betr. Chinese carved jades & objects of art : a collection formed by Lee Van Ching, Shanghai : rare antiques in crystal, agate, jade, rose quartz & malachite, statuettes, snuff bottles, porcelains & enamels, old Chinese pottery, Anderson Galleries, New York, Jan. 1927.] |
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| 20 | 1927 |
Moore, Marianne. To accept congratulations. In : The Dial ; no 84 (March 1928). We confessed to admiring instinctiveness, concentration, and tentativeness ; to realizing that gusto is not incompatible with learning, and to favoring opulence in asceticism. It is apparent also in lines by Sung Lien that such liking is not recent. "In the dormitory I had two meals a day, but nothing fresh, fat, or of any good taste. All other schoolmates were dressed up in fine silk and with embroidery ; their hats were decorated with jewels ; their girdles made of white jade. Every one bore a sword on his left, and perfume at his right. They looks as shining and dignified as angels. While living among them I wore my cotton robe and tattered clothes, but had not the slightest desire to be like them, for I had my enjoyment focused upon something different, knowing not that my bodily wants were not as well supplied as those of others." Translated from the Chinese by Kwei Chen. Literary Magazine of the University of Wisconsin. December, 1927. [Betr. Song, Lian. Farwell to my young friend.] |
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| 21 | 1928 |
Moore, Marianne. Guide-posts to Chinese painting. In : The Dial ; no 84 (April 1928). [Review of Guide-posts to Chinese painting, by Louise Wallace Hackney, edited by Dr. Paul Pelliot (Houghton Mifflin)]. [ID D30326]. That a delighted consideration of art should be less than delightful ; that as writing and as thinking it should be occidentally 'promt' is in this survey compensated for by illustrations such as 'Winter Landscape', 'Narcissus', a 'Ming Ancestral Portrait' ; and one is as attentive as the author could wish one to be, to the 'ideals and methods' of Chinese painting, to 'influences and beliefs reflected in it', and the influence exerted by it. Any lover of beauty may well be grateful to a book which commemorated the blade of grass as model for the study of the straight line, the skill of calligraphers, with 'hog's hair on finely woven silk', 'methods of treating mountain wrinkles', 'tones of ink to give color', 'the thought of genii, winged tigers, and Emperor crossing' 'weak waters' on a 'bridge made of turtles', 'or a theme so romantic as that of Yang Kuei-fei' [Yang Guifei] going, 'lily pale, between tall avenues of spears to die'. |
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| 22 | 1928 |
Moore, Marianne. Thomas Heriot. In : The Dial ; no 85 (Aug. 1928). [Review of The divine origin of the craft of the herbalist by Sir E.A. Wallis Budge]. Sumerian, Egyptian, Babylonian, and Assyrian herbals are her shown to be the foundation of Greek herbals – disseminated also, by way of Arabic, through Asia, Turkestan, and China… |
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| 23 | 1931 |
Moore, Marianne. The cantos. In : Poetry ; no 39 (Oct. 1931). [Review of A draft of XXX cantos, by Ezra Pound]. These Cantos are the epic of the farings of a literary mind… In Canto III we have an ideograph for the Far East, consisting of two parts : Green veins in the turquoise, Or, the gray steps lead up under the cedars… Mr. Pound took two thousand and more pages to say it in prose, and he sings it in a hundred-forty-two. The book is concerned with beauty. You must read it yourself ; it has a power that is mind and is music ; it comes with the impact of centuries and with the impact of yesterday. Amid the swarming madness of excellence, there is the chirping of 'the young phoenix broods', the Chinese music, the slender bird-note that gives one no peace… In Canto XIII, in the symbolic discussion of the art of poetics, what is said is illustrated by the manner of saying : And Tseu-lou said, "I would put the defences in order", And Khieu said, "If I were lord of a province I would put it in better order than this is". And Tchi said, "I would prefer a small mountain temple, "With order in the observances, with a suitable performance of the ritual"… And Kung said, "They have all answered correctly, "That is to say, each in his nature"… And Kung said, and wrote on the bo leaves: If a man have not order within him He can not spread order about him; … And if a man have not order within him ;… "Anyone can run to excesses, "It is easy to shoot past the mark, It is hard to stand firm in the middle. |
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| 24 | 1932 |
Moore, Marianne. If a man die. In : Hound and horn ; no 5 (Jan.-March 1932). [Review of The Coming Forth by Day of Osiris Jones and Preludes for Memnon,by Conrad Aiken (Charles Scribner's Sons).] If a man die shall he live again ? and what Buddha and Confucius and Christ have said about this, and what would make morality's instinct for continuance valid and everlasting ?... |
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| 25 | 1932 |
Letter from Marianne Moore to Monroe Wheeler ; November 20, 1932. Japan I am sometimes interested in, but China is the magic place. I have just recently been trying to write something about dragons, 'true' dragons and the malign variety. |
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| 26 | 1933 |
[While in Paris, Monroe Wheeler sent Marianne Moore and her mother some Chinese handkerchiefs and writing paper with matching envelopes.] Letter from Marianne Moore to Monroe Wheeler ; March 3, 1933. The word of China's glores – that is to say of your having them – rejoices us. It is so possible to go to a country and see the proffered wonders, missing the true ones ; not to mention being swallowed up in population and seeing nothing of the people who are wonders. You epitomize China – for us in your comparison of it with Japan ; not that one doesn't admire the special proficiencies of Japan, the dexterity, sense of scenery, concise imagination and so on, but for sagesse as Lachaise called it, one takes China ; and of course at present our sympathies establish new loyalties. The handkerchiefs almost frighten us by their perfection. Even a bungler must see that maintained rectangles in drawn-work so tenuous and complicated, required genius and many years' apprenticeship ; and the fineness of the material is to begin with a constant wonder. This paper was a piquant sight to western eyes – the etched red dog on the green cover sheet not being the least feature. I think the two red gum leaves are perhaps the masterpiece, though one has leanings toward the frog - & toward both envelopes. To think of hazarding two such birds near P. Office cancellation marks seems blasphemy. Accuracy and liveness so remarkable – presented freely in this was as if it were an everyday affair, make one breathe eastier having set up for a writer rather than as a painter. (If I could read Chinese I might be in deeper trouble)… To have seen Mei Lan Fang would in itself be enough reward for going to China – let alone several times, and personally, as you have. I liked him so much the one time I saw him in New York, that I was well satisfied not to go to anything else at the theatre afterward that season… I was lured to New York to make a call, and of my own accord went to the Institute to a lecture on American, Spanish, and Chinese alpine flora and to a series of bird and animal motion pictures by Drs. Bailey and Niedbrock of Chicago… Mother has been scorning me for writing a letter to a child in Samoa, on Chinese paper… |
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| 27 | 1933 |
Moore, Marianne. Emily Dickinson. In : Poetry ; no 41 (Jan. 1933). [Review of Letters of Emily Dickinson, edited by Mabel Loomis Todd (Harper & Brothers)]. An element of the Chinese taste was part of this choiceness, in its daring associations of the prismatically true ; the gamboge and pink and cochineal of the poems ; the oleander blossom tied with black rib bon ; the dandelion with scarlet ; the rowan spray with white. |
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| 28 | 1933 |
Letter from Marianne Moore to William Rose Benét ; August 21, 1933. I was born pro-Chinese and bombs busting in air from Japan have not reversed my allegiance ; but I feel that the shrinking Noguchi was a song-bird murtured by Cuckoos. |
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| 29 | 1934 |
Letter from Marianne Moore to William Carlos Williams ; January 26, 1934. So bless the collective wheelbarrow ; with Wallace Stevens beside it like a Chinese beside a huge pair of oxen. |
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| 30 | 1935 |
Letter from Marianne Moore to George Plank ; June 25, 1935. Thank you for thinking of me when you see dragons, and for being as willing to encourage me about my book now that it is out, as you were before. |
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| 31 | 1935 |
Letter from Marianne Moore to George Plank ; August 14, 1935. As for not being Persian or Chinese ; you spoke the truth – if not in the sense in which you meant it – when you said you would never add to the bad prose which is being written. |
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| 32 | 1935 |
Letter from Marianne Moore to Elizabeth Bishop ; December 20, 1935. Your word of the pigeons in the blue cage, and of the Chinese collection of Mr. Loo – his dragons with movable eyes and ears especially – delighted me beyond measure. |
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| 33 | 1936 |
Letter from Marianne Moore to Elizabeth Bishop ; March 14, 1936. I have wished I might know something of the Chinese exhibitions and should surely like when you come home… |
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| 34 | 1936 |
Letter from Marianne Moore to Elizabeth Bishop ; Norfolk, Virginia, August 28, 1936 With regard to Virginia, although I think I tend to overdraw beauty that my friends are not present to verify, the Cape Henry sand-dunes, the beach and its follies, the Chinese strangeness of the waterbirds, would be hard to exaggerate. |
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| 35 | 1936 |
Letter from Marianne Moore to Elizabeth Bishop ; October 1, 1936. Respecting your theatre-engagement, without knowing about it, the impression left on me was that you did just right, sorry as I was not to see more of you and have Mother see you both. It is a pleasure to have the Chinese art longer. |
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| 36 | 1936 |
Moore, Marianne. Perspicuous opacity. In : The Nation ; no 143 (24 Oct. 1936). [Review of The Geographical History of America, or The Relation of Human Nature to the Human Mind, by Gertrude Stein, with an introduction by Thornton Wilder (Random House).] To like reading and writing is to like words. The root meaning, as contrasted with the meaning in use, is like the triple painting on projecting lamellae, which – according as one stands in front, at the right, or at the left – shows a different picture. "In China china is not china it is an earthen ware. In China there is no need of China because in china china is china." |
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| 37 | 1936 |
Moore, Marianne. Courage, right and wrong. In : The Nation ; no 143 (5 Dec. 1936). [Review of New Directions in Prose and Poetry, edited by James Laughlin IV (New Directions). Marsden Hartley, chivalrous and shrewd – a painter writing about painters – has in two reminiscences given us what one hopes is part of a book. He speaks of the hands of Charles Demuth, "Chinese in character", that seemed "to be living a life of their own" ; of his paintings, "harmonious, possibly to excess" but reflecting "a master of the comic insinuation". |
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| 38 | 1937 |
Moore, Marianne. Ichor of imagination. In : The Nation ; no 144 (6 Febr. 1937). [Review of The Infernal Machine, by Jean Cocteau, in the English version by Carl Wildman (Oxford University Press). One sees it in Le Grand Ecart, in the Narcissus passage, where the river "cares nothing about the nymphs or the trees it reflects – longing only for the sea" ; and in the Sphinx's self-characterization : "A judge is not so unalterable, and insect so voracious, a bird so carnivorous, the egg so nocturnal, a Chinese executioner so ingenious…" |
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| 39 | 1941 |
Letter from Marianne Moore to Louise Crane ; June 5 [1941?]. Mr. [Chester] Page is a virtuoso, certainly, in the humor of his manner - 'his happy starling posturings' – as well as with the trumpet. I thought, as he was playing, of the lecturer on Chinese music, Mr. Leavis, who said that a Chinese flute-player must practice rigorously – maybe months – with a reed and bowl of water, to learn how to keep taking air in without ever stopping the current of breath coming out. |
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| 40 | 1942 |
Moore, Marianne. Who seeks shall find. In : The Nation ; no 155 (17 Oct. 1942). [Review of Have Come, Am Here, by José Garcia Villa (The Viking Press). The delicacy with force of such writing reminds one of the colors of black ink from a hogs'-hair brush in the hand of a Chinese master. |
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| 41 | 1943 |
Moore, Marianne. "We will walk like the tapir". In : The Nation ; no 156 (19 June 1943). "Be gentle and you can be bold" is an ancient Chinese saying ; "be frugal and you can be liberal ; if you are a leader, you have learned self-restraint." |
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| 42 | 1944 |
Moore, Marianne. Feeling and precision. In : Sewanee review ; no 52 (Autumn 1944). Instinctively we employ antithesis as an aid to precision, and in Arthur Waley's translation from the Chinese one notices the many paired meanings - "left and right" ; "walking and sleeping" ; "one embroiders with silk, an inch a day ; of plain sewing one can do more than five feet." |
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| 43 | 1945 |
Letter from Marianne Moore to Elizabeth Mayer ; April 30, 1945. The Chinese book is an invitation to perfection, a constant poem, is it not, - the crescent moon 'one stroke less than the moon', the three beats of the heart set down like the footsteps of some woodland creature, the moon added to the sun to represent 'brilliant' and the inexpressible brush effects in the writing. I have admired Chinese writing all my life. It is a joy to have this book and to be able to study the precision and apparent simplicity of the English wording. [Betr. Guang, Rusi. Chinese wit, wisdom and written characters [ID D30337].] |
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| 44 | 1948 |
Moore, Marianne. High thinking in Boston. In : The Saturday review of literature ; no 31 (6 Nov. 1948). [Review of Miss Gifford's, by Kathrine Jones (Exposition Press)]. At Miss Gifford's, a boarding-house in the South End of Boston, such subjects were discussed as Chinese poetry, the title-page of a Dutch Bible, Seurat's "La Grande Jatte", Thoreau, and fear of daisies. |
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| 45 | 1949 |
Moore, Marianne. E. McKnight Kauffer. [In the American British Art Gallery's Drawing for the Ballet and the Original Illustrations for Edgar Allan Poe by E. McKnight Kauffer. New York : The Gallery, Batsford House, 1949.] E. McKnight Kauffer is a very great artist… Shadows are as arresting as objects ; numerals and letters are so rare in themselves that opposing angles, contrasting sizes, and basic parallels, are of consummate elegance – the only kind of eloquence not intrusive. This language of blacks and grays is color in the sense that Chinese brush masterpieces are color. |
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| 46 | 1951 |
Moore, Marianne. Impact, moral and technical. In : Harvard Summer School Conference on the Defense of Poetry. (Cambridge, Mass. : Harvard University, 1951). There is no room for furious virtuosity. A master axiom for all writing, I feel, is that of Confucius : "When you have done justice to the meaning, stop". That implies restraint, that discipline is essential. |
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| 47 | 1952 |
Letter from Ezra Pound to Marianne Moore ; 29 Jan. (1952). 'If the esteemed ed eggregia Marianne will merember [sic] that Kung [Confucius] did not claim invention but transmission only'. |
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| 48 | 1952 |
Letter from Marianne Moore to Robert McAlmon ; February 23, 1952. Yes, I sometimes hear from Ezra Pound or Mrs. Pound and I certainly agree about Ezra P's translations… I don't know a more expert study than Sacheverell [Sitwell] 's book on Domenico Scarlatti nor do I know the equal for humor and irony of Osbert Sitwell's Escape with Me !, about China. |
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| 49 | 1953 |
Moore, Marianne. "Teach, stir the mind, afford enjoyment". [From a series of commentaries on selected contemporary poets, Bryn Mawr, 1952 ; betr. Ezra Pound]. Mr. Pound admires Chinese codifyings and for many a year has been ordering, epitomizing, and urging explicitness, as when he listed "A Few Don'ts" for Imagists… Confucius says the fish moves on winglike foot ; and Prior, in his life of Edmund Burke, says Burke "had a peculiarity in his gait that made him look as if he had two left legs… "As for Cathay, it must be pointed out", T.S. Eliot says, "that Mr. Pound is the inventor of Chinese poetry of our time" ; and seeing a connection between the following incident and "the upper middlebrow press"… In The Great Digest and Unwobbling Pivot of Confucius, as in his Analects, Ezra Pound has had a theme of major import. The Great Digest makes emphatic this lesson : He who can rule himself can govern others ; he who can govern others can rule the kingdom and families of the Empire. The men of old disciplined themselves. Having attained self-discipline they set their houses in order. Having order in their own homes, they brought good government To their own state. When their states were well governed, the empire was brought Into equilibrium. We have in the Digest, content that is energetic, novel, and deep : "If there be a knife of resentment in the heart or enduring rancor, the mind will not attain precision ; under suspicion and fear it will not form sound judgment, nor will it, dazzled by love's delight nor in sorrow and anxiety, come to precision." As for money, "Ill got, ill go". When others have ability, if a man "shoves them aside, he can be called a real pest." "The archer when he misses the bullseye, turns and seeks the cause of error in himself." There must be no rationalizing. "Abandon every clandestine egoism to realize the true root." Of the golden rule, there are many variants in the Analects : "Tze-kung asked if there was a single principle that you could practice through life to the end. He said sympathy ; what you don't want, don't inflict on another" (Book Fifteen, XXIII). "Require the solid of yourself, the trifle of others" (Book Fifteen, XIV). "The proper man brings men's excellent to focus, not their evil qualities" (Book Twelve, XVI). I am not worried that others do not know me ; I am worried by my incapacity' (Book Fourteen, XXXII). Tze-chang asked Kung-tze about maturity. Kung-tze said : To be able to practice five things would humanize the whole empire – sobriety (serenitas), magnanimity, sticking by one's word, promptitude (in attention to detail), Kindliness (caritas). As for "the problem of style. Effect your meaning. Then stop" (Book Fifteen, XL). |
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| 50 | 1953 |
Letter from Marianne Moore to Dorothy Pound and Ezra Pound ; July 31, 1952. I take an avid interest in Mommsen, in the zealous Achilles Fang ; could he be a relative of Mei Lan Fang ? a masterpiece of whom I would be ignorant had it not been for Gilbert Seldes, who warned me not to miss him. And (an interest in) The Great Digest – one of the principal reasons for my coming to Washington (and in facsimiles of Vivaldi manuscripts). |
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| 51 | 1954 |
As a response to a letter from Ezra Pound, dated 7 September 1954, Marianne Moore refers on the envelope to Confucius. Shih-ching : the classic anthology defined by Confucius. [Transl. by] Ezra Pound : "4 misdemeanors in one letter profanities & blasphemy But I confess, Confucius, Well as my French sage has said, 'Sweet speech does no harm None at all'. I refer to The anthology." |
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| 52 | 1956 |
Moore, Marianne. Selected criticism. In : Poetry London-New York ; no 1 (March-April 1956). [Review of Selected criticism – prose, poetry, by Louise Bogan (Noonday Press)]. The book rises above literariness, moreover, and fortifies courage, in practicing a principle which is surely Confucian ; implying that one need not demand fair treatment, but rather, see that one's others is fair. |
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| 53 | 1956 |
Moore, Marianne. Of miracles and kings. In : The New York Times book review ; 11 November, 1956. [Review of The Borzoi Book of French Folk Tales, selected and edited by Paul Delarue, translated from the French by Austin E. Fife, illustrated by Warren Chappell (Alfred A. Knopf)]. M. Delarue finds tales of all countries, European, Asiatic, to be part of a common fabric : "There are very pretty versions in all European, Asiatic and North African countries, and an American Chinese scholar, Jameson, has recently made known to us a Chinese Cinderella of the ninth century who gets her golden slippers not from a fairy but from a marvelous fish and who loses one of them not in escaping from a ball but on coming back from a festival in a neighboring region…" |
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| 54 | 1957 |
Moore, Marianne. Tedium and integrity. Typescript Rosenbach Museum and Library, Philadelphia. [Lecture about Tao of painting by Mai-mai sze]. . . . This whole theme—the thought of integrity—was suggested to me by THE TAO OF PAINTING, with a translation of THE MUS¬TARD SEED GARDEN MANUAL OF PAINTING 1679-1701, by Miss Mme Mme [Mai-mai] Sze; published by the Bollingen Foundation, 1956. Hsieh Ho [Xie He] whose Six Canons of Painting were formulated about a.d. 500 said, "The terms ancient and modern have no meaning in art." I indeed felt that art is timeless when I saw in the Book Review section of The New York Times last spring, the reproduction of a plum branch by Tsou [Zou] Fu-lei, XIV century—a blossoming branch entitled A Breath of Spring. (Sometimes, I am tempted to add, when one breaks open a plum, one gets a fragrance of the blossom). Tao means way or path. There is a Tao and there is The Tao, as Miss Mme Mme [Mai-mai] Sze explains. In Chinese writing, which is pictographic as you know, The Tao is portrayed as a foot taking a step (ch'o [zu]) and a head (shou). So we have the idea of wholeness of total harmony from head to foot. Step by step progress requires deliberateness, suggesting that meditation is basic to living, to all that we do, and that conduct is a thing of inner motivation. Pictographically, man is but a pair of legs, whereas the Tao is an integration of body, legs, arms, and above all a head. China’s concept of The Tao as the center of the circle, the creative principle, the golden mean, is one of the oldest in Chinese thought, shared by all schools. The Tao is the mark. The soul is the arrow. Indeed Lieh Tzu [Liezi] said, "To the mind that is still the whole universe surrenders." It is not known in what period the idea of Yin and Yang originated, but as early as the XI century [b.c.] they were mentioned as the two primal forces. The Yang, the Male Principle — symbolized by the right foot—was identified with sun, light, action, positiveness; and Yin, the Female Principle, with the moon, darkness and quiescence. There are two important features of Chinese painting. 1. The close relationship between painting and calligraphy. Writing Chinese characters developed a fine sense of proportion—prominent in every aspect of Chinese life. Confucius regarded a sense of fitness as one of the Five Cardinal Virtues. 2. The view that painting is not a profession but an extension of the art of living. Usually therefore, painting was an expression of maturity. A painter was likely to be an astronomer, a musician, perhaps a medical man. In acquiring the education prescribed by the Tao of Painting, a painter underwent rigorous intellectual discipline which included in-tensive training of memory. So authorship in China is integral to education, please note—not a separate proficiency to be acquired. (Rather humbling to those of us who devoted much time [to] incidental aspects of writing.) Chinese philosophy, Mme Mme [Mai-mai] Sze observes, might be said to be psychology—a development of the whole personality; and egotism—or what the Bhuddist [Buddhist] called ignorance—obscures a clear vision of the Tao. It is unusual, at least in my experience, to come on a book of verse which has not a tincture of sarcasm or grievance, a sense of injury personal or general, and I feel very strongly what Juan Ramon Jiménez said in referring to something else—to what is not poetry—"there is a profounder profundity" than obsession with self. Painting should be a fusion of that which pertains to Heaven— the spirit — and of matter, which pertains to Earth, as effected by the painter's insight and skill. The search for a rational explanation of nature and the universe encourage a tendency to classification—almost a disease as noted by Miss Mme Mme [Mai-mai] Sze, when carried to an extreme; and in China Six Canons of Painting were formulated, as has been said, about a.d. 500 by Hsieh Ho [Xie He], Of these the first — basic to all—controlled the other five and applies to all kinds of painting was spirit. The word ch'i [qi]—in the Cantonese version pronounced hay, is almost hke exhaling a breath, cognate in meaning to pneuma and the word spiritus. 2.The Second Canon says "The brush is the means of creating structure." The ideal takes form. The spiritual aspect has tangible expression, and while one result of the tendency by Sung [Song] academicians to stress faithful representation, was to hamper spontaneity, a happy result was the superb paintings of insects, flowers, animals, and birds. In Volume II of the Manual where methods are illustrated, we have bud and buds beginning to open, thick leaves that withstand winter, plants with thorns and furry leaves, grasshoppers, large grasshoppers, crickets, beetles and the praying mantis; small birds fighting while [flying], a bird bathing and a bird shaking off water. 3. According to the object draw its form. 4. According to the nature of the object apply color. 5. "Organize the composition with each element in its rightful place." One is reminded here of Hsieh Ho's [Xie He] statement: "Accidents impair and time transforms but it is we who choose." In Volume II, in which methods are illustrated, one has "tiled structures at several levels, at a distance," (nests of very beautiful drawings), walls, bridges, temples, a lean-to of beanstalks. "If a man had eyes all over his body," the Manual says, "his body would be a monstrosity. ... A landscape with people and dwellings in it has life, but too many figures and houses give the effect of a market-place." Perhaps the most important factor in harmonizing the elements of a picture is space, Miss Mme Mme [Mai-mai] Sze feels: "the most original contribution of Chinese painting, the most exhilarating." "Space of any kind was regarded as filled with meaning—in fact was synonymous with the Tao. A hollow tree was not empty but filled with spirit. The spaces between the spokes of a wheel make the wheel, and inner space, not the pottery of the pitcher, is its essential part," it is not a set of walls but "the space in a room that is its usefulness." One of the Twelve Faults was "a crowded ill-arranged composition"; or "water with no indication of its source." 6. In copying, transmit the essence of the master's brush and methods. Chinese thinking abounds in symbolism and the circle as a concept of wholeness is surely one of great fascination. Everything must be in proper relation to the center. A circle's beginning (its head), and end (or foot) are the same, unmoving and continually moving and still life — nature morte—is contrary to the whole concept of Chinese painting. The Tao (a path) lies on the ground, is still, yet leans somewhere and so has movement; and we have, therefore, an identity of contraries which are not in conflict but complementary opposites or two halves of a whole, as in the Yin and Yang—symbolized by the disc divided by an S-like curve. It is not known in what period the idea of Yin and Yang originated, but as early as the XI century [b.c.] they were mentioned as the primal forces. The Yang, the Male Principle identified pictographically with the right foot—was identified as well, with sun, light, action, positiveness; and Yin, the Female Principle, with the moon, darkness, and quiescence. The Chinese dragon is a symbol of the power of Heaven, a main characteristic being constant movement — slumbering in the deep or winging across the Heaven. At will it could change and be the size of a silkworm or swell so large as to fill the space of Heaven and Earth, and so represents totality. It had also the gift of invisibility. A second type of symbol pertains to flowers, birds, and animals —the phoenix, the tortoise, the unicorn, the crane, the pine, the peach, being motifs for long life, and the bamboo, a symbol of elegance. So complete is the Manual that the brush, the ink, inkstone, and paper (or silk) — the Four Treasures — are minutely discussed. In making the brush into one end of the hollow bamboo holder, a tuft of hair or fur is inserted and fixed with a little glue. As for glues, the much- esteemed Tang-o [Dong'e] glue was made by boiling donkey-hides in Tang [Dong] River water, which contained special minerals. Other good glues were made from deer horns or fish skin. The jet blackness and sheen of a certain ink made from pine-soot, also depend on the preparation. "To dull the ink, pulverized oyster-shells or powdered jade were added although jade was put in principally as a gesture of respect to the ink." "Old ink sticks and cakes have a unique fragrance, often heightened by adding musk, camphor, or pomegranate-bark" "Old ink is treated like a vintage wine." "Not only can great variety of tone be produced from one stick, but several kinds are often used in one painting, since ink often blended with color, enriched the venerable air of trees and rocks," the Element of the mysterious, the dark and fertile dignity hovering over hillock and pool." "The aim of the entire Manual is to develop the painter's spiritual resources." "There is an old saying": (quoted in this Preface to the Shanghai Edition (1887) of the Manual) "that those who are skilled in painting will live long because life created through the sweep of the brush can strengthen life itself, both being of the spirit—the ch'i [qi]." "To achieve trueness and naturalness is to be in harmony with the Tao—the equival of an act of worship." "Natural spontaneous brush-work is like the flight of a bird." "The function of brush and ink is to make visible the invisible." |
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| 55 | 1957 |
[Moore received her complimentary set of The Tao of painting by Mai-mai Sze from the Bollingen Foundation]. Letter from Marianne Moore to John Barrett ; January 22, 1957. You cannot imagine my excitement in possessing these books. The exposition of subjects and the terminology in discussing 'The Elements of a Picture' in the Chinese text is pleasure enough for a lifetime. If I were in a decline mentally, the insect and frog color-print in Volume I of the Tao would, I think, help me to regain tone. The accuracy without rigidity of the characterizations is hard to credit ; the emerald of the leopard-frog and its watchful eye, the dragon-flies, sanguine, brown and greenish gray against the fragile beetle of some kind, the climbing katydid and grasshopper on the move, the plausibility of all this life above the pumpkin-leaves and lace of lesser leaves, the bumble-bee so solid despite frail violet wings and trailing legs with thorny rasps, are something, I suppose, that one could learn by heart but never become used to. |
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| 56 | 1957 |
Letter from Marianne Moore to Hildegarde Watson ; January 25, 1957. It was a very regal party given by Mrs. Clark Williams (no relative of WCW) – 150 Central Park South. She is a dear lady, very old with snow white hair, very strong, and a skilled hostess – in black velvet with two large salmon roses at the waist. Chinese bird and butterfly wall paper, china figurines ; 'rare' Martha Washington plates and tea-pots, jade dishes ; and pale Chinese brocade settees. |
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| 57 | 1957 |
Letter from Ezra Pound to Marianne Moore ; March 9, 1957. Pound noted an 'immensely important' book : Belden, Jack. China shakes the world. (New York, N.Y. : Monthly Review Press, 1970). |
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| 58 | 1958 |
Moore, Marianne. Idiosyncrasy and technique. (Berkeley, Calif. : University of California Press, 1958). Laurence Binyon, reflecting on the state of letters after completing his Dante, said : "How indulgent we are to infirmity of structure…" and structural infirmity truly has, under surrealism, become a kind of horticultural verbal blight threatening firmness to the core ; a situation met long ago in The Classic Anthology Defined by Confucius [by Erzra Pound]: Enjoy the good yet sink not in excess. True scholar stands by his steadfastness… Lamb-skin for suavity, trimmed and ornate, But a good soldier who will get things straight. |
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| 59 | 1959 |
Moore, Marianne. "Senhora Helena". In : Poetry ; no 94 (July 1959). [Review of The Diary of Helena Morley, translated and edited, with a preface and introduction by Elizabeth Bishop (Farrar, Straus and Cudahy). The attitude to life revealed by the Diary, Helena's apperceptiveness, and innate accuracy, seem a double portrait ; the exactness of observation in the introduction being an extension, in manner, of Miss Bishop's verse and other writing, as when she differentiates between marbleized or painted window-frames to imitate stone, and stone ones painted to imitate grained wood ; again, in the description of rain-pipe funnels 'flaring like trumpets', or sometimes with 'tin petals or feathers down them and around the mouth… repeated in tiles set edgewise up the ridges of the roofs, dragonlike and very 'Chinese'. |
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| 60 | 1960 |
Moore, Marianne. Brooklyn from Clinton Hill. In : Vogue ; no 136 (1 August 1960). The Bridge – a word associated with fantasy, a sense of leisure, shade under willows or at sunset, a pair of Chinese herdmen 'enjoying the breeze in a fishing-boat' – is in Brooklyn synonymous with endurance – sacrifice… |
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| 61 | 1961 |
Moore, Marianne. Foreword to A Marianne Moore reader. (New York, N.Y. : Viking Press, 1961). As antonym, integrity was suggested to me by a blossoming peach branch – a drawing by Hsieh Ho – reproduced above a New York times Book Review notice of The Mustard Seed Garden Manual of Painting formulated about 500 A.D. – translated and edited by Miss Mai-mai Sze, published by the Bollingen Foundation in 1956 and as a Modern Library paperback in 1959. The plum branch led me to The Tao of Painting, of which 'The Mustard Seed Garden' is a part, the (not 'a') Tao being a way of life, a 'oneness' that is tireless ; whereas egotism, synonymous with ignorance in Buddhist thinking, is tedious. And the Tao led me to the dragon in the classification of primary symbols, 'symbol of the power of heaven' – changing at will to the size of a silkworm ; or swelling to the totality of heaven and earth ; at will invisible, made personal by a friend at a party – an authority on gems, finance, painting, and music – who exclaimed obligingly, as I concluded a digression on cranes, peaches, bats, and butterflies as symbols of long life and happiness, 'O to be a dragon !' (The exclamation, lost sight of for a time, was appropriated as a title later). Note : The dragon as lord of space makes relevant Miss Mai-mai Sze's emphasis on 'space as China's chief contribution to painting ; the essential part of the wheel being the inner space between its spokes ; the space in a room, its usefulness' in keeping with the Manual : 'a crowded ill-arranged composition is one of the Twelve Faults of Painting' ; as a man 'if he had eyes all over his body, would be a monstrosity'. |
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| 62 | 1962 |
Moore, Marianne. Worth of Rue de la Paix. In : Harper's bazaar ; no 96 (April 1962). In this day of jets, blenders, and a page of print grasped at a glance, the perfected workmanship – inside and out – of a dress by Worth seems as unaccountable as the flawless replica – wrong side like right – of antennae, wing-spots, eyes and moth-fur, of Chinese embroidery on imperial satin : an abnormal calligraphy of the imagination-by-finger (finger in gold thimble, as one pictures it), faintly etched… Forsaking the armorers, the gem of the collection, I would say, is a featherweight azure tissue velvet jacket matching a ball dress, edges with snow leopard down, or at a guess, owl down bronzed by guard hairs ticked like Abyssinian car fur, lined with China silk of the same blue, quilted in wide diagonals. As important as the Beardsley jacket, Mrs. Cheney's riding tunic with Chinese collar double jabot, and deep points traced in steel, has much going on… |
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| 63 | 1963 |
Moore, Marianne. E.E. Cummings, 1894-1962. In : Proceedings of the American Academy of Arts and Letters and the National Institute of Arts and Letters ; 2nd series, no 15 (1963). "Art", E.E. Cummings said, "is pure personal feeling". His work says it again – the painting, writing, drawing : especially the line drawings comprising curves, wirls, and leaning ellipses, like Chinese calligraphy which does not hesitate. |
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| 64 | 1963 |
Moore, Marianne. The knife. In : House and garden ; no 123 (Febr. 1963). In valor, there is small room for egotism. As Confucius says, "If there be a knife of resentment in the heart, the mind fails to act with precision". |
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| 65 | 1963 |
Moore, Marianne. Profit is a dead weight. In : Seventeen ; no 22 (March 1963). The asset of assets was summed up by Confucius when asked, "Is there a single principle that you can practice through life to the end ?" He said, "Sympathy. What you don't want, don't inflict on others."… How discuss verity with cynics – cynicism being a plant with no fruit or interesting seed ? As Confucius says, "If there be a knife of resentment in the heart, the mind fails to attain precision". . |
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| 66 | 1963 |
Moore, Marianne. Of beasts and jewels. In : Harper's bazaar ; no 87 (Dec. 1963). Those of us who do not spend time in bogs, near ponds, or by streams, where water plants abound and gnats, newts and spiders hatch out, may be obliged to console ourselves with frogs and toads in replica - Verdura's frog of blistered gold, with emerald and diamond blazoned back and eyes of ruby ; or an amethyst quartz Chinese 'sage and toad', or imperial embroidered bat ; and may have to forgo the excitement of seeing an owl's amber and onys eyes change with the changing light in dusky woodland ravines… |
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| 67 | 1964 |
Moore, Marianne. Malvina Hoffman. In : Texas quarterly ; no 7 (Spring 1964). Sculpture Inside and Out is a contribution to knowledge and to living – a conspectus of tasks not slighted – maser work – primitive and later, which one hopes not to mislay. Shown in it are the animal monuments ornamenting the road to the Ming Tobs ; the Chariot of the Moon (Ankor Vat)… Miss Hoffman's friends are a book in themselves ; her furniture also (refectory, French, and early American). Besides white and gold Napoleon 'N' china, she has a pheasant-and-butterfly dinner set of the variety with design on strange semi-dark Lowestoft Chinese apple green. Her gilded ivory painted French sofa is covered with old Persian brocade, woven in a bird-and-flower-cluster design on green. Among her costume rarities, a square black corded cap from Tibet of 'permanent' satin should be studies – in the hand ; and her Tibetan wildcat fur coverlet – deep reddish fur, light as thistledown on a turquoise satin back. |
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| 68 | 1964 |
Moore, Marianne. Ten answers : letters from an October afternoon. In : Harper's, no 229 (Nov. 1964). Dear Mr. Plimpton ; The questions. Q. What other pets than Elson Howard (your alligator) have you =? Was there a crow there ? Haven't I read that you have a crow ? A. … Other animals ? I have a mechanical elephant with plush skin, named Seneca, given me by Loren MacIver and Lloyd Frankenberg. I have a bronze elephant and mahout (Chinese and old) and a bronze baby pheasant (Chinese) with its head turned back the opposite way from the way it is sitting, also old ; a ceramic elephant made by Malvina Hoffmann ; have an ebony elephant from Ceylon ; ebony llama and lambs-wool Llama – ears tied with scarlet silk to designate ownership ; black clay Zni turtle ; Chinese brass lizard… |
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| 69 | 1965 |
Moore, Marianne. Dress and kindred subjects. In : Women's wear daily ; 17 Febr., 1965. The military cape is the most graceful wrap we have – with Chinese straight-up collar… Have a Dresden leopard with green eyes standing on oval green grass ; a mahout on an Indian brass elephant ; a Chinese gilt-brass baby pheasant with head turning to look back… A porcupine-quill birchbark round basket with quills woven into a square on the lid ; a baby adderskin sewn by Alyse Gregory on a strip of lemond and silver Chinese brocade… Do not relive desperate experiences or anticipate others. Observe this rule and half one's troubles will vanish. Much wisdom is epitomized by Confucius. Tze-Kung – asked if there is a single principle that you could practice through life to the end – said, 'Sympathy' – analogous to our "Do unto others as you would have others do unto you". Confucius said, "If there be a knife of resentment in the heart, the mind fails to act with precision". |
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| 70 | 1967 |
Moore, Marianne. Foreword. In : Prospect Park handbook, by Clay Lancaster. New York : Walton H. Rawls, 1967. Mr. Lancaster is a selective writer ; his pages are art. I envy this book. The Chinese concept of nature for man to 'enjoy' captivates me like Mr. Lancaster's exact, careful but unstilted writing. |
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| 71 | 1968 |
Moore, Marianne. Introduction. In : Central Park country : a tune within us, edited by David Brower, text by Mireille Johnston. San Francisco : Sierra Club, 1968. Entering the park at 72nd Street, one pauses to admire the ancient, small-leafed Chinese elm, one of the original planting, the largest Chinese elm in America. |
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| 72 | 1968 |
Letter from Marianne Moore to Mary-Louise Schneeberger ; New York, [postmarked Febr. 16, 1968]. I am so happy that Harry Belafonte happened to pick me for his show – so handsomely surprising me by his end-dance : "Marianne, Carry On". I love the thought of Carmel and you, Mary-Louise in your Chinese vermilion dress ! |
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Bibliography (5)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1967 |
Moore, Marianne. The complete poems of Marianne Moore. (New York, N.Y. : Macmillan, Viking Press ; London : Faber and Faber, 1967). http://ptchanculto.binhoster.com/books/-Lit-%20Recommended%20Reading/ Female%20Writers/Marianne_Moore_Complete_Poems.pdf. |
Publication / Moo1 |
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| 2 | 1979 |
[Moore, Marianne]. Malian Mo'er de shi. Peng Xiaoyan, Lin Qifan tong bian zhu. (Taibei : Xue sheng ying wen za zhi she, 1979). [Übersetzung der Gedichte von Marianne Moore]. 瑪利安莫爾的詩 |
Publication / Moo3 | |
| 3 | 1986 | Moore, Marianne. The complete prose of Marianne Moore. Ed. and with an introd. by Patricia C. Willis. (New York, N.Y. : Viking, 1986). | Publication / Moo7 |
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| 4 | 1997 | Moore, Marianne. The selected letters of Marianne Moore. Bonnie Costello general editor. (New York, N.Y. : A.A. Knopf, 1997). | Publication / Moo8 | |
| 5 | 1998 |
Wen xue xin lu : Ying Mei ming jia fang tan lu. Shan Dexing bian yi. (Taibei : Shu lin chu ban gong si, 1998). (Wen xue cong shu; 7). [Interviews aus Paris review mit Robert Frost, William Carlos Williams, Ezra Pound, Marianne Moore, T.S. Eliot, Robert Lowell, E.M. Forster, Aldous Huxley, William Faulkner, Ernest Hemingway, Ralph Ellison, Norman Mailer]. 文學心路 : 英美名家訪談錄 |
Publication / ShanD1 |
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Secondary Literature (7)
| # | Year | Bibliographical Data | Type / Abbreviation | Linked Data |
|---|---|---|---|---|
| 1 | 1971 | Wand, David Hsin-fu. The dragon and the kylin : the use of Chinese symbols and myths in Marianne Moore's poetry. In : Literature East and West, vol. 15 (1971). | Publication / Moo6 | |
| 2 | 1972 | Wand, David Happell Hsin-fu [Wang, David Rafael]. Cathay revisited : the Chinese tradition in the poetry of Ezra Pound and Gary Snyder. (Los Angeles, Calif. : University of Southern California, 1972). Diss. Univ. of Southern California, 1972. | Publication / Pou97 | |
| 3 | 1987-1988 |
Unali, Lina. Taoist concepts and Chinese imagery in the poetry of Marianne Moore. In : Tamkang review ; vol. 18, nos 1-4 (1987-1988). In : La memoria : annali della Facoltà di lettere e filosofia dell' Università di Palermo, 1995. http://www.sunmoonlake.net/oldsml/mariannemoore.html. |
Publication / Moo4 | |
| 4 | 1999 | Stamy, Cynthia. Marianne Moore and China : Orientalism and a writing of America. (Oxford : Clarendon Press, 1999). (Oxford English monographs). (Revision of author's thesis, University of Oxford). | Publication / Moo2 | |
| 5 | 2003 |
Qian, Zhaoming. The modernist response to Chinese art : Pound, Moore, Stevens. (Charlottesville : University of Virginia Press, 2003). http://books.google.ch/books/about/The_Modernist_Response_to_Chinese_ Art.html?id=S0AHhe2a0NoC&redir_esc=y. |
Publication / SteW10 | |
| 6 | 2006 |
Bazin, Victoria. "Just looking" at the everyday : Marianne Moore's exotic modernism. In : Modernist cultures ; vol. 2, issue 1 (2006). http://www.js-modcult.bham.ac.uk/articles/Issue3_Bazin.pdf. |
Publication / Moo5 |
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| 7 | 2013 | Marianne Moore library, Rosenbach Archive, Philadelphia : https://www.rosenbach.org/introduction-rosy. | Organisation / Moo9 |
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