Marianne Moore's metrical and linguistic complexness is evident in her poem "Spenser's Ireland." The title of the poem bleeds straight off into the first line to create an initiation sentence: "Spenser's Ireland has non altered" (1), and then evidence that it has not altered is offered. leftover alone, the first line has four syllables, followed by two lines of eight syllables each. With the inclusion of the title, the first line also has eight syllables.
The opening of the poem stands as a statement of her view of her subject, that Ireland has not changed since the time of Spenser. She links her poetry with Spenser's by making this reference, and what is
Again and again, the poet links opposites, as she does in a higher place with "belief" and "credulity." Dissension in the country is seen in the repetition of certain syllables indicating opposites--"disunion," "divide," "discommodity," "dissatisfied.
" The country is said to be marked by opposites, by faeries on the one hand and furies on the other. In the end, though, the poet finds no real need to reconcile these opposites:
The way the lines are divided in this last section is characteristic of Moore, express certain concepts by separation them, as "joy their joy," or "I could believe it."
I am troubled, I'm dissatisfied, I'm Irish (62-66).
more(prenominal) important, she links her Ireland with his.
and gather at midday the seed (12-14).
As with her other poems, "Spenser's Ireland" reads as a combination of metric poetry and prose, and the poem can indeed be read as a prose statement on the subject at hand, the permanence of Irel
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