Chief WorksMoore's critical essay in verse, "Poetry" (1921), plays the devil's advocate by forcing the art to prove itself. Composed in her fastidious "if . . . then" style, the poem names types of response: "Hands that can grasp, eyes / that can dilate, hair that can rise / if it must . . ."In line 18, she reaches a pivotal point in the discrimination between poetry and prose with the declaration that "One must make a distinction." Like a punctilious grammar teacher, she calls for "imaginary gardens with real toads in them," an image freighted with her expectations of "raw material" that she labels "genuine."With the graceless pedantry of a schoolmarm, Moore pursues a clear definition of nationality in "England" (1921). In line 26, she halts differentiation between English and French style or Greek from
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