Analysis of The Moose Essay -- Elizabeth Bishop The Moose Essays

Analysis of The MooseElizabeth Bishops The Moose is a narrative poetry of 168 lines. Its twenty-eight six-line stanzas are not rigidly structured. Lines vary in distance from four to eight syllables, but those of five or six syllables predominate. The course of stresses is lax enough almost to blur the distinction among rime and prose the rhythm is that of a low-keyed speaking voice hovering over the descriptive details. The eyewitness account is meticulous and restrained. The rime concerns a wad travel to Boston by the beautify and towns of New Brunswick. While driving through the woods, the bus stops because a red deer has wandered onto the road. The appearance of the animal interrupts the nonbelligerent hum of elderly passengers voices. Their talkresignedly revolving itself round such topics as recurrent human failure, sickness, and deathis silenced by the unexpected sexual climax of the beast, which redirects their thoughts and imparts a sweet sensation of joy to the ir quite ordinary, provincial lives. The poem is launched by a protracted introduction during which the speaker indulges in descriptions of landscape and local color, deferring until the fifth stanza the substantive statement regarding what is happening to whom a bus journeys west. This initial postponement and the leisurely accumulation of apparently trivial but realistic detail contribute to the atmospheric build-up heralding the unique occurrence of the journey. That gist will take place as late as the marrow of the twenty-second stanza, in the last third of the text. It is only in memory that one realizes the full import of that happening, and it is only with the last line of the final stanza that the reader gains the necessary distance to grasp entirely the functional federal agency of the earlier descriptive parts. Now the reader will be typeset to tackle the poem again in order to notice and intoxication in its subtle nuances. Bishops artistry will lie plain, particula rly her might to impart life to a rather unnerving redundancy of objects and to project a lofty poetic vision from a humble, prosaic incident. Forms and Devices description and narrative are the chief modes of this poem. Nevertheless, at critical moments the actual vox of the anonymous characters is invited in (Yes, sir,/ all the way to Boston). The binder of these change procedures is the speak... ...such a dialogue by mocking the hooting of owls. To his delight, the birds responded in kind. In between the mystic silences, natures deeper secret motions flooded the boys heart and soul. For the British Romantic, such a communion with nature could still be operable to a few elected spirits whose purity and innocence had already marked them for intense experiences and an early death. Hollander also noted a tie-up between Robert Frosts poem The Most of It and The Moose. Frost had his male protagonist proudly call out to nature for something more than the copy speech that the Win ander son had elicited from his owls. His wish for counter-love, original response was finally granted by the sheer chance appearance of a powerful buck that, lordlike, bust his way through tarn and wilderness without bothering at all to acknowledge the comportment of the human intruder. By contrast, Bishops female moose has the curiosity to approach the break bus in order to look it over and assess it in her mute, nonaggressive way. Finally, it is the bus that, pressed for time, leaves the spother territorywhile the moose remains on the moonlit macadam road without budging.