It is in language and the truths that it proposes where impermanence is found. Ars Poetica portrays the poem as not connected to any of the preponderances of truth. Rather, the truth of a poem is in its existential qualities and their relation to the ideals of what lasts. The undeviating qualities of human existence such as love and grief do not mean anything in particular. That is why for Macleish, "A poem should not mean, but be." .
Our second poet, Marianne Moore, hold the poem to a much different standard. In Moore's Poetry, she like Macleish attempts to give us an account of what a poem should be. Though where the two poems differ is where Moore pays much attention to what a poem should not be. Specifically Moore relates the genuine poem and the poem given by a "half poet". Moore says there are dull things that really are useless, such as bad poetry, and it is bad poetry that makes her think at first that she "dislikes" the genre entirely. It is in complete derivation that poetry becomes trivial and disconnected from the genuine heart of the poem, experience. Poetry as a genuine article exists only when poets can be "'literalists of the imagination"" and when they can relate direct experience in their work like "imaginary gardens with real toads in them." Poetry undergoes two specific changes in opinion. It is at first that Moore finds that the poem has become trifling because of the unintelligible permutations created as the "half poet" deviates from the original experience. In the end, the poem is saved and becomes something genuine once again. .
In the meantime, if you demand on the one hand, the raw material of poetry in all its rawness and that which is on the other hand genuine, then you are interested in poetry.
Moore then stresses the importance that the genuine poem, by virtue of what it is and its inception, must have a close original relationship to experience.
