Nomenclature Dance and Stumble :: Literary Analysis, Lisa Moss

The intention of Lisa Mosss poem Nomenclature Dance and Stumble is to state that a soulfulness must formulate their own completely original ideas, as the ones they speak are already mundane and primitive. Using the passage give care geometric blocks of breath and cheek and let out into constructed strands (Moss, field of operation 6-7) Moss emphasizes the importance of being able to create free flowing speech and intelligible sentences that pull up stakes capture the attention of anyone it is directed to.The clever utilization of parentheses by Lisa Moss in where choosing comes and, with a bent stick, lines drawn thin in the stained state (so thin that passing feet obliterate one end as the new(prenominal) is drawn) (Moss, line 10-13) portrays the juxtaposition of ones verbal speech with their spoken thoughts, encapsulated in parentheses, to instal how spoken thoughts are worthless as they do not fall in a real mark. The passing feet (Moss, line 12) symbolizes the tende ncy for people to ill-treat upon the idea of others and how they point out the flaws of an idea before it has fully matured, creating repercussions that pillowcase people to second guess themselves the next time a avant-garde idea appears.The negative effect is shown by her passage that With countless draped surrenders of the will, not understanding notwithstanding acquiescence is made and these strands are but flags of victory and defeat tattered remnants of lost (not lost, conceded) destiny (not destiny, choosing) (Moss, line 15-21) the person becomes more indecisive when creating thoughts and that you contradict yourself. With the passages surrenders of will (Moss, line 15) and (not lost, conceded) destiny (not destiny, choosing) (Moss, line 19-21) Moss signifies how a person chooses to revise their thoughts away from the original and towards the thoughts of those which are imprinted upon them. This reinforces how she points out the impossibility of creating original ideas instead of recycling the knowledge that we have hoard over our educational lives. She formulated this poem with ambiguity in judgement to ensure that the endorser would draw from their own imagination. Moss writes, But not this one, delay? Ah smoothness calm enduring toward mutation (Moss, line 23-24) giving the reader a very ambiguous thought to ponder, yet again utilise their own imagination. Something wordless and terrifying soon crushed by a misappropriated sense of understanding since (Moss, line 24-25) is an example of people nerve-racking to interpret the unknown.