Impressionist critics, because they have attributed to Miss Moore many of their own manias and virtues, have left her actual virtue—her "secret"—untouched. She belongs to a lineage against which the impressionist and the "modernist" have for so long rebelled that by now they are forgetful that it ever existed. In Miss Moore two traditions that modernism tends to ignore, meet. She is, on the one hand, a nearly pure example of that inquisitive, receptive kind of civilized human being which flourished from the high Renaissance through the high Roccoco: the disciple of the "new" as opposed to the "old" learning, the connoisseur, the humane scholar—to whom nothing was alien, and for whom man was the measure of all. Her method, in her "observations," has been compared, and rightly, to that of Francis Bacon and Sir Thomas Browne. But we soon come upon in her work another, angularly intersecting, line. Miss Moore, child of Erasmus, cousin to Evelyn, and certainly close kin to the Mozart who refracted "Don Giovanni" as though from a dark crystal, does not develop, as we might expect, toward full Baroque exuberance. She shows—and not to her demerit—a definite influence derived from that Protestantism against whose vigor the vigor of the Baroque was actively opposed. Miss Moore is a descendant not of Swiss or Scotch, but of Irish presbyters. She is, therefore, a moralist (though a gentle one) and a stern—though flexible—technician.

It is a not infrequent American miracle, this combination of civilized European characteristics in one gifted nature. Miss Moore, American to her backbone, is a striking example of a reversion toward two distinct kinds of heritage; of an atavism which does not in any degree imply declension or degeneration of the original types involved. She does not write à la maniére de … She produces originals. She does not resemble certain seventeenth century writers; she might be one of them. She stands at the confluence of two great traditions, as they once existed, and as they no longer exist. "Sentiment" and the shams of the pasticheur cannot touch her, since she ends where they begin.

Examine her passion for miscellany: it is a seventeenth century passion…. Alive to the meaning of variation, Miss Moore can examine what the modern world displays, with an unmodern eye. This is her value to us. (pp. 198-99)

The tone of her poems often derives from her "other," Protestant inheritance. Are not many of her poems sermons in little, preached in the "plain style" but with overtones of a grander eloquence? Are not many of them discourses which are introduced, or subsumed, by a text? Note the frequent cool moral that she extracts from her poems' complexities; and the dexterity with which, from disparate and often heavy facts, she produces a synthesis as transparent and as inclusive as air. Her sensibilities are Counter-Reformation; her emotion and intellect Protestant.

She has immensely widened the field of modern poetry. She takes the museum piece out of its glass case, and sets it against the living flower. She produces living plants from the herbarium, and living animals from the bestiary. She relates the refreshing oddities of art to the shocking oddities of life. The ephemeral and the provincial become durable and civilized under her hands. She is a delayed product of long processes. (pp. 199-200)