Work in pairs: One person should assume the role of Moore while the other person acts as a critic interviewing Moore about the meaning of her poem. Create a transcript of the interview, then exchange it with other students to compare the different portrayals of Moore.

Rewrite Moore’s poem in paragraph form instead of its original line structure. Does this alter the poem's meaning or effect? Consider what is lost and gained in this new format, and reflect on what this reveals about the essence of poetry. Share your findings with the class.

Compose a poem about a term that is often debated. In your poem, attempt to define this term. Afterwards, read your poem to the class and discuss the various interpretations and responses.

Investigate the behavior of the animals Moore describes in her work. Is this behavior truly inexplicable? Do you agree with her claim that “we do not admire what / we cannot understand?” Why or why not? Share and discuss your thoughts in groups.

Consider what examples Moore might use to describe inexplicable behavior if she were writing today. Collaborate in groups and list your ideas on the board.

Moore discusses the concept of the “genuine” in her work. As a class, brainstorm definitions of this term and work together to formulate one that everyone can agree on.

Work in groups: Create two lists comparing what Moore suggests about critics in “Poetry” with her suggestions in “Critics and Connoisseurs.” Discuss these lists as a class.

Compare the 1919 version of “Poetry” to the 1967 version, where Moore condensed the poem to three lines. Which version do you find more effective, and why? Would including the original version in the footnotes of the final edition provide useful context for readers? Discuss as a class whether footnotes are more likely to alienate or inform readers, and whether imagist poets might prefer an intertextual reading of Moore’s poem versus reading the final three-line version alone.