DOCSLIB.ORG

Herever They Went, They Went Clattering, Until They Swerved in a Swift, Circular Line to the Right, Because of the Firecat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Herever They Went, They Went Clattering, Until They Swerved in a Swift, Circular Line to the Right, Because of the Firecat Harmonium 1 BORZOI POETRY FALL, 1923 THE PILGRIMAGE OF FESTUS Conrad Alken BITTER HERBS Harmonium C. A. Dawsan-Sittt THE PROPHET Kahlil Gibran Wallace Stevens With twflvt drawlitft 6j thi authtr WHIPPEROINNY Robirl Gravtt THE TEMPLE AND OTHBR POEMS Translattd from thi Chintlt hy Arthur Waley New York Alfred ' A ' KnOpf Mcmxxiii COPYRIOll'J', 1 928, Bf ALl'RED A. KNOPF, l:SO. Published, September, 1913 To MY WIFE Bet 11p and pri11 ted bv the Vail-Ballou Oo., B inghamto n, N. Y. Paver f1trnis l1 ed b11 lV. F. Ethcri t1oton & Co .• New York. Bound bu H. WolU Eataio, New York. MANOFAC'rURIOD IN Tlllll UNITED STATES OF AMERICA The poems in this book, with the exception of The Comedian as the Letter C and a few others, have been published before in Others, Secession, Rogue, The Soil, The Modern School, Broom, Contact, The New Republic, The Measure, The Little Review, The Dial, and particularly in Poetry: A lvfagazine of Verse, of Chicago, edited by Harriet Monroe. Contents Earthy Anecdote 15 Invective against Swans 16 In the Carolinas 1 7 The Paltry Nude Starts on a Spring Voyage 18 The Plot against the Gi,ant 20 Infanta Marina 21 Domination of Black 22 The Snow Man 24 The Ordinary Women 25 The Load of Sugar-Cane 27 Le Monocle de Mon Oncle 28 Nuances of a lfheme by Williams 34 Metaphors of a Magnifico 35 Ploughing or. Sunday 36 Cy Est Pourtraicte, Madame Ste Ursule, et Les Unze Mille Vierges 3 7 Hibiscus on the Sleeping Shores 39 Fabliau of Florida 40 The Doct.or of Geneva 41 Another Weeping Woman 42 Homunculus et la Belle Etoile 43 The Comedian as the Letter C 46 The World without Imagination 47 Concerning the Thunderstorms of Yucatan 50 Approaching Carolina 54 The Idea of a Colony 58 A Nice Shady Home 62 And Daughters with Curls 66 9 Frogs Eat Butterflies. Snakes Eat Frogs. Hogs Eat From the Misery of Don Joost 70 Snakes. Men Eat Hogs 114 0, Florida, Venereal Soil 71 Jasmine's Beautiful Thoughts underneath the Willow 115 Last Looks at the Lilacs 73 Cortege for Rosenbloom 116 The Warms at Heaven's Gate 74 Tattoo 118 Th'! Jack Rabbit 75 The Bird with the Coppery, Keen Claws 119 Valley Candle 76 Life is Motion 120 Anecdote of Men by the Thousand 77 Architecture 121 The Silver Plough-Boy 78 The Wind Shifts 124 The Apostrophe to Vincentine 79 Colloquy with a Polish Aunt 125 Floral Decorations for Bananas 81 Gubbinal 126 Anecdote of Canna 83 Two Figures in Dense Violet Night 127 Of the Manner of Addressing Clouds 84 Theory 128 Of Heaven Considered as a Tomb 85 To the One of Fictive Music 129 Of the Surface of Things 86 Hymn from a Watermelon Pavilion 131 Anecdote of the Prince of Peacocks 87 Peter Quince at the Clavier 132 A High-Toned Old Christian Woman 89 Thirteen Ways of Looking at a Blaclcbird 135 The Place of the Solitaires 90 Nomad Exquisite 138 The Weeping Burgher 91 Tea 139 The Curtains in the House of the Metaphysician 92 To the Roaring Wind 140 Banal Sojourn 93 Depression before Spring 94 The Emperor of Ice-Cream 95 The Cuban Doctor 96 Tea at the Palaz of Hoon 97 Exposition of the Contents of a Cab 98 Disillusionment of Ten O'clock 99 Sunday Morning 100 The Virgin Carrying a Lantern 105 Stars at Tallapoosa 106 Explanation 107 Six Significant Landscapes 108 Bantams in Pine-Woods 111 Anecdote of the Jar 112 II Palace of the Babies 113 10 Harmonium Earthy Anecdote Every time the bucks went clattering Over Oklahoma A firecat bristled in the way. Wherever they went, They went clattering, Until they swerved In a swift, circular line To the right, Because of the firecat. Or until they swerved In a swift, circular line To the left, Because of the fir'ecat. The bucks clattered. The firecat went leaping, To ,the right, to the left, And Bristled in the way. Later, the firecat closed his bright eyes And slept. 15 " Invective against Swans In the Carolinas The soul, 0 ganders, flie s beyond the parks T he lilacs wither in the Carolinas. And fa r beyond the discords of the wind. Already the butterflies flutter above the cabins. Already the new-born children interpret love A bronze rain from the sun descending marks In the voices of mothers. The death of summer, which that time endures Timeless mother, Like one who scrawls a lis tless te tament How is it that your aspic nipples Of golden quirks and P aphian caricatures, For once vent honey? Beque ~thing your white feathers to the moon The pine-tree sweetens my body. And giving your bland motions to the nir. The white iris beautifies me. Behold, already on the long parades The crows anoint the statues with their dirt. And the soul, 0 ganders, being lonely, flies Beyond your chilly chariots, to the skies. 16 17 Will go, like the centre of sea-green pomp, In an intenser 'calm, Scullion of fate, Across the spick torrent, ceaselessly, Upon her irretrievable way. The Paltry Nude Starts on a Spring Voyage B ut not on a shell, she starts, Archaic, for the sea. But on the first-found weed She scuds the glitters, Noiselessly, like one more wave. She too is discontent And would have purple stuff upon her arms, Tired of the salty harbors, Eager for the brine and bellowing Of the high interiors of the sea. The wind speeds her, Blowing upon her hands And watery back. She touches the clouds, where she goes In the circle of her traverse of the sea. Yet this is meagre play In the scurry and water-shine, As her heels foam- N ot as when the goldener nude Of a later day 19 The Plot against the Giant Infanta Marina Her terrace was the sand First Girl And the palms and the twilight. When this yokel comes maundering, She made of the motions of her wrist Whetting his hacker, The grandiose gestures I shall run before him, Of her thought. Diffusing the civilest odors Out of geraniums and unsmelled flowers. The rumpling of the plumes It will check him. Of this creature of the evening Came to be sleights of sails Second Girl Over the sea. I shall run before him, Arching cloths besprinkled with colors And thus she roamed As small as fish-eggs. In the roamings of her fan, The threads Will abash him. Partaking of the sea, And of the evening, Third Girl As they flowed around And uttered their subsiding sound. Oh, la • . le pauvre I I shall run before him, With a curious puffing. He will bend his ear then. I shall whisper Heavenly labials in a world of gutturals. It will undo him. 20 21 Turned in the loud fire, Loud as the hemlocks Full of the cry of the peacocks? Or was it a cry against the hemlocks? \ . Domination of Black Out of the window, I saw hoW. the planets gathered At night, by the fire, Like the leaves themselves The colors of the bushes Turning in the wind. And of the fallen leaves, I saw how the ni~ht came, Repeating themselves, Came striding like the color of the heavy hemlocks. Turned in the room, I felt afraid. Lik:e the leaves themselves And I remembered the cry of the peacocks. Turning in the wind. Yes: but the color of the heavy hemlock:s Came striding. And I remembered the cry of the peacock:s. The colors of their tails vVere lik:e the leaves themselves Turning in the wind, In the twilight wind. They swept over the room, Just as they flew from the boughs of the hemlock:s Down to the ground. I heard them cry-the peacocks. Was it a cry against the twilight Or against the leaves themselves Turning in the wind, Turning as the flames Turned in the fire, Turning as the tails of the peacock:s 22 23 I I The Snow Man / The Ordinary Women 0 ne must have a mind of winter T hen from their pove rty they rose, To regard the frost and the boughs From dry catarrhs, and to guitars Of the pine-trees crusted with snow ; They fl itted Through the palace walls. And have been cold a long time To behold the junipers shagged with ice, They flu ng monotony behind, The spruces rough in the distant glitter Turned from their want, and, nonchalant, They crowded Of the January sun; <a nd not to think The nocturnal halls. Of any misery in the sound of the wind, In the sound of a few leaves, The lacquered loges huddled there Wbich is the sound of the -land M umbled zay-zay and a-zay, a-zay. Full of the same wind The moonlight That is blowing in the same bare place Fubbed the girandoles. For the listener, who listens in the snow, And the cold dresses that they wore, And, nothing himself, beholds In the vapid haze of the window-bays, Nothing that is not there and the nothing that is. W ·ere tranquil As they leaned and looked From the window-sills at the alphabets, At bet·a b and gamma g, To study The canting curlicues 25 /) Of heaven and of the heavenly script. / And there they read of marriage-bed. Ti-lill-o ! And they read right long. The gaunt guitarists on the strings The Load of Sugar-Cane Rumbled a-day and a-day, a-day.
Load more

Recommended publications
  • 26.5 Questions 26.6 Further Reading
    L19-20 "Like girls.. .sun" This is a simile which compares the arched trunks of the birches trailing their leaves on the ground to girls who throw their wet hair over their faces in order to dry it. This simile brings out the delicacy and the vulnerability of the birches. L44 "life is too much.. .woodw A simile which compares life, with its enigmas and its hardships to a forest in which there is no clearly-marked path. One may easily lose one's direction. L45-47 "Where your face.. .open" Frost adds a metaphor to the simile and compares the physical hardships of trekking through a pathless forest to the rigours, physical and emotional, of life. The word "weeping" suggests that the tears do not come simply as a result of a cut or bruise but because of some inner sorrow. I Robert Frost is the quintessential New England poet. His poems are spare. He has a close affinity with nature and his poems are meditative-qualities he shares with the Romantic poet Wordsworth. Often, ordinary natural objects suggest something greater in his poems. He plays around with metre in order to capture the easy rhythms of the speaking voice. His poems flow very smoothly, like a good conversation. 26.5 QUESTIONS Q. 1 How would you characterise Robert Frost's poetry? Answer with close reference to "Mending Wall" and "Birches." Q.2 What does the wall represent to Frost in "Mending Wall"? Q.3 What does swinging on birches teach the poet about life? Q.4 Analyse any three metaphors similes in "Birches." 26.6 FURTHER READING I Brower, Reuben.
    [Show full text]
  • Wallace Stevens
    Classic Poetry Series Wallace Stevens - poems - Publication Date: 2004 Publisher: PoemHunter.Com - The World's Poetry Archive A High-Toned Old Christian Woman Poetry is the supreme fiction, madame. Take the moral law and make a nave of it And from the nave build haunted heaven. Thus, The conscience is converted into palms, Like windy citherns hankering for hymns. We agree in principle. That's clear. But take The opposing law and make a peristyle, And from the peristyle project a masque Beyond the planets. Thus, our bawdiness, Unpurged by epitaph, indulged at last, Is equally converted into palms, Squiggling like saxophones. And palm for palm, Madame, we are where we began. Allow, Therefore, that in the planetary scene Your disaffected flagellants, well-stuffed, Smacking their muzzy bellies in parade, Proud of such novelties of the sublime, Such tink and tank and tunk-a-tunk-tunk, May, merely may, madame, whip from themselves A jovial hullabaloo among the spheres. This will make widows wince. But fictive things Wink as they will. Wink most when widows wince. Wallace Stevens www.PoemHunter.com - The World's Poetry Archive 2 Anecdote of the Jar I placed a jar in Tennessee, And round it was, upon a hill. It made the slovenly wilderness Surround that hill. The wilderness rose up to it, And sprawled around, no longer wild. The jar was round upon the ground And tall and of a port in air. It took dominion everywhere. The jar was gray and bare. It did not give of bird or bush, Like nothing else in Tennessee.
    [Show full text]
  • I. the Metler of NOTHINGNESS 2. Samuel French Morse, Quoted By
    Notes I. THE METlER OF NOTHINGNESS 1. My title alludes to a phrase in 'Seventy Years Later" (CP 525-6), the whole of which late poem is suggestively relevant to this chapler. Sources of quotations from Stevens's published writings will be given in the running lext, using the abbreviations already described. 2. Samuel French Morse, quoted by Peter Brazeau in his Parts of a World: Wallacr Stevens Rt'IIJembi'rrd (New York: J{andom House, 1983), p. 152. Subsequent references to this book wil! be incorporated in Ihe running h.'xl as (Brazeau, p. -), 3. WI' Dream of Honour: John Berryman '5 Letters to his Mother, ed. I{ichard J. Kelly (New York & London: W.W. Norton, 1988), p. 207;'So Long? Stevens' can be found in the collection His Toy, His Dream, His Rest (London: Faber & Faber, 1969), p. 148. 4. Thomas C. Grey, The Wallace Stevws Case: Law alld the Practice af Paetry (Cambridge, Mass. & London: Harvard University I'ress, 1991), p. 12. 5. Pound's remarks about Stevens date from 1933, and are quoted by Alan Filreis in Modernism from RiXI1t to Left: Wal/ace Stevells, the Tllirties & Literary Radicalism (Cambridge & New York: Cambridge University Press, 1994), p. 147. 6. John Timberman Newcomb, Wallace StePt'lls alld Literary Callons (Jackson & London: University Press of Mi5Sis$ippi, 1992), pp. 3--4. 7. Henry James, HllwtilOrne, ed. Tony Tanner (London: Macmillan, 1967), pp. 55, 56. 8. D.H. Lawrence, Stlldies ill Classic Amrricall Literatllff! (Harmondsworth: Penguin, 1971), p. 70. [n citing Sacvan Bcrcovitch, I am thinki ng principally o f The Rites of Assent: Transformations in the Symbolic COllstruction af America (New York & London: Routledge, 1993).
    [Show full text]
  • “The Savage Harmony”. Wallace Stevens and the Poetic Apprehension of an Anthropic Universe
    “BABEŞ-BOLYAI” UNIVERSITY OF CLUJ-NAPOCA FACULTY OF LETTERS “THE SAVAGE HARMONY”. WALLACE STEVENS AND THE POETIC APPREHENSION OF AN ANTHROPIC UNIVERSE — SUMMARY — Scientific advisor: Virgil Stanciu, Ph.D. Doctoral candidate: Octavian-Paul More Cluj-Napoca 2010 Contents: Introduction: Stevens, the “Savage Harmony” and the Need for Revaluation Chapter I: Between “Ideas about the Thing” and “The Thing Itself”—Modernism, Positioning, and the Subject – Object Dialectic 1.1. Universalism, the search for the object and the metaphor of positioning as a “root metaphor” in Modernist poetry 1.2. “In-betweenness,” “coalescence” and the relational nature of Modernism 1.3. Common denominators and individual differences in redefining the Modernist search for the object 1.3.1. The drive toward identification, “subjectivising” the object and the “poetry of approach” (W. C. Williams) 1.3.2. Detachment, anti-perspectivism and the strategy of the “snow man” (W. Stevens) 1.4. Universalism revisited: the search for the object as a new mode of knowledge 1.4.1. The shift from static to dynamic and the abstractisation/reification of vision 1.4.2. Relativism vs. indetermination and the reassessment of the position of the subject 1.5. Individual vs. universal in a world of fragments: the search for the object as an experience of locality 1.5.1. “The affair of the possible” or “place” as the changing parlance of the imagination (W. Stevens) 1.5.2. “Suppressed complex(es)” or “place” as the locus of dissociation and transgression (T. S. Eliot) 1.5.3. “The palpable Elysium” or “place” as recuperation and reintegration (E.
    [Show full text]
  • A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird As Set by Louise Talma
    The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 2020 A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma Meredith Melvin Johnson The University of Soutthern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Music Performance Commons Recommended Citation Johnson, Meredith Melvin, "A Performance Guide to Wallace Stevens' Thirteen Ways of Looking at a Blackbird as Set by Louise Talma" (2020). Dissertations. 1787. https://aquila.usm.edu/dissertations/1787 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. A PERFORMANCE GUIDE TO WALLACE STEVENS’ THIRTEEN WAYS OF LOOKING AT A BLACKBIRD AS SET BY LOUISE TALMA by Meredith Melvin Johnson A Dissertation Submitted to the Graduate School, the College of Arts and Sciences and the School of Music at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved by: Dr. Christopher Goertzen, Committee Chair Dr. Jonathan Yarrington Dr. Kimberley Davis Dr. Maryann Kyle Dr. Douglas Rust ____________________ ____________________ ____________________ Dr. Christopher Goertzen Dr. Jay Dean Dr. Karen S. Coats Committee Chair Director of School Dean of the Graduate School May 2020 COPYRIGHT BY Meredith Melvin Johnson 2020 Published by the Graduate School ABSTRACT This dissertation presents a two-fold discourse, first to provide a contextual source for singers interested in 20th century composer Louise Talma, and second to provide an analytical guide to Talma’s adaption of Wallace Stevens’ poem Thirteen Ways of Looking at a Blackbird for voice, oboe, and piano.
    [Show full text]
  • Modernist Portraits
    Unit 11 MODERNIST PORTRAITS Experimentations in Style, World War I to World War II Authors and Works I How did the stylistic innovations of modernist prose affect the way later authors used language Featured in the Video: and narrative structure? Gertrude Stein, Tender Buttons (series of still lives) I How were the myths of the “public enemy” F. Scott Fitzgerald, Tender Is the Night, The Great shaped by historical and cultural changes during Gatsby (novels), “Babylon Revisited” (short story) the modern era? How is this related to shifting Ernest Hemingway, A Farewell to Arms (novel), “The notions of the American success story? Snows of Kilimanjaro” (short story) I How did modernity transform the traditional notions of American self-reliance and indepen- Discussed in This Unit: dence? How did authors consider and rework mod- Susan Glaspell, Trifles (play) ern social relations in their writing? Sherwood Anderson, Winesburg, Ohio (series of short stories) Wallace Stevens, “The Snow Man,” “The Emperor of Ice-Cream,” “Disillusionment of Ten O’Clock,” Learning Objectives “Sunday Morning,” “Gubbinal,” “Thirteen Ways of Looking at a Blackbird” (poems) After students have viewed the video, read the head- Marianne Moore, “Poetry,” “Nevertheless,” “In notes and literary selections in The Norton Anthol- Distrust of Merits” (poems) ogy of American Literature, and explored related Nella Larsen, Quicksand (novella) archival materials on the American Passages Web John Dos Passos, The Big Money (novel) site, they should be able to Hart Crane, “Chaplinesque,” The Bridge (poems) 1. recognize the different types of formal experi- mentation in the fiction of modernist writers such as Stein, Hemingway, Anderson, and Dos Overview Questions Passos, as well as in the poetry of Stevens, Moore, and Crane; I What issues shaped Americans’ thinking during 2.
    [Show full text]
  • Fall 2000 the Wallace Stevens Journal
    The Wallace Stevens Journal Special Issue: Stevens in Late 20th-Century Culture A Publication of The Wallace Stevens Society, Inc. Volume 24 Number 2 Fall 2000 The Wallace Stevens Journal Volume 24 Number 2 Fall 2000 Special Issue: Stevens in Late 20th-Century Culture Edited by Angus Cleghorn Contents Charles Baxter, August Kleinzahler, Adrienne Rich: Contemporary Stevensians and the Problem of “Other Lives” —Stephen Burt 115 Mark Strand’s Inventions of Farewell —Christopher R. Miller 135 Wallace Stevens, Armand Schwerner, and “The The” —Norman Finkelstein 151 Wallace Stevens and A. R. Ammons as Men on the Dump —Gyorgyi Voros 161 Wallace Stevens’ “Second Selves”and the Nostalgia of Discursiveness —Willard Spiegelman 176 Wallace Stevens’ Influence on the Construction of Gay Masculinity by the Cuban Orígenes Group —Eric Keenaghan 187 The Theoretical Afterlife of Wallace Stevens —Anca Rosu 208 Poems 221 Reviews 225 News and Comments 228 Cover Art from “The Man on the Dump” Charcoal drawing by Alexis W. Serio The Wallace Stevens Journal EDITOR John N. Serio POETRY EDITOR ART EDITOR BOOK REVIEW EDITOR H. L. Hix Kathryn Jacobi George S. Lensing EDITORIAL ASSISTANTS EDITORIAL BOARD Thomas O. Hodgson Milton J. Bates A. Walton Litz Maureen Kravec Jacqueline V. Brogan James Longenbach Hope Steele Robert Buttel Glen MacLeod Eleanor Cook Marjorie Perloff TECHNICAL ASSISTANTS Alan Filreis Joan Richardson Richard Austin B. J. Leggett Melita Schaum Claudette J. VanEss George S. Lensing Lisa M. Steinman The Wallace Stevens Society, Inc. PRESIDENT ADVISORY BOARD John N. Serio Milton J. Bates Joseph Duemer Owen E. Brady Kathryn Jacobi Robert Buttel George S.
    [Show full text]
  • 6 X 10.Long New.P65
    Cambridge University Press 978-0-521-19086-2 - Wallace Stevens and the Aesthetics of Abstraction Edward Ragg Index More information Index abstraction Stevens’ embracing of 4, 77, 87, 97, 182, autotelic abstraction 213 184–5 and the bourgeois 5, 97, 107, 148, 162, 165, in Stevens’ later career 2–3, 99, 185, 209 167, 203, 231 Stevens’ modifying of 5, 11, 143, 165, 166, ‘cool’ and ‘warm’ abstraction 2, 5, 20, 24, 172, 174, 229 25, 167, 205, 213, 230 and textual speakers 4, 27, 55, 58, 60, 63, and domesticity 5, 25, 146, 210, 216, 218, 66–76, 77, 86, 87, 90, 95, 97, 98, 109, 220, 221, 223, 225, 229 110, 111, 112, 114, 118, 119, 121, 126, 127, expressions of 4, 25, 28, 210 131, 134, 135, 156, 229, See also idealist ‘I’ and gastronomy. See gastronomy and time 91, 102, 189–98 as generalization 18, 19, 23 and the visual 19, 26–7, 60, 76, 86, 94, 95–7 and the habitual 83, 94, 133, 227 Aestheticism 7 as human task 8, 26, 132, 179, 205, 229 Alcestis Press, The 31, 36, 49, 55, 56, 155 and idealism. See philosophy for ‘idealism’ Altieri, Charles 6, 23, 26–7, 28, 80, 134, 142 and inhumanity 8, 138, 203 Arensberg, Walter 218 and mediation 76, 94, 98, 134, 163, 170, 172, Ariadne 126, 127–9 174, 180, 183, 199 Armory Show, The 209, 212 and mental processes 5 Arnold, Matthew 80, 81 and metaphor 103, 176–8, 185–203 Arp, Jean 213–14 misunderstandings concerning 4, 9, 133 art and art-collecting.
    [Show full text]
  • 'Bordeaux to Yucatan': Stevens's French Connections Tony Sharpe
    ‘Bordeaux to Yucatan’: Stevens’s French Connections Tony Sharpe Complacencies of the peignoir, and late Coffee and oranges in a sunny chair, And the green freedom of a cockatoo Upon a rug… (CPP 53)1 I suppose that most Stevens aficionados know these lines by heart; and as the beginning of what is probably his most anthologised poem, they are likely also to be familiar to a broader readership. Familiarity may not breed contempt, in this instance, but it might desensitise us to what remains surprising about the opening of ‘Sunday Morning’. Stevens’s catalogue, starting with a pluralised abstract noun, ‘complacencies’, moving to more particularised items in a scene that still has about it a potential for being generalised (we all know, the inference seems to be, what it is to yield to that leisurely coffee, those oranges, that sun-warmed chair), then unexpectedly culminates in a specific that combines abstract with concrete, ‘the green freedom of a cockatoo/ Upon a rug’. This, as Keats said of his Grecian Urn, teases us into thought: is this exotic bird a released parrot or a figure in the carpet, and if the latter, in what sense is it free, and in what sense can its ‘freedom’ be ‘green’? If we think it is an actual cockatoo, then ‘green’ could be a transferred epithet, albeit one which retains some strangeness, by assigning colour to an abstract noun. All these items listed serve, we learn, to counteract ‘The holy hush of ancient sacrifice’: and so the poem goes on to explore the implications of its title.
    [Show full text]
  • The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens
    Cleveland State University EngagedScholarship@CSU ETD Archive 2017 The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens Lauren Cannavino Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the Literature in English, North America Commons How does access to this work benefit ou?y Let us know! Recommended Citation Cannavino, Lauren, "The Creation of Space for Engaged Reading and Creative Interpretation in the Collected Works of Wallace Stevens" (2017). ETD Archive. 1010. https://engagedscholarship.csuohio.edu/etdarchive/1010 This Thesis is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. THE CREATION OF SPACE FOR ENGAGED READING AND CREATIVE INTERPRETATION IN THE COLLECTED WORKS OF WALLACE STEVENS Lauren Cannavino Bachelor of Arts in English Cleveland State University December 2006 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at CLEVELAND STATE UNIVERSITY December 2017 THIS THESIS IS HEREBY APPROVED FOR Lauren Cannavino candidate for the Master of Arts degree in English for the Department of English & CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by ____________________________________________________ Thesis Chairperson, Dr. Frederick J. Karem _______________________________________
    [Show full text]
  • A Magazine of Verse Edited by Harriet Monroe October 1921
    Vol. XIX No. I A Magazine of Verse Edited by Harriet Monroe October 1921 Sur ma Guzzla Gracile by Wallace Stevens Hesperides, by H. D. From City Lanes by Loureine Aber Karle Wilson Baker Maurine Smith 543 Cass Street, Chicago $3.00 per Year Single Numbers 25c Your June number renewed me wonderfully—an absolutely joyous thing! Go to it, hammer and tongs! Infuse a little beauty, joy, spirit, pain into the life of today. Did I say a little?—Oceans of them !—A Canadian subscriber Vol. XIX No. I POETRY for OCTOBER, 1921 PAGE Sur ma Guzzla Gracile Wallace Stevens I Palace of the Babies—Misery of Don Joos,t—Doctor of Geneva—Gubbinal—Snow Man—Tea at the Palaz of Hoon—Cuban Doctor—Another Weeping Woman—Man­ ner of Addressing Clouds—Of Heaven Considered as a Tomb—The Load of Sugar-Cane—Hibiscus on the Sleeping Shores From City Lanes Loureine Abcr 10 City Wed—If—Elevator Man—Bereft—Old Man—Girl-- Death Poems Maurine Smith 14 Joy—Ceremony—First Comer—Wind—Swallows Brush a Pool Three Small Poems Karle Wilson Baker 16 To Get Wisdom.—Meekness and Pride—Courage Not in the Whirlwind Karle Wilson Baker 17 Keep My Hand Louise Driscoll 17 Under the Cliff Miriam Allen deFord 18 Shadow Canyon—Themes—Will it be Like This? Sic Passim—Recalled Joseph Andrew Galahad 10 Sea Quatrains I-V Grant H. Code 23 Fragilities Nelson Antrim Crawford 24 Song—Lake—Companionship—Impotence—Branches Hesperides H. D. 26 Fragment XXXVI—Song—At Baia Poetry and the Allied Arts H.
    [Show full text]
  • R This Dissertation Has Been 63-4676 M Icrofilm Ed Exactly As Received
    r This dissertation has been 63-4676 microfilmed exactly as received LORD, Georgianna Wuletich, 1931— THE ANNIHILATION OF ART IN THE POETRY OF WALLACE STEVENS. The Ohio State University, Ph.D., 1962 Language and Literature, modern University Microfilms, Inc., Ann Arbor, Michigan significant value. All of its efforts, therefore, are to make the un­ real— that in which the imagination desires to believe— real and therefore worthy of belief. Stevens’ poetry and thought, then,springs from a dialectic between the imagination and reality, both of which are, in their most basic sense, internalized in the mind as wish (aspiration) and reason. Wish Implies the urge toward pleasure; reason, toward common sense and logic. Wish is the impulse toward grace; reason, toward gravity. Stevens believed that the dialectic between reality and the imagination is endless, that there is a war in the mind that will never end because the mind's desire to satisfy itself will never be fulfilled. Indeed, the major premise of Stevens' thought is that the wish of the imagination will never be ful­ filled. Underlying that major premise is a clash of irreconcilable desires: the desire to achieve fulfillment; the desire to be discon­ tent. Put another way, it is the desire to believe and the inability to (desire not to) believe. The imagination and reality enjoy a temporary armistice whenever each new wish postulated by the imagination is momentarily refined and sanctioned by reason, instead of being denied categorically. Ihat tem­ porary armistice is, as Stevens writes in "The Necessary Angel," a bal­ ance of imagination and reality (imagination and reason).
    [Show full text]