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Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English ISSN: 0976-8165 About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal in English ISSN: 0976-8165 The Creative Dominance: Probing the Presence of Black Colour as the Condition for Imaginative Activity in Wallace Stevens’Harmonium Sruthi B Peet Memorial Training College Mavelikara, Kerala The raging ocean that covered everything was engulfed in total darkness, and the power of God was moving over the water. Then God commanded “Let there be light” –and light appeared. God was pleased with what he saw. Then he separated the light from darkness, and he named the day “light” and the darkness “night”. (Genesis 1:1-5) In the biblical account of creation, black preceded the creation of light. Even the big bang theory won’t prove the precedence of darkness wrong. This primordial colour in mythologies is related to fertility.In Black: The History of a Color, Pastoureau mentions that: This originary black is also found in other mythologies, not only in Europe but also in Asia and Africa. It is often fertile and fecund, as the Egyptian black that symbolizes the silt deposited by the waters of the Nile, with its beneficial floods that are anticipated hopefully each year, it is opposite of the sterile red of the desert sand. Elsewhere, fertile black is simply represented by big black clouds, heavy with rain, ready to fall upon the earth to make it fruitful. In still other places it either graces the statuettes of the protohistorical mother-goddesses or adorns certain divinities associated with fertility (Cybele, Demeter, Ceres, Hecate, Isis, Kali); they may have dark skin, hold or receive black objects, and demand that animals be sacrificed to them. (21) In the middle ages primordial black was associated with artisans, thus linking the colour with creativity. It was not too late before the colour black was attributed with negative dimensions. Black, darkness and night were soon linked with death, melancholy, mourning, and evil, a concept which has been carried over centuries by artists and writers. The red, white, and black triad1 became more and more popular during the Middle Ages. But soon more colours like blue, yellow and green came to the scene. They were soon followed by new colours, which were formed by the mixing of pigments. 1 About the year 1000 white signified the priestly class, red stood for warriors and black for artisans. The black and white colours didn’t represent the contrasting colours then. Vol. 6, Issue. V 174 October 2015 www.the-criterion.com The Criterion: An International Journal in English ISSN: 0976-8165 These experiments along with the new theories of perception gave for Newton’s theory2 on colours. But the new order of colours didn’t elevate the status of black. It began to be regarded as a colourless colour. As Pastoureau describes in Black: The History of a color: In this new order of colours there was no longer a place either for black or for white. That constituted a revolution; black and white were no longer colors, and black perhaps even less so than white. White, in effect, was indirectly part of the spectrum since all the colors were contained within it. But black was not. Hence it was situated outside of any chromatic system, outside the world of color. (148) Black had to face a terrible set back which the Romantics tried to revive. But the earlier romantics were interested in blue and green in their eagerness to represent the various faces of nature. But black started finding a place for itself among these colours but only as a synonym for mourning, death and misery. It soon became the back drop for gothic3 novels and stories. Black carried on with a negative status till World War 1st, soon after which black was recognized a colour of authority and seriousness and was adopted as the color code for judges, magistrates, professors, lawyers, postmen, customs officers, sailors etc. But still there were oppositions4 over the use of black colour for artistic purposes; driven by the idea that black is not a colour as it doesn’t include any colours like white. This was based on the Newton’s theories of dispersion of light and the laws of spectrum. The whole attitude towards colours black and white again underwent a stimulating change with the birth of photography,which was soon followed by the 2 The entry on colour in the 11th edition of Britannica encyclopedia records that according to Newton the white light can be decomposed by the prism into red, orange, yellow, green, blue, indigo and violet. White is thus the colour of the sunlight and is the basis of all the other colours formed by the spectrum. 3 In his book Black: The History of a Color (2008), Michel Pastoureau mentions that “The English gothic novels had launched a trend in the macabre as early as the 1760s, with the castle of Otranto by Horace Walpole, published in 1764. This trend continued into the turn of the century – The Mysteries of Udolfo by Ann Radcliffe (1794), The Monk by Matthew G. Lewis (1795) –and with it, black made its great comeback. This was the triumph of night and death, witches and cemeteries, the strange and fantastic. Satan himself reappeared and became the hero of many poems and stories”. (166) 4 According to Gauguin “Reject black and that mixture of black and white called gray. Nothing is black and that mixture of black and white called gray”. (Pastoureau,177) Vol. 6, Issue. V 175 October 2015 www.the-criterion.com The Criterion: An International Journal in English ISSN: 0976-8165 medium of cinema. The literary world went on giving negative impressions to the colour black. Among the modern poets like Ezra Pound5 , Rainer Maria Rilke and Hilda Doolittle, who used black as an instrument to state symbolic relations, the poetry of Wallace Stevens6 stands out for his unique treatment of black colour. It was not just the colour black that Stevens was interested in. Rather he was mesmerized by the whole world of colours and experimented with different colours in the spectrum.His first collection of poems,Harmonium7 uses a wide spectrum of colours but has always tried to experiment with the colours. His poems clearly portray his knowledge of Newton’s 5 Refer to Pound’s poem In a Station of the Metro 6 Wallace Stevens attended the Armory show of 1913, where Marcel Duchamp’s Nude Descending the staircase was exhibited. Stevens soon became a part of ‘Arsenburg Circle’. The circle met to discuss the latest art, film, music and photography. Some of Stevens’s poems were also read at the meetings. This gave him an opportunity to get introduced to the works of Cezanne, Pablo Picasso, Georges Braque, Andre´ Derain, Francis Picabia, Joseph Stella, Charles Sheeler, Constantin Brancusi, Henri Rousseau,Paul Cézanne, Henri Matisse, and Marcel Duchamp. 7 Wallace Stevens had started writing poems during his Harvard years (1897-1900). A new turn in his poetic creation came when he started composing poems for Elsie Kachel, who later became his wife. The seventy four poems that appear in Harmonium are not written before 1914 or 1915. We are only familiar with the dates of publication as the date of creation remains unknown. Harmonium, which was published in 1923 at the age of forty four doesn’t include the thirty nine poems that he published between 1914 and 1919. They don’t appear in Collected poems as well, which was published in 1953. He faced a lot of difficulty in collecting the poems for Harmonium (refer the letter Wallace Stevens wrote to Harriet Monroe on December 21, 1922, that appear in Letters of Wallace Stevens). “Harmonium, the title that he finally chose, demonstrates the strength of this demand, not simply for order, but for an order that establishes a peaceful and aesthetically pleasing concord among the parts of a unified and consistent whole –harmony. This idea expresses Stevens’ feelings about his work so completely that he wanted to call his collected poems The Whole of Harmonium” (Serio,24) Vol. 6, Issue. V 176 October 2015 www.the-criterion.com The Criterion: An International Journal in English ISSN: 0976-8165 colour theories. Though he seems to follow them, it is not an end for him. George McFadden in his article “Probings for an Integration: Color Symbolism in Wallace Stevens” has stated that “Wallace Stevens requires a Newton of his own” (186). Black colour attains a distinct and unique standard in the poems that occur in Harmonium. McFadden in his article “Probings for an Integration: Color Symbolism in Wallace Stevens” states that“The change which was all important for Stevens begins in black and so does reality” (188)8. The change for Wallace Stevens lies in the imaginative faculty. He considers it as the only element that links one to reality. It is one of the “great human powers” (138) and embodies “the liberty of the mind” (138). In the essay “Imagination as Value” that is included in his Necessary Angel, Stevens talks extensively about imagination9. Imagination as metaphysics will lead us in one direction and, as art in another. When we consider the imagination as metaphysics, we realize that it is in the nature of the imagination itself that we should be quick to accept it as the only clue to reality.
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