Major American Writers: Wallace Stevens Week 7 | 3/3/16 Poet(s) of the Week: e. e. cummings and Hart Crane Major Poem: Esthétique du Mal 277 Paisant Chronicle.

Major American Writers: Wallace Stevens Week 7 | 3/3/16 Poet(s) of the Week: e. e. cummings and Hart Crane Major Poem: Esthétique du Mal 277 Paisant Chronicle 283; Description without Place 296; Man Carrying Thing 306; A Completely New Set of Objects 307; Men Made Out of Words 309; Thinking of a Relation Between the Images of Metaphors 310; Chaos in Motion and Not in Motion 311; Credences of Summer 322

Major American Writers: Wallace Stevens Poet(s) of the Week: e. e. cummings (1894-1962 and Hart Crane (1899-1932)

Major American Writers: Wallace Stevens e. e. cummings (1894-1962) Poet of the Week: e. e. cummings (1894-1962)

Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

[Artists are those] who have discovered (in a mirror surrounded with mirrors) something harder than silence but softer than falling, the third voice of "life" which believes itself and which cannot mean because it is. e. e. cummings, six non-lectures Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

e. e. cummings the painter fourth- dimensional abstraction Oil on canvasboard Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

e. e. cummings the painter Flowers and Hat: Patchen Place, c. 1950, oil on canvas, Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

e. e. cummings the painter Noise Number 1, 1919, oil on canvas, Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

e. e. cummings the painter lone figure and tree in stormy sunset Oil on canvas Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

e. e. cummings the painter Self-portrait with sketchpad, 1939, oil on canvas, Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “in Just-” in Just- spring when the world is mud- luscious the little lame baloonman whistles far and wee and eddyandbill come running from marbles and piracies and it’s spring when the world is puddle-wonderful the queer old baloonman whistles far and wee and bettyandisbel come dancing Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “in Just-” from hop-scotch and jump-rope and it’s spring and the goat-footed baloonMan whistle far and wee Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “next to of course god america” "next to of course god america I love you land of the pilgrims' and so forth oh say can you see by the dawn's early my country tis of centuries come and go and are no more what of it we should worry in every language even deafanddumb thy sons acclaim your glorious name by gorry by jingo by gee by gosh by gum why talk of beauty what could be more beaut- iful than these heroic happy dead who rushed like lions to the roaring slaughter they did not stop to think they died instead then shall the voice of liberty be mute?” He spoke. And drank rapidly a glass of water Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

Oil City High School (demolished in 1967) Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “next to of course god america” Boosterism Oil City High School Rotarians, 1966-1967 Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “Buffalo Bill’s” Buffalo Bill 's defunct who used to ride a watersmooth-silver stallion and break onetwothreefourfive pigeonsjustlikethat Jesus he was a handsome man and what i want to know is how do you like your blueeyed boy Mister Death? Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “the Cambridge ladies” the Cambridge ladies who live in furnished souls are unbeautiful and have comfortable minds (also, with the church's protestant blessings daughters, unscented shapeless spirited) they believe in Christ and Longfellow,both dead, are invariably interested in so many things- at the present writing one still finds delighted fingers knitting for the is it Poles? perhaps. While permanent faces coyly bandy scandal of Mrs. N and Professor D....the Cambridge ladies do not care,above Cambridge if sometimes in its box of sky lavender and cornerless, the moon rattles like a fragment of angry candy Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “she being Brand” she being Brand -new;and you know consequently a little stiff i was careful of her and(having thoroughly oiled the universal joint tested my gas felt of her radiator made sure her springs were O. K.)i went right to it flooded-the-carburetor cranked her up,slipped the clutch(and then somehow got into reverse she kicked what the hell)next minute i was back in neutral tried and again slo-wly;bare,ly nudg. ing (my lev-er Right- oh and her gears being in A 1 shape passed from low through second-in-to-high like grasedlightning Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “she being Brand” just as we turned the corner of Divinity avenue i touched the accelerator and give her the juice,good (it was the first ride and believe i we was happy to see how nice she acted right up to the last minute coming back down by the Public Gardens i slammed on the internalexpanding & externalcontracting brakes Bothatonce and brought allofher tremB -ling to a:dead. stand- ;Still) Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

Gestalt Shift Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

Gestalt Shift Necker’s Cube Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

Gestalt Shift Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “somewhere I have never travelled” somewhere i have never travelled,gladly beyond any experience,your eyes have their silence: in your most frail gesture are things which enclose me, or which i cannot touch because they are too near your slightest look easily will unclose me though i have closed myself as fingers, you open always petal by petal myself as Spring opens (touching skilfully,mysteriously)her first rose or if your wish be to close me, i and my life will shut very beautifully,suddenly, as when the heart of this flower imagines the snow carefully everywhere descending; Major American Writers: Wallace Stevens e. e. cummings (1894-1962) nothing which we are to perceive in this world equals the power of your intense fragility:whose texture compels me with the color of its countries, rendering death and forever with each breathing (i do not know what it is about you that closes and opens;only something in me understands the voice of your eyes is deeper than all roses) nobody,not even the rain,has such small hands

cummings, “I thank You God” i thank You God for most this amazing day:for the leaping greenly spirits of trees and a blue true dream of sky;and for everything which is natural which is infinite which is yes (i who have died am alive again today, and this is the sun's birthday;this is the birth day of life and love and wings: and of the gay great happening illimitably earth) how should tasting touching hearing seeing breathing any-lifted from the no of all nothing-human merely being doubt unimaginable You? (now the ears of my ears awake and now the eyes of my eyes are opened) Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “O sweet spontaneous” O sweet spontaneous earth how often have the doting fingers of prurient philosophies pinched and poked thee has the naughty thumb of science prodded thy beauty how often have religions taken thee upon their scraggy knees squeezing and Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

cummings, “O sweet spontaneous” buffeting thee that thou mightest conceive gods but true to the incomparable couch of death thy rhythmic lover thou answerest them only with spring Major American Writers: Wallace Stevens e. e. cummings (1894-1962)

Major American Writers: Wallace Stevens Poet(s) of the Week: Hart Crane (1899-1932) [Presentation TBA]

Major American Writers: Wallace Stevens Hart Crane (1899-1932)

David Levine’s Hart Crane Hart Crane ENGL 3370: Modern American Poetry

Major American Writers: Wallace Stevens Hart Crane (1899-1932) The Antecedents of Hart Crane  The Romantic Movement The persons in whom [imagination] resides, may often as far as regards many portions of their nature have little apparent correspondence with that spirit of good of which they are the ministers. But even whilst they deny and abjure, they are yet compelled to serve, the Power which is seated on the throne of their own soul. It is impossible to read the compositions of the most celebrated writers of the present day without being startled with the electric life which burns within their words. They measure the circumference and sound the depths of human nature with a comprehensive and all penetrating spirit, and they are themselves perhaps the most sincerely astonished at its manifestations, for it is less their spirit than the spirit of the age. Poets are the hierophants of an unapprehended inspiration, the mirrors of the gigantic shadows which futurity casts upon the present, the words which express what they understand not, the trumpets which sing to battle and feel not what they inspire: the influence which is moved not, but moves. Poets are the unacknowledged legislators of the World. –Shelley, A Defence of Poetry

Major American Writers: Wallace Stevens Hart Crane (1899-1932) The Antecedents of Hart Crane  The Romantic Movement  The Symbolist Movement in Literature— Arthur Symonds (1919)

Major American Writers: Wallace Stevens Hart Crane (1899-1932) The Antecedents of Hart Crane  The Romantic Movement  The Symbolist Movement in Literature— Arthur Symonds (1919)  Art for Art’s Sake (Aestheticism)

Major American Writers: Wallace Stevens Hart Crane (1899-1932)  “All art aspires to the condition of music.”— Walter Pater (pictured)

Major American Writers: Wallace Stevens Hart Crane (1899-1932) The Antecedents of Hart Crane  The Romantic Movement  The Symbolist Movement in Literature— Arthur Symonds (1919)  Art for Art’s Sake (Aestheticism)  Decadence: “Be drunk. Stay drunk.”— Baudelaire

Major American Writers: Wallace Stevens Hart Crane (1899-1932) The Antecedents of Hart Crane  The Romantic Movement  The Symbolist Movement in Literature— Arthur Symonds (1919)  Art for Art’s Sake (Aestheticism)  Decadence: “Be drunk. Stay drunk.”— Baudelaire  Fin de siècle

The French Symbolists Arthur Rimbaud (1854-1891) Charles Baudelaire (1821-1867)3 Paul Verlaine (1844-1896) Stéphane Mallarme (1842-1898) Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Major American Writers: Wallace Stevens Hart Crane (1899-1932) Situations have ended sad, Relationships have all been bad. Mine've been like Verlaine's and Rimbaud. But there's no way I can compare All those scenes to this affair, Yer gonna make me lonesome when you go. —Bob Dylan, “You’re Going to Make Me Lonesome When You Go”

Major American Writers: Wallace Stevens Hart Crane (1899-1932) With Leonardo DiCaprio as Rimbaud, David Thewlis (Lupin) as Verlaine (Agnieszka Holland, 1995)

Repose of Rivers The willows carried a slow sound, A sarabande the wind mowed on the mead. I could never remember That seething, steady leveling of the marshes Till age had brought me to the sea. Flags, weeds. And remembrance of steep alcoves Where cypresses shared the noon’s Tyranny; they drew me into hades almost. And mammoth turtles climbing sulphur dreams Yielded, while sun-silt rippled them Asunder... Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Repose of Rivers How much I would have bartered! the black gorge And all the singular nestings in the hills Where beavers learn stitch and tooth. The pond I entered once and quickly fled— I remember now its singing willow rim. And finally, in that memory all things nurse; After the city that I finally passed With scalding unguents spread and smoking darts The monsoon cut across the delta At gulf gates... There, beyond the dykes I heard wind flaking sapphire, like this summer, And willows could not hold more steady sound. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Moment Fugue The syphilitic selling violets calmly and daisies By the subway news-stand knows how hyacinths This April morning offers hurriedly In bunches sorted freshly— and bestows On every purchaser3 (of heaven perhaps) His eyes— like crutches hurtled against glass Fall mute and sudden (dealing change for lillies) Beyond the roses that no flesh can pass. [1929] Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Chaplinesque We make our meek adjustments, Contented with such random consolations As the wind deposits In slithered and too ample pockets. For we can still love the world, who find A famished kitten on the step, and know Recesses for it from the fury of the street, Or warm torn elbow coverts. We will sidestep, and to the final smirk Dally the doom of that inevitable thumb That slowly chafes its puckered index toward us, Facing the dull squint with what innocence And what surprise! Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Chaplinesque And yet these fine collapses are not lies More than the pirouettes of any pliant cane; Our obsequies are, in a way, no enterprise. We can evade you, and all else but the heart: What blame 33to us if the heart live on. The game enforces smirks; but we have seen The moon in lonely alleys make A grail of laughter of an empty ash can, And through all sound of gaiety and quest Have heard a kitten in the wilderness. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Legend As silent as a mirror is believed Realities plunge in silence by... I am not ready for repentance; Nor to snatch regrets. For the moth Bends no more than the still Imploring flame. And tremorous In the white falling flakes Kisses are,— The only worth all granting. It is to be learned— This cleaving and this burning, But only by the one who Spends out himself again. Twice and twice (Again the smoking souvenir, Bleeding eidolon!) and yet again. Until the bright logic is won Unwhispering as a mirror Is believed. Then, drop by caustic drop, a perfect cry Shall string some constant harmony,— Relentless caper for all those who step The legend of their youth into the noon. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages I Above the fresh ruffles of the surf Bright striped urchins flay each other with sand. They have contrived a conquest for shell shucks, And their fingers crumble fragments of baked weed Gaily digging and scattering. And in answer to their treble interjections The sun beats lightning on the waves, The waves fold thunder on the sand; And could they hear me I would tell them: O brilliant kids, frisk with your dog, Fondle your shells and sticks, bleached By time and the elements; but there is a line You must not cross nor ever trust beyond it Spry cordage of your bodies to caresses Too lichen-faithful from too wide a breast. The bottom of the sea is cruel. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages II —And yet this great wink of eternity, Of rimless floods, unfettered leewardings, Samite sheeted and processioned where Her undinal vast belly moonward bends, Laughing the wrapt inflections of our love; Take this Sea, whose diapason knells On scrolls of silver snowy sentences, The sceptred terror of whose sessions rends As her demeanors motion well or ill, All but the pieties of lovers’ hands. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages And onward, as bells off San Salvador Salute the crocus lustres of the stars, In these poinsettia meadows of her tides,— Adagios of islands, O my Prodigal, Complete the dark confessions her veins spell. Mark how her turning shoulders wind the hours, And hasten while her penniless rich palms Pass superscription of bent foam and wave,— Hasten, while they are true,—sleep, death, desire, Close round one instant in one floating flower. Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages III Infinite consanguinity it bears— This tendered theme of you that light Retrieves from sea plains where the sky Resigns a breast that every wave enthrones; While ribboned water lanes I wind Are laved and scattered with no stroke Wide from your side, whereto this hour The sea lifts, also, reliquary hands. And so, admitted through black swollen gates That must arrest all distance otherwise,— Past whirling pillars and lithe pediments, Light wrestling there incessantly with light, Star kissing star through wave on wave unto Your body rocking! Major American Writers: Wallace Stevens Hart Crane (1899-1932) and where death, if shed, Presumes no carnage, but this single change,— Upon the steep floor flung from dawn to dawn The silken skilled transmemberment of song; Permit me voyage, love, into your hands...

Voyages IV Whose counted smile of hours and days, suppose I know as spectrum of the sea and pledge Vastly now parting gulf on gulf of wings Whose circles bridge, I know, (from palms to the severe Chilled albatross’s white immutability) No stream of greater love advancing now Than, singing, this mortality alone Through clay aflow immortally to you. All fragrance irrefragably, and claim Madly meeting logically in this hour And region that is ours to wreathe again, Portending eyes and lips and making told The chancel port and portion of our June— Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages Shall they not stem and close in our own steps Bright staves of flowers and quills today as I Must first be lost in fatal tides to tell? In signature of the incarnate word The harbor shoulders to resign in mingling Mutual blood, transpiring as foreknown And widening noon within your breast for gathering All bright insinuations that my years have caught For islands where must lead inviolably Blue latitudes and levels of your eyes,— In this expectant, still exclaim receive The secret oar and petals of all love. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages V Meticulous, past midnight in clear rime, Infrangible and lonely, smooth as though cast Together in one merciless white blade— The bay estuaries fleck the hard sky limits. —As if too brittle or too clear to touch! The cables of our sleep so swiftly filed, Already hang, shred ends from remembered stars. One frozen trackless smile... What words Can strangle this deaf moonlight? For we Are overtaken. Now no cry, no sword Can fasten or deflect this tidal wedge, Slow tyranny of moonlight, moonlight loved And changed... “There’s Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages Nothing like this in the world,” you say, Knowing I cannot touch your hand and look Too, into that godless cleft of sky Where nothing turns but dead sands flashing. “—And never to quite understand!” No, In all the argosy of your bright hair I dreamed Nothing so flagless as this piracy. But now Draw in your head, alone and too tall here. Your eyes already in the slant of drifting foam; Your breath sealed by the ghosts I do not know: Draw in your head and sleep the long way home. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages VI Where icy and bright dungeons lift Of swimmers their lost morning eyes, And ocean rivers, churning, shift Green borders under stranger skies, Steadily as a shell secretes Its beating leagues of monotone, Or as many waters trough the sun’s Red kelson past the cape’s wet stone; O rivers mingling toward the sky And harbor of the phoenix’ breast— My eyes pressed black against the prow, —Thy derelict and blinded guest Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages Waiting, afire, what name, unspoke, I cannot claim: let thy waves rear More savage than the death of kings, Some splintered garland for the seer. Beyond siroccos harvesting The solstice thunders, crept away, Like a cliff swinging or a sail Flung into April’s inmost day— Creation’s blithe and petalled word To the lounged goddess when she rose Conceding dialogue with eyes That smile unsearchable repose— Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Voyages Still fervid covenant, Belle Isle, —Unfolded floating dais before Which rainbows twine continual hair— Belle Isle, white echo of the oar! The imaged Word, it is, that holds Hushed willows anchored in its glow. It is the unbetrayable reply Whose accent no farewell can know. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

At Melville's Tomb Often beneath the wave, wide from this ledge The dice of drowned men's bones he saw bequeath An embassy. Their numbers as he watched, Beat on the dusty shore and were obscured. And wrecks passed without sound of bells, The calyx of death's bounty giving back A scattered chapter, livid hieroglyph, The portent wound in corridors of shells. Then in the circuit calm of one vast coil, Its lashings charmed and malice reconciled, Frosted eyes there were that lifted altars; And silent answers crept across the stars. Compass, quadrant and sextant contrive No farther tides... High in the azure steeps Monody shall not wake the mariner. This fabulous shadow only the sea keeps. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

“To Brooklyn Bridge” How many dawns, chill from his rippling rest The seagull's wings shall dip and pivot him, Shedding white rings of tumult, building high Over the chained bay waters Liberty— Then, with inviolate curve, forsake our eyes As apparitional as sails that cross Some page of figures to be filed away; —Till elevators drop us from our day... I think of cinemas, panoramic sleights With multitudes bent toward some flashing scene Never disclosed, but hastened to again, Foretold to other eyes on the same screen; Major American Writers: Wallace Stevens Hart Crane (1899-1932)

The Brooklyn Bridge in Cloverfield The Brooklyn Bridge on a GEICO Ad Major American Writers: Wallace Stevens Hart Crane (1899-1932)

“To Brooklyn Bridge” And Thee, across the harbor, silver-paced As though the sun took step of thee, yet left Some motion ever unspent in thy stride,— Implicitly thy freedom staying thee! Out of some subway scuttle, cell or loft A bedlamite speeds to thy parapets, Tilting there momently, shrill shirt ballooning, A jest falls from the speechless caravan. Down Wall, from girder into street noon leaks, A rip-tooth of the sky's acetylene; All afternoon the cloud-flown derricks turn... Thy cables breathe the North Atlantic still. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

“To Brooklyn Bridge” And obscure as that heaven of the Jews, Thy guerdon... Accolade thou dost bestow Of anonymity time cannot raise: Vibrant reprieve and pardon thou dost show. O harp and altar, of the fury fused, (How could mere toil align thy choiring strings!) Terrific threshold of the prophet's pledge, Prayer of pariah, and the lover's cry,— Again the traffic lights that skim thy swift Unfractioned idiom, immaculate sigh of stars, Beading thy path—condense eternity: And we have seen night lifted in thine arms. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

“To Brooklyn Bridge” Under thy shadow by the piers I waited; Only in darkness is thy shadow clear. The City's fiery parcels all undone, Already snow submerges an iron year... O Sleepless as the river under thee, Vaulting the sea, the prairies' dreaming sod, Unto us lowliest sometime sweep, descend And of the curveship lend a myth to God. Major American Writers: Wallace Stevens Hart Crane (1899-1932)

44 To seem the stranger lies my lot, my life Among strangers.... This to hoard unheard, Heard unheeded, leaves me a lonely began. —Gerard Manley Hopkins Major American Writers: Wallace Stevens Hart Crane (1899-1932)

Major American Writers: Wallace Stevens Paisant Chronicle (283) What are the major men? All men are brave. All men endure. The great captain is the choice Of chance. Finally, the most solemn burial Is a paisant chronicle. Men live to be Admired by men and all men, therefore, live To be admired by all men. Nations live To be admired by nations. The race is brave. The race endures. The funeral pomps of the race Are a multitude of individual pomps And the chronicle of humanity is the sum Of paisant chronicles. 1945

Major American Writers: Wallace Stevens Paisant Chronicle The major men That is different. They are characters beyond Reality, composed thereof. They are The fictive man created out of men. They are men but artificial men. They are Nothing in which it is not possible To believe, more than the casual hero, More than Tartuffe as myth, the most Moliere, The easy projection long prohibited. The baroque poet may see him as still a man. As Virgil, abstract. But see him for yourself, The fictive man. He may be seated in A café. There may be a dish of country cheese And a pineapple on the table. It must be so.

Major American Writers: Wallace Stevens Description Without Place (296) I It is possible that to seem—it is to be, As the sun is something seeming and it is. The sun is an example. What it seems It is and in such seeming all things are. Thus things are like a seeming of the sun Or like a seeming of the moon or night Or sleep. It was a queen that made it seem By the illustrious nothing of her name. Her green mind made the world around her green. The queen is an example.... This green queen In the seeming of the summer of her sun By her own seeming made the summer change. In the golden vacancy she came, and comes, And seems to be on the saying of her name. Her time becomes again, as it became, The crown and week-day coronal of her fame. Phi Beta Kappa Poem, delivered at Harvard, June, 1945

II Such seemings are the actual ones: the way Things look each day, each morning, or the style Peculiar to the queen, this queen or that, The lesser seeming original in the blind Forward of the eye that, in its backward, sees The greater seeming of the major mind. An age is a manner collected from a queen. An age is green or red. An age believes Or it denies. An age is a solitude Or a barricade against the singular man By the incalculably plural. Hence Its identity is merely a thing that seems, In the seeming of an original in the eye, In the major manner of a queen, the green Major American Writers: Wallace Stevens Description Without Place The red, the blue, the argent queen. If not, What subtlety would apparition have? In flat appearance we should be and be, Except for delicate clinkings not explained. These are the actual seemings that we see, Hear, feel and know. We feel and know them so.

III There are potential seemings, arrogant To be, as on the youngest poet's page, Or in the dark musician, listening To hear more brightly the contriving chords. There are potential seemings turbulent In the death of a soldier, like the utmost will, The more than human commonplace of blood, The breath that gushes upward and is gone, And another breath emerging out of death, That speaks for him such seemings as death gives. There might be, too, a change immenser than A poet's metaphors in which being would Come true, a point in the fire of music where Dazzle yields to a clarity and we observe, Major American Writers: Wallace Stevens Description Without Place

And observing is completing and we are content, In a world that shrinks to an immediate whole, That we do not need to understand, complete Without secret arrangements of it in the mind. There might be in the curling-out of spring A purple-leaping element that forth Would froth the whole heaven with its seeming-so The intentions of a mind as yet unknown, The spirit of one dwelling in a seed, Itself that seed's ripe, unpredictable fruit. Things are as they seemed to Calvin or to Anne Of England, to Pablo Neruda in Ceylon, To Nietzsche in Basel, to Lenin by a lake. But the integrations of the past are like A Museo Olympico, so much, So little, our affair, which is the affair Of the possible: seemings that are to be, Seemings that it is possible may be. Major American Writers: Wallace Stevens Description Without Place

IV Nietzsche in Basel studied the deep pool Of these discolorations, mastering The moving and the moving of their forms In the much-mottled motion of blank time. His revery was the deepness of the pool, The very pool, his thoughts the colored forms, The eccentric souvenirs of human shapes, Wrapped in their seemings, crowd on curious crowd, In a kind of total affluence, all first, All final, colors subjected in revery To an innate grandiose, an innate light, The sun of Nietzsche gildering the pool, Yes: gildering the swarm-like manias In perpetual revolution, round and round.... Lenin on a bench beside a lake disturbed The swans. He was not the man for swans. Major American Writers: Wallace Stevens Description Without Place

Major American Writers: Wallace Stevens Description Without Place The slouch of his body and his look were not In suavest keeping. The shoes, the clothes, the hat Suited the decadence of those silences, In which he sat. All chariots were drowned. The swans Moved on the buried water where they lay. Lenin took bread from his pocket, scattered it The swans fled outward to remoter reaches, As if they knew of distant beaches; and were Dissolved. The distances of space and time Were one and swans far off were swans to come. The eye of Lenin kept the far-off shapes. His mind raised up, down-drowned, the chariots. And reaches, beaches, tomorrow's regions became One thinking of apocalyptic legions.

V If seeming is description without place, The spirit's universe, then a summer's day. Even the seeming of a summer's day, Is description without place. It is a sense To which we refer experience, a knowledge Incognito, the column in the desert, On which the dove alights. Description is Composed of a sight indifferent to the eye. It is an expectation, a desire, A palm that rises up beyond the sea, A little different from reality: The difference that we make in what we see And our memorials of that difference, Sprinklings of bright particulars from the sky. The future is description without place, The categorical predicate, the arc. Major American Writers: Wallace Stevens Description Without Place It is a wizened starlight growing young, In which old stars are planets of morning, fresh In the brilliantest descriptions of new day, Before it comes, the just anticipation Of the appropriate creatures, jubilant, The forms that are attentive in thin air.

VI Description is revelation. It is not The thing described, nor false facsimile. It is an artificial thing that exists, In its own seeming, plainly visible, Yet not too closely the double of our lives, Intenser than any actual life could be, A text we should be born that we might read, More explicit than the experience of sun And moon, the book of reconciliation, Book of a concept only possible In description, canon central in itself, The thesis of the plentifullest John. Major American Writers: Wallace Stevens Description Without Place

VII Thus the theory of description matters most. It is the theory of the word for those For whom the word is the making of the world, The buzzing world and lisping firmament. It is a world of words to the end of it, In which nothing solid is its solid self. As, men make themselves their speech: the hard hidalgo Lives in the mountainous character of his speech; And in that mountainous mirror Spain acquires The knowledge of Spain and of the hidalgo's hat? A seeming of the Spaniard, a style of life, The invention of a nation in a phrase, In a description hallowed out of hollow-bright, The artificer of subjects still half night. Major American Writers: Wallace Stevens Description Without Place It matters, because everything we say Of the past is description without place, a cast Of the imagination, made in sound; And because what we say of the future must portend, Be alive with its own seemings, seeming to be Like rubies reddened by rubies reddening.

Major American Writers: Wallace Stevens Thinking of a Relation Between the Images of Metaphors (310) The wood-doves are singing along the Perkiomen. The bass lie deep, still afraid of the Indians. In the one ear of the fisherman, who is all One ear, the wood-doves are singing a single song. The bass keep looking ahead, upstream, in one Direction, shrinking from the spit and splash Of waterish spears. The fisherman is all One eye, in which the dove resembles a dove. There is one dove, one bass, one fisherman. Yet coo becomes rou-coo, rou-coo. How close 1945

Major American Writers: Wallace Stevens Thinking of a Relation Between the Images of Metaphors To the unstated theme each variation comes… In that one ear it might strike perfectly: State the disclosure. In that one eye the dove Might spring to sight and yet remain a dove. The fisherman might be the single man In whose breast, the dove, alighting, would grow still.

Major American Writers: Wallace Stevens Chaos in Motion and Not in Motion (311) Oh, that this lashing wind was something more Than the spirit of Ludwig Richter...Ludwig Richter The rain is pouring down. It is July. There is lightning and the thickest thunder. It is a spectacle. Scene 10 becomes 11, in Series X, Act IV, et cetera. People fall out of windows, trees tumble down, Summer is changed to winter, the young grow old, The air is full of children, statues, roofs And snow. The theater is spinning round, Colliding with deaf-mute churches and optical trains. The most massive sopranos are signing songs of scales. 1945

Major American Writers: Wallace Stevens Chaos in Motion and Not in Motion And Ludwig Richter, turbulent Schlemiel,Schlemiel Has lost the whole in which he was contained, Knows desire without an object of desire, All mind and violence and nothing felt. He knows he has nothing more to think about. Like the wind that lashes everything at once.

Major American Writers: Wallace Stevens Men Made Out of Words (309) What should we be without the sexual myth, The human revery or poem of death? Castratos of moon-mash—Life consists Of propositions about life. The human Revery is a solitude in which We compose these propositions, torn by dreams, By the terrible incantations of defeats And by the fear that defeats and dreams are one. The whole race is a poet that writes down The eccentric propositions of its fate. 1946

Major American Writers: Wallace Stevens Man Carrying Thing (306) The poem must resist the intelligence Almost successfully. Illustration: A brune figure in winter evening resists Identity. The thing he carries resists The most necessitous sense. Accept them, then, As secondary (parts not quite perceived Of the obvious whole, uncertain particles Of the certain solid, the primary free from doubt, Things floating like the first hundred flakes of snow Out of a storm we must endure all night, Out of a storm of secondary things), A horror of thoughts that suddenly are real. We must endure our thoughts all night, until The bright obvious stands motionless in cold. 1946

Major American Writers: Wallace Stevens Credences of Summer (322) I Now in midsummer come and all fools slaughtered And spring’s infuriations over and a long way To the ﬁrst autumnal inhalations, young broods Are in the grass, the roses are heavy with a weight Of fragrance and the mind lays by its trouble. Now the mind lays by its trouble and considers. The ﬁdgets of remembrance come to this. This is the last day of a certain year Beyond which there is nothing left of“ time. It comes to this and the imagination’s life. There is nothing more inscribed nor thought nor felt And this must Comfort the heart’s Core against Its false disasters—these fathers standing round, These mothers touching, speaking, being near, These lovers waiting in the soft dry grass. 1946

Major American Writers: Wallace Stevens II Postpone the anatomy of summer, as The physical pine, the metaphysical pine. Let’s see the very thing and nothing else. Let’s see it with the hottest ﬁre of sight. Burn everything not part of it to ash. Trace the gold sun about the whitened sky Without evasion by a single metaphor. Look at it in its essential barrenness And say this, this is the center that l seek. Fix it in an eternal foliage And ﬁll the foliage with arrested peace, Joy of such permanence, right ignorance Of change still possible. Exile desire For what is not. This is the barrenness Of the fertile thing that can attain no more. Credences of Summer

Major American Writers: Wallace Stevens III It is the natural tower of all the world, The point of survey, green’s green apogee, But a tower more precious than the view beyond, A point of survey squatting like a throne, Axis of everything, green’s apogee And happiest folk-land, mostly marriage-hymns. It is the mountain on which the tower stands, It is the ﬁnal mountain. Here the sun, Sleepless, inhales his proper air, and rests. This is the refuge that the end creates. It is the old man standing on the tower, Who reads no book. His ruddy ancientness Absorbs the ruddy summer and is appease By an understanding that fulfils his age, By a feeling capable of nothing more. Credences of Summer

Major American Writers: Wallace Stevens IV One of the limits of reality Presents itself in Olev when the hay, Baked through long days, is piled in mows. It is A land too ripe for enigmas, too serene. There the distant fails the clairvoyant eye And the secondary senses of the ear Swarm not with secondary sounds, but choirs, Not evocations but last choirs, last sounds With nothing else compounded, carried full, Pure rhetoric of a language without words. Things stop in that direction and since they stop The direction stops and we accept what is As good. The utmost must be good and is And is our fortune and honey hived in the trees And mingling of colors at a festival. Credences of Summer

Major American Writers: Wallace Stevens V One day enriches a year. One woman makes The rest look down. One man becomes a race, Lofty like him, like him perpetual. Or do the other days enrich the one? And is the queen humble as she seems to be, The charitable majesty of her whole kin? The bristling soldier, weather-foxed, who ln the sunshine is a ﬁlial form and one Of the land’s children, easily born, its flesh, Not fustian. The more than casual blue Contains the year and other years and hymns And people, without souvenir. The day Enriches the year, not as embellishment. Stripped of remembrance, it displays its strength— The youth, the vital son, the heroic power. Credences of Summer

Major American Writers: Wallace Stevens VI The rock cannot be broken. It is the truth. It rises from land and sea and covers them. It is a mountain half way green and then, The other immeasurable half, such rock As placid air becomes. But it is not A hermit’s truth nor symbol in hermitage. It is the visible rock, the audible, The brilliant mercy of a sure repose, Things certain sustaining us in certainty. It is the rock of summer, the extreme, A mountain luminous half way in bloom And then half way in the extremest light Of sapphires ﬂashing from the central sky, As if twelve princes sat before a king. Credences of Summer

Major American Writers: Wallace Stevens VII Far in the woods they sang their unreal songs, Secure. It was difficult to sing in face Of the object. The singers had to avert themselves Or else avert the object. Deep in the woods They sang of summer in the common fields. They sang desiring an object that was near, In face of which desire no longer moved, Nor made of‘ itself that which it would not find... Three times the concentered self takes hold, three times The thrice concentered self; having possessed The object, grips it in savage scrutiny, Once to make captive, once to subjugate Or yield to subjugation, once to proclaim The meaning of the capture, this hard prize, Fully made, fully apparent, fully found. Credences of Summer

Major American Writers: Wallace Stevens VIII The trumpet of morning blows in the clouds and through The sky. It is the visible announced, It is the more than visible, the more Than sharp, illustrious scene. The trumpet cries This is the successor of the invisible. This is its substitute in stratagems Of the spirit. This, in sight and memory, Must take its place, as what is possible Replaces what is not. The resounding cry ls like ten thousand tumblers tumbling down To share the day. The trumpet supposes that A mind exists, aware of division, aware Of its cry as clarion, its diction’s way As that of a personage in a multitude: Man’s mind grown venerable in the unreal. Credences of Summer

Major American Writers: Wallace Stevens IX Fly low, cock bright, and stop on a bean pole. Let Your brown breast redden, while you wait for warmth ‘With one eye watch the willow, motionless. The gardener’s cat is dead, the gardener gone And last year’s garden grows salacious weeds. A complex of emotions falls apart, In an abandoned spot. Soft, civil bird, The decay that you regard: of the arranged And of the spirit of the arranged, douceurs, Tristesses, the fund of life and death, suave bush And polished beast, this complex falls apart. And on your bean pole, it may be, you detect Another complex of other emotions, not So soft, so civil, and you make a sound, Which is not part of the listener’s own sense. Credences of Summer

Major American Writers: Wallace Stevens X The personae of summer play the characters Of an inhuman author, who meditates With the gold bugs, in blue meadows, late at night. He does not hear his characters talk. He sees Them mottled, in the moodiest costumes, Of blue and yellow, sky and sun, belted And knotted, sashed and seamed, half pales of red, Half pales of green, appropriate habit for The huge decorum, the manner of the time, Part of the mottled mood of summer’s whole, In which the characters speak because they want To speak, the fat, the roseate characters, Free, for a moment, from malice and sudden cry; Completed in a completed scene, speaking Their parts as in a youthful happiness. Credences of Summer

Major American Writers: Wallace Stevens A Completely New Set of Objects (307) From a Schuykill in mid-earth there came emerging Fotillas, willed and wanted, bearing in them Shadows of friends, of those he knew, each bringing From the water in which he believed and out of desire Things made by mid-terrestrial, mid-human Makers without knowing, or intending, uses. These figures verdant with time’s buried verdure Came paddling their canoes, a thousand thousand, Carrying such shapes, of such alleviation, That the beholder knew their subtle purpose, Knew well the shapes were the exactest shaping Of a vast people old in meditation... Under Tinicum or small Cohansey, The fathers of the makers may lie and weather. 1947 Discussion led by Nick Dalbey

Major American Writers: Wallace Stevens Major Poem: Esthétique du Mal (277) 1944

Major American Writers: Wallace Stevens The French Symbolists: Baudelaire, Mallarme, Rimbaud, Verlaine

Major American Writers: Wallace Stevens The French Symbolists: Charles Baudelaire (1821-1867)

And this brings us to Manet's incomparable La Musique Aux Tuileries, first exhibited in 1863. On the left one spies the painter himself. In the middle distance is the French poet and critic Baudelaire, a friend of the artist. Now, Baudelaire... interesting fellow. In his poem “Le Vampyre” he wrote: “Thou who abruptly as a knife didst come into my heart.” He, ah, strongly believed that evil forces surrounded mankind. And some even speculated that the poem was about a real vampire. (He laughs) Oh and, ah, Baudelaire's actually a little taller and a lot drunker than he's depicted here.

Major American Writers: Wallace Stevens The French Symbolists: Stéphane Mallarmé (1842-1898)

Major American Writers: Wallace Stevens The French Symbolists: Paul Verlaine (1844-1896)

Major American Writers: Wallace Stevens The French Symbolists: Arthur Rimbaud (1854-1891)

Major American Writers: Wallace Stevens The French Symbolists: Paul Valery (1871-1945)

Major American Writers: Wallace Stevens I He was at Naples writing letters home And, between letters, reading paragraphs On the sublime. Vesuvius had groaned For a month. It was pleasant to be sitting there While the sultriest fulgurations, flickering, Cast corners in the glass. He could describe The terror of the sound because the sound Was ancient. He tried to remember the phrases: pain Audible at noon, pain torturing itself, Pain killing pain on the very point of pain. The volcano trembled in another ether, As the body trembles at the end of life. It was almost time for lunch. Pain is human. There were roses in the cool café. His book Made sure of the most correct catastrophe. Except for us, Vesuvius might consume In solid fire the utmost earth and know No pain (ignoring the cocks that crow us up To die). This is a part of the sublimethe sublime From which we shrink. And yet, except for us, The total past felt nothing when destroyed. Major Poem: Esthétique du Mal (277) 1944

Major American Writers: Wallace Stevens II At a town in which acacias grew, he lay On his balcony at night. Warblings became Too dark, too far, too much the accents of Afflicted sleep, too much the syllables That would form themselves, in time, and communicate The intelligence of his despair, express What meditation never quite achieved. The moon rose up as if it had escaped His meditation. It evaded his mind. It was part of a supremacy always Above him. The moon was always free from him, As night was free from him. The shadow touched Or merely seemed to touch him as he spoke A kind of elegy he found in space: It is pain that is indifferent to the sky In spite of the yellow of the acacias, the scent Of them in the air still hanging heavily In the hoary-hanging night. It does not regard This freedom, this supremacy, and in Its own hallucination never sees How that which rejects it saves it in the end. Esthétique du Mal

Major American Writers: Wallace Stevens III His firm stanzas hang like hives in hell Or what hell was, since now both heaven and hell Are one, and here, O terra infidel. The fault lies with an over-human god, Who by sympathy has made himself a man And is not to be distinguished, when we cry ' Because we suffer, our oldest parent, peer Of the populace of the heart, the reddest lord, Who has gone before us in experience. If only he would not pity us so much, Weaken our fate, relieve us of woe both great And small, a constant fellow of destiny, A too, too human god, self-pity's kin And uncourageous genesis... It seems As if the health of the world might be enough. It seems as if the honey of common summer Might be enough, as if the golden combs Were part of a sustenance itself enough, As if hell, so modified, had disappeared, As if pain, no longer satanic mimicry, Could be borne, as if we were sure to find our way. Esthétique du Mal

Major American Writers: Wallace Stevens IV Livre de Toutes Sortes de Fleures D'Après Nature. All sorts of flowers. That's the sentimentalist. When B. sat down at the piano and made A transparence in which we heard music, made music In which we heard transparent sounds, did he play All sorts of notes? Or did he play only one In an ecstasy of its associates, Variations in the tone of a single sound, The last, or sounds so single they seemed one? And then that Spaniard of the rose, itself Hot-hooded and dark-blooded, rescued the rose From nature, each time he saw it, making it As he saw it, exist in his own especial eye. Can we conceive of him as rescuing less, As muffing the mistress for her several maids, As foregoing the nakedest passion for barefoot Philandering?... The genius of misfortune Is not a sentimentalist. He is That evil, that evil in the self from which In desperate hallow, rugged gesture, fault Falls out on everything. The genius of The mind, which is our being, wrong and wrong, The genius of the body, which is our world, Spent in the false engagements of the mind. Esthétique du Mal

Major American Writers: Wallace Stevens V Softly let all true sympathizers come, Without the inventions of sorrow or the sob Beyond invention. Within what we permit, Within the actual, the warm, the near, So great a unity, that it is bliss, Ties us to those we love. For this familiar, This brother even in the father's eye, This brother half-spoken in the mother's throat And these regalia, these things disclosed, These nebulous brilliancies in the smallest look Of the being's deepest darling, we forego Lament, willingly forfeit the ai-ai Of parades in the obscurer selvages. Be near me, come closer, touch my hand, phrases Compounded of dear relation, spoken twice, Once by the lips, once by the services Of central sense, these minutiae mean more Than clouds, benevolences, distant heads. These are within what we permit, in-bar Equisite in poverty against the suns Of ex-bar, in-bar retaining attributes With which we vested, once, the golden forms And the damasked memory of the golden forms And ex-bar's flower and fire of the festivals Of the damased memory of the golden forms, Before we were wholly human and knew ourselves. Esthétique du Mal

Major American Writers: Wallace Stevens VI The sun, in clownish yellow, but not a clown, Brings the day to perfection and then fails. He dwells In a consummate prime, yet still desires A further consummation. For the lunar month He makes the tenderest research, intent On a transmutation which, when seen, appears To be askew. And space is filled with his Rejected years. A big bird pecks at him For food. The big bird's boney appetite Is as insatiable as the sun's. The bird rose from an imperfection of its own To feed on the yellow bloom of the yellow fruit Dropped down from turquoise leaves. In the landscape of The sun, its grossest appetite becomes less gross, Yet, when corrected, has its curious lapses, Its glitters, its divinations of serene Indulgence out of all celestial sight. The sun is the country wherever he is. The bird In the brightest landscape downwardly revolves Disdaining each astringent ripening, Evading the point of redness, not content To repose in an hour or season or long era Of the country colors crowding against it, since The yellow grassman's mind is still immense, Still promises perfections cast away. Esthétique du Mal

Major American Writers: Wallace Stevens VII How red the rose that is the soldier's wound, The wounds of many soldiers, the wounds of all The soldiers that have fallen, red in blood, The soldier of time grown deathless in great size. A mountain in which no ease is ever found, Unless indifference to deeper death Is ease, stands in the dark, a shadow's hill, And there the soldier of time has deathless rest. Concentric circles of shadows, motionless Of their own part, yet moving on the wind, Form mystical convolutions in the sleep Of time's red soldier deathless on his bed. The shadows of his fellows ring him round In the high night, the summer breathes for them Its fragrance, a heavy somnolence, and for him, For the soldier of time, it breathes a summer sleep, In which his wound is good because life was. No part of him was ever part of death. A woman smoothes her forehead with her hand And the soldier of time lies calm beneath that stroke. Esthétique du Mal

Major American Writers: Wallace Stevens VIII The death of Satan was a tragedy For the imagination. A capital Negation destroyed him in his tenement And, with him, many blue phenomena. It was not the end he had foreseen. He knew That his revenge created filial Revenges. And negation was eccentric. It had nothing of the Julian thunder-cloud: The assassin flash and rumble... He was denied. Phantoms, what have you left? What underground? What place in which to be is not enough To be? You go, poor phantoms, without place Like silver in the sheathing of the sight, As the eye closes... How cold the vacancy When the phantoms are gone and the shaken realist First sees reality. The mortal no Has its emptiness and tragic expirations. The tragedy, however, may have begun, Again, in the imagination's new beginning, In the yes of the realist spoken because he must Say yes, spoken because under every no Lay a passion for yes that had never been broken. Esthétique du Mal

Major American Writers: Wallace Stevens IX Panic in the face of the moon — round effendi Or the phosphored sleep in which he walks abroad Or the majolica dish heaped up with phosphored fruit That he sends ahead, out of the goodness of his heart, To anyone who comes — panic, because The moon is no longer these nor anything And nothing is left but comic ugliness Or a lustred nothingness. Effendi, he That has lost the folly of the moon becomes The prince of the proverbs of pure poverty. To lose sensibility, to see what one sees, As if sight had not its own miraculous thrift, To hear only what one hears, one meaning alone, As if the paradise of meaning ceased To be paradise, it is this to be destitute. This is the sky divested of its fountains. Here in the west indifferent crickets chant Through our indifferent crises. Yet we require Another chant, an incantation, as in Another and later genesis, music That buffets the shapes of its possible halcyon Against the haggardie... A loud, large water Bubbles up in the night and drowns the crickets' sound. It is a declaration, a primitive ecstasy, Truth's favors sonorously exhibited. Esthétique du Mal

Major American Writers: Wallace Stevens X He had studied the nostalgias. In these He sought the most grossly maternal, the creature Who most fecundly assuaged him, the softest Woman with a vague mustache and not the mauve Maman. His anima liked its animal And liked it unsubjugated, so that home Was a return to birth, a being born Again in the savagest severity, Desiring fiercely, the child of a mother fierce In his body, fiercer in his mind, merciless To accomplish the truth in his intelligence. It is true there were other mothers, singular In form, lovers of heaven and earth, she-wolves And forest tigresses and women mixed With the sea. These were fantastic. There were homes Like things submerged with their englutted sounds That were never wholly still. The softest woman, Because she is as she was, reality, The gross, the fecund, proved him against the touch Of impersonal pain. Reality explained. It was the last nostalgia: that he Should understand. That he might suffer or that He might die was the innocence of living, if life Itself was innocent. To say that it was Disentangled him from sleek ensolacings. Esthétique du Mal

Major American Writers: Wallace Stevens XI Life is a bitter aspic. We are not At the centre of a diamond. At dawn, The paratroopers fall and as they fall They mow the lawn. A vessel sinks in waves Of people, as big-bell billows from its bell Bell-bellow in the village steeple. Violets, Great tufts, spring up from buried houses Of poor, dishonest people, for whom the steeple, Long since, rang out farewell, farewell, farewell. Natives of poverty, children of malheur, The gaiety of language is our seigneur. A man of bitter appetite despises A well-made scene in which paratroopers Select adieux; and he despises this: A ship that rolls on a confected ocean, The weather pink, the wind in motion; and this: A steeple that tip-tops the classic sun's Arrangements; and the violets' exhumo. The tongue caresses these exacerbations. They press it as epicure, distinguishing Themselves from its essential savor, Like hunger that feeds on its own hungriness. Esthétique du Mal

Major American Writers: Wallace Stevens XII He disposes the world in categories, thus: The peopled and the unpeopled. In both, he is Alone. But in the peopled world, there is, Besides the people, his knowledge of them. In The unpeopled, there is his knowledge of himself. Which is more desperate in the moments when The will demands that what he thinks be true? Is it himself in them that he knows or they In him? If it is himself in them, they have No secret from him. If it is they in him, He has no secret from them. This knowledge Of them and of himself destroys both worlds, Except when he escapes from it. To be Alone is not to know them or himself. This creates a third world without knowledge, In which no one peers, in which the will makes no Demands. It accepts whatever is as true, Including pain, which, otherwise, is false. In the third world, then, there is no pain. Yes, but What lover has one in such rocks, what woman, However known, at the centre of the heart? Esthétique du Mal

Major American Writers: Wallace Stevens XIII It may be that one life is a punishment For another, as the son's life for the father's. But that concerns the secondary characters. It is a fragementary tragedy Within the universal whole. The son And the father alike and equally are spent, Each one, by the necessity of being Himself, the unalterable necessity Of being this unalterable animal. This force of nature in action is the major Tragedy. This is destiny unperplexed, The happiest enemy. And it may be That in his Mediterranean cloister a man, Reclining, eased of desire, establishes The visible, a zone of blue and orange Versicolorings, establishes a time To watch the fire-feinting sea and calls it good, The ultimate good, sure of a reality Of the longest meditation, the maximum, The assassin's scene. Evil in evil is Comparative. The assassin discloses himself, The force that destroys us is disclosed, within This maximum, an adventure to be endured With the politest helplessness. Ay-mi! One feels its action moving in the blood. Esthétique du Mal

Major American Writers: Wallace Stevens XIV Victor Serge said, "I followed his argument With the blank uneasiness which one must feel In the presence of a logical lunatic." He said it of Konstantinov. Revolution Is the affair of logical lunatics. The politics of emotion must appear To be a intellectual structure. The cause Creates a logic not to be distinguished From lunacy... One wants to be able to walk By the lake at Geneva and consider logic: To think of the logicians in their graves And of the worlds of logic in their great tombs. Lakes are more reasonable than oceans. Hence, A promenade amid the grandeurs of the mind, By a lake, with clouds like lights, among great tombs, Gives one a blank uneasiness, as if One might meet Konstantinov, who would interrupt With his lunacy. He would not be aware of the lake. He would be the lunatic of one idea In a world of ideas, who would have all the people Live, work, suffer, and die in that idea In a world of ideas. He would not be aware of the clouds, Lighting the martyrs of logic with white fire. His extreme of logic would be illogical. Esthétique du Mal

Major American Writers: Wallace Stevens XV The greatest poverty is not to live In a physical world, to feel that one's desire Is too difficult to tell from despair. Perhaps, After death, the non-physical people, in paradise, Itself non-physical, may, by chance, observe The green corn gleaming and experience The minor of what we feel. The adventurer In humanity has not conceived of a race Completely physical in a physical world. The green corn gleams and the metaphysicals Lie sprawling in majors of the August heat, The rotund emotions, paradise unknown. This is the thesis scrivened in delight, The reverberating psalm, the right chorale. One might have thought of sight, but who could think Of what it sees, for all the ill it sees? Speech found the ear, for all the evil sound, But the dark italics it could not propound, And out of what one sees and hears and out Of what one feels, who could have thought to make So many selves, so many sensuous worlds, As if the air, the mid-day air, was swarming With the metaphysical changes that occur Merely in living as and where we live. Esthétique du Mal

Major American Writers: Wallace Stevens Week 7 | 3/3/16 Poet(s) of the Week: e. e. cummings and Hart Crane Major Poem: Esthétique du Mal 277 Paisant Chronicle.

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Major American Writers: Wallace Stevens Week 7 | 3/3/16 Poet(s) of the Week: e. e. cummings and Hart Crane Major Poem: Esthétique du Mal 277 Paisant Chronicle.

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Presentation on theme: "Major American Writers: Wallace Stevens Week 7 | 3/3/16 Poet(s) of the Week: e. e. cummings and Hart Crane Major Poem: Esthétique du Mal 277 Paisant Chronicle."— Presentation transcript:

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