1. Major American Writers: Wallace Stevens
Week 5 | 2/18/16
Poet(s) of the Week: Ezra Pound and T. S. Eliot
Major Poem: Chocorua to Its Neighbor 263
Mrs. Alfred Uruguay 225; Aside on an Oboe 226; Extracts from Addresses to the Academy of Fine Ideas 227; Phosphor Reading by His Own Light 240; The Motive for Metaphor 257; So-and-So Reclining on Her Couch 262; Crude Foyer 270; The Creations of Sound 274; Less and Less Human, O Savage Spirit 288; The Pure Good of Theory 289; A Word with José Rodriguez-Feo 292
Major American Writers: Wallace Stevens

2. Major American Writers: Wallace Stevens
Poet(s) of the Week: Ezra Pound ( ) and T. S. Eliot ( ) [Presentation TBA]
Major American Writers: Wallace Stevens

3. Major American Writers: Wallace Stevens
Poet(s) of the Week: Ezra Pound ( )
Major American Writers: Wallace Stevens

4. Major American Writers: Wallace Stevens
Ezra Pound ( )
Major American Writers: Wallace Stevens

5. Major American Writers: Wallace Stevens
Ezra Pound ( )
Major American Writers: Wallace Stevens

6. Major American Writers: Wallace Stevens
T. E. Hulme
Imagism
H. D. (Hilda Doolittle)
Amy Lowell
Ezra Pound
William Carlos Williams
Major American Writers: Wallace Stevens

7. Major American Writers: Wallace Stevens
Imagism
In a Station of the Metro
—Ezra Pound
The apparition of these faces in the crowd;
Petals on a wet, black bough.
Major American Writers: Wallace Stevens

8. Major American Writers: Wallace Stevens
Imagism
The Imagist movement included English and American poets in the early twentieth century who wrote free verse and were devoted to "clarity of expression through the use of precise visual images." A strand of modernism, Imagism was officially launched in 1912 when Ezra Pound read and marked up a poem by Hilda Doolittle, signed it "H.D. Imagiste," and sent it to Harriet Monroe at Poetry.
The movement sprang from ideas developed by T.E. Hulme, who as early as 1908 was proposing to the Poets' Club in London a poetry based on absolutely accurate presentation of its subject with no excess verbiage. The first tenet of the Imagist manifesto was "To use the language of common speech, but to employ always the exact word, not the nearly-exact, nor the merely decorative word.”
from poets.org
Major American Writers: Wallace Stevens

9. Major American Writers: Wallace Stevens
Imagism
Imagism was a reaction against the flabby abstract language and "careless thinking" of Georgian Romanticism. Imagist poetry aimed to replace muddy abstractions with exactness of observed detail, apt metaphors, and economy of language. For example, Pound's "In a Station of the Metro" started from a glimpse of beautiful faces in a dark subway and elevated that perception into a crisp vision by finding an intensified equivalent image. The metaphor provokes a sharp, intuitive discovery in order to get at the essence of life.
Pound's definition of the image was "that which presents an intellectual and emotional complex in an instant of time." Pound defined the tenets of Imagist poetry as:
Major American Writers: Wallace Stevens
from poets.org

10. Major American Writers: Wallace Stevens
Imagism
The Imagist movement included English and American poets in the early twentieth century who wrote free I. Direct treatment of the "thing," whether subjective or objective.
II. To use absolutely no word that does not contribute to the presentation.
III. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of the metronome.
Major American Writers: Wallace Stevens
from poets.org

11. Major American Writers: Wallace Stevens
Imagism
An Imagist anthology was published in 1914 that collected work by William Carlos Williams, Richard Aldington, and James Joyce, as well as H.D. and Pound. Other imagists included F. S. Flint, D. H. Lawrence, and John Gould Fletcher. By the time the anthology appeared, Amy Lowell had effectively appropriated Imagism and was seen as the movement's leader. Three years later, even Amy Lowell thought the movement had run its course. Pound by then was claiming that he invented Imagism to launch H.D.'s career. Though Imagism as a movement was over by 1917, the ideas about poetry embedded in the Imagist doctrine profoundly influenced free verse poets throughout the twentieth century.
from poets.org
Major American Writers: Wallace Stevens

12. Major American Writers: Wallace Stevens
Ezra Pound ( )
Major American Writers: Wallace Stevens

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Ezra Pound ( )
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25. Major American Writers: Wallace Stevens
Poets of the Week: T. S. Eliot ( )
Major American Writers: Wallace Stevens

26. Major American Writers: Wallace Stevens
T. S. Eliot ( )
Major American Writers: Wallace Stevens
T. S. Eliot ( )

27. Major American Writers: Wallace Stevens
T. S. Eliot ( )

28. Major American Writers: Wallace Stevens
Some one said: "The dead writers are remote from us because we know so much more than they did." Precisely, and they are that which we know.
Art is not to express personality, but to overcome it.
To write poetry which should be essentially poetry, with nothing poetic about it, poetry standing naked in its bare bones, or poetry so transparent that we should not see the poetry, but that which we are meant to see through the poetry, poetry so transparent that in reading it we are intent on what the poem points at, and not on the poetry, this seems to me the thing to try for. To get beyond poetry, as Beethoven, in his later works, strove to get beyond music.
“the correction of taste”—Eliot on the function of criticism.
—T. S. Eliot
Major American Writers: Wallace Stevens
T. S. Eliot ( )

29. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
"If I thought that my reply would be to someone who would ever return to earth, this flame would remain without further movement; but as no one has ever returned alive from this gulf, if what I hear is true, I can answer you with no fear of infamy." –Dante’s Inferno
     S'io credesse che mia risposta fosse      A persona che mai tornasse al mondo,      Questa fiamma staria senza piu scosse.      Ma perciocche giammai di questo fondo      Non torno vivo alcun, s'i'odo il vero,      Senza tema d'infamia ti rispondo. Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question… Oh, do not ask, "What is it?" Let us go and make our visit.
“As beautiful as the chance encounter of a sewing machine and an umbrella on a dissecting table.”—Laurtreamont, Les Chants de Maldoror
Major American Writers: Wallace Stevens
T. S. Eliot ( )

30. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
In the room the women come and go Talking of Michelangelo. The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands
Major American Writers: Wallace Stevens
T. S. Eliot ( )

31. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea. In the room the women come and go Talking of Michelangelo. And indeed there will be time To wonder, "Do I dare?" and, "Do I dare?" Time to turn back and descend the stair, With a bald spot in the middle of my hair— [They will say: "How his hair is growing thin!"] My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin— [They will say: "But how his arms and legs are thin!”]
Major American Writers: Wallace Stevens
T. S. Eliot ( )

32. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse. For I have known them all already, known them all— Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room.      So how should I presume? And I have known the eyes already, known them all— The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways?      And how should I presume?
Major American Writers: Wallace Stevens
T. S. Eliot ( )

33. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
And I have known the eyes already, known them all— The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways?      And how should I presume? And I have known the arms already, known them all— Arms that are braceleted and white and bare [But in the lamplight, downed with light brown hair!] Is it perfume from a dress That makes me so digress? Arms that lie along a table, or wrap about a shawl.      And should I then presume?      And how should I begin?           
Major American Writers: Wallace Stevens
T. S. Eliot ( )

34. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows? … I should have been a pair of ragged claws Scuttling across the floors of silent seas.            And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep… tired… or it malingers, Stretched on the floor, here beside you and me. Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head [grown slightly bald] brought in upon a platter, I am no prophet—and here's no great matter;
Major American Writers: Wallace Stevens
T. S. Eliot ( )

35. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it toward some overwhelming question, To say: "I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all"— If one, settling a pillow by her head,      Should say: "That is not what I meant at all.      That is not it, at all.”
Major American Writers: Wallace Stevens
T. S. Eliot ( )

36. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
And would it have been worth it, after all, Would it have been worth while, After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor— And this, and so much more?— It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say:      "That is not it at all,      That is not what I meant, at all."           
Major American Writers: Wallace Stevens
T. S. Eliot ( )

37. Major American Writers: Wallace Stevens
Poets of the Week: Ezra Pound ( )
Major American Writers: Wallace Stevens

38. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool. I grow old… I grow old… I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me.
Major American Writers: Wallace Stevens
T. S. Eliot ( )

39. Major American Writers: Wallace Stevens
Eliot, “The Love Song of J. Alfred Prufrock”
I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.
Major American Writers: Wallace Stevens
T. S. Eliot ( )

40. Major American Writers: Wallace Stevens
Eliot, from “Little Gidding” V
What we call the beginning is often the end And to make an end is to make a beginning. The end is where we start from. And every phrase And sentence that is right (where every word is at home, Taking its place to support the others, The word neither diffident nor ostentatious, An easy commerce of the old and the new, The common word exact without vulgarity, The formal word precise but not pedantic, The complete consort dancing together) Every phrase and every sentence is an end and a beginning, Every poem an epitaph. And any action Is a step to the block, to the fire, down the sea's throat Or to an illegible stone: and that is where we start. We die with the dying: See, they depart, and we go with them. We are born with the dead: See, they return, and bring us with them.
Major American Writers: Wallace Stevens
T. S. Eliot ( )

41. Major American Writers: Wallace Stevens
Eliot, from “Little Gidding”
The moment of the rose and the moment of the yew-tree Are of equal duration. A people without history Is not redeemed from time, for history is a pattern Of timeless moments. So, while the light fails On a winter's afternoon, in a secluded chapel History is now and England.
With the drawing of this Love and the voice of this      Calling
We shall not cease from exploration And the end of all our exploring Will be to arrive where we started And know the place for the first time. Through the unknown, unremembered gate When the last of earth left to discover Is that which was the beginning; At the source of the longest river The voice of the hidden waterfall And the children in the apple-tree
Major American Writers: Wallace Stevens
T. S. Eliot ( )

42. Major American Writers: Wallace Stevens
Eliot, from “Little Gidding”
Not known, because not looked for But heard, half-heard, in the stillness Between two waves of the sea. Quick now, here, now, always— A condition of complete simplicity (Costing not less than everything) And all shall be well and All manner of thing shall be well When the tongues of flame are in-folded Into the crowned knot of fire And the fire and the rose are one.
Major American Writers: Wallace Stevens
T. S. Eliot ( )

43. Major American Writers: Wallace Stevens
Mrs. Alfred Uruguay (225)
So what said the others and the sun went down
And, in the brown blues of evening, the lady said,
In the Donkey's ear, "I fear that elegance
Must struggle like the rest." She climbed until
The moonlight in her lap, mewing her velvet,
And her dress were one and she said, "I have said no
To everything, in order to get at myself.
I have wiped away moonlight like mud. Your innocent ear
And I, if I rode naked, are what remain."
The moonlight crumbled to degenerate forms,
While she approached the real, upon her mountain,
With lofty darkness. The donkey was there to ride,
To hold by the ear, even though it wished for a bell,
Wished faithfully for a falsifying bell.
Neither the moonlight could change it. And for her,
To be regardless of velvet, could never be more
Than to be, she could never differently be,
Her no and no made yes impossible.
Major American Writers: Wallace Stevens
1940

44. Major American Writers: Wallace Stevens

45. Major American Writers: Wallace Stevens
Mrs. Alfred Uruguay
Who was it passed her there on a horse all will,
What figure of capable imagination?
Whose horse clattered on the road on which she rose,
As it descended, blind to her velvet and
The moonlight? Was it a rider intent on the sun,
A youth, a lover with phosphorescent hair,
Dressed poorly, arrogant of his streaming forces,
Lost in an integration of the martyrs' bones,
Rushing from what was real; and capable?
The villages slept as the capable man went down,
Time swished on the village clocks and dreams were alive,
The enormous gongs gave edges to their sounds,
As the rider, no chevalere and poorly dressed,
Impatient of the bells and midnight forms,
Rode over the picket rocks, rode down the road,
And, capable, created in his mind,
Eventual victor, out of the martyrs' bones,
The ultimate elegance: the imagined land.
Major American Writers: Wallace Stevens

46. Major American Writers: Wallace Stevens
Felt Change of Consciousness
The true source of the poetic, felt change of consciousness occurs when ordinary consciousness is "shed like an old garment" and one sees "in a new and strange light" (Poetic Diction 41). This felt change is nothing less than the apprehension of meaning itself. The felt change of consciousness denotes "the momentary apprehension of the poetic by the rational, into which the former is forever transmuting itself—which it is itself for ever in process of becoming This is the very moonlight of our experience . . ." (Poetic Diction 176). The felt change of consciousness is dependent upon the element of strangeness in poetry.
Barfield discovered the felt change of consciousness early on in his first encounters with poetry:
the way in which almost any intense experience of poetry reacted on my experience of the outer world [made a tremendous impression]. The face of nature, the objects of art, the events of history and human intercourse betrayed
Major American Writers: Wallace Stevens

47. Major American Writers: Wallace Stevens
Felt Change of Consciousness
significances hitherto unknown as the result of precisely these poetic or imaginative combinations of words I found I knew (there was no other word for it) things about them which I had not known before those enhanced meanings may reveal hitherto unapprehended parts or aspects of reality. (Romanticism Comes of Age 10)
His B. Lit. thesis at Oxford, later published as Poetic Diction (1928), was inspired by these experiences. The idea of the felt change of consciousness lies at the heart of the thesis he expounds upon there.
To help explain this difficult-to-understand, quite ephemeral concept, Barfield uses an analogy drawn from electromagnetism:
It is not simply that the poet enables me to see with his eyes, and so to apprehend a larger and fuller world. He may indeed do this , but the actual moment of the pleasure of appreciation depends on something rarer and more transitory.
Major American Writers: Wallace Stevens

48. Major American Writers: Wallace Stevens
Felt Change of Consciousness
It depends on the change itself. If I pass a coil of wire between the poles of a magnet, I generate in it an electric current—but I only do so while the coil is positively moving across the lines of force Current only flows when I am actually bringing the coil in or taking it away again. So it is with the poetic mood, which, like the dreams to which it has so often been compared, is kindled by the passage from one plane of consciousness to another. It lives during the moment of transition and then dies, and if it is to be repeated, some means must be found of renewing the transition itself. (Poetic Diction 44)
Certainly this should not surprise us, for we are well aware that the gestalt that makes poetry possible amounts to something like a law of experience generally. "We know instinctively that, if we are to feel pleasure, we must have change. Everlasting day can no more freshen the earth with dew than everlasting night, but the change from night to day and from day back again to night" (Poetic Diction 45).
Major American Writers: Wallace Stevens

49. Major American Writers: Wallace Stevens
Felt Change of Consciousness
As gestalt psychology has taught us to see, we cannot experience both figure and ground at one and the same time. Nor can we live the wisdom which poetry give us—poetry's task being to add "extraordinary consciousness to our ordinary consciousness" (Rediscovery of Meaning 34)—and experience its entrance into us simultaneously.
Inasmuch as man is living the poetry of which he is the maker, and as long as he is so doing, it cannot be poetry to him. In order to appreciate it, he himself must also exist, consciously, outside it; for otherwise the "felt change of consciousness" cannot come about. (Poetic Diction 97)
Felt change of consciousness, then, marks the actual ontogenetic experience of evolution of consciousness, as Barfield explains in Poetic Diction's peroration, its closing words:
Major American Writers: Wallace Stevens

50. Major American Writers: Wallace Stevens
Felt Change of Consciousness
Over the perpetual evolution of human consciousness, which is stamping itself upon the transformation of language, the spirit of poetry hovers, for ever unable to alight. It is only when we are lifted above that transformation, so that we behold it as present movement, that our startled souls feel the little pat and the throbbing, feathery warmth, which tell us that she has perched. It is only when we have risen from beholding the creature into beholding creation that our mortality catches for a moment the music of the turning spheres. (179)
Major American Writers: Wallace Stevens

51. Major American Writers: Wallace Stevens
Asides on an Oboe (226)
The prologues are over. It is a question, now,
Of final belief. So, say that final belief
Must be in a fiction. It is time to choose. I
That obsolete fiction of the wide river in
An empty land; the gods that Boucher killed;
And the metal heroes that time granulates -
The philosophers' man alone still walks in dew,
Still by the sea-side mutters milky lines
Concerning an immaculate imagery.
If you say on the hautboy man is not enough,
Can never stand as a god, is ever wrong
In the end, however naked, tall, there is still
The impossible possible philosophers' man,
The man who has had the time to think enough,
The central man, the human globe, responsive
As a mirror with a voice, the man of glass,
Who in a million diamonds sums us up.
1940
Major American Writers: Wallace Stevens

52. Major American Writers: Wallace Stevens
Asides on an Oboe II
He is the transparence of the place in which
He is and in his poems we find peace.
He sets this peddler's pie and cries in summer,
The glass man, cold and numbered, dewily cries,
"Thou art not August unless I make thee so."
Clandestine steps upon imagined stairs
Climb through the night, because his cuckoos call.
III
One year, death and war prevented the jasmine scent
And the jasmine islands were bloody martyrdoms.
How was it then with the central man? Did we
Find peace? We found the sum of men. We found,
If we found the central evil, the central good.
We buried the fallen without jasmine crowns.
There was nothing he did not suffer, no; nor we.
Major American Writers: Wallace Stevens

53. Major American Writers: Wallace Stevens
Asides on an Oboe
It was not as if the jasmine ever returned.
But we and the diamond globe at last were one.
We had always been partly one. It was as we came
To see him, that we were wholly one, as we heard
Him chanting for those buried in their blood,
In the jasmine haunted forests, that we knew
The glass man, without external reference.
Major American Writers: Wallace Stevens

54. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas (227) I
A crinkled paper makes a brilliant sound.
The wrinkled roses tinkle, the paper ones,
And the ear is glass, in which the noises pelt,
The false roses – compare the silent rose of the sun
And rain, the blood-rose living in its smell,
With this paper, this dust. That states the point.
Messieurs,
It is an artificial world. The rose
Of paper is of the nature of its world.
The sea is so many written words; the sky
Is blue, clear, cloudy, high, dark, wide and round;
The mountains inscribe themselves upon the walls.
And, otherwise, the rainy rose belongs 
To naked men, to women naked as rain.
1940
Major American Writers: Wallace Stevens

55. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
Where is that summer warm enough to walk
Among the lascivious poisons, clean of them,
And in what covert may we, naked, be
Beyond the knowledge of nakedness, as part
Of reality, beyond the knowledge of what
Is real, part of a land beyond the mind?
Rain is an unbearable tyranny. Sun is
A monster-maker, an eye, only an eye,
A sharpener of shapes for only the eye,
Of things no better than paper things, of days
That are paper days. The false and true are one. II
The eye believes and its communion takes.
The spirit laughs to see the eye believe
And its communion take. And now of that.
Major American Writers: Wallace Stevens

56. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
Let the Secretary for Porcelain observe
That evil made magic, as in catastrophe,
If neatly glazed, becomes the same as the fruit
Of an emperor, the egg-plant of a prince.
The good is evil’s last invention. Thus
The maker of catastrophe invents the eye
And through the eye equates ten thousand deaths
With a single well-tempered apricot, or, say, 
An egg-plant of good air.
My beards, attend
To the laughter of evil; the fierce ricanery
With the ferocious chu-chot-chu between, the sobs
For breath to laugh the louder, the deeper gasps
Uplifting the completest rhetoric
Of sneers, the fugues commencing at the toes
And ending at the finger-tips…it is death
Major American Writers: Wallace Stevens

57. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
That is ten thousand deaths and evil death.
Be tranquil in your wounds. It is good death
That puts an end to evil death and dies.
Be tranquil in your wounds. The placating star
Shall be the gentler for the death you die
And the helpless philosophers say still helpful things.
Plato, the reddened flower, the erotic bird.
III
The lean cats of the arches of the churches,
That’s the old world. In the new, all men are priests.
They preach and they are preaching in a land
To be described. They are preaching in a time
To be described. Evangelists of what?
If they could gather their theses into one,
Collect their thoughts together into one,
Major American Writers: Wallace Stevens

58. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
Collect their thoughts together into one,
Into a single thought, thus: into a queen,
An intercessor by innate rapport,
Or into a dark-blue king, un roi tonnerre,
Whose merely being was his valiance,
Panjandrum and central heart and mind of minds –
If they could! Or is it the multitude of thoughts,
Like insects in the depths of the mind, that kill 
The single thought? The multitudes of men
That kill the single man, starvation’s head,
One man, their bread and their remembered wine?
The lean cats of the arches of the churches
Bask in the sun in which they feel transparent,
As if designed by X, the per-noble master.
They have a sense of their design and savor
The sunlight. They bear brightly the little beyond
Themselves, the slightly unjust drawing that is
Their genius: the exquisite errors of time.
Major American Writers: Wallace Stevens

59. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas IV
On an early Sunday in April, a feeble day,
He felt curious about the winter hills
And wondered about the water in the lake.
It had been cold since December. Snow fell, first,
At new year and, from then until April, lay
On everything. Now it had melted, leaving
The gray grass like a pallet, closely pressed;
And dirt. The wind blew in the empty place.
The winter wind blew in an empty place –
There was that difference between the and an,
The difference between himself and no man,
No man that heard a wind in an empty place.
It was time to be himself again, to see
If the place, in spite of its witheredness, was still
Within the difference. He felt curious
Whether the water was black and lashed about
Major American Writers: Wallace Stevens

60. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
Or whether the ice still covered the lake. There was still
Snow under the trees and on the northern rocks,
The dead rocks not the green rocks, the live rocks. If,
When he looked, the water ran up the air or grew white
Against the edge of the ide, the abstraction would
Be broken and winter would be broken and done,
And being would be being himself again,
Being, becoming seeing and feeling and self, 
Black water breaking into reality. V
The law of chaos is the law of ideas,
Of improvisations and seasons of belief.
Ideas are men. The mass of meaning and
The mass of men are one. Chaos is not
Major American Writers: Wallace Stevens

61. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
The mass of meaning. It is three or four
Ideas or, say, five men or, possibly six.
In the end, these philosophic assassins pull
Revolvers and shoot each other. One remains.
The mass of meaning becomes composed again.
He that remains plays on an instrument
A good agreement between himself and night,
A chord between the mass of men and himself,
Far, far beyond the putative canzones
Of love and summer. The assassin sings
In chaos and his song is a consolation.
It is the music of the mass of meaning.
Major American Writers: Wallace Stevens

62. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
And yet it is a singular romance,
This warmth in the blood-world for the pure idea,
This inability to find a sound,
That clings to the minds like that right sound, that song
Of the assassin that remains and sings
In the high imagination, triumphantly. VI
Of systematic thinking…Ercole,
O, skin and spine and hair of you, Ercole,
Of what do you lie thinking in your cavern?
To think it is to think the way to death…
Major American Writers: Wallace Stevens

63. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
That other one wanted to think his way to life,
Sure that the ultimate poem was the mind,
Or of the mind, or of the mind in these
Elysia, these days, half earth, half mind;
Half-sun, half thinking of the sun; half sky,
Half desire for indifference about the sky.
He, that one, wanted to think his way to life,
To be happy because people were thinking to be.
They had to think it to be. He wanted that,
To face the weather and be unable to tell
How much of it was light and how much thought,
In these Elysia, these origins,
This single place in which we are stay,
Except for the images we make of it,
And for it, and by which we think the way,
And, being unhappy, talk of happiness
Major American Writers: Wallace Stevens

64. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
And, talking of happiness, know that it means
That the mind is the end and must be satisfied.
It cannot be half earth, half mind; half sun,
Half thinking; until the mind has been satisfied,
Until, for him, his mind is satisfied.
Time troubles to produce the redeeming thought.
Sometimes at sleepy mid-days it succeeds,
Too vaguely that it be written in character.
VII
To have satisfied the mind and turn to see,
(That being as much belief as we may have,)
And then to look and say there is no more
Than this, in this alone I may believe,
Whatever it may be; then one’s belief
Resists each past apocalypse, rejects
Ceylon, wants nothing from the sea, la belle
Aux crinolines, smears out mad mountains.
Major American Writers: Wallace Stevens

65. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
What
One believes is what matters. Ecstatic identities
Between one’s self and the weather and the things
Of the weather are the belief in one’s element,
The casual reunions, the long-pondered
Surrenders, the repeated sayings that
There is nothing more and that it is enough
To believe in the weather and in the things and men
Of the weather and in one’s self, as part of that
And nothing more. So that if one went to the moon,
Or anywhere beyond, to a different element,
One would be drowned in the air of difference,
Incapable of belief, in the difference.
And then returning from the moon, if one breathed
The cold evening, without any scent or the shade
Of any woman, watched the thinnest light
And the most distant, single color, about to change,
Major American Writers: Wallace Stevens

66. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
And naked of any illusion, in poverty,
In the exactest poverty, if then
One breathed the cold evening, the deepest inhalation
Would come from that return to the subtle center.
VIII
We live in a camp….Stanzas of final peace
Lie in the heart’s residuum….Amen.
But would it be amen, in choirs, if once
In total war we died and after death
Returned, unable to die again, fated
To endure therafter every mortal wound,
Beyond a second death, as evil’s end?
It is only that we are able to die, to escape
The wounds. Yet to lie buried in evil earth,
If evil never ends, is to return
Major American Writers: Wallace Stevens

67. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
To evil after death, unable to die
Again and fated to endure beyond
Any mortal end. The chants of final peace
Lie in the heart’s residuum.
How can
We chant if we live in evil and afterward
Lie harshly buried there?
If earth dissolves
Its evil after death, it dissolves it while
We live. Thence come the final chants, the chants
Of the brooder seeking the acutest end
Of speech: to pierce the heart’s residuum
And there to find music for a single line,
Equal to memory, one line in which
The vital music formulates the words.
Major American Writers: Wallace Stevens

68. Major American Writers: Wallace Stevens
Extracts from the Academy of Fine Ideas
Behold the men in helmets borne on steel,
Discolored, how they are going to defeat.
Major American Writers: Wallace Stevens

69. Major American Writers: Wallace Stevens
Phosphor Reading By His Own Light (240)
It is difficult to read. The page is dark.
Yet he knows what it is that he expects.
The page is blank or a frame without a glass
Or a glass that is empty when he looks.
The greenness of night lies on the page and goes
Down deeply in the empty glass…
Look, realist, not knowing what you expect.
The green falls on you as you look,
Falls on and makes and gives, even a speech.
And you think that that is what you expect,
That elemental parent, the green night,
Teaching a fusky alphabet.
1942
Major American Writers: Wallace Stevens

70. Major American Writers: Wallace Stevens

71. Major American Writers: Wallace Stevens
The Motive for Metaphor (257)
You like it under the trees in autumn,
Because everything is half dead.
The wind moves like a cripple among the leaves
And repeats words without meaning.
In the same way, you were happy in spring,
With the half colors of quarter-things,
The slightly brighter sky, the melting clouds,
The single bird, the obscure moon—
The obscure moon lighting an obscure world
Of things that would never be quite expressed,
Where you yourself were not quite yourself,
And did not want nor have to be,
1943
Major American Writers: Wallace Stevens

72. Major American Writers: Wallace Stevens
The Motive for Metaphor
Desiring the exhilarations of changes:
The motive for metaphor, shrinking from
The weight of primary noon,
The A B C of being,
The ruddy temper, the hammer
Of red and blue, the hard sound—
Steel against intimation—the sharp flash,
The vital, arrogant, fatal, dominant X.
Major American Writers: Wallace Stevens

73. Major American Writers: Wallace Stevens
So-and-So Reclining on Her Couch (262)
On her side, reclining on her elbow.
This mechanism, this apparition,
Suppose we call it Projection A.
She floats in air at the level of
The eye, completely anonymous,
Born, as she was, at twenty-one,
Without lineage or language, only
The curving of her hip, as motionless gesture,
Eyes dripping blue, so much to learn.
If just above her head there hung,
Suspended in air, the slightest crown
Of Gothic prong and practick bright,
The suspension, as in solid space,
The suspending hand withdrawn, would be
An invisible gesture. Let this be called
1943
Major American Writers: Wallace Stevens

74. Major American Writers: Wallace Stevens
So-and-So Reclining on Her Couch
Projection B. To get at the thing
Without gestures is to get at it as
Idea. She floats in the contention, the flux
Between the thing as idea and
The idea as thing. She is half who made her.
This is the final Projection C.
The arrangement contains the desire of
The artist. But one confides in what has no
Concealed creator. One walks easily
The unpainted shore, accepts the world
As anything but sculpture. Good-bye
Mrs. Pappadopoulos, and thanks.
Major American Writers: Wallace Stevens

75. Major American Writers: Wallace Stevens
Crude Foyer (270)
Thought is false happiness; the idea
That merely by thinking one can,
Or may, penetrate, not may,
But can, that one is sure to be able—
That there lies at the end of thought
A foyer of the spirit in a landscape
Of the mind, in which we sit
And wear humanity's bleak crown;
In which we read the critique of paradise
And say it is the work
Of a comedian, this critique;
In which we sit and breathe
1947
Major American Writers: Wallace Stevens

76. Major American Writers: Wallace Stevens
Crude Foyer
An innocence of an absolute,
False happiness, since we know that we use
Only the eye as faculty, that the mind
Is the eye, and that this landscape of the mind
Is a landscape only of the eye; and that
We are ignorant men incapable
Of the least, minor, vital metaphor, content,
At last, there, when it turns out to be here.
Major American Writers: Wallace Stevens

77. Major American Writers: Wallace Stevens
The Creations of Sound (274)
If the poetry of X was music,
So that it came to him of its own,
Without understanding, out of the wall
Or in the ceiling, in sounds not chosen,
Or chosen quickly, in a freedom
That was their element, we should not know
That X is an obstruction, a man
Too exactly himself, and that there are words
Better without an author, without a poet,
Or having a separate author, a different poet,
An accretion from ourselves, intelligent
Beyond intelligence, an artificial man
At a distance, a secondary expositor,
A being of sound, whom one does not approach
Through any exaggeration. From him, we collect.
1944
Major American Writers: Wallace Stevens

78. Major American Writers: Wallace Stevens
The Creations of Sound
Tell X that speech is not dirty silence
Clarified. It is silence made dirtier.
It is more than an imitation for the ear.
He lacks this venerable complication.
His poems are not of the second part of life.
They do not make the visible a little hard
To see nor, reverberating, eke out the mind
Or peculiar horns, themselves eked out
By the spontaneous particulars of sound.
We do not say ourselves like that in poems.
We say ourselves in syllables that rise
From the floor, rising in speech we do not speak.
Major American Writers: Wallace Stevens

79. Major American Writers: Wallace Stevens
Less and Less Human, O Savage Spirit (288)
If there must be a god in the house, must be,
Saying things in the room and on the stair,
Let him move as the sunlight moves on the floor,
Or moonlight, silently, as Plato’s ghost
Or Aristotle’s skeleton. Let him hang out
His stars on the wall. He must dwell quietly.
He must be incapable of speaking, closed,
As those are: as light, for all its motion, is;
As color, even the closest to us, is;
As shapes, though they portend us, are.
It is the human that is the alien,
The human that has no cousin in the moon.
1944
Major American Writers: Wallace Stevens

80. Major American Writers: Wallace Stevens
Less and Less Human, O Savage Spirit
It is the human that demands his speech
From beasts or from the incommunicable mass.
If there must be a god in the house, let him be one
That will not hear us when we speak; a coolness,
A vermilioned nothingness, any stick of the mass
Of which we are too distantly a part.
Major American Writers: Wallace Stevens

81. Major American Writers: Wallace Stevens
The Pure Good of Theory (289)
It is time that beats in the breast and it is time
That batters against the mind, silent and proud,
The mind that knows it is destroyed by time.
Time is a horse that runs in the heart, a horse
Without a rider on a road at night.
The mind sits listening and hears it pass.
It is someone walking rapidly in the street.
The reader by the window has finished his book
And tells the hour by the lateness of the sounds.
Even breathing is the beating of time, in kind:
A retardation of its battering,
A horse grotesquely taut, a walker like
1945
Major American Writers: Wallace Stevens

82. Major American Writers: Wallace Stevens
The Pure Good of Theory
A shadow in mid-earth If we propose
A large-sculptured, platonic person, free from time,
And imagine for him the speech he cannot speak,
A form, then, protected from the battering, may
Mature: A capable being may replace
Dark horse and walker walking rapidly.
Felicity, ah! Time is the hooded enemy,
The inimical music, the enchantered space
In which the enchanted preludes have their place.
Major American Writers: Wallace Stevens

83. Major American Writers: Wallace Stevens
A Word with José Rodriguez-Feo (292)
As one of the secretaries of the moon,
The queen of ignorance, you have deplored
How she presides over imbeciles. The night
Makes everything grotesque. It is because
Night is the nature of man’s interior world?
Is lunar Habana the Cuba of the self?
We must enter boldly that interior world
To pick up relaxations of the known.
For example, this old man selling oranges
Sleeps by his basket. He snores. His bloated breath
Bursts back. What not quite realized transit
Of ideas moves wrinkled in a motion like
1947
Major American Writers: Wallace Stevens

84. Major American Writers: Wallace Stevens
A Word with José Rodriguez-Feo
The cry of an embryo? The spirit tires,
It has, long since, grown tired, of such ideas.
It says there is an absolute grotesque.
There is a nature that is grotesque within
The boulevards of the generals. Why should
We say that it is man's interior world?
Or seeing the spent, unconscious shapes of night,
Pretend they are shapes of another consciousness?
The grotesque is not a visitation. It is
Not apparition but appearance, part
Of that simplified geography, in which
The sun comes up like news from Africa. 
Major American Writers: Wallace Stevens

85. Major American Writers: Wallace Stevens
Major Poem: Chocorua to Its Neighbor (263) I
To speak quietly at such a distance, to speak
And to be heard is to be large in space,
That, like your own, is large, hence, to be part
Of sky, of sea, large earth, large air. It is
To perceive men without reference to their form. II
The armies are forms in number, as cities are.
The armies are cities in movement. But a war
Between cities is a gesticulation of forms,
A swarming of number over number, not
One foot approaching, one uplifted arm.
1943
Major American Writers: Wallace Stevens

86. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors
III
At the end of night last night a crystal star,
The crystal-pointed star of morning, rose
And lit the snow to a light congenial
To this prodigious shadow, who then came
In an elemental freedom, sharp and cold. IV
The feeling of him was the feel of day,
And of a day as yet unseen, in which
To see was to be. He was the figure in
A poem for Liadoff, the self of selves:
To think of him destroyed the body’s form.
Major American Writers: Wallace Stevens

87. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors V
He was a shell of dark blue glass, or ice,
Or air collected in a deep essay,
Or light embodied, or almost, a flash
On more than muscular shoulders, arms and chest,
Blue’s last transparence as it turned to black, VI
The glitter of a being, which the eye
Accepted yet which nothing understood,
A fusion of night, its blue of the pole of blue
And of the brooding mind, fixed but for a slight
Illumination of movement as he breathed.
Major American Writers: Wallace Stevens

88. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors
VII
He was as tall as a tree in the middle of
The night. The substance of his body seemed
Both substance and non-substance, luminous flesh
Or shapely fire: fire from an underworld,
Of less degree than flame and lesser shine.
VIII
Upon my top he breathed the pointed dark.
He was not man yet he was nothing else.
If in the mind, he vanished, talking there.
The mind’s own limits, like tragic things
Without existence, existing everywhere.
Major American Writers: Wallace Stevens

89. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors IX
He breathed in crystal-pointed change the whole
Experience of night, as if he breathed
A consciousness from solitude, inhaled
A freedom out of silver-shaping size,
Against the whole experience of day. X
The silver-shapeless, gold-encrusted size
Of daylight came while he sat thinking. He said
“The moments of enlargement overlook
The enlarging of the simplest soldier's cry
ln what I am, as he falls. Of what I am,
Major American Writers: Wallace Stevens

90. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors XI
The cry is part. My solitaria
Are the meditations of a central mind.
I hear the motions of the spirit and the sound
Of what is secret becomes, for me, a voice
That is my own voice speaking in my ear.
XII
There lies the misery, the coldest coil
That grips the centre, the actual bite, that life
Itself is like a poverty in the space of life,
S0 that the flapping of wind around me here
Is something in tatters that I cannot hold."
Major American Writers: Wallace Stevens

91. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors
XIII
In spite of this, the gigantic bulk of him
Grew strong, as if doubt never touched his heart.
Of what was this the force? From what desire
And from what thinking did his radiance come?
In what new spirit had his body birth?
XIV
He was more than an external majesty,
Beyond the sleep of those that did not know,
More than a spokesman of the night to say
Now, time stands still. He came from out of sleep.
He rose because men wanted him to be.
Major American Writers: Wallace Stevens

92. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors XV
They wanted him by day to be, image,
But not the person, of their power, thought,
But not the thinker, large in their largeness beyond
Their form, beyond their life, yet of themselves
Excluding by his largeness their defaults.
XVI
Last night at the end of night his starry head,
Like the head of fate, looked out in darkness, part
Thereof and part desire and part the sense
Of what men are. The collective being knew
There were others like him safely under roof:
Major American Writers: Wallace Stevens

93. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors
XVIII
True transfigurers fetched out of the human mountain,
True genii for the diminished, spheres,
Gigantic embryos of populations,
Blue friends in shadows, rich conspirators,
Confiders and comforters and lofty kin.
XIX
To say more than human things with human voice,
That cannot be; to say human things with more
Than human voice, that, also, cannot be;
To speak humanly from the height or from the depth
Of human things, that is acutest speech.
Major American Writers: Wallace Stevens

94. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors XX
Now, l, Chocorua, speak of this shadow as
A human thing. It is an eminence,
But of nothing, trash of sleep that will disappear
With the special things of night, little by little,
In day’s constellation, and yet remain, yet be,
XXI
Not father, but bare brother, megalfrere,
Or by whatever boorish name a man
Might call the common self, interior tons
And fond, the total man of glubbal glub,
Political tramp with an heraldic air,
Major American Writers: Wallace Stevens

95. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors
XXII
Cloudcasual, metaphysical metaphor,
But resting on me, thinking in my snow,
Physical if the eye is quick enough,
So that, where he was, there is an enkindling, where
He is, the air changes and grows fresh to breathe
XXIII
The air changes, creates and recreates, like strength
And to breathe is a fulfilling of desire,
A clearing, a detecting, a completing,
A largeness lived and not conceived, a space
That is an instant nature, brilliantly.
Major American Writers: Wallace Stevens

96. Major American Writers: Wallace Stevens
Chocorua to Its Neighbors
XXV
Last night at the end of night and in the sky,
The lesser night, the less than morning light,
Fell on him, high and cold, searching for what
Was native to him in that height, searching
The pleasure of his spirit in the cold.
XXVI
How singular he was as man, how large,
If nothing more than that, for the moment, large
In my presence, the companion of presences
Greater than mine, of his demanding, head
And, of human realizings, rugged roy . . .
Major American Writers: Wallace Stevens