A readers guide to wallace stevens

A READER’S GUIDE TO Wallace Stevens This page intentionally left blank A READER’S GUIDE TO WallacTe Stevens Eleanor Cook PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Copyright © 2007 by Princeton University Press Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, Market Place, Woodstock, Oxfordshire OX20 1SY All Rights Reserved Library of Congress Cataloging-in-Publication Data Cook, Eleanor A reader’s guide to Wallace Stevens / Eleanor Cook p cm Includes bibliographical references and index ISBN-13: 978-0-691-04983-0 (cloth : alk paper) ISBN-10: 0-691-04983-1 (cloth : alk paper) Stevens, Wallace, 1879–1955—Criticism and interpretation—Handbooks, manuals, etc I Title PS3537.T4753Z62295 2007 811'.52—dc22 2006044637 British Library Cataloging-in-Publication Data is available This book has been composed in Adobe Garamond and Helvetica Neue Printed on acid-free paper ∞ pup.princeton.edu Printed in the United States of America 10 For John Hollander and Natalie Charkow Hollander and in memory of Anthony Hecht This page intentionally left blank C O N T E N T S preface ix xi acknowledgments abbreviations xiii Biography G L O S S E S Harmonium 29 Ideas of Order 87 The Man with the Blue Guitar 112 Parts of a World 132 Transport to Summer 171 The Auroras of Autumn 237 “The Rock” 279 Late Poems 298 a p p e n d i x : h o w t o r e a d p o e t r y, i n c l u d i n g s t e v e n s short glossary select bibliography index of titles 345 347 351 315 This page intentionally left blank P R E FA C E Wallace Stevens is, by common consent, one of the great Moderns, those major writers in the earlier part of the twentieth century who changed once and for all the way their art is practised Among poets, there are at least four such Modern masters: W B Yeats (b 1865), Robert Frost (b 1874), Wallace Stevens (b 1879) and T S Eliot (b 1888) Other names such as Ezra Pound or William Carlos Williams or Marianne Moore might be added Among this group, Stevens seems the youngest and the strangest, though he was older than Eliot But he matured slowly as an artist, and he did not engage in literary polemics designed to further his art, as did Eliot and Pound Reaching for a volume by Stevens, readers can be baffled and turn away, as with any new art Or new art of a certain kind, for much of Yeats and Frost, even when new, was more accessible than much of Stevens Yet Stevens continues to attract readers, including some who were at first puzzled His ways of combining words, his wit and seriousness, his pithy and telling affirmations, his gift for titles, his conception and development of a “supreme fiction”: any or all of these keep drawing readers, including the most diverse readers Stevens is far from being a poet read chiefly in the academy, demanding as he can be Perhaps his great attraction is that he knows how to be simple too Some of the work is straightforward and sensuous, in a Keatsian line of inheritance (I know people who take it along on holidays—maximum value for minimum space.) Or perhaps the academy underestimates the number of serious readers outside its domain This guide is designed for all these types of Stevens’s readers—the knowledgeable, the studious, the enthusiastic, the occasional, the curious, the baffled but persistent Among students at school, it is designed for those at about a first- or second-year college level (or an advanced high school senior) plus those among their teachers who are puzzled by Stevens Among more knowledgeable readers, those who specialize in Stevens will find both familiar and new material here The best reader’s guides seem to me to offer both general and specific information, with some judgments and some help in interpretation up to a point Thus here Readers will have no difficulty separating matters of fact and matters of judgment or interpretation This book is centered on the body of work itself, while including whatever biographical and historical information sheds light on the work It looks primarily at the poems as literature That is, it offers a guide to help the reader work out what a given poem is saying, and how (I’m aware of challenges of the intentional fallacy in such a statement, and would simply say that I like to follow a poem’s apparent intentionalities.) 340 appendix people When something goes wrong with machines, they have no way of adjusting themselves to compensate for loss Brain-damaged people Oliver Sacks wrote a book about such people, and one of his aims was to undo the force of our unexamined metaphor, “The brain is a machine.” “ ‘Deficit,’ we have said, is neurology’s favorite word—its only word, indeed, for any disturbance of function Either the function (like a capacitor or fuse) is normal—or it is defective or faulty: what other possibility is there for a mechanistic neurology, which is essentially a system of capacities and connections? What then of the opposite—an excess or superabundance of function? Neurology has no word for this” (The Man Who Mistook His Wife for a Hat, and Other Clinical Tales [1987], 87) There are two possible responses to the brain-machine metaphor One says: let’s get rid of metaphors The other, more experienced response says: let’s look for a better metaphor, or use more than one metaphor We can’t get rid of figures of speech, even if we wanted to Dead or alive, they’re part of the language Poetry works with them, and so alerts us to their power and their pleasure too Here is the biologist, Stephen Jay Gould: We often think, naively, that missing data are the primary impediments to intellectual progress—just find the right facts and all the problems will dissipate But barriers are often deeper and more abstract in thought We must have access to the right metaphor, not only to the requisite information Revolutionary thinkers are not, primarily, gatherers of fact, but weavers of new intellectual structures (“For Want of a Metaphor,” The Flamingo’s Smile [1985], 151) Poets like to play with the word “trope” (see following section), and so they should: it’s their chief business Sometimes the word appears openly, as when Stevens was visiting his favorite Elizabeth Park, Hartford, and constructed a Theatre of Trope for himself, presumably with figures like metaphor acting on the stage (NSF II.X) Sometimes, almost as if speaking in code to other wordsmiths, poets will play with the word “trope.” Thus Stevens writes two couplets, “Artist in Tropic” and “Artist in Arctic.” 12 Scheming and Troping The word “trope” has returned to our vocabulary, as we’ve slowly recovered some of the rhetorical knowledge that the nineteenth century threw away In one older division of figures of speech, tropes made up one large class and schemes made up the other De tropis et schematibus is the title of a short treatise on rhetorical figures by the Venerable Bede (673?–735) The handy division held for centuries, and it is a useful place to start when thinking about figures of speech h o w t o r e a d p o e t r y, i n c l u d i n g s t e v e n s 341 In this division, a trope is a figure of speech in which meaning is turned or changed (The word “trope” etymologically means “turn,” from Greek tropos [τρóπos].) Metaphor is a trope (“Achilles is a lion”), synecdoche is a trope (“All hands on deck”) The word “scheme” survives in our phrase “rhyme scheme,” but the oldest meaning of “scheme” denotes an entire class, of which a rhyme scheme is just one part We can start reading figures of speech by distinguishing tropes and schemes It’s like distinguishing birdsongs and birdcalls Schemes are all those figures of speech where meaning is not overtly changed or turned Schemes play with the surface arrangement of words: their sounds or their looks Rhyme is a scheme, alliteration is a scheme “Moon” may rhyme with “June,” but rhyming them does not change the ordinary meaning of the words Still, arbitrary as they may be in some ways, schemes speak to us Rhyming “moon” with “June” says “See this tedious rhymester” or “See this ironic poet” or just possibly “See this brave poet.” Tropes are essential for poetry Schemes are needed but they are not enough in themselves Anyone can make up a jingle using schemes, and writing a clever or funny one is a challenge But tropes are the real challenge Schemes are handy to start with because they often stand out more than tropes Tropes can hide themselves Schemes like to show off a bit more We tend to notice something like chiasmus, the scheme where words are arranged in an xy-yx pattern Moore uses it in her poem “The Fish”: “The water drives a wedge / of iron through the iron edge / of the cliff.” (The second x term has lost its first letter, as if the eroding water had already removed the w from “wedge” and changed it to “edge.”) Stevens imagined a chiasmus-shaped enigma: “The enigmatical / Beauty of each beautiful enigma.” The scheme outlines the type of enigma here: a self-enclosed, self-mirroring enigma We all know something about rhyme schemes and can plot them: abab, abba, aabb, etc Or the linked rhyming of terza rima, Dante’s rhyme scheme: aba bcb, cdc, etc Can we write nineteen lines using only two rhymes, and repeating two of the lines three times over? See Dylan Thomas, “Do not go gentle into that good night” or Elizabeth Bishop, “One Art.” (The form is a villanelle.) Or try Merrill, “Snow Jobs,” then Dante Gabriel Rossetti’s “The Ballad of Dead Ladies” and possibly Villon’s “Ballade des dames du temps jadis.” (The form is a ballade.) What’s worth looking for in rhymes? Magic, wit, puns, reproach, paradox In short, rhymes, like other schemes, are attractive in themselves We laugh at unlikely rhymes, and for some reason we tend to find triple rhymes in English inherently funny (Try some stanzas of Byron’s Don Juan or W S Gilbert’s patter songs in The Pirates of Penzance and elsewhere.) Rhymes are said to be more powerful when they use two different parts of speech (see W K Wimsatt’s essay, “One Relation of Rhyme to Reason”) Or a poet may prefer quiet rhymes sometimes Richard Wilbur offers a rare glimpse into a poet’s workshop: 342 appendix It is precisely in its power to suggest comparisons and connections— unusual ones—to the poet, that one of the incidental merits of rhyme may be said to lie Say to yourself lake, rake, and then write down all the metaphors and other reconciliations of these terms which occur to you within two minutes It is likely to be a long list, extending from visual images of wind furrowing water, to punning reminiscences of Lancelot and Guinevere When a poet is fishing among rhymes, he must reject most of the spontaneous reconciliations (and all of the hackneyed ones) and keep in mind the preconceived direction and object of his poem (Responses: Prose Pieces [1976], 191) Schemes are especially interesting when they start turning into tropes or telling fables; we can see the process starting in Wilbur’s workshop That is why the definition of “scheme” has to include the word “overtly.” Sometimes, covertly, schemes are doing more than surface patterning Tropes “turn” ordinary meaning Not that ordinary meaning is fixed and immutable On the contrary, it is really quite extraordinary But for everyday purposes we can distinguish between ordinary uses and figurative uses, even if we nearly always underestimate the power of figuration Of course, ordinary use varies from culture to culture, and one culture’s “ordinary” will be another’s “figurative.” We classify mosquitoes and black flies and biting midges in certain ways biologically “The Algonquin Indians classed some insects by their desire to bite us, lumping together the bugs we would separate and name mosquito, black fly, biting midge They called them sawgimay, which means, roughly, small-person-who-flies-and-bites-so-fiercely” (Hubbell, Broadsides from the Other Orders: A Book of Bugs [1993], 28) We might think of this as metaphoric, a figurative description, but it is just as valid and useful as our ordinary ones Useful for what? If you want to avoid being bitten, the answer is clear Poetic tropes are remarkable in that they go on generating thought and feeling Attending Hamlet or Twelfth Night for the umpteenth time, we still delight in the troping Dying metaphors are different They turn into clichés and provide targets for satire (See George Orwell’s famous essay, “Politics and the English Language.”) Dead metaphors are those buried in the language, especially in word-roots Or buried in unobtrusive parts of speech like prepositions Why is “up” where heaven is and where we want to climb and where things are better (“looking up”)? Why is “down” discouraging? Prepositions need watching Metaphor, easily the most prominent of the tropes (and historically sometimes the name for the whole class), is a complex process of identification It means “transport” etymologically—and literally in modern Greece, where you may actually ride on a bus called metaphora The classic formula is A = B, which makes no sense logically but does metaphorically The standard h o w t o r e a d p o e t r y, i n c l u d i n g s t e v e n s 343 school-book example is “Achilles is a lion,” which is easy to explain Not all metaphors are We should watch exactly how the A and B of metaphor are joined on the page They are not always joined by “is” or “are,” and the equation sign (=) hardly does justice to the different kinds of comparison and identification that we perform Sometimes metaphor’s two terms are simply juxtaposed, without any verb, as in A, B One example is Stevens’s title, “The Bagatelles, the Madrigals.” We ourselves infer the likeness and difference Sometimes the word “like” or “as” is inserted, as if we wish to describe the relation logically: A is like B (This is simile, which for some is a subcategory of metaphor.) Sometimes there is a radical alogical kind of joining in “A is B.” Watching just how A and B are joined is a good first step toward reading them more fully Exercise: set a pineapple on the table Write twelve one-line metaphors for the pineapple Do they sound anything like Stevens’s twelve lines in “Someone Puts a Pineapple Together”? (“1 The hut stands by itself beneath the palms / Out of their bottle the green genii come .”) Metaphor appears in Stevens’s poetry as its own named self, and Stevens talks about it, sometimes in very different ways I have never figured out completely what is involved in the following examples, among others, and I expect I never shall They continue to give pleasure and engender profit Here are some of metaphor’s appearances in Stevens’s work: The twilight overfull Of wormy metaphors (“Delightful Evening”) The senses paint By metaphor (“Poem Written at Morning”) The motive for metaphor, shrinking from (“The Motive for Metaphor”) The eye of a vagabond in metaphor That catches our own (“Notes toward a Supreme Fiction” II.X) He must defy The metaphor that murders metaphor (“Someone Puts a Pineapple Together”) The metaphor stirred his fear (“Prologues to What Is Possible”) In one sense, reading the fictive patterns of a poem—its figures and stories— is the real beginning of reading it Yet we can’t read figures and stories without 344 appendix seeing and hearing the words and sentences and rhythms and so on After all this, we are ready to check biography and history and perhaps different critical viewpoints, then to think about their interaction with the words on the page When we have lived with all this for a while, we may find ourselves coming back to the words on the page, starting to talk to them now, sometimes talking back to them In turn, the words may reply At this point, we realize that we are hooked, and settle in happily for the long run S H O R T G L O S S A R Y (See also appendix For other literary terms or fuller discussion, see, e.g., Abrams For more advanced discussion, see NPEPP.) allusion: what a likely reader would likely hear at a given time and place, e.g., Faulkner’s The Sound and the Fury as an allusion to Shakespeare’s Macbeth (See also “echo,” below.) “Reference” in this context applies to examples where exact words are not repeated anaphora (anaphoric): repeating a word or phrase at the start of the line assonance (assonantal): rhyming of vowel sounds in adjacent words blank verse: unrhymed iambic pentameter echo: distinguished from quotation (indicated by italics, etc.) and allusion (see above), as quieter Echo ranges on a scale from clear to faint The word “allusion” is sometimes applied to the whole process of quoting, alluding, and echoing ellipsis: a break, marked by three or four dots or a line of dots enjambment: see appendix, “Walking: Lines of Poetry.” figures of speech: tropes and schemes Rhetoric from the Renaissance and earlier sometimes offers a wider definition genre: kind of writing, e.g., elegy, epic, romance (see further in appendix) lexis: diction; see “Lexis,” NPEPP mood (grammatical): the four chief moods are the indicative, interrogative, imperative, and exclamatory verb forms; others are, e.g., the subjunctive pastoral: see appendix, “Genre.” persona (Lat “mask,” familiar from the dramatis personae or actors in a play): the implied speaker of a poem portmanteau word: term coined by Lewis Carroll for melding two words into one new word, e.g., “slithy” from “lithe” and “slimy.” scheme: see appendix, “Scheming and Troping.” topos, topoi: topic, literally a “place” (from Gk topos), at first the “common places” (topoi koinoi) of argument (e.g., kind and degree); later in Lat also a specific argument and a memory-place; in postclassical use, applied to themes and formulas in literature, not just in oratory (See further in Cook [1988], 44n.) trope: see appendix, “Scheming and Troping.” This page intentionally left blank S E L E C T B I B L I O G R A P H Y (For primary sources, see abbreviations I.) Reference (See also works cited under abbreviations II There are reliable encyclopedias of philosophy, of religion and ethics, of Judaism, etc., for checking general or specific knowledge.) Abrams, M H., A Glossary of Literary Terms, 8th ed Boston: Thomson, Wadsworth, 2005 Bible (AV): the Authorized (King James) Version (1611) All quotations from the English Bible are from this translation, which was part of the common tongue for some 350 years (The original Scriptures are the Hebrew Bible, which in Christendom becomes the Old Testament, and the Greek New Testament For Roman Catholic Christendom, the Bible was known for centuries in its Latin [Vulgate] version.) Edelstein, J M., Wallace Stevens: A Descriptive Bibliography Pittsburgh: University of Pittsburgh Press, 1973 Fowler, Alastair, Kinds of Literature: An Introduction to the Theory of Genres and Modes Cambridge: Harvard University Press, 1982 Hollander, John, Rhyme’s Reason: A Guide to English Verse New Haven: Yale University Press, 3rd ed 2001 Morse, Samuel, Jackson R Bryer, Joseph N Riddel, Wallace Stevens Checklist and Bibliography of Stevens Criticism Denver: Alan Swallow, 1963 New Princeton Handbook of Poetic Terms, ed T.V.F Brogan, Princeton: Princeton University Press 1994: essential excerpts from the NPEPP Serio, John N., Wallace Stevens: An Annotated Secondary Bibliography Pittsburgh: University of Pittsburgh Press, 1994 Walsh, Thomas F., comp., Concordance to the Poetry of Wallace Stevens University Park, Pa.: Penn State University Press, 1963 (Entries for Opus Posthumous are keyed to the first edition, ed Morse, 1957.) Biography See also below in Bates, Ellmann (in Doggett and Buttel), and Lensing Brazeau, Peter, Parts of a World: Wallace Stevens Remembered San Francisco: North Point Press, 1985: an oral “biography” from interviews with contemporaries, whose evidence requires the usual scrutiny Poggioli, Renato, trans., Mattino domenicale ed altre poesie Torino: Giulo Einaudi Editore, 1954, pp 168–85, letters by Stevens to the translator 348 select bibliography Richardson, Joan, Wallace Stevens: I: The Early Years, 1879–1923 and Wallace Stevens: II: The Later Years, 1923–1955 New York: Beech Tree Books, 1986 and 1988: beyond detailed biographical facts, especially valuable on Stevens’s reading Sharpe, Tony, Wallace Stevens: A Literary Life New York: St Martin’s Press, 2000 Stevens, Holly, “Bits of Remembered Time,” Southern Review (1971): 651–57; “Holidays in Reality,” in Doggett and Buttel, below, 105–13; for Souvenirs and Prophecies, see abbreviations I Brief List of Criticism A few critical and scholarly works, some older and well-established, some more recent There is a large amount of commentary on Stevens, of varying quality Studies that are elementary or specialized are omitted here, as are most articles (see John Serio, above) Some of the best writing on poetry is to be found in the works cited in the appendix Bates, Milton, Wallace Stevens: A Mythology of Self Berkeley: University of California Press, 1985 Blackmur, R.P., “Examples of Wallace Stevens” and “Wallace Stevens: An Abstraction Blooded,” in his Form and Value in Modern Poetry New York: Doubleday, Anchor, 1957, pp 183–212, 213–18 Bloom, Harold, Wallace Stevens: Poems of Our Climate Ithaca: Cornell University Press, 1976 Brogan, Jacqueline Vaught, Stevens and Simile: A Theory of Language Princeton: Princeton University Press, 1986 Cook, Eleanor, Poetry, Word-Play, and Word-War in Wallace Stevens Princeton: Princeton University Press, 1988; in Against Coercion: Games Poets Play (Stanford: Stanford University Press, 1998, chaps 9, 12, 13 and passim Doggett, Frank, and Robert Buttel, eds., Wallace Stevens: A Celebration Princeton: Princeton University Press, 1980 (See Ellmann’s biographical essay, Hollander on Stevens and music, MacCaffrey on “Le Monocle de Mon Oncle,” and Vendler on how Keats’s “To Autumn” echoes through Stevens’s work.) Filreis, Alan, Wallace Stevens and the Actual World Princeton: Princeton University Press, 1991; Modernism from Left to Right: Wallace Stevens, the Thirties, and Literary Radicalism Cambridge: Cambridge University Press, 1994 Frye, Northrop, “Wallace Stevens and the Variation Form” in his Spiritus Mundi: Essays on Literature, Myth, and Society Bloomington: Indiana University Press, 1976 Jarrell, Randall, “Reflections on Wallace Stevens” in his Poetry and the Age New York: Noonday, 1953, pp 133–48 Kermode, Frank, Wallace Stevens Edinburgh: Oliver and Boyd, 1960 Lensing, George, Wallace Stevens: A Poet’s Growth Baton Rouge: Louisiana State University Press, 1986; Wallace Stevens and the Seasons Baton Rouge: Louisiana State University Press, 2001 Litz, A Walton, Introspective Voyager: The Poetic Development of Wallace Stevens New York: Oxford University Press, 1972 select bibliography 349 Longenbach, James, Wallace Stevens: The Plain Sense of Things New York: Oxford University Press, 1991 MacLeod, Glen, Wallace Stevens and Modern Art: from the Armory Show to Abstract Expressionism New Haven: Yale University Press, 1993 Maeder, Beverley, Wallace Stevens’ Experimental Language: The Lion in the Lute New York: St Martin’s Press, 1999 Vendler, Helen Hennessy, On Extended Wings: Wallace Stevens’ Longer Poems Cambridge, Mass.: Harvard University Press, 1969; Wallace Stevens: Words Chosen Out of Desire Knoxville: University of Tennessee Press, 1984 This page intentionally left blank I N D E X O F T I T L E S (main entries) Academic Discourse at Havana, 101 Add This to Rhetoric, 137 Adult Epigram, 201 Americana, 302 American Sublime, The, 96 Analysis of a Theme, 198 Anatomy of Monotony, 83 Anecdote of Canna, 56 Anecdote of Men by the Thousand, 54 Anecdote of the Jar, 67 Anecdote of the Prince of Peacocks, 57 Angel Surrounded by Paysans, 277 Anglais Mort Florence, 103 Another Weeping Woman, 45 Anything Is Beautiful if You Say It Is, 142 Apostrophe to Vincentine, The, 55 Arcades of Philadelphia the Past, 149 Arrival at the Waldorf, 154 Artificial Populations, 312 As at a Theatre, 301 Asides on the Oboe, 158 Attempt to Discover Life, 209 Auroras of Autumn, The, 237 Autumn Refrain, 108 Bagatelles the Madrigals, The, 143 Banal Sojourn, 59 Banjo Boomer, 313 Bantams in Pine-Woods, 66 Bed of Old John Zeller, The, 189 Beginning, The, 246 Bird with the Coppery, Keen Claws, The, 69 Blue Buildings in the Summer Air, The, 145 Botanist on Alp (No 1), 98 Botanist on Alp (No 2), 98 Bouquet, The, 253 Bouquet of Belle Scavoir, 151 Bouquet of Roses in Sunlight, 247 Brave Man, The, 99 Burghers of Petty Death, 204 Candle a Saint, The, 148 Celle Qui Fût Héaulmiette, 250 Certain Phenomena of Sound, 172 Chaos in Motion and Not in Motion, 202 Child Asleep in Its Own Life, A, 309 Chocorua to Its Neighbor, 176 Clear Day and No Memories, A, 312 Colloquy with a Polish Aunt, 70 Comedian as the Letter C, The, 46 Common Life, The, 147 Completely New Set of Objects, A, 200 Connoisseur of Chaos, 144 Continual Conversation with a Silent Man, 203 Contrary Theses (I), 165 Contrary Theses (II), 166 Conversation with Three Women of New England, 309 Cortège for Rosenbloom, 69 Country Words, 141 Countryman, The, 246 Course of a Particular, The, 304 Creations of Sound, The, 181 Credences of Summer, 210 Crude Foyer, 179 Cuban Doctor, The, 61 Cuisine Bourgeoise, 150 Curtains in the House of the Metaphysician, The, 59 Cy Est Pourtraicte, Madame Ste Ursule, et Les Unze Mille Vierges, 43 Dance of the Macabre Mice, 91 Death of a Soldier, The, 79 Debris of Life and Mind, 194 Delightful Evening, 110 Depression before Spring, 60 Description without Place, 194 Desire To Make Love in a Pagoda, The, 301 Dezembrum, 145 Dinner Bell in the Woods, 310 352 index of titles Discovery of Thought, A, 303 Dish of Peaches in Russia, A, 148 Disillusionment of Ten O’Clock, 63 Doctor of Geneva, The, 45 Domination of Black, 34 Dove in Spring, The, 305 Dove in the Belly, The, 206 Dry Loaf, 138 Dutch Graves in Bucks County, 174 Dwarf, The, 141 Earthy Anecdote, 30 Emperor of Ice-Cream, The, 60 Esthétique du Mal, 182 Evening Without Angels, 99 Examination of the Hero in a Time of War, 168 Explanation, 65 Extracts from Addresses to the Academy of Fine Ideas, 159 Extraordinary References, 208 Fabliau of Florida, 44 Fading of the Sun, A, 99 Farewell to Florida, 88 Farewell without a Guitar, 306 Final Soliloquy of the Interior Paramour, 291 Fish-Scale Sunrise, A, 109 Floral Decorations for Bananas, 55 Flyer’s Fall, 193 Forces, the Will & the Weather, 150 Frogs Eat Butterflies Snakes Eat Frogs Hogs Eat Snakes Men Eat Hogs, 68 From the Misery of Don Joost, 51 From the Packet of Anarcharsis, 206 Gallant Château, 110 Ghosts as Cocoons, 89 Gigantomachia, 174 Girl in a Nightgown, 143 Glass of Water, The, 137 God Is Good It is a Beautiful Night, 171 Golden Woman in a Silver Mirror, A, 257 Good Man Has No Shape, The, 205 Gray Stones and Gray Pigeons, 100 Green Plant, The, 282 Gubbinal, 71 Hand as a Being, The, 166 Hermitage at the Centre, The, 282 Hibiscus on the Sleeping Shores, 43 High-Toned Old Christian Woman, A, 58 Holiday in Reality, 181 Homununculus et La Belle Étoile, 46 House Was Quiet and the World Was Calm, The, 203 How Now, O, Brightener , 305 How to Live What to Do, 92 Human Arrangement, 204 Hymn from a Watermelon Pavilion, 73 Idea of Order at Key West, The, 94 Idiom of the Hero, 138 Imago, 251 In a Bad Time, 246 In the Carolinas, 32 In the Clear Season of Grapes, 84 In the Element of Antagonisms, 245 Indian River, 85 Infanta Marina, 34 Invective Against Swans, 31 Irish Cliffs of Moher, The, 279 Jack-Rabbit, The, 53 Jasmine’s Beautiful Thoughts underneath the Willow, 68 Jouga, 193 July Mountain, 313 Jumbo, 166 Lack of Repose, The, 178 Landscape with Boat, 155 Large Red Man Reading, 244 Last Look at the Lilacs, 52 Late Hymn from the Myrrh-Mountain, 198 Latest Freed Man, The, 140 Lebensweisheitspielerei, 281 Less and Less Human, O Savage Spirit, 189 Life Is Motion, 70 Like Decorations in a Nigger Cemetery, 104 Lions in Sweden, 91 Load of Sugar-Cane, The, 37 Loneliness in Jersey City, 142 Local Objects, 312 Long and Sluggish Lines, 290 index of titles Looking across the Fields and Watching the Birds Fly, 288 Lot of People Bathing in a Stream, A, 209 Lunar Paraphrase, 83 Madame La Fleurie, 282 Man and Bottle, 153 Man Carrying Thing, 199 Man on the Dump, The, 138 Man Whose Pharynx Was Bad, The, 78 Man with the Blue Guitar, The, 112 Martial Cadenza, 153 Meditation Celestial & Terrestrial, 91 Men Made out of Words, 202 Men That are Falling, The, 131 Metamorphosis, 164 Metaphor as Degeneration, 252 Metaphors of a Magnifico, 42 Monocle de Mon Oncle, Le, 37 Montrachet-le-Jardin, 162 Motive for Metaphor, The, 173 Mountains Covered with Cats, 207 Mozart, 1935, 96 Mrs Alfred Uruguay, 157 Mud Master, 103 “A mythology reflects its region,” 313 Negation, 79 New England Verses, 81 News and the Weather, The, 164 No Possum, No Sop, No Taters, 175 Nomad Exquisite, 77 Not Ideas about the Thing but the Thing Itself, 296 Note on Moonlight, 294 Notes toward a Supreme Fiction, 214 Novel, The, 256 Nuances of a Theme by Williams, 41 Nudity at the Capital, 102 Nudity in the Colonies, 102 Nuns Painting Water-Lilies, 302 O, Florida, Venereal Soil, 52 Oak Leaves Are Hands, 167 Of Bright & Blue Birds & the Gala Sun, 157 Of Hartford in a Purple Light, 149 Of Heaven Considered as a Tomb, 56 Of Ideal Time and Choice, 300 353 Of Mere Being, 314 Of Modern Poetry, 154 Of the Manner of Addressing Clouds, 56 Of the Surface of Things, 57 Old Lutheran Bells at Home, The, 257 Old Man Asleep, An, 279 On an Old Horn, 151 On the Adequacy of Landscape, 155 On the Road Home, 139 On the Way to the Bus, 311 One of the Inhabitants of the West, 280 Ordinary Evening in New Haven, An, 259 Ordinary Women, The, 36 Our Stars Come from Ireland, 255 Owl in the Sarcophagus, The, 248 Page from a Tale, 243 Paisant Chronicle, 192 Palace of the Babies, 68 Paltry Nude Starts on a Spring Voyage, The, 32 Parochial Theme, 133 Pastor Caballero, The, 214 Pastoral Nun, A, 214 Pediment of Appearance, The, 203 Peter Quince at the Clavier, 73 Phosphor Reading by His Own Light, 165 Pieces, 199 Place of the Solitaires, The, 58 Plain Sense of Things, The, 280 Planet on the Table, The, 295 Pleasures of Merely Circulating, The, 104 Plot against the Giant, The, 33 Ploughing on Sunday, 42 Plus Belles Pages, Les, 155 Poem that Took the Place of a Mountain, The, 285 Poem with Rhythms, 156 Poem Written at Morning, 146 Poems of Our Climate, The, 134 Poesie Abrutie, 177 Poetry Is a Destructive Force, 134 Postcard from the Volcano, A, 108 Prejudice against the Past, The, 207 Prelude to Objects, 136 Presence of an External Master of Knowledge, 308 Primitive Like an Orb, A, 251 Prologues to What Is Possible, 286 Public Square, The, 84 354 index of titles Puella Parvula, 255 Pure Good of Theory, The, 190 Questions Are Remarks, 258 Quiet Normal Life, A, 291 Rabbit as King of the Ghosts, A, 142 Reader, The, 103 Reality Is an Activity of the Most August Imagination, 310 Red Fern, The, 205 Region November, The, 311 Repetitions of a Young Captain, 179 Reply to Papini, 253 Re-statement of Romance, 103 Revolutionists Stop for Orangeade, The, 81 Rivers of Rivers in Connecticut, The, 295 Rock, The, 292 Role of the Idea in Poetry, The, 302 Sad Strains of a Gay Waltz, 90 Sailing after Lunch, 89 Sail of Ulysses, The, 306 St Armorer’s Church from the Outside, 293 Saint John and the Back-Ache, 250 Sea Surface Full of Clouds, 80 Search for Sound Free from Motion, The, 166 Sense of the Sleight-of-hand Man, The, 147 Sick Man, The, 301 Six Significant Landscapes, 66 Sketch of the Ultimate Politician, 193 Snow and Stars, 97 Snow Man, The, 35 So-And-So Reclining on Her Couch, 175 Solitaire under the Oaks, 311 Some Friends from Pascagoula, 93 Someone Puts a Pineapple Together, 298 Somnambulisma, 178 Sonatina to Hans Christian, 84 Song of Fixed Accord, 288 Souls of Women at Night, The, 303 Stars at Tallapoosa, 65 Study of Images I, 258 Study of Images II, 258 Study of Two Pears, 137 Sun This March, The, 97 Sunday Morning, 63 Surprises of the Superhuman, The, 80 Tattoo, 69 Tea, 85 Tea at the Palaz of Hoon, 62 Theory, 72 Things of August, 274 Thinking of a Relation between the Images of Metaphors, 202 Thirteen Ways of Looking at a Blackbird, 75 This Solitude of Cataracts, 244 Thought Revolved, A, 130 Thunder by the Musician, 147 To an Old Philosopher in Rome, 283 To the One of Fictive Music, 72 To the Roaring Wind, 86 Two at Norfolk, 84 Two Figures in Dense Violet Night, 71 Two Illustrations That the World Is What You Make of It, 285 Two Letters, 309 Two Tales of Liadoff, 197 Two Versions of the Same Poem, 201 Ultimate Poem Is Abstract, The, 247 United Dames of America, 140 Vacancy in the Park, 284 Valley Candle, 54 Variations on a Summer Day, 151 Virgin Carrying a Lantern, The, 65 Waving Adieu, Adieu, Adieu, 93 Weak Mind in the Mountains, A, 143 Weeping Burgher, The, 59 Well Dressed Man with a Beard, The, 156 What We See Is What We Think, 256 Wild Ducks, People and Distances, 190 Wind Shifts, The, 70 Winter Bells, 100 Woman in Sunshine, The, 253 Woman Looking at a Vase of Flowers, 156 Woman Sings a Song for a Soldier Come Home, A, 203 Word with José Rodríguez-Feo, A, 192 World as Meditation, The, 289 World without Peculiarity, 254 Worms at Heaven’s Gate, The, 53 Yellow Afternoon, 153 ... Beaux Sujects: Wallace Stevens Commonplace Book, ed Milton J Bates (Stanford and San Marino: Stanford University Press, Huntington Library, 1989) Wallace Stevens papers, Huntington Library Wallace. .. was capable of isolated anti-Semitic remarks, though some of these sound a matter of class as much as anything At the same time, he took his daughter to a synagogue to hear a rabbi (a “wise man”)... Sciences and Humanities Research Council of Canada for a Research Grant that greatly assisted in the preparation of this book My two graduate assistants, Sophie Levy and Roseanne Carrara, both