an always incipient cosmos, a reading of wallace stevens total of 10 ...
an always incipient cosmos, a reading of wallace stevens total of 10 ... an always incipient cosmos, a reading of wallace stevens total of 10 ...
250 still 'Looking for what was, where it used to be' for he is still the Bon ot Adam ",ho 'awoke in metaphor' • It Is this sad figure that the young 'ephebe' is challenged to transform into a 'final elegance't that image at the 'major lllan'. The transformation must be accomplished, however, without providing consolation for his plight or sanctlf';ying his weaknesses as religion and sentimentality have done. The duty of the poet Is : ~ 'plainly to propound I • The second characteristic of the supreme fiction is that 'It l'1uat Change' and this section opens with a scene in whicb all the elements have been &rraJ:lged, troc which all sense pf spontanelty has been removed. The 'old seraph, parcel-gilded' appears as a rigid, static, lifeless ornament surrounded by odours, doves, girls, jonquils and ~cinth8 that are a protusion of colour, but are, nonetheless, merely repetitions of what ",as here last ;rear or in the previous generation. The recurrence of natural cycles gives the effect of permanence even though all these items 'Are inconstant objects of inconstant cause I In a universe of inconstanc:r.' Even the 'seraph is satyr in Saturn'; even a being to all appearances coapletel:r imperVious to cbaI!g~ alters !! ; ,
251 if placed ....ithin another setting or if there are internal alterations of perspective, as when he changes' according to his thoughts'. The repetition of seasonal changes, regular as the calendar, is not in itself the renewal, the kind of change to which Stevens refers. Por a moment the speaker's ability to express the difference that he desires fails him: 'The bees come booming / As if __ The pigeons clatter in the air' (9f, 389). The spirit knows, however, 'what it intends' and the change desired is not resident in the external scene, in landscape alone. In contrast to the clatter, Stevens presents an image of 'An erotic perfUme, half of the body, half / Of an obvious acid' (the 'visible change' l!!' 434]) in which both the desire for change and the delicate vibrations which ....ould satisfy that desire are merged. It is a fragile sense of evanescence rather than the blunt booming 'not broken in subtleties I • Glauco Cambon reads this passage as a demand for the 'rawness of immediate sensation', which seems to me to be an unfortunate interpretation of the ethereal poignancy that the 'erotic perfume' implies. That the .j experience the speaker desires is the immediate and intense apprehension, I agree. But the booming tbat ,
- Page 213 and 214: 199 in the iIlpulses common to all
- Page 215 and 216: 201 The last section underlines the
- Page 217 and 218: 203 can be read as a search for mea
- Page 219 and 220: 205 NarES III UORTffilARD lJoSeph N
- Page 221 and 222: IV TO FAT ELYSIA Raving then, moved
- Page 223 and 224: 209 Raoie! Long) Burnshav stated:
- Page 225 and 226: 211 faced by the poet who must sele
- Page 227 and 228: 213 'There are many truths / But th
- Page 229 and 230: 215 futility of a search for a comp
- Page 231 and 232: 217 supreme luxury. because Good is
- Page 233 and 234: ~ !, 219 progresses, and the ambigu
- Page 235 and 236: 221 - Having provided one illustrat
- Page 237 and 238: 223 identity, the cliux or the poel
- Page 239 and 240: 225 description of the !ife-giving
- Page 241 and 242: 227 'I think', for that,8S it revea
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- Page 245 and 246: 2~2 represent but the name of the l
- Page 247 and 248: a final conclusion. Being involves
- Page 249 and 250: Stevens explains the idea underlyin
- Page 251 and 252: 2~? to read too great a significanc
- Page 253 and 254: 239 \lith typical ambiguity Stevens
- Page 255 and 256: 241 Stevena then provides an illust
- Page 257 and 258: In silence upon your bed. You clutc
- Page 259 and 260: 245 world is pleasant. The 'Notes',
- Page 261 and 262: 247 ill" , " appearances: As if the
- Page 263: 249 nature of his cause and would e
- Page 267 and 268: 253 Again, an inexhaustiole being,
- Page 269 and 270: 255 succession, the statue remains,
- Page 271 and 272: 257 The partaker partakes of that w
- Page 273 and 274: ~.., 259 become one, as all fates b
- Page 275 and 276: 261 known'. none of. the hindrances
- Page 277 and 278: 26, constitute Stevens's analysis o
- Page 279 and 280: 265 I rubbings of a glass in which
- Page 281 and 282: 267 after-the-fact procesa which ca
- Page 283 and 284: 269 historical validity of the reli
- Page 285 and 286: 1 -.-, 271 tor the marriage-place i
- Page 287 and 288: -'-'-j Whiter than wax, sonorous, I
- Page 289 and 290: 275 world, filled with reflections
- Page 291 and 292: 2?? " waste no words I / Check your
- Page 293 and 294: 279 ., IV NC'"'' TO FAT ELYSIA lSta
- Page 295 and 296: 281 .0) .q " 19Susanne K. Langer, P
- Page 297 and 298: 28, bet still goes about encased in
- Page 299 and 300: 285 Be alive,with its own seemlngs,
- Page 301 and 302: 287 real now is not that faith in a
- Page 303 and 304: 289 conception or bis own power and
- Page 305 and 306: 291 ~. ~'. feelings associated with
- Page 307 and 308: 29~ cupped' the ever-changing Herac
- Page 309 and 310: 295 'supported by a half-arc in mid
- Page 311 and 312: ---~ 297 tap the COomOD reservoir o
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250<br />
still 'Looking for what was, where it used to be' for<br />
he is still the Bon ot Adam ",ho 'awoke in metaphor' •<br />
It Is this sad figure that the young 'ephebe' is<br />
challenged to tr<strong>an</strong>sform into a 'final eleg<strong>an</strong>ce't that<br />
image at the 'major lll<strong>an</strong>'. The tr<strong>an</strong>sformation must be<br />
accomplished, however, without providing consolation<br />
for his plight or s<strong>an</strong>ctlf';ying his weaknesses as religion<br />
<strong>an</strong>d sentimentality have done. The duty <strong>of</strong> the poet Is : ~<br />
'plainly to propound I •<br />
The second characteristic <strong>of</strong> the supreme fiction<br />
is that 'It l'1uat Ch<strong>an</strong>ge' <strong>an</strong>d this section opens with a<br />
scene in whicb all the elements have been &rraJ:lged, troc<br />
which all sense pf spont<strong>an</strong>elty has been removed.<br />
The<br />
'old seraph, parcel-gilded' appears as a rigid, static,<br />
lifeless ornament surrounded by odours, doves, girls,<br />
jonquils <strong>an</strong>d ~cinth8 that are a protusion <strong>of</strong> colour,<br />
but are, nonetheless, merely repetitions <strong>of</strong> what ",as<br />
here last ;rear or in the previous generation.<br />
The<br />
recurrence <strong>of</strong> natural cycles gives the effect <strong>of</strong> perm<strong>an</strong>ence<br />
even though all these items 'Are inconst<strong>an</strong>t objects<br />
<strong>of</strong> inconst<strong>an</strong>t cause I In a universe <strong>of</strong> inconst<strong>an</strong>c:r.'<br />
Even the 'seraph is satyr in Saturn'; even a being to<br />
all appear<strong>an</strong>ces coapletel:r imperVious to cbaI!g~ alters<br />
!!<br />
; ,