And in each this is different. In poetry, you must love the word, the ideas and images and rhythms with all your capacity to love anything at all. The individual partakes of the whole. Except in extraordinary cases he never adds to it.
It is the belief and not the god that counts. A journey in space equals a journey in time. Tings seen are things as seen, Absolute real. What we see in the mind is as real to us as what we see by the eye. Poetry must be irrational. The purpose of poetry is to make life complete in itself. Poetry increases the feeling for reality.
One reads poetry with ones nerves. Sentimentality is a failure of feeling. The imagination is the romantic. Poetry is not the same thing as the imagination taken alone. Nothing is itself taken alone. Things are because of interrelations or interactions.
The great objective is the truth not only of the poem but of poetry. Poetry is a specific conception, however expressed.
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A poem is poetry expressed in words. But in a poem there is a poetry of words.
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Obviously, a poem may consist of several poetries. Poetry is the expression of the experience of poetry. Values other than those merely of the eye and ear. As the reason destroys, the poet must create. The exquisite environment of fact. The final poem will be the poem of fact in the language of fact.
But it will be the poem of fact not realized before. We live in the mind. A poet must have something by nature and he must know more about the world by reason thereof.
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The poet feels abundantly the poetry of everything. To live in the world but outside of existing conceptions of it. Poetry has to be something more than a conception of the mind. It has to be a revelation of nature.
Essay on An Annotation of Wallace Stevens' Of Modern Poetry | Bartleby
Conceptions are artificial. Perceptions are essential. You are commenting using your WordPress. It is not the thing described, nor false facsimile. This leaves us with the picture that we wanted — that balanced spectrum in which Don Quixote and Colleoni comfortably switch personalities; a graceful glissando on contrary modes. With a bit of effort, and more than a bit of irony, we may even incorporate an anti-Kripkean synthesis into the picture. By this I mean that we could draw a parallel — though of course not an identification — between the stipulation of possible worlds in philosophy, and the creative role of the imagination.
Without plunging too deep into metaphysics of modality: a possible world is stipulated through description — we tamper with its characteristics to unveil what is allowed by logic and our linguistic intuitions. In this way, Stevens almost suggests that poetry and poetic abilities are a form a religion, one that helps people grow in their spirituality and connection to God. In this way, poetry, literature, and the creative writing process in general are of the upmost importance due to their ability to connect people to their environment and their natural feelings.
This poem describes the beautiful voice of a singer. He wanted to convey to his readers that, just like poetry and other forms literature, singing is a powerful and creative form of art. As with his other poems, Stevens emphasizes the transformative power of poetry and literature.
He applies this to the thoughts of art. Art—all forms, regardless of presentation—has transformative powers that are beyond our control. Art has the power and ability to change how we perceive the world and people around us. To Stevens, this is the most important and powerful aspect of art. Rather, he felt poets should confront the dangers and hardships of modern living in a serious and realistic way. He wanted poets to write about serious ailments of human consciousness.